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+

+Node: 8r, +Next: , +Previous: 8a, +Up: Encodings +



+
+ +

8r.enc: TeX base encoding

+ +
+
+     % @psencodingfile{
+     %   author    = "S. Rahtz, P. MacKay, Alan Jeffrey, B. Horn, K. Berry,
+     %                W. Schmidt, P. Lehman",
+     %   version   = "20021105.19",
+     %   date      = "5 November 2002",
+     %   filename  = "8r.enc",
+     %   email     = "tex-fonts@tug.org",
+     %   docstring = "This is the encoding vector for Type1 and TrueType
+     %                fonts to be used with TeX.  This file is also included
+     %                in the PSNFSS bundle."
+     % }
+     %
+     % The idea is to have all the characters normally included in Type 1 fonts
+     % available for typesetting. This is effectively the characters in Adobe
+     % Standard encoding, ISO Latin 1, Windows ANSI including the euro symbol,
+     % MacRoman, and some extra characters from Lucida.
+     %
+     % Character code assignments were made as follows:
+     %
+     % (1) the Windows ANSI characters are almost all in their Windows ANSI
+     % positions, because some Windows users cannot easily reencode the
+     % fonts, and it makes no difference on other systems. The only Windows
+     % ANSI characters not available are those that make no sense for
+     % typesetting -- rubout (127 decimal), nobreakspace (160), softhyphen
+     % (173). quotesingle and grave are moved just because it's such an
+     % irritation not having them in TeX positions.
+     %
+     % (2) Remaining characters are assigned arbitrarily to the lower part
+     % of the range, avoiding 0, 10 and 13 in case we meet dumb software.
+     %
+     % (3) Y&Y Lucida Bright includes some extra text characters; in the
+     % hopes that other PostScript fonts, perhaps created for public
+     % consumption, will include them, they are included starting at 0x12.
+     % These are /dotlessj /ff /ffi /ffl.
+     %
+     % (4) hyphen appears twice for compatibility with both ASCII and Windows.
+     %
+     % (5) /Euro was assigned to 128, as in Windows ANSI.
+     %
+     % (6) Missing characters from MacRoman encoding incorporated in October
+     % 2002 as follows:
+     %
+     %     PostScript      MacRoman        TeXBase1
+     %     --------------  --------------  --------------
+     %     /notequal       173             0x16
+     %     /infinity       176             0x17
+     %     /lessequal      178             0x18
+     %     /greaterequal   179             0x19
+     %     /partialdiff    182             0x1A
+     %     /summation      183             0x1B
+     %     /product        184             0x1C
+     %     /pi             185             0x1D
+     %     /integral       186             0x81
+     %     /Omega          189             0x8D
+     %     /radical        195             0x8E
+     %     /approxequal    197             0x8F
+     %     /Delta          198             0x9D
+     %     /lozenge        215             0x9E
+     %
+     /TeXBase1Encoding [
+     % 0x00
+      /.notdef /dotaccent /fi /fl
+      /fraction /hungarumlaut /Lslash /lslash
+      /ogonek /ring /.notdef /breve
+      /minus /.notdef /Zcaron /zcaron
+     % 0x10
+      /caron /dotlessi /dotlessj /ff
+      /ffi /ffl /notequal /infinity
+      /lessequal /greaterequal /partialdiff /summation
+      /product /pi /grave /quotesingle
+     % 0x20
+      /space /exclam /quotedbl /numbersign
+      /dollar /percent /ampersand /quoteright
+      /parenleft /parenright /asterisk /plus
+      /comma /hyphen /period /slash
+     % 0x30
+      /zero /one /two /three
+      /four /five /six /seven
+      /eight /nine /colon /semicolon
+      /less /equal /greater /question
+     % 0x40
+      /at /A /B /C
+      /D /E /F /G
+      /H /I /J /K
+      /L /M /N /O
+     % 0x50
+      /P /Q /R /S
+      /T /U /V /W
+      /X /Y /Z /bracketleft
+      /backslash /bracketright /asciicircum /underscore
+     % 0x60
+      /quoteleft /a /b /c
+      /d /e /f /g
+      /h /i /j /k
+      /l /m /n /o
+     % 0x70
+      /p /q /r /s
+      /t /u /v /w
+      /x /y /z /braceleft
+      /bar /braceright /asciitilde /.notdef
+     % 0x80
+      /Euro /integral /quotesinglbase /florin
+      /quotedblbase /ellipsis /dagger /daggerdbl
+      /circumflex /perthousand /Scaron /guilsinglleft
+      /OE /Omega /radical /approxequal
+     % 0x90
+      /.notdef /.notdef /.notdef /quotedblleft
+      /quotedblright /bullet /endash /emdash
+      /tilde /trademark /scaron /guilsinglright
+      /oe /Delta /lozenge /Ydieresis
+     % 0xA0
+      /.notdef /exclamdown /cent /sterling
+      /currency /yen /brokenbar /section
+      /dieresis /copyright /ordfeminine /guillemotleft
+      /logicalnot /hyphen /registered /macron
+     % 0xD0
+      /degree /plusminus /twosuperior /threesuperior
+      /acute /mu /paragraph /periodcentered
+      /cedilla /onesuperior /ordmasculine /guillemotright
+      /onequarter /onehalf /threequarters /questiondown
+     % 0xC0
+      /Agrave /Aacute /Acircumflex /Atilde
+      /Adieresis /Aring /AE /Ccedilla
+      /Egrave /Eacute /Ecircumflex /Edieresis
+      /Igrave /Iacute /Icircumflex /Idieresis
+     % 0xD0
+      /Eth /Ntilde /Ograve /Oacute
+      /Ocircumflex /Otilde /Odieresis /multiply
+      /Oslash /Ugrave /Uacute /Ucircumflex
+      /Udieresis /Yacute /Thorn /germandbls
+     % 0xE0
+      /agrave /aacute /acircumflex /atilde
+      /adieresis /aring /ae /ccedilla
+      /egrave /eacute /ecircumflex /edieresis
+      /igrave /iacute /icircumflex /idieresis
+     % 0xF0
+      /eth /ntilde /ograve /oacute
+      /ocircumflex /otilde /odieresis /divide
+      /oslash /ugrave /uacute /ucircumflex
+      /udieresis /yacute /thorn /ydieresis
+     ] def
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/ChangeLog b/Master/texmf-dist/doc/fontname/ChangeLog new file mode 100644 index 00000000000..adcf063edbe --- /dev/null +++ b/Master/texmf-dist/doc/fontname/ChangeLog @@ -0,0 +1,585 @@ +2005-10-25 Karl Berry + + * typeface.map (w9): Wastrel, for Michael Peters, + from typotheticals. + +2005-07-10 Karl Berry + + * special.map: Add cmbright. + +2005-07-03 Karl Berry + + * variant.map: remove 9n duplicate of 8y. + * *.map: add public domain statements to files lacking. + +2005-06-23 Karl Berry + + * special.map: remove antt* entries per Staszek. + +2005-06-22 Karl Berry + + * special.map: add bitmap font for traditional Chinese in Big 5. + From Werner Lemberg. + +2005-06-12 Karl Berry + + * most.enc: add headers, remove Texinfo @'s, use verbatiminclude. + Reported by Patrick Gundlach. + +2005-05-28 Karl Berry + + * 8r.enc: copy 8r.enc from ctan:macros/latex/required/psnfss + (only doc differences). + +2005-05-21 Karl Berry + + * Fixes to bitstrea.map and related entries in typeface.map, from + Clemens Ladisch, tex-fonts mail 20 May 2005 11:28:34 +0200. + +2005-04-01 Karl Berry + + * fontname.texi (Font legalities): Paul Renner, not Bauer, + and cut Lardent since he wasn't a punchcutter. From Steve Peter. + +2004-12-17 Karl Berry + + * typeface.map (ev): add MrsEaves, found in MAPS #29. + +2004-06-19 Karl Berry + + * fontname.texi (Encodings): mention character tables. + +2004-04-18 Karl Berry + + * adobe.map (StoneSans, StoneSans-Italic): corrected names. + (LegacySans*): use lz. + * typeface.map (lz): define for LegacySans. + From Paul Pichaureau. + +2004-04-02 Karl Berry + + * variant.map (9u): Unicode. From report by Adam Lindsay. + +2004-04-01 Karl Berry + + * supplier.map (2): elsnerflake. + * adobe.map (AvantGarde-ExtraLight): correct to pagj. From ud. + +2004-03-31 Karl Berry + + * variant.map: 8e: Adobe CE, from Ulrich Dirr. + +2004-01-06 Karl Berry + + * asex.enc: remove erroneous second encoding from file, making it + match the dvips version. Found by te. + +2003-03-24 Karl Berry + + * adobe.map (ppur8a,zpcp30bc): corrections from Norbert. + +2003-03-10 Karl Berry + + * fontname.texi: include texnansi.enc, texnansx.enc, and mention + that tex256.enc is another name for `cork'. + +2002-11-05 Karl Berry + + * 8r.enc: include MacRoman characters, from Philipp Lehman + . + +2001-06-26 Karl Berry + + * supplier.map: reassign S to Storm Type (stormtype.com); there + are no Sun fonts, really, and even if there were, collisions would + be unlikely. From: Petr Olsak . + +1999-01-03 Karl Berry + + * supplier.map: @& is a mistake, should just be &. + +Mon Jan 5 15:33:24 1998 Karl Berry + + * special.map: Include feta. + +Tue Feb 4 13:09:57 1997 Karl Berry + + * special.map: Include ec/jknappen/ec. + +Mon Aug 5 16:47:15 1996 Karl Berry + + * texfonts.map: No softkey.map any more. + +Fri Jul 5 14:35:54 1996 Karl Berry + + * Version 2.1. + +Thu Jul 4 15:19:14 1996 Karl Berry + + * variant.map (9s): Define as SF for SuperFont. + (n): Add Schlbk as another meaning. + * typeface.map (yg): Define as CenturyGothic. + * monotype.map: Add entries for Arial and Times SF's, + CenturyGothic fonts, Bembo/GS/Plantin Schoolbook, etc. + From: alanje@cogs.susx.ac.uk (Alan Jeffrey). + + * supplier.map (f): Let's generalize this to `small' foundries, + instead of copying terms. Suggested by Pierre. + + * variant.map (82): Define as GreekKeys. + From: mackay@cs.washington.edu (Pierre MacKay) + + * typeface.map (an): Define as Anna. + From: wls@astro.umd.edu (William L. Sebok) + +Fri Jun 21 14:43:04 1996 Karl Berry + + * variant.map (h): Oops, need shadow after all. + * typeface.map, monotype.map: Many new definitions per Alan's list. + +Thu Jun 20 16:12:54 1996 Karl Berry + + * variant.map (g): Define as SmallText, as this is different than + SmallCaps. (Alan actually looked at a font.) + + * monotype.map (LatinMT-Condensed): Use l0, not li. + Add the pi fonts as listed by Alan. + + * typeface.map (li): Remove redundant definition of Latin, let's + stick with l0. + (ou): Columbus. + (f1): Fournier. + +Sun Jun 16 16:55:09 1996 Karl Berry + + * monotype.map (mg2rw): Giddyup. + (mpi300): Giddyup-Thangs. + (mpi301): Petrucchio. + (meb*): BaskervilleBe*. + * typeface.map (g2): Giddyup. + (eb): BaskervilleBE. + From: wls@astro.umd.edu. + + * variant.map (6): Define as Cyrillic extension character. + 6[bdikmw]: Define for Cyrillic needs. + * supplier.map (t): Define as ParaGraph, a maker of Cyrillic fonts. + From: "Andrey F. Slepuhin" . + +Fri May 17 13:49:23 1996 Karl Berry + + * typeface.map: Add entries for Boton, Boulevard, PopplLaudatio. + * monotype.map: Ditto, for the actual fonts. + From: wls@astro.umd.edu. + +Tue Apr 23 17:57:14 1996 Karl Berry + + * ad.enc: New file, from lesenko@mx.ihep.su (Sergey Lesenko), as + the default base vector for partial T1 downloading. + +Thu Mar 21 10:31:00 1996 Karl Berry + + * typeface.map (ol): Define to be Colmcille. + From: Bernard Treves Brown . + +Sun Mar 3 10:48:01 1996 Karl Berry + + * variant.map (9o, 9d): Define to Cork/TeX text with oldstyle + digits and expert. + (j): Define this to be `oldstyle digits' in general. + + * typeface.map (pc): Define to be Poetica. + (s9): Remove. Scriptoria is a clone. + From Thierry. + + * special.map: Changes from Ulrik: + a) Knuth's local cm variants (must be listed by name exactly) + b) gftodvi utility fonts (black,gray,slant) + c) Computer concrete math fonts (concmath) + d) A fix for the pandora entry from Thomas Esser that was + already in my previous copy of special.map (from teTeX). + + * dtc.map, linotype.map, apple.map: Use the 8r names, as we do + with Adobe, Monotype, etc. + + * urw.map: New file. + * texfonts.map: Include it. + * typeface.map: Add aliases for URW. + +Mon Oct 16 15:23:12 1995 Karl Berry + + * variant.map (7k): Assign this to OT2Cyrillic for Sebastian. + +Sat Oct 7 17:10:36 1995 Karl Berry + + * special.map: Add sauter, fc, tc, and bashkirian. + * supplier.map (jknappen): Add this. + +Fri Sep 29 11:12:28 1995 Karl Berry + + * variant.map (8c, 9c): For Jorg's new TS1 fonts. + +Fri Sep 22 16:11:26 1995 Karl Berry + + * adobe.map: 8a should be 7a in most places. + + * *.map: Use 8r for the sake of aliases. + +Sat Aug 12 11:43:33 1995 Karl Berry + + * Version 2.0. + * variant.map (8u, 8z): Add these for Sojka. + * xl2.enc, xt2.enc: New files. + +Thu Aug 3 13:38:41 1995 Karl Berry + + * supplier.map: k = Softkey. + * typeface.map. s9 = Scriptor, g9 = GaramondRetrospective. + * softkey.map: New file. + * special.map: New cases for MusicTeX, etc. + From Thierry. + +Fri May 5 11:33:25 1995 Karl Berry + + * bitstrea.aka: New file from bitti@cs.tut.fi, from + mark@sdd.hp.com and pastor@vfl.paramax.com. + + * bitstrea.map: bgyrf, not bgyf. + +Sun Apr 30 13:33:07 1995 Karl Berry + + * monotype.map: Avoid duplicates. + * bitstrea.map: Add missing i to btvb for ...Bold-Italic. + + * special.map (stmary): Add this, from da@dcs.ed.ac.uk. + +Tue Apr 25 10:16:34 1995 Karl Berry + + * bitstrea.map: Freeform721 is Auriol, says bitti@cs.tut.fi. + +Thu Apr 20 15:19:07 1995 Karl Berry + + * bitstrea.map: Modern735 is Bodoni Campanile. + * typeface.map (bp): Use it. + + * Amasis should be a2, exchange with Alternate Gothic (now a4). + + * typeface.map: Arial gets its own code (a1) after all, since Monotype + also distributes Helvetica now. Move Adsans to a9. + * monotype.map: Likewise. + * fontname.texi: Don't mention Arial as the prototypical alias. + + * variant.map: Use 9e and 9t, per Sebastian's likings. + +Sun Apr 16 19:12:58 1995 Karl Berry + + From Jorg Knappen: + * variant.map (81, 82, 85): Remove these ISO encodings, as there's + no fonts using them at the moment. + (5): Make this an escape for phonetic encodings. + (1, 6): Remove these and give `Rotis Semi' a typeface abbreviation. + +Sat Apr 15 19:19:27 1995 Karl Berry + + * fontname.texi: Reorganization and rewrite. + (Variants): Define 9c and 9t. + +Sun Apr 9 16:29:04 1995 Karl Berry + + * bitstrea.map: Assign the rest, except for the obvious Bitstream + names Freeform 721 and Modern 735, for which I'm waiting + to hear what they really are. (I can't find them in any of font + catalogs, unfortunately.) + + * monotype.more: The giant file from Nelson with 2000+ fonts. + Can't face it now. + +Fri Apr 7 16:48:25 1995 Karl Berry + + * bitstrea.map: Use hr for Swiss721BT-BlackRounded, not hv. + Orator*: Include weight codes. + * adobe.map: Use ns for TimesNewRomanPS, not nt, for consistency + with Monotype. + + * variant.map: Change 3 (fraction) to 7f. + * adobe.map, monotype.map: Likewise. + +Tue Apr 4 11:44:49 1995 Karl Berry + + * supplier.map: Add o for Corel, from Andreas Schell. + +Mon Apr 3 14:16:58 1995 Karl Berry + + * Various clarifications from Damian. + +Sun Apr 2 14:47:13 1995 Karl Berry + + * variant.map: Abandon g for now. + Mark k and z obsolete. + + * monotype.map: Add pi fonts from Pierre. + + * btstream.map: Rename to bitstream.map, for meaningless + compatibility with supplier.map. + + * width.map: Abandon by-hand vs. automatic distinction. + * fontname.texi (Widths): Document the reality.'' + +Tue Mar 28 13:02:00 1995 Karl Berry + + * typeface.map: cb => Cooper, not CooperBlack. + * adobe.map: Corresponding changes. + +Mon Mar 27 19:49:47 1995 Karl Berry + + * typeface.map: Use FontName's instead of pseudo-English, and add + different FontName's from other foundries that use the same + abbreviation. + + * These fixes from Damian: + * Missing weights, variants, and other typos in various places. + * Use w for swash in Fairfield and Centaur, not y. + * Use m for medium in AmericanTypewriter-Medium*. + * OldEnglish is blackletter in EngraversOldEnglish. + * Thin mistaken for a width in Glypha, HelveticaNeue, VAGRounded. + Also h sometimes used for thin instead of a. + * Gothic means sans in ClearfaceGothic, AvantGardeGothic, + TypewriterGothic. Have to use s for Clearface, since regular + Clearface is a serif font. + + * Change alt fonts from a to 8c, + dfr fonts from 2 to 7c, + osf fonts from 9 to 7d, + expert fonts from x to 8x + + * {monotype,adobe,linotype,dtc}.map: Rename from *.txt. + +Sun Mar 26 16:44:06 1995 Karl Berry + + * @include the *.map files, new text explaining the changes, etc., etc. + +Sat Jul 2 17:17:10 1994 Karl Berry (karl@cs.umb.edu) + + * adobe.txt (Frutiger-LightItalic): Correction from klaus@tdr.dk. + +Wed Mar 30 15:01:12 1994 Karl Berry (karl@cs.umb.edu) + + * Version 1.6. + +Thu Mar 24 08:19:35 1994 Karl Berry (karl@cs.umb.edu) + + * Typefaces: m0 for monospace. + +Wed Mar 16 12:02:34 1994 Karl Berry (karl@cs.umb.edu) + + * Variant: 8 for escape, then ISO Latin [125], Windows ANSI, and + Mac standard. + +Thu Feb 17 11:00:24 1994 Karl Berry (karl@cs.umb.edu) + + * Typeface families: mg for Marigold. + +Sun Jun 6 11:28:15 1993 Karl Berry (karl@cs.umb.edu) + + * Typefaces: wi for Wingdings. + + * Aliases: Omega == Optima. + +Thu Jun 3 14:53:05 1993 Karl Berry (karl@cs.umb.edu) + + * Makefile (info, dvi): Do here as with others. + * Don't need to set @paragraphindent here any more. + +Sat May 22 11:23:53 1993 Karl Berry (karl@cs.umb.edu) + + * Version 1.5. + + * Makefile (dist): Run gzip -9. + +Thu May 20 11:02:59 1993 Karl Berry (karl@cs.umb.edu) + + * Sources: u for URW, not user. + * Typefaces: aq for Antiqua, nm for Nimbus. + +Tue May 18 10:59:16 1993 Karl Berry (karl@cs.umb.edu) + + * Typefaces: Change Plantin to pn from pi. + * adobe.txt: Likewise. + +Tue May 4 10:06:55 1993 Karl Berry (karl@cs.umb.edu) + + * adobe.txt (ppiro, ppirc): Rename from ppn*. + +Fri Apr 30 14:16:40 1993 Karl Berry (karl@cs.umb.edu) + + * Various doc fixes from Nelson. + +Fri Apr 9 15:42:39 1993 Karl Berry (karl@cs.umb.edu) + + * Version 1.4. + + * fnget.c: Don't bother to include fnget.h. + * fnget.h: Don't declare the routine as a prototype unless we are + __STDC__. + + * (Variants): `6' for semi serif. + + * (Typefaces): `dl' for Dolores. + +Tue Apr 6 16:50:40 1993 Karl Berry (karl@cs.umb.edu) + + * (Typefaces): `eo' for Amerigo, `va' for Activa. + + * (Sources): `d' for DTC, from Pierre. + * dtc.txt: New file. + +Tue Feb 23 16:47:23 1993 Karl Berry (karl@cs.umb.edu) + + * (Top): Add version number. + + * Version 1.3 (a few days ago, actually). + +Sun Feb 7 14:13:49 1993 Karl Berry (karl@cs.umb.edu) + + * (Typefaces): Many new families. + (Variants): `5' for phonetic. + * monotype.txt, linotype.txt: New families. + +Mon Dec 14 17:46:51 1992 Karl Berry (karl@cs.umb.edu) + + * (Sources): `9' for unknown. + +Mon Nov 30 17:11:53 1992 Karl Berry (karl@cs.umb.edu) + + * (Sources): `y' for Y&Y. + +Thu Oct 29 07:54:52 1992 Karl Berry (karl@cs.umb.edu) + + * (The naming scheme): Rename to `Naming scheme'. Also, had W + twice in the schematic. + + * (Weight): Use demibold and semibold, for consistency with the + list below. + +Mon Oct 26 06:09:08 1992 Karl Berry (karl@cs.umb.edu) + + * (Variant): Make `q' be the Cork encoding. + +Tue Aug 18 19:30:14 1992 Karl Berry (karl@hayley) + + * fontname.texi: change to title to `Filenames for TeX fonts'. + +Wed Jul 15 14:38:54 1992 Karl Berry (karl@hayley) + + * Version 1.2. + +Sat Jul 11 11:51:37 1992 Karl Berry (karl@hayley) + + * adobe.txt: many changes and additions to reflect new Adobe + fonts. Why don't they just do the world a favor and go out of + business? + (Families, Foundries): corresponding changes. + +Mon Jun 15 18:03:15 1992 Karl Berry (karl@hayley) + + * Add variant `q' for GNU text complement. I guess. + +Thu Jun 4 19:46:54 1992 Karl Berry (karl@hayley) + + * Add family `ti' for TechPhonetic, a freely distributable font of + IPA phonetic symbols designed at MIT by Rob Kassel. + +Sun May 24 14:57:57 1992 Karl Berry (karl@hayley) + + * Add recommended `dir' line (as a comment). + +Wed Apr 29 07:56:32 1992 Karl Berry (karl@hayley) + + * Change ``foundry'' to ``source'', as Damian (implicitly) suggests. + + * (Long names): toss the script. + + * Fix @item syntax, so it runs through Makeinfo. + +Sun Apr 26 07:36:48 1992 Karl Berry (karl@hayley) + + * remove @TeX{} from node title, sigh. + +Sun Apr 19 10:41:55 1992 Karl Berry (karl@hayley) + + * (Typeface families): `mv' is Malvern. + +Mon Apr 6 15:05:44 1992 Karl Berry (karl@hayley) + + * fontname.texi (Variant): `9' means oldstyle figures. + * adobe.txt: can now define the various OsF's. + + * fontname.texi: alphabetization etc. updates from jmr. + +Tue Mar 31 09:47:37 1992 Karl Berry (karl at hayley) + + * Version 1.1. + + * Update for new Adobe fonts. + +Fri Jan 3 12:20:59 1992 Karl Berry (karl at hayley) + + * (Variant): `0' means the Adobe standard encoding now. Ugh. + +Thu Oct 24 07:03:18 1991 Karl Berry (karl at hayley) + + * (Typeface families): assign `gg' to Garth Graphic, and `sh' to + Shannon. + +Sun Aug 18 09:36:06 1991 Karl Berry (karl at hayley) + + * (Foundries): assign `x' to the AMS. + +Tue Aug 13 06:48:09 1991 Karl Berry (karl at hayley) + + * Change `Expansion' to `width' throughout. + +Sat Jul 20 06:35:27 1991 Karl Berry (karl at hayley) + + * (Local variables): remove this, since now it's standard (as of + texinfo 2.07). + +Thu Jul 18 07:51:26 1991 Karl Berry (karl at hayley) + + * (Foundries): assign `n' to IBM. + +Sun Jul 7 08:50:27 1991 Karl Berry (karl at hayley) + + * (Typeface families): assign `ul' to Universal. + * adobe.txt: now we can Universal-GreekwithMathPi, and some of + Universal-NewswithCommPi. + (from J.L.Braams@pttrnl.nl) + +Thu Jun 27 08:49:53 1991 Karl Berry (karl at hayley) + + * (Foundries): point out that the vendor is not necessarily the + source (from rivlinj@watson.ibm.com). + +Fri Jun 14 13:49:32 1991 Karl Berry (karl at hayley) + + * *.txt: put our filename first, before the fontname. (from + rocky@watson.ibm.com) + + * Change %-comments to @c comments, even though they're at the top + of the file. (from simon@liasun6.epfl.ch) + +Sun Jun 9 08:51:14 1991 Karl Berry (karl at hayley) + + * (Foundries): remove reference to mims-iris, since that font + archive is disappearing. + + * These changes from johnm@afsc-bmo.af.mil: + + * (Foundries): remove spurious \strut from `r'. + + * (Univers): explain that there's no foundry letter. + + * (Foundries): correct `p' to `f' for public domain fonts. + +Fri Jun 7 17:47:36 1991 Karl Berry (karl at hayley) + + * (Variant): Add `z' as the variant for Cyrillic. diff --git a/Master/texmf-dist/doc/fontname/DTC-fonts.html b/Master/texmf-dist/doc/fontname/DTC-fonts.html new file mode 100644 index 00000000000..b40de9eced0 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/DTC-fonts.html @@ -0,0 +1,57 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: DTC fonts, +Next: , +Previous: Bitstream fonts, +Up: Font name lists +



+
+ +

DTC fonts

+ +

The dtc.map file has abbreviations for DTC (Digital Typeface +Corporation) fonts. + +

+
+     dhvc8rc  SansBlackCondensed-DTC
+     dhvco8rc SansBlackCondensed-Oblique-DTC
+     dhvm8rx  SansExtended-Medium-DTC
+     dhvr8rx  SansExtended-Regular-DTC
+     dhvro8rc SansExtended-RegularOblique-DTC
+     dhvx8rc  SansExtraBlackCondensed-DTC
+     dhvl8rx  SansLightExtended-DTC
+     dhvh8rc  SansThinCondensed-DTC
+     dhvho8rc SansThinCondensed-Oblique-DTC
+     dnbb8r   NewBaskerville-Bold-DTC
+     dnbbi8r  NewBaskerville-BoldItalic-DTC
+     dnbri8r  NewBaskerville-RomanItalic-DTC
+     dnbr8r   NewBaskerville-Roman-DTC
+     dopr8r   Optimum-Roman-DTC
+     dopb8r   Optimum-Bold-DTC
+     dopbo8r  Optimum-BoldItalic-DTC
+     doro8r   Optimum-RomanItalic-DTC
+     dpll8r   Palton-Light-DTC
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/Encodings.html b/Master/texmf-dist/doc/fontname/Encodings.html new file mode 100644 index 00000000000..788e3fff36c --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Encodings.html @@ -0,0 +1,58 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Encodings, +Next: , +Previous: Font name lists, +Up: Top +



+
+ +

Encodings

+ +

The following sections define various encodings as PostScript encoding +vectors. These files can be installed in the Dvips header directory and +then used in psfonts.map to change font encodings of downloadable +or builtin fonts (see psfonts.map). + +

You can also specify these .enc files to Afm2tfm when building a +font (see Changing font encodings). + +

For a discussion of TeX font encodings in general, and defining new +ones for use with fontinst in particular, see +http://www.ctan.org/fonts/utilities/fontinst/doc/encspecs. + +

+ + + diff --git a/Master/texmf-dist/doc/fontname/Font-name-lists.html b/Master/texmf-dist/doc/fontname/Font-name-lists.html new file mode 100644 index 00000000000..4c0bd534663 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Font-name-lists.html @@ -0,0 +1,47 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Font name lists, +Next: , +Previous: Long names, +Up: Top +



+
+ +

Font name lists

+ +

These sections contain a list of fonts from various suppliers together +with the corresponding names. + +

+ + + diff --git a/Master/texmf-dist/doc/fontname/History.html b/Master/texmf-dist/doc/fontname/History.html new file mode 100644 index 00000000000..9d1dc1de3ce --- /dev/null +++ b/Master/texmf-dist/doc/fontname/History.html @@ -0,0 +1,62 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: History, +Next: , +Up: Introduction +



+
+ +

History

+ +

The original inspiration for Fontname was Frank Mittelbach and Rainer +Schoepf's article in TUGboat 11(2) (June 1990), which led to my +article in TUGboat 11(4) (November 1990), pages 512-519. +Mittelbach wrote another article criticizing the scheme below in +TUGboat 13(1) (April 1992), pages 51-53; most of his points are +well-taken, but I saw no alternative then, and see no alternative now. +Others of his points are addressed in the appropriate sections below. + +

In August 1995, Fontname version 2 was released, concomitantly with a new +release of the PostScript fonts for use with LaTeX and Dvips. After +several years of experience, several modifications of the original +distribution seemed desirable: more precise specification of encodings +(see Variants); machine-readable mapping files (the *.map +files in the distribution) and standardizing directory names as well as +font filenames (included in supplier.map and +typeface.map). + +

In Fontname version 1, some encoding variant characters (0, +2, etc.) have been reassigned to a 7 or 8 sequence +(see Variants). Although this is an incompatible change, the +advantages of (1) consistency in naming encoding variants, and (2) +having some free variants makes it worthwhile. Also, not so +coincidentally, new metrics for PostScript fonts in the Cork encoding +were issued--same encoding, different metrics. So a new name served a +practical purpose as well. + +

Many people have contributed to this work. In particular, I gratefully +acknowledge Nelson Beebe, Barbara Beeton, Rocky Bernstein, Thierry Bouche, +Damian Cugley, Berthold K.P. Horn, Alan Jeffrey, Russell Lang, Pierre +MacKay, Sebastian Rahtz, Jean Rivlin, and Tom Rokicki. + + + diff --git a/Master/texmf-dist/doc/fontname/ITC-fonts.html b/Master/texmf-dist/doc/fontname/ITC-fonts.html new file mode 100644 index 00000000000..978cfdfba95 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/ITC-fonts.html @@ -0,0 +1,812 @@ + + +Filenames for TeX fonts + + + + + + + + +

+

+Node: ITC fonts, +Next: , +Previous: DTC fonts, +Up: Font name lists +



+
+ +

ITC fonts

+ +

The itc.map file has abbreviations for ITC (International +Typeface Corporation) fonts. + +

+
+     i_____    Aachen-Medium                     ITC 2000
+     i_____    Aachen-Bold                       ITC 2001
+     i_____    Academy-Engraved                  ITC 2002
+     i_____    Aftershock                        ITC 2003
+     i_____    Agincourt                         ITC 2004
+     i_____    Airstream                         ITC 2005
+     i_____    Algerian-Condensed                ITC 2006
+     i_____    Ambrose                           ITC 2007
+     i_____    Angryhog                          ITC 2008
+     i_____    Anna                              ITC 2009
+     i_____    Aquinas                           ITC 2010
+     i_____    Aquitaine-Initials                ITC 2011
+     i_____    Aristocrat                        ITC 2012
+     i_____    Arnova                            ITC 2013
+     i_____    Arriba                            ITC 2014
+     i_____    Arriba-Arriba                     ITC 2015
+     i_____    Artiste                           ITC 2016
+     i_____    Atmosphere                        ITC 2017
+     i_____    AugusteaOpen                      ITC 2018
+     i_____    Avenida                           ITC 2019
+     i_____    BaileyQuad-Bold                   ITC 2020
+     i_____    Balmoral                          ITC 2021
+     i_____    Banco-Light                       ITC 2022
+     i_____    Banco                             ITC 2023
+     i_____    Bang                              ITC 2024
+     i_____    Banner                            ITC 2025
+     i_____    BeckaScript                       ITC 2026
+     i_____    Beesknees                         ITC 2027
+     i_____    Belter                            ITC 2028
+     i_____    Belter-MegaOutline                ITC 2029
+     i_____    Belwe-Mono                        ITC 2030
+     i_____    Belwe-MonoItalic                  ITC 2031
+     i_____    Bendigo                           ITC 2032
+     i_____    Bergell                           ITC 2033
+     i_____    Bertie                            ITC 2034
+     i_____    Bertram                           ITC 2035
+     i_____    BibleScriptFlourishes             ITC 2036
+     i_____    BickleyScript                     ITC 2037
+     i_____    Binary-Light                      ITC 2038
+     i_____    Binary-Bold                       ITC 2039
+     i_____    Bitmax                            ITC 2040
+     i_____    BlackTulip                        ITC 2041
+     i_____    Blackadder                        ITC 2042
+     i_____    Blackmoor                         ITC 2043
+     i_____    Blaze                             ITC 2044
+     i_____    Bluntz                            ITC 2045
+     i_____    Bodoni-Brush                      ITC 2046
+     i_____    BodoniSeventyTwo-Book             ITC 2047
+     i_____    BodoniSeventyTwo-BookItalic       ITC 2048
+     i_____    BodoniSeventyTwo-BookItalicSwash  ITC 2049
+     i_____    BodoniSeventyTwo-Bold             ITC 2050
+     i_____    BodoniSeventyTwo-BoldItalic       ITC 2051
+     i_____    BodoniSeventyTwo-BoldItalicSwash  ITC 2052
+     i_____    Boink                             ITC 2053
+     i_____    Bordeaux-Roman                    ITC 2054
+     i_____    Bordeaux-Italic                   ITC 2055
+     i_____    Bordeaux-RomanBold                ITC 2056
+     i_____    Bordeaux-Display                  ITC 2057
+     i_____    Bordeaux-Script                   ITC 2058
+     i_____    BradleyHand-Regular               ITC 2059
+     i_____    BradleyHand-Bold                  ITC 2060
+     i_____    Braganza-Light                    ITC 2061
+     i_____    Braganza-Regular                  ITC 2062
+     i_____    Brighton-Light                    ITC 2063
+     i_____    Brighton-Medium                   ITC 2064
+     i_____    Brighton-Bold                     ITC 2065
+     i_____    Bronx                             ITC 2066
+     i_____    Buckeroo                          ITC 2067
+     i_____    Burlington                        ITC 2068
+     i_____    BuzzerThree                       ITC 2069
+     i_____    Cabaret                           ITC 2070
+     i_____    CabargaCursiva                    ITC 2071
+     i_____    Campaign                          ITC 2072
+     i_____    CancellarescaScript               ITC 2073
+     i_____    Cancione                          ITC 2074
+     i_____    Caribbean                         ITC 2075
+     i_____    Carlton                           ITC 2076
+     i_____    Carumba                           ITC 2077
+     i_____    Caslon540-ItalicSwashes           ITC 2078
+     i_____    CaxtonRoman-Light                 ITC 2079
+     i_____    CaxtonRoman-LightItalic           ITC 2080
+     i_____    CaxtonRoman-Book                  ITC 2081
+     i_____    CaxtonRoman-Bold                  ITC 2082
+     i_____    CenturyHandtooled-Bold            ITC 2083
+     i_____    CenturyHandtooled-BoldItalic      ITC 2084
+     i_____    Challenge-Bold                    ITC 2085
+     i_____    Challenge-ExtraBold               ITC 2086
+     i_____    Champers                          ITC 2087
+     i_____    CheltenhamHandtooled-Bold         ITC 2088
+     i_____    CheltenhamHandtooled-BoldItalic   ITC 2089
+     i_____    Cherie                            ITC 2090
+     i_____    Chiller                           ITC 2091
+     i_____    Chipper                           ITC 2092
+     i_____    ChocLightbyITC                    ITC 2093
+     i_____    Choc                              ITC 2094
+     i_____    ChromiumOne                       ITC 2095
+     i_____    Citation                          ITC 2096
+     i_____    ClaudeSans-Regular                ITC 2097
+     i_____    ClaudeSans-Italic                 ITC 2098
+     i_____    ClaudeSans-BoldItalic             ITC 2099
+     i_____    Clover                            ITC 2100
+     i_____    CommericalScript                  ITC 2101
+     i_____    Compacta                          ITC 2102
+     i_____    Compacta-Italic                   ITC 2103
+     i_____    Compacta-Bold                     ITC 2104
+     i_____    Coptek                            ITC 2105
+     i_____    Corinthian-Light                  ITC 2106
+     i_____    Corinthian-Medium                 ITC 2107
+     i_____    Corinthian-Bold                   ITC 2108
+     i_____    Corinthian-BoldCondensed          ITC 2109
+     i_____    Crillee-Italic                    ITC 2110
+     i_____    Crillee-BoldItalic                ITC 2111
+     i_____    Crillee-ExtraBoldItalic           ITC 2112
+     i_____    Crillee-ItalicInlineShadow        ITC 2113
+     i_____    Cult                              ITC 2114
+     i_____    Cyberkugel                        ITC 2115
+     i_____    Dancin                            ITC 2116
+     i_____    Data70                            ITC 2117
+     i_____    Demian                            ITC 2118
+     i_____    DemianBold                        ITC 2119
+     i_____    DigitalWoodcuts                   ITC 2120
+     i_____    Digitek                           ITC 2121
+     i_____    Dinitials                         ITC 2122
+     i_____    Dolmen                            ITC 2123
+     i_____    Drycut                            ITC 2124
+     i_____    DynamoShadow                      ITC 2125
+     i_____    Eastwood                          ITC 2126
+     i_____    Edwardian-Medium                  ITC 2127
+     i_____    EdwardianScript-Regular           ITC 2128
+     i_____    EdwardianScript-Bold              ITC 2129
+     i_____    Ellipse-Roman                     ITC 2130
+     i_____    Ellipse-Italic                    ITC 2131
+     i_____    Ellipse-Bold                      ITC 2132
+     i_____    Ellipse-BoldItalic                ITC 2133
+     i_____    Emphasis                          ITC 2134
+     i_____    Enviro                            ITC 2135
+     i_____    Epokha                            ITC 2136
+     i_____    Equinox                           ITC 2137
+     i_____    Etruscan                          ITC 2138
+     i_____    FaithfulFly                       ITC 2139
+     i_____    Farmhaus                          ITC 2140
+     i_____    Fashion-Compressed                ITC 2141
+     i_____    Fashion-Engraved                  ITC 2142
+     i_____    FineHand                          ITC 2143
+     i_____    Flamenco-Inline                   ITC 2144
+     i_____    Flamme                            ITC 2145
+     i_____    Flatiron                          ITC 2146
+     i_____    Flight                            ITC 2147
+     i_____    Fling                             ITC 2148
+     i_____    Florinda                          ITC 2149
+     i_____    Follies                           ITC 2150
+     i_____    Fontoon                           ITC 2151
+     i_____    ForestShaded                      ITC 2152
+     i_____    FrancesUncial                     ITC 2153
+     i_____    Frankfurter-Medium                ITC 2154
+     i_____    Frankfurter                       ITC 2155
+     i_____    Frankfurter-Highlight             ITC 2156
+     i_____    Frankfurter-Inline                ITC 2157
+     i_____    Freddo                            ITC 2158
+     i_____    FreestyleScript                   ITC 2159
+     i_____    FreestyleScript-Bold              ITC 2160
+     i_____    GaramondHandtooled                ITC 2161
+     i_____    GaramondHandtooled-Italic         ITC 2162
+     i_____    Gigi                              ITC 2163
+     i_____    Gill-DisplayCompressed            ITC 2164
+     i_____    Gill-KayoCondensed                ITC 2165
+     i_____    GilliesGothic-ExtraBoldShaded     ITC 2166
+     i_____    Glastonbury                       ITC 2167
+     i_____    GoldenCockerel-InitialsOrnaments  ITC 2168
+     i_____    Grapefruit                        ITC 2169
+     i_____    Gravura                           ITC 2170
+     i_____    Green                             ITC 2171
+     i_____    GreytonScript                     ITC 2172
+     i_____    GrimshawHand                      ITC 2173
+     i_____    Hadfield                          ITC 2174
+     i_____    HandDrawn                         ITC 2175
+     i_____    Harlow                            ITC 2176
+     i_____    HarlowSolid                       ITC 2177
+     i_____    Harvey                            ITC 2178
+     i_____    Hazel                             ITC 2179
+     i_____    Heliotype                         ITC 2180
+     i_____    Helvetica-MediumCondensed         ITC 2181
+     i_____    Helvetica-BoldCondensed           ITC 2182
+     i_____    Highlight                         ITC 2183
+     i_____    Hollyweird                        ITC 2184
+     i_____    Hornpype                          ITC 2185
+     i_____    Ignatius                          ITC 2186
+     i_____    Impakt                            ITC 2187
+     i_____    IndyItalic                        ITC 2188
+     i_____    Informal-Roman                    ITC 2189
+     i_____    Inscription                       ITC 2190
+     i_____    Iris                              ITC 2191
+     i_____    Ironwork                          ITC 2192
+     i_____    Isis                              ITC 2193
+     i_____    Jaft                              ITC 2194
+     i_____    Jambalaya                         ITC 2195
+     i_____    Jazz                              ITC 2196
+     i_____    Jellybaby                         ITC 2197
+     i_____    JohnHandy                         ITC 2198
+     i_____    Jokerman                          ITC 2199
+     i_____    Juanita                           ITC 2200
+     i_____    Juanita-Condensed                 ITC 2201
+     i_____    Juanita-Deco                      ITC 2202
+     i_____    Juanita-Lino                      ITC 2203
+     i_____    Juanita-Xilo                      ITC 2204
+     i_____    Juanita-XiloCondensed             ITC 2205
+     i_____    Juice                             ITC 2206
+     i_____    Kanban                            ITC 2207
+     i_____    Katfish                           ITC 2208
+     i_____    Kendo                             ITC 2209
+     i_____    Kick                              ITC 2210
+     i_____    Klee                              ITC 2211
+     i_____    Klepto                            ITC 2212
+     i_____    Kokoa                             ITC 2213
+     i_____    Kristen                           ITC 2214
+     i_____    Kulukundis                        ITC 2215
+     i_____    LaBamba                           ITC 2216
+     i_____    Lambada                           ITC 2217
+     i_____    Laser                             ITC 2218
+     i_____    LaserChrome                       ITC 2219
+     i_____    Latino-Elongated                  ITC 2220
+     i_____    Laura                             ITC 2221
+     i_____    LCD                               ITC 2222
+     i_____    LeGriffe                          ITC 2223
+     i_____    Lennox-Book                       ITC 2224
+     i_____    Lennox-Medium                     ITC 2225
+     i_____    Lennox-Bold                       ITC 2226
+     i_____    Lexikos                           ITC 2227
+     i_____    Lightnin'                         ITC 2228
+     i_____    LimehouseScript                   ITC 2229
+     i_____    LinoCut                           ITC 2230
+     i_____    Locarno-Light                     ITC 2231
+     i_____    Locarno-Italic                    ITC 2232
+     i_____    RennieMackintosh-Light            ITC 2233
+     i_____    RennieMackintosh-Bold             ITC 2234
+     i_____    Malibu                            ITC 2235
+     i_____    Malstock                          ITC 2236
+     i_____    Marguerita                        ITC 2237
+     i_____    Mastercard                        ITC 2238
+     i_____    Matisse                           ITC 2239
+     i_____    Mekanik-Regular                   ITC 2240
+     i_____    Mekanik-Italic                    ITC 2241
+     i_____    Milano                            ITC 2242
+     i_____    Minska-Light                      ITC 2243
+     i_____    Minska-Medium                     ITC 2244
+     i_____    Minska-Bold                       ITC 2245
+     i_____    Mistral-Light                     ITC 2246
+     i_____    Mistral                           ITC 2247
+     i_____    Mithras                           ITC 2248
+     i_____    MoFunkyFresh                      ITC 2249
+     i_____    MonaLisa-Recut                    ITC 2250
+     i_____    MonaLisa-Solid                    ITC 2251
+     i_____    Montage                           ITC 2252
+     i_____    MotterCorpus-Bold                 ITC 2253
+     i_____    MotterCorpus-CondensedBold        ITC 2254
+     i_____    Musclehead                        ITC 2255
+     i_____    Musica                            ITC 2256
+     i_____    NeoNeo                            ITC 2257
+     i_____    NoovoLight                        ITC 2258
+     i_____    NoovoBold                         ITC 2259
+     i_____    Nora                              ITC 2260
+     i_____    Oberon                            ITC 2261
+     i_____    Odessa                            ITC 2262
+     i_____    OldEnglish                        ITC 2263
+     i_____    OneStrokeScript                   ITC 2264
+     i_____    OneStrokeScript-Bold              ITC 2265
+     i_____    OneStrokeScript-Shaded            ITC 2266
+     i_____    Orange                            ITC 2267
+     i_____    Orbon-Light                       ITC 2268
+     i_____    Orbon-Regular                     ITC 2269
+     i_____    Orbon-Bold                        ITC 2270
+     i_____    Orbon-Black                       ITC 2271
+     i_____    Orlando                           ITC 2272
+     i_____    Outback                           ITC 2273
+     i_____    OutoftheFridge                    ITC 2274
+     i_____    Ozwald                            ITC 2275
+     i_____    Pablo                             ITC 2276
+     i_____    Papyrus                           ITC 2277
+     i_____    Party                             ITC 2278
+     i_____    PendryScript                      ITC 2279
+     i_____    PetersMiro                        ITC 2280
+     i_____    Pink                              ITC 2281
+     i_____    Plaza                             ITC 2282
+     i_____    PleasureBoldShaded                ITC 2283
+     i_____    Pneuma                            ITC 2284
+     i_____    Prague                            ITC 2285
+     i_____    Premier-Lightline                 ITC 2286
+     i_____    Premier-Shaded                    ITC 2287
+     i_____    Princetown                        ITC 2288
+     i_____    Pristina                          ITC 2289
+     i_____    Pritchard                         ITC 2290
+     i_____    Pritchard-LineOut                 ITC 2291
+     i_____    Pump-Regular                      ITC 2292
+     i_____    Pump-DemiBold                     ITC 2293
+     i_____    Quadrus                           ITC 2294
+     i_____    Quixley                           ITC 2295
+     i_____    RageItalic                        ITC 2296
+     i_____    Ragtime                           ITC 2297
+     i_____    Rapier                            ITC 2298
+     i_____    Refracta                          ITC 2299
+     i_____    RegattaCondensed                  ITC 2300
+     i_____    RetailScript                      ITC 2301
+     i_____    Retro-Bold                        ITC 2302
+     i_____    Retro-BoldCondensed               ITC 2303
+     i_____    Riptide                           ITC 2304
+     i_____    Riva                              ITC 2305
+     i_____    Robotik                           ITC 2306
+     i_____    Robotik-Italic                    ITC 2307
+     i_____    Romic-Light                       ITC 2308
+     i_____    Romic-LightItalic                 ITC 2309
+     i_____    Roquette                          ITC 2310
+     i_____    Ru'ach                            ITC 2311
+     i_____    RubberStamp                       ITC 2312
+     i_____    Rundfunk                          ITC 2313
+     i_____    SantaFe                           ITC 2314
+     i_____    Savoye                            ITC 2315
+     i_____    Schizoid                          ITC 2316
+     i_____    Scratch                           ITC 2317
+     i_____    Scriba                            ITC 2318
+     i_____    Scriptease                        ITC 2319
+     i_____    Scriptek                          ITC 2320
+     i_____    Scriptek-Italic                   ITC 2321
+     i_____    Scruff                            ITC 2322
+     i_____    Serengetti                        ITC 2323
+     i_____    Shaman                            ITC 2324
+     i_____    Shatter                           ITC 2325
+     i_____    Sinaloa                           ITC 2326
+     i_____    SkidRow                           ITC 2327
+     i_____    Skylark                           ITC 2328
+     i_____    Slipstream                        ITC 2329
+     i_____    Smack                             ITC 2330
+     i_____    Smudger                           ITC 2331
+     i_____    Snap                              ITC 2332
+     i_____    Spirit                            ITC 2333
+     i_____    Spooky                            ITC 2334
+     i_____    Spotlight                         ITC 2335
+     i_____    Squire                            ITC 2336
+     i_____    Squire-ExtraBold                  ITC 2337
+     i_____    Static                            ITC 2338
+     i_____    Stranger                          ITC 2339
+     i_____    Strobos                           ITC 2340
+     i_____    StudioScript                      ITC 2341
+     i_____    Stylus-Regular                    ITC 2342
+     i_____    Stylus-Bold                       ITC 2343
+     i_____    Superstar                         ITC 2344
+     i_____    Surfboard                         ITC 2345
+     i_____    Synchro                           ITC 2346
+     i_____    Tag                               ITC 2347
+     i_____    Tannhauser                        ITC 2348
+     i_____    Teknik                            ITC 2349
+     i_____    Telegram                          ITC 2350
+     i_____    Temble                            ITC 2351
+     i_____    Tempus-Regular                    ITC 2352
+     i_____    Tempus-Italic                     ITC 2353
+     i_____    TempusSans-Regular                ITC 2354
+     i_____    TempusSans-Italic                 ITC 2355
+     i_____    TigerRag                          ITC 2356
+     i_____    TirantiSolid                      ITC 2357
+     i_____    Trackpad                          ITC 2358
+     i_____    TropicaScript                     ITC 2359
+     i_____    TrueGrit                          ITC 2360
+     i_____    Twang                             ITC 2361
+     i_____    Typados                           ITC 2362
+     i_____    Ulysses                           ITC 2363
+     i_____    UniversityRoman                   ITC 2364
+     i_____    UniversityRoman-Italic            ITC 2365
+     i_____    UniversityRoman-Bold              ITC 2366
+     i_____    VanDijk                           ITC 2367
+     i_____    VanDijkBold                       ITC 2368
+     i_____    Varga                             ITC 2369
+     i_____    Vegas                             ITC 2370
+     i_____    Verkehr                           ITC 2371
+     i_____    Vermont                           ITC 2372
+     i_____    Victorian                         ITC 2373
+     i_____    Victorian-InlineShaded            ITC 2374
+     i_____    ViennaExtended                    ITC 2375
+     i_____    VinerHand                         ITC 2376
+     i_____    Vintage                           ITC 2377
+     i_____    Vinyl-Black                       ITC 2378
+     i_____    Vinyl-Outline                     ITC 2379
+     i_____    Vinyl-SawtoothBlack               ITC 2380
+     i_____    Vinyl-SawtoothOutline             ITC 2381
+     i_____    Vivaldi                           ITC 2382
+     i_____    WadeSans-Light                    ITC 2383
+     i_____    Wanted                            ITC 2384
+     i_____    Waterloo-Bold                     ITC 2385
+     i_____    Westwood                          ITC 2386
+     i_____    WildThing                         ITC 2387
+     i_____    Willow                            ITC 2388
+     i_____    Wisteria                          ITC 2389
+     i_____    Xylo                              ITC 2390
+     i_____    YoungBaroque                      ITC 2391
+     i_____    Zaragoza                          ITC 2392
+     i_____    ZemkeHand                         ITC 2393
+     i_____    Zennor                            ITC 2394
+     i_____    Ziggy                             ITC 2395
+     i_____    Zinjaro                           ITC 2396
+     i_____    MotterSparta                      ITC 2397
+     i_____    Underscript                       ITC 2398
+     i_____    Stenberg                          ITC 2399
+     i_____    Stenberg-Inline                   ITC 2400
+     i_____    Arid                              ITC 2401
+     i_____    Tapioca                           ITC 2402
+     i_____    PiousHenry                        ITC 2403
+     i_____    Korigan-Light                     ITC 2404
+     i_____    Korigan-Bold                      ITC 2405
+     i_____    Abaton                            ITC 2406
+     i_____    Portago                           ITC 2407
+     i_____    Blair-Light                       ITC 2408
+     i_____    Blair-Medium                      ITC 2409
+     i_____    Blair-Bold                        ITC 2410
+     i_____    Scarborough                       ITC 2411
+     i_____    Scarborough-Bold                  ITC 2412
+     i_____    Gema                              ITC 2413
+     i_____    Roswell-Three                     ITC 2414
+     i_____    Roswell-Four                      ITC 2415
+     i_____    Simran                            ITC 2416
+     i_____    Tremor                            ITC 2417
+     i_____    Coconino                          ITC 2418
+     i_____    Stoclet-Light                     ITC 2419
+     i_____    Stoclet-Bold                      ITC 2420
+     i_____    JiggeryPokery                     ITC 2421
+     i_____    Deelirious                        ITC 2422
+     i_____    Flora-Medium                      ITC 2423
+     i_____    Flora-Bold                        ITC 2424
+     i_____    Manhattan                         ITC 2425
+     i_____    Attitudes                         ITC 4000
+     i_____    BackyardBeasties                  ITC 4001
+     i_____    CalligraphicOrnaments             ITC 4002
+     i_____    Celebrations                      ITC 4003
+     i_____    Commercials                       ITC 4004
+     i_____    Connectivities                    ITC 4005
+     i_____    DavesRaves-One                    ITC 4006
+     i_____    DavesRaves-Two                    ITC 4007
+     i_____    DavesRaves-Three                  ITC 4008
+     i_____    Delectables                       ITC 4009
+     i_____    Diversions                        ITC 4010
+     i_____    Diversities                       ITC 4011
+     i_____    Eclectics                         ITC 4012
+     i_____    Energetics                        ITC 4013
+     i_____    Expressions                       ITC 4014
+     i_____    Fontoonies                        ITC 4015
+     i_____    Gargoonies                        ITC 4016
+     i_____    HomeImprovement                   ITC 4017
+     i_____    Incidentals                       ITC 4018
+     i_____    Industrials                       ITC 4019
+     i_____    Inspirations                      ITC 4020
+     i_____    Journeys                          ITC 4021
+     i_____    MoFunkyFresh-Symbols              ITC 4022
+     i_____    Moderns                           ITC 4023
+     i_____    Naturals                          ITC 4024
+     i_____    Organics                          ITC 4025
+     i_____    Organics-Two                      ITC 4026
+     i_____    Primitives                        ITC 4027
+     i_____    Radicals                          ITC 4028
+     i_____    Situations                        ITC 4029
+     i_____    StainedGlass                      ITC 4030
+     i_____    TotSpots                          ITC 4031
+     i_____    Urbans                            ITC 4032
+     i_____    WellBeings                        ITC 4033
+     i_____    Wildlife                          ITC 4034
+     i_____    WildWest                          ITC 4035
+     i_____    Ancestor                          ITC 4036
+     i_____    Shadowettes                       ITC 4037
+     i_____    Beorama                           ITC 4038
+     i_____    Holistics                         ITC 4039
+     i_____    ProfessionalConnections           ITC 4040
+     i_____    Bodoni-Ornaments                  ITC 5000
+     i_____    RennieMackintosh-Ornaments        ITC 5002
+     i_____    TypeEmbellishments-One            ITC 5003
+     i_____    TypeEmbellishments-Two            ITC 5004
+     i_____    TypeEmbellishments-Three          ITC 5005
+     i_____    JapaneseGarden                    ITC 5006
+     i_____    SevenTreasures                    ITC 5007
+     i_____    BodoniSix-Book                    ITC 6000
+     i_____    BodoniSix-BookItalic              ITC 6001
+     i_____    BodoniSix-Bold                    ITC 6002
+     i_____    BodoniSix-BoldItalic              ITC 6003
+     i_____    BodoniTwelve-Book                 ITC 6004
+     i_____    BodoniTwelve-BookItalic           ITC 6005
+     i_____    BodoniTwelve-Bold                 ITC 6006
+     i_____    BodoniTwelve-BoldItalic           ITC 6007
+     i_____    Charlotte-Book                    ITC 6008
+     i_____    Charlotte-BookItalic              ITC 6009
+     i_____    Charlotte-Medium                  ITC 6010
+     i_____    Charlotte-Bold                    ITC 6011
+     i_____    Charter-Regular                   ITC 6012
+     i_____    Charter-RegularItalic             ITC 6013
+     i_____    Charter-Bold                      ITC 6014
+     i_____    Charter-BoldItalic                ITC 6015
+     i_____    Charter-Black                     ITC 6016
+     i_____    Charter-BlackItalic               ITC 6017
+     i_____    Elysium-Book                      ITC 6018
+     i_____    Elysium-BookItalic                ITC 6019
+     i_____    Elysium-Medium                    ITC 6020
+     i_____    Elysium-Bold                      ITC 6021
+     i_____    Figural-Book                      ITC 6022
+     i_____    Figural-BookItalic                ITC 6023
+     i_____    Figural-Medium                    ITC 6024
+     i_____    Figural-Bold                      ITC 6025
+     i_____    FrizQuadrata-Regular              ITC 6026
+     i_____    FrizQuadrata-Italic               ITC 6027
+     i_____    FrizQuadrata-Bold                 ITC 6028
+     i_____    FrizQuadrata-BoldItalic           ITC 6029
+     i_____    Gilgamesh-Book                    ITC 6030
+     i_____    Gilgamesh-BookItalic              ITC 6031
+     i_____    Gilgamesh-Medium                  ITC 6032
+     i_____    Gilgamesh-Bold                    ITC 6033
+     i_____    GoldenCockerel-Roman              ITC 6034
+     i_____    GoldenCockerel-Italic             ITC 6035
+     i_____    GoldenCockerel-Titling            ITC 6036
+     i_____    Humana-Light                      ITC 6037
+     i_____    Humana-LightItalic                ITC 6038
+     i_____    Humana-Medium                     ITC 6039
+     i_____    Humana-MediumItalic               ITC 6040
+     i_____    Humana-Bold                       ITC 6041
+     i_____    Humana-BoldItalic                 ITC 6042
+     i_____    HumanaScript-Light                ITC 6043
+     i_____    HumanaScript-Medium               ITC 6044
+     i_____    HumanaScript-Bold                 ITC 6045
+     i_____    Kallos-Book                       ITC 6046
+     i_____    Kallos-BookItalic                 ITC 6047
+     i_____    Kallos-Medium                     ITC 6048
+     i_____    Kallos-MediumItalic               ITC 6049
+     i_____    Kallos-Bold                       ITC 6050
+     i_____    Kallos-BoldItalic                 ITC 6051
+     i_____    LegacySerif-Book                  ITC 6052
+     i_____    LegacySerif-BookItalic            ITC 6053
+     i_____    LegacySerif-Medium                ITC 6054
+     i_____    LegacySerif-MediumItalic          ITC 6055
+     i_____    LegacySerif-Bold                  ITC 6056
+     i_____    LegacySerif-BoldItalic            ITC 6057
+     i_____    LegacySerif-Ultra                 ITC 6058
+     i_____    MendozaRoman-Book                 ITC 6059
+     i_____    MendozaRoman-BookItalic           ITC 6060
+     i_____    MendozaRoman-Medium               ITC 6061
+     i_____    MendozaRoman-MediumItalic         ITC 6062
+     i_____    MendozaRoman-Bold                 ITC 6063
+     i_____    MendozaRoman-BoldItalic           ITC 6064
+     i_____    Obelisk-Light                     ITC 6065
+     i_____    Obelisk-LightItalic               ITC 6066
+     i_____    Obelisk-Medium                    ITC 6067
+     i_____    Obelisk-Bold                      ITC 6068
+     i_____    OfficinaSerif-Book                ITC 6069
+     i_____    OfficinaSerif-BookItalic          ITC 6070
+     i_____    OfficinaSerif-Bold                ITC 6071
+     i_____    OfficinaSerif-BoldItalic          ITC 6072
+     i_____    StoneInformal-Medium              ITC 6073
+     i_____    StoneInformal-MediumItalic        ITC 6074
+     i_____    StoneInformal-SemiBold            ITC 6075
+     i_____    StoneInformal-SemiBoldItalic      ITC 6076
+     i_____    StoneInformal-Bold                ITC 6077
+     i_____    StoneInformal-BoldItalic          ITC 6078
+     i_____    StoneSerif-Medium                 ITC 6079
+     i_____    StoneSerif-MediumItalic           ITC 6080
+     i_____    StoneSerif-SemiBold               ITC 6081
+     i_____    StoneSerif-SemiBoldItalic         ITC 6082
+     i_____    StoneSerif-Bold                   ITC 6083
+     i_____    StoneSerif-BoldItalic             ITC 6084
+     i_____    Syndor-Book                       ITC 6085
+     i_____    Syndor-BookItalic                 ITC 6086
+     i_____    Syndor-Medium                     ITC 6087
+     i_____    Syndor-MediumItalic               ITC 6088
+     i_____    Syndor-Bold                       ITC 6089
+     i_____    Syndor-BoldItalic                 ITC 6090
+     i_____    Tyfa-Book                         ITC 6091
+     i_____    Tyfa-BookItalic                   ITC 6092
+     i_____    Tyfa-Medium                       ITC 6093
+     i_____    Tyfa-MediumItalic                 ITC 6094
+     i_____    Tyfa-Bold                         ITC 6095
+     i_____    Tyfa-BoldItalic                   ITC 6096
+     i_____    OfficinaSerif-Medium              ITC 6097
+     i_____    OfficinaSerif-MediumItalic        ITC 6098
+     i_____    OfficinaSerif-ExtraBold           ITC 6099
+     i_____    OfficinaSerif-ExtraBoldItalic     ITC 6100
+     i_____    OfficinaSerif-Black               ITC 6101
+     i_____    OfficinaSerif-BlackItalic         ITC 6102
+     i_____    SerifGothic-Light                 ITC 6103
+     i_____    SerifGothic-Regular               ITC 6104
+     i_____    SerifGothic-Bold                  ITC 6105
+     i_____    SerifGothic-ExtraBold             ITC 6106
+     i_____    SerifGothic-Heavy                 ITC 6107
+     i_____    SerifGothic-Black                 ITC 6108
+     i_____    AmericanTypewriter-Light          ITC 6109
+     i_____    AmericanTypewriter-LightItalic    ITC 6110
+     i_____    AmericanTypewriter-Medium         ITC 6111
+     i_____    AmericanTypewriter-MediumItalic   ITC 6112
+     i_____    AmericanTypewriter-Bold           ITC 6113
+     i_____    AmericanTypewriter-BoldItalic     ITC 6114
+     i_____    AmericanTypewriter-CondLight      ITC 6115
+     i_____    AmericanTypewriter-CondMedium     ITC 6116
+     i_____    AmericanTypewriter-CondBold       ITC 6117
+     i_____    LubalinGraph-ExtraLight           ITC 6118
+     i_____    LubalinGraph-ExtraLightOblique    ITC 6119
+     i_____    LubalinGraph-Book                 ITC 6120
+     i_____    LubalinGraph-BookOblique          ITC 6121
+     i_____    LubalinGraph-Medium               ITC 6122
+     i_____    LubalinGraph-MediumOblique        ITC 6123
+     i_____    LubalinGraph-Demi                 ITC 6124
+     i_____    LubalinGraph-DemiOblique          ITC 6125
+     i_____    LubalinGraph-Bold                 ITC 6126
+     i_____    LubalinGraph-BoldOblique          ITC 6127
+     i_____    Benguiat-Book                     ITC 6128
+     i_____    Benguiat-BookItalic               ITC 6129
+     i_____    Benguiat-Medium                   ITC 6130
+     i_____    Benguiat-MediumItalic             ITC 6131
+     i_____    Benguiat-Bold                     ITC 6132
+     i_____    Benguiat-BoldItalic               ITC 6133
+     i_____    Benguiat-CondensedBook            ITC 6134
+     i_____    Benguiat-CondensedBookItalic      ITC 6135
+     i_____    Benguiat-CondensedMedium          ITC 6136
+     i_____    Benguiat-CondensedMediumItalic    ITC 6137
+     i_____    Benguiat-CondensedBold            ITC 6138
+     i_____    Benguiat-CondensedBoldItalic      ITC 6139
+     i_____    Korinna-Regular                   ITC 6140
+     i_____    Korinna-KursivRegular             ITC 6141
+     i_____    Korinna-Bold                      ITC 6142
+     i_____    Korinna-KursivBold                ITC 6143
+     i_____    Korinna-ExtraBold                 ITC 6144
+     i_____    Korinna-KursivExtraBold           ITC 6145
+     i_____    Korinna-Heavy                     ITC 6146
+     i_____    Korinna-KursivHeavy               ITC 6147
+     i_____    Souvenir-Light                    ITC 6148
+     i_____    Souvenir-LightItalic              ITC 6149
+     i_____    Souvenir-Medium                   ITC 6150
+     i_____    Souvenir-MediumItalic             ITC 6151
+     i_____    Souvenir-Demi                     ITC 6152
+     i_____    Souvenir-DemiItalic               ITC 6153
+     i_____    Souvenir-Bold                     ITC 6154
+     i_____    Souvenir-BoldItalic               ITC 6155
+     i_____    Caslon224-Book                    ITC 6156
+     i_____    Caslon224-BookItalic              ITC 6157
+     i_____    Caslon224-Medium                  ITC 6158
+     i_____    Caslon224-MediumItalic            ITC 6159
+     i_____    Caslon224-Bold                    ITC 6160
+     i_____    Caslon224-BoldItalic              ITC 6161
+     i_____    Caslon224-Black                   ITC 6162
+     i_____    Caslon224-BlackItalic             ITC 6163
+     i_____    LubalinGraph-CondBook             ITC 6164
+     i_____    LubalinGraph-CondBookOblique      ITC 6165
+     i_____    LubalinGraph-CondMedium           ITC 6166
+     i_____    LubalinGraph-CondMediumOblique    ITC 6167
+     i_____    LubalinGraph-CondDemi             ITC 6168
+     i_____    LubalinGraph-CondDemiOblique      ITC 6169
+     i_____    LubalinGraph-CondBold             ITC 6170
+     i_____    LubalinGraph-CondBoldOblique      ITC 6171
+     i_____    Galliard-Regular                  ITC 6172
+     i_____    Galliard-Italic                   ITC 6173
+     i_____    Galliard-Bold                     ITC 6174
+     i_____    Galliard-BoldItalic               ITC 6175
+     i_____    Galliard-Black                    ITC 6176
+     i_____    Galliard-BlackItalic              ITC 6177
+     i_____    Galliard-Ultra                    ITC 6178
+     i_____    Galliard-UltraItalic              ITC 6179
+     i_____    Dyadis-Book                       ITC 6180
+     i_____    Dyadis-BookItalic                 ITC 6181
+     i_____    Dyadis-Medium                     ITC 6182
+     i_____    Dyadis-MediumItalic               ITC 6183
+     i_____    Dyadis-Bold                       ITC 6184
+     i_____    Dyadis-BoldItalic                 ITC 6185
+     i_____    BaileySans-Book                   ITC 8000
+     i_____    BaileySans-BookItalic             ITC 8001
+     i_____    BaileySans-Bold                   ITC 8002
+     i_____    BaileySans-BoldItalic             ITC 8003
+     i_____    Charlotte-SansBook                ITC 8004
+     i_____    Charlotte-SansBookItalic          ITC 8005
+     i_____    Charlotte-SansMedium              ITC 8006
+     i_____    Charlotte-SansBold                ITC 8007
+     i_____    Conduit-Light                     ITC 8008
+     i_____    Conduit-LightItalic               ITC 8009
+     i_____    Conduit-Medium                    ITC 8010
+     i_____    Conduit-MediumItalic              ITC 8011
+     i_____    Conduit-Bold                      ITC 8012
+     i_____    Conduit-BoldItalic                ITC 8013
+     i_____    Highlander-Book                   ITC 8014
+     i_____    Highlander-BookItalic             ITC 8015
+     i_____    Highlander-Medium                 ITC 8016
+     i_____    Highlander-MediumItalic           ITC 8017
+     i_____    Highlander-Bold                   ITC 8018
+     i_____    Highlander-BoldItalic             ITC 8019
+     i_____    HumanaSans-Light                  ITC 8020
+     i_____    HumanaSans-LightItalic            ITC 8021
+     i_____    HumanaSans-Medium                 ITC 8022
+     i_____    HumanaSans-MediumItalic           ITC 8023
+     i_____    HumanaSans-Bold                   ITC 8024
+     i_____    HumanaSans-BoldItalic             ITC 8025
+     i_____    LegacySans-Book                   ITC 8026
+     i_____    LegacySans-BookItalic             ITC 8027
+     i_____    LegacySans-Medium                 ITC 8028
+     i_____    LegacySans-MediumItalic           ITC 8029
+     i_____    LegacySans-Bold                   ITC 8030
+     i_____    LegacySans-BoldItalic             ITC 8031
+     i_____    LegacySans-Ultra                  ITC 8032
+     i_____    Odyssee-Light                     ITC 8033
+     i_____    Odyssee-LightItalic               ITC 8034
+     i_____    Odyssee-Medium                    ITC 8035
+     i_____    Odyssee-MediumItalic              ITC 8036
+     i_____    Odyssee-Bold                      ITC 8037
+     i_____    Odyssee-BoldItalic                ITC 8038
+     i_____    Odyssee-Ultra                     ITC 8039
+     i_____    OfficinaSans-Book                 ITC 8040
+     i_____    OfficinaSans-BookItalic           ITC 8041
+     i_____    OfficinaSans-Bold                 ITC 8042
+     i_____    OfficinaSans-BoldItalic           ITC 8043
+     i_____    StoneSans-Medium                  ITC 8044
+     i_____    StoneSans-MediumItalic            ITC 8045
+     i_____    StoneSans-SemiBold                ITC 8046
+     i_____    StoneSans-SemiBoldItalic          ITC 8047
+     i_____    StoneSans-Bold                    ITC 8048
+     i_____    StoneSans-BoldItalic              ITC 8049
+     i_____    Woodland-Light                    ITC 8050
+     i_____    Woodland-Medium                   ITC 8051
+     i_____    Woodland-Demi                     ITC 8052
+     i_____    Woodland-Heavy                    ITC 8053
+     i_____    OfficinaSans-Medium               ITC 8054
+     i_____    OfficinaSans-MediumItalic         ITC 8055
+     i_____    OfficinaSans-ExtraBold            ITC 8056
+     i_____    OfficinaSans-ExtraBoldItalic      ITC 8057
+     i_____    OfficinaSans-Black                ITC 8058
+     i_____    AvantGardeGothic-ExtraLight       ITC 8059
+     i_____    AvantGardeGothic-ExtraLightObl    ITC 8060
+     i_____    AvantGardeGothic-Book             ITC 8061
+     i_____    AvantGardeGothic-BookOblique      ITC 8062
+     i_____    AvantGardeGothic-Medium           ITC 8063
+     i_____    AvantGardeGothic-MediumOblique    ITC 8064
+     i_____    AvantGardeGothic-Demi             ITC 8065
+     i_____    AvantGardeGothic-DemiOblique      ITC 8066
+     i_____    AvantGardeGothic-Bold             ITC 8067
+     i_____    AvantGardeGothic-BoldOblique      ITC 8068
+     i_____    FranklinGothic-Book               ITC 8069
+     i_____    FranklinGothic-BookItalic         ITC 8070
+     i_____    FranklinGothic-Medium             ITC 8071
+     i_____    FranklinGothic-MediumItalic       ITC 8072
+     i_____    FranklinGothic-Demi               ITC 8073
+     i_____    FranklinGothic-DemiItalic         ITC 8074
+     i_____    FranklinGothic-Heavy              ITC 8075
+     i_____    FranklinGothic-HeavyItalic        ITC 8076
+     i_____    FranklinGothic-CondBook           ITC 8077
+     i_____    FranklinGothic-CondBookItal       ITC 8078
+     i_____    FranklinGothic-CondMedium         ITC 8079
+     i_____    FranklinGothic-CondMediumItal     ITC 8080
+     i_____    FranklinGothic-CondDemi           ITC 8081
+     i_____    FranklinGothic-CondDemiItal       ITC 8082
+     i_____    FranklinGothic-ComprBook          ITC 8083
+     i_____    FranklinGothic-ComprBookItal      ITC 8084
+     i_____    FranklinGothic-ComprDemi          ITC 8085
+     i_____    FranklinGothic-ComprDemiItal      ITC 8086
+     i_____    FranklinGothic-ExtraComprBook     ITC 8087
+     i_____    FranklinGothic-ExtraComprDemi     ITC 8088
+     i_____    OfficinaSans-BlackItalic          ITC 8089
+     i_____    BenguiatGothic-Book               ITC 8090
+     i_____    BenguiatGothic-BookItalic         ITC 8091
+     i_____    BenguiatGothic-Medium             ITC 8092
+     i_____    BenguiatGothic-MediumItalic       ITC 8093
+     i_____    BenguiatGothic-Bold               ITC 8094
+     i_____    BenguiatGothic-BoldItalic         ITC 8095
+     i_____    BenguiatGothic-Heavy              ITC 8096
+     i_____    BenguiatGothic-HeavyItalic        ITC 8097
+     i_____    ItcEras-Light                     ITC 8098
+     i_____    ItcEras-Book                      ITC 8099
+     i_____    ItcEras-Medium                    ITC 8100
+     i_____    ItcEras-Demi                      ITC 8101
+     i_____    ItcEras-Bold                      ITC 8102
+     i_____    ItcEras-Ultra                     ITC 8103
+     i_____    AvantGardeGothic-CondBook         ITC 8104
+     i_____    AvantGardeGothic-CondMedium       ITC 8105
+     i_____    AvantGardeGothic-CondDemiBold     ITC 8106
+     i_____    AvantGardeGothic-CondBold         ITC 8107
+     i_____    ItcKabel-Book                     ITC 8108
+     i_____    ItcKabel-Medium                   ITC 8109
+     i_____    ItcKabel-Demi                     ITC 8110
+     i_____    ItcKabel-Bold                     ITC 8111
+     i_____    ItcKabel-Ultra                    ITC 8112
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/Introduction.html b/Master/texmf-dist/doc/fontname/Introduction.html new file mode 100644 index 00000000000..047ed849882 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Introduction.html @@ -0,0 +1,57 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Introduction, +Next: , +Previous: Top, +Up: Top +



+
+ +

Introduction

+ +

This is Fontname, a naming scheme for (the base part of) external TeX +font filenames. This makes at most eight-character names from (almost) +arbitrarily complex font names, thus helping portability of TeX +documents. We point out some shortcomings of the scheme, and ways of +dealing with them. + +

Please send additions, corrections, or other comments to +tex-fonts@tug.org. Email +tex-fonts-request@tug.org to join the list. + +

Besides this document, the Fontname distribution includes various +encoding files, mapping files, and utilities. See the file +README for details. You can retrieve the most up-to-date +version of these lists from http://tug.org/fontname. It is +also mirrored on all CTAN hosts in the directory +tex-archive/doc/fontname. For a list of CTAN mirrors, see +http://www.ctan.org/tex-archive/CTAN.sites. + +

This document is in the public domain and may be used freely. + +

+ + + diff --git a/Master/texmf-dist/doc/fontname/Linotype-fonts.html b/Master/texmf-dist/doc/fontname/Linotype-fonts.html new file mode 100644 index 00000000000..bedcfca9635 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Linotype-fonts.html @@ -0,0 +1,4264 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Linotype fonts, +Next: , +Previous: ITC fonts, +Up: Font name lists +



+
+ +

Linotype fonts

+ +

The linotype.map file has abbreviations for Linotype fonts. + +

+
+     l_____    Aachen-Bold                              1.0
+     l_____    AachenEF-Medium                          1.1
+     l_____    AachenEF-Bold                            1.2
+     l_____    AharoniEF-RegularHd                      2.0
+     l_____    AharoniEF-MediumHd                       2.1
+     l_____    AharoniEF-SemiBoldHd                     2.2
+     l_____    AharoniEF-BoldHd                         2.3
+     l_____    AharoniEF-ExtraBoldHd                    2.4
+     l_____    AharoniEF-OutlineHd                      2.5
+     l_____    AharoniEF-ShadowHD                       2.6
+     l_____    Aja                                      3.0
+     l_____    AkzidenzGrotesk-Light                    4.0
+     l_____    AkzidenzGrotesk-Roman                    4.1
+     l_____    AkzidenzGrotesk-Bold                     4.2
+     l_____    AkzidenzGrotesk-Black                    4.3
+     l_____    AkzidenzGroteskBE-Light                  4.4
+     l_____    AkzidenzGroteskBE-LightOsF               4.5
+     l_____    AkzidenzGroteskBE-Regular                4.6
+     l_____    AkzidenzGroteskBE-Italic                 4.7
+     l_____    AkzidenzGroteskBE-Md                     4.8
+     l_____    AkzidenzGroteskBE-MdIt                   4.9
+     l_____    AkzidenzGroteskBE-Bold                   4.10
+     l_____    AkzidenzGroteskBE-BoldIt                 4.11
+     l_____    AkzidenzGroteskBE-XBd                    4.12
+     l_____    AkzidenzGroteskBE-Super                  4.13
+     l_____    AkzidenzGroteskBE-LightCn                4.14
+     l_____    AkzidenzGroteskBE-Cn                     4.15
+     l_____    AkzidenzGroteskBE-MdCn                   4.16
+     l_____    AkzidenzGroteskBE-MdCnIt                 4.17
+     l_____    AkzidenzGroteskBE-BoldCn                 4.18
+     l_____    AkzidenzGroteskBE-XBdCn                  4.19
+     l_____    AkzidenzGroteskBE-XBdCnIt                4.20
+     l_____    AkzidenzGroteskBE-LightEx                4.21
+     l_____    AkzidenzGroteskBE-Ex                     4.22
+     l_____    AkzidenzGroteskBE-MdEx                   4.23
+     l_____    AkzidenzGroteskBE-BoldEx                 4.24
+     l_____    AkzidenzGroteskBE-BoldExIt               4.25
+     l_____    AGBookRounded-Regular                    4.26
+     l_____    AGBookRounded-Medium                     4.27
+     l_____    AGBookRounded-Bold                       4.28
+     l_____    AGBookRounded-MediumOutline              4.29
+     l_____    AGBookRounded-BoldOutline                4.30
+     l_____    AGBookRounded-BoldCn                     4.31
+     l_____    AGBookRounded-BoldCnOutline              4.32
+     l_____    AGBook-Stencil                           4.33
+     l_____    AGOldFace-Regular                        4.34
+     l_____    AGOldFace-Medium                         4.35
+     l_____    AGOldFace-Bold                           4.36
+     l_____    AGOldFace-Outline                        4.37
+     l_____    AGOldFace-BoldOutline                    4.38
+     l_____    AGOldFace-Shaded                         4.39
+     l_____    AGSchoolbook-Regular                     4.40
+     l_____    AGSchoolbook-RegularA                    4.41
+     l_____    AGSchoolbook-Medium                      4.42
+     l_____    AGSchoolbook-MediumA                     4.43
+     l_____    AlcuinEF-Light                           5.0
+     l_____    AlcuinEF-Regular                         5.1
+     l_____    AlcuinEF-Bold                            5.2
+     l_____    AlcuinEF-ExtraBold                       5.3
+     l_____    Aldus-Roman                              6.0
+     l_____    Aldus-RomanSC                            6.1
+     l_____    Aldus-Italic                             6.2
+     l_____    Aldus-ItalicOsF                          6.3
+     l_____    AleOrnamentsRotatoLL                     7.0
+     l_____    AleOrnamentsSpiratoLL                    7.1
+     l_____    AlexieLL                                 8.0
+     l_____    AlteSchwabacherEF                        9.0
+     l_____    AlternateGothicEF-NoOne                 10.0
+     l_____    AlternateGothicEF-NoTwo                 10.1
+     l_____    AlternateGothicEF-NoThree               10.2
+     l_____    AmericanUncialEF                        11.0
+     l_____    Americana                               12.0
+     l_____    Americana-Italic                        12.1
+     l_____    Americana-Bold                          12.2
+     l_____    Americana-ExtraBold                     12.3
+     l_____    AmericanaEF-Regular                     12.4
+     l_____    AmericanaEF-RegularItalic               12.5
+     l_____    AmericanaEF-Bold                        12.6
+     l_____    AmericanaEF-ExtraBold                   12.7
+     l_____    AnnlieEF-ExtraBold                      14.0
+     l_____    AnnlieEF-ExtraBoldItalic                14.1
+     l_____    AntiqueOlive-Light                      15.0
+     l_____    AntiqueOlive-Roman                      15.1
+     l_____    AntiqueOlive-Italic                     15.2
+     l_____    AntiqueOlive-Bold                       15.3
+     l_____    AntiqueOlive-Black                      15.4
+     l_____    AntiqueOlive-BoldCond                   15.5
+     l_____    AntiqueOlive-Compact                    15.6
+     l_____    AntiqueOlive-Nord                       15.7
+     l_____    AntiqueOlive-NordItalic                 15.8
+     l_____    AntiqueOliveCE-Light                    15.9
+     l_____    AntiqueOliveCE-Roman                    15.10
+     l_____    AntiqueOliveCE-Italic                   15.11
+     l_____    AntiqueOliveCE-Bold                     15.12
+     l_____    AntiqueOliveCE-Black                    15.13
+     l_____    AntiqueOliveEastA-Light                 15.14
+     l_____    AntiqueOliveEastA-Roman                 15.15
+     l_____    AntiqueOliveEastA-Italic                15.16
+     l_____    AntiqueOliveEastA-Bold                  15.17
+     l_____    AntiqueOliveEastA-Black                 15.18
+     l_____    ApolloMT-Roman                          16.0
+     l_____    ApolloMT-RomanSC                        16.1
+     l_____    ApolloMT-RomanExpert                    16.2
+     l_____    ApolloMT-Italic                         16.3
+     l_____    ApolloMT-ItalicOsF                      16.4
+     l_____    ApolloMT-ItalicExpert                   16.5
+     l_____    ApolloMT-SemiBold                       16.6
+     l_____    ApolloMT-SemiBoldOsF                    16.7
+     l_____    ApolloMT-SemiBoldExpert                 16.8
+     l_____    Arcadia                                 17.0
+     l_____    Arcadia-Alternate                       17.1
+     l_____    Ariadne-Roman                           18.0
+     l_____    Arioso                                  19.0
+     l_____    Arkona-Regular                          20.0
+     l_____    Arkona-Medium                           20.1
+     l_____    ArnoldBoecklin                          21.0
+     l_____    AshleyScriptMT                          22.0
+     l_____    NewAster                                23.0
+     l_____    NewAster-Italic                         23.1
+     l_____    NewAster-SemiBold                       23.2
+     l_____    NewAster-SemiBoldItalic                 23.3
+     l_____    NewAster-Bold                           23.4
+     l_____    NewAster-BoldItalic                     23.5
+     l_____    NewAster-Black                          23.6
+     l_____    NewAster-BlackItalic                    23.7
+     l_____    AsterEF-Regular                         23.8
+     l_____    AsterEF-RegularItalic                   23.9
+     l_____    AsterEF-Medium                          23.10
+     l_____    AureliaEF-Light                         24.0
+     l_____    AureliaEF-LightItalic                   24.1
+     l_____    AureliaEF-Book                          24.2
+     l_____    AureliaEF-BookItalic                    24.3
+     l_____    AureliaEF-Bold                          24.4
+     l_____    Auriol                                  25.0
+     l_____    Auriol-Italic                           25.1
+     l_____    Auriol-Bold                             25.2
+     l_____    Auriol-BoldItalic                       25.3
+     l_____    Auriol-Black                            25.4
+     l_____    Auriol-BlackItalic                      25.5
+     l_____    BalderLL                                28.0
+     l_____    BalloonEF-ExtraBold                     29.0
+     l_____    BalloonEF-DropShadow                    29.1
+     l_____    BalmoralEF-Regular                      30.0
+     l_____    BalmoralEF-Alternative                  30.1
+     l_____    Banco                                   31.0
+     l_____    BarbedorEF-Regular                      32.0
+     l_____    BarbedorEF-RegularItalic                32.1
+     l_____    BarbedorEF-Medium                       32.2
+     l_____    BarbedorEF-MediumItalic                 32.3
+     l_____    BarbedorEF-Bold                         32.4
+     l_____    BarbedorEF-BoldItalic                   32.5
+     l_____    BarbedorEF-Black                        32.6
+     l_____    BarbedorEF-BlackItalic                  32.7
+     l_____    BaskervilleCyr-Upright                  33.0
+     l_____    BaskervilleCyr-Inclined                 33.1
+     l_____    BaskervilleCyr-Bold                     33.2
+     l_____    BaskervilleGreek-Upright                33.3
+     l_____    BaskervilleGreek-Inclined               33.4
+     l_____    BaskervilleGreek-Bold                   33.5
+     l_____    BaskervilleGreekP-Upright               33.6
+     l_____    BaskervilleGreekP-Inclined              33.7
+     l_____    BaskervilleGreekP-Bold                  33.8
+     l_____    BaskervilleEF-Regular                   33.9
+     l_____    BaskervilleEF-RegularItalic             33.10
+     l_____    BaskervilleEF-Medium                    33.11
+     l_____    BaskervilleBE-Regular                   33.12
+     l_____    BaskervilleBE-Italic                    33.13
+     l_____    BaskervilleBE-Medium                    33.14
+     l_____    BaskervilleBE-MediumItalic              33.15
+     l_____    BaskervilleBE-Bold                      33.16
+     l_____    NewBaskerville-Roman                    33.17
+     l_____    NewBaskerville-SC                       33.18
+     l_____    NewBaskerville-Italic                   33.19
+     l_____    NewBaskerville-ItalicOsF                33.20
+     l_____    NewBaskerville-Bold                     33.21
+     l_____    NewBaskerville-BoldSC                   33.22
+     l_____    NewBaskerville-BoldItalic               33.23
+     l_____    NewBaskerville-BoldItalicOsF            33.24
+     l_____    NewBaskervilleEF-Roman                  33.25
+     l_____    NewBaskervilleEF-Italic                 33.26
+     l_____    NewBaskervilleEF-SemiBold               33.27
+     l_____    NewBaskervilleEF-SemiBoldItalic         33.28
+     l_____    NewBaskervilleEF-Bold                   33.29
+     l_____    NewBaskervilleEF-BoldItalic             33.30
+     l_____    NewBaskervilleEF-Black                  33.31
+     l_____    NewBaskervilleEF-BlackItalic            33.32
+     l_____    BaskervilleBook-Regular                 33.33
+     l_____    BaskervilleBook-Italic                  33.34
+     l_____    BaskervilleBook-Medium                  33.35
+     l_____    BaskervilleBook-MedItalic               33.36
+     l_____    BaskervilleOldFaceEF                    33.37
+     l_____    AfroditeKATEF-Filly                     34.0
+     l_____    AfroditeKATEF-Ready                     34.1
+     l_____    AfroditeKATEF-Funky                     34.2
+     l_____    BadblocksEF                             34.3
+     l_____    BeatEF-BackBeat                         34.4
+     l_____    BeatEF-HardBeat                         34.5
+     l_____    BloxxEF                                 34.6
+     l_____    BornFreeKATEF-Hungry                    34.7
+     l_____    BornFreeKATEF-Fed                       34.8
+     l_____    BrushableEF                             34.9
+     l_____    CandyEF                                 34.10
+     l_____    ComancheEF                              34.11
+     l_____    CrazeEF                                 34.12
+     l_____    DoublePacEF-Scrambled                   34.13
+     l_____    EastsideEF-Regular                      34.14
+     l_____    EastsideEF-Double                       34.15
+     l_____    FutureWorldEF                           34.16
+     l_____    ItKATEF                                 34.17
+     l_____    JameKATEF-Black                         34.18
+     l_____    JameKATEF-White                         34.19
+     l_____    KiddingKidEF                            34.20
+     l_____    KnockoutEF                              34.21
+     l_____    LittleJoeKATEF-Black                    34.22
+     l_____    LittleJoeKATEF-White                    34.23
+     l_____    MaoMaoEF                                34.24
+     l_____    MaydayEF                                34.25
+     l_____    MiroEF                                  34.26
+     l_____    MrsBeasleyEF                            34.27
+     l_____    NiniveEF                                34.28
+     l_____    RumourEF                                34.29
+     l_____    SiouxEF                                 34.30
+     l_____    StayawhileEF                            34.31
+     l_____    SteelPlateEF                            34.32
+     l_____    TieriliEF                               34.33
+     l_____    TruckEF                                 34.34
+     l_____    TwinPickEF-Hard                         34.35
+     l_____    XabbieEF                                34.36
+     l_____    BellGothic-Light                        36.0
+     l_____    BellGothic-Bold                         36.1
+     l_____    BellGothic-Black                        36.2
+     l_____    BelugaLL                                37.0
+     l_____    Berling-Roman                           38.0
+     l_____    Berling-Italic                          38.1
+     l_____    Berling-Bold                            38.2
+     l_____    Berling-BoldItalic                      38.3
+     l_____    BerlingEF-Regular                       38.4
+     l_____    BerlingEF-RegularItalic                 38.5
+     l_____    BerlingEF-Bold                          38.6
+     l_____    BernhardEF-Antique                      39.1
+     l_____    BernhardEF-Fashion                      39.2
+     l_____    BernhardModern-Roman                    39.3
+     l_____    BernhardModern-Italic                   39.4
+     l_____    BernhardModern-Bold                     39.5
+     l_____    BernhardModern-BoldItalic               39.6
+     l_____    BernhardSchoenschriftEF-Light           39.7
+     l_____    BernhardSchoenschriftEF-Regular         39.8
+     l_____    BertholdScript-Regular                  40.0
+     l_____    BertholdScript-Medium                   40.1
+     l_____    BetonEF-Light                           41.0
+     l_____    BetonEF-DemiBold                        41.1
+     l_____    BetonEF-Bold                            41.2
+     l_____    BetonEF-ExtraBold                       41.3
+     l_____    BetonEF-BoldCondensed                   41.4
+     l_____    BibleScriptEF-Regular                   42.0
+     l_____    BibleScriptEF-Alternates                42.1
+     l_____    BibleScriptEF-Flourishes                42.2
+     l_____    Blackoak                                43.0
+     l_____    BlippoBlackEF                           44.0
+     l_____    BottleneckEF                            45.0
+     l_____    BramleyEF-Light                         46.0
+     l_____    BramleyEF-Medium                        46.1
+     l_____    BramleyEF-Bold                          46.2
+     l_____    BramleyEF-ExtraBold                     46.3
+     l_____    BrightonEF-Light                        47.0
+     l_____    BrightonEF-LightItalic                  47.1
+     l_____    BrightonEF-Medium                       47.2
+     l_____    BrightonEF-Bold                         47.3
+     lpi___    BundesbahnPi-One                        48.0
+     lpi___    BundesbahnPi-Two                        48.1
+     lpi___    BundesbahnPi-Three                      48.2
+     l_____    BusterEF                                49.0
+     l_____    CandiceEF                               50.0
+     lpi___    CaravanLH-One                           51.0
+     lpi___    CaravanLH-Two                           51.1
+     lpi___    CaravanLH-Three                         51.2
+     lpi___    CaravanLH-Four                          51.3
+     l_____    CascadeScript                           52.0
+     l_____    CashEF-Monospace                        53.0
+     l_____    CastellarMT                             54.0
+     l_____    Charlemagne-Regular                     55.0
+     l_____    Charlemagne-Bold                        55.1
+     l_____    Christiana-Regular                      57.0
+     l_____    Christiana-RegularSC                    57.1
+     l_____    Christiana-RegularExpert                57.2
+     l_____    Christiana-Italic                       57.3
+     l_____    Christiana-Medium                       57.4
+     l_____    Christiana-MediumItalic                 57.5
+     l_____    Christiana-Bold                         57.6
+     l_____    Christiana-BoldItalic                   57.7
+     l_____    ChwastBuffalo-BlackCond                 58.0
+     l_____    CirkulusEF                              59.0
+     l_____    Clairvaux                               60.0
+     l_____    Clairvaux-Dfr                           60.1
+     l_____    Clearface-Regular                       61.0
+     l_____    Clearface-RegularItalic                 61.1
+     l_____    Clearface-Bold                          61.2
+     l_____    Clearface-BoldItalic                    61.3
+     l_____    Clearface-Heavy                         61.4
+     l_____    Clearface-HeavyItalic                   61.5
+     l_____    Clearface-Black                         61.6
+     l_____    Clearface-BlackItalic                   61.7
+     l_____    ClearfaceEF-Regular                     61.8
+     l_____    ClearfaceEF-RegularItalic               61.9
+     l_____    ClearfaceEF-Bold                        61.10
+     l_____    ClearfaceEF-BoldItalic                  61.11
+     l_____    ClearfaceEF-Heavy                       61.12
+     l_____    ClearfaceEF-HeavyItalic                 61.13
+     l_____    ClearfaceEF-Black                       61.14
+     l_____    ClearfaceEF-BlackItalic                 61.15
+     l_____    ClearfaceGothicLH-Light                 61.16
+     l_____    ClearfaceGothicLH-Roman                 61.17
+     l_____    ClearfaceGothicLH-Medium                61.18
+     l_____    ClearfaceGothicLH-Bold                  61.19
+     l_____    ClearfaceGothicLH-Black                 61.20
+     l_____    ClearfaceGothicEF-Regular               61.21
+     l_____    ClearfaceGothicEF-Bold                  61.22
+     l_____    ClearfaceGothicEF-ExtraBold             61.23
+     l_____    CloisterOpenFace                        62.0
+     l_____    Cochin                                  63.0
+     l_____    Cochin-Italic                           63.1
+     l_____    Cochin-Bold                             63.2
+     l_____    Cochin-BoldItalic                       63.3
+     l_____    Codex                                   64.0
+     l_____    ColumnaEF-Solid                         65.0
+     l_____    ComeniusAntiqua-Regular                 66.0
+     l_____    ComeniusAntiqua-Italic                  66.1
+     l_____    ComeniusAntiqua-Medium                  66.2
+     l_____    ComeniusAntiqua-Bold                    66.3
+     l_____    CommercialScriptEF                      67.0
+     l_____    Concorde-Roman                          69.0
+     l_____    Concorde-Italic                         69.1
+     l_____    Concorde-Bold                           69.2
+     l_____    Concorde-BoldItalic                     69.3
+     l_____    ConcordeBE-Regular                      69.4
+     l_____    ConcordeBE-RegularSC                    69.5
+     l_____    ConcordeBE-RegularExp                   69.6
+     l_____    ConcordeBE-Italic                       69.7
+     l_____    ConcordeBE-ItalicOsF                    69.8
+     l_____    ConcordeBE-ItalicExp                    69.9
+     l_____    ConcordeBE-Medium                       69.10
+     l_____    ConcordeBE-MediumSC                     69.11
+     l_____    ConcordeBE-MediumEx                     69.12
+     l_____    ConcordeBE-MediumItalic                 69.13
+     l_____    ConcordeBE-MediumItalicOsF              69.14
+     l_____    ConcordeBE-MediumItalicExp              69.15
+     l_____    ConcordeBE-Condensed                    69.16
+     l_____    ConcordeBE-MediumCn                     69.17
+     l_____    ConcordeBE-BoldCn                       69.18
+     l_____    ConcordeBE-BoldCnOutline                69.19
+     l_____    ConcordeNova-Regular                    69.20
+     l_____    ConcordeNova-RegularSC                  69.21
+     l_____    ConcordeNova-RegularExp                 69.22
+     l_____    ConcordeNova-Italic                     69.23
+     l_____    ConcordeNova-ItalicOsF                  69.24
+     l_____    ConcordeNova-ItalicExp                  69.25
+     l_____    ConcordeNova-Medium                     69.26
+     l_____    ConcordeNova-MediumSC                   69.27
+     l_____    ConcordeNova-MediumExp                  69.28
+     l_____    ContactaLL                              70.0
+     l_____    CoolWoolLL                              71.0
+     l_____    CoolWoolCottonClubLL                    71.1
+     l_____    CoolWoolStoneWashedLL                   71.2
+     l_____    CooperBlack                             72.0
+     l_____    CooperBlack-Italic                      72.1
+     l_____    CooperBlackEF-Bold                      72.2
+     l_____    CooperBlackEF-BoldOutline               72.3
+     l_____    CooperBlackEF-BoldCondensed             72.4
+     l_____    CooperBlackEF-BoldCondOutline           72.5
+     l_____    Copal-Solid                             73.0
+     l_____    Copal-Outline                           73.1
+     l_____    Copal-Decorated                         73.2
+     l_____    CorinthianEF-Light                      74.0
+     l_____    CorinthianEF-Medium                     74.1
+     l_____    CorinthianEF-Bold                       74.2
+     l_____    CorinthianEF-ExtraBold                  74.3
+     l_____    Corona-Roman                            75.0
+     l_____    Corona-Italic                           75.1
+     l_____    Corona-Bold                             75.2
+     l_____    CortezEF                                76.0
+     l_____    Cosmos-Light                            77.0
+     l_____    Cosmos-LightItalic                      77.1
+     l_____    Cosmos-Medium                           77.2
+     l_____    Cosmos-ExtraBold                        77.3
+     l_____    CountdownEF                             78.0
+     l_____    CourierCE-Roman                         79.0
+     l_____    CourierCE-Bold                          79.1
+     l_____    Cremona-Regular                         80.0
+     l_____    Cremona-Italic                          80.1
+     l_____    Cremona-Bold                            80.2
+     l_____    Cremona-BoldItalic                      80.3
+     l_____    Critter                                 81.0
+     l_____    CroissantEF                             82.0
+     l_____    Cutout                                  83.0
+     l_____    DailyNews-Regular                       84.0
+     l_____    DailyNews-Italic                        84.1
+     l_____    DailyNews-Medium                        84.2
+     l_____    DailyNews-MediumItalic                  84.3
+     l_____    DailyNews-Bold                          84.4
+     l_____    DailyNews-BoldItalic                    84.5
+     l_____    DailyNews-ExtraBold                     84.6
+     l_____    DailyNews-ExtraBoldItalic               84.7
+     lpi___    DamnedDingbatsEF-Regular                85.0
+     lpi___    DamnedDingbatsEF-Initials               85.1
+     l_____    Data70EF                                86.0
+     l_____    DavidaEF                                87.0
+     l_____    Delphin-I                               88.0
+     l_____    Delphin-II                              88.1
+     l_____    Delphin-IA                              88.2
+     l_____    Delphin-IIA                             88.3
+     l_____    Delta-Light                             89.0
+     l_____    Delta-LightItalic                       89.1
+     l_____    Delta-Book                              89.2
+     l_____    Delta-BookItalic                        89.3
+     l_____    Delta-Medium                            89.4
+     l_____    Delta-MediumItalic                      89.5
+     l_____    Delta-Bold                              89.6
+     l_____    Delta-BoldItalic                        89.7
+     l_____    Delta-Outline                           89.8
+     l_____    DemianEF                                90.0
+     lpi___    DeutscheBahnAG-One                      91.0
+     lpi___    DeutscheBahnAG-Two                      91.1
+     lpi___    DeutscheBahnAG-Three                    91.2
+     lpi___    DeutscheBahnAG-Four                     91.3
+     lpi___    DeutscheBahnAG-Six                      91.4
+     lpi___    DeutscheBahnAG-Five                     91.5
+     l_____    DexGothicEF                             92.0
+     l_____    DigiAntiquaEF-LightCondensed            93.0
+     l_____    Doric-Bold                              95.0
+     l_____    DrugulinEF-RegularHd                    96.0
+     l_____    DrugulinEF-MediumHd                     96.1
+     l_____    DrugulinEF-BoldHd                       96.2
+     l_____    DrugulinEF-ExtraBoldHd                  96.3
+     l_____    EckmannEF                               97.1
+     l_____    EdwardianScriptEF-Regular               98.0
+     l_____    EdwardianScriptEF-RegularA              98.1
+     l_____    EdwardianScriptEF-Bold                  98.2
+     l_____    EdwardianScriptEF-BoldA                 98.3
+     l_____    Egyptian505EF-Light                     99.0
+     l_____    Egyptian505EF-Regular                   99.1
+     l_____    Egyptian505EF-Medium                    99.2
+     l_____    Egyptian505EF-Bold                      99.3
+     l_____    EgyptienneF-Roman                      100.0
+     l_____    EgyptienneF-Italic                     100.1
+     l_____    EgyptienneF-Bold                       100.2
+     l_____    EgyptienneF-Black                      100.3
+     l_____    ElectraLH-Roman                        101.0
+     l_____    ElectraLH-RomanSC                      101.1
+     l_____    ElectraLH-RomanOsF                     101.2
+     l_____    ElectraLH-Cursive                      101.3
+     l_____    ElectraLH-CursiveOsF                   101.4
+     l_____    ElectraLH-Bold                         101.5
+     l_____    ElectraLH-BoldSC                       101.6
+     l_____    ElectraLH-BoldOsF                      101.7
+     l_____    ElectraLH-BoldCursive                  101.8
+     l_____    ElectraLH-BoldCursiveOsF               101.9
+     l_____    ElectraLH-Display                      101.10
+     l_____    ElectraLH-CursiveDisplay               101.11
+     l_____    ElectraLH-BoldDisplay                  101.12
+     l_____    ElectraLH-BoldCursiveDisplay           101.13
+     l_____    ElseNPL-Light                          102.0
+     l_____    ElseNPL-Medium                         102.1
+     l_____    ElseNPL-SemiBold                       102.2
+     l_____    ElseNPL-Bold                           102.3
+     l_____    EnviroEF                               103.0
+     l_____    EscriptLL                              104.0
+     lpi___    EuropeanPi-One                         105.0
+     lpi___    EuropeanPi-Two                         105.1
+     lpi___    EuropeanPi-Three                       105.2
+     lpi___    EuropeanPi-Four                        105.2
+     l_____    ExcaliburEF-Regular                    106.0
+     l_____    ExcaliburEF-Medium                     106.1
+     l_____    FacsimileLL                            107.0
+     l_____    FairfieldLH-Light                      108.0
+     l_____    FairfieldLH-LightSC                    108.1
+     l_____    FairfieldLH-LightItalic                108.2
+     l_____    FairfieldLH-Medium                     108.3
+     l_____    FairfieldLH-MediumSC                   108.4
+     l_____    FairfieldLH-MediumItalic               108.5
+     l_____    FairfieldLH-Bold                       108.6
+     l_____    FairfieldLH-BoldSC                     108.7
+     l_____    FairfieldLH-BoldItalic                 108.8
+     l_____    FairfieldLH-Heavy                      108.9
+     l_____    FairfieldLH-HeavySC                    108.10
+     l_____    FairfieldLH-HeavyItalic                108.11
+     l_____    FairfieldLH-CaptionLight               108.12
+     l_____    FairfieldLH-CaptionMedium              108.13
+     l_____    FairfieldLH-CaptionBold                108.14
+     l_____    FairfieldLH-CaptionHeavy               108.15
+     l_____    FairfieldLH-SwLightItalicOsF           108.16
+     l_____    FairfieldLH-SwMediumItalicOsF          108.17
+     l_____    FairfieldLH-SwBoldItalicOsF            108.18
+     l_____    FairfieldLH-SwHeavyItalicOsF           108.19
+     l_____    FetteGotischEF                         109.0
+     l_____    FlamencoInlineEF                       110.0
+     l_____    Forbes-Bold                            114.0
+     l_____    ForteMT                                115.0
+     l_____    FranklinGothic-Condensed               116.0
+     l_____    FranklinGothic-ExtraCond               116.1
+     l_____    FranklinGothicEF-Regular               116.2
+     l_____    FranklinGothicEF-RegularCond           116.3
+     l_____    FranklinGothicEF-ExtraCond             116.4
+     l_____    FranklinGothic-Roman                   116.5
+     l_____    FranklinGothic-Book                    116.6
+     l_____    FranklinGothic-BookOblique             116.7
+     l_____    FranklinGothic-Demi                    116.8
+     l_____    FranklinGothic-DemiOblique             116.9
+     l_____    FranklinGothic-Heavy                   116.10
+     l_____    FranklinGothic-HeavyOblique            116.11
+     l_____    FranklinGothicEF-Book                  116.12
+     l_____    FranklinGothicEF-BookItalic            116.13
+     l_____    FranklinGothicEF-Medium                116.14
+     l_____    FranklinGothicEF-MediumItalic          116.15
+     l_____    FranklinGothicEF-Demi                  116.16
+     l_____    FranklinGothicEF-DemiItalic            116.17
+     l_____    FranklinGothicEF-Heavy                 116.18
+     l_____    FranklinGothicEF-HeavyItalic           116.19
+     l_____    FranklinGothicEF-BookCnd               116.20
+     l_____    FranklinGothicEF-BookCndSC             116.21
+     l_____    FranklinGothicEF-BookCndItal           116.22
+     l_____    FranklinGothicEF-MedCnd                116.23
+     l_____    FranklinGothicEF-MedCndSC              116.24
+     l_____    FranklinGothicEF-MedCndItal            116.25
+     l_____    FranklinGothicEF-DemiCnd               116.26
+     l_____    FranklinGothicEF-DemiCndItal           116.27
+     l_____    FranklinGothicEF-BookCmpr              116.28
+     l_____    FranklinGothicEF-BookCmprItal          116.29
+     l_____    FranklinGothicEF-DemiCmpr              116.30
+     l_____    FranklinGothicEF-DemiCmprItal          116.31
+     l_____    FranklinGothicEF-BookXCmpr             116.32
+     l_____    FranklinGothicEF-DemiXCmpr             116.33
+     l_____    Frutiger-Light                         117.0
+     l_____    Frutiger-LightItalic                   117.1
+     l_____    Frutiger-Roman                         117.2
+     l_____    Frutiger-Italic                        117.3
+     l_____    Frutiger-Bold                          117.4
+     l_____    Frutiger-BoldItalic                    117.5
+     l_____    Frutiger-Black                         117.6
+     l_____    Frutiger-BlackItalic                   117.7
+     l_____    Frutiger-UltraBlack                    117.8
+     l_____    Frutiger-LightCn                       117.9
+     l_____    Frutiger-Cn                            117.10
+     l_____    Frutiger-BoldCn                        117.11
+     l_____    Frutiger-BlackCn                       117.12
+     l_____    Frutiger ExtraBlackCn                  117.13
+     l_____    Futura-Light                           118.0
+     l_____    Futura-LightOblique                    118.1
+     l_____    Futura-Book                            118.2
+     l_____    Futura-BookOblique                     118.3
+     l_____    Futura                                 118.4
+     l_____    Futura-Oblique                         118.5
+     l_____    Futura-Heavy                           118.6
+     l_____    Futura-HeavyOblique                    118.7
+     l_____    Futura-Bold                            118.8
+     l_____    Futura-BoldOblique                     118.9
+     l_____    Futura-ExtraBold                       118.10
+     l_____    Futura-ExtraBoldOblique                118.11
+     l_____    Futura-CondensedLight                  118.12
+     l_____    Futura-CondensedLightOblique           118.13
+     l_____    Futura-CondensedMedium                 118.14
+     l_____    Futura-CondensedMediumOblique          118.15
+     l_____    Futura-CondensedBold                   118.16
+     l_____    Futura-CondensedBoldOblique            118.17
+     l_____    Futura-CondensedExtraBlack             118.18
+     l_____    Futura-CondExtraBlackOblique           118.19
+     l_____    FuturaEF-Light                         118.22
+     l_____    FuturaEF-LightOblique                  118.23
+     l_____    FuturaEF-Book                          118.24
+     l_____    FuturaEF-BookOblique                   118.25
+     l_____    FuturaEF-Medium                        118.26
+     l_____    FuturaEF-MediumOblique                 118.27
+     l_____    FuturaEF-Bold                          118.28
+     l_____    FuturaEF-DemiBold                      118.29
+     l_____    FuturaEF-BoldOblique                   118.30
+     l_____    FuturaEF-DemiBoldOblique               118.31
+     l_____    FuturaEF-ExtraBold                     118.32
+     l_____    FuturaEF-ExtraBoldOblique              118.33
+     l_____    FuturaEF-Heavy                         118.34
+     l_____    FuturaEF-LightCondensed                118.35
+     l_____    FuturaEF-LightCondensedOblique         118.36
+     l_____    FuturaEF-MediumCondensed               118.37
+     l_____    FuturaEF-MediumCondensedOblique        118.38
+     l_____    FuturaEF-BoldCondensed                 118.39
+     l_____    FuturaEF-BoldCondensedOblique          118.40
+     l_____    FuturaEF-ExtraBoldCondensed            118.41
+     l_____    FuturaEF-ExtraBoldCondOblique          118.42
+     l_____    FuturaBlackEF                          118.43
+     l_____    FuturaDisplayEF                        118.44
+     l_____    FuturaScriptEF                         118.45
+     l_____    FuturaEF-ExtraBoldShaded               118.46
+     l_____    Galahad-Regular                        119.0
+     l_____    Galahad-Alternate                      119.1
+     l_____    Galahad-OsF                            119.2
+     l_____    GarthGraphic                           121.0
+     l_____    GarthGraphic-Italic                    121.1
+     l_____    GarthGraphic-Bold                      121.2
+     l_____    GarthGraphic-BoldItalic                121.3
+     l_____    GarthGraphic-Black                     121.4
+     l_____    GarthGraphic ExtraBlack                121.5
+     l_____    GarthGraphic-Condensed                 121.6
+     l_____    GarthGraphic-BoldCondensed             121.7
+     l_____    GazetteLH-Roman                        122.0
+     l_____    GazetteLH-Italic                       122.1
+     l_____    GazetteLH-Bold                         122.2
+     lpi___    GiacomettiLL                           123.0
+     l_____    GillSans-Light                         124.0
+     l_____    GillSans-LightItalic                   124.1
+     l_____    GillSans                               124.2
+     l_____    GillSans-Italic                        124.3
+     l_____    GillSans-Bold                          124.4
+     l_____    GillSans-BoldItalic                    124.5
+     l_____    GillSans-ExtraBold                     124.6
+     l_____    GillSans-UltraBold                     124.7
+     l_____    GillSans-LightShadowed                 124.8
+     l_____    GillSans-Shadowed                      124.9
+     l_____    GillSans-Condensed                     124.10
+     l_____    GillSans-BoldCondensed                 124.11
+     l_____    GillSans-BoldExtraCondensed            124.12
+     l_____    GillSans-UltraBoldCondensed            124.13
+     l_____    GillSans-ExtraBoldDisplay              124.14
+     l_____    GilliesGothicEF-Light                  125.0
+     l_____    GilliesGothicEF-Bold                   125.1
+     l_____    GilliesGothicEF-ExtraBold              125.2
+     l_____    GilliesGothicEF-XBoShaded              125.3
+     l_____    GlastonburyEF                          126.0
+     l_____    Glypha-Thin                            127.0
+     l_____    Glypha-ThinOblique                     127.1
+     l_____    Glypha-Light                           127.2
+     l_____    Glypha-LightOblique                    127.3
+     l_____    Glypha                                 127.4
+     l_____    Glypha-RomanOblique                    127.5
+     l_____    Glypha-Bold                            127.6
+     l_____    Glypha-BoldOblique                     127.7
+     l_____    Glypha-Black                           127.8
+     l_____    Glypha-BlackOblique                    127.9
+     l_____    GoodiesLL                              128.0
+     l_____    Gothic-Thirteen                        129.0
+     l_____    Goudy-Bold                             130.0
+     l_____    Goudy-BoldOsF                          130.1
+     l_____    Goudy-BoldItalic                       130.2
+     l_____    Goudy-BoldItalicOsF                    130.3
+     l_____    Goudy-ExtraBold                        130.4
+     l_____    Goudy-Heavyface                        130.5
+     l_____    Goudy-HeavyfaceItalic                  130.6
+     l_____    GoudyHandtooledEF                      130.7
+     l_____    GoudyCatalogueEF-Regular               130.8
+     l_____    GoudyCatalogueEF-Italic                130.9
+     l_____    GoudyModernMT-Roman                    130.10
+     l_____    GoudyModernMT-Italic                   130.11
+     l_____    Goudy                                  130.12
+     l_____    Goudy-SC                               130.13
+     l_____    Goudy-Italic                           130.14
+     l_____    Goudy-ItalicOsF                        130.15
+     l_____    GoudySans-Book                         130.16
+     l_____    GoudySans-BookItalic                   130.17
+     l_____    GoudySans-Medium                       130.18
+     l_____    GoudySans-MediumItalic                 130.19
+     l_____    GoudySans-Bold                         130.20
+     l_____    GoudySans-BoldItalic                   130.21
+     l_____    GoudySans-Black                        130.22
+     l_____    GoudySans-BlackItalic                  130.23
+     l_____    GoudySansEF-Book                       130.24
+     l_____    GoudySansEF-BookSC                     130.25
+     l_____    GoudySansEF-BookItalic                 130.26
+     l_____    GoudySansEF-Medium                     130.27
+     l_____    GoudySansEF-MediumSC                   130.28
+     l_____    GoudySansEF-MediumItalic               130.29
+     l_____    GoudySansEF-Bold                       130.30
+     l_____    GoudySansEF-BoldItalic                 130.31
+     l_____    GoudySansEF-Black                      130.32
+     l_____    GoudySansEF-BlackItalic                130.33
+     l_____    GoudyTextMT-Regular                    130.34
+     l_____    GoudyTextMT-Alternate                  130.35
+     l_____    GoudyTextMT-Dfr                        130.36
+     l_____    GoudyTextMT-LombardicCapitals          130.37
+     l_____    Grafiko                                131.0
+     l_____    Granjon                                132.0
+     l_____    Granjon-SC                             132.1
+     l_____    Granjon-Italic                         132.2
+     l_____    Granjon-ItalicOsF                      132.3
+     l_____    Granjon-Bold                           132.4
+     l_____    Granjon-BoldOsF                        132.5
+     l_____    GrotesqueMT-Light                      133.0
+     l_____    GrotesqueMT-LightItalic                133.1
+     l_____    GrotesqueMT                            133.2
+     l_____    GrotesqueMT-Italic                     133.3
+     l_____    GrotesqueMT-Bold                       133.4
+     l_____    GrotesqueMT-Black                      133.5
+     l_____    GrotesqueMT-LightCondensed             133.6
+     l_____    GrotesqueMT-Condensed                  133.7
+     l_____    GrotesqueMT-ExtraCondensed             133.8
+     l_____    GrotesqueMT-BoldExtended               133.9
+     l_____    Guardi-Roman                           134.0
+     l_____    Guardi-Italic                          134.1
+     l_____    Guardi-Bold                            134.2
+     l_____    Guardi-BoldItalic                      134.3
+     l_____    Guardi-Black                           134.4
+     l_____    Guardi-BlackItalic                     134.5
+     l_____    HadfieldEF                             135.0
+     l_____    Hadriano-Light                         136.0
+     l_____    Hadriano-Bold                          136.1
+     l_____    Hadriano-ExtraBold                     136.2
+     l_____    Hadriano-ExtraBoldCondensed            136.3
+     l_____    HanselEF-Regular                       137.0
+     l_____    HanselEF-Alternate                     137.1
+     l_____    HarlowEF-Solid                         138.0
+     l_____    HarlowEF                               138.1
+     l_____    HawthornEF                             139.0
+     l_____    Helvetica-Light                        140.0
+     l_____    Helvetica-LightOblique                 140.1
+     l_____    Helvetica                              140.2
+     l_____    Helvetica-Oblique                      140.3
+     l_____    Helvetica-Bold                         140.4
+     l_____    Helvetica-BoldOblique                  140.5
+     l_____    Helvetica-Black                        140.6
+     l_____    Helvetica-BlackOblique                 140.7
+     l_____    Helvetica-Condensed-Light              140.8
+     l_____    Helvetica-Condensed-LightObl           140.9
+     l_____    Helvetica-Condensed                    140.10
+     l_____    Helvetica-Condensed-Oblique            140.11
+     l_____    Helvetica-Condensed-Bold               140.12
+     l_____    Helvetica-Condensed-BoldObl            140.13
+     l_____    Helvetica-Condensed-Black              140.14
+     l_____    Helvetica-Condensed-BlackObl           140.15
+     l_____    Helvetica-Compressed                   140.16
+     l_____    Helvetica-ExtraCompressed              140.17
+     l_____    Helvetica-UltraCompressed              140.18
+     l_____    HelveticaInserat-Roman                 140.19
+     l_____    HelveticaRounded-Bold                  140.24
+     l_____    HelveticaRounded-BoldObl               140.25
+     l_____    HelveticaRounded-Black                 140.26
+     l_____    HelveticaRounded-BlackObl              140.27
+     l_____    HelveticaRounded-BoldCond              140.28
+     l_____    HelveticaRounded-BoldCondObl           140.29
+     l_____    HelveticaTextbook                      140.30
+     l_____    HelveticaTextbook-Oblique              140.31
+     l_____    HelveticaTextbook-Bold                 140.32
+     l_____    HelveticaTextbook-BoldObl              140.33
+     l_____    HelveticaCE-Roman                      140.36
+     l_____    HelveticaCE-Bold                       140.37
+     l_____    HelveticaCE-NarrowRoman                140.38
+     l_____    HelveticaCE-NarrowBold                 140.39
+     l_____    HelveticaCyr-Upright                   140.40
+     l_____    HelveticaCyr-Inclined                  140.41
+     l_____    HelveticaCyr-Bold                      140.42
+     l_____    HelveticaCyr-BoldInclined              140.43
+     l_____    HelveticaInseratCyr-Upright            140.44
+     l_____    HelveticaGreek-Upright                 140.45
+     l_____    HelveticaGreek-Inclined                140.46
+     l_____    HelveticaGreek-Bold                    140.47
+     l_____    HelveticaGreek-BoldInclined            140.48
+     l_____    HelveticaGreekP-Upright                140.49
+     l_____    HelveticaGreekP-Inclined               140.50
+     l_____    HelveticaGreekP-Bold                   140.51
+     l_____    HelveticaGreekP-BoldInclined           140.52
+     l_____    HelveticaNeue-UltraLight               140.53
+     l_____    HelveticaNeue-UltraLightItalic         140.54
+     l_____    HelveticaNeue-Thin                     140.55
+     l_____    HelveticaNeue-ThinItalic               140.56
+     l_____    HelveticaNeue-Light                    140.57
+     l_____    HelveticaNeue-LightItalic              140.58
+     l_____    HelveticaNeue-Roman                    140.59
+     l_____    HelveticaNeue-Italic                   140.60
+     l_____    HelveticaNeue-Medium                   140.61
+     l_____    HelveticaNeue-MediumItalic             140.62
+     l_____    HelveticaNeue-Bold                     140.63
+     l_____    HelveticaNeue-BoldItalic               140.64
+     l_____    HelveticaNeue-Heavy                    140.65
+     l_____    HelveticaNeue-HeavyItalic              140.66
+     l_____    HelveticaNeue-Black                    140.67
+     l_____    HelveticaNeue-BlackItalic              140.68
+     l_____    HelveticaNeue-BoldOutline              140.69
+     l_____    HelveticaNeue-UltraLigCond             140.70
+     l_____    HelveticaNeue-UltraLigCondObl          140.71
+     l_____    HelveticaNeue-ThinCond                 140.72
+     l_____    HelveticaNeue-ThinCondObl              140.73
+     l_____    HelveticaNeue-LightCond                140.74
+     l_____    HelveticaNeue-LightCondObl             140.75
+     l_____    HelveticaNeue-Condensed                140.76
+     l_____    HelveticaNeue-CondensedObl             140.77
+     l_____    HelveticaNeue-MediumCond               140.78
+     l_____    HelveticaNeue-MediumCondObl            140.79
+     l_____    HelveticaNeue-BoldCond                 140.80
+     l_____    HelveticaNeue-BoldCondObl              140.81
+     l_____    HelveticaNeue-HeavyCond                140.82
+     l_____    HelveticaNeue-HeavyCondObl             140.83
+     l_____    HelveticaNeue-BlackCond                140.84
+     l_____    HelveticaNeue-BlackCondObl             140.85
+     l_____    HelveticaNeue-ExtBlackCond             140.86
+     l_____    HelveticaNeue-ExtBlackCondObl          140.87
+     l_____    HelveticaNeue-UltraLightExt            140.88
+     l_____    HelveticaNeue-UltraLightExtObl         140.89
+     l_____    HelveticaNeue-ThinExt                  140.90
+     l_____    HelveticaNeue-ThinExtObl               140.91
+     l_____    HelveticaNeue-LightExt                 140.92
+     l_____    HelveticaNeue-LightExtObl              140.93
+     l_____    HelveticaNeue-Extended                 140.94
+     l_____    HelveticaNeue-ExtendedObl              140.95
+     l_____    HelveticaNeue-MediumExt                140.96
+     l_____    HelveticaNeue-MediumExtObl             140.97
+     l_____    HelveticaNeue-BoldExt                  140.98
+     l_____    HelveticaNeue-BoldExtObl               140.99
+     l_____    HelveticaNeue-HeavyExt                 140.100
+     l_____    HelveticaNeue-HeavyExtObl              140.101
+     l_____    HelveticaNeue-BlackExt                 140.102
+     l_____    HelveticaNeue-BlackExtObl              140.103
+     l_____    HelveticaNeueCE-Thin                   140.104
+     l_____    HelveticaNeueCE-ThinItalic             140.105
+     l_____    HelveticaNeueCE-Roman                  140.106
+     l_____    HelveticaNeueCE-Italic                 140.107
+     l_____    HelveticaNeueCE-Bold                   140.108
+     l_____    HelveticaNeueCE-BoldItalic             140.109
+     l_____    HelveticaNeueEastA-Thin                140.110
+     l_____    HelveticaNeueEastA-ThinObl             140.111
+     l_____    HelveticaNeueEastA-Roman               140.112
+     l_____    HelveticaNeueEastA-RomanObl            140.113
+     l_____    HelveticaNeueEastA-Bold                140.114
+     l_____    HelveticaNeueEastA-BoldObl             140.115
+     l_____    HeraldusEF-ExtraFett                   141.0
+     l_____    HighlightEF                            143.0
+     l_____    Hiroshige-Book                         144.0
+     l_____    Hiroshige-BookItalic                   144.1
+     l_____    Hiroshige-Medium                       144.2
+     l_____    Hiroshige-MediumItalic                 144.3
+     l_____    Hiroshige-Bold                         144.4
+     l_____    Hiroshige-BoldItalic                   144.5
+     l_____    Hiroshige-Black                        144.6
+     l_____    Hiroshige-BlackItalic                  144.7
+     l_____    Hobo                                   145.0
+     l_____    HoboEF                                 145.1
+     l_____    HogarthScriptEF-Regular                146.0
+     l_____    HondaEF                                147.0
+     l_____    HoratioEF-Light                        148.0
+     l_____    HoratioEF-Medium                       148.1
+     l_____    HoratioEF-Bold                         148.2
+     l_____    HorleyOldStyleMT-Light                 149.0
+     l_____    HorleyOldStyleMT-LightItalic           149.1
+     l_____    HorleyOldStyleMT-Roman                 149.2
+     l_____    HorleyOldStyleMT-Italic                149.3
+     l_____    HorleyOldStyleMT-SemiBold              149.4
+     l_____    HorleyOldStyleMT-SbItalic              149.5
+     l_____    HorleyOldStyleMT-Bold                  149.6
+     l_____    HorleyOldStyleMT-BoldItalic            149.7
+     lpi___    HotmetalBorders-One                    150.0
+     lpi___    HotmetalBorders-Two                    150.1
+     lpi___    HotmetalBorders-Three                  150.2
+     lpi___    HotmetalBorders-Four                   150.3
+     l_____    AmericanTypewriter-Light               153.0
+     l_____    AmericanTypewriter-LightA              153.1
+     l_____    AmericanTypewriter-Medium              153.2
+     l_____    AmericanTypewriter-MediumA             153.3
+     l_____    AmericanTypewriter-Bold                153.4
+     l_____    AmericanTypewriter-BoldA               153.5
+     l_____    AmericanTypewriter-LightCond           153.6
+     l_____    AmericanTypewriter-LightCondA          153.7
+     l_____    AmericanTypewriter-MediumCond          153.8
+     l_____    AmericanTypewriter-MediumCondA         153.9
+     l_____    AmericanTypewriter-BoldCond            153.10
+     l_____    AmericanTypewriter-BoldCondA           153.11
+     l_____    AmericanTypewriterEF-Light             153.14
+     l_____    AmericanTypewriterEF-LightItalic       153.15
+     l_____    AmericanTypewriterEF-Medium            153.16
+     l_____    AmericanTypewriterEF-MediumItalic      153.17
+     l_____    AmericanTypewriterEF-Bold              153.18
+     l_____    AmericanTypewriterEF-BoldItalic        153.19
+     l_____    AmericanTypewriterEF-LightCond         153.20
+     l_____    AmericanTypewriterEF-MediumCond        153.21
+     l_____    AmericanTypewriterEF-BoldCond          153.22
+     l_____    Anna                                   154.0
+     l_____    AnnaEF                                 154.1
+     l_____    AnnaEF-SC                              154.2
+     l_____    AvantGarde-ExtraLight                  155.0
+     l_____    AvantGarde-ExtraLightObl               155.1
+     l_____    AvantGarde-Book                        155.2
+     l_____    AvantGarde-BookOblique                 155.3
+     l_____    AvantGarde-Medium                      155.4
+     l_____    AvantGarde-MediumObl                   155.5
+     l_____    AvantGarde-Demi                        155.6
+     l_____    AvantGarde-DemiOblique                 155.7
+     l_____    AvantGarde-Bold                        155.8
+     l_____    AvantGarde-BoldObl                     155.9
+     l_____    AvantGarde-CondBook                    155.10
+     l_____    AvantGarde-CondMedium                  155.11
+     l_____    AvantGarde-CondDemi                    155.12
+     l_____    AvantGarde-CondBold                    155.13
+     l_____    AvantGardeGothicCE-Book                155.14
+     l_____    AvantGardeGothicCE-Demi                155.15
+     l_____    AvantGardeGothicEF-ExtraLight          155.16
+     l_____    AvantGardeGothicEF-ExtraLightObl       155.17
+     l_____    AvantGardeGothicEF-Book                155.18
+     l_____    AvantGardeGothicEF-BookOblique         155.19
+     l_____    AvantGardeGothicEF-Medium              155.20
+     l_____    AvantGardeGothicEF-MediumOblique       155.21
+     l_____    AvantGardeGothicEF-Demi                155.22
+     l_____    AvantGardeGothicEF-DemiOblique         155.23
+     l_____    AvantGardeGothicEF-Bold                155.24
+     l_____    AvantGardeGothicEF-BoldOblique         155.25
+     l_____    AvantGardeGothicEF-CondBook            155.26
+     l_____    AvantGardeGothicEF-CondMedium          155.27
+     l_____    AvantGardeGothicEF-CondDemi            155.28
+     l_____    AvantGardeGothicEF-CondBold            155.29
+     l_____    AvantGardeMonoEF-Light                 155.30
+     l_____    AvantGardeMonoEF-LightIta              155.31
+     l_____    AvantGardeMonoEF-Bold                  155.32
+     l_____    AvantGardeMonoEF-BoldIta               155.33
+     l_____    Beesknees                              156.0
+     l_____    BeeskneesEF                            156.1
+     l_____    Benguiat-Book                          157.0
+     l_____    Benguiat-BookItalic                    157.1
+     l_____    Benguiat-Medium                        157.2
+     l_____    Benguiat-MediumItalic                  157.3
+     l_____    Benguiat-Bold                          157.4
+     l_____    Benguiat-BoldItalic                    157.5
+     l_____    BenguiatEF-Book                        157.6
+     l_____    BenguiatEF-BookItalic                  157.7
+     l_____    BenguiatEF-Medium                      157.8
+     l_____    BenguiatEF-MediumItalic                157.9
+     l_____    BenguiatEF-Bold                        157.10
+     l_____    BenguiatEF-BoldItalic                  157.11
+     l_____    BenguiatEF-BookCondensed               157.12
+     l_____    BenguiatEF-BookCondensedIta            157.13
+     l_____    BenguiatEF-MediumCondensed             157.14
+     l_____    BenguiatEF-MediumCondensedIta          157.15
+     l_____    BenguiatEF-BoldCondensed               157.16
+     l_____    BenguiatEF-BoldCondensedIta            157.17
+     l_____    Berkeley-Book                          158.0
+     l_____    Berkeley-BookItalic                    158.1
+     l_____    Berkeley-Medium                        158.2
+     l_____    Berkeley-Italic                        158.3
+     l_____    Berkeley-Bold                          158.4
+     l_____    Berkeley-BoldItalic                    158.5
+     l_____    Berkeley-Black                         158.6
+     l_____    Berkeley-BlackItalic                   158.7
+     l_____    BerkeleyOldstyleEF-Book                158.8
+     l_____    BerkeleyOldstyleEF-BookItalic          158.9
+     l_____    BerkeleyOldstyleEF-Medium              158.10
+     l_____    BerkeleyOldstyleEF-MediumItalic        158.11
+     l_____    BerkeleyOldstyleEF-Bold                158.12
+     l_____    BerkeleyOldstyleEF-BoldItalic          158.13
+     l_____    BerkeleyOldstyleEF-Black               158.14
+     l_____    BerkeleyOldstyleEF-BlackItalic         158.15
+     l_____    BoltEF                                 159.0
+     l_____    CharterEF-Regular                      160.0
+     l_____    CharterEF-RegularSC                    160.1
+     l_____    CharterEF-RegularItalic                160.2
+     l_____    CharterEF-RegularItalicOsF             160.3
+     l_____    CharterEF-Bold                         160.4
+     l_____    CharterEF-BoldSC                       160.5
+     l_____    CharterEF-BoldItalic                   160.6
+     l_____    CharterEF-BoldItalicOsF                160.7
+     l_____    CharterEF-Black                        160.8
+     l_____    CharterEF-BlackOsF                     160.9
+     l_____    CharterEF-BlackItalic                  160.10
+     l_____    CharterEF-BlackItalicOsF               160.11
+     l_____    ElanEF-Book                            161.0
+     l_____    ElanEF-BookSC                          161.1
+     l_____    ElanEF-BookItalic                      161.2
+     l_____    ElanEF-Medium                          161.3
+     l_____    ElanEF-MediumSC                        161.4
+     l_____    ElanEF-MediumItalic                    161.5
+     l_____    ElanEF-Bold                            161.6
+     l_____    ElanEF-BoldItalic                      161.7
+     l_____    ElanEF-Black                           161.8
+     l_____    ElanEF-BlackItalic                     161.9
+     l_____    ItcEras-Light                          162.0
+     l_____    ItcEras-Book                           162.1
+     l_____    ItcEras-Medium                         162.2
+     l_____    ItcEras-Demi                           162.3
+     l_____    ItcEras-Bold                           162.4
+     l_____    ItcEras-Ultra                          162.5
+     l_____    ItcErasEF-Light                        162.6
+     l_____    ItcErasEF-Book                         162.7
+     l_____    ItcErasEF-Medium                       162.8
+     l_____    ItcErasEF-Demi                         162.9
+     l_____    ItcErasEF-Bold                         162.10
+     l_____    ItcErasEF-Ultra                        162.11
+     l_____    Fenice-Light                           163.0
+     l_____    Fenice-LightOblique                    163.1
+     l_____    Fenice-Regular                         163.2
+     l_____    Fenice-RegularOblique                  163.3
+     l_____    Fenice-Bold                            163.4
+     l_____    Fenice-BoldOblique                     163.5
+     l_____    Fenice-Ultra                           163.6
+     l_____    Fenice-UltraOblique                    163.7
+     l_____    FeniceEF-Light                         163.8
+     l_____    FeniceEF-LightItalic                   163.9
+     l_____    FeniceEF-Regular                       163.10
+     l_____    FeniceEF-RegularItalic                 163.11
+     l_____    FeniceEF-Bold                          163.12
+     l_____    FeniceEF-BoldItalic                    163.13
+     l_____    FeniceEF-Ultra                         163.14
+     l_____    FeniceEF-UltraItalic                   163.15
+     l_____    FrizQuadrata                           164.0
+     l_____    FrizQuadrata-Bold                      164.1
+     l_____    FrizQuadrataEF-Regular                 164.2
+     l_____    FrizQuadrataEF-RegularSC               164.3
+     l_____    FrizQuadrataEF-RegularItalic           164.4
+     l_____    FrizQuadrataEF-Bold                    164.5
+     l_____    FrizQuadrataEF-BoldItalic              164.6
+     l_____    Giovanni-Book                          165.0
+     l_____    Giovanni-BookItalic                    165.1
+     l_____    Giovanni-Bold                          165.2
+     l_____    Giovanni-BoldItalic                    165.3
+     l_____    Giovanni-Black                         165.4
+     l_____    Giovanni-BlackItalic                   165.5
+     l_____    GiovanniEF-Book                        165.6
+     l_____    GiovanniEF-BookSC                      165.7
+     l_____    GiovanniEF-BookItalic                  165.8
+     l_____    GiovanniEF-Bold                        165.9
+     l_____    GiovanniEF-BoldSC                      165.10
+     l_____    GiovanniEF-BoldItalic                  165.11
+     l_____    GiovanniEF-Black                       165.12
+     l_____    GiovanniEF-BlackItalic                 165.13
+     l_____    Highlander-Book                        166.0
+     l_____    Highlander-BookItalic                  166.1
+     l_____    Highlander-Medium                      166.2
+     l_____    Highlander-MediumItalic                166.3
+     l_____    Highlander-Bold                        166.4
+     l_____    Highlander-BoldItalic                  166.5
+     l_____    HighlanderEF-Book                      166.6
+     l_____    HighlanderEF-BookSC                    166.7
+     l_____    HighlanderEF-BookItalic                166.8
+     l_____    HighlanderEF-Medium                    166.9
+     l_____    HighlanderEF-MediumSC                  166.10
+     l_____    HighlanderEF-MediumItalic              166.11
+     l_____    HighlanderEF-Bold                      166.12
+     l_____    HighlanderEF-BoldItalic                166.13
+     l_____    Isadora-Roman                          167.0
+     l_____    Isadora-Bold                           167.1
+     l_____    IsadoraEF-Regular                      167.2
+     l_____    IsadoraEF-Bold                         167.3
+     l_____    JamilleEF-Book                         168.0
+     l_____    JamilleSCEF-Book                       168.1
+     l_____    JamilleEF-BookItalic                   168.2
+     l_____    JamilleEF-Bold                         168.3
+     l_____    JamilleSCEF-Bold                       168.4
+     l_____    JamilleEF-BoldItalic                   168.5
+     l_____    JamilleEF-Black                        168.6
+     l_____    JamilleEF-BlackItalic                  168.7
+     l_____    Leawood-Book                           169.0
+     l_____    Leawood-BookItalic                     169.1
+     l_____    Leawood-Medium                         169.2
+     l_____    Leawood-MediumItalic                   169.3
+     l_____    Leawood-Bold                           169.4
+     l_____    Leawood-BoldItalic                     169.5
+     l_____    Leawood-Black                          169.6
+     l_____    Leawood-BlackItalic                    169.7
+     l_____    LeawoodEF-Book                         169.8
+     l_____    LeawoodEF-BookSC                       169.9
+     l_____    LeawoodEF-BookItalic                   169.10
+     l_____    LeawoodEF-Medium                       169.11
+     l_____    LeawoodEF-MediumSC                     169.12
+     l_____    LeawoodEF-MediumItalic                 169.13
+     l_____    LeawoodEF-Bold                         169.14
+     l_____    LeawoodEF-BoldItalic                   169.15
+     l_____    LeawoodEF-Black                        169.16
+     l_____    LeawoodEF-BlackItalic                  169.17
+     l_____    LubalinGraph-Book                      170.0
+     l_____    LubalinGraph-BookOblique               170.1
+     l_____    LubalinGraph-Demi                      170.2
+     l_____    LubalinGraph-DemiOblique               170.3
+     l_____    LubalinGraphEF-ExtraLight              170.4
+     l_____    LubalinGraphEF-ExtraLightObl           170.5
+     l_____    LubalinGraphEF-Book                    170.6
+     l_____    LubalinGraphEF-BookOblique             170.7
+     l_____    LubalinGraphEF-Medium                  170.8
+     l_____    LubalinGraphEF-MediumOblique           170.9
+     l_____    LubalinGraphEF-Demi                    170.10
+     l_____    LubalinGraphEF-DemiOblique             170.11
+     l_____    LubalinGraphEF-Bold                    170.12
+     l_____    LubalinGraphEF-BoldOblique             170.13
+     l_____    LubalinGraphEF-BookCond                170.14
+     l_____    LubalinGraphEF-BookCondSC              170.15
+     l_____    LubalinGraphEF-BookCondObl             170.16
+     l_____    LubalinGraphEF-MediumCond              170.17
+     l_____    LubalinGraphEF-MediumCondSC            170.18
+     l_____    LubalinGraphEF-MediumCondObl           170.19
+     l_____    LubalinGraphEF-DemiCond                170.20
+     l_____    LubalinGraphEF-DemiCondObl             170.21
+     l_____    LubalinGraphEF-BoldCond                170.22
+     l_____    LubalinGraphEF-BoldCondObl             170.23
+     l_____    MixageEF-Book                          171.0
+     l_____    MixageSCEF-Book                        171.1
+     l_____    MixageEF-BookItalic                    171.2
+     l_____    MixageEF-Medium                        171.3
+     l_____    MixageSCEF-Medium                      171.4
+     l_____    MixageEF-MediumItalic                  171.5
+     l_____    MixageEF-Bold                          171.6
+     l_____    MixageEF-BoldItalic                    171.7
+     l_____    MixageEF-Black                         171.8
+     l_____    MixageEF-BlackItalic                   171.9
+     l_____    MotterCorpusEF-Regular                 172.0
+     l_____    MotterCorpusEF-RegularCondensed        172.1
+     l_____    NewtextEF-Light                        173.0
+     l_____    NewtextEF-LightItalic                  173.1
+     l_____    NewtextEF-Book                         173.2
+     l_____    NewtextEF-BookItalic                   173.3
+     l_____    NewtextEF-Regular                      173.4
+     l_____    NewtextEF-RegularItalic                173.5
+     l_____    NewtextEF-Demi                         173.6
+     l_____    NewtextEF-DemiItalic                   173.7
+     l_____    Ozwald                                 174.0
+     l_____    OzwaldEF                               174.1
+     l_____    PanacheEF-Book                         175.0
+     l_____    PanacheSCEF-Book                       175.1
+     l_____    PanacheEF-BookItalic                   175.2
+     l_____    PanacheEF-Bold                         175.3
+     l_____    PanacheSCEF-Bold                       175.4
+     l_____    PanacheEF-BoldItalic                   175.5
+     l_____    PanacheEF-Black                        175.6
+     l_____    PanacheEF-BlackItalic                  175.7
+     l_____    Quorum-Light                           176.0
+     l_____    Quorum-Book                            176.1
+     l_____    Quorum-Medium                          176.2
+     l_____    Quorum-Bold                            176.3
+     l_____    Quorum-Black                           176.4
+     l_____    QuorumEF-Light                         176.5
+     l_____    QuorumEF-Book                          176.6
+     l_____    QuorumEF-Medium                        176.7
+     l_____    QuorumEF-Bold                          176.8
+     l_____    QuorumEF-Black                         176.9
+     l_____    RondaEF                                177.0
+     l_____    Slimbach-Book                          178.0
+     l_____    Slimbach-BookItalic                    178.1
+     l_____    Slimbach-Medium                        178.2
+     l_____    Slimbach-MediumItalic                  178.3
+     l_____    Slimbach-Bold                          178.4
+     l_____    Slimbach-BoldItalic                    178.5
+     l_____    Slimbach-Black                         178.6
+     l_____    Slimbach-BlackItalic                   178.7
+     l_____    SlimbachEF-Book                        178.8
+     l_____    SlimbachEF-BookSC                      178.9
+     l_____    SlimbachEF-BookItalic                  178.10
+     l_____    SlimbachEF-Medium                      178.11
+     l_____    SlimbachEF-MediumSC                    178.12
+     l_____    SlimbachEF-MediumItalic                178.13
+     l_____    SlimbachEF-Bold                        178.14
+     l_____    SlimbachEF-BoldItalic                  178.15
+     l_____    SlimbachEF-Black                       178.16
+     l_____    SlimbachEF-BlackItalic                 178.17
+     l_____    StudioScriptEF                         179.0
+     l_____    StudioScriptEF-Alternative             179.1
+     l_____    SyndorEF-Book                          180.0
+     l_____    SyndorEF-BookSC                        180.1
+     l_____    SyndorEF-BookItalic                    180.2
+     l_____    SyndorEF-Medium                        180.3
+     l_____    SyndorEF-MediumSC                      180.4
+     l_____    SyndorEF-MediumItalic                  180.5
+     l_____    SyndorEF-Bold                          180.6
+     l_____    SyndorEF-BoldItalic                    180.7
+     l_____    Tiffany                                181.0
+     l_____    Tiffany-Italic                         181.1
+     l_____    Tiffany-Demi                           181.2
+     l_____    Tiffany-DemiItalic                     181.3
+     l_____    Tiffany-Heavy                          181.4
+     l_____    Tiffany-HeavyItalic                    181.5
+     l_____    TiffanyEF-Light                        181.6
+     l_____    TiffanyEF-LightItalic                  181.7
+     l_____    TiffanyEF-Medium                       181.8
+     l_____    TiffanyEF-MediumItalic                 181.9
+     l_____    TiffanyEF-Demi                         181.10
+     l_____    TiffanyEF-DemiItalic                   181.11
+     l_____    TiffanyEF-Heavy                        181.12
+     l_____    TiffanyEF-HeavyItalic                  181.13
+     l_____    Weidemann-Book                         182.0
+     l_____    Weidemann-BookItalic                   182.1
+     l_____    Weidemann-Medium                       182.2
+     l_____    Weidemann-MediumItalic                 182.3
+     l_____    Weidemann-Bold                         182.4
+     l_____    Weidemann-BoldItalic                   182.5
+     l_____    Weidemann-Black                        182.6
+     l_____    Weidemann-BlackItalic                  182.7
+     l_____    WeidemannEF-Book                       182.8
+     l_____    WeidemannEF-BookSC                     182.9
+     l_____    WeidemannEF-BookItalic                 182.10
+     l_____    WeidemannEF-Medium                     182.11
+     l_____    WeidemannEF-MediumSC                   182.12
+     l_____    WeidemannEF-MediumItalic               182.13
+     l_____    WeidemannEF-Bold                       182.14
+     l_____    WeidemannEF-BoldItalic                 182.15
+     l_____    WeidemannEF-Black                      182.16
+     l_____    WeidemannEF-BlackItalic                182.17
+     l_____    ManhattanEF                            183.0
+     l_____    Imago-Light                            184.0
+     l_____    Imago-LightItalic                      184.1
+     l_____    Imago-Book                             184.2
+     l_____    Imago-BookItalic                       184.3
+     l_____    Imago-Medium                           184.4
+     l_____    Imago-MediumItalic                     184.5
+     l_____    Imago-ExtraBold                        184.6
+     l_____    Imago-ExtraBoldItalic                  184.7
+     l_____    ImpactaLL                              185.0
+     l_____    Impressum-Roman                        186.0
+     l_____    Impressum-Italic                       186.1
+     l_____    Impressum-Bold                         186.2
+     l_____    ImpressumEF-Light                      186.3
+     l_____    ImpressumEF-LightItalic                186.4
+     l_____    ImpressumEF-Medium                     186.5
+     l_____    IndusLL-Normal                         187.0
+     l_____    IndusLL-Bold                           187.1
+     l_____    Industria-Solid                        188.0
+     l_____    Industria-SolidA                       188.1
+     l_____    Industria-Inline                       188.2
+     l_____    Industria-InlineA                      188.3
+     l_____    InflexMT-Bold                          189.0
+     l_____    Ironwood                               190.0
+     l_____    ItalianOldStyleMT-Regular              191.0
+     l_____    ItalianOldStyleMT-Italic               191.1
+     l_____    ItalianOldStyleMT-Bold                 191.2
+     l_____    ItalianOldStyleMT-BoldItalic           191.3
+     l_____    JensonOldStyleEF-BoldCond              192.0
+     l_____    Jiffy                                  193.0
+     l_____    JoannaMT                               194.0
+     l_____    JoannaMT-Italic                        194.1
+     l_____    JoannaMT-SemiBold                      194.2
+     l_____    JoannaMT-SemiBoldItalic                194.3
+     l_____    JoannaMT-Bold                          194.4
+     l_____    JoannaMT-BoldItalic                    194.5
+     l_____    JoannaMT-ExtraBold                     194.6
+     l_____    JuliaScriptEF                          195.0
+     l_____    Juniper                                196.0
+     l_____    KaffeesatzEF-Schwarz                   197.0
+     l_____    KaffeesatzEF-Suess                     197.1
+     l_____    KaffeesatzEF-Weiss                     197.2
+     l_____    KalligraphiaEF                         198.0
+     l_____    Kaufmann                               199.0
+     l_____    Kaufmann-Bold                          199.1
+     l_____    KaufmannEF-Bold                        199.2
+     l_____    Kigali-Roman                           200.0
+     l_____    Kigali-SxItalic                        200.1
+     l_____    Kigali-LxRoman                         200.2
+     l_____    Kigali-LxItalic                        200.3
+     l_____    Kigali-ZigZag                          200.4
+     l_____    Kigali-Block                           200.5
+     l_____    Kigali-SxRoman                         200.6
+     l_____    Kigali-Italic                          200.7
+     l_____    KinoMT                                 201.0
+     l_____    Kismet                                 202.0
+     l_____    KnightsbridgeEF                        203.0
+     l_____    KnightsbridgeEF-Alternate              203.1
+     l_____    KochAntiqua                            204.0
+     l_____    Kompakt                                205.0
+     l_____    KuenstlerScript-Medium                 206.0
+     l_____    KuenstlerScript-TwoBold                206.1
+     l_____    KuenstlerScript-Black                  206.2
+     l_____    KursivschriftStehHaar                  207.0
+     l_____    KursivschriftLiegHaar                  207.1
+     l_____    KursivschriftStehend                   207.2
+     l_____    KursivschriftLiegend                   207.3
+     l_____    KursivschriftRueckLie                  207.4
+     l_____    LakeInformal                           208.0
+     l_____    LakeInformalBold                       208.1
+     l_____    LatienneEF-Roman                       209.0
+     l_____    LatienneEF-RomanSC                     209.1
+     l_____    LatienneEF-Italic                      209.2
+     l_____    LatienneEF-ItalicSC                    209.3
+     l_____    LatienneEF-Medium                      209.4
+     l_____    LatienneEF-MediumSC                    209.5
+     l_____    LatienneEF-MediumItalic                209.6
+     l_____    LatienneEF-Bold                        209.7
+     l_____    LatienneEF-BoldItalic                  209.8
+     l_____    LatienneEF-ItalicSwC                   209.9
+     l_____    LatienneEF-MediumItalicSwC             209.10
+     l_____    LatienneEF-BoldItalicSwC               209.11
+     l_____    LatinMT-Condensed                      210.0
+     l_____    LazybonesEF                            211.0
+     l_____    LeGriffeEF                             212.0
+     l_____    LeGriffeEF-AlternateOne                212.1
+     l_____    LeGriffeEF-AlternateTwo                212.2
+     l_____    LetterGothic                           213.0
+     l_____    LetterGothic-Slanted                   213.1
+     l_____    LetterGothic-Bold                      213.2
+     l_____    LetterGothic-BoldSlanted               213.3
+     l_____    LibertyEF                              214.0
+     l_____    Life-Roman                             215.0
+     l_____    Life-Italic                            215.1
+     l_____    Life-Bold                              215.2
+     l_____    LifeEF-Regular                         215.3
+     l_____    LifeEF-RegularItalic                   215.4
+     l_____    LifeEF-Bold                            215.5
+     l_____    LightlineGothicEF                      216.0
+     l_____    LindsayEF                              217.0
+     l_____    Linoscript                             219.0
+     l_____    Linotext                               220.0
+     l_____    Linotext-Dfr                           220.1
+     lpi___    LAstrologyPi-One                       221.0
+     lpi___    LAstrologyPi-Two                       221.1
+     l_____    Centennial-Light                       222.0
+     l_____    Centennial-LightSC                     222.1
+     l_____    Centennial-LightItalic                 222.2
+     l_____    Centennial-LightItalicOsF              222.3
+     l_____    Centennial-Roman                       222.4
+     l_____    Centennial-RomanSC                     222.5
+     l_____    Centennial-Italic                      222.6
+     l_____    Centennial-ItalicOsF                   222.7
+     l_____    Centennial-Bold                        222.8
+     l_____    Centennial-BoldOsF                     222.9
+     l_____    Centennial-BoldItalic                  222.10
+     l_____    Centennial-BoldItalicOsF               222.11
+     l_____    Centennial-Black                       222.12
+     l_____    Centennial-BlackOsF                    222.13
+     l_____    Centennial-BlackItalic                 222.14
+     l_____    Centennial-BlackItalicOsF              222.15
+     l_____    CentennialCE-Light                     222.16
+     l_____    CentennialCE-LightItalic               222.17
+     l_____    CentennialCE-Roman                     222.18
+     l_____    CentennialCE-Italic                    222.19
+     l_____    CentennialCE-Bold                      222.20
+     l_____    CentennialCE-BoldItalic                222.21
+     l_____    CentennialCE-Black                     222.22
+     l_____    CentennialCE-BlackItalic               222.23
+     lpi___    LDecorationPi-One                      223.0
+     lpi___    LDecorationPi-Two                      223.1
+     l_____    DidotLH-Roman                          224.0
+     l_____    DidotLH-RomanSC                        224.1
+     l_____    DidotLH-RomanOsF                       224.2
+     l_____    DidotLH-Italic                         224.3
+     l_____    DidotLH-ItalicOsF                      224.4
+     l_____    DidotLH-Bold                           224.5
+     l_____    DidotLH-BoldOsF                        224.6
+     l_____    DidotLH-MediumInitials                 224.7
+     l_____    DidotLH-HeadlineRoman                  224.8
+     l_____    DidotLH-HeadlineRomanOsF               224.9
+     l_____    DidotLH-OrnamentsOne                   224.10
+     l_____    DidotLH-OrnamentsTwo                   224.11
+     lpi___    LGamePi-ChessDraughts                  225.0
+     lpi___    LGamePi-DiceDominoes                   225.1
+     lpi___    LGamePi-EnglishCards                   225.2
+     lpi___    LGamePi-FrenchCards                    225.3
+     lpi___    LHolidayPi-One                         227.0
+     lpi___    LHolidayPi-Two                         227.1
+     lpi___    LHolidayPi-Three                       227.2
+     lpi___    TextilLH-PiOne                         228.0
+     lpi___    TextilLH-PiTwo                         228.1
+     lpi___    WarningLH-Pi                           229.0
+     l_____    LiteraEF-Light                         230.0
+     l_____    LiteraEF-Regular                       230.1
+     l_____    LiteraEF-Medium                        230.2
+     l_____    LiteraEF-Heavy                         230.3
+     l_____    Lithos-ExtraLight                      231.0
+     l_____    Lithos-Light                           231.1
+     l_____    Lithos-Regular                         231.2
+     l_____    Lithos-Bold                            231.3
+     l_____    Lithos-Black                           231.4
+     l_____    LuMarcLL-Roman                         232.0
+     l_____    LuMarcLL-Bold                          232.1
+     l_____    Macbeth                                234.0
+     l_____    Madame-Letters                         235.0
+     l_____    Madame-Accents                         235.1
+     l_____    Madame-Numericals                      235.2
+     l_____    MarconiEF-Book                         236.0
+     l_____    MarconiSCEF-Book                       236.1
+     l_____    MarconiEF-BookItalic                   236.2
+     l_____    MarconiEF-SemiBold                     236.3
+     l_____    MarconiEF-SemiBoldItalic               236.4
+     l_____    Maximus                                237.0
+     l_____    Melior                                 238.0
+     l_____    Melior-Italic                          238.1
+     l_____    Melior-Bold                            238.2
+     l_____    Melior-BoldItalic                      238.3
+     l_____    Meridien-Roman                         239.0
+     l_____    Meridien-Italic                        239.1
+     l_____    Meridien-Medium                        239.2
+     l_____    Meridien-MediumItalic                  239.3
+     l_____    Meridien-Bold                          239.4
+     l_____    Meridien-BoldItalic                    239.5
+     l_____    MerlinLL                               240.0
+     l_____    MiamiEF                                241.0
+     l_____    MicrogrammaEF-MediumExtend             242.0
+     l_____    MicrogrammaEF-BoldExtend               242.1
+     l_____    MonantiEF-Regular                      243.0
+     l_____    MonantiEF-SemiBold                     243.1
+     l_____    MonolineScriptMT                       244.0
+     l_____    MurrayHillEF                           246.0
+     l_____    Myriad-Sketch                          247.0
+     l_____    Myriad-Headline                        247.1
+     l_____    Myriad-Tilt                            247.2
+     l_____    Mythos                                 248.0
+     lpi___    NationalCodes-Europe                   249.0
+     lpi___    NationalCodes-Africa                   249.1
+     lpi___    NationalCodes-America                  249.2
+     lpi___    NationalCodes-AsiaPlus                 249.3
+     lpi___    NationalCodes-Universal                249.4
+     l_____    NeueHammerUnziale-One                  250.0
+     l_____    NeueHammerUnziale-OneAlt               250.1
+     l_____    NeueHammerUnziale-TwoAlt               250.2
+     l_____    NeueHammerUnziale-Two                  250.3
+     l_____    NeuzeitSBook                           251.0
+     l_____    NeuzeitSBook-Heavy                     251.1
+     l_____    NevisionCasualEF                       252.0
+     l_____    NewBerolinaMT                          253.0
+     l_____    NewsGothic                             254.0
+     l_____    NewsGothic-Oblique                     254.1
+     l_____    NewsGothic-Bold                        254.2
+     l_____    NewsGothic-BoldOblique                 254.3
+     l_____    NicolasCochinEF-Regular                255.0
+     l_____    NicolasCochinEF-RegularIta             255.1
+     l_____    NicolasCochinEF-Black                  255.2
+     l_____    NikisEF-Light                          256.0
+     l_____    NikisEF-LightItalic                    256.1
+     l_____    NikisEF-SemiBold                       256.2
+     l_____    NikisEF-SemiBoldItalic                 256.3
+     l_____    Nofret-Light                           257.0
+     l_____    Nofret-LightSC                         257.1
+     l_____    Nofret-LightExpert                     257.2
+     l_____    Nofret-LightItalic                     257.3
+     l_____    Nofret-LightItalicOsF                  257.4
+     l_____    Nofret-LightItalicExpert               257.5
+     l_____    Nofret-Regular                         257.6
+     l_____    Nofret-RegularSC                       257.7
+     l_____    Nofret-RegularExpert                   257.8
+     l_____    Nofret-Italic                          257.9
+     l_____    Nofret-ItalicOsF                       257.10
+     l_____    Nofret-ItalicExpert                    257.11
+     l_____    Nofret-Medium                          257.12
+     l_____    Nofret-MediumSC                        257.13
+     l_____    Nofret-MediumExpert                    257.14
+     l_____    Nofret-MediumItalic                    257.15
+     l_____    Nofret-MediumItalicOsF                 257.16
+     l_____    Nofret-MediumItalicExpert              257.17
+     l_____    Nofret-Bold                            257.18
+     l_____    Nofret-BoldOsF                         257.19
+     l_____    Nofret-BoldExpert                      257.20
+     l_____    Nofret-BoldItalic                      257.21
+     l_____    Nofret-BoldItalicOsF                   257.22
+     l_____    Nofret-BoldItalicExpert                257.23
+     l_____    NotreDame-Roman                        258.0
+     l_____    NotreDame-RomanDfr                     258.1
+     l_____    NotreDame-Ornaments                    258.2
+     l_____    NuptialScript                          259.0
+     l_____    OCRA                                   260.0
+     l_____    OCRB                                   260.1
+     l_____    OCRA-A                                 260.2
+     l_____    OCRB-A                                 260.3
+     l_____    OCRBEF-Regular                         260.4
+     l_____    OctavianMT                             261.0
+     l_____    OctavianMT-SC                          261.1
+     l_____    OctavianMT-Expert                      261.2
+     l_____    OctavianMT-Italic                      261.3
+     l_____    OctavianMT-ItalicOsF                   261.4
+     l_____    OctavianMT-ItalicExpert                261.5
+     l_____    OdinEF                                 262.0
+     l_____    OldEnglishEF                           263.0
+     l_____    OldStyleSeven                          264.0
+     l_____    OldStyleSeven-SC                       264.1
+     l_____    OldStyleSeven-Italic                   264.2
+     l_____    OldStyleSeven-ItalicOsF                264.3
+     l_____    MonotypeOldStyleMT-BoldOut             264.4
+     l_____    OldTypewriterEF-ExLight                265.0
+     l_____    OldTypewriterEF-ExLightObl             265.1
+     l_____    OldTypewriterEF-Light                  265.2
+     l_____    OldTypewriterEF-LightObl               265.3
+     l_____    OldTypewriterEF-Regular                265.4
+     l_____    OldTypewriterEF-RegularA               265.5
+     l_____    OldTypewriterEF-RegularObl             265.6
+     l_____    OldTypewriterEF-Bold                   265.7
+     l_____    OldTypewriterEF-BoldObl                265.8
+     l_____    OldTypewriterEF-ExBold                 265.9
+     l_____    OldTypewriterEF-ExBoldObl              265.10
+     l_____    OlympiaEF-Light                        266.1
+     l_____    OlympiaEF-LightOblique                 266.2
+     l_____    OlympiaEF-SemiBold                     266.3
+     l_____    OlympiaEF-SemiBoldOblique              266.4
+     l_____    Olympian                               267.0
+     l_____    Olympian-Italic                        267.1
+     l_____    Olympian-Bold                          267.2
+     l_____    Olympian-BoldItalic                    267.3
+     l_____    Omnia                                  268.0
+     l_____    OndineEF                               269.1
+     l_____    OnyxMT                                 270.0
+     l_____    Orator                                 271.0
+     l_____    Orator-Slanted                         271.1
+     l_____    Oxford                                 272.0
+     l_____    Caecilia-Light                         273.0
+     l_____    Caecilia-LightSC                       273.1
+     l_____    Caecilia-LightOsF                      273.2
+     l_____    Caecilia-LightItalic                   273.3
+     l_____    Caecilia-LightItalicSC                 273.4
+     l_____    Caecilia-LightItalicOsF                273.5
+     l_____    Caecilia-Roman                         273.6
+     l_____    Caecilia-RomanSC                       273.7
+     l_____    Caecilia-RomanOsF                      273.8
+     l_____    Caecilia-Italic                        273.9
+     l_____    Caecilia-ItalicSC                      273.10
+     l_____    Caecilia-ItalicOsF                     273.11
+     l_____    Caecilia-Bold                          273.12
+     l_____    Caecilia-BoldSC                        273.13
+     l_____    Caecilia-BoldOsF                       273.14
+     l_____    Caecilia-BoldItalic                    273.15
+     l_____    Caecilia-BoldItalicSC                  273.16
+     l_____    Caecilia-BoldItalicOsF                 273.17
+     l_____    Caecilia-Heavy                         273.18
+     l_____    Caecilia-HeavySC                       273.19
+     l_____    Caecilia-HeavyOsF                      273.20
+     l_____    Caecilia-HeavyItalic                   273.21
+     l_____    Caecilia-HeavyItalicSC                 273.22
+     l_____    Caecilia-HeavyItalicOsF                273.23
+     l_____    CaeciliaCE-Light                       273.24
+     l_____    CaeciliaCE-LightItalic                 273.25
+     l_____    CaeciliaCE-Roman                       273.26
+     l_____    CaeciliaCE-Italic                      273.27
+     l_____    CaeciliaCE-Bold                        273.28
+     l_____    CaeciliaCE-BoldItalic                  273.29
+     l_____    CaeciliaCE-Heavy                       273.30
+     l_____    CaeciliaCE-HeavyItalic                 273.31
+     l_____    PalaceScriptMT-Regular                 274.0
+     l_____    PalaceScriptMT-Bold                    274.1
+     l_____    Palatino-Light                         275.0
+     l_____    Palatino-LightItalic                   275.1
+     l_____    Palatino-Roman                         275.2
+     l_____    Palatino-SC                            275.3
+     l_____    Palatino-Italic                        275.4
+     l_____    Palatino-ItalicOsF                     275.5
+     l_____    Palatino-Medium                        275.6
+     l_____    Palatino-MediumItalic                  275.7
+     l_____    Palatino-Bold                          275.8
+     l_____    Palatino-BoldOsF                       275.9
+     l_____    Palatino-BoldItalic                    275.10
+     l_____    Palatino-BoldItalicOsF                 275.11
+     l_____    Palatino-Black                         275.12
+     l_____    Palatino-BlackItalic                   275.13
+     l_____    PalatinoCE-Roman                       275.14
+     l_____    PalatinoCE-Italic                      275.15
+     l_____    PalatinoCE-Bold                        275.16
+     l_____    PalatinoCE-BoldItalic                  275.17
+     l_____    PaletteEF                              276.0
+     l_____    Parisian                               277.0
+     l_____    ParkAvenue                             278.0
+     l_____    ParkAvenueEF                           278.1
+     l_____    Pelican                                279.0
+     l_____    PepitaMT                               281.0
+     l_____    Pepperwood-Regular                     282.0
+     l_____    Pepperwood-Fill                        282.1
+     l_____    Pepperwood-Outline                     282.2
+     l_____    Perpetua                               283.0
+     l_____    Perpetua-SC                            283.1
+     l_____    Perpetua-Expert                        283.2
+     l_____    Perpetua-Italic                        283.3
+     l_____    Perpetua-ItalicOsF                     283.4
+     l_____    Perpetua-ItalicExp                     283.5
+     l_____    Perpetua-Bold                          283.6
+     l_____    Perpetua-BoldOsF                       283.7
+     l_____    Perpetua-BoldExp                       283.8
+     l_____    Perpetua-BoldItalic                    283.9
+     l_____    Perpetua-BoldItalicOsF                 283.10
+     l_____    Perpetua-BoldItalicExp                 283.11
+     l_____    PhotinaMT                              284.0
+     l_____    PhotinaMT-Italic                       284.1
+     l_____    PhotinaMT-SemiBold                     284.2
+     l_____    PhotinaMT-SemiBoldItalic               284.3
+     l_____    PhotinaMT-Bold                         284.4
+     l_____    PhotinaMT-BoldItalic                   284.5
+     l_____    PhotinaMT-UltraBold                    284.6
+     l_____    PhotinaMT-UltraBoldItalic              284.7
+     l_____    PhyllisEF                              285.0
+     l_____    PhyllisEF-Initials                     285.1
+     l_____    PioneerEF                              287.0
+     l_____    PlazaEF-Regular                        288.0
+     l_____    PlazaEF-Alternate                      288.1
+     l_____    PlazaEF-Ultra                          288.2
+     l_____    PlazaEF-Inline                         288.3
+     l_____    PlazaEF-Decorative                     288.4
+     l_____    Ponderosa                              289.0
+     l_____    PrestigeElite                          290.0
+     l_____    PrestigeElite-Slanted                  290.1
+     l_____    PrestigeElite-Bold                     290.2
+     l_____    PrestigeElite-BoldSlanted              290.3
+     l_____    PromotorEF-Regular                     291.0
+     l_____    QuentinEF                              292.0
+     l_____    Raleigh                                293.0
+     l_____    Raleigh-Medium                         293.1
+     l_____    Raleigh-DemiBold                       293.2
+     l_____    Raleigh-Bold                           293.3
+     l_____    RenaultEF-Light                        294.0
+     l_____    RenaultEF-LightItalic                  294.1
+     l_____    RenaultEF-Bold                         294.2
+     l_____    RenaultEF-BoldItalic                   294.3
+     l_____    Revue                                  295.0
+     l_____    RevueEF                                295.1
+     l_____    RoemischStehendHar                     296.0
+     l_____    RoemischLiegendHar                     296.1
+     l_____    RoemischRueckLiegHar                   296.2
+     l_____    RoemischStehend                        296.3
+     l_____    RoemischLiegend                        296.4
+     l_____    RoemischRueckLiegend                   296.5
+     l_____    RomanaEF-Light                         297.0
+     l_____    RomanaEF-Book                          297.1
+     l_____    RomanaEF-Medium                        297.2
+     l_____    RomanaEF-Demi                          297.3
+     l_____    RomanaEF-Bold                          297.4
+     l_____    RomanaEF-Ultra                         297.5
+     l_____    Romic-Light                            298.0
+     l_____    Romic-LightItalic                      298.1
+     l_____    Romic-Medium                           298.2
+     l_____    Romic-Bold                             298.3
+     l_____    Romic-ExtraBold                        298.4
+     l_____    RomicEF-Light                          298.5
+     l_____    RomicEF-LightItalic                    298.6
+     l_____    RomicEF-Medium                         298.7
+     l_____    RomicEF-Bold                           298.8
+     l_____    RomicEF-ExtraBold                      298.9
+     l_____    Rundfunk-Antiqua                       299.0
+     l_____    Rundfunk-Grotesk                       299.1
+     l_____    Rusticana-Borders                      300.1
+     l_____    RuzickaFreehandLH-Roman                301.0
+     l_____    RuzickaFreehandLH-RomanSC              301.1
+     l_____    RuzickaFreehandLH-Bold                 301.2
+     l_____    RuzickaFreehandLH-BoldSC               301.3
+     l_____    Salto                                  303.0
+     l_____    SanMarco                               304.0
+     l_____    SanMarco-Dfr                           304.1
+     l_____    SchnitzLL                              305.0
+     l_____    SchwenneNegroLL                        306.0
+     l_____    SchwennelLilaLL                        306.1
+     l_____    Scotch-Roman                           307.0
+     l_____    Scotch-Italic                          307.1
+     l_____    ScriptureEF                            308.0
+     l_____    Serifa-Light                           309.0
+     l_____    Serifa-LightItalic                     309.1
+     l_____    Serifa-Roman                           309.2
+     l_____    Serifa-Italic                          309.3
+     l_____    Serifa-Bold                            309.4
+     l_____    Serifa-Black                           309.5
+     l_____    ShamrockEF                             310.0
+     l_____    ShamrockEF-AlternateOne                310.1
+     l_____    ShamrockEF-AlternateTwo                310.2
+     l_____    Shannon-Book                           311.0
+     l_____    Shannon-Oblique                        311.1
+     l_____    Shannon-Bold                           311.2
+     l_____    Shannon-ExtraBold                      311.3
+     l_____    Shelley-AllegroScript                  312.0
+     l_____    Shelley-AndanteScript                  312.1
+     l_____    Shelley-VolanteScript                  312.2
+     l_____    Sho-Roman                              313.0
+     l_____    SinahRomanLL                           314.0
+     l_____    SinahBoldLL                            314.1
+     l_____    SinahBlackLL                           314.2
+     l_____    SinaloaEF                              315.0
+     l_____    SloganEF                               316.0
+     l_____    Smaragd                                317.0
+     l_____    Smaragd-Alternate                      318.0
+     l_____    SnellRoundhand-Script                  318.1
+     l_____    SnellRoundhand-BoldScript              318.2
+     l_____    SnellRoundhand-BlackScript             318.3
+     l_____    Sonata                                 319.0
+     l_____    SpartanClassified-Book                 320.0
+     l_____    SpartanClassified-Heavy                320.1
+     l_____    SpectrumMT                             321.0
+     l_____    SpectrumMT-SC                          321.1
+     l_____    SpectrumMT-RomanExpert                 321.2
+     l_____    SpectrumMT-Italic                      321.3
+     l_____    SpectrumMT-ItalicOsF                   321.4
+     l_____    SpectrumMT-ItalicExpert                321.5
+     l_____    SpectrumMT-SemiBold                    321.6
+     l_____    SpectrumMT-SemiBoldOsF                 321.7
+     l_____    SpectrumMT-SemiBoldExpert              321.8
+     l_____    SpiritEF-Light                         322.0
+     l_____    SpiritEF-Regular                       322.1
+     l_____    SpiritEF-Bold                          322.2
+     l_____    Sprint                                 323.0
+     l_____    SquireEF-Regular                       324.0
+     l_____    SquireEF-Bold                          324.1
+     l_____    Stencil                                325.0
+     l_____    StencilEF                              325.1
+     l_____    Stop                                   326.0
+     l_____    StopEF                                 326.1
+     l_____    Studz                                  327.0
+     l_____    SuperstarEF-Shadow                     328.0
+     l_____    SuperstarEF-Regular                    328.1
+     l_____    SwiftEF-Light                          329.0
+     l_____    SwiftEF-LightItalic                    329.1
+     l_____    SwiftEF-Regular                        329.2
+     l_____    SwiftSCEF-Regular                      329.3
+     l_____    SwiftEF-RegularItalic                  329.4
+     l_____    SwiftEF-Bold                           329.5
+     l_____    SwiftEF-ExtraBold                      329.6
+     l_____    SwiftEF-BoldCondensed                  329.7
+     l_____    Syntax-Roman                           331.0
+     l_____    Syntax-Italic                          331.1
+     l_____    Syntax-Bold                            331.2
+     l_____    Syntax-Black                           331.3
+     l_____    Syntax-UtraBlack                       331.4
+     l_____    TangoEF                                332.0
+     l_____    TarragonEF                             333.0
+     l_____    Tekton                                 334.0
+     l_____    Tekton-Oblique                         334.1
+     l_____    Tekton-Bold                            334.2
+     l_____    Tekton-BoldOblique                     334.3
+     l_____    Tempo-HeavyCondensed                   335.0
+     l_____    Tempo-HeavyCondensedItalic             335.1
+     l_____    ThorowgoodEF-Regular                   336.0
+     l_____    ThorowgoodEF-RegularItalic             336.1
+     l_____    ThunderbirdEF-ExtraCondensed           337.0
+     l_____    ThunderbirdEF-Regular                  337.1
+     l_____    TiloEF                                 338.0
+     l_____    TimelessEF-Light                       339.0
+     l_____    TimelessEF-LightItalic                 339.1
+     l_____    TimelessEF-Bold                        339.2
+     l_____    TitusEF                                340.0
+     l_____    Toolbox                                341.0
+     l_____    TopographischeZahlentafel              342.0
+     l_____    Trajan-Regular                         343.0
+     l_____    Trajan-Bold                            343.1
+     l_____    TradeGothicLH-BoldExtended             343.2
+     l_____    TrumpMediaeval-Roman                   346.0
+     l_____    TrumpMediaeval-RomanSC                 346.1
+     l_____    TrumpMediaeval-Italic                  346.2
+     l_____    TrumpMediaeval-ItalicOsF               346.3
+     l_____    TrumpMediaeval-Bold                    346.4
+     l_____    TrumpMediaeval-BoldOsF                 346.5
+     l_____    TrumpMediaeval-BoldItalic              346.6
+     l_____    TrumpMediaeval-BoldItalicOsF           346.7
+     l_____    Umbra                                  348.0
+     l_____    Univers-Light                          349.0
+     l_____    Univers-LightOblique                   349.1
+     l_____    Univers                                349.2
+     l_____    Univers-Oblique                        349.3
+     l_____    Univers-Bold                           349.4
+     l_____    Univers-BoldOblique                    349.5
+     l_____    Univers-Black                          349.7
+     l_____    Univers-BlackOblique                   349.8
+     l_____    Univers-ExtraBlack                     349.9
+     l_____    Univers-ExtraBlackOblique              349.10
+     l_____    Univers-CondensedLight                 349.11
+     l_____    Univers-CondensedLightOblique          349.12
+     l_____    Univers-Condensed                      349.13
+     l_____    Univers-CondensedOblique               349.14
+     l_____    Univers-CondensedBold                  349.15
+     l_____    Univers-CondensedBoldOblique           349.16
+     l_____    Univers-ThinUltraCondensed             349.17
+     l_____    Univers-LightUltraCondensedTwo         349.18
+     l_____    Univers-UltraCondensed                 349.19
+     l_____    Univers-Extended                       349.20
+     l_____    Univers-ExtendedObl                    349.21
+     l_____    Univers-BoldExt                        349.22
+     l_____    Univers-BoldExtObl                     349.23
+     l_____    Univers-BlackExt                       349.24
+     l_____    Univers-BlackExtObl                    349.25
+     l_____    Univers-ExtraBlackExt                  349.26
+     l_____    Univers-ExtraBlackExtObl               349.27
+     l_____    UniversCE-Light                        349.28
+     l_____    UniversCE-LightOblique                 349.29
+     l_____    UniversCE-Medium                       349.30
+     l_____    UniversCE-Oblique                      349.31
+     l_____    UniversCE-Bold                         349.32
+     l_____    UniversCE-BoldOblique                  349.33
+     l_____    UniversCE-Black                        349.34
+     l_____    UniversCE-BlackOblique                 349.35
+     lpi___    MathematicalPi-One                     350.0
+     lpi___    MathematicalPi-Two                     350.1
+     lpi___    MathematicalPi-Three                   350.2
+     lpi___    MathematicalPi-Four                    350.3
+     lpi___    MathematicalPi-Five                    350.4
+     lpi___    MathematicalPi-Six                     350.5
+     lpi___    Unversal-GreekwithMathPi               351.0
+     lpi___    MICR                                   351.1
+     lpi___    Unversal-NewswithCommPi                351.2
+     l_____    University-Roman                       352.0
+     l_____    UniversityEF-Roman                     352.1
+     l_____    UniversityEF-RomanItalic               352.2
+     l_____    UniversityEF-Bold                      352.3
+     l_____    VAGRounded-Thin                        353.0
+     l_____    VAGRounded-Light                       353.1
+     l_____    VAGRounded-Bold                        353.2
+     l_____    VAGRounded-Black                       353.3
+     l_____    VAGRundschriftEF                       353.4
+     l_____    VanDijkEF                              354.0
+     l_____    VictorianEF                            355.0
+     l_____    VivaldiEF                              356.0
+     l_____    Walbaum-Roman                          357.0
+     l_____    Walbaum-RomanSC                        357.1
+     l_____    Walbaum-RomanOsF                       357.2
+     l_____    Walbaum-Italic                         357.3
+     l_____    Walbaum-ItalicOsF                      357.4
+     l_____    Walbaum-Bold                           357.5
+     l_____    Walbaum-BoldOsF                        357.6
+     l_____    Walbaum-BoldItalic                     357.7
+     l_____    Walbaum-BoldItalicOsF                  357.8
+     l_____    WalbaumEF-Regular                      357.9
+     l_____    WalbaumEF-RegularItalic                357.10
+     l_____    WalbaumEF-Medium                       357.11
+     l_____    WalbaumEF-MediumItalic                 357.12
+     l_____    WalbaumEF-Bold                         357.13
+     l_____    WalbaumEF-BoldItalic                   357.14
+     l_____    WalbaumBook-Regular                    357.15
+     l_____    WalbaumBook-RegularSC                  357.16
+     l_____    WalbaumBook-RegularExpert              357.17
+     l_____    WalbaumBook-Italic                     357.18
+     l_____    WalbaumBook-ItalicOsF                  357.19
+     l_____    WalbaumBook-ItalicExpert               357.20
+     l_____    WalbaumBook-Medium                     357.21
+     l_____    WalbaumBook-MediumSC                   357.22
+     l_____    WalbaumBook-MdExpert                   357.23
+     l_____    WalbaumBook-MediumItalic               357.24
+     l_____    WalbaumBook-MdItalicOsF                357.25
+     l_____    WalbaumBook-MdItalicExpert             357.26
+     l_____    WalbaumBook-Bold                       357.27
+     l_____    WalbaumBook-BoldOsF                    357.28
+     l_____    WalbaumBook-BoldExpert                 357.29
+     l_____    WalbaumBook-BoldItalic                 357.30
+     l_____    WalbaumBook-BoldItalicOsF              357.31
+     l_____    WalbaumBook-BoldItalicExpert           357.32
+     l_____    WalbaumFrakturEF                       357.33
+     l_____    WhyNotEF                               358.0
+     l_____    WilhelmKlingsporGotisch                359.0
+     l_____    WilhelmKlingsporGotisch-Dfr            359.1
+     l_____    WindsorEF-Light                        360.0
+     l_____    WindsorEF-Bold                         360.1
+     l_____    WindsorEF-UltraHeavy                   360.2
+     l_____    WindsorEF-BoldOutline                  360.3
+     l_____    WindsorEF-LightCondensed               360.4
+     l_____    WindsorEF-ExtraBoldCondensed           360.5
+     l_____    WindsorEF-Elongated                    360.6
+     ppi___    WoodtypeOrnaments-One                  361.0
+     ppi___    WoodtypeOrnaments-Two                  361.1
+     l_____    ZipperEF                               363.0
+     l_____    BelshawEF                              364.0
+     l_____    Belwe-Light                            365.0
+     l_____    Belwe-Medium                           365.1
+     l_____    Belwe-Bold                             365.2
+     l_____    Belwe-Condensed                        365.3
+     l_____    BelweEF-Light                          365.4
+     l_____    BelweEF-Italic                         365.5
+     l_____    BelweEF-Medium                         365.6
+     l_____    BelweEF-Bold                           365.7
+     l_____    BelweEF-BoldCondensed                  365.8
+     l_____    Bembo                                  366.0
+     l_____    Bembo-SC                               366.1
+     l_____    Bembo-Expert                           366.2
+     l_____    Bembo-Italic                           366.3
+     l_____    Bembo-ItalicOsF                        366.4
+     l_____    Bembo-ItalicExpert                     366.5
+     l_____    Bembo-Semibold                         366.6
+     l_____    Bembo-SemiboldOsF                      366.7
+     l_____    Bembo-SemiboldExpert                   366.8
+     l_____    Bembo-SemiboldItalic                   366.9
+     l_____    Bembo-SemiboldItalicOsF                366.10
+     l_____    Bembo-SemiboldItalicExpert             366.11
+     l_____    Bembo-Bold                             366.12
+     l_____    Bembo-BoldOsF                          366.13
+     l_____    Bembo-BoldExpert                       366.14
+     l_____    Bembo-BoldItalic                       366.15
+     l_____    Bembo-BoldItalicOsF                    366.16
+     l_____    Bembo-BoldItalicExpert                 366.17
+     l_____    Bembo-ExtraBold                        366.18
+     l_____    Bembo-ExtraBoldOsF                     366.19
+     l_____    Bembo-ExtraBoldExpert                  366.20
+     l_____    Bembo-ExtraBoldItalic                  366.21
+     l_____    Bembo-ExtraBoldItalicOsF               366.22
+     l_____    Bembo-ExtraBoldItalicExpert            366.23
+     l_____    BerlinerGrotesk-Light                  368.0
+     l_____    BerlinerGrotesk-Medium                 368.1
+     l_____    LoType-Light                           369.0
+     l_____    LoType-Regular                         369.1
+     l_____    LoType-Medium                          369.2
+     l_____    LoType-MediumItalic                    369.3
+     l_____    LoType-Bold                            369.4
+     l_____    LoType-MediumCondensed                 369.5
+     l_____    BiffoMT                                370.0
+     l_____    BigbandTerrazzo                        371.1
+     l_____    Birch                                  372.0
+     l_____    BirdsEF                                373.0
+     l_____    BlockBE-Regular                        375.0
+     l_____    BlockBE-Italic                         375.1
+     l_____    BlockBE-Heavy                          375.2
+     l_____    BlockBE-Condensed                      375.3
+     l_____    BlockBE-ExtraCn                        375.4
+     l_____    BlockBE-ExtraCnItalic                  375.5
+     l_____    BoberiaLL-Light                        376.0
+     l_____    BoberiaLL-LightItalic                  376.1
+     l_____    BoberiaLL-SemiBold                     376.2
+     l_____    Bodoni-Book                            377.0
+     l_____    Bodoni-BookItalic                      377.1
+     l_____    Bodoni                                 377.2
+     l_____    Bodoni-Italic                          377.3
+     l_____    Bodoni-Bold                            377.4
+     l_____    Bodoni-BoldItalic                      377.5
+     l_____    Bodoni-BoldCondensed                   377.6
+     l_____    BodoniEF-Light                         377.7
+     l_____    BodoniEF-LightIta                      377.8
+     l_____    BodoniEF-Regular                       377.9
+     l_____    BodoniEF-RegularIta                    377.10
+     l_____    BodoniEF-DemiBold                      377.11
+     l_____    BodoniEF-Bold                          377.12
+     l_____    BodoniEF-DemiBoldIta                   377.13
+     l_____    BodoniEF-BoldIta                       377.14
+     l_____    BodoniEF-RegularCn                     377.15
+     l_____    BodoniEF-RegularCnIta                  377.16
+     l_____    BodoniEF-BoldCn                        377.17
+     l_____    BodoniEF-DemiBoldCn                    377.18
+     l_____    BodoniEF-BoldCnItalic                  377.19
+     l_____    BodoniEF-DemiBoldCnIta                 377.20
+     l_____    BodoniEF-Black                         377.21
+     l_____    BodoniEF-BlackIta                      377.22
+     l_____    BodoniEF-Ultra                         377.23
+     l_____    BauerBodoni-Roman                      377.24
+     l_____    BauerBodoni-RomanSC                    377.25
+     l_____    BauerBodoni-RomanOsF                   377.26
+     l_____    BauerBodoni-Italic                     377.27
+     l_____    BauerBodoni-ItalicOsF                  377.28
+     l_____    BauerBodoni-Bold                       377.29
+     l_____    BauerBodoni-BoldOsF                    377.30
+     l_____    BauerBodoni-BoldItalic                 377.31
+     l_____    BauerBodoni-BoldItalicOsF              377.32
+     l_____    BauerBodoni-Black                      377.33
+     l_____    BauerBodoni-BlackItalic                377.34
+     l_____    BauerBodoni-BoldCond                   377.35
+     l_____    BauerBodoni-BlackCond                  377.36
+     l_____    BauerBodoniCE-Roman                    377.37
+     l_____    BauerBodoniCE-Italic                   377.38
+     l_____    BauerBodoniCE-Bold                     377.39
+     l_____    BauerBodoniCE-BoldItalic               377.40
+     l_____    BauerBodoniCE-Black                    377.41
+     l_____    BauerBodoniCE-BlackItalic              377.42
+     l_____    BauerBodoniCE-BoldCondensed            377.43
+     l_____    BauerBodoniCE-BlackCondensed           377.44
+     l_____    BauerBodoniEF-Regular                  377.45
+     l_____    BauerBodoniEF-RegularItalic            377.46
+     l_____    BauerBodoniEF-Medium                   377.47
+     l_____    BauerBodoniEF-MediumItalic             377.48
+     l_____    BauerBodoniEF-Bold                     377.49
+     l_____    BauerBodoniEF-BoldItalic               377.50
+     l_____    BodoniBE-Light                         377.51
+     l_____    BodoniBE-LightSC                       377.52
+     l_____    BodoniBE-LightExpert                   377.53
+     l_____    BodoniBE-LightItalic                   377.54
+     l_____    BodoniBE-LightItalicOsF                377.55
+     l_____    BodoniBE-LightItalicExpert             377.56
+     l_____    BodoniBE-Regular                       377.57
+     l_____    BodoniBE-RegularSC                     377.58
+     l_____    BodoniBE-RegularExp                    377.59
+     l_____    BodoniBE-Italic                        377.60
+     l_____    BodoniBE-ItalicOsF                     377.61
+     l_____    BodoniBE-ItalicExp                     377.62
+     l_____    BodoniBE-Medium                        377.63
+     l_____    BodoniBE-MediumSC                      377.64
+     l_____    BodoniBE-MediumExp                     377.65
+     l_____    BodoniBE-MediumItalic                  377.66
+     l_____    BodoniBE-MediumItalicOsF               377.67
+     l_____    BodoniBE-MediumItalicExp               377.68
+     l_____    BodoniBE-Bold                          377.69
+     l_____    BodoniBE-BoldOsF                       377.70
+     l_____    BodoniBE-BoldExp                       377.71
+     l_____    BodoniBE-BoldItalic                    377.72
+     l_____    BodoniBE-BoldItalicOsF                 377.73
+     l_____    BodoniBE-BoldItalicExp                 377.74
+     l_____    BodoniBE-Condensed                     377.75
+     l_____    BodoniBE-CnItalic                      377.76
+     l_____    BodoniBE-MediumCn                      377.77
+     l_____    BodoniBE-MediumCnItalic                377.78
+     l_____    BodoniBE-BoldCn                        377.79
+     l_____    BodoniBE-BoldCnItalic                  377.80
+     l_____    Bodoni-Poster                          377.81
+     l_____    Bodoni-PosterItalic                    377.82
+     l_____    Bodoni-PosterCompressed                377.83
+     l_____    BodoniSixEF-Book                       377.84
+     l_____    BodoniSixEF-BookSC                     377.85
+     l_____    BodoniSixEF-BookItalic                 377.86
+     l_____    BodoniSixEF-Bold                       377.87
+     l_____    BodoniSixEF-BoldItalic                 377.88
+     l_____    BodoniTwelveEF-Book                    377.89
+     l_____    BodoniTwelveEF-BookSC                  377.90
+     l_____    BodoniTwelveEF-BookItalic              377.91
+     l_____    BodoniTwelveEF-Bold                    377.92
+     l_____    BodoniTwelveEF-BoldItalic              377.93
+     l_____    BodoniSeventytwoEF-Book                377.94
+     l_____    BodoniSeventytwoEF-BookSC              377.95
+     l_____    BodoniSeventytwoEF-BookIta             377.96
+     l_____    BodoniSeventytwoEF-Bold                377.97
+     l_____    BodoniSeventytwoEF-BoldIta             377.98
+     l_____    BodoniOldFaceBE-Regular                377.99
+     l_____    BodoniOldFaceBE-RegularSC              377.100
+     l_____    BodoniOldFaceBE-RegularExp             377.101
+     l_____    BodoniOldFaceBE-Italic                 377.102
+     l_____    BodoniOldFaceBE-ItalicSC               377.103
+     l_____    BodoniOldFaceBE-ItalicExp              377.104
+     l_____    BodoniOldFaceBE-Medium                 377.105
+     l_____    BodoniOldFaceBE-MediumSC               377.106
+     l_____    BodoniOldFaceBE-MediumExp              377.107
+     l_____    BodoniOldFaceBE-MediumIt               377.108
+     l_____    BodoniOldFaceBE-MediumItOsF            377.109
+     l_____    BodoniOldFaceBE-MediumItExp            377.110
+     l_____    BodoniOldFaceBE-Bold                   377.111
+     l_____    BodoniOldFaceBE-BoldOsF                377.112
+     l_____    BodoniOldFaceBE-BoldExp                377.113
+     l_____    BodoniOldFaceBE-BoldIt                 377.114
+     l_____    BodoniOldFaceBE-BoldItOsF              377.115
+     l_____    BodoniOldFaceBE-BoldItExp              377.116
+     l_____    BordeauxEF-Regular                     378.0
+     l_____    BordeauxEF-RegularItalic               378.1
+     l_____    BordeauxScriptEF                       378.2
+     l_____    Boulevard                              380.0
+     l_____    BritannicEF-ExtraLight                 382.0
+     l_____    BritannicEF-Light                      382.1
+     l_____    BritannicEF-Medium                     382.2
+     l_____    BritannicEF-Bold                       382.3
+     l_____    BritannicEF-Ultra                      382.4
+     l_____    BrodyEF                                383.0
+     l_____    BronxEF                                384.0
+     l_____    BrushScript                            385.0
+     l_____    BrushScriptEF                          385.1
+     l_____    BuxomEF                                386.0
+     l_____    CabaretEF                              387.0
+     l_____    CalvertMT-Light                        389.0
+     l_____    CalvertMT-Regular                      389.1
+     l_____    CalvertMT-Bold                         389.2
+     l_____    CamelliaEF                             390.0
+     l_____    Candida-Roman                          391.0
+     l_____    Candida-Italic                         391.1
+     l_____    Candida-Bold                           391.2
+     l_____    CandidaEF-Regular                      391.3
+     l_____    CandidaEF-RegularItalic                391.4
+     l_____    CandidaEF-Medium                       391.5
+     l_____    CandidaEF-RegularCondensed             391.6
+     l_____    CandidaEF-MediumCondensed              391.7
+     l_____    CantoriaMT-Light                       392.0
+     l_____    CantoriaMT-LightItalic                 392.1
+     l_____    CantoriaMT-Roman                       392.2
+     l_____    CantoriaMT-Italic                      392.3
+     l_____    CantoriaMT-SemiBold                    392.4
+     l_____    CantoriaMT-SemiBoldItalic              392.5
+     l_____    CantoriaMT-Bold                        392.6
+     l_____    CantoriaMT-BoldItalic                  392.7
+     l_____    CantoriaMT-ExtraBold                   392.8
+     l_____    CantoriaMT-ExtraBoldItalic             392.9
+     l_____    Carolina                               393.0
+     l_____    Carolina-Dfr                           393.1
+     l_____    Carta                                  394.0
+     l_____    CartoonScript-Roman                    395.0
+     l_____    ACaslon-Regular                        396.0
+     l_____    ACaslon-AltRegular                     396.1
+     l_____    ACaslon-RegularSC                      396.2
+     l_____    ACaslonExp-Regular                     396.3
+     l_____    ACaslon-Italic                         396.4
+     l_____    ACaslon-AltItalic                      396.5
+     l_____    ACaslon-ItalicOsF                      396.6
+     l_____    ACaslonExp-Italic                      396.7
+     l_____    ACaslon-Semibold                       396.8
+     l_____    ACaslon-AltSemibold                    396.9
+     l_____    ACaslon-SemiboldSC                     396.10
+     l_____    ACaslonExp-Semibold                    396.11
+     l_____    ACaslon-SemiboldItalic                 396.12
+     l_____    ACaslon-AltSemiboldItalic              396.13
+     l_____    ACaslon-SemiboldItalicOsF              396.14
+     l_____    ACaslonExp-SemiboldItalic              396.15
+     l_____    ACaslon-Bold                           396.16
+     l_____    ACaslon-AltBold                        396.17
+     l_____    ACaslon-BoldOsF                        396.18
+     l_____    ACaslonExp-Bold                        396.19
+     l_____    ACaslon-BoldItalic                     396.20
+     l_____    ACaslon-AltBoldItalic                  396.21
+     l_____    ACaslon-BoldItalicOsF                  396.22
+     l_____    ACaslonExp-BoldItalic                  396.23
+     l_____    ACaslon-SwashItalic                    396.24
+     l_____    ACaslon-SwashSemiboldItalic            396.25
+     l_____    ACaslon-SwashBoldItalic                396.26
+     l_____    ACaslon-Ornaments                      396.27
+     l_____    CaslonThree-Roman                      396.28
+     l_____    CaslonThree-RomanSC                    396.29
+     l_____    CaslonThree-Italic                     396.30
+     l_____    CaslonThree-ItalicOsF                  396.31
+     l_____    CaslonFiveFourty-Roman                 396.32
+     l_____    CaslonFiveFourty-RomanSC               396.33
+     l_____    CaslonFiveFourty-Italic                396.34
+     l_____    CaslonFiveFourty-ItalicOsF             396.35
+     l_____    CaslonOpenFace                         396.36
+     l_____    CaslonFiveFourtyEF-Italic              396.37
+     l_____    CaslonBlackEF                          396.38
+     l_____    CaslonAntiqueEF                        396.39
+     l_____    CaslonGraphiqueEF                      396.40
+     l_____    CaslonTwoTwentyFour-Book               396.41
+     l_____    CaslonTwoTwentyFour-BookIt             396.42
+     l_____    CaslonTwoTwentyFour-Medium             396.43
+     l_____    CaslonTwoTwentyFour-MediumIt           396.44
+     l_____    CaslonTwoTwentyFour-Bold               396.45
+     l_____    CaslonTwoTwentyFour-BoldIt             396.46
+     l_____    CaslonTwoTwentyFour-Black              396.47
+     l_____    CaslonTwoTwentyFour-BlackIt            396.48
+     l_____    CaslonTwoTwentyFourEF-Book             396.49
+     l_____    CaslonTwoTwentyFourEF-BookIt           396.50
+     l_____    CaslonTwoTwentyFourEF-Medium           396.51
+     l_____    CaslonTwoTwentyFourEF-MediumIt         396.52
+     l_____    CaslonTwoTwentyFourEF-Bold             396.53
+     l_____    CaslonTwoTwentyFourEF-BoldI            396.54
+     l_____    CaslonTwoTwentyFourEF-Black            396.55
+     l_____    CaslonTwoTwentyFourEF-BlackIt          396.56
+     l_____    CaslonBookBE-Regular                   396.57
+     l_____    CaslonBookBE-RegularSC                 396.58
+     l_____    CaslonBookBE-RegularExp                396.59
+     l_____    CaslonBookBE-Italic                    396.60
+     l_____    CaslonBookBE-ItalicOsF                 396.61
+     l_____    CaslonBookBE-ItalicExp                 396.62
+     l_____    CaslonBookBE-Medium                    396.63
+     l_____    CaslonBookBE-MediumSC                  396.64
+     l_____    CaslonBookBE-MediumExp                 396.65
+     l_____    CaslonBookBE-Bold                      396.66
+     l_____    CaslonBookBE-BoldOsF                   396.67
+     l_____    CaslonBookBE-BoldExp                   396.68
+     l_____    CastleEF-Light                         397.0
+     l_____    CastleEF-Book                          397.1
+     l_____    CastleEF-Bold                          397.2
+     l_____    CastleEF-Ultra                         397.3
+     l_____    Catull-Regular                         398.0
+     l_____    Catull-Italic                          398.1
+     l_____    Catull-Medium                          398.2
+     l_____    Catull-Bold                            398.3
+     l_____    Caxton-Light                           399.0
+     l_____    Caxton-LightItalic                     399.1
+     l_____    Caxton-BookItalic                      399.2
+     l_____    Caxton-Book                            399.3
+     l_____    Caxton-Bold                            399.4
+     l_____    Caxton-BoldItalic                      399.5
+     l_____    CaxtonEF-Light                         399.6
+     l_____    CaxtonEF-LightItalic                   399.7
+     l_____    CaxtonEF-Book                          399.8
+     l_____    CaxtonEF-BookItalic                    399.9
+     l_____    CaxtonEF-Bold                          399.10
+     l_____    CaxtonEF-BoldItalic                    399.11
+     l_____    CaxtonEF-ExtraBold                     399.12
+     l_____    CaxtonEF-ExtraBoldItalic               399.13
+     l_____    CaxtonEF-BoldCondensed                 399.14
+     l_____    CaxtonEF-ExtraBoldCondensed            399.15
+     l_____    CentaurMT-Regular                      400.0
+     l_____    CentaurMT-RegularSC                    400.1
+     l_____    CentaurMT-RegularExpert                400.2
+     l_____    CentaurMT-Italic                       400.3
+     l_____    CentaurMT-ItalicA                      400.4
+     l_____    CentaurMT-ItalicAlternate              400.5
+     l_____    CentaurMT-ItalicOsF                    400.6
+     l_____    CentaurMT-ItalicExpert                 400.7
+     l_____    CentaurMT-Bold                         400.8
+     l_____    CentaurMT-BoldOsF                      400.9
+     l_____    CentaurMT-BoldExpert                   400.10
+     l_____    CentaurMT-BoldItalic                   400.11
+     l_____    CentaurMT-BoldItalicOsF                400.12
+     l_____    CentaurMT-BoldItalicExpert             400.13
+     l_____    CentaurMT-ItalicSwash                  400.14
+     l_____    ChallengeEF-Bold                       401.0
+     l_____    ChallengeEF-ExtraBold                  401.1
+     l_____    Charme                                 402.0
+     l_____    Cheltenham-Light                       403.0
+     l_____    Cheltenham-LightItalic                 403.1
+     l_____    Cheltenham-Book                        403.2
+     l_____    Cheltenham-BookItalic                  403.3
+     l_____    Cheltenham-Bold                        403.4
+     l_____    Cheltenham-BoldItalic                  403.5
+     l_____    Cheltenham-Ultra                       403.6
+     l_____    Cheltenham-UltraItalic                 403.7
+     l_____    Cheltenham-LightCond                   403.8
+     l_____    Cheltenham-LightCondItalic             403.9
+     l_____    Cheltenham-BookCond                    403.10
+     l_____    Cheltenham-BookCondItalic              403.11
+     l_____    Cheltenham-BoldCond                    403.12
+     l_____    Cheltenham-BoldCondItalic              403.13
+     l_____    Cheltenham-UltraCond                   403.14
+     l_____    Cheltenham-UltraCondItalic             403.15
+     l_____    CheltenhamEF-Light                     403.16
+     l_____    CheltenhamEF-LightItalic               403.17
+     l_____    CheltenhamEF-Book                      403.18
+     l_____    CheltenhamEF-BookItalic                403.19
+     l_____    CheltenhamEF-Bold                      403.20
+     l_____    CheltenhamEF-BoldItalic                403.21
+     l_____    CheltenhamEF-Ultra                     403.22
+     l_____    CheltenhamEF-UltraItalic               403.23
+     l_____    CheltenhamHandtEF-Bold                 403.24
+     l_____    CheltenhamHandtEF-BoldItalic           403.25
+     l_____    CheltenhamEF-LightCond                 403.26
+     l_____    CheltenhamEF-LightCondItalic           403.27
+     l_____    CheltenhamEF-BookCond                  403.28
+     l_____    CheltenhamEF-BookCondItalic            403.29
+     l_____    CheltenhamEF-BoldCond                  403.30
+     l_____    CheltenhamEF-BoldCondItalic            403.31
+     l_____    CheltenhamEF-UltraCond                 403.32
+     l_____    CheltenhamEF-UltraCondItalic           403.33
+     l_____    CheltenhamOldStyleEF                   403.34
+     l_____    Cheq                                   404.0
+     l_____    ChiselEF                               405.0
+     l_____    DigiGroteskNEF-Light                   406.0
+     l_____    DigiGroteskNEF-Bold                    406.1
+     l_____    DigiGroteskNEF-SemiBoldCond            406.2
+     l_____    DigiGroteskNEF-BoldCondens             406.3
+     l_____    DigiGroteskSEF-Light                   406.4
+     l_____    DigiGroteskSEF-SemiBold                406.5
+     l_____    DomCasual                              407.0
+     l_____    DomCasual-Bold                         407.1
+     l_____    DomEF-CasualRegular                    407.2
+     l_____    DomEF-DiagonalRegular                  407.3
+     l_____    DomEF-CasualBold                       407.4
+     l_____    DomEF-DiagonalBold                     407.5
+     l_____    DorchesterScriptMT                     408.0
+     l_____    DynamoEF-Medium                        409.0
+     l_____    DynamoEF-Bold                          409.1
+     l_____    DynamoEF-BoldShadow                    409.2
+     l_____    DynamoEF-BoldCondensed                 409.3
+     l_____    EdisonEF-Book                          410.0
+     l_____    EdisonEF-BookItalic                    410.1
+     l_____    EdisonEF-SemiBold                      410.2
+     l_____    EdisonEF-SemiBoldItalic                410.3
+     l_____    EdisonEF-BoldCondensed                 410.4
+     l_____    EdwardianEF-Light                      411.0
+     l_____    EdwardianEF-LightIta                   411.1
+     l_____    EdwardianEF-Medium                     411.2
+     l_____    EdwardianEF-MediumIta                  411.3
+     l_____    EdwardianEF-Bold                       411.4
+     l_____    EdwardianEF-BoldIta                    411.5
+     l_____    EdwardianEF-ExtraBold                  411.6
+     l_____    EdwardianEF-ExtraBoldIta               411.7
+     l_____    EgizioEF-Condensed                     412.0
+     l_____    EgyptianEF-BoldCondensed               414.0
+     l_____    EgyptianEF-BoldExtended                414.1
+     l_____    EgyptienneEF-MediumCond                415.0
+     l_____    EhrhardtMT-Roman                       416.0
+     l_____    EhrhardtMT-Italic                      416.1
+     l_____    EhrhardtMT-SemiBold                    416.2
+     l_____    EhrhardtMt-SemiBoldItalic              416.3
+     l_____    EirinnAsciiLL                          417.0
+     l_____    EirinnGaelicLL                         417.1
+     l_____    ElGreco                                418.0
+     l_____    ElefontEF                              419.0
+     l_____    EllingtonMT-Light                      420.0
+     l_____    EllingtonMT-LightItalic                420.1
+     l_____    EllingtonMT-Roman                      420.2
+     l_____    EllingtonMT-Italic                     420.3
+     l_____    EllingtonMT-Bold                       420.4
+     l_____    EllingtonMT-BoldItalic                 420.5
+     l_____    EllingtonMT-ExtraBold                  420.6
+     l_____    EllingtonMT-ExtraBoldItalic            420.7
+     l_____    EnglishScriptEF-Regular                421.0
+     l_____    EnglishScriptEF-Bold                   421.1
+     l_____    EnglishScriptEF-DemiBold               421.2
+     l_____    Erbar-LightCondensed                   422.0
+     l_____    Erbar-BoldCondensed                    422.1
+     l_____    EscorialEF-Outline                     423.0
+     l_____    EscorialEF                             423.1
+     l_____    EthnoFontEF                            424.0
+     l_____    Eurostile                              425.0
+     l_____    Eurostile-Oblique                      425.1
+     l_____    Eurostile-Demi                         425.2
+     l_____    Eurostile-DemiOblique                  425.3
+     l_____    Eurostile-Bold                         425.4
+     l_____    Eurostile-BoldOblique                  425.5
+     l_____    Eurostile-Condensed                    425.6
+     l_____    Eurostile-BoldCondensed                425.7
+     l_____    Eurostile-ExtendedTwo                  425.8
+     l_____    Eurostile-BoldExtendedTwo              425.9
+     l_____    EurostileEF-Regular                    425.10
+     l_____    EurostileEF-Black                      425.11
+     l_____    Excelsior                              426.0
+     l_____    Excelsior-Italic                       426.1
+     l_____    Excelsior-Bold                         426.2
+     l_____    ExcelsiorCE-Roman                      426.3
+     l_____    ExcelsiorCE-Italic                     426.4
+     l_____    ExcelsiorCE-Bold                       426.5
+     l_____    ExcelsiorCyr-Upright                   426.6
+     l_____    ExcelsiorCyr-Inclined                  426.7
+     l_____    ExcelsiorCyr-Bold                      426.8
+     l_____    ExcelsiorEastA-Roman                   426.9
+     l_____    ExcelsiorEastA-Italic                  426.10
+     l_____    ExcelsiorEastA-Bold                    426.11
+     l_____    F2FAlLineato                           427.0
+     l_____    F2FCZYKagoTrans                        427.1
+     l_____    F2FEntebbe                             427.2
+     l_____    F2FHogRoach                            427.3
+     l_____    F2FMadZineFear                         427.4
+     l_____    F2FMadZineWip                          427.5
+     l_____    F2FMekkasoTomanik                      427.6
+     l_____    F2FMetamorfosi                         427.7
+     l_____    F2FOCRAlexcyzk                         427.8
+     l_____    F2FPixmix                              427.9
+     l_____    F2FPoisonFlowers                       427.10
+     l_____    F2FProvinciali                         427.11
+     l_____    F2FSimbolico                           427.12
+     l_____    F2FTechLand                            427.13
+     l_____    F2FWhaleTreeRnd                        427.14
+     l_____    F2FZakGlobe                            427.15
+     l_____    Falstaff-Regular                       428.0
+     l_____    FetteFraktur                           429.0
+     l_____    FetteFraktur-Dfr                       429.1
+     l_____    FetteFrakturEF                         429.2
+     l_____    FlashEF-Light                          430.0
+     l_____    FlashEF-Bold                           430.1
+     l_____    Flyer-BlackCondensed                   431.0
+     l_____    Flyer-BlackExtraCondensed              431.1
+     l_____    FlyerEF-Bold                           431.2
+     l_____    FlyerEF-BoldCondensed                  431.3
+     l_____    Folio-Light                            432.0
+     l_____    Folio-Medium                           432.1
+     l_____    Folio-Bold                             432.2
+     l_____    Folio-ExtraBold                        432.3
+     l_____    Folio-BoldCondensed                    432.4
+     l_____    FolioEF-BoldCondensed                  432.5
+     l_____    FolioEF-ExtraCondensed                 432.6
+     l_____    Formata-Light                          435.0
+     l_____    Formata-LightSC                        435.1
+     l_____    Formata-LightExpert                    435.2
+     l_____    Formata-LightItalic                    435.3
+     l_____    Formata-LightItalicSC                  435.4
+     l_____    Formata-LightItalicExpert              435.5
+     l_____    Formata-Regular                        435.6
+     l_____    Formata-RegularSC                      435.7
+     l_____    Formata-RegularExpert                  435.8
+     l_____    Formata-Italic                         435.9
+     l_____    Formata-ItalicSC                       435.10
+     l_____    Formata-ItalicExpert                   435.11
+     l_____    Formata-Medium                         435.12
+     l_____    Formata-MediumItalic                   435.13
+     l_____    Formata-Bold                           435.14
+     l_____    Formata-BoldItalic                     435.15
+     l_____    Formata-Outline                        435.16
+     l_____    Formata-LightCondensed                 435.17
+     l_____    Formata-LightCnSC                      435.18
+     l_____    Formata-LightCnExpert                  435.19
+     l_____    Formata-LightCondensedItalic           435.20
+     l_____    Formata-LightCnItalicSC                435.21
+     l_____    Formata-LightCnItalicExpert            435.22
+     l_____    Formata-Condensed                      435.23
+     l_____    Formata-CondensedOutline               435.24
+     l_____    Formata-CondensedSC                    435.25
+     l_____    Formata-CondensedExpert                435.26
+     l_____    Formata-CondensedItalic                435.27
+     l_____    Formata-CnItalicSC                     435.28
+     l_____    Formata-CnItalicExpert                 435.29
+     l_____    Formata-MediumCondensed                435.30
+     l_____    Formata-MediumCondensedItalic          435.31
+     l_____    Formata-BoldCondensed                  435.32
+     l_____    Formata-BoldCondensedItalic            435.33
+     l_____    FrankfurterEF-Medium                   436.0
+     l_____    FrankfurterEF-Solid                    436.1
+     l_____    FrankfurterEF-Inline                   436.2
+     l_____    FrankfurterEF-Highlight                436.3
+     l_____    FreestyleScript                        437.0
+     l_____    FreestyleScriptEF-Reg                  437.1
+     l_____    FreestyleScriptEF-RegAlt               437.2
+     l_____    FreestyleScriptEF-Bol                  437.3
+     l_____    FreestyleScriptEF-BolAlt               437.4
+     l_____    Bauhaus-Light                          438.0
+     l_____    Bauhaus-Medium                         438.1
+     l_____    Bauhaus-Demi                           438.2
+     l_____    Bauhaus-Bold                           438.3
+     l_____    Bauhaus-Heavy                          438.4
+     l_____    BauhausEF-Light                        438.5
+     l_____    BauhausEF-Medium                       438.6
+     l_____    BauhausEF-DemiBold                     438.7
+     l_____    BauhausEF-Bold                         438.8
+     l_____    BauhausEF-Heavy                        438.9
+     l_____    BenguiatGothic-Book                    439.0
+     l_____    BenguiatGothic-BookOblique             439.1
+     l_____    BenguiatGothic-Medium                  439.2
+     l_____    BenguiatGothic-MediumOblique           439.3
+     l_____    BenguiatGothic-Bold                    439.4
+     l_____    BenguiatGothic-BoldOblique             439.5
+     l_____    BenguiatGothic-Heavy                   439.6
+     l_____    BenguiatGothic-HeavyOblique            439.7
+     l_____    BenguiatGothicEF-Book                  439.8
+     l_____    BenguiatGothicEF-BookItalic            439.9
+     l_____    BenguiatGothicEF-Medium                439.10
+     l_____    BenguiatGothicEF-MediumItalic          439.11
+     l_____    BenguiatGothicEF-Bold                  439.12
+     l_____    BenguiatGothicEF-BoldItalic            439.13
+     l_____    BenguiatGothicEF-Heavy                 439.14
+     l_____    BenguiatGothicEF-HeavyItalic           439.15
+     l_____    Cerigo-Book                            440.0
+     l_____    Cerigo-BookItalic                      440.1
+     l_____    Cerigo-Medium                          440.2
+     l_____    Cerigo-MediumItalic                    440.3
+     l_____    Cerigo-Bold                            440.4
+     l_____    Cerigo-BoldItalic                      440.5
+     l_____    CerigoEF-Book                          440.6
+     l_____    CerigoEF-BookSC                        440.7
+     l_____    CerigoEF-BookItalic                    440.8
+     l_____    CerigoEF-Medium                        440.9
+     l_____    CerigoEF-MediumSC                      440.10
+     l_____    CerigoEF-MediumItalic                  440.11
+     l_____    CerigoEF-Bold                          440.12
+     l_____    CerigoEF-BoldItalic                    440.13
+     l_____    CerigoEF-BookSwashCaps                 440.14
+     l_____    CerigoEF-BookItalicSwashCaps           440.15
+     l_____    Cushing-Book                           441.0
+     l_____    Cushing-BookItalic                     441.1
+     l_____    Cushing-Medium                         441.2
+     l_____    Cushing-MediumItalic                   441.3
+     l_____    Cushing-Bold                           441.4
+     l_____    Cushing-BoldItalic                     441.5
+     l_____    Cushing-Heavy                          441.6
+     l_____    Cushing-HeavyItalic                    441.7
+     l_____    CushingEF-Book                         441.8
+     l_____    CushingEF-BookItalic                   441.9
+     l_____    CushingEF-Medium                       441.10
+     l_____    CushingEF-MediumItalic                 441.11
+     l_____    CushingEF-Bold                         441.12
+     l_____    CushingEF-BoldItalic                   441.13
+     l_____    CushingEF-Heavy                        441.14
+     l_____    CushingEF-HeavyItalic                  441.15
+     l_____    Esprit-Book                            442.0
+     l_____    Esprit-BookItalic                      442.1
+     l_____    Esprit-Medium                          442.2
+     l_____    Esprit-MediumItalic                    442.3
+     l_____    Esprit-Bold                            442.4
+     l_____    Esprit-BoldItalic                      442.5
+     l_____    Esprit-Black                           442.6
+     l_____    Esprit-BlackItalic                     442.7
+     l_____    EspritEF-Book                          442.8
+     l_____    EspritEF-BookSC                        442.9
+     l_____    EspritEF-BookItalic                    442.10
+     l_____    EspritEF-Medium                        442.11
+     l_____    EspritEF-MediumSC                      442.12
+     l_____    EspritEF-MediumItalic                  442.13
+     l_____    EspritEF-Bold                          442.14
+     l_____    EspritEF-BoldItalic                    442.15
+     l_____    EspritEF-Black                         442.16
+     l_____    EspritEF-BlackItalic                   442.17
+     l_____    Flora-Roman                            443.0
+     l_____    Flora-Bold                             443.1
+     l_____    FloraEF-Medium                         443.2
+     l_____    FloraEF-Bold                           443.3
+     l_____    Galliard-Roman                         444.0
+     l_____    Galliard-Italic                        444.1
+     l_____    Galliard-Bold                          444.2
+     l_____    Galliard-BoldItalic                    444.3
+     l_____    Galliard-Black                         444.4
+     l_____    Galliard-BlackItalic                   444.5
+     l_____    Galliard-Ultra                         444.6
+     l_____    Galliard-UltraItalic                   444.7
+     l_____    GalliardEF-Roman                       444.8
+     l_____    GalliardEF-Italic                      444.9
+     l_____    GalliardEF-Bold                        444.10
+     l_____    GalliardEF-BoldItalic                  444.11
+     l_____    GalliardEF-Black                       444.12
+     l_____    GalliardEF-BlackItalic                 444.13
+     l_____    GalliardEF-Ultra                       444.14
+     l_____    GalliardEF-UltraItalic                 444.15
+     l_____    GoldenTypeEF-Original                  445.0
+     l_____    GoldenTypeSCEF-Original                445.1
+     l_____    GoldenTypeEF-Bold                      445.2
+     l_____    GoldenTypeSCEF-Bold                    445.3
+     l_____    GoldenTypeEF-Black                     445.4
+     l_____    IsbellEF-Book                          446.0
+     l_____    IsbellEF-BookItalic                    446.1
+     l_____    IsbellEF-Bold                          446.2
+     l_____    IsbellEF-BoldItalic                    446.3
+     l_____    Korinna-Regular                        447.0
+     l_____    Korinna-KursivRegular                  447.1
+     l_____    Korinna-Bold                           447.2
+     l_____    Korinna-KursivBold                     447.3
+     l_____    KorinnaEF-Regular                      447.4
+     l_____    KorinnaEF-RegularKursiv                447.5
+     l_____    KorinnaEF-Bold                         447.6
+     l_____    KorinnaEF-BoldKursiv                   447.7
+     l_____    KorinnaEF-ExtraBold                    447.8
+     l_____    KorinnaEF-ExtraBoldKursiv              447.9
+     l_____    KorinnaEF-Heavy                        447.10
+     l_____    KorinnaEF-HeavyKursiv                  447.11
+     l_____    LegacySans-Book                        448.0
+     l_____    LegacySans-BookItalic                  448.1
+     l_____    LegacySans-Medium                      448.2
+     l_____    LegacySans-MediumItalic                448.3
+     l_____    LegacySans-Bold                        448.4
+     l_____    LegacySans-BoldItalic                  448.5
+     l_____    LegacySans-Ultra                       448.6
+     l_____    LegacySerif-Book                       448.7
+     l_____    LegacySerif-BookItalic                 448.8
+     l_____    LegacySerif-Medium                     448.9
+     l_____    LegacySerif-MediumItalic               448.10
+     l_____    LegacySerif-Bold                       448.11
+     l_____    LegacySerif-BoldItalic                 448.12
+     l_____    LegacySerif-Ultra                      448.13
+     l_____    LegacySansEF-Book                      448.14
+     l_____    LegacySansEF-BookSC                    448.15
+     l_____    LegacySansEF-BookItalic                448.16
+     l_____    LegacySansEF-Medium                    448.17
+     l_____    LegacySansEF-MediumSC                  448.18
+     l_____    LegacySansEF-MediumItalic              448.19
+     l_____    LegacySansEF-Bold                      448.20
+     l_____    LegacySansEF-BoldItalic                448.21
+     l_____    LegacySansEF-Ultra                     448.22
+     l_____    LegacySerifEF-Book                     448.23
+     l_____    LegacySerifEF-BookSC                   448.24
+     l_____    LegacySerifEF-BookItalic               448.25
+     l_____    LegacySerifEF-Medium                   448.26
+     l_____    LegacySerifEF-MediumSC                 448.27
+     l_____    LegacySerifEF-MediumItalic             448.28
+     l_____    LegacySerifEF-Bold                     448.29
+     l_____    LegacySerifEF-BoldItalic               448.30
+     l_____    LegacySerifEF-Ultra                    448.31
+     l_____    Machine                                449.0
+     l_____    Machine-Bold                           449.1
+     l_____    MachineEF-Regular                      449.2
+     l_____    MachineEF-Bold                         449.3
+     l_____    MonaLisa-Solid                         450.0
+     l_____    MonaLisa-Recut                         450.1
+     l_____    MonaLisaEF-Solid                       450.2
+     l_____    MonaLisaEF-Recut                       450.3
+     l_____    Novarese-Book                          451.0
+     l_____    Novarese-BookItalic                    451.1
+     l_____    Novarese-Medium                        451.2
+     l_____    Novarese-MediumItalic                  451.3
+     l_____    Novarese-Bold                          451.4
+     l_____    Novarese-BoldItalic                    451.5
+     l_____    Novarese-Ultra                         451.6
+     l_____    NovareseEF-Book                        451.7
+     l_____    NovareseEF-BookItalic                  451.8
+     l_____    NovareseEF-Medium                      451.9
+     l_____    NovareseEF-MediumItalic                451.10
+     l_____    NovareseEF-Bold                        451.11
+     l_____    NovareseEF-BoldItalic                  451.12
+     l_____    NovareseEF-Ultra                       451.13
+     l_____    PacellaEF-Book                         452.0
+     l_____    PacellaSCEF-Book                       452.1
+     l_____    PacellaEF-BookItalic                   452.2
+     l_____    PacellaEF-Medium                       452.3
+     l_____    PacellaSCEF-Medium                     452.4
+     l_____    PacellaEF-MediumItalic                 452.5
+     l_____    PacellaEF-Bold                         452.6
+     l_____    PacellaEF-BoldItalic                   452.7
+     l_____    PacellaEF-Black                        452.8
+     l_____    PacellaEF-BlackItalic                  452.9
+     l_____    QuaySansEF-Book                        453.0
+     l_____    QuaySansEF-BookSC                      453.1
+     l_____    QuaySansEF-BookItalic                  453.2
+     l_____    QuaySansEF-Medium                      453.3
+     l_____    QuaySansEF-MediumSC                    453.4
+     l_____    QuaySansEF-MediumItalic                453.5
+     l_____    QuaySansEF-Black                       453.6
+     l_____    QuaySansEF-BlackItalic                 453.7
+     l_____    SerifGothic-Light                      454.0
+     l_____    SerifGothic                            454.1
+     l_____    SerifGothic-Bold                       454.2
+     l_____    SerifGothic-ExtraBold                  454.3
+     l_____    SerifGothic-Heavy                      454.4
+     l_____    SerifGothic-Black                      454.5
+     l_____    SerifGothicEF-Light                    454.6
+     l_____    SerifGothicEF-Regular                  454.7
+     l_____    SerifGothicEF-Bold                     454.8
+     l_____    SerifGothicEF-ExtraBold                454.9
+     l_____    SerifGothicEF-Heavy                    454.10
+     l_____    SerifGothicEF-Black                    454.11
+     l_____    Symbol-Book                            455.0
+     l_____    Symbol-BookItalic                      455.1
+     l_____    Symbol-Medium                          455.2
+     l_____    Symbol-MediumItalic                    455.3
+     l_____    Symbol-Bold                            455.4
+     l_____    Symbol-BoldItalic                      455.5
+     l_____    Symbol-Black                           455.6
+     l_____    Symbol-BlackItalic                     455.7
+     l_____    SymbolEF-Book                          455.8
+     l_____    SymbolEF-BookSC                        455.9
+     l_____    SymbolEF-BookItalic                    455.10
+     l_____    SymbolEF-Medium                        455.11
+     l_____    SymbolEF-MediumSC                      455.12
+     l_____    SymbolEF-MediumItalic                  455.13
+     l_____    SymbolEF-Bold                          455.14
+     l_____    SymbolEF-BoldItalic                    455.15
+     l_____    SymbolEF-Black                         455.16
+     l_____    SymbolEF-BlackItalic                   455.17
+     l_____    Tiepolo-Book                           456.0
+     l_____    Tiepolo-BookItalic                     456.1
+     l_____    Tiepolo-Bold                           456.2
+     l_____    Tiepolo-BoldItalic                     456.3
+     l_____    Tiepolo-Black                          456.4
+     l_____    Tiepolo-BlackItalic                    456.5
+     l_____    TiepoloEF-Book                         456.6
+     l_____    TiepoloEF-BookSC                       456.7
+     l_____    TiepoloEF-BookItalic                   456.8
+     l_____    TiepoloEF-Bold                         456.9
+     l_____    TiepoloEF-BoldSC                       456.10
+     l_____    TiepoloEF-BoldItalic                   456.11
+     l_____    TiepoloEF-Black                        456.12
+     l_____    TiepoloEF-BlackItalic                  456.13
+     l_____    Veljovic-Book                          457.0
+     l_____    Veljovic-BookItalic                    457.1
+     l_____    Veljovic-Medium                        457.2
+     l_____    Veljovic-MediumItalic                  457.3
+     l_____    Veljovic-Bold                          457.4
+     l_____    Veljovic-BoldItalic                    457.5
+     l_____    Veljovic-Black                         457.6
+     l_____    Veljovic-BlackItalic                   457.7
+     l_____    VeljovicEF-Book                        457.8
+     l_____    VeljovicEF-BookOsF                     457.9
+     l_____    VeljovicEF-BookItalic                  457.10
+     l_____    VeljovicEF-BookItalicOsF               457.11
+     l_____    VeljovicEF-Medium                      457.12
+     l_____    VeljovicEF-MediumOsF                   457.13
+     l_____    VeljovicEF-MediumItalic                457.14
+     l_____    VeljovicEF-MediumItalicOsF             457.15
+     l_____    VeljovicEF-Bold                        457.16
+     l_____    VeljovicEF-BoldOsF                     457.17
+     l_____    VeljovicEF-BoldItalic                  457.18
+     l_____    VeljovicEF-BoldItalicOsF               457.19
+     l_____    VeljovicEF-Black                       457.20
+     l_____    VeljovicEF-BlackOsF                    457.21
+     l_____    VeljovicEF-BlackItalic                 457.22
+     l_____    VeljovicEF-BlackItalicOsF              457.23
+     l_____    ZapfBookEF-Light                       458.0
+     l_____    ZapfBookEF-LightItalic                 458.1
+     l_____    ZapfBookEF-Medium                      458.2
+     l_____    ZapfBookEF-MediumItalic                458.3
+     l_____    ZapfBookEF-Demi                        458.4
+     l_____    ZapfBookEF-DemiItalic                  458.5
+     l_____    ZapfBookEF-Heavy                       458.6
+     l_____    ZapfBookEF-HeavyItalic                 458.7
+     l_____    ZapfChancery-Light                     458.8
+     l_____    ZapfChancery-LightItalic               458.9
+     l_____    ZapfChancery-Roman                     458.10
+     l_____    ZapfChancery-Italic                    458.11
+     l_____    ZapfChancery-MediumItalic              458.12
+     l_____    ZapfChancery-Demi                      458.13
+     l_____    ZapfChancery-Bold                      458.14
+     l_____    ZapfChanceryCE-MediumItalic            458.15
+     l_____    ZapfChanceryEF-Light                   458.16
+     l_____    ZapfChanceryEF-LightItalic             458.17
+     l_____    ZapfChanceryEF-Medium                  458.18
+     l_____    ZapfChanceryEF-MediumItalic            458.19
+     l_____    ZapfChanceryEF-Demi                    458.20
+     l_____    ZapfChanceryEF-Bold                    458.21
+     l_____    ZapfInternationalEF-Light              458.23
+     l_____    ZapfInternationalEF-LightIta           458.24
+     l_____    ZapfInternationalEF-Medium             458.25
+     l_____    ZapfInternationalEF-MediumIta          458.26
+     l_____    ZapfInternationalEF-Demi               458.27
+     l_____    ZapfInternationalEF-DemiIta            458.28
+     l_____    ZapfInternationalEF-Heavy              458.29
+     l_____    ZapfInternationalEF-HeavyIta           458.30
+     l_____    AudioLH-Pi                             459.0
+     l_____    EECLH-Pi                               460.0
+     l_____    XmasLH-PiOne                           462.0
+     l_____    XmasLH-PiTwo                           462.1
+     l_____    Lucida                                 463.0
+     l_____    Lucida-Italic                          463.1
+     l_____    Lucida-Bold                            463.2
+     l_____    Lucida-BoldItalic                      463.3
+     l_____    LucidaSans                             463.4
+     l_____    LucidaSans-Italic                      463.5
+     l_____    LucidaSans-Bold                        463.6
+     l_____    LucidaSans-BoldItalic                  463.7
+     l_____    LucidaMath-Symbol                      463.8
+     l_____    LucidaMath-Extension                   463.9
+     l_____    LucidaMath-Italic                      463.10
+     l_____    LucidaEF                               463.11
+     l_____    LucidaEF-Italic                        463.12
+     l_____    LucidaEF-Bold                          463.13
+     l_____    LucidaEF-BoldItalic                    463.14
+     l_____    LucidaBlackletterEF                    463.15
+     l_____    LucidaBrightEF-Roman                   463.16
+     l_____    LucidaBrightEF-RomanIta                463.17
+     l_____    LucidaBrightEF-DemiBold                463.18
+     l_____    LucidaBrightEF-DemiBoldIta             463.19
+     l_____    LucidaBrightNarEF-Roman                463.20
+     l_____    LucidaBrightNarEF-Ita                  463.21
+     l_____    LucidaBrightNarEF-DeBol                463.22
+     l_____    LucidaBrightNarEF-DeBolIta             463.23
+     l_____    LucidaCalligraphyEF                    463.24
+     l_____    LucidaCasualEF-Roman                   463.25
+     l_____    LucidaCasualEF-Italic                  463.26
+     l_____    LucidaFaxEF-Roman                      463.27
+     l_____    LucidaFaxEF-RomanItalic                463.28
+     l_____    LucidaFaxEF-DemiBold                   463.29
+     l_____    LucidaFaxEF-DemiBoldItalic             463.30
+     l_____    LucidaHandwritingEF                    463.31
+     l_____    LucidaTypewriterEF-Regular             463.32
+     l_____    LucidaTypewriterEF-Bold                463.33
+     l_____    LucidaSansEF-Roman                     463.34
+     l_____    LucidaSansEF-RomanIta                  463.35
+     l_____    LucidaSansEF-Bold                      463.36
+     l_____    LucidaSansEF-DemiBold                  463.37
+     l_____    LucidaSansEF-BoldItalic                463.38
+     l_____    LucidaSansEF-DemiBoldIta               463.39
+     l_____    LucidaSansNarEF-Roman                  463.40
+     l_____    LucidaSansNarEF-Ita                    463.41
+     l_____    LucidaSansNarEF-DemBol                 463.42
+     l_____    LucidaSansNarEF-DemBolIta              463.43
+     l_____    Madrone                                465.0
+     l_____    MagnusEF                               466.0
+     l_____    MandarinEF                             467.0
+     l_____    Marigold                               468.0
+     l_____    MatthiaLL-Regular                      469.0
+     l_____    MaturaMT                               470.0
+     l_____    MaturaMT-ScriptCapitals                470.1
+     l_____    MaximaEF-Light                         471.0
+     l_____    MaximaEF-LightOblique                  471.1
+     l_____    MaximaEF-Medium                        471.2
+     l_____    MaximaEF-MediumOblique                 471.3
+     l_____    MaximaEF-Bold                          471.4
+     l_____    MaximaEF-BoldOblique                   471.5
+     l_____    MaximaEF-BoldCondensed                 471.6
+     l_____    MediciScript                           472.0
+     l_____    MercuriusMT-BoldScript                 473.0
+     l_____    Mesquite                               474.0
+     l_____    MetropolitainEF                        475.0
+     l_____    Minion-Regular                         476.0
+     l_____    Minion-RegularSC                       476.1
+     l_____    MinionExp-Regular                      476.2
+     l_____    Minion-Italic                          476.3
+     l_____    Minion-ItalicSC                        476.4
+     l_____    MinionExp-Italic                       476.5
+     l_____    Minion-Semibold                        476.6
+     l_____    Minion-SemiboldSC                      476.7
+     l_____    MinionExp-Semibold                     476.8
+     l_____    Minion-SemiboldItalic                  476.9
+     l_____    Minion-SemiboldItalicSC                476.10
+     l_____    MinionExp-SemiboldItalic               476.11
+     l_____    Minion-Bold                            476.12
+     l_____    Minion-BoldOsF                         476.13
+     l_____    MinionExp-Bold                         476.14
+     l_____    Minion-BoldItalic                      476.15
+     l_____    Minion-BoldItalicOsF                   476.16
+     l_____    MinionExp-BoldItalic                   476.17
+     l_____    Minion-Black                           476.18
+     l_____    Minion-BlackOsF                        476.19
+     l_____    Minion-BlackExpert                     476.20
+     l_____    Minion-Display                         476.21
+     l_____    Minion-DisplaySC                       476.22
+     l_____    MinionExp-Display                      476.23
+     l_____    Minion-DisplayItalic                   476.24
+     l_____    Minion-DisplayItalicSC                 476.25
+     l_____    MinionExp-DisplayItalic                476.26
+     l_____    Minion-SwashItalic                     476.27
+     l_____    Minion-SwashDisplayItalic              476.28
+     l_____    Minion-SwashSemiboldItalic             476.29
+     l_____    Minion-Ornaments                       476.30
+     l_____    MinionCyr-Regular                      476.31
+     l_____    MinionCyr-Italic                       476.32
+     l_____    MinionCyr-Semibold                     476.33
+     l_____    MinionCyr-SemiboldItalic               476.34
+     l_____    MinionCyr-Bold                         476.35
+     l_____    MinionCyr-BoldItalic                   476.36
+     l_____    Minister-Light                         477.0
+     l_____    Minister-LightItalic                   477.1
+     l_____    Minister-Book                          477.2
+     l_____    Minister-BookItalic                    477.3
+     l_____    Minister-Bold                          477.4
+     l_____    Minister-BoldItalic                    477.5
+     l_____    Minister-Black                         477.6
+     l_____    Minister-BlackItalic                   477.7
+     l_____    MinisterEF-Light                       477.8
+     l_____    MinisterEF-LightItalic                 477.9
+     l_____    MinisterEF-Book                        477.10
+     l_____    MinisterEF-BookItalic                  477.11
+     l_____    MinisterEF-Bold                        477.12
+     l_____    ModernNo216EF-Light                    478.0
+     l_____    ModernNo216EF-LightItalic              478.1
+     l_____    ModernNo216EF-Medium                   478.2
+     l_____    ModernNo216EF-MediumItalic             478.3
+     l_____    ModernNo216EF-Bold                     478.4
+     l_____    ModernNo216EF-BoldItalic               478.5
+     l_____    ModernNo216EF-Heavy                    478.6
+     l_____    ModernNo216EF-HeavyItalic              478.7
+     l_____    ModernMT-Bold                          478.8
+     l_____    ModernMT-BoldItalic                    478.9
+     l_____    ModernMT-Condensed                     478.10
+     l_____    ModernMT-CondensedItalic               478.11
+     l_____    ModernMT-Extended                      478.12
+     l_____    ModernMT-ExtendedItalic                478.13
+     l_____    ModernMT-Wide                          478.14
+     l_____    ModernMT-WideItalic                    478.15
+     l_____    ModernExtendedEF-Book                  478.16
+     l_____    ModernExtendedEF-BookIta               478.17
+     l_____    ModernExtendedEF-Bold                  478.18
+     l_____    ModifiedGothic                         479.0
+     l_____    MonterreyEF                            480.0
+     l_____    MotterFeminaEF                         481.0
+     l_____    MysteryEF-White                        482.0
+     l_____    MysteryEF-Black                        482.1
+     l_____    MysteryEF-Mixed                        482.2
+     l_____    PinxitAstroLL                          485.0
+     l_____    PinxitOfficeLL                         485.1
+     l_____    PinxitPrivateLL                        485.2
+     l_____    Plak-Black                             486.0
+     l_____    Plak-BlackCondensed                    486.1
+     l_____    Plak-BlackExtraCondensed               486.2
+     l_____    Plantin-Light                          487.0
+     l_____    Plantin-LightItalic                    487.1
+     l_____    Plantin                                487.2
+     l_____    Plantin-Italic                         487.3
+     l_____    Plantin-Semibold                       487.4
+     l_____    Plantin-SemiboldItalic                 487.5
+     l_____    Plantin-Bold                           487.6
+     l_____    Plantin-BoldItalic                     487.7
+     l_____    Plantin-BoldCondensed                  487.8
+     l_____    PlaybillEF                             488.0
+     l_____    Poetica-SuppLowercaseAltI              489.0
+     l_____    Poetica-SuppLowercaseAltII             489.1
+     l_____    Poetica-RomanSmallCaps                 489.2
+     l_____    Poetica-RomanSmallCapsAlt              489.3
+     l_____    Poetica-SuppLigatures                  489.4
+     l_____    Poetica-SuppLowercaseBegI              489.5
+     l_____    Poetica-SuppLowercaseBegII             489.6
+     l_____    Poetica-SuppLowercaseEndI              489.7
+     l_____    Poetica-SuppLowercaseEndII             489.8
+     l_____    Poetica-SuppAmpersands                 489.9
+     l_____    Poetica-ChanceryExpert                 489.10
+     l_____    Poetica-ChanceryI                      489.11
+     l_____    Poetica-ChanceryII                     489.12
+     l_____    Poetica-ChanceryIII                    489.13
+     l_____    Poetica-ChanceryIV                     489.14
+     l_____    Poetica-SuppInitialsSwashCaps          489.15
+     l_____    Poetica-SwashCapsI                     489.16
+     l_____    Poetica-SwashCapsII                    489.17
+     l_____    Poetica-SwashCapsIII                   489.18
+     l_____    Poetica-SwashCapsIV                    489.19
+     l_____    Poetica-SuppOrnaments                  489.20
+     l_____    Pompeijana-Roman                       490.0
+     l_____    Pompeijana-Borders                     490.1
+     l_____    PopplExquisit-Regular                  491.0
+     l_____    PopplExquisit-Medium                   491.1
+     l_____    PopplLaudatio-Light                    491.2
+     l_____    PopplLaudatio-LightItalic              491.3
+     l_____    PopplLaudatio-Regular                  491.4
+     l_____    PopplLaudatio-Italic                   491.5
+     l_____    PopplLaudatio-Medium                   491.6
+     l_____    PopplLaudatio-MediumItalic             491.7
+     l_____    PopplLaudatio-Bold                     491.8
+     l_____    PopplLaudatio-BoldItalic               491.9
+     l_____    PopplLaudatio-LightCondensed           491.10
+     l_____    PopplLaudatio-Condensed                491.11
+     l_____    PopplLaudatio-MediumCondensed          491.12
+     l_____    PopplLaudatio-BoldCondensed            491.13
+     l_____    PopplPontifex-Roman                    491.14
+     l_____    PopplPontifex-RomanSC                  491.15
+     l_____    PopplPontifex-Italic                   491.16
+     l_____    PopplPontifex-Bold                     491.17
+     l_____    PopplPontifex-Black                    491.18
+     l_____    PopplPontifex-BoldCondensed            491.19
+     l_____    PopplPontifexBE-Regular                491.20
+     l_____    PopplPontifexBE-RegularSC              491.21
+     l_____    PopplPontifexBE-RegularExp             491.22
+     l_____    PopplPontifexBE-Italic                 491.23
+     l_____    PopplPontifexBE-ItalicOsF              491.24
+     l_____    PopplPontifexBE-ItalicExp              491.25
+     l_____    PopplPontifexBE-Medium                 491.26
+     l_____    PopplPontifexBE-MediumSC               491.27
+     l_____    PopplPontifexBE-MediumExp              491.28
+     l_____    PopplPontifexBE-Bold                   491.29
+     l_____    PopplPontifexBE-BoldOsF                491.30
+     l_____    PopplPontifexBE-BoldExp                491.31
+     l_____    PopplPontifexBE-MediumCn               491.32
+     l_____    PopplPontifexBE-MediumCnSC             491.33
+     l_____    PopplPontifexBE-MediumCnExp            491.34
+     l_____    PopplResidenz-Light                    491.35
+     l_____    PopplResidenz-Regular                  491.36
+     l_____    PostAntiqua-Roman                      492.0
+     l_____    PostAntiqua-Bold                       492.1
+     l_____    PostAntiquaBE-Regular                  492.2
+     l_____    PostAntiquaBE-Medium                   492.3
+     l_____    PostMediaeval-Regular                  492.4
+     l_____    PostMediaeval-Italic                   492.5
+     l_____    PostMediaeval-Medium                   492.6
+     l_____    PraxisEF-Light                         493.0
+     l_____    PraxisEF-LightSC                       493.1
+     l_____    PraxisEF-Regular                       493.2
+     l_____    PraxisEF-RegularSC                     493.3
+     l_____    PraxisEF-SemiBold                      493.4
+     l_____    PraxisEF-Bold                          493.5
+     l_____    PraxisEF-Heavy                         493.6
+     l_____    PremierEF                              494.0
+     l_____    PremierEF-Alternate                    494.1
+     l_____    PremierEF-Shaded                       494.2
+     l_____    Present                                495.0
+     l_____    Present-Bold                           495.1
+     l_____    Present-Black                          495.2
+     l_____    Present-Condensed                      495.3
+     l_____    Present-BoldCondensed                  495.4
+     l_____    Present-BlackCondensed                 495.5
+     l_____    PrincetownEF                           496.0
+     l_____    ProteusEF-Light                        497.0
+     l_____    ProteusEF-Book                         497.1
+     l_____    ProteusEF-Medium                       497.2
+     l_____    ProteusEF-Bold                         497.3
+     l_____    Quake                                  498.0
+     l_____    QuartzEF                               499.0
+     l_____    QuasariaLL-Regular                     500.0
+     l_____    QuasariaLL-Oblique                     500.1
+     l_____    QuasariaLL-Bold                        500.2
+     l_____    QuasariaLL-BoldOblique                 500.3
+     l_____    Rad                                    501.0
+     l_____    RadiantEFText-Light                    502.0
+     l_____    RadiantEFText-Book                     502.1
+     l_____    RadiantEFText-Medium                   502.2
+     l_____    RadiantEFText-DemiBold                 502.3
+     l_____    RadiantEFText-Bold                     502.4
+     l_____    RadiantEFText-Black                    502.5
+     l_____    RadiantEFDisplay-CondNo2               502.6
+     l_____    RadiantEFDisplay-CondNo1               502.7
+     l_____    RadiantEFDisplay-CondNo4               502.8
+     l_____    RadiantEFDisplay-CondNo3               502.9
+     l_____    RadiantEFDisplay-CondNo6               502.10
+     l_____    RadiantEFDisplay-CondNo5               502.11
+     l_____    RageItalicEF                           503.0
+     l_____    ReadMyHandLL                           504.0
+     l_____    ReadMyHandLL-Bold                      504.1
+     l_____    Reporter-Two                           505.0
+     l_____    RialtoEF                               506.0
+     l_____    Rockwell-Light                         507.0
+     l_____    Rockwell-LightItalic                   507.1
+     l_____    Rockwell                               507.2
+     l_____    Rockwell-Italic                        507.3
+     l_____    Rockwell-Bold                          507.4
+     l_____    Rockwell-BoldItalic                    507.5
+     l_____    Rockwell-ExtraBold                     507.6
+     l_____    Rockwell-Condensed                     507.7
+     l_____    Rockwell-BoldCondensed                 507.8
+     l_____    RomanScriptEF                          508.0
+     l_____    RomanScriptEF-Alternate                508.1
+     l_____    Rosewood-Fill                          509.0
+     l_____    Rosewood-Regular                       509.1
+     l_____    Rotation-Roman                         510.0
+     l_____    Rotation-Italic                        510.1
+     l_____    Rotation-Bold                          510.2
+     l_____    Roundy-Roman                           511.0
+     l_____    Roundy-Swash                           511.1
+     l_____    RulingScript                           512.0
+     l_____    RulingScript-Addition                  512.1
+     l_____    RussellSquare                          513.0
+     l_____    RussellSquare-Oblique                  513.1
+     l_____    Sabon-Roman                            514.0
+     l_____    Sabon-RomanSC                          514.1
+     l_____    Sabon-RomanOsF                         514.2
+     l_____    Sabon-Italic                           514.3
+     l_____    Sabon-ItalicOsF                        514.4
+     l_____    Sabon-Bold                             514.5
+     l_____    Sabon-BoldOsF                          514.6
+     l_____    Sabon-BoldItalic                       514.7
+     l_____    Sabon-BoldItalicOsF                    514.8
+     l_____    Sassafras-Roman                        517.0
+     l_____    Sassafras-SxRoman                      517.1
+     l_____    Sassafras-LxRoman                      517.2
+     l_____    Sassafras-LxItalic                     517.3
+     l_____    Sassafras-SxItalic                     517.4
+     l_____    Sassafras-Italic                       517.5
+     l_____    StempelSchneidler-Light                518.0
+     l_____    StempelSchneidler-LightItalic          518.1
+     l_____    StempelSchneidler-Roman                518.2
+     l_____    StempelSchneidler-Italic               518.3
+     l_____    StempelSchneidler-Medium               518.4
+     l_____    StempelSchneidler-MedItalic            518.5
+     l_____    StempelSchneidler-Bold                 518.6
+     l_____    StempelSchneidler-BoldItalic           518.7
+     l_____    StempelSchneidler-Black                518.8
+     l_____    StempelSchneidler-BlackItalic          518.9
+     l_____    SchneidlerEF-Light                     518.10
+     l_____    SchneidlerEF-AmaltheaLight             518.11
+     l_____    SchneidlerEF-Roman                     518.12
+     l_____    SchneidlerEF-AmaltheaRoman             518.13
+     l_____    SchneidlerEF-Medium                    518.14
+     l_____    SchneidlerEF-AmaltheaMedium            518.15
+     l_____    SchneidlerEF-Bold                      518.16
+     l_____    SchneidlerEF-AmaltheaBold              518.17
+     l_____    SchneidlerEF-Black                     518.18
+     l_____    SchneidlerEF-AmaltheaBlack             518.19
+     l_____    SchreibmaschineEF-Regular              519.0
+     l_____    Serpentine-Light                       520.0
+     l_____    Serpentine-LightOblique                520.1
+     l_____    Serpentine-Medium                      520.2
+     l_____    Serpentine-MediumOblique               520.3
+     l_____    Serpentine-Bold                        520.4
+     l_____    Serpentine-BoldOblique                 520.5
+     l_____    SerpentineEF-Bold                      520.6
+     l_____    SerpentineEF-BoldItalic                520.7
+     l_____    VarioEF-Regular                        522.0
+     l_____    VarioEF-RegularItalic                  522.1
+     l_____    VectoraLH-Light                        523.0
+     l_____    VectoraLH-LightItalic                  523.1
+     l_____    VectoraLH-Roman                        523.2
+     l_____    VectoraLH-Italic                       523.3
+     l_____    VectoraLH-Bold                         523.4
+     l_____    VectoraLH-BoldItalic                   523.5
+     l_____    VectoraLH-Black                        523.6
+     l_____    VectoraLH-BlackItalic                  523.7
+     l_____    VegasEF                                524.0
+     l_____    Versailles-Light                       526.0
+     l_____    Versailles-LightItalic                 526.1
+     l_____    Versailles-Roman                       526.2
+     l_____    Versailles-Italic                      526.3
+     l_____    Versailles-Bold                        526.4
+     l_____    Versailles-BoldItalic                  526.5
+     l_____    Versailles-Black                       526.6
+     l_____    Versailles-BlackItalic                 526.7
+     l_____    Visigoth                               527.0
+     l_____    VladimirScriptEF                       528.0
+     l_____    Westside                               530.0
+     l_____    WiesbadenSwing-Roman                   531.0
+     l_____    Willow                                 532.0
+     l_____    WittenbergerFrakturMT                  533.0
+     l_____    WittenbergerFrakturMT-Dfr              533.1
+     l_____    WittenbergerFrakturMT-Bd               533.2
+     l_____    WittenbergerFrakturMT-BdDfr            533.3
+     l_____    Zebrawood-Fill                         534.0
+     l_____    Zebrawood-Regular                      534.1
+     l_____    AgrafieLL                              535.0
+     l_____    AlbertusMT-Light                       536.0
+     l_____    AlbertusMT-Roman                       536.1
+     l_____    AlbertusMT-Italic                      536.2
+     l_____    Alexa                                  537.0
+     l_____    AlgerianEF                             538.0
+     l_____    Amigo                                  540.0
+     l_____    AngroEF-Light                          541.0
+     l_____    AngroEF-Bold                           541.1
+     l_____    AnzeigenGroteskEF                      542.0
+     l_____    ArsisEF-Regular                        543.0
+     l_____    ArsisEF-RegularItalic                  543.1
+     l_____    AugusteaOpenEF                         544.0
+     l_____    Avenir-Light                           545.0
+     l_____    Avenir-LightOblique                    545.1
+     l_____    Avenir-Book                            545.2
+     l_____    Avenir-BookOblique                     545.3
+     l_____    Avenir-Roman                           545.4
+     l_____    Avenir-Oblique                         545.5
+     l_____    Avenir-Medium                          545.6
+     l_____    Avenir-MediumOblique                   545.7
+     l_____    Avenir-Heavy                           545.8
+     l_____    Avenir-HeavyOblique                    545.9
+     l_____    Avenir-Black                           545.10
+     l_____    Avenir-BlackOblique                    545.11
+     l_____    BakerSignet                            546.0
+     l_____    Balzano                                547.0
+     l_____    Barmeno-Regular                        548.0
+     l_____    Barmeno-Medium                         548.1
+     l_____    Barmeno-Bold                           548.2
+     l_____    Barmeno-ExtraBold                      548.3
+     l_____    BellCentennial-Address                 549.0
+     l_____    BellCentennial-SubCaption              549.1
+     l_____    BellCentennial-NameAndNumber           549.2
+     l_____    BellCentennial-BoldListing             549.3
+     l_____    BellCentennial-BoldListingAlt          549.4
+     l_____    City-Light                             550.0
+     l_____    City-LightItalic                       550.1
+     l_____    City-Medium                            550.2
+     l_____    City-MediumItalic                      550.3
+     l_____    City-Bold                              550.4
+     l_____    City-BoldItalic                        550.5
+     lpi___    BorderPi-OneFiveOneFiveNine            551.0
+     l_____    BroadwayEF                             552.2
+     l_____    BroadwayEF-Engraved                    552.3
+     l_____    Caliban                                553.0
+     l_____    CarouselEF                             554.0
+     l_____    Century-Light                          555.0
+     l_____    Century-LightItalic                    555.1
+     l_____    Century-Book                           555.2
+     l_____    Century-BookItalic                     555.3
+     l_____    Century-Bold                           555.4
+     l_____    Century-BoldItalic                     555.5
+     l_____    Century-Ultra                          555.6
+     l_____    Century-UltraItalic                    555.7
+     l_____    Century-LightCondensed                 555.8
+     l_____    Century-LightCondensedItalic           555.9
+     l_____    Century-BookCondensed                  555.10
+     l_____    Century-BookCondensedItalic            555.11
+     l_____    Century-BoldCondensed                  555.12
+     l_____    Century-BoldCondensedItalic            555.13
+     l_____    Century-UltraCondensed                 555.14
+     l_____    Century-UltraCondensedItalic           555.15
+     l_____    CenturyEF-Light                        555.16
+     l_____    CenturyEF-LightItalic                  555.17
+     l_____    CenturyEF-Book                         555.18
+     l_____    CenturyEF-BookItalic                   555.19
+     l_____    CenturyEF-Bold                         555.20
+     l_____    CenturyEF-BoldItalic                   555.21
+     l_____    CenturyEF-Ultra                        555.22
+     l_____    CenturyEF-UltraItalic                  555.23
+     l_____    CenturyHandtEF-Bold                    555.24
+     l_____    CenturyHandtEF-BoldItalic              555.25
+     l_____    CenturyEF-LightCondensed               555.26
+     l_____    CenturyEF-LightCondensedItalic         555.27
+     l_____    CenturyEF-BookCondensed                555.28
+     l_____    CenturyEF-BookCondensedItalic          555.29
+     l_____    CenturyEF-BoldCondensed                555.30
+     l_____    CenturyEF-BoldCondensedItalic          555.31
+     l_____    CenturyEF-UltraCondensed               555.32
+     l_____    CenturyEF-UltraCondensedItalic         555.33
+     l_____    CenturyExpanded                        555.34
+     l_____    CenturyExpanded-Italic                 555.35
+     l_____    CenturyExpandedEF-Regular              555.36
+     l_____    CenturyExpandedEF-RegularItalic        555.37
+     l_____    CenturyOldStyle-Regular                555.38
+     l_____    CenturyOldStyle-Italic                 555.39
+     l_____    CenturyOldStyle-Bold                   555.40
+     l_____    CenturyOldStyleEF-Regular              555.41
+     l_____    CenturyOldStyleEF-RegularItalic        555.42
+     l_____    CenturyOldStyleEF-Bold                 555.43
+     l_____    NewCenturySchlbk-Roman                 555.44
+     l_____    NewCenturySchlbk-Italic                555.45
+     l_____    NewCenturySchlbk-Bold                  555.46
+     l_____    NewCenturySchlbk-BoldItalic            555.47
+     l_____    NewCenturySchlbkCE-Roman               555.50
+     l_____    NewCenturySchlbkCE-Italic              555.51
+     l_____    NewCenturySchlbkCE-Bold                555.52
+     l_____    NewCenturySchlbkCE-BoldItalic          555.53
+     l_____    NewCenturySchlbkGreek-Upright          555.54
+     l_____    NewCenturySchlbkGreek-Inclined         555.55
+     l_____    NewCenturySchlbkGreek-Bold             555.56
+     l_____    NewCenturySchlbkGreekP-Upright         555.57
+     l_____    NewCenturySchlbkGreekP-Inclined        555.58
+     l_____    NewCenturySchlbkGreekP-Bold            555.59
+     l_____    CenturySchoolbookEF-Reg                555.60
+     l_____    CenturySchoolbookEF-RegIta             555.61
+     l_____    CenturySchoolbookEF-Bol                555.62
+     l_____    CenturySchoolbookEF-BolIta             555.63
+     l_____    ChesterfieldEF                         556.0
+     l_____    Choc-Roman                             557.0
+     l_____    ChromiumOneEF                          558.0
+     l_____    Clarendon-Light                        559.0
+     l_____    Clarendon                              559.1
+     l_____    Clarendon-Bold                         559.2
+     l_____    ClarendonEF-Light                      559.3
+     l_____    ClarendonEF-Medium                     559.4
+     l_____    ClarendonEF-Bold                       559.5
+     l_____    ClarendonEF-ExtraBold                  559.6
+     l_____    ClarendonEF-BoldExpanded               559.7
+     l_____    Colossalis-Regular                     560.0
+     l_____    Colossalis-Medium                      560.1
+     l_____    Colossalis-Bold                        560.2
+     l_____    Colossalis-Black                       560.3
+     l_____    CompactaEF-Light                       561.0
+     l_____    CompactaEF-Regular                     561.1
+     l_____    CompactaEF-RegularItalic               561.2
+     l_____    CompactaEF-Bold                        561.3
+     l_____    CompactaEF-BoldItalic                  561.4
+     l_____    CompactaEF-Black                       561.5
+     l_____    CompactaEF-RegularOutline              561.6
+     l_____    CompactaEF-BoldOutline                 561.7
+     l_____    ConferenceEF                           562.0
+     l_____    Copperplate-TwentyNineBC               563.0
+     l_____    Copperplate-ThirtyBC                   563.1
+     l_____    Copperplate-ThirtyTwoBC                563.2
+     l_____    Copperplate-ThirtyOneBC                563.3
+     l_____    Copperplate-ThrityThreeBC              563.4
+     l_____    Copperplate-TwentyNineAB               563.5
+     l_____    Copperplate-ThirtyAB                   563.6
+     l_____    Copperplate-ThirtyTwoAB                563.7
+     l_____    Copperplate-ThirtyOneAB                563.8
+     l_____    CopperplateEF-Medium                   563.10
+     l_____    CopperplateEF-Bold                     563.11
+     l_____    CopperplateEF-LightCondensed           563.12
+     l_____    CopperplateEF-MediumCondensed          563.13
+     l_____    CopperplateEF-BoldCondensed            563.14
+     l_____    CopperplateEF-Light                    563.9
+     l_____    Cottonwood                             564.0
+     l_____    CrilleeEF-LightItalic                  565.0
+     l_____    CrilleeEF-Italic                       565.1
+     l_____    CrilleeEF-BoldItalic                   565.2
+     l_____    CrilleeEF-ExtraBoldItalic              565.3
+     l_____    DINMittelschrift                       566.0
+     l_____    DINMittelschrift-Alternate             566.1
+     l_____    DINEngschrift                          566.2
+     l_____    DINEngschrift-Alternate                566.3
+     l_____    DIN1451EF-MittelNeu                    566.4
+     l_____    DIN1451EF-MittelAlt                    566.5
+     l_____    DIN1451EF-EngNeu                       566.6
+     l_____    DIN1451EF-EngAlt                       566.7
+     l_____    DINNeuzeitGrotesk-Light                566.8
+     l_____    DINNeuzeitGrotesk-BoldCond             566.9
+     l_____    DalcoraHE                              567.0
+     lpi___    DecoNumbersLH-Circle                   568.0
+     lpi___    DecoNumbersLH-OCRA                     568.1
+     lpi___    DecoNumbersLH-Serlio                   568.2
+     lpi___    DecoNumbersLH-Square                   568.3
+     lpi___    DecoNumbersLH-Triangle                 568.4
+     l_____    DemosEF-Medium                         569.0
+     l_____    DemosEF-MediumSC                       569.1
+     l_____    DemosEF-MediumItalic                   569.2
+     l_____    DemosEF-SemiBold                       569.3
+     l_____    DextorEF                               570.0
+     l_____    Diotima-Roman                          571.0
+     l_____    Diotima-RomanSC                        571.1
+     l_____    Diotima-RomanOsF                       571.2
+     l_____    Diotima-Italic                         571.3
+     l_____    Diotima-ItalicOsF                      571.4
+     l_____    DucDeBerry                             572.0
+     l_____    DucDeBerry-Dfr                         572.1
+     l_____    EinhornEF                              573.0
+     l_____    EngraversLH-BoldFace                   574.0
+     l_____    EngraversEF-Roman                      574.1
+     l_____    EngraversEF-Bold                       574.2
+     l_____    GaladrielEF                            578.0
+     l_____    StempelGaramond-Roman                  579.0
+     l_____    StempelGaramond-RomanSC                579.1
+     l_____    StempelGaramond-RomanOsF               579.2
+     l_____    StempelGaramond-Italic                 579.3
+     l_____    StempelGaramond-ItalicOsF              579.4
+     l_____    StempelGaramond-Bold                   579.5
+     l_____    StempelGaramond-BoldOsF                579.6
+     l_____    StempelGaramond-BoldItalic             579.7
+     l_____    StempelGaramond-BoldItalicOsF          579.8
+     l_____    StempelGaramondCE-Roman                579.9
+     l_____    StempelGaramondCE-Italic               579.10
+     l_____    StempelGaramondCE-Bold                 579.11
+     l_____    StempelGaramondCE-BoldItalic           579.12
+     l_____    StempelGaramondEastA-Roman             579.13
+     l_____    StempelGaramondEastA-Italic            579.14
+     l_____    StempelGaramondEastA-Bold              579.15
+     l_____    StempelGaramondEastA-BoldItalic        579.16
+     l_____    AGaramond-Regular                      579.17
+     l_____    AGaramondAlt-Regular                   579.18
+     l_____    AGaramond-RegularSC                    579.19
+     l_____    AGaramondExp-Regular                   579.20
+     l_____    AGaramond-Italic                       579.21
+     l_____    AGaramondAlt-Italic                    579.22
+     l_____    AGaramond-ItalicOsF                    579.23
+     l_____    AGaramondExp-Italic                    579.24
+     l_____    AGaramond-Semibold                     579.25
+     l_____    AGaramond-SemiboldSC                   579.26
+     l_____    AGaramondExp-Semibold                  579.27
+     l_____    AGaramond-SemiboldItalic               579.28
+     l_____    AGaramond-SemiboldItalicOsF            579.29
+     l_____    AGaramondExp-SemiboldItalic            579.30
+     l_____    AGaramond-Bold                         579.31
+     l_____    AGaramond-BoldOsF                      579.32
+     l_____    AGaramondExp-Bold                      579.33
+     l_____    AGaramond-BoldItalic                   579.34
+     l_____    AGaramond-BoldItalicOsF                579.35
+     l_____    AGaramondExp-BoldItalic                579.36
+     l_____    AGaramond-Titling                      579.37
+     l_____    GaramondBE-Regular                     579.38
+     l_____    GaramondBE-RegularSC                   579.39
+     l_____    GaramondBE-RegularExpert               579.40
+     l_____    GaramondBE-Italic                      579.41
+     l_____    GaramondBE-ItalicOsF                   579.42
+     l_____    GaramondBE-ItalicExpert                579.43
+     l_____    GaramondBE-Medium                      579.44
+     l_____    GaramondBE-MediumSC                    579.45
+     l_____    GaramondBE-MediumExpert                579.46
+     l_____    GaramondBE-MediumItalic                579.47
+     l_____    GaramondBE-MediumItalicOsF             579.48
+     l_____    GaramondBE-MediumItalicExpert          579.49
+     l_____    GaramondBE-Bold                        579.50
+     l_____    GaramondBE-BoldOsF                     579.51
+     l_____    GaramondBE-BoldExpert                  579.52
+     l_____    GaramondBE-Condensed                   579.53
+     l_____    GaramondBE-CondensedSC                 579.54
+     l_____    GaramondBE-CnExpert                    579.55
+     l_____    GaramondBE-MediumCn                    579.56
+     l_____    GaramondBE-MediumCnOsF                 579.57
+     l_____    GaramondBE-MediumCnExpert              579.58
+     l_____    GaramondBE-SwashItalic                 579.59
+     l_____    Garamond-Light                         579.60
+     l_____    Garamond-LightItalic                   579.61
+     l_____    Garamond-Book                          579.62
+     l_____    Garamond-BookItalic                    579.63
+     l_____    Garamond-Bold                          579.64
+     l_____    Garamond-BoldItalic                    579.65
+     l_____    Garamond-Ultra                         579.66
+     l_____    Garamond-UltraItalic                   579.67
+     l_____    Garamond-LightCondensed                579.68
+     l_____    Garamond-LightCondensedItalic          579.69
+     l_____    Garamond-BookCondensed                 579.70
+     l_____    Garamond-BookCondensedItalic           579.71
+     l_____    Garamond-BoldCondensed                 579.72
+     l_____    Garamond-BoldCondensedItalic           579.73
+     l_____    Garamond-UltraCondensed                579.74
+     l_____    Garamond-UltraCondensedItalic          579.75
+     l_____    GaramondEF-Light                       579.76
+     l_____    GaramondEF-LightItalic                 579.77
+     l_____    GaramondEF-Book                        579.78
+     l_____    GaramondEF-BookItalic                  579.79
+     l_____    GaramondEF-Bold                        579.80
+     l_____    GaramondEF-BoldItalic                  579.81
+     l_____    GaramondEF-Ultra                       579.82
+     l_____    GaramondEF-UltraItalic                 579.83
+     l_____    GaramondHandtEF-Bold                   579.84
+     l_____    GaramondHandtEF-BoldItalic             579.85
+     l_____    GaramondEF-LightCondensed              579.86
+     l_____    GaramondEF-LightCondensedItalic        579.87
+     l_____    GaramondEF-BookCondensed               579.88
+     l_____    GaramondEF-BookCondensedItalic         579.89
+     l_____    GaramondEF-BoldCondensed               579.90
+     l_____    GaramondEF-BoldCondensedItalic         579.91
+     l_____    GaramondEF-UltraCondensed              579.92
+     l_____    GaramondEF-UltraCondensedItalic        579.93
+     l_____    SimonciniGaramond                      579.94
+     l_____    SimonciniGaramond-Italic               579.95
+     l_____    SimonciniGaramond-Bold                 579.96
+     l_____    GaramondThree                          579.97
+     l_____    GaramondThree-SC                       579.98
+     l_____    GaramondThree-Italic                   579.99
+     l_____    GaramondThree-ItalicOsF                579.100
+     l_____    GaramondThree-Bold                     579.101
+     l_____    GaramondThree-BoldSC                   579.102
+     l_____    GaramondThree-BoldItalic               579.103
+     l_____    GaramondThree-BoldItalicOsF            579.104
+     l_____    GaramondNo5EF-Light                    579.105
+     l_____    GaramondNo5EF-LightItalic              579.106
+     l_____    GaramondNo5EF-Bold                     579.107
+     l_____    Giddyup                                580.0
+     l_____    GlaserStencilEF                        581.0
+     l_____    Grace                                  582.0
+     l_____    GrafiloneLL-Light                      583.0
+     l_____    GrafiloneLL-SemiBold                   583.1
+     l_____    GrafiloneLL-Bold                       583.2
+     l_____    HaMangaIrregularLL-Regular             584.0
+     l_____    HaMangaIrregularLL-Italic              584.1
+     l_____    HaMangaIrregularPicturesLL             584.2
+     l_____    HandelGothicEF-Light                   585.0
+     l_____    HandelGothicEF-Medium                  585.1
+     l_____    HandelGothicEF-Bold                    585.2
+     l_____    Herculanum                             586.0
+     l_____    HoTomLL-Regular                        587.0
+     l_____    HollanderEF-Regular                    588.0
+     l_____    HollanderSCEF-Regular                  588.1
+     l_____    HollanderEF-RegularItalic              588.2
+     l_____    HollanderEF-Bold                       588.3
+     l_____    HorndonEF                              589.0
+     l_____    BarcelonaEF-Book                       591.0
+     l_____    BarcelonaEF-BookItalic                 591.1
+     l_____    BarcelonaEF-Medium                     591.2
+     l_____    BarcelonaEF-MediumItalic               591.3
+     l_____    BarcelonaEF-Bold                       591.4
+     l_____    BarcelonaEF-BoldItalic                 591.5
+     l_____    BarcelonaEF-Heavy                      591.6
+     l_____    BarcelonaEF-HeavyItalic                591.7
+     l_____    Bookman-Light                          592.0
+     l_____    Bookman-LightItalic                    592.1
+     l_____    Bookman-Medium                         592.2
+     l_____    Bookman-MediumItalic                   592.3
+     l_____    Bookman-Demi                           592.4
+     l_____    Bookman-DemiItalic                     592.5
+     l_____    Bookman-Bold                           592.6
+     l_____    Bookman-BoldItalic                     592.7
+     l_____    BookmanCE-Light                        592.8
+     l_____    BookmanCE-LightItalic                  592.9
+     l_____    BookmanCE-Demi                         592.10
+     l_____    BookmanCE-DemiItalic                   592.11
+     l_____    BookmanEF-Light                        592.12
+     l_____    BookmanEF-LightItalic                  592.13
+     l_____    BookmanEF-Medium                       592.14
+     l_____    BookmanEF-MediumItalic                 592.15
+     l_____    BookmanEF-Demi                         592.16
+     l_____    BookmanEF-DemiItalic                   592.17
+     l_____    BookmanEF-Bold                         592.18
+     l_____    BookmanEF-BoldItalic                   592.19
+     l_____    GammaEF-Book                           593.0
+     l_____    GammaSCEF-Book                         593.1
+     l_____    GammaEF-BookItalic                     593.2
+     l_____    GammaEF-Medium                         593.3
+     l_____    GammaSCEF-Medium                       593.4
+     l_____    GammaEF-MediumItalic                   593.5
+     l_____    GammaEF-Bold                           593.6
+     l_____    GammaEF-BoldItalic                     593.7
+     l_____    GammaEF-Black                          593.8
+     l_____    GammaEF-BlackItalic                    593.9
+     l_____    Italia-Book                            594.0
+     l_____    Italia-Medium                          594.1
+     l_____    Italia-Bold                            594.2
+     l_____    ItaliaEF-Book                          594.3
+     l_____    ItaliaEF-Medium                        594.4
+     l_____    ItaliaEF-Bold                          594.5
+     l_____    ItaliaEF-Condense                      594.6
+     l_____    MendozaRoman-Book                      595.0
+     l_____    MendozaRoman-BookItalic                595.1
+     l_____    MendozaRoman-Medium                    595.2
+     l_____    MendozaRoman-MediumItalic              595.3
+     l_____    MendozaRoman-Bold                      595.4
+     l_____    MendozaRoman-BoldItalic                595.5
+     l_____    MendozaRomanEF-Book                    595.6
+     l_____    MendozaRomanEF-BookSC                  595.7
+     l_____    MendozaRomanEF-BookItalic              595.8
+     l_____    MendozaRomanEF-Medium                  595.9
+     l_____    MendozaRomanEF-MediumSC                595.10
+     l_____    MendozaRomanEF-MediumItalic            595.11
+     l_____    MendozaRomanEF-Bold                    595.12
+     l_____    MendozaRomanEF-BoldItalic              595.13
+     l_____    OfficinaSans-Book                      596.0
+     l_____    OfficinaSans-BookItalic                596.1
+     l_____    OfficinaSans-Bold                      596.2
+     l_____    OfficinaSans-BoldItalic                596.3
+     l_____    OfficinaSerif-Book                     596.4
+     l_____    OfficinaSerif-BookItalic               596.5
+     l_____    OfficinaSerif-Bold                     596.6
+     l_____    OfficinaSerif-BoldItalic               596.7
+     l_____    OfficinaSansEF-Book                    596.8
+     l_____    OfficinaSansEF-BookItalic              596.9
+     l_____    OfficinaSansEF-Bold                    596.10
+     l_____    OfficinaSansEF-BoldItalic              596.11
+     l_____    OfficinaSerifEF-Book                   596.12
+     l_____    OfficinaSerifEF-BookItalic             596.13
+     l_____    OfficinaSerifEF-Bold                   596.14
+     l_____    OfficinaSerifEF-BoldItalic             596.15
+     l_____    StoneInformal                          597.0
+     l_____    StoneInformal-Italic                   597.1
+     l_____    StoneInformal-SemiBold                 597.2
+     l_____    StoneInformal-SemiBoldItalic           597.3
+     l_____    StoneInformal-Bold                     597.4
+     l_____    StoneInformal-BoldItalic               597.5
+     l_____    StoneSans                              597.6
+     l_____    StoneSans-Italic                       597.7
+     l_____    StoneSans-SemiBold                     597.8
+     l_____    StoneSans-SemiBoldItalic               597.9
+     l_____    StoneSans-Bold                         597.10
+     l_____    StoneSans-BoldItalic                   597.11
+     l_____    StoneSerif                             597.12
+     l_____    StoneSerif-Italic                      597.13
+     l_____    StoneSerif-SemiBold                    597.14
+     l_____    StoneSerif-SemiBoldItalic              597.15
+     l_____    StoneSerif-Bold                        597.16
+     l_____    StoneSerif-BoldItalic                  597.17
+     l_____    StoneSans-PhoneticIPA                  597.18
+     l_____    StoneSans-PhoneticAlternate            597.19
+     l_____    StoneSerif-PhoneticIPA                 597.20
+     l_____    StoneSerif-PhoneticAlternate           597.21
+     l_____    StoneInformalEF-Medium                 597.22
+     l_____    StoneInformalEF-MediumSC               597.23
+     l_____    StoneInformalEF-MediumItalic           597.24
+     l_____    StoneInformalEF-SemiBold               597.25
+     l_____    StoneInformalEF-SemiBoldSC             597.26
+     l_____    StoneInformalEF-SemiBoldItalic         597.27
+     l_____    StoneInformalEF-Bold                   597.28
+     l_____    StoneInformalEF-BoldItalic             597.29
+     l_____    StoneSansEF-Medium                     597.30
+     l_____    StoneSansEF-MediumSC                   597.31
+     l_____    StoneSansEF-MediumItalic               597.32
+     l_____    StoneSansEF-SemiBold                   597.33
+     l_____    StoneSansEF-SemiBoldSC                 597.34
+     l_____    StoneSansEF-SemiBoldItalic             597.35
+     l_____    StoneSansEF-Bold                       597.36
+     l_____    StoneSansEF-BoldItalic                 597.37
+     l_____    StoneSerifEF-Medium                    597.38
+     l_____    StoneSerifEF-MediumSC                  597.39
+     l_____    StoneSerifEF-MediumItalic              597.40
+     l_____    StoneSerifEF-SemiBold                  597.41
+     l_____    StoneSerifEF-SemiBoldSC                597.42
+     l_____    StoneSerifEF-SemiBoldItalic            597.43
+     l_____    StoneSerifEF-Bold                      597.44
+     l_____    StoneSerifEF-BoldItalic                597.45
+     l_____    StoneSansEF-MediumPhonetic             597.46
+     l_____    StoneSansEF-MediumPhoneticPlus         597.47
+     l_____    StoneSerifEF-MediumPhonetic            597.48
+     l_____    StoneSerifEF-MediumPhoneticPlus        597.49
+     l_____    Usherwood-Book                         598.0
+     l_____    Usherwood-BookItalic                   598.1
+     l_____    Usherwood-Medium                       598.2
+     l_____    Usherwood-MediumItalic                 598.3
+     l_____    Usherwood-Bold                         598.4
+     l_____    Usherwood-BoldItalic                   598.5
+     l_____    Usherwood-Black                        598.6
+     l_____    Usherwood-BlackItalic                  598.7
+     l_____    UsherwoodEF-Book                       598.8
+     l_____    UsherwoodEF-BookItalic                 598.9
+     l_____    UsherwoodEF-Medium                     598.10
+     l_____    UsherwoodEF-MediumItalic               598.11
+     l_____    UsherwoodEF-Bold                       598.12
+     l_____    UsherwoodEF-BoldItalic                 598.13
+     l_____    UsherwoodEF-Black                      598.14
+     l_____    UsherwoodEF-BlackItalic                598.15
+     l_____    Impact                                 600.0
+     l_____    ImprimeurClassiqueEF-Reg               601.0
+     l_____    ImprimeurClassiqueEF-Obl               601.1
+     l_____    ImprimeurNouveauEF-Reg                 601.2
+     l_____    ImprimeurNouveauEF-Obl                 601.3
+     l_____    Insignia                               602.0
+     l_____    Insignia-A                             602.1
+     l_____    JansonText-Roman                       603.0
+     l_____    JansonText-RomanSC                     603.1
+     l_____    JansonText-Italic                      603.2
+     l_____    JansonText-ItalicOsF                   603.3
+     l_____    JansonText-Bold                        603.4
+     l_____    JansonText-BoldOsF                     603.5
+     l_____    JansonText-BoldItalic                  603.6
+     l_____    JansonText-BoldItalicOsF               603.7
+     l_____    Kabel-Light                            604.0
+     l_____    Kabel-Book                             604.1
+     l_____    Kabel-Heavy                            604.2
+     l_____    Kabel-Black                            604.3
+     l_____    ItcKabel-Book                          604.4
+     l_____    ItcKabel-Medium                        604.5
+     l_____    ItcKabel-Demi                          604.6
+     l_____    ItcKabel-Bold                          604.7
+     l_____    ItcKabel-Ultra                         604.8
+     l_____    ItcKabelEF-Book                        604.9
+     l_____    ItcKabelEF-Medium                      604.10
+     l_____    ItcKabelEF-Demi                        604.11
+     l_____    ItcKabelEF-Bold                        604.12
+     l_____    ItcKabelEF-Ultra                       604.13
+     l_____    KapitelliaEF-Bold                      605.0
+     l_____    KlangMT                                606.0
+     l_____    KolossEF                               607.0
+     l_____    LCDEF                                  608.0
+     l_____    LinoLetter-Roman                       610.0
+     l_____    LinoLetter-RomanSC                     610.1
+     l_____    LinoLetter-RomanOsF                    610.2
+     l_____    LinoLetter-Italic                      610.3
+     l_____    LinoLetter-ItalicOsF                   610.4
+     l_____    LinoLetter-Medium                      610.5
+     l_____    LinoLetter-MediumSC                    610.6
+     l_____    LinoLetter-MediumOsF                   610.7
+     l_____    LinoLetter-MediumItalic                610.8
+     l_____    LinoLetter-MediumItalicOsF             610.9
+     l_____    LinoLetter-Bold                        610.10
+     l_____    LinoLetter-BoldSC                      610.11
+     l_____    LinoLetter-BoldOsF                     610.12
+     l_____    LinoLetter-BoldItalic                  610.13
+     l_____    LinoLetter-BoldItalicOsF               610.14
+     l_____    LinoLetter-Black                       610.15
+     l_____    LinoLetter-BlackSC                     610.16
+     l_____    LinoLetter-BlackOsF                    610.17
+     l_____    LinoLetter-BlackItalic                 610.18
+     l_____    LinoLetter-BlackItalicOsF              610.19
+     l_____    TechnicalLH-PiOne                      612.0
+     l_____    TechnicalLH-PiTwo                      612.1
+     l_____    MagnaEF-Light                          613.0
+     l_____    MagnaEF-Italic                         613.1
+     l_____    MagnaEF-Bold                           613.2
+     l_____    MateoRomanLL                           614.0
+     l_____    MateoBoldLL                            614.1
+     l_____    MateoBoldOutlineLL                     614.2
+     l_____    Memphis-Light                          615.0
+     l_____    Memphis-LightItalic                    615.1
+     l_____    Memphis-Medium                         615.2
+     l_____    Memphis-MediumItalic                   615.3
+     l_____    Memphis-Bold                           615.4
+     l_____    Memphis-BoldItalic                     615.5
+     l_____    Memphis-ExtraBold                      615.6
+     l_____    MetroLite-Two                          616.0
+     l_____    MetroMedium-Two                        616.1
+     l_____    MetroBlack-Two                         616.2
+     l_____    Mistral                                617.0
+     l_____    Monotype Script-Bold                   618.0
+     l_____    Napoleon-BoldCondensed                 619.0
+     l_____    NeulandStar                            620.1
+     l_____    NewCaledonia                           621.0
+     l_____    NewCaledonia-RomanSC                   621.1
+     l_____    NewCaledonia-Italic                    621.2
+     l_____    NewCaledonia-ItalicOsF                 621.3
+     l_____    NewCaledonia-SemiBold                  621.4
+     l_____    NewCaledonia-SemiBoldItalic            621.5
+     l_____    NewCaledonia-Bold                      621.6
+     l_____    NewCaledonia-BoldSC                    621.7
+     l_____    NewCaledonia-BoldItalic                621.8
+     l_____    NewCaledonia-BoldItalicOsF             621.9
+     l_____    NewCaledonia-Black                     621.10
+     l_____    NewCaledonia-BlackItalic               621.11
+     l_____    NoweAtenyLL-Two                        622.0
+     l_____    OctopussEF                             623.0
+     l_____    OctopussEF-Shaded                      623.1
+     l_____    OldTown536EF                           624.0
+     l_____    Optima                                 625.0
+     l_____    Optima-Oblique                         625.1
+     l_____    Optima-Medium                          625.2
+     l_____    Optima-MediumOblique                   625.3
+     l_____    Optima-Demi                            625.4
+     l_____    Optima-DemiOblique                     625.5
+     l_____    Optima-Bold                            625.6
+     l_____    Optima-BoldOblique                     625.7
+     l_____    Optima-Black                           625.8
+     l_____    Optima-BlackOblique                    625.9
+     l_____    Optima-ExtraBlack                      625.10
+     l_____    Optima-ExtraBlackOblique               625.11
+     l_____    OptimaCE-Roman                         625.12
+     l_____    OptimaCE-Oblique                       625.13
+     l_____    OptimaCE-Bold                          625.14
+     l_____    OptimaCE-BoldOblique                   625.15
+     l_____    OptimaEastA-Roman                      625.16
+     l_____    OptimaEastA-RomanOblique               625.17
+     l_____    OptimaEastA-Bold                       625.18
+     l_____    OptimaEastA-BoldOblique                625.19
+     l_____    PaddingtonEF                           626.0
+     l_____    PaddingtonEF-Alternate                 626.1
+     l_____    PapyrusEF-Regular                      627.0
+     l_____    PapyrusEF-Alternates                   627.1
+     l_____    Peignot-Light                          628.0
+     l_____    Peignot-Demi                           628.1
+     l_____    Peignot-Bold                           628.2
+     l_____    PendryScriptEF-Regular                 629.0
+     l_____    PendryScriptEF-Alternates              629.1
+     l_____    PiccadillyEF                           630.0
+     l_____    Poplar                                 631.0
+     l_____    PumpEF-Light                           632.0
+     l_____    PumpEF-Medium                          632.1
+     l_____    PumpEF-Demi                            632.2
+     l_____    PumpEF-Bold                            632.3
+     l_____    PumpEF-Triline                         632.4
+     l_____    RailroadGothic                         633.0
+     l_____    RotisSansSerif-Light                   634.0
+     l_____    RotisSansSerif-LightItalic             634.1
+     l_____    RotisSansSerif                         634.2
+     l_____    RotisSansSerif-Italic                  634.3
+     l_____    RotisSansSerif-Bold                    634.4
+     l_____    RotisSansSerif-ExtraBold               634.5
+     l_____    RotisSerif                             634.6
+     l_____    RotisSerif-Italic                      634.7
+     l_____    RotisSerif-Bold                        634.8
+     l_____    RotisSemiSans-Light                    634.9
+     l_____    RotisSemiSans-LightItalic              634.10
+     l_____    RotisSemiSans                          634.11
+     l_____    RotisSemiSans-Italic                   634.12
+     l_____    RotisSemiSans-Bold                     634.13
+     l_____    RotisSemiSans-ExtraBold                634.14
+     l_____    RotisSemiSerif                         634.15
+     l_____    RotisSemiSerif-Bold                    634.16
+     l_____    RunicMT-Condensed                      635.0
+     l_____    SassoonPrimary                         636.0
+     l_____    SerlioLH                               637.0
+     l_____    ShelleyEF                              638.0
+     l_____    SierraEF-Regular                       639.0
+     l_____    SierraEF-RegularItalic                 639.1
+     l_____    SierraEF-Bold                          639.2
+     l_____    SierraEF-BoldItalic                    639.3
+     l_____    SlipstreamEF                           640.0
+     l_____    Souvenir-Light                         641.0
+     l_____    Souvenir-LightItalic                   641.1
+     l_____    Souvenir-Medium                        641.2
+     l_____    Souvenir-MediumItalic                  641.3
+     l_____    Souvenir-Demi                          641.4
+     l_____    Souvenir-DemiItalic                    641.5
+     l_____    Souvenir-Bold                          641.6
+     l_____    Souvenir-BoldItalic                    641.7
+     l_____    SouvenirGreek-Light                    641.8
+     l_____    SouvenirGreek-Demi                     641.9
+     l_____    SouvenirGreekP-Light                   641.10
+     l_____    SouvenirGreekP-Demi                    641.11
+     l_____    SouvenirEF-Light                       641.12
+     l_____    SouvenirEF-LightItalic                 641.13
+     l_____    SouvenirEF-Medium                      641.14
+     l_____    SouvenirEF-MediumItalic                641.15
+     l_____    SouvenirEF-Demi                        641.16
+     l_____    SouvenirEF-DemiItalic                  641.17
+     l_____    SouvenirEF-Bold                        641.18
+     l_____    SouvenirEF-BoldItalic                  641.19
+     l_____    SouvenirMonoEF-Light                   641.20
+     l_____    SouvenirMonoEF-LightItalic             641.21
+     l_____    SouvenirMonoEF-Bold                    641.22
+     l_____    SpringfieldEF                          642.0
+     l_____    StentorEF                              643.0
+     l_____    StymieEF-Light                         644.0
+     l_____    StymieEF-Medium                        644.1
+     l_____    StymieEF-Bold                          644.2
+     l_____    StymieEF-Black                         644.3
+     l_____    StymieEF-MediumCondensed               644.4
+     l_____    StymieEF-BoldCondensed                 644.5
+     l_____    SynchroEF                              645.0
+     l_____    SynchroEF-Alternate                    645.1
+     l_____    TeaChest                               646.0
+     l_____    Times-Roman                            648.0
+     l_____    Times-RomanSC                          648.1
+     l_____    Times-Italic                           648.2
+     l_____    Times-ItalicOsF                        648.3
+     l_____    Times-SemiBold                         648.4
+     l_____    Times-SemiBoldItalic                   648.5
+     l_____    Times-Bold                             648.6
+     l_____    Times-BoldSC                           648.7
+     l_____    Times-BoldItalic                       648.8
+     l_____    Times-BoldItalicOsF                    648.9
+     l_____    TimesTen-Roman                         648.10
+     l_____    TimesTen-RomanSC                       648.11
+     l_____    TimesTen-RomanOsF                      648.12
+     l_____    TimesTen-Italic                        648.13
+     l_____    TimesTen-ItalicOsF                     648.14
+     l_____    TimesTen-Bold                          648.15
+     l_____    TimesTen-BoldOsF                       648.16
+     l_____    TimesTen-BoldItalic                    648.17
+     l_____    TimesTen-BoldItalicOsF                 648.18
+     l_____    TimesEighteen-Roman                    648.19
+     l_____    TimesEighteen-Bold                     648.20
+     l_____    Times-ExtraBold                        648.21
+     l_____    TimesEuropa-Roman                      648.22
+     l_____    TimesEuropa-Italic                     648.23
+     l_____    TimesEuropa-Bold                       648.24
+     l_____    TimesEuropa-BoldItalic                 648.25
+     l_____    Times-PhoneticIPA                      648.26
+     l_____    Times-PhoneticAlternate                648.27
+     l_____    TimesCE-Roman                          648.28
+     l_____    TimesCE-Italic                         648.29
+     l_____    TimesCE-Bold                           648.30
+     l_____    TimesCE-BoldItalic                     648.31
+     l_____    TimesTenCE-Roman                       648.32
+     l_____    TimesTenCE-Italic                      648.33
+     l_____    TimesTenCE-Bold                        648.34
+     l_____    TimesTenCE-BoldItalic                  648.35
+     l_____    TimesTenCyr-Upright                    648.36
+     l_____    TimesTenCyr-Inclined                   648.37
+     l_____    TimesTenCyr-Bold                       648.38
+     l_____    TimesTenCyr-BoldInclined               648.39
+     l_____    TimesTenEastA-Roman                    648.40
+     l_____    TimesTenEastA-Italic                   648.41
+     l_____    TimesTenEastA-Bold                     648.42
+     l_____    TimesTenEastA-BoldItalic               648.43
+     l_____    TimesTenGreek-Upright                  648.44
+     l_____    TimesTenGreek-Inclined                 648.45
+     l_____    TimesTenGreek-Bold                     648.46
+     l_____    TimesTenGreek-BdInclined               648.47
+     l_____    TimesTenGreekP-Upright                 648.48
+     l_____    TimesTenGreekP-Inclined                648.49
+     l_____    TimesTenGreekP-Bold                    648.50
+     l_____    TimesTenGreekP-BoldInclined            648.51
+     l_____    TimesModernEF                          648.52
+     l_____    TimesNewRomanPS-Roman                  648.53
+     l_____    TimesNewRomanPS-Italic                 648.54
+     l_____    TimesNewRomanPS-Bold                   648.55
+     l_____    TimesNewRomanPS-BoldItalic             648.56
+     l_____    TimesNewRomanMT-Cond                   648.57
+     l_____    TimesNewRomanMT-CondItalic             648.58
+     l_____    TimesNewRomanMT-BoldCond               648.59
+     l_____    TradeGothic-Light                      649.0
+     l_____    TradeGothic-LightOblique               649.1
+     l_____    TradeGothic                            649.2
+     l_____    TradeGothic-Oblique                    649.3
+     l_____    TradeGothic-Bold                       649.4
+     l_____    TradeGothic-BoldTwo                    649.5
+     l_____    TradeGothic-BoldOblique                649.6
+     l_____    TradeGothic-BoldTwoOblique             649.7
+     l_____    TradeGothic-CondEighteen               649.8
+     l_____    TradeGothic-CondEighteenObl            649.9
+     l_____    TradeGothic-BoldCondTwenty             649.10
+     l_____    TradeGothic-BoldCondTwentyObl          649.11
+     l_____    TradeGothicLH-Extended                 649.12
+     l_____    Utopia-Regular                         651.0
+     l_____    Utopia-RegularSC                       651.1
+     l_____    UtopiaExp-Regular                      651.2
+     l_____    Utopia-Italic                          651.3
+     l_____    Utopia-ItalicOsF                       651.4
+     l_____    UtopiaExp-Italic                       651.5
+     l_____    Utopia-Semibold                        651.6
+     l_____    Utopia-SemiboldSC                      651.7
+     l_____    UtopiaExp-Semibold                     651.8
+     l_____    Utopia-SemiboldItalic                  651.9
+     l_____    Utopia-SemiboldItalicOsF               651.10
+     l_____    UtopiaExp-SemiboldItalic               651.11
+     l_____    Utopia-Bold                            651.12
+     l_____    Utopia-BoldOsF                         651.13
+     l_____    UtopiaExp-Bold                         651.14
+     l_____    Utopia-BoldItalic                      651.15
+     l_____    Utopia-BoldItalicOsF                   651.16
+     l_____    UtopiaExp-BoldItalic                   651.17
+     l_____    Utopia-Black                           651.18
+     l_____    Utopia-BlackOsF                        651.19
+     l_____    Utopia-BlackExpert                     651.20
+     l_____    Utopia-Headline                        651.21
+     l_____    Utopia-TitlingCapitals                 651.22
+     l_____    Utopia-Ornaments                       651.23
+     l_____    VenusMager                             652.0
+     l_____    VenusKursivMager                       652.1
+     l_____    VenusLinkskursiv                       652.2
+     l_____    VenusHalbfett                          652.3
+     l_____    VenusKursivHalbfett                    652.4
+     l_____    VenusEgypHalbfett                      652.5
+     l_____    VenusEgypHalbfettKurs                  652.6
+     l_____    VoltaEF-Regular                        653.0
+     l_____    VoltaEF-Medium                         653.1
+     l_____    VoltaEF-MediumItalic                   653.2
+     l_____    VoltaEF-Bold                           653.3
+     l_____    Weiss                                  654.0
+     l_____    Weiss-Italic                           654.1
+     l_____    Weiss-Bold                             654.2
+     l_____    Weiss-ExtraBold                        654.3
+     l_____    WeissAntiquaEF-Regular                 654.4
+     l_____    WeissAntiquaEF-RegularItalic           654.5
+     l_____    WeissAntiquaEF-Medium                  654.6
+     l_____    WeissAntiquaEF-Bold                    654.7
+     l_____    WeissAntiquaEF-ExtraBold               654.8
+     l_____    WeissAntiquaEF-UltraBold               654.9
+     l_____    WeissAntiquaEF-BoldCondensed           654.10
+     l_____    WeissAntiquaEF-ExtraBoldCondensed      654.11
+     l_____    Wilke-Roman                            655.0
+     l_____    Wilke-Italic                           655.1
+     l_____    Wilke-Bold                             655.2
+     l_____    Wilke-BoldItalic                       655.3
+     l_____    Wilke-Black                            655.4
+     l_____    Wilke-BlackItalic                      655.5
+     l_____    Woodstock                              656.0
+     l_____    Bellevue                               657.0
+     l_____    BinnerEF                               658.0
+     l_____    Boton-Light                            659.0
+     l_____    Boton-LightItalic                      659.1
+     l_____    Boton-Regular                          659.2
+     l_____    Boton-Italic                           659.3
+     l_____    Boton-Medium                           659.4
+     l_____    Boton-MediumItalic                     659.5
+     l_____    Boton-Bold                             659.6
+     l_____    Boton-BoldItalic                       659.7
+     l_____    AachenCE-Bold                         9501.0
+     l_____    AdHoc                                 9501.1
+     l_____    AdHoc-Bis                             9501.2
+     l_____    AdHoc-SC                              9501.3
+     l_____    AdHoc-BisItalic                       9501.4
+     l_____    AdHoc-Italic                          9501.5
+     l_____    LinotypeAmelia                        9501.8
+     l_____    Andreas                               9501.9
+     l_____    BaskervilleClassico                   9501.13
+     l_____    BaskervilleClassico-Italic            9501.14
+     l_____    BaskervilleClassico-BoldItalic        9501.15
+     l_____    BaskervilleClassico-SC                9501.16
+     l_____    BaskervilleClassico-Bold              9501.17
+     l_____    LinotypeBecket                        9501.18
+     l_____    Bernhard-BoldCondensed                9501.19
+     l_____    Birka                                 9501.20
+     l_____    Birka-SC                              9501.21
+     l_____    Birka-SemiBoldItalic                  9501.22
+     l_____    Birka-SemiBold                        9501.23
+     l_____    Birka-BoldItalic                      9501.24
+     l_____    Birka-Italic                          9501.25
+     l_____    Birka-Bold                            9501.26
+     l_____    LinotypeBlackWhiteHeadline            9501.27
+     l_____    LinotypeBlackWhiteOutline             9501.28
+     l_____    LinotypeBlackWhiteLaserOutline        9501.29
+     l_____    LinotypeBlackWhite                    9501.30
+     l_____    LinotypeBlackWhiteLaser               9501.31
+     l_____    BodoniHE-Light                        9501.32
+     l_____    BodoniHE-LightItalic                  9501.33
+     l_____    BodoniHE-SemiBold                     9501.34
+     l_____    BodoniHE-SemiBoldItalic               9501.35
+     l_____    BodoniHE-BookItalic                   9501.36
+     l_____    BodoniHE-Book                         9501.37
+     l_____    BodoniHE-Bold                         9501.38
+     l_____    BodoniHE-ExtraBold                    9501.39
+     l_____    BodoniHE-BoldItalic                   9501.40
+     l_____    BodoniHE-SemiBoldCondensedItalic      9501.41
+     l_____    BodoniHE-SemiBoldCondensed            9501.42
+     l_____    BodoniHE-BoldCondensedItalic          9501.43
+     l_____    BodoniHE-BoldCondensed                9501.44
+     l_____    BodoniHE-ExtraBoldItalic              9501.45
+     l_____    BodoniClassico                        9501.46
+     l_____    BodoniClassico-BoldItalic             9501.47
+     l_____    BodoniClassico-SC                     9501.48
+     l_____    BodoniClassico-Bold                   9501.49
+     l_____    BodoniClassico-Italic                 9501.50
+     l_____    Carniola                              9501.52
+     l_____    Carniola-Bold                         9501.53
+     l_____    Carniola-SemiBold                     9501.54
+     l_____    Carniola-SC                           9501.55
+     l_____    Carniola-SemiBoldItalic               9501.56
+     l_____    Carniola-BoldItalic                   9501.57
+     l_____    Carniola-Italic                       9501.58
+     l_____    CaslonHE-Light                        9501.59
+     l_____    CaslonHE-LightItalic                  9501.60
+     l_____    CaslonHE-Italic                       9501.61
+     l_____    CaslonHE-Roman                        9501.62
+     l_____    CaslonClassico                        9501.63
+     l_____    CaslonClassico-Bold                   9501.64
+     l_____    CaslonClassico-SC                     9501.65
+     l_____    CaslonClassico-BoldItalic             9501.66
+     l_____    CaslonClassico-Italic                 9501.67
+     l_____    Century-HandtooledBold                9501.68
+     l_____    Century-HandtooledBoldItalic          9501.69
+     l_____    NewCenturySchlbkCyr-Roman             9501.70
+     l_____    NewCenturySchlbkCyr-Bold              9501.71
+     l_____    NewCenturySchlbkCyr-Italic            9501.72
+     l_____    NewCenturySchlbkCyr-BoldItalic        9501.73
+     l_____    Cheltenham-HandtooledBd               9501.74
+     l_____    Cheltenham-HandtooledBdIt             9501.75
+     l_____    CloisterOpenFace                      9501.76
+     l_____    Linotype CMC-Seven                    9501.77
+     l_____    CooperBlackCE-Regualr                 9501.78
+     l_____    CooperBlackCE-Italic                  9501.79
+     l_____    CourierCyr                            9501.80
+     l_____    CourierCyr-Oblique                    9501.81
+     l_____    CourierCyr-BoldOblique                9501.82
+     l_____    CourierCyr-Bold                       9501.83
+     l_____    LinotypeDavida                        9501.84
+     l_____    Devin                                 9501.95
+     l_____    Devin-Bold                            9501.96
+     l_____    Devin-Italic                          9501.97
+     l_____    Devin-SemiBold                        9501.98
+     l_____    Devin-SC                              9501.99
+     l_____    Devin-SemiBoldItalic                  9501.100
+     l_____    Devin-BoldItalic                      9501.101
+     l_____    Dialog-Condensed                      9501.102
+     l_____    Dialog-SemiBoldSC                     9501.103
+     l_____    Dialog-LightSC                        9501.104
+     l_____    Dialog-ExtraBoldItalic                9501.105
+     l_____    Dialog-ExtraBold                      9501.106
+     l_____    Dialog-SemiBoldItalic                 9501.107
+     l_____    Dialog-SemiBold                       9501.108
+     l_____    Dialog-LightItalic                    9501.109
+     l_____    Dialog-Light                          9501.110
+     l_____    Dialog-SC                             9501.111
+     l_____    Dialog-BoldItalic                     9501.112
+     l_____    Dialog-Bold                           9501.113
+     l_____    Dialog-Italic                         9501.114
+     l_____    Dialog                                9501.115
+     l_____    DialogCond-Bold                       9501.116
+     l_____    DialogCond-Italic                     9501.117
+     l_____    DialogCond-BoldItalic                 9501.118
+     l_____    DialogCond-SemiBoldItalic             9501.119
+     l_____    DialogCond-SemiBold                   9501.120
+     l_____    DigiAntiqua-LightCondensed            9501.121
+     l_____    DigiGrotesk-BoldCondensed             9501.122
+     l_____    EmonaCond                             9501.124
+     l_____    EmonaCond-Bold                        9501.125
+     l_____    EmonaCond-BoldItalic                  9501.126
+     l_____    Emona-Bold                            9501.127
+     l_____    Emona-SemiBold                        9501.128
+     l_____    Emona-SC                              9501.129
+     l_____    Emona-SemiBoldItalic                  9501.130
+     l_____    Emona-Italic                          9501.131
+     l_____    Emona                                 9501.132
+     l_____    EmonaCond-Italic                      9501.133
+     l_____    Emona-BoldItalic                      9501.134
+     l_____    EsperantoCond                         9501.135
+     l_____    Esperanto                             9501.136
+     l_____    Esperanto-Bold                        9501.137
+     l_____    Esperanto-SemiBold                    9501.138
+     l_____    Esperanto-SC                          9501.139
+     l_____    Esperanto-SemiBoldItalic              9501.140
+     l_____    Esperanto-BoldItalic                  9501.141
+     l_____    Esperanto-Italic                      9501.142
+     l_____    EsperantoCond-SC                      9501.143
+     l_____    EsperantoCond-Bold                    9501.144
+     l_____    EsperantoCond-Italic                  9501.145
+     l_____    EsperantoCond-BoldItalic              9501.146
+     l_____    ExcelsiorInsertio                     9501.147
+     l_____    F2FAlRetto                            9501.148
+     l_____    F2FBoneR-Book                         9501.149
+     l_____    F2FCzykagoSemiSerif                   9501.150
+     l_____    F2FLego-Stoned                        9501.151
+     l_____    F2FLovegrid                           9501.152
+     l_____    F2FMadame-Butterfly                   9501.153
+     l_____    F2FMadZine-Dirt                       9501.154
+     l_____    F2FMadZine-Script                     9501.155
+     l_____    F2FOCR-AlexczykShake                  9501.156
+     l_____    OCR-BczykNorm                         9501.157
+     l_____    OCR-BczykBold                         9501.158
+     l_____    F2FPrototipa-Multipla                 9501.159
+     l_____    F2FScreen-Scream                      9501.160
+     l_____    F2FShakkarakk                         9501.161
+     l_____    F2FShpeetz                            9501.162
+     l_____    F2FTagliatelle-Sugo                   9501.163
+     l_____    F2FTwins                              9501.164
+     l_____    F2FTyrell-Corp                        9501.165
+     l_____    Linotype FehrleDisplay                9501.166
+     l_____    Fortuna                               9501.167
+     l_____    Fortuna-Bold                          9501.168
+     l_____    FranklinGothic-BookCmpr               9501.169
+     l_____    FranklinGothic-DemiCmprItal           9501.170
+     l_____    FranklinGothic-DemiXCmpr              9501.171
+     l_____    FranklinGothic-BookXCmpr              9501.172
+     l_____    FranklinGothic-DemiCndItal            9501.173
+     l_____    FranklinGothic-DemiCnd                9501.174
+     l_____    FranklinGothic-MediumCndItal          9501.175
+     l_____    FranklinGothic-MediumCnd              9501.176
+     l_____    FranklinGothic-BookCndItal            9501.177
+     l_____    FranklinGothic-BookCnd                9501.178
+     l_____    FranklinGothic-DemiCmpr               9501.179
+     l_____    FranklinGothic-BookCmprItal           9501.180
+     l_____    FreestyleScriptCE                     9501.181
+     l_____    FrutigerCE-LightItalic                9501.182
+     l_____    FrutigerCE-Roman                      9501.183
+     l_____    FrutigerCE-Black                      9501.184
+     l_____    FrutigerCE-Italic                     9501.185
+     l_____    FrutigerCE-Light                      9501.186
+     l_____    FrutigerCE-UltraBlack                 9501.187
+     l_____    FrutigerCE-BlackItalic                9501.188
+     l_____    FrutigerCE-BoldItalic                 9501.189
+     l_____    FrutigerCE-Bold                       9501.190
+     l_____    FuturaCE-Light                        9501.191
+     l_____    FuturaCE-Bold                         9501.192
+     l_____    FuturaCE-Medium                       9501.193
+     l_____    FuturaCE-BoldOblique                  9501.194
+     l_____    FuturaCE-LightOblique                 9501.195
+     l_____    FuturaCE-ExtraBoldOblique             9501.196
+     l_____    FuturaCE-ExtraBold                    9501.197
+     l_____    FuturaCE-HeavyOblique                 9501.198
+     l_____    FuturaCE-Heavy                        9501.199
+     l_____    FuturaCE-MediumOblique                9501.200
+     l_____    FuturaCE-BookOblique                  9501.201
+     l_____    FuturaCE-Book                         9501.202
+     l_____    Garamond-HandtooledBold               9501.206
+     l_____    Garamond-HandtooledBoldItalic         9501.207
+     l_____    GaramondClassico                      9501.208
+     l_____    GaramondClassico-BoldItalic           9501.209
+     l_____    GaramondClassico-SC                   9501.210
+     l_____    GaramondClassico-Italic               9501.211
+     l_____    GaramondClassico-Bold                 9501.212
+     l_____    GillSansCE-Light                      9501.213
+     l_____    GillSansCE-Roman                      9501.214
+     l_____    GillSansCE-Bold                       9501.215
+     l_____    GillSansCE-BoldItalic                 9501.216
+     l_____    GillSansCE-Italic                     9501.217
+     l_____    GillSansCE-LightItalic                9501.218
+     l_____    GoudyModern94                         9501.219
+     l_____    GoudyModern94-Italic                  9501.220
+     l_____    GoudyModern94-Bold                    9501.221
+     l_____    GoudyModern94-BoldItalic              9501.222
+     l_____    GoudyModern94-SC                      9501.223
+     l_____    GoudyVillage                          9501.224
+     l_____    GoudyVillage-SC                       9501.225
+     l_____    GoudyVillage-BoldItalic               9501.226
+     l_____    GoudyVillage-Italic                   9501.227
+     l_____    GoudyVillage-Bold                     9501.228
+     l_____    GriffoClassico                        9501.229
+     l_____    GriffoClassico-Bold                   9501.230
+     l_____    GriffoClassico-BoldItalic             9501.231
+     l_____    GriffoClassico-SC                     9501.232
+     l_____    GriffoClassico-Italic                 9501.233
+     l_____    HelveticaNeueCE-Light                 9501.238
+     l_____    HelveticaNeueCE-Black                 9501.239
+     l_____    HelveticaNeueCE-UltraLightIt          9501.240
+     l_____    HelveticaNeueCE-BlackItalic           9501.241
+     l_____    HelveticaNeueCE-Medium                9501.242
+     l_____    HelveticaNeueCE-Heavy                 9501.243
+     l_____    HelveticaNeueCE-HeavyItalic           9501.244
+     l_____    HelveticaNeueCE-UltraLight            9501.245
+     l_____    HelveticaNeueCE-MediumItalic          9501.246
+     l_____    HelveticaNeueCE-LightItalic           9501.247
+     lpi___    Linotype HieroglyphsPi-One            9501.248
+     lpi___    Linotype HieroglyphsPi-Two            9501.249
+     l_____    Humana                                9501.250
+     l_____    Humana-SC                             9501.251
+     l_____    Isolde                                9501.252
+     l_____    Isolde-Italic                         9501.253
+     l_____    Isolde-BoldItalic                     9501.254
+     l_____    Isolde-SC                             9501.255
+     l_____    Isolde-Bold                           9501.256
+     l_____    JensonClassico                        9501.257
+     l_____    JensonClassico-Italic                 9501.258
+     l_____    JensonClassico-BoldItalic             9501.259
+     l_____    JensonClassico-Bold                   9501.260
+     l_____    JensonClassico-SC                     9501.261
+     l_____    Jesper                                9501.262
+     l_____    Jonatan                               9501.263
+     l_____    Kalix                                 9501.264
+     l_____    Kalix-SC                              9501.265
+     l_____    Kalix-Italic                          9501.266
+     l_____    Kalix-Bold                            9501.267
+     l_____    Kalix-BoldItalic                      9501.268
+     l_____    Kalix-SemiBoldItalic                  9501.269
+     l_____    Kalix-SemiBold                        9501.270
+     l_____    Kasper                                9501.271
+     lpi___    MacKeyCaps                            9501.272
+     l_____    KisClassico                           9501.281
+     l_____    KisClassico-BoldItalic                9501.282
+     l_____    KisClassico-SC                        9501.283
+     l_____    KisClassico-Italic                    9501.284
+     l_____    KisClassico-Bold                      9501.285
+     lpi___    Linobats                              9501.288
+     l_____    LucidaTypewriter                      9501.289
+     l_____    LucidaSansTypewriter                  9501.290
+     l_____    LucidaSansTypewriter-Bd               9501.291
+     l_____    LucidaSansTypewriter-BdObl            9501.292
+     l_____    LucidaTypewriter-BoldObl              9501.293
+     l_____    LucidaTypewriter-Bold                 9501.294
+     l_____    LucidaTypewriter-Obl                  9501.295
+     l_____    LucidaSansTypewriter-Obl              9501.296
+     l_____    LinotypeLutherscheFraktur             9501.297
+     l_____    LinotypeLutherscheFraktur-Dfr         9501.298
+     l_____    Manuskript                            9501.299
+     l_____    Manuskript-BoldItalic                 9501.300
+     l_____    Manuskript-SC                         9501.301
+     l_____    Manuskript-Bold                       9501.302
+     l_____    Manuskript-Italic                     9501.303
+     l_____    MarcoPolo                             9501.304
+     l_____    MarcoPolo-SC                          9501.305
+     l_____    MarcoPolo-Italic                      9501.306
+     l_____    Memento                               9501.307
+     l_____    Memento-Italic                        9501.308
+     l_____    Memento-SemiBold                      9501.309
+     l_____    Memento-SemiBoldItalic                9501.310
+     l_____    Memento-BoldItalic                    9501.311
+     l_____    Memento-Bold                          9501.312
+     l_____    Memento-SC                            9501.313
+     l_____    Miramar                               9501.314
+     l_____    Miramar-SC                            9501.315
+     l_____    Miramar-BoldItalic                    9501.316
+     l_____    Miramar-Bold                          9501.317
+     l_____    Miramar-Italic                        9501.318
+     l_____    Mojo                                  9501.319
+     l_____    Monti-Roman                           9501.320
+     l_____    Monti-SemiBold                        9501.321
+     l_____    Napoleon-Light                        9501.322
+     l_____    Napoleon-Roman                        9501.323
+     l_____    Napoleon-Italic                       9501.324
+     l_____    Napoleon-Bold                         9501.325
+     l_____    Napoleon-BoldCondensed                9501.326
+     l_____    Napoleon-SemiBold                     9501.327
+     l_____    Neuland                               9501.328
+     l_____    NormaCompr                            9501.329
+     l_____    NormaCompr-Bold                       9501.330
+     l_____    NormaCompr-Italic                     9501.331
+     l_____    NormaCompr-SC                         9501.332
+     l_____    NormaCond-Bold                        9501.333
+     l_____    NormaCond                             9501.334
+     l_____    Norma-SemiBoldItalic                  9501.335
+     l_____    Norma-SemiBold                        9501.336
+     l_____    Norma-BoldItalic                      9501.337
+     l_____    Norma-Bold                            9501.338
+     l_____    Norma-Italic                          9501.339
+     l_____    Norma                                 9501.340
+     l_____    NormaCond-SC                          9501.341
+     l_____    NormaCond-Italic                      9501.342
+     l_____    Norma-SC                              9501.343
+     l_____    NormaCond-BoldItalic                  9501.344
+     l_____    NormaCompr-BoldItalic                 9501.345
+     l_____    Nyfors                                9501.346
+     l_____    OdenseCompr                           9501.347
+     l_____    OdenseCompr-Italic                    9501.348
+     l_____    OdenseCond-Bold                       9501.349
+     l_____    OdenseCond-Italic                     9501.350
+     l_____    OdenseCond-BoldItalic                 9501.351
+     l_____    Odense-Bold                           9501.352
+     l_____    Odense-Italic                         9501.353
+     l_____    Odense                                9501.354
+     l_____    Odense-SemiBoldSC                     9501.355
+     l_____    Odense-ExtraBoldItalic                9501.356
+     l_____    Odense-ExtraBold                      9501.357
+     l_____    Odense-SemiBoldItalic                 9501.358
+     l_____    Odense-SemiBold                       9501.359
+     l_____    Odense-SC                             9501.360
+     l_____    Odense-BoldItalic                     9501.361
+     l_____    Odense-Neon                           9501.362
+     l_____    OdenseCond                            9501.363
+     l_____    Omnibus                               9501.364
+     l_____    Omnibus-Italic                        9501.365
+     l_____    Omnibus-BoldItali                     9501.366
+     l_____    Omnibus-SemiBoldItalic                9501.367
+     l_____    Omnibus-SemiBold                      9501.368
+     l_____    Omnibus-SC                            9501.369
+     l_____    Omnibus-Bold                          9501.370
+     l_____    Ondine                                9501.371
+     l_____    Optima-Medium                         9501.372
+     l_____    Optima-DemiBoldItalic                 9501.373
+     l_____    Optima-BlackItalic                    9501.374
+     l_____    Optima-ExtraBlackItalic               9501.375
+     l_____    Optima-ExtraBlack                     9501.376
+     l_____    Optima-Black                          9501.377
+     l_____    Optima-DemiBold                       9501.378
+     l_____    Optima-MediumItalic                   9501.379
+     l_____    Ouch                                  9501.380
+     l_____    LinotypePaintIt                       9501.381
+     l_____    LinotypePaintIt-Black                 9501.382
+     l_____    Pax                                   9501.383
+     l_____    Pax-SemiBoldItalic                    9501.384
+     l_____    Pax-SemiBold                          9501.385
+     l_____    PaxCond-SC                            9501.386
+     l_____    PaxCond-BoldItalic                    9501.387
+     l_____    PaxCond-Bold                          9501.388
+     l_____    PaxCond-Italic                        9501.389
+     l_____    PaxCond                               9501.390
+     l_____    Pax-SC                                9501.391
+     l_____    Pax-Italic                            9501.392
+     l_____    Pax-BoldItalic                        9501.393
+     l_____    Pax-Bold                              9501.394
+     l_____    PaxTwo                                9501.395
+     l_____    PaxTwo-Italic                         9501.396
+     l_____    PaxTwo-Bold                           9501.397
+     l_____    PaxTwo-SemiBold                       9501.398
+     l_____    PaxTwo-SC                             9501.399
+     l_____    PaxTwo-SemiBoldItalic                 9501.400
+     l_____    PaxTwo-BoldItalic                     9501.401
+     l_____    Persona                               9501.402
+     l_____    Pierrot                               9501.403
+     l_____    Ragnar                                9501.406
+     l_____    Ragnar-SC                             9501.407
+     l_____    Ragnar-SemiBoldItalic                 9501.408
+     l_____    Ragnar-Bold                           9501.409
+     l_____    Ragnar-BoldItalic                     9501.410
+     l_____    Ragnar-SemiBold                       9501.411
+     l_____    Ragnar-Italic                         9501.412
+     l_____    ResPublicaCond                        9501.413
+     l_____    ResPublica-Italic                     9501.414
+     l_____    ResPublica-BoldItalic                 9501.415
+     l_____    ResPublica-SC                         9501.416
+     l_____    ResPublica-Bold                       9501.417
+     l_____    ResPublica                            9501.418
+     l_____    ResPublicaCond-Italic                 9501.419
+     l_____    ResPublica-SemiBoldItalic             9501.420
+     l_____    ResPublica-SemiBold                   9501.421
+     l_____    RevueCE                               9501.422
+     l_____    Rustika                               9501.423
+     l_____    Rustika-Bold                          9501.424
+     l_____    Rustika-BoldItalic                    9501.425
+     l_____    Rustika-Italic                        9501.426
+     l_____    Rustika-SC                            9501.427
+     l_____    SabonCE-Roman                         9501.428
+     l_____    SabonCE-Italic                        9501.429
+     l_____    SabonCE-BoldItalic                    9501.430
+     l_____    SabonCyr-Bold                         9501.431
+     l_____    SabonGreek-Roman                      9501.432
+     l_____    SabonGreek-Bold                       9501.433
+     l_____    SabonGreek-BoldItalic                 9501.434
+     l_____    SabonGreek-Italic                     9501.435
+     l_____    SabonCyr-Italic                       9501.436
+     l_____    SabonCyr-Roman                        9501.437
+     l_____    SabonCE-Bold                          9501.438
+     l_____    SabonCyr-BoldItalic                   9501.439
+     l_____    Saga                                  9501.440
+     l_____    Saga-BoldItalic                       9501.441
+     l_____    Saga-SemiBold                         9501.442
+     l_____    Saga-SemiBoldItalic                   9501.443
+     l_____    Saga-SC                               9501.444
+     l_____    Saga-Bold                             9501.445
+     l_____    Saga-Italic                           9501.446
+     l_____    Linotype SallweyScript                9501.447
+     l_____    SanMarcoCyr                           9501.448
+     l_____    Saphir                                9501.449
+     l_____    Semper                                9501.456
+     l_____    Semper-Italic                         9501.457
+     l_____    Semper-BoldItalic                     9501.458
+     l_____    Semper-SC                             9501.459
+     l_____    Semper-Bold                           9501.460
+     l_____    Shuriken-Boy                          9501.461
+     l_____    LinotypeSpitz-Light                   9501.462
+     l_____    LinotypeSpitz-Book                    9501.463
+     l_____    LinotypeSpitz-Black                   9501.464
+     l_____    LinotypeSpitz-Bold                    9501.465
+     l_____    LinotypeSpitz-Medium                  9501.466
+     l_____    StencilCyr                            9501.467
+     l_____    Tiemann-Light                         9501.468
+     l_____    Tiemann-Roman                         9501.469
+     l_____    Trajanus-Roman                        9501.470
+     l_____    Trajanus-Black                        9501.471
+     l_____    Trajanus-BlackItalic                  9501.472
+     l_____    Trajanus-BoldItalic                   9501.473
+     l_____    Trajanus-Italic                       9501.474
+     l_____    Trajanus-Bold                         9501.475
+     l_____    Transport                             9501.476
+     l_____    Transport-BoldItalic                  9501.477
+     l_____    Transport-Light                       9501.478
+     l_____    Transport-LightItalic                 9501.479
+     l_____    Transport-SC                          9501.480
+     l_____    Transport-LightSC                     9501.481
+     l_____    Transport-Bold                        9501.482
+     l_____    Transport-Italic                      9501.483
+     l_____    UniversCyr-Light                      9501.484
+     l_____    UniversCyr-LightOblique               9501.485
+     l_____    UniversCyr                            9501.486
+     l_____    UniversCyr-Oblique                    9501.487
+     l_____    UniversCyr-Bold                       9501.488
+     l_____    UniversCyr-BoldOblique                9501.489
+     l_____    UniversCyr-Black                      9501.490
+     l_____    UniversCyr-BlackOblique               9501.491
+     l_____    UniversityRomanCE                     9501.492
+     l_____    UniversityCyr-Roman                   9501.493
+     l_____    Vega                                  9501.494
+     l_____    Vega-Bold                             9501.495
+     l_____    Vega-SemiBold                         9501.496
+     l_____    Vega-SC                               9501.497
+     l_____    Vega-SemiBoldItalic                   9501.498
+     l_____    Vega-BoldItalic                       9501.499
+     l_____    Vega-Italic                           9501.500
+     l_____    WiesbadenSwingCyr-Roman               9501.501
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/Long-naming-scheme.html b/Master/texmf-dist/doc/fontname/Long-naming-scheme.html new file mode 100644 index 00000000000..08a230c771a --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Long-naming-scheme.html @@ -0,0 +1,72 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Long naming scheme, +Previous: Name mapping file, +Up: Long names +



+
+ +

A naming scheme for long names

+ +

Once we allow ourselves long names, we can construct a naming scheme +to handle arbitrary fonts without much difficulty. Here is one +proposal, based on the X Window System font naming conventions. + +

     supplier-family-weight-variants-width-encoding--size
+     
+ +

supplier is the usual Adobe, Autologic, etc., as +well as unknown or bizarre--this last meaning the rest of +the name is nonstandard. If the supplier is missing, i.e., the +name starts with a -, "public domain" is assumed. For fonts +made by individuals, the initials of the designer would probably make a +good supplier. + +

family is ComputerModern or Times or whatever. + +

Everything else is optional. The -- before the size lets +one specify a name with, say, a weight and variants, but then skip the +width and encoding, but still be able to +give a size. + +

weight and width are as described earlier. + +

If there is more than one variant, they are separated with some +character other than -, say =: +

     B+H-Lucida-Bold-Sans=Typewriter--10
+     
+ +

encoding is what Metafont calls the +font_coding_scheme--the layout of the characters in the font. +For example, Cork or ISOLatin1 or AdobeAlternate. + +

Names are case-sensitive, for consistency with the rest of TeX and +with PostScript, etc. Spaces cannot be used in the name, to make it +easier for TeX to parse. Likewise, characters with default category +codes other than 11 (letter) or 12 (other) should not be used. + +

Another possibility is to forget all the above, and simply use the +vendor's name (perhaps prefixed by the vendor): +Times-Roman. + + + diff --git a/Master/texmf-dist/doc/fontname/Monotype-fonts.html b/Master/texmf-dist/doc/fontname/Monotype-fonts.html new file mode 100644 index 00000000000..fc532920517 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Monotype-fonts.html @@ -0,0 +1,1272 @@ + + +Filenames for TeX fonts + + + + + + + + +

+

+Node: Monotype fonts, +Next: , +Previous: Linotype fonts, +Up: Font name lists +



+
+ +

Monotype fonts

+ +

The monotype.map file has abbreviations for Monotype fonts. + +

+
+     mapr8x    ApolloMT-Expert                   MT  1001    ezexp___
+     maprc8a   ApolloMT-SC                       MT  1001    ezi_____
+     mapri8x   ApolloMT-ItalicExpert             MT  1001    eziof___
+     mapri8a   ApolloMT-Italic                   MT  1001    ezixp___
+     mapr8a    ApolloMT                          MT  1001    ezr_____
+     maprij8a  ApolloMT-ItalicOsF                MT  1001    ezrsc___
+     maps8a    ApolloMT-SemiBold                 MT  1001    ezsb____
+     mapsj8a   ApolloMT-SemiBoldOsF              MT  1001    ezsbo___
+     maps8x    ApolloMT-SemiBoldExpert           MT  1001    ezsbx___
+     mnrrw8a   NewBerolinaMT                     MT  1002    _n______
+     mp1rw8a   PalaceScriptMT                    MT  1002    _p______
+     mp1sw8a   PalaceScriptMT-SemiBold           MT  1002    _psb____
+     mahrw8a   AshleyScriptMT                    MT  1002    le______
+     mm1rw8a   MonolineScriptMT                  MT  1002    on______
+     mbvr8a    BaskervilleMT                     MT  1003    bas_____
+     mbvb8a    BaskervilleMT-Bold                MT  1003    basb____
+     mbvbi8a   BaskervilleMT-BoldItalic          MT  1003    basbi___
+     mbvri8a   BaskervilleMT-Italic              MT  1003    basi____
+     mbvs8a    BaskervilleMT-SemiBold            MT  1003    bass____
+     mbvsi8a   BaskervilleMT-SemiBoldItalic      MT  1003    bassi___
+     mbbr8a    Bembo                             MT  1004    bm______
+     mbbb8a    Bembo-Bold                        MT  1004    bmb_____
+     mbbbi8a   Bembo-BoldItalic                  MT  1004    bmbi____
+     mbbri8a   Bembo-Italic                      MT  1004    bmi_____
+     mbbx8a    Bembo-ExtraBold                   MT  1005    bmeb____
+     mbbxi8a   Bembo-ExtraBoldItalic             MT  1005    bmebi___
+     mbbs8a    Bembo-SemiBold                    MT  1005    bmsb____
+     mbbsi8a   Bembo-SemiBoldItalic              MT  1005    bmsbi___
+     mdsrw8a   DorchesterScriptMT                MT  1006    dsscr___
+     mp2rw8a   PepitaMT                          MT  1006    epscr___
+     mbfrw8a   BiffoMT                           MT  1006    ifscr___
+     mswbw8a   SwingMT-Bold                      MT  1006    swib____
+     ms2bw8a   ScriptMT-Bold                     MT  1006    tbscr___
+     mb1ri8a   BladoMT-Italic                    MT  1007    blai____
+     mpzr8a    PoliphilusMT                      MT  1007    pol_____
+     mvdr8a    VanDijckMT                        MT  1007    van_____
+     mvdri8a   VanDijckMT-Italic                 MT  1007    vani____
+     mbdr8a    BodoniMT                          MT  1008    bod_____
+     mbdb8a    BodoniMT-Bold                     MT  1008    bodb____
+     mbdbi8a   BodoniMT-BoldItalic               MT  1008    bodbi___
+     mbdri8a   BodoniMT-Italic                   MT  1008    bodi____
+     mbdu8a    BodoniMT-UltraBold                MT  1009    bodu____
+     mbdui8a   BodoniMT-UltraBoldItalic          MT  1009    bodui___
+     mbdk8a    BodoniMT-Book                     MT  1009    bodw____
+     mbdki8a   BodoniMT-BookItalic               MT  1009    bodwi___
+     moxr8a    OnyxMT                            MT  1009    ox______
+     mbdb8ac   BodoniMT-CondensedBold            MT  1010    bodc____
+     mbdbi8ac  BodoniMT-CondensedBoldItalic      MT  1010    bodci___
+     mbdc8a    BodoniMT-Black                    MT  1010    bodk____
+     mbdci8a   BodoniMT-BlackItalic              MT  1010    bodki___
+     mb3r8a    BraggadocioMT                     MT  1011    bra_____
+     mfir8a    FigaroMT                          MT  1011    fig_____
+     mfer8a    ForteMT                           MT  1011    for_____
+     mklr8a    KlangMT                           MT  1011    kla_____
+     mc8b8a    CalvertMT-Bold                    MT  1012    vtb_____
+     mc8l8a    CalvertMT-Light                   MT  1012    vtl_____
+     mc8r8a    CalvertMT                         MT  1012    vtrg____
+     mcnb8a    CenturyMT-Bold                    MT  1013    cenb____
+     mcnbi8a   CenturyMT-BoldItalic              MT  1013    cenbi___
+     mcnb8ax   CenturyMT-Expanded                MT  1013    cenx____
+     mcnbi8ax  CenturyMT-ExpandedItalic          MT  1013    cenxi___
+     mcubi8a   CenturyOSMT-BoldItalic            MT  1015    cobi____
+     mcur8a    CenturyOSMT                       MT  1015    cos_____
+     mcub8a    CenturyOSMT-Bold                  MT  1015    cosb____
+     mcuri8a   CenturyOSMT-Italic                MT  1015    cosi____
+     mcdr8a    ClarendonMT                       MT  1016    cld_____
+     meer8a    EgyptianMT-Extended               MT  1016    egyex___
+     mnnr8a    NewClarendonMT                    MT  1016    ncl_____
+     mnnb8a    NewClarendonMT-Bold               MT  1016    nclb____
+     mc6r8a    ClarionMT                         MT  1017    cla_____
+     mc6b8a    ClarionMT-Bold                    MT  1017    clab____
+     mc6ri8a   ClarionMT-Italic                  MT  1017    clai____
+     mcfb8a    ClearfaceMT-Bold                  MT  1018    cleb____
+     mcfbs8a   ClearfaceGothicMT-Bold            MT  1018    clgb____
+     mcfds8a   ClearfaceGothicMT-DemiBold        MT  1018    clgdb___
+     mcrr8a12  CourierTwelveMT                   MT  1019    cot_____
+     mtyre8a   TypewriterEliteMT                 MT  1019    tye_____
+     mtyrg8a   TypewriterGothicMT                MT  1019    tyg_____
+     mtyr8a    TypewriterMT                      MT  1019    typ_____
+     metr8a    EhrhardtMT                        MT  1020    ehr_____
+     metri8a   EhrhardtMT-Italic                 MT  1020    ehri____
+     mets8a    EhrhardtMT-SemiBold               MT  1020    ehrs____
+     metsi8a   EhrhardtMT-SemiBoldItalic         MT  1020    ehrsi___
+     menr8a    EngraversMT                       MT  1021    eng_____
+     menb8a    EngraversMT-Bold                  MT  1021    engb____
+     menrf8a   EngraversOldEnglishMT             MT  1021    engoe___
+     mfsra8a   FalstaffMT                        MT  1022    fprg____
+     mhdr8a    HeadlineMT-Bold                   MT  1022    head____
+     mpdr8ac   PlacardMT-Condensed               MT  1022    plcc____
+     mpdb8ac   PlacardMT-CondensedBold           MT  1022    plccb___
+     mgmr8a    GaramondMT                        MT  1023    gar_____
+     mgmb8a    GaramondMT-Bold                   MT  1023    garb____
+     mgmbi8a   GaramondMT-BoldItalic             MT  1023    garbi___
+     mgmri8a   GaramondMT-Italic                 MT  1023    gari____
+     mgmria8a  GaramondMT-AlternativeItalic      MT  1023    garit___
+     mgsr8a    GillSans                          MT  1024    gn______
+     mgsb8a    GillSans-Bold                     MT  1024    gnb_____
+     mgsbi8a   GillSans-BoldItalic               MT  1024    gnbi____
+     mgsri8a   GillSans-Italic                   MT  1024    gni_____
+     mgsl8a    GillSans-Light                    MT  1024    gnl_____
+     mgsli8a   GillSans-LightItalic              MT  1024    gnli____
+     mgsb8ac   GillSans-BoldCondensed            MT  1025    gnbc____
+     mgsr8ac   GillSans-Condensed                MT  1025    gnc_____
+     mgsx8a    GillSans-ExtraBold                MT  1025    gneb____
+     mgsu8a    GillSans-UltraBold                MT  1025    gnub____
+     mgsu8ac   GillSans-UltraBoldCondensed       MT  1025    gnubc___
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+     mbbbi8x   BemboExpert-BoldItalic            MT  1080    beyb____
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+     mbbs7a    Bembo-AltSemiBold                 MT  1081    beas____
+     mbbsi7a   Bembo-AltSemiBoldItalic           MT  1081    beasi___
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+     mc1r8a    CalistoMT                         MT  1104    cto_____
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+     mztri8a   ZeitgeistMT-Italic                MT  1115    zeii____
+     mztri8x   ZeitgeistExpertMT-Italic          MT  1115    zeiiy___
+     mztr8x    ZeitgeistExpertMT                 MT  1115    zeiy____
+     murriw7a  CentaurSwashMT                    MT  1116    censw___
+     murr7a    CentaurMT-Alt                     MT  1116    cta_____
+     murb7a    CentaurMT-AltBold                 MT  1116    ctab____
+     murbi7a   CentaurMT-AltBoldItalic           MT  1116    ctabi___
+     murri7a   CentaurMT-AltItalic               MT  1116    ctai____
+     murb8x    CentaurExpertMT-Bold              MT  1116    ctbiy___
+     murbi8x   CentaurExpertMT-BoldItalic        MT  1116    ctrby___
+     murri8x   CentaurExpertMT-Italic            MT  1116    ctriy___
+     murr8x    CentaurExpertMT                   MT  1116    ctry____
+     molr8a    ColmcilleMT                       MT  1117    cm______
+     molr7a    ColmcilleAltMT                    MT  1117    cma_____
+     molb7a    ColmcilleAltMT-Bold               MT  1117    cmab____
+     molbi7a   ColmcilleAltMT-BoldItalic         MT  1117    cmabi___
+     molri7a   ColmcilleAltMT-Italic             MT  1117    cmai____
+     molb8a    ColmcilleMT-Bold                  MT  1117    cmb_____
+     molbi8a   ColmcilleMT-BoldItalic            MT  1117    cmbi____
+     molri8a   ColmcilleMT-Italic                MT  1117    cmi_____
+     molrp     ColmcilleOrnamentsMT              MT  1117    cmo_____
+     mntr8a7   TimesNRSevenMT                    MT  1118    sv______
+     mntb8a7   TimesNRSevenMT-Bold               MT  1118    svb_____
+     mntbi8a7  TimesNRSevenMT-BoldItalic         MT  1118    svbi____
+     mntri8a7  TimesNRSevenMT-Italic             MT  1118    svi_____
+     mo3r8a    ColonnaMT                         MT  1119    colo____
+     miirh8a   ImprintMT-Shadow                  MT  1119    is______
+     miirih8a  ImprintMT-ShadowItalic            MT  1119    isi_____
+     ma2r8a    AmasisMT                          MT  1120    ama_____
+     ma2b8a    AmasisMT-Bold                     MT  1120    amab____
+     ma2bi8a   AmasisMT-BoldItalic               MT  1120    amabi___
+     ma2ri8a   AmasisMT-Italic                   MT  1120    amai____
+     ma2c8a    AmasisMT-Black                    MT  1121    amabl___
+     ma2l8a    AmasisMT-Light                    MT  1121    amal____
+     ma2li8a   AmasisMT-LightItalic              MT  1121    amali___
+     ma2m8a    AmasisMT-Medium                   MT  1121    amam____
+     ma2mi8a   AmasisMT-MediumItalic             MT  1121    amami___
+     ma2ci8a   AmasisMT-BlackItalic              MT  1121    ambli___
+     msbrij8a  SabonMT-ItalicOSF                 MT  1124    saboi___
+     msbsj8a   SabonMT-SemiBoldOSF               MT  1124    sabos___
+     msbrc8a   SabonMT-SCOSF                     MT  1124    sabsc___
+     msbsij8a  SabonMT-SemiBoldItalicOSF         MT  1124    sasio___
+     mb1ri8x   BladoExpertMT-Italic              MT  1125    blaiy___
+     mpzr8x    PoliphilusExpertMT                MT  1125    poly____
+     mvdra8x   VanDijckExpertMT-AltFigs          MT  1125    vana____
+     mvdria8x  VanDijckExpertMT-AltFigsIta       MT  1125    vanai___
+     mvdr8x    VanDijckExpertMT                  MT  1125    vany____
+     mvdri8x   VanDijckExpertMT-Italic           MT  1125    vanyi___
+     mber7a    BellMT-Alt                        MT  1126    blt_____
+     mberi7a   BellMT-AltItalic                  MT  1126    blti____
+     mbes7a    BellMT-AltSemiBold                MT  1126    blts____
+     mbesi7a   BellMT-AltSemiBoldItalic          MT  1126    bltsi___
+     mber8x    BellExpertMT                      MT  1126    bly_____
+     mbera8x   BellExpertMT-Alt                  MT  1126    blya____
+     mbesa8x   BellExpertMT-AltSemiBold          MT  1126    blyas___
+     mbeb8x    BellExpertMT-Bold                 MT  1126    blyb____
+     mbebi8x   BellExpertMT-BoldItalic           MT  1126    blybi___
+     mberi8x   BellExpertMT-Italic               MT  1126    blyi____
+     mbes8x    BellExpertMT-SemiBold             MT  1126    blys____
+     mbesi8x   BellExpertMT-SemiBoldItalic       MT  1126    blysi___
+     mgsx8ac   GillSansMT-ExCondensedBold        MT  1133    gsecb___
+     mgslh8a   GillSansShadowedMT-Light          MT  1133    gsls____
+     mgsrh8a   GillSansMT-Shadow                 MT  1133    gss_____
+     mgsra8a   GillAltOneMT                      MT  1134    gla_____
+     mgsba8a   GillAltOneMT-Bold                 MT  1134    glab____
+     mgsbia8a  GillAltOneMT-BoldItalic           MT  1134    glabi___
+     mgsria8a  GillAltOneMT-Italic               MT  1134    glai____
+     mgsla8a   GillAltOneMT-Light                MT  1134    glal____
+     mgslia8a  GillAltOneMT-LightItalic          MT  1134    glali___
+     mdtr8a    DanteMT                           MT  1149    dn______
+     mdtb8a    DanteMT-Bold                      MT  1149    dnb_____
+     mdtbi8a   DanteMT-BoldItalic                MT  1149    dnbi____
+     mdtri8a   DanteMT-Italic                    MT  1149    dni_____
+     mdtm8a    DanteMT-Medium                    MT  1149    dnm_____
+     mdtmi8a   DanteMT-MediumItalic              MT  1149    dnmi____
+     mdtr7a    DanteMT-Alt                       MT  1150    dna_____
+     mdtb7a    DanteMT-AltBold                   MT  1150    dnab____
+     mdtbi7a   DanteMT-AltBoldItalic             MT  1150    dnabi___
+     mdtri7a   DanteMT-AltItalic                 MT  1150    dnai____
+     mdtm7a    DanteMT-AltMedium                 MT  1150    dnam____
+     mdtmi7a   DanteMT-AltMediumItalic           MT  1150    dnami___
+     mdtr8x    DanteExpertMT                     MT  1150    dne_____
+     mdtb8x    DanteExpertMT-Bold                MT  1150    dneb____
+     mdtbi8x   DanteExpertMT-BoldItalic          MT  1150    dnebi___
+     mdtri8x   DanteExpertMT-Italic              MT  1150    dnei____
+     mdtm8x    DanteExpertMT-Medium              MT  1150    dnem____
+     mdtmi8x   DanteExpertMT-MediumItalic        MT  1150    dnemi___
+     mdtrd8a   DanteTitlingMT                    MT  1150    dnt_____
+     maqr8a    BookAntiqua                       MT  1152    bk______
+     maqb8a    BookAntiqua-Bold                  MT  1152    bkb_____
+     maqbi8a   BookAntiqua-BoldItalic            MT  1152    bkbi____
+     maqri8a   BookAntiqua-Italic                MT  1152    bki_____
+     mkor8a    BookmanOldStyle                   MT  1153    bd______
+     mkob8a    BookmanOldStyle-Bold              MT  1153    bdb_____
+     mkobi8a   BookmanOldStyle-BoldItalic        MT  1153    bdbi____
+     mkori8a   BookmanOldStyle-Italic            MT  1153    bdi_____
+     mygr8a    CenturyGothic                     MT  1154    cg______
+     mygb8a    CenturyGothic-Bold                MT  1154    cgb_____
+     mygbi8a   CenturyGothic-BoldItalic          MT  1154    cgbi____
+     mygri8a   CenturyGothic-Italic              MT  1154    cgi_____
+     mcsr8a    CenturySchoolbook                 MT  1155    cb______
+     mcsb8a    CenturySchoolbook-Bold            MT  1155    cbb_____
+     mcsbi8a   CenturySchoolbook-BoldItalic      MT  1155    cbbi____
+     mcsri8a   CenturySchoolbook-Italic          MT  1155    cbi_____
+     mzcmi8a   MonotypeCorsiva                   MT  1156    mci_____
+     mzdr      MonotypeSorts                     MT  1156    ms______
+     mpi001    ArabesqueOrnamentsOneMT           MT  1157    araba___
+     mpi002    ArabesqueOrnamentsTwoMT           MT  1157    arabb___
+     mpi003    ArabesqueOrnamentsThreeMT         MT  1157    arabc___
+     mpi004    RococoOrnamentsOneMT              MT  1157    rcoa____
+     mpi005    RococoOrnamentsTwoMT              MT  1157    rcob____
+     mpi006    RococoOrnamentsThreeMT            MT  1157    rcoc____
+     mgtr7a    GoudyTextMT-Alternative           MT  1181    gouta___
+     mgtr7c    GoudyTextMT-Dfr                   MT  1181    goutd___
+     mgtrd8a   GoudyTextMT-LombardicCapitals     MT  1181    goutl___
+     mgtr8a    GoudyTextMT                       MT  1181    goutx___
+     mlir8ac   LatinCondensedMT                  MT  1182    lnc_____
+     moxr8a    OnyxMT                            MT  1182    ox______
+     mrur8ac   RunicMT-Condensed                 MT  1182    ric_____
+     mpi007    ChristmasOrnamentsMT-One          MT  1183    chra____
+     mpi008    ChristmasOrnamentsMT-Two          MT  1183    chrb____
+     mpi009    ChristmasOrnamentsMT-Three        MT  1183    chrc____
+     mpi010    ChristmasOrnamentsMT-Four         MT  1183    chrd____
+     mpi011    ChristmasOrnamentsMT-Five         MT  1183    chre____
+     mpi012    ChristmasOrnamentsMT-Six          MT  1183    chrf____
+     mpi013    ContemporaryOrnMT-One             MT  1183    cora____
+     mpi014    ContemporaryOrnMT-Two             MT  1183    corb____
+     mpi015    ContemporaryOrnMT-Three           MT  1183    corc____
+     mpi016    ContemporaryOrnMT-Four            MT  1183    cord____
+     mpi017    ContemporaryOrnMT-Five            MT  1183    core____
+     mntr9s    TimesNewRomanSF                   MT  1194    tsf_____
+     mntb9s    TimesNewRomanSF-Bold              MT  1194    tsfb____
+     mntbi9s   TimesNewRomanSF-BoldItalic        MT  1194    tsfbi___
+     mntri9s   TimesNewRomanSF-Italic            MT  1194    tsfi____
+     mu0rp1    ColumbusOrnamentsOneMT            MT  1196    cuora___
+     mu0rp2    ColumbusOrnamentsTwoMT            MT  1196    cuorb___
+     mu0r8x    ColumbusExpMT                     MT  1196    cuy_____
+     mu0b8x    ColumbusExpMT-Bold                MT  1196    cuyb____
+     mu0bi8x   ColumbusExpMT-BoldItalic          MT  1196    cuybi___
+     mu0ri8x   ColumbusExpMT-Italic              MT  1196    cuyi____
+     mu0s8x    ColumbusExpMT-SemiBold            MT  1196    cuys____
+     mu0si8x   ColumbusExpMT-SemiBoldItal        MT  1196    cuysi___
+     ma1rz     ArialCyrMT                        MT  1205    ac______
+     ma1bz     ArialCyrMT-Bold                   MT  1205    acb_____
+     ma1biz    ArialCyrMT-BoldInclined           MT  1205    acbi____
+     ma1riz    ArialCyrMT-Inclined               MT  1205    aci_____
+     mcrrz     CourierCyr                        MT  1206    cc______
+     mcrbz     CourierCyr-Bold                   MT  1206    ccb_____
+     mcrbiz    CourierCyr-BoldInclined           MT  1206    ccbi____
+     mcrriz    CourierCyr-Inclined               MT  1206    cci_____
+     mntrz     TimesNRomCyrMT                    MT  1207    trc_____
+     mntbz     TimesNRomCyrMT-Bold               MT  1207    trcb____
+     mntbiz    TimesNRomCyrMT-BoldInclined       MT  1207    trcbi___
+     mntriz    TimesNRomCyrMT-Inclined           MT  1207    trci____
+     mgsbd8a   GillSansDisplayMT-Bold            MT  1209    gdb_____
+     mgsbd8ac  GillSansDisplayMT-CondBold        MT  1209    gdcb____
+     mgsbd8ax  GillSansDisplayMT-ExtraBold       MT  1209    gdeb____
+     mg4ri8a   GoudyModernMT-Italic              MT  1210    ygi_____
+     mg4r8a    GoudyModernMT                     MT  1210    ygrg____
+     ms1ri8a   ScotchRomanMT-Italic              MT  1210    ysi_____
+     ms1r8a    ScotchRomanMT                     MT  1210    ysrg____
+     mfsr8a    FalstaffMT                        MT  1211    fprg____
+     mifb8a    InflexMT-Bold                     MT  1211    iqb_____
+     mm8bl8a   MonotypeOldStyleMT-BoldOut        MT  1211    mbbou___
+     mfer8a    ForteMT                           MT  1212    fz______
+     mklr8a    KlangMT                           MT  1212    kn______
+     mmebw8a   MercuriusMT-BoldScript            MT  1212    uzbs____
+     mjox8a    JoannaMT-ExtraBold                MT  1213    joae____
+     mjob8a    JoannaMT-Bold                     MT  1213    job_____
+     mjobi8a   JoannaMT-BoldItalic               MT  1213    jobi____
+     mjori8a   JoannaMT-Italic                   MT  1213    joi_____
+     mjor8a    JoannaMT                          MT  1213    jor_____
+     mjos8a    JoannaMT-SemiBold                 MT  1213    josb____
+     mjosi8a   JoannaMT-SemiBoldItalic           MT  1213    josbi___
+     mphb8a    PhotinaMT-Bold                    MT  1214    phb_____
+     mphbi8a   PhotinaMT-BoldItalic              MT  1214    phbi____
+     mphri8a   PhotinaMT-Italic                  MT  1214    phi_____
+     mphr8a    PhotinaMT                         MT  1214    phrg____
+     mphs8a    PhotinaMT-SemiBold                MT  1214    phsb____
+     mphsi8a   PhotinaMT-SemiBoldItalic          MT  1214    phsbi___
+     mphu8a    PhotinaMT-UltraBold               MT  1214    phub____
+     mphui8a   PhotinaMT-UltraBoldItalic         MT  1214    phubi___
+     msmr8x    SpectrumMT-Expert                 MT  1215    ekexp___
+     msmri8a   SpectrumMT-Italic                 MT  1215    eki_____
+     msmrij8a  SpectrumMT-ItalicOsF              MT  1215    ekio____
+     msmri8x   SpectrumMT-ItalicExpert           MT  1215    ekixp___
+     msmr8a    SpectrumMT                        MT  1215    ekrg____
+     msms8a    SpectrumMT-SemiBold               MT  1215    eksb____
+     msmsj8a   SpectrumMT-SemiBoldOsF            MT  1215    eksbo___
+     msms8x    SpectrumMT-SemiBoldExpert         MT  1215    eksbx___
+     msmrc8a   SpectrumMT-SC                     MT  1215    eksc____
+     mhrr8a    ArialRoundedMT                    MT  1216    arr_____
+     mhrb8a    ArialRoundedMT-Bold               MT  1216    arrb____
+     mhrx8a    ArialRoundedMT-ExtraBold          MT  1216    arreb___
+     mhrl8a    ArialRoundedMT-Light              MT  1216    arrl____
+     mpi101    AlmanacMT                         MT  1222    pia_____
+     mpi102    BotanicalMT                       MT  1222    pib_____
+     mpi103    DirectionsMT                      MT  1222    pie_____
+     mpi104    SportsOneMT                       MT  1222    pif_____
+     mpi105    SportsTwoMT                       MT  1222    pig_____
+     mpi106    TransportMT                       MT  1222    pij_____
+     mpi107    VacationMT                        MT  1222    pik_____
+     mpi201    CircleFrameMT                     MT  1222    pic_____
+     mpi202    CircleFrameNegMT                  MT  1222    pid_____
+     mpi203    SquareFrameMT                     MT  1222    pih_____
+     mpi204    SquareFrameNegMT                  MT  1222    pii_____
+     m_____    PastonchiMT-RegularAlt            MT  1223    pna_____
+     m_____    PastonchiMT-Italic                MT  1223    pni_____
+     m_____    PastonchiMT-ItalicOsF             MT  1223    pnosi___
+     m_____    PastonchiMT-Regular               MT  1223    pnr_____
+     m_____    PastonchiMT-RegularSC             MT  1223    pnsc____
+     m_____    PastonchiMT-Swash                 MT  1223    pnsw____
+     m_____    PastonchiMT-SwashCaps             MT  1223    pnswc___
+     m_____    PastonchiMT-Titling               MT  1223    pnt_____
+     m_____    PastonchiMT-TitlingAlt            MT  1223    pnta____
+     m_____    PastonchiMT-RegularExpert         MT  1223    pny_____
+     m_____    PastonchiMT-ItalicExpert          MT  1223    pnyi____
+     movr8x    OctavianMT-Expert                 MT  1224    ocexp___
+     movri8a   OctavianMT-Italic                 MT  1224    oci_____
+     movrij8a  OctavianMT-ItalicOsF              MT  1224    ocio____
+     movri8x   OctavianMT-ItalicExpert           MT  1224    ocixp___
+     movr8a    OctavianMT                        MT  1224    ocrg____
+     movrc8a   OctavianMT-SC                     MT  1224    ocsc____
+     mnsr8x    TimesNRPSExpert                   MT  1225    tpy_____
+     mnsb8x    TimesNRPSExpert-Bold              MT  1225    tpyb____
+     mnsbi8x   TimesNRPSExpert-BoldItalic        MT  1225    tpybi___
+     mnsri8x   TimesNRPSExpert-Italic            MT  1225    tpyi____
+     ma1r9s    ArialSFMT                         MT  1226    asf_____
+     ma1b9s    ArialSFMT-Bold                    MT  1226    asfb____
+     ma1bi9s   ArialSFMT-BoldItalic              MT  1226    asfbi___
+     ma1ri9s   ArialSFMT-Italic                  MT  1226    asfi____
+     mdmb8a    DelimaMT-Bold                     MT  1234    dlb_____
+     mdmbi8a   DelimaMT-BoldItalic               MT  1234    dlbi____
+     mdmri8a   DelimaMT-Italic                   MT  1234    dli_____
+     mdml8a    DelimaMT-Light                    MT  1234    dll_____
+     mdmli8a   DelimaMT-LightItalic              MT  1234    dlli____
+     mdmr8a    DelimaMT                          MT  1234    dlr_____
+     mdmx8a    DelimaMT-ExtraBold                MT  1235    dleb____
+     mdmxi_    DelimaMT-ExtraBoldItalic          MT  1235    dlebi___
+     mdms8a    DelimaMT-SemiBold                 MT  1235    dlsb____
+     mdmsi8a   DelimaMT-SemiBoldItalic           MT  1235    dlsbi___
+     mo4rMM8a  OceanSansMM                       MT  1236    ________
+     mo4riMM8a OceanSansMM-It                    MT  1236    ________
+     mlyr8a    LydianMT                          MT  1238    ly______
+     mlyrw8a   LydianCursiveMT                   MT  1238    lyc_____
+     mwrrf8a   WittenbergerFraktMT               MT  1239    wf______
+     mwrbf8a   WittenbergerFraktMT-Bd            MT  1239    wfb_____
+     mwrrf7c   WittenbergerFraktMT-BdDfr         MT  1239    wfbdf___
+     mwrbf7c   WittenbergerFraktMT-Dfr           MT  1239    wfdfr___
+     mgsh8a    GillSans-Heavy                    MT  1240    gilh____
+     mgshi8a   GillSans-HeavyItalic              MT  1240    gilhi___
+     mgsk8a    GillSans-Book                     MT  1240    gilk____
+     mgski8a   GillSans-BookItalic               MT  1240    gilki___
+     mgsha8a   GillAltOneMT-Heavy                MT  1241    glah____
+     mgshia8a  GillAltOneMT-HeavyItalic          MT  1241    glahi___
+     mgska8a   GillAltOneMT-Book                 MT  1241    glak____
+     mgskia8a  GillAltOneMT-BookItalic           MT  1241    glaki___
+     mf1r8a    FournierMT                        MT  1242    fn______
+     mf1r7a    FournierMT-Alt                    MT  1242    fna_____
+     mf1ri7a   FournierMT-AltItalic              MT  1242    fnai____
+     mf1ri8a   FournierMT-Italic                 MT  1242    fni_____
+     mf1rp     FournierOrnamentsMT               MT  1242    fno_____
+     mf1rd8a   FournierMT-TallCaps               MT  1242    fnt_____
+     mf1rid8a  FournierMT-TallCapsItalic         MT  1242    fnti____
+     mf1r8x    FournierExpertMT                  MT  1242    fny_____
+     mf1ri8x   FournierExpertMT-Italic           MT  1242    fnyi____
+     miir8a    ImprintExpertMT                   MT  1243    imy_____
+     miib8a    ImprintExpertMT-Bold              MT  1243    imyb____
+     miibi8a   ImprintExpertMT-BoldItalic        MT  1243    imybi___
+     miiri8a   ImprintExpertMT-Italic            MT  1243    imyi____
+     mpwr8a    PerrywoodMT                       MT  1244    py______
+     mpwb8a    PerrywoodMT-Bold                  MT  1244    pyb_____
+     mpwbi8a   PerrywoodMT-BoldItalic            MT  1244    pybi____
+     mpwri8a   PerrywoodMT-Italic                MT  1244    pyi_____
+     mpwx8a    PerrywoodMT-ExtraBold             MT  1245    pye_____
+     mpwxi8a   PerrywoodMT-ExtraBoldItalc        MT  1245    pyei____
+     mpwl8a    PerrywoodMT-Light                 MT  1245    pyl_____
+     mpwli8a   PerrywoodMT-LightItalic           MT  1245    pyli____
+     mpws8a    PerrywoodMT-SemiBold              MT  1245    pys_____
+     mpwsi8a   PerrywoodMT-SemiBoldItalic        MT  1245    pysi____
+     mphbij8a  PhotinaMT-BoldItalicOsF           MT  1246    phbio___
+     mphbj8a   PhotinaMT-BoldOsF                 MT  1246    phbo____
+     mphrij8a  PhotinaMT-ItalicOsF               MT  1246    phio____
+     mphrc8a   PhotinaMT-RegularSC               MT  1246    phsc____
+     mphsij8a  PhotinaMT-SemiBoldItalicOsF       MT  1246    phsio___
+     mphsj8a   PhotinaMT-SemiBoldOsF             MT  1246    phso____
+     mphuij8a  PhotinaMT-UltraBoldItOsF          MT  1246    phuio___
+     mphuj8a   PhotinaMT-UltraBoldOsF            MT  1246    phuo____
+     mphr8x    PhotinaMT-RegularExpert           MT  1246    phy_____
+     mphb8x    PhotinaMT-BoldExpert              MT  1246    phyb____
+     mphbi8x   PhotinaMT-BoldItalicExpert        MT  1246    phybi___
+     mphri8x   PhotinaMT-ItalicExpert            MT  1246    phyi____
+     mphs8x    PhotinaMT-SemiBoldExpert          MT  1246    phys____
+     mphsi8x   PhotinaMT-SemiBoldItExpert        MT  1246    physi___
+     mphu8x    PhotinaMT-UltraBoldExpert         MT  1246    phyu____
+     mphui8x   PhotinaMT-UltraBoldItExpert       MT  1246    phyui___
+     mbmb8a    BulmerMT-Bold                     MT  1247    ybb_____
+     mbmbi8a   BulmerMT-BoldItalic               MT  1247    ybbi____
+     mbmbd8a   BulmerMT-BoldDisplay              MT  1247    ybdb____
+     mbmbid8a  BulmerMT-BoldItalicDisplay        MT  1247    ybdbi___
+     mbmrd8a   BulmerMT-RegularDisplay           MT  1247    ybds____
+     mbmrid8a  BulmerMT-ItalicDisplay            MT  1247    ybdsi___
+     mbmri8a   BulmerMT-Italic                   MT  1247    ybi_____
+     mbmr8a    BulmerMT-Regular                  MT  1247    ybrg____
+     mbms8a    BulmerMT-SemiBold                 MT  1247    ybsb____
+     mbmsi8a   BulmerMT-SemiBoldItalic           MT  1247    ybsi____
+     mbmb7a    BulmerMT-BoldAlt                  MT  1248    ybab____
+     mbmbi7a   BulmerMT-BoldItalicAlt            MT  1248    ybabi___
+     mbmr7a    BulmerMT-RegularAlt               MT  1248    ybarg___
+     mbms7a    BulmerMT-SemiBoldAlt              MT  1248    ybasb___
+     mbmsi7a   BulmerMT-SemiBoldItalicAlt        MT  1248    ybasi___
+     mbmbd7a   BulmerMT-BoldDisplayAlt           MT  1248    ybbda___
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+     mmori8aw  ModernMT-WideItalic               MT  1259    nmwdi___
+     mwbr8x    WalbaumExpMT                      MT  1268    wly_____
+     mwbri8x   WalbaumExpMT-Italic               MT  1268    wlyi____
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+     mlgbo8a   LetterGothicMT-BoldOblique        MT  1269    lcbi____
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+     mygbz     CenturyGothicCyr-Bold             MT  1271    cgcb____
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+     mnibiz    NimrodCyrMT-BoldInclined          MT  1273    nicbi___
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+     maqbiz    BookAntiquaCyr-BoldInclined       MT  1275    bkcbi___
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+     mcsbz     CenturySchoolbookCyr-Bold         MT  1277    cbcb____
+     mcsbiz    CenturySchoolbookCyr-BolInc       MT  1277    cbcbi___
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+     mp6bi8a   BlueprintMT-BoldItalic            MT  1283    bpbi____
+     mp6ri8a   BlueprintMT-Italic                MT  1283    bpi_____
+     mn1r8a    BinnerGothicMT                    MT  1289    bg______
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+     mygr__    CenturyGothicTur                  MT  1293    cgt_____
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+     mygbi__   CenturyGothicTur-BoldItalic       MT  1293    cgtbi___
+     mygri__   CenturyGothicTur-Italic           MT  1293    cgti____
+     mygr__    CenturyGothicCE                   MT  1293    cgu_____
+     mygb__    CenturyGothicCE-Bold              MT  1293    cgub____
+     mygbi__   CenturyGothicCE-BoldItalic        MT  1293    cgubi___
+     mygri__   CenturyGothicCE-Italic            MT  1293    cgui____
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+     ma1b__n   ArialNarrowTur-Bold               MT  1294    antb____
+     ma1bi__n  ArialNarrowTur-BoldItalic         MT  1294    antbi___
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+     ma1r__n   ArialNarrowCE                     MT  1294    anu_____
+     ma1b__n   ArialNarrowCE-Bold                MT  1294    anub____
+     ma1bi__n  ArialNarrowCE-BoldItalic          MT  1294    anubi___
+     ma1ri__n  ArialNarrowCE-Italic              MT  1294    anui____
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+     maqb__    BookAntiquaTur-Bold               MT  1295    bktb____
+     maqbi__   BookAntiquaTur-BoldItalic         MT  1295    bktbi___
+     maqri__   BookAntiquaTur-Italic             MT  1295    bkti____
+     maqr__    BookAntiquaCE                     MT  1295    bku_____
+     maqb__    BookAntiquaCE-Bold                MT  1295    bkub____
+     maqbi__   BookAntiquaCE-BoldItalic          MT  1295    bkubi___
+     maqri__   BookAntiquaCE-Italic              MT  1295    bkui____
+     mkor__    BookmanOldStyleTur                MT  1296    bdt_____
+     mkob__    BookmanOldStyleTur-Bold           MT  1296    bdtb____
+     mkobi__   BookmanOldStyleTur-BoldIta        MT  1296    bdtbi___
+     mkori__   BookmanOldStyleTur-Italic         MT  1296    bdti____
+     mkor__    BookmanOldStylCE                  MT  1296    bdu_____
+     mkob__    BookmanOldStylCE-Bold             MT  1296    bdub____
+     mkobi__   BookmanOldStylCE-BoldItalic       MT  1296    bdubi___
+     mkori__   BookmanOldStylCE-Italic           MT  1296    bdui____
+     mcsr__    CenturySchoolbookTur              MT  1297    cst_____
+     mcsb__    CenturySchoolbookTur-Bold         MT  1297    cstb____
+     mcsbi__   CenturySchoolbookTur-BolIta       MT  1297    cstbi___
+     mcsri__   CenturySchoolbookTur-Italic       MT  1297    csti____
+     mcsr__    CenturySchoolbookCE               MT  1297    csu_____
+     mcsb__    CenturySchoolbookCE-Bold          MT  1297    csub____
+     mcsbi__   CenturySchoolbookCE-BoldIta       MT  1297    csubi___
+     mcsri__   CenturySchoolbookCE-Italic        MT  1297    csui____
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+     ma1bk     ArialDualGreekMT-Bold             MT  1299    ardb____
+     ma1bik    ArialDualGreekMT-BoldIncl         MT  1299    ardbi___
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+     ma1bi__   ArialCE-BoldItalic                MT  1306    arubi___
+     ma1ri__   ArialCE-Italic                    MT  1306    arui____
+     mntr__    TimesNewRomanTur                  MT  1307    tit_____
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+     mntbi__   TimesNewRomanTur-BoldItalic       MT  1307    titbi___
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+     mntr__    TimesNewRomanCE                   MT  1307    tiu_____
+     mntb__    TimesNewRomanCE-Bold              MT  1307    tiub____
+     mntbi__   TimesNewRomanCE-BoldItalic        MT  1307    tiubi___
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+     mcrb__    CourierCE-Bold                    MT  1308    crub____
+     mcrbi__   CourierCE-BoldItalic              MT  1308    crubi___
+     mcrri__   CourierCE-Italic                  MT  1308    crui____
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+     mpnbn8a   PlantinMT-SchlbkBold              MT  1309    psbb____
+     mpnbin8a  PlantinMT-SchlbkBoldItalic        MT  1309    psbbi___
+     mpnrin8a  PlantinMT-SchlbkItalic            MT  1309    psbi____
+     mn1p8a    BinnerPosterMT                    MT  1310    binp____
+     mgqbd8ac  GrotesqueDisplayMT-BoldCond       MT  1310    gdbc____
+     mgqbd8ax  GrotesqueDisplayMT-BoldExt        MT  1310    gdbe____
+     micr8a    ImpactMT                          MT  1310    imp_____
+     mjobj8a   JoannaMT-BoldOSF                  MT  1315    joob____
+     mjobij8a  JoannaMT-BoldItalicOSF            MT  1315    joobi___
+     mjoxj8a   JoannaMT-ExtraBoldOSF             MT  1315    jooeb___
+     mjorij8a  JoannaMT-ItalicOSF                MT  1315    jooi____
+     mjosc8a   JoannaMT-SemiBoldSCOSF            MT  1315    joos____
+     mjosij8a  JoannaMT-SemiBoldItalicOSF        MT  1315    joosi___
+     mjorc8a   JoannaMT-SCOSF                    MT  1315    josc____
+     mjor8x    JoannaMT-Expert                   MT  1315    joy_____
+     mjob8x    JoannaMT-BoldExpert               MT  1315    joyb____
+     mjobi8x   JoannaMT-BoldItalicExpert         MT  1315    joybi___
+     mjox8x    JoannaMT-ExtraBoldExpert          MT  1315    joyeb___
+     mjori8x   JoannaMT-ItalicExpert             MT  1315    joyi____
+     mjos8x    JoannaMT-SemiBoldExpert           MT  1315    joys____
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+     mgsbk     GillSansDualGreekMT-Bold          MT  1329    gsdb____
+     mgsbik    GillSansDualGreekMT-BoldInc       MT  1329    gsdbi___
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+     mnir__    NimrodTur                         MT  1330    nit_____
+     mnib__    NimrodTur-Bold                    MT  1330    nitb____
+     mnibi__   NimrodTur-BoldItalic              MT  1330    nitbi___
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+     mnir__    NimrodCE                          MT  1330    niu_____
+     mnib__    NimrodCE-Bold                     MT  1330    niub____
+     mnibi__   NimrodCE-BoldItalic               MT  1330    niubi___
+     mniri__   NimrodCE-Italic                   MT  1330    niui____
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+     mbbbn8a   BemboMT-SchlbkBold                MT  1331    bscb____
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+     mbbrin8a  BemboMT-SchlbkItalic              MT  1331    bsci____
+     mntrz     TimesNewRomanCyr                  MT  1332    tpc_____
+     mntbz     TimesNewRomanCyr-Bold             MT  1332    tpcb____
+     mntbiz    TimesNewRomanCyr-BoldIncl         MT  1332    tpcbi___
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+     mbbrid8a  BemboTitlingMT-Italic             MT  1333    beti____
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+     mpnrd8a   PlantinTitlingMT                  MT  1333    plt_____
+     mpnbd8ac  PlantinHeadlineMT-BoldCond        MT  1334    plhbc___
+     mpnld8ac  PlantinHeadlineMT-LightCond       MT  1334    plhlc___
+     mpnmd8ac  PlantinHeadlineMT-MedCond         MT  1334    plhmc___
+     zms7rn    SassoonInfant                     MT  1335    szi_____
+     zms7rna   SassoonInfant-Alt                 MT  1335    szia____
+     zms7bn    SassoonInfant-Bold                MT  1335    szib____
+     zms7bna   SassoonInfant-BoldAlt             MT  1335    sziba___
+     zms7rp    SassoonPrimary                    MT  1336    szp_____
+     zms7rpa   SassoonPrimary-Alt                MT  1336    szpa____
+     zms7bp    SassoonPrimary-Bold               MT  1336    szpb____
+     zms7bpa   SassoonPrimary-BoldAlt            MT  1336    szpba___
+     zms7rs    SassoonSans                       MT  1337    szs_____
+     zms7rsa   SassoonSans-Alt                   MT  1337    szsa____
+     zms7bs    SassoonSans-Bold                  MT  1337    szsb____
+     zms7bsa   SassoonSans-BoldAlt               MT  1337    szsba___
+     zms7ms    SassoonSans-Medium                MT  1337    szsm____
+     zms7msa   SassoonSans-MediumAlt             MT  1337    szsma___
+     zms7rsi   SassoonSanSlope                   MT  1338    szz_____
+     zms7rsia  SassoonSanSlope-Alt               MT  1338    szza____
+     zms7bsi   SassoonSanSlope-Bold              MT  1338    szzb____
+     zms7bsia  SassoonSanSlope-BoldAlt           MT  1338    szzba___
+     zms7msi   SassoonSanSlope-Medium            MT  1338    szzm____
+     zms7msia  SassoonSanSlope-MediumAlt         MT  1338    szzma___
+     mgsr__    GillSansCE                        MT  1339    gsc_____
+     mgsb__    GillSansCE-Bold                   MT  1339    gscb____
+     mgsbi__   GillSansCE-BoldItalic             MT  1339    gscbi___
+     mgsri__   GillSansCE-Italic                 MT  1339    gsci____
+     mgsl__    GillSansCE-Light                  MT  1339    gscl____
+     mgsli__   GillSansCE-LightItalic            MT  1339    gscli___
+     mgsr__    GillSansTur                       MT  1339    gst_____
+     mgsb__    GillSansTur-Bold                  MT  1339    gstb____
+     mgsbi__   GillSansTur-BoldItalic            MT  1339    gstbi___
+     mgsri__   GillSansTur-Italic                MT  1339    gsti____
+     mgsl__    GillSansTur-Light                 MT  1339    gstl____
+     mgsli__   GillSansTur-LightItalic           MT  1339    gstli___
+     myhr8a    StrayhornMT-Regular               MT  1340    str_____
+     myhb8a    StrayhornMT-Bold                  MT  1340    strb____
+     myhbi8a   StrayhornMT-BoldItalic            MT  1340    strbi___
+     myhri8a   StrayhornMT-Italic                MT  1340    stri____
+     myhl8a    StrayhornMT-Light                 MT  1340    strl____
+     myhli8a   StrayhornMT-LightItalic           MT  1340    strli___
+     myhx8a    StrayhornMT-ExtraBold             MT  1340    strx____
+     myhxi8a   StrayhornMT-ExtraBoldItalic       MT  1340    strxi___
+     mgsrn8a   GillSansMT-Schlbk                 MT  1341    gsk_____
+     mgsbn8a   GillSansMT-SchlbkBold             MT  1341    gskb____
+     mgsbin8a  GillSansMT-SchlbkBoldItalic       MT  1341    gskbi___
+     mgsrin8a  GillSansMT-SchlbkItalic           MT  1341    gski____
+     myhbij8a  StrayhornMT-BoldItalicOsF         MT  1342    stbis___
+     myhbj8a   StrayhornMT-BoldOsF               MT  1342    stbs____
+     myhrij8a  StrayhornMT-ItalicOsF             MT  1342    stis____
+     myhlij8a  StrayhornMT-LightItalicOsF        MT  1342    stlis___
+     myhlc8a   StrayhornMT-LightSC               MT  1342    stls____
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+     myhxij8a  StrayhornMT-ExtraBoldItaOsF       MT  1342    stxis___
+     myhxj8a   StrayhornMT-ExtraBoldOsF          MT  1342    stxs____
+     mpi205    DiamondBodoni                     MT  1343    dibod___
+     mpi206    DiamondPositive                   MT  1343    dipos___
+     mpi207    DiamondNegative                   MT  1343    dineg___
+     mf2r8ac   FacadeMT-Condensed                MT  1343    fac_____
+     mfsra8a   FalstaffFestivalMT                MT  1343    falfe___
+     mg4r8a    GoudyModernMT-Bold                MT  1344    gomb____
+     mg4ri8a   GoudyModernMT-BoldItalic          MT  1344    gombi___
+     mgyrp     GoudySortsMT                      MT  1344    gous____
+     mpi303    BonApetit                         MT  1345    bonap___
+     mpi306    Holidays                          MT  1345    holid___
+     mpi308    KeystrokesMT                      MT  1345    keya____
+     mpi307    KeystrokesExtrasMT                MT  1345    keyb____
+     mpi323    KeystrokesShadowMT                MT  1345    keyc____
+     mpi322    KeystrokesShadowExtrasMT          MT  1345    keyd____
+     mpi309    Melodies                          MT  1345    melod___
+     mpi312    MonkeyBusiness                    MT  1345    monke___
+     mpi315    Parties                           MT  1345    parti___
+     mpi320    SignsMT                           MT  1345    sig_____
+     mpi108    SportsThreeMT                     MT  1345    sport___
+     mpi302    AquaLifeMT                        MT  1346    aqua____
+     mpi304    DinosaursMT                       MT  1346    dino____
+     mpi305    FrontierMT                        MT  1346    frnt____
+     mpi310    MilestonesOneMT                   MT  1346    milea___
+     mpi311    MilestonesTwoMT                   MT  1346    mileb___
+     mpi314    NatureMT                          MT  1346    nat_____
+     mpi208    OvalFrameMT                       MT  1346    ovaa____
+     mpi209    OvalFrameNegativeMT               MT  1346    ovab____
+     mpi319    PlaytimeMT                        MT  1346    play____
+     mpi109    SportsFourMT                      MT  1346    sporfm__
+     mpi321    SouthwestOrnamentsMT              MT  1346    sworna__
+     ma1rt8a   ArialMonospacedMT                 MT  1347    arm_____
+     ma1bt8a   ArialMonospacedMT-Bold            MT  1347    armb____
+     ma1bot8a  ArialMonospacedMT-BoldObliq       MT  1347    armbo___
+     ma1rot8a  ArialMonospacedMT-Oblique         MT  1347    armo____
+     mpwr8ac   PerrywoodMT-Condensed             MT  1348    pwc_____
+     mpwb8ac   PerrywoodMT-BoldCondensed         MT  1348    pwcb____
+     mpwbi8ac  PerrywoodMT-BoldItalicCon         MT  1348    pwcbi___
+     mpwri8ac  PerrywoodMT-ItalicCondensed       MT  1348    pwci____
+     mpwx8ac   PerrywoodMT-ExtraBoldCon          MT  1349    pwce____
+     mpwxi8ac  PerrywoodMT-ExtraBoldItaCon       MT  1349    pwcei___
+     mpwl8ac   PerrywoodMT-LightCondensed        MT  1349    pwcl____
+     mpwli8ac  PerrywoodMT-LightItalicCon        MT  1349    pwcli___
+     mpws8ac   PerrywoodMT-SemiBoldCon           MT  1349    pwcs____
+     mpwsi8ac  PerrywoodMT-SemiBoldItaCon        MT  1349    pwcsi___
+     mpwr8ax   PerrywoodMT-Expanded              MT  1350    pwe_____
+     mpwb8ax   PerrywoodMT-BoldExpanded          MT  1350    pweb____
+     mpwbi8ax  PerrywoodMT-BoldItalicExp         MT  1350    pwebi___
+     mpwri8ax  PerrywoodMT-ItalicExpanded        MT  1350    pwei____
+     mpwx8ax   PerrywoodMT-ExtraBoldExp          MT  1351    pwee____
+     mpwxi8ax  PerrywoodMT-ExtraBoldItaExp       MT  1351    pweei___
+     mpwl8ax   PerrywoodMT-LightExpanded         MT  1351    pwel____
+     mpwli8ax  PerrywoodMT-LightItalicExp        MT  1351    pweli___
+     mpws8ax   PerrywoodMT-SemiBoldExp           MT  1351    pwes____
+     mpwsi8ax  PerrywoodMT-SemiBoldItaExp        MT  1351    pwesi___
+     mgsr8a    GillSansCyrMT                     MT  1356    gcy_____
+     mgsb8a    GillSansCyrMT-Bold                MT  1356    gcyb____
+     mgsbi8a   GillSansCyrMT-BoldInclined        MT  1356    gcybi___
+     mgsri8a   GillSansCyrMT-Inclined            MT  1356    gcyi____
+     mgsl8a    GillSansCyrMT-Light               MT  1356    gcyl____
+     mgsli8a   GillSansCyrMT-LightIncl           MT  1356    gcyli___
+     mhob8a    HorleyOldStyleMT-Bold             MT  1357    hsb_____
+     mhobi8a   HorleyOldStyleMT-BoldItalic       MT  1357    hsbi____
+     mhori8a   HorleyOldStyleMT-Italic           MT  1357    hsi_____
+     mhol8a    HorleyOldStyleMT-Light            MT  1357    hsl_____
+     mholi8a   HorleyOldStyleMT-LightItalic      MT  1357    hsli____
+     mhor8a    HorleyOldStyleMT                  MT  1357    hsrg____
+     mhosi8a   HorleyOldStyleMT-SbItalic         MT  1357    hssb____
+     mhos8a    HorleyOldStyleMT-SemiBold         MT  1357    hssbi___
+     m_____    GillFloriatedCapsMT               MT  1363    gilf____
+     m_____    GillFloriatedCapsMT-Alt           MT  1363    gilfa___
+     m_____    MonotypeGallia                    MT  1364    gall____
+     mbwr8a    MonotypeBroadway                  MT  1365    broa____
+     mbwre8a   MonotypeBroadway-Engraved         MT  1365    broae___
+     m_____    CurlzMT-Regular                   MT  1367    crl_____
+     m_____    KidprintMT-Regular                MT  1368    kidp____
+     m_____    KidprintMT-Bold                   MT  1368    kidpb___
+     mgsbij8a  GillSans-BoldItalicOsF            MT  1369    gnbio___
+     mgsbc8a   GillSans-BoldSC                   MT  1369    gnbsc___
+     mgsrij8a  GillSans-ItalicOsF                MT  1369    gnio____
+     mgslij8a  GillSans-LightItalicOsF           MT  1369    gnlio___
+     mgslc8a   GillSans-LightSC                  MT  1369    gnlsc___
+     mgsrc8a   GillSans-SC                       MT  1369    gnsc____
+     mcrb8a    CourierLD-Bold                    MT  1371    cldb____
+     mcrbi8a   CourierLD-BoldItalic              MT  1371    cldbi___
+     mcrri8a   CourierLD-Italic                  MT  1371    cldi____
+     mcrr8a    CourierLD-Regular                 MT  1371    cldr____
+     mgshij8a  GillSans-HeavyItalicOsF           MT  1372    gnhio___
+     mgshc8a   GillSans-HeavySC                  MT  1372    gnhsc___
+     mgskij8a  GillSans-BookItalicOsF            MT  1372    gnwio___
+     mgskc8a   GillSans-BookSC                   MT  1372    gnwsc___
+     m_____    GillFaciaMT-Italic                MT  1373    gfai____
+     m_____    GillFaciaMT-ItalicAlt             MT  1373    gfaia___
+     m_____    GillFaciaMT-ItalicDisplay         MT  1373    gfaid___
+     m_____    GillFaciaMT-Regular               MT  1373    gfar____
+     m_____    GillFaciaMT-RegularAlt            MT  1373    gfara___
+     m_____    GillFaciaMT-RegularDisplay        MT  1373    gfard___
+     m_____    GillFaciaMT-ItDisplayAlt          MT  1373    gfida___
+     m_____    GillFaciaMT-RegDisplayAlt         MT  1373    gfrda___
+     mngr8a    NewsGothicMT                      MT  1374    nwg_____
+     mngb8a    NewsGothicMT-Bold                 MT  1374    nwgb____
+     mngb8a    NewsGothicMT-BoldItalic           MT  1374    nwgbi___
+     mngri8a   NewsGothicMT-Italic               MT  1374    nwgi____
+     m_____    AlbertinaMT-Bold                  MT  1378    abb_____
+     m_____    AlbertinaMT-BoldItalic            MT  1378    abbi____
+     m_____    AlbertinaMT-BoldItalicOsF         MT  1378    abbio___
+     m_____    AlbertinaMT-BoldItalicSC          MT  1378    abbis___
+     m_____    AlbertinaMT-BoldOsF               MT  1378    abbos___
+     m_____    AlbertinaMT-BoldSC                MT  1378    abbsc___
+     m_____    AlbertinaMT-Italic                MT  1378    abi_____
+     m_____    AlbertinaMT-ItalicOsF             MT  1378    abios___
+     m_____    AlbertinaMT-ItalicSC              MT  1378    abisc___
+     m_____    AlbertinaMT-Medium                MT  1378    abm_____
+     m_____    AlbertinaMT-MediumItalic          MT  1378    abmi____
+     m_____    AlbertinaMT-MediumItalicOsF       MT  1378    abmio___
+     m_____    AlbertinaMT-MediumItalicSC        MT  1378    abmis___
+     m_____    AlbertinaMT-MediumOsF             MT  1378    abmos___
+     m_____    AlbertinaMT-MediumSC              MT  1378    abmsc___
+     m_____    AlbertinaMT-Regular               MT  1378    abr_____
+     m_____    AlbertinaMT-RegularOsF            MT  1378    abros___
+     m_____    AlbertinaMT-RegularSC             MT  1378    abrsc___
+     mngr__    NewsGothicCE                      MT  1379    ngu_____
+     mngb__    NewsGothicCE-Bold                 MT  1379    ngub____
+     mngbi__   NewsGothicCE-BoldItalic           MT  1379    ngubi___
+     mngri__   NewsGothicCE-Italic               MT  1379    ngui____
+     mngrk     NewsGothicGre                     MT  1380    ngg_____
+     mngbk     NewsGothicGre-Bold                MT  1380    nggb____
+     mngbik    NewsGothicGre-BoldInclined        MT  1380    nggbi___
+     mngrik    NewsGothicGre-Inclined            MT  1380    nggi____
+     mngrz     NewsGothicCyr                     MT  1381    ngc_____
+     mngbz     NewsGothicCyr-Bold                MT  1381    ngcb____
+     mngbiz    NewsGothicCyr-BoldInclined        MT  1381    ngcbi___
+     mngriz    NewsGothicCyr-Inclined            MT  1381    ngci____
+     m_____    BuffaloGalMT                      MT  1382    bufg____
+     mrwr__    RockwellTur                       MT  1383    rkt_____
+     mrwb__    RockwellTur-Bold                  MT  1383    rktb____
+     mrwbi__   RockwellTur-BoldItalic            MT  1383    rktbi___
+     mrwri__   RockwellTur-Italic                MT  1383    rkti____
+     mrwl__    RockwellTur-Light                 MT  1383    rktl____
+     mrwli__   RockwellTur-LightItalic           MT  1383    rktli___
+     mrwr__    RockwellCE                        MT  1383    rku_____
+     mrwb__    RockwellCE-Bold                   MT  1383    rkub____
+     mrwbi__   RockwellCE-BoldItalic             MT  1383    rkubi___
+     mrwri__   RockwellCE-Italic                 MT  1383    rkui____
+     mrwl__    RockwellCE-Light                  MT  1383    rkul____
+     mrwli__   RockwellCE-LightItalic            MT  1383    rkuli___
+     mo4bij8a  OceanSansMT-BoldItalicOsF         MT  1397    oebio___
+     mo4bic8a  OceanSansMT-BoldItalicSC          MT  1397    oebis___
+     mo4bj8a   OceanSansMT-BoldOsF               MT  1397    oebo____
+     mo4bc8a   OceanSansMT-BoldSC                MT  1397    oebs____
+     mo4kij8a  OceanSansMT-BookItalicOsF         MT  1397    oekio___
+     mo4kic8a  OceanSansMT-BookItalicSC          MT  1397    oekis___
+     mo4kj8a   OceanSansMT-BookOsF               MT  1397    oeko____
+     mo4kc8a   OceanSansMT-BookSC                MT  1397    oeks____
+     mo4lij8a  OceanSansMT-LightItalicOsF        MT  1398    oelio___
+     mo4lic8a  OceanSansMT-LightItalicSC         MT  1398    oelis___
+     mo4lj8a   OceanSansMT-LightOsF              MT  1398    oelo____
+     mo4lc8a   OceanSansMT-LightSC               MT  1398    oels____
+     mo4sij8a  OceanSansMT-SemiBoldItaOsF        MT  1398    oesio___
+     mo4sic8a  OceanSansMT-SemiBoldItaSC         MT  1398    oesis___
+     mo4sj8a   OceanSansMT-SemiBoldOsF           MT  1398    oeso____
+     mo4sc8a   OceanSansMT-SemiBoldSC            MT  1398    oess____
+     mo4xij8a  OceanSansMT-ExtraBoldItaOsF       MT  1398    oexio___
+     mo4xic8a  OceanSansMT-ExtraBoldItaSC        MT  1398    oexis___
+     mo4xj8a   OceanSansMT-ExtraBoldOsF          MT  1398    oexo____
+     mo4xc8a   OceanSansMT-ExtraBoldSC           MT  1398    oexs____
+     mgmrz     GaramondCyrMT-Regular             MT  1401    gac_____
+     mgmbz     GaramondCyrMT-Bold                MT  1401    gacb____
+     mgmriz    GaramondCyrMT-Inclined            MT  1401    gaci____
+     mgmrk     GaramondDualGreekMT-Regular       MT  1402    gad_____
+     mgmbk     GaramondDualGreekMT-Bold          MT  1402    gadb____
+     mgmrik    GaramondDualGreekMT-Incl          MT  1402    gadi____
+     mgmr__    GaramondCEMT-Regular              MT  1403    gae_____
+     mgmb__    GaramondCEMT-Bold                 MT  1403    gaeb____
+     mgmri__   GaramondCEMT-Italic               MT  1403    gaei____
+     mgmr__    GaramondTurMT-Regular             MT  1403    gat_____
+     mgmb__    GaramondTurMT-Bold                MT  1403    gatb____
+     mgmri__   GaramondTurMT-Italic              MT  1403    gati____
+     mngr8ac   NewsGothicMT-Condensed            MT  1451    ngoc____
+     mngb8ac   NewsGothicMT-CondensedBold        MT  1451    ngocb___
+     m_____    MahsuriSansMT-Bold                MT  1454    msb_____
+     m_____    MahsuriSansMT-BoldItalic          MT  1454    msbi____
+     m_____    MahsuriSansMT-BoldItalicOsF       MT  1454    msbio___
+     m_____    MahsuriSansMT-BoldOsF             MT  1454    msbo____
+     m_____    MahsuriSansMT-Italic              MT  1454    msi_____
+     m_____    MahsuriSansMT-ItalicOsF           MT  1454    msio____
+     m_____    MahsuriSansMT-Light               MT  1454    msl_____
+     m_____    MahsuriSansMT-LightItalic         MT  1454    msli____
+     m_____    MahsuriSansMT-LightItalicOsF      MT  1454    mslio___
+     m_____    MahsuriSansMT-LightOsF            MT  1454    mslo____
+     m_____    MahsuriSansMT-Regular             MT  1454    msr_____
+     m_____    MahsuriSansMT-RegularOsF          MT  1454    msro____
+     m_____    MahsuriSansMT-ExtraBold           MT  1454    msx_____
+     m_____    MahsuriSansMT-ExtraBoldItalic     MT  1454    msxi____
+     m_____    MahsuriSansMT-ExtBoldItaOsF       MT  1454    msxio___
+     m_____    MahsuriSansMT-ExtraBoldOsF        MT  1454    msxo____
+     mu0r8a    ColumbusMT                        MT  1492    cu______
+     mu0b8a    ColumbusMTBold                    MT  1492    cub_____
+     mu0bi8a   ColumbusMTBoldItalic              MT  1492    cubi____
+     mu0ri8a   ColumbusMTItalic                  MT  1492    cui_____
+     mu0s8a    ColumbusMTSemiBold                MT  1492    cus_____
+     mu0si8a   ColumbusMTSemiBoldItalic          MT  1492    cusi____
+     mpi001    ArabesqueOrnamentsOneMT                       ornaments
+     mpi002    ArabesqueOrnamentsTwoMT                       ditto
+     mpi003    ArabesqueOrnamentsThreeMT                     ditto
+     mpi004    RococoOrnamentsOneMT                          ornaments
+     mpi005    RococoOrnamentsTwoMT                          ditto
+     mpi006    RococoOrnamentsThreeMT                        ditto
+     mpi007    ChristmasOrnamentsMT-One                      ornaments
+     mpi008    ChristmasOrnamentsMT-Two                      ditto
+     mpi009    ChristmasOrnamentsMT-Three                    ditto
+     mpi010    ChristmasOrnamentsMT-Four                     ditto
+     mpi011    ChristmasOrnamentsMT-Five                     ditto
+     mpi012    ChristmasOrnamentsMT-Six                      ditto
+     mpi013    ContemporaryOrnMT-One                         ornaments
+     mpi014    ContemporaryOrnMT-Two                         ditto
+     mpi015    ContemporaryOrnMT-Three                       ditto
+     mpi016    ContemporaryOrnMT-Four                        ditto
+     mpi017    ContemporaryOrnMT-Five                        ditto
+     mpi101    AlmanacMT                                     zodiac
+     mpi102    BotanicalMT                                   flowers
+     mpi103    DirectionsMT                                  arrows & pointers
+     mpi104    SportsOneMT                                   sports
+     mpi105    SportsTwoMT                                   ditto
+     mpi106    TransportMT                                   signs
+     mpi107    VacationMT                                    signs
+     mpi108    SportsThreeMT                                 sports
+     mpi109    SportsFourMT                                  ditto
+     mpi201    CircleFrameMT                                 circled numerals
+     mpi202    CircleFrameNegMT                              ditto
+     mpi203    SquareFrameMT                                 squared numerals
+     mpi204    SquareFrameNegMT                              ditto
+     mpi205    DiamondBodoni                                 bullets & markers
+     mpi206    DiamondPositive                               ditto
+     mpi207    DiamondNegative                               ditto
+     mpi208    OvalFrameMT                                   circled numerals
+     mpi209    OvalFrameNegativeMT                           ditto
+     mpi300    Giddyup-ThangsMT                              cowboys & indians
+     mpi301    PetrucchioMT                                  ???
+     mpi302    AquaLifeMT                                    fish
+     mpi303    BonApetit                                     food
+     mpi304    DinosaursMT                                   dinosaurs
+     mpi305    FrontierMT                                    cowboys & indians
+     mpi306    Holidays                                      greeting cards
+     mpi307    KeystrokesExtrasMT                            keyboards
+     mpi308    KeystrokesMT                                  ditto
+     mpi309    Melodies                                      musical instruments
+     mpi310    MilestonesOneMT                               clip art
+     mpi311    MilestonesTwoMT                               ditto
+     mpi312    MonkeyBusiness                                animals
+     mpi313    MonotypeSorts                                 dingbats
+     mpi314    NatureMT                                      animals
+     mpi315    Parties                                       clip art
+     mpi316    BingoMT                                       clip art
+     mpi317    BongoMT                                       clip art
+     mpi318    PieMT                                         food & drinks
+     mpi319    PlaytimeMT                                    toys
+     mpi320    SignsMT                                       signs
+     mpi321    SouthwestOrnamentsMT                          geometric ornaments
+     mpi322    KeystrokesShadowExtrasMT                      keyboards
+     mpi323    KeystrokesShadowMT                            ditto
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/Name-mapping-file.html b/Master/texmf-dist/doc/fontname/Name-mapping-file.html new file mode 100644 index 00000000000..0142a0fc119 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Name-mapping-file.html @@ -0,0 +1,57 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Name mapping file, +Next: , +Up: Long names +



+
+ +

A fontname mapping file

+ +

At the moment, most implementations of TeX look up a TFM file (as +part of the \font command), by searching for a file with the name +given by the user (possibly in any of series of directories). But if we +also looked TFM names up in another file (or set of files), which +specifies the actual filename, the fontname given in the TeX source +file could be almost anything at all, of any length. + +

In version 5.851d of Web2c, I implemented this mapping file. Each file +texfonts.map in a search path is read for abbreviations. The file +has a straightforward format: each line specifies the filename and the +TeX name for one font, separated by whitespace. Extra information on +the line is ignored; then more information could be specified for the +benefit of DVI-reading programs in the same file. Comments start with +% and continue to the end of the line. + +

Besides allowing long names, this sort of mapping file has other +benefits. TeX source or DVI files can be more easily transported, +because the font names in a particular file can be made work on every +system. Also, when combined with a consistent naming scheme, macros +could be written to access any of a number of fonts. Right now, each +font family has to have specialized macros written to deal with it. + +

Incidentally, Professor Knuth has approved this as a legitimate +"system-dependent" extension; a TeX with such a feature can still +be called "TeX". + + + diff --git a/Master/texmf-dist/doc/fontname/References.html b/Master/texmf-dist/doc/fontname/References.html new file mode 100644 index 00000000000..19bb42876fa --- /dev/null +++ b/Master/texmf-dist/doc/fontname/References.html @@ -0,0 +1,66 @@ + + +Filenames for TeX fonts + + + + + + + + +

+

+Node: References, +Previous: History, +Up: Introduction +



+
+ +

References

+ +

Related files and distributions: + +

    +
  • The TeX Directory Structure (TDS) standard, available at +(ftp://tug.org/tex/tds and CTAN:/tds) +specifies a directory tree for all TeX library files. The directory +names given in Suppliers and Typefaces are intended to mesh +with that standard. + +
  • The modes.mf file (ftp://tug.org/tex/modes.mf) +contains recommended mode names to use as directory names. + +
  • The PSfonts distribution (CTAN:/fonts/psfonts) contains +TeX support for many fonts, both commercially available and free. + +
  • The Fontinst distribution (CTAN:/fonts/utilities/psfonts) +supports quite general creation of virtual fonts, named according to the +scheme given here. + +
  • The Dvips translator (original at +ftp://labrea.stanford.edu/pub/dvips*.tar.gz and variation at +ftp://tug.org/tex/dvipsk.tar.gz) supports resident and +downloadable PostScript fonts. Dvips was the first real application of +Fontname 1. Dvips also includes Afm2tfm, another program that can +create virtual fonts. + +
  • The Dviljk processor (ftp://tug.org/tex/dviljk.tar.gz) +contains TeX support for the fonts built into the LaserJet 4. + +
  • `Designing New Typefaces with Metafont', by Richard Southall, +Stanford Computer Science Department Technical Report STAN-CS-85-1074, +September 1985, for a comprehensive terminology of font design. + +
+ + + diff --git a/Master/texmf-dist/doc/fontname/Standard-PostScript-fonts.html b/Master/texmf-dist/doc/fontname/Standard-PostScript-fonts.html new file mode 100644 index 00000000000..9ccb926452e --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Standard-PostScript-fonts.html @@ -0,0 +1,108 @@ + + +Filenames for TeX fonts + + + + + + + + + + +

Standard PostScript fonts

+ +

Abbreviated names for the 35 standard PostScript fonts. An encoding +variant, such as 8a for the Adobe StandardEncoding, is +omitted. + +

+
pagk +
AvantGarde-Book +
pagko +
AvantGarde-BookOblique +
pagd +
AvantGarde-Demi +
pagdo +
AvantGarde-DemiOblique +
pbkd +
Bookman-Demi +
pbkdi +
Bookman-DemiItalic +
pbkl +
Bookman-Light +
pbkli +
Bookman-LightItalic +
pcrb +
Courier-Bold +
pcrbo +
Courier-BoldOblique +
pcrr +
Courier +
pcrro +
Courier-Oblique +
phvb +
Helvetica-Bold +
phvbo +
Helvetica-BoldOblique +
phvbrn +
Helvetica-NarrowBold +
phvbon +
Helvetica-NarrowBoldOblique +
phvr +
Helvetica +
phvro +
Helvetica-Oblique +
phvrrn +
Helvetica-Narrow +
phvron +
Helvetica-NarrowOblique +
pncb +
NewCenturySchlbk-Bold +
pncbi +
NewCenturySchlbk-BoldItalic +
pncri +
NewCenturySchlbk-Italic +
pncr +
NewCenturySchlbk-Roman +
pplb +
Palatino-Bold +
pplbi +
Palatino-BoldItalic +
pplri +
Palatino-Italic +
pplr +
Palatino-Roman +
psyr +
Symbol +
ptmb +
Times-Bold +
ptmbi +
Times-BoldItalic +
ptmri +
Times-Italic +
ptmr +
Times-Roman +
pzcmi +
ZapfChancery-MediumItalic +
pzdr +
ZapfDingbats +
+ + + diff --git a/Master/texmf-dist/doc/fontname/Suppliers.html b/Master/texmf-dist/doc/fontname/Suppliers.html new file mode 100644 index 00000000000..d1e246911bb --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Suppliers.html @@ -0,0 +1,98 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Suppliers, +Next: , +Up: Filenames for fonts +



+
+ +

Suppliers

+ +

The supplier is the source of a font, typically a (digital) type +foundry. + +

You should use the supplier letter which matches the supplier you +obtained the font from, not the original source; for example, Avant +Garde was designed by Herb Lubalin for ITC, but Adobe also sells it. +The name of the font that you get from Adobe should start with p. +This is because font resellers typically make modifications to the +original design. + +

Notes on specific suppliers: + +

+
f +
For fonts that are distributed without any specific attribution to the +creator, by individuals, or by small foundries. (Unfortunately, we +don't have enough characters to assign one to every font +supplier in the world.) + +
r +
obsolete; specifies raw fonts, in the old distribution of Dvips. New +fonts should never use r. (The right thing to do is specify the +correct encoding, variant, or whatever the font's characteristics +actually are.) + +
z +
for fonts that just don't fit well into the naming scheme. The z +should be followed by the real supplier letter. +
+ +

Here is the table from the file supplier.map. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation, +directory name, and comment. + +

+
+     0 fontfont      FontFont
+     5 softmake      Softmaker
+     9 unknown
+     a autologi      Autologic
+     b bitstrea      Bitstream
+     c cg            Compugraphic
+     d dtc           Digital Typeface Corporation
+     e apple         Apple
+     f public        small foundries
+     g gnu           Free Software Foundation
+     h bh            Bigelow & Holmes
+     i itc           International Typeface Corporation
+     j microsft      Microsoft
+     k softkey       SoftKey
+     l linotype      Linotype
+     m monotype      Monotype
+     n ibm           IBM
+     o corel         Corel
+     p adobe         Adobe (p for PostScript)
+     r -             raw (for [obsolete] use with virtual fonts)
+     s sun           Storm Type
+     t paragrap      ParaGraph
+     u urw           URW
+     w wolfram       Wolfram
+     z -             bizarre (fontname is nonstandard)
+     - autofont	Eddie Kohler's autofont program
+     - jknappen      Joerg Knappen
+     - mnm           Hong Feng, free software in China
+     - yandy         Y&Y
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/Typefaces.html b/Master/texmf-dist/doc/fontname/Typefaces.html new file mode 100644 index 00000000000..8eb541fec57 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Typefaces.html @@ -0,0 +1,694 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Typefaces, +Next: , +Previous: Suppliers, +Up: Filenames for fonts +



+
+ +

Typefaces

+ +

For our purposes, a typeface is a collection of related fonts. + +

We sometimes use the same typeface abbreviation for fonts with different +supplier names, where we know (usually by inspection) that the fonts +truly are the same. This helps conserve abbreviations. + +

Notes on specific typefaces: + +

+
ad +
gm +
To explain a common confusion: ad is Adobe Garamond (with a +FontName of AGaramond). This is quite different from the +Garamond typeface distributed by Adobe, which is actually ITC +Garamond. (Garamond No. 3 (f3), Simoncini Garamond +(ig), and Stempel Garamond (eg) are still other +variations on the Garamond theme.) + +
lh +
ls +
lx +
r1 +
These abbreviations for Lucida typeface subfamilies, et al., solve a +problem with names getting too long, or help conserve variant +abbreviations. See Variants. Ideally, they would not exist. + +
ns +
nt +
tm +
Suppliers offer as many variations on the Times New Roman design as they +do Garamond. Adobe has Times, TimesNewRoman, and +TimesNewRomanPS. Although this last has been used by other +foundries (e.g., Monotype) for a Times variation exactly compatible with +Adobe's Times, Adobe itself also offers it, so we must have +abbreviations for all three. + +
pi +
For pi fonts. Since names of pi fonts are rather arbitrary, it is +not useful to try to assign typeface abbreviations to all of +them. Instead, we use the supplier letter, pi, an +arbitarily-assigned three-digit number, a weight and (if necessary) a +variant. For example, mpi001r. Pi font 001 for one +supplier has nothing to do with pi font 001 for another. +
+ +

Here is the table, from the file typeface.map. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation +and directory name, possibly followed by PostScript FontNames +and/or a comment in roman. The FontName may be preceded by a +letter s and a :, as in b:Dutch. In that case, the +s is a supplier abbreviation, and we've used that abbreviation for +the given FontName from that supplier. + +

+
+     a1 arial        Arial
+     a2 amasis       Amasis
+     a3 adlib        AdLib
+     a4 altgoth2     AlternateGothicNo2
+     a5 allegro      Allegro
+     a6 amelia       Amelia
+     a7 amertext     AmericanText
+     a8 aurora       Aurora
+     a9 adsans       Adsans b:Humanist970BT
+     aa aachen       Aachen
+     ab aboeckli     ArnoldBoecklin
+     ac acaslon      ACaslon                                 Adobe Caslon
+     ad agaramon     AGaramond                               Adobe Garamond
+     ae andalemo     AndaleMono
+     ag avantgar     AvantGarde m:MAvantGardeGothicPS u:URWGothicL
+     ah ashleysc     AshleyScript
+     ai abadi        Abadi
+     aj ajenson      AJenson
+     ak arkona       Arkona
+     al albertus     Albertus b:Flareserif821BT
+     am amercana     Americana b:Americana
+     an anna         Anna
+     ao atqolive     AntiqueOlive b:Incised901BT
+     ap apollo       Apollo
+     aq antiqua      Antiqua u:URWAntiqua m:BookAntiqua
+     ar arcadia      Arcadia
+     as aldus        Aldus
+     at atypewri     AmericanTypewriter
+     au auriol       Auriol b:Freeform721
+     av avenir       Avenir
+     ax alexa        Alexa
+     az azdzgrot     AkzidenzGrotesk b:Gothic725BT
+     b0 blackoak     Blackoak
+     b1 blado        Blado
+     b2 binnyos      BinnyOldStyle
+     b3 braggado     Braggadocio
+     b4 bison        Bison b:Brush738BT
+     b5 binghams     BinghamScript b:Freehand591BT
+     b6 block        Block b:Gothic821
+     b7 bernhard     Bernhard BernhardModern
+     b8 blippo       Blippo
+     b9 bremen       Bremen
+     ba barmeno      Barmeno
+     bb bembo        Bembo b:Aldine401BT
+     bc banco        Banco
+     bd bodoni       Bodoni
+     be bell         Bell
+     bf biffo        Biffo
+     bg benguiat     Benguiat
+     bh bauhaus      Bauhaus
+     bi birch        Birch
+     bj birka        Birka
+     bk bookman      Bookman m:MBookmanPS u:URWBookmanL
+     bl belwe        Belwe
+     bm bulmer       Bulmer
+     bn bernard      Bernard
+     bo balloon      Balloon
+     bp bodocamp     BodoniCampanile b:Modern735
+     br berling      Berling b:Revival565BT
+     bs bakersig     BakerSignet
+     bt boton        Boton
+     bu brush        BrushScript
+     bv baskervi     Baskerville
+     bw broadway     Broadway
+     by berkeley     Berkeley
+     bz balzano      Balzano
+     c0 carolina     Carolina
+     c1 calisto      Calisto
+     c2 casln224     CaslonTwoTwentyFour
+     c3 caslon3      CaslonThree
+     c4 chicago      Chicago
+     c5 casln540     CaslonFiveForty
+     c6 clarion      Clarion
+     c7 compacta     Compacta
+     c8 calvert      Calvert
+     c9 codex        Codex b:Calligraphic421BT
+     ca caslon       Caslon
+     cb cooper       Cooper
+     cc cascade      Cascade b:Freehand471BT
+     cd clarendo     Clarendon
+     ce centenni     Centennial
+     cf clearfac     Clearface
+     cg charlema     Charlemagne
+     ch charter      Charter
+     ci candida      Candida
+     ck caslonbe     CaslonBookBE
+     cl cloister     Cloister
+     cm cm           Computer Modern
+     cn century      Century
+     co cochin       Cochin
+     cp copperpl     Copperplate
+     cq cheq         Cheq
+     cr courier      Courier m:MCourierPS m:CourierTwelveMT u:NumbusMonL
+     cs cntursbk     CenturySchoolbook
+     ct cheltenh     Cheltenham
+     cu centuros     CenturyOldStyle
+     cv clairvx      Clairvaux
+     cw cottonwd     Cottonwood
+     cx caxton       Caxton
+     cy city         City b:SquareSlabserif711BT
+     cz choc         Choc b:Staccato555BT
+     d0 davida       DavidaBold
+     dc domcasl      Dom DomCasual DomDiagonal
+     dd ducberry     DucDeBerry
+     de dellarob     DellaRobbia
+     di diotima      Diotima b:Calligraphic810BT
+     dj delta        Delta
+     dk diskus       Diskus
+     dl dolores      Dolores
+     dm delima       Delima
+     do didot        DidotLH
+     dr doric        Doric
+     ds dorchesc     DorchesterScript
+     dt dante        Dante
+     dy academy      Academy
+     e0 embassy      Embassy
+     e1 empire       Empire
+     e2 metatwo      Meta2
+     ea electra      Electra b:Transitional521BT
+     eb baskerbe     BaskervilleBE
+     ec applecha     e:AppleChancery
+     ee egyptian     Egyptian EgyptianExtended
+     ef egyptien     EgyptienneF
+     eg stgaramo     StempelGaramond b:OriginalGaramondBT
+     eh engsft       Engschrift
+     ei esprit       Esprit
+     ek eckmann      Eckmann b:Freeform710
+     el ellingtn     Ellington
+     en engraver     Engravers
+     eo amerigo      Amerigo b:AmerigoBT
+     er eras         Eras
+     es eurostil     Eurostile b:Square721BT k:Minima
+     et ehrhardt     Ehrhardt
+     eu euler        Euler
+     ex exclsior     Excelsior
+     f0 flemishs     FlemishScript
+     f1 fournier     Fournier
+     f2 facade       Facade
+     f3 festival     Festival
+     f4 footligh     Footlight
+     f5 french       FrenchScript
+     fa formata      Formata
+     fe forte        Forte
+     ff fairfld      Fairfield b:Transitional551BT
+     fg frankgth     FranklinGothic
+     fi figaro       Figaro
+     fl flora        Flora
+     fn fenice       Fenice
+     fo folio        Folio
+     fq frizquad     FrizQuadrata
+     fr frutiger     Frutiger b:Humanist777BT
+     fs falstaff     Falstaff
+     ft fettefrk     FetteFraktur Fraktur
+     fu futura       Futura
+     fx felixttl     FelixTitling
+     fy flyer        Flyer
+     g0 gando        Gando
+     g1 gothic13     GothicThirteen
+     g2 giddyup      Giddyup
+     g3 garamon3     GaramondThree b:AmericanGaramondBT      Garamond No. 3
+     g4 gymodern     GoudyModern
+     g5 gycatalg     GoudyCatalogue
+     g6 gorilla      GorillaITC
+     g9 ugaramon     GaramondRetrospective
+     ga gillsana     GillSana
+     gb gothicbb     GothicBBB
+     ge geneva       e:Geneva
+     gg garthgra     GarthGraphic
+     gh galahad      Galahad
+     gi georgia      Georgia
+     gj granjon      Granjon b:ElegantGaramondBT
+     gl galliard     Galliard
+     gm garamond     Garamond
+     go gyoldsty     GoudyOldStyle
+     gp glypha       Glypha
+     gq grotesq      Grotesque u:URWGrotesk
+     gr gloucest     Gloucester
+     gs gillsans     GillSans m:GillAltOneMT b:Humanist521BT
+     gt goudytxt     GoudyText
+     gu guardi       Guardi
+     gv giovanni     Giovanni
+     gy goudy        Goudy
+     gz gazette      GazetteLH
+     h0 handelgo     HandelGothic
+     ha hadriano     Hadriano
+     hb hobo         Hobo Tramp
+     hc herculnm     Herculanum
+     hd headline     Headline
+     hg hiroshig     Hiroshige
+     hh highland     Highlander
+     hi hvinsera     HelveticaInserat b:Swiss921BT
+     hm charme       Charme
+     hn hvneue       HelveticaNeue
+     ho horleyos     HorleyOldStyle
+     hr hvround      HelveticaRounded
+     hs hnseati      Hanseatic B:Swiss924BT
+     ht hoeflert     e:HoeflerText
+     hv helvetic     Helvetica u:NimbusSans u:NumbusSanL b:Swiss721BT b:Monospace821BT b:Swiss911BT d:Sans Newton n:SonoranSansSerif
+     hw schadow      Schadow
+     hx huxleyvr     HuxleyVertical
+     i0 commscr      CommercialScript
+     i1 impress      Impress
+     i2 impuls       Impuls
+     i3 imperial     Imperial
+     ia insignia     Insignia
+     ib ibycus       Ibycus
+     ic impact       Impact
+     id isadora      Isadora
+     if inflex       Inflex
+     ig scgaramo     SimonciniGaramond b:ItalianGaramond
+     ii imprint      Imprint
+     il caecilia     Caecilia
+     im imago        Imago
+     in industri     Industria
+     io ionic        Ionic b:News701BT
+     ip impressm     Impressum
+     is italnos      ItalianOldStyle
+     it italia       Italia
+     iw ironwood     Ironwood
+     iy iowanold     IowanOldStyle
+     iz isabella     Isabella
+     jf jeffersn     Jefferson b:Freehand575BT
+     jn janson       Janson
+     jo joanna       Joanna
+     jp juniper      Juniper
+     kb kabel        Kabel
+     kg bankgoth     BankGothic
+     kl klang        Klang
+     kn kino         Kino
+     ko bookmano     BookmanOldStyle
+     kp kepler       Kepler
+     kr korinna      Korinna
+     ks kuenstsc     KuenstlerScript
+     ku kaufmann     Kaufmann
+     kw kolo         Kolo
+     kx kigali       Kigali
+     l1 liberty      Liberty
+     l2 libra        Libra
+     l3 lucia        Lucia
+     l4 lucian       Lucian
+     l5 baltica      Baltica
+     l6 literatu     Literaturnaya
+     l7 luxiseri     LuxiSerif
+     l8 luxisans     LuxiSans
+     l9 luximono     LuxiMono
+     lb lubaling     LubalinGraph
+     lc lucida       Lucida
+     le legacy       Legacy
+     lf life         Life
+     lg lettrgth     LetterGothic ISILGothic
+     lh lubright     LucidaBright
+     li latin        Latin
+     ll linolett     LinoLetter
+     ln lino         Lino
+     lo lithos       Lithos
+     ls lucsans      LucidaSans
+     lt lutetia      Lutetia
+     lw leawood      Leawood
+     lx lucidfax     LucidaFax
+     ly lydian       Lydian
+     m0 monospac     Monospace
+     m1 monolisc     MonolineScript
+     m2 metro        Metro b:Geometric415BT
+     m3 mirarae      Mirarae
+     m4 mrearl       MisterEarl
+     m5 murrayhl     MurrayHill
+     m6 mittlsft     Mittelschrift
+     m7 matura       Matura
+     m8 monotyos     MonotypeOldStyle
+     ma mandate      Mandate b:Freehand521BT
+     mc monaco       e:Monaco
+     md meridien     Meridien
+     me mercursc     MercuriusScript
+     mg marigold     Marigold
+     mh machine      Machine
+     mi medici       Medici
+     mj mojo         Mojo
+     ml melior       Melior b:ZapfElliptical711BT
+     mn minion       Minion
+     mo modern       Modern b:Modern20BT
+     mp memphis      Memphis b:GeometricSlab703BT
+     mq mesquite     Mesquite
+     mr madrone      Madrone
+     ms mistral      Mistral b:Staccato222BT
+     mt minister     Minister
+     mv malvern      Malvern
+     mx maximus      Maximus
+     my myriad       Myriad
+     mz amazone      Amazone
+     n0 normande     Normande
+     n1 binner       Binner not really a family
+     n7 news706      News706
+     na newaster     NewAster
+     nb nbaskerv     NewBaskerville
+     nc ncntrsbk     NewCenturySchlbk u:CenturySchL
+     nd ncaledon     NewCaledonia
+     nf nofret       Nofret
+     ng newsgth      NewsGothic
+     ni nimrod       Nimrod
+     nk neograph     Neographik
+     nl neuland      Neuland b:Informal011BT
+     nm nimbus       Nimbus
+     nn nclarend     NewClarendon
+     no notredam     NotreDame
+     np nsplanti     NewsPlantin
+     nr nberolin     NewBerolina
+     ns timesnps     TimesNewRomanPS
+     nt timesnew     TimesNewRoman m:TimesNR n:SonoranSerif
+     nu nuptial      Nuptial
+     nv novarese     Novarese
+     nw neueunzi     NeueHammerUnziale
+     nx nyx          Nyx
+     nz neuzeits     NeuzeitS b:Geometric706BT
+     o0 oldreadf     OldDreadfulNo7
+     o1 oranda       Oranda
+     o2 orbitb       OrbitB
+     o3 colonna      Colonna
+     o4 oceansan     OceanSans
+     o5 comic        Comic
+     o7 oldsty7      OldStyleSeven
+     o8 officina     Officina
+     oa ocra         OCR-A
+     ob ocrb         OCR-B
+     oc concorde     Concorde
+     oe oldengli     OldEnglish b:English157
+     of oxford       Oxford
+     oi ondine       Ondine Mermaid b:FormalScript421BT
+     oj oldclaud     OldClaude
+     ol colmcill     Colmcille
+     om omnia        Omnia
+     on corona       Corona
+     op optima       Optima d:Optimum b:ZapfHumanist601BT Omega
+     oq ouch         Ouch
+     or orator       Orator
+     os oldstyle     OldStyle
+     ot coronet      Coronet b:Ribbon131BT
+     ov octavian     Octavian
+     ox onyx         Onyx
+     oy olympian     Olympian l:OlympicLH
+     oz ozhandcr     OzHandicraft
+     p0 poplar       Poplar
+     p1 palacesc     PalaceScript
+     p2 pepita       Pepita
+     p3 palette      Palette b:Brush445BT
+     p4 pioneer      PioneerITC
+     p5 piranesi     Piranesi
+     p6 blueprin     Blueprint
+     p7 petersbu     Petersburg
+     pa parkave      ParkAvenue
+     pb ptbarnum     PtBarnum
+     pc poetica      PoeticaChancery s:Scriptoria
+     pd placard      Placard
+     pe prestige     PrestigeElite
+     pf profile      Profile Profil b:Decorated035BT
+     pg peignot      Peignot b:Exotic350BT
+     ph photina      Photina
+     pi pi           pi fonts--see text and *.map files
+     pj pompeija     Pompeijana
+     pl palatino     Palatino d:Palton b:ZapfCalligraphic801BT u:URWPalladioL Palmspring k:Palindrome
+     pm postmed      PostMediaeval
+     pn plantin      Plantin b:Aldine721BT
+     po ponderos     Ponderosa
+     pp perpetua     Perpetua b:Lapidary333BT
+     pq postatqa     PostAntiqua
+     pr popplres     PopplResidenz
+     ps parisian     Parisian
+     pt present      Present
+     pu popplaud     PopplLaudatio
+     pw perrywoo     Perrywood
+     px popplpfx     PopplPontifex
+     py playbill     Playbill
+     pz poliphil     Poliphilus
+     qr quorum       Quorum
+     qs bellevue     Bellevue
+     qt boulevar     Boulevard
+     r0 romana       Romana
+     r1 rotis        RotisSemiSerif
+     r2 cantoria     Cantoria
+     r3 rotis        RotisSemiSans
+     r4 rotis        RotisSansSerif
+     ra raleigh      Raleigh
+     rc romic        Romic
+     rm carmina      Carmina
+     rn rotation     Rotation
+     ro rotis        RotisSerif
+     rp reporter     Reporter
+     rq russelsq     RussellSquare
+     rr raphael      Raphael
+     rs arrus        Arrus
+     rt carta        Carta
+     ru runic        Runic
+     rv revue        Revue
+     rw rockwell     Rockwell Slate b:GeometricSlab712BT
+     rc rustican     Rusticana
+     ry ryumin       Ryumin
+     rz ruzicka      RuzickaFreehandLH
+     s0 sanmarco     SanMarco
+     s1 scotchro     ScotchRoman
+     s2 script       Script
+     s3 seagull      Seagull
+     s4 shotgun      Shotgun ShotgunBlanks
+     s5 snell        Snell
+     s6 stuyvesa     Stuyvesant
+     s7 sassoon      Sassoon
+     s8 stonesan     StoneSans
+     sa scala        Scala
+     sb sabon        Sabon b:ClassicalGaramondBT
+     sc slimbach     Slimbach
+     se shelley      Shelley
+     sf serifa       Serifa
+     sg serifgth     SerifGothic
+     sh shannon      Shannon
+     si stoneinf     StoneInformal
+     sk skia         e:Skia
+     sl stencil      Stencil
+     sm spectrum     Spectrum
+     sn spartan      Spartan
+     so sonata       Sonata
+     sp serpenti     Serpentine
+     sr snellrnd     SnellRoundhand
+     ss stschnei     StempelSchneidler
+     st stone        StoneSerif
+     sv souvenir     Souvenir
+     sw swing        Swing
+     sx syntax       Syntax
+     sy symbol       Symbol m:MSymbolPS u:StandardSymL
+     t0 tango        Tango
+     t1 thunderb     Thunderbird
+     t2 typo         TypoUpright
+     tb bebodoni     BodoniBE BBodoni                        Berthold Bodoni
+     te timeseur     TimesEuropa
+     tf tiffany      Tiffany
+     tg tradegth     TradeGothic
+     th tahoma       Tahoma
+     ti techphon     TechPhonetic
+     tj trajan       Trajan
+     tk tekton       Tekton
+     tl castella     Castellar
+     tm times        Times u:NimbusRoman u:NimbusRomNo9L b:Dutch801BT
+     to torino       Torino b:Industrial736BT
+     tp tempo        Tempo
+     tr trebuche     Trebuchet
+     tv trumpmed     TrumpMediaeval b:Kuenstler480BT
+     tw twentyc      TwentiethCentury
+     ty typewrit     Typewriter
+     u0 columbus     Columbus
+     ub babodoni     BauerBodoni
+     ud studio       Studio
+     ug bengugth     BenguiatGothic
+     uh cushing      Cushing
+     ul universa     Universal
+     um umbra        Umbra
+     un univers      Univers b:ZurichBT
+     ur centaur      Centaur b:Venetian301BT
+     ut utopia       Utopia
+     uw usherwoo     Usherwood
+     uy universi     University
+     v0 vineta       Vineta
+     va activa       Activa
+     vc vectora      Vectora
+     vd vandijck     VanDijck
+     ve veraseri     VeraSerif
+     vg visigoth     Visigoth
+     vi victoria     Victoria
+     vj veljovic     Veljovic
+     vm veramono     VeraSansMono
+     vn verdana      Verdana
+     vl versaill     Versailles
+     vr vagrnd       VAGRounded
+     vs verasans     VeraSans
+     vv viva         Viva
+     w0 weddingt     WeddingT
+     w1 wiesbswi     WiesbadenSwing
+     wb walbaum      Walbaum
+     wc snowcap      SnowCap
+     wd weideman     Weidemann
+     wg wlklgth      WilhelmKlingsporGotisch
+     wh wendy        Wendy
+     wi wingding     Wingdings
+     wk wilke        Wilke
+     wn windsor      Windsor
+     wr wittenbe     WitternbergerFrakt
+     ws weiss        Weiss
+     wt watertit     WatersTitling
+     ww willow       Willow
+     xc eccentri     Eccentric
+     xp exponto      ExPonto
+     yg centuryg     CenturyGothic
+     yh strayhor     Strayhorn
+     ym stymie       Stymie
+     ys goudysan     GoudySans
+     za zantiqua     ZAntiqua
+     zc zapfchan     ZapfChancery m:ZapfChanceryPS u:URWChanceryL
+     zd zapfding     ZapfDingbats m:ZapfDingbatsPS u:Dingbats
+     zg neuzeitg     NeuzeitGrotesk
+     zp ziptydo      ZiptyDo
+     zt zeitgeis     Zeitgeist
+     __ agbook       AGBookStencil
+     __ agbookrn     AGBookRounded
+     __ agoldfac     AGOldFace
+     __ agschlbk     AGSchoolbook
+     __ aja          Aja
+     __ albertin     AlbertinaMT
+     __ amigo        Amigo
+     __ andreas      Andreas
+     __ ariadne      Ariadne
+     __ banshee      Banshee
+     __ beesknee     Beesknees
+     __ bellcent     BellCentenial
+     __ berlgrot     BerlinerGrotesk
+     __ bermuda      BermudaLP
+     __ berthold     BertholdScript
+     __ bickham      BickhamScript
+     __ blueisla     BlueIsland
+     __ bodoniof     BodoniOldFaceBE
+     __ bossanov     BossaNovaMVB
+     __ briemaka     BriemAkademi
+     __ briemscr     BriemScript
+     __ buffalog     BuffaloGalMT
+     __ caflisch     CaflischScript
+     __ caliban      Caliban
+     __ catull       Catull
+     __ celestia     CelestiaAntiqua
+     __ cerigo       Cerigo
+     __ chaparra     Chaparral
+     __ christia     Christiana
+     __ colossal     Colossalis
+     __ comenius     ComeniusAntiqua
+     __ concorde     ConcordeNova
+     __ congabra     CongaBrava
+     __ copal        Copal
+     __ coriande     Coriander
+     __ cosmos       Cosmos
+     __ cremona      Cremona
+     __ critter      Critter
+     __ cronos       Cronos
+     __ ctmercur     CTMercurius
+     __ curlz        CurlzMT
+     __ cutout       Cutout
+     __ delphin      Delphin
+     __ elgreco      ElGreco
+     __ else         ElseNPL
+     __ emmascri     Emmascript
+     __ flood        Flood
+     __ florens      FlorensLP
+     __ fusaka       Fusaka
+     __ gallia       MonotypeGallia
+     __ garamobe     GaramondBE
+     __ gillfaci     GillFaciaMT
+     __ gillflor     GillFloriatedCapsMT
+     __ graphite     Graphite
+     __ greymant     GreymantleMVB
+     __ hardwood     HardwoodLP
+     __ immi505      Immi505
+     __ jimbo        Jimbo
+     __ khaki        Khaki
+     __ kidprint     KidprintMT
+     __ kinesis      Kinesis
+     __ kochantq     KochAntiqua
+     __ legault      Legault
+     __ lightlin     LightlineGothicMT
+     __ lotype       LoType
+     __ magnesiu     MagnesiumMVB
+     __ magnolia     MagnoliaMVB
+     __ mahsuri      MahsuriSansMT
+     __ manito       ManitoLP
+     __ mendoza      MendozaRoman
+     __ mezz         Mezz
+     __ micr         MICR
+     __ monalisa     MonaLisa
+     __ motterco     MotterCorpus
+     __ mythos       Mythos
+     __ nueva        Nueva
+     __ oceansan     OceanSans
+     __ origami      Origami
+     __ ozwald       Ozwald
+     __ pastonch     PastonchiMT
+     __ pelican      Pelican
+     __ penumbra     Penumbra
+     __ pepperwo     Pepperwood
+     __ poetica      Poetica
+     __ pompeia      Pompeia
+     __ popplexq     PopplExquisit
+     __ postino      Postino
+     __ quake        Quake
+     __ rad          Rad
+     __ reliq        Reliq
+     __ rosewood     Rosewood
+     __ rulngscr     RulingScript
+     __ russlobl     RusselOblique
+     __ sanvito      Sanvito
+     __ sassafra     Sassafras
+     __ serlio       SerlioLH
+     __ sho          Sho
+     __ shuriken     Shuriken
+     __ smaragd      Smaragd
+     __ spring       SpringLP
+     __ spumoni      SpumoniLP
+     __ studz        Studz
+     __ tiepolo      Tiepolo
+     __ toolbox      Toolbox
+     __ verve        Verve
+     __ volutasc     VolutaScript
+     __ zebrawoo     Zebrawood
+     __ shouyi       Shouyi  for mnm
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/URW-fonts.html b/Master/texmf-dist/doc/fontname/URW-fonts.html new file mode 100644 index 00000000000..dbe65042a65 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/URW-fonts.html @@ -0,0 +1,72 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: URW fonts, +Previous: Monotype fonts, +Up: Font name lists +



+
+ +

URW fonts

+ +

The urw.map file has abbreviations for URW fonts. + +

+
+     uagd8a    URWGothicL-Demi                               a010015l
+     uagdo8a   URWGothicL-DemiObli                           a010035l
+     uagk8a    URWGothicL-Book                               a010013l
+     uagko8a   URWGothicL-BookObli                           a010033l
+     ubkd8a    URWBookmanL-DemiBold                          b018015l
+     ubkdi8a   URWBookmanL-DemiBoldItal                      b018035l
+     ubkl8a    URWBookmanL-Ligh                              b018012l
+     ubkli8a   URWBookmanL-LighItal                          b018032l
+     ucrb8a    NimbusMonL-Bold                               n022004l
+     ucrbo8a   NimbusMonL-BoldObli                           n022024l
+     ucrr8a    NimbusMonL-Regu                               n022003l
+     ucrro8a   NimbusMonL-ReguObli                           n022023l
+     uhvb8a    NimbusSanL-Bold                               n019004l
+     uhvb8ac   NimbusSanL-BoldCond                           n019044l
+     uhvbo8a   NimbusSanL-BoldItal                           n019024l
+     uhvbo8ac  NimbusSanL-BoldCondItal                       n019064l
+     uhvr8a    NimbusSanL-Regu                               n019003l
+     uhvr8ac   NimbusSanL-ReguCond                           n019043l
+     uhvro8a   NimbusSanL-ReguItal                           n019023l
+     uhvro8ac  NimbusSanL-ReguCondItal                       n019063l
+     uncb8a    CenturySchL-Bold                              c059016l
+     uncbi8a   CenturySchL-BoldItal                          c059036l
+     uncr8a    CenturySchL-Roma                              c059013l
+     uncri8a   CenturySchL-Ital                              c059033l
+     uplb8a    URWPalladioL-Bold                             p052004l
+     uplbi8a   URWPalladioL-BoldItal                         p052024l
+     uplr8a    URWPalladioL-Roma                             p052003l
+     uplri8a   URWPalladioL-Ital                             p052023l
+     usyr      StandardSymL                                  s050000l
+     utmb8a    NimbusRomNo9L-Medi                            n021004l
+     utmbi8a   NimbusRomNo9L-MediItal                        n021024l
+     utmr8a    NimbusRomNo9L-Regu                            n021003l
+     utmri8a   NimbusRomNo9L-ReguItal                        n021023l
+     uzcmi8a   URWChanceryL-MediItal                         z003034l
+     uzdr      Dingbats                                      d050000l
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/Variants.html b/Master/texmf-dist/doc/fontname/Variants.html new file mode 100644 index 00000000000..441e570e2c8 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/Variants.html @@ -0,0 +1,260 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: Variants, +Next: , +Previous: Weights, +Up: Filenames for fonts +



+
+ +

Variants

+ +

Variants include typeface variations (e.g., italic, sans serif), +and font encodings (e.g., Adobe standard, TeX text). + +

A fontname may require multiple variants. To resolve the worst +ambiguities, we specify that any encoding variant (7, 8, +or 9, see below) come last and any other numeral variant come +first (to avoid confusion with a design size). We recommend but do not +require that the other variants be given in alphabetical order. (It's +not required because it's too painful to implement the sorting in +TeX, and many existing names already have non-alphabetized variants.) + +

The letterspacing possibilities introduced by fontinst and +virtual fonts have not yet become sufficiently widespread to make +standardization beneficial. Likewise for the many possible ways to +generate small caps fonts. + +

Notes on specific variants, both old and new: + +

+
1 +
4 +
6 +
b +
These variants (`semisans', `bright', `semiserif', and `fax') were used +only for single typefaces, so to conserve variant abbreviations, they +now have typeface abbreviations instead. Also, for b, to avoid +too-long names; and for the others, to avoid variant vs. design-size +ambiguities. + +
g +
h +
Since these variants were not actually used in any font names, they are +now obsolete and may be reassigned in the future. + +
5 +
6 +
7 +
8 +
9 +
These characters begin a two-character encoding variant. +Generally, 7 is for 7-bit encodings, 8 is for 8-bit +encodings, and 9 is for expertised encodings with or without +oldstyle digits (see the x item below), but this is not an +absolute rule. Also, 5 is presently used for phonetic encodings +and 6 for Cyrillic encodings. The 9s (SuperFont) +variant contain all of Adobe, Latin 1, and Expert glyphs, perhaps with +slightly different metrics than the original fonts. + +

For a font to be named with a certain encoding variant, it's not +necessary that all the characters appear in precisely the same positions +as in the encoding definition. It's enough that the usual TeX macros +work. In practice, this means that it's ok for a font to be labelled +7t if the only difference from Computer Modern is that the +ligatures and the lslash and Lslash characters are +different, since it's impossible to access or change the ligature table +from TeX. Standard PostScript fonts don't have an lslash +character the way Computer Modern does, but they do have the +Lslash and lslash characters themselves, so the usual +TeX \lslash and \Lslash macros can be made to work via +ligatures. See the file T1.etx file in the fontinst +distribution for details. + +

If a name does not contain a specific encoding variant, its encoding is +unspecified. For example, some of the fonts distributed with Dvips(k) +have names like ptmr for Times-Roman; they use the Dvips +encoding (see dvips), which is close to (but not the same +as) the TeX text encoding (as in Computer Modern Roman). Similarly, +the TFM files distributed with Dvilj(k) for the builtin LaserJet 4 fonts +have names like cunm, since these fonts, while compatible with +TeX text, contain many additional characters. + +

9 +
These items are needed only because x (and possibly j) +followed by a two-character regular variant makes some names too long. +That is, 9t is equivalent in meaning to x7t, and 9d +is equivalent to jx7t. (This may not be true for all +9x encodings, though.) + +
k +
z +
These variants (indicating Greek and Cyrillic fonts, respectively) are +obsolete; future fonts in different scripts should be assigned an +appropriate encoding abbreviation. These are not currently +standardized, due to ignorance of the appropriate encodings. Please +send suggestions for abbreviations to the address in Introduction. + +
m +
v +
y +
These math-related variants remain for the sake of typeface-specific +math encodings, e.g., Lucida. Fonts that use the Computer Modern math +encodings should use 7m (see texmital), 7v +(see texmext), and 7y (see texmsym). + +
n +
This is used for several different (but very rare) variants: only the +Stone typeface has an "informal" variant, and only a few Monotype +fonts have a "schoolbook" variant, with different `a', `g', and `y' +shapes. + +
r +
Included only if no other variants, including encodings, apply, and +either the width (see Widths) is not r or a design size is +present. I.e., r is only used as a placeholder. When the normal +version of the typeface is sans serif (e.g., Helvetica), r should +be used when necessary, not s. Use s only when the +typeface family has both serif and sans serif variants. + +
s +
t +
Mittelbach in TUGboat 13(1) suggests that these variants (for +`sans' and `typewriter') should be identified as part of the typeface +name, because there are few typeface families with these variants. I +feel that since they are logically variants, it's best to name them that +way. But LucidaSans (see Typefaces) and a few others are +exceptions, to avoid too-long names. + +
x +
8x +
9? +
8x indicates a font in the Expert encoding itself. +x indicates an expertised font, i.e., a composite (virtual) +font that includes characters from an 8x font. And in fact an +xee sequence is replaced by 9e, to save +characters. +
+ +

Fontname 1 assignments are shown in brackets in the following table, +from the file variant.map. It is organized alphabetically by +abbreviation. Each line consists of an abbreviation and either any +parts of a PostScript FontName which use that abbreviation or the +PostScript Encoding name. + +

+
+     0 inferior
+     1 superior
+     obsolete [2=>7c] Fraktur encoding
+     obsolete [3=>7f] Fraction
+     obsolete [4 fax; now typeface lx, Lucida Fax]
+     5 escape for (presently) phonetic encodings
+     6 escape for Cyrillic encodings [was SemiSerif]
+     7 escape for (mostly) 7-bit encodings
+     8 escape for (mostly) 8-bit encodings
+     9 escape for (presently) expert encodings [was oldstyle digits]
+     a Alt Arrows Alternative             [was alternate encoding]
+     obsolete [b bright; now typeface lh, Lucida Bright]
+     c SmallCaps
+     d Display Titling Caption Headline TallCaps SwashCaps LombardicCaps Festive
+     e Engraved Copperplate Elite
+     f Fraktur Gothic OldEnglish Handtooled (`gothic' can also be sans)
+     g SmallText      designed for small sizes [was grooved, as in the IBM logo]
+     h Shadow
+     i Italic Kursiv Ital                 text italic
+     j                                    old-style digits [was invisible]
+     k Greek                              obsolete
+     l Outline OpenFace Blanks
+     m math italic
+     n Informal Fashion Schlbk            for Stone
+     o Oblique Obl                        slanted
+     p Ornaments
+     obsolete [q=>8t Cork (TeX extended) encoding]
+     r                                    roman or sans; often omitted, see text
+     s Gothic                             sans serif
+     t Monospace                          fixed-width typewriter
+     u                                    unslanted italic
+     v MathExtension
+     w Script Handwritten Swash Calligraphy Cursive Tango
+     x built with Adobe expert encoding [was expert-encoded]
+     y MathSymbol
+     z Cyrillic                           font-dependent Cyrillic
+     5a PhoneticAlternate
+     5i PhoneticIPA
+     5s sil-IPA
+     5t TeX-IPA                           Fukui Rei, LaTeX T3
+     5w TeXAfricanLatin                   wsuipa fonts, LaTeX OT3
+     5z user
+     6a T2A
+     6b Cyrillic part of ISO 8859-5, seven bits
+     6c T2C
+     6d Cyrillic CP866 encoding
+     6i ISO 8859-5
+     6k Cyrillic KOI8-R encoding
+     6m Cyrillic Macintosh encoding
+     6s Storm extra encoding
+     6t T2B
+     6w Cyrillic CP1251 encoding
+     6x X2
+     6y LCY
+     6z user
+     7a A                                 alternate characters only
+     7c Dfr                               Fraktur
+     7d OsF OSF                           oldstyle digit encoding
+     7f Fraction
+     7k OT2Cyrillic
+     7m TeXMathItalicEncoding             see texmital
+     7t                       TeX text encoding (as in Computer Modern Roman)
+     7v TeXMathExtensionEncoding          see texmext
+     7y TeXMathSymbolEncoding             see texmsym
+     7z user
+     82 GreekKeys
+     83 Ibycus1
+     84 Ibycus2
+     8a StandardEncoding                  Adobe standard encoding, see 8a
+     8c TeXTextCompanion                  LaTeX TS1
+     8f TeXAfricanLatin                   LaTeX T4
+     8i TS0                               Intersection of TS1/Adobe Standard
+     8m Macintosh standard encoding
+     8n LM1 Textures
+     8r TeXBase1Encoding                  see 8r
+     8t CorkEncoding                      see cork
+     8u XT2Encoding                       cmtt + Latin 2, see xl2.enc
+     8v TeXVietnamese                     to be defined
+     8w Windows 3.1 ANSI encoding
+     8x Expert                            expert encoding
+     8y LY1                               TeX 'n ANSI
+     8z XL2Encoding                       cmr + Latin 2, see xl2.enc
+     9c expert + Text companion
+     9d expert + oldstyle digits + Cork
+     9e expert + Cork
+     9i TS0X                              Intersection of TS1/Standard/Expert
+     9o expert + oldstyle digits + TeX text
+     9s SF                                SuperFont
+     9t expert + TeX text
+     9z user
+     -  songti                            for mnm
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/cork.html b/Master/texmf-dist/doc/fontname/cork.html new file mode 100644 index 00000000000..3ec0ed2c42a --- /dev/null +++ b/Master/texmf-dist/doc/fontname/cork.html @@ -0,0 +1,121 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: cork, +Next: , +Previous: 8r, +Up: Encodings +



+
+ +

cork.enc: Cork encoding

+ +
+
+     %   This is the Cork encoding, aka TeX Latin 1, aka tex256, as
+     %   described in TTN 1(4), December 1992, and TUGboat 11(4), November
+     %   1990, page 514. EC is the name of the Computer Modern-based fonts in
+     %   this encoding. NFSS and Fontinst know it by `T1'.
+     %
+     %   These are the ligs and kerns in addition to those found in the
+     %   AFM file.  (The only ligs in the Times-Roman.afm file are the
+     %   fi and fl ligatures.)
+     %
+     % LIGKERN space l =: lslash ; space L =: Lslash ;
+     % LIGKERN question quoteleft =: questiondown ; exclam quoteleft =: exclamdown ;
+     % LIGKERN hyphen hyphen =: endash ; endash hyphen =: emdash ;
+     % LIGKERN quoteleft quoteleft =: quotedblleft ;
+     % LIGKERN quoteright quoteright =: quotedblright ;
+     %
+     %   We remove kerns to and from spaces (TeX doesn't have a
+     %   space) and also remove any kerns from the numbers (although
+     %   the only kern pair that mentions a number in Times-Roman.afm
+     %   is one one.)
+     %
+     % LIGKERN space {} * ; * {} space ; zero {} * ; * {} zero ;
+     % LIGKERN one {} * ; * {} one ; two {} * ; * {} two ;
+     % LIGKERN three {} * ; * {} three ; four {} * ; * {} four ;
+     % LIGKERN five {} * ; * {} five ; six {} * ; * {} six ;
+     % LIGKERN seven {} * ; * {} seven ; eight {} * ; * {} eight ;
+     % LIGKERN nine {} * ; * {} nine ;
+     % LIGKERN comma comma =: quotedblbase ; less less =: guillemotleft ;
+     % LIGKERN greater greater =: guillemotright ;
+     %
+     /CorkEncoding [          % now 256 chars follow
+     % 0x00
+       /grave /acute /circumflex /tilde /dieresis /hungarumlaut /ring /caron
+       /breve /macron /dotaccent /cedilla
+       /ogonek /quotesinglbase /guilsinglleft /guilsinglright
+     % 0x10
+       /quotedblleft /quotedblright /quotedblbase /guillemotleft
+       /guillemotright /endash /emdash /compwordmark
+       /perthousandzero /dotlessi /dotlessj /ff /fi /fl /ffi /ffl
+     % 0x20
+       /visualspace /exclam /quotedbl /numbersign
+       /dollar /percent /ampersand /quoteright
+       /parenleft /parenright /asterisk /plus /comma /hyphen /period /slash
+     % 0x30
+       /zero /one /two /three /four /five /six /seven
+       /eight /nine /colon /semicolon /less /equal /greater /question
+     % 0x40
+       /at /A /B /C /D /E /F /G /H /I /J /K /L /M /N /O
+     % 0x50
+       /P /Q /R /S /T /U /V /W
+       /X /Y /Z /bracketleft /backslash /bracketright /asciicircum /underscore
+     % 0x60
+       /quoteleft /a /b /c /d /e /f /g /h /i /j /k /l /m /n /o
+     % 0x70
+       /p /q /r /s /t /u /v /w
+       /x /y /z /braceleft /bar /braceright /asciitilde /hyphen
+     % 0x80
+       /Abreve /Aogonek /Cacute /Ccaron /Dcaron /Ecaron /Eogonek /Gbreve
+       /Lacute /Lcaron /Lslash /Nacute /Ncaron /Ng /Ohungarumlaut /Racute
+     % 0x90
+       /Rcaron /Sacute /Scaron /Scedilla
+       /Tcaron /Tcedilla /Uhungarumlaut /Uring
+       /Ydieresis /Zacute /Zcaron /Zdotaccent /IJ /Idotaccent /dbar /section
+     % 0xA0
+       /abreve /aogonek /cacute /ccaron /dcaron /ecaron /eogonek /gbreve
+       /lacute /lcaron /lslash /nacute /ncaron /ng /ohungarumlaut /racute
+     % 0xB0
+       /rcaron /sacute /scaron /scedilla
+       /tquoteright /tcedilla /uhungarumlaut /uring
+       /ydieresis /zacute /zcaron /zdotaccent
+       /ij /exclamdown /questiondown /sterling
+     % 0xC0
+       /Agrave /Aacute /Acircumflex /Atilde /Adieresis /Aring /AE /Ccedilla
+       /Egrave /Eacute /Ecircumflex /Edieresis
+       /Igrave /Iacute /Icircumflex /Idieresis
+     % 0xD0
+       /Eth /Ntilde /Ograve /Oacute /Ocircumflex /Otilde /Odieresis /OE
+       /Oslash /Ugrave /Uacute /Ucircumflex /Udieresis /Yacute /Thorn /Germandbls
+     % 0xE0
+       /agrave /aacute /acircumflex /atilde /adieresis /aring /ae /ccedilla
+       /egrave /eacute /ecircumflex /edieresis
+       /igrave /iacute /icircumflex /idieresis
+     % 0xF0
+       /eth /ntilde /ograve /oacute /ocircumflex /otilde /odieresis /oe
+       /oslash /ugrave /uacute /ucircumflex /udieresis /yacute /thorn /germandbls
+     ] def
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/dvips.html b/Master/texmf-dist/doc/fontname/dvips.html new file mode 100644 index 00000000000..4eca43cdcf9 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/dvips.html @@ -0,0 +1,111 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: dvips, +Next: , +Previous: cork, +Up: Encodings +



+
+ +

dvips.enc: Dvips encoding

+ +
+
+     % @psencodingfile{
+     %   author = "T. Rokicki, K. Berry",
+     %   version = "2.0",
+     %   date = "22 June 1996",
+     %   filename = "dvips.enc",
+     %   email = "kb@mail.tug.org",
+     %   address = "135 Center Hill Rd. // Plymouth, MA 02360",
+     %   codetable = "ISO/ASCII",
+     %   checksum = "75     515    3715",
+     %   docstring = "An encoding for PostScript fonts to be used with TeX."
+     % }
+     %
+     % This is almost the default encoding produced by the afm2tfm program
+     % that comes with the dvips distribution, when it is applied to a
+     % StandardEncoding PostScript font.  The positions of the accented
+     % characters (which afm2tfm assigned more or less randomly in the
+     % previous set of fonts) have been held fixed.
+     %
+     % It is almost upward-compatible with TeX text.  (The primary exceptions
+     % are dotaccent and hungarumlaut.)  Some of the ligatures are also in
+     % different positions, but this is not important, since ligature
+     % positions are defined in the TFM file, not by macros.
+     %
+     % The character positions were assigned in this order:
+     %   1) non-composite characters in the afm2tfm encoding (except dotlessj
+     %      was included in its plain TeX position);
+     %   2) available characters in the Cork (EC) encoding;
+     %   3) remaining composite characters in the base encoding (starting at
+     %      position 130 decimal).  We don't include all the other base
+     %      characters because that changes the height/depth/width tables in
+     %      the TFM files (because more characters mean more distinct values).
+     %
+     % We leave the initial positions open for the Greek letters in Times-Roman.
+     %
+     /DvipsEncoding [
+       /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+       /.notdef /.notdef /.notdef /.notdef
+         /.notdef /quotesingle /exclamdown /questiondown
+       /dotlessi /dotlessj /grave /acute /caron /breve /macron /ring
+       /cedilla /germandbls /ae /oe /oslash /AE /OE /Oslash
+       /space /exclam /quotedbl /numbersign /dollar /percent /ampersand /quoteright
+       /parenleft /parenright /asterisk /plus /comma /hyphen /period /slash
+       /zero /one /two /three /four /five /six /seven
+       /eight /nine /colon /semicolon /less /equal /greater /question
+       /at /A /B /C /D /E /F /G
+       /H /I /J /K /L /M /N /O
+       /P /Q /R /S /T /U /V /W
+       /X /Y /Z /bracketleft /backslash /bracketright /circumflex /underscore
+       /quoteleft /a /b /c /d /e /f /g
+       /h /i /j /k /l /m /n /o
+       /p /q /r /s /t /u /v /w
+       /x /y /z /braceleft /bar /braceright /tilde /dieresis
+       /asciicircum /asciitilde /Ccedilla /Iacute
+           /Icircumflex /atilde /edieresis /egrave
+       /scaron /zcaron /Eth /ff /ffi /ffl /.notdef /.notdef
+       /.notdef /.notdef /Scaron /.notdef /.notdef /.notdef /.notdef /.notdef
+       /Ydieresis /.notdef /Zcaron  /.notdef /.notdef /.notdef /.notdef /.notdef
+       /.notdef /.notdef /cent /sterling /fraction /yen /florin /section
+       /currency /copyright /quotedblleft /guillemotleft
+           /guilsinglleft /guilsinglright /fi /fl
+       /degree /endash /dagger /daggerdbl /periodcentered /.notdef /paragraph /bullet
+       /quotesinglbase /quotedblbase /quotedblright /guillemotright
+           /ellipsis /perthousand /.notdef /.notdef
+       /Agrave /Aacute /Acircumflex /Atilde /Adieresis /Aring /.notdef /dotaccent
+       /Egrave /Eacute /Ecircumflex /Edieresis
+           /Igrave /hungarumlaut /ogonek /Idieresis
+       /emdash /Ntilde /Ograve /Oacute /Ocircumflex /Otilde /Odieresis /.notdef
+       /.notdef /Ugrave /Uacute /Ucircumflex /Udieresis /Yacute /Thorn /.notdef
+       /agrave /aacute /acircumflex /ordfeminine
+           /adieresis /aring /.notdef /ccedilla
+       /Lslash /eacute /ecircumflex /ordmasculine
+           /igrave /iacute /icircumflex /idieresis
+       /.notdef /ntilde /ograve /oacute /ocircumflex /otilde /odieresis /.notdef
+       /lslash /ugrave /uacute /ucircumflex /udieresis /yacute /thorn /ydieresis
+     ] def
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/fontname.aux b/Master/texmf-dist/doc/fontname/fontname.aux new file mode 100644 index 00000000000..43d26defb80 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/fontname.aux @@ -0,0 +1,108 @@ +@xrdef{Introduction-title}{Introduction} +@xrdef{Introduction-snt}{Chapter@tie 1} +@xrdef{History-title}{History} +@xrdef{History-snt}{Section@tie 1.1} +@xrdef{References-title}{References} +@xrdef{References-snt}{Section@tie 1.2} +@xrdef{Introduction-pg}{1} +@xrdef{History-pg}{1} +@xrdef{References-pg}{1} +@xrdef{Filenames for fonts-title}{Filenames for fonts} +@xrdef{Filenames for fonts-snt}{Chapter@tie 2} +@xrdef{Suppliers-title}{Suppliers} +@xrdef{Suppliers-snt}{Section@tie 2.1} +@xrdef{Filenames for fonts-pg}{3} +@xrdef{Suppliers-pg}{3} +@xrdef{Typefaces-title}{Typefaces} +@xrdef{Typefaces-snt}{Section@tie 2.2} +@xrdef{Typefaces-pg}{4} +@xrdef{Weights-title}{Weights} +@xrdef{Weights-snt}{Section@tie 2.3} +@xrdef{Variants-title}{Variants} +@xrdef{Variants-snt}{Section@tie 2.4} +@xrdef{Weights-pg}{18} +@xrdef{Variants-pg}{19} +@xrdef{Widths-title}{Widths} +@xrdef{Widths-snt}{Section@tie 2.5} +@xrdef{Widths-pg}{23} +@xrdef{Long names-title}{Long names} +@xrdef{Long names-snt}{Chapter@tie 3} +@xrdef{Name mapping file-title}{A fontname mapping file} +@xrdef{Name mapping file-snt}{Section@tie 3.1} +@xrdef{Long naming scheme-title}{A naming scheme for long names} +@xrdef{Long naming scheme-snt}{Section@tie 3.2} +@xrdef{Long names-pg}{24} +@xrdef{Name mapping file-pg}{24} +@xrdef{Long naming scheme-pg}{24} +@xrdef{Font name lists-title}{Font name lists} +@xrdef{Font name lists-snt}{Appendix@tie @char65{}} +@xrdef{Standard PostScript fonts-title}{Standard PostScript fonts} +@xrdef{Standard PostScript fonts-snt}{Section@tie @char65.1} +@xrdef{Font name lists-pg}{26} +@xrdef{Standard PostScript fonts-pg}{26} +@xrdef{Adobe fonts-title}{Adobe fonts} +@xrdef{Adobe fonts-snt}{Section@tie @char65.2} +@xrdef{Adobe fonts-pg}{27} +@xrdef{Apple fonts-title}{Apple fonts} +@xrdef{Apple fonts-snt}{Section@tie @char65.3} +@xrdef{Bitstream fonts-title}{Bitstream fonts} +@xrdef{Bitstream fonts-snt}{Section@tie @char65.4} +@xrdef{Apple fonts-pg}{85} +@xrdef{Bitstream fonts-pg}{85} +@xrdef{DTC fonts-title}{DTC fonts} +@xrdef{DTC fonts-snt}{Section@tie @char65.5} +@xrdef{ITC fonts-title}{ITC fonts} +@xrdef{ITC fonts-snt}{Section@tie @char65.6} +@xrdef{DTC fonts-pg}{103} +@xrdef{ITC fonts-pg}{103} +@xrdef{Linotype fonts-title}{Linotype fonts} +@xrdef{Linotype fonts-snt}{Section@tie @char65.7} +@xrdef{Linotype fonts-pg}{120} +@xrdef{Monotype fonts-title}{Monotype fonts} +@xrdef{Monotype fonts-snt}{Section@tie @char65.8} +@xrdef{Monotype fonts-pg}{210} +@xrdef{URW fonts-title}{URW fonts} +@xrdef{URW fonts-snt}{Section@tie @char65.9} +@xrdef{URW fonts-pg}{237} +@xrdef{Encodings-title}{Encodings} +@xrdef{Encodings-snt}{Appendix@tie @char66{}} +@xrdef{8a-title}{@samp {8a.enc}: Adobe standard encoding} +@xrdef{8a-snt}{Section@tie @char66.1} +@xrdef{Encodings-pg}{238} +@xrdef{8a-pg}{238} +@xrdef{8r-title}{@samp {8r.enc}: @TeX {} base encoding} +@xrdef{8r-snt}{Section@tie @char66.2} +@xrdef{8r-pg}{243} +@xrdef{cork-title}{@samp {cork.enc}: Cork encoding} +@xrdef{cork-snt}{Section@tie @char66.3} +@xrdef{cork-pg}{247} +@xrdef{dvips-title}{@samp {dvips.enc}: Dvips encoding} +@xrdef{dvips-snt}{Section@tie @char66.4} +@xrdef{dvips-pg}{249} +@xrdef{texmext-title}{@samp {texmext.enc}: @TeX {} math extension encoding} +@xrdef{texmext-snt}{Section@tie @char66.5} +@xrdef{texmext-pg}{250} +@xrdef{texmsym-title}{@samp {texmsym.enc}: @TeX {} math symbol encoding} +@xrdef{texmsym-snt}{Section@tie @char66.6} +@xrdef{texmsym-pg}{254} +@xrdef{texmital-title}{@samp {texmital.enc}: @TeX {} math italic encoding} +@xrdef{texmital-snt}{Section@tie @char66.7} +@xrdef{texmital-pg}{258} +@xrdef{texnansi-title}{@samp {texnansi.enc}} +@xrdef{texnansi-snt}{Section@tie @char66.8} +@xrdef{texnansi-pg}{262} +@xrdef{texnansx-title}{@samp {texnansx.enc}} +@xrdef{texnansx-snt}{Section@tie @char66.9} +@xrdef{texnansx-pg}{269} +@xrdef{xl2-title}{@samp {xl2.enc}: OT1 + ISO Latin 2 extended} +@xrdef{xl2-snt}{Section@tie @char66.10} +@xrdef{xl2-pg}{276} +@xrdef{xt2-title}{@samp {xt2.enc}: typewriter OT1 + ISO Latin 2 extended} +@xrdef{xt2-snt}{Section@tie @char66.11} +@xrdef{xt2-pg}{283} +@xrdef{Font legalities-title}{Font legalities} +@xrdef{Font legalities-snt}{Appendix@tie @char67{}} +@xrdef{Font legalities-pg}{290} +@xrdef{Index-title}{Index} +@xrdef{Index-snt}{} +@xrdef{Index-pg}{292} diff --git a/Master/texmf-dist/doc/fontname/fontname.cp b/Master/texmf-dist/doc/fontname/fontname.cp new file mode 100644 index 00000000000..3796f3fdf32 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/fontname.cp @@ -0,0 +1,192 @@ +\entry{introduction}{1}{introduction} +\entry{bugs, reporting}{1}{bugs, reporting} +\entry{reporting bugs}{1}{reporting bugs} +\entry{tex-fonts@tug.org}{1}{\code {tex-fonts@tug.org}} +\entry{distribution}{1}{distribution} +\entry{encoding files}{1}{encoding files} +\entry{mapping files}{1}{mapping files} +\entry{utilities}{1}{utilities} +\entry{ftp.cs.umb.edu}{1}{\code {ftp.cs.umb.edu}} +\entry{ftp.tug.org}{1}{\code {ftp.tug.org}} +\entry{history}{1}{history} +\entry{Mittelbach, Frank}{1}{Mittelbach, Frank} +\entry{Schoepf, Rainer}{1}{Schoepf, Rainer} +\entry{Fontname version 2}{1}{Fontname version 2} +\entry{contributors}{1}{contributors} +\entry{Beebe, Nelson}{1}{Beebe, Nelson} +\entry{Beeton, Barbara}{1}{Beeton, Barbara} +\entry{Bernstein, Rocky}{1}{Bernstein, Rocky} +\entry{Bouche, Thierry}{1}{Bouche, Thierry} +\entry{Cugley, Damian}{1}{Cugley, Damian} +\entry{Horn, Berthol}{1}{Horn, Berthol} +\entry{Jeffrey, Alan}{1}{Jeffrey, Alan} +\entry{Lang, Russell}{1}{Lang, Russell} +\entry{MacKay, Pierre}{1}{MacKay, Pierre} +\entry{Rahtz, Sebastian}{1}{Rahtz, Sebastian} +\entry{Rivlin, Jean}{1}{Rivlin, Jean} +\entry{Rokicki, Tom}{1}{Rokicki, Tom} +\entry{references}{1}{references} +\entry{related files}{1}{related files} +\entry{TeX{} Directory Structure standard}{1}{\TeX {} Directory Structure standard} +\entry{TDS standard}{1}{TDS standard} +\entry{modes.mf}{2}{\code {modes.mf}} +\entry{PSfonts distribution}{2}{PSfonts distribution} +\entry{Fontinst distribution}{2}{Fontinst distribution} +\entry{Dvips translator}{2}{Dvips translator} +\entry{Dviljk translator}{2}{Dviljk translator} +\entry{terminology}{2}{terminology} +\entry{Southall, Richard}{2}{Southall, Richard} +\entry{limitations}{3}{limitations} +\entry{eight-character limitation}{3}{eight-character limitation} +\entry{DOS filesystems}{3}{DOS filesystems} +\entry{ISO 9660}{3}{ISO 9660} +\entry{CD-ROM distribution}{3}{CD-ROM distribution} +\entry{filenames, basics}{3}{filenames, basics} +\entry{design size specification}{3}{design size specification} +\entry{hexadecimal design size}{3}{hexadecimal design size} +\entry{font scaling}{3}{font scaling} +\entry{Mittelbach, Frank}{3}{Mittelbach, Frank} +\entry{suppliers}{3}{suppliers} +\entry{foundries}{3}{foundries} +\entry{type foundries}{3}{type foundries} +\entry{Avant Garde}{3}{Avant Garde} +\entry{Lubalin, Herb}{3}{Lubalin, Herb} +\entry{individual font designers}{3}{individual font designers} +\entry{small foundries}{3}{small foundries} +\entry{attribution of fonts, missing}{3}{attribution of fonts, missing} +\entry{unattributed fonts}{3}{unattributed fonts} +\entry{raw fonts}{3}{raw fonts} +\entry{bizarre font names}{3}{bizarre font names} +\entry{nonstandard names, escape for}{3}{nonstandard names, escape for} +\entry{escape for nonstandard names}{3}{escape for nonstandard names} +\entry{supplier.map}{4}{\code {supplier.map}} +\entry{typefaces}{4}{typefaces} +\entry{Garamond, versions of}{4}{Garamond, versions of} +\entry{pi fonts}{5}{pi fonts} +\entry{typeface.map}{5}{\code {typeface.map}} +\entry{FontName}{5}{\code {FontName}} +\entry{weight}{18}{weight} +\entry{weight.map}{18}{\code {weight.map}} +\entry{variants}{19}{variants} +\entry{multiple variants}{19}{multiple variants} +\entry{letterspacing}{19}{letterspacing} +\entry{small caps fonts}{19}{small caps fonts} +\entry{semisans variant}{19}{semisans variant} +\entry{semiserif variant}{19}{semiserif variant} +\entry{fax variant}{19}{fax variant} +\entry{bright variant}{19}{bright variant} +\entry{phonetic encodings}{19}{phonetic encodings} +\entry{Cyrillic encodings}{19}{Cyrillic encodings} +\entry{7-bit encodings}{19}{7-bit encodings} +\entry{8-bit encodings}{19}{8-bit encodings} +\entry{expertised encodings}{19}{expertised encodings} +\entry{SuperFont}{19}{\code {SuperFont}} +\entry{9s variant}{19}{\code {9s \r {variant}}} +\entry{ligatures and encodings}{19}{ligatures and encodings} +\entry{Lslash}{19}{\code {Lslash}} +\entry{lslash}{19}{\code {lslash}} +\entry{T1.etx}{19}{\code {T1.etx}} +\entry{encodings, unspecified}{19}{encodings, unspecified} +\entry{Afm2tfm encoding}{19}{Afm2tfm encoding} +\entry{LaserJet 4 fonts}{19}{LaserJet 4 fonts} +\entry{scripts}{20}{scripts} +\entry{Greek fonts}{20}{Greek fonts} +\entry{Cyrillic fonts}{20}{Cyrillic fonts} +\entry{math variants}{20}{math variants} +\entry{informal variant}{20}{informal variant} +\entry{schoolbook variant}{20}{schoolbook variant} +\entry{Stone Informal}{20}{Stone Informal} +\entry{typewriter variant}{20}{typewriter variant} +\entry{sans variant}{20}{sans variant} +\entry{Mittelbach, Frank}{20}{Mittelbach, Frank} +\entry{expert encoding}{20}{expert encoding} +\entry{expertised font}{20}{expertised font} +\entry{variant.map}{21}{\code {variant.map}} +\entry{widths}{23}{widths} +\entry{compression}{23}{compression} +\entry{expansion}{23}{expansion} +\entry{automatic expansion}{23}{automatic expansion} +\entry{character scaling, automatic}{23}{character scaling, automatic} +\entry{width.map}{23}{\code {width.map}} +\entry{long names}{24}{long names} +\entry{fontname mapping file}{24}{fontname mapping file} +\entry{mapping file}{24}{mapping file} +\entry{texfonts.map}{24}{\code {texfonts.map}} +\entry{Knuth, Donald E.}{24}{Knuth, Donald E.} +\entry{long naming scheme}{24}{long naming scheme} +\entry{X Window System font names}{24}{X Window System font names} +\entry{font_coding_scheme}{25}{\code {font_coding_scheme}} +\entry{category codes}{25}{category codes} +\entry{35 standard PostScript fonts}{26}{35 standard PostScript fonts} +\entry{standard PostScript fonts}{26}{standard PostScript fonts} +\entry{PostScript fonts, standard}{26}{PostScript fonts, standard} +\entry{adobe.map}{27}{\code {adobe.map}} +\entry{apple.map}{85}{\code {apple.map}} +\entry{bitstrea.map}{85}{\code {bitstrea.map}} +\entry{dtc.map}{103}{\code {dtc.map}} +\entry{itc.map}{103}{\code {itc.map}} +\entry{linotype.map}{120}{\code {linotype.map}} +\entry{monotype.map}{210}{\code {monotype.map}} +\entry{urw.map}{237}{\code {urw.map}} +\entry{PostScript encoding vectors}{238}{PostScript encoding vectors} +\entry{encoding vectors}{238}{encoding vectors} +\entry{8a.enc}{238}{\code {8a.enc}} +\entry{Adobe standard encoding}{238}{Adobe standard encoding} +\entry{encodings, Adobe standard}{238}{encodings, Adobe standard} +\entry{8r.enc}{244}{\code {8r.enc}} +\entry{TeX{} base encoding}{244}{\TeX {} base encoding} +\entry{base encoding, for TeX{}}{244}{base encoding, for \TeX {}} +\entry{encodings, TeX{} base}{244}{encodings, \TeX {} base} +\entry{Windows ANSI}{244}{Windows ANSI} +\entry{Lucida Bright}{244}{Lucida Bright} +\entry{cork.enc}{247}{\code {cork.enc}} +\entry{Cork encoding}{247}{Cork encoding} +\entry{EC encoding}{247}{EC encoding} +\entry{TeX{} Latin 1 encoding}{247}{\TeX {} Latin 1 encoding} +\entry{encodings, Cork}{247}{encodings, Cork} +\entry{encodings, EC}{247}{encodings, EC} +\entry{encodings, TeX{} Latin 1}{247}{encodings, \TeX {} Latin 1} +\entry{dvips.enc}{249}{\code {dvips.enc}} +\entry{Dvips encoding}{249}{Dvips encoding} +\entry{encoding, Dvips}{249}{encoding, Dvips} +\entry{texmext.enc}{250}{\code {texmext.enc}} +\entry{TeX{} math extension encoding}{250}{\TeX {} math extension encoding} +\entry{math extension, TeX{} encoding}{250}{math extension, \TeX {} encoding} +\entry{extension, TeX{} math encoding}{250}{extension, \TeX {} math encoding} +\entry{encodings, TeX{} math symbol}{250}{encodings, \TeX {} math symbol} +\entry{texmsym.enc}{254}{\code {texmsym.enc}} +\entry{TeX{} math symbol encoding}{254}{\TeX {} math symbol encoding} +\entry{math symbol, TeX{} encoding}{254}{math symbol, \TeX {} encoding} +\entry{symbol, TeX{} math encoding}{254}{symbol, \TeX {} math encoding} +\entry{encodings, TeX{} math symbol}{254}{encodings, \TeX {} math symbol} +\entry{texmital.enc}{258}{\code {texmital.enc}} +\entry{TeX{} math italic encoding}{258}{\TeX {} math italic encoding} +\entry{math italic, TeX{} encoding}{258}{math italic, \TeX {} encoding} +\entry{italic, TeX{} math encoding}{258}{italic, \TeX {} math encoding} +\entry{encodings, TeX{} math italic}{258}{encodings, \TeX {} math italic} +\entry{xl2.enc}{276}{\code {xl2.enc}} +\entry{ISO Latin 2 extended, TeX{} encoding}{276}{ISO Latin 2 extended, \TeX {} encoding} +\entry{xt2.enc}{283}{\code {xt2.enc}} +\entry{ISO Latin 2 extended and typewriter, TeX{} encoding}{283}{ISO Latin 2 extended and typewriter, \TeX {} encoding} +\entry{legalisms}{290}{legalisms} +\entry{typeface design protection}{290}{typeface design protection} +\entry{copyright on fonts}{290}{copyright on fonts} +\entry{font copyrighting}{290}{font copyrighting} +\entry{patenting of fonts}{290}{patenting of fonts} +\entry{Bigelow, Charles}{290}{Bigelow, Charles} +\entry{Holmes, Kris}{290}{Holmes, Kris} +\entry{United States, font design protection law}{290}{United States, font design protection law} +\entry{Lucida, protection of}{290}{Lucida, protection of} +\entry{Stone, protection of}{290}{Stone, protection of} +\entry{Germany, font design protection law}{290}{Germany, font design protection law} +\entry{Bauer, Paul}{290}{Bauer, Paul} +\entry{Futura}{290}{Futura} +\entry{England, font design protection law}{290}{England, font design protection law} +\entry{Times Roman, protection of}{290}{Times Roman, protection of} +\entry{Morison, Stanley}{290}{Morison, Stanley} +\entry{Lardent, Victor}{290}{Lardent, Victor} +\entry{Monotype}{290}{Monotype} +\entry{France, font design protection law}{290}{France, font design protection law} +\entry{romain du roi}{290}{romain du roi} +\entry{Grandjean, Philippe}{290}{Grandjean, Philippe} +\entry{Vienna treaty}{290}{Vienna treaty} diff --git a/Master/texmf-dist/doc/fontname/fontname.html b/Master/texmf-dist/doc/fontname/fontname.html new file mode 100644 index 00000000000..047501fc665 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/fontname.html @@ -0,0 +1,15867 @@ + + +Filenames for TeX fonts + + + + + + + + + + +

Filenames for TeX fonts

+ + + + +
+


+ +Next: , +Up: (dir) + +
+ +

Filenames for TeX fonts

+ +

This is Fontname, a naming scheme for (the base part of) external TeX +font filenames. Last update 10 September 2005. + +

+

--- The Detailed Node Listing --- + +

Introduction + +

+ +

Filenames for fonts + +

+ +

Long names + +

+ +

Font name lists + +

+ +

Encodings + +

+ + +
+


+ +Next: , +Previous: Top, +Up: Top + +
+ +

1 Introduction

+ +

+This is Fontname, a naming scheme for (the base part of) external TeX +font filenames. This makes at most eight-character names from (almost) +arbitrarily complex font names, thus helping portability of TeX +documents. We point out some shortcomings of the scheme, and ways of +dealing with them. + +

Please send additions, corrections, or other comments to +tex-fonts@tug.org. Email +tex-fonts-request@tug.org to join the list. + +

Besides this document, the Fontname distribution includes various +encoding files, mapping files, and utilities. See the file +README for details. You can retrieve the most up-to-date +version of these lists from http://tug.org/fontname. It is +also mirrored on all CTAN hosts in the directory +tex-archive/doc/fontname. For a list of CTAN mirrors, see +http://www.ctan.org/tex-archive/CTAN.sites. + +

This document is in the public domain and may be used freely. + +

+ +
+


+ +Next: , +Up: Introduction + +
+ +

1.1 History

+ +

+The original inspiration for Fontname was Frank Mittelbach and Rainer +Schoepf's article in TUGboat 11(2) (June 1990), which led to my +article in TUGboat 11(4) (November 1990), pages 512–519. +Mittelbach wrote another article criticizing the scheme below in +TUGboat 13(1) (April 1992), pages 51–53; most of his points are +well-taken, but I saw no alternative then, and see no alternative now. +Others of his points are addressed in the appropriate sections below. + +

In August 1995, Fontname version 2 was released, concomitantly with a new +release of the PostScript fonts for use with LaTeX and Dvips. After +several years of experience, several modifications of the original +distribution seemed desirable: more precise specification of encodings +(see Variants); machine-readable mapping files (the *.map +files in the distribution) and standardizing directory names as well as +font filenames (included in supplier.map and +typeface.map). + +

In Fontname version 1, some encoding variant characters (`0', +`2', etc.) have been reassigned to a `7' or `8' sequence +(see Variants). Although this is an incompatible change, the +advantages of (1) consistency in naming encoding variants, and (2) +having some free variants makes it worthwhile. Also, not so +coincidentally, new metrics for PostScript fonts in the Cork encoding +were issued—same encoding, different metrics. So a new name served a +practical purpose as well. + +

Many people have contributed to this work. In particular, I gratefully +acknowledge Nelson Beebe, Barbara Beeton, Rocky Bernstein, Thierry Bouche, +Damian Cugley, Berthold K.P. Horn, Alan Jeffrey, Russell Lang, Pierre +MacKay, Sebastian Rahtz, Jean Rivlin, and Tom Rokicki. + +

+


+ +Previous: History, +Up: Introduction + +
+ +

1.2 References

+ +

+Related files and distributions: + +

    +
  • The TeX Directory Structure (TDS) standard, available at +(ftp://tug.org/tex/tds and CTAN:/tds) +specifies a directory tree for all TeX library files. The directory +names given in Suppliers and Typefaces are intended to mesh +with that standard. + +
  • The modes.mf file (ftp://tug.org/tex/modes.mf) +contains recommended mode names to use as directory names. + +
  • The PSfonts distribution (CTAN:/fonts/psfonts) contains +TeX support for many fonts, both commercially available and free. + +
  • The Fontinst distribution (CTAN:/fonts/utilities/psfonts) +supports quite general creation of virtual fonts, named according to the +scheme given here. + +
  • The Dvips translator (original at +ftp://labrea.stanford.edu/pub/dvips*.tar.gz and variation at +ftp://tug.org/tex/dvipsk.tar.gz) supports resident and +downloadable PostScript fonts. Dvips was the first real application of +Fontname 1. Dvips also includes Afm2tfm, another program that can +create virtual fonts. + +
  • The Dviljk processor (ftp://tug.org/tex/dviljk.tar.gz) +contains TeX support for the fonts built into the LaserJet 4. + +
  • `Designing New Typefaces with Metafont', by Richard Southall, +Stanford Computer Science Department Technical Report STAN-CS-85-1074, +September 1985, for a comprehensive terminology of font design. + +
+ +
+


+ +Next: , +Previous: Introduction, +Up: Top + +
+ +

2 Filenames for fonts

+ +

We must limit ourselves to eight character names, for compatibility with +DOS filesystems and the ISO 9660 standard used for CD-ROM distribution. +Names may consist of only the letters (monocase a-z), numerals (0-9), +and underscore. + +

Here is the basic division of the eight characters (the spaces here are +merely for readability): + +

      S TT W [V...] [N] [E] [DD]
+
+

where + +

+
S
represents the supplier of the font. + +
TT
represents the typeface name. + +
W
represents the weight. + +
V...
represents the variant(s), and is omitted if both it and the width are +normal. Many fonts have more than one variant. + +
N
represents the encoding, and is omitted if the encoding is nonstandard. +Encodings are subsumed in the section on variants (see Variants). + +
E
represents the width (“expansion”), and is omitted if +it is normal. + +
DD
represents the design size (in decimal), and is omitted if the font is +linearly scaled. Mittelbach in TUGboat 13(1) proposes using +hexadecimal or base-36 notation. I don't think the increased range +makes up for the unreadability of the common sizes (e.g., 10pt +fonts would have a suffix `a' (in hex), or `j' (in base 36)). + +
+ +

The weight, variants, and width are probably all best taken from the +original name of the font, instead of trying to relate them to some +external standard. + +

+ +
+


+ +Next: , +Up: Filenames for fonts + +
+ +

2.1 Suppliers

+ +

+The supplier is the source of a font, typically a (digital) type +foundry. + +

You should use the supplier letter which matches the supplier you +obtained the font from, not the original source; for example, Avant +Garde was designed by Herb Lubalin for ITC, but Adobe also sells it. +The name of the font that you get from Adobe should start with `p'. +This is because font resellers typically make modifications to the +original design. + +

Notes on specific suppliers: + +

+
`f'
For fonts that are distributed without any specific attribution to the +creator, by individuals, or by small foundries. (Unfortunately, we +don't have enough characters to assign one to every font +supplier in the world.) + +
`r'
obsolete; specifies raw fonts, in the old distribution of Dvips. New +fonts should never use `r'. (The right thing to do is specify the +correct encoding, variant, or whatever the font's characteristics +actually are.) + +
`z'
for fonts that just don't fit well into the naming scheme. The `z' +should be followed by the real supplier letter. +
+ +

Here is the table from the file supplier.map. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation, +directory name, and comment. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     0 fontfont      FontFont
+     2 elsnerflake   Elsner & Flake
+     5 softmake      Softmaker
+     9 unknown
+     a autologi      Autologic
+     b bitstrea      Bitstream
+     c cg            Compugraphic
+     d dtc           Digital Typeface Corporation
+     e apple         Apple
+     f public        small foundries
+     g gnu           Free Software Foundation
+     h bh            Bigelow & Holmes
+     i itc           International Typeface Corporation
+     j microsft      Microsoft
+     k softkey       SoftKey
+     l linotype      Linotype
+     m monotype      Monotype
+     n ibm           IBM
+     o corel         Corel
+     p adobe         Adobe (`p' for PostScript)
+     r -             raw (for [obsolete] use with virtual fonts)
+     s sun           Storm Type
+     t paragrap      ParaGraph
+     u urw           URW
+     w wolfram       Wolfram
+     z -             bizarre (fontname is nonstandard)
+     - autofont	Eddie Kohler's autofont program
+     - jknappen      Joerg Knappen
+     - mnm           Hong Feng, free software in China
+     - yandy         Y&Y
+
+
+


+ +Next: , +Previous: Suppliers, +Up: Filenames for fonts + +
+ +

2.2 Typefaces

+ +

+For our purposes, a typeface is a collection of related fonts. + +

We sometimes use the same typeface abbreviation for fonts with different +supplier names, where we know (usually by inspection) that the fonts +truly are the same. This helps conserve abbreviations. + +

Notes on specific typefaces: + +

+
`ad'
`gm'
To explain a common confusion: `ad' is Adobe Garamond (with a +`FontName' of `AGaramond'). This is quite different from the +`Garamond' typeface distributed by Adobe, which is actually ITC +Garamond. (Garamond No. 3 (`f3'), Simoncini Garamond +(`ig'), and Stempel Garamond (`eg') are still other +variations on the Garamond theme.) + +
`lh'
`ls'
`lx'
`r1'
These abbreviations for Lucida typeface subfamilies, et al., solve a +problem with names getting too long, or help conserve variant +abbreviations. See Variants. Ideally, they would not exist. + +
`ns'
`nt'
`tm'
Suppliers offer as many variations on the Times New Roman design as they +do Garamond. Adobe has `Times', `TimesNewRoman', and +`TimesNewRomanPS'. Although this last has been used by other +foundries (e.g., Monotype) for a Times variation exactly compatible with +Adobe's `Times', Adobe itself also offers it, so we must have +abbreviations for all three. + +
`pi'
For pi fonts. Since names of pi fonts are rather arbitrary, it is +not useful to try to assign typeface abbreviations to all of +them. Instead, we use the supplier letter, `pi', an +arbitarily-assigned three-digit number, a weight and (if necessary) a +variant. For example, `mpi001r'. Pi font `001' for one +supplier has nothing to do with pi font `001' for another. +
+ +

Here is the table, from the file typeface.map. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation +and directory name, possibly followed by PostScript `FontName's +and/or a comment in roman. The `FontName' may be preceded by a +letter s and a `:', as in `b:Dutch'. In that case, the +s is a supplier abbreviation, and we've used that abbreviation for +the given `FontName' from that supplier. + +

     
+     
+     
+     
+     
+     
+     
+     
+     a1 arial        Arial
+     a2 amasis       Amasis
+     a3 adlib        AdLib
+     a4 altgoth2     AlternateGothicNo2
+     a5 allegro      Allegro
+     a6 amelia       Amelia
+     a7 amertext     AmericanText
+     a8 aurora       Aurora
+     a9 adsans       Adsans b:Humanist970BT
+     aa aachen       Aachen
+     ab aboeckli     ArnoldBoecklin
+     ac acaslon      ACaslon                                 Adobe Caslon
+     ad agaramon     AGaramond                               Adobe Garamond
+     ae andalemo     AndaleMono
+     ag avantgar     AvantGarde m:MAvantGardeGothicPS u:URWGothicL
+     ah ashleysc     AshleyScript
+     ai abadi        Abadi
+     aj ajenson      AJenson
+     ak arkona       Arkona
+     al albertus     Albertus b:Flareserif821BT
+     am amercana     Americana b:Americana
+     an anna         Anna
+     ao atqolive     AntiqueOlive b:Incised901BT
+     ap apollo       Apollo
+     aq antiqua      Antiqua u:URWAntiqua m:BookAntiqua
+     ar arcadia      Arcadia
+     as aldus        Aldus
+     at atypewri     AmericanTypewriter
+     au auriol       Auriol b:Freeform721
+     av avenir       Avenir
+     ax alexa        Alexa
+     az azdzgrot     AkzidenzGrotesk b:Gothic725BT
+     b0 blackoak     Blackoak
+     b1 blado        Blado
+     b2 binnyos      BinnyOldStyle
+     b3 braggado     Braggadocio
+     b4 bison        Bison b:Brush738BT
+     b5 binghams     BinghamScript b:Freehand591BT
+     b6 block        Block b:Gothic821
+     b7 bernhard     Bernhard BernhardModern
+     b8 blippo       Blippo
+     b9 bremen       Bremen
+     ba barmeno      Barmeno
+     bb bembo        Bembo b:Aldine401BT
+     bc banco        Banco
+     bd bodoni       Bodoni u:URWBodoni
+     be bell         Bell
+     bf biffo        Biffo
+     bg benguiat     Benguiat
+     bh bauhaus      Bauhaus
+     bi birch        Birch
+     bj birka        Birka
+     bk bookman      Bookman m:MBookmanPS u:URWBookmanL
+     bl belwe        Belwe
+     bm bulmer       Bulmer
+     bn bernard      Bernard
+     bo balloon      Balloon
+     bp bodocamp     BodoniCampanile b:Modern735
+     br berling      Berling b:Revival565BT
+     bs bakersig     BakerSignet
+     bt boton        Boton
+     bu brush        BrushScript
+     bv baskervi     Baskerville u:URWBasker
+     bw broadway     Broadway
+     by berkeley     Berkeley
+     bz balzano      Balzano
+     c0 carolina     Carolina
+     c1 calisto      Calisto
+     c2 casln224     CaslonTwoTwentyFour
+     c3 caslon3      CaslonThree
+     c4 chicago      Chicago
+     c5 casln540     CaslonFiveForty
+     c6 clarion      Clarion
+     c7 compacta     Compacta
+     c8 calvert      Calvert
+     c9 codex        Codex b:Calligraphic421BT
+     ca caslon       Caslon
+     cb cooper       Cooper
+     cc cascade      Cascade b:Freehand471BT
+     cd clarendo     Clarendon u:URWClarendon
+     ce centenni     Centennial
+     cf clearfac     Clearface
+     cg charlema     Charlemagne
+     ch charter      Charter
+     ci candida      Candida
+     ck caslonbe     CaslonBookBE
+     cl cloister     Cloister
+     cm cm           Computer Modern
+     cn century      Century
+     co cochin       Cochin
+     cp copperpl     Copperplate
+     cq cheq         Cheq
+     cr courier      Courier m:MCourierPS m:CourierTwelveMT u:NimbusMonL
+     cs cntursbk     CenturySchoolbook
+     ct cheltenh     Cheltenham
+     cu centuros     CenturyOldStyle
+     cv clairvx      Clairvaux
+     cw cottonwd     Cottonwood
+     cx caxton       Caxton
+     cy city         City b:SquareSlabserif711BT
+     cz choc         Choc b:Staccato555BT
+     d0 davida       DavidaBold
+     dc domcasl      Dom DomCasual DomDiagonal
+     dd ducberry     DucDeBerry
+     de dellarob     DellaRobbia
+     di diotima      Diotima b:Calligraphic810BT
+     dj delta        Delta
+     dk diskus       Diskus
+     dl dolores      Dolores
+     dm delima       Delima
+     do didot        DidotLH
+     dr doric        Doric
+     ds dorchesc     DorchesterScript
+     dt dante        Dante
+     dy academy      Academy
+     e0 embassy      Embassy
+     e1 empire       Empire
+     e2 metatwo      Meta2
+     ea electra      Electra b:Transitional521BT
+     eb baskerbe     BaskervilleBE
+     ec applecha     e:AppleChancery
+     ee egyptian     Egyptian EgyptianExtended
+     ef egyptien     EgyptienneF u:URWEgyptienne
+     eg stgaramo     StempelGaramond b:OriginalGaramondBT
+     eh engsft       Engschrift
+     ei esprit       Esprit
+     ek eckmann      Eckmann b:Freeform710
+     el ellingtn     Ellington
+     en engraver     Engravers
+     eo amerigo      Amerigo b:AmerigoBT
+     er eras         Eras
+     es eurostil     Eurostile b:Square721BT k:Minima
+     et ehrhardt     Ehrhardt
+     eu euler        Euler
+     ev mrseaves     MrsEaves
+     ex exclsior     Excelsior
+     f0 flemishs     FlemishScript
+     f1 fournier     Fournier
+     f2 facade       Facade
+     f3 festival     Festival
+     f4 footligh     Footlight
+     f5 french       FrenchScript
+     f9 frutigernext FrutgerNext
+     fa formata      Formata
+     fc freestyl     FreeStyleScript
+     fe forte        Forte
+     ff fairfld      Fairfield b:Transitional551BT
+     fg frankgth     FranklinGothic
+     fi figaro       Figaro
+     fl flora        Flora
+     fn fenice       Fenice
+     fo folio        Folio
+     fq frizquad     FrizQuadrata
+     fr frutiger     Frutiger b:Humanist777BT
+     fs falstaff     Falstaff
+     ft fettefrk     FetteFraktur Fraktur
+     fu futura       Futura
+     fx felixttl     FelixTitling
+     fy flyer        Flyer
+     g0 gando        Gando
+     g1 gothic13     GothicThirteen
+     g2 giddyup      Giddyup
+     g3 garamon3     GaramondThree b:AmericanGaramondBT      Garamond No. 3
+     g4 gymodern     GoudyModern
+     g5 gycatalg     GoudyCatalogue
+     g6 gorilla      GorillaITC
+     g9 ugaramon     GaramondRetrospective
+     ga gillsana     GillSana
+     gb gothicbb     GothicBBB
+     gd garuda       Garuda
+     ge geneva       e:Geneva
+     gg garthgra     GarthGraphic
+     gh galahad      Galahad
+     gi georgia      Georgia
+     gj granjon      Granjon b:ElegantGaramondBT
+     gl galliard     Galliard
+     gm garamond     Garamond u:URWGaramond
+     go gyoldsty     GoudyOldStyle
+     gp glypha       Glypha
+     gq grotesq      Grotesque u:URWGrotesk
+     gr gloucest     Gloucester
+     gs gillsans     GillSans m:GillAltOneMT b:Humanist521BT
+     gt goudytxt     GoudyText
+     gu guardi       Guardi
+     gv giovanni     Giovanni
+     gy goudy        Goudy
+     gz gazette      GazetteLH
+     h0 handelgo     HandelGothic
+     ha hadriano     Hadriano
+     hb hobo         Hobo Tramp
+     hc herculnm     Herculanum
+     hd headline     Headline
+     hg hiroshig     Hiroshige
+     hh highland     Highlander
+     hi hvinsera     HelveticaInserat b:Swiss921BT
+     hm charme       Charme
+     hn hvneue       HelveticaNeue
+     ho horleyos     HorleyOldStyle
+     hr hvround      HelveticaRounded
+     hs hnseati      Hanseatic B:Swiss924BT
+     ht hoeflert     e:HoeflerText
+     hv helvetic     Helvetica u:NimbusSans u:NimbusSanL b:Swiss721BT b:Monospace821BT b:Swiss911BT d:Sans Newton n:SonoranSansSerif
+     hw schadow      Schadow
+     hx huxleyvr     HuxleyVertical
+     i0 commscr      CommercialScript
+     i1 impress      Impress
+     i2 impuls       Impuls
+     i3 imperial     Imperial u:URWImperial
+     ia insignia     Insignia
+     ib ibycus       Ibycus
+     ic impact       Impact
+     id isadora      Isadora
+     if inflex       Inflex
+     ig scgaramo     SimonciniGaramond b:ItalianGaramond
+     ii imprint      Imprint
+     il caecilia     Caecilia
+     im imago        Imago
+     in industri     Industria
+     io ionic        Ionic b:News701BT
+     ip impressm     Impressum
+     is italnos      ItalianOldStyle
+     it italia       Italia
+     iw ironwood     Ironwood
+     iy iowanold     IowanOldStyle
+     iz isabella     Isabella
+     jf jeffersn     Jefferson b:Freehand575BT
+     jn janson       Janson
+     jo joanna       Joanna
+     jp juniper      Juniper
+     kb kabel        Kabel
+     kg bankgoth     BankGothic
+     kl klang        Klang
+     kn kino         Kino
+     ko bookmano     BookmanOldStyle
+     kp kepler       Kepler
+     kr korinna      Korinna
+     ks kuenstsc     KuenstlerScript
+     ku kaufmann     Kaufmann
+     kw kolo         Kolo
+     kx kigali       Kigali
+     l0 lineart      LinearT u:URWLinear
+     l1 liberty      Liberty
+     l2 libra        Libra
+     l3 lucia        Lucia
+     l4 lucian       Lucian
+     l5 baltica      Baltica
+     l6 literatu     Literaturnaya
+     l7 luxiseri     LuxiSerif
+     l8 luxisans     LuxiSans
+     l9 luximono     LuxiMono
+     lb lubaling     LubalinGraph
+     lc lucida       Lucida
+     le legacy       Legacy
+     lf life         Life
+     lg lettrgth     LetterGothic ISILGothic
+     lh lubright     LucidaBright
+     li latin        Latin
+     ll linolett     LinoLetter
+     ln lino         Lino
+     lo lithos       Lithos
+     ls lucsans      LucidaSans
+     lt lutetia      Lutetia
+     lw leawood      Leawood
+     lx lucidfax     LucidaFax
+     ly lydian       Lydian
+     lz legacysans   LegacySans
+     m0 monospac     Monospace
+     m1 monolisc     MonolineScript
+     m2 metro        Metro b:Geometric415BT
+     m3 mirarae      Mirarae
+     m4 mrearl       MisterEarl
+     m5 murrayhl     MurrayHill
+     m6 mittlsft     Mittelschrift
+     m7 matura       Matura
+     m8 monotyos     MonotypeOldStyle
+     ma mandate      Mandate b:Freehand521BT
+     mc monaco       e:Monaco
+     md meridien     Meridien
+     me mercursc     MercuriusScript
+     mg marigold     Marigold
+     mh machine      Machine
+     mi medici       Medici
+     mj mojo         Mojo
+     ml melior       Melior b:ZapfElliptical711BT
+     mn minion       Minion
+     mo modern       Modern b:Modern20BT
+     mp memphis      Memphis b:GeometricSlab703BT
+     mq mesquite     Mesquite
+     mr madrone      Madrone
+     ms mistral      Mistral b:Staccato222BT
+     mt minister     Minister
+     mv malvern      Malvern
+     mx maximus      Maximus
+     my myriad       Myriad
+     mz amazone      Amazone
+     n0 normande     Normande
+     n1 binner       Binner not really a family
+     n7 news706      News706
+     na newaster     NewAster
+     nb nbaskerv     NewBaskerville
+     nc ncntrsbk     NewCenturySchlbk u:CenturySchL
+     nd ncaledon     NewCaledonia
+     nf nofret       Nofret
+     ng newsgth      NewsGothic
+     ni nimrod       Nimrod
+     nk neograph     Neographik
+     nl neuland      Neuland b:Informal011BT
+     nm nimbus       Nimbus
+     nn nclarend     NewClarendon
+     no notredam     NotreDame
+     np nsplanti     NewsPlantin
+     nr nberolin     NewBerolina
+     ns timesnps     TimesNewRomanPS
+     nt timesnew     TimesNewRoman m:TimesNR n:SonoranSerif
+     nu nuptial      Nuptial
+     nv novarese     Novarese
+     nw neueunzi     NeueHammerUnziale
+     nx nyx          Nyx
+     nz neuzeits     NeuzeitS
+     o0 oldreadf     OldDreadfulNo7
+     o1 oranda       Oranda
+     o2 orbitb       OrbitB
+     o3 colonna      Colonna
+     o4 oceansan     OceanSans
+     o5 comic        Comic
+     o7 oldsty7      OldStyleSeven
+     o8 officina     Officina
+     oa ocra         OCR-A
+     ob ocrb         OCR-B
+     oc concorde     Concorde
+     oe oldengli     OldEnglish
+     of oxford       Oxford
+     oi ondine       Ondine Mermaid b:FormalScript421BT
+     oj oldclaud     OldClaude
+     ol colmcill     Colmcille
+     om omnia        Omnia
+     on corona       Corona
+     op optima       Optima d:Optimum b:ZapfHumanist601BT Omega u:Classico
+     oq ouch         Ouch
+     or orator       Orator
+     os oldstyle     OldStyle
+     ot coronet      Coronet b:Ribbon131BT
+     ov octavian     Octavian
+     ox onyx         Onyx
+     oy olympian     Olympian l:OlympicLH
+     oz ozhandcr     OzHandicraft
+     p0 poplar       Poplar
+     p1 palacesc     PalaceScript
+     p2 pepita       Pepita
+     p3 palette      Palette b:Brush445BT
+     p4 pioneer      PioneerITC
+     p5 piranesi     Piranesi
+     p6 blueprin     Blueprint
+     p7 petersbu     Petersburg
+     pa parkave      ParkAvenue
+     pb ptbarnum     PtBarnum
+     pc poetica      PoeticaChancery s:Scriptoria
+     pd placard      Placard
+     pe prestige     PrestigeElite
+     pf profile      Profile Profil b:Decorated035BT
+     pg peignot      Peignot b:Exotic350BT
+     ph photina      Photina
+     pi pi           pi fonts---see text and *.map files
+     pj pompeija     Pompeijana
+     pl palatino     Palatino d:Palton b:ZapfCalligraphic801BT u:URWPalladioL Palmspring k:Palindrome
+     pm postmed      PostMediaeval
+     pn plantin      Plantin b:Aldine721BT
+     po ponderos     Ponderosa
+     pp perpetua     Perpetua b:Lapidary333BT
+     pq postatqa     PostAntiqua
+     pr popplres     PopplResidenz
+     ps parisian     Parisian
+     pt present      Present
+     pu popplaud     PopplLaudatio
+     pw perrywoo     Perrywood
+     px popplpfx     PopplPontifex
+     py playbill     Playbill
+     pz poliphil     Poliphilus
+     qr quorum       Quorum
+     qs bellevue     Bellevue
+     qt boulevar     Boulevard
+     r0 romana       Romana
+     r1 rotis        RotisSemiSerif
+     r2 cantoria     Cantoria
+     r3 rotis        RotisSemiSans
+     r4 rotis        RotisSansSerif
+     ra raleigh      Raleigh
+     rc romic        Romic
+     rm carmina      Carmina
+     rn rotation     Rotation
+     ro rotis        RotisSerif
+     rp reporter     Reporter
+     rq russelsq     RussellSquare
+     rr raphael      Raphael
+     rs arrus        Arrus
+     rt carta        Carta
+     ru runic        Runic
+     rv revue        Revue
+     rw rockwell     Rockwell Slate b:GeometricSlab712BT
+     rc rustican     Rusticana
+     ry ryumin       Ryumin
+     rz ruzicka      RuzickaFreehandLH
+     s0 sanmarco     SanMarco
+     s1 scotchro     ScotchRoman
+     s2 script       Script
+     s3 seagull      Seagull
+     s4 shotgun      Shotgun ShotgunBlanks
+     s5 snell        Snell
+     s6 stuyvesa     Stuyvesant
+     s7 sassoon      Sassoon
+     s8 stonesan     StoneSans
+     sa scala        Scala
+     sb sabon        Sabon b:ClassicalGaramondBT
+     sc slimbach     Slimbach
+     se shelley      Shelley
+     sf serifa       Serifa
+     sg serifgth     SerifGothic
+     sh shannon      Shannon
+     si stoneinf     StoneInformal
+     sk skia         e:Skia
+     sl stencil      Stencil
+     sm spectrum     Spectrum
+     sn spartan      Spartan
+     so sonata       Sonata
+     sp serpenti     Serpentine
+     sr snellrnd     SnellRoundhand
+     ss stschnei     StempelSchneidler
+     st stone        StoneSerif
+     sv souvenir     Souvenir
+     sw swing        Swing
+     sx syntax       Syntax
+     sy symbol       Symbol m:MSymbolPS u:StandardSymL
+     t0 tango        Tango
+     t1 thunderb     Thunderbird
+     t2 typo         TypoUpright
+     tb bebodoni     BodoniBE BBodoni                        Berthold Bodoni
+     te timeseur     TimesEuropa
+     tf tiffany      Tiffany
+     tg tradegth     TradeGothic
+     th tahoma       Tahoma
+     ti techphon     TechPhonetic
+     tj trajan       Trajan
+     tk tekton       Tekton
+     tl castella     Castellar
+     tm times        Times u:NimbusRoman u:NimbusRomNo9L b:Dutch801BT
+     tn norasi       Norasi
+     to torino       Torino b:Industrial736BT
+     tp tempo        Tempo
+     tr trebuche     Trebuchet
+     tv trumpmed     TrumpMediaeval b:Kuenstler480BT
+     tw twentyc      TwentiethCentury
+     ty typewrit     Typewriter u:URWTypewriter
+     u0 columbus     Columbus
+     ub babodoni     BauerBodoni
+     ud studio       Studio
+     ug bengugth     BenguiatGothic
+     uh cushing      Cushing
+     ul universa     Universal
+     um umbra        Umbra
+     un univers      Univers b:ZurichBT
+     ur centaur      Centaur b:Venetian301BT
+     ut utopia       Utopia
+     uw usherwoo     Usherwood
+     uy universi     University
+     v0 vineta       Vineta
+     va activa       Activa
+     vc vectora      Vectora
+     vd vandijck     VanDijck
+     ve veraseri     VeraSerif
+     vg visigoth     Visigoth
+     vi victoria     Victoria
+     vj veljovic     Veljovic
+     vm veramono     VeraSansMono
+     vn verdana      Verdana
+     vl versaill     Versailles
+     vr vagrnd       VAGRounded
+     vs verasans     VeraSans
+     vv viva         Viva
+     w0 weddingt     WeddingT
+     w1 wiesbswi     WiesbadenSwing
+     w9 wastrel      Wastrel
+     wb walbaum      Walbaum
+     wc snowcap      SnowCap
+     wd weideman     Weidemann
+     wg wlklgth      WilhelmKlingsporGotisch
+     wh wendy        Wendy
+     wi wingding     Wingdings
+     wk wilke        Wilke
+     wn windsor      Windsor
+     wr wittenbe     WitternbergerFrakt
+     ws weiss        Weiss
+     wt watertit     WatersTitling
+     ww willow       Willow
+     xc eccentri     Eccentric
+     xp exponto      ExPonto
+     yg centuryg     CenturyGothic
+     yh strayhor     Strayhorn
+     ym stymie       Stymie
+     ys goudysan     GoudySans
+     za zantiqua     ZAntiqua
+     zc zapfchan     ZapfChancery m:ZapfChanceryPS u:URWChanceryL
+     zd zapfding     ZapfDingbats m:ZapfDingbatsPS u:Dingbats
+     zg neuzeitg     NeuzeitGrotesk b:Geometric706BT
+     zp ziptydo      ZiptyDo
+     zt zeitgeis     Zeitgeist
+     __ agbook       AGBookStencil
+     __ agbookrn     AGBookRounded
+     __ agoldfac     AGOldFace
+     __ agschlbk     AGSchoolbook
+     __ aja          Aja
+     __ albertin     AlbertinaMT
+     __ amigo        Amigo
+     __ andreas      Andreas
+     __ ariadne      Ariadne
+     __ banshee      Banshee
+     __ beesknee     Beesknees
+     __ bellcent     BellCentenial
+     __ berlgrot     BerlinerGrotesk
+     __ bermuda      BermudaLP
+     __ berthold     BertholdScript
+     __ bickham      BickhamScript
+     __ blueisla     BlueIsland
+     __ bodoniof     BodoniOldFaceBE
+     __ bossanov     BossaNovaMVB
+     __ briemaka     BriemAkademi
+     __ briemscr     BriemScript
+     __ buffalog     BuffaloGalMT
+     __ caflisch     CaflischScript
+     __ caliban      Caliban
+     __ catull       Catull
+     __ celestia     CelestiaAntiqua
+     __ cerigo       Cerigo
+     __ chaparra     Chaparral
+     __ christia     Christiana
+     __ colossal     Colossalis
+     __ comenius     ComeniusAntiqua
+     __ concorde     ConcordeNova
+     __ congabra     CongaBrava
+     __ copal        Copal
+     __ coriande     Coriander
+     __ cosmos       Cosmos
+     __ cremona      Cremona
+     __ critter      Critter
+     __ cronos       Cronos
+     __ ctmercur     CTMercurius
+     __ curlz        CurlzMT
+     __ cutout       Cutout
+     __ delphin      Delphin
+     __ elgreco      ElGreco
+     __ else         ElseNPL
+     __ emmascri     Emmascript
+     __ flood        Flood
+     __ florens      FlorensLP
+     __ fusaka       Fusaka
+     __ gallia       MonotypeGallia
+     __ garamobe     GaramondBE
+     __ gillfaci     GillFaciaMT
+     __ gillflor     GillFloriatedCapsMT
+     __ graphite     Graphite
+     __ greymant     GreymantleMVB
+     __ hardwood     HardwoodLP
+     __ immi505      Immi505
+     __ jimbo        Jimbo
+     __ khaki        Khaki
+     __ kidprint     KidprintMT
+     __ kinesis      Kinesis
+     __ kochantq     KochAntiqua
+     __ legault      Legault
+     __ lightlin     LightlineGothicMT
+     __ lotype       LoType
+     __ magnesiu     MagnesiumMVB
+     __ magnolia     MagnoliaMVB
+     __ mahsuri      MahsuriSansMT
+     __ manito       ManitoLP
+     __ mendoza      MendozaRoman
+     __ mezz         Mezz
+     __ micr         MICR
+     __ monalisa     MonaLisa
+     __ motterco     MotterCorpus
+     __ mythos       Mythos
+     __ nueva        Nueva
+     __ oceansan     OceanSans
+     __ origami      Origami
+     __ ozwald       Ozwald
+     __ pastonch     PastonchiMT
+     __ pelican      Pelican
+     __ penumbra     Penumbra
+     __ pepperwo     Pepperwood
+     __ poetica      Poetica
+     __ pompeia      Pompeia
+     __ popplexq     PopplExquisit
+     __ postino      Postino
+     __ quake        Quake
+     __ rad          Rad
+     __ reliq        Reliq
+     __ rosewood     Rosewood
+     __ rulngscr     RulingScript
+     __ russlobl     RusselOblique
+     __ sanvito      Sanvito
+     __ sassafra     Sassafras
+     __ serlio       SerlioLH
+     __ sho          Sho
+     __ shuriken     Shuriken
+     __ smaragd      Smaragd
+     __ spring       SpringLP
+     __ spumoni      SpumoniLP
+     __ studz        Studz
+     __ tiepolo      Tiepolo
+     __ toolbox      Toolbox
+     __ verve        Verve
+     __ volutasc     VolutaScript
+     __ zebrawoo     Zebrawood
+     __ shouyi       Shouyi  for mnm
+
+
+


+ +Next: , +Previous: Typefaces, +Up: Filenames for fonts + +
+ +

2.3 Weights

+ +

+The weight of a font specifies its boldness. Arranged from +lightest to heaviest (more or less): + +

     hairline, extra light, light
+     book, regular, medium
+     demibold, semibold, bold, extra bold, heavy
+     black, ultra, poster
+
+

Here is the table, from the file weight.map. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation +and any parts of a PostScript `FontName' which use that +abbreviation. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     a Thin Hairline
+     b Bold
+     c Black
+     d Demi
+     h Heavy Heavyface
+     j ExtraLight
+     k Book
+     l Light
+     m Medium
+     p Poster
+     r Regular Roman
+     s Semibold
+     u Ultra UltraBlack
+     x ExtraBold ExtraBlack
+
+
+


+ +Next: , +Previous: Weights, +Up: Filenames for fonts + +
+ +

2.4 Variants

+ +

+Variants include typeface variations (e.g., italic, sans serif), +and font encodings (e.g., Adobe standard, TeX text). + +

A fontname may require multiple variants. To resolve the worst +ambiguities, we specify that any encoding variant (`7', `8', +or `9', see below) come last and any other numeral variant come +first (to avoid confusion with a design size). We recommend but do not +require that the other variants be given in alphabetical order. (It's +not required because it's too painful to implement the sorting in +TeX, and many existing names already have non-alphabetized variants.) + +

The letterspacing possibilities introduced by fontinst and +virtual fonts have not yet become sufficiently widespread to make +standardization beneficial. Likewise for the many possible ways to +generate small caps fonts. + +

Notes on specific variants, both old and new: + +

+
`1'
`4'
`6'
`b'
These variants (`semisans', `bright', `semiserif', and `fax') were used +only for single typefaces, so to conserve variant abbreviations, they +now have typeface abbreviations instead. Also, for `b', to avoid +too-long names; and for the others, to avoid variant vs. design-size +ambiguities. + +
`g'
`h'
Since these variants were not actually used in any font names, they are +now obsolete and may be reassigned in the future. + +
`5'
`6'
`7'
`8'
`9'
These characters begin a two-character encoding variant. +Generally, `7' is for 7-bit encodings, `8' is for 8-bit +encodings, and `9' is for expertised encodings with or without +oldstyle digits (see the `x' item below), but this is not an +absolute rule. Also, `5' is presently used for phonetic encodings +and `6' for Cyrillic encodings. The `9s' (`SuperFont') +variant contain all of Adobe, Latin 1, and Expert glyphs, perhaps with +slightly different metrics than the original fonts. + +

For a font to be named with a certain encoding variant, it's not +necessary that all the characters appear in precisely the same positions +as in the encoding definition. It's enough that the usual TeX macros +work. In practice, this means that it's ok for a font to be labelled +`7t' if the only difference from Computer Modern is that the +ligatures and the `lslash' and `Lslash' characters are +different, since it's impossible to access or change the ligature table +from TeX. Standard PostScript fonts don't have an `lslash' +character the way Computer Modern does, but they do have the +`Lslash' and `lslash' characters themselves, so the usual +TeX \lslash and \Lslash macros can be made to work via +ligatures. See the file T1.etx file in the fontinst +distribution for details. + +

If a name does not contain a specific encoding variant, its encoding is +unspecified. For example, some of the fonts distributed with Dvips(k) +have names like `ptmr' for `Times-Roman'; they use the Dvips +encoding (see dvips), which is close to (but not the same +as) the TeX text encoding (as in Computer Modern Roman). Similarly, +the TFM files distributed with Dvilj(k) for the builtin LaserJet 4 fonts +have names like `cunm', since these fonts, while compatible with +TeX text, contain many additional characters. + +

`9'
These items are needed only because `x' (and possibly `j') +followed by a two-character regular variant makes some names too long. +That is, `9t' is equivalent in meaning to `x7t', and `9d' +is equivalent to `jx7t'. (This may not be true for all +`9x' encodings, though.) + +
`k'
`z'
These variants (indicating Greek and Cyrillic fonts, respectively) are +obsolete; future fonts in different scripts should be assigned an +appropriate encoding abbreviation. These are not currently +standardized, due to ignorance of the appropriate encodings. Please +send suggestions for abbreviations to the address in Introduction. + +
`m'
`v'
`y'
These math-related variants remain for the sake of typeface-specific +math encodings, e.g., Lucida. Fonts that use the Computer Modern math +encodings should use `7m' (see texmital), `7v' +(see texmext), and `7y' (see texmsym). + +
`n'
This is used for several different (but very rare) variants: only the +Stone typeface has an “informal” variant, and only a few Monotype +fonts have a “schoolbook” variant, with different `a', `g', and `y' +shapes. + +
`r'
Included only if no other variants, including encodings, apply, and +either the width (see Widths) is not `r' or a design size is +present. I.e., `r' is only used as a placeholder. When the normal +version of the typeface is sans serif (e.g., Helvetica), `r' should +be used when necessary, not `s'. Use `s' only when the +typeface family has both serif and sans serif variants. + +
`s'
`t'
Mittelbach in TUGboat 13(1) suggests that these variants (for +`sans' and `typewriter') should be identified as part of the typeface +name, because there are few typeface families with these variants. I +feel that since they are logically variants, it's best to name them that +way. But `LucidaSans' (see Typefaces) and a few others are +exceptions, to avoid too-long names. + +
`x'
`8x'
`9?'
`8x' indicates a font in the `Expert' encoding itself. +`x' indicates an expertised font, i.e., a composite (virtual) +font that includes characters from an `8x' font. And in fact an +`xee' sequence is replaced by `9e', to save +characters. +
+ +

Fontname 1 assignments are shown in brackets in the following table, +from the file variant.map. It is organized alphabetically by +abbreviation. Each line consists of an abbreviation and either any +parts of a PostScript `FontName' which use that abbreviation or the +PostScript `Encoding' name. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     0 inferior
+     1 superior
+     obsolete [2=>7c] Fraktur encoding
+     obsolete [3=>7f] Fraction
+     obsolete [4 fax; now typeface `lx', Lucida Fax]
+     5 escape for (presently) phonetic encodings
+     6 escape for Cyrillic encodings [was `SemiSerif']
+     7 escape for (mostly) 7-bit encodings
+     8 escape for (mostly) 8-bit encodings
+     9 escape for (presently) expert encodings [was oldstyle digits]
+     a Alt Arrows Alternative             [was alternate encoding]
+     obsolete [b bright; now typeface lh, Lucida Bright]
+     c SmallCaps
+     d Display Titling Caption Headline TallCaps SwashCaps LombardicCaps Festive
+     e Engraved Copperplate Elite
+     f Fraktur Gothic OldEnglish Handtooled (`gothic' can also be sans)
+     g SmallText      designed for small sizes [was grooved, as in the IBM logo]
+     h Shadow
+     i Italic Kursiv Ital                 text italic
+     j                                    old-style digits [was invisible]
+     k Greek                              obsolete
+     l Outline OpenFace Blanks
+     m math italic
+     n Informal Fashion Schlbk            for Stone
+     o Oblique Obl                        slanted
+     p Ornaments
+     obsolete [q=>8t Cork (TeX extended) encoding]
+     r                                    roman or sans; often omitted, see text
+     s Gothic                             sans serif
+     t Monospace                          fixed-width typewriter
+     u                                    unslanted italic
+     v MathExtension
+     w Script Handwritten Swash Calligraphy Cursive Tango
+     x built with Adobe expert encoding [was expert-encoded]
+     y MathSymbol
+     z Cyrillic                           font-dependent Cyrillic
+     5a PhoneticAlternate
+     5i PhoneticIPA
+     5s sil-IPA
+     5t TeX-IPA                           Fukui Rei, LaTeX T3
+     5w TeXAfricanLatin                   wsuipa fonts, LaTeX OT3
+     5z user
+     6a T2A
+     6b Cyrillic part of ISO 8859-5, seven bits
+     6c T2C
+     6d Cyrillic CP866 encoding
+     6i ISO 8859-5
+     6k Cyrillic KOI8-R encoding
+     6m Cyrillic Macintosh encoding
+     6s Storm extra encoding
+     6t T2B
+     6w Cyrillic CP1251 encoding
+     6x X2
+     6y LCY
+     6z user
+     7a A                                 alternate characters only
+     7c Dfr                               Fraktur
+     7d OsF OSF                           oldstyle digit encoding
+     7f Fraction
+     7k OT2Cyrillic
+     7m TeXMathItalicEncoding             see texmital
+     7t                       TeX text encoding (as in Computer Modern Roman)
+     7v TeXMathExtensionEncoding          see texmext
+     7y TeXMathSymbolEncoding             see texmsym
+     7z user
+     82 GreekKeys
+     83 Ibycus1
+     84 Ibycus2
+     8a StandardEncoding                  Adobe standard encoding, see 8a
+     8c TeXTextCompanion                  LaTeX TS1
+     8e CE                                Adobe CE
+     8f TeXAfricanLatin                   LaTeX T4
+     8i TS0                               Intersection of TS1/Adobe Standard
+     8m Macintosh standard encoding
+     8n LM1 Textures
+     8q encqxoosix                        QX, from GUST
+     8r TeXBase1Encoding                  (see 8r)
+     8t CorkEncoding                      (see cork), aka tex256.enc
+     8u XT2Encoding                       cmtt + Latin 2, see xl2.enc
+     8v TeXVietnamese                     to be defined
+     8w Windows 3.1 ANSI encoding
+     8x Expert                            expert encoding
+     8y LY1                               texnansi
+     8z XL2Encoding                       cmr + Latin 2, see xl2.enc
+     9c expert + Text companion
+     9d expert + oldstyle digits + Cork
+     9e expert + Cork
+     9i TS0X                              Intersection of TS1/Standard/Expert
+     9o expert + oldstyle digits + TeX text
+     9s SF                                SuperFont
+     9t expert + TeX text
+     9u Unicode-compatible
+     9x TeXnANSIEncodingX                 texnansx, texnansi without repeats
+     9z user
+     -  songti                            for mnm
+
+
+


+ +Previous: Variants, +Up: Filenames for fonts + +
+ +

2.5 Widths

+ +

+The width of a font specifies the compression or expansion of the +font. Arranged from narrowest to widest (more or less): + +

     ultra compressed, extra condensed, compressed, condensed, narrow
+     regular
+     extended, expanded, wide
+
+

Expansion or compression of fonts is sometimes done automatically (as by +the PostScript scale operator), and sometimes done by humans. In +the latter case, the human will also presumably choose a font name which +includes `Extended' or `Expanded' or `Condensed' or `Narrow' or whatever +according to their own preferences; the abbreviation can follow along. +When creating a new synthetically expanded or compressed font for use +with TeX, e.g., with Afm2tfm or fontinst, use `n' and +`e'. + +

Here is the table, from the file width.map. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation +and any parts of a PostScript `FontName' which use that +abbreviation. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     c Condensed Cond
+     e Expanded
+     n Narrow
+     o UltraCondensed
+     p Compressed Compact
+     q ExtraCompressed ExtraCondensed
+     r Normal Medium Regular (usually omitted)
+     t Thin
+     u UltraCompressed
+     v ExtraExpanded more than Expanded, less than Wide
+     w Wide
+     x Extended Elongated
+
+
+


+ +Next: , +Previous: Filenames for fonts, +Up: Top + +
+ +

3 Long names

+ +

+Eight characters is not enough to unambiguously represent all fonts. To +do that, we have to allow ourselves arbitrarily long names. Although we +certainly cannot use such names for the files themselves, we could still +use them in TeX documents given a simple mapping file, as discussed +below. + +

+ +
+


+ +Next: , +Up: Long names + +
+ +

3.1 A fontname mapping file

+ +

+At the moment, most implementations of TeX look up a TFM file (as +part of the \font command), by searching for a file with the name +given by the user (possibly in any of series of directories). But if we +also looked TFM names up in another file (or set of files), which +specifies the actual filename, the fontname given in the TeX source +file could be almost anything at all, of any length. + +

In version 5.851d of Web2c, I implemented this mapping file. Each file +texfonts.map in a search path is read for abbreviations. The file +has a straightforward format: each line specifies the filename and the +TeX name for one font, separated by whitespace. Extra information on +the line is ignored; then more information could be specified for the +benefit of DVI-reading programs in the same file. Comments start with +% and continue to the end of the line. + +

Besides allowing long names, this sort of mapping file has other +benefits. TeX source or DVI files can be more easily transported, +because the font names in a particular file can be made work on every +system. Also, when combined with a consistent naming scheme, macros +could be written to access any of a number of fonts. Right now, each +font family has to have specialized macros written to deal with it. + +

Incidentally, Professor Knuth has approved this as a legitimate +“system-dependent” extension; a TeX with such a feature can still +be called “TeX”. + +

+


+ +Previous: Name mapping file, +Up: Long names + +
+ +

3.2 A naming scheme for long names

+ +

+Once we allow ourselves long names, we can construct a naming scheme +to handle arbitrary fonts without much difficulty. Here is one +proposal, based on the X Window System font naming conventions. + +

     supplier-family-weight-variants-width-encoding--size
+
+

supplier is the usual Adobe, Autologic, etc., as +well as unknown or bizarre—this last meaning the rest of +the name is nonstandard. If the supplier is missing, i.e., the +name starts with a -, “public domain” is assumed. For fonts +made by individuals, the initials of the designer would probably make a +good supplier. + +

family is ComputerModern or Times or whatever. + +

Everything else is optional. The -- before the size lets +one specify a name with, say, a weight and variants, but then skip the +width and encoding, but still be able to +give a size. + +

weight and width are as described earlier. + +

If there is more than one variant, they are separated with some +character other than `-', say `=': +

     B+H-Lucida-Bold-Sans=Typewriter--10
+
+

encoding is what Metafont calls the +font_coding_scheme—the layout of the characters in the font. +For example, `Cork' or `ISOLatin1' or `AdobeAlternate'. + +

Names are case-sensitive, for consistency with the rest of TeX and +with PostScript, etc. Spaces cannot be used in the name, to make it +easier for TeX to parse. Likewise, characters with default category +codes other than 11 (letter) or 12 (other) should not be used. + +

Another possibility is to forget all the above, and simply use the +vendor's name (perhaps prefixed by the vendor): +`Times-Roman'. + +

+


+ +Next: , +Previous: Long names, +Up: Top + +
+ +

Appendix A Font name lists

+ +

These sections contain a list of fonts from various suppliers together +with the corresponding names. + +

+ +
+


+ +Next: , +Up: Font name lists + +
+ +

A.1 Standard PostScript fonts

+ +

+Abbreviated names for the 35 standard PostScript fonts. An encoding +variant, such as `8a' for the Adobe `StandardEncoding', is +omitted. + +

+
pagk
`AvantGarde-Book' +
pagko
`AvantGarde-BookOblique' +
pagd
`AvantGarde-Demi' +
pagdo
`AvantGarde-DemiOblique' +
pbkd
`Bookman-Demi' +
pbkdi
`Bookman-DemiItalic' +
pbkl
`Bookman-Light' +
pbkli
`Bookman-LightItalic' +
pcrb
`Courier-Bold' +
pcrbo
`Courier-BoldOblique' +
pcrr
`Courier' +
pcrro
`Courier-Oblique' +
phvb
`Helvetica-Bold' +
phvbo
`Helvetica-BoldOblique' +
phvbrn
`Helvetica-NarrowBold' +
phvbon
`Helvetica-NarrowBoldOblique' +
phvr
`Helvetica' +
phvro
`Helvetica-Oblique' +
phvrrn
`Helvetica-Narrow' +
phvron
`Helvetica-NarrowOblique' +
pncb
`NewCenturySchlbk-Bold' +
pncbi
`NewCenturySchlbk-BoldItalic' +
pncri
`NewCenturySchlbk-Italic' +
pncr
`NewCenturySchlbk-Roman' +
pplb
`Palatino-Bold' +
pplbi
`Palatino-BoldItalic' +
pplri
`Palatino-Italic' +
pplr
`Palatino-Roman' +
psyr
`Symbol' +
ptmb
`Times-Bold' +
ptmbi
`Times-BoldItalic' +
ptmri
`Times-Italic' +
ptmr
`Times-Roman' +
pzcmi
`ZapfChancery-MediumItalic' +
pzdr
`ZapfDingbats' +
+ +
+


+ +Next: , +Previous: Standard PostScript fonts, +Up: Font name lists + +
+ +

A.2 Adobe fonts

+ +

The adobe.map file has abbreviations for Adobe fonts. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     pcrb8a    Courier-Bold                      A    0.1    cob_____
+     pcrbo8a   Courier-BoldOblique               A    0.1    cobo____
+     pcrr8a    Courier                           A    0.1    com_____
+     pcrro8a   Courier-Oblique                   A    0.1    coo_____
+     phvr8a    Helvetica                         A    0.2    hv______
+     phvb8a    Helvetica-Bold                    A    0.2    hvb_____
+     phvbo8a   Helvetica-BoldOblique             A    0.2    hvbo____
+     phvro8a   Helvetica-Oblique                 A    0.2    hvo_____
+     psyr      Symbol                            A    0.3    sy______
+     ptmb8a    Times-Bold                        A    0.4    tib_____
+     ptmbi8a   Times-BoldItalic                  A    0.4    tibi____
+     ptmri8a   Times-Italic                      A    0.4    tii_____
+     ptmr8a    Times-Roman                       A    0.4    tir_____
+     phvr8an   Helvetica-Narrow                  A    0.5    hvn_____
+     phvb8an   Helvetica-Narrow-Bold             A    0.5    hvnb____
+     phvbo8an  Helvetica-Narrow-BoldOblique      A    0.5    hvnbo___
+     phvro8an  Helvetica-Narrow-Oblique          A    0.5    hvno____
+     pplb8a    Palatino-Bold                     A    001    pob_____
+     pplbi8a   Palatino-BoldItalic               A    001    pobi____
+     pplri8a   Palatino-Italic                   A    001    poi_____
+     pplr8a    Palatino-Roman                    A    001    por_____
+     pbkd8a    Bookman-Demi                      A    002    bkd_____
+     pbkdi8a   Bookman-DemiItalic                A    002    bkdi____
+     pbkl8a    Bookman-Light                     A    002    bkl_____
+     pbkli8a   Bookman-LightItalic               A    002    bkli____
+     pzcmi8a   ZapfChancery-MediumItalic         A    003    zcmi____
+     pzdr      ZapfDingbats                      A    003    zd______
+     pagd8a    AvantGarde-Demi                   A    004    agd_____
+     pagdo8a   AvantGarde-DemiOblique            A    004    agdo____
+     pagk8a    AvantGarde-Book                   A    004    agw_____
+     pagko8a   AvantGarde-BookOblique            A    004    agwo____
+     pncb8a    NewCenturySchlbk-Bold             A    005    ncb_____
+     pncbi8a   NewCenturySchlbk-BoldItalic       A    005    ncbi____
+     pncri8a   NewCenturySchlbk-Italic           A    005    nci_____
+     pncr8a    NewCenturySchlbk-Roman            A    005    ncr_____
+     popr8a    Optima                            A    006    op______
+     popb8a    Optima-Bold                       A    006    opb_____
+     popbi8a   Optima-BoldItalic                 A    006    opbi____
+     popbo8a   Optima-BoldOblique                A    006    opbo____
+     popri8a   Optima-Italic                     A    006    opi_____
+     popro8a   Optima-Oblique                    A    006    opo_____
+     psvd8a    Souvenir-Demi                     A    007    sud_____
+     psvdi8a   Souvenir-DemiItalic               A    007    sudi____
+     psvl8a    Souvenir-Light                    A    007    sul_____
+     psvli8a   Souvenir-LightItalic              A    007    suli____
+     plbd8a    LubalinGraph-Demi                 A    008    lud_____
+     plbdo8a   LubalinGraph-DemiOblique          A    008    ludo____
+     plbk8a    LubalinGraph-Book                 A    008    luw_____
+     plbko8a   LubalinGraph-BookOblique          A    008    luwo____
+     pgmb8a    Garamond-Bold                     A    009    gab_____
+     pgmbi8a   Garamond-BoldItalic               A    009    gabi____
+     pgml8a    Garamond-Light                    A    009    gal_____
+     pgmli8a   Garamond-LightItalic              A    009    gali____
+     patb8a    AmericanTypewriter-Bold           A    010    atb_____
+     patba8a   AmericanTypewriter-BoldA          A    010    atba____
+     patb8ac   AmericanTypewriter-BoldCond       A    010    atbc____
+     patba8ac  AmericanTypewriter-BoldCondA      A    010    atbca___
+     patr8ac   AmericanTypewriter-Cond           A    010    atc_____
+     patra8ac  AmericanTypewriter-CondA          A    010    atca____
+     patl8a    AmericanTypewriter-Light          A    010    atl_____
+     patla8a   AmericanTypewriter-LightA         A    010    atla____
+     patl8ac   AmericanTypewriter-LightCond      A    010    atlc____
+     patla8ac  AmericanTypewriter-LightCondA     A    010    atlca___
+     patm8a    AmericanTypewriter-Medium         A    010    atm_____
+     patma8a   AmericanTypewriter-MediumA        A    010    atma____
+     pbgb8a    Benguiat-Bold                     A    011    bgb_____
+     pbgk8a    Benguiat-Book                     A    011    bgw_____
+     pfqr8a    FrizQuadrata                      A    011    fq______
+     pfqb8a    FrizQuadrata-Bold                 A    011    fqb_____
+     pgpr8a    Glypha                            A    012    gy______
+     pgpb8a    Glypha-Bold                       A    012    gyb_____
+     pgpbo8a   Glypha-BoldOblique                A    012    gybo____
+     pgpro8a   Glypha-Oblique                    A    012    gyo_____
+     phvc8a    Helvetica-Black                   A    013    hvbl____
+     phvco8a   Helvetica-BlackOblique            A    013    hvblo___
+     phvl8a    Helvetica-Light                   A    013    hvl_____
+     phvlo8a   Helvetica-LightOblique            A    013    hvlo____
+     phvr8ac   Helvetica-Condensed               A    014    hvc_____
+     phvb8ac   Helvetica-Condensed-Bold          A    014    hvcb____
+     phvc8ac   Helvetica-Condensed-Black         A    014    hvcbl___
+     phvbo8ac  Helvetica-Condensed-BoldObl       A    014    hvcbo___
+     phvro8ac  Helvetica-Condensed-Oblique       A    014    hvcdo___
+     phvl8ac   Helvetica-Condensed-Light         A    014    hvcl____
+     phvlo8ac  Helvetica-Condensed-LightObl      A    014    hvclo___
+     phvco8ac  Helvetica-Condensed-BlackObl      A    014    hvco____
+     ptvb8a    TrumpMediaeval-Bold               A    015    tmb_____
+     ptvbi8a   TrumpMediaeval-BoldItalic         A    015    tmbi____
+     ptvri8a   TrumpMediaeval-Italic             A    015    tmi_____
+     ptvr8a    TrumpMediaeval-Roman              A    015    tmr_____
+     pmlr8a    Melior                            A    016    me______
+     pmlb8a    Melior-Bold                       A    016    meb_____
+     pmlbi8a   Melior-BoldItalic                 A    016    mebi____
+     pmlri8a   Melior-Italic                     A    016    mei_____
+     pglb8a    Galliard-Bold                     A    017    glb_____
+     pglbi8a   Galliard-BoldItalic               A    017    glbi____
+     pglri8a   Galliard-Italic                   A    017    gli_____
+     pglr8a    Galliard-Roman                    A    017    glr_____
+     pnbb8a    NewBaskerville-Bold               A    018    nbb_____
+     pnbbi8a   NewBaskerville-BoldItalic         A    018    nbbi____
+     pnbri8a   NewBaskerville-Italic             A    018    nbi_____
+     pnbr8a    NewBaskerville-Roman              A    018    nbr_____
+     pkrb8a    Korinna-Bold                      A    019    krb_____
+     pkrbi8a   Korinna-KursivBold                A    019    krkb____
+     pkrri8a   Korinna-KursivRegular             A    019    krkx____
+     pkrr8a    Korinna-Regular                   A    019    krrg____
+     pgyr8a    Goudy                             A    020    go______
+     pgyb8a    Goudy-Bold                        A    020    gob_____
+     pgybi8a   Goudy-BoldItalic                  A    020    gobi____
+     pgyri8a   Goudy-Italic                      A    020    goi_____
+     psor      Sonata                            A    021    so______
+     pcub8a    CenturyOldStyle-Bold              A    022    csb_____
+     pcuri8a   CenturyOldStyle-Italic            A    022    csi_____
+     pcur8a    CenturyOldStyle-Regular           A    022    csrg____
+     pfgd8a    FranklinGothic-Demi               A    023    frd_____
+     pfgdi8a   FranklinGothic-DemiItal           A    023    frdi____
+     pfgdo8a   FranklinGothic-DemiOblique        A    023    frdo____
+     pfgh8a    FranklinGothic-Heavy              A    023    frh_____
+     pfghi8a   FranklinGothic-HeavyItal          A    023    frhi____
+     pfgho8a   FranklinGothic-HeavyOblique       A    023    frho____
+     pfgm8a    FranklinGothic-Medium             A    023    frm_____
+     pfgmi8a   FranklinGothic-MediumItal         A    023    frmi____
+     pfgk8a    FranklinGothic-Book               A    023    frw_____
+     pfgki8a   FranklinGothic-BookItal           A    023    frwi____
+     pfgko8a   FranklinGothic-BookOblique        A    023    frwo____
+     pctb8a    Cheltenham-Bold                   A    024    chb_____
+     pctbi8a   Cheltenham-BoldItalic             A    024    chbi____
+     pctk8a    Cheltenham-Book                   A    024    chw_____
+     pctki8a   Cheltenham-BookItalic             A    024    chwi____
+     ppar8a    ParkAvenue                        A    025    pa______
+     pbdr8a    Bodoni                            A    026    bd______
+     pbdb8a    Bodoni-Bold                       A    026    bdb_____
+     pbdbi8a   Bodoni-BoldItalic                 A    026    bdbi____
+     pbdri8a   Bodoni-Italic                     A    026    bdi_____
+     pbdp8a    Bodoni-Poster                     A    026    bdps____
+     plgr8a    LetterGothic                      A    027    lg______
+     plgb8a    LetterGothic-Bold                 A    027    lgb_____
+     plgbo8a   LetterGothic-BoldSlanted          A    027    lgbsl___
+     plgro8a   LetterGothic-Slanted              A    027    lgsl____
+     pper8a    PrestigeElite                     A    028    pe______
+     ppeb8a    PrestigeElite-Bold                A    028    peb_____
+     ppebo8a   PrestigeElite-BoldSlanted         A    028    pebsl___
+     ppero8a   PrestigeElite-Slanted             A    028    pesl____
+     porr8a    Orator                            A    029    or______
+     porro8a   Orator-Slanted                    A    029    orsl____
+     pngr8a    NewsGothic                        A    030    ng______
+     pngb8a    NewsGothic-Bold                   A    030    ngb_____
+     pngbo8a   NewsGothic-BoldOblique            A    030    ngbo____
+     pngro8a   NewsGothic-Oblique                A    030    ngo_____
+     ptfr8a    Tiffany                           A    031    tf______
+     ptfd8a    Tiffany-Demi                      A    031    tfd_____
+     ptfdi8a   Tiffany-DemiItalic                A    031    tfdi____
+     ptfh8a    Tiffany-Heavy                     A    031    tfh_____
+     ptfhi8a   Tiffany-HeavyItalic               A    031    tfhi____
+     ptfri8a   Tiffany-Italic                    A    031    tfi_____
+     pcbc8a    CooperBlack                       A    032    cb______
+     pcbci8a   CooperBlack-Italic                A    032    cbi_____
+     pburw8a   BrushScript                       A    033    bs______
+     phbrw8a   Hobo                              A    033    ho______
+     pslb8a    Stencil                           A    033    st______
+     paab8a    Aachen-Bold                       A    034    acb_____
+     pfcrw8a   FreestyleScript                   A    034    fs______
+     prvb8a    Revue                             A    034    re______
+     puyr8a    UniversityRoman                   A    034    ur______
+     prtr      Carta                             A    035    cr______
+     plcr8a    Lucida                            A    036    lc______
+     plcb8a    Lucida-Bold                       A    036    lcb_____
+     plcbi8a   Lucida-BoldItalic                 A    036    lcbi____
+     plcri8a   Lucida-Italic                     A    036    lci_____
+     punr8a    Univers                           A    037    uv______
+     punb8a    Univers-Bold                      A    037    uvb_____
+     punc8a    Univers-Black                     A    037    uvbl____
+     punco8a   Univers-BlackOblique              A    037    uvblo___
+     punbo8a   Univers-BoldOblique               A    037    uvbo____
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+     punlo8a   Univers-LightOblique              A    037    uvlo____
+     punro8a   Univers-Oblique                   A    037    uvo_____
+     punr8ac   Univers-Condensed                 A    038    uvc_____
+     punb8ac   Univers-CondensedBold             A    038    uvcb____
+     punbo8ac  Univers-CondensedBoldOblique      A    038    uvcbo___
+     punro8ac  Univers-CondensedOblique          A    038    uvcdo___
+     punl8ac   Univers-CondensedLight            A    038    uvcl____
+     punlo8ac  Univers-CondensedLightOblique     A    038    uvclo___
+     pfub8a    Futura-Bold                       A    039    fub_____
+     pfubo8a   Futura-BoldOblique                A    039    fubo____
+     pful8a    Futura-Light                      A    039    ful_____
+     pfulo8a   Futura-LightOblique               A    039    fulo____
+     pfuk8a    Futura-Book                       A    039    fuw_____
+     pfuko8a   Futura-BookOblique                A    039    fuwo____
+     pstr8a    StoneSerif                        A    040    sr______
+     pstb8a    StoneSerif-Bold                   A    040    srb_____
+     pstbi8a   StoneSerif-BoldItalic             A    040    srbi____
+     pstri8a   StoneSerif-Italic                 A    040    sri_____
+     psts8a    StoneSerif-Semibold               A    040    srsb____
+     pstsi8a   StoneSerif-SemiboldItalic         A    040    srsbi___
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+     ps8b8a    StoneSans-Bold                    A    041    ssb_____
+     ps8bi8a   StoneSans-BoldItalic              A    041    ssbi____
+     ps8ri8a   StoneSans-Italic                  A    041    ssi_____
+     ps8s8a    StoneSans-Semibold                A    041    sssb____
+     ps8si8a   StoneSans-SemiboldItalic          A    041    sssbi___
+     psir8a    StoneInformal                     A    042    si______
+     psib8a    StoneInformal-Bold                A    042    sib_____
+     psibi8a   StoneInformal-BoldItalic          A    042    sibi____
+     psiri8a   StoneInformal-Italic              A    042    sii_____
+     psis8a    StoneInformal-Semibold            A    042    sisb____
+     psisi8a   StoneInformal-SemiboldItalic      A    042    sisbi___
+     ponr8a    Corona                            A    043    cn______
+     ponb8a    Corona-Bold                       A    043    cnb_____
+     ponri8a   Corona-Italic                     A    043    cni_____
+     pesr8a    Eurostile                         A    044    eu______
+     pesb8a    Eurostile-Bold                    A    044    eub_____
+     pesbi8a   Eurostile-BoldOblique             A    044    eubo____
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+     pesdi8a   Eurostile-DemiOblique             A    044    eudo____
+     pesri8a   Eurostile-Oblique                 A    044    euo_____
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+     pexb8a    Excelsior-Bold                    A    045    exb_____
+     pexri8a   Excelsior-Italic                  A    045    exi_____
+     pfur8a    Futura                            A    046    fu______
+     pfux8a    Futura-ExtraBold                  A    046    fueb____
+     pfuxo8a   Futura-ExtraBoldOblique           A    046    fuebo___
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+     pfuho8a   Futura-HeavyOblique               A    046    fuho____
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+     pfuxo8ac  Futura-CondExtraBoldObl           A    047    fcebo___
+     pfur8ac   Futura-Condensed                  A    047    fuc_____
+     pfub8ac   Futura-CondensedBold              A    047    fucb____
+     pfubo8ac  Futura-CondensedBoldOblique       A    047    fucbo___
+     pfux8ac   Futura-CondensedExtraBold         A    047    fuceb___
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+     pfulo8ac  Futura-CondensedLightOblique      A    047    fuclo___
+     pfuro8ac  Futura-CondensedOblique           A    047    fuco____
+     plsr8a    LucidaSans                        A    048    ls______
+     plsb8a    LucidaSans-Bold                   A    048    lsb_____
+     plsbi8a   LucidaSans-BoldItalic             A    048    lsbi____
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+     pgyhi8a   Goudy-HeavyfaceItalic             A    054    gohi____
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+     phnbi8a   HelveticaNeue-BoldItalic          A    060    hlbi____
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+     phnhi8a   HelveticaNeue-HeavyItalic         A    061    hlhi____
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+     pndsi8a   NewCaledonia-SemiBoldItalic       A    066    nlsi____
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+     pfrb8a    Frutiger-Bold                     A    073    ftb_____
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+     pegbi8a   StempelGaramond-BoldItalic        A    075    gsbi____
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+     pg3bi8a   GaramondThree-BoldItalic          A    077    gmbi____
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+     pulrk     Universal-GreekwithMathPi         A    078    unvmg___
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+     pwbbi8a   WalbaumBook-BoldItalic            A    081    wbbi____
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+     paol8a    AntiqueOlive-Light                A    082    aql_____
+     paor8a    AntiqueOlive-Roman                A    082    aqr_____
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+     pftrf7c   FetteFraktur-Dfr                  A    090    ffdfr___
+     phir8a    HelveticaInserat-Roman            A    090    hir_____
+     pptr8a    Present                           A    090    pr______
+     pdcr8a    DomCasual                         A    091    dc______
+     pdcb8a    DomCasual-Bold                    A    091    dcb_____
+     ppqm8a    PostAntiquaBE-Medium              A    092    pbm_____
+     ppqr8a    PostAntiquaBE-Regular             A    092    pbrg____
+     pfob8a    Folio-Bold                        A    093    fob_____
+     pfob8ac   Folio-BoldCondensed               A    093    fobc____
+     pfox8a    Folio-ExtraBold                   A    093    foeb____
+     pfol8a    Folio-Light                       A    093    fol_____
+     pfom8a    Folio-Medium                      A    093    fom_____
+     plnrw8a   Linoscript                        A    094    lp______
+     plnrf8a   Linotext                          A    094    lx______
+     plnrf7c   Linotext-Dfr                      A    094    lxdfr___
+     pvrb8a    VAGRounded-Bold                   A    095    vrb_____
+     pvrc8a    VAGRounded-Black                  A    095    vrbl____
+     pvrl8a    VAGRounded-Light                  A    095    vrl_____
+     pvra8a    VAGRounded-Thin                   A    095    vrt_____
+     pazb8a    AkzidenzGroteskBE-Bold            A    096    gfb_____
+     pazbi8a   AkzidenzGroteskBE-BoldIt          A    096    gfbi____
+     pazri8a   AkzidenzGroteskBE-It              A    096    gfi_____
+     pazl8a    AkzidenzGroteskBE-Light           A    096    gfl_____
+     pazlj8a   AkzidenzGroteskBE-LightOsF        A    096    gflos___
+     pazm8a    AkzidenzGroteskBE-Md              A    096    gfm_____
+     pazmi8a   AkzidenzGroteskBE-MdIt            A    096    gfmi____
+     pazr8a    AkzidenzGroteskBE-Regular         A    096    gfrg____
+     pazu8a    AkzidenzGroteskBE-Super           A    096    gfsu____
+     pipb8a    Impressum-Bold                    A    097    imb_____
+     pipri8a   Impressum-Italic                  A    097    imi_____
+     pipr8a    Impressum-Roman                   A    097    imr_____
+     pubb8a    BauerBodoni-Bold                  A    098    bbb_____
+     pubbi8a   BauerBodoni-BoldItalic            A    098    bbbi____
+     pubri8a   BauerBodoni-Italic                A    098    bbi_____
+     pubr8a    BauerBodoni-Roman                 A    098    bbr_____
+     pnar8a    NewAster                          A    099    na______
+     pnab8a    NewAster-Bold                     A    099    nab_____
+     pnabi8a   NewAster-BoldItalic               A    099    nabi____
+     pnac8a    NewAster-Black                    A    099    nabl____
+     pnaci8a   NewAster-BlackItalic              A    099    nabli___
+     pnari8a   NewAster-Italic                   A    099    nai_____
+     pnas8a    NewAster-SemiBold                 A    099    nas_____
+     pnasi8a   NewAster-SemiBoldItalic           A    099    nasi____
+     padb8a    AGaramond-Bold                    A    100    gdb_____
+     padbi8a   AGaramond-BoldItalic              A    100    gdbi____
+     padri8a   AGaramond-Italic                  A    100    gdi_____
+     padr8a    AGaramond-Regular                 A    100    gdrg____
+     pads8a    AGaramond-Semibold                A    100    gdsb____
+     padsi8a   AGaramond-SemiboldItalic          A    100    gdsbi___
+     padbij8a  AGaramond-BoldItalicOsF           A    101    gdbio___
+     padbj8a   AGaramond-BoldOsF                 A    101    gdbos___
+     padrij8a  AGaramond-ItalicOsF               A    101    gdio____
+     padsc8a   AGaramond-SemiboldSC              A    101    gdsbs___
+     padrc8a   AGaramond-RegularSC               A    101    gdsc____
+     padsij8a  AGaramond-SemiboldItalicOsF       A    101    gdsis___
+     padrd8a   AGaramond-Titling                 A    101    gdttl___
+     padb8x    AGaramondExp-Bold                 A    101    geb_____
+     padbi8x   AGaramondExp-BoldItalic           A    101    gebi____
+     padri8x   AGaramondExp-Italic               A    101    gei_____
+     padr8x    AGaramondExp-Regular              A    101    gerg____
+     pads8x    AGaramondExp-Semibold             A    101    gesb____
+     padsi8x   AGaramondExp-SemiboldItalic       A    101    gesbi___
+     padri7a   AGaramondAlt-Italic               A    101    ggi_____
+     padr7a    AGaramondAlt-Regular              A    101    ggrg____
+     pcib8a    Candida-Bold                      A    102    cgb_____
+     pciri8a   Candida-Italic                    A    102    cgi_____
+     pcir8a    Candida-Roman                     A    102    cgr_____
+     pfgr8ac   FranklinGothic-Condensed          A    103    fgc_____
+     pfgr8aq   FranklinGothic-ExtraCond          A    103    fgec____
+     pfgr8a    FranklinGothic-Roman              A    103    fgr_____
+     putb8a    Utopia-Bold                       A    104    utb_____
+     putbi8a   Utopia-BoldItalic                 A    104    utbi____
+     putc8a    Utopia-Black                      A    104    utbl____
+     putri8a   Utopia-Italic                     A    104    uti_____
+     putr8a    Utopia-Regular                    A    104    utrg____
+     puts8a    Utopia-Semibold                   A    104    utsb____
+     putsi8a   Utopia-SemiboldItalic             A    104    utsbi___
+     putb8x    UtopiaExp-Bold                    A    105    ueb_____
+     putbi8x   UtopiaExp-BoldItalic              A    105    uebi____
+     putc8x    UtopiaExp-Black                   A    105    uebl____
+     putri8x   UtopiaExp-Italic                  A    105    uei_____
+     putr8x    UtopiaExp-Regular                 A    105    uerg____
+     puts8x    UtopiaExp-Semibold                A    105    uesb____
+     putsi8x   UtopiaExp-SemiboldItalic          A    105    uesbi___
+     putbij8a  Utopia-BoldItalicOsF              A    105    utbio___
+     putbj8a   Utopia-BoldOsF                    A    105    utbos___
+     putrij8a  Utopia-ItalicOsF                  A    105    utio____
+     putrp     Utopia-Ornaments                  A    105    utor____
+     putrc8a   Utopia-RegularSC                  A    105    utrsc___
+     putsc8a   Utopia-SemiboldSC                 A    105    utsbs___
+     putsij8a  Utopia-SemiboldItalicOsF          A    105    utsis___
+     putrd8a   Utopia-Titling                    A    105    utttl___
+     putcj8a   Utopia-BlackOsF                   A    105    utzof___
+     pbyb8a    Berkeley-Bold                     A    106    byb_____
+     pbybi8a   Berkeley-BoldItalic               A    106    bybi____
+     pbyc8a    Berkeley-Black                    A    106    bybl____
+     pbyci8a   Berkeley-BlackItalic              A    106    bybli___
+     pbymi8a   Berkeley-Italic                   A    106    byi_____
+     pbym8a    Berkeley-Medium                   A    106    bym_____
+     pbyk8a    Berkeley-Book                     A    106    byw_____
+     pbyki8a   Berkeley-BookItalic               A    106    bywi____
+     paob8ac   AntiqueOlive-BoldCond             A    107    aqbc____
+     paor8ap   AntiqueOlive-Compact              A    107    aqct____
+     paohix8a  AntiqueOlive-Nord                 A    107    aqnr____
+     paohrx8a  AntiqueOlive-NordItalic           A    107    aqnri___
+     ppsr8a    Parisian                          A    108    pn______
+     pumr8a    Umbra                             A    108    um______
+     pmsrw8a   Mistral                           A    109    ms______
+     prprw8a   Reporter-Two                      A    109    rp______
+     pccrw8a   CascadeScript                     A    110    ck______
+     pmirw8a   MediciScript                      A    110    mc______
+     pnurw8a   NuptialScript                     A    110    nu______
+     pubb8ac   BauerBodoni-BoldCond              A    111    bbbc____
+     pubc8a    BauerBodoni-Black                 A    111    bbbl____
+     pubc8ac   BauerBodoni-BlackCond             A    111    bbblc___
+     pubci8a   BauerBodoni-BlackItalic           A    111    bbbli___
+     pmdb8a    Meridien-Bold                     A    112    m0b_____
+     pmdbi8a   Meridien-BoldItalic               A    112    m0bi____
+     pmdri8a   Meridien-Italic                   A    112    m0i_____
+     pmdm8a    Meridien-Medium                   A    112    m0m_____
+     pmdmi8a   Meridien-MediumItalic             A    112    m0mi____
+     pmdr8a    Meridien-Roman                    A    112    m0r_____
+     zpcp29ab  Copperplate-TwentyNineAB          A    113    cp29a___
+     zpcp29bc  Copperplate-TwentyNineBC          A    113    cp29c___
+     zpcp30ab  Copperplate-ThirtyAB              A    113    cp30a___
+     zpcp30bc  Copperplate-ThirtyBC              A    113    cp30c___
+     zpcp31ab  Copperplate-ThirtyOneAB           A    113    cp31a___
+     zpcp31bc  Copperplate-ThirtyOneBC           A    113    cp31c___
+     zpcp32ab  Copperplate-ThirtyTwoAB           A    113    cp32a___
+     zpcp32bc  Copperplate-ThirtyTwoBC           A    113    cp32c___
+     zpcp33bc  Copperplate-ThirtyThreeBC         A    113    cp33c___
+     pnvb8a    Novarese-Bold                     A    114    nob_____
+     pnvbi8a   Novarese-BoldItalic               A    114    nobi____
+     pnvm8a    Novarese-Medium                   A    114    nom_____
+     pnvmi8a   Novarese-MediumItalic             A    114    nomi____
+     pnvu8a    Novarese-Ultra                    A    114    nou_____
+     pnvk8a    Novarese-Book                     A    114    now_____
+     pnvki8a   Novarese-BookItalic               A    114    nowi____
+     pksbw8a   KuenstlerScript-TwoBold           A    115    kt2b____
+     pkscw8a   KuenstlerScript-Black             A    115    ktbl____
+     pksmw8a   KuenstlerScript-Medium            A    115    ktm_____
+     parr8a    Arcadia                           A    116    a_______
+     parra8a   Arcadia-A                         A    116    a_aaa___
+     pinrh8a   Industria-Inline                  A    116    inin____
+     pinrha8a  Industria-InlineA                 A    116    inina___
+     piar8a    Insignia                          A    116    ins_____
+     piara8a   Insignia-A                        A    116    insa____
+     pinr8a    Industria-Solid                   A    116    insd____
+     pinra8a   Industria-SolidA                  A    116    insda___
+     psvb8a    Souvenir-Bold                     A    117    sub_____
+     psvbi8a   Souvenir-BoldItalic               A    117    subi____
+     psvm8a    Souvenir-Medium                   A    117    sum_____
+     psvmi8a   Souvenir-MediumItalic             A    117    sumi____
+     pbdb8ac   Bodoni-BoldCondensed              A    118    bdbc____
+     pbdp8ap   Bodoni-PosterCompressed           A    118    bdpsc___
+     pbdpi8a   Bodoni-PosterItalic               A    118    bdpsi___
+     pbdk8a    Bodoni-Book                       A    118    bdw_____
+     pbdki8a   Bodoni-BookItalic                 A    118    bdwi____
+     prqr8a    RussellSquare                     A    119    ru______
+     prqro8a   RussellSquare-Oblique             A    119    ruo_____
+     pcgb8a    Charlemagne-Bold                  A    120    czb_____
+     pcgr8a    Charlemagne-Regular               A    120    czrg____
+     ptjb8a    Trajan-Bold                       A    120    tjb_____
+     ptjr8a    Trajan-Regular                    A    120    tjrg____
+     plob8a    Lithos-Bold                       A    121    lob_____
+     ploc8a    Lithos-Black                      A    121    lobl____
+     ploi8a    Lithos-ExtraLight                 A    121    loel____
+     plol8a    Lithos-Light                      A    121    lol_____
+     plor8a    Lithos-Regular                    A    121    lorg____
+     pcwr8a    Cottonwood                        A    122    c_______
+     piwr8a    Ironwood                          A    122    i_______
+     pjpr8a    Juniper                           A    122    j_______
+     pmqr8a    Mesquite                          A    122    m_______
+     ppor8a    Ponderosa                         A    122    p_______
+     ppi026    WoodtypeOrnaments-One             A    122    woor____
+     ptkb8a    Tekton-Bold                       A    123    tkb_____
+     ptkbo8a   Tekton-BoldOblique                A    123    tkbo____
+     ptkro8a   Tekton-Oblique                    A    123    tko_____
+     ptkr8a    Tekton                            A    123    tkrg____
+     pagb8ac   AvantGarde-CondBold               A    124    agcb____
+     pagd8ac   AvantGarde-CondDemi               A    124    agcd____
+     pagm8ac   AvantGarde-CondMedium             A    124    agcm____
+     pagk8ac   AvantGarde-CondBook               A    124    agcw____
+     pssb8a    StempelSchneidler-Bold            A    125    skb_____
+     pssbi8a   StempelSchneidler-BoldItalic      A    125    skbi____
+     pssc8a    StempelSchneidler-Black           A    125    skbl____
+     pssci8a   StempelSchneidler-BlackItalic     A    125    skbli___
+     pssri8a   StempelSchneidler-Italic          A    125    ski_____
+     pssl8a    StempelSchneidler-Light           A    125    skl_____
+     pssli8a   StempelSchneidler-LightItalic     A    125    skli____
+     pssm8a    StempelSchneidler-Medium          A    125    skm_____
+     pssmi8a   StempelSchneidler-MedItalic       A    125    skmi____
+     pssr8a    StempelSchneidler-Roman           A    125    skr_____
+     ptgr8a    TradeGothic                       A    126    tg______
+     ptgb8a    TradeGothic-Bold                  A    126    tgb_____
+     ptgbo8a   TradeGothic-BoldOblique           A    126    tgbo____
+     ptgc8a    TradeGothic-BoldTwo               A    126    tgb2____
+     ptgco8a   TradeGothic-BoldTwoOblique        A    126    tgb2o___
+     ptgl8a    TradeGothic-Light                 A    126    tgl_____
+     ptglo8a   TradeGothic-LightOblique          A    126    tglo____
+     ptgro8a   TradeGothic-Oblique               A    126    tgo_____
+     ptgb8ac   TradeGothic-BoldCondTwenty        A    127    tgbc____
+     ptgbo8ac  TradeGothic-BoldCondTwentyObl     A    127    tgbco___
+     ptgr8ac   TradeGothic-CondEighteen          A    127    tgc_____
+     ptgro8ac  TradeGothic-CondEighteenObl       A    127    tgco____
+     prar8a    Raleigh                           A    128    ra______
+     prab8a    Raleigh-Bold                      A    128    rab_____
+     prad8a    Raleigh-DemiBold                  A    128    rad_____
+     pram8a    Raleigh-Medium                    A    128    ram_____
+     pmtb8a    Minister-Bold                     A    129    mzb_____
+     pmtbi8a   Minister-BoldItalic               A    129    mzbi____
+     pmtc8a    Minister-Black                    A    129    mzbl____
+     pmtci8a   Minister-BlackItalic              A    129    mzbli___
+     pmtl8a    Minister-Light                    A    129    mzl_____
+     pmtli8a   Minister-LightItalic              A    129    mzli____
+     pmtk8a    Minister-Book                     A    129    mzw_____
+     pmtki8a   Minister-BookItalic               A    129    mzwi____
+     pesb8ac   Eurostile-BoldCondensed           A    130    eubc____
+     pesb8ax   Eurostile-BoldExtendedTwo         A    130    eubex___
+     pesr8ac   Eurostile-Condensed               A    130    euc_____
+     pesr8ax   Eurostile-ExtendedTwo             A    130    euex____
+     pwdb8a    Weidemann-Bold                    A    131    wdb_____
+     pwdbi8a   Weidemann-BoldItalic              A    131    wdbi____
+     pwdc8a    Weidemann-Black                   A    131    wdbl____
+     pwdci8a   Weidemann-BlackItalic             A    131    wdbli___
+     pwdm8a    Weidemann-Medium                  A    131    wdm_____
+     pwdmi8a   Weidemann-MediumItalic            A    131    wdmi____
+     pwdk8a    Weidemann-Book                    A    131    wdw_____
+     pwdki8a   Weidemann-BookItalic              A    131    wdwi____
+     pqrb8a    Quorum-Bold                       A    132    qob_____
+     pqrc8a    Quorum-Black                      A    132    qobl____
+     pqrl8a    Quorum-Light                      A    132    qol_____
+     pqrm8a    Quorum-Medium                     A    132    qom_____
+     pqrk8a    Quorum-Book                       A    132    qow_____
+     pcxb8a    Caxton-Bold                       A    133    cxb_____
+     pcxbi8a   Caxton-BoldItalic                 A    133    cxbi____
+     pcxl8a    Caxton-Light                      A    133    cxl_____
+     pcxli8a   Caxton-LightItalic                A    133    cxli____
+     pcxk8a    Caxton-Book                       A    133    cxw_____
+     pcxki8a   Caxton-BookItalic                 A    133    cxwi____
+     psxb8a    Syntax-Bold                       A    134    sxb_____
+     psxc8a    Syntax-Black                      A    134    sxbl____
+     psxri8a   Syntax-Italic                     A    134    sxi_____
+     psxr8a    Syntax-Roman                      A    134    sxr_____
+     psxu8a    Syntax-UltraBlack                 A    134    sxubl___
+     pdrb8a    Doric-Bold                        A    135    drb_____
+     pmxr8a    Maximus                           A    135    mx______
+     pserd8a   Shelley-AllegroScript             A    136    shal____
+     pser8a    Shelley-AndanteScript             A    136    shan____
+     pserw8a   Shelley-VolanteScript             A    136    shvo____
+     pnzk8a    NeuzeitS-Book                     A    137    new_____
+     pnzh8a    NeuzeitS-BookHeavy                A    137    newh____
+     pvlb8a    Versailles-Bold                   A    138    veb_____
+     pvlbi8a   Versailles-BoldItalic             A    138    vebi____
+     pvlc8a    Versailles-Black                  A    138    vebl____
+     pvlci8a   Versailles-BlackItalic            A    138    vebli___
+     pvlri8a   Versailles-Italic                 A    138    vei_____
+     pvll8a    Versailles-Light                  A    138    vel_____
+     pvlli8a   Versailles-LightItalic            A    138    veli____
+     pvlr8a    Versailles-Roman                  A    138    ver_____
+     pgmb8ac   Garamond-BoldCondensed            A    139    gabc____
+     pgmbi8ac  Garamond-BoldCondensedItalic      A    139    gabci___
+     pgml8ac   Garamond-LightCondensed           A    139    galc____
+     pgmlu8ac  Garamond-LightCondensedItalic     A    139    galci___
+     pgmu8ac   Garamond-UltraCondensed           A    139    gauc____
+     pgmui8ac  Garamond-UltraCondensedItalic     A    139    gauci___
+     pgmk8ac   Garamond-BookCondensed            A    139    gawc____
+     pgmki8ac  Garamond-BookCondensedItalic      A    139    gawci___
+     pctl8a    Cheltenham-Light                  A    140    chl_____
+     pctli8a   Cheltenham-LightItalic            A    140    chli____
+     pctu8a    Cheltenham-Ultra                  A    140    chu_____
+     pctui8a   Cheltenham-UltraItalic            A    140    chui____
+     pcnb8a    Century-Bold                      A    141    icb_____
+     pcnbi8a   Century-BoldItalic                A    141    icbi____
+     pcnl8a    Century-Light                     A    141    icl_____
+     pcnli8a   Century-LightItalic               A    141    icli____
+     pcnu8a    Century-Ultra                     A    141    icu_____
+     pcnui8a   Century-UltraItalic               A    141    icui____
+     pcnk8a    Century-Book                      A    141    icw_____
+     pcnki8a   Century-BookItalic                A    141    icwi____
+     pcnb8ac   Century-BoldCondensed             A    142    icbc____
+     pcnbi8ac  Century-BoldCondensedItalic       A    142    icbci___
+     pcnl8ac   Century-LightCondensed            A    142    iclc____
+     pcnli8ac  Century-LightCondensedItalic      A    142    iclci___
+     pcnu8ac   Century-UltraCondensed            A    142    icuc____
+     pcnui8ac  Century-UltraCondensedItalic      A    142    icuci___
+     pcnk8ac   Century-BookCondensed             A    142    icwc____
+     pcnki8ac  Century-BookCondensedItalic       A    142    icwci___
+     pmnb8a    Minion-Bold                       A    143    mob_____
+     pmnbi8a   Minion-BoldItalic                 A    143    mobi____
+     pmnc8a    Minion-Black                      A    143    mobl____
+     pmnrd8a   Minion-DisplayRegular             A    143    mods____
+     pmnrid8a  Minion-DisplayItalic              A    143    modsi___
+     pmnri8a   Minion-Italic                     A    143    moi_____
+     pmnr8a    Minion-Regular                    A    143    morg____
+     pmns8a    Minion-Semibold                   A    143    mosb____
+     pmnsi8a   Minion-SemiboldItalic             A    143    mosbi___
+     pmnb8x    MinionExp-Bold                    A    144    mjb_____
+     pmnbi8x   MinionExp-BoldItalic              A    144    mjbi____
+     pmnc8x    MinionExp-Black                   A    144    mjbl____
+     pmnrd8x   MinionExp-DisplayRegular          A    144    mjds____
+     pmnrid8x  MinionExp-DisplayItalic           A    144    mjdsi___
+     pmnri8x   MinionExp-Italic                  A    144    mji_____
+     pmnr8x    MinionExp-Regular                 A    144    mjrg____
+     pmns8x    MinionExp-Semibold                A    144    mjsb____
+     pmnsi8x   MinionExp-SemiboldItalic          A    144    mjsbi___
+     pmnbij8a  Minion-BoldItalicOsF              A    144    mobio___
+     pmnbj8a   Minion-BoldOsF                    A    144    mobos___
+     pmnricd8a Minion-DisplayItalicSC            A    144    modis___
+     pmnrcd8a  Minion-DisplayRegularSC           A    144    modsc___
+     pmnric8a  Minion-ItalicSC                   A    144    moisc___
+     pmnrp     Minion-Ornaments                  A    144    moor____
+     pmnsc8a   Minion-SemiboldSC                 A    144    mosbs___
+     pmnrc8a   Minion-RegularSC                  A    144    mosc____
+     pmnriwd7a Minion-SwashDisplayItalic         A    144    mosdi___
+     pmnsic8a  Minion-SemiboldItalicSC           A    144    mosic___
+     pmnsiw7a  Minion-SwashSemiboldItalic        A    144    mossb___
+     pmnriw7a  Minion-SwashItalic                A    144    moswi___
+     pmncj8a   Minion-BlackOsF                   A    144    mozof___
+     mnsb8a    TimesNewRomanPS-Bold              A    145    mtb_____
+     mnsbi8a   TimesNewRomanPS-BoldItalic        A    145    mtbi____
+     mnsri8a   TimesNewRomanPS-Italic            A    145    mti_____
+     pnsr8a    TimesNewRomanPS                   A    145    mtr_____
+     pbkb8a    Bookman-Bold                      A    146    bkb_____
+     pbkbi8a   Bookman-BoldItalic                A    146    bkbi____
+     pbkm8a    Bookman-Medium                    A    146    bkm_____
+     pbkmi8a   Bookman-MediumItalic              A    146    bkmi____
+     psrrw8a   SnellRoundhand-Script             A    147    sn______
+     psrbw8a   SnellRoundhand-BoldScript         A    147    snb_____
+     psrcw8a   SnellRoundhand-BlackScript        A    147    snbl____
+     pigb8a    SimonciniGaramond-Bold            A    148    gib_____
+     pigri8a   SimonciniGaramond-Italic          A    148    gii_____
+     pigr8a    SimonciniGaramond                 A    148    gir_____
+     pbcr8a    Banco                             A    149    bc______
+     phmr8a    Charme                            A    149    cu______
+     pfyc8ac   Flyer-BlackCondensed              A    149    flblc___
+     pfyx8ac   Flyer-ExtraBlackCondensed         A    149    flebc___
+     pwgrf8a   WilhelmKlingsporGotisch           A    149    wk______
+     pwgrf7c   WilhelmKlingsporGotisch-Dfr       A    149    wkdfr___
+     pgmu8a    Garamond-Ultra                    A    150    gau_____
+     pgmui8a   Garamond-UltraItalic              A    150    gaui____
+     pgmk8a    Garamond-Book                     A    150    gaw_____
+     pgmki8a   Garamond-BookItalic               A    150    gawi____
+     prwr8a    Rockwell                          A    151    rk______
+     prwb8a    Rockwell-Bold                     A    151    rkb_____
+     prwbi8a   Rockwell-BoldItalic               A    151    rkbi____
+     prwri8a   Rockwell-Italic                   A    151    rki_____
+     prwl8a    Rockwell-Light                    A    151    rkl_____
+     prwli8a   Rockwell-LightItalic              A    151    rkli____
+     pgsr8a    GillSans                          A    152    gn______
+     pgsb8a    GillSans-Bold                     A    152    gnb_____
+     pgsbi8a   GillSans-BoldItalic               A    152    gnbi____
+     pgsri8a   GillSans-Italic                   A    152    gni_____
+     pgsl8a    GillSans-Light                    A    152    gnl_____
+     pgsli8a   GillSans-LightItalic              A    152    gnli____
+     pspb8a    Serpentine-Bold                   A    153    sfb_____
+     pspbo8a   Serpentine-BoldOblique            A    153    sfbo____
+     pspl8a    Serpentine-Light                  A    153    sfl_____
+     psplo8a   Serpentine-LightOblique           A    153    sflo____
+     pspm8a    Serpentine-Medium                 A    153    sfm_____
+     pspmo8a   Serpentine-MediumOblique          A    153    sfmo____
+     plcrv     LucidaMath-Extension              A    154    lme_____
+     plcrim    LucidaMath-Italic                 A    154    lmi_____
+     plcry     LucidaMath-Symbol                 A    154    lms_____
+     ppi005    EuropeanPi-One                    A    155    euro1___
+     ppi006    EuropeanPi-Two                    A    155    euro2___
+     ppi007    EuropeanPi-Three                  A    155    euro3___
+     ppi008    EuropeanPi-Four                   A    155    euro4___
+     ppi001    BorderPi-OneFiveOneFiveNine       A    155    j1515___
+     ppi002    BundesbahnPi-One                  A    156    db1_____
+     ppi003    BundesbahnPi-Two                  A    156    db2_____
+     ppi004    BundesbahnPi-Three                A    156    db3_____
+     pc2b8a    CaslonTwoTwentyFour-Bold          A    157    c2b_____
+     pc2bi8a   CaslonTwoTwentyFour-BoldIt        A    157    c2bi____
+     pc2c8a    CaslonTwoTwentyFour-Black         A    157    c2bl____
+     pc2ci8a   CaslonTwoTwentyFour-BlackIt       A    157    c2bli___
+     pc2m8a    CaslonTwoTwentyFour-Medium        A    157    c2m_____
+     pc2mi8a   CaslonTwoTwentyFour-MediumIt      A    157    c2mi____
+     pc2k8a    CaslonTwoTwentyFour-Book          A    157    c2w_____
+     pc2ki8a   CaslonTwoTwentyFour-BookIt        A    157    c2wi____
+     ppi020    MathematicalPi-One                A    158    mh1_____
+     ppi021    MathematicalPi-Two                A    158    mh2_____
+     ppi022    MathematicalPi-Three              A    158    mh3_____
+     ppi023    MathematicalPi-Four               A    158    mh4_____
+     ppi024    MathematicalPi-Five               A    158    mh5_____
+     ppi025    MathematicalPi-Six                A    158    mh6_____
+     plwb8a    Leawood-Bold                      A    159    lwb_____
+     plwbi8a   Leawood-BoldItalic                A    159    lwbi____
+     plwc8a    Leawood-Black                     A    159    lwbl____
+     plwci8a   Leawood-BlackItalic               A    159    lwbli___
+     plwm8a    Leawood-Medium                    A    159    lwm_____
+     plwmi8a   Leawood-MediumItalic              A    159    lwmi____
+     plwk8a    Leawood-Book                      A    159    lww_____
+     plwki8a   Leawood-BookItalic                A    159    lwwi____
+     pbir8a    Birch                             A    160    bi______
+     pb0r8a    Blackoak                          A    160    bo______
+     pmrr8a    Madrone                           A    160    mq______
+     pp0r8a    Poplar                            A    160    pp______
+     pwwr8a    Willow                            A    160    wi______
+     ppi027    WoodtypeOrnaments-Two             A    160    woor2___
+     pbbr8a    Bembo                             A    161    bm______
+     pbbb8a    Bembo-Bold                        A    161    bmb_____
+     pbbbi8a   Bembo-BoldItalic                  A    161    bmbi____
+     pbbri8a   Bembo-Italic                      A    161    bmi_____
+     pgsb8ac   GillSans-BoldCondensed            A    162    gnbc____
+     pgsr8ac   GillSans-Condensed                A    162    gnc_____
+     pgsx8a    GillSans-ExtraBold                A    162    gneb____
+     pgsu8a    GillSans-UltraBold                A    162    gnub____
+     pgsu8ac   GillSans-UltraBoldCondensed       A    162    gnubc___
+     prwb8ac   Rockwell-BoldCondensed            A    163    rkbc____
+     prwr8ac   Rockwell-Condensed                A    163    rkc_____
+     prwx8a    Rockwell-ExtraBold                A    163    rkeb____
+     pgpc8a    Glypha-Black                      A    164    gybl____
+     pgpco8a   Glypha-BlackOblique               A    164    gyblo___
+     pgpl8a    Glypha-Light                      A    164    gyl_____
+     pgplo8a   Glypha-LightOblique               A    164    gylo____
+     pgpa8a    Glypha-Thin                       A    164    gyt_____
+     pgpao8a   Glypha-ThinOblique                A    164    gyto____
+     pzcb8a    ZapfChancery-Bold                 A    165    zcb_____
+     pzcd8a    ZapfChancery-Demi                 A    165    zcd_____
+     pzcri8a   ZapfChancery-Italic               A    165    zci_____
+     pzcl8a    ZapfChancery-Light                A    165    zcl_____
+     pzcli8a   ZapfChancery-LightItalic          A    165    zcli____
+     pzcr8a    ZapfChancery-Roman                A    165    zcr_____
+     puwb8a    Usherwood-Bold                    A    166    usb_____
+     puwbi8a   Usherwood-BoldItalic              A    166    usbi____
+     puwc8a    Usherwood-Black                   A    166    usbl____
+     puwci8a   Usherwood-BlackItalic             A    166    usbli___
+     puwm8a    Usherwood-Medium                  A    166    usm_____
+     puwmi8a   Usherwood-MediumItalic            A    166    usmi____
+     puwk8a    Usherwood-Book                    A    166    usw_____
+     puwki8a   Usherwood-BookItalic              A    166    uswi____
+     isyb8a    ItcSymbol-Bold                    A    167    isb_____
+     isybi8a   ItcSymbol-BoldItalic              A    167    isbi____
+     isyc8a    ItcSymbol-Black                   A    167    isbl____
+     isyci8a   ItcSymbol-BlackItalic             A    167    isbli___
+     isym8a    ItcSymbol-Medium                  A    167    ism_____
+     isymi8a   ItcSymbol-MediumItalic            A    167    ismi____
+     isyk8a    ItcSymbol-Book                    A    167    isw_____
+     isyki8a   ItcSymbol-BookItalic              A    167    iswi____
+     punb8ax   Univers-BoldExt                   A    168    uvbv____
+     punbo8ax  Univers-BoldExtObl                A    168    uvbvo___
+     punx8ax   Univers-ExtraBlackExt             A    168    uvfv____
+     punxo8ax  Univers-ExtraBlackExtObl          A    168    uvfvo___
+     punr8ax   Univers-Extended                  A    168    uvv_____
+     punro8ax  Univers-ExtendedObl               A    168    uvvo____
+     punc8ax   Univers-BlackExt                  A    168    uvzv____
+     punco8ax  Univers-BlackExtObl               A    168    uvzvo___
+     poyr8a    Olympian                          A    169    ol______
+     poyb8a    Olympian-Bold                     A    169    olb_____
+     poybi8a   Olympian-BoldItalic               A    169    olbi____
+     poyri8a   Olympian-Italic                   A    169    oli_____
+     puhb8a    Cushing-Bold                      A    170    iub_____
+     puhbi8a   Cushing-BoldItalic                A    170    iubi____
+     puhh8a    Cushing-Heavy                     A    170    iuh_____
+     puhhi8a   Cushing-HeavyItalic               A    170    iuhi____
+     puhm8a    Cushing-Medium                    A    170    ium_____
+     puhmi8a   Cushing-MediumItalic              A    170    iumi____
+     puhk8a    Cushing-Book                      A    170    iuw_____
+     puhki8a   Cushing-BookItalic                A    170    iuwi____
+     pcqr      Cheq                              A    171    cq______
+     ps7rp     Sassoon-Primary                   A    172    sass____
+     pfnb8a    Fenice-Bold                       A    173    feb_____
+     pfnbo8a   Fenice-BoldOblique                A    173    febo____
+     pfnl8a    Fenice-Light                      A    173    fel_____
+     pfnlo8a   Fenice-LightOblique               A    173    felo____
+     pfnr8a    Fenice-Regular                    A    173    ferg____
+     pfnro8a   Fenice-RegularOblique             A    173    fergo___
+     pfnu8a    Fenice-Ultra                      A    173    feu_____
+     pfnuo8a   Fenice-UltraOblique               A    173    feuo____
+     pctb8ac   Cheltenham-BoldCond               A    174    chbc____
+     pctbi8ac  Cheltenham-BoldCondItalic         A    174    chbci___
+     pctl8ac   Cheltenham-LightCond              A    174    chlc____
+     pctli8ac  Cheltenham-LightCondItalic        A    174    chlci___
+     pctu8ac   Cheltenham-UltraCond              A    174    chuc____
+     pctui8ac  Cheltenham-UltraCondItalic        A    174    chuci___
+     pctk8ac   Cheltenham-BookCond               A    174    chwc____
+     pctki8ac  Cheltenham-BookCondItalic         A    174    chwci___
+     phrb8a    HelveticaRounded-Bold             A    175    heb_____
+     phrb8ac   HelveticaRounded-BoldCond         A    175    hebc____
+     phrbo8ac  HelveticaRounded-BoldCondObl      A    175    hebco___
+     phrc8a    HelveticaRounded-Black            A    175    hebl____
+     phrco8a   HelveticaRounded-BlackObl         A    175    heblo___
+     phrbo8a   HelveticaRounded-BoldObl          A    175    hebo____
+     pehra8a   DINEngschrift-Alternate           A    176    dinea___
+     pehr8a    DINEngschrift                     A    176    dinen___
+     pm6ra8a   DINMittelschrift-Alternate        A    176    dinma___
+     pm6r8a    DINMittelschrift                  A    176    dinmi___
+     pzgb8ac   DINNeuzeitGrotesk-BoldCond        A    176    dngbc___
+     pzgl8a    DINNeuzeitGrotesk-Light           A    176    dngl____
+     psnh8a    Spartan-HeavyClassified           A    177    sqhcl___
+     psnk8a    Spartan-BookClassified            A    177    sqwcl___
+     pugb8a    BenguiatGothic-Bold               A    178    beb_____
+     pugbo8a   BenguiatGothic-BoldOblique        A    178    bebo____
+     pugh8a    BenguiatGothic-Heavy              A    178    beh_____
+     pugho8a   BenguiatGothic-HeavyOblique       A    178    beho____
+     pugm8a    BenguiatGothic-Medium             A    178    bem_____
+     pugmo8a   BenguiatGothic-MediumOblique      A    178    bemo____
+     pugk8a    BenguiatGothic-Book               A    178    bew_____
+     pugko8a   BenguiatGothic-BookOblique        A    178    bewo____
+     ptmx8a    Times-ExtraBold                   A    179    tieb____
+     ptms8a    Times-Semibold                    A    179    tisb____
+     ptmsi8a   Times-SemiboldItalic              A    179    tisbi___
+     pacb8a    ACaslon-Bold                      A    180    awb_____
+     pacbi8a   ACaslon-BoldItalic                A    180    awbi____
+     pacri8a   ACaslon-Italic                    A    180    awi_____
+     pacr8a    ACaslon-Regular                   A    180    awrg____
+     pacs8a    ACaslon-Semibold                  A    180    awsb____
+     pacsi8a   ACaslon-SemiboldItalic            A    180    awsbi___
+     pacb7a    ACaslon-AltBold                   A    181    awab____
+     pacbi7a   ACaslon-AltBoldItalic             A    181    awabi___
+     pacri7a   ACaslon-AltItalic                 A    181    awai____
+     pacr7a    ACaslon-AltRegular                A    181    awarg___
+     pacs7a    ACaslon-AltSemibold               A    181    awasb___
+     pacsi7a   ACaslon-AltSemiboldItalic         A    181    awasi___
+     pacbij8a  ACaslon-BoldItalicOsF             A    181    awbio___
+     pacbj8a   ACaslon-BoldOsF                   A    181    awbos___
+     pacrij8a  ACaslon-ItalicOsF                 A    181    awio____
+     pacrp     ACaslon-Ornaments                 A    181    awor____
+     pacsc8a   ACaslon-SemiboldSC                A    181    awsbs___
+     pacrc8a   ACaslon-RegularSC                 A    181    awsc____
+     pacsic8a  ACaslon-SemiboldItalicOsF         A    181    awsis___
+     pacsiw7a  ACaslon-SwashSemiboldItalic       A    181    awssb___
+     pacbiw7a  ACaslon-SwashBoldItalic           A    181    awswb___
+     pacriw7a  ACaslon-SwashItalic               A    181    awswi___
+     pacb8x    ACaslonExp-Bold                   A    181    axb_____
+     pacbi8x   ACaslonExp-BoldItalic             A    181    axbi____
+     pacri8x   ACaslonExp-Italic                 A    181    axi_____
+     pacr8x    ACaslonExp-Regular                A    181    axrg____
+     pacs8x    ACaslonExp-Semibold               A    181    axsb____
+     pacsi8x   ACaslonExp-SemiboldItalic         A    181    axsbi___
+     phnj8ax   HelveticaNeue-UltraLigExt         A    182    hlav____
+     phnjo8ax  HelveticaNeue-UltraLigExtObl      A    182    hlavo___
+     phnc8ax   HelveticaNeue-BlackExt            A    182    hlzv____
+     phnco8ax  HelveticaNeue-BlackExtObl         A    182    hlzvo___
+     phnb8ax   HelveticaNeue-BoldExt             A    183    hlbv____
+     phnbo8ax  HelveticaNeue-BoldExtObl          A    183    hlbvo___
+     phna8ax   HelveticaNeue-ThinExt             A    183    hltv____
+     phnao8ax  HelveticaNeue-ThinExtObl          A    183    hltvo___
+     phnr8ax   HelveticaNeue-Extended            A    183    hlv_____
+     phnro8ax  HelveticaNeue-ExtendedObl         A    183    hlvo____
+     phnh8ax   HelveticaNeue-HeavyExt            A    184    hlhv____
+     phnho8ax  HelveticaNeue-HeavyExtObl         A    184    hlhvo___
+     phnl8ax   HelveticaNeue-LightExt            A    184    hllv____
+     phnlo8ax  HelveticaNeue-LightExtObl         A    184    hllvo___
+     phnm8ax   HelveticaNeue-MediumExt           A    184    hlmv____
+     phnmo8ax  HelveticaNeue-MediumExtObl        A    184    hlmvo___
+     pshb8a    Shannon-Bold                      A    185    sbb_____
+     pshx8a    Shannon-ExtraBold                 A    185    sbeb____
+     pshro8a   Shannon-Oblique                   A    185    sbo_____
+     pshk8a    Shannon-Book                      A    185    sbw_____
+     pbbx8a    Bembo-ExtraBold                   A    186    bmeb____
+     pbbxi8a   Bembo-ExtraBoldItalic             A    186    bmebi___
+     pbbs8a    Bembo-Semibold                    A    186    bmsb____
+     pbbsi8a   Bembo-SemiboldItalic              A    186    bmsbi___
+     pggr8a    GarthGraphic                      A    187    gh______
+     pggb8a    GarthGraphic-Bold                 A    187    ghb_____
+     pggb8ac   GarthGraphic-BoldCondensed        A    187    ghbc____
+     pggbi8a   GarthGraphic-BoldItalic           A    187    ghbi____
+     pggr8ac   GarthGraphic-Condensed            A    187    ghc_____
+     pggx8a    GarthGraphic-ExtraBold            A    187    gheb____
+     pggri8a   GarthGraphic-Italic               A    187    ghi_____
+     pggc8a    GarthGraphic-Black                A    187    ghz_____
+     phnj8ac   HelveticaNeue-UltraLigCond        A    188    hla_____
+     phnjo8ac  HelveticaNeue-UltraLigCondObl     A    188    hlao____
+     phnx8ac   HelveticaNeue-ExtBlackCond        A    188    hlj_____
+     phnxo8ac  HelveticaNeue-ExtBlackCondObl     A    188    hljo____
+     phnc8ac   HelveticaNeue-BlackCond           A    188    hlzc____
+     phnco8ac  HelveticaNeue-BlackCondObl        A    188    hlzco___
+     phnb8ac   HelveticaNeue-BoldCond            A    189    hlbc____
+     phnbo8ac  HelveticaNeue-BoldCondObl         A    189    hlbco___
+     phnr8ac   HelveticaNeue-Condensed           A    189    hlc_____
+     phnro8ac  HelveticaNeue-CondensedObl        A    189    hlco____
+     phna8ac   HelveticaNeue-ThinCond            A    189    hltc____
+     phnao8ac  HelveticaNeue-ThinCondObl         A    189    hltco___
+     phnh8ac   HelveticaNeue-HeavyCond           A    190    hlhc____
+     phnho8ac  HelveticaNeue-HeavyCondObl        A    190    hlhco___
+     phnl8ac   HelveticaNeue-LightCond           A    190    hllc____
+     phnlo8ac  HelveticaNeue-LightCondObl        A    190    hllco___
+     phnm8ac   HelveticaNeue-MediumCond          A    190    hlmc____
+     phnmo8ac  HelveticaNeue-MediumCondObl       A    190    hlmco___
+     punx8a    Univers-ExtraBlack                A    191    uvf_____
+     punxo8a   Univers-ExtraBlackObl             A    191    uvfo____
+     punl8ao   Univers-LightUltraCondensed       A    191    uvluc___
+     puna8ao   Univers-ThinUltraCondensed        A    191    uvtuc___
+     punr8ao   Univers-UltraCondensed            A    191    uvuc____
+     pglc8a    Galliard-Black                    A    192    glbl____
+     pglci8a   Galliard-BlackItalic              A    192    glbli___
+     pglu8a    Galliard-Ultra                    A    192    glu_____
+     pglui8a   Galliard-UltraItalic              A    192    glui____
+     pg3bij8a  GaramondThree-BoldItalicOsF       A    193    gmbio___
+     pg3bj8a   GaramondThree-BoldSC              A    193    gmbsc___
+     pg3rij8a  GaramondThree-ItalicOsF           A    193    gmio____
+     pg3rc8a   GaramondThree-SC                  A    193    gmsc____
+     ptmbij8a  Times-BoldItalicOsF               A    194    tibio___
+     ptmbc8a   Times-BoldSC                      A    194    tibsc___
+     ptmrij8a  Times-ItalicOsF                   A    194    tiio____
+     ptmrc8a   Times-RomanSC                     A    194    tirsc___
+     pddrf8a   DucDeBerry                        A    195    du______
+     pddrf7c   DucDeBerry-Dfr                    A    195    dudfr___
+     phcr8a    Herculanum                        A    195    herc____
+     pomr8a    Omnia                             A    195    omni____
+     pttbij8a  TimesTen-BoldItalicOsF            A    196    ttbio___
+     pttbj8a   TimesTen-BoldOsF                  A    196    ttbof___
+     pttrij8a  TimesTen-ItalicOsF                A    196    ttiof___
+     pttrc8a   TimesTen-RomanSC                  A    196    ttrsc___
+     psbbij8a  Sabon-BoldItalicOsF               A    197    sabio___
+     psbbj8a   Sabon-BoldOsF                     A    197    sabof___
+     psbrij8a  Sabon-ItalicOsF                   A    197    saiof___
+     psbrc8a   Sabon-RomanSC                     A    197    sarsc___
+     pwbbij8a  WalbaumBook-BoldItalicOsF         A    198    wbbio___
+     pwbbi8x   WalbaumBook-BoldItalicExpert      A    198    wbbix___
+     pwbbj8a   WalbaumBook-BoldOsF               A    198    wbbos___
+     pwbb8x    WalbaumBook-BoldExpert            A    198    wbbxp___
+     pwbrij8a  WalbaumBook-ItalicOsF             A    198    wbios___
+     pwbri8x   WalbaumBook-ItalicExpert          A    198    wbixp___
+     pwbmij8a  WalbaumBook-MdItalicOsF           A    198    wbmio___
+     pwbmi8x   WalbaumBook-MdItalicExpert        A    198    wbmix___
+     pwbmc8a   WalbaumBook-MediumSC              A    198    wbmsc___
+     pwbm8x    WalbaumBook-MdExpert              A    198    wbmxp___
+     pwbr8x    WalbaumBook-RegularExpert         A    198    wbrgx___
+     pwbrc8a   WalbaumBook-RegularSC             A    198    wbsc____
+     pubbij8a  BauerBodoni-BoldItalicOsF         A    199    bbbio___
+     pubbj8a   BauerBodoni-BoldOsF               A    199    bbbof___
+     pubrij8a  BauerBodoni-ItalicOsF             A    199    bbiof___
+     pubrc8a   BauerBodoni-RomanSC               A    199    bbrsc___
+     pmhr8a    Machine                           A    200    ma______
+     pmhb8a    Machine-Bold                      A    200    mab_____
+     pr1r8a    RotisSemiSerif                    A    201    rf______
+     pr1b8a    RotisSemiSerif-Bold               A    201    rfb_____
+     pror8a    RotisSerif                        A    201    rg______
+     prob8a    RotisSerif-Bold                   A    201    rgb_____
+     prori8a   RotisSerif-Italic                 A    201    rgi_____
+     pr3r8a    RotisSemiSans                     A    202    rc______
+     pr3b8a    RotisSemiSans-Bold                A    202    rcb_____
+     pr3x8a    RotisSemiSans-ExtraBold           A    202    rceb____
+     pr3ri8a   RotisSemiSans-Italic              A    202    rci_____
+     pr3l8a    RotisSemiSans-Light               A    202    rcl_____
+     pr3li8a   RotisSemiSans-LightItalic         A    202    rcli____
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+     pr4b8a    RotisSansSerif-Bold               A    203    rbb_____
+     pr4x8a    RotisSansSerif-ExtraBold          A    203    rbeb____
+     pr4ri8a   RotisSansSerif-Italic             A    203    rbi_____
+     pr4l8a    RotisSansSerif-Light              A    203    rbl_____
+     pr4li8a   RotisSansSerif-LightItalic        A    203    rbli____
+     pjnbij8a  JansonText-BoldItalicOsF          A    204    jtbio___
+     pjnbj8a   JansonText-BoldOsF                A    204    jtbof___
+     pjnrij8a  JansonText-ItalicOsF              A    204    jtiof___
+     pjnrc8a   JansonText-RomanSC                A    204    jtrsc___
+     pgjr8a    Granjon                           A    205    gr______
+     pgjb8a    Granjon-Bold                      A    205    grb_____
+     pgjri8a   Granjon-Italic                    A    205    gri_____
+     pcebij8a  Centennial-BoldItalicOsF          A    206    cibio___
+     pcebj8a   Centennial-BoldOsF                A    206    cibof___
+     pcerij8a  Centennial-ItalicOsF              A    206    ciiof___
+     pcelij8a  Centennial-LightItalicOsF         A    206    cilio___
+     pcelc8a   Centennial-LightSC                A    206    cilsc___
+     pcerc8a   Centennial-RomanSC                A    206    cirsc___
+     pcecij8a  Centennial-BlackItalicOsF         A    206    cizio___
+     pcecj8a   Centennial-BlackOsF               A    206    cizof___
+     ppnr8a    Plantin                           A    207    pl______
+     ppnb8a    Plantin-Bold                      A    207    plb_____
+     ppnbi8a   Plantin-BoldItalic                A    207    plbi____
+     ppnri8a   Plantin-Italic                    A    207    pli_____
+     pteb8a    TimesEuropa-Bold                  A    208    tub_____
+     ptebi8a   TimesEuropa-BoldItalic            A    208    tubi____
+     pteri8a   TimesEuropa-Italic                A    208    tui_____
+     pter8a    TimesEuropa-Roman                 A    208    tur_____
+     pgjbj8a   Granjon-BoldOsF                   A    209    grbos___
+     pgjrij8a  Granjon-ItalicOsF                 A    209    grios___
+     pgjrc8a   Granjon-SC                        A    209    grsc____
+     ptvbij8a  TrumpMediaeval-BoldItalicOsF      A    210    tmbio___
+     ptvbj8a   TrumpMediaeval-BoldOsF            A    210    tmbos___
+     ptvrij8a  TrumpMediaeval-ItalicOsF          A    210    tmios___
+     ptvrc8a   TrumpMediaeval-SC                 A    210    tmsc____
+     pbsr8a    BakerSignet                       A    211    ba______
+     picr8a    Impact                            A    211    impa____
+     pagb8a    AvantGarde-Bold                   A    212    agb_____
+     pagbo8a   AvantGarde-BoldObl                A    212    agbo____
+     pagj8a    AvantGarde-ExtraLight             A    212    agel____
+     pagjo8a   AvantGarde-ExtraLightObl          A    212    agelo___
+     pagm8a    AvantGarde-Medium                 A    212    agm_____
+     pagmo8a   AvantGarde-MediumObl              A    212    agmo____
+     pplbij8a  Palatino-BoldItalicOsF            A    213    pobio___
+     pplbj8a   Palatino-BoldOsF                  A    213    pobos___
+     pplrij8a  Palatino-ItalicOsF                A    213    poios___
+     pplrc8a   Palatino-SC                       A    213    posc____
+     pndbij8a  NewCaledonia-BoldItalicOsF        A    214    nlbio___
+     pndbc8a   NewCaledonia-BoldSC               A    214    nlbsc___
+     pndrij8a  NewCaledonia-ItalicOsF            A    214    nlios___
+     pndrc8a   NewCaledonia-SC                   A    214    nlsc____
+     pppb8a    Perpetua-Bold                     A    215    ptb_____
+     pppbi8a   Perpetua-BoldItalic               A    215    ptbi____
+     pppri8a   Perpetua-Italic                   A    215    pti_____
+     pppr8a    Perpetua                          A    215    ptrg____
+     pilb8a    Caecilia-Bold                     A    216    ecb_____
+     pilbi8a   Caecilia-BoldItalic               A    216    ecbi____
+     pilbij8a  Caecilia-BoldItalicOsF            A    216    ecbio___
+     pilbj8a   Caecilia-BoldOsF                  A    216    ecbos___
+     pilh8a    Caecilia-Heavy                    A    216    ech_____
+     pilhi8a   Caecilia-HeavyItalic              A    216    echi____
+     pilhij8a  Caecilia-HeavyItalicOsF           A    216    echio___
+     pilhj8a   Caecilia-HeavyOsF                 A    216    echos___
+     pilri8a   Caecilia-Italic                   A    216    eci_____
+     pilrij8a  Caecilia-ItalicOsF                A    216    ecios___
+     pill8a    Caecilia-Light                    A    216    ecl_____
+     pilli8a   Caecilia-LightItalic              A    216    ecli____
+     pillij8a  Caecilia-LightItalicOsF           A    216    eclio___
+     pillj8a   Caecilia-LightOsF                 A    216    eclos___
+     pilr8a    Caecilia-Roman                    A    216    ecr_____
+     pilrj8a   Caecilia-RomanOsF                 A    216    ecros___
+     pimx8a    Imago-ExtraBold                   A    217    ioeb____
+     pimxi8a   Imago-ExtraBoldItalic             A    217    ioebi___
+     piml8a    Imago-Light                       A    217    iol_____
+     pimli8a   Imago-LightItalic                 A    217    ioli____
+     pimm8a    Imago-Medium                      A    217    iom_____
+     pimmi8a   Imago-MediumItalic                A    217    iomi____
+     pimk8a    Imago-Book                        A    217    iow_____
+     pimki8a   Imago-BookItalic                  A    217    iowi____
+     pfab8a    Formata-Bold                      A    218    fmb_____
+     pfabi8a   Formata-BoldItalic                A    218    fmbi____
+     pfari8a   Formata-Italic                    A    218    fmi_____
+     pfal8a    Formata-Light                     A    218    fml_____
+     pfali8a   Formata-LightItalic               A    218    fmli____
+     pfam8a    Formata-Medium                    A    218    fmm_____
+     pfami8a   Formata-MediumItalic              A    218    fmmi____
+     pfar8a    Formata-Regular                   A    218    fmrg____
+     pnfb8a    Nofret-Bold                       A    219    nfb_____
+     pnfbi8a   Nofret-BoldItalic                 A    219    nfbi____
+     pnfri8a   Nofret-Italic                     A    219    nfi_____
+     pnfl8a    Nofret-Light                      A    219    nfl_____
+     pnfli8a   Nofret-LightItalic                A    219    nfli____
+     pnfm8a    Nofret-Medium                     A    219    nfm_____
+     pnfmi8a   Nofret-MediumItalic               A    219    nfmi____
+     pnfr8a    Nofret-Regular                    A    219    nfrg____
+     ppnb8ac   Plantin-BoldCondensed             A    220    plbc____
+     ppnl8a    Plantin-Light                     A    220    pll_____
+     ppnli8a   Plantin-LightItalic               A    220    plli____
+     ppns8a    Plantin-Semibold                  A    220    plsb____
+     ppnsi8a   Plantin-SemiboldItalic            A    220    plsbi___
+     pbrb8a    Berling-Bold                      A    221    bnb_____
+     pbrbi8a   Berling-BoldItalic                A    221    bnbi____
+     pbrri8a   Berling-Italic                    A    221    bni_____
+     pbrr8a    Berling-Roman                     A    221    bnr_____
+     pcyb8a    City-Bold                         A    222    tzb_____
+     pcybi8a   City-BoldItalic                   A    222    tzbi____
+     pcyl8a    City-Light                        A    222    tzl_____
+     pcyli8a   City-LightItalic                  A    222    tzli____
+     pcym8a    City-Medium                       A    222    tzm_____
+     pcymi8a   City-MediumItalic                 A    222    tzmi____
+     paur8a    Auriol                            A    223    al______
+     paub8a    Auriol-Bold                       A    223    alb_____
+     paubi8a   Auriol-BoldItalic                 A    223    albi____
+     pauc8a    Auriol-Black                      A    223    albl____
+     pauci8a   Auriol-BlackItalic                A    223    albli___
+     pauri8a   Auriol-Italic                     A    223    ali_____
+     ptbb8a    BodoniBE-Bold                     A    224    bpb_____
+     ptbbi8a   BodoniBE-BoldItalic               A    224    bpbi____
+     ptbri8a   BodoniBE-Italic                   A    224    bpi_____
+     ptbl8a    BodoniBE-Light                    A    224    bpl_____
+     ptbli8a   BodoniBE-LightItalic              A    224    bpli____
+     ptbm8a    BodoniBE-Medium                   A    224    bpm_____
+     ptbmi8a   BodoniBE-MediumItalic             A    224    bpmi____
+     ptbr8a    BodoniBE-Regular                  A    224    bprg____
+     pegbij8a  StempelGaramond-BoldItalicOsF     A    225    gsbio___
+     pegbj8a   StempelGaramond-BoldOsF           A    225    gsbof___
+     pegrij8a  StempelGaramond-ItalicOsF         A    225    gsiof___
+     pegrc8a   StempelGaramond-RomanSC           A    225    gsrsc___
+     pnbbij8a  NewBaskerville-BoldItalicOsF      A    226    nbbio___
+     pnbbj8a   NewBaskerville-BoldSC             A    226    nbbsc___
+     pnbrij8a  NewBaskerville-ItalicOsF          A    226    nbio____
+     pnbrc8a   NewBaskerville-SC                 A    226    nbsc____
+     pgybij8a  Goudy-BoldItalicOsF               A    227    gobio___
+     pgybj8a   Goudy-BoldOsF                     A    227    gobos___
+     pgyrij8a  Goudy-ItalicOsF                   A    227    goios___
+     pgyrc8a   Goudy-SC                          A    227    gosc____
+     phnbl8a   HelveticaNeue-BoldOutline         A    228    hlbou___
+     pcvrf7c   Clairvaux-Dfr                     A    229    aodfr___
+     pcvrf8a   Clairvaux                         A    229    aor_____
+     pc0rf7c   Carolina-Dfr                      A    229    kldfr___
+     pc0rf8a   Carolina                          A    229    klr_____
+     ps0rf7c   SanMarco-Dfr                      A    229    sjdfr___
+     ps0rf8a   SanMarco                          A    229    sjr_____
+     pvjb8a    Veljovic-Bold                     A    230    vlb_____
+     pvjbi8a   Veljovic-BoldItalic               A    230    vlbi____
+     pvjc8a    Veljovic-Black                    A    230    vlbl____
+     pvjci8a   Veljovic-BlackItalic              A    230    vlbli___
+     pvjm8a    Veljovic-Medium                   A    230    vlm_____
+     pvjmi8a   Veljovic-MediumItalic             A    230    vlmi____
+     pvjk8a    Veljovic-Book                     A    230    vlw_____
+     pvjki8a   Veljovic-BookItalic               A    230    vlwi____
+     pscb8a    Slimbach-Bold                     A    231    spb_____
+     pscbi8a   Slimbach-BoldItalic               A    231    spbi____
+     pscc8a    Slimbach-Black                    A    231    spbl____
+     pscci8a   Slimbach-BlackItalic              A    231    spbli___
+     pscm8a    Slimbach-Medium                   A    231    spm_____
+     pscmi8a   Slimbach-MediumItalic             A    231    spmi____
+     psck8a    Slimbach-Book                     A    231    spw_____
+     pscki8a   Slimbach-BookItalic               A    231    spwi____
+     pbvri8a   BaskervilleBook-Italic            A    232    bti_____
+     pbvm8a    BaskervilleBook-Medium            A    232    btm_____
+     pbvmi8a   BaskervilleBook-MedItalic         A    232    btmi____
+     pbvr8a    BaskervilleBook-Regular           A    232    btrg____
+     murb8a    CentaurMT-Bold                    A    233    nrb_____
+     murbi8a   CentaurMT-BoldItalic              A    233    nrbi____
+     murri8a   CentaurMT-Italic                  A    233    nri_____
+     murria8a  CentaurMT-ItalicA                 A    233    nria____
+     murr8a    CentaurMT                         A    233    nrr_____
+     phvr7f    Helvetica-Fraction                A    234    hvfr____
+     phvb7f    Helvetica-FractionBold            A    234    hvfrb___
+     pncr7f    NewCenturySchlbk-Fraction         A    234    ncfr____
+     pncb7f    NewCenturySchlbk-FractionBold     A    234    ncfrb___
+     pilbic8a  Caecilia-BoldItalicSC             A    235    ecbis___
+     pilbc8a   Caecilia-BoldSC                   A    235    ecbsc___
+     pilhic8a  Caecilia-HeavyItalicSC            A    235    echis___
+     pilhc8a   Caecilia-HeavySC                  A    235    echsc___
+     pilric8a  Caecilia-ItalicSC                 A    235    ecisc___
+     pillc8a   Caecilia-LightItalicSC            A    235    eclis___
+     pillic8a  Caecilia-LightSC                  A    235    eclsc___
+     pilrc8a   Caecilia-RomanSC                  A    235    ecrsc___
+     mjob8a    JoannaMT-Bold                     A    236    job_____
+     mjobi8a   JoannaMT-BoldItalic               A    236    jobi____
+     mjox8a    JoannaMT-ExtraBold                A    236    joeb____
+     mjori8a   JoannaMT-Italic                   A    236    joi_____
+     mjor8a    JoannaMT                          A    236    jor_____
+     mjos8a    JoannaMT-SemiBold                 A    236    josb____
+     mjosi8a   JoannaMT-SemiBoldItalic           A    236    josbi___
+     ppi017    LHolidayPi-One                    A    237    holi1___
+     ppi018    LHolidayPi-Two                    A    237    holi2___
+     ppi019    LHolidayPi-Three                  A    237    holi3___
+     ppi011    LDecorationPi-One                 A    238    deco1___
+     ppi012    LDecorationPi-Two                 A    238    deco2___
+     po7r8a    OldStyleSeven                     A    239    os______
+     po7ri8a   OldStyleSeven-Italic              A    239    osi_____
+     po7rij8a  OldStyleSeven-ItalicOsF           A    239    osios___
+     po7rc8a   OldStyleSeven-SC                  A    239    ossc____
+     ppi013    LGamePi-ChessDraughts             A    240    gamcd___
+     ppi014    LGamePi-DiceDominoes              A    240    gamdd___
+     ppi015    LGamePi-EnglishCards              A    240    gamec___
+     ppi016    LGamePi-FrenchCards               A    240    gamfc___
+     pc5rij8a  CaslonFiveForty-ItalicOsF         A    241    cfiof___
+     pc5rc8a   CaslonFiveForty-RomanSC           A    241    cfrsc___
+     pc3rij8a  CaslonThree-ItalicOsF             A    241    ctiof___
+     pc3rc8a   CaslonThree-RomanSC               A    241    ctrsc___
+     mgtrf8a   GoudyTextMT                       A    242    gx______
+     mgtrf7a   GoudyTextMT-Alternate             A    242    gxalt___
+     mgtrf7c   GoudyTextMT-Dfr                   A    242    gxdfr___
+     mgtrfd8a  GoudyTextMT-LombardicCapitals     A    242    gxlom___
+     pefb8a    EgyptienneF-Bold                  A    243    efb_____
+     pefc8a    EgyptienneF-Black                 A    243    efbl____
+     pefri8a   EgyptienneF-Italic                A    243    efi_____
+     pefr8a    EgyptienneF-Roman                 A    243    efr_____
+     pwkb8a    Wilke-Bold                        A    244    wlb_____
+     pwkbi8a   Wilke-BoldItalic                  A    244    wlbi____
+     pwkc8a    Wilke-Black                       A    244    wlbl____
+     pwkci8a   Wilke-BlackItalic                 A    244    wlbli___
+     pwkri8a   Wilke-Italic                      A    244    wli_____
+     pwkr8a    Wilke-Roman                       A    244    wlr_____
+     ppxb8a    PopplPontifexBE-Bold              A    245    pjb_____
+     ppxri8a   PopplPontifexBE-Italic            A    245    pji_____
+     ppxm8a    PopplPontifexBE-Medium            A    245    pjm_____
+     ppxm8ac   PopplPontifexBE-MediumCn          A    245    pjmc____
+     ppxr8a    PopplPontifexBE-Regular           A    245    pjrg____
+     mtlr8a    CastellarMT                       A    246    el______
+     malr8a    AlbertusMT                        A    246    lr______
+     malri8a   AlbertusMT-Italic                 A    246    lri_____
+     mall8a    AlbertusMT-Light                  A    246    lrl_____
+     pgvb8a    Giovanni-Bold                     A    247    gvb_____
+     pgvbi8a   Giovanni-BoldItalic               A    247    gvbi____
+     pgvc8a    Giovanni-Black                    A    247    gvbl____
+     pgvci8a   Giovanni-BlackItalic              A    247    gvbli___
+     pgvk8a    Giovanni-Book                     A    247    gvw_____
+     pgvki8a   Giovanni-BookItalic               A    247    gvwi____
+     pazbi8ax  AkzidenzGroteskBE-BoldExIt        A    248    gfbei___
+     pazb8ax   AkzidenzGroteskBE-BoldEx          A    248    gfbv____
+     pazr8ax   AkzidenzGroteskBE-Ex              A    248    gfex____
+     pazl8ax   AkzidenzGroteskBE-LightEx         A    248    gflex___
+     pazm8ax   AkzidenzGroteskBE-MdEx            A    248    gfmex___
+     p_____    AGOldFace-Bold                    A    249    qwb_____
+     p_____    AGOldFace-BoldOutline             A    249    qwbou___
+     p_____    AGOldFace-Medium                  A    249    qwm_____
+     p_____    AGOldFace-Outline                 A    249    qwou____
+     p_____    AGOldFace-Regular                 A    249    qwrg____
+     p_____    AGOldFace-Shaded                  A    249    qwsh____
+     p_____    GaramondBE-Bold                   A    250    gwb_____
+     p_____    GaramondBE-Condensed              A    250    gwc_____
+     p_____    GaramondBE-Italic                 A    250    gwi_____
+     p_____    GaramondBE-Medium                 A    250    gwm_____
+     p_____    GaramondBE-MediumCn               A    250    gwmc____
+     p_____    GaramondBE-MediumItalic           A    250    gwmi____
+     p_____    GaramondBE-Regular                A    250    gwrg____
+     pgub8a    Guardi-Bold                       A    251    gub_____
+     pgubi8a   Guardi-BoldItalic                 A    251    gubi____
+     pguc8a    Guardi-Black                      A    251    gubl____
+     pguci8a   Guardi-BlackItalic                A    251    gubli___
+     pguri8a   Guardi-Italic                     A    251    gui_____
+     pgur8a    Guardi-Roman                      A    251    gur_____
+     pkbc8a    Kabel-Black                       A    252    kabl____
+     pkbh8a    Kabel-Heavy                       A    252    kah_____
+     pkbl8a    Kabel-Light                       A    252    kal_____
+     pkbk8a    Kabel-Book                        A    252    kaw_____
+     ppi009    LAstrologyPi-One                  A    253    astr1___
+     ppi010    LAstrologyPi-Two                  A    253    astr2___
+     pprl8a    PopplResidenz-Light               A    254    pzl_____
+     pprr8a    PopplResidenz-Regular             A    254    pzrg____
+     pstr5a    StoneSerif-PhoneticAlternate      A    255    srpa____
+     pstr5i    StoneSerif-PhoneticIPA            A    255    srpi____
+     ps8r5a    StoneSans-PhoneticAlternate       A    255    sspa____
+     ps8r5i    StoneSans-PhoneticIPA             A    255    sspi____
+     prnb8a    Rotation-Bold                     A    256    rnb_____
+     prnri8a   Rotation-Italic                   A    256    rni_____
+     prnr8a    Rotation-Roman                    A    256    rnr_____
+     pasri8a   Aldus-Italic                      A    257    afi_____
+     pasrij8a  Aldus-ItalicOsF                   A    257    afiof___
+     pasr8a    Aldus-Roman                       A    257    afr_____
+     pasrc8a   Aldus-RomanSC                     A    257    afrsc___
+     mlir8ac   LatinMT-Condensed                 A    258    lnc_____
+     moxr8a    OnyxMT                            A    258    ox______
+     mrur8ac   RunicMT-Condensed                 A    258    ric_____
+     p_____    Colossalis-Bold                   A    259    kob_____
+     p_____    Colossalis-Black                  A    259    kobl____
+     p_____    Colossalis-Medium                 A    259    kom_____
+     p_____    Colossalis-Regular                A    259    korg____
+     p_____    BertholdScript-Medium             A    260    qrm_____
+     p_____    BertholdScript-Regular            A    260    qrrg____
+     pqsrw8a   Bellevue                          A    260    qsrg____
+     pqtrw8a   Boulevard                         A    260    qtrg____
+     pfrb8ac   Frutiger-BoldCn                   A    261    ftbc____
+     pfrc8ac   Frutiger-BlackCn                  A    261    ftblc___
+     pfrr8ac   Frutiger-Cn                       A    261    ftc_____
+     pfrx8ac   Frutiger-ExtraBlackCn             A    261    ftebc___
+     pfrl8ac   Frutiger-LightCn                  A    261    ftlc____
+     pflb8a    Flora-Bold                        A    262    fab_____
+     pflm8a    Flora-Medium                      A    262    fam_____
+     metri8a   EhrhardtMT-Italic                 A    263    ehi_____
+     metr8a    EhrhardtMT-Regular                A    263    ehrg____
+     mets8a    EhrhardtMT-Semibold               A    263    ehsb____
+     metsi8a   EhrhardtMT-SemiboldItalic         A    263    ehsbi___
+     pppbij8a  Perpetua-BoldItalicOsF            A    264    ptbio___
+     pppbi8x   Perpetua-BoldItalicExp            A    264    ptbix___
+     pppbj8a   Perpetua-BoldOsF                  A    264    ptbos___
+     pppb8x    Perpetua-BoldExp                  A    264    ptbxp___
+     pppr8x    Perpetua-Exp                      A    264    ptexp___
+     ppprij8a  Perpetua-ItalicOsF                A    264    ptios___
+     pppri8x   Perpetua-ItalicExp                A    264    ptixp___
+     ppprc8a   Perpetua-SC                       A    264    ptsc____
+     ppxbj8a   PopplPontifexBE-BoldOsF           A    265    pjbos___
+     ppxb8x    PopplPontifexBE-BoldExp           A    265    pjbxp___
+     ppxrij8a  PopplPontifexBE-ItalicOsF         A    265    pjios___
+     ppxri8x   PopplPontifexBE-ItalicExp         A    265    pjixp___
+     ppxmc8ac  PopplPontifexBE-MediumCnSC        A    265    pjmcs___
+     ppxm8xc   PopplPontifexBE-MediumCnExp       A    265    pjmcx___
+     ppxmc8a   PopplPontifexBE-MediumSC          A    265    pjmsc___
+     ppxm8x    PopplPontifexBE-MediumExp         A    265    pjmxp___
+     ppxr8x    PopplPontifexBE-RegularExp        A    265    pjrgx___
+     ppxrc8a   PopplPontifexBE-RegularSC         A    265    pjrsc___
+     p_____    ConcordeNova-Italic               A    266    nvi_____
+     p_____    ConcordeNova-ItalicOsF            A    266    nviof___
+     p_____    ConcordeNova-ItalicExp            A    266    nvixp___
+     p_____    ConcordeNova-Medium               A    266    nvm_____
+     p_____    ConcordeNova-MediumSC             A    266    nvmsc___
+     p_____    ConcordeNova-MediumExp            A    266    nvmxp___
+     p_____    ConcordeNova-Regular              A    266    nvrg____
+     p_____    ConcordeNova-RegularExp           A    266    nvrgx___
+     p_____    ConcordeNova-RegularSC            A    266    nvsc____
+     peib8a    Esprit-Bold                       A    267    esb_____
+     peibi8a   Esprit-BoldItalic                 A    267    esbi____
+     peici8a   Esprit-BlackItalic                A    267    esbli___
+     peim8a    Esprit-Medium                     A    267    esm_____
+     peimi8a   Esprit-MediumItalic               A    267    esmi____
+     peik8a    Esprit-Book                       A    267    esw_____
+     peiki8a   Esprit-BookItalic                 A    267    eswi____
+     peic8a    Esprit-Black                      A    267    esz_____
+     ptbbij8a  BodoniBE-BoldItalicOsF            A    268    bpbio___
+     ptbbi8x   BodoniBE-BoldItalicExp            A    268    bpbix___
+     ptbbj8a   BodoniBE-BoldOsF                  A    268    bpbof___
+     ptbb8x    BodoniBE-BoldExp                  A    268    bpbxp___
+     ptbrij8a  BodoniBE-ItalicOsF                A    268    bpiof___
+     ptbri8x   BodoniBE-ItalicExp                A    268    bpixp___
+     ptblij8a  BodoniBE-LightItalicOsF           A    268    bplio___
+     ptbli8x   BodoniBE-LightItalicExp           A    268    bplix___
+     ptblc8a   BodoniBE-LightSC                  A    268    bplsc___
+     ptbl8x    BodoniBE-LightExp                 A    268    bplxp___
+     ptbmij8a  BodoniBE-MediumItalicOsF          A    268    bpmio___
+     ptbmi8x   BodoniBE-MediumItalicExp          A    268    bpmix___
+     ptbmc8a   BodoniBE-MediumSC                 A    268    bpmsc___
+     ptbm8x    BodoniBE-MediumExp                A    268    bpmxp___
+     ptbr8x    BodoniBE-RegularExp               A    268    bprgx___
+     ptbrc8a   BodoniBE-RegularSC                A    268    bpsc____
+     melr8a    EllingtonMT                       A    269    ei______
+     melb8a    EllingtonMT-Bold                  A    269    eib_____
+     melbi8a   EllingtonMT-BoldItalic            A    269    eibi____
+     melx8a    EllingtonMT-ExtraBold             A    269    eieb____
+     melxi8a   EllingtonMT-ExtraBoldItalic       A    269    eiebi___
+     melri8a   EllingtonMT-Italic                A    269    eii_____
+     mell8a    EllingtonMT-Light                 A    269    eil_____
+     melli8a   EllingtonMT-LightItalic           A    269    eili____
+     pazb8ac   AkzidenzGroteskBE-BoldCn          A    270    gfbc____
+     pazr8ac   AkzidenzGroteskBE-Cn              A    270    gfc_____
+     pazx8a    AkzidenzGroteskBE-XBd             A    270    gfeb____
+     pazl8ac   AkzidenzGroteskBE-LightCn         A    270    gflc____
+     pazm8ac   AkzidenzGroteskBE-MdCn            A    270    gfmc____
+     pazmi8ac  AkzidenzGroteskBE-MdCnIt          A    270    gfmci___
+     pazx8ac   AkzidenzGroteskBE-XBdCn           A    270    gfxc____
+     pazxi8ac  AkzidenzGroteskBE-XBdCnIt         A    270    gfxci___
+     pptr8a    Present                           A    271    pr______
+     pptb8a    Present-Bold                      A    271    prb_____
+     pptb8ac   Present-BoldCondensed             A    271    prbc____
+     pptc8a    Present-Black                     A    271    prbl____
+     pptc8ac   Present-BlackCondensed            A    271    prblc___
+     pptr8ac   Present-Condensed                 A    271    prc_____
+     lvcb8a    VectoraLH-Bold                    A    272    vcb_____
+     lvcbi8a   VectoraLH-BoldItalic              A    272    vcbi____
+     lvcc8a    VectoraLH-Black                   A    272    vcbl____
+     lvcci8a   VectoraLH-BlackItalic             A    272    vcbli___
+     lvcri8a   VectoraLH-Italic                  A    272    vci_____
+     lvcl8a    VectoraLH-Light                   A    272    vcl_____
+     lvcli8a   VectoraLH-LightItalic             A    272    vcli____
+     lvcr8a    VectoraLH-Roman                   A    272    vcr_____
+     pbab8a    Barmeno-Bold                      A    273    bfb_____
+     pbax8a    Barmeno-ExtraBold                 A    273    bfeb____
+     pbam8a    Barmeno-Medium                    A    273    bfm_____
+     pbar8a    Barmeno-Regular                   A    273    bfrg____
+     p_____    Cosmos-ExtraBold                  A    274    kzeb____
+     p_____    Cosmos-Light                      A    274    kzl_____
+     p_____    Cosmos-LightItalic                A    274    kzli____
+     p_____    Cosmos-Medium                     A    274    kzm_____
+     pmyMMi8a  MyriadMM-It                       A    275    _mi_____
+     pmyMM8a   MyriadMM                          A    275    _mrg____
+     pmnMMi8a  MinionMM-It                       A    276    zgi_____
+     pmnMM8a   MinionMM                          A    276    zgrg____
+     pmnMMic8a MinionMM-ItSC                     A    277    zgisc___
+     pmnMMi8x  MinionMM-ItEp                     A    277    zgix____
+     pmnMMp    MinionMM-Or                       A    277    zgo_____
+     pmnMMc8a  MinionMM-SC                       A    277    zgsc____
+     pmnMMiw7a MinionMM-Sw                       A    277    zgsw____
+     pmnMM8x   MinionMM-Ep                       A    277    zgx_____
+     ptmr5a    Times-PhoneticAlternate           A    278    tipa____
+     ptmr5i    Times-PhoneticIPA                 A    278    tipi____
+     lpi003    AudioLH-Pi                        A    279    audi1___
+     lpi002    WarningLH-Pi                      A    279    warn1___
+     ppmri8a   PostMediaeval-Italic              A    280    pmi_____
+     ppmm8a    PostMediaeval-Medium              A    280    pmm_____
+     ppmr8a    PostMediaeval-Regular             A    280    pmrg____
+     lffb8a    FairfieldLH-Bold                  A    281    fdb_____
+     lffbi8a   FairfieldLH-BoldItalic            A    281    fdbi____
+     lffh8a    FairfieldLH-Heavy                 A    281    fdh_____
+     lffhi8a   FairfieldLH-HeavyItalic           A    281    fdhi____
+     lffl8a    FairfieldLH-Light                 A    281    fdl_____
+     lffli8a   FairfieldLH-LightItalic           A    281    fdli____
+     lffm8a    FairfieldLH-Medium                A    281    fdm_____
+     lffmi8a   FairfieldLH-MediumItalic          A    281    fdmi____
+     lffbd8a   FairfieldLH-CaptionBold           A    282    fdbcp___
+     lffbijw8a FairfieldLH-SwBoldItalicOsF       A    282    fdbio___
+     lffbc8a   FairfieldLH-BoldSC                A    282    fdbsc___
+     lffhd8a   FairfieldLH-CaptionHeavy          A    282    fdhcp___
+     lffhijw8a FairfieldLH-SwHeavyItalicOsF      A    282    fdhio___
+     lffhc8a   FairfieldLH-HeavySC               A    282    fdhsc___
+     lffld8a   FairfieldLH-CaptionLight          A    282    fdlcp___
+     lfflijw8a FairfieldLH-SwLightItalicOsF      A    282    fdlio___
+     lfflc8a   FairfieldLH-LightSC               A    282    fdlsc___
+     lffmd8a   FairfieldLH-CaptionMedium         A    282    fdmcp___
+     lffmijw8a FairfieldLH-SwMediumItalicOsF     A    282    fdmio___
+     lffmc8a   FairfieldLH-MediumSC              A    282    fdmsc___
+     lgzb8a    GazetteLH-Bold                    A    283    gzb_____
+     lgzri8a   GazetteLH-Italic                  A    283    gzi_____
+     lgzr8a    GazetteLH-Roman                   A    283    gzr_____
+     lcfbs8a   ClearfaceGothicLH-Bold            A    284    fcb_____
+     lcfcs8a   ClearfaceGothicLH-Black           A    284    fcbl____
+     lcfls8a   ClearfaceGothicLH-Light           A    284    fcl_____
+     lcfms8a   ClearfaceGothicLH-Medium          A    284    fcm_____
+     lcfrs8a   ClearfaceGothicLH-Roman           A    284    fcr_____
+     pidb8a    Isadora-Bold                      A    285    irb_____
+     pidr8a    Isadora-Regular                   A    285    irrg____
+     pbax8a    Barmeno-ExtraBold                 A    286    bfeb____
+     pfarl8a   Formata-Outline                   A    286    fmou____
+     p_____    Cosmos-ExtraBold                  A    286    kzeb____
+     p_____    AGOldFace-Shaded                  A    286    qwsh____
+     p_____    AGBook-Stencil                    A    286    tast____
+     ltgb8ax   TradeGothicLH-BoldExtended        A    287    tgbv____
+     ltgr8ax   TradeGothicLH-Extended            A    287    tgv_____
+     mphb8a    PhotinaMT-Bold                    A    288    phb_____
+     mphbi8a   PhotinaMT-BoldItalic              A    288    phbi____
+     mphri8a   PhotinaMT-Italic                  A    288    phi_____
+     mphr8a    PhotinaMT                         A    288    phrg____
+     mphs8a    PhotinaMT-SemiBold                A    288    phsb____
+     mphsi8a   PhotinaMT-SemiBoldItalic          A    288    phsbi___
+     mphu8a    PhotinaMT-UltraBold               A    288    phub____
+     mphui8a   PhotinaMT-UltraBoldItalic         A    288    phubi___
+     mdsrw8a   DorchesterScriptMT                A    289    dsscr___
+     mp2rw8a   PepitaMT                          A    289    epscr___
+     mbfrw8a   BiffoMT                           A    289    ifscr___
+     ms2bw8a   ScriptMT-Bold                     A    289    tbscr___
+     lenb8a    EngraversLH-BoldFace              A    290    ew______
+     l_____    SerlioLH                          A    290    oi______
+     pplc8a    Palatino-Black                    A    291    pobl____
+     pplci8a   Palatino-BlackItalic              A    291    pobli___
+     ppll8a    Palatino-Light                    A    291    pol_____
+     pplli8a   Palatino-LightItalic              A    291    poli____
+     pplm8a    Palatino-Medium                   A    291    pom_____
+     pplmi8a   Palatino-MediumItalic             A    291    pomi____
+     pocrij8a  ConcordeBE-ItalicOsF              A    292    qqiof___
+     pocri8x   ConcordeBE-ItalicExp              A    292    qqixp___
+     pocmij8a  ConcordeBE-MediumItalicOsF        A    292    qqmio___
+     pocmi8x   ConcordeBE-MediumItalicExp        A    292    qqmix___
+     pocmc8a   ConcordeBE-MediumSC               A    292    qqmsc___
+     pocm8x    ConcordeBE-MediumExp              A    292    qqmxp___
+     pocrc8x   ConcordeBE-RegularExp             A    292    qqrgx___
+     pocr8a    ConcordeBE-RegularSC              A    292    qqsc____
+     mc8b8a    CalvertMT-Bold                    A    293    vtb_____
+     mc8l8a    CalvertMT-Light                   A    293    vtl_____
+     mc8r8a    CalvertMT                         A    293    vtrg____
+     mgqr8a    GrotesqueMT                       A    294    gq______
+     mgqb8a    GrotesqueMT-Bold                  A    294    gqb_____
+     mgqc8a    GrotesqueMT-Black                 A    294    gqbl____
+     mgqri8a   GrotesqueMT-Italic                A    294    gqi_____
+     mgql8a    GrotesqueMT-Light                 A    294    gql_____
+     mgqli8a   GrotesqueMT-LightItalic           A    294    gqli____
+     pckb8a    CaslonBookBE-Bold                 A    295    qxb_____
+     pckri8a   CaslonBookBE-Italic               A    295    qxi_____
+     pckm8a    CaslonBookBE-Medium               A    295    qxm_____
+     pckr8a    CaslonBookBE-Regular              A    295    qxrg____
+     pckbj8a   CaslonBookBE-BoldOsF              A    296    qxbof___
+     pckb8x    CaslonBookBE-BoldExp              A    296    qxbxp___
+     pckrij8a  CaslonBookBE-ItalicOsF            A    296    qxiof___
+     pckri8x   CaslonBookBE-ItalicExp            A    296    qxixp___
+     pckmc8a   CaslonBookBE-MediumSC             A    296    qxmsc___
+     pckm8x    CaslonBookBE-MediumExp            A    296    qxmxp___
+     pckr8x    CaslonBookBE-RegularExp           A    296    qxrgx___
+     pckrc8a   CaslonBookBE-RegularSC            A    296    qxsc____
+     mr2b8a    CantoriaMT-Bold                   A    297    eob_____
+     mr2bi8a   CantoriaMT-BoldItalic             A    297    eobi____
+     mr2ri8a   CantoriaMT-Italic                 A    297    eoi_____
+     mr2r8a    CantoriaMT                        A    297    eorg____
+     mr2x8a    CantoriaMT-ExtraBold              A    298    eoeb____
+     mr2xi8a   CantoriaMT-ExtraBoldItalic        A    298    eoebi___
+     mr2l8a    CantoriaMT-Light                  A    298    eol_____
+     mr2li8a   CantoriaMT-LightItalic            A    298    eoli____
+     mr2s8a    CantoriaMT-SemiBold               A    298    eosb____
+     mr2si8a   CantoriaMT-SemiBoldItalic         A    298    eosbi___
+     mgqb8ax   GrotesqueMT-BoldExtended          A    299    gqbv____
+     mgqr8ac   GrotesqueMT-Condensed             A    299    gqc_____
+     mgqr8aq   GrotesqueMT-ExtraCondensed        A    299    gqec____
+     mgql8ac   GrotesqueMT-LightCondensed        A    299    gqlc____
+     ppc___    Poetica-ChanceryI                 A    300    pvch1___
+     ppc___    Poetica-ChanceryII                A    300    pvch2___
+     ppc___    Poetica-ChanceryIII               A    300    pvch3___
+     ppc___    Poetica-ChanceryIV                A    300    pvch4___
+     ppc___    Poetica-ChanceryExpert            A    300    pvchx___
+     ppc___    Poetica-RomanSmallCapsAlt         A    300    pvrsa___
+     ppc___    Poetica-RomanSmallCaps            A    300    pvrsc___
+     ppc___    Poetica-SuppAmpersands            A    301    pvam____
+     ppc___    Poetica-SuppInitialSwashCaps      A    301    pvisw___
+     ppc___    Poetica-SuppLowercaseAltI         A    301    pvla1___
+     ppc___    Poetica-SuppLowercaseAltII        A    301    pvla2___
+     ppc___    Poetica-SuppLowercaseBegI         A    301    pvlb1___
+     ppc___    Poetica-SuppLowercaseBegII        A    301    pvlb2___
+     ppc___    Poetica-SuppLowercaseEndI         A    301    pvle1___
+     ppc___    Poetica-SuppLowercaseEndII        A    301    pvle2___
+     ppc___    Poetica-SuppLigatures             A    301    pvlg____
+     ppc___    Poetica-SuppOrnaments             A    301    pvor____
+     ppc___    Poetica-SuppSwashCapsI            A    301    pvsw1___
+     ppc___    Poetica-SuppSwashCapsII           A    301    pvsw2___
+     ppc___    Poetica-SuppSwashCapsIII          A    301    pvsw3___
+     ppc___    Poetica-SuppSwashCapsIV           A    301    pvsw4___
+     msmr8x    SpectrumMT-Expert                 A    302    ekexp___
+     msmri8a   SpectrumMT-Italic                 A    302    eki_____
+     msmrij8a  SpectrumMT-ItalicOsF              A    302    ekio____
+     msmri8x   SpectrumMT-ItalicExpert           A    302    ekixp___
+     msmr8a    SpectrumMT                        A    302    ekrg____
+     msms8a    SpectrumMT-SemiBold               A    302    eksb____
+     msmsc8a   SpectrumMT-SemiBoldOsF            A    302    eksbo___
+     msms8x    SpectrumMT-SemiBoldExpert         A    302    eksbx___
+     msmrc8a   SpectrumMT-SC                     A    302    eksc____
+     p_____    AGBookRounded-Bold                A    303    kdb_____
+     p_____    AGBookRounded-BoldCn              A    303    kdbc____
+     p_____    AGBookRounded-BoldCnOutline       A    303    kdbcl___
+     p_____    AGBookRounded-BoldOutline         A    303    kdbou___
+     p_____    AGBookRounded-Medium              A    303    kdm_____
+     p_____    AGBookRounded-MediumOutline       A    303    kdmou___
+     p_____    AGBookRounded-Regular             A    303    kdrg____
+     p_____    BodoniOldFaceBE-Bold              A    304    qvb_____
+     p_____    BodoniOldFaceBE-BoldItalic        A    304    qvbi____
+     p_____    BodoniOldFaceBE-Italic            A    304    qvi_____
+     p_____    BodoniOldFaceBE-Medium            A    304    qvm_____
+     p_____    BodoniOldFaceBE-MediumItalic      A    304    qvmi____
+     p_____    BodoniOldFaceBE-Regular           A    304    qvrg____
+     mg4ri8a   GoudyModernMT-Italic              A    305    ygi_____
+     mg4r8a    GoudyModernMT                     A    305    ygrg____
+     ms1ri8a   ScotchRomanMT-Italic              A    305    ysi_____
+     ms1r8a    ScotchRomanMT                     A    305    ysrg____
+     p_____    AGSchoolbook-RegularA             A    306    okarg___
+     p_____    AGSchoolbook-Medium               A    306    okm_____
+     p_____    AGSchoolbook-MediumA              A    306    okma____
+     p_____    AGSchoolbook-Regular              A    306    okrg____
+     pbeb8a    BellGothic-Bold                   A    307    dgb_____
+     pbec8a    BellGothic-Black                  A    307    dgbl____
+     pbel8a    BellGothic-Light                  A    307    dgl_____
+     misb8a    ItalianOldStyleMT-Bold            A    308    ieb_____
+     misbi8a   ItalianOldStyleMT-BoldItalic      A    308    iebi____
+     misri8a   ItalianOldStyleMT-Italic          A    308    iei_____
+     misr8a    ItalianOldStyleMT                 A    308    ierg____
+     p_____    BellCentennial-Address            A    309    bladd___
+     p_____    BellCentennial-BoldListingAlt     A    309    blbla___
+     p_____    BellCentennial-BoldListing        A    309    blbls___
+     p_____    BellCentennial-NameAndNumber      A    309    blnan___
+     p_____    BellCentennial-SubCaption         A    309    blscp___
+     p_____    BodoniOldFaceBE-BoldItOsF         A    310    qvbio___
+     p_____    BodoniOldFaceBE-BoldItExp         A    310    qvbix___
+     p_____    BodoniOldFaceBE-BoldOsF           A    310    qvbos___
+     p_____    BodoniOldFaceBE-BoldExp           A    310    qvbxp___
+     p_____    BodoniOldFaceBE-ItalicSC          A    310    qvisc___
+     p_____    BodoniOldFaceBE-ItalicExp         A    310    qvixp___
+     p_____    BodoniOldFaceBE-MediumItOsF       A    310    qvmio___
+     p_____    BodoniOldFaceBE-MediumItExp       A    310    qvmix___
+     p_____    BodoniOldFaceBE-MediumSC          A    310    qvmsc___
+     p_____    BodoniOldFaceBE-MediumExp         A    310    qvmxp___
+     p_____    BodoniOldFaceBE-RegularExp        A    310    qvrgx___
+     p_____    BodoniOldFaceBE-RegularSC         A    310    qvrsc___
+     p_____    BerlinerGrotesk-Light             A    311    otl_____
+     p_____    BerlinerGrotesk-Medium            A    311    otm_____
+     mntb8ac   TimesNewRomanMT-BoldCond          A    312    mtbc____
+     mntr8ac   TimesNewRomanMT-Cond              A    312    mtc_____
+     mntri8ac  TimesNewRomanMT-CondItalic        A    312    mtci____
+     movr8x    OctavianMT-Expert                 A    313    ocexp___
+     movri8a   OctavianMT-Italic                 A    313    oci_____
+     movrij8a  OctavianMT-ItalicOsF              A    313    ocio____
+     movri8x   OctavianMT-ItalicExpert           A    313    ocixp___
+     movr8a    OctavianMT                        A    313    ocrg____
+     movrc8a   OctavianMT-SC                     A    313    ocsc____
+     p_____    Christiana-Bold                   A    314    hcb_____
+     p_____    Christiana-BoldItalic             A    314    hcbi____
+     p_____    Christiana-Italic                 A    314    hci_____
+     p_____    Christiana-Medium                 A    314    hcm_____
+     p_____    Christiana-MediumItalic           A    314    hcmi____
+     p_____    Christiana-Regular                A    314    hcrg____
+     p_____    Christiana-RegularExpert          A    314    hcrgx___
+     p_____    Christiana-RegularSC              A    314    hcsc____
+     pmnb6w    MinionCyr-Bold                    A    315    mkb_____
+     pmnbi6w   MinionCyr-BoldItalic              A    315    mkbi____
+     pmnri6w   MinionCyr-Italic                  A    315    mki_____
+     pmnr6w    MinionCyr-Regular                 A    315    mkrg____
+     pmns6w    MinionCyr-Semibold                A    315    mksb____
+     pmnsi6w   MinionCyr-SemiboldItalic          A    315    mksbi___
+     ptbb8ac   BodoniBE-BoldCn                   A    316    bpbc____
+     ptbbi8ac  BodoniBE-BoldCnItalic             A    316    bpbci___
+     ptbr8ac   BodoniBE-Condensed                A    316    bpc_____
+     ptbri8ac  BodoniBE-CnItalic                 A    316    bpci____
+     ptbm8ac   BodoniBE-MediumCn                 A    316    bpmc____
+     ptbmi8ac  BodoniBE-MediumCnItalic           A    316    bpmci___
+     mfsr8a    FalstaffMT                        A    317    fprg____
+     mifb8a    InflexMT-Bold                     A    317    iqb_____
+     mm8bl8a   MonotypeOldStyleMT-BoldOut        A    317    mbbou___
+     pdjb8a    Delta-Bold                        A    318    djb_____
+     pdjbi8a   Delta-BoldItalic                  A    318    djbi____
+     pdjl8a    Delta-Light                       A    318    djl_____
+     pdjli8a   Delta-LightItalic                 A    318    djli____
+     pdjm8a    Delta-Medium                      A    318    djm_____
+     pdjmi8a   Delta-MediumItalic                A    318    djmi____
+     pdjrl8a   Delta-Outline                     A    318    djou____
+     pdjk8a    Delta-Book                        A    318    djw_____
+     pdjki8a   Delta-BookItalic                  A    318    djwi____
+     mnrrw8a   NewBerolinaMT                     A    319    _n______
+     mp1rw8a   PalaceScriptMT                    A    319    _p______
+     mp1sw8a   PalaceScriptMT-SemiBold           A    319    _psb____
+     mahrw8a   AshleyScriptMT                    A    319    le______
+     mm1rw8a   MonolineScriptMT                  A    319    on______
+     pbtb8a    Boton-Bold                        A    320    tnb_____
+     pbtbi8a   Boton-BoldItalic                  A    320    tnbi____
+     pbtri8a   Boton-Italic                      A    320    tni_____
+     pbtl8a    Boton-Light                       A    320    tnl_____
+     pbtli8a   Boton-LightItalic                 A    320    tnli____
+     pbtm8a    Boton-Medium                      A    320    tnm_____
+     pbtmi8a   Boton-MediumItalic                A    320    tnmi____
+     pbtr8a    Boton-Regular                     A    320    tnr_____
+     mfer8a    ForteMT                           A    321    fz______
+     mklr8a    KlangMT                           A    321    kn______
+     mmebw8a   MercuriusMT-BoldScript            A    321    uzbs____
+     ldob8a    DidotLH-Bold                      A    322    dob_____
+     ldobj8a   DidotLH-BoldOsF                   A    322    dobos___
+     ldord8a   DidotLH-Headline                  A    322    dohe____
+     ldordj8a  DidotLH-HeadlineOsF               A    322    dohes___
+     ldori8a   DidotLH-Italic                    A    322    doi_____
+     ldor7a    DidotLH-Initials                  A    322    doini___
+     ldorij8a  DidotLH-ItalicOsF                 A    322    doios___
+     ldorp1    DidotLH-OrnamentsOne              A    322    door1___
+     ldorp2    DidotLH-OrnamentsTwo              A    322    door2___
+     ldor8a    DidotLH-Roman                     A    322    dor_____
+     ldorj8a   DidotLH-RomanOsF                  A    322    doros___
+     ldorc8a   DidotLH-RomanSC                   A    322    dorsc___
+     pfab8ac   Formata-BoldCondensed             A    323    fmbc____
+     pfabi8ac  Formata-BoldCondensedItalic       A    323    fmbci___
+     pfar8ac   Formata-Condensed                 A    323    fmc_____
+     pfari8ac  Formata-CondensedItalic           A    323    fmci____
+     pfarl8ac  Formata-CondensedOutline          A    323    fmcou___
+     pfal8ac   Formata-LightCondensed            A    323    fmlc____
+     pfali8ac  Formata-LightCondensedItalic      A    323    fmlci___
+     pfam8ac   Formata-MediumCondensed           A    323    fmmc____
+     pfami8ac  Formata-MediumCondensedItalic     A    323    fmmci___
+     pebb8a    BaskervilleBE-Bold                A    324    vib_____
+     pebri8a   BaskervilleBE-Italic              A    324    vii_____
+     pebm8a    BaskervilleBE-Medium              A    324    vim_____
+     pebmi8a   BaskervilleBE-MediumItalic        A    324    vimi____
+     pebr8a    BaskervilleBE-Regular             A    324    virg____
+     pb6r8ac   BlockBE-Condensed                 A    325    lkc_____
+     pb6r8aq   BlockBE-ExtraCn                   A    325    lkec____
+     pb6ri8aq  BlockBE-ExtraCnIt                 A    325    lkeci___
+     pb6h8a    BlockBE-Heavy                     A    325    lkh_____
+     pb6ri8a   BlockBE-Italic                    A    325    lki_____
+     pb6r8a    BlockBE-Regular                   A    325    lkrg____
+     pllb8a    LinoLetter-Bold                   A    326    llb_____
+     pllbi8a   LinoLetter-BoldItalic             A    326    llbi____
+     pllc8a    LinoLetter-Black                  A    326    llbl____
+     pllci8a   LinoLetter-BlackItalic            A    326    llbli___
+     pllri8a   LinoLetter-Italic                 A    326    lli_____
+     pllm8a    LinoLetter-Medium                 A    326    llm_____
+     pllmi8a   LinoLetter-MediumItalic           A    326    llmi____
+     pllr8a    LinoLetter-Roman                  A    326    llr_____
+     p_____    ComeniusAntiqua-Bold              A    327    hzb_____
+     p_____    ComeniusAntiqua-Italic            A    327    hzi_____
+     p_____    ComeniusAntiqua-Medium            A    327    hzm_____
+     p_____    ComeniusAntiqua-Regular           A    327    hzrg____
+     ppub8a    PopplLaudatio-Bold                A    328    pyb_____
+     ppubi8a   PopplLaudatio-BoldItalic          A    328    pybi____
+     ppuri8a   PopplLaudatio-Italic              A    328    pyi_____
+     ppul8a    PopplLaudatio-Light               A    328    pyl_____
+     ppuli8a   PopplLaudatio-LightItalic         A    328    pyli____
+     ppum8a    PopplLaudatio-Medium              A    328    pym_____
+     ppumi8a   PopplLaudatio-MediumItalic        A    328    pymi____
+     ppur8a    PopplLaudatio-Regular             A    328    pyrg____
+     ppub8ac   PopplLaudatio-BoldCondensed       A    329    pybc____
+     ppur8ac   PopplLaudatio-Condensed           A    329    pyc_____
+     ppul8ac   PopplLaudatio-LightCondensed      A    329    pylc____
+     ppum8ac   PopplLaudatio-MediumCondensed     A    329    pymc____
+     pocb8ac   ConcordeBE-BoldCn                 A    330    qqbc____
+     pocbl8ac  ConcordeBE-BoldCnOutline          A    330    qqbcl___
+     pocr8ac   ConcordeBE-Condensed              A    330    qqc_____
+     pocm8ac   ConcordeBE-MediumCn               A    330    qqmc____
+     p_____    GaramondBE-BoldOsF                A    331    gwbof___
+     p_____    GaramondBE-BoldExpert             A    331    gwbxp___
+     p_____    GaramondBE-CondensedSC            A    331    gwcsc___
+     p_____    GaramondBE-CnExpert               A    331    gwcxp___
+     p_____    GaramondBE-ItalicOsF              A    331    gwiof___
+     p_____    GaramondBE-ItalicExpert           A    331    gwixp___
+     p_____    GaramondBE-MediumCnOsF            A    331    gwmcf___
+     p_____    GaramondBE-MediumCnExpert         A    331    gwmcx___
+     p_____    GaramondBE-MediumItalicOsF        A    331    gwmio___
+     p_____    GaramondBE-MediumItalicExpert     A    331    gwmix___
+     p_____    GaramondBE-MediumSC               A    331    gwmsc___
+     p_____    GaramondBE-MediumExpert           A    331    gwmxp___
+     p_____    GaramondBE-RegularExpert          A    331    gwrgx___
+     p_____    GaramondBE-RegularSC              A    331    gwsc____
+     p_____    GaramondBE-SwashItalic            A    331    gwswi___
+     pdnb8a    DailyNews-Bold                    A    332    jdb_____
+     pdnbi8a   DailyNews-BoldItalic              A    332    jdbi____
+     pdnx8a    DailyNews-ExtraBold               A    332    jdeb____
+     pdnxi8a   DailyNews-ExtraBoldItalic         A    332    jdebi___
+     pdnri8a   DailyNews-Italic                  A    332    jdi_____
+     pdnm8a    DailyNews-Medium                  A    332    jdm_____
+     pdnmi8a   DailyNews-MediumItalic            A    332    jdmi____
+     pdnr8a    DailyNews-Regular                 A    332    jdrg____
+     murbij8a  CentaurMT-BoldItalicOsF           A    333    nrbio___
+     murbi8x   CentaurMT-BoldItalicExpert        A    333    nrbix___
+     murbj8a   CentaurMT-BoldOsF                 A    333    nrbof___
+     murb8x    CentaurMT-BoldExpert              A    333    nrbxp___
+     murr8x    CentaurMT-Expert                  A    333    nrexp___
+     murri7a   CentaurMT-ItalicAlternate         A    333    nrial___
+     murrij8a  CentaurMT-ItalicOsF               A    333    nrio____
+     murri8x   CentaurMT-ItalicExpert            A    333    nrixp___
+     murrc8a   CentaurMT-SC                      A    333    nrsc____
+     murriw8a  CentaurMT-SwashCapitals           A    333    nrswc___
+     mmob8a    ModernMT-Bold                     A    334    nmb_____
+     mmobi8a   ModernMT-BoldItalic               A    334    nmbi____
+     mmor8ac   ModernMT-Condensed                A    334    nmc_____
+     mmori8ac  ModernMT-CondensedItalic          A    334    nmci____
+     mmor8ax   ModernMT-Extended                 A    334    nmex____
+     mmori8ax  ModernMT-ExtendedItalic           A    334    nmexi___
+     mmor8aw   ModernMT-Wide                     A    334    nmwd____
+     mmori8aw  ModernMT-WideItalic               A    334    nmwdi___
+     p_____    ElseNPL-Bold                      A    335    enb_____
+     p_____    ElseNPL-Light                     A    335    enl_____
+     p_____    ElseNPL-Medium                    A    335    enm_____
+     p_____    ElseNPL-SemiBold                  A    335    ens_____
+     p_____    Tiepolo-Bold                      A    336    tpb_____
+     p_____    Tiepolo-BoldItalic                A    336    tpbi____
+     p_____    Tiepolo-Black                     A    336    tpbl____
+     p_____    Tiepolo-BlackItalic               A    336    tpbli___
+     p_____    Tiepolo-Book                      A    336    tpw_____
+     p_____    Tiepolo-BookItalic                A    336    tpwi____
+     pfaric8ac Formata-CnItalicSC                A    337    fmcis___
+     pfari8xc  Formata-CnItalicExpert            A    337    fmcix___
+     pfarc8ac  Formata-CondensedSC               A    337    fmcsc___
+     pfar8xc   Formata-CondensedExpert           A    337    fmcxp___
+     pfaric8a  Formata-ItalicSC                  A    337    fmisc___
+     pfari8x   Formata-ItalicExpert              A    337    fmixp___
+     pfalc8ac  Formata-LightCnSC                 A    337    fmlcs___
+     pfalic8ac Formata-LightCnItalicSC           A    337    fmlct___
+     pfal8xc   Formata-LightCnExpert             A    337    fmlcx___
+     pfali8xc  Formata-LightCnItalicExpert       A    337    fmlcy___
+     pfalic8a  Formata-LightItalicSC             A    337    fmlis___
+     pfali8x   Formata-LightItalicExpert         A    337    fmlix___
+     pfalc8a   Formata-LightSC                   A    337    fmlsc___
+     pfal8x    Formata-LightExpert               A    337    fmlxp___
+     pfar8x    Formata-RegularExpert             A    337    fmrgx___
+     pfarc8a   Formata-RegularSC                 A    337    fmsc____
+     pnfbij8a  Nofret-BoldItalicOsF              A    338    nfbio___
+     pnfbi8x   Nofret-BoldItalicExpert           A    338    nfbix___
+     pnfbj8a   Nofret-BoldOsF                    A    338    nfbof___
+     pnfb8x    Nofret-BoldExpert                 A    338    nfbxp___
+     pnfrij8a  Nofret-ItalicOsF                  A    338    nfiof___
+     pnfri8x   Nofret-ItalicExpert               A    338    nfixp___
+     pnflij8a  Nofret-LightItalicOsF             A    338    nflio___
+     pnfli8x   Nofret-LightItalicExpert          A    338    nflix___
+     pnflc8a   Nofret-LightSC                    A    338    nflsc___
+     pnfl8x    Nofret-LightExpert                A    338    nflxp___
+     pnfmij8a  Nofret-MediumItalicOsF            A    338    nfmio___
+     pnfmi8x   Nofret-MediumItalicExpert         A    338    nfmix___
+     pnfmc8a   Nofret-MediumSC                   A    338    nfmsc___
+     pnfm8x    Nofret-MediumExpert               A    338    nfmxp___
+     pnfr8x    Nofret-RegularExpert              A    338    nfrgx___
+     pnfrc8a   Nofret-RegularSC                  A    338    nfsc____
+     p_____    Amigo                             A    339    ig______
+     p_____    Pelican                           A    339    lq______
+     pmgr8a    Marigold                          A    339    my______
+     pofr8a    Oxford                            A    339    of______
+     pvgr8a    Visigoth                          A    339    vg______
+     mapr8x    ApolloMT-Expert                   A    340    ezexp___
+     mapri8a   ApolloMT-Italic                   A    340    ezi_____
+     maprij8a  ApolloMT-ItalicOsF                A    340    eziof___
+     mapri8x   ApolloMT-ItalicExpert             A    340    ezixp___
+     mapr8a    ApolloMT                          A    340    ezr_____
+     maprc8a   ApolloMT-SC                       A    340    ezrsc___
+     maps8a    ApolloMT-SemiBold                 A    340    ezsb____
+     mapsj8a   ApolloMT-SemiBoldOsF              A    340    ezsbo___
+     maps8x    ApolloMT-SemiBoldExpert           A    340    ezsbx___
+     p_____    Catull-Bold                       A    341    qlb_____
+     p_____    Catull-Italic                     A    341    qli_____
+     p_____    Catull-Medium                     A    341    qlm_____
+     p_____    Catull-Regular                    A    341    qlrg____
+     pagMMo8a  ITCAvantGardeMM-Oblique           A    342    zfi_____
+     pagMM8a   ITCAvantGardeMM                   A    342    zfrg____
+     mhob8a    HorleyOldStyleMT-Bold             A    343    hsb_____
+     mhobi8a   HorleyOldStyleMT-BoldItalic       A    343    hsbi____
+     mhori8a   HorleyOldStyleMT-Italic           A    343    hsi_____
+     mhol8a    HorleyOldStyleMT-Light            A    343    hsl_____
+     mholi8a   HorleyOldStyleMT-LightItalic      A    343    hsli____
+     mhor8a    HorleyOldStyleMT                  A    343    hsrg____
+     mhos8a    HorleyOldStyleMT-SemiBold         A    343    hssb____
+     mhosi8a   HorleyOldStyleMT-SbItalic         A    343    hssbi___
+     p_____    Cremona-Bold                      A    344    _cb_____
+     p_____    Cremona-BoldItalic                A    344    _cbi____
+     p_____    Cremona-Italic                    A    344    _ci_____
+     p_____    Cremona-Regular                   A    344    _crg____
+     pgsb8aq   GillSans-BoldExtraCondensed       A    345    gnbxc___
+     pgslh8a   GillSans-LightShadowed            A    345    gnls____
+     pgsrh8a   GillSans-Shadowed                 A    345    gns_____
+     pgsxd8a   GillSans-ExtraBoldDisplay         A    345    gnxbd___
+     p_____    LoType-Bold                       A    346    ljb_____
+     p_____    LoType-Light                      A    346    ljl_____
+     p_____    LoType-Medium                     A    346    ljm_____
+     p_____    LoType-MediumCondensed            A    346    ljmc____
+     p_____    LoType-MediumItalic               A    346    ljmi____
+     p_____    LoType-Regular                    A    346    ljrg____
+     mknr8a    KinoMT                            A    347    qi______
+     mwrrf8a   WittenbergerFrakturMT             A    347    wf______
+     mwrbf8a   WittenbergerFrakturMT-Bd          A    347    wfb_____
+     mwdbf7c   WittenbergerFrakturMT-BdDfr       A    347    wfbdf___
+     mwdrf7c   WittenbergerFrakturMT-Dfr         A    347    wfdfr___
+     mm7r8a    MaturaMT                          A    347    zz______
+     mm7rw8a   MaturaMT-ScriptCapitals           A    347    zzscc___
+     pllbij8a  LinoLetter-BoldItalicOsF          A    348    llbio___
+     pllbk8a   LinoLetter-BoldOsF                A    348    llbof___
+     pllbc8a   LinoLetter-BoldSC                 A    348    llbsc___
+     pllrij8a  LinoLetter-ItalicOsF              A    348    lliof___
+     pllmij8a  LinoLetter-MediumItalicOsF        A    348    llmio___
+     pllmj8a   LinoLetter-MediumOsF              A    348    llmof___
+     pllmc8a   LinoLetter-MediumSC               A    348    llmsc___
+     pllrj8a   LinoLetter-RomanOsF               A    348    llros___
+     pllrc8a   LinoLetter-RomanSC                A    348    llrsc___
+     pllcij8a  LinoLetter-BlackItalicOsF         A    348    llzio___
+     pllcj8a   LinoLetter-BlackOsF               A    348    llzof___
+     pllcc8a   LinoLetter-BlackSC                A    348    llzsc___
+     pbbbij8a  Bembo-BoldItalicOsF               A    349    bmbio___
+     pbbbi8x   Bembo-BoldItalicExpert            A    349    bmbix___
+     pbbbj8a   Bembo-BoldOsF                     A    349    bmbos___
+     pbbb8x    Bembo-BoldExpert                  A    349    bmbxp___
+     pbbxj8a   Bembo-ExtraBoldOsF                A    349    bmebs___
+     pbbx8x    Bembo-ExtraBoldExpert             A    349    bmebx___
+     pbbxij8a  Bembo-ExtraBoldItalicOsF          A    349    bmeis___
+     pbbxi8x   Bembo-ExtraBoldItalicExpert       A    349    bmeix___
+     pbbr8x    Bembo-Expert                      A    349    bmexp___
+     pbbrij8a  Bembo-ItalicOsF                   A    349    bmios___
+     pbbri8x   Bembo-ItalicExpert                A    349    bmixp___
+     pbbrc8a   Bembo-SC                          A    349    bmrsc___
+     pbbsj8a   Bembo-SemiboldOsF                 A    349    bmsbo___
+     pbbs8x    Bembo-SemiboldExpert              A    349    bmsbx___
+     pbbsij8a  Bembo-SemiboldItalicOsF           A    349    bmsis___
+     pbbsi8x   Bembo-SemiboldItalicExpert        A    349    bmsix___
+     ptkMMo8a  TektonMM-Oblique                  A    350    zji_____
+     ptkMM8a   TektonMM                          A    350    zjrg____
+     pvvMM8a   VivaMM                            A    351    zkrg____
+     pb7b8a    BernhardModern-Bold               A    352    rdb_____
+     pb7bi8a   BernhardModern-BoldItalic         A    352    rdbi____
+     pb7ri8a   BernhardModern-Italic             A    352    rdi_____
+     pb7r8a    BernhardModern-Roman              A    352    rdr_____
+     p_____    Ariadne-Roman                     A    353    aria____
+     pdiri8a   Diotima-Italic                    A    353    dti_____
+     pdirij8a  Diotima-ItalicOsF                 A    353    dtiof___
+     pdir8a    Diotima-Roman                     A    353    dtr_____
+     pdirj8a   Diotima-RomanOsF                  A    353    dtros___
+     pdirc8a   Diotima-RomanSC                   A    353    dtrsc___
+     p_____    Smaragd                           A    353    smar____
+     p_____    Smaragd-Alternate                 A    353    smara___
+     pttb6w    TimesTenCyr-Bold                  A    354    ttyb____
+     pttbo6w   TimesTenCyr-BoldInclined          A    354    ttybi___
+     pttro6w   TimesTenCyr-Inclined              A    354    ttyi____
+     pttr6w    TimesTenCyr-Upright               A    354    ttyu____
+     panr8a    Anna                              A    355    iarg____
+     p_____    Beesknees                         A    355    ikh_____
+     p_____    MonaLisa-Recut                    A    355    iyin____
+     p_____    MonaLisa-Solid                    A    355    iysd____
+     p_____    Ozwald                            A    355    ozh_____
+     po8b8a    OfficinaSerif-Bold                A    356    ovb_____
+     po8bi8a   OfficinaSerif-BoldItalic          A    356    ovbi____
+     po8k8a    OfficinaSerif-Book                A    356    ovbk____
+     po8ki8a   OfficinaSerif-BookItalic          A    356    ovwi____
+     po9b8a    OfficinaSans-Bold                 A    357    owb_____
+     po9bi8a   OfficinaSans-BoldItalic           A    357    owbi____
+     po9k8a    OfficinaSans-Book                 A    357    owbk____
+     po9ki8a   OfficinaSans-BookItalic           A    357    owwi____
+     p_____    SanvitoMM                         A    358    zhrg____
+     p_____    CaflischScriptMM-Alt              A    359    zea_____
+     p_____    CaflischScriptMM                  A    359    zerg____
+     p_____    CaflischScriptMM-Sw               A    359    zesw____
+     p_____    GraphiteMM                        A    360    _grg____
+     phir6w    HelveticaInseratCyr-Upright       A    361    hiyu____
+     phvb6w    HelveticaCyr-Bold                 A    361    hvyb____
+     phvbo6w   HelveticaCyr-BoldInclined         A    361    hvybi___
+     phvro6w   HelveticaCyr-Inclined             A    361    hvyi____
+     phvr6w    HelveticaCyr-Upright              A    361    hvyu____
+     plzb8a    LegacySans-Bold                   A    362    lvb_____
+     plzbi8a   LegacySans-BoldItalic             A    362    lvbi____
+     plzm8a    LegacySans-Medium                 A    362    lvm_____
+     plzmi8a   LegacySans-MediumItalic           A    362    lvmi____
+     plzu8a    LegacySans-Ultra                  A    362    lvu_____
+     plzk8a    LegacySans-Book                   A    362    lvw_____
+     plzki8a   LegacySans-BookItalic             A    362    lvwi____
+     pleb8a    LegacySerif-Bold                  A    363    lzb_____
+     plebi8a   LegacySerif-BoldItalic            A    363    lzbi____
+     plem8a    LegacySerif-Medium                A    363    lzm_____
+     plemi8a   LegacySerif-MediumItalic          A    363    lzmi____
+     pleu8a    LegacySerif-Ultra                 A    363    lzu_____
+     plek8a    LegacySerif-Book                  A    363    lzw_____
+     pleki8a   LegacySerif-BookItalic            A    363    lzwi____
+     pexr6w    ExcelsiorCyr-Upright              A    364    exy_____
+     pexb6w    ExcelsiorCyr-Bold                 A    364    exyb____
+     pexro6w   ExcelsiorCyr-Inclined             A    364    exyi____
+     pbvr6w    BaskervilleCyr-Upright            A    365    _by_____
+     pbvb6w    BaskervilleCyr-Bold               A    365    _byb____
+     pbvbo6w   BaskervilleCyr-Inclined           A    365    _byi____
+     p_____    Pepperwood-Fill                   A    366    uwfi____
+     p_____    Pepperwood-Outline                A    366    uwou____
+     p_____    Pepperwood-Regular                A    366    uwrg____
+     p_____    Rosewood-Fill                     A    366    uxfi____
+     p_____    Rosewood-Regular                  A    366    uxrg____
+     p_____    Zebrawood-Fill                    A    366    uyfi____
+     p_____    Zebrawood-Regular                 A    366    uyrg____
+     p_____    MendozaRoman-Bold                 A    367    zab_____
+     p_____    MendozaRoman-BoldItalic           A    367    zabi____
+     p_____    MendozaRoman-Medium               A    367    zam_____
+     p_____    MendozaRoman-MediumItalic         A    367    zami____
+     p_____    MendozaRoman-Book                 A    367    zaw_____
+     p_____    MendozaRoman-BookItalic           A    367    zawi____
+     phhb8a    Highlander-Bold                   A    368    hhb_____
+     phhbi8a   Highlander-BoldItalic             A    368    hhbi____
+     phhk8a    Highlander-Book                   A    368    hhbk____
+     phhm8a    Highlander-Medium                 A    368    hhm_____
+     phhmi8a   Highlander-MediumItalic           A    368    hhmi____
+     phhki8a   Highlander-BookItalic             A    368    hhwi____
+     pbgb8a    Benguiat-Bold                     A    369    bgb_____
+     pbgbi8a   Benguiat-BoldItalic               A    369    bgbi____
+     pbgm8a    Benguiat-Medium                   A    369    bgm_____
+     pbgmi8a   Benguiat-MediumItalic             A    369    bgmi____
+     pbgk8a    Benguiat-Book                     A    369    bgw_____
+     pbgki8a   Benguiat-BookItalic               A    369    bgwi____
+     p_____    MezzMM                            A    370    zmrg____
+     lrzb8a    RuzickaFreehandLH-Bold            A    371    rzb_____
+     lrzbc8a   RuzickaFreehandLH-BoldSC          A    371    rzbsc___
+     lrzr8a    RuzickaFreehandLH-Roman           A    371    rzr_____
+     lrzrc8a   RuzickaFreehandLH-RomanSC         A    371    rzrsc___
+     pnorf7c   NotreDame-RomanDfr                A    372    nhdfr___
+     pnorp     NotreDame-Ornaments               A    372    nhorn___
+     pnorf8a   NotreDame-Roman                   A    372    nhr_____
+     ppjrp     Pompeijana-Borders                A    372    qbbor___
+     ppjr8a    Pompeijana-Roman                  A    372    qbr_____
+     prxrp     Rusticana-Borders                 A    372    rxbor___
+     prxr8a    Rusticana-Roman                   A    372    rxr_____
+     lpi005    CaravanLH-One                     A    373    cara1___
+     lpi006    CaravanLH-Two                     A    373    cara2___
+     lpi007    CaravanLH-Three                   A    373    cara3___
+     lpi008    CaravanLH-Four                    A    373    cara4___
+     leab8a    ElectraLH-Bold                    A    373    etb_____
+     leabi8a   ElectraLH-BoldCursive             A    373    etbi____
+     leari8a   ElectraLH-Cursive                 A    373    eti_____
+     lear8a    ElectraLH-Regular                 A    373    etr_____
+     leabij8a  ElectraLH-BoldCursiveOsF          A    374    etbio___
+     leabj8a   ElectraLH-BoldOsF                 A    374    etbos___
+     leabc8a   ElectraLH-BoldSC                  A    374    etbsc___
+     leabd8a   ElectraLH-BoldDisplay             A    374    etdb____
+     leabid8a  ElectraLH-BoldCursiveDisplay      A    374    etdbi___
+     learid8a  ElectraLH-CursiveDisplay          A    374    etdi____
+     leard8a   ElectraLH-Display                 A    374    etdr____
+     learij8a  ElectraLH-CursiveOsF              A    374    etios___
+     learj8a   ElectraLH-RegularOsF              A    374    etros___
+     learc8a   ElectraLH-RegularSC               A    374    etrsc___
+     p_____    RulingScript-Two                  A    375    rul2____
+     p_____    Sho-Roman                         A    375    sho_____
+     p_____    WiesbadenSwing-Roman              A    375    wn______
+     p_____    MotterCorpusMM                    A    376    kprg____
+     p_____    PenumbraMM                        A    377    zlrg____
+     p_____    NuevaMM-It                        A    378    twi_____
+     p_____    NuevaMM                           A    378    twr_____
+     pctbif8a  Cheltenham-HandtooledBdIt         A    379    chiin___
+     pctbf8a   Cheltenham-HandtooledBold         A    379    chin____
+     pgmbif8a  Garamond-HandtooledBoldItalic     A    379    gaiin___
+     pgmbf8a   Garamond-HandtooledBold           A    379    gain____
+     pcnbif8a  Century-HandtooledBoldItalic      A    379    iciin___
+     pcnbf8a   Century-HandtooledBold            A    379    icin____
+     pgmMM8a   ITCGaramondMM                     A    380    gc______
+     pgmMMi8a  ITCGaramondMM-It                  A    380    gci_____
+     p_____    Cerigo-Bold                       A    381    qcb_____
+     p_____    Cerigo-BoldItalic                 A    381    qcbi____
+     p_____    Cerigo-Medium                     A    381    qcm_____
+     p_____    Cerigo-MediumItalic               A    381    qcmi____
+     p_____    Cerigo-Book                       A    381    qcw_____
+     p_____    Cerigo-BookItalic                 A    381    qcwi____
+     phab8a    Hadriano-Bold                     A    382    hab_____
+     phax8a    Hadriano-ExtraBold                A    382    haeb____
+     phax8ac   Hadriano-ExtraBoldCondensed       A    382    haebc___
+     phal8a    Hadriano-Light                    A    382    hal_____
+     prcb8a    Romic-Bold                        A    383    rob_____
+     prcx8a    Romic-ExtraBold                   A    383    roeb____
+     prcl8a    Romic-Light                       A    383    rol_____
+     prcli8a   Romic-LightItalic                 A    383    roli____
+     prcm8a    Romic-Medium                      A    383    rom_____
+     p_____    Copal-Decorated                   A    384    _ddc____
+     p_____    Copal-Outline                     A    384    _dou____
+     p_____    Copal-Solid                       A    384    _dsd____
+     pxpMM7a   ExPontoMM-Alternate               A    385    jvalt___
+     pxpMM7ab  ExPontoMM-Beginning               A    385    jvbeg___
+     pxpMM7ae  ExPontoMM-Ending                  A    385    jvend___
+     pxpMM8a   ExPontoMM                         A    385    jvrg____
+     pxpMMj8a  ExPontoMM-OsF                     A    385    jvros___
+     pysb8a    GoudySans-Bold                    A    386    hgb_____
+     pysbi8a   GoudySans-BoldItalic              A    386    hgbi____
+     pysk8a    GoudySans-Book                    A    386    hgbk____
+     pyski8a   GoudySans-BookItalic              A    386    hgbki___
+     pysc8a    GoudySans-Black                   A    386    hgbl____
+     pysci8a   GoudySans-BlackItalic             A    386    hgbli___
+     pysm8a    GoudySans-Medium                  A    386    hgm_____
+     pysmi8a   GoudySans-MediumItalic            A    386    hgmi____
+     p_____    Delphin-I                         A    387    df1_____
+     p_____    Delphin-IA                        A    387    df1a____
+     p_____    Delphin-II                        A    387    df2_____
+     p_____    Delphin-IIA                       A    387    df2a____
+     pc7b8a    Kompakt                           A    387    kq______
+     p_____    KochAntiqua                       A    387    kv______
+     pnlb8a    Neuland                           A    387    nq______
+     p_____    Caliban                           A    388    ni______
+     paxrw8a   Alexa                             A    388    xa______
+     pbzrw8a   Balzano                           A    388    zn______
+     p_____    JimboMM                           A    389    jprg____
+     pb7b8ac   Bernhard-BoldCondensed            A    390    dhbc____
+     pnw1r8a   NeueHammerUnziale-One             A    390    nw1_____
+     pnw1r7a   NeueHammerUnziale-OneAlt          A    390    nw1al___
+     pnw2r8a   NeueHammerUnziale-Two             A    390    nw2_____
+     pnw2r7a   NeueHammerUnziale-TwoAlt          A    390    nw2al___
+     pclrl8a   Cloister-OpenFace                 A    390    oein____
+     poir8a    Ondine                            A    390    og______
+     pghr7a    Galahad-Alternate                 A    391    g_alt___
+     pghr8a    Galahad-Regular                   A    391    g_rg____
+     pghrj8a   Galahad-OsF                       A    391    g_ros___
+     popc8a    Optima-Black                      A    392    opbl____
+     popci8a   Optima-BlackItalic                A    392    opbli___
+     popd8a    Optima-DemiBold                   A    392    opd_____
+     popdi8a   Optima-DemiBoldItalic             A    392    opdi____
+     popx8a    Optima-ExtraBlack                 A    392    opf_____
+     popm8a    Optima-Medium                     A    392    opm_____
+     popmi8a   Optima-MediumItalic               A    392    opmi____
+     popxi8a   Optima-ExtraBlackItalic           A    392    opxfi___
+     p_____    Aja                               A    393    ja______
+     p_____    PopplExquisit-Medium              A    393    xqm_____
+     p_____    PopplExquisit-Regular             A    393    xqrg____
+     ppi033    NationalCodes-Africa              A    394    ncaf____
+     ppi034    NationalCodes-America             A    394    ncam____
+     ppi035    NationalCodes-AsiaPlus            A    394    ncas____
+     ppi036    NationalCodes-Europe              A    394    nceu____
+     ppi037    NationalCodes-Universal           A    394    ncun____
+     p_____    ElGreco                           A    395    eq______
+     pakm8a    Arkona-Medium                     A    395    xnm_____
+     pakr8a    Arkona-Regular                    A    395    xnrg____
+     pfgd8ap   FranklinGothic-DemiCmpr           A    396    frdcp___
+     pfgdi8ap  FranklinGothic-DemiCmprItal       A    396    frdpi___
+     pfgd8aq   FranklinGothic-DemiXCmpr          A    396    frdx____
+     pfgk8ap   FranklinGothic-BookCmpr           A    396    frwcp___
+     pfgki8ap  FranklinGothic-BookCmprItal       A    396    frwpi___
+     pfgk8aq   FranklinGothic-BookXCmpr          A    396    frwx____
+     pfgd8ac   FranklinGothic-DemiCnd            A    397    frdc____
+     pfgdi8ac  FranklinGothic-DemiCndItal        A    397    frdci___
+     pfgm8ac   FranklinGothic-MedCnd             A    397    frmc____
+     pfgmi8ac  FranklinGothic-MedCndItal         A    397    frmci___
+     pfgk8ac   FranklinGothic-BookCnd            A    397    frwc____
+     pfgki8ac  FranklinGothic-BookCndItal        A    397    frwci___
+     p_____    Sassafras-Italic                  A    398    xfi_____
+     p_____    Sassafras-LxItalic                A    398    xflgi___
+     p_____    Sassafras-Lx                      A    398    xflgr___
+     p_____    Sassafras-Roman                   A    398    xfr_____
+     p_____    Sassafras-SxItalic                A    398    xfshi___
+     p_____    Sassafras-Sx                      A    398    xfshr___
+     pkxrd8a   Kigali-Block                      A    399    kxblk___
+     pkxrw8a   Kigali-ZigZag                     A    399    kxdc____
+     pkxri8a   Kigali-Italic                     A    399    kxi_____
+     pkxli8a   Kigali-LxItalic                   A    399    kxlgi___
+     pkxl8a    Kigali-Lx                         A    399    kxlgr___
+     pkxr8a    Kigali-Roman                      A    399    kxr_____
+     pkxsi8a   Kigali-SxItalic                   A    399    kxshi___
+     pkxs8a    Kigali-Sx                         A    399    kxshr___
+     pajMMi8a  AJensonMM-It                      A    400    jei_____
+     pajMM8a   AJensonMM                         A    400    jer_____
+     pajMM7a   AJensonMM-Alt                     A    401    jealt___
+     pajMM8x   AJensonMM-Ep                      A    401    jeexp___
+     pajMMi7a  AJensonMM-ItAlt                   A    401    jeial___
+     pajMMic8a AJensonMM-ItSC                    A    401    jeisc___
+     pajMMi8x  AJensonMM-ItEp                    A    401    jeixp___
+     pajMMc8a  AJensonMM-SC                      A    401    jersc___
+     pajMMiw8a AJensonMM-Sw                      A    401    jeswc___
+     mbmb8a    BulmerMT-Bold                     A    402    ybb_____
+     mbmbi8a   BulmerMT-BoldItalic               A    402    ybbi____
+     mbmbd8a   BulmerMT-BoldDisplay              A    402    ybdb____
+     mbmbid8a  BulmerMT-BoldItalicDisplay        A    402    ybdbi___
+     mbmrd8a   BulmerMT-RegularDisplay           A    402    ybds____
+     mbmrid8a  BulmerMT-ItalicDisplay            A    402    ybdsi___
+     mbmri8a   BulmerMT-Italic                   A    402    ybi_____
+     mbmr8a    BulmerMT-Regular                  A    402    ybrg____
+     mbms8a    BulmerMT-SemiBold                 A    402    ybsb____
+     mbmsi8a   BulmerMT-SemiBoldItalic           A    402    ybsi____
+     mbmb7a    BulmerMT-BoldAlt                  A    403    ybab____
+     mbmbi7a   BulmerMT-BoldItalicAlt            A    403    ybabi___
+     mbmr7a    BulmerMT-RegularAlt               A    403    ybarg___
+     mbms7a    BulmerMT-SemiBoldAlt              A    403    ybasb___
+     mbmsi7a   BulmerMT-SemiBoldItalicAlt        A    403    ybasi___
+     mbmbd7a   BulmerMT-BoldDisplayAlt           A    403    ybbda___
+     mbmbid7a  BulmerMT-BoldItalDisplayAlt       A    403    ybbid___
+     mbmbi8x   BulmerMT-BoldItalicExpert         A    403    ybbix___
+     mbmb8x    BulmerMT-BoldExpert               A    403    ybbxp___
+     mbmri7a   BulmerMT-ItalicAlt                A    403    ybial___
+     mbmrid7a  BulmerMT-ItalicDisplayAlt         A    403    ybida___
+     mbmri8x   BulmerMT-ItalicExpert             A    403    ybixp___
+     mbmrd7a   BulmerMT-RegularDisplayAlt        A    403    ybrda___
+     mbmr8x    BulmerMT-RegularExpert            A    403    ybrgx___
+     mbmrc8a   BulmerMT-RegularSC                A    403    ybrsc___
+     mbmsc8a   BulmerMT-SemiBoldSC               A    403    ybsbs___
+     mbms8x    BulmerMT-SemiBoldExpert           A    403    ybsbx___
+     mbmsi8x   BulmerMT-SemiBoldItalExpert       A    403    ybsix___
+     pizr8a    Isabella                          A    404    iz______
+     prrr8a    Raphael                           A    404    rr______
+     pxcr8a    Eccentric                         A    404    xc______
+     p_____    OceanSansMM-It                    A    405    ohi_____
+     p_____    OceanSansMM                       A    405    ohr_____
+     plcrt8a   LucidaTypewriter                  A    406    tl______
+     plcbt8a   LucidaTypewriter-Bold             A    406    tlb_____
+     plcbot8a  LucidaTypewriter-BoldObl          A    406    tlbo____
+     plcrot8a  LucidaTypewriter-Obl              A    406    tlo_____
+     plsrt8a   LucidaSansTypewriter              A    407    ty______
+     plsbt8a   LucidaSansTypewriter-Bd           A    407    tyb_____
+     plsbot8a  LucidaSansTypewriter-BdObl        A    407    tybo____
+     plsrot8a  LucidaSansTypewriter-Obl          A    407    tyo_____
+     p_____    BriemScriptMM-Exp                 A    408    iiexp___
+     p_____    BriemScriptMM                     A    408    iirg____
+     p_____    BriemScriptMM-SC                  A    408    iisc____
+     pkpMM8a   KeplMM                            A    409    k_______
+     pkpMMi8a  KeplMM-It                         A    409    k_i_____
+     pkpMM8x   KeplMM-Ep                         A    410    k_exp___
+     pkpMMic8a KeplMM-ItSC                       A    410    k_isc___
+     pkpMMi8x  KeplMM-ItEp                       A    410    k_ixp___
+     pkpMMp1   KeplMM-Or1                        A    410    k_or1___
+     pkpMMp2   KeplMM-Or2                        A    410    k_or2___
+     pkpMMp3   KeplMM-Or3                        A    410    k_or3___
+     pkpMMc8a  KeplMM-SC                         A    410    k_rsc___
+     pkpMMiw8a KeplMM-Sw                         A    410    k_sw____
+     pmjr8a    Mojo                              A    411    fbrg____
+     p_____    Shuriken-Boy                      A    412    s_boy___
+     p_____    Andreas                           A    413    hy______
+     poqr8a    Ouch                              A    414    oq______
+     p_____    CongaBravaMM                      A    415    vbrg____
+     p_____    CongaBravaMM-St                   A    415    vbst____
+     p_____    CronosMM                          A    416    xo______
+     p_____    CronosMM-It                       A    416    xoi_____
+     p_____    CronosMM-Ep                       A    417    xoexp___
+     p_____    CronosMM-ItSC                     A    417    xoisc___
+     p_____    CronosMM-ItEp                     A    417    xoixp___
+     p_____    CronosMM-Or                       A    417    xoor____
+     p_____    CronosMM-SC                       A    417    xorsc___
+     p_____    CronosMM-Sw                       A    417    xosw____
+     pdkb8a    Diskus-Bold                       A    418    d_b_____
+     pdkr8a    Diskus                            A    418    d_rg____
+     potb8a    Coronet-Bold                      A    418    n_b_____
+     potr8a    Coronet                           A    418    n_rg____
+     p_____    ChaparralMM-It                    A    419    xti_____
+     p_____    ChaparralMM                       A    419    xtr_____
+     p_____    ChaparralMM-Ep                    A    420    xtexp___
+     p_____    ChaparralMM-ItSC                  A    420    xtisc___
+     p_____    ChaparralMM-ItEp                  A    420    xtixp___
+     p_____    ChaparralMM-Or                    A    420    xtor____
+     p_____    ChaparralMM-SC                    A    420    xtrsc___
+     ppi038    WiesbadenSwing-Dingbats           A    421    wgdb____
+     p_____    BermudaLP-Dots                    A    422    uddc1___
+     p_____    BermudaLP-Squiggle                A    422    uddc2___
+     p_____    BermudaLP-Open                    A    422    udou____
+     p_____    BermudaLP-Solid                   A    422    udrg____
+     p_____    SpumoniLP                         A    423    uu______
+     pzpr8a    ZiptyDo                           A    424    zp______
+     pkwr7a    KoloLP-Alternates                 A    425    kwalt___
+     pkwr8an   KoloLP-Narrow                     A    425    kwn_____
+     pkwr8a    KoloLP-Regular                    A    425    kwrg____
+     pkwr8aw   KoloLP-Wide                       A    425    kwwd____
+     pnxr8a    Nyx                               A    426    nxrg____
+     p_____    Banshee                           A    427    zo______
+     p_____    KinesisMM                         A    428    kj______
+     p_____    KinesisMM-It                      A    428    kji_____
+     p_____    KinesisMM-Ep                      A    429    kjexp___
+     p_____    KinesisMM-ItSC                    A    429    kjisc___
+     p_____    KinesisMM-ItEp                    A    429    kjixp___
+     p_____    KinesisMM-SC                      A    429    kjrsc___
+     p_____    HardwoodLP                        A    430    hw______
+     p_____    ManitoLP                          A    431    mw______
+     p_____    Coriander                         A    432    uc______
+     p_____    SpringLP                          A    433    td______
+     p_____    SpringLP-Light                    A    433    tdl_____
+     pwhb8a    WendyLP-Bold                      A    434    whb_____
+     pwhl8a    WendyLP-Light                     A    434    whl_____
+     pwhm8a    WendyLP-Medium                    A    434    whm_____
+     p_____    BickhamScriptMM-AltI              A    435    b_a1____
+     p_____    BickhamScriptMM-AltII             A    435    b_a2____
+     p_____    BickhamScriptMM-Beg               A    435    b_bg____
+     p_____    BickhamScriptMM-End               A    435    b_en____
+     p_____    BickhamScriptMM-Lig               A    435    b_lig___
+     p_____    BickhamScriptMM-Or                A    435    b_or____
+     p_____    BickhamScriptMM                   A    435    b_rg____
+     p_____    BickhamScriptMM-SwCaps            A    435    b_swc___
+     pojr8a    OldClaudeLP                       A    436    oj______
+     pojrj8a   OldClaudeLP-OsF                   A    436    ojosf___
+     pojrc8a   OldClaudeLP-SC                    A    436    ojsc____
+     p_____    FlorensLP                         A    437    fn______
+     p_____    FlorensLP-Alternates              A    437    fnalt___
+     p_____    BriemAkademiMM                    A    438    dkrg____
+     p_____    Khaki-One                         A    439    hk1_____
+     p_____    Khaki-Two                         A    439    hk2_____
+     p_____    Pompeia-InlineItalic              A    440    vpiit___
+     p_____    Pompeia-Inline                    A    440    vpin____
+     p_____    Flood                             A    441    fyrg____
+     pwtMM7a   WatersTitlingMM-Alt               A    442    jwalt___
+     pwtMM7al  WatersTitlingMM-Lig               A    442    jwlig___
+     pwtMM8a   WatersTitlingMM                   A    442    jwr_____
+     pwtMMd8a  WatersTitlingMM-TallCaps          A    442    jwtlc___
+     p_____    CelestiaAntiqua-Regular           A    443    zs______
+     p_____    CelestiaAntiqua-Bold              A    443    zsb_____
+     p_____    CelestiaAntiqua-BoldLig           A    443    zsbdl___
+     p_____    CelestiaAntiqua-Italic            A    443    zsi_____
+     p_____    CelestiaAntiqua-ItalicLig         A    443    zsitl___
+     p_____    CelestiaAntiqua-Ligatures         A    443    zslig___
+     p_____    CelestiaAntiqua-Ornaments         A    443    zsor____
+     p_____    CelestiaAntiqua-Semibold          A    443    zssb____
+     p_____    CelestiaAntiqua-SmBdLig           A    443    zssbl___
+     p_____    CelestiaAntiqua-SC                A    443    zssc____
+     pmyr8ac   Myriad-Condensed                  A    444    wmc_____
+     pmyb8ac   Myriad-CnBold                     A    444    wmcb____
+     pmybi8ac  Myriad-CnBoldItalic               A    444    wmcbi___
+     pmyri8ac  Myriad-CnItalic                   A    444    wmci____
+     pmys8ac   Myriad-CnSemibold                 A    444    wms_____
+     pmysi8ac  Myriad-CnSemiboldItalic           A    444    wmsi____
+     p_____    Immi505                           A    445    firg____
+     p_____    MagnoliaMVB                       A    446    xm______
+     p_____    MagnoliaMVB-Ligatures             A    446    xmlig___
+     p_____    BossaNovaMVB                      A    447    xb______
+     p_____    BossaNovaMVB-Alternates           A    447    xbalt___
+     p_____    Emmascript                        A    448    xe______
+     p_____    RusselOblique                     A    449    zr______
+     p_____    RusselOblique-InformalAlt         A    449    zralt___
+     p_____    RusselOblique-Informal            A    449    zrinf___
+     mdtb8a    DanteMT-Bold                      A    450    dlb_____
+     mdtbi8a   DanteMT-BoldItalic                A    450    dlbi____
+     mdtri8a   DanteMT-Italic                    A    450    dli_____
+     mdtm8a    DanteMT-Medium                    A    450    dlm_____
+     mdtmi8a   DanteMT-MediumItalic              A    450    dlmi____
+     mdtr8a    DanteMT-Regular                   A    450    dlrg____
+     mdtb7a    DanteMT-BoldAlt                   A    451    dlab____
+     mdtbi7a   DanteMT-BoldItalicAlt             A    451    dlabi___
+     mdtri7a   DanteMT-ItalicAlt                 A    451    dlai____
+     mdtr7a    DanteMT-RegularAlt                A    451    dlarg___
+     mdtm7a    DanteMT-MediumAlt                 A    451    dlasb___
+     mdtmi7a   DanteMT-MediumItalicAlt           A    451    dlasi___
+     mdtbij8a  DanteMT-BoldItalicOsF             A    451    dlbio___
+     mdtbi8x   DanteMT-BoldItalicExpert          A    451    dlbix___
+     mdtbj8a   DanteMT-BoldOsF                   A    451    dlbos___
+     mdtb8x    DanteMT-BoldExpert                A    451    dlbxp___
+     mdtrij8a  DanteMT-ItalicOsF                 A    451    dlios___
+     mdtri8x   DanteMT-ItalicExpert              A    451    dlixp___
+     mdtmij8a  DanteMT-MediumItalicOsF           A    451    dlmio___
+     mdtmi8x   DanteMT-MediumItalicExpert        A    451    dlmix___
+     mdtmj8a   DanteMT-MediumOsF                 A    451    dlmof___
+     mdtm8x    DanteMT-MediumExpert              A    451    dlmxp___
+     mdtr8x    DanteMT-RegularExpert             A    451    dlrgx___
+     mdtrc8a   DanteMT-RegularSC                 A    451    dlsc____
+     mdtrd8a   DanteMT-Titling                   A    451    dlttl___
+     myhb8a    StrayhornMT-Bold                  A    452    yhb_____
+     myhbi8a   StrayhornMT-BoldItalic            A    452    yhbi____
+     myhx8a    StrayhornMT-ExtraBold             A    452    yheb____
+     myhxi8a   StrayhornMT-ExtraBoldItalic       A    452    yhebi___
+     myhri8a   StrayhornMT-Italic                A    452    yhi_____
+     myhl8a    StrayhornMT-Light                 A    452    yhl_____
+     myhli8a   StrayhornMT-LightItalic           A    452    yhli____
+     myhr8a    StrayhornMT-Regular               A    452    yhrg____
+     myhbij8a  StrayhornMT-BoldItalicOsF         A    453    yhbio___
+     myhbj8a   StrayhornMT-BoldOsF               A    453    yhbos___
+     myhxj8a   StrayhornMT-ExtraBoldOsF          A    453    yhebs___
+     myhxij8a  StrayhornMT-ExtraBoldItaOsF       A    453    yheis___
+     myhrij8a  StrayhornMT-ItalicOsF             A    453    yhios___
+     myhlij8a  StrayhornMT-LightItalicOsF        A    453    yhlio___
+     myhlc8a   StrayhornMT-LightSC               A    453    yhlsc___
+     myhrc8a   StrayhornMT-RegularSC             A    453    yhrsc___
+     p_____    Postino-Italic                    A    454    xzi_____
+     p_____    Postino                           A    454    xzr_____
+     p_____    ReliqMM-OsF                       A    455    qeosf___
+     p_____    ReliqMM                           A    455    qer_____
+     p_____    Critter                           A    456    wc______
+     p_____    Cutout                            A    457    wu______
+     p_____    Studz                             A    458    wp______
+     p_____    Rad                               A    459    wr______
+     p_____    Mythos                            A    460    wy______
+     p_____    Toolbox                           A    461    wt______
+     p_____    Quake                             A    462    wq______
+     pg2r8a    Giddyup-Regular                   A    463    wg______
+     pg2r      Giddyup-Thangs                    A    463    wgtha___
+     pmyrl8a   Myriad-Sketch                     A    464    wmske___
+     pmyrn8a   Myriad-Tilt                       A    464    wmtil___
+     mbeb8a    BellMT-Bold                       A    465    xlb_____
+     mbebi8a   BellMT-BoldItalic                 A    465    xlbi____
+     mberi8a   BellMT-Italic                     A    465    xli_____
+     mber8a    BellMT-Regular                    A    465    xlrg____
+     mbes8a    BellMT-SemiBold                   A    465    xlsb____
+     mbesi8a   BellMT-SemiBoldItalic             A    465    xlsbi___
+     mber7a    BellMT-RegularAlt                 A    466    xlarg___
+     mbes7a    BellMT-SemiBoldAlt                A    466    xlasb___
+     mbesi7a   BellMT-SemiBoldItalicAlt          A    466    xlasi___
+     mbebi8x   BellMT-BoldItalicExpert           A    466    xlbix___
+     mbeb8x    BellMT-BoldExpert                 A    466    xlbxp___
+     mber8x    BellMT-RegularExpert              A    466    xlexp___
+     mberi7a   BellMT-ItalicAlt                  A    466    xlial___
+     mberi8x   BellMT-ItalicExpert               A    466    xlixp___
+     mberx7a   BellMT-RegularExpertAlt           A    466    xlrxa___
+     mbesc8a   BellMT-SemiBoldSC                 A    466    xlsbs___
+     mbes8x    BellMT-SemiBoldExpert             A    466    xlsbx___
+     mberc8a   BellMT-RegularSC                  A    466    xlsc____
+     mbesi8x   BellMT-SemiBoldItalicExpert       A    466    xlsix___
+     mbesx7a   BellMT-SemiBoldExpertAlt          A    466    xlsxa___
+     mf1ri7a   FournierMT-ItalicAlt              A    467    xyali___
+     mf1r7a    FournierMT-RegularAlt             A    467    xyalt___
+     mf1ri8a   FournierMT-Italic                 A    467    xyi_____
+     mf1rij8a  FournierMT-ItalicOsF              A    467    xyios___
+     mf1ri8x   FournierMT-ItalicExpert           A    467    xyixp___
+     mf1rp     FournierMT-Ornaments              A    467    xyorn___
+     mf1r8a    FournierMT-Regular                A    467    xyrg____
+     mf1r8x    FournierMT-RegularExpert          A    467    xyrgx___
+     mf1rc8a   FournierMT-RegularSC              A    467    xysc____
+     mf1rid8a  FournierMT-ItalicTallCaps         A    467    xytti___
+     mf1rd8a   FournierMT-TallCaps               A    467    xyttl___
+     p_____    CTMercurius-Black                 A    468    uibl____
+     p_____    CTMercurius-BlackItalic           A    468    uibli___
+     p_____    CTMercurius-Light                 A    468    uil_____
+     p_____    CTMercurius-LightItalic           A    468    uili____
+     p_____    CTMercurius-Medium                A    468    uim_____
+     p_____    CTMercurius-MediumItalic          A    468    uimi____
+     p_____    Fusaka-Regular                    A    469    fv______
+     p_____    Fusaka-Alternates                 A    469    fvalt___
+     p_____    MagnesiumMVB                      A    470    uh______
+     p_____    MagnesiumMVB-Grime                A    470    uhdc1___
+     m_____    GillFloriatedCapsMT-Alt           A    471    fwalt___
+     m_____    GillFloriatedCapsMT               A    471    fwcap___
+     p_____    Origami-Bold                      A    472    xrb_____
+     p_____    Origami-BoldItalic                A    472    xrbi____
+     p_____    Origami-Italic                    A    472    xri_____
+     p_____    Origami-Medium                    A    472    xrm_____
+     p_____    Origami-MediumItalic              A    472    xrmi____
+     p_____    Origami-Regular                   A    472    xrrg____
+     p_____    Origami-Semibold                  A    472    xrsb____
+     p_____    Origami-SemiboldItalic            A    472    xrsbi___
+     p_____    GreymantleMVB                     A    473    qg______
+     p_____    GreymantleMVB-Alternates          A    473    qgalt___
+     p_____    GreymantleMVB-Ornaments           A    473    qgor____
+     p_____    VerveMM-A                         A    474    vvaaa___
+     p_____    VerveMM                           A    474    vvr_____
+     p_____    VolutaScript                      A    475    vs______
+     p_____    VolutaScript-Alternates           A    475    vsalt___
+     p_____    VolutaScript-Swash                A    475    vssw____
+     pcwr8a    Cottonwood                        A    476    c_______
+     piwr8a    Ironwood                          A    477    i_______
+     pjpr8a    Juniper                           A    478    j_______
+     pmqr8a    Mesquite                          A    479    m_______
+     ppor8a    Ponderosa                         A    480    p_______
+     pbir8a    Birch                             A    481    bi______
+     pb0r8a    Blackoak                          A    482    bo______
+     pmrr8a    Madrone                           A    483    mq______
+     pp0r8a    Poplar                            A    484    pp______
+     pwwr8a    Willow                            A    485    wi______
+     p_____    Pepperwood-Fill                   A    486    uwfi____
+     p_____    Pepperwood-Outline                A    486    uwou____
+     p_____    Pepperwood-Regular                A    486    uwrg____
+     p_____    Rosewood-Fill                     A    487    uxfi____
+     p_____    Rosewood-Regular                  A    487    uxrg____
+     p_____    Zebrawood-Fill                    A    488    uyfi____
+     p_____    Zebrawood-Regular                 A    488    uyrg____
+     ppi026    WoodtypeOrnaments-One             A    489    woor____
+     ppi027    WoodtypeOrnaments-Two             A    489    woor2___
+     pg1r8a    Gothic-Thirteen                   A    490    gtt_____
+     ptph8ac   Tempo-HeavyCondensed              A    491    tehc____
+     ptphi8ac  Tempo-HeavyCondensedItalic        A    491    tehci___
+     ppsr8a    Parisian                          A    492    pn______
+     pumr8a    Umbra                             A    493    um______
+     mg4ri8a   GoudyModernMT-Italic              A    494    ygi_____
+     mg4r8a    GoudyModernMT                     A    494    ygrg____
+     ms1ri8a   ScotchRomanMT-Italic              A    495    ysi_____
+     ms1r8a    ScotchRomanMT                     A    495    ysrg____
+     mfsr8a    FalstaffMT                        A    496    fprg____
+     mifb8a    InflexMT-Bold                     A    497    iqb_____
+     mm8bl8a   MonotypeOldStyleMT-BoldOut        A    498    mbbou___
+     mfer8a    ForteMT                           A    499    fz______
+     mklr8a    KlangMT                           A    500    kn______
+     mmebw8a   MercuriusMT-BoldScript            A    501    uzbs____
+     p_____    Smaragd                           A    502    smar____
+     p_____    Smaragd-Alternate                 A    502    smara___
+     p_____    Ariadne-Roman                     A    503    aria____
+     pdiri8a   Diotima-Italic                    A    503    dti_____
+     pdirij8a  Diotima-ItalicOsF                 A    503    dtiof___
+     pdir8a    Diotima-Roman                     A    503    dtr_____
+     pdirj8a   Diotima-RomanOsF                  A    503    dtros___
+     pdirc8a   Diotima-RomanSC                   A    503    dtrsc___
+     p_____    Legault                           A    504    ul______
+     p_____    Legault-Alternates                A    504    ula_____
+     p_____    Legault-BoldAlternates            A    504    ulab____
+     p_____    Legault-Bold                      A    504    ulb_____
+     p_____    BlueIsland                        A    505    ihrg____
+     
+     pbdp8ap   Bodoni-PosterCompressed           A    900    bdpsc___
+     pbax8a    Barmeno-ExtraBold                 A    900    bfeb____
+     pb0r8a    Blackoak                          A    900    bo______
+     zpcp33bc  Copperplate-ThirtyThreeBC         A    900    cp33c___
+     prtr      Carta                             A    900    cr______
+     pdcr8a    DomCasual                         A    900    dc______
+     mtlr8a    CastellarMT                       A    900    el______
+     mp2r8a    PepitaMT                          A    900    epscr___
+     pgsr8ac   GillSans-Condensed                A    900    gnc_____
+     pgsu8a    GillSans-UltraBold                A    900    gnub____
+     mgtrd8a   GoudyTextMT-LombardicCapitals     A    900    gxlom___
+     piwr8a    Ironwood                          A    900    i_______
+     mbfrw8a   BiffoMT                           A    900    ifscr___
+     pimx8a    Imago-ExtraBold                   A    900    ioeb____
+     mjori8a   JoannaMT-Italic                   A    900    joi_____
+     mjor8a    JoannaMT                          A    900    jor_____
+     p_____    Colossalis-Bold                   A    900    kob_____
+     plgr8a    LetterGothic                      A    900    lg______
+     plor8a    Lithos-Regular                    A    900    lorg____
+     pmqr8a    Mesquite                          A    900    m_______
+     pmnrp     Minion-Ornaments                  A    900    moor____
+     pnurw8a   NuptialScript                     A    900    nu______
+     pper8a    PrestigeElite                     A    900    pe______
+     pqsr8a    Bellevue                          A    900    qsrg____
+     p_____    AGOldFace-Outline                 A    900    qwou____
+     mrur8ac   RunicMT-Condensed                 A    900    ric_____
+     prwx8a    Rockwell-ExtraBold                A    900    rkeb____
+     pslr8a    Stencil                           A    900    st______
+     pwwr8a    Willow                            A    900    wi______
+     ppi027    WoodtypeOrnaments-Two             A    900    woor2___
+     
+     pbir8a    Birch                             A    901    bi______
+     putrd8a   Utopia-Headline                   A    901    uthd____
+     p_____    Critter                           A    901    wc______
+     pg2r8a    Giddyup-Regular                   A    901    wg______
+     pg2r      Giddyup-Thangs                    A    901    wgtha___
+     pmyrd8a   Myriad-Headline                   A    901    wmhd____
+     pmyrl8a   Myriad-Sketch                     A    901    wmske___
+     pmyrn8a   Myriad-Tilt                       A    901    wmtil___
+     p_____    Studz                             A    901    wp______
+     p_____    Quake                             A    901    wq______
+     p_____    Rad                               A    901    wr______
+     p_____    Toolbox                           A    901    wt______
+     p_____    Cutout                            A    901    wu______
+     p_____    Mythos                            A    901    wy______
+     
+     pagd8a    AvantGarde-Demi                   A    902    agd_____
+     pagdo8a   AvantGarde-DemiOblique            A    902    agdo____
+     pagk8a    AvantGarde-Book                   A    902    agw_____
+     pagko8a   AvantGarde-BookOblique            A    902    agwo____
+     pamr8a    Americana                         A    902    am______
+     pamx8a    Americana-ExtraBold               A    902    ameb____
+     pacri8a   ACaslon-Italic                    A    902    awi_____
+     pacr8a    ACaslon-Regular                   A    902    awrg____
+     pacs8a    ACaslon-Semibold                  A    902    awsb____
+     pacsi8a   ACaslon-SemiboldItalic            A    902    awsbi___
+     pbab8a    Barmeno-Bold                      A    902    bfb_____
+     pbax8a    Barmeno-ExtraBold                 A    902    bfeb____
+     pbam8a    Barmeno-Medium                    A    902    bfm_____
+     pbar8a    Barmeno-Regular                   A    902    bfrg____
+     pbkd8a    Bookman-Demi                      A    902    bkd_____
+     pbkdi8a   Bookman-DemiItalic                A    902    bkdi____
+     pbkl8a    Bookman-Light                     A    902    bkl_____
+     pbkli8a   Bookman-LightItalic               A    902    bkli____
+     pb0r8a    Blackoak                          A    902    bo______
+     pcrb8a    Courier-Bold                      A    902    cob_____
+     pcrbo8a   Courier-BoldOblique               A    902    cobo____
+     pcrr8a    Courier                           A    902    com_____
+     pcrro8a   Courier-Oblique                   A    902    coo_____
+     prtr      Carta                             A    902    cr______
+     pfari8a   Formata-Italic                    A    902    fmi_____
+     pfam8a    Formata-Medium                    A    902    fmm_____
+     pfami8a   Formata-MediumItalic              A    902    fmmi____
+     pfar8a    Formata-Regular                   A    902    fmrg____
+     padb8a    AGaramond-Bold                    A    902    gdb_____
+     padbi8a   AGaramond-BoldItalic              A    902    gdbi____
+     padri8a   AGaramond-Italic                  A    902    gdi_____
+     padr8a    AGaramond-Regular                 A    902    gdrg____
+     phvr8a    Helvetica                         A    902    hv______
+     phvb8a    Helvetica-Bold                    A    902    hvb_____
+     phvbo8a   Helvetica-BoldOblique             A    902    hvbo____
+     phvr8an   Helvetica-Narrow                  A    902    hvn_____
+     phvb8an   Helvetica-Narrow-Bold             A    902    hvnb____
+     phvbo8an  Helvetica-Narrow-BoldOblique      A    902    hvnbo___
+     phvro8an  Helvetica-Narrow-Oblique          A    902    hvno____
+     phvro8a   Helvetica-Oblique                 A    902    hvo_____
+     pkur8a    Kaufmann                          A    902    kf______
+     ploc8a    Lithos-Black                      A    902    lobl____
+     plor8a    Lithos-Regular                    A    902    lorg____
+     pncb8a    NewCenturySchlbk-Bold             A    902    ncb_____
+     pncbi8a   NewCenturySchlbk-BoldItalic       A    902    ncbi____
+     pncri8a   NewCenturySchlbk-Italic           A    902    nci_____
+     pncr8a    NewCenturySchlbk-Roman            A    902    ncr_____
+     ppar8a    ParkAvenue                        A    902    pa______
+     ppsr8a    Parisian                          A    902    pn______
+     pplb8a    Palatino-Bold                     A    902    pob_____
+     pplbi8a   Palatino-BoldItalic               A    902    pobi____
+     pplri8a   Palatino-Italic                   A    902    poi_____
+     pplr8a    Palatino-Roman                    A    902    por_____
+     p_____    Poetica-SuppOrnaments             A    902    pvor____
+     psyr      Symbol                            A    902    sy______
+     ptmb8a    Times-Bold                        A    902    tib_____
+     ptmbi8a   Times-BoldItalic                  A    902    tibi____
+     ptmri8a   Times-Italic                      A    902    tii_____
+     ptmr8a    Times-Roman                       A    902    tir_____
+     ptjb8a    Trajan-Bold                       A    902    tjb_____
+     ptkb8a    Tekton-Bold                       A    902    tkb_____
+     ptkr8a    Tekton                            A    902    tkrg____
+     ppi027    WoodtypeOrnaments-Two             A    902    woor2___
+     pzcmi8a   ZapfChancery-MediumItalic         A    902    zcmi____
+     pzdr      ZapfDingbats                      A    902    zd______
+     
+     mp1rw8a   PalaceScriptMT                    A    903    _p______
+     pdjk8a    Delta-Book                        A    903    djw_____
+     pdjki8a   Delta-BookItalic                  A    903    djwi____
+     lenb8a    EngraversLH-BoldFace              A    903    ew______
+     pfarl8a   Formata-Outline                   A    903    fmou____
+     pgsxd8a   GillSans-ExtraBoldDisplay         A    903    gnxbd___
+     mbfrw8a   BiffoMT                           A    903    ifscr___
+     p_____    MonaLisa-Solid                    A    903    iysd____
+     pjpr8a    Juniper                           A    903    j_______
+     p_____    LoType-Medium                     A    903    ljm_____
+     p_____    LoType-MediumItalic               A    903    ljmi____
+     p_____    BerlinerGrotesk-Light             A    903    otl_____
+     prwb8ac   Rockwell-BoldCondensed            A    903    rkbc____
+     prwr8ac   Rockwell-Condensed                A    903    rkc_____
+     p_____    AGBook-Stencil                    A    903    tast____
+     ms2bw8a   ScriptMT-Bold                     A    903    tbscr___
+     p_____    Cutout                            A    903    wu______
+     ms1ri8a   ScotchRomanMT-Italic              A    903    ysi_____
+     ms1r8a    ScotchRomanMT                     A    903    ysrg____
+     mm7r8a    MaturaMT                          A    903    zz______
+     
+     mr2l8a    CantoriaMT-Light                  A    904    eol_____
+     p_____    Beesknees                         A    904    ikh_____
+     p_____    LoType-Medium                     A    904    ljm_____
+     pm1rw8a   MonolineScriptMT                  A    904    on______
+     p_____    Ozwald                            A    904    ozh_____
+     mknr8a    KinoMT                            A    904    qi______
+     pb7r8a    BernhardModern-Bold               A    904    rdb_____
+     puyr8a    UniversityRoman                   A    904    ur______
+     
+     pbdp8ap   Bodoni-PosterCompressed           A    905    bdpsc___
+     pctl8ac   Cheltenham-LightCond              A    905    chlc____
+     pazl8ac   AkzidenzGroteskBE-LightCn         A    905    gflc____
+     pgsb8aq   GillSans-BoldExtraCondensed       A    905    gnbxc___
+     p_____    GaramondBE-Condensed              A    905    gwc_____
+     p_____    LoType-MediumCondensed            A    905    ljmc____
+     mrur8ac   RunicMT-Condensed                 A    905    ric_____
+     prwr8ac   Rockwell-Condensed                A    905    rkc_____
+     
+     p_____    Mezz-Regular                      A    906    vurg____
+     p_____    Mezz-Black                        A    906    vuz_____
+     p_____    CaflischScript-Bold               A    906    vwb_____
+     p_____    CaflischScript-Regular            A    906    vwrg____
+     p_____    Nueva-BoldExtendedItalic          A    906    vxbei___
+     p_____    Nueva-BoldExtended                A    906    vxbv____
+     p_____    Nueva-Italic                      A    906    vxi_____
+     p_____    Nueva-Roman                       A    906    vxr_____
+     pmyb8a    Myriad-Bold                       A    906    wmb_____
+     pmybi8a   Myriad-BoldItalic                 A    906    wmbi____
+     pmyri8a   Myriad-Italic                     A    906    wmi_____
+     pmyr8a    Myriad-Roman                      A    906    wmr_____
+     
+     pmnb8ac   Minion-BoldCondensed              A    907    mobc____
+     pmnbi8ac  Minion-BoldCondensedItalic        A    907    mobci___
+     pmnr8ac   Minion-Condensed                  A    907    moc_____
+     pmnri8ac  Minion-CondensedItalic            A    907    moci____
+     pvvx8ax   Viva-BoldExtraExtended            A    907    vabxe___
+     pvvl8ac   Viva-LightCondensed               A    907    valc____
+     pvvr8a    Viva-Regular                      A    907    varg____
+     p_____    Sanvito-Light                     A    907    vyl_____
+     p_____    Sanvito-Roman                     A    907    vyr_____
+     p_____    Penumbra-SemiboldFlare            A    907    vzsfl___
+     p_____    Penumbra-SemiboldSans             A    907    vzssa___
+     p_____    Penumbra-SemiboldSerif            A    907    vzsse___
+     
+     ppc___    Poetica-ChanceryI                 A    908    pvch1___
+     ppc___    Poetica-SuppLigatures             A    908    pvlg____
+     ppc___    Poetica-SuppOrnaments             A    908    pvor____
+     ppc___    Poetica-SuppSwashCapsI            A    908    pvsw1___
+     p_____    CaflischScript-Bold               A    908    vwb_____
+     p_____    CaflischScript-Regular            A    908    vwrg____
+     p_____    Sanvito-BoldDisplay               A    908    vydb____
+     p_____    Sanvito-Roman                     A    908    vyr_____
+     p_____    Sanvito-Semibold                  A    908    vysb____
+     pxpr8a    ExPonto-Regular                   A    908    xprg____
+     
+     padri8a   AGaramond-Italic                  A    912    gdi_____
+     padr8a    AGaramond-Regular                 A    912    gdrg____
+     pads8a    AGaramond-Semibold                A    912    gdsb____
+     padrc8a   AGaramond-RegularSC               A    912    gdsc____
+     padrd8a   AGaramond-Titling                 A    912    gdttl___
+     
+     pacri8a   ACaslon-Italic                    A    913    awi_____
+     pacrp     ACaslon-Ornaments                 A    913    awor____
+     pacr8a    ACaslon-Regular                   A    913    awrg____
+     pacs8a    ACaslon-Semibold                  A    913    awsb____
+     pacrc8a   ACaslon-RegularSC                 A    913    awsc____
+     
+     pajrd8a   AJenson-RegularDisplay            A    914    jsds____
+     pajri8a   AJenson-Italic                    A    914    jsi_____
+     pajr8a    AJenson-Regular                   A    914    jsrg____
+     pajs8a    AJenson-Semibold                  A    914    jssb____
+     pajrc8a   AJenson-RegularSC                 A    914    jssc____
+     
+     p_____    Jimbo-Bold                        A    915    jpb_____
+     pajsd8a   AJenson-SemiboldDisplay           A    915    jssp____
+     pkpbd8ax  Kepler-BoldExtendedDisplay        A    915    k_bed___
+     pkpsd8ac  Kepler-SemiboldCondensedDisplay   A    915    k_scd___
+     p_____    Mezz-Bold                         A    915    vub_____
+     p_____    Penumbra-BoldSerif                A    915    vzbsr___
+     p_____    Cronos-Display                    A    915    xodr____
+     pxpr8a    ExPonto-Regular                   A    915    xprg____
+     p_____    Chaparral-Display                 A    915    xtdr____
+     
+     zpeurs    EuroSans-Regular                  A    916    _1______
+     zpeubs    EuroSans-Bold                     A    916    _1b_____
+     zpeubis   EuroSans-BoldItalic               A    916    _1bi____
+     zpeuris   EuroSans-Italic                   A    916    _1i_____
+     zpeurt    EuroMono-Regular                  A    916    _2______
+     zpeubt    EuroMono-Bold                     A    916    _2b_____
+     zpeubit   EuroMono-BoldItalic               A    916    _2bi____
+     zpeurit   EuroMono-Italic                   A    916    _2i_____
+     zpeur     EuroSerif-Regular                 A    916    _3______
+     zpeub     EuroSerif-Bold                    A    916    _3b_____
+     zpeubi    EuroSerif-BoldItalic              A    916    _3bi____
+     zpeuri    EuroSerif-Italic                  A    916    _3i_____
+     
+     pmsrw8a   Mistral                           A    917    ms______
+     ppc___    Poetica-ChanceryII                A    917    pvch2___
+     ppc___    Poetica-SuppSwashCapsII           A    917    pvsw2___
+     pprl8a    PopplResidenz-Light               A    917    pzl_____
+     pprr8a    PopplResidenz-Regular             A    917    pzrg____
+     psrrw8a   SnellRoundhand-Script             A    917    sn______
+     mmebw8a   MercuriusMT-BoldScript            A    917    uzbs____
+     pwhm8a    WendyLP-Medium                    A    917    whm_____
+     pbzrw8a   Balzano                           A    917    zn______
+     ppi028    ScienceTypeCustomPi-No1T               ???    ________
+     ppi029    ScienceTypeCustomPi-No2T               ???    ________
+     ppi030    ScienceTypeCustomPi-No3T               ???    ________
+     ppi031    ScienceTypeCustomPi-No4T               ???    ________
+     ppi032    ScienceTypeCustomPi-No5T               ???    ________
+
+
+


+ +Next: , +Previous: Adobe fonts, +Up: Font name lists + +
+ +

A.3 Apple fonts

+ +

The apple.map file has abbreviations for Apple fonts. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     eecr8r   AppleChancery
+     eger8r   Geneva
+     ehtr8r   HoeflerText
+     emcr8r   Monaco
+     epi001   Zeal
+     eskr8r   Skia
+
+
+


+ +Next: , +Previous: Apple fonts, +Up: Font name lists + +
+ +

A.4 Bitstream fonts

+ +

The bitstrea.map file has abbreviations for Bitstream fonts. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     bhvl8a    Swiss721BT-Light                  BT  0001    swz721l
+     bhvli8a   Swiss721BT-LightItalic            BT  0002    swz721li
+     bhvr8a    Swiss721BT-Roman                  BT  0003    swz721n
+     bhvri8a   Swiss721BT-Italic                 BT  0004    swz721i
+     bhvb8a    Swiss721BT-Bold                   BT  0005    swz721b
+     bhvbi8a   Swiss721BT-BoldItalic             BT  0006    swz721bi
+     bhvc8a    Swiss721BT-Black                  BT  0007    swz721k
+     bhvci8a   Swiss721BT-BlackItalic            BT  0008    swz721ki
+     bhvr8ac   Swiss721BT-RomanCondensed         BT  0009    swz721c
+     bhvb8ac   Swiss721BT-BoldCondensed          BT  0010    swz721bc
+     btmr8a    Dutch801BT-Roman                  BT  0011    dut801n
+     btmri8a   Dutch801BT-Italic                 BT  0012    dut801i
+     btmb8a    Dutch801BT-Bold                   BT  0013    dut801b
+     btmbi8a   Dutch801BT-BoldItalic             BT  0014    dut801bi
+     bopr8a    ZapfHumanist601BT-Roman           BT  0015    zhum601n
+     bopri8a   ZapfHumanist601BT-Italic          BT  0016    zhum601i
+     bopb8a    ZapfHumanist601BT-Bold            BT  0017    zhum601b
+     bopbi8a   ZapfHumanist601BT-BoldItalic      BT  0018    zhu601bi
+     bsvl8a    SouvenirITCbyBT-Light             BT  0019    souvnrl
+     bsvli8a   SouvenirITCbyBT-LightItalic       BT  0020    souvnrli
+     bsvd8a    SouvenirITCbyBT-Demi              BT  0021    souvnrd
+     bsvdi8a   SouvenirITCbyBT-DemiItalic        BT  0022    souvnrdi
+     bplr8a    ZapfCalligraphic801BT-Roman       BT  0023    zcal801n
+     bplri8a   ZapfCalligraphic801BT-Italic      BT  0024    zcal801i
+     bplb8a    ZapfCalligraphic801BT-Bold        BT  0025    zcal801b
+     bplbi8a   ZapfCalligraphic801BT-BoldItal    BT  0026    zca801bi
+     bexr8a    News702BT-Roman                   BT  0027    news702n
+     bexri8a   News702BT-Italic                  BT  0028    news702i
+     bexb8a    News702BT-Bold                    BT  0029    news702b
+     bexbi8a   News702BT-BoldItalic              BT  0030    new702bi
+     bbdk8a    BodoniBT-Book                     BT  0035    bodonin
+     bbdki8a   BodoniBT-BookItalic               BT  0036    bodonini
+     bbdb8a    BodoniBT-Bold                     BT  0037    bodonib
+     bbdbi8a   BodoniBT-BoldItalic               BT  0038    bodonibi
+     bcnr8ax   CenturyExpandedBT-Roman           BT  0039    centexn
+     bcnri8ax  CenturyExpandedBT-Italic          BT  0040    centexi
+     bcnb8ax   CenturyExpandedBT-Bold            BT  0041    centexb
+     bcnbi8ax  CenturyExpandedBT-BoldItalic      BT  0042    centexbi
+     bg3r8a    AmericanGaramondBT-Roman          BT  0043    amrgaran
+     bg3ri8a   AmericanGaramondBT-Italic         BT  0044    amrgarai
+     bg3b8a    AmericanGaramondBT-Bold           BT  0045    amrgarab
+     bg3bi8a   AmericanGaramondBT-BoldItalic     BT  0046    amrgarbi
+     bngr8a    NewsGothicBT-Roman                BT  0047    newsgotn
+     bngri8a   NewsGothicBT-Italic               BT  0048    newsgot
+     bngb8a    NewsGothicBT-Bold                 BT  0049    newsgotb
+     bngbi8a   NewsGothicBT-BoldItalic           BT  0050    newgotbi
+     bmlr8a    ZapfElliptical711BT-Roman         BT  0051    zelp711n
+     bmlri8a   ZapfElliptical711BT-Italic        BT  0052    zelp711i
+     bmlb8a    ZapfElliptical711BT-Bold          BT  0053    zelp711b
+     bmlbi8a   ZapfElliptical711BT-BoldItalic    BT  0054    zel711bi
+     bbdr8a    BodoniBT-Roman                    BT  0055    bodoni
+     bbdri8a   BodoniBT-Italic                   BT  0056    bodonii
+     bhbr8a    HoboBT-Regular                    BT  0057    hobon
+     bonr8a    News705BT-RomanB                  BT  0058    news705n
+     bonri8a   News705BT-ItalicB                 BT  0059    news705i
+     bonb8a    News705BT-BoldB                   BT  0060    news705b
+     b_____    BusoramaITCbyBT-Medium            BT  0062    busoramm
+     bglr8a    GalliardITCbyBT-Roman             BT  0067    galirdn
+     bglri8a   GalliardITCbyBT-Italic            BT  0068    galirdi
+     bglb8a    GalliardITCbyBT-Bold              BT  0069    galirdb
+     bglbi8a   GalliardITCbyBT-BoldItalic        BT  0070    galirdbi
+     bbkl8a    BookmanITCbyBT-Light              BT  0075    bookmnl
+     bbkli8a   BookmanITCbyBT-LightItalic        BT  0076    bookmnli
+     bbkd8a    BookmanITCbyBT-Demi               BT  0079    bookmnd
+     bbkdi8a   BookmanITCbyBT-DemiItalic         BT  0080    bookmndi
+     bcsr8a    CenturySchoolbookBT-Roman         BT  0083    censbkn
+     bcsri8a   CenturySchoolbookBT-Italic        BT  0084    censbki
+     bcsb8a    CenturySchoolbookBT-Bold          BT  0085    censbkb
+     bcsbi8a   CenturySchoolbookBT-BoldItalic    BT  0086    censbkbi
+     bkrr8a    KorinnaITCbyBT-Regular            BT  0087    korinan
+     bkrri8a   KorinnaITCbyBT-KursivRegular      BT  0088    korinani
+     bkrb8a    KorinnaITCbyBT-Bold               BT  0089    korinab
+     bkrbi8a   KorinnaITCbyBT-KursivBold         BT  0090    korinabi
+     bhva8a    Swiss721BT-Thin                   BT  0100    swz721t
+     bhvai8a   Swiss721BT-ThinItalic             BT  0101    swz721ti
+     bhvh8a    Swiss721BT-Heavy                  BT  0102    swz721h
+     bhvhi8a   Swiss721BT-HeavyItalic            BT  0103    swz721hi
+     bhvh8aq   Swiss911BT-ExtraCompressed        BT  0105    swz911xc
+     bhvh8au   Swiss911BT-UltraCompressed        BT  0106    swz911uc
+     bgor8a    GoudyOldStyleBT-Roman             BT  0107    goudyosn
+     bgori8a   GoudyOldStyleBT-Italic            BT  0108    goudyosi
+     bgob8a    GoudyOldStyleBT-Bold              BT  0109    goudyosb
+     bgobi8a   GoudyOldStyleBT-BoldItalic        BT  0110    goudosbi
+     bgox8a    GoudyOldStyleBT-ExtraBold         BT  0111    goudosxb
+     bpnr8a    Aldine721BT-Roman                 BT  0112    ald721n
+     bpnri8a   Aldine721BT-Italic                BT  0113    ald721i
+     bpnb8a    Aldine721BT-Bold                  BT  0114    ald721b
+     bpnbi8a   Aldine721BT-BoldItalic            BT  0115    ald721bi
+     bjnr8a    KisBT-Roman                       BT  0116    kisn
+     bjnri8a   KisBT-Italic                      BT  0117    kisi
+     bc5r8a    Caslon540BT-Roman                 BT  0118    casl540n
+     bc5ri8a   Caslon540BT-Italic                BT  0119    casl540i
+     bg1r8a    GothicNo13BT-Regular              BT  0120    gothic13
+     bbol8a    BalloonBT-Light                   BT  0121    balloonl
+     bwnr8a    WindsorBT-Roman                   BT  0122    wndsrn
+     bbgk8a    BenguiatITCbyBT-Book              BT  0123    benguian
+     bbgki8a   BenguiatITCbyBT-BookItalic        BT  0124    benguini
+     bbgb8a    BenguiatITCbyBT-Bold              BT  0127    benguiab
+     bbgbi8a   BenguiatITCbyBT-BoldItalic        BT  0128    benguibi
+     bbdp8a    PosterBodoniBT-Roman              BT  0129    pstrbodn
+     bbdpi8a   PosterBodoniBT-Italic             BT  0130    pstrbodi
+     bbwr8a    BroadwayBT-Regular                BT  0131    brdwayn
+     bngl8a    NewsGothicBT-Light                BT  0132    newsgotl
+     bngli8a   NewsGothicBT-LightItalic          BT  0133    newgotli
+     bopd8a    ZapfHumanist601BT-Demi            BT  0134    zhum601d
+     bopdi8a   ZapfHumanist601BT-DemiItalic      BT  0135    zhu601di
+     bopu8a    ZapfHumanist601BT-Ultra           BT  0136    zhum601u
+     bopui8a   ZapfHumanist601BT-UltraItalic     BT  0137    zhu601ui
+     bful8a    FuturaBT-Light                    BT  0138    futural
+     bfuli8a   FuturaBT-LightItalic              BT  0139    futurali
+     bfuk8a    FuturaBT-Book                     BT  0140    futuran
+     bfuki8a   FuturaBT-BookItalic               BT  0141    futurani
+     bfum8a    FuturaBT-Medium                   BT  0142    futuram
+     bfumi8a   FuturaBT-MediumItalic             BT  0143    futurami
+     bfub8a    FuturaBT-Bold                     BT  0144    futurab
+     bfubi8a   FuturaBT-BoldItalic               BT  0145    futurabi
+     bfuh8a    FuturaBT-Heavy                    BT  0146    futurah
+     bfuhi8a   FuturaBT-HeavyItalic              BT  0147    futurahi
+     bfux8a    FuturaBT-ExtraBlack               BT  0148    futuraxk
+     bfuxi8a   FuturaBT-ExtraBlackItalic         BT  0149    futurxki
+     bsnk8a    Geometric212BT-Book               BT  0150    geo212n
+     bsnh8a    Geometric212BT-Heavy              BT  0151    geo212h
+     bagk8a    AvantGardeITCbyBT-Book            BT  0154    avgardn
+     bagko8a   AvantGardeITCbyBT-BookOblique     BT  0155    avgardni
+     bagm8a    AvantGardeITCbyBT-Medium          BT  0156    avgardm
+     bagmo8a   AvantGardeITCbyBT-MediumOblique   BT  0157    avgardmi
+     bagd8a    AvantGardeITCbyBT-Demi            BT  0158    avgardd
+     bagdo8a   AvantGardeITCbyBT-DemiOblique     BT  0159    avgarddo
+     bkbk8a    KabelITCbyBT-Book                 BT  0162    kabeln
+     bkbm8a    KabelITCbyBT-Medium               BT  0163    kabelm
+     bkbd8a    KabelITCbyBT-Demi                 BT  0164    kabeld
+     bkbb8a    KabelITCbyBT-Bold                 BT  0165    kabelb
+     bkbu8a    KabelITCbyBT-Ultra                BT  0166    kabelu
+     bs4r8a    ShotgunBT-Regular                 BT  0167    shotgunn
+     bhvl8ac   Swiss721BT-LightCondensed         BT  0169    swz721lc
+     bhvli8ac  Swiss721BT-LightCondensedItalic   BT  0170    sw721lci
+     bhvri8ac  Swiss721BT-ItalicCondensed        BT  0171    swz721ci
+     bhvbi8ac  Swiss721BT-BoldCondensedItalic    BT  0172    sw721bci
+     bhvc8ac   Swiss721BT-BlackCondensed         BT  0173    swz721kc
+     bhvci8ac  Swiss721BT-BlackCondensedItalic   BT  0174    sw721kci
+     bhvbl8a   Swiss721BT-BoldOutline            BT  0175    swz721bo
+     bunl8a    ZurichBT-Light                    BT  0176    zurchl
+     bunli8a   ZurichBT-LightItalic              BT  0177    zurchli
+     bunr8a    ZurichBT-Roman                    BT  0178    zurchn
+     bunri8a   ZurichBT-Italic                   BT  0179    zurchi
+     bunb8a    ZurichBT-Bold                     BT  0180    zurchb
+     bunbi8a   ZurichBT-BoldItalic               BT  0181    zurchbi
+     bunc8a    ZurichBT-Black                    BT  0182    zurchk
+     bunci8a   ZurichBT-BlackItalic              BT  0183    zurchki
+     b____     BoltBoldITCbyBT-Regular           BT  0184    boltb
+     bslr8a    StencilBT-Regular                 BT  0191    stenciln
+     batm8a    AmerTypewriterITCbyBT-Medium      BT  0193    amrtypen
+     batb8a    AmerTypewriterITCbyBT-Bold        BT  0194    amrtypeb
+     bd0b8a    DavidaBoldBT-Regular              BT  0195    davidab
+     bs5r8a    SnellBT-Regular                   BT  0196    snelln
+     bs5b8a    SnellBT-Bold                      BT  0197    snellb
+     bs5c8a    SnellBT-Black                     BT  0198    snellk
+     bburw8a   BrushScriptBT-Regular             BT  0199    brushscn
+     bful8ac   FuturaBT-LightCondensed           BT  0200    futuralc
+     bfum8ac   FuturaBT-MediumCondensed          BT  0201    futuramc
+     bfub8ac   FuturaBT-BoldCondensed            BT  0202    futurabc
+     bfubi8ac  FuturaBT-BoldCondensedItalic      BT  0203    futurbci
+     bfux8ac   FuturaBT-ExtraBlackCondensed      BT  0204    futurxkc
+     bfuxi8ac  FuturaBT-ExtraBlackCondItalic     BT  0205    futuxkci
+     bfuc8a    FuturaBlackBT-Regular             BT  0206    futurak
+     botr8a    Ribbon131BT-Regular               BT  0207    ribn131n
+     botb8a    Ribbon131BT-Bold                  BT  0208    ribn131b
+     bi1r8a    ImpressBT-Regular                 BT  0209    impressn
+     ba7r8a    AmericanTextBT-Regular            BT  0211    amrtextn
+     benrf8a   EngraversOldEnglishBT-Regular     BT  0212    engrolen
+     bo2r8a    OrbitBbyBT-Regular                BT  0213    orbitbn
+     bp4r8a    PioneerITCbyBT-Regular            BT  0214    pioneern
+     bv0r8a    VinetaBT-Regular                  BT  0215    vinetan
+     byml8a    StymieBT-Light                    BT  0216    stymiel
+     bymm8a    StymieBT-Medium                   BT  0217    stymiem
+     bymb8a    StymieBT-Bold                     BT  0218    stymieb
+     bymx8a    StymieBT-ExtraBold                BT  0219    stymiexb
+     btfl8a    TiffanyITCbyBT-Light              BT  0220    tifanyl
+     btfli8a   TiffanyITCbyBT-LightItalic        BT  0221    tifanyli
+     btfd8a    TiffanyITCbyBT-Demi               BT  0224    tifanyd
+     btfdi8a   TiffanyITCbyBT-DemiItalic         BT  0225    tifanydi
+     btfh8a    TiffanyITCbyBT-Heavy              BT  0226    tifanyh
+     btfhi8a   TiffanyITCbyBT-HeavyItalic        BT  0227    tifanyhi
+     bcdb8ac   ClarendonBT-BoldCondensed         BT  0228    clrndnbc
+     bcbcd8a   CooperBT-BlackHeadline            BT  0231    coopbla
+     bcbcid8a  CooperBT-BlackItalicHeadline      BT  0232    coopblia
+     bs4rl8a   ShotgunBlanksBT-Regular           BT  0234    shotgunk
+     bnar8a    Dutch823BT-RomanB                 BT  0235    dut823n
+     bnari8a   Dutch823BT-ItalicB                BT  0236    dut823i
+     bnab8a    Dutch823BT-BoldB                  BT  0237    dut823b
+     berl8a    ErasITCbyBT-Light                 BT  0238    erasl
+     berk8a    ErasITCbyBT-Book                  BT  0239    erasn
+     berm8a    ErasITCbyBT-Medium                BT  0240    erasm
+     berd8a    ErasITCbyBT-Demi                  BT  0241    erasd
+     berb8a    ErasITCbyBT-Bold                  BT  0242    erasb
+     beru8a    ErasITCbyBT-Ultra                 BT  0243    erasu
+     besr8a    Square721BT-Roman                 BT  0246    sqr721n
+     besb8a    Square721BT-Bold                  BT  0247    sqr721b
+     besr8ac   Square721BT-RomanCondensed        BT  0248    sqr721c
+     besb8ac   Square721BT-BoldCondensed         BT  0249    sqr721bc
+     besr8ax   Square721BT-RomanExtended         BT  0250    sqr721e
+     besb8ax   Square721BT-BoldExtended          BT  0251    sqr721be
+     bsfa8a    SerifaBT-Thin                     BT  0252    serifat
+     bsfai8a   SerifaBT-ThinItalic               BT  0253    serifati
+     bsfl8a    SerifaBT-Light                    BT  0254    serifal
+     bsfli8a   SerifaBT-LightItalic              BT  0255    serifali
+     bsfr8a    SerifaBT-Roman                    BT  0256    serifan
+     bsfri8a   SerifaBT-Italic                   BT  0257    serifai
+     bsfb8a    SerifaBT-Bold                     BT  0258    serifab
+     bsfc8a    SerifaBT-Black                    BT  0259    serifak
+     bunr8ax   ZurichBT-RomanExtended            BT  0260    zurche
+     bunb8ax   ZurichBT-BoldExtended             BT  0261    zurchbe
+     bunc8ax   ZurichBT-BlackExtended            BT  0262    zurchke
+     bunu8ax   ZurichBT-UltraBlackExtended       BT  0263    zurchuke
+     ba9r8a    Humanist970BT-RomanC              BT  0264    hum970n
+     ba9b8a    Humanist970BT-BoldC               BT  0265    hum970b
+     bndr8a    Transitional511BT-Roman           BT  0266    tran511n
+     bndri8a   Transitional511BT-Italic          BT  0267    tran511i
+     bndb8a    Transitional511BT-Bold            BT  0270    tran511b
+     bndbi8a   Transitional511BT-BoldItalic      BT  0271    tra511bi
+     bsbr8a    ClassicalGaramondBT-Roman         BT  0277    clsgaran
+     bsbri8a   ClassicalGaramondBT-Italic        BT  0278    clsgarai
+     bsbb8a    ClassicalGaramondBT-Bold          BT  0279    clsgarab
+     bcarf8a   CaslonOldFaceBT-Roman             BT  0280    casolfcn
+     bcarif8a  CaslonOldFaceBT-Italic            BT  0281    casolfci
+     bcdl8a    ClarendonBT-Light                 BT  0282    clrndnl
+     bcdr8a    ClarendonBT-Roman                 BT  0283    clrndnn
+     bcdb8a    ClarendonBT-Bold                  BT  0284    clrndnb
+     bcur8a    CenturyOldstyleBT-Roman           BT  0285    cenolstn
+     bcuri8a   CenturyOldstyleBT-Italic          BT  0286    cenolsti
+     bcub8a    CenturyOldstyleBT-Bold            BT  0287    cenolstb
+     bgsl8a    Humanist521BT-Light               BT  0288    hum521l
+     bgsli8a   Humanist521BT-LightItalic         BT  0289    hum521li
+     bgsr8a    Humanist521BT-Roman               BT  0290    hum521n
+     bgsri8a   Humanist521BT-Italic              BT  0291    hum521i
+     bgsb8a    Humanist521BT-Bold                BT  0292    hum521b
+     bgsbi8a   Humanist521BT-BoldItalic          BT  0293    hum521bi
+     bgsx8a    Humanist521BT-ExtraBold           BT  0294    hum521xb
+     bgsu8a    Humanist521BT-UltraBold           BT  0295    hum521ub
+     bunl8ac   ZurichBT-LightCondensed           BT  0296    zurchlc
+     bunli8ac  ZurichBT-LightCondensedItalic     BT  0297    zurchlci
+     bunr8ac   ZurichBT-RomanCondensed           BT  0298    zurch
+     bunri8ac  ZurichBT-ItalicCondensed          BT  0299    zurchci
+     bunb8ac   ZurichBT-BoldCondensed            BT  0300    zurchbc
+     bunbi8ac  ZurichBT-BoldCondensedItalic      BT  0301    zurchbci
+     bbbr8a    Aldine401BT-RomanA                BT  0302    ald401n
+     bbbri8a   Aldine401BT-ItalicA               BT  0303    ald401i
+     bbbb8a    Aldine401BT-BoldA                 BT  0304    ald401b
+     bbbbi8a   Aldine401BT-BoldItalicA           BT  0305    ald401bi
+     bmpl8a    GeometricSlab703BT-Light          BT  0306    geo703l
+     bmpli8a   GeometricSlab703BT-LightItalic    BT  0307    geo703li
+     bmpm8a    GeometricSlab703BT-Medium         BT  0308    geo703m
+     bmpmi8a   GeometricSlab703BT-MediumItalic   BT  0309    geo703mi
+     bmpb8a    GeometricSlab703BT-Bold           BT  0310    geo703b
+     bmpbi8a   GeometricSlab703BT-BoldItalic     BT  0311    geo703bi
+     bmpx8a    GeometricSlab703BT-XtraBold       BT  0312    geo703xb
+     bmpxi8a   GeometricSlab703BT-XtraBoldItal   BT  0313    ge703xbi
+     buyr8a    UniversityRomanBT-Regular         BT  0316    univern
+     buyb8a    UniversityRomanBT-Bold            BT  0317    univernb
+     bior8a    News701BT-RomanA                  BT  0318    news701n
+     biori8a   News701BT-ItalicA                 BT  0319    news701i
+     biob8a    News701BT-BoldA                   BT  0320    news701b
+     befr8a    HumanistSlabserif712BT-Roman      BT  0321    hums712n
+     befri8a   HumanistSlabserif712BT-Italic     BT  0322    hums712i
+     befb8a    HumanistSlabserif712BT-Bold       BT  0323    hums712b
+     befc8a    HumanistSlabserif712BT-Black      BT  0324    hums712k
+     bwnl8ac   WindsorBT-LightCondensed          BT  0326    wndsrlc
+     bwnr8ax   WindsorBT-Elongated               BT  0327    wndsre
+     bubr8a    BauerBodoniBT-Roman               BT  0328    baubodn
+     bubri8a   BauerBodoniBT-Italic              BT  0329    baubodi
+     bubb8a    BauerBodoniBT-Bold                BT  0330    baubodb
+     bubbi8a   BauerBodoniBT-BoldItalic          BT  0331    baubodbi
+     bubc8a    BauerBodoniBT-Black               BT  0332    baubodk
+     bubci8a   BauerBodoniBT-BlackItalic         BT  0333    baubodki
+     bubb8ac   BauerBodoniBT-BoldCondensed       BT  0334    baubodbc
+     bubc8ac   BauerBodoniBT-BlackCondensed      BT  0335    baubodkc
+     biir8a    Dutch766BT-RomanA                 BT  0338    dut766n
+     biiri8a   Dutch766BT-ItalicA                BT  0339    dut766i
+     biib8a    Dutch766BT-BoldA                  BT  0340    dut766b
+     bcahf8a   CaslonOldFaceBT-Heavy             BT  0342    casolfch
+     bgmk8a    GaramondITCbyBT-Book              BT  0345    garamdn
+     bgmki8a   GaramondITCbyBT-BookItalic        BT  0346    garamdni
+     bgmb8a    GaramondITCbyBT-Bold              BT  0347    garamdb
+     bgmbi8a   GaramondITCbyBT-BoldItalic        BT  0348    garamdbi
+     bcdc8a    ClarendonBT-Black                 BT  0351    clrndnk
+     bi3r8a    ImperialBT-Roman                  BT  0352    imperln
+     bi3ri8a   ImperialBT-Italic                 BT  0353    imperli
+     bi3b8a    ImperialBT-Bold                   BT  0354    imperlb
+     b_____    BellCentennialBT-NameAndNumber    BT  0355    belcenam
+     b_____    BellCentennialBT-Address          BT  0356    belceadr
+     b_____    BellCentennialBT-SubCaption       BT  0357    belcesub
+     b_____    BellCentennialBT-BoldListing      BT  0358    belcelis
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+     bn7r8a    News706BT-RomanC                  BT  0363    news706n
+     bn7ri8a   News706BT-ItalicC                 BT  0364    news706i
+     bn7b8a    News706BT-BoldC                   BT  0365    news706b
+     blbj8a    LubalinGraphITCbyBT-XtraLight     BT  0366    lubgrxl
+     blbk8a    LubalinGraphITCbyBT-Book          BT  0367    lubgrhn
+     blbm8a    LubalinGraphITCbyBT-Medium        BT  0368    lubgrhm
+     blbd8a    LubalinGraphITCbyBT-Demi          BT  0369    lubgrhd
+     blbb8a    LubalinGraphITCbyBT-Bold          BT  0370    lubgrhb
+     bhvl8ax   Swiss721BT-LightExtended          BT  0371    swz721le
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+     bhvb8ax   Swiss721BT-BoldExtended           BT  0373    swz721be
+     bhvc8ax   Swiss721BT-BlackExtended          BT  0374    swz721ke
+     bngr8ac   NewsGothicBT-RomanCondensed       BT  0375    newsgotc
+     bngri8ac  NewsGothicBT-ItalicCondensed      BT  0376    newgotci
+     bngb8ac   NewsGothicBT-BoldCondensed        BT  0377    newgotbc
+     bngbi8ac  NewsGothicBT-BoldCondItalic       BT  0378    newgtbci
+     bctk8a    CheltenhamITCbyBT-Book            BT  0381    ichlthmn
+     bctki8a   CheltenhamITCbyBT-BookItalic      BT  0382    ichlthni
+     bctb8a    CheltenhamITCbyBT-Bold            BT  0383    ichlthmb
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+     baob8a    Incised901BT-Bold                 BT  0390    inc901b
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+     bbhb8a    BauhausITCbyBT-Bold               BT  0408    bauhausb
+     bbhh8a    BauhausITCbyBT-Heavy              BT  0409    bauhaush
+     bcyl8a    SquareSlabserif711BT-Light        BT  0410    sqrs711l
+     bcym8a    SquareSlabserif711BT-Medium       BT  0411    sqrs711m
+     bcyb8a    SquareSlabserif711BT-Bold         BT  0412    sqrs711b
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+     bcpbs8a   CopperplateGothicBT-Bold          BT  0421    copgothb
+     bcphs8a   CopperplateGothicBT-Heavy         BT  0422    copgothh
+     bcprs8ac  CopperplateGothicBT-RomanCond     BT  0423    copgothc
+     bcpbs8ac  CopperplateGothicBT-BoldCond      BT  0424    copgotbc
+     bfqr8a    FrizQuadrataITCbyBT-Roman         BT  0428    frzquadn
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+     bzcd8a    ZapfChanceryITCbyBT-Demi          BT  0449    zafchad
+     bzcb8a    ZapfChanceryITCbyBT-Bold          BT  0450    zafchab
+     bgmk8ac   GaramondITCbyBT-BookCondensed     BT  0453    garamdnc
+     bgmki8ac  GaramondITCbyBT-BookCondItalic    BT  0454    garamnci
+     bgmb8ac   GaramondITCbyBT-BoldCondensed     BT  0455    garamdbc
+     bgmbi8ac  GaramondITCbyBT-BoldCondItalic    BT  0456    garambci
+     bugk8a    BenguiatGothicITCbyBT-Book        BT  0459    bengothn
+     bugki8a   BenguiatGothicITCbyBT-BookItal    BT  0460    bengotni
+     bugb8a    BenguiatGothicITCbyBT-Bold        BT  0463    bengothb
+     bugbi8a   BenguiatGothicITCbyBT-BoldItal    BT  0464    bengotbi
+     baob8ac   Incised901BT-BoldCondensed        BT  0467    inc901bc
+     baop8a    Incised901BT-Compact              BT  0468    inc901c
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+     baohi8ax  Incised901BT-NordItalic           BT  0470    in901xki
+     brwl8a    GeometricSlab712BT-LightA         BT  0483    geo712l
+     brwli8a   GeometricSlab712BT-LightItalicA   BT  0484    geo712li
+     brwm8a    GeometricSlab712BT-MediumA        BT  0485    geo712m
+     brwmi8a   GeometricSlab712BT-MediumItalA    BT  0486    geo712mi
+     brwb8a    GeometricSlab712BT-BoldA          BT  0487    geo712b
+     brwx8a    GeometricSlab712BT-ExtraBoldA     BT  0488    geo712xb
+     bmdr8a    Latin725BT-Roman                  BT  0489    lat725n
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+     bmdm8a    Latin725BT-Medium                 BT  0491    lat725m
+     bmdmi8a   Latin725BT-MediumItalic           BT  0492    lat725mi
+     bmdb8a    Latin725BT-Bold                   BT  0493    lat725b
+     bmdbi8a   Latin725BT-BoldItalic             BT  0494    lat725bi
+     bgsr8ac   Humanist521BT-RomanCondensed      BT  0495    hum521c
+     bgsb8ac   Humanist521BT-BoldCondensed       BT  0496    hum521bc
+     bgsx8ac   Humanist521BT-XtraBoldCondensed   BT  0497    hu521xbc
+     bamr8a    AmericanaBT-Roman                 BT  0498    amrcanan
+     bamri8a   AmericanaBT-Italic                BT  0499    amrcanai
+     bamb8a    AmericanaBT-Bold                  BT  0500    amrcanab
+     bamx8a    AmericanaBT-ExtraBold             BT  0501    amrcanxb
+     bamx8ac   AmericanaBT-ExtraBoldCondensed    BT  0502    amrcaxbc
+     bsnk8ac   Geometric212BT-BookCondensed      BT  0503    geo212nc
+     bsnh8ac   Geometric212BT-HeavyCondensed     BT  0504    geo212hc
+     blir8ac   LatinExtraCondensedBT-Regular     BT  0507    latinxc
+     bctbd8a   CheltenhamBT-BoldHeadline         BT  0508    chltboa
+     bctbdi8a  CheltenhamBT-BoldItalicHeadline   BT  0509    chltboia
+     ba6r8a    AmeliaBT-Regular                  BT  0510    amelian
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+     boxr8a    OnyxBT-Regular                    BT  0519    onyxn
+     bm2l8a    Geometric415BT-LiteA              BT  0520    geo415l
+     bm2li8a   Geometric415BT-LiteItalicA        BT  0521    geo415li
+     bm2m8a    Geometric415BT-MediumA            BT  0522    geo415m
+     bm2mi8a   Geometric415BT-MediumItalicA      BT  0523    geo415mi
+     bm2c8a    Geometric415BT-BlackA             BT  0524    geo415k
+     bm2ci8a   Geometric415BT-BlackItalicA       BT  0525    geo415ki
+     blgri8a   LetterGothic12PitchBT-Italic      BT  0532    legot12i
+     blgb8a    LetterGothic12PitchBT-Bold        BT  0533    legot12b
+     bmhr8a    MachineITCbyBT-Regular            BT  0534    machinen
+     bhvc8a2   Swiss721BT-BlackNo2               BT  0540    swz721k2
+     bazb8a    Gothic725BT-BoldA                 BT  0541    goth725b
+     ba4r8a    AlternateGothicNo2BT-Regular      BT  0542    altgot2n
+     blgbi8a   LetterGothic12PitchBT-BoldItal    BT  0543    lego12bi
+     blbjo8a   LubalinGraphITCbyBT-XtraLightOb   BT  0544    lubgrxlo
+     blbko8a   LubalinGraphITCbyBT-BookOblique   BT  0545    lubgrhno
+     blbmo8a   LubalinGraphITCbyBT-MediumObl     BT  0546    lubgrhmo
+     blbdo8a   LubalinGraphITCbyBT-DemiOblique   BT  0547    lubgrhdo
+     blbbo8a   LubalinGraphITCbyBT-BoldOblique   BT  0548    lubgrhbo
+     btmx8a    Dutch801BT-ExtraBold              BT  0549    dut801xb
+     b_____    SymbolITCbyBT-Bold                BT  0554    symbolb
+     b_____    SymbolITCbyBT-BoldItalic          BT  0555    symbolbi
+     b_____    Century731BT-RomanA               BT  0558    cen731n
+     b_____    Century731BT-ItalicA              BT  0559    cen731i
+     b_____    Century731BT-BoldA                BT  0560    cen731b
+     b_____    Century731BT-BoldItalicA          BT  0561    cen731bi
+     bhir8a    Swiss921BT-RegularA               BT  0562    swz921n
+     bhvcl8a   Swiss721BT-BlackOutline           BT  0563    swz721ko
+     bcsb8ac   CenturySchoolbookBT-BoldCond      BT  0574    censbkbc
+     bcbl8a    CooperBT-Light                    BT  0575    cooperl
+     bcbli8a   CooperBT-LightItalic              BT  0576    cooperli
+     bcbm8a    CooperBT-Medium                   BT  0577    cooperm
+     bcbmi8a   CooperBT-MediumItalic             BT  0578    coopermi
+     bcbb8a    CooperBT-Bold                     BT  0579    cooperb
+     bcbbi8a   CooperBT-BoldItalic               BT  0580    cooperbi
+     bcarl8a   CaslonOpenfaceBT-Regular          BT  0581    casopfan
+     bcrri8a   Courier10PitchBT-Italic           BT  0582    cur10pti
+     bcrb8a    Courier10PitchBT-Bold             BT  0583    cur10ptb
+     benrs8a   EngraversGothicBT-Regular         BT  0586    engrgotn
+     benr8a    EngraversRomanBT-Regular          BT  0587    engrvrn
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+     bkgl8a    BankGothicBT-Light                BT  0589    bnkgothl
+     bkgm8a    BankGothicBT-Medium               BT  0590    bnkgothm
+     bf0r8a    FlemishScriptBT-Regular           BT  0591    flemscrn
+     bp5r8a    PiranesiItalicBT-Regular          BT  0592    piranesi
+     bser8a    ShelleyAndanteBT-Regular          BT  0593    shlyandn
+     bserd8a   ShelleyAllegroBT-Regular          BT  0594    shlyalln
+     bserw8a   ShelleyVolanteBT-Regular          BT  0595    shlyvoln
+     bhvrt8a   Monospace821BT-Roman              BT  0596    mono821n
+     bhvrit8a  Monospace821BT-Italic             BT  0597    mono821i
+     bhvbt8a   Monospace821BT-Bold               BT  0598    mono821b
+     bhvbit8a  Monospace821BT-BoldItalic         BT  0599    mon821bi
+     bcsrt8a   CenturySchoolbookBT-Monospace     BT  0600    censbkmn
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+     bpfr8a    Decorated035BT-Regular            BT  0605    deco035n
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+     boir8a    FormalScript421BT-Regular         BT  0609    frms421n
+     bmsr8a    Staccato222BT-Regular             BT  0610    stac222n
+     bcrbi8a   Courier10PitchBT-BoldItalic       BT  0611    cur10pbi
+     bperi8a   Prestige12PitchBT-Italic          BT  0613    prest12i
+     bpeb8a    Prestige12PitchBT-Bold            BT  0614    prest12b
+     bpebi8a   Prestige12PitchBT-BoldItalic      BT  0615    pres12bi
+     bctr8a    CheltenhamBT-Roman                BT  0620    chlthmn
+     bctri8a   CheltenhamBT-Italic               BT  0621    chlthmi
+     bctb8a    CheltenhamBT-Bold                 BT  0622    chlthmb
+     bctbi8a   CheltenhamBT-BoldItalic           BT  0623    chlthmbi
+     brmli8a   CarminaBT-LightItalic             BT  0624    carminli
+     bg0r8a    GandoBT-Regular                   BT  0625    gandon
+     bpgl8a    Exotic350BT-Light                 BT  0626    exot350l
+     bpgd8a    Exotic350BT-DemiBold              BT  0627    exo350db
+     bpgb8a    Exotic350BT-Bold                  BT  0628    exot350b
+     bcbc8a    CooperBT-Black                    BT  0630    coopbln
+     bcbci8a   CooperBT-BlackItalic              BT  0631    coopbli
+     bchb8a    CharterBT-Bold                    BT  0632    chartrb
+     bchbi8a   CharterBT-BoldItalic              BT  0633    chartrbi
+     buhh8a    CushingITCbyBT-Heavy              BT  0641    cushngh
+     buhhi8a   CushingITCbyBT-HeavyItalic        BT  0642    cushnghi
+     beor8a    AmerigoBT-RomanA                  BT  0643    amrigon
+     beori8a   AmerigoBT-ItalicA                 BT  0644    amrigoi
+     beob8a    AmerigoBT-BoldA                   BT  0645    amrigob
+     bobr      OCRB10PitchBT-Regular             BT  0646    ocrb10n
+     bchr8a    CharterBT-Roman                   BT  0648    chartrn
+     bchri8a   CharterBT-Italic                  BT  0649    chartri
+     bzgm8a    Geometric706BT-MediumB            BT  0660    geo706m
+     bzgc8a    Geometric706BT-BlackB             BT  0661    geo706k
+     bzgb8ac   Geometric706BT-BoldCondensedB     BT  0662    geo706bc
+     bzgc8ac   Geometric706BT-BlackCondensedB    BT  0663    geo706kc
+     bg6r8a    GorillaITCbyBT-Regular            BT  0664    gorillan
+     brml8a    CarminaBT-Light                   BT  0667    carminal
+     brmc8a    CarminaBT-Black                   BT  0668    carminak
+     bfgk8a    FranklinGothicITCbyBT-Book        BT  0670    frkgotn
+     bfgki8a   FranklinGothicITCbyBT-BookItal    BT  0671    frkgotni
+     bfgd8a    FranklinGothicITCbyBT-Demi        BT  0674    frkgotd
+     bfgdi8a   FranklinGothicITCbyBT-DemiItal    BT  0675    frkgotdi
+     bfgh8a    FranklinGothicITCbyBT-Heavy       BT  0676    frkgoth
+     bfghi8a   FranklinGothicITCbyBT-HeavyItal   BT  0677    frkgothi
+     b_____    GrouchITCbyBT-Regular             BT  0678    grouchn
+     bymli8a   StymieBT-LightItalic              BT  0679    stymieli
+     bfnr8a    FeniceITCbyBT-Regular             BT  0682    fenicen
+     bfnri8a   FeniceITCbyBT-RegularItalic       BT  0683    feniceni
+     bfnb8a    FeniceITCbyBT-Bold                BT  0684    feniceb
+     bfnbi8a   FeniceITCbyBT-BoldItalic          BT  0685    fenicebi
+     b_____    GrizzlyITCbyBT-Regular            BT  0688    grizzlyn
+     bymmi8a   StymieBT-MediumItalic             BT  0689    stymiemi
+     bl2r8a    LibraBT-Regular                   BT  0690    libran
+     b_____    Pica10PitchBT-Roman               BT  0691    pica10n
+     bymbi8a   StymieBT-BoldItalic               BT  0692    stymiebi
+     b_____    NewtextITCbyBT-Regular            BT  0697    newtxtn
+     b_____    NewtextITCbyBT-RegularItalic      BT  0698    newtxtni
+     bchc8a    CharterBT-Black                   BT  0709    chartrk
+     bchci8a   CharterBT-BlackItalic             BT  0710    chartrki
+     bgjr8a    ElegantGaramondBT-Roman           BT  0711    eleggarn
+     bgjri8a   ElegantGaramondBT-Italic          BT  0712    eleggari
+     bgjb8a    ElegantGaramondBT-Bold            BT  0713    eleggarb
+     bekr8a    Freeform710BT-Regular             BT  0714    frfm710n
+     bppr8a    Lapidary333BT-Roman               BT  0715    lap333n
+     bppri8a   Lapidary333BT-Italic              BT  0716    lap333i
+     bppb8a    Lapidary333BT-Bold                BT  0717    lap333b
+     bppbi8a   Lapidary333BT-BoldItalic          BT  0718    lap333bi
+     brmci8a   CarminaBT-BlackItalic             BT  0719    carminki
+     bpbr8a    PTBarnumBT-Regular                BT  0720    ptbarnmn
+     brmm8a    CarminaBT-Medium                  BT  0721    carminam
+     brmmi8a   CarminaBT-MediumItalic            BT  0722    carmini
+     brmb8a    CarminaBT-Bold                    BT  0723    carminab
+     brmbi8a   CarminaBT-BoldItalic              BT  0724    carminbi
+     bi2r8a    ImpulsBT-Regular                  BT  0725    impulsn
+     bkur8a    KaufmannBT-Regular                BT  0726    kaufmann
+     bkub8a    KaufmannBT-Bold                   BT  0727    kaufmanb
+     bbob8a    BalloonBT-Bold                    BT  0728    balonb
+     bbox8a    BalloonBT-ExtraBold               BT  0729    balonxb
+     bnvk8a    NovareseITCbyBT-Book              BT  0730    novaren
+     bnvki8a   NovareseITCbyBT-BookItalic        BT  0731    novareni
+     bnvb8a    NovareseITCbyBT-Bold              BT  0734    novareb
+     bnvbi8a   NovareseITCbyBT-BoldItalic        BT  0735    novarebi
+     bc2k8a    Caslon224ITCbyBT-Book             BT  0745    cas224n
+     bc2ki8a   Caslon224ITCbyBT-BookItalic       BT  0746    cas224ni
+     bc2b8a    Caslon224ITCbyBT-Bold             BT  0749    cas224b
+     bc2bi8a   Caslon224ITCbyBT-BoldItalic       BT  0750    cas224bi
+     bnabi8a   Dutch823BT-BoldItalicB            BT  0753    dut823bi
+     borr8a10  OratorBT-TenPitch                 BT  0755    orator10
+     bvrr8a    VAGRoundedBT-Regular              BT  0756    vagron
+     bclr8a    CloisterBlackBT-Regular           BT  0757    cloistrk
+     borr8a15  OratorBT-FifteenPitch             BT  0758    orator15
+     bhvm8a    Swiss721BT-Medium                 BT  0759    swz721m
+     bhvmi8a   Swiss721BT-MediumItalic           BT  0760    swz721mi
+     btvr8a    Kuenstler480BT-Roman              BT  0761    kuen408n
+     btvri8a   Kuenstler480BT-Italic             BT  0762    kuen408i
+     btvb8a    Kuenstler480BT-Bold               BT  0763    kuen408b
+     btvbi8a   Kuenstler480BT-BoldItalic         BT  0764    kue408bi
+     bhvbl8ac  Swiss721BT-BoldCondensedOutline   BT  0767    sw721bco
+     bh0r8a    HandelGothicBT-Regular            BT  0768    handgotn
+     bdcb8a    DomBoldBT-Regular                 BT  0769    domb
+     beom8a    AmerigoBT-MediumA                 BT  0770    amrigom
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+     bc7l8a    CompactaBT-Light                  BT  0783    compctal
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+     bc7ri8a   CompactaBT-Italic                 BT  0785    compctai
+     bc7b8a    CompactaBT-Bold                   BT  0786    compctab
+     bc7bi8a   CompactaBT-BoldItalic             BT  0787    compctbi
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+     bbpr8a    Modern735BT-RomanA                BT  0793    mod735n
+     bbwre8a   BroadwayEngravedBT-Regular        BT  0802    brdwayg
+     bonbi8a   News705BT-BoldItalicB             BT  0803    new705bi
+     bpnl8a    Aldine721BT-Light                 BT  0804    ald721l
+     bpnli8a   Aldine721BT-LightItalic           BT  0805    ald721li
+     bb4r8a    Brush738BT-RegularA               BT  0806    brus738n
+     bb6r8ac   Gothic821CondensedBT-Regular      BT  0807    goth821c
+     bcir8a    CandidaBT-Roman                   BT  0808    candidan
+     bciri8a   CandidaBT-Italic                  BT  0809    candidai
+     bcib8a    CandidaBT-Bold                    BT  0810    candidab
+     bdir8a    Calligraphic810BT-Roman           BT  0811    calg810n
+     bdiri8a   Calligraphic810BT-Italic          BT  0812    calg810i
+     bhrb8a    Swiss721BT-BoldRounded            BT  0813    swz721br
+     bhrc8a    Swiss721BT-BlackRounded           BT  0815    swz721kr
+     bs3l8a    SeagullBT-Light                   BT  0817    seagulll
+     bs3m8a    SeagullBT-Medium                  BT  0818    seagullm
+     bs3b8a    SeagullBT-Bold                    BT  0819    seagullb
+     bs3h8a    SeagullBT-Heavy                   BT  0820    seagullh
+     b_____    MixageITCbyBT-Bold                BT  0825    mixageb
+     b_____    MixageITCbyBT-BoldItalic          BT  0826    mixagebi
+     bm3r8a    MiraraeBT-Roman                   BT  0830    miraraen
+     bm3b8a    MiraraeBT-Bold                    BT  0831    miraraeb
+     btms8a    Dutch801BT-SemiBold               BT  0834    dut801db
+     btmsi8a   Dutch801BT-SemiBoldItalic         BT  0835    du801dbi
+     bsfb8ac   SerifaBT-BoldCondensed            BT  0836    serifabc
+     bb7ri8a   BernhardModernBT-Italic           BT  0837    bnhrdmoi
+     bb7b8a    BernhardModernBT-Bold             BT  0838    bnhrdmob
+     bb7bi8a   BernhardModernBT-BoldItalic       BT  0839    bnhrdmbi
+     b_____    English157BT-Regular              BT  0840    engl157n
+     blyr8a    LydianBT-Roman                    BT  0841    lydiann
+     blyri8a   LydianBT-Italic                   BT  0842    lydiani
+     blyb8a    LydianBT-Bold                     BT  0843    lydianb
+     blybi8a   LydianBT-BoldItalic               BT  0844    lydianbi
+     blyrw8a   LydianCursiveBT-Regular           BT  0845    lydianv
+     bcdr8ac   ClarendonBT-RomanCondensed        BT  0846    clrndnc
+     bl3r8a    LuciaBT-Regular                   BT  0847    lucian
+     bfol8a    FolioBT-Light                     BT  0848    foliol
+     bfoli8a   FolioBT-LightItalic               BT  0849    folioli
+     bfok8a    FolioBT-Book                      BT  0850    folion
+     bfom8a    FolioBT-Medium                    BT  0851    foliom
+     bfob8a    FolioBT-Bold                      BT  0852    foliob
+     bfox8a    FolioBT-ExtraBold                 BT  0853    folioxb
+     bfob8ac   FolioBT-BoldCondensed             BT  0854    foliobc
+     bfrl8a    Humanist777BT-LightB              BT  0855    hum777l
+     bfrli8a   Humanist777BT-LightItalicB        BT  0856    hum777li
+     bfrr8a    Humanist777BT-RomanB              BT  0857    hum777n
+     bfrri8a   Humanist777BT-ItalicB             BT  0858    hum777i
+     bfrb8a    Humanist777BT-BoldB               BT  0859    hum777b
+     bfrbi8a   Humanist777BT-BoldItalicB         BT  0860    hum777bi
+     bfrc8a    Humanist777BT-BlackB              BT  0861    hum777k
+     bfrci8a   Humanist777BT-BlackItalicB        BT  0862    hum777ki
+     begr8a    OriginalGaramondBT-Roman          BT  0863    orggaran
+     begri8a   OriginalGaramondBT-Italic         BT  0864    orggarai
+     begb8a    OriginalGaramondBT-Bold           BT  0865    orggarab
+     begbi8a   OriginalGaramondBT-BoldItalic     BT  0866    orggarbi
+     bpyr8a    PlaybillBT-Regular                BT  0867    playbiln
+     b_____    Century751BT-RomanB               BT  0868    cent751n
+     b_____    Century751BT-ItalicB              BT  0869    cent751i
+     bngr8aq   NewsGothicBT-ExtraCondensed       BT  0870    newgotxc
+     bngb8aq   NewsGothicBT-BoldExtraCond        BT  0871    newgtbxc
+     bsxr8a    Humanist531BT-RomanA              BT  0872    hum531n
+     bsxb8a    Humanist531BT-BoldA               BT  0874    hum531b
+     bsxc8a    Humanist531BT-BlackA              BT  0875    hum531k
+     bsxu8a    Humanist531BT-UltraBlackA         BT  0876    hum531uk
+     b_____    Egyptian710BT-RegularA            BT  0883    egyt710n
+     bffm8a    Transitional551BT-MediumB         BT  0884    tran551m
+     bffmi8a   Transitional551BT-MediumItalicB   BT  0885    tra551mi
+     bm5b8a    MurrayHillBT-Bold                 BT  0886    muryhilb
+     bcxl8a    CaxtonBT-Light                    BT  0887    caxtonl
+     bcxli8a   CaxtonBT-LightItalic              BT  0888    caxtonli
+     bcxk8a    CaxtonBT-Book                     BT  0889    caxtonn
+     bcxki8a   CaxtonBT-BookItalic               BT  0890    caxtonni
+     bcxb8a    CaxtonBT-Bold                     BT  0891    caxtonb
+     bcxbi8a   CaxtonBT-BoldItalic               BT  0892    caxtonbi
+     brvr8a    RevueBT-Regular                   BT  0895    revuen
+     br0r8a    RomanaBT-Roman                    BT  0896    romanan
+     br0b8a    RomanaBT-Bold                     BT  0897    romanab
+     bssl8a    SchneidlerBT-Light                BT  0899    schndll
+     bssli8a   SchneidlerBT-LightItalic          BT  0900    schndlli
+     bssr8a    SchneidlerBT-Roman                BT  0901    schndln
+     bssri8a   SchneidlerBT-Italic               BT  0902    schndli
+     bssm8a    SchneidlerBT-Medium               BT  0903    schndlm
+     bssmi8a   SchneidlerBT-MediumItalic         BT  0904    schndlmi
+     bssb8a    SchneidlerBT-Bold                 BT  0905    schndlb
+     bssbi8a   SchneidlerBT-BoldItalic           BT  0906    schndlbi
+     bssc8a    SchneidlerBT-Black                BT  0907    schndlk
+     bssci8a   SchneidlerBT-BlackItalic          BT  0908    schndlki
+     bwnl8a    WindsorBT-Light                   BT  0909    wndsrl
+     bymx8ac   StymieBT-ExtraBoldCondensed       BT  0910    stymixbc
+     b_____    DeVinneBT-Roman                   BT  0911    devinnen
+     b_____    DeVinneBT-Italic                  BT  0912    devinnei
+     bear8a    Transitional521BT-RomanA          BT  0913    tran521n
+     bearw8a   Transitional521BT-CursiveA        BT  0914    tran521i
+     beab8a    Transitional521BT-BoldA           BT  0915    tran521b
+     ball8a    Flareserif821BT-Light             BT  0916    flar821l
+     balr8a    Flareserif821BT-Roman             BT  0917    flar821n
+     balb8a    Flareserif821BT-Bold              BT  0918    flar821b
+     bdcri8a   DomDiagonalBT-Regular             BT  0920    domdiagn
+     bdcbi8a   DomDiagonalBT-Bold                BT  0921    domdiagb
+     bysl8a    GoudySansITCbyBT-Light            BT  0922    goudsanl
+     bysli8a   GoudySansITCbyBT-LightItalic      BT  0923    goudsali
+     bysm8a    GoudySansITCbyBT-Medium           BT  0924    goudsanm
+     bysmi8a   GoudySansITCbyBT-MediumItalic     BT  0925    goudsami
+     bysb8a    GoudySansITCbyBT-Bold             BT  0926    goudsanb
+     bysbi8a   GoudySansITCbyBT-BoldItalic       BT  0927    goudsabi
+     bysc8a    GoudySansITCbyBT-Black            BT  0928    goudsank
+     bysci8a   GoudySansITCbyBT-BlackItalic      BT  0929    goudsaki
+     bnbr8a    NewBaskervilleITCbyBT-Roman       BT  0930    newbaskn
+     bnbri8a   NewBaskervilleITCbyBT-Italic      BT  0931    newbaski
+     bnbb8a    NewBaskervilleITCbyBT-Bold        BT  0934    newbaskb
+     bnbbi8a   NewBaskervilleITCbyBT-BoldItal    BT  0935    newbasbi
+     bclrl8a   CloisterOpenFaceBT-Regular        BT  0938    cloisofn
+     bt2r8a    TypoUprightBT-Regular             BT  0939    typouprn
+     bs2r8a    Script12PitchBT-Roman             BT  0940    scrpt12n
+     blwk8a    LeawoodITCbyBT-Book               BT  0941    leawodn
+     blwki8a   LeawoodITCbyBT-BookItalic         BT  0942    leawodni
+     blwb8a    LeawoodITCbyBT-Bold               BT  0945    leawodb
+     blwbi8a   LeawoodITCbyBT-BoldItalic         BT  0946    leawodbi
+     bngd8a    NewsGothicBT-Demi                 BT  0949    newsgotd
+     bngdi8a   NewsGothicBT-DemiItalic           BT  0950    newsgtdi
+     b_____    CataneoBT-Light                   BT  0951    catanltn
+     b_____    CataneoBT-Regular                 BT  0952    cataneon
+     b_____    CataneoBT-Bold                    BT  0953    catanbon
+     blfr8a    LifeBT-Roman                      BT  0954    lifen
+     blfri8a   LifeBT-Italic                     BT  0955    lifei
+     blfb8a    LifeBT-Bold                       BT  0956    lifeb
+     blfbi8a   LifeBT-BoldItalic                 BT  0957    lifebi
+     bunl8aq   ZurichBT-LightExtraCondensed      BT  0958    zurchlxc
+     bunr8aq   ZurichBT-ExtraCondensed           BT  0959    zurchxc
+     bunb8aq   ZurichBT-BoldExtraCondensed       BT  0960    zurchbxc
+     beel8a    Egyptian505BT-Light               BT  0961    egyt505l
+     beer8a    Egyptian505BT-Roman               BT  0962    egyt505n
+     beem8a    Egyptian505BT-Medium              BT  0963    egyt505m
+     beeb8a    Egyptian505BT-Bold                BT  0964    egyt505b
+     b_____    BruceOldStyleBT-Roman             BT  0965    bruolstn
+     b_____    BruceOldStyleBT-Italic            BT  0966    bruolsti
+     bhsr8a    Swiss924BT-RegularB               BT  0969    swz924n
+     bunx8a    ZurichBT-ExtraBlack               BT  0970    zurchxk
+     btmxi8a   Dutch801BT-ExtraBoldItalic        BT  0971    du801xbi
+     bsbbi8a   ClassicalGaramondBT-BoldItalic    BT  0972    clsgarbi
+     bbdb8ac   BodoniBT-BoldCondensed            BT  0973    bodonibc
+     benb8a    EngraversRomanBT-Bold             BT  0974    engrvrb
+     bi0r8a    CommercialScriptBT-Regular        BT  0976    comscrtn
+     bpnb8ac   Aldine721BT-BoldCondensed         BT  0977    ald721bc
+     bs6r8a    StuyvesantBT-Regular              BT  0980    stuyvesn
+     bnur8a    NuptialBT-Regular                 BT  0981    nuptualn
+     bftr8a    FrakturBT-Regular                 BT  0983    frakturn
+     bw0r8a    WeddingTextBT-Regular             BT  0985    wedtxtn
+     bb7rw8a   BernhardTangoBT-Regular           BT  0986    bnhrdtan
+     bl1r8a    LibertyBT-Regular                 BT  0987    libertyn
+     bwnrl8a   WindsorBT-Outline                 BT  0988    wndsro
+     bp3r8a    Brush445BT-Regular                BT  0990    brus445n
+     bgql8a    Gothic720BT-LightB                BT  0991    goth720l
+     bgqli8a   Gothic720BT-LightItalicB          BT  0992    got720li
+     bgqr8a    Gothic720BT-RomanB                BT  0993    goth720n
+     bgqri8a   Gothic720BT-ItalicB               BT  0994    goth720i
+     bgqb8a    Gothic720BT-BoldB                 BT  0995    goth720b
+     bgqbi8a   Gothic720BT-BoldItalicB           BT  0996    got720bi
+     baur8a    Freeform721BT-Roman               BT  0997    frfm721n
+     bauri8a   Freeform721BT-Italic              BT  0998    frfm721i
+     baub8a    Freeform721BT-Bold                BT  0999    frfm721b
+     baubi8a   Freeform721BT-BoldItalic          BT  1000    frf721bi
+     bauc8a    Freeform721BT-Black               BT  1001    frfm721k
+     bauci8a   Freeform721BT-BlackItalic         BT  1002    frf721ki
+     bb7b8ac   BernhardBoldCondensedBT-Regular   BT  1003    brhrdbc
+     bazc8a    Gothic725BT-BlackA                BT  1007    goth720k
+     bn0r8a    NormandeBT-Roman                  BT  1011    normandn
+     bn0ri8a   NormandeBT-Italic                 BT  1012    normandi
+     b_____    MattAntiqueBT-Roman               BT  1014    matantqn
+     b_____    MattAntiqueBT-Italic              BT  1015    matantqi
+     b_____    MattAntiqueBT-Bold                BT  1016    matantqb
+     bmar8a    Freehand521BT-RegularC            BT  1018    frhnd521
+     bmpm8ac   GeometricSlab703BT-MediumCond     BT  1019    geo703mc
+     bmpb8ac   GeometricSlab703BT-BoldCond       BT  1020    geo703bc
+     bmpx8ac   GeometricSlab703BT-XtraBoldCond   BT  1021    ge703xbc
+     bbll8a    BelweBT-Light                     BT  1022    belwel
+     bblm8a    BelweBT-Medium                    BT  1023    belwem
+     bblb8a    BelweBT-Bold                      BT  1024    belweb
+     bblr8ac   BelweBT-RomanCondensed            BT  1025    belwec
+     btvc8a    Kuenstler480BT-Black              BT  1026    kuen408k
+     ba8r8ac   AuroraBT-RomanCondensed           BT  1027    aurorac
+     ba8b8ac   AuroraBT-BoldCondensed            BT  1028    aurorabc
+     b_____    CataneoBT-RegularSwash            BT  1030    catanswn
+     b_____    CataneoBT-BoldSwash               BT  1031    catanswb
+     bcbcl8a   CooperBT-BlackOutline             BT  1034    coopblo
+     btmrd8a   Dutch801BT-RomanHeadline          BT  1035    dut801na
+     btmrid8a  Dutch801BT-ItalicHeadline         BT  1036    dut801ia
+     b_____    Modern880BT-Roman                 BT  1037    mod880n
+     b_____    Modern880BT-Italic                BT  1038    mod880i
+     b_____    Modern880BT-Bold                  BT  1039    mod880b
+     bmzr8a    AmazoneBT-Regular                 BT  1040    amazonen
+     b_____    DeVinneBT-Text                    BT  1041    devinnet
+     b_____    DeVinneBT-ItalicText              BT  1042    devinnit
+     bb5r8a    Freehand591BT-RegularA            BT  1043    frhnd591
+     b_____    Blackletter686BT-Regular          BT  1044    blklt686
+     benbf8a   EngraversOldEnglishBT-Bold        BT  1045    engroleb
+     bjfr8a    Freehand575BT-RegularB            BT  1046    frhnd575
+     btor8a    Industrial736BT-Roman             BT  1047    ind736n
+     btori8a   Industrial736BT-Italic            BT  1048    ind736i
+     bgyh8a    GoudyHeavyfaceBT-Regular          BT  1049    goudhfcn
+     bgyh8ac   GoudyHeavyfaceBT-RegularCond      BT  1050    goudhfcc
+     bb7rn8a   BernhardFashionBT-Regular         BT  1051    bnhrdfan
+     bppc8a    Lapidary333BT-Black               BT  1052    lap333k
+     bgyrf8a   GoudyHandtooledBTsRegular         BT  1053    goudhndn
+     bg5r8a    GoudyCatalogueBT-Regular          BT  1054    goudcatn
+     b_____    Century725BT-Roman                BT  1055    cen725n
+     b_____    Century725BT-Bold                 BT  1056    cen725b
+     b_____    Century725BT-RomanCondensed       BT  1057    cen725c
+     b_____    Century725BT-BoldCondensed        BT  1058    cen725bc
+     b_____    Century725BT-Italic               BT  1059    cen725i
+     b_____    Century725BT-Black                BT  1060    cen725k
+     bocr8a    Dutch809BT-RomanC                 BT  1061    dut809n
+     bocri8a   Dutch809BT-ItalicC                BT  1062    dut809i
+     bocb8a    Dutch809BT-BoldC                  BT  1063    dut809b
+     bpsr8a    ParisianBT-Regular                BT  1064    parisnn
+     bctb8ac   CheltenhamBT-BoldCondensed        BT  1065    chltboc
+     bctbi8ac  CheltenhamBT-BoldCondItalic       BT  1066    chltboci
+     bctb8aq   CheltenhamBT-BoldExtraCondensed   BT  1067    chltboxc
+     bbrr8a    Revival565BT-Roman                BT  1068    revi565n
+     bbrri8a   Revival565BT-Italic               BT  1069    revi565i
+     bbrb8a    Revival565BT-Bold                 BT  1070    revi565b
+     bbrbi8a   Revival565BT-BoldItalic           BT  1071    rev565bi
+     bubrd8a   BauerBodoniBT-Titling             BT  1072    baubodti
+     bumr8a    UmbraBT-Regular                   BT  1074    umbran
+     bbmr8a    BulmerBT-Roman                    BT  1075    bulmern
+     bbmri8a   BulmerBT-Italic                   BT  1076    bulmeri
+     bral8a    RaleighBT-Light                   BT  1077    raleighl
+     brar8a    RaleighBT-Roman                   BT  1078    raleighn
+     bram8a    RaleighBT-Medium                  BT  1079    raleighm
+     brad8a    RaleighBT-DemiBold                BT  1080    raleigdb
+     brab8a    RaleighBT-Bold                    BT  1081    raleighb
+     brax8a    RaleighBT-ExtraBold               BT  1082    raleigxb
+     boyr8a    Dutch811BT-RomanD                 BT  1083    dut811n
+     boyri8a   Dutch811BT-ItalicD                BT  1084    dut811i
+     boyb8a    Dutch811BT-BoldD                  BT  1085    dut811b
+     boybi8a   Dutch811BT-BoldItalicD            BT  1086    dut811bi
+     bwdk8a    WeidemannITCbyBT-Book             BT  1087    weidmnn
+     bwdki8a   WeidemannITCbyBT-BookItalic       BT  1088    weidmnni
+     bwdb8a    WeidemannITCbyBT-Bold             BT  1091    weidmnb
+     bwdbi8a   WeidemannITCbyBT-BoldItalic       BT  1092    weidmnbi
+     burr8a    Venetian301BT-Roman               BT  1095    ven301n
+     burri8a   Venetian301BT-Italic              BT  1096    ven301i
+     burd8a    Venetian301BT-Demi                BT  1097    ven301d
+     burdi8a   Venetian301BT-DemiItalic          BT  1098    ven301di
+     burb8a    Venetian301BT-Bold                BT  1099    ven301b
+     burbi8a   Venetian301BT-BoldItalic          BT  1100    ven301bi
+     b_____    FrysBaskervilleBT-Roman           BT  1101    frybaskn
+     baar8a    AachenBT-Roman                    BT  1102    aachenn
+     baab8a    AachenBT-Bold                     BT  1103    aachenb
+     bhwl8a    SchadowBT-Light                   BT  1104    schadwl
+     bhwli8a   SchadowBT-LightCursive            BT  1105    schadwli
+     bhwr8a    SchadowBT-Roman                   BT  1106    schadwn
+     bhwb8a    SchadowBT-Bold                    BT  1107    schadwb
+     bhwc8a    SchadowBT-Black                   BT  1108    schadwk
+     bder8a    DellaRobbiaBT-Roman               BT  1112    delarobn
+     bdeb8a    DellaRobbiaBT-Bold                BT  1113    delarobb
+     bhwc8ac   SchadowBT-BlackCondensed          BT  1114    schadwkc
+     bnlr8a    Informal011BT-Roman               BT  1115    infr011n
+     bnlc8a    Informal011BT-Black               BT  1116    infr011k
+     bkbl8a    Geometric231BT-LightC             BT  1126    geo231l
+     bkbr8a    Geometric231BT-RomanC             BT  1127    geo231n
+     bkbb8a    Geometric231BT-BoldC              BT  1128    geo231b
+     bkbh8a    Geometric231BT-HeavyC             BT  1129    geo231h
+     ba5r8a    AllegroBT-Regular                 BT  1138    allegron
+     bc9r8a    Calligraphic421BT-RomanB          BT  1139    calg421n
+     b_____    Geometric885BT-RegularD           BT  1140    geo885n
+     b_____    Formal436BT-Regular               BT  1141    frml436n
+     bl4r8a    LucianBT-Roman                    BT  1142    luciann
+     bl4b8a    LucianBT-Bold                     BT  1143    lucianb
+     brsr8a    ArrusBT-Roman                     BT  1145    arrusn
+     brsri8a   ArrusBT-Italic                    BT  1146    arrusi
+     brsb8a    ArrusBT-Bold                      BT  1147    arrusb
+     brsbi8a   ArrusBT-BoldItalic                BT  1148    arrusbi
+     brsc8a    ArrusBT-Black                     BT  1149    arrusk
+     brsci8a   ArrusBT-BlackItalic               BT  1150    arruski
+     bt0r8a    TangoBT-Regular                   BT  1151    tangon
+     bbsr8a    BakerSignetBT-Roman               BT  1152    bakrsign
+     bczr8a    Staccato555BT-RegularA            BT  1153    stac555n
+     ba3r8a    AdLibBT-Regular                   BT  1154    adlibn
+     bmor8a    Modern20BT-RomanB                 BT  1168    modrn20n
+     bmori8a   Modern20BT-ItalicB                BT  1169    modrn20i
+     be1r8a    EmpireBT-Regular                  BT  1176    empiren
+     bhxr8a    HuxleyVerticalBT-Regular          BT  1177    huxvertn
+     bozr8a    OzHandicraftBT-Roman              BT  1178    ozhandin
+     biyr8a    IowanOldStyleBT-Roman             BT  1198    iwolstyn
+     biyri8a   IowanOldStyleBT-Italic            BT  1199    iwolstyi
+     biyb8a    IowanOldStyleBT-Bold              BT  1200    iwolstyb
+     biybi8a   IowanOldStyleBT-BoldItalic        BT  1201    iwolstbi
+     biyc8a    IowanOldStyleBT-Black             BT  1202    iwolstyk
+     biyci8a   IowanOldStyleBT-BlackItalic       BT  1203    iwolstki
+     bo1r8a    OrandaBT-Roman                    BT  1204    orandan
+     bo1ri8a   OrandaBT-Italic                   BT  1205    orandai
+     bo1b8a    OrandaBT-Bold                     BT  1206    orandab
+     bo1bi8a   OrandaBT-BoldItalic               BT  1207    orandabi
+     bo1r8ac   OrandaBT-RomanCondensed           BT  1208    orandac
+     bo1b8ac   OrandaBT-BoldCondensed            BT  1209    orandabc
+     bm4r8a    MisterEarlBT-Regular              BT  1221    mrearln
+     bb9b8a    BremenBT-Bold                     BT  1231    bremenb
+     bb9c8a    BremenBT-Black                    BT  1232    bremenk
+     bwcr8a    SnowCapBT-Regular                 BT  1237    ________
+     b_____    MilleniumBT-BoldExtended          BT  1242    milnumbe
+     bpi007    SprocketDeluxeBT-Regular          BT  1243    ________
+     bpi008    SprocketBT-Regular                BT  1244    ________
+     bpi009    SonicCutThruBT-Heavy              BT  1247    ________
+     b_____    CharterITCbyBT-Roman              BT  1268    ichrtrn
+     b_____    CharterITCbyBT-Italic             BT  1269    ichrtri
+     b_____    CharterITCbyBT-Bold               BT  1270    ichrtrb
+     b_____    CharterITCbyBT-BoldItalic         BT  1271    ichrtrbi
+     b_____    CharterITCbyBT-Black              BT  1272    ichrtrk
+     b_____    CharterITCbyBT-BlackItalic        BT  1273    ichrtrki
+     bo0r8a    OldDreadfulNo7BT-Regular          BT  7009    ________
+     bzdr      ZapfDingbatsITCbyBT-Regular       BT  8556    zafdingn
+     b_____    MICR10byBT-Regular                BT  8729    micr010n
+     b_____    MICR12byBT-Regular                BT  8730    micr012n
+     b_____    MICR13byBT-Regular                BT  8731    micr013n
+     bpi003    UniversalMath1BT-Regular          BT  9014    ________
+     bpi004    CommercialPiBT-Regular            BT  9025    ________
+     bsyr      SymbolProportionalBT-Regular      BT  9830    symbpron
+     bpi010    HolidayPiBT-Regular               BT  9832    ________
+     bpi001    NewspaperPiBT-Regular             BT  9836    ________
+
+
+


+ +Next: , +Previous: Bitstream fonts, +Up: Font name lists + +
+ +

A.5 DTC fonts

+ +

The dtc.map file has abbreviations for DTC (Digital Typeface +Corporation) fonts. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     
+     dhvc8rc  SansBlackCondensed-DTC
+     dhvco8rc SansBlackCondensed-Oblique-DTC
+     dhvm8rx  SansExtended-Medium-DTC
+     dhvr8rx  SansExtended-Regular-DTC
+     dhvro8rc SansExtended-RegularOblique-DTC
+     dhvx8rc  SansExtraBlackCondensed-DTC
+     dhvl8rx  SansLightExtended-DTC
+     dhvh8rc  SansThinCondensed-DTC
+     dhvho8rc SansThinCondensed-Oblique-DTC
+     dnbb8r   NewBaskerville-Bold-DTC
+     dnbbi8r  NewBaskerville-BoldItalic-DTC
+     dnbri8r  NewBaskerville-RomanItalic-DTC
+     dnbr8r   NewBaskerville-Roman-DTC
+     dopr8r   Optimum-Roman-DTC
+     dopb8r   Optimum-Bold-DTC
+     dopbo8r  Optimum-BoldItalic-DTC
+     doro8r   Optimum-RomanItalic-DTC
+     dpll8r   Palton-Light-DTC
+
+
+


+ +Next: , +Previous: DTC fonts, +Up: Font name lists + +
+ +

A.6 ITC fonts

+ +

The itc.map file has abbreviations for ITC (International +Typeface Corporation) fonts. + +

     
+     
+     
+     
+     
+     
+     
+     
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+     zieuk     EuroSerifITC-Book
+     zieuki    EuroSerifITC-BookItalic
+     zieum     EuroSerifITC-Medium
+     zieumi    EuroSerifITC-MediumItalic
+     zieub     EuroSerifITC-Bold
+     zieubi    EuroSerifITC-BoldItalic
+     zieuc     EuroSerifITC-Black
+     zieuci    EuroSerifITC-BlackItalic
+     zieuks    EuroSansITC-Book
+     zieukis   EuroSansITC-BookItalic
+     zieums    EuroSansITC-Medium
+     zieumis   EuroSansITC-MediumItalic
+     zieubs    EuroSansITC-Bold
+     zieubis   EuroSansITC-BoldItalic
+     zieucs    EuroSansITC-Black
+     zieucis   EuroSansITC-BlackItalic
+     
+     i_____    Aachen-Medium                     ITC 2000
+     i_____    Aachen-Bold                       ITC 2001
+     i_____    Academy-Engraved                  ITC 2002
+     i_____    Aftershock                        ITC 2003
+     i_____    Agincourt                         ITC 2004
+     i_____    Airstream                         ITC 2005
+     i_____    Algerian-Condensed                ITC 2006
+     i_____    Ambrose                           ITC 2007
+     i_____    Angryhog                          ITC 2008
+     i_____    Anna                              ITC 2009
+     i_____    Aquinas                           ITC 2010
+     i_____    Aquitaine-Initials                ITC 2011
+     i_____    Aristocrat                        ITC 2012
+     i_____    Arnova                            ITC 2013
+     i_____    Arriba                            ITC 2014
+     i_____    Arriba-Arriba                     ITC 2015
+     i_____    Artiste                           ITC 2016
+     i_____    Atmosphere                        ITC 2017
+     i_____    AugusteaOpen                      ITC 2018
+     i_____    Avenida                           ITC 2019
+     i_____    BaileyQuad-Bold                   ITC 2020
+     i_____    Balmoral                          ITC 2021
+     i_____    Banco-Light                       ITC 2022
+     i_____    Banco                             ITC 2023
+     i_____    Bang                              ITC 2024
+     i_____    Banner                            ITC 2025
+     i_____    BeckaScript                       ITC 2026
+     i_____    Beesknees                         ITC 2027
+     i_____    Belter                            ITC 2028
+     i_____    Belter-MegaOutline                ITC 2029
+     i_____    Belwe-Mono                        ITC 2030
+     i_____    Belwe-MonoItalic                  ITC 2031
+     i_____    Bendigo                           ITC 2032
+     i_____    Bergell                           ITC 2033
+     i_____    Bertie                            ITC 2034
+     i_____    Bertram                           ITC 2035
+     i_____    BibleScriptFlourishes             ITC 2036
+     i_____    BickleyScript                     ITC 2037
+     i_____    Binary-Light                      ITC 2038
+     i_____    Binary-Bold                       ITC 2039
+     i_____    Bitmax                            ITC 2040
+     i_____    BlackTulip                        ITC 2041
+     i_____    Blackadder                        ITC 2042
+     i_____    Blackmoor                         ITC 2043
+     i_____    Blaze                             ITC 2044
+     i_____    Bluntz                            ITC 2045
+     i_____    Bodoni-Brush                      ITC 2046
+     i_____    BodoniSeventyTwo-Book             ITC 2047
+     i_____    BodoniSeventyTwo-BookItalic       ITC 2048
+     i_____    BodoniSeventyTwo-BookItalicSwash  ITC 2049
+     i_____    BodoniSeventyTwo-Bold             ITC 2050
+     i_____    BodoniSeventyTwo-BoldItalic       ITC 2051
+     i_____    BodoniSeventyTwo-BoldItalicSwash  ITC 2052
+     i_____    Boink                             ITC 2053
+     i_____    Bordeaux-Roman                    ITC 2054
+     i_____    Bordeaux-Italic                   ITC 2055
+     i_____    Bordeaux-RomanBold                ITC 2056
+     i_____    Bordeaux-Display                  ITC 2057
+     i_____    Bordeaux-Script                   ITC 2058
+     i_____    BradleyHand-Regular               ITC 2059
+     i_____    BradleyHand-Bold                  ITC 2060
+     i_____    Braganza-Light                    ITC 2061
+     i_____    Braganza-Regular                  ITC 2062
+     i_____    Brighton-Light                    ITC 2063
+     i_____    Brighton-Medium                   ITC 2064
+     i_____    Brighton-Bold                     ITC 2065
+     i_____    Bronx                             ITC 2066
+     i_____    Buckeroo                          ITC 2067
+     i_____    Burlington                        ITC 2068
+     i_____    BuzzerThree                       ITC 2069
+     i_____    Cabaret                           ITC 2070
+     i_____    CabargaCursiva                    ITC 2071
+     i_____    Campaign                          ITC 2072
+     i_____    CancellarescaScript               ITC 2073
+     i_____    Cancione                          ITC 2074
+     i_____    Caribbean                         ITC 2075
+     i_____    Carlton                           ITC 2076
+     i_____    Carumba                           ITC 2077
+     i_____    Caslon540-ItalicSwashes           ITC 2078
+     i_____    CaxtonRoman-Light                 ITC 2079
+     i_____    CaxtonRoman-LightItalic           ITC 2080
+     i_____    CaxtonRoman-Book                  ITC 2081
+     i_____    CaxtonRoman-Bold                  ITC 2082
+     i_____    CenturyHandtooled-Bold            ITC 2083
+     i_____    CenturyHandtooled-BoldItalic      ITC 2084
+     i_____    Challenge-Bold                    ITC 2085
+     i_____    Challenge-ExtraBold               ITC 2086
+     i_____    Champers                          ITC 2087
+     i_____    CheltenhamHandtooled-Bold         ITC 2088
+     i_____    CheltenhamHandtooled-BoldItalic   ITC 2089
+     i_____    Cherie                            ITC 2090
+     i_____    Chiller                           ITC 2091
+     i_____    Chipper                           ITC 2092
+     i_____    ChocLightbyITC                    ITC 2093
+     i_____    Choc                              ITC 2094
+     i_____    ChromiumOne                       ITC 2095
+     i_____    Citation                          ITC 2096
+     i_____    ClaudeSans-Regular                ITC 2097
+     i_____    ClaudeSans-Italic                 ITC 2098
+     i_____    ClaudeSans-BoldItalic             ITC 2099
+     i_____    Clover                            ITC 2100
+     i_____    CommericalScript                  ITC 2101
+     i_____    Compacta                          ITC 2102
+     i_____    Compacta-Italic                   ITC 2103
+     i_____    Compacta-Bold                     ITC 2104
+     i_____    Coptek                            ITC 2105
+     i_____    Corinthian-Light                  ITC 2106
+     i_____    Corinthian-Medium                 ITC 2107
+     i_____    Corinthian-Bold                   ITC 2108
+     i_____    Corinthian-BoldCondensed          ITC 2109
+     i_____    Crillee-Italic                    ITC 2110
+     i_____    Crillee-BoldItalic                ITC 2111
+     i_____    Crillee-ExtraBoldItalic           ITC 2112
+     i_____    Crillee-ItalicInlineShadow        ITC 2113
+     i_____    Cult                              ITC 2114
+     i_____    Cyberkugel                        ITC 2115
+     i_____    Dancin                            ITC 2116
+     i_____    Data70                            ITC 2117
+     i_____    Demian                            ITC 2118
+     i_____    DemianBold                        ITC 2119
+     i_____    DigitalWoodcuts                   ITC 2120
+     i_____    Digitek                           ITC 2121
+     i_____    Dinitials                         ITC 2122
+     i_____    Dolmen                            ITC 2123
+     i_____    Drycut                            ITC 2124
+     i_____    DynamoShadow                      ITC 2125
+     i_____    Eastwood                          ITC 2126
+     i_____    Edwardian-Medium                  ITC 2127
+     i_____    EdwardianScript-Regular           ITC 2128
+     i_____    EdwardianScript-Bold              ITC 2129
+     i_____    Ellipse-Roman                     ITC 2130
+     i_____    Ellipse-Italic                    ITC 2131
+     i_____    Ellipse-Bold                      ITC 2132
+     i_____    Ellipse-BoldItalic                ITC 2133
+     i_____    Emphasis                          ITC 2134
+     i_____    Enviro                            ITC 2135
+     i_____    Epokha                            ITC 2136
+     i_____    Equinox                           ITC 2137
+     i_____    Etruscan                          ITC 2138
+     i_____    FaithfulFly                       ITC 2139
+     i_____    Farmhaus                          ITC 2140
+     i_____    Fashion-Compressed                ITC 2141
+     i_____    Fashion-Engraved                  ITC 2142
+     i_____    FineHand                          ITC 2143
+     i_____    Flamenco-Inline                   ITC 2144
+     i_____    Flamme                            ITC 2145
+     i_____    Flatiron                          ITC 2146
+     i_____    Flight                            ITC 2147
+     i_____    Fling                             ITC 2148
+     i_____    Florinda                          ITC 2149
+     i_____    Follies                           ITC 2150
+     i_____    Fontoon                           ITC 2151
+     i_____    ForestShaded                      ITC 2152
+     i_____    FrancesUncial                     ITC 2153
+     i_____    Frankfurter-Medium                ITC 2154
+     i_____    Frankfurter                       ITC 2155
+     i_____    Frankfurter-Highlight             ITC 2156
+     i_____    Frankfurter-Inline                ITC 2157
+     i_____    Freddo                            ITC 2158
+     i_____    FreestyleScript                   ITC 2159
+     i_____    FreestyleScript-Bold              ITC 2160
+     i_____    GaramondHandtooled                ITC 2161
+     i_____    GaramondHandtooled-Italic         ITC 2162
+     i_____    Gigi                              ITC 2163
+     i_____    Gill-DisplayCompressed            ITC 2164
+     i_____    Gill-KayoCondensed                ITC 2165
+     i_____    GilliesGothic-ExtraBoldShaded     ITC 2166
+     i_____    Glastonbury                       ITC 2167
+     i_____    GoldenCockerel-InitialsOrnaments  ITC 2168
+     i_____    Grapefruit                        ITC 2169
+     i_____    Gravura                           ITC 2170
+     i_____    Green                             ITC 2171
+     i_____    GreytonScript                     ITC 2172
+     i_____    GrimshawHand                      ITC 2173
+     i_____    Hadfield                          ITC 2174
+     i_____    HandDrawn                         ITC 2175
+     i_____    Harlow                            ITC 2176
+     i_____    HarlowSolid                       ITC 2177
+     i_____    Harvey                            ITC 2178
+     i_____    Hazel                             ITC 2179
+     i_____    Heliotype                         ITC 2180
+     i_____    Helvetica-MediumCondensed         ITC 2181
+     i_____    Helvetica-BoldCondensed           ITC 2182
+     i_____    Highlight                         ITC 2183
+     i_____    Hollyweird                        ITC 2184
+     i_____    Hornpype                          ITC 2185
+     i_____    Ignatius                          ITC 2186
+     i_____    Impakt                            ITC 2187
+     i_____    IndyItalic                        ITC 2188
+     i_____    Informal-Roman                    ITC 2189
+     i_____    Inscription                       ITC 2190
+     i_____    Iris                              ITC 2191
+     i_____    Ironwork                          ITC 2192
+     i_____    Isis                              ITC 2193
+     i_____    Jaft                              ITC 2194
+     i_____    Jambalaya                         ITC 2195
+     i_____    Jazz                              ITC 2196
+     i_____    Jellybaby                         ITC 2197
+     i_____    JohnHandy                         ITC 2198
+     i_____    Jokerman                          ITC 2199
+     i_____    Juanita                           ITC 2200
+     i_____    Juanita-Condensed                 ITC 2201
+     i_____    Juanita-Deco                      ITC 2202
+     i_____    Juanita-Lino                      ITC 2203
+     i_____    Juanita-Xilo                      ITC 2204
+     i_____    Juanita-XiloCondensed             ITC 2205
+     i_____    Juice                             ITC 2206
+     i_____    Kanban                            ITC 2207
+     i_____    Katfish                           ITC 2208
+     i_____    Kendo                             ITC 2209
+     i_____    Kick                              ITC 2210
+     i_____    Klee                              ITC 2211
+     i_____    Klepto                            ITC 2212
+     i_____    Kokoa                             ITC 2213
+     i_____    Kristen                           ITC 2214
+     i_____    Kulukundis                        ITC 2215
+     i_____    LaBamba                           ITC 2216
+     i_____    Lambada                           ITC 2217
+     i_____    Laser                             ITC 2218
+     i_____    LaserChrome                       ITC 2219
+     i_____    Latino-Elongated                  ITC 2220
+     i_____    Laura                             ITC 2221
+     i_____    LCD                               ITC 2222
+     i_____    LeGriffe                          ITC 2223
+     i_____    Lennox-Book                       ITC 2224
+     i_____    Lennox-Medium                     ITC 2225
+     i_____    Lennox-Bold                       ITC 2226
+     i_____    Lexikos                           ITC 2227
+     i_____    Lightnin'                         ITC 2228
+     i_____    LimehouseScript                   ITC 2229
+     i_____    LinoCut                           ITC 2230
+     i_____    Locarno-Light                     ITC 2231
+     i_____    Locarno-Italic                    ITC 2232
+     i_____    RennieMackintosh-Light            ITC 2233
+     i_____    RennieMackintosh-Bold             ITC 2234
+     i_____    Malibu                            ITC 2235
+     i_____    Malstock                          ITC 2236
+     i_____    Marguerita                        ITC 2237
+     i_____    Mastercard                        ITC 2238
+     i_____    Matisse                           ITC 2239
+     i_____    Mekanik-Regular                   ITC 2240
+     i_____    Mekanik-Italic                    ITC 2241
+     i_____    Milano                            ITC 2242
+     i_____    Minska-Light                      ITC 2243
+     i_____    Minska-Medium                     ITC 2244
+     i_____    Minska-Bold                       ITC 2245
+     i_____    Mistral-Light                     ITC 2246
+     i_____    Mistral                           ITC 2247
+     i_____    Mithras                           ITC 2248
+     i_____    MoFunkyFresh                      ITC 2249
+     i_____    MonaLisa-Recut                    ITC 2250
+     i_____    MonaLisa-Solid                    ITC 2251
+     i_____    Montage                           ITC 2252
+     i_____    MotterCorpus-Bold                 ITC 2253
+     i_____    MotterCorpus-CondensedBold        ITC 2254
+     i_____    Musclehead                        ITC 2255
+     i_____    Musica                            ITC 2256
+     i_____    NeoNeo                            ITC 2257
+     i_____    NoovoLight                        ITC 2258
+     i_____    NoovoBold                         ITC 2259
+     i_____    Nora                              ITC 2260
+     i_____    Oberon                            ITC 2261
+     i_____    Odessa                            ITC 2262
+     i_____    OldEnglish                        ITC 2263
+     i_____    OneStrokeScript                   ITC 2264
+     i_____    OneStrokeScript-Bold              ITC 2265
+     i_____    OneStrokeScript-Shaded            ITC 2266
+     i_____    Orange                            ITC 2267
+     i_____    Orbon-Light                       ITC 2268
+     i_____    Orbon-Regular                     ITC 2269
+     i_____    Orbon-Bold                        ITC 2270
+     i_____    Orbon-Black                       ITC 2271
+     i_____    Orlando                           ITC 2272
+     i_____    Outback                           ITC 2273
+     i_____    OutoftheFridge                    ITC 2274
+     i_____    Ozwald                            ITC 2275
+     i_____    Pablo                             ITC 2276
+     i_____    Papyrus                           ITC 2277
+     i_____    Party                             ITC 2278
+     i_____    PendryScript                      ITC 2279
+     i_____    PetersMiro                        ITC 2280
+     i_____    Pink                              ITC 2281
+     i_____    Plaza                             ITC 2282
+     i_____    PleasureBoldShaded                ITC 2283
+     i_____    Pneuma                            ITC 2284
+     i_____    Prague                            ITC 2285
+     i_____    Premier-Lightline                 ITC 2286
+     i_____    Premier-Shaded                    ITC 2287
+     i_____    Princetown                        ITC 2288
+     i_____    Pristina                          ITC 2289
+     i_____    Pritchard                         ITC 2290
+     i_____    Pritchard-LineOut                 ITC 2291
+     i_____    Pump-Regular                      ITC 2292
+     i_____    Pump-DemiBold                     ITC 2293
+     i_____    Quadrus                           ITC 2294
+     i_____    Quixley                           ITC 2295
+     i_____    RageItalic                        ITC 2296
+     i_____    Ragtime                           ITC 2297
+     i_____    Rapier                            ITC 2298
+     i_____    Refracta                          ITC 2299
+     i_____    RegattaCondensed                  ITC 2300
+     i_____    RetailScript                      ITC 2301
+     i_____    Retro-Bold                        ITC 2302
+     i_____    Retro-BoldCondensed               ITC 2303
+     i_____    Riptide                           ITC 2304
+     i_____    Riva                              ITC 2305
+     i_____    Robotik                           ITC 2306
+     i_____    Robotik-Italic                    ITC 2307
+     i_____    Romic-Light                       ITC 2308
+     i_____    Romic-LightItalic                 ITC 2309
+     i_____    Roquette                          ITC 2310
+     i_____    Ru'ach                            ITC 2311
+     i_____    RubberStamp                       ITC 2312
+     i_____    Rundfunk                          ITC 2313
+     i_____    SantaFe                           ITC 2314
+     i_____    Savoye                            ITC 2315
+     i_____    Schizoid                          ITC 2316
+     i_____    Scratch                           ITC 2317
+     i_____    Scriba                            ITC 2318
+     i_____    Scriptease                        ITC 2319
+     i_____    Scriptek                          ITC 2320
+     i_____    Scriptek-Italic                   ITC 2321
+     i_____    Scruff                            ITC 2322
+     i_____    Serengetti                        ITC 2323
+     i_____    Shaman                            ITC 2324
+     i_____    Shatter                           ITC 2325
+     i_____    Sinaloa                           ITC 2326
+     i_____    SkidRow                           ITC 2327
+     i_____    Skylark                           ITC 2328
+     i_____    Slipstream                        ITC 2329
+     i_____    Smack                             ITC 2330
+     i_____    Smudger                           ITC 2331
+     i_____    Snap                              ITC 2332
+     i_____    Spirit                            ITC 2333
+     i_____    Spooky                            ITC 2334
+     i_____    Spotlight                         ITC 2335
+     i_____    Squire                            ITC 2336
+     i_____    Squire-ExtraBold                  ITC 2337
+     i_____    Static                            ITC 2338
+     i_____    Stranger                          ITC 2339
+     i_____    Strobos                           ITC 2340
+     i_____    StudioScript                      ITC 2341
+     i_____    Stylus-Regular                    ITC 2342
+     i_____    Stylus-Bold                       ITC 2343
+     i_____    Superstar                         ITC 2344
+     i_____    Surfboard                         ITC 2345
+     i_____    Synchro                           ITC 2346
+     i_____    Tag                               ITC 2347
+     i_____    Tannhauser                        ITC 2348
+     i_____    Teknik                            ITC 2349
+     i_____    Telegram                          ITC 2350
+     i_____    Temble                            ITC 2351
+     i_____    Tempus-Regular                    ITC 2352
+     i_____    Tempus-Italic                     ITC 2353
+     i_____    TempusSans-Regular                ITC 2354
+     i_____    TempusSans-Italic                 ITC 2355
+     i_____    TigerRag                          ITC 2356
+     i_____    TirantiSolid                      ITC 2357
+     i_____    Trackpad                          ITC 2358
+     i_____    TropicaScript                     ITC 2359
+     i_____    TrueGrit                          ITC 2360
+     i_____    Twang                             ITC 2361
+     i_____    Typados                           ITC 2362
+     i_____    Ulysses                           ITC 2363
+     i_____    UniversityRoman                   ITC 2364
+     i_____    UniversityRoman-Italic            ITC 2365
+     i_____    UniversityRoman-Bold              ITC 2366
+     i_____    VanDijk                           ITC 2367
+     i_____    VanDijkBold                       ITC 2368
+     i_____    Varga                             ITC 2369
+     i_____    Vegas                             ITC 2370
+     i_____    Verkehr                           ITC 2371
+     i_____    Vermont                           ITC 2372
+     i_____    Victorian                         ITC 2373
+     i_____    Victorian-InlineShaded            ITC 2374
+     i_____    ViennaExtended                    ITC 2375
+     i_____    VinerHand                         ITC 2376
+     i_____    Vintage                           ITC 2377
+     i_____    Vinyl-Black                       ITC 2378
+     i_____    Vinyl-Outline                     ITC 2379
+     i_____    Vinyl-SawtoothBlack               ITC 2380
+     i_____    Vinyl-SawtoothOutline             ITC 2381
+     i_____    Vivaldi                           ITC 2382
+     i_____    WadeSans-Light                    ITC 2383
+     i_____    Wanted                            ITC 2384
+     i_____    Waterloo-Bold                     ITC 2385
+     i_____    Westwood                          ITC 2386
+     i_____    WildThing                         ITC 2387
+     i_____    Willow                            ITC 2388
+     i_____    Wisteria                          ITC 2389
+     i_____    Xylo                              ITC 2390
+     i_____    YoungBaroque                      ITC 2391
+     i_____    Zaragoza                          ITC 2392
+     i_____    ZemkeHand                         ITC 2393
+     i_____    Zennor                            ITC 2394
+     i_____    Ziggy                             ITC 2395
+     i_____    Zinjaro                           ITC 2396
+     i_____    MotterSparta                      ITC 2397
+     i_____    Underscript                       ITC 2398
+     i_____    Stenberg                          ITC 2399
+     i_____    Stenberg-Inline                   ITC 2400
+     i_____    Arid                              ITC 2401
+     i_____    Tapioca                           ITC 2402
+     i_____    PiousHenry                        ITC 2403
+     i_____    Korigan-Light                     ITC 2404
+     i_____    Korigan-Bold                      ITC 2405
+     i_____    Abaton                            ITC 2406
+     i_____    Portago                           ITC 2407
+     i_____    Blair-Light                       ITC 2408
+     i_____    Blair-Medium                      ITC 2409
+     i_____    Blair-Bold                        ITC 2410
+     i_____    Scarborough                       ITC 2411
+     i_____    Scarborough-Bold                  ITC 2412
+     i_____    Gema                              ITC 2413
+     i_____    Roswell-Three                     ITC 2414
+     i_____    Roswell-Four                      ITC 2415
+     i_____    Simran                            ITC 2416
+     i_____    Tremor                            ITC 2417
+     i_____    Coconino                          ITC 2418
+     i_____    Stoclet-Light                     ITC 2419
+     i_____    Stoclet-Bold                      ITC 2420
+     i_____    JiggeryPokery                     ITC 2421
+     i_____    Deelirious                        ITC 2422
+     i_____    Flora-Medium                      ITC 2423
+     i_____    Flora-Bold                        ITC 2424
+     i_____    Manhattan                         ITC 2425
+     i_____    Attitudes                         ITC 4000
+     i_____    BackyardBeasties                  ITC 4001
+     i_____    CalligraphicOrnaments             ITC 4002
+     i_____    Celebrations                      ITC 4003
+     i_____    Commercials                       ITC 4004
+     i_____    Connectivities                    ITC 4005
+     i_____    DavesRaves-One                    ITC 4006
+     i_____    DavesRaves-Two                    ITC 4007
+     i_____    DavesRaves-Three                  ITC 4008
+     i_____    Delectables                       ITC 4009
+     i_____    Diversions                        ITC 4010
+     i_____    Diversities                       ITC 4011
+     i_____    Eclectics                         ITC 4012
+     i_____    Energetics                        ITC 4013
+     i_____    Expressions                       ITC 4014
+     i_____    Fontoonies                        ITC 4015
+     i_____    Gargoonies                        ITC 4016
+     i_____    HomeImprovement                   ITC 4017
+     i_____    Incidentals                       ITC 4018
+     i_____    Industrials                       ITC 4019
+     i_____    Inspirations                      ITC 4020
+     i_____    Journeys                          ITC 4021
+     i_____    MoFunkyFresh-Symbols              ITC 4022
+     i_____    Moderns                           ITC 4023
+     i_____    Naturals                          ITC 4024
+     i_____    Organics                          ITC 4025
+     i_____    Organics-Two                      ITC 4026
+     i_____    Primitives                        ITC 4027
+     i_____    Radicals                          ITC 4028
+     i_____    Situations                        ITC 4029
+     i_____    StainedGlass                      ITC 4030
+     i_____    TotSpots                          ITC 4031
+     i_____    Urbans                            ITC 4032
+     i_____    WellBeings                        ITC 4033
+     i_____    Wildlife                          ITC 4034
+     i_____    WildWest                          ITC 4035
+     i_____    Ancestor                          ITC 4036
+     i_____    Shadowettes                       ITC 4037
+     i_____    Beorama                           ITC 4038
+     i_____    Holistics                         ITC 4039
+     i_____    ProfessionalConnections           ITC 4040
+     i_____    Bodoni-Ornaments                  ITC 5000
+     i_____    RennieMackintosh-Ornaments        ITC 5002
+     i_____    TypeEmbellishments-One            ITC 5003
+     i_____    TypeEmbellishments-Two            ITC 5004
+     i_____    TypeEmbellishments-Three          ITC 5005
+     i_____    JapaneseGarden                    ITC 5006
+     i_____    SevenTreasures                    ITC 5007
+     i_____    BodoniSix-Book                    ITC 6000
+     i_____    BodoniSix-BookItalic              ITC 6001
+     i_____    BodoniSix-Bold                    ITC 6002
+     i_____    BodoniSix-BoldItalic              ITC 6003
+     i_____    BodoniTwelve-Book                 ITC 6004
+     i_____    BodoniTwelve-BookItalic           ITC 6005
+     i_____    BodoniTwelve-Bold                 ITC 6006
+     i_____    BodoniTwelve-BoldItalic           ITC 6007
+     i_____    Charlotte-Book                    ITC 6008
+     i_____    Charlotte-BookItalic              ITC 6009
+     i_____    Charlotte-Medium                  ITC 6010
+     i_____    Charlotte-Bold                    ITC 6011
+     i_____    Charter-Regular                   ITC 6012
+     i_____    Charter-RegularItalic             ITC 6013
+     i_____    Charter-Bold                      ITC 6014
+     i_____    Charter-BoldItalic                ITC 6015
+     i_____    Charter-Black                     ITC 6016
+     i_____    Charter-BlackItalic               ITC 6017
+     i_____    Elysium-Book                      ITC 6018
+     i_____    Elysium-BookItalic                ITC 6019
+     i_____    Elysium-Medium                    ITC 6020
+     i_____    Elysium-Bold                      ITC 6021
+     i_____    Figural-Book                      ITC 6022
+     i_____    Figural-BookItalic                ITC 6023
+     i_____    Figural-Medium                    ITC 6024
+     i_____    Figural-Bold                      ITC 6025
+     i_____    FrizQuadrata-Regular              ITC 6026
+     i_____    FrizQuadrata-Italic               ITC 6027
+     i_____    FrizQuadrata-Bold                 ITC 6028
+     i_____    FrizQuadrata-BoldItalic           ITC 6029
+     i_____    Gilgamesh-Book                    ITC 6030
+     i_____    Gilgamesh-BookItalic              ITC 6031
+     i_____    Gilgamesh-Medium                  ITC 6032
+     i_____    Gilgamesh-Bold                    ITC 6033
+     i_____    GoldenCockerel-Roman              ITC 6034
+     i_____    GoldenCockerel-Italic             ITC 6035
+     i_____    GoldenCockerel-Titling            ITC 6036
+     i_____    Humana-Light                      ITC 6037
+     i_____    Humana-LightItalic                ITC 6038
+     i_____    Humana-Medium                     ITC 6039
+     i_____    Humana-MediumItalic               ITC 6040
+     i_____    Humana-Bold                       ITC 6041
+     i_____    Humana-BoldItalic                 ITC 6042
+     i_____    HumanaScript-Light                ITC 6043
+     i_____    HumanaScript-Medium               ITC 6044
+     i_____    HumanaScript-Bold                 ITC 6045
+     i_____    Kallos-Book                       ITC 6046
+     i_____    Kallos-BookItalic                 ITC 6047
+     i_____    Kallos-Medium                     ITC 6048
+     i_____    Kallos-MediumItalic               ITC 6049
+     i_____    Kallos-Bold                       ITC 6050
+     i_____    Kallos-BoldItalic                 ITC 6051
+     i_____    LegacySerif-Book                  ITC 6052
+     i_____    LegacySerif-BookItalic            ITC 6053
+     i_____    LegacySerif-Medium                ITC 6054
+     i_____    LegacySerif-MediumItalic          ITC 6055
+     i_____    LegacySerif-Bold                  ITC 6056
+     i_____    LegacySerif-BoldItalic            ITC 6057
+     i_____    LegacySerif-Ultra                 ITC 6058
+     i_____    MendozaRoman-Book                 ITC 6059
+     i_____    MendozaRoman-BookItalic           ITC 6060
+     i_____    MendozaRoman-Medium               ITC 6061
+     i_____    MendozaRoman-MediumItalic         ITC 6062
+     i_____    MendozaRoman-Bold                 ITC 6063
+     i_____    MendozaRoman-BoldItalic           ITC 6064
+     i_____    Obelisk-Light                     ITC 6065
+     i_____    Obelisk-LightItalic               ITC 6066
+     i_____    Obelisk-Medium                    ITC 6067
+     i_____    Obelisk-Bold                      ITC 6068
+     i_____    OfficinaSerif-Book                ITC 6069
+     i_____    OfficinaSerif-BookItalic          ITC 6070
+     i_____    OfficinaSerif-Bold                ITC 6071
+     i_____    OfficinaSerif-BoldItalic          ITC 6072
+     i_____    StoneInformal-Medium              ITC 6073
+     i_____    StoneInformal-MediumItalic        ITC 6074
+     i_____    StoneInformal-SemiBold            ITC 6075
+     i_____    StoneInformal-SemiBoldItalic      ITC 6076
+     i_____    StoneInformal-Bold                ITC 6077
+     i_____    StoneInformal-BoldItalic          ITC 6078
+     i_____    StoneSerif-Medium                 ITC 6079
+     i_____    StoneSerif-MediumItalic           ITC 6080
+     i_____    StoneSerif-SemiBold               ITC 6081
+     i_____    StoneSerif-SemiBoldItalic         ITC 6082
+     i_____    StoneSerif-Bold                   ITC 6083
+     i_____    StoneSerif-BoldItalic             ITC 6084
+     i_____    Syndor-Book                       ITC 6085
+     i_____    Syndor-BookItalic                 ITC 6086
+     i_____    Syndor-Medium                     ITC 6087
+     i_____    Syndor-MediumItalic               ITC 6088
+     i_____    Syndor-Bold                       ITC 6089
+     i_____    Syndor-BoldItalic                 ITC 6090
+     i_____    Tyfa-Book                         ITC 6091
+     i_____    Tyfa-BookItalic                   ITC 6092
+     i_____    Tyfa-Medium                       ITC 6093
+     i_____    Tyfa-MediumItalic                 ITC 6094
+     i_____    Tyfa-Bold                         ITC 6095
+     i_____    Tyfa-BoldItalic                   ITC 6096
+     i_____    OfficinaSerif-Medium              ITC 6097
+     i_____    OfficinaSerif-MediumItalic        ITC 6098
+     i_____    OfficinaSerif-ExtraBold           ITC 6099
+     i_____    OfficinaSerif-ExtraBoldItalic     ITC 6100
+     i_____    OfficinaSerif-Black               ITC 6101
+     i_____    OfficinaSerif-BlackItalic         ITC 6102
+     i_____    SerifGothic-Light                 ITC 6103
+     i_____    SerifGothic-Regular               ITC 6104
+     i_____    SerifGothic-Bold                  ITC 6105
+     i_____    SerifGothic-ExtraBold             ITC 6106
+     i_____    SerifGothic-Heavy                 ITC 6107
+     i_____    SerifGothic-Black                 ITC 6108
+     i_____    AmericanTypewriter-Light          ITC 6109
+     i_____    AmericanTypewriter-LightItalic    ITC 6110
+     i_____    AmericanTypewriter-Medium         ITC 6111
+     i_____    AmericanTypewriter-MediumItalic   ITC 6112
+     i_____    AmericanTypewriter-Bold           ITC 6113
+     i_____    AmericanTypewriter-BoldItalic     ITC 6114
+     i_____    AmericanTypewriter-CondLight      ITC 6115
+     i_____    AmericanTypewriter-CondMedium     ITC 6116
+     i_____    AmericanTypewriter-CondBold       ITC 6117
+     i_____    LubalinGraph-ExtraLight           ITC 6118
+     i_____    LubalinGraph-ExtraLightOblique    ITC 6119
+     i_____    LubalinGraph-Book                 ITC 6120
+     i_____    LubalinGraph-BookOblique          ITC 6121
+     i_____    LubalinGraph-Medium               ITC 6122
+     i_____    LubalinGraph-MediumOblique        ITC 6123
+     i_____    LubalinGraph-Demi                 ITC 6124
+     i_____    LubalinGraph-DemiOblique          ITC 6125
+     i_____    LubalinGraph-Bold                 ITC 6126
+     i_____    LubalinGraph-BoldOblique          ITC 6127
+     i_____    Benguiat-Book                     ITC 6128
+     i_____    Benguiat-BookItalic               ITC 6129
+     i_____    Benguiat-Medium                   ITC 6130
+     i_____    Benguiat-MediumItalic             ITC 6131
+     i_____    Benguiat-Bold                     ITC 6132
+     i_____    Benguiat-BoldItalic               ITC 6133
+     i_____    Benguiat-CondensedBook            ITC 6134
+     i_____    Benguiat-CondensedBookItalic      ITC 6135
+     i_____    Benguiat-CondensedMedium          ITC 6136
+     i_____    Benguiat-CondensedMediumItalic    ITC 6137
+     i_____    Benguiat-CondensedBold            ITC 6138
+     i_____    Benguiat-CondensedBoldItalic      ITC 6139
+     i_____    Korinna-Regular                   ITC 6140
+     i_____    Korinna-KursivRegular             ITC 6141
+     i_____    Korinna-Bold                      ITC 6142
+     i_____    Korinna-KursivBold                ITC 6143
+     i_____    Korinna-ExtraBold                 ITC 6144
+     i_____    Korinna-KursivExtraBold           ITC 6145
+     i_____    Korinna-Heavy                     ITC 6146
+     i_____    Korinna-KursivHeavy               ITC 6147
+     i_____    Souvenir-Light                    ITC 6148
+     i_____    Souvenir-LightItalic              ITC 6149
+     i_____    Souvenir-Medium                   ITC 6150
+     i_____    Souvenir-MediumItalic             ITC 6151
+     i_____    Souvenir-Demi                     ITC 6152
+     i_____    Souvenir-DemiItalic               ITC 6153
+     i_____    Souvenir-Bold                     ITC 6154
+     i_____    Souvenir-BoldItalic               ITC 6155
+     i_____    Caslon224-Book                    ITC 6156
+     i_____    Caslon224-BookItalic              ITC 6157
+     i_____    Caslon224-Medium                  ITC 6158
+     i_____    Caslon224-MediumItalic            ITC 6159
+     i_____    Caslon224-Bold                    ITC 6160
+     i_____    Caslon224-BoldItalic              ITC 6161
+     i_____    Caslon224-Black                   ITC 6162
+     i_____    Caslon224-BlackItalic             ITC 6163
+     i_____    LubalinGraph-CondBook             ITC 6164
+     i_____    LubalinGraph-CondBookOblique      ITC 6165
+     i_____    LubalinGraph-CondMedium           ITC 6166
+     i_____    LubalinGraph-CondMediumOblique    ITC 6167
+     i_____    LubalinGraph-CondDemi             ITC 6168
+     i_____    LubalinGraph-CondDemiOblique      ITC 6169
+     i_____    LubalinGraph-CondBold             ITC 6170
+     i_____    LubalinGraph-CondBoldOblique      ITC 6171
+     i_____    Galliard-Regular                  ITC 6172
+     i_____    Galliard-Italic                   ITC 6173
+     i_____    Galliard-Bold                     ITC 6174
+     i_____    Galliard-BoldItalic               ITC 6175
+     i_____    Galliard-Black                    ITC 6176
+     i_____    Galliard-BlackItalic              ITC 6177
+     i_____    Galliard-Ultra                    ITC 6178
+     i_____    Galliard-UltraItalic              ITC 6179
+     i_____    Dyadis-Book                       ITC 6180
+     i_____    Dyadis-BookItalic                 ITC 6181
+     i_____    Dyadis-Medium                     ITC 6182
+     i_____    Dyadis-MediumItalic               ITC 6183
+     i_____    Dyadis-Bold                       ITC 6184
+     i_____    Dyadis-BoldItalic                 ITC 6185
+     i_____    BaileySans-Book                   ITC 8000
+     i_____    BaileySans-BookItalic             ITC 8001
+     i_____    BaileySans-Bold                   ITC 8002
+     i_____    BaileySans-BoldItalic             ITC 8003
+     i_____    Charlotte-SansBook                ITC 8004
+     i_____    Charlotte-SansBookItalic          ITC 8005
+     i_____    Charlotte-SansMedium              ITC 8006
+     i_____    Charlotte-SansBold                ITC 8007
+     i_____    Conduit-Light                     ITC 8008
+     i_____    Conduit-LightItalic               ITC 8009
+     i_____    Conduit-Medium                    ITC 8010
+     i_____    Conduit-MediumItalic              ITC 8011
+     i_____    Conduit-Bold                      ITC 8012
+     i_____    Conduit-BoldItalic                ITC 8013
+     i_____    Highlander-Book                   ITC 8014
+     i_____    Highlander-BookItalic             ITC 8015
+     i_____    Highlander-Medium                 ITC 8016
+     i_____    Highlander-MediumItalic           ITC 8017
+     i_____    Highlander-Bold                   ITC 8018
+     i_____    Highlander-BoldItalic             ITC 8019
+     i_____    HumanaSans-Light                  ITC 8020
+     i_____    HumanaSans-LightItalic            ITC 8021
+     i_____    HumanaSans-Medium                 ITC 8022
+     i_____    HumanaSans-MediumItalic           ITC 8023
+     i_____    HumanaSans-Bold                   ITC 8024
+     i_____    HumanaSans-BoldItalic             ITC 8025
+     i_____    LegacySans-Book                   ITC 8026
+     i_____    LegacySans-BookItalic             ITC 8027
+     i_____    LegacySans-Medium                 ITC 8028
+     i_____    LegacySans-MediumItalic           ITC 8029
+     i_____    LegacySans-Bold                   ITC 8030
+     i_____    LegacySans-BoldItalic             ITC 8031
+     i_____    LegacySans-Ultra                  ITC 8032
+     i_____    Odyssee-Light                     ITC 8033
+     i_____    Odyssee-LightItalic               ITC 8034
+     i_____    Odyssee-Medium                    ITC 8035
+     i_____    Odyssee-MediumItalic              ITC 8036
+     i_____    Odyssee-Bold                      ITC 8037
+     i_____    Odyssee-BoldItalic                ITC 8038
+     i_____    Odyssee-Ultra                     ITC 8039
+     i_____    OfficinaSans-Book                 ITC 8040
+     i_____    OfficinaSans-BookItalic           ITC 8041
+     i_____    OfficinaSans-Bold                 ITC 8042
+     i_____    OfficinaSans-BoldItalic           ITC 8043
+     i_____    StoneSans-Medium                  ITC 8044
+     i_____    StoneSans-MediumItalic            ITC 8045
+     i_____    StoneSans-SemiBold                ITC 8046
+     i_____    StoneSans-SemiBoldItalic          ITC 8047
+     i_____    StoneSans-Bold                    ITC 8048
+     i_____    StoneSans-BoldItalic              ITC 8049
+     i_____    Woodland-Light                    ITC 8050
+     i_____    Woodland-Medium                   ITC 8051
+     i_____    Woodland-Demi                     ITC 8052
+     i_____    Woodland-Heavy                    ITC 8053
+     i_____    OfficinaSans-Medium               ITC 8054
+     i_____    OfficinaSans-MediumItalic         ITC 8055
+     i_____    OfficinaSans-ExtraBold            ITC 8056
+     i_____    OfficinaSans-ExtraBoldItalic      ITC 8057
+     i_____    OfficinaSans-Black                ITC 8058
+     i_____    AvantGardeGothic-ExtraLight       ITC 8059
+     i_____    AvantGardeGothic-ExtraLightObl    ITC 8060
+     i_____    AvantGardeGothic-Book             ITC 8061
+     i_____    AvantGardeGothic-BookOblique      ITC 8062
+     i_____    AvantGardeGothic-Medium           ITC 8063
+     i_____    AvantGardeGothic-MediumOblique    ITC 8064
+     i_____    AvantGardeGothic-Demi             ITC 8065
+     i_____    AvantGardeGothic-DemiOblique      ITC 8066
+     i_____    AvantGardeGothic-Bold             ITC 8067
+     i_____    AvantGardeGothic-BoldOblique      ITC 8068
+     i_____    FranklinGothic-Book               ITC 8069
+     i_____    FranklinGothic-BookItalic         ITC 8070
+     i_____    FranklinGothic-Medium             ITC 8071
+     i_____    FranklinGothic-MediumItalic       ITC 8072
+     i_____    FranklinGothic-Demi               ITC 8073
+     i_____    FranklinGothic-DemiItalic         ITC 8074
+     i_____    FranklinGothic-Heavy              ITC 8075
+     i_____    FranklinGothic-HeavyItalic        ITC 8076
+     i_____    FranklinGothic-CondBook           ITC 8077
+     i_____    FranklinGothic-CondBookItal       ITC 8078
+     i_____    FranklinGothic-CondMedium         ITC 8079
+     i_____    FranklinGothic-CondMediumItal     ITC 8080
+     i_____    FranklinGothic-CondDemi           ITC 8081
+     i_____    FranklinGothic-CondDemiItal       ITC 8082
+     i_____    FranklinGothic-ComprBook          ITC 8083
+     i_____    FranklinGothic-ComprBookItal      ITC 8084
+     i_____    FranklinGothic-ComprDemi          ITC 8085
+     i_____    FranklinGothic-ComprDemiItal      ITC 8086
+     i_____    FranklinGothic-ExtraComprBook     ITC 8087
+     i_____    FranklinGothic-ExtraComprDemi     ITC 8088
+     i_____    OfficinaSans-BlackItalic          ITC 8089
+     i_____    BenguiatGothic-Book               ITC 8090
+     i_____    BenguiatGothic-BookItalic         ITC 8091
+     i_____    BenguiatGothic-Medium             ITC 8092
+     i_____    BenguiatGothic-MediumItalic       ITC 8093
+     i_____    BenguiatGothic-Bold               ITC 8094
+     i_____    BenguiatGothic-BoldItalic         ITC 8095
+     i_____    BenguiatGothic-Heavy              ITC 8096
+     i_____    BenguiatGothic-HeavyItalic        ITC 8097
+     i_____    ItcEras-Light                     ITC 8098
+     i_____    ItcEras-Book                      ITC 8099
+     i_____    ItcEras-Medium                    ITC 8100
+     i_____    ItcEras-Demi                      ITC 8101
+     i_____    ItcEras-Bold                      ITC 8102
+     i_____    ItcEras-Ultra                     ITC 8103
+     i_____    AvantGardeGothic-CondBook         ITC 8104
+     i_____    AvantGardeGothic-CondMedium       ITC 8105
+     i_____    AvantGardeGothic-CondDemiBold     ITC 8106
+     i_____    AvantGardeGothic-CondBold         ITC 8107
+     i_____    ItcKabel-Book                     ITC 8108
+     i_____    ItcKabel-Medium                   ITC 8109
+     i_____    ItcKabel-Demi                     ITC 8110
+     i_____    ItcKabel-Bold                     ITC 8111
+     i_____    ItcKabel-Ultra                    ITC 8112
+
+
+


+ +Next: , +Previous: ITC fonts, +Up: Font name lists + +
+ +

A.7 Linotype fonts

+ +

The linotype.map file has abbreviations for Linotype fonts. + +

     
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+     l_____    Aachen-Bold                              1.0
+     l_____    AachenEF-Medium                          1.1
+     l_____    AachenEF-Bold                            1.2
+     l_____    AharoniEF-RegularHd                      2.0
+     l_____    AharoniEF-MediumHd                       2.1
+     l_____    AharoniEF-SemiBoldHd                     2.2
+     l_____    AharoniEF-BoldHd                         2.3
+     l_____    AharoniEF-ExtraBoldHd                    2.4
+     l_____    AharoniEF-OutlineHd                      2.5
+     l_____    AharoniEF-ShadowHD                       2.6
+     l_____    Aja                                      3.0
+     l_____    AkzidenzGrotesk-Light                    4.0
+     l_____    AkzidenzGrotesk-Roman                    4.1
+     l_____    AkzidenzGrotesk-Bold                     4.2
+     l_____    AkzidenzGrotesk-Black                    4.3
+     l_____    AkzidenzGroteskBE-Light                  4.4
+     l_____    AkzidenzGroteskBE-LightOsF               4.5
+     l_____    AkzidenzGroteskBE-Regular                4.6
+     l_____    AkzidenzGroteskBE-Italic                 4.7
+     l_____    AkzidenzGroteskBE-Md                     4.8
+     l_____    AkzidenzGroteskBE-MdIt                   4.9
+     l_____    AkzidenzGroteskBE-Bold                   4.10
+     l_____    AkzidenzGroteskBE-BoldIt                 4.11
+     l_____    AkzidenzGroteskBE-XBd                    4.12
+     l_____    AkzidenzGroteskBE-Super                  4.13
+     l_____    AkzidenzGroteskBE-LightCn                4.14
+     l_____    AkzidenzGroteskBE-Cn                     4.15
+     l_____    AkzidenzGroteskBE-MdCn                   4.16
+     l_____    AkzidenzGroteskBE-MdCnIt                 4.17
+     l_____    AkzidenzGroteskBE-BoldCn                 4.18
+     l_____    AkzidenzGroteskBE-XBdCn                  4.19
+     l_____    AkzidenzGroteskBE-XBdCnIt                4.20
+     l_____    AkzidenzGroteskBE-LightEx                4.21
+     l_____    AkzidenzGroteskBE-Ex                     4.22
+     l_____    AkzidenzGroteskBE-MdEx                   4.23
+     l_____    AkzidenzGroteskBE-BoldEx                 4.24
+     l_____    AkzidenzGroteskBE-BoldExIt               4.25
+     l_____    AGBookRounded-Regular                    4.26
+     l_____    AGBookRounded-Medium                     4.27
+     l_____    AGBookRounded-Bold                       4.28
+     l_____    AGBookRounded-MediumOutline              4.29
+     l_____    AGBookRounded-BoldOutline                4.30
+     l_____    AGBookRounded-BoldCn                     4.31
+     l_____    AGBookRounded-BoldCnOutline              4.32
+     l_____    AGBook-Stencil                           4.33
+     l_____    AGOldFace-Regular                        4.34
+     l_____    AGOldFace-Medium                         4.35
+     l_____    AGOldFace-Bold                           4.36
+     l_____    AGOldFace-Outline                        4.37
+     l_____    AGOldFace-BoldOutline                    4.38
+     l_____    AGOldFace-Shaded                         4.39
+     l_____    AGSchoolbook-Regular                     4.40
+     l_____    AGSchoolbook-RegularA                    4.41
+     l_____    AGSchoolbook-Medium                      4.42
+     l_____    AGSchoolbook-MediumA                     4.43
+     l_____    AlcuinEF-Light                           5.0
+     l_____    AlcuinEF-Regular                         5.1
+     l_____    AlcuinEF-Bold                            5.2
+     l_____    AlcuinEF-ExtraBold                       5.3
+     l_____    Aldus-Roman                              6.0
+     l_____    Aldus-RomanSC                            6.1
+     l_____    Aldus-Italic                             6.2
+     l_____    Aldus-ItalicOsF                          6.3
+     l_____    AleOrnamentsRotatoLL                     7.0
+     l_____    AleOrnamentsSpiratoLL                    7.1
+     l_____    AlexieLL                                 8.0
+     l_____    AlteSchwabacherEF                        9.0
+     l_____    AlternateGothicEF-NoOne                 10.0
+     l_____    AlternateGothicEF-NoTwo                 10.1
+     l_____    AlternateGothicEF-NoThree               10.2
+     l_____    AmericanUncialEF                        11.0
+     l_____    Americana                               12.0
+     l_____    Americana-Italic                        12.1
+     l_____    Americana-Bold                          12.2
+     l_____    Americana-ExtraBold                     12.3
+     l_____    AmericanaEF-Regular                     12.4
+     l_____    AmericanaEF-RegularItalic               12.5
+     l_____    AmericanaEF-Bold                        12.6
+     l_____    AmericanaEF-ExtraBold                   12.7
+     l_____    AnnlieEF-ExtraBold                      14.0
+     l_____    AnnlieEF-ExtraBoldItalic                14.1
+     l_____    AntiqueOlive-Light                      15.0
+     l_____    AntiqueOlive-Roman                      15.1
+     l_____    AntiqueOlive-Italic                     15.2
+     l_____    AntiqueOlive-Bold                       15.3
+     l_____    AntiqueOlive-Black                      15.4
+     l_____    AntiqueOlive-BoldCond                   15.5
+     l_____    AntiqueOlive-Compact                    15.6
+     l_____    AntiqueOlive-Nord                       15.7
+     l_____    AntiqueOlive-NordItalic                 15.8
+     l_____    AntiqueOliveCE-Light                    15.9
+     l_____    AntiqueOliveCE-Roman                    15.10
+     l_____    AntiqueOliveCE-Italic                   15.11
+     l_____    AntiqueOliveCE-Bold                     15.12
+     l_____    AntiqueOliveCE-Black                    15.13
+     l_____    AntiqueOliveEastA-Light                 15.14
+     l_____    AntiqueOliveEastA-Roman                 15.15
+     l_____    AntiqueOliveEastA-Italic                15.16
+     l_____    AntiqueOliveEastA-Bold                  15.17
+     l_____    AntiqueOliveEastA-Black                 15.18
+     l_____    ApolloMT-Roman                          16.0
+     l_____    ApolloMT-RomanSC                        16.1
+     l_____    ApolloMT-RomanExpert                    16.2
+     l_____    ApolloMT-Italic                         16.3
+     l_____    ApolloMT-ItalicOsF                      16.4
+     l_____    ApolloMT-ItalicExpert                   16.5
+     l_____    ApolloMT-SemiBold                       16.6
+     l_____    ApolloMT-SemiBoldOsF                    16.7
+     l_____    ApolloMT-SemiBoldExpert                 16.8
+     l_____    Arcadia                                 17.0
+     l_____    Arcadia-Alternate                       17.1
+     l_____    Ariadne-Roman                           18.0
+     l_____    Arioso                                  19.0
+     l_____    Arkona-Regular                          20.0
+     l_____    Arkona-Medium                           20.1
+     l_____    ArnoldBoecklin                          21.0
+     l_____    AshleyScriptMT                          22.0
+     l_____    NewAster                                23.0
+     l_____    NewAster-Italic                         23.1
+     l_____    NewAster-SemiBold                       23.2
+     l_____    NewAster-SemiBoldItalic                 23.3
+     l_____    NewAster-Bold                           23.4
+     l_____    NewAster-BoldItalic                     23.5
+     l_____    NewAster-Black                          23.6
+     l_____    NewAster-BlackItalic                    23.7
+     l_____    AsterEF-Regular                         23.8
+     l_____    AsterEF-RegularItalic                   23.9
+     l_____    AsterEF-Medium                          23.10
+     l_____    AureliaEF-Light                         24.0
+     l_____    AureliaEF-LightItalic                   24.1
+     l_____    AureliaEF-Book                          24.2
+     l_____    AureliaEF-BookItalic                    24.3
+     l_____    AureliaEF-Bold                          24.4
+     l_____    Auriol                                  25.0
+     l_____    Auriol-Italic                           25.1
+     l_____    Auriol-Bold                             25.2
+     l_____    Auriol-BoldItalic                       25.3
+     l_____    Auriol-Black                            25.4
+     l_____    Auriol-BlackItalic                      25.5
+     l_____    BalderLL                                28.0
+     l_____    BalloonEF-ExtraBold                     29.0
+     l_____    BalloonEF-DropShadow                    29.1
+     l_____    BalmoralEF-Regular                      30.0
+     l_____    BalmoralEF-Alternative                  30.1
+     l_____    Banco                                   31.0
+     l_____    BarbedorEF-Regular                      32.0
+     l_____    BarbedorEF-RegularItalic                32.1
+     l_____    BarbedorEF-Medium                       32.2
+     l_____    BarbedorEF-MediumItalic                 32.3
+     l_____    BarbedorEF-Bold                         32.4
+     l_____    BarbedorEF-BoldItalic                   32.5
+     l_____    BarbedorEF-Black                        32.6
+     l_____    BarbedorEF-BlackItalic                  32.7
+     l_____    BaskervilleCyr-Upright                  33.0
+     l_____    BaskervilleCyr-Inclined                 33.1
+     l_____    BaskervilleCyr-Bold                     33.2
+     l_____    BaskervilleGreek-Upright                33.3
+     l_____    BaskervilleGreek-Inclined               33.4
+     l_____    BaskervilleGreek-Bold                   33.5
+     l_____    BaskervilleGreekP-Upright               33.6
+     l_____    BaskervilleGreekP-Inclined              33.7
+     l_____    BaskervilleGreekP-Bold                  33.8
+     l_____    BaskervilleEF-Regular                   33.9
+     l_____    BaskervilleEF-RegularItalic             33.10
+     l_____    BaskervilleEF-Medium                    33.11
+     l_____    BaskervilleBE-Regular                   33.12
+     l_____    BaskervilleBE-Italic                    33.13
+     l_____    BaskervilleBE-Medium                    33.14
+     l_____    BaskervilleBE-MediumItalic              33.15
+     l_____    BaskervilleBE-Bold                      33.16
+     l_____    NewBaskerville-Roman                    33.17
+     l_____    NewBaskerville-SC                       33.18
+     l_____    NewBaskerville-Italic                   33.19
+     l_____    NewBaskerville-ItalicOsF                33.20
+     l_____    NewBaskerville-Bold                     33.21
+     l_____    NewBaskerville-BoldSC                   33.22
+     l_____    NewBaskerville-BoldItalic               33.23
+     l_____    NewBaskerville-BoldItalicOsF            33.24
+     l_____    NewBaskervilleEF-Roman                  33.25
+     l_____    NewBaskervilleEF-Italic                 33.26
+     l_____    NewBaskervilleEF-SemiBold               33.27
+     l_____    NewBaskervilleEF-SemiBoldItalic         33.28
+     l_____    NewBaskervilleEF-Bold                   33.29
+     l_____    NewBaskervilleEF-BoldItalic             33.30
+     l_____    NewBaskervilleEF-Black                  33.31
+     l_____    NewBaskervilleEF-BlackItalic            33.32
+     l_____    BaskervilleBook-Regular                 33.33
+     l_____    BaskervilleBook-Italic                  33.34
+     l_____    BaskervilleBook-Medium                  33.35
+     l_____    BaskervilleBook-MedItalic               33.36
+     l_____    BaskervilleOldFaceEF                    33.37
+     l_____    AfroditeKATEF-Filly                     34.0
+     l_____    AfroditeKATEF-Ready                     34.1
+     l_____    AfroditeKATEF-Funky                     34.2
+     l_____    BadblocksEF                             34.3
+     l_____    BeatEF-BackBeat                         34.4
+     l_____    BeatEF-HardBeat                         34.5
+     l_____    BloxxEF                                 34.6
+     l_____    BornFreeKATEF-Hungry                    34.7
+     l_____    BornFreeKATEF-Fed                       34.8
+     l_____    BrushableEF                             34.9
+     l_____    CandyEF                                 34.10
+     l_____    ComancheEF                              34.11
+     l_____    CrazeEF                                 34.12
+     l_____    DoublePacEF-Scrambled                   34.13
+     l_____    EastsideEF-Regular                      34.14
+     l_____    EastsideEF-Double                       34.15
+     l_____    FutureWorldEF                           34.16
+     l_____    ItKATEF                                 34.17
+     l_____    JameKATEF-Black                         34.18
+     l_____    JameKATEF-White                         34.19
+     l_____    KiddingKidEF                            34.20
+     l_____    KnockoutEF                              34.21
+     l_____    LittleJoeKATEF-Black                    34.22
+     l_____    LittleJoeKATEF-White                    34.23
+     l_____    MaoMaoEF                                34.24
+     l_____    MaydayEF                                34.25
+     l_____    MiroEF                                  34.26
+     l_____    MrsBeasleyEF                            34.27
+     l_____    NiniveEF                                34.28
+     l_____    RumourEF                                34.29
+     l_____    SiouxEF                                 34.30
+     l_____    StayawhileEF                            34.31
+     l_____    SteelPlateEF                            34.32
+     l_____    TieriliEF                               34.33
+     l_____    TruckEF                                 34.34
+     l_____    TwinPickEF-Hard                         34.35
+     l_____    XabbieEF                                34.36
+     l_____    BellGothic-Light                        36.0
+     l_____    BellGothic-Bold                         36.1
+     l_____    BellGothic-Black                        36.2
+     l_____    BelugaLL                                37.0
+     l_____    Berling-Roman                           38.0
+     l_____    Berling-Italic                          38.1
+     l_____    Berling-Bold                            38.2
+     l_____    Berling-BoldItalic                      38.3
+     l_____    BerlingEF-Regular                       38.4
+     l_____    BerlingEF-RegularItalic                 38.5
+     l_____    BerlingEF-Bold                          38.6
+     l_____    BernhardEF-Antique                      39.1
+     l_____    BernhardEF-Fashion                      39.2
+     l_____    BernhardModern-Roman                    39.3
+     l_____    BernhardModern-Italic                   39.4
+     l_____    BernhardModern-Bold                     39.5
+     l_____    BernhardModern-BoldItalic               39.6
+     l_____    BernhardSchoenschriftEF-Light           39.7
+     l_____    BernhardSchoenschriftEF-Regular         39.8
+     l_____    BertholdScript-Regular                  40.0
+     l_____    BertholdScript-Medium                   40.1
+     l_____    BetonEF-Light                           41.0
+     l_____    BetonEF-DemiBold                        41.1
+     l_____    BetonEF-Bold                            41.2
+     l_____    BetonEF-ExtraBold                       41.3
+     l_____    BetonEF-BoldCondensed                   41.4
+     l_____    BibleScriptEF-Regular                   42.0
+     l_____    BibleScriptEF-Alternates                42.1
+     l_____    BibleScriptEF-Flourishes                42.2
+     l_____    Blackoak                                43.0
+     l_____    BlippoBlackEF                           44.0
+     l_____    BottleneckEF                            45.0
+     l_____    BramleyEF-Light                         46.0
+     l_____    BramleyEF-Medium                        46.1
+     l_____    BramleyEF-Bold                          46.2
+     l_____    BramleyEF-ExtraBold                     46.3
+     l_____    BrightonEF-Light                        47.0
+     l_____    BrightonEF-LightItalic                  47.1
+     l_____    BrightonEF-Medium                       47.2
+     l_____    BrightonEF-Bold                         47.3
+     lpi___    BundesbahnPi-One                        48.0
+     lpi___    BundesbahnPi-Two                        48.1
+     lpi___    BundesbahnPi-Three                      48.2
+     l_____    BusterEF                                49.0
+     l_____    CandiceEF                               50.0
+     lpi___    CaravanLH-One                           51.0
+     lpi___    CaravanLH-Two                           51.1
+     lpi___    CaravanLH-Three                         51.2
+     lpi___    CaravanLH-Four                          51.3
+     l_____    CascadeScript                           52.0
+     l_____    CashEF-Monospace                        53.0
+     l_____    CastellarMT                             54.0
+     l_____    Charlemagne-Regular                     55.0
+     l_____    Charlemagne-Bold                        55.1
+     l_____    Christiana-Regular                      57.0
+     l_____    Christiana-RegularSC                    57.1
+     l_____    Christiana-RegularExpert                57.2
+     l_____    Christiana-Italic                       57.3
+     l_____    Christiana-Medium                       57.4
+     l_____    Christiana-MediumItalic                 57.5
+     l_____    Christiana-Bold                         57.6
+     l_____    Christiana-BoldItalic                   57.7
+     l_____    ChwastBuffalo-BlackCond                 58.0
+     l_____    CirkulusEF                              59.0
+     l_____    Clairvaux                               60.0
+     l_____    Clairvaux-Dfr                           60.1
+     l_____    Clearface-Regular                       61.0
+     l_____    Clearface-RegularItalic                 61.1
+     l_____    Clearface-Bold                          61.2
+     l_____    Clearface-BoldItalic                    61.3
+     l_____    Clearface-Heavy                         61.4
+     l_____    Clearface-HeavyItalic                   61.5
+     l_____    Clearface-Black                         61.6
+     l_____    Clearface-BlackItalic                   61.7
+     l_____    ClearfaceEF-Regular                     61.8
+     l_____    ClearfaceEF-RegularItalic               61.9
+     l_____    ClearfaceEF-Bold                        61.10
+     l_____    ClearfaceEF-BoldItalic                  61.11
+     l_____    ClearfaceEF-Heavy                       61.12
+     l_____    ClearfaceEF-HeavyItalic                 61.13
+     l_____    ClearfaceEF-Black                       61.14
+     l_____    ClearfaceEF-BlackItalic                 61.15
+     l_____    ClearfaceGothicLH-Light                 61.16
+     l_____    ClearfaceGothicLH-Roman                 61.17
+     l_____    ClearfaceGothicLH-Medium                61.18
+     l_____    ClearfaceGothicLH-Bold                  61.19
+     l_____    ClearfaceGothicLH-Black                 61.20
+     l_____    ClearfaceGothicEF-Regular               61.21
+     l_____    ClearfaceGothicEF-Bold                  61.22
+     l_____    ClearfaceGothicEF-ExtraBold             61.23
+     l_____    CloisterOpenFace                        62.0
+     l_____    Cochin                                  63.0
+     l_____    Cochin-Italic                           63.1
+     l_____    Cochin-Bold                             63.2
+     l_____    Cochin-BoldItalic                       63.3
+     l_____    Codex                                   64.0
+     l_____    ColumnaEF-Solid                         65.0
+     l_____    ComeniusAntiqua-Regular                 66.0
+     l_____    ComeniusAntiqua-Italic                  66.1
+     l_____    ComeniusAntiqua-Medium                  66.2
+     l_____    ComeniusAntiqua-Bold                    66.3
+     l_____    CommercialScriptEF                      67.0
+     l_____    Concorde-Roman                          69.0
+     l_____    Concorde-Italic                         69.1
+     l_____    Concorde-Bold                           69.2
+     l_____    Concorde-BoldItalic                     69.3
+     l_____    ConcordeBE-Regular                      69.4
+     l_____    ConcordeBE-RegularSC                    69.5
+     l_____    ConcordeBE-RegularExp                   69.6
+     l_____    ConcordeBE-Italic                       69.7
+     l_____    ConcordeBE-ItalicOsF                    69.8
+     l_____    ConcordeBE-ItalicExp                    69.9
+     l_____    ConcordeBE-Medium                       69.10
+     l_____    ConcordeBE-MediumSC                     69.11
+     l_____    ConcordeBE-MediumEx                     69.12
+     l_____    ConcordeBE-MediumItalic                 69.13
+     l_____    ConcordeBE-MediumItalicOsF              69.14
+     l_____    ConcordeBE-MediumItalicExp              69.15
+     l_____    ConcordeBE-Condensed                    69.16
+     l_____    ConcordeBE-MediumCn                     69.17
+     l_____    ConcordeBE-BoldCn                       69.18
+     l_____    ConcordeBE-BoldCnOutline                69.19
+     l_____    ConcordeNova-Regular                    69.20
+     l_____    ConcordeNova-RegularSC                  69.21
+     l_____    ConcordeNova-RegularExp                 69.22
+     l_____    ConcordeNova-Italic                     69.23
+     l_____    ConcordeNova-ItalicOsF                  69.24
+     l_____    ConcordeNova-ItalicExp                  69.25
+     l_____    ConcordeNova-Medium                     69.26
+     l_____    ConcordeNova-MediumSC                   69.27
+     l_____    ConcordeNova-MediumExp                  69.28
+     l_____    ContactaLL                              70.0
+     l_____    CoolWoolLL                              71.0
+     l_____    CoolWoolCottonClubLL                    71.1
+     l_____    CoolWoolStoneWashedLL                   71.2
+     l_____    CooperBlack                             72.0
+     l_____    CooperBlack-Italic                      72.1
+     l_____    CooperBlackEF-Bold                      72.2
+     l_____    CooperBlackEF-BoldOutline               72.3
+     l_____    CooperBlackEF-BoldCondensed             72.4
+     l_____    CooperBlackEF-BoldCondOutline           72.5
+     l_____    Copal-Solid                             73.0
+     l_____    Copal-Outline                           73.1
+     l_____    Copal-Decorated                         73.2
+     l_____    CorinthianEF-Light                      74.0
+     l_____    CorinthianEF-Medium                     74.1
+     l_____    CorinthianEF-Bold                       74.2
+     l_____    CorinthianEF-ExtraBold                  74.3
+     l_____    Corona-Roman                            75.0
+     l_____    Corona-Italic                           75.1
+     l_____    Corona-Bold                             75.2
+     l_____    CortezEF                                76.0
+     l_____    Cosmos-Light                            77.0
+     l_____    Cosmos-LightItalic                      77.1
+     l_____    Cosmos-Medium                           77.2
+     l_____    Cosmos-ExtraBold                        77.3
+     l_____    CountdownEF                             78.0
+     l_____    CourierCE-Roman                         79.0
+     l_____    CourierCE-Bold                          79.1
+     l_____    Cremona-Regular                         80.0
+     l_____    Cremona-Italic                          80.1
+     l_____    Cremona-Bold                            80.2
+     l_____    Cremona-BoldItalic                      80.3
+     l_____    Critter                                 81.0
+     l_____    CroissantEF                             82.0
+     l_____    Cutout                                  83.0
+     l_____    DailyNews-Regular                       84.0
+     l_____    DailyNews-Italic                        84.1
+     l_____    DailyNews-Medium                        84.2
+     l_____    DailyNews-MediumItalic                  84.3
+     l_____    DailyNews-Bold                          84.4
+     l_____    DailyNews-BoldItalic                    84.5
+     l_____    DailyNews-ExtraBold                     84.6
+     l_____    DailyNews-ExtraBoldItalic               84.7
+     lpi___    DamnedDingbatsEF-Regular                85.0
+     lpi___    DamnedDingbatsEF-Initials               85.1
+     l_____    Data70EF                                86.0
+     l_____    DavidaEF                                87.0
+     l_____    Delphin-I                               88.0
+     l_____    Delphin-II                              88.1
+     l_____    Delphin-IA                              88.2
+     l_____    Delphin-IIA                             88.3
+     l_____    Delta-Light                             89.0
+     l_____    Delta-LightItalic                       89.1
+     l_____    Delta-Book                              89.2
+     l_____    Delta-BookItalic                        89.3
+     l_____    Delta-Medium                            89.4
+     l_____    Delta-MediumItalic                      89.5
+     l_____    Delta-Bold                              89.6
+     l_____    Delta-BoldItalic                        89.7
+     l_____    Delta-Outline                           89.8
+     l_____    DemianEF                                90.0
+     lpi___    DeutscheBahnAG-One                      91.0
+     lpi___    DeutscheBahnAG-Two                      91.1
+     lpi___    DeutscheBahnAG-Three                    91.2
+     lpi___    DeutscheBahnAG-Four                     91.3
+     lpi___    DeutscheBahnAG-Six                      91.4
+     lpi___    DeutscheBahnAG-Five                     91.5
+     l_____    DexGothicEF                             92.0
+     l_____    DigiAntiquaEF-LightCondensed            93.0
+     l_____    Doric-Bold                              95.0
+     l_____    DrugulinEF-RegularHd                    96.0
+     l_____    DrugulinEF-MediumHd                     96.1
+     l_____    DrugulinEF-BoldHd                       96.2
+     l_____    DrugulinEF-ExtraBoldHd                  96.3
+     l_____    EckmannEF                               97.1
+     l_____    EdwardianScriptEF-Regular               98.0
+     l_____    EdwardianScriptEF-RegularA              98.1
+     l_____    EdwardianScriptEF-Bold                  98.2
+     l_____    EdwardianScriptEF-BoldA                 98.3
+     l_____    Egyptian505EF-Light                     99.0
+     l_____    Egyptian505EF-Regular                   99.1
+     l_____    Egyptian505EF-Medium                    99.2
+     l_____    Egyptian505EF-Bold                      99.3
+     l_____    EgyptienneF-Roman                      100.0
+     l_____    EgyptienneF-Italic                     100.1
+     l_____    EgyptienneF-Bold                       100.2
+     l_____    EgyptienneF-Black                      100.3
+     l_____    ElectraLH-Roman                        101.0
+     l_____    ElectraLH-RomanSC                      101.1
+     l_____    ElectraLH-RomanOsF                     101.2
+     l_____    ElectraLH-Cursive                      101.3
+     l_____    ElectraLH-CursiveOsF                   101.4
+     l_____    ElectraLH-Bold                         101.5
+     l_____    ElectraLH-BoldSC                       101.6
+     l_____    ElectraLH-BoldOsF                      101.7
+     l_____    ElectraLH-BoldCursive                  101.8
+     l_____    ElectraLH-BoldCursiveOsF               101.9
+     l_____    ElectraLH-Display                      101.10
+     l_____    ElectraLH-CursiveDisplay               101.11
+     l_____    ElectraLH-BoldDisplay                  101.12
+     l_____    ElectraLH-BoldCursiveDisplay           101.13
+     l_____    ElseNPL-Light                          102.0
+     l_____    ElseNPL-Medium                         102.1
+     l_____    ElseNPL-SemiBold                       102.2
+     l_____    ElseNPL-Bold                           102.3
+     l_____    EnviroEF                               103.0
+     l_____    EscriptLL                              104.0
+     lpi___    EuropeanPi-One                         105.0
+     lpi___    EuropeanPi-Two                         105.1
+     lpi___    EuropeanPi-Three                       105.2
+     lpi___    EuropeanPi-Four                        105.2
+     l_____    ExcaliburEF-Regular                    106.0
+     l_____    ExcaliburEF-Medium                     106.1
+     l_____    FacsimileLL                            107.0
+     l_____    FairfieldLH-Light                      108.0
+     l_____    FairfieldLH-LightSC                    108.1
+     l_____    FairfieldLH-LightItalic                108.2
+     l_____    FairfieldLH-Medium                     108.3
+     l_____    FairfieldLH-MediumSC                   108.4
+     l_____    FairfieldLH-MediumItalic               108.5
+     l_____    FairfieldLH-Bold                       108.6
+     l_____    FairfieldLH-BoldSC                     108.7
+     l_____    FairfieldLH-BoldItalic                 108.8
+     l_____    FairfieldLH-Heavy                      108.9
+     l_____    FairfieldLH-HeavySC                    108.10
+     l_____    FairfieldLH-HeavyItalic                108.11
+     l_____    FairfieldLH-CaptionLight               108.12
+     l_____    FairfieldLH-CaptionMedium              108.13
+     l_____    FairfieldLH-CaptionBold                108.14
+     l_____    FairfieldLH-CaptionHeavy               108.15
+     l_____    FairfieldLH-SwLightItalicOsF           108.16
+     l_____    FairfieldLH-SwMediumItalicOsF          108.17
+     l_____    FairfieldLH-SwBoldItalicOsF            108.18
+     l_____    FairfieldLH-SwHeavyItalicOsF           108.19
+     l_____    FetteGotischEF                         109.0
+     l_____    FlamencoInlineEF                       110.0
+     l_____    Forbes-Bold                            114.0
+     l_____    ForteMT                                115.0
+     l_____    FranklinGothic-Condensed               116.0
+     l_____    FranklinGothic-ExtraCond               116.1
+     l_____    FranklinGothicEF-Regular               116.2
+     l_____    FranklinGothicEF-RegularCond           116.3
+     l_____    FranklinGothicEF-ExtraCond             116.4
+     l_____    FranklinGothic-Roman                   116.5
+     l_____    FranklinGothic-Book                    116.6
+     l_____    FranklinGothic-BookOblique             116.7
+     l_____    FranklinGothic-Demi                    116.8
+     l_____    FranklinGothic-DemiOblique             116.9
+     l_____    FranklinGothic-Heavy                   116.10
+     l_____    FranklinGothic-HeavyOblique            116.11
+     l_____    FranklinGothicEF-Book                  116.12
+     l_____    FranklinGothicEF-BookItalic            116.13
+     l_____    FranklinGothicEF-Medium                116.14
+     l_____    FranklinGothicEF-MediumItalic          116.15
+     l_____    FranklinGothicEF-Demi                  116.16
+     l_____    FranklinGothicEF-DemiItalic            116.17
+     l_____    FranklinGothicEF-Heavy                 116.18
+     l_____    FranklinGothicEF-HeavyItalic           116.19
+     l_____    FranklinGothicEF-BookCnd               116.20
+     l_____    FranklinGothicEF-BookCndSC             116.21
+     l_____    FranklinGothicEF-BookCndItal           116.22
+     l_____    FranklinGothicEF-MedCnd                116.23
+     l_____    FranklinGothicEF-MedCndSC              116.24
+     l_____    FranklinGothicEF-MedCndItal            116.25
+     l_____    FranklinGothicEF-DemiCnd               116.26
+     l_____    FranklinGothicEF-DemiCndItal           116.27
+     l_____    FranklinGothicEF-BookCmpr              116.28
+     l_____    FranklinGothicEF-BookCmprItal          116.29
+     l_____    FranklinGothicEF-DemiCmpr              116.30
+     l_____    FranklinGothicEF-DemiCmprItal          116.31
+     l_____    FranklinGothicEF-BookXCmpr             116.32
+     l_____    FranklinGothicEF-DemiXCmpr             116.33
+     l_____    Frutiger-Light                         117.0
+     l_____    Frutiger-LightItalic                   117.1
+     l_____    Frutiger-Roman                         117.2
+     l_____    Frutiger-Italic                        117.3
+     l_____    Frutiger-Bold                          117.4
+     l_____    Frutiger-BoldItalic                    117.5
+     l_____    Frutiger-Black                         117.6
+     l_____    Frutiger-BlackItalic                   117.7
+     l_____    Frutiger-UltraBlack                    117.8
+     l_____    Frutiger-LightCn                       117.9
+     l_____    Frutiger-Cn                            117.10
+     l_____    Frutiger-BoldCn                        117.11
+     l_____    Frutiger-BlackCn                       117.12
+     l_____    Frutiger ExtraBlackCn                  117.13
+     l_____    Futura-Light                           118.0
+     l_____    Futura-LightOblique                    118.1
+     l_____    Futura-Book                            118.2
+     l_____    Futura-BookOblique                     118.3
+     l_____    Futura                                 118.4
+     l_____    Futura-Oblique                         118.5
+     l_____    Futura-Heavy                           118.6
+     l_____    Futura-HeavyOblique                    118.7
+     l_____    Futura-Bold                            118.8
+     l_____    Futura-BoldOblique                     118.9
+     l_____    Futura-ExtraBold                       118.10
+     l_____    Futura-ExtraBoldOblique                118.11
+     l_____    Futura-CondensedLight                  118.12
+     l_____    Futura-CondensedLightOblique           118.13
+     l_____    Futura-CondensedMedium                 118.14
+     l_____    Futura-CondensedMediumOblique          118.15
+     l_____    Futura-CondensedBold                   118.16
+     l_____    Futura-CondensedBoldOblique            118.17
+     l_____    Futura-CondensedExtraBlack             118.18
+     l_____    Futura-CondExtraBlackOblique           118.19
+     l_____    FuturaEF-Light                         118.22
+     l_____    FuturaEF-LightOblique                  118.23
+     l_____    FuturaEF-Book                          118.24
+     l_____    FuturaEF-BookOblique                   118.25
+     l_____    FuturaEF-Medium                        118.26
+     l_____    FuturaEF-MediumOblique                 118.27
+     l_____    FuturaEF-Bold                          118.28
+     l_____    FuturaEF-DemiBold                      118.29
+     l_____    FuturaEF-BoldOblique                   118.30
+     l_____    FuturaEF-DemiBoldOblique               118.31
+     l_____    FuturaEF-ExtraBold                     118.32
+     l_____    FuturaEF-ExtraBoldOblique              118.33
+     l_____    FuturaEF-Heavy                         118.34
+     l_____    FuturaEF-LightCondensed                118.35
+     l_____    FuturaEF-LightCondensedOblique         118.36
+     l_____    FuturaEF-MediumCondensed               118.37
+     l_____    FuturaEF-MediumCondensedOblique        118.38
+     l_____    FuturaEF-BoldCondensed                 118.39
+     l_____    FuturaEF-BoldCondensedOblique          118.40
+     l_____    FuturaEF-ExtraBoldCondensed            118.41
+     l_____    FuturaEF-ExtraBoldCondOblique          118.42
+     l_____    FuturaBlackEF                          118.43
+     l_____    FuturaDisplayEF                        118.44
+     l_____    FuturaScriptEF                         118.45
+     l_____    FuturaEF-ExtraBoldShaded               118.46
+     l_____    Galahad-Regular                        119.0
+     l_____    Galahad-Alternate                      119.1
+     l_____    Galahad-OsF                            119.2
+     l_____    GarthGraphic                           121.0
+     l_____    GarthGraphic-Italic                    121.1
+     l_____    GarthGraphic-Bold                      121.2
+     l_____    GarthGraphic-BoldItalic                121.3
+     l_____    GarthGraphic-Black                     121.4
+     l_____    GarthGraphic ExtraBlack                121.5
+     l_____    GarthGraphic-Condensed                 121.6
+     l_____    GarthGraphic-BoldCondensed             121.7
+     l_____    GazetteLH-Roman                        122.0
+     l_____    GazetteLH-Italic                       122.1
+     l_____    GazetteLH-Bold                         122.2
+     lpi___    GiacomettiLL                           123.0
+     l_____    GillSans-Light                         124.0
+     l_____    GillSans-LightItalic                   124.1
+     l_____    GillSans                               124.2
+     l_____    GillSans-Italic                        124.3
+     l_____    GillSans-Bold                          124.4
+     l_____    GillSans-BoldItalic                    124.5
+     l_____    GillSans-ExtraBold                     124.6
+     l_____    GillSans-UltraBold                     124.7
+     l_____    GillSans-LightShadowed                 124.8
+     l_____    GillSans-Shadowed                      124.9
+     l_____    GillSans-Condensed                     124.10
+     l_____    GillSans-BoldCondensed                 124.11
+     l_____    GillSans-BoldExtraCondensed            124.12
+     l_____    GillSans-UltraBoldCondensed            124.13
+     l_____    GillSans-ExtraBoldDisplay              124.14
+     l_____    GilliesGothicEF-Light                  125.0
+     l_____    GilliesGothicEF-Bold                   125.1
+     l_____    GilliesGothicEF-ExtraBold              125.2
+     l_____    GilliesGothicEF-XBoShaded              125.3
+     l_____    GlastonburyEF                          126.0
+     l_____    Glypha-Thin                            127.0
+     l_____    Glypha-ThinOblique                     127.1
+     l_____    Glypha-Light                           127.2
+     l_____    Glypha-LightOblique                    127.3
+     l_____    Glypha                                 127.4
+     l_____    Glypha-RomanOblique                    127.5
+     l_____    Glypha-Bold                            127.6
+     l_____    Glypha-BoldOblique                     127.7
+     l_____    Glypha-Black                           127.8
+     l_____    Glypha-BlackOblique                    127.9
+     l_____    GoodiesLL                              128.0
+     l_____    Gothic-Thirteen                        129.0
+     l_____    Goudy-Bold                             130.0
+     l_____    Goudy-BoldOsF                          130.1
+     l_____    Goudy-BoldItalic                       130.2
+     l_____    Goudy-BoldItalicOsF                    130.3
+     l_____    Goudy-ExtraBold                        130.4
+     l_____    Goudy-Heavyface                        130.5
+     l_____    Goudy-HeavyfaceItalic                  130.6
+     l_____    GoudyHandtooledEF                      130.7
+     l_____    GoudyCatalogueEF-Regular               130.8
+     l_____    GoudyCatalogueEF-Italic                130.9
+     l_____    GoudyModernMT-Roman                    130.10
+     l_____    GoudyModernMT-Italic                   130.11
+     l_____    Goudy                                  130.12
+     l_____    Goudy-SC                               130.13
+     l_____    Goudy-Italic                           130.14
+     l_____    Goudy-ItalicOsF                        130.15
+     l_____    GoudySans-Book                         130.16
+     l_____    GoudySans-BookItalic                   130.17
+     l_____    GoudySans-Medium                       130.18
+     l_____    GoudySans-MediumItalic                 130.19
+     l_____    GoudySans-Bold                         130.20
+     l_____    GoudySans-BoldItalic                   130.21
+     l_____    GoudySans-Black                        130.22
+     l_____    GoudySans-BlackItalic                  130.23
+     l_____    GoudySansEF-Book                       130.24
+     l_____    GoudySansEF-BookSC                     130.25
+     l_____    GoudySansEF-BookItalic                 130.26
+     l_____    GoudySansEF-Medium                     130.27
+     l_____    GoudySansEF-MediumSC                   130.28
+     l_____    GoudySansEF-MediumItalic               130.29
+     l_____    GoudySansEF-Bold                       130.30
+     l_____    GoudySansEF-BoldItalic                 130.31
+     l_____    GoudySansEF-Black                      130.32
+     l_____    GoudySansEF-BlackItalic                130.33
+     l_____    GoudyTextMT-Regular                    130.34
+     l_____    GoudyTextMT-Alternate                  130.35
+     l_____    GoudyTextMT-Dfr                        130.36
+     l_____    GoudyTextMT-LombardicCapitals          130.37
+     l_____    Grafiko                                131.0
+     l_____    Granjon                                132.0
+     l_____    Granjon-SC                             132.1
+     l_____    Granjon-Italic                         132.2
+     l_____    Granjon-ItalicOsF                      132.3
+     l_____    Granjon-Bold                           132.4
+     l_____    Granjon-BoldOsF                        132.5
+     l_____    GrotesqueMT-Light                      133.0
+     l_____    GrotesqueMT-LightItalic                133.1
+     l_____    GrotesqueMT                            133.2
+     l_____    GrotesqueMT-Italic                     133.3
+     l_____    GrotesqueMT-Bold                       133.4
+     l_____    GrotesqueMT-Black                      133.5
+     l_____    GrotesqueMT-LightCondensed             133.6
+     l_____    GrotesqueMT-Condensed                  133.7
+     l_____    GrotesqueMT-ExtraCondensed             133.8
+     l_____    GrotesqueMT-BoldExtended               133.9
+     l_____    Guardi-Roman                           134.0
+     l_____    Guardi-Italic                          134.1
+     l_____    Guardi-Bold                            134.2
+     l_____    Guardi-BoldItalic                      134.3
+     l_____    Guardi-Black                           134.4
+     l_____    Guardi-BlackItalic                     134.5
+     l_____    HadfieldEF                             135.0
+     l_____    Hadriano-Light                         136.0
+     l_____    Hadriano-Bold                          136.1
+     l_____    Hadriano-ExtraBold                     136.2
+     l_____    Hadriano-ExtraBoldCondensed            136.3
+     l_____    HanselEF-Regular                       137.0
+     l_____    HanselEF-Alternate                     137.1
+     l_____    HarlowEF-Solid                         138.0
+     l_____    HarlowEF                               138.1
+     l_____    HawthornEF                             139.0
+     l_____    Helvetica-Light                        140.0
+     l_____    Helvetica-LightOblique                 140.1
+     l_____    Helvetica                              140.2
+     l_____    Helvetica-Oblique                      140.3
+     l_____    Helvetica-Bold                         140.4
+     l_____    Helvetica-BoldOblique                  140.5
+     l_____    Helvetica-Black                        140.6
+     l_____    Helvetica-BlackOblique                 140.7
+     l_____    Helvetica-Condensed-Light              140.8
+     l_____    Helvetica-Condensed-LightObl           140.9
+     l_____    Helvetica-Condensed                    140.10
+     l_____    Helvetica-Condensed-Oblique            140.11
+     l_____    Helvetica-Condensed-Bold               140.12
+     l_____    Helvetica-Condensed-BoldObl            140.13
+     l_____    Helvetica-Condensed-Black              140.14
+     l_____    Helvetica-Condensed-BlackObl           140.15
+     l_____    Helvetica-Compressed                   140.16
+     l_____    Helvetica-ExtraCompressed              140.17
+     l_____    Helvetica-UltraCompressed              140.18
+     l_____    HelveticaInserat-Roman                 140.19
+     l_____    HelveticaRounded-Bold                  140.24
+     l_____    HelveticaRounded-BoldObl               140.25
+     l_____    HelveticaRounded-Black                 140.26
+     l_____    HelveticaRounded-BlackObl              140.27
+     l_____    HelveticaRounded-BoldCond              140.28
+     l_____    HelveticaRounded-BoldCondObl           140.29
+     l_____    HelveticaTextbook                      140.30
+     l_____    HelveticaTextbook-Oblique              140.31
+     l_____    HelveticaTextbook-Bold                 140.32
+     l_____    HelveticaTextbook-BoldObl              140.33
+     l_____    HelveticaCE-Roman                      140.36
+     l_____    HelveticaCE-Bold                       140.37
+     l_____    HelveticaCE-NarrowRoman                140.38
+     l_____    HelveticaCE-NarrowBold                 140.39
+     l_____    HelveticaCyr-Upright                   140.40
+     l_____    HelveticaCyr-Inclined                  140.41
+     l_____    HelveticaCyr-Bold                      140.42
+     l_____    HelveticaCyr-BoldInclined              140.43
+     l_____    HelveticaInseratCyr-Upright            140.44
+     l_____    HelveticaGreek-Upright                 140.45
+     l_____    HelveticaGreek-Inclined                140.46
+     l_____    HelveticaGreek-Bold                    140.47
+     l_____    HelveticaGreek-BoldInclined            140.48
+     l_____    HelveticaGreekP-Upright                140.49
+     l_____    HelveticaGreekP-Inclined               140.50
+     l_____    HelveticaGreekP-Bold                   140.51
+     l_____    HelveticaGreekP-BoldInclined           140.52
+     l_____    HelveticaNeue-UltraLight               140.53
+     l_____    HelveticaNeue-UltraLightItalic         140.54
+     l_____    HelveticaNeue-Thin                     140.55
+     l_____    HelveticaNeue-ThinItalic               140.56
+     l_____    HelveticaNeue-Light                    140.57
+     l_____    HelveticaNeue-LightItalic              140.58
+     l_____    HelveticaNeue-Roman                    140.59
+     l_____    HelveticaNeue-Italic                   140.60
+     l_____    HelveticaNeue-Medium                   140.61
+     l_____    HelveticaNeue-MediumItalic             140.62
+     l_____    HelveticaNeue-Bold                     140.63
+     l_____    HelveticaNeue-BoldItalic               140.64
+     l_____    HelveticaNeue-Heavy                    140.65
+     l_____    HelveticaNeue-HeavyItalic              140.66
+     l_____    HelveticaNeue-Black                    140.67
+     l_____    HelveticaNeue-BlackItalic              140.68
+     l_____    HelveticaNeue-BoldOutline              140.69
+     l_____    HelveticaNeue-UltraLigCond             140.70
+     l_____    HelveticaNeue-UltraLigCondObl          140.71
+     l_____    HelveticaNeue-ThinCond                 140.72
+     l_____    HelveticaNeue-ThinCondObl              140.73
+     l_____    HelveticaNeue-LightCond                140.74
+     l_____    HelveticaNeue-LightCondObl             140.75
+     l_____    HelveticaNeue-Condensed                140.76
+     l_____    HelveticaNeue-CondensedObl             140.77
+     l_____    HelveticaNeue-MediumCond               140.78
+     l_____    HelveticaNeue-MediumCondObl            140.79
+     l_____    HelveticaNeue-BoldCond                 140.80
+     l_____    HelveticaNeue-BoldCondObl              140.81
+     l_____    HelveticaNeue-HeavyCond                140.82
+     l_____    HelveticaNeue-HeavyCondObl             140.83
+     l_____    HelveticaNeue-BlackCond                140.84
+     l_____    HelveticaNeue-BlackCondObl             140.85
+     l_____    HelveticaNeue-ExtBlackCond             140.86
+     l_____    HelveticaNeue-ExtBlackCondObl          140.87
+     l_____    HelveticaNeue-UltraLightExt            140.88
+     l_____    HelveticaNeue-UltraLightExtObl         140.89
+     l_____    HelveticaNeue-ThinExt                  140.90
+     l_____    HelveticaNeue-ThinExtObl               140.91
+     l_____    HelveticaNeue-LightExt                 140.92
+     l_____    HelveticaNeue-LightExtObl              140.93
+     l_____    HelveticaNeue-Extended                 140.94
+     l_____    HelveticaNeue-ExtendedObl              140.95
+     l_____    HelveticaNeue-MediumExt                140.96
+     l_____    HelveticaNeue-MediumExtObl             140.97
+     l_____    HelveticaNeue-BoldExt                  140.98
+     l_____    HelveticaNeue-BoldExtObl               140.99
+     l_____    HelveticaNeue-HeavyExt                 140.100
+     l_____    HelveticaNeue-HeavyExtObl              140.101
+     l_____    HelveticaNeue-BlackExt                 140.102
+     l_____    HelveticaNeue-BlackExtObl              140.103
+     l_____    HelveticaNeueCE-Thin                   140.104
+     l_____    HelveticaNeueCE-ThinItalic             140.105
+     l_____    HelveticaNeueCE-Roman                  140.106
+     l_____    HelveticaNeueCE-Italic                 140.107
+     l_____    HelveticaNeueCE-Bold                   140.108
+     l_____    HelveticaNeueCE-BoldItalic             140.109
+     l_____    HelveticaNeueEastA-Thin                140.110
+     l_____    HelveticaNeueEastA-ThinObl             140.111
+     l_____    HelveticaNeueEastA-Roman               140.112
+     l_____    HelveticaNeueEastA-RomanObl            140.113
+     l_____    HelveticaNeueEastA-Bold                140.114
+     l_____    HelveticaNeueEastA-BoldObl             140.115
+     l_____    HeraldusEF-ExtraFett                   141.0
+     l_____    HighlightEF                            143.0
+     l_____    Hiroshige-Book                         144.0
+     l_____    Hiroshige-BookItalic                   144.1
+     l_____    Hiroshige-Medium                       144.2
+     l_____    Hiroshige-MediumItalic                 144.3
+     l_____    Hiroshige-Bold                         144.4
+     l_____    Hiroshige-BoldItalic                   144.5
+     l_____    Hiroshige-Black                        144.6
+     l_____    Hiroshige-BlackItalic                  144.7
+     l_____    Hobo                                   145.0
+     l_____    HoboEF                                 145.1
+     l_____    HogarthScriptEF-Regular                146.0
+     l_____    HondaEF                                147.0
+     l_____    HoratioEF-Light                        148.0
+     l_____    HoratioEF-Medium                       148.1
+     l_____    HoratioEF-Bold                         148.2
+     l_____    HorleyOldStyleMT-Light                 149.0
+     l_____    HorleyOldStyleMT-LightItalic           149.1
+     l_____    HorleyOldStyleMT-Roman                 149.2
+     l_____    HorleyOldStyleMT-Italic                149.3
+     l_____    HorleyOldStyleMT-SemiBold              149.4
+     l_____    HorleyOldStyleMT-SbItalic              149.5
+     l_____    HorleyOldStyleMT-Bold                  149.6
+     l_____    HorleyOldStyleMT-BoldItalic            149.7
+     lpi___    HotmetalBorders-One                    150.0
+     lpi___    HotmetalBorders-Two                    150.1
+     lpi___    HotmetalBorders-Three                  150.2
+     lpi___    HotmetalBorders-Four                   150.3
+     l_____    AmericanTypewriter-Light               153.0
+     l_____    AmericanTypewriter-LightA              153.1
+     l_____    AmericanTypewriter-Medium              153.2
+     l_____    AmericanTypewriter-MediumA             153.3
+     l_____    AmericanTypewriter-Bold                153.4
+     l_____    AmericanTypewriter-BoldA               153.5
+     l_____    AmericanTypewriter-LightCond           153.6
+     l_____    AmericanTypewriter-LightCondA          153.7
+     l_____    AmericanTypewriter-MediumCond          153.8
+     l_____    AmericanTypewriter-MediumCondA         153.9
+     l_____    AmericanTypewriter-BoldCond            153.10
+     l_____    AmericanTypewriter-BoldCondA           153.11
+     l_____    AmericanTypewriterEF-Light             153.14
+     l_____    AmericanTypewriterEF-LightItalic       153.15
+     l_____    AmericanTypewriterEF-Medium            153.16
+     l_____    AmericanTypewriterEF-MediumItalic      153.17
+     l_____    AmericanTypewriterEF-Bold              153.18
+     l_____    AmericanTypewriterEF-BoldItalic        153.19
+     l_____    AmericanTypewriterEF-LightCond         153.20
+     l_____    AmericanTypewriterEF-MediumCond        153.21
+     l_____    AmericanTypewriterEF-BoldCond          153.22
+     l_____    Anna                                   154.0
+     l_____    AnnaEF                                 154.1
+     l_____    AnnaEF-SC                              154.2
+     l_____    AvantGarde-ExtraLight                  155.0
+     l_____    AvantGarde-ExtraLightObl               155.1
+     l_____    AvantGarde-Book                        155.2
+     l_____    AvantGarde-BookOblique                 155.3
+     l_____    AvantGarde-Medium                      155.4
+     l_____    AvantGarde-MediumObl                   155.5
+     l_____    AvantGarde-Demi                        155.6
+     l_____    AvantGarde-DemiOblique                 155.7
+     l_____    AvantGarde-Bold                        155.8
+     l_____    AvantGarde-BoldObl                     155.9
+     l_____    AvantGarde-CondBook                    155.10
+     l_____    AvantGarde-CondMedium                  155.11
+     l_____    AvantGarde-CondDemi                    155.12
+     l_____    AvantGarde-CondBold                    155.13
+     l_____    AvantGardeGothicCE-Book                155.14
+     l_____    AvantGardeGothicCE-Demi                155.15
+     l_____    AvantGardeGothicEF-ExtraLight          155.16
+     l_____    AvantGardeGothicEF-ExtraLightObl       155.17
+     l_____    AvantGardeGothicEF-Book                155.18
+     l_____    AvantGardeGothicEF-BookOblique         155.19
+     l_____    AvantGardeGothicEF-Medium              155.20
+     l_____    AvantGardeGothicEF-MediumOblique       155.21
+     l_____    AvantGardeGothicEF-Demi                155.22
+     l_____    AvantGardeGothicEF-DemiOblique         155.23
+     l_____    AvantGardeGothicEF-Bold                155.24
+     l_____    AvantGardeGothicEF-BoldOblique         155.25
+     l_____    AvantGardeGothicEF-CondBook            155.26
+     l_____    AvantGardeGothicEF-CondMedium          155.27
+     l_____    AvantGardeGothicEF-CondDemi            155.28
+     l_____    AvantGardeGothicEF-CondBold            155.29
+     l_____    AvantGardeMonoEF-Light                 155.30
+     l_____    AvantGardeMonoEF-LightIta              155.31
+     l_____    AvantGardeMonoEF-Bold                  155.32
+     l_____    AvantGardeMonoEF-BoldIta               155.33
+     l_____    Beesknees                              156.0
+     l_____    BeeskneesEF                            156.1
+     l_____    Benguiat-Book                          157.0
+     l_____    Benguiat-BookItalic                    157.1
+     l_____    Benguiat-Medium                        157.2
+     l_____    Benguiat-MediumItalic                  157.3
+     l_____    Benguiat-Bold                          157.4
+     l_____    Benguiat-BoldItalic                    157.5
+     l_____    BenguiatEF-Book                        157.6
+     l_____    BenguiatEF-BookItalic                  157.7
+     l_____    BenguiatEF-Medium                      157.8
+     l_____    BenguiatEF-MediumItalic                157.9
+     l_____    BenguiatEF-Bold                        157.10
+     l_____    BenguiatEF-BoldItalic                  157.11
+     l_____    BenguiatEF-BookCondensed               157.12
+     l_____    BenguiatEF-BookCondensedIta            157.13
+     l_____    BenguiatEF-MediumCondensed             157.14
+     l_____    BenguiatEF-MediumCondensedIta          157.15
+     l_____    BenguiatEF-BoldCondensed               157.16
+     l_____    BenguiatEF-BoldCondensedIta            157.17
+     l_____    Berkeley-Book                          158.0
+     l_____    Berkeley-BookItalic                    158.1
+     l_____    Berkeley-Medium                        158.2
+     l_____    Berkeley-Italic                        158.3
+     l_____    Berkeley-Bold                          158.4
+     l_____    Berkeley-BoldItalic                    158.5
+     l_____    Berkeley-Black                         158.6
+     l_____    Berkeley-BlackItalic                   158.7
+     l_____    BerkeleyOldstyleEF-Book                158.8
+     l_____    BerkeleyOldstyleEF-BookItalic          158.9
+     l_____    BerkeleyOldstyleEF-Medium              158.10
+     l_____    BerkeleyOldstyleEF-MediumItalic        158.11
+     l_____    BerkeleyOldstyleEF-Bold                158.12
+     l_____    BerkeleyOldstyleEF-BoldItalic          158.13
+     l_____    BerkeleyOldstyleEF-Black               158.14
+     l_____    BerkeleyOldstyleEF-BlackItalic         158.15
+     l_____    BoltEF                                 159.0
+     l_____    CharterEF-Regular                      160.0
+     l_____    CharterEF-RegularSC                    160.1
+     l_____    CharterEF-RegularItalic                160.2
+     l_____    CharterEF-RegularItalicOsF             160.3
+     l_____    CharterEF-Bold                         160.4
+     l_____    CharterEF-BoldSC                       160.5
+     l_____    CharterEF-BoldItalic                   160.6
+     l_____    CharterEF-BoldItalicOsF                160.7
+     l_____    CharterEF-Black                        160.8
+     l_____    CharterEF-BlackOsF                     160.9
+     l_____    CharterEF-BlackItalic                  160.10
+     l_____    CharterEF-BlackItalicOsF               160.11
+     l_____    ElanEF-Book                            161.0
+     l_____    ElanEF-BookSC                          161.1
+     l_____    ElanEF-BookItalic                      161.2
+     l_____    ElanEF-Medium                          161.3
+     l_____    ElanEF-MediumSC                        161.4
+     l_____    ElanEF-MediumItalic                    161.5
+     l_____    ElanEF-Bold                            161.6
+     l_____    ElanEF-BoldItalic                      161.7
+     l_____    ElanEF-Black                           161.8
+     l_____    ElanEF-BlackItalic                     161.9
+     l_____    ItcEras-Light                          162.0
+     l_____    ItcEras-Book                           162.1
+     l_____    ItcEras-Medium                         162.2
+     l_____    ItcEras-Demi                           162.3
+     l_____    ItcEras-Bold                           162.4
+     l_____    ItcEras-Ultra                          162.5
+     l_____    ItcErasEF-Light                        162.6
+     l_____    ItcErasEF-Book                         162.7
+     l_____    ItcErasEF-Medium                       162.8
+     l_____    ItcErasEF-Demi                         162.9
+     l_____    ItcErasEF-Bold                         162.10
+     l_____    ItcErasEF-Ultra                        162.11
+     l_____    Fenice-Light                           163.0
+     l_____    Fenice-LightOblique                    163.1
+     l_____    Fenice-Regular                         163.2
+     l_____    Fenice-RegularOblique                  163.3
+     l_____    Fenice-Bold                            163.4
+     l_____    Fenice-BoldOblique                     163.5
+     l_____    Fenice-Ultra                           163.6
+     l_____    Fenice-UltraOblique                    163.7
+     l_____    FeniceEF-Light                         163.8
+     l_____    FeniceEF-LightItalic                   163.9
+     l_____    FeniceEF-Regular                       163.10
+     l_____    FeniceEF-RegularItalic                 163.11
+     l_____    FeniceEF-Bold                          163.12
+     l_____    FeniceEF-BoldItalic                    163.13
+     l_____    FeniceEF-Ultra                         163.14
+     l_____    FeniceEF-UltraItalic                   163.15
+     l_____    FrizQuadrata                           164.0
+     l_____    FrizQuadrata-Bold                      164.1
+     l_____    FrizQuadrataEF-Regular                 164.2
+     l_____    FrizQuadrataEF-RegularSC               164.3
+     l_____    FrizQuadrataEF-RegularItalic           164.4
+     l_____    FrizQuadrataEF-Bold                    164.5
+     l_____    FrizQuadrataEF-BoldItalic              164.6
+     l_____    Giovanni-Book                          165.0
+     l_____    Giovanni-BookItalic                    165.1
+     l_____    Giovanni-Bold                          165.2
+     l_____    Giovanni-BoldItalic                    165.3
+     l_____    Giovanni-Black                         165.4
+     l_____    Giovanni-BlackItalic                   165.5
+     l_____    GiovanniEF-Book                        165.6
+     l_____    GiovanniEF-BookSC                      165.7
+     l_____    GiovanniEF-BookItalic                  165.8
+     l_____    GiovanniEF-Bold                        165.9
+     l_____    GiovanniEF-BoldSC                      165.10
+     l_____    GiovanniEF-BoldItalic                  165.11
+     l_____    GiovanniEF-Black                       165.12
+     l_____    GiovanniEF-BlackItalic                 165.13
+     l_____    Highlander-Book                        166.0
+     l_____    Highlander-BookItalic                  166.1
+     l_____    Highlander-Medium                      166.2
+     l_____    Highlander-MediumItalic                166.3
+     l_____    Highlander-Bold                        166.4
+     l_____    Highlander-BoldItalic                  166.5
+     l_____    HighlanderEF-Book                      166.6
+     l_____    HighlanderEF-BookSC                    166.7
+     l_____    HighlanderEF-BookItalic                166.8
+     l_____    HighlanderEF-Medium                    166.9
+     l_____    HighlanderEF-MediumSC                  166.10
+     l_____    HighlanderEF-MediumItalic              166.11
+     l_____    HighlanderEF-Bold                      166.12
+     l_____    HighlanderEF-BoldItalic                166.13
+     l_____    Isadora-Roman                          167.0
+     l_____    Isadora-Bold                           167.1
+     l_____    IsadoraEF-Regular                      167.2
+     l_____    IsadoraEF-Bold                         167.3
+     l_____    JamilleEF-Book                         168.0
+     l_____    JamilleSCEF-Book                       168.1
+     l_____    JamilleEF-BookItalic                   168.2
+     l_____    JamilleEF-Bold                         168.3
+     l_____    JamilleSCEF-Bold                       168.4
+     l_____    JamilleEF-BoldItalic                   168.5
+     l_____    JamilleEF-Black                        168.6
+     l_____    JamilleEF-BlackItalic                  168.7
+     l_____    Leawood-Book                           169.0
+     l_____    Leawood-BookItalic                     169.1
+     l_____    Leawood-Medium                         169.2
+     l_____    Leawood-MediumItalic                   169.3
+     l_____    Leawood-Bold                           169.4
+     l_____    Leawood-BoldItalic                     169.5
+     l_____    Leawood-Black                          169.6
+     l_____    Leawood-BlackItalic                    169.7
+     l_____    LeawoodEF-Book                         169.8
+     l_____    LeawoodEF-BookSC                       169.9
+     l_____    LeawoodEF-BookItalic                   169.10
+     l_____    LeawoodEF-Medium                       169.11
+     l_____    LeawoodEF-MediumSC                     169.12
+     l_____    LeawoodEF-MediumItalic                 169.13
+     l_____    LeawoodEF-Bold                         169.14
+     l_____    LeawoodEF-BoldItalic                   169.15
+     l_____    LeawoodEF-Black                        169.16
+     l_____    LeawoodEF-BlackItalic                  169.17
+     l_____    LubalinGraph-Book                      170.0
+     l_____    LubalinGraph-BookOblique               170.1
+     l_____    LubalinGraph-Demi                      170.2
+     l_____    LubalinGraph-DemiOblique               170.3
+     l_____    LubalinGraphEF-ExtraLight              170.4
+     l_____    LubalinGraphEF-ExtraLightObl           170.5
+     l_____    LubalinGraphEF-Book                    170.6
+     l_____    LubalinGraphEF-BookOblique             170.7
+     l_____    LubalinGraphEF-Medium                  170.8
+     l_____    LubalinGraphEF-MediumOblique           170.9
+     l_____    LubalinGraphEF-Demi                    170.10
+     l_____    LubalinGraphEF-DemiOblique             170.11
+     l_____    LubalinGraphEF-Bold                    170.12
+     l_____    LubalinGraphEF-BoldOblique             170.13
+     l_____    LubalinGraphEF-BookCond                170.14
+     l_____    LubalinGraphEF-BookCondSC              170.15
+     l_____    LubalinGraphEF-BookCondObl             170.16
+     l_____    LubalinGraphEF-MediumCond              170.17
+     l_____    LubalinGraphEF-MediumCondSC            170.18
+     l_____    LubalinGraphEF-MediumCondObl           170.19
+     l_____    LubalinGraphEF-DemiCond                170.20
+     l_____    LubalinGraphEF-DemiCondObl             170.21
+     l_____    LubalinGraphEF-BoldCond                170.22
+     l_____    LubalinGraphEF-BoldCondObl             170.23
+     l_____    MixageEF-Book                          171.0
+     l_____    MixageSCEF-Book                        171.1
+     l_____    MixageEF-BookItalic                    171.2
+     l_____    MixageEF-Medium                        171.3
+     l_____    MixageSCEF-Medium                      171.4
+     l_____    MixageEF-MediumItalic                  171.5
+     l_____    MixageEF-Bold                          171.6
+     l_____    MixageEF-BoldItalic                    171.7
+     l_____    MixageEF-Black                         171.8
+     l_____    MixageEF-BlackItalic                   171.9
+     l_____    MotterCorpusEF-Regular                 172.0
+     l_____    MotterCorpusEF-RegularCondensed        172.1
+     l_____    NewtextEF-Light                        173.0
+     l_____    NewtextEF-LightItalic                  173.1
+     l_____    NewtextEF-Book                         173.2
+     l_____    NewtextEF-BookItalic                   173.3
+     l_____    NewtextEF-Regular                      173.4
+     l_____    NewtextEF-RegularItalic                173.5
+     l_____    NewtextEF-Demi                         173.6
+     l_____    NewtextEF-DemiItalic                   173.7
+     l_____    Ozwald                                 174.0
+     l_____    OzwaldEF                               174.1
+     l_____    PanacheEF-Book                         175.0
+     l_____    PanacheSCEF-Book                       175.1
+     l_____    PanacheEF-BookItalic                   175.2
+     l_____    PanacheEF-Bold                         175.3
+     l_____    PanacheSCEF-Bold                       175.4
+     l_____    PanacheEF-BoldItalic                   175.5
+     l_____    PanacheEF-Black                        175.6
+     l_____    PanacheEF-BlackItalic                  175.7
+     l_____    Quorum-Light                           176.0
+     l_____    Quorum-Book                            176.1
+     l_____    Quorum-Medium                          176.2
+     l_____    Quorum-Bold                            176.3
+     l_____    Quorum-Black                           176.4
+     l_____    QuorumEF-Light                         176.5
+     l_____    QuorumEF-Book                          176.6
+     l_____    QuorumEF-Medium                        176.7
+     l_____    QuorumEF-Bold                          176.8
+     l_____    QuorumEF-Black                         176.9
+     l_____    RondaEF                                177.0
+     l_____    Slimbach-Book                          178.0
+     l_____    Slimbach-BookItalic                    178.1
+     l_____    Slimbach-Medium                        178.2
+     l_____    Slimbach-MediumItalic                  178.3
+     l_____    Slimbach-Bold                          178.4
+     l_____    Slimbach-BoldItalic                    178.5
+     l_____    Slimbach-Black                         178.6
+     l_____    Slimbach-BlackItalic                   178.7
+     l_____    SlimbachEF-Book                        178.8
+     l_____    SlimbachEF-BookSC                      178.9
+     l_____    SlimbachEF-BookItalic                  178.10
+     l_____    SlimbachEF-Medium                      178.11
+     l_____    SlimbachEF-MediumSC                    178.12
+     l_____    SlimbachEF-MediumItalic                178.13
+     l_____    SlimbachEF-Bold                        178.14
+     l_____    SlimbachEF-BoldItalic                  178.15
+     l_____    SlimbachEF-Black                       178.16
+     l_____    SlimbachEF-BlackItalic                 178.17
+     l_____    StudioScriptEF                         179.0
+     l_____    StudioScriptEF-Alternative             179.1
+     l_____    SyndorEF-Book                          180.0
+     l_____    SyndorEF-BookSC                        180.1
+     l_____    SyndorEF-BookItalic                    180.2
+     l_____    SyndorEF-Medium                        180.3
+     l_____    SyndorEF-MediumSC                      180.4
+     l_____    SyndorEF-MediumItalic                  180.5
+     l_____    SyndorEF-Bold                          180.6
+     l_____    SyndorEF-BoldItalic                    180.7
+     l_____    Tiffany                                181.0
+     l_____    Tiffany-Italic                         181.1
+     l_____    Tiffany-Demi                           181.2
+     l_____    Tiffany-DemiItalic                     181.3
+     l_____    Tiffany-Heavy                          181.4
+     l_____    Tiffany-HeavyItalic                    181.5
+     l_____    TiffanyEF-Light                        181.6
+     l_____    TiffanyEF-LightItalic                  181.7
+     l_____    TiffanyEF-Medium                       181.8
+     l_____    TiffanyEF-MediumItalic                 181.9
+     l_____    TiffanyEF-Demi                         181.10
+     l_____    TiffanyEF-DemiItalic                   181.11
+     l_____    TiffanyEF-Heavy                        181.12
+     l_____    TiffanyEF-HeavyItalic                  181.13
+     l_____    Weidemann-Book                         182.0
+     l_____    Weidemann-BookItalic                   182.1
+     l_____    Weidemann-Medium                       182.2
+     l_____    Weidemann-MediumItalic                 182.3
+     l_____    Weidemann-Bold                         182.4
+     l_____    Weidemann-BoldItalic                   182.5
+     l_____    Weidemann-Black                        182.6
+     l_____    Weidemann-BlackItalic                  182.7
+     l_____    WeidemannEF-Book                       182.8
+     l_____    WeidemannEF-BookSC                     182.9
+     l_____    WeidemannEF-BookItalic                 182.10
+     l_____    WeidemannEF-Medium                     182.11
+     l_____    WeidemannEF-MediumSC                   182.12
+     l_____    WeidemannEF-MediumItalic               182.13
+     l_____    WeidemannEF-Bold                       182.14
+     l_____    WeidemannEF-BoldItalic                 182.15
+     l_____    WeidemannEF-Black                      182.16
+     l_____    WeidemannEF-BlackItalic                182.17
+     l_____    ManhattanEF                            183.0
+     l_____    Imago-Light                            184.0
+     l_____    Imago-LightItalic                      184.1
+     l_____    Imago-Book                             184.2
+     l_____    Imago-BookItalic                       184.3
+     l_____    Imago-Medium                           184.4
+     l_____    Imago-MediumItalic                     184.5
+     l_____    Imago-ExtraBold                        184.6
+     l_____    Imago-ExtraBoldItalic                  184.7
+     l_____    ImpactaLL                              185.0
+     l_____    Impressum-Roman                        186.0
+     l_____    Impressum-Italic                       186.1
+     l_____    Impressum-Bold                         186.2
+     l_____    ImpressumEF-Light                      186.3
+     l_____    ImpressumEF-LightItalic                186.4
+     l_____    ImpressumEF-Medium                     186.5
+     l_____    IndusLL-Normal                         187.0
+     l_____    IndusLL-Bold                           187.1
+     l_____    Industria-Solid                        188.0
+     l_____    Industria-SolidA                       188.1
+     l_____    Industria-Inline                       188.2
+     l_____    Industria-InlineA                      188.3
+     l_____    InflexMT-Bold                          189.0
+     l_____    Ironwood                               190.0
+     l_____    ItalianOldStyleMT-Regular              191.0
+     l_____    ItalianOldStyleMT-Italic               191.1
+     l_____    ItalianOldStyleMT-Bold                 191.2
+     l_____    ItalianOldStyleMT-BoldItalic           191.3
+     l_____    JensonOldStyleEF-BoldCond              192.0
+     l_____    Jiffy                                  193.0
+     l_____    JoannaMT                               194.0
+     l_____    JoannaMT-Italic                        194.1
+     l_____    JoannaMT-SemiBold                      194.2
+     l_____    JoannaMT-SemiBoldItalic                194.3
+     l_____    JoannaMT-Bold                          194.4
+     l_____    JoannaMT-BoldItalic                    194.5
+     l_____    JoannaMT-ExtraBold                     194.6
+     l_____    JuliaScriptEF                          195.0
+     l_____    Juniper                                196.0
+     l_____    KaffeesatzEF-Schwarz                   197.0
+     l_____    KaffeesatzEF-Suess                     197.1
+     l_____    KaffeesatzEF-Weiss                     197.2
+     l_____    KalligraphiaEF                         198.0
+     l_____    Kaufmann                               199.0
+     l_____    Kaufmann-Bold                          199.1
+     l_____    KaufmannEF-Bold                        199.2
+     l_____    Kigali-Roman                           200.0
+     l_____    Kigali-SxItalic                        200.1
+     l_____    Kigali-LxRoman                         200.2
+     l_____    Kigali-LxItalic                        200.3
+     l_____    Kigali-ZigZag                          200.4
+     l_____    Kigali-Block                           200.5
+     l_____    Kigali-SxRoman                         200.6
+     l_____    Kigali-Italic                          200.7
+     l_____    KinoMT                                 201.0
+     l_____    Kismet                                 202.0
+     l_____    KnightsbridgeEF                        203.0
+     l_____    KnightsbridgeEF-Alternate              203.1
+     l_____    KochAntiqua                            204.0
+     l_____    Kompakt                                205.0
+     l_____    KuenstlerScript-Medium                 206.0
+     l_____    KuenstlerScript-TwoBold                206.1
+     l_____    KuenstlerScript-Black                  206.2
+     l_____    KursivschriftStehHaar                  207.0
+     l_____    KursivschriftLiegHaar                  207.1
+     l_____    KursivschriftStehend                   207.2
+     l_____    KursivschriftLiegend                   207.3
+     l_____    KursivschriftRueckLie                  207.4
+     l_____    LakeInformal                           208.0
+     l_____    LakeInformalBold                       208.1
+     l_____    LatienneEF-Roman                       209.0
+     l_____    LatienneEF-RomanSC                     209.1
+     l_____    LatienneEF-Italic                      209.2
+     l_____    LatienneEF-ItalicSC                    209.3
+     l_____    LatienneEF-Medium                      209.4
+     l_____    LatienneEF-MediumSC                    209.5
+     l_____    LatienneEF-MediumItalic                209.6
+     l_____    LatienneEF-Bold                        209.7
+     l_____    LatienneEF-BoldItalic                  209.8
+     l_____    LatienneEF-ItalicSwC                   209.9
+     l_____    LatienneEF-MediumItalicSwC             209.10
+     l_____    LatienneEF-BoldItalicSwC               209.11
+     l_____    LatinMT-Condensed                      210.0
+     l_____    LazybonesEF                            211.0
+     l_____    LeGriffeEF                             212.0
+     l_____    LeGriffeEF-AlternateOne                212.1
+     l_____    LeGriffeEF-AlternateTwo                212.2
+     l_____    LetterGothic                           213.0
+     l_____    LetterGothic-Slanted                   213.1
+     l_____    LetterGothic-Bold                      213.2
+     l_____    LetterGothic-BoldSlanted               213.3
+     l_____    LibertyEF                              214.0
+     l_____    Life-Roman                             215.0
+     l_____    Life-Italic                            215.1
+     l_____    Life-Bold                              215.2
+     l_____    LifeEF-Regular                         215.3
+     l_____    LifeEF-RegularItalic                   215.4
+     l_____    LifeEF-Bold                            215.5
+     l_____    LightlineGothicEF                      216.0
+     l_____    LindsayEF                              217.0
+     l_____    Linoscript                             219.0
+     l_____    Linotext                               220.0
+     l_____    Linotext-Dfr                           220.1
+     lpi___    LAstrologyPi-One                       221.0
+     lpi___    LAstrologyPi-Two                       221.1
+     l_____    Centennial-Light                       222.0
+     l_____    Centennial-LightSC                     222.1
+     l_____    Centennial-LightItalic                 222.2
+     l_____    Centennial-LightItalicOsF              222.3
+     l_____    Centennial-Roman                       222.4
+     l_____    Centennial-RomanSC                     222.5
+     l_____    Centennial-Italic                      222.6
+     l_____    Centennial-ItalicOsF                   222.7
+     l_____    Centennial-Bold                        222.8
+     l_____    Centennial-BoldOsF                     222.9
+     l_____    Centennial-BoldItalic                  222.10
+     l_____    Centennial-BoldItalicOsF               222.11
+     l_____    Centennial-Black                       222.12
+     l_____    Centennial-BlackOsF                    222.13
+     l_____    Centennial-BlackItalic                 222.14
+     l_____    Centennial-BlackItalicOsF              222.15
+     l_____    CentennialCE-Light                     222.16
+     l_____    CentennialCE-LightItalic               222.17
+     l_____    CentennialCE-Roman                     222.18
+     l_____    CentennialCE-Italic                    222.19
+     l_____    CentennialCE-Bold                      222.20
+     l_____    CentennialCE-BoldItalic                222.21
+     l_____    CentennialCE-Black                     222.22
+     l_____    CentennialCE-BlackItalic               222.23
+     lpi___    LDecorationPi-One                      223.0
+     lpi___    LDecorationPi-Two                      223.1
+     l_____    DidotLH-Roman                          224.0
+     l_____    DidotLH-RomanSC                        224.1
+     l_____    DidotLH-RomanOsF                       224.2
+     l_____    DidotLH-Italic                         224.3
+     l_____    DidotLH-ItalicOsF                      224.4
+     l_____    DidotLH-Bold                           224.5
+     l_____    DidotLH-BoldOsF                        224.6
+     l_____    DidotLH-MediumInitials                 224.7
+     l_____    DidotLH-HeadlineRoman                  224.8
+     l_____    DidotLH-HeadlineRomanOsF               224.9
+     l_____    DidotLH-OrnamentsOne                   224.10
+     l_____    DidotLH-OrnamentsTwo                   224.11
+     lpi___    LGamePi-ChessDraughts                  225.0
+     lpi___    LGamePi-DiceDominoes                   225.1
+     lpi___    LGamePi-EnglishCards                   225.2
+     lpi___    LGamePi-FrenchCards                    225.3
+     lpi___    LHolidayPi-One                         227.0
+     lpi___    LHolidayPi-Two                         227.1
+     lpi___    LHolidayPi-Three                       227.2
+     lpi___    TextilLH-PiOne                         228.0
+     lpi___    TextilLH-PiTwo                         228.1
+     lpi___    WarningLH-Pi                           229.0
+     l_____    LiteraEF-Light                         230.0
+     l_____    LiteraEF-Regular                       230.1
+     l_____    LiteraEF-Medium                        230.2
+     l_____    LiteraEF-Heavy                         230.3
+     l_____    Lithos-ExtraLight                      231.0
+     l_____    Lithos-Light                           231.1
+     l_____    Lithos-Regular                         231.2
+     l_____    Lithos-Bold                            231.3
+     l_____    Lithos-Black                           231.4
+     l_____    LuMarcLL-Roman                         232.0
+     l_____    LuMarcLL-Bold                          232.1
+     l_____    Macbeth                                234.0
+     l_____    Madame-Letters                         235.0
+     l_____    Madame-Accents                         235.1
+     l_____    Madame-Numericals                      235.2
+     l_____    MarconiEF-Book                         236.0
+     l_____    MarconiSCEF-Book                       236.1
+     l_____    MarconiEF-BookItalic                   236.2
+     l_____    MarconiEF-SemiBold                     236.3
+     l_____    MarconiEF-SemiBoldItalic               236.4
+     l_____    Maximus                                237.0
+     l_____    Melior                                 238.0
+     l_____    Melior-Italic                          238.1
+     l_____    Melior-Bold                            238.2
+     l_____    Melior-BoldItalic                      238.3
+     l_____    Meridien-Roman                         239.0
+     l_____    Meridien-Italic                        239.1
+     l_____    Meridien-Medium                        239.2
+     l_____    Meridien-MediumItalic                  239.3
+     l_____    Meridien-Bold                          239.4
+     l_____    Meridien-BoldItalic                    239.5
+     l_____    MerlinLL                               240.0
+     l_____    MiamiEF                                241.0
+     l_____    MicrogrammaEF-MediumExtend             242.0
+     l_____    MicrogrammaEF-BoldExtend               242.1
+     l_____    MonantiEF-Regular                      243.0
+     l_____    MonantiEF-SemiBold                     243.1
+     l_____    MonolineScriptMT                       244.0
+     l_____    MurrayHillEF                           246.0
+     l_____    Myriad-Sketch                          247.0
+     l_____    Myriad-Headline                        247.1
+     l_____    Myriad-Tilt                            247.2
+     l_____    Mythos                                 248.0
+     lpi___    NationalCodes-Europe                   249.0
+     lpi___    NationalCodes-Africa                   249.1
+     lpi___    NationalCodes-America                  249.2
+     lpi___    NationalCodes-AsiaPlus                 249.3
+     lpi___    NationalCodes-Universal                249.4
+     l_____    NeueHammerUnziale-One                  250.0
+     l_____    NeueHammerUnziale-OneAlt               250.1
+     l_____    NeueHammerUnziale-TwoAlt               250.2
+     l_____    NeueHammerUnziale-Two                  250.3
+     l_____    NeuzeitSBook                           251.0
+     l_____    NeuzeitSBook-Heavy                     251.1
+     l_____    NevisionCasualEF                       252.0
+     l_____    NewBerolinaMT                          253.0
+     l_____    NewsGothic                             254.0
+     l_____    NewsGothic-Oblique                     254.1
+     l_____    NewsGothic-Bold                        254.2
+     l_____    NewsGothic-BoldOblique                 254.3
+     l_____    NicolasCochinEF-Regular                255.0
+     l_____    NicolasCochinEF-RegularIta             255.1
+     l_____    NicolasCochinEF-Black                  255.2
+     l_____    NikisEF-Light                          256.0
+     l_____    NikisEF-LightItalic                    256.1
+     l_____    NikisEF-SemiBold                       256.2
+     l_____    NikisEF-SemiBoldItalic                 256.3
+     l_____    Nofret-Light                           257.0
+     l_____    Nofret-LightSC                         257.1
+     l_____    Nofret-LightExpert                     257.2
+     l_____    Nofret-LightItalic                     257.3
+     l_____    Nofret-LightItalicOsF                  257.4
+     l_____    Nofret-LightItalicExpert               257.5
+     l_____    Nofret-Regular                         257.6
+     l_____    Nofret-RegularSC                       257.7
+     l_____    Nofret-RegularExpert                   257.8
+     l_____    Nofret-Italic                          257.9
+     l_____    Nofret-ItalicOsF                       257.10
+     l_____    Nofret-ItalicExpert                    257.11
+     l_____    Nofret-Medium                          257.12
+     l_____    Nofret-MediumSC                        257.13
+     l_____    Nofret-MediumExpert                    257.14
+     l_____    Nofret-MediumItalic                    257.15
+     l_____    Nofret-MediumItalicOsF                 257.16
+     l_____    Nofret-MediumItalicExpert              257.17
+     l_____    Nofret-Bold                            257.18
+     l_____    Nofret-BoldOsF                         257.19
+     l_____    Nofret-BoldExpert                      257.20
+     l_____    Nofret-BoldItalic                      257.21
+     l_____    Nofret-BoldItalicOsF                   257.22
+     l_____    Nofret-BoldItalicExpert                257.23
+     l_____    NotreDame-Roman                        258.0
+     l_____    NotreDame-RomanDfr                     258.1
+     l_____    NotreDame-Ornaments                    258.2
+     l_____    NuptialScript                          259.0
+     l_____    OCRA                                   260.0
+     l_____    OCRB                                   260.1
+     l_____    OCRA-A                                 260.2
+     l_____    OCRB-A                                 260.3
+     l_____    OCRBEF-Regular                         260.4
+     l_____    OctavianMT                             261.0
+     l_____    OctavianMT-SC                          261.1
+     l_____    OctavianMT-Expert                      261.2
+     l_____    OctavianMT-Italic                      261.3
+     l_____    OctavianMT-ItalicOsF                   261.4
+     l_____    OctavianMT-ItalicExpert                261.5
+     l_____    OdinEF                                 262.0
+     l_____    OldEnglishEF                           263.0
+     l_____    OldStyleSeven                          264.0
+     l_____    OldStyleSeven-SC                       264.1
+     l_____    OldStyleSeven-Italic                   264.2
+     l_____    OldStyleSeven-ItalicOsF                264.3
+     l_____    MonotypeOldStyleMT-BoldOut             264.4
+     l_____    OldTypewriterEF-ExLight                265.0
+     l_____    OldTypewriterEF-ExLightObl             265.1
+     l_____    OldTypewriterEF-Light                  265.2
+     l_____    OldTypewriterEF-LightObl               265.3
+     l_____    OldTypewriterEF-Regular                265.4
+     l_____    OldTypewriterEF-RegularA               265.5
+     l_____    OldTypewriterEF-RegularObl             265.6
+     l_____    OldTypewriterEF-Bold                   265.7
+     l_____    OldTypewriterEF-BoldObl                265.8
+     l_____    OldTypewriterEF-ExBold                 265.9
+     l_____    OldTypewriterEF-ExBoldObl              265.10
+     l_____    OlympiaEF-Light                        266.1
+     l_____    OlympiaEF-LightOblique                 266.2
+     l_____    OlympiaEF-SemiBold                     266.3
+     l_____    OlympiaEF-SemiBoldOblique              266.4
+     l_____    Olympian                               267.0
+     l_____    Olympian-Italic                        267.1
+     l_____    Olympian-Bold                          267.2
+     l_____    Olympian-BoldItalic                    267.3
+     l_____    Omnia                                  268.0
+     l_____    OndineEF                               269.1
+     l_____    OnyxMT                                 270.0
+     l_____    Orator                                 271.0
+     l_____    Orator-Slanted                         271.1
+     l_____    Oxford                                 272.0
+     l_____    Caecilia-Light                         273.0
+     l_____    Caecilia-LightSC                       273.1
+     l_____    Caecilia-LightOsF                      273.2
+     l_____    Caecilia-LightItalic                   273.3
+     l_____    Caecilia-LightItalicSC                 273.4
+     l_____    Caecilia-LightItalicOsF                273.5
+     l_____    Caecilia-Roman                         273.6
+     l_____    Caecilia-RomanSC                       273.7
+     l_____    Caecilia-RomanOsF                      273.8
+     l_____    Caecilia-Italic                        273.9
+     l_____    Caecilia-ItalicSC                      273.10
+     l_____    Caecilia-ItalicOsF                     273.11
+     l_____    Caecilia-Bold                          273.12
+     l_____    Caecilia-BoldSC                        273.13
+     l_____    Caecilia-BoldOsF                       273.14
+     l_____    Caecilia-BoldItalic                    273.15
+     l_____    Caecilia-BoldItalicSC                  273.16
+     l_____    Caecilia-BoldItalicOsF                 273.17
+     l_____    Caecilia-Heavy                         273.18
+     l_____    Caecilia-HeavySC                       273.19
+     l_____    Caecilia-HeavyOsF                      273.20
+     l_____    Caecilia-HeavyItalic                   273.21
+     l_____    Caecilia-HeavyItalicSC                 273.22
+     l_____    Caecilia-HeavyItalicOsF                273.23
+     l_____    CaeciliaCE-Light                       273.24
+     l_____    CaeciliaCE-LightItalic                 273.25
+     l_____    CaeciliaCE-Roman                       273.26
+     l_____    CaeciliaCE-Italic                      273.27
+     l_____    CaeciliaCE-Bold                        273.28
+     l_____    CaeciliaCE-BoldItalic                  273.29
+     l_____    CaeciliaCE-Heavy                       273.30
+     l_____    CaeciliaCE-HeavyItalic                 273.31
+     l_____    PalaceScriptMT-Regular                 274.0
+     l_____    PalaceScriptMT-Bold                    274.1
+     l_____    Palatino-Light                         275.0
+     l_____    Palatino-LightItalic                   275.1
+     l_____    Palatino-Roman                         275.2
+     l_____    Palatino-SC                            275.3
+     l_____    Palatino-Italic                        275.4
+     l_____    Palatino-ItalicOsF                     275.5
+     l_____    Palatino-Medium                        275.6
+     l_____    Palatino-MediumItalic                  275.7
+     l_____    Palatino-Bold                          275.8
+     l_____    Palatino-BoldOsF                       275.9
+     l_____    Palatino-BoldItalic                    275.10
+     l_____    Palatino-BoldItalicOsF                 275.11
+     l_____    Palatino-Black                         275.12
+     l_____    Palatino-BlackItalic                   275.13
+     l_____    PalatinoCE-Roman                       275.14
+     l_____    PalatinoCE-Italic                      275.15
+     l_____    PalatinoCE-Bold                        275.16
+     l_____    PalatinoCE-BoldItalic                  275.17
+     l_____    PaletteEF                              276.0
+     l_____    Parisian                               277.0
+     l_____    ParkAvenue                             278.0
+     l_____    ParkAvenueEF                           278.1
+     l_____    Pelican                                279.0
+     l_____    PepitaMT                               281.0
+     l_____    Pepperwood-Regular                     282.0
+     l_____    Pepperwood-Fill                        282.1
+     l_____    Pepperwood-Outline                     282.2
+     l_____    Perpetua                               283.0
+     l_____    Perpetua-SC                            283.1
+     l_____    Perpetua-Expert                        283.2
+     l_____    Perpetua-Italic                        283.3
+     l_____    Perpetua-ItalicOsF                     283.4
+     l_____    Perpetua-ItalicExp                     283.5
+     l_____    Perpetua-Bold                          283.6
+     l_____    Perpetua-BoldOsF                       283.7
+     l_____    Perpetua-BoldExp                       283.8
+     l_____    Perpetua-BoldItalic                    283.9
+     l_____    Perpetua-BoldItalicOsF                 283.10
+     l_____    Perpetua-BoldItalicExp                 283.11
+     l_____    PhotinaMT                              284.0
+     l_____    PhotinaMT-Italic                       284.1
+     l_____    PhotinaMT-SemiBold                     284.2
+     l_____    PhotinaMT-SemiBoldItalic               284.3
+     l_____    PhotinaMT-Bold                         284.4
+     l_____    PhotinaMT-BoldItalic                   284.5
+     l_____    PhotinaMT-UltraBold                    284.6
+     l_____    PhotinaMT-UltraBoldItalic              284.7
+     l_____    PhyllisEF                              285.0
+     l_____    PhyllisEF-Initials                     285.1
+     l_____    PioneerEF                              287.0
+     l_____    PlazaEF-Regular                        288.0
+     l_____    PlazaEF-Alternate                      288.1
+     l_____    PlazaEF-Ultra                          288.2
+     l_____    PlazaEF-Inline                         288.3
+     l_____    PlazaEF-Decorative                     288.4
+     l_____    Ponderosa                              289.0
+     l_____    PrestigeElite                          290.0
+     l_____    PrestigeElite-Slanted                  290.1
+     l_____    PrestigeElite-Bold                     290.2
+     l_____    PrestigeElite-BoldSlanted              290.3
+     l_____    PromotorEF-Regular                     291.0
+     l_____    QuentinEF                              292.0
+     l_____    Raleigh                                293.0
+     l_____    Raleigh-Medium                         293.1
+     l_____    Raleigh-DemiBold                       293.2
+     l_____    Raleigh-Bold                           293.3
+     l_____    RenaultEF-Light                        294.0
+     l_____    RenaultEF-LightItalic                  294.1
+     l_____    RenaultEF-Bold                         294.2
+     l_____    RenaultEF-BoldItalic                   294.3
+     l_____    Revue                                  295.0
+     l_____    RevueEF                                295.1
+     l_____    RoemischStehendHar                     296.0
+     l_____    RoemischLiegendHar                     296.1
+     l_____    RoemischRueckLiegHar                   296.2
+     l_____    RoemischStehend                        296.3
+     l_____    RoemischLiegend                        296.4
+     l_____    RoemischRueckLiegend                   296.5
+     l_____    RomanaEF-Light                         297.0
+     l_____    RomanaEF-Book                          297.1
+     l_____    RomanaEF-Medium                        297.2
+     l_____    RomanaEF-Demi                          297.3
+     l_____    RomanaEF-Bold                          297.4
+     l_____    RomanaEF-Ultra                         297.5
+     l_____    Romic-Light                            298.0
+     l_____    Romic-LightItalic                      298.1
+     l_____    Romic-Medium                           298.2
+     l_____    Romic-Bold                             298.3
+     l_____    Romic-ExtraBold                        298.4
+     l_____    RomicEF-Light                          298.5
+     l_____    RomicEF-LightItalic                    298.6
+     l_____    RomicEF-Medium                         298.7
+     l_____    RomicEF-Bold                           298.8
+     l_____    RomicEF-ExtraBold                      298.9
+     l_____    Rundfunk-Antiqua                       299.0
+     l_____    Rundfunk-Grotesk                       299.1
+     l_____    Rusticana-Borders                      300.1
+     l_____    RuzickaFreehandLH-Roman                301.0
+     l_____    RuzickaFreehandLH-RomanSC              301.1
+     l_____    RuzickaFreehandLH-Bold                 301.2
+     l_____    RuzickaFreehandLH-BoldSC               301.3
+     l_____    Salto                                  303.0
+     l_____    SanMarco                               304.0
+     l_____    SanMarco-Dfr                           304.1
+     l_____    SchnitzLL                              305.0
+     l_____    SchwenneNegroLL                        306.0
+     l_____    SchwennelLilaLL                        306.1
+     l_____    Scotch-Roman                           307.0
+     l_____    Scotch-Italic                          307.1
+     l_____    ScriptureEF                            308.0
+     l_____    Serifa-Light                           309.0
+     l_____    Serifa-LightItalic                     309.1
+     l_____    Serifa-Roman                           309.2
+     l_____    Serifa-Italic                          309.3
+     l_____    Serifa-Bold                            309.4
+     l_____    Serifa-Black                           309.5
+     l_____    ShamrockEF                             310.0
+     l_____    ShamrockEF-AlternateOne                310.1
+     l_____    ShamrockEF-AlternateTwo                310.2
+     l_____    Shannon-Book                           311.0
+     l_____    Shannon-Oblique                        311.1
+     l_____    Shannon-Bold                           311.2
+     l_____    Shannon-ExtraBold                      311.3
+     l_____    Shelley-AllegroScript                  312.0
+     l_____    Shelley-AndanteScript                  312.1
+     l_____    Shelley-VolanteScript                  312.2
+     l_____    Sho-Roman                              313.0
+     l_____    SinahRomanLL                           314.0
+     l_____    SinahBoldLL                            314.1
+     l_____    SinahBlackLL                           314.2
+     l_____    SinaloaEF                              315.0
+     l_____    SloganEF                               316.0
+     l_____    Smaragd                                317.0
+     l_____    Smaragd-Alternate                      318.0
+     l_____    SnellRoundhand-Script                  318.1
+     l_____    SnellRoundhand-BoldScript              318.2
+     l_____    SnellRoundhand-BlackScript             318.3
+     l_____    Sonata                                 319.0
+     l_____    SpartanClassified-Book                 320.0
+     l_____    SpartanClassified-Heavy                320.1
+     l_____    SpectrumMT                             321.0
+     l_____    SpectrumMT-SC                          321.1
+     l_____    SpectrumMT-RomanExpert                 321.2
+     l_____    SpectrumMT-Italic                      321.3
+     l_____    SpectrumMT-ItalicOsF                   321.4
+     l_____    SpectrumMT-ItalicExpert                321.5
+     l_____    SpectrumMT-SemiBold                    321.6
+     l_____    SpectrumMT-SemiBoldOsF                 321.7
+     l_____    SpectrumMT-SemiBoldExpert              321.8
+     l_____    SpiritEF-Light                         322.0
+     l_____    SpiritEF-Regular                       322.1
+     l_____    SpiritEF-Bold                          322.2
+     l_____    Sprint                                 323.0
+     l_____    SquireEF-Regular                       324.0
+     l_____    SquireEF-Bold                          324.1
+     l_____    Stencil                                325.0
+     l_____    StencilEF                              325.1
+     l_____    Stop                                   326.0
+     l_____    StopEF                                 326.1
+     l_____    Studz                                  327.0
+     l_____    SuperstarEF-Shadow                     328.0
+     l_____    SuperstarEF-Regular                    328.1
+     l_____    SwiftEF-Light                          329.0
+     l_____    SwiftEF-LightItalic                    329.1
+     l_____    SwiftEF-Regular                        329.2
+     l_____    SwiftSCEF-Regular                      329.3
+     l_____    SwiftEF-RegularItalic                  329.4
+     l_____    SwiftEF-Bold                           329.5
+     l_____    SwiftEF-ExtraBold                      329.6
+     l_____    SwiftEF-BoldCondensed                  329.7
+     l_____    Syntax-Roman                           331.0
+     l_____    Syntax-Italic                          331.1
+     l_____    Syntax-Bold                            331.2
+     l_____    Syntax-Black                           331.3
+     l_____    Syntax-UtraBlack                       331.4
+     l_____    TangoEF                                332.0
+     l_____    TarragonEF                             333.0
+     l_____    Tekton                                 334.0
+     l_____    Tekton-Oblique                         334.1
+     l_____    Tekton-Bold                            334.2
+     l_____    Tekton-BoldOblique                     334.3
+     l_____    Tempo-HeavyCondensed                   335.0
+     l_____    Tempo-HeavyCondensedItalic             335.1
+     l_____    ThorowgoodEF-Regular                   336.0
+     l_____    ThorowgoodEF-RegularItalic             336.1
+     l_____    ThunderbirdEF-ExtraCondensed           337.0
+     l_____    ThunderbirdEF-Regular                  337.1
+     l_____    TiloEF                                 338.0
+     l_____    TimelessEF-Light                       339.0
+     l_____    TimelessEF-LightItalic                 339.1
+     l_____    TimelessEF-Bold                        339.2
+     l_____    TitusEF                                340.0
+     l_____    Toolbox                                341.0
+     l_____    TopographischeZahlentafel              342.0
+     l_____    Trajan-Regular                         343.0
+     l_____    Trajan-Bold                            343.1
+     l_____    TradeGothicLH-BoldExtended             343.2
+     l_____    TrumpMediaeval-Roman                   346.0
+     l_____    TrumpMediaeval-RomanSC                 346.1
+     l_____    TrumpMediaeval-Italic                  346.2
+     l_____    TrumpMediaeval-ItalicOsF               346.3
+     l_____    TrumpMediaeval-Bold                    346.4
+     l_____    TrumpMediaeval-BoldOsF                 346.5
+     l_____    TrumpMediaeval-BoldItalic              346.6
+     l_____    TrumpMediaeval-BoldItalicOsF           346.7
+     l_____    Umbra                                  348.0
+     l_____    Univers-Light                          349.0
+     l_____    Univers-LightOblique                   349.1
+     l_____    Univers                                349.2
+     l_____    Univers-Oblique                        349.3
+     l_____    Univers-Bold                           349.4
+     l_____    Univers-BoldOblique                    349.5
+     l_____    Univers-Black                          349.7
+     l_____    Univers-BlackOblique                   349.8
+     l_____    Univers-ExtraBlack                     349.9
+     l_____    Univers-ExtraBlackOblique              349.10
+     l_____    Univers-CondensedLight                 349.11
+     l_____    Univers-CondensedLightOblique          349.12
+     l_____    Univers-Condensed                      349.13
+     l_____    Univers-CondensedOblique               349.14
+     l_____    Univers-CondensedBold                  349.15
+     l_____    Univers-CondensedBoldOblique           349.16
+     l_____    Univers-ThinUltraCondensed             349.17
+     l_____    Univers-LightUltraCondensedTwo         349.18
+     l_____    Univers-UltraCondensed                 349.19
+     l_____    Univers-Extended                       349.20
+     l_____    Univers-ExtendedObl                    349.21
+     l_____    Univers-BoldExt                        349.22
+     l_____    Univers-BoldExtObl                     349.23
+     l_____    Univers-BlackExt                       349.24
+     l_____    Univers-BlackExtObl                    349.25
+     l_____    Univers-ExtraBlackExt                  349.26
+     l_____    Univers-ExtraBlackExtObl               349.27
+     l_____    UniversCE-Light                        349.28
+     l_____    UniversCE-LightOblique                 349.29
+     l_____    UniversCE-Medium                       349.30
+     l_____    UniversCE-Oblique                      349.31
+     l_____    UniversCE-Bold                         349.32
+     l_____    UniversCE-BoldOblique                  349.33
+     l_____    UniversCE-Black                        349.34
+     l_____    UniversCE-BlackOblique                 349.35
+     lpi___    MathematicalPi-One                     350.0
+     lpi___    MathematicalPi-Two                     350.1
+     lpi___    MathematicalPi-Three                   350.2
+     lpi___    MathematicalPi-Four                    350.3
+     lpi___    MathematicalPi-Five                    350.4
+     lpi___    MathematicalPi-Six                     350.5
+     lpi___    Unversal-GreekwithMathPi               351.0
+     lpi___    MICR                                   351.1
+     lpi___    Unversal-NewswithCommPi                351.2
+     l_____    University-Roman                       352.0
+     l_____    UniversityEF-Roman                     352.1
+     l_____    UniversityEF-RomanItalic               352.2
+     l_____    UniversityEF-Bold                      352.3
+     l_____    VAGRounded-Thin                        353.0
+     l_____    VAGRounded-Light                       353.1
+     l_____    VAGRounded-Bold                        353.2
+     l_____    VAGRounded-Black                       353.3
+     l_____    VAGRundschriftEF                       353.4
+     l_____    VanDijkEF                              354.0
+     l_____    VictorianEF                            355.0
+     l_____    VivaldiEF                              356.0
+     l_____    Walbaum-Roman                          357.0
+     l_____    Walbaum-RomanSC                        357.1
+     l_____    Walbaum-RomanOsF                       357.2
+     l_____    Walbaum-Italic                         357.3
+     l_____    Walbaum-ItalicOsF                      357.4
+     l_____    Walbaum-Bold                           357.5
+     l_____    Walbaum-BoldOsF                        357.6
+     l_____    Walbaum-BoldItalic                     357.7
+     l_____    Walbaum-BoldItalicOsF                  357.8
+     l_____    WalbaumEF-Regular                      357.9
+     l_____    WalbaumEF-RegularItalic                357.10
+     l_____    WalbaumEF-Medium                       357.11
+     l_____    WalbaumEF-MediumItalic                 357.12
+     l_____    WalbaumEF-Bold                         357.13
+     l_____    WalbaumEF-BoldItalic                   357.14
+     l_____    WalbaumBook-Regular                    357.15
+     l_____    WalbaumBook-RegularSC                  357.16
+     l_____    WalbaumBook-RegularExpert              357.17
+     l_____    WalbaumBook-Italic                     357.18
+     l_____    WalbaumBook-ItalicOsF                  357.19
+     l_____    WalbaumBook-ItalicExpert               357.20
+     l_____    WalbaumBook-Medium                     357.21
+     l_____    WalbaumBook-MediumSC                   357.22
+     l_____    WalbaumBook-MdExpert                   357.23
+     l_____    WalbaumBook-MediumItalic               357.24
+     l_____    WalbaumBook-MdItalicOsF                357.25
+     l_____    WalbaumBook-MdItalicExpert             357.26
+     l_____    WalbaumBook-Bold                       357.27
+     l_____    WalbaumBook-BoldOsF                    357.28
+     l_____    WalbaumBook-BoldExpert                 357.29
+     l_____    WalbaumBook-BoldItalic                 357.30
+     l_____    WalbaumBook-BoldItalicOsF              357.31
+     l_____    WalbaumBook-BoldItalicExpert           357.32
+     l_____    WalbaumFrakturEF                       357.33
+     l_____    WhyNotEF                               358.0
+     l_____    WilhelmKlingsporGotisch                359.0
+     l_____    WilhelmKlingsporGotisch-Dfr            359.1
+     l_____    WindsorEF-Light                        360.0
+     l_____    WindsorEF-Bold                         360.1
+     l_____    WindsorEF-UltraHeavy                   360.2
+     l_____    WindsorEF-BoldOutline                  360.3
+     l_____    WindsorEF-LightCondensed               360.4
+     l_____    WindsorEF-ExtraBoldCondensed           360.5
+     l_____    WindsorEF-Elongated                    360.6
+     ppi___    WoodtypeOrnaments-One                  361.0
+     ppi___    WoodtypeOrnaments-Two                  361.1
+     l_____    ZipperEF                               363.0
+     l_____    BelshawEF                              364.0
+     l_____    Belwe-Light                            365.0
+     l_____    Belwe-Medium                           365.1
+     l_____    Belwe-Bold                             365.2
+     l_____    Belwe-Condensed                        365.3
+     l_____    BelweEF-Light                          365.4
+     l_____    BelweEF-Italic                         365.5
+     l_____    BelweEF-Medium                         365.6
+     l_____    BelweEF-Bold                           365.7
+     l_____    BelweEF-BoldCondensed                  365.8
+     l_____    Bembo                                  366.0
+     l_____    Bembo-SC                               366.1
+     l_____    Bembo-Expert                           366.2
+     l_____    Bembo-Italic                           366.3
+     l_____    Bembo-ItalicOsF                        366.4
+     l_____    Bembo-ItalicExpert                     366.5
+     l_____    Bembo-Semibold                         366.6
+     l_____    Bembo-SemiboldOsF                      366.7
+     l_____    Bembo-SemiboldExpert                   366.8
+     l_____    Bembo-SemiboldItalic                   366.9
+     l_____    Bembo-SemiboldItalicOsF                366.10
+     l_____    Bembo-SemiboldItalicExpert             366.11
+     l_____    Bembo-Bold                             366.12
+     l_____    Bembo-BoldOsF                          366.13
+     l_____    Bembo-BoldExpert                       366.14
+     l_____    Bembo-BoldItalic                       366.15
+     l_____    Bembo-BoldItalicOsF                    366.16
+     l_____    Bembo-BoldItalicExpert                 366.17
+     l_____    Bembo-ExtraBold                        366.18
+     l_____    Bembo-ExtraBoldOsF                     366.19
+     l_____    Bembo-ExtraBoldExpert                  366.20
+     l_____    Bembo-ExtraBoldItalic                  366.21
+     l_____    Bembo-ExtraBoldItalicOsF               366.22
+     l_____    Bembo-ExtraBoldItalicExpert            366.23
+     l_____    BerlinerGrotesk-Light                  368.0
+     l_____    BerlinerGrotesk-Medium                 368.1
+     l_____    LoType-Light                           369.0
+     l_____    LoType-Regular                         369.1
+     l_____    LoType-Medium                          369.2
+     l_____    LoType-MediumItalic                    369.3
+     l_____    LoType-Bold                            369.4
+     l_____    LoType-MediumCondensed                 369.5
+     l_____    BiffoMT                                370.0
+     l_____    BigbandTerrazzo                        371.1
+     l_____    Birch                                  372.0
+     l_____    BirdsEF                                373.0
+     l_____    BlockBE-Regular                        375.0
+     l_____    BlockBE-Italic                         375.1
+     l_____    BlockBE-Heavy                          375.2
+     l_____    BlockBE-Condensed                      375.3
+     l_____    BlockBE-ExtraCn                        375.4
+     l_____    BlockBE-ExtraCnItalic                  375.5
+     l_____    BoberiaLL-Light                        376.0
+     l_____    BoberiaLL-LightItalic                  376.1
+     l_____    BoberiaLL-SemiBold                     376.2
+     l_____    Bodoni-Book                            377.0
+     l_____    Bodoni-BookItalic                      377.1
+     l_____    Bodoni                                 377.2
+     l_____    Bodoni-Italic                          377.3
+     l_____    Bodoni-Bold                            377.4
+     l_____    Bodoni-BoldItalic                      377.5
+     l_____    Bodoni-BoldCondensed                   377.6
+     l_____    BodoniEF-Light                         377.7
+     l_____    BodoniEF-LightIta                      377.8
+     l_____    BodoniEF-Regular                       377.9
+     l_____    BodoniEF-RegularIta                    377.10
+     l_____    BodoniEF-DemiBold                      377.11
+     l_____    BodoniEF-Bold                          377.12
+     l_____    BodoniEF-DemiBoldIta                   377.13
+     l_____    BodoniEF-BoldIta                       377.14
+     l_____    BodoniEF-RegularCn                     377.15
+     l_____    BodoniEF-RegularCnIta                  377.16
+     l_____    BodoniEF-BoldCn                        377.17
+     l_____    BodoniEF-DemiBoldCn                    377.18
+     l_____    BodoniEF-BoldCnItalic                  377.19
+     l_____    BodoniEF-DemiBoldCnIta                 377.20
+     l_____    BodoniEF-Black                         377.21
+     l_____    BodoniEF-BlackIta                      377.22
+     l_____    BodoniEF-Ultra                         377.23
+     l_____    BauerBodoni-Roman                      377.24
+     l_____    BauerBodoni-RomanSC                    377.25
+     l_____    BauerBodoni-RomanOsF                   377.26
+     l_____    BauerBodoni-Italic                     377.27
+     l_____    BauerBodoni-ItalicOsF                  377.28
+     l_____    BauerBodoni-Bold                       377.29
+     l_____    BauerBodoni-BoldOsF                    377.30
+     l_____    BauerBodoni-BoldItalic                 377.31
+     l_____    BauerBodoni-BoldItalicOsF              377.32
+     l_____    BauerBodoni-Black                      377.33
+     l_____    BauerBodoni-BlackItalic                377.34
+     l_____    BauerBodoni-BoldCond                   377.35
+     l_____    BauerBodoni-BlackCond                  377.36
+     l_____    BauerBodoniCE-Roman                    377.37
+     l_____    BauerBodoniCE-Italic                   377.38
+     l_____    BauerBodoniCE-Bold                     377.39
+     l_____    BauerBodoniCE-BoldItalic               377.40
+     l_____    BauerBodoniCE-Black                    377.41
+     l_____    BauerBodoniCE-BlackItalic              377.42
+     l_____    BauerBodoniCE-BoldCondensed            377.43
+     l_____    BauerBodoniCE-BlackCondensed           377.44
+     l_____    BauerBodoniEF-Regular                  377.45
+     l_____    BauerBodoniEF-RegularItalic            377.46
+     l_____    BauerBodoniEF-Medium                   377.47
+     l_____    BauerBodoniEF-MediumItalic             377.48
+     l_____    BauerBodoniEF-Bold                     377.49
+     l_____    BauerBodoniEF-BoldItalic               377.50
+     l_____    BodoniBE-Light                         377.51
+     l_____    BodoniBE-LightSC                       377.52
+     l_____    BodoniBE-LightExpert                   377.53
+     l_____    BodoniBE-LightItalic                   377.54
+     l_____    BodoniBE-LightItalicOsF                377.55
+     l_____    BodoniBE-LightItalicExpert             377.56
+     l_____    BodoniBE-Regular                       377.57
+     l_____    BodoniBE-RegularSC                     377.58
+     l_____    BodoniBE-RegularExp                    377.59
+     l_____    BodoniBE-Italic                        377.60
+     l_____    BodoniBE-ItalicOsF                     377.61
+     l_____    BodoniBE-ItalicExp                     377.62
+     l_____    BodoniBE-Medium                        377.63
+     l_____    BodoniBE-MediumSC                      377.64
+     l_____    BodoniBE-MediumExp                     377.65
+     l_____    BodoniBE-MediumItalic                  377.66
+     l_____    BodoniBE-MediumItalicOsF               377.67
+     l_____    BodoniBE-MediumItalicExp               377.68
+     l_____    BodoniBE-Bold                          377.69
+     l_____    BodoniBE-BoldOsF                       377.70
+     l_____    BodoniBE-BoldExp                       377.71
+     l_____    BodoniBE-BoldItalic                    377.72
+     l_____    BodoniBE-BoldItalicOsF                 377.73
+     l_____    BodoniBE-BoldItalicExp                 377.74
+     l_____    BodoniBE-Condensed                     377.75
+     l_____    BodoniBE-CnItalic                      377.76
+     l_____    BodoniBE-MediumCn                      377.77
+     l_____    BodoniBE-MediumCnItalic                377.78
+     l_____    BodoniBE-BoldCn                        377.79
+     l_____    BodoniBE-BoldCnItalic                  377.80
+     l_____    Bodoni-Poster                          377.81
+     l_____    Bodoni-PosterItalic                    377.82
+     l_____    Bodoni-PosterCompressed                377.83
+     l_____    BodoniSixEF-Book                       377.84
+     l_____    BodoniSixEF-BookSC                     377.85
+     l_____    BodoniSixEF-BookItalic                 377.86
+     l_____    BodoniSixEF-Bold                       377.87
+     l_____    BodoniSixEF-BoldItalic                 377.88
+     l_____    BodoniTwelveEF-Book                    377.89
+     l_____    BodoniTwelveEF-BookSC                  377.90
+     l_____    BodoniTwelveEF-BookItalic              377.91
+     l_____    BodoniTwelveEF-Bold                    377.92
+     l_____    BodoniTwelveEF-BoldItalic              377.93
+     l_____    BodoniSeventytwoEF-Book                377.94
+     l_____    BodoniSeventytwoEF-BookSC              377.95
+     l_____    BodoniSeventytwoEF-BookIta             377.96
+     l_____    BodoniSeventytwoEF-Bold                377.97
+     l_____    BodoniSeventytwoEF-BoldIta             377.98
+     l_____    BodoniOldFaceBE-Regular                377.99
+     l_____    BodoniOldFaceBE-RegularSC              377.100
+     l_____    BodoniOldFaceBE-RegularExp             377.101
+     l_____    BodoniOldFaceBE-Italic                 377.102
+     l_____    BodoniOldFaceBE-ItalicSC               377.103
+     l_____    BodoniOldFaceBE-ItalicExp              377.104
+     l_____    BodoniOldFaceBE-Medium                 377.105
+     l_____    BodoniOldFaceBE-MediumSC               377.106
+     l_____    BodoniOldFaceBE-MediumExp              377.107
+     l_____    BodoniOldFaceBE-MediumIt               377.108
+     l_____    BodoniOldFaceBE-MediumItOsF            377.109
+     l_____    BodoniOldFaceBE-MediumItExp            377.110
+     l_____    BodoniOldFaceBE-Bold                   377.111
+     l_____    BodoniOldFaceBE-BoldOsF                377.112
+     l_____    BodoniOldFaceBE-BoldExp                377.113
+     l_____    BodoniOldFaceBE-BoldIt                 377.114
+     l_____    BodoniOldFaceBE-BoldItOsF              377.115
+     l_____    BodoniOldFaceBE-BoldItExp              377.116
+     l_____    BordeauxEF-Regular                     378.0
+     l_____    BordeauxEF-RegularItalic               378.1
+     l_____    BordeauxScriptEF                       378.2
+     l_____    Boulevard                              380.0
+     l_____    BritannicEF-ExtraLight                 382.0
+     l_____    BritannicEF-Light                      382.1
+     l_____    BritannicEF-Medium                     382.2
+     l_____    BritannicEF-Bold                       382.3
+     l_____    BritannicEF-Ultra                      382.4
+     l_____    BrodyEF                                383.0
+     l_____    BronxEF                                384.0
+     l_____    BrushScript                            385.0
+     l_____    BrushScriptEF                          385.1
+     l_____    BuxomEF                                386.0
+     l_____    CabaretEF                              387.0
+     l_____    CalvertMT-Light                        389.0
+     l_____    CalvertMT-Regular                      389.1
+     l_____    CalvertMT-Bold                         389.2
+     l_____    CamelliaEF                             390.0
+     l_____    Candida-Roman                          391.0
+     l_____    Candida-Italic                         391.1
+     l_____    Candida-Bold                           391.2
+     l_____    CandidaEF-Regular                      391.3
+     l_____    CandidaEF-RegularItalic                391.4
+     l_____    CandidaEF-Medium                       391.5
+     l_____    CandidaEF-RegularCondensed             391.6
+     l_____    CandidaEF-MediumCondensed              391.7
+     l_____    CantoriaMT-Light                       392.0
+     l_____    CantoriaMT-LightItalic                 392.1
+     l_____    CantoriaMT-Roman                       392.2
+     l_____    CantoriaMT-Italic                      392.3
+     l_____    CantoriaMT-SemiBold                    392.4
+     l_____    CantoriaMT-SemiBoldItalic              392.5
+     l_____    CantoriaMT-Bold                        392.6
+     l_____    CantoriaMT-BoldItalic                  392.7
+     l_____    CantoriaMT-ExtraBold                   392.8
+     l_____    CantoriaMT-ExtraBoldItalic             392.9
+     l_____    Carolina                               393.0
+     l_____    Carolina-Dfr                           393.1
+     l_____    Carta                                  394.0
+     l_____    CartoonScript-Roman                    395.0
+     l_____    ACaslon-Regular                        396.0
+     l_____    ACaslon-AltRegular                     396.1
+     l_____    ACaslon-RegularSC                      396.2
+     l_____    ACaslonExp-Regular                     396.3
+     l_____    ACaslon-Italic                         396.4
+     l_____    ACaslon-AltItalic                      396.5
+     l_____    ACaslon-ItalicOsF                      396.6
+     l_____    ACaslonExp-Italic                      396.7
+     l_____    ACaslon-Semibold                       396.8
+     l_____    ACaslon-AltSemibold                    396.9
+     l_____    ACaslon-SemiboldSC                     396.10
+     l_____    ACaslonExp-Semibold                    396.11
+     l_____    ACaslon-SemiboldItalic                 396.12
+     l_____    ACaslon-AltSemiboldItalic              396.13
+     l_____    ACaslon-SemiboldItalicOsF              396.14
+     l_____    ACaslonExp-SemiboldItalic              396.15
+     l_____    ACaslon-Bold                           396.16
+     l_____    ACaslon-AltBold                        396.17
+     l_____    ACaslon-BoldOsF                        396.18
+     l_____    ACaslonExp-Bold                        396.19
+     l_____    ACaslon-BoldItalic                     396.20
+     l_____    ACaslon-AltBoldItalic                  396.21
+     l_____    ACaslon-BoldItalicOsF                  396.22
+     l_____    ACaslonExp-BoldItalic                  396.23
+     l_____    ACaslon-SwashItalic                    396.24
+     l_____    ACaslon-SwashSemiboldItalic            396.25
+     l_____    ACaslon-SwashBoldItalic                396.26
+     l_____    ACaslon-Ornaments                      396.27
+     l_____    CaslonThree-Roman                      396.28
+     l_____    CaslonThree-RomanSC                    396.29
+     l_____    CaslonThree-Italic                     396.30
+     l_____    CaslonThree-ItalicOsF                  396.31
+     l_____    CaslonFiveFourty-Roman                 396.32
+     l_____    CaslonFiveFourty-RomanSC               396.33
+     l_____    CaslonFiveFourty-Italic                396.34
+     l_____    CaslonFiveFourty-ItalicOsF             396.35
+     l_____    CaslonOpenFace                         396.36
+     l_____    CaslonFiveFourtyEF-Italic              396.37
+     l_____    CaslonBlackEF                          396.38
+     l_____    CaslonAntiqueEF                        396.39
+     l_____    CaslonGraphiqueEF                      396.40
+     l_____    CaslonTwoTwentyFour-Book               396.41
+     l_____    CaslonTwoTwentyFour-BookIt             396.42
+     l_____    CaslonTwoTwentyFour-Medium             396.43
+     l_____    CaslonTwoTwentyFour-MediumIt           396.44
+     l_____    CaslonTwoTwentyFour-Bold               396.45
+     l_____    CaslonTwoTwentyFour-BoldIt             396.46
+     l_____    CaslonTwoTwentyFour-Black              396.47
+     l_____    CaslonTwoTwentyFour-BlackIt            396.48
+     l_____    CaslonTwoTwentyFourEF-Book             396.49
+     l_____    CaslonTwoTwentyFourEF-BookIt           396.50
+     l_____    CaslonTwoTwentyFourEF-Medium           396.51
+     l_____    CaslonTwoTwentyFourEF-MediumIt         396.52
+     l_____    CaslonTwoTwentyFourEF-Bold             396.53
+     l_____    CaslonTwoTwentyFourEF-BoldI            396.54
+     l_____    CaslonTwoTwentyFourEF-Black            396.55
+     l_____    CaslonTwoTwentyFourEF-BlackIt          396.56
+     l_____    CaslonBookBE-Regular                   396.57
+     l_____    CaslonBookBE-RegularSC                 396.58
+     l_____    CaslonBookBE-RegularExp                396.59
+     l_____    CaslonBookBE-Italic                    396.60
+     l_____    CaslonBookBE-ItalicOsF                 396.61
+     l_____    CaslonBookBE-ItalicExp                 396.62
+     l_____    CaslonBookBE-Medium                    396.63
+     l_____    CaslonBookBE-MediumSC                  396.64
+     l_____    CaslonBookBE-MediumExp                 396.65
+     l_____    CaslonBookBE-Bold                      396.66
+     l_____    CaslonBookBE-BoldOsF                   396.67
+     l_____    CaslonBookBE-BoldExp                   396.68
+     l_____    CastleEF-Light                         397.0
+     l_____    CastleEF-Book                          397.1
+     l_____    CastleEF-Bold                          397.2
+     l_____    CastleEF-Ultra                         397.3
+     l_____    Catull-Regular                         398.0
+     l_____    Catull-Italic                          398.1
+     l_____    Catull-Medium                          398.2
+     l_____    Catull-Bold                            398.3
+     l_____    Caxton-Light                           399.0
+     l_____    Caxton-LightItalic                     399.1
+     l_____    Caxton-BookItalic                      399.2
+     l_____    Caxton-Book                            399.3
+     l_____    Caxton-Bold                            399.4
+     l_____    Caxton-BoldItalic                      399.5
+     l_____    CaxtonEF-Light                         399.6
+     l_____    CaxtonEF-LightItalic                   399.7
+     l_____    CaxtonEF-Book                          399.8
+     l_____    CaxtonEF-BookItalic                    399.9
+     l_____    CaxtonEF-Bold                          399.10
+     l_____    CaxtonEF-BoldItalic                    399.11
+     l_____    CaxtonEF-ExtraBold                     399.12
+     l_____    CaxtonEF-ExtraBoldItalic               399.13
+     l_____    CaxtonEF-BoldCondensed                 399.14
+     l_____    CaxtonEF-ExtraBoldCondensed            399.15
+     l_____    CentaurMT-Regular                      400.0
+     l_____    CentaurMT-RegularSC                    400.1
+     l_____    CentaurMT-RegularExpert                400.2
+     l_____    CentaurMT-Italic                       400.3
+     l_____    CentaurMT-ItalicA                      400.4
+     l_____    CentaurMT-ItalicAlternate              400.5
+     l_____    CentaurMT-ItalicOsF                    400.6
+     l_____    CentaurMT-ItalicExpert                 400.7
+     l_____    CentaurMT-Bold                         400.8
+     l_____    CentaurMT-BoldOsF                      400.9
+     l_____    CentaurMT-BoldExpert                   400.10
+     l_____    CentaurMT-BoldItalic                   400.11
+     l_____    CentaurMT-BoldItalicOsF                400.12
+     l_____    CentaurMT-BoldItalicExpert             400.13
+     l_____    CentaurMT-ItalicSwash                  400.14
+     l_____    ChallengeEF-Bold                       401.0
+     l_____    ChallengeEF-ExtraBold                  401.1
+     l_____    Charme                                 402.0
+     l_____    Cheltenham-Light                       403.0
+     l_____    Cheltenham-LightItalic                 403.1
+     l_____    Cheltenham-Book                        403.2
+     l_____    Cheltenham-BookItalic                  403.3
+     l_____    Cheltenham-Bold                        403.4
+     l_____    Cheltenham-BoldItalic                  403.5
+     l_____    Cheltenham-Ultra                       403.6
+     l_____    Cheltenham-UltraItalic                 403.7
+     l_____    Cheltenham-LightCond                   403.8
+     l_____    Cheltenham-LightCondItalic             403.9
+     l_____    Cheltenham-BookCond                    403.10
+     l_____    Cheltenham-BookCondItalic              403.11
+     l_____    Cheltenham-BoldCond                    403.12
+     l_____    Cheltenham-BoldCondItalic              403.13
+     l_____    Cheltenham-UltraCond                   403.14
+     l_____    Cheltenham-UltraCondItalic             403.15
+     l_____    CheltenhamEF-Light                     403.16
+     l_____    CheltenhamEF-LightItalic               403.17
+     l_____    CheltenhamEF-Book                      403.18
+     l_____    CheltenhamEF-BookItalic                403.19
+     l_____    CheltenhamEF-Bold                      403.20
+     l_____    CheltenhamEF-BoldItalic                403.21
+     l_____    CheltenhamEF-Ultra                     403.22
+     l_____    CheltenhamEF-UltraItalic               403.23
+     l_____    CheltenhamHandtEF-Bold                 403.24
+     l_____    CheltenhamHandtEF-BoldItalic           403.25
+     l_____    CheltenhamEF-LightCond                 403.26
+     l_____    CheltenhamEF-LightCondItalic           403.27
+     l_____    CheltenhamEF-BookCond                  403.28
+     l_____    CheltenhamEF-BookCondItalic            403.29
+     l_____    CheltenhamEF-BoldCond                  403.30
+     l_____    CheltenhamEF-BoldCondItalic            403.31
+     l_____    CheltenhamEF-UltraCond                 403.32
+     l_____    CheltenhamEF-UltraCondItalic           403.33
+     l_____    CheltenhamOldStyleEF                   403.34
+     l_____    Cheq                                   404.0
+     l_____    ChiselEF                               405.0
+     l_____    DigiGroteskNEF-Light                   406.0
+     l_____    DigiGroteskNEF-Bold                    406.1
+     l_____    DigiGroteskNEF-SemiBoldCond            406.2
+     l_____    DigiGroteskNEF-BoldCondens             406.3
+     l_____    DigiGroteskSEF-Light                   406.4
+     l_____    DigiGroteskSEF-SemiBold                406.5
+     l_____    DomCasual                              407.0
+     l_____    DomCasual-Bold                         407.1
+     l_____    DomEF-CasualRegular                    407.2
+     l_____    DomEF-DiagonalRegular                  407.3
+     l_____    DomEF-CasualBold                       407.4
+     l_____    DomEF-DiagonalBold                     407.5
+     l_____    DorchesterScriptMT                     408.0
+     l_____    DynamoEF-Medium                        409.0
+     l_____    DynamoEF-Bold                          409.1
+     l_____    DynamoEF-BoldShadow                    409.2
+     l_____    DynamoEF-BoldCondensed                 409.3
+     l_____    EdisonEF-Book                          410.0
+     l_____    EdisonEF-BookItalic                    410.1
+     l_____    EdisonEF-SemiBold                      410.2
+     l_____    EdisonEF-SemiBoldItalic                410.3
+     l_____    EdisonEF-BoldCondensed                 410.4
+     l_____    EdwardianEF-Light                      411.0
+     l_____    EdwardianEF-LightIta                   411.1
+     l_____    EdwardianEF-Medium                     411.2
+     l_____    EdwardianEF-MediumIta                  411.3
+     l_____    EdwardianEF-Bold                       411.4
+     l_____    EdwardianEF-BoldIta                    411.5
+     l_____    EdwardianEF-ExtraBold                  411.6
+     l_____    EdwardianEF-ExtraBoldIta               411.7
+     l_____    EgizioEF-Condensed                     412.0
+     l_____    EgyptianEF-BoldCondensed               414.0
+     l_____    EgyptianEF-BoldExtended                414.1
+     l_____    EgyptienneEF-MediumCond                415.0
+     l_____    EhrhardtMT-Roman                       416.0
+     l_____    EhrhardtMT-Italic                      416.1
+     l_____    EhrhardtMT-SemiBold                    416.2
+     l_____    EhrhardtMt-SemiBoldItalic              416.3
+     l_____    EirinnAsciiLL                          417.0
+     l_____    EirinnGaelicLL                         417.1
+     l_____    ElGreco                                418.0
+     l_____    ElefontEF                              419.0
+     l_____    EllingtonMT-Light                      420.0
+     l_____    EllingtonMT-LightItalic                420.1
+     l_____    EllingtonMT-Roman                      420.2
+     l_____    EllingtonMT-Italic                     420.3
+     l_____    EllingtonMT-Bold                       420.4
+     l_____    EllingtonMT-BoldItalic                 420.5
+     l_____    EllingtonMT-ExtraBold                  420.6
+     l_____    EllingtonMT-ExtraBoldItalic            420.7
+     l_____    EnglishScriptEF-Regular                421.0
+     l_____    EnglishScriptEF-Bold                   421.1
+     l_____    EnglishScriptEF-DemiBold               421.2
+     l_____    Erbar-LightCondensed                   422.0
+     l_____    Erbar-BoldCondensed                    422.1
+     l_____    EscorialEF-Outline                     423.0
+     l_____    EscorialEF                             423.1
+     l_____    EthnoFontEF                            424.0
+     l_____    Eurostile                              425.0
+     l_____    Eurostile-Oblique                      425.1
+     l_____    Eurostile-Demi                         425.2
+     l_____    Eurostile-DemiOblique                  425.3
+     l_____    Eurostile-Bold                         425.4
+     l_____    Eurostile-BoldOblique                  425.5
+     l_____    Eurostile-Condensed                    425.6
+     l_____    Eurostile-BoldCondensed                425.7
+     l_____    Eurostile-ExtendedTwo                  425.8
+     l_____    Eurostile-BoldExtendedTwo              425.9
+     l_____    EurostileEF-Regular                    425.10
+     l_____    EurostileEF-Black                      425.11
+     l_____    Excelsior                              426.0
+     l_____    Excelsior-Italic                       426.1
+     l_____    Excelsior-Bold                         426.2
+     l_____    ExcelsiorCE-Roman                      426.3
+     l_____    ExcelsiorCE-Italic                     426.4
+     l_____    ExcelsiorCE-Bold                       426.5
+     l_____    ExcelsiorCyr-Upright                   426.6
+     l_____    ExcelsiorCyr-Inclined                  426.7
+     l_____    ExcelsiorCyr-Bold                      426.8
+     l_____    ExcelsiorEastA-Roman                   426.9
+     l_____    ExcelsiorEastA-Italic                  426.10
+     l_____    ExcelsiorEastA-Bold                    426.11
+     l_____    F2FAlLineato                           427.0
+     l_____    F2FCZYKagoTrans                        427.1
+     l_____    F2FEntebbe                             427.2
+     l_____    F2FHogRoach                            427.3
+     l_____    F2FMadZineFear                         427.4
+     l_____    F2FMadZineWip                          427.5
+     l_____    F2FMekkasoTomanik                      427.6
+     l_____    F2FMetamorfosi                         427.7
+     l_____    F2FOCRAlexcyzk                         427.8
+     l_____    F2FPixmix                              427.9
+     l_____    F2FPoisonFlowers                       427.10
+     l_____    F2FProvinciali                         427.11
+     l_____    F2FSimbolico                           427.12
+     l_____    F2FTechLand                            427.13
+     l_____    F2FWhaleTreeRnd                        427.14
+     l_____    F2FZakGlobe                            427.15
+     l_____    Falstaff-Regular                       428.0
+     l_____    FetteFraktur                           429.0
+     l_____    FetteFraktur-Dfr                       429.1
+     l_____    FetteFrakturEF                         429.2
+     l_____    FlashEF-Light                          430.0
+     l_____    FlashEF-Bold                           430.1
+     l_____    Flyer-BlackCondensed                   431.0
+     l_____    Flyer-BlackExtraCondensed              431.1
+     l_____    FlyerEF-Bold                           431.2
+     l_____    FlyerEF-BoldCondensed                  431.3
+     l_____    Folio-Light                            432.0
+     l_____    Folio-Medium                           432.1
+     l_____    Folio-Bold                             432.2
+     l_____    Folio-ExtraBold                        432.3
+     l_____    Folio-BoldCondensed                    432.4
+     l_____    FolioEF-BoldCondensed                  432.5
+     l_____    FolioEF-ExtraCondensed                 432.6
+     l_____    Formata-Light                          435.0
+     l_____    Formata-LightSC                        435.1
+     l_____    Formata-LightExpert                    435.2
+     l_____    Formata-LightItalic                    435.3
+     l_____    Formata-LightItalicSC                  435.4
+     l_____    Formata-LightItalicExpert              435.5
+     l_____    Formata-Regular                        435.6
+     l_____    Formata-RegularSC                      435.7
+     l_____    Formata-RegularExpert                  435.8
+     l_____    Formata-Italic                         435.9
+     l_____    Formata-ItalicSC                       435.10
+     l_____    Formata-ItalicExpert                   435.11
+     l_____    Formata-Medium                         435.12
+     l_____    Formata-MediumItalic                   435.13
+     l_____    Formata-Bold                           435.14
+     l_____    Formata-BoldItalic                     435.15
+     l_____    Formata-Outline                        435.16
+     l_____    Formata-LightCondensed                 435.17
+     l_____    Formata-LightCnSC                      435.18
+     l_____    Formata-LightCnExpert                  435.19
+     l_____    Formata-LightCondensedItalic           435.20
+     l_____    Formata-LightCnItalicSC                435.21
+     l_____    Formata-LightCnItalicExpert            435.22
+     l_____    Formata-Condensed                      435.23
+     l_____    Formata-CondensedOutline               435.24
+     l_____    Formata-CondensedSC                    435.25
+     l_____    Formata-CondensedExpert                435.26
+     l_____    Formata-CondensedItalic                435.27
+     l_____    Formata-CnItalicSC                     435.28
+     l_____    Formata-CnItalicExpert                 435.29
+     l_____    Formata-MediumCondensed                435.30
+     l_____    Formata-MediumCondensedItalic          435.31
+     l_____    Formata-BoldCondensed                  435.32
+     l_____    Formata-BoldCondensedItalic            435.33
+     l_____    FrankfurterEF-Medium                   436.0
+     l_____    FrankfurterEF-Solid                    436.1
+     l_____    FrankfurterEF-Inline                   436.2
+     l_____    FrankfurterEF-Highlight                436.3
+     l_____    FreestyleScript                        437.0
+     l_____    FreestyleScriptEF-Reg                  437.1
+     l_____    FreestyleScriptEF-RegAlt               437.2
+     l_____    FreestyleScriptEF-Bol                  437.3
+     l_____    FreestyleScriptEF-BolAlt               437.4
+     l_____    Bauhaus-Light                          438.0
+     l_____    Bauhaus-Medium                         438.1
+     l_____    Bauhaus-Demi                           438.2
+     l_____    Bauhaus-Bold                           438.3
+     l_____    Bauhaus-Heavy                          438.4
+     l_____    BauhausEF-Light                        438.5
+     l_____    BauhausEF-Medium                       438.6
+     l_____    BauhausEF-DemiBold                     438.7
+     l_____    BauhausEF-Bold                         438.8
+     l_____    BauhausEF-Heavy                        438.9
+     l_____    BenguiatGothic-Book                    439.0
+     l_____    BenguiatGothic-BookOblique             439.1
+     l_____    BenguiatGothic-Medium                  439.2
+     l_____    BenguiatGothic-MediumOblique           439.3
+     l_____    BenguiatGothic-Bold                    439.4
+     l_____    BenguiatGothic-BoldOblique             439.5
+     l_____    BenguiatGothic-Heavy                   439.6
+     l_____    BenguiatGothic-HeavyOblique            439.7
+     l_____    BenguiatGothicEF-Book                  439.8
+     l_____    BenguiatGothicEF-BookItalic            439.9
+     l_____    BenguiatGothicEF-Medium                439.10
+     l_____    BenguiatGothicEF-MediumItalic          439.11
+     l_____    BenguiatGothicEF-Bold                  439.12
+     l_____    BenguiatGothicEF-BoldItalic            439.13
+     l_____    BenguiatGothicEF-Heavy                 439.14
+     l_____    BenguiatGothicEF-HeavyItalic           439.15
+     l_____    Cerigo-Book                            440.0
+     l_____    Cerigo-BookItalic                      440.1
+     l_____    Cerigo-Medium                          440.2
+     l_____    Cerigo-MediumItalic                    440.3
+     l_____    Cerigo-Bold                            440.4
+     l_____    Cerigo-BoldItalic                      440.5
+     l_____    CerigoEF-Book                          440.6
+     l_____    CerigoEF-BookSC                        440.7
+     l_____    CerigoEF-BookItalic                    440.8
+     l_____    CerigoEF-Medium                        440.9
+     l_____    CerigoEF-MediumSC                      440.10
+     l_____    CerigoEF-MediumItalic                  440.11
+     l_____    CerigoEF-Bold                          440.12
+     l_____    CerigoEF-BoldItalic                    440.13
+     l_____    CerigoEF-BookSwashCaps                 440.14
+     l_____    CerigoEF-BookItalicSwashCaps           440.15
+     l_____    Cushing-Book                           441.0
+     l_____    Cushing-BookItalic                     441.1
+     l_____    Cushing-Medium                         441.2
+     l_____    Cushing-MediumItalic                   441.3
+     l_____    Cushing-Bold                           441.4
+     l_____    Cushing-BoldItalic                     441.5
+     l_____    Cushing-Heavy                          441.6
+     l_____    Cushing-HeavyItalic                    441.7
+     l_____    CushingEF-Book                         441.8
+     l_____    CushingEF-BookItalic                   441.9
+     l_____    CushingEF-Medium                       441.10
+     l_____    CushingEF-MediumItalic                 441.11
+     l_____    CushingEF-Bold                         441.12
+     l_____    CushingEF-BoldItalic                   441.13
+     l_____    CushingEF-Heavy                        441.14
+     l_____    CushingEF-HeavyItalic                  441.15
+     l_____    Esprit-Book                            442.0
+     l_____    Esprit-BookItalic                      442.1
+     l_____    Esprit-Medium                          442.2
+     l_____    Esprit-MediumItalic                    442.3
+     l_____    Esprit-Bold                            442.4
+     l_____    Esprit-BoldItalic                      442.5
+     l_____    Esprit-Black                           442.6
+     l_____    Esprit-BlackItalic                     442.7
+     l_____    EspritEF-Book                          442.8
+     l_____    EspritEF-BookSC                        442.9
+     l_____    EspritEF-BookItalic                    442.10
+     l_____    EspritEF-Medium                        442.11
+     l_____    EspritEF-MediumSC                      442.12
+     l_____    EspritEF-MediumItalic                  442.13
+     l_____    EspritEF-Bold                          442.14
+     l_____    EspritEF-BoldItalic                    442.15
+     l_____    EspritEF-Black                         442.16
+     l_____    EspritEF-BlackItalic                   442.17
+     l_____    Flora-Roman                            443.0
+     l_____    Flora-Bold                             443.1
+     l_____    FloraEF-Medium                         443.2
+     l_____    FloraEF-Bold                           443.3
+     l_____    Galliard-Roman                         444.0
+     l_____    Galliard-Italic                        444.1
+     l_____    Galliard-Bold                          444.2
+     l_____    Galliard-BoldItalic                    444.3
+     l_____    Galliard-Black                         444.4
+     l_____    Galliard-BlackItalic                   444.5
+     l_____    Galliard-Ultra                         444.6
+     l_____    Galliard-UltraItalic                   444.7
+     l_____    GalliardEF-Roman                       444.8
+     l_____    GalliardEF-Italic                      444.9
+     l_____    GalliardEF-Bold                        444.10
+     l_____    GalliardEF-BoldItalic                  444.11
+     l_____    GalliardEF-Black                       444.12
+     l_____    GalliardEF-BlackItalic                 444.13
+     l_____    GalliardEF-Ultra                       444.14
+     l_____    GalliardEF-UltraItalic                 444.15
+     l_____    GoldenTypeEF-Original                  445.0
+     l_____    GoldenTypeSCEF-Original                445.1
+     l_____    GoldenTypeEF-Bold                      445.2
+     l_____    GoldenTypeSCEF-Bold                    445.3
+     l_____    GoldenTypeEF-Black                     445.4
+     l_____    IsbellEF-Book                          446.0
+     l_____    IsbellEF-BookItalic                    446.1
+     l_____    IsbellEF-Bold                          446.2
+     l_____    IsbellEF-BoldItalic                    446.3
+     l_____    Korinna-Regular                        447.0
+     l_____    Korinna-KursivRegular                  447.1
+     l_____    Korinna-Bold                           447.2
+     l_____    Korinna-KursivBold                     447.3
+     l_____    KorinnaEF-Regular                      447.4
+     l_____    KorinnaEF-RegularKursiv                447.5
+     l_____    KorinnaEF-Bold                         447.6
+     l_____    KorinnaEF-BoldKursiv                   447.7
+     l_____    KorinnaEF-ExtraBold                    447.8
+     l_____    KorinnaEF-ExtraBoldKursiv              447.9
+     l_____    KorinnaEF-Heavy                        447.10
+     l_____    KorinnaEF-HeavyKursiv                  447.11
+     l_____    LegacySans-Book                        448.0
+     l_____    LegacySans-BookItalic                  448.1
+     l_____    LegacySans-Medium                      448.2
+     l_____    LegacySans-MediumItalic                448.3
+     l_____    LegacySans-Bold                        448.4
+     l_____    LegacySans-BoldItalic                  448.5
+     l_____    LegacySans-Ultra                       448.6
+     l_____    LegacySerif-Book                       448.7
+     l_____    LegacySerif-BookItalic                 448.8
+     l_____    LegacySerif-Medium                     448.9
+     l_____    LegacySerif-MediumItalic               448.10
+     l_____    LegacySerif-Bold                       448.11
+     l_____    LegacySerif-BoldItalic                 448.12
+     l_____    LegacySerif-Ultra                      448.13
+     l_____    LegacySansEF-Book                      448.14
+     l_____    LegacySansEF-BookSC                    448.15
+     l_____    LegacySansEF-BookItalic                448.16
+     l_____    LegacySansEF-Medium                    448.17
+     l_____    LegacySansEF-MediumSC                  448.18
+     l_____    LegacySansEF-MediumItalic              448.19
+     l_____    LegacySansEF-Bold                      448.20
+     l_____    LegacySansEF-BoldItalic                448.21
+     l_____    LegacySansEF-Ultra                     448.22
+     l_____    LegacySerifEF-Book                     448.23
+     l_____    LegacySerifEF-BookSC                   448.24
+     l_____    LegacySerifEF-BookItalic               448.25
+     l_____    LegacySerifEF-Medium                   448.26
+     l_____    LegacySerifEF-MediumSC                 448.27
+     l_____    LegacySerifEF-MediumItalic             448.28
+     l_____    LegacySerifEF-Bold                     448.29
+     l_____    LegacySerifEF-BoldItalic               448.30
+     l_____    LegacySerifEF-Ultra                    448.31
+     l_____    Machine                                449.0
+     l_____    Machine-Bold                           449.1
+     l_____    MachineEF-Regular                      449.2
+     l_____    MachineEF-Bold                         449.3
+     l_____    MonaLisa-Solid                         450.0
+     l_____    MonaLisa-Recut                         450.1
+     l_____    MonaLisaEF-Solid                       450.2
+     l_____    MonaLisaEF-Recut                       450.3
+     l_____    Novarese-Book                          451.0
+     l_____    Novarese-BookItalic                    451.1
+     l_____    Novarese-Medium                        451.2
+     l_____    Novarese-MediumItalic                  451.3
+     l_____    Novarese-Bold                          451.4
+     l_____    Novarese-BoldItalic                    451.5
+     l_____    Novarese-Ultra                         451.6
+     l_____    NovareseEF-Book                        451.7
+     l_____    NovareseEF-BookItalic                  451.8
+     l_____    NovareseEF-Medium                      451.9
+     l_____    NovareseEF-MediumItalic                451.10
+     l_____    NovareseEF-Bold                        451.11
+     l_____    NovareseEF-BoldItalic                  451.12
+     l_____    NovareseEF-Ultra                       451.13
+     l_____    PacellaEF-Book                         452.0
+     l_____    PacellaSCEF-Book                       452.1
+     l_____    PacellaEF-BookItalic                   452.2
+     l_____    PacellaEF-Medium                       452.3
+     l_____    PacellaSCEF-Medium                     452.4
+     l_____    PacellaEF-MediumItalic                 452.5
+     l_____    PacellaEF-Bold                         452.6
+     l_____    PacellaEF-BoldItalic                   452.7
+     l_____    PacellaEF-Black                        452.8
+     l_____    PacellaEF-BlackItalic                  452.9
+     l_____    QuaySansEF-Book                        453.0
+     l_____    QuaySansEF-BookSC                      453.1
+     l_____    QuaySansEF-BookItalic                  453.2
+     l_____    QuaySansEF-Medium                      453.3
+     l_____    QuaySansEF-MediumSC                    453.4
+     l_____    QuaySansEF-MediumItalic                453.5
+     l_____    QuaySansEF-Black                       453.6
+     l_____    QuaySansEF-BlackItalic                 453.7
+     l_____    SerifGothic-Light                      454.0
+     l_____    SerifGothic                            454.1
+     l_____    SerifGothic-Bold                       454.2
+     l_____    SerifGothic-ExtraBold                  454.3
+     l_____    SerifGothic-Heavy                      454.4
+     l_____    SerifGothic-Black                      454.5
+     l_____    SerifGothicEF-Light                    454.6
+     l_____    SerifGothicEF-Regular                  454.7
+     l_____    SerifGothicEF-Bold                     454.8
+     l_____    SerifGothicEF-ExtraBold                454.9
+     l_____    SerifGothicEF-Heavy                    454.10
+     l_____    SerifGothicEF-Black                    454.11
+     l_____    Symbol-Book                            455.0
+     l_____    Symbol-BookItalic                      455.1
+     l_____    Symbol-Medium                          455.2
+     l_____    Symbol-MediumItalic                    455.3
+     l_____    Symbol-Bold                            455.4
+     l_____    Symbol-BoldItalic                      455.5
+     l_____    Symbol-Black                           455.6
+     l_____    Symbol-BlackItalic                     455.7
+     l_____    SymbolEF-Book                          455.8
+     l_____    SymbolEF-BookSC                        455.9
+     l_____    SymbolEF-BookItalic                    455.10
+     l_____    SymbolEF-Medium                        455.11
+     l_____    SymbolEF-MediumSC                      455.12
+     l_____    SymbolEF-MediumItalic                  455.13
+     l_____    SymbolEF-Bold                          455.14
+     l_____    SymbolEF-BoldItalic                    455.15
+     l_____    SymbolEF-Black                         455.16
+     l_____    SymbolEF-BlackItalic                   455.17
+     l_____    Tiepolo-Book                           456.0
+     l_____    Tiepolo-BookItalic                     456.1
+     l_____    Tiepolo-Bold                           456.2
+     l_____    Tiepolo-BoldItalic                     456.3
+     l_____    Tiepolo-Black                          456.4
+     l_____    Tiepolo-BlackItalic                    456.5
+     l_____    TiepoloEF-Book                         456.6
+     l_____    TiepoloEF-BookSC                       456.7
+     l_____    TiepoloEF-BookItalic                   456.8
+     l_____    TiepoloEF-Bold                         456.9
+     l_____    TiepoloEF-BoldSC                       456.10
+     l_____    TiepoloEF-BoldItalic                   456.11
+     l_____    TiepoloEF-Black                        456.12
+     l_____    TiepoloEF-BlackItalic                  456.13
+     l_____    Veljovic-Book                          457.0
+     l_____    Veljovic-BookItalic                    457.1
+     l_____    Veljovic-Medium                        457.2
+     l_____    Veljovic-MediumItalic                  457.3
+     l_____    Veljovic-Bold                          457.4
+     l_____    Veljovic-BoldItalic                    457.5
+     l_____    Veljovic-Black                         457.6
+     l_____    Veljovic-BlackItalic                   457.7
+     l_____    VeljovicEF-Book                        457.8
+     l_____    VeljovicEF-BookOsF                     457.9
+     l_____    VeljovicEF-BookItalic                  457.10
+     l_____    VeljovicEF-BookItalicOsF               457.11
+     l_____    VeljovicEF-Medium                      457.12
+     l_____    VeljovicEF-MediumOsF                   457.13
+     l_____    VeljovicEF-MediumItalic                457.14
+     l_____    VeljovicEF-MediumItalicOsF             457.15
+     l_____    VeljovicEF-Bold                        457.16
+     l_____    VeljovicEF-BoldOsF                     457.17
+     l_____    VeljovicEF-BoldItalic                  457.18
+     l_____    VeljovicEF-BoldItalicOsF               457.19
+     l_____    VeljovicEF-Black                       457.20
+     l_____    VeljovicEF-BlackOsF                    457.21
+     l_____    VeljovicEF-BlackItalic                 457.22
+     l_____    VeljovicEF-BlackItalicOsF              457.23
+     l_____    ZapfBookEF-Light                       458.0
+     l_____    ZapfBookEF-LightItalic                 458.1
+     l_____    ZapfBookEF-Medium                      458.2
+     l_____    ZapfBookEF-MediumItalic                458.3
+     l_____    ZapfBookEF-Demi                        458.4
+     l_____    ZapfBookEF-DemiItalic                  458.5
+     l_____    ZapfBookEF-Heavy                       458.6
+     l_____    ZapfBookEF-HeavyItalic                 458.7
+     l_____    ZapfChancery-Light                     458.8
+     l_____    ZapfChancery-LightItalic               458.9
+     l_____    ZapfChancery-Roman                     458.10
+     l_____    ZapfChancery-Italic                    458.11
+     l_____    ZapfChancery-MediumItalic              458.12
+     l_____    ZapfChancery-Demi                      458.13
+     l_____    ZapfChancery-Bold                      458.14
+     l_____    ZapfChanceryCE-MediumItalic            458.15
+     l_____    ZapfChanceryEF-Light                   458.16
+     l_____    ZapfChanceryEF-LightItalic             458.17
+     l_____    ZapfChanceryEF-Medium                  458.18
+     l_____    ZapfChanceryEF-MediumItalic            458.19
+     l_____    ZapfChanceryEF-Demi                    458.20
+     l_____    ZapfChanceryEF-Bold                    458.21
+     l_____    ZapfInternationalEF-Light              458.23
+     l_____    ZapfInternationalEF-LightIta           458.24
+     l_____    ZapfInternationalEF-Medium             458.25
+     l_____    ZapfInternationalEF-MediumIta          458.26
+     l_____    ZapfInternationalEF-Demi               458.27
+     l_____    ZapfInternationalEF-DemiIta            458.28
+     l_____    ZapfInternationalEF-Heavy              458.29
+     l_____    ZapfInternationalEF-HeavyIta           458.30
+     l_____    AudioLH-Pi                             459.0
+     l_____    EECLH-Pi                               460.0
+     l_____    XmasLH-PiOne                           462.0
+     l_____    XmasLH-PiTwo                           462.1
+     l_____    Lucida                                 463.0
+     l_____    Lucida-Italic                          463.1
+     l_____    Lucida-Bold                            463.2
+     l_____    Lucida-BoldItalic                      463.3
+     l_____    LucidaSans                             463.4
+     l_____    LucidaSans-Italic                      463.5
+     l_____    LucidaSans-Bold                        463.6
+     l_____    LucidaSans-BoldItalic                  463.7
+     l_____    LucidaMath-Symbol                      463.8
+     l_____    LucidaMath-Extension                   463.9
+     l_____    LucidaMath-Italic                      463.10
+     l_____    LucidaEF                               463.11
+     l_____    LucidaEF-Italic                        463.12
+     l_____    LucidaEF-Bold                          463.13
+     l_____    LucidaEF-BoldItalic                    463.14
+     l_____    LucidaBlackletterEF                    463.15
+     l_____    LucidaBrightEF-Roman                   463.16
+     l_____    LucidaBrightEF-RomanIta                463.17
+     l_____    LucidaBrightEF-DemiBold                463.18
+     l_____    LucidaBrightEF-DemiBoldIta             463.19
+     l_____    LucidaBrightNarEF-Roman                463.20
+     l_____    LucidaBrightNarEF-Ita                  463.21
+     l_____    LucidaBrightNarEF-DeBol                463.22
+     l_____    LucidaBrightNarEF-DeBolIta             463.23
+     l_____    LucidaCalligraphyEF                    463.24
+     l_____    LucidaCasualEF-Roman                   463.25
+     l_____    LucidaCasualEF-Italic                  463.26
+     l_____    LucidaFaxEF-Roman                      463.27
+     l_____    LucidaFaxEF-RomanItalic                463.28
+     l_____    LucidaFaxEF-DemiBold                   463.29
+     l_____    LucidaFaxEF-DemiBoldItalic             463.30
+     l_____    LucidaHandwritingEF                    463.31
+     l_____    LucidaTypewriterEF-Regular             463.32
+     l_____    LucidaTypewriterEF-Bold                463.33
+     l_____    LucidaSansEF-Roman                     463.34
+     l_____    LucidaSansEF-RomanIta                  463.35
+     l_____    LucidaSansEF-Bold                      463.36
+     l_____    LucidaSansEF-DemiBold                  463.37
+     l_____    LucidaSansEF-BoldItalic                463.38
+     l_____    LucidaSansEF-DemiBoldIta               463.39
+     l_____    LucidaSansNarEF-Roman                  463.40
+     l_____    LucidaSansNarEF-Ita                    463.41
+     l_____    LucidaSansNarEF-DemBol                 463.42
+     l_____    LucidaSansNarEF-DemBolIta              463.43
+     l_____    Madrone                                465.0
+     l_____    MagnusEF                               466.0
+     l_____    MandarinEF                             467.0
+     l_____    Marigold                               468.0
+     l_____    MatthiaLL-Regular                      469.0
+     l_____    MaturaMT                               470.0
+     l_____    MaturaMT-ScriptCapitals                470.1
+     l_____    MaximaEF-Light                         471.0
+     l_____    MaximaEF-LightOblique                  471.1
+     l_____    MaximaEF-Medium                        471.2
+     l_____    MaximaEF-MediumOblique                 471.3
+     l_____    MaximaEF-Bold                          471.4
+     l_____    MaximaEF-BoldOblique                   471.5
+     l_____    MaximaEF-BoldCondensed                 471.6
+     l_____    MediciScript                           472.0
+     l_____    MercuriusMT-BoldScript                 473.0
+     l_____    Mesquite                               474.0
+     l_____    MetropolitainEF                        475.0
+     l_____    Minion-Regular                         476.0
+     l_____    Minion-RegularSC                       476.1
+     l_____    MinionExp-Regular                      476.2
+     l_____    Minion-Italic                          476.3
+     l_____    Minion-ItalicSC                        476.4
+     l_____    MinionExp-Italic                       476.5
+     l_____    Minion-Semibold                        476.6
+     l_____    Minion-SemiboldSC                      476.7
+     l_____    MinionExp-Semibold                     476.8
+     l_____    Minion-SemiboldItalic                  476.9
+     l_____    Minion-SemiboldItalicSC                476.10
+     l_____    MinionExp-SemiboldItalic               476.11
+     l_____    Minion-Bold                            476.12
+     l_____    Minion-BoldOsF                         476.13
+     l_____    MinionExp-Bold                         476.14
+     l_____    Minion-BoldItalic                      476.15
+     l_____    Minion-BoldItalicOsF                   476.16
+     l_____    MinionExp-BoldItalic                   476.17
+     l_____    Minion-Black                           476.18
+     l_____    Minion-BlackOsF                        476.19
+     l_____    Minion-BlackExpert                     476.20
+     l_____    Minion-Display                         476.21
+     l_____    Minion-DisplaySC                       476.22
+     l_____    MinionExp-Display                      476.23
+     l_____    Minion-DisplayItalic                   476.24
+     l_____    Minion-DisplayItalicSC                 476.25
+     l_____    MinionExp-DisplayItalic                476.26
+     l_____    Minion-SwashItalic                     476.27
+     l_____    Minion-SwashDisplayItalic              476.28
+     l_____    Minion-SwashSemiboldItalic             476.29
+     l_____    Minion-Ornaments                       476.30
+     l_____    MinionCyr-Regular                      476.31
+     l_____    MinionCyr-Italic                       476.32
+     l_____    MinionCyr-Semibold                     476.33
+     l_____    MinionCyr-SemiboldItalic               476.34
+     l_____    MinionCyr-Bold                         476.35
+     l_____    MinionCyr-BoldItalic                   476.36
+     l_____    Minister-Light                         477.0
+     l_____    Minister-LightItalic                   477.1
+     l_____    Minister-Book                          477.2
+     l_____    Minister-BookItalic                    477.3
+     l_____    Minister-Bold                          477.4
+     l_____    Minister-BoldItalic                    477.5
+     l_____    Minister-Black                         477.6
+     l_____    Minister-BlackItalic                   477.7
+     l_____    MinisterEF-Light                       477.8
+     l_____    MinisterEF-LightItalic                 477.9
+     l_____    MinisterEF-Book                        477.10
+     l_____    MinisterEF-BookItalic                  477.11
+     l_____    MinisterEF-Bold                        477.12
+     l_____    ModernNo216EF-Light                    478.0
+     l_____    ModernNo216EF-LightItalic              478.1
+     l_____    ModernNo216EF-Medium                   478.2
+     l_____    ModernNo216EF-MediumItalic             478.3
+     l_____    ModernNo216EF-Bold                     478.4
+     l_____    ModernNo216EF-BoldItalic               478.5
+     l_____    ModernNo216EF-Heavy                    478.6
+     l_____    ModernNo216EF-HeavyItalic              478.7
+     l_____    ModernMT-Bold                          478.8
+     l_____    ModernMT-BoldItalic                    478.9
+     l_____    ModernMT-Condensed                     478.10
+     l_____    ModernMT-CondensedItalic               478.11
+     l_____    ModernMT-Extended                      478.12
+     l_____    ModernMT-ExtendedItalic                478.13
+     l_____    ModernMT-Wide                          478.14
+     l_____    ModernMT-WideItalic                    478.15
+     l_____    ModernExtendedEF-Book                  478.16
+     l_____    ModernExtendedEF-BookIta               478.17
+     l_____    ModernExtendedEF-Bold                  478.18
+     l_____    ModifiedGothic                         479.0
+     l_____    MonterreyEF                            480.0
+     l_____    MotterFeminaEF                         481.0
+     l_____    MysteryEF-White                        482.0
+     l_____    MysteryEF-Black                        482.1
+     l_____    MysteryEF-Mixed                        482.2
+     l_____    PinxitAstroLL                          485.0
+     l_____    PinxitOfficeLL                         485.1
+     l_____    PinxitPrivateLL                        485.2
+     l_____    Plak-Black                             486.0
+     l_____    Plak-BlackCondensed                    486.1
+     l_____    Plak-BlackExtraCondensed               486.2
+     l_____    Plantin-Light                          487.0
+     l_____    Plantin-LightItalic                    487.1
+     l_____    Plantin                                487.2
+     l_____    Plantin-Italic                         487.3
+     l_____    Plantin-Semibold                       487.4
+     l_____    Plantin-SemiboldItalic                 487.5
+     l_____    Plantin-Bold                           487.6
+     l_____    Plantin-BoldItalic                     487.7
+     l_____    Plantin-BoldCondensed                  487.8
+     l_____    PlaybillEF                             488.0
+     l_____    Poetica-SuppLowercaseAltI              489.0
+     l_____    Poetica-SuppLowercaseAltII             489.1
+     l_____    Poetica-RomanSmallCaps                 489.2
+     l_____    Poetica-RomanSmallCapsAlt              489.3
+     l_____    Poetica-SuppLigatures                  489.4
+     l_____    Poetica-SuppLowercaseBegI              489.5
+     l_____    Poetica-SuppLowercaseBegII             489.6
+     l_____    Poetica-SuppLowercaseEndI              489.7
+     l_____    Poetica-SuppLowercaseEndII             489.8
+     l_____    Poetica-SuppAmpersands                 489.9
+     l_____    Poetica-ChanceryExpert                 489.10
+     l_____    Poetica-ChanceryI                      489.11
+     l_____    Poetica-ChanceryII                     489.12
+     l_____    Poetica-ChanceryIII                    489.13
+     l_____    Poetica-ChanceryIV                     489.14
+     l_____    Poetica-SuppInitialsSwashCaps          489.15
+     l_____    Poetica-SwashCapsI                     489.16
+     l_____    Poetica-SwashCapsII                    489.17
+     l_____    Poetica-SwashCapsIII                   489.18
+     l_____    Poetica-SwashCapsIV                    489.19
+     l_____    Poetica-SuppOrnaments                  489.20
+     l_____    Pompeijana-Roman                       490.0
+     l_____    Pompeijana-Borders                     490.1
+     l_____    PopplExquisit-Regular                  491.0
+     l_____    PopplExquisit-Medium                   491.1
+     l_____    PopplLaudatio-Light                    491.2
+     l_____    PopplLaudatio-LightItalic              491.3
+     l_____    PopplLaudatio-Regular                  491.4
+     l_____    PopplLaudatio-Italic                   491.5
+     l_____    PopplLaudatio-Medium                   491.6
+     l_____    PopplLaudatio-MediumItalic             491.7
+     l_____    PopplLaudatio-Bold                     491.8
+     l_____    PopplLaudatio-BoldItalic               491.9
+     l_____    PopplLaudatio-LightCondensed           491.10
+     l_____    PopplLaudatio-Condensed                491.11
+     l_____    PopplLaudatio-MediumCondensed          491.12
+     l_____    PopplLaudatio-BoldCondensed            491.13
+     l_____    PopplPontifex-Roman                    491.14
+     l_____    PopplPontifex-RomanSC                  491.15
+     l_____    PopplPontifex-Italic                   491.16
+     l_____    PopplPontifex-Bold                     491.17
+     l_____    PopplPontifex-Black                    491.18
+     l_____    PopplPontifex-BoldCondensed            491.19
+     l_____    PopplPontifexBE-Regular                491.20
+     l_____    PopplPontifexBE-RegularSC              491.21
+     l_____    PopplPontifexBE-RegularExp             491.22
+     l_____    PopplPontifexBE-Italic                 491.23
+     l_____    PopplPontifexBE-ItalicOsF              491.24
+     l_____    PopplPontifexBE-ItalicExp              491.25
+     l_____    PopplPontifexBE-Medium                 491.26
+     l_____    PopplPontifexBE-MediumSC               491.27
+     l_____    PopplPontifexBE-MediumExp              491.28
+     l_____    PopplPontifexBE-Bold                   491.29
+     l_____    PopplPontifexBE-BoldOsF                491.30
+     l_____    PopplPontifexBE-BoldExp                491.31
+     l_____    PopplPontifexBE-MediumCn               491.32
+     l_____    PopplPontifexBE-MediumCnSC             491.33
+     l_____    PopplPontifexBE-MediumCnExp            491.34
+     l_____    PopplResidenz-Light                    491.35
+     l_____    PopplResidenz-Regular                  491.36
+     l_____    PostAntiqua-Roman                      492.0
+     l_____    PostAntiqua-Bold                       492.1
+     l_____    PostAntiquaBE-Regular                  492.2
+     l_____    PostAntiquaBE-Medium                   492.3
+     l_____    PostMediaeval-Regular                  492.4
+     l_____    PostMediaeval-Italic                   492.5
+     l_____    PostMediaeval-Medium                   492.6
+     l_____    PraxisEF-Light                         493.0
+     l_____    PraxisEF-LightSC                       493.1
+     l_____    PraxisEF-Regular                       493.2
+     l_____    PraxisEF-RegularSC                     493.3
+     l_____    PraxisEF-SemiBold                      493.4
+     l_____    PraxisEF-Bold                          493.5
+     l_____    PraxisEF-Heavy                         493.6
+     l_____    PremierEF                              494.0
+     l_____    PremierEF-Alternate                    494.1
+     l_____    PremierEF-Shaded                       494.2
+     l_____    Present                                495.0
+     l_____    Present-Bold                           495.1
+     l_____    Present-Black                          495.2
+     l_____    Present-Condensed                      495.3
+     l_____    Present-BoldCondensed                  495.4
+     l_____    Present-BlackCondensed                 495.5
+     l_____    PrincetownEF                           496.0
+     l_____    ProteusEF-Light                        497.0
+     l_____    ProteusEF-Book                         497.1
+     l_____    ProteusEF-Medium                       497.2
+     l_____    ProteusEF-Bold                         497.3
+     l_____    Quake                                  498.0
+     l_____    QuartzEF                               499.0
+     l_____    QuasariaLL-Regular                     500.0
+     l_____    QuasariaLL-Oblique                     500.1
+     l_____    QuasariaLL-Bold                        500.2
+     l_____    QuasariaLL-BoldOblique                 500.3
+     l_____    Rad                                    501.0
+     l_____    RadiantEFText-Light                    502.0
+     l_____    RadiantEFText-Book                     502.1
+     l_____    RadiantEFText-Medium                   502.2
+     l_____    RadiantEFText-DemiBold                 502.3
+     l_____    RadiantEFText-Bold                     502.4
+     l_____    RadiantEFText-Black                    502.5
+     l_____    RadiantEFDisplay-CondNo2               502.6
+     l_____    RadiantEFDisplay-CondNo1               502.7
+     l_____    RadiantEFDisplay-CondNo4               502.8
+     l_____    RadiantEFDisplay-CondNo3               502.9
+     l_____    RadiantEFDisplay-CondNo6               502.10
+     l_____    RadiantEFDisplay-CondNo5               502.11
+     l_____    RageItalicEF                           503.0
+     l_____    ReadMyHandLL                           504.0
+     l_____    ReadMyHandLL-Bold                      504.1
+     l_____    Reporter-Two                           505.0
+     l_____    RialtoEF                               506.0
+     l_____    Rockwell-Light                         507.0
+     l_____    Rockwell-LightItalic                   507.1
+     l_____    Rockwell                               507.2
+     l_____    Rockwell-Italic                        507.3
+     l_____    Rockwell-Bold                          507.4
+     l_____    Rockwell-BoldItalic                    507.5
+     l_____    Rockwell-ExtraBold                     507.6
+     l_____    Rockwell-Condensed                     507.7
+     l_____    Rockwell-BoldCondensed                 507.8
+     l_____    RomanScriptEF                          508.0
+     l_____    RomanScriptEF-Alternate                508.1
+     l_____    Rosewood-Fill                          509.0
+     l_____    Rosewood-Regular                       509.1
+     l_____    Rotation-Roman                         510.0
+     l_____    Rotation-Italic                        510.1
+     l_____    Rotation-Bold                          510.2
+     l_____    Roundy-Roman                           511.0
+     l_____    Roundy-Swash                           511.1
+     l_____    RulingScript                           512.0
+     l_____    RulingScript-Addition                  512.1
+     l_____    RussellSquare                          513.0
+     l_____    RussellSquare-Oblique                  513.1
+     l_____    Sabon-Roman                            514.0
+     l_____    Sabon-RomanSC                          514.1
+     l_____    Sabon-RomanOsF                         514.2
+     l_____    Sabon-Italic                           514.3
+     l_____    Sabon-ItalicOsF                        514.4
+     l_____    Sabon-Bold                             514.5
+     l_____    Sabon-BoldOsF                          514.6
+     l_____    Sabon-BoldItalic                       514.7
+     l_____    Sabon-BoldItalicOsF                    514.8
+     l_____    Sassafras-Roman                        517.0
+     l_____    Sassafras-SxRoman                      517.1
+     l_____    Sassafras-LxRoman                      517.2
+     l_____    Sassafras-LxItalic                     517.3
+     l_____    Sassafras-SxItalic                     517.4
+     l_____    Sassafras-Italic                       517.5
+     l_____    StempelSchneidler-Light                518.0
+     l_____    StempelSchneidler-LightItalic          518.1
+     l_____    StempelSchneidler-Roman                518.2
+     l_____    StempelSchneidler-Italic               518.3
+     l_____    StempelSchneidler-Medium               518.4
+     l_____    StempelSchneidler-MedItalic            518.5
+     l_____    StempelSchneidler-Bold                 518.6
+     l_____    StempelSchneidler-BoldItalic           518.7
+     l_____    StempelSchneidler-Black                518.8
+     l_____    StempelSchneidler-BlackItalic          518.9
+     l_____    SchneidlerEF-Light                     518.10
+     l_____    SchneidlerEF-AmaltheaLight             518.11
+     l_____    SchneidlerEF-Roman                     518.12
+     l_____    SchneidlerEF-AmaltheaRoman             518.13
+     l_____    SchneidlerEF-Medium                    518.14
+     l_____    SchneidlerEF-AmaltheaMedium            518.15
+     l_____    SchneidlerEF-Bold                      518.16
+     l_____    SchneidlerEF-AmaltheaBold              518.17
+     l_____    SchneidlerEF-Black                     518.18
+     l_____    SchneidlerEF-AmaltheaBlack             518.19
+     l_____    SchreibmaschineEF-Regular              519.0
+     l_____    Serpentine-Light                       520.0
+     l_____    Serpentine-LightOblique                520.1
+     l_____    Serpentine-Medium                      520.2
+     l_____    Serpentine-MediumOblique               520.3
+     l_____    Serpentine-Bold                        520.4
+     l_____    Serpentine-BoldOblique                 520.5
+     l_____    SerpentineEF-Bold                      520.6
+     l_____    SerpentineEF-BoldItalic                520.7
+     l_____    VarioEF-Regular                        522.0
+     l_____    VarioEF-RegularItalic                  522.1
+     l_____    VectoraLH-Light                        523.0
+     l_____    VectoraLH-LightItalic                  523.1
+     l_____    VectoraLH-Roman                        523.2
+     l_____    VectoraLH-Italic                       523.3
+     l_____    VectoraLH-Bold                         523.4
+     l_____    VectoraLH-BoldItalic                   523.5
+     l_____    VectoraLH-Black                        523.6
+     l_____    VectoraLH-BlackItalic                  523.7
+     l_____    VegasEF                                524.0
+     l_____    Versailles-Light                       526.0
+     l_____    Versailles-LightItalic                 526.1
+     l_____    Versailles-Roman                       526.2
+     l_____    Versailles-Italic                      526.3
+     l_____    Versailles-Bold                        526.4
+     l_____    Versailles-BoldItalic                  526.5
+     l_____    Versailles-Black                       526.6
+     l_____    Versailles-BlackItalic                 526.7
+     l_____    Visigoth                               527.0
+     l_____    VladimirScriptEF                       528.0
+     l_____    Westside                               530.0
+     l_____    WiesbadenSwing-Roman                   531.0
+     l_____    Willow                                 532.0
+     l_____    WittenbergerFrakturMT                  533.0
+     l_____    WittenbergerFrakturMT-Dfr              533.1
+     l_____    WittenbergerFrakturMT-Bd               533.2
+     l_____    WittenbergerFrakturMT-BdDfr            533.3
+     l_____    Zebrawood-Fill                         534.0
+     l_____    Zebrawood-Regular                      534.1
+     l_____    AgrafieLL                              535.0
+     l_____    AlbertusMT-Light                       536.0
+     l_____    AlbertusMT-Roman                       536.1
+     l_____    AlbertusMT-Italic                      536.2
+     l_____    Alexa                                  537.0
+     l_____    AlgerianEF                             538.0
+     l_____    Amigo                                  540.0
+     l_____    AngroEF-Light                          541.0
+     l_____    AngroEF-Bold                           541.1
+     l_____    AnzeigenGroteskEF                      542.0
+     l_____    ArsisEF-Regular                        543.0
+     l_____    ArsisEF-RegularItalic                  543.1
+     l_____    AugusteaOpenEF                         544.0
+     l_____    Avenir-Light                           545.0
+     l_____    Avenir-LightOblique                    545.1
+     l_____    Avenir-Book                            545.2
+     l_____    Avenir-BookOblique                     545.3
+     l_____    Avenir-Roman                           545.4
+     l_____    Avenir-Oblique                         545.5
+     l_____    Avenir-Medium                          545.6
+     l_____    Avenir-MediumOblique                   545.7
+     l_____    Avenir-Heavy                           545.8
+     l_____    Avenir-HeavyOblique                    545.9
+     l_____    Avenir-Black                           545.10
+     l_____    Avenir-BlackOblique                    545.11
+     l_____    BakerSignet                            546.0
+     l_____    Balzano                                547.0
+     l_____    Barmeno-Regular                        548.0
+     l_____    Barmeno-Medium                         548.1
+     l_____    Barmeno-Bold                           548.2
+     l_____    Barmeno-ExtraBold                      548.3
+     l_____    BellCentennial-Address                 549.0
+     l_____    BellCentennial-SubCaption              549.1
+     l_____    BellCentennial-NameAndNumber           549.2
+     l_____    BellCentennial-BoldListing             549.3
+     l_____    BellCentennial-BoldListingAlt          549.4
+     l_____    City-Light                             550.0
+     l_____    City-LightItalic                       550.1
+     l_____    City-Medium                            550.2
+     l_____    City-MediumItalic                      550.3
+     l_____    City-Bold                              550.4
+     l_____    City-BoldItalic                        550.5
+     lpi___    BorderPi-OneFiveOneFiveNine            551.0
+     l_____    BroadwayEF                             552.2
+     l_____    BroadwayEF-Engraved                    552.3
+     l_____    Caliban                                553.0
+     l_____    CarouselEF                             554.0
+     l_____    Century-Light                          555.0
+     l_____    Century-LightItalic                    555.1
+     l_____    Century-Book                           555.2
+     l_____    Century-BookItalic                     555.3
+     l_____    Century-Bold                           555.4
+     l_____    Century-BoldItalic                     555.5
+     l_____    Century-Ultra                          555.6
+     l_____    Century-UltraItalic                    555.7
+     l_____    Century-LightCondensed                 555.8
+     l_____    Century-LightCondensedItalic           555.9
+     l_____    Century-BookCondensed                  555.10
+     l_____    Century-BookCondensedItalic            555.11
+     l_____    Century-BoldCondensed                  555.12
+     l_____    Century-BoldCondensedItalic            555.13
+     l_____    Century-UltraCondensed                 555.14
+     l_____    Century-UltraCondensedItalic           555.15
+     l_____    CenturyEF-Light                        555.16
+     l_____    CenturyEF-LightItalic                  555.17
+     l_____    CenturyEF-Book                         555.18
+     l_____    CenturyEF-BookItalic                   555.19
+     l_____    CenturyEF-Bold                         555.20
+     l_____    CenturyEF-BoldItalic                   555.21
+     l_____    CenturyEF-Ultra                        555.22
+     l_____    CenturyEF-UltraItalic                  555.23
+     l_____    CenturyHandtEF-Bold                    555.24
+     l_____    CenturyHandtEF-BoldItalic              555.25
+     l_____    CenturyEF-LightCondensed               555.26
+     l_____    CenturyEF-LightCondensedItalic         555.27
+     l_____    CenturyEF-BookCondensed                555.28
+     l_____    CenturyEF-BookCondensedItalic          555.29
+     l_____    CenturyEF-BoldCondensed                555.30
+     l_____    CenturyEF-BoldCondensedItalic          555.31
+     l_____    CenturyEF-UltraCondensed               555.32
+     l_____    CenturyEF-UltraCondensedItalic         555.33
+     l_____    CenturyExpanded                        555.34
+     l_____    CenturyExpanded-Italic                 555.35
+     l_____    CenturyExpandedEF-Regular              555.36
+     l_____    CenturyExpandedEF-RegularItalic        555.37
+     l_____    CenturyOldStyle-Regular                555.38
+     l_____    CenturyOldStyle-Italic                 555.39
+     l_____    CenturyOldStyle-Bold                   555.40
+     l_____    CenturyOldStyleEF-Regular              555.41
+     l_____    CenturyOldStyleEF-RegularItalic        555.42
+     l_____    CenturyOldStyleEF-Bold                 555.43
+     l_____    NewCenturySchlbk-Roman                 555.44
+     l_____    NewCenturySchlbk-Italic                555.45
+     l_____    NewCenturySchlbk-Bold                  555.46
+     l_____    NewCenturySchlbk-BoldItalic            555.47
+     l_____    NewCenturySchlbkCE-Roman               555.50
+     l_____    NewCenturySchlbkCE-Italic              555.51
+     l_____    NewCenturySchlbkCE-Bold                555.52
+     l_____    NewCenturySchlbkCE-BoldItalic          555.53
+     l_____    NewCenturySchlbkGreek-Upright          555.54
+     l_____    NewCenturySchlbkGreek-Inclined         555.55
+     l_____    NewCenturySchlbkGreek-Bold             555.56
+     l_____    NewCenturySchlbkGreekP-Upright         555.57
+     l_____    NewCenturySchlbkGreekP-Inclined        555.58
+     l_____    NewCenturySchlbkGreekP-Bold            555.59
+     l_____    CenturySchoolbookEF-Reg                555.60
+     l_____    CenturySchoolbookEF-RegIta             555.61
+     l_____    CenturySchoolbookEF-Bol                555.62
+     l_____    CenturySchoolbookEF-BolIta             555.63
+     l_____    ChesterfieldEF                         556.0
+     l_____    Choc-Roman                             557.0
+     l_____    ChromiumOneEF                          558.0
+     l_____    Clarendon-Light                        559.0
+     l_____    Clarendon                              559.1
+     l_____    Clarendon-Bold                         559.2
+     l_____    ClarendonEF-Light                      559.3
+     l_____    ClarendonEF-Medium                     559.4
+     l_____    ClarendonEF-Bold                       559.5
+     l_____    ClarendonEF-ExtraBold                  559.6
+     l_____    ClarendonEF-BoldExpanded               559.7
+     l_____    Colossalis-Regular                     560.0
+     l_____    Colossalis-Medium                      560.1
+     l_____    Colossalis-Bold                        560.2
+     l_____    Colossalis-Black                       560.3
+     l_____    CompactaEF-Light                       561.0
+     l_____    CompactaEF-Regular                     561.1
+     l_____    CompactaEF-RegularItalic               561.2
+     l_____    CompactaEF-Bold                        561.3
+     l_____    CompactaEF-BoldItalic                  561.4
+     l_____    CompactaEF-Black                       561.5
+     l_____    CompactaEF-RegularOutline              561.6
+     l_____    CompactaEF-BoldOutline                 561.7
+     l_____    ConferenceEF                           562.0
+     l_____    Copperplate-TwentyNineBC               563.0
+     l_____    Copperplate-ThirtyBC                   563.1
+     l_____    Copperplate-ThirtyTwoBC                563.2
+     l_____    Copperplate-ThirtyOneBC                563.3
+     l_____    Copperplate-ThrityThreeBC              563.4
+     l_____    Copperplate-TwentyNineAB               563.5
+     l_____    Copperplate-ThirtyAB                   563.6
+     l_____    Copperplate-ThirtyTwoAB                563.7
+     l_____    Copperplate-ThirtyOneAB                563.8
+     l_____    CopperplateEF-Medium                   563.10
+     l_____    CopperplateEF-Bold                     563.11
+     l_____    CopperplateEF-LightCondensed           563.12
+     l_____    CopperplateEF-MediumCondensed          563.13
+     l_____    CopperplateEF-BoldCondensed            563.14
+     l_____    CopperplateEF-Light                    563.9
+     l_____    Cottonwood                             564.0
+     l_____    CrilleeEF-LightItalic                  565.0
+     l_____    CrilleeEF-Italic                       565.1
+     l_____    CrilleeEF-BoldItalic                   565.2
+     l_____    CrilleeEF-ExtraBoldItalic              565.3
+     l_____    DINMittelschrift                       566.0
+     l_____    DINMittelschrift-Alternate             566.1
+     l_____    DINEngschrift                          566.2
+     l_____    DINEngschrift-Alternate                566.3
+     l_____    DIN1451EF-MittelNeu                    566.4
+     l_____    DIN1451EF-MittelAlt                    566.5
+     l_____    DIN1451EF-EngNeu                       566.6
+     l_____    DIN1451EF-EngAlt                       566.7
+     l_____    DINNeuzeitGrotesk-Light                566.8
+     l_____    DINNeuzeitGrotesk-BoldCond             566.9
+     l_____    DalcoraHE                              567.0
+     lpi___    DecoNumbersLH-Circle                   568.0
+     lpi___    DecoNumbersLH-OCRA                     568.1
+     lpi___    DecoNumbersLH-Serlio                   568.2
+     lpi___    DecoNumbersLH-Square                   568.3
+     lpi___    DecoNumbersLH-Triangle                 568.4
+     l_____    DemosEF-Medium                         569.0
+     l_____    DemosEF-MediumSC                       569.1
+     l_____    DemosEF-MediumItalic                   569.2
+     l_____    DemosEF-SemiBold                       569.3
+     l_____    DextorEF                               570.0
+     l_____    Diotima-Roman                          571.0
+     l_____    Diotima-RomanSC                        571.1
+     l_____    Diotima-RomanOsF                       571.2
+     l_____    Diotima-Italic                         571.3
+     l_____    Diotima-ItalicOsF                      571.4
+     l_____    DucDeBerry                             572.0
+     l_____    DucDeBerry-Dfr                         572.1
+     l_____    EinhornEF                              573.0
+     l_____    EngraversLH-BoldFace                   574.0
+     l_____    EngraversEF-Roman                      574.1
+     l_____    EngraversEF-Bold                       574.2
+     l_____    GaladrielEF                            578.0
+     l_____    StempelGaramond-Roman                  579.0
+     l_____    StempelGaramond-RomanSC                579.1
+     l_____    StempelGaramond-RomanOsF               579.2
+     l_____    StempelGaramond-Italic                 579.3
+     l_____    StempelGaramond-ItalicOsF              579.4
+     l_____    StempelGaramond-Bold                   579.5
+     l_____    StempelGaramond-BoldOsF                579.6
+     l_____    StempelGaramond-BoldItalic             579.7
+     l_____    StempelGaramond-BoldItalicOsF          579.8
+     l_____    StempelGaramondCE-Roman                579.9
+     l_____    StempelGaramondCE-Italic               579.10
+     l_____    StempelGaramondCE-Bold                 579.11
+     l_____    StempelGaramondCE-BoldItalic           579.12
+     l_____    StempelGaramondEastA-Roman             579.13
+     l_____    StempelGaramondEastA-Italic            579.14
+     l_____    StempelGaramondEastA-Bold              579.15
+     l_____    StempelGaramondEastA-BoldItalic        579.16
+     l_____    AGaramond-Regular                      579.17
+     l_____    AGaramondAlt-Regular                   579.18
+     l_____    AGaramond-RegularSC                    579.19
+     l_____    AGaramondExp-Regular                   579.20
+     l_____    AGaramond-Italic                       579.21
+     l_____    AGaramondAlt-Italic                    579.22
+     l_____    AGaramond-ItalicOsF                    579.23
+     l_____    AGaramondExp-Italic                    579.24
+     l_____    AGaramond-Semibold                     579.25
+     l_____    AGaramond-SemiboldSC                   579.26
+     l_____    AGaramondExp-Semibold                  579.27
+     l_____    AGaramond-SemiboldItalic               579.28
+     l_____    AGaramond-SemiboldItalicOsF            579.29
+     l_____    AGaramondExp-SemiboldItalic            579.30
+     l_____    AGaramond-Bold                         579.31
+     l_____    AGaramond-BoldOsF                      579.32
+     l_____    AGaramondExp-Bold                      579.33
+     l_____    AGaramond-BoldItalic                   579.34
+     l_____    AGaramond-BoldItalicOsF                579.35
+     l_____    AGaramondExp-BoldItalic                579.36
+     l_____    AGaramond-Titling                      579.37
+     l_____    GaramondBE-Regular                     579.38
+     l_____    GaramondBE-RegularSC                   579.39
+     l_____    GaramondBE-RegularExpert               579.40
+     l_____    GaramondBE-Italic                      579.41
+     l_____    GaramondBE-ItalicOsF                   579.42
+     l_____    GaramondBE-ItalicExpert                579.43
+     l_____    GaramondBE-Medium                      579.44
+     l_____    GaramondBE-MediumSC                    579.45
+     l_____    GaramondBE-MediumExpert                579.46
+     l_____    GaramondBE-MediumItalic                579.47
+     l_____    GaramondBE-MediumItalicOsF             579.48
+     l_____    GaramondBE-MediumItalicExpert          579.49
+     l_____    GaramondBE-Bold                        579.50
+     l_____    GaramondBE-BoldOsF                     579.51
+     l_____    GaramondBE-BoldExpert                  579.52
+     l_____    GaramondBE-Condensed                   579.53
+     l_____    GaramondBE-CondensedSC                 579.54
+     l_____    GaramondBE-CnExpert                    579.55
+     l_____    GaramondBE-MediumCn                    579.56
+     l_____    GaramondBE-MediumCnOsF                 579.57
+     l_____    GaramondBE-MediumCnExpert              579.58
+     l_____    GaramondBE-SwashItalic                 579.59
+     l_____    Garamond-Light                         579.60
+     l_____    Garamond-LightItalic                   579.61
+     l_____    Garamond-Book                          579.62
+     l_____    Garamond-BookItalic                    579.63
+     l_____    Garamond-Bold                          579.64
+     l_____    Garamond-BoldItalic                    579.65
+     l_____    Garamond-Ultra                         579.66
+     l_____    Garamond-UltraItalic                   579.67
+     l_____    Garamond-LightCondensed                579.68
+     l_____    Garamond-LightCondensedItalic          579.69
+     l_____    Garamond-BookCondensed                 579.70
+     l_____    Garamond-BookCondensedItalic           579.71
+     l_____    Garamond-BoldCondensed                 579.72
+     l_____    Garamond-BoldCondensedItalic           579.73
+     l_____    Garamond-UltraCondensed                579.74
+     l_____    Garamond-UltraCondensedItalic          579.75
+     l_____    GaramondEF-Light                       579.76
+     l_____    GaramondEF-LightItalic                 579.77
+     l_____    GaramondEF-Book                        579.78
+     l_____    GaramondEF-BookItalic                  579.79
+     l_____    GaramondEF-Bold                        579.80
+     l_____    GaramondEF-BoldItalic                  579.81
+     l_____    GaramondEF-Ultra                       579.82
+     l_____    GaramondEF-UltraItalic                 579.83
+     l_____    GaramondHandtEF-Bold                   579.84
+     l_____    GaramondHandtEF-BoldItalic             579.85
+     l_____    GaramondEF-LightCondensed              579.86
+     l_____    GaramondEF-LightCondensedItalic        579.87
+     l_____    GaramondEF-BookCondensed               579.88
+     l_____    GaramondEF-BookCondensedItalic         579.89
+     l_____    GaramondEF-BoldCondensed               579.90
+     l_____    GaramondEF-BoldCondensedItalic         579.91
+     l_____    GaramondEF-UltraCondensed              579.92
+     l_____    GaramondEF-UltraCondensedItalic        579.93
+     l_____    SimonciniGaramond                      579.94
+     l_____    SimonciniGaramond-Italic               579.95
+     l_____    SimonciniGaramond-Bold                 579.96
+     l_____    GaramondThree                          579.97
+     l_____    GaramondThree-SC                       579.98
+     l_____    GaramondThree-Italic                   579.99
+     l_____    GaramondThree-ItalicOsF                579.100
+     l_____    GaramondThree-Bold                     579.101
+     l_____    GaramondThree-BoldSC                   579.102
+     l_____    GaramondThree-BoldItalic               579.103
+     l_____    GaramondThree-BoldItalicOsF            579.104
+     l_____    GaramondNo5EF-Light                    579.105
+     l_____    GaramondNo5EF-LightItalic              579.106
+     l_____    GaramondNo5EF-Bold                     579.107
+     l_____    Giddyup                                580.0
+     l_____    GlaserStencilEF                        581.0
+     l_____    Grace                                  582.0
+     l_____    GrafiloneLL-Light                      583.0
+     l_____    GrafiloneLL-SemiBold                   583.1
+     l_____    GrafiloneLL-Bold                       583.2
+     l_____    HaMangaIrregularLL-Regular             584.0
+     l_____    HaMangaIrregularLL-Italic              584.1
+     l_____    HaMangaIrregularPicturesLL             584.2
+     l_____    HandelGothicEF-Light                   585.0
+     l_____    HandelGothicEF-Medium                  585.1
+     l_____    HandelGothicEF-Bold                    585.2
+     l_____    Herculanum                             586.0
+     l_____    HoTomLL-Regular                        587.0
+     l_____    HollanderEF-Regular                    588.0
+     l_____    HollanderSCEF-Regular                  588.1
+     l_____    HollanderEF-RegularItalic              588.2
+     l_____    HollanderEF-Bold                       588.3
+     l_____    HorndonEF                              589.0
+     l_____    BarcelonaEF-Book                       591.0
+     l_____    BarcelonaEF-BookItalic                 591.1
+     l_____    BarcelonaEF-Medium                     591.2
+     l_____    BarcelonaEF-MediumItalic               591.3
+     l_____    BarcelonaEF-Bold                       591.4
+     l_____    BarcelonaEF-BoldItalic                 591.5
+     l_____    BarcelonaEF-Heavy                      591.6
+     l_____    BarcelonaEF-HeavyItalic                591.7
+     l_____    Bookman-Light                          592.0
+     l_____    Bookman-LightItalic                    592.1
+     l_____    Bookman-Medium                         592.2
+     l_____    Bookman-MediumItalic                   592.3
+     l_____    Bookman-Demi                           592.4
+     l_____    Bookman-DemiItalic                     592.5
+     l_____    Bookman-Bold                           592.6
+     l_____    Bookman-BoldItalic                     592.7
+     l_____    BookmanCE-Light                        592.8
+     l_____    BookmanCE-LightItalic                  592.9
+     l_____    BookmanCE-Demi                         592.10
+     l_____    BookmanCE-DemiItalic                   592.11
+     l_____    BookmanEF-Light                        592.12
+     l_____    BookmanEF-LightItalic                  592.13
+     l_____    BookmanEF-Medium                       592.14
+     l_____    BookmanEF-MediumItalic                 592.15
+     l_____    BookmanEF-Demi                         592.16
+     l_____    BookmanEF-DemiItalic                   592.17
+     l_____    BookmanEF-Bold                         592.18
+     l_____    BookmanEF-BoldItalic                   592.19
+     l_____    GammaEF-Book                           593.0
+     l_____    GammaSCEF-Book                         593.1
+     l_____    GammaEF-BookItalic                     593.2
+     l_____    GammaEF-Medium                         593.3
+     l_____    GammaSCEF-Medium                       593.4
+     l_____    GammaEF-MediumItalic                   593.5
+     l_____    GammaEF-Bold                           593.6
+     l_____    GammaEF-BoldItalic                     593.7
+     l_____    GammaEF-Black                          593.8
+     l_____    GammaEF-BlackItalic                    593.9
+     l_____    Italia-Book                            594.0
+     l_____    Italia-Medium                          594.1
+     l_____    Italia-Bold                            594.2
+     l_____    ItaliaEF-Book                          594.3
+     l_____    ItaliaEF-Medium                        594.4
+     l_____    ItaliaEF-Bold                          594.5
+     l_____    ItaliaEF-Condense                      594.6
+     l_____    MendozaRoman-Book                      595.0
+     l_____    MendozaRoman-BookItalic                595.1
+     l_____    MendozaRoman-Medium                    595.2
+     l_____    MendozaRoman-MediumItalic              595.3
+     l_____    MendozaRoman-Bold                      595.4
+     l_____    MendozaRoman-BoldItalic                595.5
+     l_____    MendozaRomanEF-Book                    595.6
+     l_____    MendozaRomanEF-BookSC                  595.7
+     l_____    MendozaRomanEF-BookItalic              595.8
+     l_____    MendozaRomanEF-Medium                  595.9
+     l_____    MendozaRomanEF-MediumSC                595.10
+     l_____    MendozaRomanEF-MediumItalic            595.11
+     l_____    MendozaRomanEF-Bold                    595.12
+     l_____    MendozaRomanEF-BoldItalic              595.13
+     l_____    OfficinaSans-Book                      596.0
+     l_____    OfficinaSans-BookItalic                596.1
+     l_____    OfficinaSans-Bold                      596.2
+     l_____    OfficinaSans-BoldItalic                596.3
+     l_____    OfficinaSerif-Book                     596.4
+     l_____    OfficinaSerif-BookItalic               596.5
+     l_____    OfficinaSerif-Bold                     596.6
+     l_____    OfficinaSerif-BoldItalic               596.7
+     l_____    OfficinaSansEF-Book                    596.8
+     l_____    OfficinaSansEF-BookItalic              596.9
+     l_____    OfficinaSansEF-Bold                    596.10
+     l_____    OfficinaSansEF-BoldItalic              596.11
+     l_____    OfficinaSerifEF-Book                   596.12
+     l_____    OfficinaSerifEF-BookItalic             596.13
+     l_____    OfficinaSerifEF-Bold                   596.14
+     l_____    OfficinaSerifEF-BoldItalic             596.15
+     l_____    StoneInformal                          597.0
+     l_____    StoneInformal-Italic                   597.1
+     l_____    StoneInformal-SemiBold                 597.2
+     l_____    StoneInformal-SemiBoldItalic           597.3
+     l_____    StoneInformal-Bold                     597.4
+     l_____    StoneInformal-BoldItalic               597.5
+     l_____    StoneSans                              597.6
+     l_____    StoneSans-Italic                       597.7
+     l_____    StoneSans-SemiBold                     597.8
+     l_____    StoneSans-SemiBoldItalic               597.9
+     l_____    StoneSans-Bold                         597.10
+     l_____    StoneSans-BoldItalic                   597.11
+     l_____    StoneSerif                             597.12
+     l_____    StoneSerif-Italic                      597.13
+     l_____    StoneSerif-SemiBold                    597.14
+     l_____    StoneSerif-SemiBoldItalic              597.15
+     l_____    StoneSerif-Bold                        597.16
+     l_____    StoneSerif-BoldItalic                  597.17
+     l_____    StoneSans-PhoneticIPA                  597.18
+     l_____    StoneSans-PhoneticAlternate            597.19
+     l_____    StoneSerif-PhoneticIPA                 597.20
+     l_____    StoneSerif-PhoneticAlternate           597.21
+     l_____    StoneInformalEF-Medium                 597.22
+     l_____    StoneInformalEF-MediumSC               597.23
+     l_____    StoneInformalEF-MediumItalic           597.24
+     l_____    StoneInformalEF-SemiBold               597.25
+     l_____    StoneInformalEF-SemiBoldSC             597.26
+     l_____    StoneInformalEF-SemiBoldItalic         597.27
+     l_____    StoneInformalEF-Bold                   597.28
+     l_____    StoneInformalEF-BoldItalic             597.29
+     l_____    StoneSansEF-Medium                     597.30
+     l_____    StoneSansEF-MediumSC                   597.31
+     l_____    StoneSansEF-MediumItalic               597.32
+     l_____    StoneSansEF-SemiBold                   597.33
+     l_____    StoneSansEF-SemiBoldSC                 597.34
+     l_____    StoneSansEF-SemiBoldItalic             597.35
+     l_____    StoneSansEF-Bold                       597.36
+     l_____    StoneSansEF-BoldItalic                 597.37
+     l_____    StoneSerifEF-Medium                    597.38
+     l_____    StoneSerifEF-MediumSC                  597.39
+     l_____    StoneSerifEF-MediumItalic              597.40
+     l_____    StoneSerifEF-SemiBold                  597.41
+     l_____    StoneSerifEF-SemiBoldSC                597.42
+     l_____    StoneSerifEF-SemiBoldItalic            597.43
+     l_____    StoneSerifEF-Bold                      597.44
+     l_____    StoneSerifEF-BoldItalic                597.45
+     l_____    StoneSansEF-MediumPhonetic             597.46
+     l_____    StoneSansEF-MediumPhoneticPlus         597.47
+     l_____    StoneSerifEF-MediumPhonetic            597.48
+     l_____    StoneSerifEF-MediumPhoneticPlus        597.49
+     l_____    Usherwood-Book                         598.0
+     l_____    Usherwood-BookItalic                   598.1
+     l_____    Usherwood-Medium                       598.2
+     l_____    Usherwood-MediumItalic                 598.3
+     l_____    Usherwood-Bold                         598.4
+     l_____    Usherwood-BoldItalic                   598.5
+     l_____    Usherwood-Black                        598.6
+     l_____    Usherwood-BlackItalic                  598.7
+     l_____    UsherwoodEF-Book                       598.8
+     l_____    UsherwoodEF-BookItalic                 598.9
+     l_____    UsherwoodEF-Medium                     598.10
+     l_____    UsherwoodEF-MediumItalic               598.11
+     l_____    UsherwoodEF-Bold                       598.12
+     l_____    UsherwoodEF-BoldItalic                 598.13
+     l_____    UsherwoodEF-Black                      598.14
+     l_____    UsherwoodEF-BlackItalic                598.15
+     l_____    Impact                                 600.0
+     l_____    ImprimeurClassiqueEF-Reg               601.0
+     l_____    ImprimeurClassiqueEF-Obl               601.1
+     l_____    ImprimeurNouveauEF-Reg                 601.2
+     l_____    ImprimeurNouveauEF-Obl                 601.3
+     l_____    Insignia                               602.0
+     l_____    Insignia-A                             602.1
+     l_____    JansonText-Roman                       603.0
+     l_____    JansonText-RomanSC                     603.1
+     l_____    JansonText-Italic                      603.2
+     l_____    JansonText-ItalicOsF                   603.3
+     l_____    JansonText-Bold                        603.4
+     l_____    JansonText-BoldOsF                     603.5
+     l_____    JansonText-BoldItalic                  603.6
+     l_____    JansonText-BoldItalicOsF               603.7
+     l_____    Kabel-Light                            604.0
+     l_____    Kabel-Book                             604.1
+     l_____    Kabel-Heavy                            604.2
+     l_____    Kabel-Black                            604.3
+     l_____    ItcKabel-Book                          604.4
+     l_____    ItcKabel-Medium                        604.5
+     l_____    ItcKabel-Demi                          604.6
+     l_____    ItcKabel-Bold                          604.7
+     l_____    ItcKabel-Ultra                         604.8
+     l_____    ItcKabelEF-Book                        604.9
+     l_____    ItcKabelEF-Medium                      604.10
+     l_____    ItcKabelEF-Demi                        604.11
+     l_____    ItcKabelEF-Bold                        604.12
+     l_____    ItcKabelEF-Ultra                       604.13
+     l_____    KapitelliaEF-Bold                      605.0
+     l_____    KlangMT                                606.0
+     l_____    KolossEF                               607.0
+     l_____    LCDEF                                  608.0
+     l_____    LinoLetter-Roman                       610.0
+     l_____    LinoLetter-RomanSC                     610.1
+     l_____    LinoLetter-RomanOsF                    610.2
+     l_____    LinoLetter-Italic                      610.3
+     l_____    LinoLetter-ItalicOsF                   610.4
+     l_____    LinoLetter-Medium                      610.5
+     l_____    LinoLetter-MediumSC                    610.6
+     l_____    LinoLetter-MediumOsF                   610.7
+     l_____    LinoLetter-MediumItalic                610.8
+     l_____    LinoLetter-MediumItalicOsF             610.9
+     l_____    LinoLetter-Bold                        610.10
+     l_____    LinoLetter-BoldSC                      610.11
+     l_____    LinoLetter-BoldOsF                     610.12
+     l_____    LinoLetter-BoldItalic                  610.13
+     l_____    LinoLetter-BoldItalicOsF               610.14
+     l_____    LinoLetter-Black                       610.15
+     l_____    LinoLetter-BlackSC                     610.16
+     l_____    LinoLetter-BlackOsF                    610.17
+     l_____    LinoLetter-BlackItalic                 610.18
+     l_____    LinoLetter-BlackItalicOsF              610.19
+     l_____    TechnicalLH-PiOne                      612.0
+     l_____    TechnicalLH-PiTwo                      612.1
+     l_____    MagnaEF-Light                          613.0
+     l_____    MagnaEF-Italic                         613.1
+     l_____    MagnaEF-Bold                           613.2
+     l_____    MateoRomanLL                           614.0
+     l_____    MateoBoldLL                            614.1
+     l_____    MateoBoldOutlineLL                     614.2
+     l_____    Memphis-Light                          615.0
+     l_____    Memphis-LightItalic                    615.1
+     l_____    Memphis-Medium                         615.2
+     l_____    Memphis-MediumItalic                   615.3
+     l_____    Memphis-Bold                           615.4
+     l_____    Memphis-BoldItalic                     615.5
+     l_____    Memphis-ExtraBold                      615.6
+     l_____    MetroLite-Two                          616.0
+     l_____    MetroMedium-Two                        616.1
+     l_____    MetroBlack-Two                         616.2
+     l_____    Mistral                                617.0
+     l_____    Monotype Script-Bold                   618.0
+     l_____    Napoleon-BoldCondensed                 619.0
+     l_____    NeulandStar                            620.1
+     l_____    NewCaledonia                           621.0
+     l_____    NewCaledonia-RomanSC                   621.1
+     l_____    NewCaledonia-Italic                    621.2
+     l_____    NewCaledonia-ItalicOsF                 621.3
+     l_____    NewCaledonia-SemiBold                  621.4
+     l_____    NewCaledonia-SemiBoldItalic            621.5
+     l_____    NewCaledonia-Bold                      621.6
+     l_____    NewCaledonia-BoldSC                    621.7
+     l_____    NewCaledonia-BoldItalic                621.8
+     l_____    NewCaledonia-BoldItalicOsF             621.9
+     l_____    NewCaledonia-Black                     621.10
+     l_____    NewCaledonia-BlackItalic               621.11
+     l_____    NoweAtenyLL-Two                        622.0
+     l_____    OctopussEF                             623.0
+     l_____    OctopussEF-Shaded                      623.1
+     l_____    OldTown536EF                           624.0
+     l_____    Optima                                 625.0
+     l_____    Optima-Oblique                         625.1
+     l_____    Optima-Medium                          625.2
+     l_____    Optima-MediumOblique                   625.3
+     l_____    Optima-Demi                            625.4
+     l_____    Optima-DemiOblique                     625.5
+     l_____    Optima-Bold                            625.6
+     l_____    Optima-BoldOblique                     625.7
+     l_____    Optima-Black                           625.8
+     l_____    Optima-BlackOblique                    625.9
+     l_____    Optima-ExtraBlack                      625.10
+     l_____    Optima-ExtraBlackOblique               625.11
+     l_____    OptimaCE-Roman                         625.12
+     l_____    OptimaCE-Oblique                       625.13
+     l_____    OptimaCE-Bold                          625.14
+     l_____    OptimaCE-BoldOblique                   625.15
+     l_____    OptimaEastA-Roman                      625.16
+     l_____    OptimaEastA-RomanOblique               625.17
+     l_____    OptimaEastA-Bold                       625.18
+     l_____    OptimaEastA-BoldOblique                625.19
+     l_____    PaddingtonEF                           626.0
+     l_____    PaddingtonEF-Alternate                 626.1
+     l_____    PapyrusEF-Regular                      627.0
+     l_____    PapyrusEF-Alternates                   627.1
+     l_____    Peignot-Light                          628.0
+     l_____    Peignot-Demi                           628.1
+     l_____    Peignot-Bold                           628.2
+     l_____    PendryScriptEF-Regular                 629.0
+     l_____    PendryScriptEF-Alternates              629.1
+     l_____    PiccadillyEF                           630.0
+     l_____    Poplar                                 631.0
+     l_____    PumpEF-Light                           632.0
+     l_____    PumpEF-Medium                          632.1
+     l_____    PumpEF-Demi                            632.2
+     l_____    PumpEF-Bold                            632.3
+     l_____    PumpEF-Triline                         632.4
+     l_____    RailroadGothic                         633.0
+     l_____    RotisSansSerif-Light                   634.0
+     l_____    RotisSansSerif-LightItalic             634.1
+     l_____    RotisSansSerif                         634.2
+     l_____    RotisSansSerif-Italic                  634.3
+     l_____    RotisSansSerif-Bold                    634.4
+     l_____    RotisSansSerif-ExtraBold               634.5
+     l_____    RotisSerif                             634.6
+     l_____    RotisSerif-Italic                      634.7
+     l_____    RotisSerif-Bold                        634.8
+     l_____    RotisSemiSans-Light                    634.9
+     l_____    RotisSemiSans-LightItalic              634.10
+     l_____    RotisSemiSans                          634.11
+     l_____    RotisSemiSans-Italic                   634.12
+     l_____    RotisSemiSans-Bold                     634.13
+     l_____    RotisSemiSans-ExtraBold                634.14
+     l_____    RotisSemiSerif                         634.15
+     l_____    RotisSemiSerif-Bold                    634.16
+     l_____    RunicMT-Condensed                      635.0
+     l_____    SassoonPrimary                         636.0
+     l_____    SerlioLH                               637.0
+     l_____    ShelleyEF                              638.0
+     l_____    SierraEF-Regular                       639.0
+     l_____    SierraEF-RegularItalic                 639.1
+     l_____    SierraEF-Bold                          639.2
+     l_____    SierraEF-BoldItalic                    639.3
+     l_____    SlipstreamEF                           640.0
+     l_____    Souvenir-Light                         641.0
+     l_____    Souvenir-LightItalic                   641.1
+     l_____    Souvenir-Medium                        641.2
+     l_____    Souvenir-MediumItalic                  641.3
+     l_____    Souvenir-Demi                          641.4
+     l_____    Souvenir-DemiItalic                    641.5
+     l_____    Souvenir-Bold                          641.6
+     l_____    Souvenir-BoldItalic                    641.7
+     l_____    SouvenirGreek-Light                    641.8
+     l_____    SouvenirGreek-Demi                     641.9
+     l_____    SouvenirGreekP-Light                   641.10
+     l_____    SouvenirGreekP-Demi                    641.11
+     l_____    SouvenirEF-Light                       641.12
+     l_____    SouvenirEF-LightItalic                 641.13
+     l_____    SouvenirEF-Medium                      641.14
+     l_____    SouvenirEF-MediumItalic                641.15
+     l_____    SouvenirEF-Demi                        641.16
+     l_____    SouvenirEF-DemiItalic                  641.17
+     l_____    SouvenirEF-Bold                        641.18
+     l_____    SouvenirEF-BoldItalic                  641.19
+     l_____    SouvenirMonoEF-Light                   641.20
+     l_____    SouvenirMonoEF-LightItalic             641.21
+     l_____    SouvenirMonoEF-Bold                    641.22
+     l_____    SpringfieldEF                          642.0
+     l_____    StentorEF                              643.0
+     l_____    StymieEF-Light                         644.0
+     l_____    StymieEF-Medium                        644.1
+     l_____    StymieEF-Bold                          644.2
+     l_____    StymieEF-Black                         644.3
+     l_____    StymieEF-MediumCondensed               644.4
+     l_____    StymieEF-BoldCondensed                 644.5
+     l_____    SynchroEF                              645.0
+     l_____    SynchroEF-Alternate                    645.1
+     l_____    TeaChest                               646.0
+     l_____    Times-Roman                            648.0
+     l_____    Times-RomanSC                          648.1
+     l_____    Times-Italic                           648.2
+     l_____    Times-ItalicOsF                        648.3
+     l_____    Times-SemiBold                         648.4
+     l_____    Times-SemiBoldItalic                   648.5
+     l_____    Times-Bold                             648.6
+     l_____    Times-BoldSC                           648.7
+     l_____    Times-BoldItalic                       648.8
+     l_____    Times-BoldItalicOsF                    648.9
+     l_____    TimesTen-Roman                         648.10
+     l_____    TimesTen-RomanSC                       648.11
+     l_____    TimesTen-RomanOsF                      648.12
+     l_____    TimesTen-Italic                        648.13
+     l_____    TimesTen-ItalicOsF                     648.14
+     l_____    TimesTen-Bold                          648.15
+     l_____    TimesTen-BoldOsF                       648.16
+     l_____    TimesTen-BoldItalic                    648.17
+     l_____    TimesTen-BoldItalicOsF                 648.18
+     l_____    TimesEighteen-Roman                    648.19
+     l_____    TimesEighteen-Bold                     648.20
+     l_____    Times-ExtraBold                        648.21
+     l_____    TimesEuropa-Roman                      648.22
+     l_____    TimesEuropa-Italic                     648.23
+     l_____    TimesEuropa-Bold                       648.24
+     l_____    TimesEuropa-BoldItalic                 648.25
+     l_____    Times-PhoneticIPA                      648.26
+     l_____    Times-PhoneticAlternate                648.27
+     l_____    TimesCE-Roman                          648.28
+     l_____    TimesCE-Italic                         648.29
+     l_____    TimesCE-Bold                           648.30
+     l_____    TimesCE-BoldItalic                     648.31
+     l_____    TimesTenCE-Roman                       648.32
+     l_____    TimesTenCE-Italic                      648.33
+     l_____    TimesTenCE-Bold                        648.34
+     l_____    TimesTenCE-BoldItalic                  648.35
+     l_____    TimesTenCyr-Upright                    648.36
+     l_____    TimesTenCyr-Inclined                   648.37
+     l_____    TimesTenCyr-Bold                       648.38
+     l_____    TimesTenCyr-BoldInclined               648.39
+     l_____    TimesTenEastA-Roman                    648.40
+     l_____    TimesTenEastA-Italic                   648.41
+     l_____    TimesTenEastA-Bold                     648.42
+     l_____    TimesTenEastA-BoldItalic               648.43
+     l_____    TimesTenGreek-Upright                  648.44
+     l_____    TimesTenGreek-Inclined                 648.45
+     l_____    TimesTenGreek-Bold                     648.46
+     l_____    TimesTenGreek-BdInclined               648.47
+     l_____    TimesTenGreekP-Upright                 648.48
+     l_____    TimesTenGreekP-Inclined                648.49
+     l_____    TimesTenGreekP-Bold                    648.50
+     l_____    TimesTenGreekP-BoldInclined            648.51
+     l_____    TimesModernEF                          648.52
+     l_____    TimesNewRomanPS-Roman                  648.53
+     l_____    TimesNewRomanPS-Italic                 648.54
+     l_____    TimesNewRomanPS-Bold                   648.55
+     l_____    TimesNewRomanPS-BoldItalic             648.56
+     l_____    TimesNewRomanMT-Cond                   648.57
+     l_____    TimesNewRomanMT-CondItalic             648.58
+     l_____    TimesNewRomanMT-BoldCond               648.59
+     l_____    TradeGothic-Light                      649.0
+     l_____    TradeGothic-LightOblique               649.1
+     l_____    TradeGothic                            649.2
+     l_____    TradeGothic-Oblique                    649.3
+     l_____    TradeGothic-Bold                       649.4
+     l_____    TradeGothic-BoldTwo                    649.5
+     l_____    TradeGothic-BoldOblique                649.6
+     l_____    TradeGothic-BoldTwoOblique             649.7
+     l_____    TradeGothic-CondEighteen               649.8
+     l_____    TradeGothic-CondEighteenObl            649.9
+     l_____    TradeGothic-BoldCondTwenty             649.10
+     l_____    TradeGothic-BoldCondTwentyObl          649.11
+     l_____    TradeGothicLH-Extended                 649.12
+     l_____    Utopia-Regular                         651.0
+     l_____    Utopia-RegularSC                       651.1
+     l_____    UtopiaExp-Regular                      651.2
+     l_____    Utopia-Italic                          651.3
+     l_____    Utopia-ItalicOsF                       651.4
+     l_____    UtopiaExp-Italic                       651.5
+     l_____    Utopia-Semibold                        651.6
+     l_____    Utopia-SemiboldSC                      651.7
+     l_____    UtopiaExp-Semibold                     651.8
+     l_____    Utopia-SemiboldItalic                  651.9
+     l_____    Utopia-SemiboldItalicOsF               651.10
+     l_____    UtopiaExp-SemiboldItalic               651.11
+     l_____    Utopia-Bold                            651.12
+     l_____    Utopia-BoldOsF                         651.13
+     l_____    UtopiaExp-Bold                         651.14
+     l_____    Utopia-BoldItalic                      651.15
+     l_____    Utopia-BoldItalicOsF                   651.16
+     l_____    UtopiaExp-BoldItalic                   651.17
+     l_____    Utopia-Black                           651.18
+     l_____    Utopia-BlackOsF                        651.19
+     l_____    Utopia-BlackExpert                     651.20
+     l_____    Utopia-Headline                        651.21
+     l_____    Utopia-TitlingCapitals                 651.22
+     l_____    Utopia-Ornaments                       651.23
+     l_____    VenusMager                             652.0
+     l_____    VenusKursivMager                       652.1
+     l_____    VenusLinkskursiv                       652.2
+     l_____    VenusHalbfett                          652.3
+     l_____    VenusKursivHalbfett                    652.4
+     l_____    VenusEgypHalbfett                      652.5
+     l_____    VenusEgypHalbfettKurs                  652.6
+     l_____    VoltaEF-Regular                        653.0
+     l_____    VoltaEF-Medium                         653.1
+     l_____    VoltaEF-MediumItalic                   653.2
+     l_____    VoltaEF-Bold                           653.3
+     l_____    Weiss                                  654.0
+     l_____    Weiss-Italic                           654.1
+     l_____    Weiss-Bold                             654.2
+     l_____    Weiss-ExtraBold                        654.3
+     l_____    WeissAntiquaEF-Regular                 654.4
+     l_____    WeissAntiquaEF-RegularItalic           654.5
+     l_____    WeissAntiquaEF-Medium                  654.6
+     l_____    WeissAntiquaEF-Bold                    654.7
+     l_____    WeissAntiquaEF-ExtraBold               654.8
+     l_____    WeissAntiquaEF-UltraBold               654.9
+     l_____    WeissAntiquaEF-BoldCondensed           654.10
+     l_____    WeissAntiquaEF-ExtraBoldCondensed      654.11
+     l_____    Wilke-Roman                            655.0
+     l_____    Wilke-Italic                           655.1
+     l_____    Wilke-Bold                             655.2
+     l_____    Wilke-BoldItalic                       655.3
+     l_____    Wilke-Black                            655.4
+     l_____    Wilke-BlackItalic                      655.5
+     l_____    Woodstock                              656.0
+     l_____    Bellevue                               657.0
+     l_____    BinnerEF                               658.0
+     l_____    Boton-Light                            659.0
+     l_____    Boton-LightItalic                      659.1
+     l_____    Boton-Regular                          659.2
+     l_____    Boton-Italic                           659.3
+     l_____    Boton-Medium                           659.4
+     l_____    Boton-MediumItalic                     659.5
+     l_____    Boton-Bold                             659.6
+     l_____    Boton-BoldItalic                       659.7
+     l_____    AachenCE-Bold                         9501.0
+     l_____    AdHoc                                 9501.1
+     l_____    AdHoc-Bis                             9501.2
+     l_____    AdHoc-SC                              9501.3
+     l_____    AdHoc-BisItalic                       9501.4
+     l_____    AdHoc-Italic                          9501.5
+     l_____    LinotypeAmelia                        9501.8
+     l_____    Andreas                               9501.9
+     l_____    BaskervilleClassico                   9501.13
+     l_____    BaskervilleClassico-Italic            9501.14
+     l_____    BaskervilleClassico-BoldItalic        9501.15
+     l_____    BaskervilleClassico-SC                9501.16
+     l_____    BaskervilleClassico-Bold              9501.17
+     l_____    LinotypeBecket                        9501.18
+     l_____    Bernhard-BoldCondensed                9501.19
+     l_____    Birka                                 9501.20
+     l_____    Birka-SC                              9501.21
+     l_____    Birka-SemiBoldItalic                  9501.22
+     l_____    Birka-SemiBold                        9501.23
+     l_____    Birka-BoldItalic                      9501.24
+     l_____    Birka-Italic                          9501.25
+     l_____    Birka-Bold                            9501.26
+     l_____    LinotypeBlackWhiteHeadline            9501.27
+     l_____    LinotypeBlackWhiteOutline             9501.28
+     l_____    LinotypeBlackWhiteLaserOutline        9501.29
+     l_____    LinotypeBlackWhite                    9501.30
+     l_____    LinotypeBlackWhiteLaser               9501.31
+     l_____    BodoniHE-Light                        9501.32
+     l_____    BodoniHE-LightItalic                  9501.33
+     l_____    BodoniHE-SemiBold                     9501.34
+     l_____    BodoniHE-SemiBoldItalic               9501.35
+     l_____    BodoniHE-BookItalic                   9501.36
+     l_____    BodoniHE-Book                         9501.37
+     l_____    BodoniHE-Bold                         9501.38
+     l_____    BodoniHE-ExtraBold                    9501.39
+     l_____    BodoniHE-BoldItalic                   9501.40
+     l_____    BodoniHE-SemiBoldCondensedItalic      9501.41
+     l_____    BodoniHE-SemiBoldCondensed            9501.42
+     l_____    BodoniHE-BoldCondensedItalic          9501.43
+     l_____    BodoniHE-BoldCondensed                9501.44
+     l_____    BodoniHE-ExtraBoldItalic              9501.45
+     l_____    BodoniClassico                        9501.46
+     l_____    BodoniClassico-BoldItalic             9501.47
+     l_____    BodoniClassico-SC                     9501.48
+     l_____    BodoniClassico-Bold                   9501.49
+     l_____    BodoniClassico-Italic                 9501.50
+     l_____    Carniola                              9501.52
+     l_____    Carniola-Bold                         9501.53
+     l_____    Carniola-SemiBold                     9501.54
+     l_____    Carniola-SC                           9501.55
+     l_____    Carniola-SemiBoldItalic               9501.56
+     l_____    Carniola-BoldItalic                   9501.57
+     l_____    Carniola-Italic                       9501.58
+     l_____    CaslonHE-Light                        9501.59
+     l_____    CaslonHE-LightItalic                  9501.60
+     l_____    CaslonHE-Italic                       9501.61
+     l_____    CaslonHE-Roman                        9501.62
+     l_____    CaslonClassico                        9501.63
+     l_____    CaslonClassico-Bold                   9501.64
+     l_____    CaslonClassico-SC                     9501.65
+     l_____    CaslonClassico-BoldItalic             9501.66
+     l_____    CaslonClassico-Italic                 9501.67
+     l_____    Century-HandtooledBold                9501.68
+     l_____    Century-HandtooledBoldItalic          9501.69
+     l_____    NewCenturySchlbkCyr-Roman             9501.70
+     l_____    NewCenturySchlbkCyr-Bold              9501.71
+     l_____    NewCenturySchlbkCyr-Italic            9501.72
+     l_____    NewCenturySchlbkCyr-BoldItalic        9501.73
+     l_____    Cheltenham-HandtooledBd               9501.74
+     l_____    Cheltenham-HandtooledBdIt             9501.75
+     l_____    CloisterOpenFace                      9501.76
+     l_____    Linotype CMC-Seven                    9501.77
+     l_____    CooperBlackCE-Regualr                 9501.78
+     l_____    CooperBlackCE-Italic                  9501.79
+     l_____    CourierCyr                            9501.80
+     l_____    CourierCyr-Oblique                    9501.81
+     l_____    CourierCyr-BoldOblique                9501.82
+     l_____    CourierCyr-Bold                       9501.83
+     l_____    LinotypeDavida                        9501.84
+     l_____    Devin                                 9501.95
+     l_____    Devin-Bold                            9501.96
+     l_____    Devin-Italic                          9501.97
+     l_____    Devin-SemiBold                        9501.98
+     l_____    Devin-SC                              9501.99
+     l_____    Devin-SemiBoldItalic                  9501.100
+     l_____    Devin-BoldItalic                      9501.101
+     l_____    Dialog-Condensed                      9501.102
+     l_____    Dialog-SemiBoldSC                     9501.103
+     l_____    Dialog-LightSC                        9501.104
+     l_____    Dialog-ExtraBoldItalic                9501.105
+     l_____    Dialog-ExtraBold                      9501.106
+     l_____    Dialog-SemiBoldItalic                 9501.107
+     l_____    Dialog-SemiBold                       9501.108
+     l_____    Dialog-LightItalic                    9501.109
+     l_____    Dialog-Light                          9501.110
+     l_____    Dialog-SC                             9501.111
+     l_____    Dialog-BoldItalic                     9501.112
+     l_____    Dialog-Bold                           9501.113
+     l_____    Dialog-Italic                         9501.114
+     l_____    Dialog                                9501.115
+     l_____    DialogCond-Bold                       9501.116
+     l_____    DialogCond-Italic                     9501.117
+     l_____    DialogCond-BoldItalic                 9501.118
+     l_____    DialogCond-SemiBoldItalic             9501.119
+     l_____    DialogCond-SemiBold                   9501.120
+     l_____    DigiAntiqua-LightCondensed            9501.121
+     l_____    DigiGrotesk-BoldCondensed             9501.122
+     l_____    EmonaCond                             9501.124
+     l_____    EmonaCond-Bold                        9501.125
+     l_____    EmonaCond-BoldItalic                  9501.126
+     l_____    Emona-Bold                            9501.127
+     l_____    Emona-SemiBold                        9501.128
+     l_____    Emona-SC                              9501.129
+     l_____    Emona-SemiBoldItalic                  9501.130
+     l_____    Emona-Italic                          9501.131
+     l_____    Emona                                 9501.132
+     l_____    EmonaCond-Italic                      9501.133
+     l_____    Emona-BoldItalic                      9501.134
+     l_____    EsperantoCond                         9501.135
+     l_____    Esperanto                             9501.136
+     l_____    Esperanto-Bold                        9501.137
+     l_____    Esperanto-SemiBold                    9501.138
+     l_____    Esperanto-SC                          9501.139
+     l_____    Esperanto-SemiBoldItalic              9501.140
+     l_____    Esperanto-BoldItalic                  9501.141
+     l_____    Esperanto-Italic                      9501.142
+     l_____    EsperantoCond-SC                      9501.143
+     l_____    EsperantoCond-Bold                    9501.144
+     l_____    EsperantoCond-Italic                  9501.145
+     l_____    EsperantoCond-BoldItalic              9501.146
+     l_____    ExcelsiorInsertio                     9501.147
+     l_____    F2FAlRetto                            9501.148
+     l_____    F2FBoneR-Book                         9501.149
+     l_____    F2FCzykagoSemiSerif                   9501.150
+     l_____    F2FLego-Stoned                        9501.151
+     l_____    F2FLovegrid                           9501.152
+     l_____    F2FMadame-Butterfly                   9501.153
+     l_____    F2FMadZine-Dirt                       9501.154
+     l_____    F2FMadZine-Script                     9501.155
+     l_____    F2FOCR-AlexczykShake                  9501.156
+     l_____    OCR-BczykNorm                         9501.157
+     l_____    OCR-BczykBold                         9501.158
+     l_____    F2FPrototipa-Multipla                 9501.159
+     l_____    F2FScreen-Scream                      9501.160
+     l_____    F2FShakkarakk                         9501.161
+     l_____    F2FShpeetz                            9501.162
+     l_____    F2FTagliatelle-Sugo                   9501.163
+     l_____    F2FTwins                              9501.164
+     l_____    F2FTyrell-Corp                        9501.165
+     l_____    Linotype FehrleDisplay                9501.166
+     l_____    Fortuna                               9501.167
+     l_____    Fortuna-Bold                          9501.168
+     l_____    FranklinGothic-BookCmpr               9501.169
+     l_____    FranklinGothic-DemiCmprItal           9501.170
+     l_____    FranklinGothic-DemiXCmpr              9501.171
+     l_____    FranklinGothic-BookXCmpr              9501.172
+     l_____    FranklinGothic-DemiCndItal            9501.173
+     l_____    FranklinGothic-DemiCnd                9501.174
+     l_____    FranklinGothic-MediumCndItal          9501.175
+     l_____    FranklinGothic-MediumCnd              9501.176
+     l_____    FranklinGothic-BookCndItal            9501.177
+     l_____    FranklinGothic-BookCnd                9501.178
+     l_____    FranklinGothic-DemiCmpr               9501.179
+     l_____    FranklinGothic-BookCmprItal           9501.180
+     l_____    FreestyleScriptCE                     9501.181
+     l_____    FrutigerCE-LightItalic                9501.182
+     l_____    FrutigerCE-Roman                      9501.183
+     l_____    FrutigerCE-Black                      9501.184
+     l_____    FrutigerCE-Italic                     9501.185
+     l_____    FrutigerCE-Light                      9501.186
+     l_____    FrutigerCE-UltraBlack                 9501.187
+     l_____    FrutigerCE-BlackItalic                9501.188
+     l_____    FrutigerCE-BoldItalic                 9501.189
+     l_____    FrutigerCE-Bold                       9501.190
+     l_____    FuturaCE-Light                        9501.191
+     l_____    FuturaCE-Bold                         9501.192
+     l_____    FuturaCE-Medium                       9501.193
+     l_____    FuturaCE-BoldOblique                  9501.194
+     l_____    FuturaCE-LightOblique                 9501.195
+     l_____    FuturaCE-ExtraBoldOblique             9501.196
+     l_____    FuturaCE-ExtraBold                    9501.197
+     l_____    FuturaCE-HeavyOblique                 9501.198
+     l_____    FuturaCE-Heavy                        9501.199
+     l_____    FuturaCE-MediumOblique                9501.200
+     l_____    FuturaCE-BookOblique                  9501.201
+     l_____    FuturaCE-Book                         9501.202
+     l_____    Garamond-HandtooledBold               9501.206
+     l_____    Garamond-HandtooledBoldItalic         9501.207
+     l_____    GaramondClassico                      9501.208
+     l_____    GaramondClassico-BoldItalic           9501.209
+     l_____    GaramondClassico-SC                   9501.210
+     l_____    GaramondClassico-Italic               9501.211
+     l_____    GaramondClassico-Bold                 9501.212
+     l_____    GillSansCE-Light                      9501.213
+     l_____    GillSansCE-Roman                      9501.214
+     l_____    GillSansCE-Bold                       9501.215
+     l_____    GillSansCE-BoldItalic                 9501.216
+     l_____    GillSansCE-Italic                     9501.217
+     l_____    GillSansCE-LightItalic                9501.218
+     l_____    GoudyModern94                         9501.219
+     l_____    GoudyModern94-Italic                  9501.220
+     l_____    GoudyModern94-Bold                    9501.221
+     l_____    GoudyModern94-BoldItalic              9501.222
+     l_____    GoudyModern94-SC                      9501.223
+     l_____    GoudyVillage                          9501.224
+     l_____    GoudyVillage-SC                       9501.225
+     l_____    GoudyVillage-BoldItalic               9501.226
+     l_____    GoudyVillage-Italic                   9501.227
+     l_____    GoudyVillage-Bold                     9501.228
+     l_____    GriffoClassico                        9501.229
+     l_____    GriffoClassico-Bold                   9501.230
+     l_____    GriffoClassico-BoldItalic             9501.231
+     l_____    GriffoClassico-SC                     9501.232
+     l_____    GriffoClassico-Italic                 9501.233
+     l_____    HelveticaNeueCE-Light                 9501.238
+     l_____    HelveticaNeueCE-Black                 9501.239
+     l_____    HelveticaNeueCE-UltraLightIt          9501.240
+     l_____    HelveticaNeueCE-BlackItalic           9501.241
+     l_____    HelveticaNeueCE-Medium                9501.242
+     l_____    HelveticaNeueCE-Heavy                 9501.243
+     l_____    HelveticaNeueCE-HeavyItalic           9501.244
+     l_____    HelveticaNeueCE-UltraLight            9501.245
+     l_____    HelveticaNeueCE-MediumItalic          9501.246
+     l_____    HelveticaNeueCE-LightItalic           9501.247
+     lpi___    Linotype HieroglyphsPi-One            9501.248
+     lpi___    Linotype HieroglyphsPi-Two            9501.249
+     l_____    Humana                                9501.250
+     l_____    Humana-SC                             9501.251
+     l_____    Isolde                                9501.252
+     l_____    Isolde-Italic                         9501.253
+     l_____    Isolde-BoldItalic                     9501.254
+     l_____    Isolde-SC                             9501.255
+     l_____    Isolde-Bold                           9501.256
+     l_____    JensonClassico                        9501.257
+     l_____    JensonClassico-Italic                 9501.258
+     l_____    JensonClassico-BoldItalic             9501.259
+     l_____    JensonClassico-Bold                   9501.260
+     l_____    JensonClassico-SC                     9501.261
+     l_____    Jesper                                9501.262
+     l_____    Jonatan                               9501.263
+     l_____    Kalix                                 9501.264
+     l_____    Kalix-SC                              9501.265
+     l_____    Kalix-Italic                          9501.266
+     l_____    Kalix-Bold                            9501.267
+     l_____    Kalix-BoldItalic                      9501.268
+     l_____    Kalix-SemiBoldItalic                  9501.269
+     l_____    Kalix-SemiBold                        9501.270
+     l_____    Kasper                                9501.271
+     lpi___    MacKeyCaps                            9501.272
+     l_____    KisClassico                           9501.281
+     l_____    KisClassico-BoldItalic                9501.282
+     l_____    KisClassico-SC                        9501.283
+     l_____    KisClassico-Italic                    9501.284
+     l_____    KisClassico-Bold                      9501.285
+     lpi___    Linobats                              9501.288
+     l_____    LucidaTypewriter                      9501.289
+     l_____    LucidaSansTypewriter                  9501.290
+     l_____    LucidaSansTypewriter-Bd               9501.291
+     l_____    LucidaSansTypewriter-BdObl            9501.292
+     l_____    LucidaTypewriter-BoldObl              9501.293
+     l_____    LucidaTypewriter-Bold                 9501.294
+     l_____    LucidaTypewriter-Obl                  9501.295
+     l_____    LucidaSansTypewriter-Obl              9501.296
+     l_____    LinotypeLutherscheFraktur             9501.297
+     l_____    LinotypeLutherscheFraktur-Dfr         9501.298
+     l_____    Manuskript                            9501.299
+     l_____    Manuskript-BoldItalic                 9501.300
+     l_____    Manuskript-SC                         9501.301
+     l_____    Manuskript-Bold                       9501.302
+     l_____    Manuskript-Italic                     9501.303
+     l_____    MarcoPolo                             9501.304
+     l_____    MarcoPolo-SC                          9501.305
+     l_____    MarcoPolo-Italic                      9501.306
+     l_____    Memento                               9501.307
+     l_____    Memento-Italic                        9501.308
+     l_____    Memento-SemiBold                      9501.309
+     l_____    Memento-SemiBoldItalic                9501.310
+     l_____    Memento-BoldItalic                    9501.311
+     l_____    Memento-Bold                          9501.312
+     l_____    Memento-SC                            9501.313
+     l_____    Miramar                               9501.314
+     l_____    Miramar-SC                            9501.315
+     l_____    Miramar-BoldItalic                    9501.316
+     l_____    Miramar-Bold                          9501.317
+     l_____    Miramar-Italic                        9501.318
+     l_____    Mojo                                  9501.319
+     l_____    Monti-Roman                           9501.320
+     l_____    Monti-SemiBold                        9501.321
+     l_____    Napoleon-Light                        9501.322
+     l_____    Napoleon-Roman                        9501.323
+     l_____    Napoleon-Italic                       9501.324
+     l_____    Napoleon-Bold                         9501.325
+     l_____    Napoleon-BoldCondensed                9501.326
+     l_____    Napoleon-SemiBold                     9501.327
+     l_____    Neuland                               9501.328
+     l_____    NormaCompr                            9501.329
+     l_____    NormaCompr-Bold                       9501.330
+     l_____    NormaCompr-Italic                     9501.331
+     l_____    NormaCompr-SC                         9501.332
+     l_____    NormaCond-Bold                        9501.333
+     l_____    NormaCond                             9501.334
+     l_____    Norma-SemiBoldItalic                  9501.335
+     l_____    Norma-SemiBold                        9501.336
+     l_____    Norma-BoldItalic                      9501.337
+     l_____    Norma-Bold                            9501.338
+     l_____    Norma-Italic                          9501.339
+     l_____    Norma                                 9501.340
+     l_____    NormaCond-SC                          9501.341
+     l_____    NormaCond-Italic                      9501.342
+     l_____    Norma-SC                              9501.343
+     l_____    NormaCond-BoldItalic                  9501.344
+     l_____    NormaCompr-BoldItalic                 9501.345
+     l_____    Nyfors                                9501.346
+     l_____    OdenseCompr                           9501.347
+     l_____    OdenseCompr-Italic                    9501.348
+     l_____    OdenseCond-Bold                       9501.349
+     l_____    OdenseCond-Italic                     9501.350
+     l_____    OdenseCond-BoldItalic                 9501.351
+     l_____    Odense-Bold                           9501.352
+     l_____    Odense-Italic                         9501.353
+     l_____    Odense                                9501.354
+     l_____    Odense-SemiBoldSC                     9501.355
+     l_____    Odense-ExtraBoldItalic                9501.356
+     l_____    Odense-ExtraBold                      9501.357
+     l_____    Odense-SemiBoldItalic                 9501.358
+     l_____    Odense-SemiBold                       9501.359
+     l_____    Odense-SC                             9501.360
+     l_____    Odense-BoldItalic                     9501.361
+     l_____    Odense-Neon                           9501.362
+     l_____    OdenseCond                            9501.363
+     l_____    Omnibus                               9501.364
+     l_____    Omnibus-Italic                        9501.365
+     l_____    Omnibus-BoldItali                     9501.366
+     l_____    Omnibus-SemiBoldItalic                9501.367
+     l_____    Omnibus-SemiBold                      9501.368
+     l_____    Omnibus-SC                            9501.369
+     l_____    Omnibus-Bold                          9501.370
+     l_____    Ondine                                9501.371
+     l_____    Optima-Medium                         9501.372
+     l_____    Optima-DemiBoldItalic                 9501.373
+     l_____    Optima-BlackItalic                    9501.374
+     l_____    Optima-ExtraBlackItalic               9501.375
+     l_____    Optima-ExtraBlack                     9501.376
+     l_____    Optima-Black                          9501.377
+     l_____    Optima-DemiBold                       9501.378
+     l_____    Optima-MediumItalic                   9501.379
+     l_____    Ouch                                  9501.380
+     l_____    LinotypePaintIt                       9501.381
+     l_____    LinotypePaintIt-Black                 9501.382
+     l_____    Pax                                   9501.383
+     l_____    Pax-SemiBoldItalic                    9501.384
+     l_____    Pax-SemiBold                          9501.385
+     l_____    PaxCond-SC                            9501.386
+     l_____    PaxCond-BoldItalic                    9501.387
+     l_____    PaxCond-Bold                          9501.388
+     l_____    PaxCond-Italic                        9501.389
+     l_____    PaxCond                               9501.390
+     l_____    Pax-SC                                9501.391
+     l_____    Pax-Italic                            9501.392
+     l_____    Pax-BoldItalic                        9501.393
+     l_____    Pax-Bold                              9501.394
+     l_____    PaxTwo                                9501.395
+     l_____    PaxTwo-Italic                         9501.396
+     l_____    PaxTwo-Bold                           9501.397
+     l_____    PaxTwo-SemiBold                       9501.398
+     l_____    PaxTwo-SC                             9501.399
+     l_____    PaxTwo-SemiBoldItalic                 9501.400
+     l_____    PaxTwo-BoldItalic                     9501.401
+     l_____    Persona                               9501.402
+     l_____    Pierrot                               9501.403
+     l_____    Ragnar                                9501.406
+     l_____    Ragnar-SC                             9501.407
+     l_____    Ragnar-SemiBoldItalic                 9501.408
+     l_____    Ragnar-Bold                           9501.409
+     l_____    Ragnar-BoldItalic                     9501.410
+     l_____    Ragnar-SemiBold                       9501.411
+     l_____    Ragnar-Italic                         9501.412
+     l_____    ResPublicaCond                        9501.413
+     l_____    ResPublica-Italic                     9501.414
+     l_____    ResPublica-BoldItalic                 9501.415
+     l_____    ResPublica-SC                         9501.416
+     l_____    ResPublica-Bold                       9501.417
+     l_____    ResPublica                            9501.418
+     l_____    ResPublicaCond-Italic                 9501.419
+     l_____    ResPublica-SemiBoldItalic             9501.420
+     l_____    ResPublica-SemiBold                   9501.421
+     l_____    RevueCE                               9501.422
+     l_____    Rustika                               9501.423
+     l_____    Rustika-Bold                          9501.424
+     l_____    Rustika-BoldItalic                    9501.425
+     l_____    Rustika-Italic                        9501.426
+     l_____    Rustika-SC                            9501.427
+     l_____    SabonCE-Roman                         9501.428
+     l_____    SabonCE-Italic                        9501.429
+     l_____    SabonCE-BoldItalic                    9501.430
+     l_____    SabonCyr-Bold                         9501.431
+     l_____    SabonGreek-Roman                      9501.432
+     l_____    SabonGreek-Bold                       9501.433
+     l_____    SabonGreek-BoldItalic                 9501.434
+     l_____    SabonGreek-Italic                     9501.435
+     l_____    SabonCyr-Italic                       9501.436
+     l_____    SabonCyr-Roman                        9501.437
+     l_____    SabonCE-Bold                          9501.438
+     l_____    SabonCyr-BoldItalic                   9501.439
+     l_____    Saga                                  9501.440
+     l_____    Saga-BoldItalic                       9501.441
+     l_____    Saga-SemiBold                         9501.442
+     l_____    Saga-SemiBoldItalic                   9501.443
+     l_____    Saga-SC                               9501.444
+     l_____    Saga-Bold                             9501.445
+     l_____    Saga-Italic                           9501.446
+     l_____    Linotype SallweyScript                9501.447
+     l_____    SanMarcoCyr                           9501.448
+     l_____    Saphir                                9501.449
+     l_____    Semper                                9501.456
+     l_____    Semper-Italic                         9501.457
+     l_____    Semper-BoldItalic                     9501.458
+     l_____    Semper-SC                             9501.459
+     l_____    Semper-Bold                           9501.460
+     l_____    Shuriken-Boy                          9501.461
+     l_____    LinotypeSpitz-Light                   9501.462
+     l_____    LinotypeSpitz-Book                    9501.463
+     l_____    LinotypeSpitz-Black                   9501.464
+     l_____    LinotypeSpitz-Bold                    9501.465
+     l_____    LinotypeSpitz-Medium                  9501.466
+     l_____    StencilCyr                            9501.467
+     l_____    Tiemann-Light                         9501.468
+     l_____    Tiemann-Roman                         9501.469
+     l_____    Trajanus-Roman                        9501.470
+     l_____    Trajanus-Black                        9501.471
+     l_____    Trajanus-BlackItalic                  9501.472
+     l_____    Trajanus-BoldItalic                   9501.473
+     l_____    Trajanus-Italic                       9501.474
+     l_____    Trajanus-Bold                         9501.475
+     l_____    Transport                             9501.476
+     l_____    Transport-BoldItalic                  9501.477
+     l_____    Transport-Light                       9501.478
+     l_____    Transport-LightItalic                 9501.479
+     l_____    Transport-SC                          9501.480
+     l_____    Transport-LightSC                     9501.481
+     l_____    Transport-Bold                        9501.482
+     l_____    Transport-Italic                      9501.483
+     l_____    UniversCyr-Light                      9501.484
+     l_____    UniversCyr-LightOblique               9501.485
+     l_____    UniversCyr                            9501.486
+     l_____    UniversCyr-Oblique                    9501.487
+     l_____    UniversCyr-Bold                       9501.488
+     l_____    UniversCyr-BoldOblique                9501.489
+     l_____    UniversCyr-Black                      9501.490
+     l_____    UniversCyr-BlackOblique               9501.491
+     l_____    UniversityRomanCE                     9501.492
+     l_____    UniversityCyr-Roman                   9501.493
+     l_____    Vega                                  9501.494
+     l_____    Vega-Bold                             9501.495
+     l_____    Vega-SemiBold                         9501.496
+     l_____    Vega-SC                               9501.497
+     l_____    Vega-SemiBoldItalic                   9501.498
+     l_____    Vega-BoldItalic                       9501.499
+     l_____    Vega-Italic                           9501.500
+     l_____    WiesbadenSwingCyr-Roman               9501.501
+
+
+


+ +Next: , +Previous: Linotype fonts, +Up: Font name lists + +
+ +

A.8 Monotype fonts

+ +

The monotype.map file has abbreviations for Monotype fonts. + +

     
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+     mapr8x    ApolloMT-Expert                   MT  1001    ezexp___
+     maprc8a   ApolloMT-SC                       MT  1001    ezi_____
+     mapri8x   ApolloMT-ItalicExpert             MT  1001    eziof___
+     mapri8a   ApolloMT-Italic                   MT  1001    ezixp___
+     mapr8a    ApolloMT                          MT  1001    ezr_____
+     maprij8a  ApolloMT-ItalicOsF                MT  1001    ezrsc___
+     maps8a    ApolloMT-SemiBold                 MT  1001    ezsb____
+     mapsj8a   ApolloMT-SemiBoldOsF              MT  1001    ezsbo___
+     maps8x    ApolloMT-SemiBoldExpert           MT  1001    ezsbx___
+     mnrrw8a   NewBerolinaMT                     MT  1002    _n______
+     mp1rw8a   PalaceScriptMT                    MT  1002    _p______
+     mp1sw8a   PalaceScriptMT-SemiBold           MT  1002    _psb____
+     mahrw8a   AshleyScriptMT                    MT  1002    le______
+     mm1rw8a   MonolineScriptMT                  MT  1002    on______
+     mbvr8a    BaskervilleMT                     MT  1003    bas_____
+     mbvb8a    BaskervilleMT-Bold                MT  1003    basb____
+     mbvbi8a   BaskervilleMT-BoldItalic          MT  1003    basbi___
+     mbvri8a   BaskervilleMT-Italic              MT  1003    basi____
+     mbvs8a    BaskervilleMT-SemiBold            MT  1003    bass____
+     mbvsi8a   BaskervilleMT-SemiBoldItalic      MT  1003    bassi___
+     mbbr8a    Bembo                             MT  1004    bm______
+     mbbb8a    Bembo-Bold                        MT  1004    bmb_____
+     mbbbi8a   Bembo-BoldItalic                  MT  1004    bmbi____
+     mbbri8a   Bembo-Italic                      MT  1004    bmi_____
+     mbbx8a    Bembo-ExtraBold                   MT  1005    bmeb____
+     mbbxi8a   Bembo-ExtraBoldItalic             MT  1005    bmebi___
+     mbbs8a    Bembo-SemiBold                    MT  1005    bmsb____
+     mbbsi8a   Bembo-SemiBoldItalic              MT  1005    bmsbi___
+     mdsrw8a   DorchesterScriptMT                MT  1006    dsscr___
+     mp2rw8a   PepitaMT                          MT  1006    epscr___
+     mbfrw8a   BiffoMT                           MT  1006    ifscr___
+     mswbw8a   SwingMT-Bold                      MT  1006    swib____
+     ms2bw8a   ScriptMT-Bold                     MT  1006    tbscr___
+     mb1ri8a   BladoMT-Italic                    MT  1007    blai____
+     mpzr8a    PoliphilusMT                      MT  1007    pol_____
+     mvdr8a    VanDijckMT                        MT  1007    van_____
+     mvdri8a   VanDijckMT-Italic                 MT  1007    vani____
+     mbdr8a    BodoniMT                          MT  1008    bod_____
+     mbdb8a    BodoniMT-Bold                     MT  1008    bodb____
+     mbdbi8a   BodoniMT-BoldItalic               MT  1008    bodbi___
+     mbdri8a   BodoniMT-Italic                   MT  1008    bodi____
+     mbdu8a    BodoniMT-UltraBold                MT  1009    bodu____
+     mbdui8a   BodoniMT-UltraBoldItalic          MT  1009    bodui___
+     mbdk8a    BodoniMT-Book                     MT  1009    bodw____
+     mbdki8a   BodoniMT-BookItalic               MT  1009    bodwi___
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+     mbdbi8ac  BodoniMT-CondensedBoldItalic      MT  1010    bodci___
+     mbdc8a    BodoniMT-Black                    MT  1010    bodk____
+     mbdci8a   BodoniMT-BlackItalic              MT  1010    bodki___
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+     mc8l8a    CalvertMT-Light                   MT  1012    vtl_____
+     mc8r8a    CalvertMT                         MT  1012    vtrg____
+     mcnb8a    CenturyMT-Bold                    MT  1013    cenb____
+     mcnbi8a   CenturyMT-BoldItalic              MT  1013    cenbi___
+     mcnb8ax   CenturyMT-Expanded                MT  1013    cenx____
+     mcnbi8ax  CenturyMT-ExpandedItalic          MT  1013    cenxi___
+     mcubi8a   CenturyOSMT-BoldItalic            MT  1015    cobi____
+     mcur8a    CenturyOSMT                       MT  1015    cos_____
+     mcub8a    CenturyOSMT-Bold                  MT  1015    cosb____
+     mcuri8a   CenturyOSMT-Italic                MT  1015    cosi____
+     mcdr8a    ClarendonMT                       MT  1016    cld_____
+     meer8a    EgyptianMT-Extended               MT  1016    egyex___
+     mnnr8a    NewClarendonMT                    MT  1016    ncl_____
+     mnnb8a    NewClarendonMT-Bold               MT  1016    nclb____
+     mc6r8a    ClarionMT                         MT  1017    cla_____
+     mc6b8a    ClarionMT-Bold                    MT  1017    clab____
+     mc6ri8a   ClarionMT-Italic                  MT  1017    clai____
+     mcfb8a    ClearfaceMT-Bold                  MT  1018    cleb____
+     mcfbs8a   ClearfaceGothicMT-Bold            MT  1018    clgb____
+     mcfds8a   ClearfaceGothicMT-DemiBold        MT  1018    clgdb___
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+     mtyre8a   TypewriterEliteMT                 MT  1019    tye_____
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+     metsi8a   EhrhardtMT-SemiBoldItalic         MT  1020    ehrsi___
+     menr8a    EngraversMT                       MT  1021    eng_____
+     menb8a    EngraversMT-Bold                  MT  1021    engb____
+     menrf8a   EngraversOldEnglishMT             MT  1021    engoe___
+     mfsra8a   FalstaffMT                        MT  1022    fprg____
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+     mpdb8ac   PlacardMT-CondensedBold           MT  1022    plccb___
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+     mgmbi8a   GaramondMT-BoldItalic             MT  1023    garbi___
+     mgmri8a   GaramondMT-Italic                 MT  1023    gari____
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+     mgsbi8a   GillSans-BoldItalic               MT  1024    gnbi____
+     mgsri8a   GillSans-Italic                   MT  1024    gni_____
+     mgsl8a    GillSans-Light                    MT  1024    gnl_____
+     mgsli8a   GillSans-LightItalic              MT  1024    gnli____
+     mgsb8ac   GillSans-BoldCondensed            MT  1025    gnbc____
+     mgsr8ac   GillSans-Condensed                MT  1025    gnc_____
+     mgsx8a    GillSans-ExtraBold                MT  1025    gneb____
+     mgsu8a    GillSans-UltraBold                MT  1025    gnub____
+     mgsu8ac   GillSans-UltraBoldCondensed       MT  1025    gnubc___
+     mgrb8a    GloucesMT-Bold                    MT  1026    glb_____
+     mgrb8ac   GloucesMT-CondBold                MT  1026    glcb____
+     mgrb8ax   GloucesMT-ExtendedBold            MT  1026    gleb____
+     mgrb8aq   GloucesMT-ExtraCondensedBold      MT  1026    glecb___
+     mgrr8a    GloucesOldStyleMT                 MT  1026    glos____
+     mg5r8a    GoudyCatalogueMT                  MT  1027    goc_____
+     mg5ri8a   GoudyCatalogueMT-Italic           MT  1027    goci____
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+     mgori8a   GoudyOldStyleMT-Italic            MT  1027    gosi____
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+     mgybi8a   GoudyMT-BoldItalic                MT  1027    goubi___
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+     mgqli8a   GrotesqueMT-LightItalic           MT  1029    gqli____
+     mgqc8a    GrotesqueMT-Black                 MT  1030    gqbl____
+     mgqb8ax   GrotesqueMT-BoldExtended          MT  1030    gqbv____
+     mgqr8ac   GrotesqueMT-Condensed             MT  1030    gqc_____
+     mgqr8aq   GrotesqueMT-ExtraCondensed        MT  1030    gqec____
+     mgql8ac   GrotesqueMT-LightCondensed        MT  1030    gqlc____
+     miir8a    ImprintMT                         MT  1032    im______
+     miib8a    ImprintMT-Bold                    MT  1032    imb_____
+     miibi8a   ImprintMT-BoldItalic              MT  1032    imbi____
+     miiri8a   ImprintMT-Italic                  MT  1032    imi_____
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+     moer8a    OldEnglishTextMT                  MT  1033    mbbou___
+     mosbl8a   MonotOldStyleMT-BoldOutline       MT  1033    old_____
+     mior8a    IonicMT                           MT  1034    ion_____
+     miob8a    IonicMT-Bold                      MT  1034    ionb____
+     miori8a   IonicMT-Italic                    MT  1034    ioni____
+     misb8a    ItalianOldStyleMT-Bold            MT  1035    ieb_____
+     misbi8a   ItalianOldStyleMT-BoldItalic      MT  1035    iebi____
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+     misr8a    ItalianOldStyleMT                 MT  1035    ierg____
+     mmob8a    ModernMT-Bold                     MT  1036    nmb_____
+     mmobi8a   ModernMT-BoldItalic               MT  1036    nmbi____
+     mmor8ax   ModernMT-Extended                 MT  1036    nmex____
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+     mnpr8a    NewsPlantinMT                     MT  1038    npl_____
+     mnpb8a    NewsPlantinMT-Bold                MT  1038    nplb____
+     mnpbi8a   NewsPlantinMT-BoldItalic          MT  1038    nplbi___
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+     mpnbi8a   Plantin-BoldItalic                MT  1040    plbi____
+     mpnri8a   Plantin-Italic                    MT  1040    pli_____
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+     mpnsi8a   Plantin-SemiBoldItalic            MT  1041    plsbi___
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+     mrwb8a    Rockwell-Bold                     MT  1042    rkb_____
+     mrwbi8a   Rockwell-BoldItalic               MT  1042    rkbi____
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+     mrwl8a    Rockwell-Light                    MT  1042    rkl_____
+     mrwli8a   Rockwell-LightItalic              MT  1042    rkli____
+     mrwb8ac   Rockwell-BoldCondensed            MT  1043    rkbc____
+     mrwr8ac   Rockwell-Condensed                MT  1043    rkc_____
+     mrwx8a    Rockwell-ExtraBold                MT  1043    rkeb____
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+     mntri8ac  TimesNewRomanMT-CondItalic        MT  1048    mtci____
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+     mtwbi8a   TwCenMT-BoldItalic                MT  1049    tcbi____
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+     mtwli8a   TwCenMT-LightItalic               MT  1049    tcli____
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+     mtwmi8a   TwCenMT-MediumItalic              MT  1049    tcmi____
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+     mtwm8ac   TwCenMT-CondensedMedium           MT  1050    tccm____
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+     mtwsm8a   TwCenMT-SemiMedium                MT  1050    tcsm____
+     mtwx8ac   TwCenMT-CondensedExtraBold        MT  1051    tcceb___
+     mtwu8ac   TwCenMT-CondensedUltraBold        MT  1051    tccub___
+     mtwxi8a   TwCenMT-ExtraBoldItalic           MT  1051    tcebi___
+     mtwu8a    TwCenMT-UltraBold                 MT  1051    tcub____
+     mtwui8a   TwCenMT-UltraBoldItalic           MT  1051    tcubi___
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+     mnsbi8a   TimesNewRomanPS-BoldItalic        MT  1053    mtbi____
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+     ma1ri8an  ArialNarrowMT-BoldItalic          MT  1055    anbi____
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+     mcrbi8a   CourierPS-BoldItalic              MT  1058    crbi____
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+     mppbi8a   Perpetua-BoldItalic               MT  1072    ptbi____
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+     maix8ac   AbadiMT-CondensedExtraBold        MT  1074    abace___
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+     ma1mi8a   ArialMT-MediumItalic              MT  1076    arimi___
+     ma1r8ac   ArialMT-Condensed                 MT  1077    aric____
+     ma1b8ac   ArialMT-CondensedBold             MT  1077    aricb___
+     ma1x8ac   ArialMT-CondensedExtraBold        MT  1077    arice___
+     ma1l8ac   ArialMT-CondensedLight            MT  1077    aricl___
+     mbvr8x    BskvillExpMT                      MT  1078    bay_____
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+     mbvbi8x   BskvillExpMT-BoldItalic           MT  1078    baybi___
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+     mbesi8a   BellMT-SemiBoldItalic             MT  1079    blsi____
+     mbbr7a    Bembo-Alt                         MT  1080    bea_____
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+     mbbbi7a   Bembo-AltBoldItalic               MT  1080    beabi___
+     mbbri7a   Bembo-AltItalic                   MT  1080    beai____
+     mbbb8x    BemboExpert-Bold                  MT  1080    bey_____
+     mbbbi8x   BemboExpert-BoldItalic            MT  1080    beyb____
+     mbbri8x   BemboExpert-Italic                MT  1080    beybi___
+     mbbr8x    BemboExpert-Roman                 MT  1080    beyi____
+     mbbx7a    Bembo-AltExtraBold                MT  1081    beae____
+     mbbs7a    Bembo-AltSemiBold                 MT  1081    beas____
+     mbbsi7a   Bembo-AltSemiBoldItalic           MT  1081    beasi___
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+     mbbs8x    BemboExpert-SemiBold              MT  1081    beys____
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+     mc7b8a    CompactaMT-Bold                   MT  1082    comb____
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+     mpnli8x   PlantinExp-LightItalic            MT  1089    plyli___
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+     mpnsi8x   PlantinExp-SemiBoldItalic         MT  1089    plysi___
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+     zmsnr13   Spartan-OneThreeMT                MT  1091    spt_____
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+     zmsnb34   Spartan-ThreeFourMT-Bold          MT  1092    spfb____
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+     zmsnri34  Spartan-ThreeFourMT-Italic        MT  1093    spfi____
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+     mntb8x    TimesNRExpertMT-Bold              MT  1096    tiyb____
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+     maix8a    AbadiMT-ExtraBold                 MT  1099    abeb____
+     maixi8a   AbadiMT-ExtraBoldItalic           MT  1099    abebi___
+     mntrk     TimesNRDualGreekMT                MT  1100    td______
+     mntbk     TimesNRDualGreekMT-Bold           MT  1100    tdb_____
+     mntbik    TimesNRDualGreekMT-BoldIncl       MT  1100    tdbi____
+     mntrik    TimesNRDualGreekMT-Inclined       MT  1100    tdi_____
+     mgmrwd8a  GaramondMT-SwashCaps              MT  1101    garsc___
+     mgmrw8a   GaramondMT-Swash                  MT  1101    gasw____
+     mgmr8x    GaramondExpertMT                  MT  1101    gay_____
+     mgmb8x    GaramondExpertMT-Bold             MT  1101    gayb____
+     mgmbi8x   GaramondExpertMT-BoldItalic       MT  1101    gaybi___
+     mgmri8x   GaramondExpertMT-Italic           MT  1101    gayi____
+     mb2r8a    BinnyOldStyleMT                   MT  1102    bin_____
+     mb2ri8a   BinnyOldStyleMT-Italic            MT  1102    bini____
+     murb8a    CentaurMT-Bold                    MT  1103    nrb_____
+     murbi8a   CentaurMT-BoldItalic              MT  1103    nrbi____
+     murri8a   CentaurMT-Italic                  MT  1103    nri_____
+     murr8a    CentaurMT                         MT  1103    nrr_____
+     murd8a    CentaurFestiveMT-Italic
+     mc1r8a    CalistoMT                         MT  1104    cto_____
+     mc1b8a    CalistoMT-Bold                    MT  1104    ctob____
+     mc1bi8a   CalistoMT-BoldItalic              MT  1104    ctobi___
+     mc1ri8a   CalistoMT-Italic                  MT  1104    ctoi____
+     mr2b8a    CantoriaMT-Bold                   MT  1105    eob_____
+     mr2bi8a   CantoriaMT-BoldItalic             MT  1105    eobi____
+     mr2ri8a   CantoriaMT-Italic                 MT  1105    eoi_____
+     mr2r8a    CantoriaMT                        MT  1105    eorg____
+     mr2x8a    CantoriaMT-ExtraBold              MT  1106    eoeb____
+     mr2xi8a   CantoriaMT-ExtraBoldItalic        MT  1106    eoebi___
+     mr2l8a    CantoriaMT-Light                  MT  1106    eol_____
+     mr2li8a   CantoriaMT-LightItalic            MT  1106    eoli____
+     mr2s8a    CantoriaMT-SemiBold               MT  1106    eosb____
+     mr2si8a   CantoriaMT-SemiBoldItalic         MT  1106    eosbi___
+     mfxr8a    FelixTitlingMT                    MT  1107    felt____
+     mpprd8a   PerpetuaTitlingMT                 MT  1107    pert____
+     mppbd8a   PerpetuaTitlingMT-Bold            MT  1107    pertb___
+     mppld8a   PerpetuaTitlingMT-Light           MT  1107    pertl___
+     mf4r8a    FootlightMT                       MT  1108    ft______
+     mf4b8a    FootlightMT-Bold                  MT  1108    ftb_____
+     mf4bi8a   FootlightMT-BoldItalic            MT  1108    ftbi____
+     mf4ri8a   FootlightMT-Italic                MT  1108    fti_____
+     mf4x8a    FootlightMT-ExtraBold             MT  1109    fteb____
+     mf4xi8a   FootlightMT-ExtraBoldItalic       MT  1109    ftebi___
+     mf4l8a    FootlightMT-Light                 MT  1109    ftl_____
+     mf4li8a   FootlightMT-LightItalic           MT  1109    ftli____
+     mjnr8x    JansonExpertMT                    MT  1111    jny_____
+     mjnb8x    JansonExpertMT-Bold               MT  1111    jnyb____
+     mjnbi8x   JansonExpertMT-BoldItalic         MT  1111    jnybi___
+     mjnri8x   JansonExpertMT-Italic             MT  1111    jnyi____
+     mf3rd8a   FestivalTitlingMT                 MT  1112    fst_____
+     mknr8a    KinoMT                            MT  1112    kin_____
+     mm7r8a    MaturaMT                          MT  1112    mat_____
+     mm7rw7a   MaturaMT-ScriptCapitals           MT  1112    matsc___
+     mvird8ac  VictoriaTitlingMT-Condensed       MT  1112    vict____
+     mztr8a    ZeitgeistMT                       MT  1115    zei_____
+     mztr7a    ZeitgeistMT-Alternative           MT  1115    zeial___
+     zmztcm8x  ZeitgeistExpertMT-Cameo           MT  1115    zeiay___
+     mztb8a    ZeitgeistMT-Bold                  MT  1115    zeib____
+     mztb8x    ZeitgeistExpertMT-Bold            MT  1115    zeiby___
+     mztr8ac   ZeitgeistMT-Condensed             MT  1115    zeic____
+     zmztcm8a  ZeitgeistMT-Cameo                 MT  1115    zeica___
+     zmztcz8a  ZeitgeistMT-CrazyPaving           MT  1115    zeicp___
+     mztr8xc   ZeitgeistExpertMT-Condensed       MT  1115    zeicy___
+     mztri8a   ZeitgeistMT-Italic                MT  1115    zeii____
+     mztri8x   ZeitgeistExpertMT-Italic          MT  1115    zeiiy___
+     mztr8x    ZeitgeistExpertMT                 MT  1115    zeiy____
+     murriw7a  CentaurSwashMT                    MT  1116    censw___
+     murr7a    CentaurMT-Alt                     MT  1116    cta_____
+     murb7a    CentaurMT-AltBold                 MT  1116    ctab____
+     murbi7a   CentaurMT-AltBoldItalic           MT  1116    ctabi___
+     murri7a   CentaurMT-AltItalic               MT  1116    ctai____
+     murb8x    CentaurExpertMT-Bold              MT  1116    ctbiy___
+     murbi8x   CentaurExpertMT-BoldItalic        MT  1116    ctrby___
+     murri8x   CentaurExpertMT-Italic            MT  1116    ctriy___
+     murr8x    CentaurExpertMT                   MT  1116    ctry____
+     molr8a    ColmcilleMT                       MT  1117    cm______
+     molr7a    ColmcilleAltMT                    MT  1117    cma_____
+     molb7a    ColmcilleAltMT-Bold               MT  1117    cmab____
+     molbi7a   ColmcilleAltMT-BoldItalic         MT  1117    cmabi___
+     molri7a   ColmcilleAltMT-Italic             MT  1117    cmai____
+     molb8a    ColmcilleMT-Bold                  MT  1117    cmb_____
+     molbi8a   ColmcilleMT-BoldItalic            MT  1117    cmbi____
+     molri8a   ColmcilleMT-Italic                MT  1117    cmi_____
+     molrp     ColmcilleOrnamentsMT              MT  1117    cmo_____
+     mntr8a7   TimesNRSevenMT                    MT  1118    sv______
+     mntb8a7   TimesNRSevenMT-Bold               MT  1118    svb_____
+     mntbi8a7  TimesNRSevenMT-BoldItalic         MT  1118    svbi____
+     mntri8a7  TimesNRSevenMT-Italic             MT  1118    svi_____
+     mo3r8a    ColonnaMT                         MT  1119    colo____
+     miirh8a   ImprintMT-Shadow                  MT  1119    is______
+     miirih8a  ImprintMT-ShadowItalic            MT  1119    isi_____
+     ma2r8a    AmasisMT                          MT  1120    ama_____
+     ma2b8a    AmasisMT-Bold                     MT  1120    amab____
+     ma2bi8a   AmasisMT-BoldItalic               MT  1120    amabi___
+     ma2ri8a   AmasisMT-Italic                   MT  1120    amai____
+     ma2c8a    AmasisMT-Black                    MT  1121    amabl___
+     ma2l8a    AmasisMT-Light                    MT  1121    amal____
+     ma2li8a   AmasisMT-LightItalic              MT  1121    amali___
+     ma2m8a    AmasisMT-Medium                   MT  1121    amam____
+     ma2mi8a   AmasisMT-MediumItalic             MT  1121    amami___
+     ma2ci8a   AmasisMT-BlackItalic              MT  1121    ambli___
+     msbrij8a  SabonMT-ItalicOSF                 MT  1124    saboi___
+     msbsj8a   SabonMT-SemiBoldOSF               MT  1124    sabos___
+     msbrc8a   SabonMT-SCOSF                     MT  1124    sabsc___
+     msbsij8a  SabonMT-SemiBoldItalicOSF         MT  1124    sasio___
+     mb1ri8x   BladoExpertMT-Italic              MT  1125    blaiy___
+     mpzr8x    PoliphilusExpertMT                MT  1125    poly____
+     mvdra8x   VanDijckExpertMT-AltFigs          MT  1125    vana____
+     mvdria8x  VanDijckExpertMT-AltFigsIta       MT  1125    vanai___
+     mvdr8x    VanDijckExpertMT                  MT  1125    vany____
+     mvdri8x   VanDijckExpertMT-Italic           MT  1125    vanyi___
+     mber7a    BellMT-Alt                        MT  1126    blt_____
+     mberi7a   BellMT-AltItalic                  MT  1126    blti____
+     mbes7a    BellMT-AltSemiBold                MT  1126    blts____
+     mbesi7a   BellMT-AltSemiBoldItalic          MT  1126    bltsi___
+     mber8x    BellExpertMT                      MT  1126    bly_____
+     mbera8x   BellExpertMT-Alt                  MT  1126    blya____
+     mbesa8x   BellExpertMT-AltSemiBold          MT  1126    blyas___
+     mbeb8x    BellExpertMT-Bold                 MT  1126    blyb____
+     mbebi8x   BellExpertMT-BoldItalic           MT  1126    blybi___
+     mberi8x   BellExpertMT-Italic               MT  1126    blyi____
+     mbes8x    BellExpertMT-SemiBold             MT  1126    blys____
+     mbesi8x   BellExpertMT-SemiBoldItalic       MT  1126    blysi___
+     mgsx8ac   GillSansMT-ExCondensedBold        MT  1133    gsecb___
+     mgslh8a   GillSansShadowedMT-Light          MT  1133    gsls____
+     mgsrh8a   GillSansMT-Shadow                 MT  1133    gss_____
+     mgsra8a   GillAltOneMT                      MT  1134    gla_____
+     mgsba8a   GillAltOneMT-Bold                 MT  1134    glab____
+     mgsbia8a  GillAltOneMT-BoldItalic           MT  1134    glabi___
+     mgsria8a  GillAltOneMT-Italic               MT  1134    glai____
+     mgsla8a   GillAltOneMT-Light                MT  1134    glal____
+     mgslia8a  GillAltOneMT-LightItalic          MT  1134    glali___
+     mdtr8a    DanteMT                           MT  1149    dn______
+     mdtb8a    DanteMT-Bold                      MT  1149    dnb_____
+     mdtbi8a   DanteMT-BoldItalic                MT  1149    dnbi____
+     mdtri8a   DanteMT-Italic                    MT  1149    dni_____
+     mdtm8a    DanteMT-Medium                    MT  1149    dnm_____
+     mdtmi8a   DanteMT-MediumItalic              MT  1149    dnmi____
+     mdtr7a    DanteMT-Alt                       MT  1150    dna_____
+     mdtb7a    DanteMT-AltBold                   MT  1150    dnab____
+     mdtbi7a   DanteMT-AltBoldItalic             MT  1150    dnabi___
+     mdtri7a   DanteMT-AltItalic                 MT  1150    dnai____
+     mdtm7a    DanteMT-AltMedium                 MT  1150    dnam____
+     mdtmi7a   DanteMT-AltMediumItalic           MT  1150    dnami___
+     mdtr8x    DanteExpertMT                     MT  1150    dne_____
+     mdtb8x    DanteExpertMT-Bold                MT  1150    dneb____
+     mdtbi8x   DanteExpertMT-BoldItalic          MT  1150    dnebi___
+     mdtri8x   DanteExpertMT-Italic              MT  1150    dnei____
+     mdtm8x    DanteExpertMT-Medium              MT  1150    dnem____
+     mdtmi8x   DanteExpertMT-MediumItalic        MT  1150    dnemi___
+     mdtrd8a   DanteTitlingMT                    MT  1150    dnt_____
+     maqr8a    BookAntiqua                       MT  1152    bk______
+     maqb8a    BookAntiqua-Bold                  MT  1152    bkb_____
+     maqbi8a   BookAntiqua-BoldItalic            MT  1152    bkbi____
+     maqri8a   BookAntiqua-Italic                MT  1152    bki_____
+     mkor8a    BookmanOldStyle                   MT  1153    bd______
+     mkob8a    BookmanOldStyle-Bold              MT  1153    bdb_____
+     mkobi8a   BookmanOldStyle-BoldItalic        MT  1153    bdbi____
+     mkori8a   BookmanOldStyle-Italic            MT  1153    bdi_____
+     mygr8a    CenturyGothic                     MT  1154    cg______
+     mygb8a    CenturyGothic-Bold                MT  1154    cgb_____
+     mygbi8a   CenturyGothic-BoldItalic          MT  1154    cgbi____
+     mygri8a   CenturyGothic-Italic              MT  1154    cgi_____
+     mcsr8a    CenturySchoolbook                 MT  1155    cb______
+     mcsb8a    CenturySchoolbook-Bold            MT  1155    cbb_____
+     mcsbi8a   CenturySchoolbook-BoldItalic      MT  1155    cbbi____
+     mcsri8a   CenturySchoolbook-Italic          MT  1155    cbi_____
+     mzcmi8a   MonotypeCorsiva                   MT  1156    mci_____
+     mzdr      MonotypeSorts                     MT  1156    ms______
+     mpi001    ArabesqueOrnamentsOneMT           MT  1157    araba___
+     mpi002    ArabesqueOrnamentsTwoMT           MT  1157    arabb___
+     mpi003    ArabesqueOrnamentsThreeMT         MT  1157    arabc___
+     mpi004    RococoOrnamentsOneMT              MT  1157    rcoa____
+     mpi005    RococoOrnamentsTwoMT              MT  1157    rcob____
+     mpi006    RococoOrnamentsThreeMT            MT  1157    rcoc____
+     mgtr7a    GoudyTextMT-Alternative           MT  1181    gouta___
+     mgtr7c    GoudyTextMT-Dfr                   MT  1181    goutd___
+     mgtrd8a   GoudyTextMT-LombardicCapitals     MT  1181    goutl___
+     mgtr8a    GoudyTextMT                       MT  1181    goutx___
+     mlir8ac   LatinCondensedMT                  MT  1182    lnc_____
+     moxr8a    OnyxMT                            MT  1182    ox______
+     mrur8ac   RunicMT-Condensed                 MT  1182    ric_____
+     mpi007    ChristmasOrnamentsMT-One          MT  1183    chra____
+     mpi008    ChristmasOrnamentsMT-Two          MT  1183    chrb____
+     mpi009    ChristmasOrnamentsMT-Three        MT  1183    chrc____
+     mpi010    ChristmasOrnamentsMT-Four         MT  1183    chrd____
+     mpi011    ChristmasOrnamentsMT-Five         MT  1183    chre____
+     mpi012    ChristmasOrnamentsMT-Six          MT  1183    chrf____
+     mpi013    ContemporaryOrnMT-One             MT  1183    cora____
+     mpi014    ContemporaryOrnMT-Two             MT  1183    corb____
+     mpi015    ContemporaryOrnMT-Three           MT  1183    corc____
+     mpi016    ContemporaryOrnMT-Four            MT  1183    cord____
+     mpi017    ContemporaryOrnMT-Five            MT  1183    core____
+     mntr9s    TimesNewRomanSF                   MT  1194    tsf_____
+     mntb9s    TimesNewRomanSF-Bold              MT  1194    tsfb____
+     mntbi9s   TimesNewRomanSF-BoldItalic        MT  1194    tsfbi___
+     mntri9s   TimesNewRomanSF-Italic            MT  1194    tsfi____
+     mu0rp1    ColumbusOrnamentsOneMT            MT  1196    cuora___
+     mu0rp2    ColumbusOrnamentsTwoMT            MT  1196    cuorb___
+     mu0r8x    ColumbusExpMT                     MT  1196    cuy_____
+     mu0b8x    ColumbusExpMT-Bold                MT  1196    cuyb____
+     mu0bi8x   ColumbusExpMT-BoldItalic          MT  1196    cuybi___
+     mu0ri8x   ColumbusExpMT-Italic              MT  1196    cuyi____
+     mu0s8x    ColumbusExpMT-SemiBold            MT  1196    cuys____
+     mu0si8x   ColumbusExpMT-SemiBoldItal        MT  1196    cuysi___
+     ma1rz     ArialCyrMT                        MT  1205    ac______
+     ma1bz     ArialCyrMT-Bold                   MT  1205    acb_____
+     ma1biz    ArialCyrMT-BoldInclined           MT  1205    acbi____
+     ma1riz    ArialCyrMT-Inclined               MT  1205    aci_____
+     mcrrz     CourierCyr                        MT  1206    cc______
+     mcrbz     CourierCyr-Bold                   MT  1206    ccb_____
+     mcrbiz    CourierCyr-BoldInclined           MT  1206    ccbi____
+     mcrriz    CourierCyr-Inclined               MT  1206    cci_____
+     mntrz     TimesNRomCyrMT                    MT  1207    trc_____
+     mntbz     TimesNRomCyrMT-Bold               MT  1207    trcb____
+     mntbiz    TimesNRomCyrMT-BoldInclined       MT  1207    trcbi___
+     mntriz    TimesNRomCyrMT-Inclined           MT  1207    trci____
+     mgsbd8a   GillSansDisplayMT-Bold            MT  1209    gdb_____
+     mgsbd8ac  GillSansDisplayMT-CondBold        MT  1209    gdcb____
+     mgsbd8ax  GillSansDisplayMT-ExtraBold       MT  1209    gdeb____
+     mg4ri8a   GoudyModernMT-Italic              MT  1210    ygi_____
+     mg4r8a    GoudyModernMT                     MT  1210    ygrg____
+     ms1ri8a   ScotchRomanMT-Italic              MT  1210    ysi_____
+     ms1r8a    ScotchRomanMT                     MT  1210    ysrg____
+     mfsr8a    FalstaffMT                        MT  1211    fprg____
+     mifb8a    InflexMT-Bold                     MT  1211    iqb_____
+     mm8bl8a   MonotypeOldStyleMT-BoldOut        MT  1211    mbbou___
+     mfer8a    ForteMT                           MT  1212    fz______
+     mklr8a    KlangMT                           MT  1212    kn______
+     mmebw8a   MercuriusMT-BoldScript            MT  1212    uzbs____
+     mjox8a    JoannaMT-ExtraBold                MT  1213    joae____
+     mjob8a    JoannaMT-Bold                     MT  1213    job_____
+     mjobi8a   JoannaMT-BoldItalic               MT  1213    jobi____
+     mjori8a   JoannaMT-Italic                   MT  1213    joi_____
+     mjor8a    JoannaMT                          MT  1213    jor_____
+     mjos8a    JoannaMT-SemiBold                 MT  1213    josb____
+     mjosi8a   JoannaMT-SemiBoldItalic           MT  1213    josbi___
+     mphb8a    PhotinaMT-Bold                    MT  1214    phb_____
+     mphbi8a   PhotinaMT-BoldItalic              MT  1214    phbi____
+     mphri8a   PhotinaMT-Italic                  MT  1214    phi_____
+     mphr8a    PhotinaMT                         MT  1214    phrg____
+     mphs8a    PhotinaMT-SemiBold                MT  1214    phsb____
+     mphsi8a   PhotinaMT-SemiBoldItalic          MT  1214    phsbi___
+     mphu8a    PhotinaMT-UltraBold               MT  1214    phub____
+     mphui8a   PhotinaMT-UltraBoldItalic         MT  1214    phubi___
+     msmr8x    SpectrumMT-Expert                 MT  1215    ekexp___
+     msmri8a   SpectrumMT-Italic                 MT  1215    eki_____
+     msmrij8a  SpectrumMT-ItalicOsF              MT  1215    ekio____
+     msmri8x   SpectrumMT-ItalicExpert           MT  1215    ekixp___
+     msmr8a    SpectrumMT                        MT  1215    ekrg____
+     msms8a    SpectrumMT-SemiBold               MT  1215    eksb____
+     msmsj8a   SpectrumMT-SemiBoldOsF            MT  1215    eksbo___
+     msms8x    SpectrumMT-SemiBoldExpert         MT  1215    eksbx___
+     msmrc8a   SpectrumMT-SC                     MT  1215    eksc____
+     mhrr8a    ArialRoundedMT                    MT  1216    arr_____
+     mhrb8a    ArialRoundedMT-Bold               MT  1216    arrb____
+     mhrx8a    ArialRoundedMT-ExtraBold          MT  1216    arreb___
+     mhrl8a    ArialRoundedMT-Light              MT  1216    arrl____
+     mpi101    AlmanacMT                         MT  1222    pia_____
+     mpi102    BotanicalMT                       MT  1222    pib_____
+     mpi103    DirectionsMT                      MT  1222    pie_____
+     mpi104    SportsOneMT                       MT  1222    pif_____
+     mpi105    SportsTwoMT                       MT  1222    pig_____
+     mpi106    TransportMT                       MT  1222    pij_____
+     mpi107    VacationMT                        MT  1222    pik_____
+     mpi201    CircleFrameMT                     MT  1222    pic_____
+     mpi202    CircleFrameNegMT                  MT  1222    pid_____
+     mpi203    SquareFrameMT                     MT  1222    pih_____
+     mpi204    SquareFrameNegMT                  MT  1222    pii_____
+     m_____    PastonchiMT-RegularAlt            MT  1223    pna_____
+     m_____    PastonchiMT-Italic                MT  1223    pni_____
+     m_____    PastonchiMT-ItalicOsF             MT  1223    pnosi___
+     m_____    PastonchiMT-Regular               MT  1223    pnr_____
+     m_____    PastonchiMT-RegularSC             MT  1223    pnsc____
+     m_____    PastonchiMT-Swash                 MT  1223    pnsw____
+     m_____    PastonchiMT-SwashCaps             MT  1223    pnswc___
+     m_____    PastonchiMT-Titling               MT  1223    pnt_____
+     m_____    PastonchiMT-TitlingAlt            MT  1223    pnta____
+     m_____    PastonchiMT-RegularExpert         MT  1223    pny_____
+     m_____    PastonchiMT-ItalicExpert          MT  1223    pnyi____
+     movr8x    OctavianMT-Expert                 MT  1224    ocexp___
+     movri8a   OctavianMT-Italic                 MT  1224    oci_____
+     movrij8a  OctavianMT-ItalicOsF              MT  1224    ocio____
+     movri8x   OctavianMT-ItalicExpert           MT  1224    ocixp___
+     movr8a    OctavianMT                        MT  1224    ocrg____
+     movrc8a   OctavianMT-SC                     MT  1224    ocsc____
+     mnsr8x    TimesNRPSExpert                   MT  1225    tpy_____
+     mnsb8x    TimesNRPSExpert-Bold              MT  1225    tpyb____
+     mnsbi8x   TimesNRPSExpert-BoldItalic        MT  1225    tpybi___
+     mnsri8x   TimesNRPSExpert-Italic            MT  1225    tpyi____
+     ma1r9s    ArialSFMT                         MT  1226    asf_____
+     ma1b9s    ArialSFMT-Bold                    MT  1226    asfb____
+     ma1bi9s   ArialSFMT-BoldItalic              MT  1226    asfbi___
+     ma1ri9s   ArialSFMT-Italic                  MT  1226    asfi____
+     mdmb8a    DelimaMT-Bold                     MT  1234    dlb_____
+     mdmbi8a   DelimaMT-BoldItalic               MT  1234    dlbi____
+     mdmri8a   DelimaMT-Italic                   MT  1234    dli_____
+     mdml8a    DelimaMT-Light                    MT  1234    dll_____
+     mdmli8a   DelimaMT-LightItalic              MT  1234    dlli____
+     mdmr8a    DelimaMT                          MT  1234    dlr_____
+     mdmx8a    DelimaMT-ExtraBold                MT  1235    dleb____
+     mdmxi_    DelimaMT-ExtraBoldItalic          MT  1235    dlebi___
+     mdms8a    DelimaMT-SemiBold                 MT  1235    dlsb____
+     mdmsi8a   DelimaMT-SemiBoldItalic           MT  1235    dlsbi___
+     mo4rMM8a  OceanSansMM                       MT  1236    ________
+     mo4riMM8a OceanSansMM-It                    MT  1236    ________
+     mlyr8a    LydianMT                          MT  1238    ly______
+     mlyrw8a   LydianCursiveMT                   MT  1238    lyc_____
+     mwrrf8a   WittenbergerFraktMT               MT  1239    wf______
+     mwrbf8a   WittenbergerFraktMT-Bd            MT  1239    wfb_____
+     mwrrf7c   WittenbergerFraktMT-BdDfr         MT  1239    wfbdf___
+     mwrbf7c   WittenbergerFraktMT-Dfr           MT  1239    wfdfr___
+     mgsh8a    GillSans-Heavy                    MT  1240    gilh____
+     mgshi8a   GillSans-HeavyItalic              MT  1240    gilhi___
+     mgsk8a    GillSans-Book                     MT  1240    gilk____
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+     mgsrin8a  GillSansMT-SchlbkItalic           MT  1341    gski____
+     myhbij8a  StrayhornMT-BoldItalicOsF         MT  1342    stbis___
+     myhbj8a   StrayhornMT-BoldOsF               MT  1342    stbs____
+     myhrij8a  StrayhornMT-ItalicOsF             MT  1342    stis____
+     myhlij8a  StrayhornMT-LightItalicOsF        MT  1342    stlis___
+     myhlc8a   StrayhornMT-LightSC               MT  1342    stls____
+     myhrc8a   StrayhornMT-RegularSC             MT  1342    sts_____
+     myhxij8a  StrayhornMT-ExtraBoldItaOsF       MT  1342    stxis___
+     myhxj8a   StrayhornMT-ExtraBoldOsF          MT  1342    stxs____
+     mpi205    DiamondBodoni                     MT  1343    dibod___
+     mpi206    DiamondPositive                   MT  1343    dipos___
+     mpi207    DiamondNegative                   MT  1343    dineg___
+     mf2r8ac   FacadeMT-Condensed                MT  1343    fac_____
+     mfsra8a   FalstaffFestivalMT                MT  1343    falfe___
+     mg4r8a    GoudyModernMT-Bold                MT  1344    gomb____
+     mg4ri8a   GoudyModernMT-BoldItalic          MT  1344    gombi___
+     mgyrp     GoudySortsMT                      MT  1344    gous____
+     mpi303    BonApetit                         MT  1345    bonap___
+     mpi306    Holidays                          MT  1345    holid___
+     mpi308    KeystrokesMT                      MT  1345    keya____
+     mpi307    KeystrokesExtrasMT                MT  1345    keyb____
+     mpi323    KeystrokesShadowMT                MT  1345    keyc____
+     mpi322    KeystrokesShadowExtrasMT          MT  1345    keyd____
+     mpi309    Melodies                          MT  1345    melod___
+     mpi312    MonkeyBusiness                    MT  1345    monke___
+     mpi315    Parties                           MT  1345    parti___
+     mpi320    SignsMT                           MT  1345    sig_____
+     mpi108    SportsThreeMT                     MT  1345    sport___
+     mpi302    AquaLifeMT                        MT  1346    aqua____
+     mpi304    DinosaursMT                       MT  1346    dino____
+     mpi305    FrontierMT                        MT  1346    frnt____
+     mpi310    MilestonesOneMT                   MT  1346    milea___
+     mpi311    MilestonesTwoMT                   MT  1346    mileb___
+     mpi314    NatureMT                          MT  1346    nat_____
+     mpi208    OvalFrameMT                       MT  1346    ovaa____
+     mpi209    OvalFrameNegativeMT               MT  1346    ovab____
+     mpi319    PlaytimeMT                        MT  1346    play____
+     mpi109    SportsFourMT                      MT  1346    sporfm__
+     mpi321    SouthwestOrnamentsMT              MT  1346    sworna__
+     ma1rt8a   ArialMonospacedMT                 MT  1347    arm_____
+     ma1bt8a   ArialMonospacedMT-Bold            MT  1347    armb____
+     ma1bot8a  ArialMonospacedMT-BoldObliq       MT  1347    armbo___
+     ma1rot8a  ArialMonospacedMT-Oblique         MT  1347    armo____
+     mpwr8ac   PerrywoodMT-Condensed             MT  1348    pwc_____
+     mpwb8ac   PerrywoodMT-BoldCondensed         MT  1348    pwcb____
+     mpwbi8ac  PerrywoodMT-BoldItalicCon         MT  1348    pwcbi___
+     mpwri8ac  PerrywoodMT-ItalicCondensed       MT  1348    pwci____
+     mpwx8ac   PerrywoodMT-ExtraBoldCon          MT  1349    pwce____
+     mpwxi8ac  PerrywoodMT-ExtraBoldItaCon       MT  1349    pwcei___
+     mpwl8ac   PerrywoodMT-LightCondensed        MT  1349    pwcl____
+     mpwli8ac  PerrywoodMT-LightItalicCon        MT  1349    pwcli___
+     mpws8ac   PerrywoodMT-SemiBoldCon           MT  1349    pwcs____
+     mpwsi8ac  PerrywoodMT-SemiBoldItaCon        MT  1349    pwcsi___
+     mpwr8ax   PerrywoodMT-Expanded              MT  1350    pwe_____
+     mpwb8ax   PerrywoodMT-BoldExpanded          MT  1350    pweb____
+     mpwbi8ax  PerrywoodMT-BoldItalicExp         MT  1350    pwebi___
+     mpwri8ax  PerrywoodMT-ItalicExpanded        MT  1350    pwei____
+     mpwx8ax   PerrywoodMT-ExtraBoldExp          MT  1351    pwee____
+     mpwxi8ax  PerrywoodMT-ExtraBoldItaExp       MT  1351    pweei___
+     mpwl8ax   PerrywoodMT-LightExpanded         MT  1351    pwel____
+     mpwli8ax  PerrywoodMT-LightItalicExp        MT  1351    pweli___
+     mpws8ax   PerrywoodMT-SemiBoldExp           MT  1351    pwes____
+     mpwsi8ax  PerrywoodMT-SemiBoldItaExp        MT  1351    pwesi___
+     mgsr8a    GillSansCyrMT                     MT  1356    gcy_____
+     mgsb8a    GillSansCyrMT-Bold                MT  1356    gcyb____
+     mgsbi8a   GillSansCyrMT-BoldInclined        MT  1356    gcybi___
+     mgsri8a   GillSansCyrMT-Inclined            MT  1356    gcyi____
+     mgsl8a    GillSansCyrMT-Light               MT  1356    gcyl____
+     mgsli8a   GillSansCyrMT-LightIncl           MT  1356    gcyli___
+     mhob8a    HorleyOldStyleMT-Bold             MT  1357    hsb_____
+     mhobi8a   HorleyOldStyleMT-BoldItalic       MT  1357    hsbi____
+     mhori8a   HorleyOldStyleMT-Italic           MT  1357    hsi_____
+     mhol8a    HorleyOldStyleMT-Light            MT  1357    hsl_____
+     mholi8a   HorleyOldStyleMT-LightItalic      MT  1357    hsli____
+     mhor8a    HorleyOldStyleMT                  MT  1357    hsrg____
+     mhosi8a   HorleyOldStyleMT-SbItalic         MT  1357    hssb____
+     mhos8a    HorleyOldStyleMT-SemiBold         MT  1357    hssbi___
+     m_____    GillFloriatedCapsMT               MT  1363    gilf____
+     m_____    GillFloriatedCapsMT-Alt           MT  1363    gilfa___
+     m_____    MonotypeGallia                    MT  1364    gall____
+     mbwr8a    MonotypeBroadway                  MT  1365    broa____
+     mbwre8a   MonotypeBroadway-Engraved         MT  1365    broae___
+     m_____    CurlzMT-Regular                   MT  1367    crl_____
+     m_____    KidprintMT-Regular                MT  1368    kidp____
+     m_____    KidprintMT-Bold                   MT  1368    kidpb___
+     mgsbij8a  GillSans-BoldItalicOsF            MT  1369    gnbio___
+     mgsbc8a   GillSans-BoldSC                   MT  1369    gnbsc___
+     mgsrij8a  GillSans-ItalicOsF                MT  1369    gnio____
+     mgslij8a  GillSans-LightItalicOsF           MT  1369    gnlio___
+     mgslc8a   GillSans-LightSC                  MT  1369    gnlsc___
+     mgsrc8a   GillSans-SC                       MT  1369    gnsc____
+     mcrb8a    CourierLD-Bold                    MT  1371    cldb____
+     mcrbi8a   CourierLD-BoldItalic              MT  1371    cldbi___
+     mcrri8a   CourierLD-Italic                  MT  1371    cldi____
+     mcrr8a    CourierLD-Regular                 MT  1371    cldr____
+     mgshij8a  GillSans-HeavyItalicOsF           MT  1372    gnhio___
+     mgshc8a   GillSans-HeavySC                  MT  1372    gnhsc___
+     mgskij8a  GillSans-BookItalicOsF            MT  1372    gnwio___
+     mgskc8a   GillSans-BookSC                   MT  1372    gnwsc___
+     m_____    GillFaciaMT-Italic                MT  1373    gfai____
+     m_____    GillFaciaMT-ItalicAlt             MT  1373    gfaia___
+     m_____    GillFaciaMT-ItalicDisplay         MT  1373    gfaid___
+     m_____    GillFaciaMT-Regular               MT  1373    gfar____
+     m_____    GillFaciaMT-RegularAlt            MT  1373    gfara___
+     m_____    GillFaciaMT-RegularDisplay        MT  1373    gfard___
+     m_____    GillFaciaMT-ItDisplayAlt          MT  1373    gfida___
+     m_____    GillFaciaMT-RegDisplayAlt         MT  1373    gfrda___
+     mngr8a    NewsGothicMT                      MT  1374    nwg_____
+     mngb8a    NewsGothicMT-Bold                 MT  1374    nwgb____
+     mngb8a    NewsGothicMT-BoldItalic           MT  1374    nwgbi___
+     mngri8a   NewsGothicMT-Italic               MT  1374    nwgi____
+     m_____    AlbertinaMT-Bold                  MT  1378    abb_____
+     m_____    AlbertinaMT-BoldItalic            MT  1378    abbi____
+     m_____    AlbertinaMT-BoldItalicOsF         MT  1378    abbio___
+     m_____    AlbertinaMT-BoldItalicSC          MT  1378    abbis___
+     m_____    AlbertinaMT-BoldOsF               MT  1378    abbos___
+     m_____    AlbertinaMT-BoldSC                MT  1378    abbsc___
+     m_____    AlbertinaMT-Italic                MT  1378    abi_____
+     m_____    AlbertinaMT-ItalicOsF             MT  1378    abios___
+     m_____    AlbertinaMT-ItalicSC              MT  1378    abisc___
+     m_____    AlbertinaMT-Medium                MT  1378    abm_____
+     m_____    AlbertinaMT-MediumItalic          MT  1378    abmi____
+     m_____    AlbertinaMT-MediumItalicOsF       MT  1378    abmio___
+     m_____    AlbertinaMT-MediumItalicSC        MT  1378    abmis___
+     m_____    AlbertinaMT-MediumOsF             MT  1378    abmos___
+     m_____    AlbertinaMT-MediumSC              MT  1378    abmsc___
+     m_____    AlbertinaMT-Regular               MT  1378    abr_____
+     m_____    AlbertinaMT-RegularOsF            MT  1378    abros___
+     m_____    AlbertinaMT-RegularSC             MT  1378    abrsc___
+     mngr__    NewsGothicCE                      MT  1379    ngu_____
+     mngb__    NewsGothicCE-Bold                 MT  1379    ngub____
+     mngbi__   NewsGothicCE-BoldItalic           MT  1379    ngubi___
+     mngri__   NewsGothicCE-Italic               MT  1379    ngui____
+     mngrk     NewsGothicGre                     MT  1380    ngg_____
+     mngbk     NewsGothicGre-Bold                MT  1380    nggb____
+     mngbik    NewsGothicGre-BoldInclined        MT  1380    nggbi___
+     mngrik    NewsGothicGre-Inclined            MT  1380    nggi____
+     mngrz     NewsGothicCyr                     MT  1381    ngc_____
+     mngbz     NewsGothicCyr-Bold                MT  1381    ngcb____
+     mngbiz    NewsGothicCyr-BoldInclined        MT  1381    ngcbi___
+     mngriz    NewsGothicCyr-Inclined            MT  1381    ngci____
+     m_____    BuffaloGalMT                      MT  1382    bufg____
+     mrwr__    RockwellTur                       MT  1383    rkt_____
+     mrwb__    RockwellTur-Bold                  MT  1383    rktb____
+     mrwbi__   RockwellTur-BoldItalic            MT  1383    rktbi___
+     mrwri__   RockwellTur-Italic                MT  1383    rkti____
+     mrwl__    RockwellTur-Light                 MT  1383    rktl____
+     mrwli__   RockwellTur-LightItalic           MT  1383    rktli___
+     mrwr__    RockwellCE                        MT  1383    rku_____
+     mrwb__    RockwellCE-Bold                   MT  1383    rkub____
+     mrwbi__   RockwellCE-BoldItalic             MT  1383    rkubi___
+     mrwri__   RockwellCE-Italic                 MT  1383    rkui____
+     mrwl__    RockwellCE-Light                  MT  1383    rkul____
+     mrwli__   RockwellCE-LightItalic            MT  1383    rkuli___
+     mo4bij8a  OceanSansMT-BoldItalicOsF         MT  1397    oebio___
+     mo4bic8a  OceanSansMT-BoldItalicSC          MT  1397    oebis___
+     mo4bj8a   OceanSansMT-BoldOsF               MT  1397    oebo____
+     mo4bc8a   OceanSansMT-BoldSC                MT  1397    oebs____
+     mo4kij8a  OceanSansMT-BookItalicOsF         MT  1397    oekio___
+     mo4kic8a  OceanSansMT-BookItalicSC          MT  1397    oekis___
+     mo4kj8a   OceanSansMT-BookOsF               MT  1397    oeko____
+     mo4kc8a   OceanSansMT-BookSC                MT  1397    oeks____
+     mo4lij8a  OceanSansMT-LightItalicOsF        MT  1398    oelio___
+     mo4lic8a  OceanSansMT-LightItalicSC         MT  1398    oelis___
+     mo4lj8a   OceanSansMT-LightOsF              MT  1398    oelo____
+     mo4lc8a   OceanSansMT-LightSC               MT  1398    oels____
+     mo4sij8a  OceanSansMT-SemiBoldItaOsF        MT  1398    oesio___
+     mo4sic8a  OceanSansMT-SemiBoldItaSC         MT  1398    oesis___
+     mo4sj8a   OceanSansMT-SemiBoldOsF           MT  1398    oeso____
+     mo4sc8a   OceanSansMT-SemiBoldSC            MT  1398    oess____
+     mo4xij8a  OceanSansMT-ExtraBoldItaOsF       MT  1398    oexio___
+     mo4xic8a  OceanSansMT-ExtraBoldItaSC        MT  1398    oexis___
+     mo4xj8a   OceanSansMT-ExtraBoldOsF          MT  1398    oexo____
+     mo4xc8a   OceanSansMT-ExtraBoldSC           MT  1398    oexs____
+     mgmrz     GaramondCyrMT-Regular             MT  1401    gac_____
+     mgmbz     GaramondCyrMT-Bold                MT  1401    gacb____
+     mgmriz    GaramondCyrMT-Inclined            MT  1401    gaci____
+     mgmrk     GaramondDualGreekMT-Regular       MT  1402    gad_____
+     mgmbk     GaramondDualGreekMT-Bold          MT  1402    gadb____
+     mgmrik    GaramondDualGreekMT-Incl          MT  1402    gadi____
+     mgmr__    GaramondCEMT-Regular              MT  1403    gae_____
+     mgmb__    GaramondCEMT-Bold                 MT  1403    gaeb____
+     mgmri__   GaramondCEMT-Italic               MT  1403    gaei____
+     mgmr__    GaramondTurMT-Regular             MT  1403    gat_____
+     mgmb__    GaramondTurMT-Bold                MT  1403    gatb____
+     mgmri__   GaramondTurMT-Italic              MT  1403    gati____
+     mngr8ac   NewsGothicMT-Condensed            MT  1451    ngoc____
+     mngb8ac   NewsGothicMT-CondensedBold        MT  1451    ngocb___
+     m_____    MahsuriSansMT-Bold                MT  1454    msb_____
+     m_____    MahsuriSansMT-BoldItalic          MT  1454    msbi____
+     m_____    MahsuriSansMT-BoldItalicOsF       MT  1454    msbio___
+     m_____    MahsuriSansMT-BoldOsF             MT  1454    msbo____
+     m_____    MahsuriSansMT-Italic              MT  1454    msi_____
+     m_____    MahsuriSansMT-ItalicOsF           MT  1454    msio____
+     m_____    MahsuriSansMT-Light               MT  1454    msl_____
+     m_____    MahsuriSansMT-LightItalic         MT  1454    msli____
+     m_____    MahsuriSansMT-LightItalicOsF      MT  1454    mslio___
+     m_____    MahsuriSansMT-LightOsF            MT  1454    mslo____
+     m_____    MahsuriSansMT-Regular             MT  1454    msr_____
+     m_____    MahsuriSansMT-RegularOsF          MT  1454    msro____
+     m_____    MahsuriSansMT-ExtraBold           MT  1454    msx_____
+     m_____    MahsuriSansMT-ExtraBoldItalic     MT  1454    msxi____
+     m_____    MahsuriSansMT-ExtBoldItaOsF       MT  1454    msxio___
+     m_____    MahsuriSansMT-ExtraBoldOsF        MT  1454    msxo____
+     mu0r8a    ColumbusMT                        MT  1492    cu______
+     mu0b8a    ColumbusMTBold                    MT  1492    cub_____
+     mu0bi8a   ColumbusMTBoldItalic              MT  1492    cubi____
+     mu0ri8a   ColumbusMTItalic                  MT  1492    cui_____
+     mu0s8a    ColumbusMTSemiBold                MT  1492    cus_____
+     mu0si8a   ColumbusMTSemiBoldItalic          MT  1492    cusi____
+     mpi001    ArabesqueOrnamentsOneMT                       ornaments
+     mpi002    ArabesqueOrnamentsTwoMT                       ditto
+     mpi003    ArabesqueOrnamentsThreeMT                     ditto
+     mpi004    RococoOrnamentsOneMT                          ornaments
+     mpi005    RococoOrnamentsTwoMT                          ditto
+     mpi006    RococoOrnamentsThreeMT                        ditto
+     mpi007    ChristmasOrnamentsMT-One                      ornaments
+     mpi008    ChristmasOrnamentsMT-Two                      ditto
+     mpi009    ChristmasOrnamentsMT-Three                    ditto
+     mpi010    ChristmasOrnamentsMT-Four                     ditto
+     mpi011    ChristmasOrnamentsMT-Five                     ditto
+     mpi012    ChristmasOrnamentsMT-Six                      ditto
+     mpi013    ContemporaryOrnMT-One                         ornaments
+     mpi014    ContemporaryOrnMT-Two                         ditto
+     mpi015    ContemporaryOrnMT-Three                       ditto
+     mpi016    ContemporaryOrnMT-Four                        ditto
+     mpi017    ContemporaryOrnMT-Five                        ditto
+     mpi101    AlmanacMT                                     zodiac
+     mpi102    BotanicalMT                                   flowers
+     mpi103    DirectionsMT                                  arrows & pointers
+     mpi104    SportsOneMT                                   sports
+     mpi105    SportsTwoMT                                   ditto
+     mpi106    TransportMT                                   signs
+     mpi107    VacationMT                                    signs
+     mpi108    SportsThreeMT                                 sports
+     mpi109    SportsFourMT                                  ditto
+     mpi201    CircleFrameMT                                 circled numerals
+     mpi202    CircleFrameNegMT                              ditto
+     mpi203    SquareFrameMT                                 squared numerals
+     mpi204    SquareFrameNegMT                              ditto
+     mpi205    DiamondBodoni                                 bullets & markers
+     mpi206    DiamondPositive                               ditto
+     mpi207    DiamondNegative                               ditto
+     mpi208    OvalFrameMT                                   circled numerals
+     mpi209    OvalFrameNegativeMT                           ditto
+     mpi300    Giddyup-ThangsMT                              cowboys & indians
+     mpi301    PetrucchioMT                                  ???
+     mpi302    AquaLifeMT                                    fish
+     mpi303    BonApetit                                     food
+     mpi304    DinosaursMT                                   dinosaurs
+     mpi305    FrontierMT                                    cowboys & indians
+     mpi306    Holidays                                      greeting cards
+     mpi307    KeystrokesExtrasMT                            keyboards
+     mpi308    KeystrokesMT                                  ditto
+     mpi309    Melodies                                      musical instruments
+     mpi310    MilestonesOneMT                               clip art
+     mpi311    MilestonesTwoMT                               ditto
+     mpi312    MonkeyBusiness                                animals
+     mpi313    MonotypeSorts                                 dingbats
+     mpi314    NatureMT                                      animals
+     mpi315    Parties                                       clip art
+     mpi316    BingoMT                                       clip art
+     mpi317    BongoMT                                       clip art
+     mpi318    PieMT                                         food & drinks
+     mpi319    PlaytimeMT                                    toys
+     mpi320    SignsMT                                       signs
+     mpi321    SouthwestOrnamentsMT                          geometric ornaments
+     mpi322    KeystrokesShadowExtrasMT                      keyboards
+     mpi323    KeystrokesShadowMT                            ditto
+
+
+


+ +Previous: Monotype fonts, +Up: Font name lists + +
+ +

A.9 URW fonts

+ +

+Information graciously supplied through URW, via Vincent Ertner: Each +URW font has an assigned font number. The last character describes +the size or purpose of the font, as the design of the font is +optimized accordingly: + +

+
X000000E
Extreme: 8pt and smaller + +
X000000T
Text: between 8 and 18pt + +
X000000D
Display: 18pt and larger + +
X000000P
Poster: 48pt and larger + +
X000000M
Monospaced / Typewriter + +
X000000L
LaserWriter / PostScript / Adobe compatible + +
X000000I
Intellifont PCL (5) compatible + +
+ An `F' identifier is not known. + +

The urw.map file has abbreviations for URW fonts. + +

     
+     
+     
+     
+     
+     
+     
+     
+     
+     uagd8a    URWGothicL-Demi                               a010015l
+     uagdo8a   URWGothicL-DemiObli                           a010035l
+     uagk8a    URWGothicL-Book                               a010013l
+     uagko8a   URWGothicL-BookObli                           a010033l
+     ubkd8a    URWBookmanL-DemiBold                          b018015l
+     ubkdi8a   URWBookmanL-DemiBoldItal                      b018035l
+     ubkl8a    URWBookmanL-Ligh                              b018012l
+     ubkli8a   URWBookmanL-LighItal                          b018032l
+     ucrb8a    NimbusMonL-Bold                               n022004l
+     ucrbo8a   NimbusMonL-BoldObli                           n022024l
+     ucrr8a    NimbusMonL-Regu                               n022003l
+     ucrro8a   NimbusMonL-ReguObli                           n022023l
+     uhvb8a    NimbusSanL-Bold                               n019004l
+     uhvb8ac   NimbusSanL-BoldCond                           n019044l
+     uhvbo8a   NimbusSanL-BoldItal                           n019024l
+     uhvbo8ac  NimbusSanL-BoldCondItal                       n019064l
+     uhvr8a    NimbusSanL-Regu                               n019003l
+     uhvr8ac   NimbusSanL-ReguCond                           n019043l
+     uhvro8a   NimbusSanL-ReguItal                           n019023l
+     uhvro8ac  NimbusSanL-ReguCondItal                       n019063l
+     uncb8a    CenturySchL-Bold                              c059016l
+     uncbi8a   CenturySchL-BoldItal                          c059036l
+     uncr8a    CenturySchL-Roma                              c059013l
+     uncri8a   CenturySchL-Ital                              c059033l
+     uplb8a    URWPalladioL-Bold                             p052004l
+     uplbi8a   URWPalladioL-BoldItal                         p052024l
+     uplr8a    URWPalladioL-Roma                             p052003l
+     uplri8a   URWPalladioL-Ital                             p052023l
+     usyr      StandardSymL                                  s050000l
+     utmb8a    NimbusRomNo9L-Medi                            n021004l
+     utmbi8a   NimbusRomNo9L-MediItal                        n021024l
+     utmr8a    NimbusRomNo9L-Regu                            n021003l
+     utmri8a   NimbusRomNo9L-ReguItal                        n021023l
+     uzcmi8a   URWChanceryL-MediItal                         z003034l
+     uzdr      Dingbats                                      d050000l
+
+
+


+ +Next: , +Previous: Font name lists, +Up: Top + +
+ +

Appendix B Encodings

+ +

+The following sections define various encodings as PostScript encoding +vectors. These files can be installed in the Dvips header directory and +then used in psfonts.map to change font encodings of downloadable +or builtin fonts (see psfonts.map). + +

You can also specify these .enc files to Afm2tfm when building a +font (see Changing font encodings). + +

For a discussion of TeX font encodings in general, and defining new +ones for use with fontinst in particular, see +http://www.ctan.org/tex-archive/fonts/utilities/fontinst/doc/encspecs. + +

Naming specific characters is a tangled and difficult area. Here are +some links to character tables for Unicode, Adobe, and WGL4, for your +researching pleasure (thanks to Boguslaw Jackowski for the list): + +

+ + + +
+


+ +Next: , +Up: Encodings + +
+ +

B.1 `8a.enc': Adobe standard encoding

+ +

+ +

% @psencodingfile{
+%   author = "Adobe",
+%   version = "1.1",
+%   date = "12jun05",
+%   filename = "8a.enc",
+%   license = "public domain",
+%   email = "tex-fonts@tug.org",
+%   codetable = "ISO/ASCII",
+%   docstring = "Adobe StandardEncoding as an afm2tfm/dvips .enc file."
+% }
+% 12jun05 - comment changes only.
+/StandardEncoding [
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/space
+/exclam
+/quotedbl
+/numbersign
+/dollar
+/percent
+/ampersand
+/quoteright
+/parenleft
+/parenright
+/asterisk
+/plus
+/comma
+/hyphen
+/period
+/slash
+/zero
+/one
+/two
+/three
+/four
+/five
+/six
+/seven
+/eight
+/nine
+/colon
+/semicolon
+/less
+/equal
+/greater
+/question
+/at
+/A
+/B
+/C
+/D
+/E
+/F
+/G
+/H
+/I
+/J
+/K
+/L
+/M
+/N
+/O
+/P
+/Q
+/R
+/S
+/T
+/U
+/V
+/W
+/X
+/Y
+/Z
+/bracketleft
+/backslash
+/bracketright
+/asciicircum
+/underscore
+/quoteleft
+/a
+/b
+/c
+/d
+/e
+/f
+/g
+/h
+/i
+/j
+/k
+/l
+/m
+/n
+/o
+/p
+/q
+/r
+/s
+/t
+/u
+/v
+/w
+/x
+/y
+/z
+/braceleft
+/bar
+/braceright
+/asciitilde
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/exclamdown
+/cent
+/sterling
+/fraction
+/yen
+/florin
+/section
+/currency
+/quotesingle
+/quotedblleft
+/guillemotleft
+/guilsinglleft
+/guilsinglright
+/fi
+/fl
+/.notdef
+/endash
+/dagger
+/daggerdbl
+/periodcentered
+/.notdef
+/paragraph
+/bullet
+/quotesinglbase
+/quotedblbase
+/quotedblright
+/guillemotright
+/ellipsis
+/perthousand
+/.notdef
+/questiondown
+/.notdef
+/grave
+/acute
+/circumflex
+/tilde
+/macron
+/breve
+/dotaccent
+/dieresis
+/.notdef
+/ring
+/cedilla
+/.notdef
+/hungarumlaut
+/ogonek
+/caron
+/emdash
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/AE
+/.notdef
+/ordfeminine
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/Lslash
+/Oslash
+/OE
+/ordmasculine
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+/ae
+/.notdef
+/.notdef
+/.notdef
+/dotlessi
+/.notdef
+/.notdef
+/lslash
+/oslash
+/oe
+/germandbls
+/.notdef
+/.notdef
+/.notdef
+/.notdef
+] def
+
+ +
+


+ +Next: , +Previous: 8a, +Up: Encodings + +
+ +

B.2 `8r.enc': TeX base encoding

+ +

+ +

% File 8r.enc  TeX Base 1 Encoding  Revision 2.0  2002-10-30
+%
+% @@psencodingfile@{
+%   author    = "S. Rahtz, P. MacKay, Alan Jeffrey, B. Horn, K. Berry,
+%                W. Schmidt, P. Lehman",
+%   version   = "2.0",
+%   date      = "30 October 2002",
+%   filename  = "8r.enc",
+%   email     = "tex-fonts@@tug.org",
+%   docstring = "This is the encoding vector for Type1 and TrueType
+%                fonts to be used with TeX.  This file is part of the
+%                PSNFSS bundle, version 9"
+% @}
+% 
+% The idea is to have all the characters normally included in Type 1 fonts
+% available for typesetting. This is effectively the characters in Adobe
+% Standard encoding, ISO Latin 1, Windows ANSI including the euro symbol,
+% MacRoman, and some extra characters from Lucida.
+% 
+% Character code assignments were made as follows:
+% 
+% (1) the Windows ANSI characters are almost all in their Windows ANSI
+% positions, because some Windows users cannot easily reencode the
+% fonts, and it makes no difference on other systems. The only Windows
+% ANSI characters not available are those that make no sense for
+% typesetting -- rubout (127 decimal), nobreakspace (160), softhyphen
+% (173). quotesingle and grave are moved just because it's such an
+% irritation not having them in TeX positions.
+% 
+% (2) Remaining characters are assigned arbitrarily to the lower part
+% of the range, avoiding 0, 10 and 13 in case we meet dumb software.
+% 
+% (3) Y&Y Lucida Bright includes some extra text characters; in the
+% hopes that other PostScript fonts, perhaps created for public
+% consumption, will include them, they are included starting at 0x12.
+% These are /dotlessj /ff /ffi /ffl.
+% 
+% (4) hyphen appears twice for compatibility with both ASCII and Windows.
+%
+% (5) /Euro was assigned to 128, as in Windows ANSI
+%
+% (6) Missing characters from MacRoman encoding incorporated as follows:
+%
+%     PostScript      MacRoman        TeXBase1
+%     --------------  --------------  --------------
+%     /notequal       173             0x16
+%     /infinity       176             0x17
+%     /lessequal      178             0x18
+%     /greaterequal   179             0x19
+%     /partialdiff    182             0x1A
+%     /summation      183             0x1B
+%     /product        184             0x1C
+%     /pi             185             0x1D
+%     /integral       186             0x81
+%     /Omega          189             0x8D
+%     /radical        195             0x8E
+%     /approxequal    197             0x8F
+%     /Delta          198             0x9D
+%     /lozenge        215             0x9E
+%
+/TeXBase1Encoding [
+% 0x00
+ /.notdef /dotaccent /fi /fl
+ /fraction /hungarumlaut /Lslash /lslash
+ /ogonek /ring /.notdef /breve
+ /minus /.notdef /Zcaron /zcaron
+% 0x10
+ /caron /dotlessi /dotlessj /ff
+ /ffi /ffl /notequal /infinity
+ /lessequal /greaterequal /partialdiff /summation
+ /product /pi /grave /quotesingle
+% 0x20
+ /space /exclam /quotedbl /numbersign
+ /dollar /percent /ampersand /quoteright
+ /parenleft /parenright /asterisk /plus
+ /comma /hyphen /period /slash
+% 0x30
+ /zero /one /two /three
+ /four /five /six /seven
+ /eight /nine /colon /semicolon
+ /less /equal /greater /question
+% 0x40
+ /at /A /B /C
+ /D /E /F /G
+ /H /I /J /K
+ /L /M /N /O
+% 0x50
+ /P /Q /R /S
+ /T /U /V /W
+ /X /Y /Z /bracketleft
+ /backslash /bracketright /asciicircum /underscore
+% 0x60
+ /quoteleft /a /b /c
+ /d /e /f /g
+ /h /i /j /k
+ /l /m /n /o
+% 0x70
+ /p /q /r /s
+ /t /u /v /w
+ /x /y /z /braceleft
+ /bar /braceright /asciitilde /.notdef
+% 0x80
+ /Euro /integral /quotesinglbase /florin
+ /quotedblbase /ellipsis /dagger /daggerdbl
+ /circumflex /perthousand /Scaron /guilsinglleft
+ /OE /Omega /radical /approxequal
+% 0x90
+ /.notdef /.notdef /.notdef /quotedblleft
+ /quotedblright /bullet /endash /emdash
+ /tilde /trademark /scaron /guilsinglright
+ /oe /Delta /lozenge /Ydieresis
+% 0xA0
+ /.notdef /exclamdown /cent /sterling
+ /currency /yen /brokenbar /section
+ /dieresis /copyright /ordfeminine /guillemotleft
+ /logicalnot /hyphen /registered /macron
+% 0xD0
+ /degree /plusminus /twosuperior /threesuperior
+ /acute /mu /paragraph /periodcentered
+ /cedilla /onesuperior /ordmasculine /guillemotright
+ /onequarter /onehalf /threequarters /questiondown
+% 0xC0
+ /Agrave /Aacute /Acircumflex /Atilde
+ /Adieresis /Aring /AE /Ccedilla
+ /Egrave /Eacute /Ecircumflex /Edieresis
+ /Igrave /Iacute /Icircumflex /Idieresis
+% 0xD0
+ /Eth /Ntilde /Ograve /Oacute
+ /Ocircumflex /Otilde /Odieresis /multiply
+ /Oslash /Ugrave /Uacute /Ucircumflex
+ /Udieresis /Yacute /Thorn /germandbls
+% 0xE0
+ /agrave /aacute /acircumflex /atilde
+ /adieresis /aring /ae /ccedilla
+ /egrave /eacute /ecircumflex /edieresis
+ /igrave /iacute /icircumflex /idieresis
+% 0xF0
+ /eth /ntilde /ograve /oacute
+ /ocircumflex /otilde /odieresis /divide
+ /oslash /ugrave /uacute /ucircumflex
+ /udieresis /yacute /thorn /ydieresis
+] def
+
+
+
+


+ +Next: , +Previous: 8r, +Up: Encodings + +
+ +

B.3 `cork.enc': Cork encoding

+ +

+ +

% @psencodingfile{
+%   version = "1.0",
+%   date = "12jun05",
+%   filename = "cork.enc",
+%   license = "public domain",
+%   email = "tex-fonts@tug.org",
+%   codetable = "ISO/ASCII",
+%   docstring = "This is the Cork encoding, aka TeX Latin 1, aka tex256, as
+%   described in TTN 1(4), December 1992, and TUGboat 11(4), November
+%   1990, page 514. EC is the name of the Computer Modern-based fonts in
+%   this encoding. NFSS and Fontinst know it as `T1'."
+% }
+% 12jun05 - Don't use Texinfo @'s in LIGKERN's.
+%
+%   These are the ligs and kerns in addition to those found in the
+%   AFM file.  (The only ligs in the Times-Roman.afm file are the
+%   fi and fl ligatures.)
+%
+% LIGKERN space l =: lslash ; space L =: Lslash ;
+% LIGKERN question quoteleft =: questiondown ; exclam quoteleft =: exclamdown ;
+% LIGKERN hyphen hyphen =: endash ; endash hyphen =: emdash ;
+% LIGKERN quoteleft quoteleft =: quotedblleft ;
+% LIGKERN quoteright quoteright =: quotedblright ;
+%
+%   We remove kerns to and from spaces (TeX doesn't have a
+%   space) and also remove any kerns from the numbers (although
+%   the only kern pair that mentions a number in Times-Roman.afm
+%   is one one.)
+%
+% LIGKERN space {} * ; * {} space ; zero {} * ; * {} zero ;
+% LIGKERN one {} * ; * {} one ; two {} * ; * {} two ;
+% LIGKERN three {} * ; * {} three ; four {} * ; * {} four ;
+% LIGKERN five {} * ; * {} five ; six {} * ; * {} six ;
+% LIGKERN seven {} * ; * {} seven ; eight {} * ; * {} eight ;
+% LIGKERN nine {} * ; * {} nine ;
+% LIGKERN comma comma =: quotedblbase ; less less =: guillemotleft ;
+% LIGKERN greater greater =: guillemotright ;
+%
+/CorkEncoding [          % now 256 chars follow
+% 0x00
+  /grave /acute /circumflex /tilde /dieresis /hungarumlaut /ring /caron
+  /breve /macron /dotaccent /cedilla
+  /ogonek /quotesinglbase /guilsinglleft /guilsinglright
+% 0x10
+  /quotedblleft /quotedblright /quotedblbase /guillemotleft 
+  /guillemotright /endash /emdash /compwordmark
+  /perthousandzero /dotlessi /dotlessj /ff /fi /fl /ffi /ffl
+% 0x20
+  /visualspace /exclam /quotedbl /numbersign
+  /dollar /percent /ampersand /quoteright
+  /parenleft /parenright /asterisk /plus /comma /hyphen /period /slash
+% 0x30
+  /zero /one /two /three /four /five /six /seven
+  /eight /nine /colon /semicolon /less /equal /greater /question
+% 0x40
+  /at /A /B /C /D /E /F /G /H /I /J /K /L /M /N /O
+% 0x50
+  /P /Q /R /S /T /U /V /W
+  /X /Y /Z /bracketleft /backslash /bracketright /asciicircum /underscore
+% 0x60
+  /quoteleft /a /b /c /d /e /f /g /h /i /j /k /l /m /n /o
+% 0x70
+  /p /q /r /s /t /u /v /w
+  /x /y /z /braceleft /bar /braceright /asciitilde /hyphen
+% 0x80
+  /Abreve /Aogonek /Cacute /Ccaron /Dcaron /Ecaron /Eogonek /Gbreve
+  /Lacute /Lcaron /Lslash /Nacute /Ncaron /Ng /Ohungarumlaut /Racute
+% 0x90
+  /Rcaron /Sacute /Scaron /Scedilla
+  /Tcaron /Tcedilla /Uhungarumlaut /Uring
+  /Ydieresis /Zacute /Zcaron /Zdotaccent /IJ /Idotaccent /dbar /section
+% 0xA0
+  /abreve /aogonek /cacute /ccaron /dcaron /ecaron /eogonek /gbreve
+  /lacute /lcaron /lslash /nacute /ncaron /ng /ohungarumlaut /racute
+% 0xB0
+  /rcaron /sacute /scaron /scedilla
+  /tquoteright /tcedilla /uhungarumlaut /uring
+  /ydieresis /zacute /zcaron /zdotaccent
+  /ij /exclamdown /questiondown /sterling
+% 0xC0
+  /Agrave /Aacute /Acircumflex /Atilde /Adieresis /Aring /AE /Ccedilla
+  /Egrave /Eacute /Ecircumflex /Edieresis
+  /Igrave /Iacute /Icircumflex /Idieresis
+% 0xD0
+  /Eth /Ntilde /Ograve /Oacute /Ocircumflex /Otilde /Odieresis /OE
+  /Oslash /Ugrave /Uacute /Ucircumflex /Udieresis /Yacute /Thorn /Germandbls
+% 0xE0
+  /agrave /aacute /acircumflex /atilde /adieresis /aring /ae /ccedilla
+  /egrave /eacute /ecircumflex /edieresis
+  /igrave /iacute /icircumflex /idieresis
+% 0xF0
+  /eth /ntilde /ograve /oacute /ocircumflex /otilde /odieresis /oe
+  /oslash /ugrave /uacute /ucircumflex /udieresis /yacute /thorn /germandbls
+] def
+
+ +
+


+ +Next: , +Previous: cork, +Up: Encodings + +
+ +

B.4 `dvips.enc': Dvips encoding

+ +

+ +

% @psencodingfile{
+%   author = "T. Rokicki, K. Berry",
+%   version = "2.1",
+%   date = "12jun05",
+%   filename = "dvips.enc",
+%   email = "tex-fonts@tug.org",
+%   codetable = "ISO/ASCII",
+%   docstring = "An encoding for PostScript fonts to be used with TeX.
+% 
+% This is almost the default encoding produced by the afm2tfm program
+% that comes with the dvips distribution, when it is applied to a
+% StandardEncoding PostScript font.  The positions of the accented
+% characters (which afm2tfm assigned more or less randomly in the
+% previous set of fonts) have been held fixed.
+% 
+% It is almost upward-compatible with TeX text.  (The primary exceptions
+% are dotaccent and hungarumlaut.)  Some of the ligatures are also in
+% different positions, but this is not important, since ligature
+% positions are defined in the TFM file, not by macros.
+%
+% The character positions were assigned in this order:
+%   1) non-composite characters in the afm2tfm encoding (except dotlessj
+%      was included in its plain TeX position);
+%   2) available characters in the Cork (EC) encoding;
+%   3) remaining composite characters in the base encoding (starting at
+%      position 130 decimal).  We don't include all the other base
+%      characters because that changes the height/depth/width tables in
+%      the TFM files (because more characters mean more distinct values).
+% 
+% We leave the initial positions open for the Greek letters in Times-Roman.
+% "
+% }
+% 12jun05 - don't use extra @'s for Texinfo any more.
+% 
+/DvipsEncoding [
+  /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+  /.notdef /.notdef /.notdef /.notdef
+    /.notdef /quotesingle /exclamdown /questiondown
+  /dotlessi /dotlessj /grave /acute /caron /breve /macron /ring
+  /cedilla /germandbls /ae /oe /oslash /AE /OE /Oslash
+  /space /exclam /quotedbl /numbersign /dollar /percent /ampersand /quoteright
+  /parenleft /parenright /asterisk /plus /comma /hyphen /period /slash
+  /zero /one /two /three /four /five /six /seven
+  /eight /nine /colon /semicolon /less /equal /greater /question
+  /at /A /B /C /D /E /F /G
+  /H /I /J /K /L /M /N /O
+  /P /Q /R /S /T /U /V /W
+  /X /Y /Z /bracketleft /backslash /bracketright /circumflex /underscore
+  /quoteleft /a /b /c /d /e /f /g
+  /h /i /j /k /l /m /n /o
+  /p /q /r /s /t /u /v /w
+  /x /y /z /braceleft /bar /braceright /tilde /dieresis
+  /asciicircum /asciitilde /Ccedilla /Iacute
+      /Icircumflex /atilde /edieresis /egrave
+  /scaron /zcaron /Eth /ff /ffi /ffl /.notdef /.notdef
+  /.notdef /.notdef /Scaron /.notdef /.notdef /.notdef /.notdef /.notdef
+  /Ydieresis /.notdef /Zcaron  /.notdef /.notdef /.notdef /.notdef /.notdef
+  /.notdef /.notdef /cent /sterling /fraction /yen /florin /section
+  /currency /copyright /quotedblleft /guillemotleft
+      /guilsinglleft /guilsinglright /fi /fl
+  /degree /endash /dagger /daggerdbl /periodcentered /.notdef /paragraph /bullet
+  /quotesinglbase /quotedblbase /quotedblright /guillemotright
+      /ellipsis /perthousand /.notdef /.notdef
+  /Agrave /Aacute /Acircumflex /Atilde /Adieresis /Aring /.notdef /dotaccent
+  /Egrave /Eacute /Ecircumflex /Edieresis
+      /Igrave /hungarumlaut /ogonek /Idieresis
+  /emdash /Ntilde /Ograve /Oacute /Ocircumflex /Otilde /Odieresis /.notdef
+  /.notdef /Ugrave /Uacute /Ucircumflex /Udieresis /Yacute /Thorn /.notdef
+  /agrave /aacute /acircumflex /ordfeminine
+      /adieresis /aring /.notdef /ccedilla
+  /Lslash /eacute /ecircumflex /ordmasculine
+      /igrave /iacute /icircumflex /idieresis
+  /.notdef /ntilde /ograve /oacute /ocircumflex /otilde /odieresis /.notdef
+  /lslash /ugrave /uacute /ucircumflex /udieresis /yacute /thorn /ydieresis
+] def
+
+ +
+


+ +Next: , +Previous: dvips, +Up: Encodings + +
+ +

B.5 `t5.enc': T5 encoding

+ +

+ +

% Copyright 2000-2005 Werner Lemberg <wl@gnu.org>.
+% This file is part of vntex.  License: LPPL, version 1.3 or newer,
+% according to http://www.latex-project.org/lppl.txt
+%
+%
+% t5.enc
+%
+%
+% This is LaTeX T5 encoding for Vietnamese
+%
+% history:
+%   version 1.0 (28-Jan-2000):
+%     First version.
+%
+%   version 1.1 (29-Apr-2002):
+%     Rewritten to make it AGL compliant.
+%
+%   version 1.2 (01-May-2002):
+%     Use uni2423 instead uni2420.
+%
+%   version 1.3 (27-Sep-2002):
+%     . Changed the following glyph names to Unicode entities:
+%         0xB3  uni1EBD  etilde
+%         0x93  uni1EBC  Etilde
+%     . Ytilde (uni1EF8) was used in slot for ytilde (uni1EF9).
+%     . Using .notdef in slot for compound word mark (on position 0x17)
+%       caused some problems so it was changed to cwm (for compatibilty
+%       with ec.enc).
+%     . Use sfthyphen in slot 127 instead of hyphen.
+%
+%   version 1.4 (20-Apr-2005):
+%     Add copyright.
+%     Minor documentation updates.
+%
+% LIGKERN hyphen hyphen =: endash ;
+% LIGKERN endash hyphen =: emdash ;
+% LIGKERN quoteleft quoteleft =: quotedblleft ;
+% LIGKERN quoteright quoteright =: quotedblright ;
+% LIGKERN comma comma =: quotedblbase ;
+%
+%   We blow away kerns to and from spaces (TeX doesn't have a
+%   space) and also remove any kerns from the numbers.
+%
+% LIGKERN space {} * ; * {} space ;
+% LIGKERN zero {} * ; * {} zero ;
+% LIGKERN one {} * ; * {} one ;
+% LIGKERN two {} * ; * {} two ;
+% LIGKERN three {} * ; * {} three ;
+% LIGKERN four {} * ; * {} four ;
+% LIGKERN five {} * ; * {} five ;
+% LIGKERN six {} * ; * {} six ;
+% LIGKERN seven {} * ; * {} seven ;
+% LIGKERN eight {} * ; * {} eight ;
+% LIGKERN nine {} * ; * {} nine ;
+%
+%
+% Some notes on the glyph names:
+%
+% . We follow the Adobe Glyph List (AGL), also using its associated
+%   algorithm.
+%
+% . The glyphs `spacing dot below' (on position 0x05), `spacing hook above'
+%   (on position 0x0C), and `compound word mark' (on position 0x17) are not
+%   in Unicode.  We call them `dotbelow', `hookabove', and `cwm',
+%   respectively.
+%
+% . The following glyphs have no special name in the AGL (or names which
+%   should not be used in general) and are thus represented as a Unicode
+%   entity:
+%
+%     0x1A  uni1EF6  Y hook above
+%     0x1B  uni1EF7  y hook above
+%     0x1C  uni1EF4  Y dot below
+%     0x1D  uni1EF5  y dot below
+%
+%     0x20  uni2423  graphic symbol for space
+%
+%     0x83  uni1EA2  A hook above
+%     0x84  uni1EA0  A dot below
+%     0x86  uni1EA6  A circumflex grave
+%     0x87  uni1EA4  A circumflex acute
+%     0x88  uni1EAA  A circumflex tilde
+%     0x89  uni1EA8  A circumflex hook above
+%     0x8A  uni1EAC  A circumflex dot below
+%     0x8C  uni1EB0  A breve grave
+%     0x8D  uni1EAE  A breve acute
+%     0x8E  uni1EB4  A breve tilde
+%     0x8F  uni1EB2  A breve hook above
+%     0x90  uni1EB6  A breve dot below
+%
+%     0x93  uni1EBC  E tilde
+%     0x94  uni1EBA  E hook above
+%     0x95  uni1EB8  E dot below
+%     0x97  uni1EC0  E circumflex grave
+%     0x98  uni1EBE  E circumflex acute
+%     0x99  uni1EC4  E circumflex tilde
+%     0x9A  uni1EC2  E circumflex hook above
+%     0x9B  uni1EC6  E circumflex dot below
+%
+%     0x9F  uni1EC8  I hook above
+%
+%     0xA3  uni1EA3  a hook above
+%     0xA4  uni1EA1  a dot below
+%     0xA6  uni1EA7  a circumflex grave
+%     0xA7  uni1EA5  a circumflex acute
+%     0xA8  uni1EAB  a circumflex tilde
+%     0xA9  uni1EA9  a circumflex hook above
+%     0xAA  uni1EAD  a circumflex dot below
+%     0xAC  uni1EB1  a breve grave
+%     0xAD  uni1EAF  a breve acute
+%     0xAE  uni1EB5  a breve tilde
+%     0xAF  uni1EB3  a breve hook above
+%     0xB0  uni1EB7  a breve dot below
+%
+%     0xB3  uni1EBD  e tilde
+%     0xB4  uni1EBB  e hook above
+%     0xB5  uni1EB9  e dot below
+%     0xB7  uni1EC1  e circumflex grave
+%     0xB8  uni1EBF  e circumflex acute
+%     0xB9  uni1EC5  e circumflex tilde
+%     0xBA  uni1EC3  e circumflex hook above
+%     0xBB  uni1EC7  e circumflex dot below
+%
+%     0xBF  uni1EC9  i hook above
+%
+%     0xC0  uni1ECA  I dot below
+%
+%     0xC4  uni1ECE  O hook above
+%     0xC5  uni1ECC  O dot below
+%     0xC7  uni1ED2  O circumflex grave
+%     0xC8  uni1ED0  O circumflex acute
+%     0xC9  uni1ED6  O circumflex tilde
+%     0xCA  uni1ED4  O circumflex hook above
+%     0xCB  uni1ED8  O circumflex dot below
+%     0xCD  uni1EDC  O horn grave
+%     0xCE  uni1EDA  O horn acute
+%     0xCF  uni1EE0  O horn tilde
+%     0xD0  uni1EDE  O horn hook above
+%     0xD1  uni1EE2  O horn dot below
+%
+%     0xD5  uni1EE6  U hook above
+%     0xD6  uni1EE4  U dot below
+%     0xD8  uni1EEA  U horn grave
+%     0xD9  uni1EE8  U horn acute
+%     0xDA  uni1EEE  U horn tilde
+%     0xDB  uni1EEC  U horn hook above
+%     0xDC  uni1EF0  U horn dot below
+%
+%     0xDF  uni1EF8  Y tilde
+%
+%     0xE0  uni1ECB  i dot below
+%
+%     0xE4  uni1ECF  o hook above
+%     0xE5  uni1ECD  o dot below
+%     0xE7  uni1ED3  o circumflex grave
+%     0xE8  uni1ED1  o circumflex acute
+%     0xE9  uni1ED7  o circumflex tilde
+%     0xEA  uni1ED5  o circumflex hook above
+%     0xEB  uni1ED9  o circumflex dot below
+%     0xED  uni1EDD  o horn grave
+%     0xEE  uni1EDB  o horn acute
+%     0xEF  uni1EE1  o horn tilde
+%     0xF0  uni1EDF  o horn hook above
+%     0xF1  uni1EE3  o horn dot below
+%
+%     0xF5  uni1EE7  u hook above
+%     0xF6  uni1EE5  u dot below
+%     0xF8  uni1EEB  u horn grave
+%     0xF9  uni1EE9  u horn acute
+%     0xFA  uni1EEF  u horn tilde
+%     0xFB  uni1EED  u horn hook above
+%     0xFC  uni1EF1  u horn dot below
+%
+%     0xFF  uni1EF9  y tilde
+/T5Encoding [
+% 0x00
+  /grave /acute /circumflex /tilde
+  /dieresis /dotbelow /ring /caron
+  /breve /macron /dotaccent /cedilla
+  /hookabove /quotesinglbase /guilsinglleft /guilsinglright
+% 0x10
+  /quotedblleft /quotedblright /quotedblbase /guillemotleft
+  /guillemotright /endash /emdash /cwm
+  /zeroinferior /dotlessi /uni1EF6 /uni1EF7
+  /uni1EF4 /uni1EF5 /Dcroat /dcroat
+% 0x20
+  /uni2423 /exclam /quotedbl /numbersign
+  /dollar /percent /ampersand /quoteright
+  /parenleft /parenright /asterisk /plus
+  /comma /hyphen /period /slash
+% 0x30
+  /zero /one /two /three
+  /four /five /six /seven
+  /eight /nine /colon /semicolon
+  /less /equal /greater /question
+% 0x40
+  /at /A /B /C
+  /D /E /F /G
+  /H /I /J /K
+  /L /M /N /O
+% 0x50
+  /P /Q /R /S
+  /T /U /V /W
+  /X /Y /Z /bracketleft
+  /backslash /bracketright /asciicircum /underscore
+% 0x60
+  /quoteleft /a /b /c
+  /d /e /f /g
+  /h /i /j /k
+  /l /m /n /o
+% 0x70
+  /p /q /r /s
+  /t /u /v /w
+  /x /y /z /braceleft
+  /bar /braceright /asciitilde /sfthyphen
+% 0x80
+  /Agrave /Aacute /Atilde /uni1EA2
+  /uni1EA0 /Acircumflex /uni1EA6 /uni1EA4
+  /uni1EAA /uni1EA8 /uni1EAC /Abreve
+  /uni1EB0 /uni1EAE /uni1EB4 /uni1EB2
+% 0x90
+  /uni1EB6 /Egrave /Eacute /uni1EBC
+  /uni1EBA /uni1EB8 /Ecircumflex /uni1EC0
+  /uni1EBE /uni1EC4 /uni1EC2 /uni1EC6
+  /Igrave /Iacute /Itilde /uni1EC8
+% 0xA0
+  /agrave /aacute /atilde /uni1EA3
+  /uni1EA1 /acircumflex /uni1EA7 /uni1EA5
+  /uni1EAB /uni1EA9 /uni1EAD /abreve
+  /uni1EB1 /uni1EAF /uni1EB5 /uni1EB3
+% 0xB0
+  /uni1EB7 /egrave /eacute /uni1EBD  
+  /uni1EBB /uni1EB9 /ecircumflex /uni1EC1
+  /uni1EBF /uni1EC5 /uni1EC3 /uni1EC7
+  /igrave /iacute /itilde /uni1EC9
+% 0xC0
+  /uni1ECA /Ograve /Oacute /Otilde
+  /uni1ECE /uni1ECC /Ocircumflex /uni1ED2
+  /uni1ED0 /uni1ED6 /uni1ED4 /uni1ED8
+  /Ohorn /uni1EDC /uni1EDA /uni1EE0
+% 0xD0
+  /uni1EDE /uni1EE2 /Ugrave /Uacute
+  /Utilde /uni1EE6 /uni1EE4 /Uhorn
+  /uni1EEA /uni1EE8 /uni1EEE /uni1EEC
+  /uni1EF0 /Ygrave /Yacute /uni1EF8
+% 0xE0
+  /uni1ECB /ograve /oacute /otilde
+  /uni1ECF /uni1ECD /ocircumflex /uni1ED3
+  /uni1ED1 /uni1ED7 /uni1ED5 /uni1ED9
+  /ohorn /uni1EDD /uni1EDB /uni1EE1
+% 0xF0
+  /uni1EDF /uni1EE3 /ugrave /uacute
+  /utilde /uni1EE7 /uni1EE5 /uhorn
+  /uni1EEB /uni1EE9 /uni1EEF /uni1EED
+  /uni1EF1 /ygrave /yacute /uni1EF9
+] def
+
+% end of t5.enc
+
+ +
+


+ +Next: , +Previous: t5, +Up: Encodings + +
+ +

B.6 `qx.enc'

+ +

+From GUST. + +

% =========================================================================
+                         QX LAYOUT ver. 0.06
+% =========================================================================
+Release date: 24 August 2003
+Original URL: ftp://bop.eps.gda.pl/pub/qx/
+E-mail: JNSteam at gust.org.pl
+
+QX Layout is, actually, a pair of encodings: one for TeX and one for GUI
+systems. QX layout has been worked out by the Polish TeX Users Group GUST as
+a difficult compromise between needs and abilities. The character set of the
+QX layout is expected to suffice for the typesetting of texts (using TeX) in
+most of European languages.
+
+QX Encoding for TeX is based on EC (Cork Encoding) with a few characters
+exchanged. E.g., gbreve, Gbreve, uring, and Uring, which can be obtained by
+superimposing of an accent, are replaced by Lithuanian iogonek, Iogonek,
+uogonek, and Uogonek, respectively, which should not be assembled form
+separate elements; QX Encoding for GUI systems is a variant of the Code Page
+1250 (and also includes Lithuanian characters with ogonek).
+
+After a long debate, we decided (in ver. 0.04 of the QX layout) to replace
+omnipresent but actually nonexistent [tT]cedilla by Romanian [tT]commaaccent;
+censequently, Turkish [sS]cedilla was replaced by [sS]commaaccent (still we
+would recommend to keep the glyph of a [sS]cedilla character in a font).
+
+Under the pressure from euro currency funs, we included moreover an
+Euro symbol (in ver. 0.05 of the QX layout). We assigned the slot
+128 for it complying with Microsoft proposal for non-cyrillic fonts
+(http://www.microsoft.com/typography/faq/faq12.htm):
+
+  The symbol has been added to the following codepages at position
+  '0x80'; 1250 Eastern European, 1252 Western, 1253 Greek, 1254 Turkish, 
+  1257 Baltic, 1255 Hebrew, 1256 Arabic, 1258 Vietnamese, 874 Thai.
+  In 1251 Cyrillic the symbol will be added at position '0x88'.
+
+Therefore, we had to do something with a Lithuanian Iogonek character that
+previously had occupied this slot. We decided to remove Thorn (222, Tcedilla
+in CP 1250) and thorn (254, tcedilla in CP 1250) characters from the Windows
+QX layout (we recommend, as with [sS]cedilla characters, to keep the glyphs
+in a font) and use the freed slots for Iogonek (previously 128) and iogonek
+(previously 144, now free), respectively. The TeX QX layout, fortunately, had
+had the slot 128 already free, hence there was no need for rearrangement.
+
+Finally, we decided to change the name of a (non-standard) ligature
+fk to f_k, complying with Adobe recommendations contained in:
+http://partners.adobe.com/asn/developer/typeforum/unicodegn.html
+
+Most recent change (24.08.2003, ver. 0.06) was the extension of
+the character set by ligatures ij, IJ (available only in the TeX
+encoding) and a punctuation mark threequartersemdash.
+
+Below you'll find the comparison of basic layouts for TeX and GUI systems 
+with QX ver. 0.06.
+
+% ===========================================================================
+%                          COMPARISON OF TeX LAYOUTS
+% ===========================================================================
+% CODE             CM                EC                PL        QX ver. 0.06
+% ===========================================================================
+  0  00         Gamma             grave             Gamma               alpha
+  1  01         Delta             acute             Delta               Delta
+  2  02         Theta        circumflex             Theta                beta
+  3  03        Lambda             tilde            Lambda               delta
+  4  04            Xi          dieresis                Xi                  pi
+  5  05            Pi      hungarumlaut                Pi                  Pi
+  6  06         Sigma              ring             Sigma               Sigma
+  7  07       Upsilon             caron           Upsilon                  mu
+  8  08           Phi             breve               Phi            ellipsis
+  9  09           Psi            macron               Psi                 f_k
+ 10  0A         Omega         dotaccent             Omega               Omega
+ 11  0B            ff           cedilla                ff                  ff
+ 12  0C            fi            ogonek                fi                  fi
+ 13  0D            fl    quotesinglbase                fl                  fl
+ 14  0E           ffi     guilsinglleft               ffi                 ffi
+ 15  0F           ffl    guilsinglright               ffl                 ffl
+ 16  10      dotlessi      quotedblleft          dotlessi            dotlessi
+ 17  11      dotlessj     quotedblright          dotlessj            dotlessj
+ 18  12         grave      quotedblbase             grave               grave
+ 19  13         acute     guillemotleft             acute               acute
+ 20  14         caron    guillemotright             caron               caron
+ 21  15         breve            endash             breve               breve
+ 22  16        macron            emdash            macron              macron
+ 23  17          ring  compoundwordmark              ring                ring
+ 24  18       cedilla       perthousand           cedilla             cedilla
+ 25  19    germandbls          dotlessi        germandbls          germandbls
+ 26  1A            ae          dotlessj                ae                  ae
+ 27  1B            oe                ff                oe                  oe
+ 28  1C        oslash                fi            oslash              oslash
+ 29  1D            AE                fl                AE                  AE
+ 30  1E            OE               ffi                OE                  OE
+ 31  1F        Oslash               ffl            Oslash              Oslash
+ 32  20      suppress       visualspace            ogonek               space
+ 33  21        exclam            exclam            exclam              exclam
+ 34  22 quotedblright          quotedbl     quotedblright       quotedblright
+ 35  23    numbersign        numbersign        numbersign          numbersign
+ 36  24        dollar            dollar            dollar              dollar
+ 37  25       percent           percent           percent             percent
+ 38  26     ampersand         ampersand         ampersand           ampersand
+ 39  27    quoteright        quoteright        quoteright          quoteright
+ 40  28     parenleft         parenleft         parenleft           parenleft
+ 41  29    parenright        parenright        parenright          parenright
+ 42  2A      asterisk          asterisk          asterisk            asterisk
+ 43  2B          plus              plus              plus                plus
+ 44  2C         comma             comma             comma               comma
+ 45  2D        hyphen            hyphen            hyphen              hyphen
+ 46  2E        period            period            period              period
+ 47  2F         slash             slash             slash               slash
+ 48  30          zero              zero              zero                zero
+ 49  31           one               one               one                 one
+ 50  32           two               two               two                 two
+ 51  33         three             three             three               three
+ 52  34          four              four              four                four
+ 53  35          five              five              five                five
+ 54  36           six               six               six                 six
+ 55  37         seven             seven             seven               seven
+ 56  38         eight             eight             eight               eight
+ 57  39          nine              nine              nine                nine
+ 58  3A         colon             colon             colon               colon
+ 59  3B     semicolon         semicolon         semicolon           semicolon
+ 60  3C    exclamdown              less        exclamdown          exclamdown
+ 61  3D         equal             equal             equal               equal
+ 62  3E  questiondown           greater      questiondown        questiondown
+ 63  3F      question          question          question            question
+ 64  40            at                at                at                  at
+ 65  41             A                 A                 A                   A
+ 66  42             B                 B                 B                   B
+ 67  43             C                 C                 C                   C
+ 68  44             D                 D                 D                   D
+ 69  45             E                 E                 E                   E
+ 70  46             F                 F                 F                   F
+ 71  47             G                 G                 G                   G
+ 72  48             H                 H                 H                   H
+ 73  49             I                 I                 I                   I
+ 74  4A             J                 J                 J                   J
+ 75  4B             K                 K                 K                   K
+ 76  4C             L                 L                 L                   L
+ 77  4D             M                 M                 M                   M
+ 78  4E             N                 N                 N                   N
+ 79  4F             O                 O                 O                   O
+ 80  50             P                 P                 P                   P
+ 81  51             Q                 Q                 Q                   Q
+ 82  52             R                 R                 R                   R
+ 83  53             S                 S                 S                   S
+ 84  54             T                 T                 T                   T
+ 85  55             U                 U                 U                   U
+ 86  56             V                 V                 V                   V
+ 87  57             W                 W                 W                   W
+ 88  58             X                 X                 X                   X
+ 89  59             Y                 Y                 Y                   Y
+ 90  5A             Z                 Z                 Z                   Z
+ 91  5B   bracketleft       bracketleft       bracketleft         bracketleft
+ 92  5C  quotedblleft         backslash      quotedblleft        quotedblleft
+ 93  5D  bracketright      bracketright      bracketright        bracketright
+ 94  5E    circumflex       asciicircum        circumflex          circumflex
+ 95  5F     dotaccent        underscore         dotaccent           dotaccent
+ 96  60     quoteleft         quoteleft         quoteleft           quoteleft
+ 97  61             a                 a                 a                   a
+ 98  62             b                 b                 b                   b
+ 99  63             c                 c                 c                   c
+100  64             d                 d                 d                   d
+101  65             e                 e                 e                   e
+102  66             f                 f                 f                   f
+103  67             g                 g                 g                   g
+104  68             h                 h                 h                   h
+105  69             i                 i                 i                   i
+106  6A             j                 j                 j                   j
+107  6B             k                 k                 k                   k
+108  6C             l                 l                 l                   l
+109  6D             m                 m                 m                   m
+110  6E             n                 n                 n                   n
+111  6F             o                 o                 o                   o
+112  70             p                 p                 p                   p
+113  71             q                 q                 q                   q
+114  72             r                 r                 r                   r
+115  73             s                 s                 s                   s
+116  74             t                 t                 t                   t
+117  75             u                 u                 u                   u
+118  76             v                 v                 v                   v
+119  77             w                 w                 w                   w
+120  78             x                 x                 x                   x
+121  79             y                 y                 y                   y
+122  7A             z                 z                 z                   z
+123  7B        endash         braceleft            endash              endash
+124  7C        emdash               bar            emdash              emdash
+125  7D  hungarumlaut        braceright      hungarumlaut        hungarumlaut
+126  7E         tilde        asciitilde             tilde               tilde
+127  7F      dieresis            hyphen          dieresis            dieresis
+128  80             @            Abreve                 @                Euro
+129  81             @           Aogonek           Aogonek             Aogonek
+130  82             @            Cacute            Cacute              Cacute
+131  83             @            Ccaron                 @             greater
+132  84             @            Dcaron                 @        greaterequal
+133  85             @            Ecaron                 @         approxequal
+134  86             @           Eogonek           Eogonek             Eogonek
+135  87             @            Gbreve                 @             Iogonek
+136  88             @            Lacute                 @                less
+137  89             @       Lquoteright                 @           lessequal
+138  8A             @            Lslash            Lslash              Lslash
+139  8B             @            Nacute            Nacute              Nacute
+140  8C             @            Ncaron                 @          asciitilde
+141  8D             @               Eng                 @         asciicircum
+142  8E             @     Ohungarumlaut                 @                 ell
+143  8F             @            Racute                 @              dagger
+144  90             @            Rcaron                 @           daggerdbl
+145  91             @            Sacute            Sacute              Sacute
+146  92             @            Scaron                 @              Scaron
+147  93             @          Scedilla                 @        Scommaaccent
+148  94             @            Tcaron                 @              degree
+149  95             @          Tcedilla                 @        Tcommaaccent
+150  96             @     Uhungarumlaut                 @              ogonek
+151  97             @             Uring                 @             Uogonek
+152  98             @         Ydieresis                 @           Ydieresis
+153  99             @            Zacute            Zacute              Zacute
+154  9A             @            Zcaron                 @              Zcaron
+155  9B             @        Zdotaccent        Zdotaccent          Zdotaccent
+156  9C             @                IJ                 @                  IJ 
+157  9D             @        Idotaccent                 @           braceleft
+158  9E             @              dbar                 @          braceright
+159  9F             @           section                 @             section
+160  A0             @            abreve                 @                   @
+161  A1             @           aogonek           aogonek             aogonek
+162  A2             @            cacute            cacute              cacute
+163  A3             @            ccaron                 @          registered
+164  A4             @       dquoteright                 @           copyright
+165  A5             @            ecaron                 @              divide
+166  A6             @           eogonek           eogonek             eogonek
+167  A7             @            gbreve                 @             iogonek
+168  A8             @            lacute                 @               minus
+169  A9             @       lquoteright                 @            multiply
+170  AA             @            lslash            lslash              lslash
+171  AB             @            nacute            nacute              nacute
+172  AC             @            ncaron                 @           plusminus
+173  AD             @               eng                 @            infinity
+174  AE             @     ohungarumlaut     guillemotleft       guillemotleft
+175  AF             @            racute    guillemotright      guillemotright
+176  B0             @            rcaron                 @           paragraph
+177  B1             @            sacute            sacute              sacute
+178  B2             @            scaron                 @              scaron
+179  B3             @          scedilla                 @        scommaaccent
+180  B4             @       tquoteright                 @              bullet
+181  B5             @          tcedilla                 @        tcommaaccent
+182  B6             @     uhungarumlaut                 @ threequartersemdash
+183  B7             @             uring                 @             uogonek
+184  B8             @         ydieresis                 @           ydieresis
+185  B9             @            zacute            zacute              zacute
+186  BA             @            zcaron                 @              zcaron
+187  BB             @        zdotaccent        zdotaccent          zdotaccent
+188  BC             @                ij                 @                  ij
+189  BD             @        exclamdown                 @      periodcentered
+190  BE             @      questiondown                 @            quotedbl
+191  BF             @          sterling                 @         quotesingle
+192  C0             @            Agrave                 @              Agrave
+193  C1             @            Aacute                 @              Aacute
+194  C2             @       Acircumflex                 @         Acircumflex
+195  C3             @            Atilde                 @              Atilde
+196  C4             @         Adieresis                 @           Adieresis
+197  C5             @             Aring                 @               Aring
+198  C6             @                AE                 @           backslash
+199  C7             @          Ccedilla                 @            Ccedilla
+200  C8             @            Egrave                 @              Egrave
+201  C9             @            Eacute                 @              Eacute
+202  CA             @       Ecircumflex                 @         Ecircumflex
+203  CB             @         Edieresis                 @           Edieresis
+204  CC             @            Igrave                 @              Igrave
+205  CD             @            Iacute                 @              Iacute
+206  CE             @       Icircumflex                 @         Icircumflex
+207  CF             @         Idieresis                 @           Idieresis
+208  D0             @               Eth                 @                 Eth
+209  D1             @            Ntilde                 @              Ntilde
+210  D2             @            Ograve                 @              Ograve
+211  D3             @            Oacute            Oacute              Oacute
+212  D4             @       Ocircumflex                 @         Ocircumflex
+213  D5             @            Otilde                 @              Otilde
+214  D6             @         Odieresis                 @           Odieresis
+215  D7             @                OE                 @            currency
+216  D8             @            Oslash                 @         perthousand
+217  D9             @            Ugrave                 @              Ugrave
+218  DA             @            Uacute                 @              Uacute
+219  DB             @       Ucircumflex                 @         Ucircumflex
+220  DC             @         Udieresis                 @           Udieresis
+221  DD             @            Yacute                 @              Yacute
+222  DE             @             Thorn                 @               Thorn
+223  DF             @        Germandbls                 @                 bar
+224  E0             @            agrave                 @              agrave
+225  E1             @            aacute                 @              aacute
+226  E2             @       acircumflex                 @         acircumflex
+227  E3             @            atilde                 @              atilde
+228  E4             @         adieresis                 @           adieresis
+229  E5             @             aring                 @               aring
+230  E6             @                ae                 @          underscore
+231  E7             @          ccedilla                 @            ccedilla
+232  E8             @            egrave                 @              egrave
+233  E9             @            eacute                 @              eacute
+234  EA             @       ecircumflex                 @         ecircumflex
+235  EB             @         edieresis                 @           edieresis
+236  EC             @            igrave                 @              igrave
+237  ED             @            iacute                 @              iacute
+238  EE             @       icircumflex                 @         icircumflex
+239  EF             @         idieresis                 @           idieresis
+240  F0             @               eth                 @                 eth
+241  F1             @            ntilde                 @              ntilde
+242  F2             @            ograve                 @              ograve
+243  F3             @            oacute            oacute              oacute
+244  F4             @       ocircumflex                 @         ocircumflex
+245  F5             @            otilde                 @              otilde
+246  F6             @         odieresis                 @           odieresis
+247  F7             @                oe                 @            anglearc
+248  F8             @            oslash                 @            diameter
+249  F9             @            ugrave                 @              ugrave
+250  FA             @            uacute                 @              uacute
+251  FB             @       ucircumflex                 @         ucircumflex
+252  FC             @         udieresis                 @           udieresis
+253  FD             @            yacute                 @              yacute
+254  FE             @             thorn                 @               thorn
+255  FF             @        germandbls      quotedblbase        quotedblbase
+% ===========================================================================
+
+
+% ==========================================================
+%          COMPARISON OF LAYOUTS FOR GUI SYSTEMS
+% ==========================================================
+% CODE        NEW ANSI (0--127)    Macintosh    QX ver. 0.06
+%             +  CODE PAGE 1250     PLEURO
+% ==========================================================
+  0  00              @                 @                   @
+  1  01              @                 @               acute
+  2  02              @                 @          circumflex
+  3  03              @                 @             cedilla
+  4  04              @                 @            dieresis
+  5  05              @                 @               breve
+  6  06              @                 @           dotaccent
+  7  07              @                 @              macron
+  8  08              @                 @                ring
+  9  09              @                 @                   @
+ 10  0A              @                 @        hungarumlaut
+ 11  0B              @                 @              ogonek
+ 12  0C              @                 @               caron
+ 13  0D              @                 @                   @
+ 14  0E              @                 @            dotlessi
+ 15  0F              @                 @            dotlessj
+ 16  10              @                 @               tilde
+ 17  11              @                 @                  ff
+ 18  12              @                 @                 ffi
+ 19  13              @                 @                 ffl
+ 20  14              @                 @                 f_k
+ 21  15              @                 @         approxequal
+ 22  16              @                 @                 ell
+ 23  17              @                 @            infinity
+ 24  18              @                 @               alpha
+ 25  19              @                 @                beta
+ 26  1A              @                 @               delta
+ 27  1B              @                 @                  pi
+ 28  1C              @                 @               Delta
+ 29  1D              @                 @                  Pi
+ 30  1E              @                 @               Sigma
+ 31  1F              @                 @               Omega
+ 32  20          space             space               space
+ 33  21         exclam            exclam              exclam
+ 34  22       quotedbl          quotedbl            quotedbl
+ 35  23     numbersign        numbersign          numbersign
+ 36  24         dollar            dollar              dollar
+ 37  25        percent           percent             percent
+ 38  26      ampersand         ampersand           ampersand
+ 39  27    quotesingle       quotesingle         quotesingle
+ 40  28      parenleft         parenleft           parenleft
+ 41  29     parenright        parenright          parenright
+ 42  2A       asterisk          asterisk            asterisk
+ 43  2B           plus              plus                plus
+ 44  2C          comma             comma               comma
+ 45  2D         hyphen            hyphen              hyphen
+ 46  2E         period            period              period
+ 47  2F          slash             slash               slash
+ 48  30           zero              zero                zero
+ 49  31            one               one                 one
+ 50  32            two               two                 two
+ 51  33          three             three               three
+ 52  34           four              four                four
+ 53  35           five              five                five
+ 54  36            six               six                 six
+ 55  37          seven             seven               seven
+ 56  38          eight             eight               eight
+ 57  39           nine              nine                nine
+ 58  3A          colon             colon               colon
+ 59  3B      semicolon         semicolon           semicolon
+ 60  3C           less              less                less
+ 61  3D          equal             equal               equal
+ 62  3E        greater           greater             greater
+ 63  3F       question          question            question
+ 64  40             at                at                  at
+ 65  41              A                 A                   A
+ 66  42              B                 B                   B
+ 67  43              C                 C                   C
+ 68  44              D                 D                   D
+ 69  45              E                 E                   E
+ 70  46              F                 F                   F
+ 71  47              G                 G                   G
+ 72  48              H                 H                   H
+ 73  49              I                 I                   I
+ 74  4A              J                 J                   J
+ 75  4B              K                 K                   K
+ 76  4C              L                 L                   L
+ 77  4D              M                 M                   M
+ 78  4E              N                 N                   N
+ 79  4F              O                 O                   O
+ 80  50              P                 P                   P
+ 81  51              Q                 Q                   Q
+ 82  52              R                 R                   R
+ 83  53              S                 S                   S
+ 84  54              T                 T                   T
+ 85  55              U                 U                   U
+ 86  56              V                 V                   V
+ 87  57              W                 W                   W
+ 88  58              X                 X                   X
+ 89  59              Y                 Y                   Y
+ 90  5A              Z                 Z                   Z
+ 91  5B    bracketleft       bracketleft         bracketleft
+ 92  5C      backslash         backslash           backslash
+ 93  5D   bracketright      bracketright        bracketright
+ 94  5E    asciicircum       asciicircum         asciicircum
+ 95  5F     underscore        underscore          underscore
+ 96  60          grave             grave               grave
+ 97  61              a                 a                   a
+ 98  62              b                 b                   b
+ 99  63              c                 c                   c
+100  64              d                 d                   d
+101  65              e                 e                   e
+102  66              f                 f                   f
+103  67              g                 g                   g
+104  68              h                 h                   h
+105  69              i                 i                   i
+106  6A              j                 j                   j
+107  6B              k                 k                   k
+108  6C              l                 l                   l
+109  6D              m                 m                   m
+110  6E              n                 n                   n
+111  6F              o                 o                   o
+112  70              p                 p                   p
+113  71              q                 q                   q
+114  72              r                 r                   r
+115  73              s                 s                   s
+116  74              t                 t                   t
+117  75              u                 u                   u
+118  76              v                 v                   v
+119  77              w                 w                   w
+120  78              x                 x                   x
+121  79              y                 y                   y
+122  7A              z                 z                   z
+123  7B      braceleft         braceleft           braceleft
+124  7C            bar               bar                 bar
+125  7D     braceright        braceright          braceright
+126  7E     asciitilde        asciitilde          asciitilde
+127  7F              @                 @                   @
+128  80           Euro                 @                Euro
+129  81              @                 @                  fi
+130  82 quotesinglbase    quotesinglbase                  fl
+131  83              @         Ydieresis           Ydieresis
+132  84   quotedblbase      quotedblbase        quotedblbase
+133  85       ellipsis          ellipsis            ellipsis
+134  86         dagger            dagger              dagger
+135  87      daggerdbl         daggerdbl           daggerdbl
+136  88              @       Ecircumflex         Ecircumflex
+137  89    perthousand       perthousand         perthousand
+138  8A         Scaron            Scaron              Scaron
+139  8B  guilsinglleft     guilsinglleft        Scommaaccent
+140  8C         Sacute            Sacute              Sacute
+141  8D         Tcaron                OE                  OE
+142  8E         Zcaron            Zcaron              Zcaron
+143  8F         Zacute            Zacute              Zacute
+144  90              @                 @ threequartersemdash
+145  91      quoteleft         quoteleft           quoteleft
+146  92     quoteright        quoteright          quoteright
+147  93   quotedblleft      quotedblleft        quotedblleft
+148  94  quotedblright     quotedblright       quotedblright
+149  95         bullet            bullet              bullet
+150  96         endash            endash              endash
+151  97         emdash            emdash              emdash
+152  98              @       ecircumflex         ecircumflex
+153  99      trademark         trademark            anglearc
+154  9A         scaron            scaron              scaron
+155  9B guilsinglright    guilsinglright        scommaaccent
+156  9C         sacute            sacute              sacute
+157  9D    tquoteright                oe                  oe
+158  9E         zcaron            zcaron              zcaron
+159  9F         zacute            zacute              zacute
+160  A0              @           nbspace             nbspace
+161  A1          caron        exclamdown          exclamdown
+162  A2          breve      questiondown        questiondown
+163  A3         Lslash            Lslash              Lslash
+164  A4       currency          currency            currency
+165  A5        Aogonek           Aogonek             Aogonek
+166  A6      brokenbar         brokenbar            diameter
+167  A7        section           section             section
+168  A8       dieresis          dieresis             Uogonek
+169  A9      copyright         copyright           copyright
+170  AA       Scedilla                AE                  AE
+171  AB  guillemotleft     guillemotleft       guillemotleft
+172  AC     logicalnot            Ntilde              Ntilde
+173  AD         hyphen             minus               minus
+174  AE     registered        registered          registered
+175  AF     Zdotaccent        Zdotaccent          Zdotaccent
+176  B0         degree            degree              degree
+177  B1      plusminus         plusminus           plusminus
+178  B2         ogonek       twosuperior           lessequal
+179  B3         lslash            lslash              lslash
+180  B4          acute             acute        greaterequal
+181  B5             mu                mu                  mu
+182  B6      paragraph         paragraph           paragraph
+183  B7 periodcentered    periodcentered      periodcentered
+184  B8        cedilla                 @             uogonek
+185  B9        aogonek           aogonek             aogonek
+186  BA       scedilla                ae                  ae
+187  BB guillemotright    guillemotright      guillemotright
+188  BC    Lquoteright            ntilde              ntilde
+189  BD   hungarumlaut           onehalf        Tcommaaccent
+190  BE    lquoteright     threequarters        tcommaaccent
+191  BF     zdotaccent        zdotaccent          zdotaccent
+192  C0         Racute            Agrave              Agrave
+193  C1         Aacute            Aacute              Aacute
+194  C2    Acircumflex       Acircumflex         Acircumflex
+195  C3         Abreve            Atilde              Atilde
+196  C4      Adieresis         Adieresis           Adieresis
+197  C5         Lacute             Aring               Aring
+198  C6         Cacute            Cacute              Cacute
+199  C7       Ccedilla          Ccedilla            Ccedilla
+200  C8         Ccaron            Egrave              Egrave
+201  C9         Eacute            Eacute              Eacute
+202  CA        Eogonek           Eogonek             Eogonek
+203  CB      Edieresis         Edieresis           Edieresis
+204  CC         Ecaron            Igrave              Igrave
+205  CD         Iacute            Iacute              Iacute
+206  CE    Icircumflex       Icircumflex         Icircumflex
+207  CF         Dcaron         Idieresis           Idieresis
+208  D0            Eth               Eth                 Eth
+209  D1         Nacute            Nacute              Nacute
+210  D2         Ncaron            Ograve              Ograve
+211  D3         Oacute            Oacute              Oacute
+212  D4    Ocircumflex       Ocircumflex         Ocircumflex
+213  D5  Ohungarumlaut            Otilde              Otilde
+214  D6      Odieresis         Odieresis           Odieresis
+215  D7       multiply          multiply            multiply
+216  D8         Rcaron            Oslash              Oslash
+217  D9          Uring            Ugrave              Ugrave
+218  DA         Uacute            Uacute              Uacute
+219  DB  Uhungarumlaut       Ucircumflex         Ucircumflex
+220  DC      Udieresis         Udieresis           Udieresis
+221  DD         Yacute            Yacute              Yacute
+222  DE       Tcedilla             Thorn             Iogonek
+223  DF     germandbls        germandbls          germandbls
+224  E0         racute            agrave              agrave
+225  E1         aacute            aacute              aacute
+226  E2    acircumflex       acircumflex         acircumflex
+227  E3         abreve            atilde              atilde
+228  E4      adieresis         adieresis           adieresis
+229  E5         lacute             aring               aring
+230  E6         cacute            cacute              cacute
+231  E7       ccedilla          ccedilla            ccedilla
+232  E8         ccaron            egrave              egrave
+233  E9         eacute            eacute              eacute
+234  EA        eogonek           eogonek             eogonek
+235  EB      edieresis         edieresis           edieresis
+236  EC         ecaron            igrave              igrave
+237  ED         iacute            iacute              iacute
+238  EE    icircumflex       icircumflex         icircumflex
+239  EF    dquoteright         idieresis           idieresis
+240  F0           dbar               eth                 eth
+241  F1         nacute            nacute              nacute
+242  F2         ncaron            ograve              ograve
+243  F3         oacute            oacute              oacute
+244  F4    ocircumflex       ocircumflex         ocircumflex
+245  F5  ohungarumlaut            otilde              otilde
+246  F6      odieresis         odieresis           odieresis
+247  F7         divide            divide              divide
+248  F8         rcaron            oslash              oslash
+249  F9          uring            ugrave              ugrave
+250  FA         uacute            uacute              uacute
+251  FB  uhungarumlaut       ucircumflex         ucircumflex
+252  FC      udieresis         udieresis           udieresis
+253  FD         yacute            yacute              yacute
+254  FE       tcedilla             thorn             iogonek
+255  FF      dotaccent         ydieresis           ydieresis
+% ==========================================================
+
+
+ +
/encqxoosix[
+/alpha
+/Delta
+/beta
+/delta
+/pi
+/Pi
+/Sigma
+/mu
+/ellipsis
+/f_k
+/Omega
+/ff
+/fi
+/fl
+/ffi
+/ffl
+/dotlessi
+/dotlessj
+/grave
+/acute
+/caron
+/breve
+/macron
+/ring
+/cedilla
+/germandbls
+/ae
+/oe
+/oslash
+/AE
+/OE
+/Oslash
+/space
+/exclam
+/quotedblright
+/numbersign
+/dollar
+/percent
+/ampersand
+/quoteright
+/parenleft
+/parenright
+/asterisk
+/plus
+/comma
+/hyphen
+/period
+/slash
+/zero
+/one
+/two
+/three
+/four
+/five
+/six
+/seven
+/eight
+/nine
+/colon
+/semicolon
+/exclamdown
+/equal
+/questiondown
+/question
+/at
+/A
+/B
+/C
+/D
+/E
+/F
+/G
+/H
+/I
+/J
+/K
+/L
+/M
+/N
+/O
+/P
+/Q
+/R
+/S
+/T
+/U
+/V
+/W
+/X
+/Y
+/Z
+/bracketleft
+/quotedblleft
+/bracketright
+/circumflex
+/dotaccent
+/quoteleft
+/a
+/b
+/c
+/d
+/e
+/f
+/g
+/h
+/i
+/j
+/k
+/l
+/m
+/n
+/o
+/p
+/q
+/r
+/s
+/t
+/u
+/v
+/w
+/x
+/y
+/z
+/endash
+/emdash
+/hungarumlaut
+/tilde
+/dieresis
+/Euro
+/Aogonek
+/Cacute
+/greater
+/greaterequal
+/approxequal
+/Eogonek
+/Iogonek
+/less
+/lessequal
+/Lslash
+/Nacute
+/asciitilde
+/asciicircum
+/ell
+/dagger
+/daggerdbl
+/Sacute
+/Scaron
+/Scommaaccent
+/degree
+/Tcommaaccent
+/ogonek
+/Uogonek
+/Ydieresis
+/Zacute
+/Zcaron
+/Zdotaccent
+/IJ 
+/braceleft
+/braceright
+/section
+/.notdef
+/aogonek
+/cacute
+/registered
+/copyright
+/divide
+/eogonek
+/iogonek
+/minus
+/multiply
+/lslash
+/nacute
+/plusminus
+/infinity
+/guillemotleft
+/guillemotright
+/paragraph
+/sacute
+/scaron
+/scommaaccent
+/bullet
+/tcommaaccent
+/threequartersemdash
+/uogonek
+/ydieresis
+/zacute
+/zcaron
+/zdotaccent
+/ij
+/periodcentered
+/quotedbl
+/quotesingle
+/Agrave
+/Aacute
+/Acircumflex
+/Atilde
+/Adieresis
+/Aring
+/backslash
+/Ccedilla
+/Egrave
+/Eacute
+/Ecircumflex
+/Edieresis
+/Igrave
+/Iacute
+/Icircumflex
+/Idieresis
+/Eth
+/Ntilde
+/Ograve
+/Oacute
+/Ocircumflex
+/Otilde
+/Odieresis
+/currency
+/perthousand
+/Ugrave
+/Uacute
+/Ucircumflex
+/Udieresis
+/Yacute
+/Thorn
+/bar
+/agrave
+/aacute
+/acircumflex
+/atilde
+/adieresis
+/aring
+/underscore
+/ccedilla
+/egrave
+/eacute
+/ecircumflex
+/edieresis
+/igrave
+/iacute
+/icircumflex
+/idieresis
+/eth
+/ntilde
+/ograve
+/oacute
+/ocircumflex
+/otilde
+/odieresis
+/anglearc
+/diameter
+/ugrave
+/uacute
+/ucircumflex
+/udieresis
+/yacute
+/thorn
+/quotedblbase
+] def
+
+
+ +
+


+ +Next: , +Previous: qx, +Up: Encodings + +
+ +

B.7 `texmext.enc': TeX math extension encoding

+ +

+ +

% @psencodingfile{
+%   author = "Donald Knuth",
+%   version = "1.0",
+%   date = "12jun05",
+%   filename = "texmext.enc",
+%   license = "public domain",
+%   email = "tex-fonts@tug.org",
+%   codetable = "ISO/ASCII",
+%   docstring = "TeX math extension encoding."
+% }
+% 
+% 12jun05 - add header.
+% 
+% No ligatures or kerns.
+% 
+/TeXMathExtensionEncoding [          % now 256 chars follow
+
+% 0x0
+/parenleftbig 
+/parenrightbig 
+/bracketleftbig 
+/bracketrightbig 
+/floorleftbig 
+/floorrightbig 
+/ceilingleftbig 
+/ceilingrightbig 
+
+% 0x8
+/braceleftbig 
+/bracerightbig 
+/angbracketleftbig 
+/angbracketrightbig 
+/vextendsingle 
+/vextenddouble 
+/slashbig 
+/backslashbig 
+
+% 0x10
+/parenleftBig 
+/parenrightBig 
+/parenleftbigg 
+/parenrightbigg 
+/bracketleftbigg 
+/bracketrightbigg 
+/floorleftbigg 
+/floorrightbigg 
+
+% 0x18
+/ceilingleftbigg 
+/ceilingrightbigg 
+/braceleftbigg 
+/bracerightbigg 
+/angbracketleftbigg 
+/angbracketrightbigg 
+/slashbigg 
+/backslashbigg 
+
+% 0x20
+/parenleftBigg 
+/parenrightBigg 
+/bracketleftBigg 
+/bracketrightBigg 
+/floorleftBigg 
+/floorrightBigg 
+/ceilingleftBigg 
+/ceilingrightBigg 
+
+% 0x28
+/braceleftBigg 
+/bracerightBigg 
+/angbracketleftBigg 
+/angbracketrightBigg 
+/slashBigg 
+/backslashBigg 
+/slashBig 
+/backslashBig 
+
+% 0x30
+/parenlefttp 
+/parenrighttp 
+/bracketlefttp 
+/bracketrighttp 
+/bracketleftbt 
+/bracketrightbt 
+/bracketleftex 
+/bracketrightex 
+
+% 0x38
+/bracelefttp 
+/bracerighttp 
+/braceleftbt 
+/bracerightbt 
+/braceleftmid 
+/bracerightmid 
+/braceex 
+/arrowvertex 
+
+% 0x40
+/parenleftbt 
+/parenrightbt 
+/parenleftex 
+/parenrightex 
+/angbracketleftBig 
+/angbracketrightBig 
+/unionsqtext 
+/unionsqdisplay 
+
+% 0x48
+/contintegraltext 
+/contintegraldisplay 
+/circledottext 
+/circledotdisplay 
+/circleplustext 
+/circleplusdisplay 
+/circlemultiplytext 
+/circlemultiplydisplay 
+
+% 0x50
+/summationtext 
+/producttext 
+/integraltext 
+/uniontext 
+/intersectiontext 
+/unionmultitext 
+/logicalandtext 
+/logicalortext 
+
+% 0x58
+/summationdisplay 
+/productdisplay 
+/integraldisplay 
+/uniondisplay 
+/intersectiondisplay 
+/unionmultidisplay 
+/logicalanddisplay 
+/logicalordisplay 
+
+% 0x60
+/coproducttext 
+/coproductdisplay 
+/hatwide 
+/hatwider 
+/hatwidest 
+/tildewide 
+/tildewider 
+/tildewidest 
+
+% 0x68
+/bracketleftBig 
+/bracketrightBig 
+/floorleftBig 
+/floorrightBig 
+/ceilingleftBig 
+/ceilingrightBig 
+/braceleftBig 
+/bracerightBig 
+
+% 0x70
+/radicalbig 
+/radicalBig 
+/radicalbigg 
+/radicalBigg 
+/radicalbt 
+/radicalvertex 
+/radicaltp 
+/arrowvertexdbl 
+
+% 0x78
+/arrowtp 
+/arrowbt 
+/bracehtipdownleft 
+/bracehtipdownright 
+/bracehtipupleft 
+/bracehtipupright 
+/arrowdbltp 
+/arrowdblbt 
+
+% Have to have 128 .notdef's now to fill things out.
+% 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+] def
+
+ +
+


+ +Next: , +Previous: texmext, +Up: Encodings + +
+ +

B.8 `texmsym.enc': TeX math symbol encoding

+ +

+ +

% @psencodingfile{
+%   author = "Donald Knuth",
+%   version = "1.0",
+%   date = "12jun05",
+%   filename = "texmsym.enc",
+%   license = "public domain",
+%   email = "tex-fonts@tug.org",
+%   codetable = "ISO/ASCII",
+%   docstring = "TeX math symbols encoding."
+% }
+% 12jun05 - add header.
+% 
+% No ligatures or kerns.
+% 
+/TeXMathSymbolEncoding [          % now 256 chars follow
+% 0x0
+/minus
+/periodcentered
+/multiply
+/asteriskmath
+/divide
+/diamondmath
+/plusminus
+/minusplus
+
+% 0x8
+/circleplus
+/circleminus
+/circlemultiply
+/circledivide
+/circledot
+/circlecopyrt
+/openbullet
+/bullet
+
+% 0x10
+/equivasymptotic
+/equivalence
+/reflexsubset
+/reflexsuperset
+/lessequal
+/greaterequal
+/precedesequal
+/followsequal
+
+% 0x18
+/similar
+/approxequal
+/propersubset
+/propersuperset
+/lessmuch
+/greatermuch
+/precedes
+/follows
+
+% 0x20
+/arrowleft
+/arrowright
+/arrowup
+/arrowdown
+/arrowboth
+/arrownortheast
+/arrowsoutheast
+/similarequal 
+
+% 0x28
+/arrowdblleft 
+/arrowdblright 
+/arrowdblup 
+/arrowdbldown 
+/arrowdblboth 
+/arrownorthwest 
+/arrowsouthwest 
+/proportional 
+
+% 0x30
+/prime 
+/infinity 
+/element 
+/owner 
+/triangle 
+/triangleinv 
+/negationslash 
+/mapsto 
+
+% 0x38
+/universal 
+/existential 
+/logicalnot 
+/emptyset 
+/Rfractur 
+/Ifractur 
+/latticetop 
+/perpendicular 
+
+% 0x40
+/aleph 
+/A 
+/B 
+/C 
+/D 
+/E 
+/F 
+/G 
+
+% 0x48
+/H 
+/I 
+/J 
+/K 
+/L 
+/M 
+/N 
+/O 
+
+% 0x50
+/P 
+/Q 
+/R 
+/S 
+/T 
+/U 
+/V 
+/W 
+
+% 0x58
+/X 
+/Y 
+/Z 
+/union 
+/intersection 
+/unionmulti 
+/logicaland 
+/logicalor 
+
+% 0x60
+/turnstileleft 
+/turnstileright 
+/floorleft 
+/floorright 
+/ceilingleft 
+/ceilingright 
+/braceleft 
+/braceright 
+
+% 0x68
+/angbracketleft 
+/angbracketright 
+/bar 
+/bardbl 
+/arrowbothv 
+/arrowdblbothv 
+/backslash 
+/wreathproduct 
+
+% 0x70
+/radical 
+/coproduct 
+/nabla 
+/integral 
+/unionsq 
+/intersectionsq 
+/subsetsqequal 
+/supersetsqequal 
+
+% 0x78
+/section 
+/dagger 
+/daggerdbl 
+/paragraph 
+/club 
+/diamond 
+/heart 
+/spade
+
+% Have to have 128 .notdef's now to fill things out.
+% 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+] def
+
+ +
+


+ +Next: , +Previous: texmsym, +Up: Encodings + +
+ +

B.9 `texmital.enc': TeX math italic encoding

+ +

+ +

% @psencodingfile{
+%   author = "Donald Knuth",
+%   version = "1.0",
+%   date = "12jun05",
+%   filename = "texmital.enc",
+%   license = "public domain",
+%   email = "tex-fonts@tug.org",
+%   codetable = "ISO/ASCII",
+%   docstring = "TeX math italic encoding."
+% }
+% 
+% 12jun05 - add header.
+% 
+% No ligatures or kerns.
+% 
+/TeXMathItalicEncoding [          % now 256 chars follow
+% 0x0
+/Gamma
+/Delta
+/Theta
+/Lambda
+/Xi
+/Pi
+/Sigma
+/Upsilon
+
+% 0x8
+/Phi
+/Psi
+/Omega
+/alpha
+/beta
+/gamma
+/delta
+/epsilon1
+
+% 0x10
+/zeta
+/eta
+/theta
+/iota
+/kappa
+/lambda
+/mu
+/nu
+
+% 0x18
+/xi
+/pi
+/rho
+/sigma
+/tau
+/upsilon
+/phi
+/chi
+
+% 0x20
+/psi
+/omega
+/epsilon
+/theta1
+/pi1
+/rho1
+/sigma1
+/phi1
+
+% 0x28
+/arrowlefttophalf
+/arrowleftbothalf
+/arrowrighttophalf
+/arrowrightbothalf
+/arrowhookleft
+/arrowhookright
+/triangleright
+/triangleleft
+
+% 0x30
+/zerooldstyle
+/oneoldstyle
+/twooldstyle
+/threeoldstyle
+/fouroldstyle
+/fiveoldstyle
+/sixoldstyle
+/sevenoldstyle
+
+% 0x38
+/eightoldstyle
+/nineoldstyle
+/period
+/comma
+/less
+/slash
+/greater
+/star
+
+% 0x40
+/partialdiff
+/A
+/B
+/C
+/D
+/E
+/F
+/G
+
+% 0x48
+/H
+/I
+/J
+/K
+/L
+/M
+/N
+/O
+
+% 0x50
+/P
+/Q
+/R
+/S
+/T
+/U
+/V
+/W
+
+% 0x58
+/X
+/Y
+/Z
+/flat
+/natural
+/sharp
+/slurbelow
+/slurabove
+
+% 0x60
+/lscript
+/a
+/b
+/c
+/d
+/e
+/f
+/g
+
+% 0x68
+/h
+/i
+/j
+/k
+/l
+/m
+/n
+/o
+
+% 0x70
+/p
+/q
+/r
+/s
+/t
+/u
+/v
+/w
+
+% 0x78
+/x
+/y
+/z
+/dotlessi
+/dotlessj
+/weierstrass
+/vector
+/tie
+
+% Have to have 128 .notdef's now to fill things out.
+% 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+/.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef 
+] def
+
+ +
+


+ +Next: , +Previous: texmital, +Up: Encodings + +
+ +

B.10 `texnansi.enc'

+ +

+From Y&Y. + +

% @psencodingfile{
+%   author = "Y&Y, Inc.",
+%   version = "1.1",
+%   date = "1 December 1996",
+%   filename = "texnansi.enc",
+%   email = "help@YandY.com",
+%   address = "45 Walden Street // Concord, MA 01742, USA",
+%   codetable = "ISO/ASCII",
+%   checksum = "xx",
+%   docstring = "Encoding for fonts in Adobe Type 1 format for use with TeX."
+% }
+%
+% The idea is to have all 228 characters normally included in Type 1 text
+% fonts (plus a few more) available for typesetting.  This is effectively
+% the character set in Adobe Standard Encoding, ISO Latin 1, plus a few more.
+%
+% Character code assignments were made as follows:
+%
+% (1) The character layout largely matches `ASCII' in the 32 -- 126 range,
+% except for `circumflex' in 94 and `tilde' in 126, to match `TeX text'
+% (`asciicircumflex' and `asciitilde' appear in 158 and 142 instead).
+%
+% (2) The character layout matches `Windows ANSI' in almost all places,
+% except for `quoteright' in 39 and `quoteleft' in 96 to match ASCII
+% (`quotesingle' and `grave' appear in 129 and 18 instead).
+%
+% (3) The character layout matches `TeX typewriter' used by CM text fonts
+% in most places (except for discordant positions such as hungarumlaut
+% (instead of braceright), dotaccent (instead of underscore) etc.
+%
+% (4) Remaining characters are assigned arbitrarily to the `control character'
+% range (0 -- 31), avoiding 0, 9, 10 and 13 in case we meet dumb software
+% - similarly one should really avoid 127 and 128 if possible.
+% In addition, the 8 open slots in Windows ANSI between 128 and 159 are used.
+%
+% (5) Y&Y Lucida Bright includes some extra ligatures and such; ff, ffi, ffl,
+% and `dotlessj,' these are included 11 -- 15, and 17.
+%
+% (6) Hyphen appears both at 45 and 173 for compatibility with both ASCII
+% and Windows ANSI.
+%
+% (7) It doesn't really matter where ligatures appear (both real, such as ffi,
+% and pseudo such as ---) since these should not be accessed directly, only
+% via ligature information in the TFM file.
+%
+% SAMPLE USAGE (in `psfonts.map' file for DVIPS):
+% 
+% lbr LucidaBright "TeXnANSIEncoding ReEncodeFont" <texnansi.enc <lbr.pfb
+%
+% This tells DVIPS that the font called `lbr' in TeX has PostScript 
+% FontName `LucidaBright.'  It also asks DVIPS to expand the file `lbr.pfb'
+% into PFA form, to include the attached `texnansi.enc' encoding vector,
+% and to then actually reencode the font based on that encoding vector.
+%
+% Revised 1996 June 1 by adding second position for `fl' to avoid Acrobat bug.
+% Revised 1996 June 1 by adding second position for `fraction' for same reason.
+% Revised 1997 Oct 1 by adding cwm  (used in boundary char TFM code)
+% Revised 1998 Mar 1 by adding Unicode for Euro character
+%
+/TeXnANSIEncoding [
+/.notdef % 0
+/Euro % /Uni20AC 1
+/.notdef % 2
+/.notdef % 3
+/fraction %	4
+/dotaccent %	5
+/hungarumlaut %	6
+/ogonek	%	7
+/fl	%	8
+/.notdef % /fraction %	9	not used (see 4), backward compatability only
+/cwm	%	10	not used, except boundary char internally maybe
+/ff    %	11
+/fi    %	12
+/.notdef % /fl    %	13	not used (see 8), backward compatability only
+/ffi   %	14
+/ffl   %	15
+/dotlessi %	16
+/dotlessj %	17
+/grave %	18
+/acute %	19
+/caron %	20
+/breve %	21
+/macron %	22
+/ring  %	23
+/cedilla %	24
+/germandbls %	25
+/ae    %	26
+/oe    %	27
+/oslash %	28
+/AE    %	29
+/OE    %	30
+/Oslash %	31
+/space %	32	% /suppress in TeX text
+/exclam %	33
+/quotedbl %	34	% /quotedblright in TeX text
+/numbersign %	35
+/dollar %	36
+/percent %	37
+/ampersand %	38
+/quoteright %	39	% /quotesingle in ANSI
+/parenleft %	40
+/parenright %	41
+/asterisk %	42
+/plus  %	43
+/comma %	44
+/hyphen %	45
+/period %	46
+/slash %	47
+/zero  %	48
+/one   %	49
+/two   %	50
+/three %	51
+/four  %	52
+/five  %	53
+/six   %	54
+/seven %	55
+/eight %	56
+/nine  %	57
+/colon %	58
+/semicolon %	59
+/less  %	60	% /exclamdown in Tex text
+/equal %	61
+/greater %	62	% /questiondown in TeX text
+/question %	63
+/at %	64
+/A %	65
+/B %	66
+/C %	67
+/D %	68
+/E %	69
+/F %	70
+/G %	71
+/H %	72
+/I %	73
+/J %	74
+/K %	75
+/L %	76
+/M %	77
+/N %	78
+/O %	79
+/P %	80
+/Q %	81
+/R %	82
+/S %	83
+/T %	84
+/U %	85
+/V %	86
+/W %	87
+/X %	88
+/Y %	89
+/Z %	90
+/bracketleft %	91
+/backslash %	92	% /quotedblleft in TeX text
+/bracketright %	93
+/circumflex %	94	% /asciicircum in ASCII
+/underscore %	95	% /dotaccent in TeX text
+/quoteleft %	96	% /grave accent in ANSI
+/a %	97
+/b %	98
+/c %	99
+/d %	100
+/e %	101
+/f %	102
+/g %	103
+/h %	104
+/i %	105
+/j %	106
+/k %	107
+/l %	108
+/m %	109
+/n %	110
+/o %	111
+/p %	112
+/q %	113
+/r %	114
+/s %	115
+/t %	116
+/u %	117
+/v %	118
+/w %	119
+/x %	120
+/y %	121
+/z %	122
+/braceleft %	123	% /endash in TeX text
+/bar   %	124	% /emdash in TeX test
+/braceright %	125	% /hungarumlaut in TeX text
+/tilde %	126	% /asciitilde in ASCII
+/dieresis %	127	not used (see 168), use higher up instead
+/Lslash	%	128	this position is unfortunate, but now too late to fix
+/quotesingle %	129
+/quotesinglbase %	130
+/florin %	131
+/quotedblbase %	132
+/ellipsis %	133
+/dagger %	134
+/daggerdbl %	135
+/circumflex %	136
+/perthousand %	137
+/Scaron %	138
+/guilsinglleft %	139
+/OE    %	140
+/Zcaron %	141
+/asciicircum %	142
+/minus %	143
+/lslash %	144
+/quoteleft %	145
+/quoteright %	146
+/quotedblleft %	147
+/quotedblright %	148
+/bullet %	149
+/endash %	150
+/emdash %	151
+/tilde %	152
+/trademark %	153
+/scaron %	154
+/guilsinglright %	155
+/oe    %	156
+/zcaron %	157
+/asciitilde %	158
+/Ydieresis %	159
+/nbspace %	160	% /space (no break space)
+/exclamdown %	161
+/cent  %	162
+/sterling %	163
+/currency %	164
+/yen   %	165
+/brokenbar %	166
+/section %	167
+/dieresis %	168
+/copyright %	169
+/ordfeminine %	170
+/guillemotleft %	171
+/logicalnot %	172
+/sfthyphen %	173 % /hyphen (hanging hyphen)
+/registered %	174
+/macron %	175
+/degree %	176
+/plusminus %	177
+/twosuperior %	178
+/threesuperior %	179
+/acute %	180
+/mu    %	181
+/paragraph %	182
+/periodcentered %	183
+/cedilla %	184
+/onesuperior %	185
+/ordmasculine %	186
+/guillemotright %	187
+/onequarter %	188
+/onehalf %	189
+/threequarters %	190
+/questiondown %	191
+/Agrave %	192
+/Aacute %	193
+/Acircumflex %	194
+/Atilde %	195
+/Adieresis %	196
+/Aring %	197
+/AE    %	198
+/Ccedilla %	199
+/Egrave %	200
+/Eacute %	201
+/Ecircumflex %	202
+/Edieresis %	203
+/Igrave %	204
+/Iacute %	205
+/Icircumflex %	206
+/Idieresis %	207
+/Eth   %	208
+/Ntilde %	209
+/Ograve %	210
+/Oacute %	211
+/Ocircumflex %	212
+/Otilde %	213
+/Odieresis %	214
+/multiply %	215	% OE in T1
+/Oslash %	216
+/Ugrave %	217
+/Uacute %	218
+/Ucircumflex %	219
+/Udieresis %	220
+/Yacute %	221
+/Thorn %	222
+/germandbls %	223
+/agrave %	224
+/aacute %	225
+/acircumflex %	226
+/atilde %	227
+/adieresis %	228
+/aring %	229
+/ae    %	230
+/ccedilla %	231
+/egrave %	232
+/eacute %	233
+/ecircumflex %	234
+/edieresis %	235
+/igrave %	236
+/iacute %	237
+/icircumflex %	238
+/idieresis %	239
+/eth   %	240
+/ntilde %	241
+/ograve %	242
+/oacute %	243
+/ocircumflex %	244
+/otilde %	245
+/odieresis %	246
+/divide %	247	% oe in T1
+/oslash %	248
+/ugrave %	249
+/uacute %	250
+/ucircumflex %	251
+/udieresis %	252
+/yacute %	253
+/thorn %	254
+/ydieresis %	255	% germandbls in T1
+] def
+
+ +
+


+ +Next: , +Previous: texnansi, +Up: Encodings + +
+ +

B.11 `texnansx.enc'

+ +

+From Y&Y. `texnansi' without repeats. + +

% @psencodingfile{
+%   author = "Y&Y, Inc.",
+%   version = "1.2",
+%   date = "1 December 1998",
+%   filename = "texnansix.enc",
+%   email = "support@YandY.com",
+%   address = "45 Walden Street // Concord, MA 01742, USA",
+%   codetable = "ISO/ASCII",
+%   checksum = "xx",
+%   docstring = "Encoding for fonts in Adobe Type 1 format for use with TeX."
+% }
+%
+% MODIFIED FOR AFM2TFM to avoid repeated encodings...
+%
+%
+/TeXnANSIEncoding [
+/.notdef % 0
+/Uni20AC % /Euro 1
+/.notdef % 2
+/.notdef % 3
+/fraction %	4
+/dotaccent %	5
+/hungarumlaut %	6
+/ogonek	%	7
+/fl	%	8
+/.notdef % /fraction %	9	not used (see 4), backward compatability only
+/cwm	%	10	not used, except boundary char internally maybe
+/ff    %	11
+/fi    %	12
+/.notdef % /fl    %	13	not used (see 8), backward compatability only
+/ffi   %	14
+/ffl   %	15
+/dotlessi %	16
+/dotlessj %	17
+/grave %	18
+/acute %	19
+/caron %	20
+/breve %	21
+/macron %	22
+/ring  %	23
+/cedilla %	24
+/germandbls %	25
+/ae    %	26
+/oe    %	27
+/oslash %	28
+/AE    %	29
+/OE    %	30
+/Oslash %	31
+/space %	32	% /suppress in TeX text
+/exclam %	33
+/quotedbl %	34	% /quotedblright in TeX text
+/numbersign %	35
+/dollar %	36
+/percent %	37
+/ampersand %	38
+/quoteright %	39	% /quotesingle in ANSI
+/parenleft %	40
+/parenright %	41
+/asterisk %	42
+/plus  %	43
+/comma %	44
+/hyphen %	45
+/period %	46
+/slash %	47
+/zero  %	48
+/one   %	49
+/two   %	50
+/three %	51
+/four  %	52
+/five  %	53
+/six   %	54
+/seven %	55
+/eight %	56
+/nine  %	57
+/colon %	58
+/semicolon %	59
+/less  %	60	% /exclamdown in Tex text
+/equal %	61
+/greater %	62	% /questiondown in TeX text
+/question %	63
+/at %	64
+/A %	65
+/B %	66
+/C %	67
+/D %	68
+/E %	69
+/F %	70
+/G %	71
+/H %	72
+/I %	73
+/J %	74
+/K %	75
+/L %	76
+/M %	77
+/N %	78
+/O %	79
+/P %	80
+/Q %	81
+/R %	82
+/S %	83
+/T %	84
+/U %	85
+/V %	86
+/W %	87
+/X %	88
+/Y %	89
+/Z %	90
+/bracketleft %	91
+/backslash %	92	% /quotedblleft in TeX text
+/bracketright %	93
+/circumflex %	94	% /asciicircum in ASCII
+/underscore %	95	% /dotaccent in TeX text
+/quoteleft %	96	% /grave accent in ANSI
+/a %	97
+/b %	98
+/c %	99
+/d %	100
+/e %	101
+/f %	102
+/g %	103
+/h %	104
+/i %	105
+/j %	106
+/k %	107
+/l %	108
+/m %	109
+/n %	110
+/o %	111
+/p %	112
+/q %	113
+/r %	114
+/s %	115
+/t %	116
+/u %	117
+/v %	118
+/w %	119
+/x %	120
+/y %	121
+/z %	122
+/braceleft %	123	% /endash in TeX text
+/bar   %	124	% /emdash in TeX test
+/braceright %	125	% /hungarumlaut in TeX text
+/tilde %	126	% /asciitilde in ASCII
+/dieresis %	127	not used (see 168), use higher up instead
+/Lslash	%	128	this position is unfortunate, but now too late to fix
+/quotesingle %	129
+/quotesinglbase %	130
+/florin %	131
+/quotedblbase %	132
+/ellipsis %	133
+/dagger %	134
+/daggerdbl %	135
+/.notdef % /circumflex %	136
+/perthousand %	137
+/Scaron %	138
+/guilsinglleft %	139
+/.notdef % /OE    %	140
+/Zcaron %	141
+/asciicircum %	142
+/minus %	143
+/lslash %	144
+/.notdef % /quoteleft %	145
+/.notdef % /quoteright %	146
+/quotedblleft %	147
+/quotedblright %	148
+/bullet %	149
+/endash %	150
+/emdash %	151
+/.notdef % /tilde %	152
+/trademark %	153
+/scaron %	154
+/guilsinglright %	155
+/.notdef % /oe    %	156
+/zcaron %	157
+/asciitilde %	158
+/Ydieresis %	159
+/nbspace %	160	% /space (no break space)
+/exclamdown %	161
+/cent  %	162
+/sterling %	163
+/currency %	164
+/yen   %	165
+/brokenbar %	166
+/section %	167
+/.notdef % /dieresis %	168
+/copyright %	169
+/ordfeminine %	170
+/guillemotleft %	171
+/logicalnot %	172
+/sfthyphen %	173 % /hyphen (hanging hyphen)
+/registered %	174
+/.notdef % /macron %	175
+/degree %	176
+/plusminus %	177
+/twosuperior %	178
+/threesuperior %	179
+/.notdef % /acute %	180
+/mu    %	181
+/paragraph %	182
+/periodcentered %	183
+/.notdef % /cedilla %	184
+/onesuperior %	185
+/ordmasculine %	186
+/guillemotright %	187
+/onequarter %	188
+/onehalf %	189
+/threequarters %	190
+/questiondown %	191
+/Agrave %	192
+/Aacute %	193
+/Acircumflex %	194
+/Atilde %	195
+/Adieresis %	196
+/Aring %	197
+/.notdef % /AE    %	198
+/Ccedilla %	199
+/Egrave %	200
+/Eacute %	201
+/Ecircumflex %	202
+/Edieresis %	203
+/Igrave %	204
+/Iacute %	205
+/Icircumflex %	206
+/Idieresis %	207
+/Eth   %	208
+/Ntilde %	209
+/Ograve %	210
+/Oacute %	211
+/Ocircumflex %	212
+/Otilde %	213
+/Odieresis %	214
+/multiply %	215	% OE in T1
+/.notdef % /Oslash %	216
+/Ugrave %	217
+/Uacute %	218
+/Ucircumflex %	219
+/Udieresis %	220
+/Yacute %	221
+/Thorn %	222
+/.notdef % /germandbls %	223
+/agrave %	224
+/aacute %	225
+/acircumflex %	226
+/atilde %	227
+/adieresis %	228
+/aring %	229
+/.notdef % /ae    %	230
+/ccedilla %	231
+/egrave %	232
+/eacute %	233
+/ecircumflex %	234
+/edieresis %	235
+/igrave %	236
+/iacute %	237
+/icircumflex %	238
+/idieresis %	239
+/eth   %	240
+/ntilde %	241
+/ograve %	242
+/oacute %	243
+/ocircumflex %	244
+/otilde %	245
+/odieresis %	246
+/divide %	247	% oe in T1
+/.notdef % /oslash %	248
+/ugrave %	249
+/uacute %	250
+/ucircumflex %	251
+/udieresis %	252
+/yacute %	253
+/thorn %	254
+/ydieresis %	255	% germandbls in T1
+] def
+
+ +
+


+ +Next: , +Previous: texnansx, +Up: Encodings + +
+ +

B.12 `xl2.enc': OT1 + ISO Latin 2 extended

+ +

+ +

% @psencodingfile{
+%   author = "Petr Olsak, Zdenek Wagner",
+%   date = "27aug05",
+%   filename = "xl2.enc",
+%   license = "public domain",
+%   email = "tex-fonts@tug.org",
+%   codetable = "ISO/ASCII",
+%   docstring = "
+% some of our (CSTUG- czech TeX Users Group) users want to support
+% 8bit font coding such that:
+% -- lower 7bit  is exactly OT1 (but with differences imposed
+%   by DEK -- e.g. layout of cmr is different from cmtt)
+% -- upper part is taken from ISO-Latin 2 (iso 8859-2),
+%    but some of empty positions are filled with useful characters
+%    usually available in type-1 font (permill sign etc.)
+% "
+% }
+% 
+% 27aug05 - record Petr Olsak and Zdenek Wagner as the authors.
+% 12jun05 - remove Texinfo @'s from LIGKERN's.
+% 
+/XL2encoding [
+%%%%%   '000 = "00
+   /Gamma
+   /Delta
+   /Theta
+   /Lambda
+   /Xi
+   /Pi
+   /Sigma
+   /Upsilon
+%%%%%   '010 = "08
+   /Phi
+   /Psi
+   /Omega
+   /ff
+   /fi
+   /fl
+   /ffi
+   /ffl
+%%%%%   '020 = "10
+   /dotlessi
+   /dotlessj
+   /grave
+   /acute
+   /caron
+   /breve
+   /macron
+   /ring
+%%%%%   '030 = "18
+   /cedilla
+   /germandbls
+   /ae
+   /oe
+   /oslash
+   /AE
+   /OE
+   /Oslash
+%%%%%   '040 = "20
+   /.notdef
+   /exclam
+   /quotedblright
+   /numbersign
+   /dollar
+   /percent
+   /ampersand
+   /quoteright
+%%%%%   '050 = "28
+   /parenleft
+   /parenright
+   /asterisk
+   /plus
+   /comma
+   /hyphen
+   /period
+   /slash
+%%%%%   '060 = "30
+   /zero
+   /one
+   /two
+   /three
+   /four
+   /five
+   /six
+   /seven
+%%%%%   '070 = "38
+   /eight
+   /nine
+   /colon
+   /semicolon
+   /exclamdown
+   /equal
+   /questiondown
+   /question
+%%%%%   '100 = "40
+   /at
+   /A
+   /B
+   /C
+   /D
+   /E
+   /F
+   /G
+%%%%%   '110 = "48
+   /H
+   /I
+   /J
+   /K
+   /L
+   /M
+   /N
+   /O
+%%%%%   '120 = "50
+   /P
+   /Q
+   /R
+   /S
+   /T
+   /U
+   /V
+   /W
+%%%%%   '130 = "58
+   /X
+   /Y
+   /Z
+   /bracketleft
+   /quotedblleft
+   /bracketright
+   /circumflex
+   /dotaccent
+%%%%%   '140 = "60
+   /quoteleft
+   /a
+   /b
+   /c
+   /d
+   /e
+   /f
+   /g
+%%%%%   '150 = "68
+   /h
+   /i
+   /j
+   /k
+   /l
+   /m
+   /n
+   /o
+%%%%%   '160 = "70
+   /p
+   /q
+   /r
+   /s
+   /t
+   /u
+   /v
+   /w
+%%%%%   '170 = "78
+   /x
+   /y
+   /z
+   /endash
+   /emdash
+   /hungarumlaut
+   /tilde
+   /dieresis
+%%%%%   '200 = "80
+   /ellipsis
+   /dagger
+   /daggerdbl
+   /bullet
+   /sterling
+   /paragraph
+   /.notdef
+   /.notdef
+%%%%%   '210 = "88
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /perthousand
+   /.notdef
+   /.notdef
+%%%%%   '220 = "90
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+%%%%%   '230 = "98
+   /Agrave
+   /.notdef
+   /.notdef
+   /.notdef
+   /hyphen
+   /ogonek
+   /guillemotleft
+   /guillemotright
+%%%%%   '240 = "A0
+   /.notdef
+   /Aogonek
+   /breve
+   /Lslash
+   /currency
+   /Lcaron
+   /Sacute
+   /section
+%%%%%   '250 = "A8
+   /dieresis
+   /Scaron
+   /Scedilla
+   /Tcaron
+   /Zacute
+   /.notdef
+   /Zcaron
+   /Zdotaccent
+%%%%%   '260 = "B0
+   /ring
+   /aogonek
+   /cedilla
+   /lslash
+   /acute
+   /lcaron
+   /sacute
+   /caron
+%%%%%   '270 = "B8
+   /agrave
+   /scaron
+   /scedilla
+   /tcaron
+   /zacute
+   /hungarumlaut
+   /zcaron
+   /zdotaccent
+%%%%%   '300 = "C0
+   /Racute
+   /Aacute
+   /Acircumflex
+   /Abreve
+   /Adieresis
+   /Lacute
+   /Cacute
+   /Ccedilla
+%%%%%   '310 = "C8
+   /Ccaron
+   /Eacute
+   /Eogonek
+   /Edieresis
+   /Ecaron
+   /Iacute
+   /Icircumflex
+   /Dcaron
+%%%%%   '320 = "D0
+   /Eth
+   /Nacute
+   /Ncaron
+   /Oacute
+   /Ocircumflex
+   /Ohungarumlaut
+   /Odieresis
+   /multiply
+%%%%%   '330 = "D8
+   /Rcaron
+   /Uring
+   /Uacute
+   /Uhungarumlaut
+   /Udieresis
+   /Yacute
+   /Togonek
+   /germandbls
+%%%%%   '340 = "E0
+   /racute
+   /aacute
+   /acircumflex
+   /abreve
+   /adieresis
+   /lacute
+   /cacute
+   /ccedilla
+%%%%%   '350 = "E8
+   /ccaron
+   /eacute
+   /eogonek
+   /edieresis
+   /ecaron
+   /iacute
+   /icircumflex
+   /dcaron
+%%%%%   '360 = "F0
+   /eth
+   /nacute
+   /ncaron
+   /oacute
+   /ocircumflex
+   /ohungarumlaut
+   /odieresis
+   /divide
+%%%%%   '370 = "F8
+   /rcaron
+   /uring
+   /uacute
+   /uhungarumlaut
+   /udieresis
+   /yacute
+   /quotedblbase
+   /quotedblleft
+] def
+
+% LIGKERN hyphen hyphen =: endash ; endash hyphen =: emdash ;
+% LIGKERN quoteleft quoteleft =: quotedblleft ;
+% LIGKERN quoteright quoteright =: quotedblright ;
+% LIGKERN exclamdown exclamdown =: guillemotleft ;
+% frenchdblquotes
+% LIGKERN questiondown questiondown =: guillemotright ;
+% csquoteleft
+% LIGKERN comma comma =: quotedblbase ;
+% LIGKERN space {} * ; * {} space ; zero {} * ; * {} zero ;
+% LIGKERN one {} * ; * {} one ; two {} * ; * {} two ;
+% LIGKERN three {} * ; * {} three ; four {} * ; * {} four ;
+% LIGKERN five {} * ; * {} five ; six {} * ; * {} six ;
+% LIGKERN seven {} * ; * {} seven ; eight {} * ; * {} eight ;
+% LIGKERN nine {} * ; * {} nine ;
+% LIGKERN question {} quoteleft ; exclam {} quoteleft ;
+
+ +
+


+ +Previous: xl2, +Up: Encodings + +
+ +

B.13 `xt2.enc': typewriter OT1 + ISO Latin 2 extended

+ +

+ +

% @psencodingfile{
+%   author = "Petr Olsak, Zdenek Wagner",
+%   date = "27aug05",
+%   filename = "xt2.enc",
+%   license = "public domain",
+%   email = "tex-fonts@tug.org",
+%   codetable = "ISO/ASCII",
+%   docstring = "This is the typewriter version of xl2."
+% }
+% 
+% 27aug05 - record Petr Olsak and Zdenek Wagner as the authors.
+% 12jun05 - remove Texinfo @'s from LIGKERN's.
+% 
+/XT2encoding [
+%%%%%   '000 = "00
+   /Gamma
+   /Delta
+   /Theta
+   /Lambda
+   /Xi
+   /Pi
+   /Sigma
+   /Upsilon
+%%%%%   '010 = "08
+   /Phi
+   /Psi
+   /Omega
+   /arrowup
+   /arrowdown
+   /quotesingle
+   /exclamdown
+   /questiondown
+%%%%%   '020 = "10
+   /dotlessi
+   /dotlessj
+   /grave
+   /acute
+   /caron
+   /breve
+   /macron
+   /ring
+%%%%%   '030 = "18
+   /cedilla
+   /germandbls
+   /ae
+   /oe
+   /oslash
+   /AE
+   /OE
+   /Oslash
+%%%%%   '040 = "20
+   /.notdef
+   /exclam
+   /quotedblright
+   /numbersign
+   /dollar
+   /percent
+   /ampersand
+   /quoteright
+%%%%%   '050 = "28
+   /parenleft
+   /parenright
+   /asterisk
+   /plus
+   /comma
+   /hyphen
+   /period
+   /slash
+%%%%%   '060 = "30
+   /zero
+   /one
+   /two
+   /three
+   /four
+   /five
+   /six
+   /seven
+%%%%%   '070 = "38
+   /eight
+   /nine
+   /colon
+   /semicolon
+   /less
+   /equal
+   /greater
+   /question
+%%%%%   '100 = "40
+   /at
+   /A
+   /B
+   /C
+   /D
+   /E
+   /F
+   /G
+%%%%%   '110 = "48
+   /H
+   /I
+   /J
+   /K
+   /L
+   /M
+   /N
+   /O
+%%%%%   '120 = "50
+   /P
+   /Q
+   /R
+   /S
+   /T
+   /U
+   /V
+   /W
+%%%%%   '130 = "58
+   /X
+   /Y
+   /Z
+   /bracketleft
+   /backslash
+   /bracketright
+   /circumflex
+   /underscore
+%%%%%   '140 = "60
+   /quoteleft
+   /a
+   /b
+   /c
+   /d
+   /e
+   /f
+   /g
+%%%%%   '150 = "68
+   /h
+   /i
+   /j
+   /k
+   /l
+   /m
+   /n
+   /o
+%%%%%   '160 = "70
+   /p
+   /q
+   /r
+   /s
+   /t
+   /u
+   /v
+   /w
+%%%%%   '170 = "78
+   /x
+   /y
+   /z
+   /braceleft
+   /bar
+   /braceright
+   /tilde
+   /dieresis
+%%%%%   '200 = "80
+   /ellipsis
+   /dagger
+   /daggerdbl
+   /bullet
+   /sterling
+   /paragraph
+   /.notdef
+   /.notdef
+%%%%%   '210 = "88
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /perthousand
+   /.notdef
+   /.notdef
+%%%%%   '220 = "90
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+   /.notdef
+%%%%%   '230 = "98
+   /Agrave
+   /.notdef
+   /.notdef
+   /.notdef
+   /hyphen
+   /ogonek
+   /guillemotleft
+   /guillemotright
+%%%%%   '240 = "A0
+   /.notdef
+   /Aogonek
+   /breve
+   /Lslash
+   /currency
+   /Lcaron
+   /Sacute
+   /section
+%%%%%   '250 = "A8
+   /dieresis
+   /Scaron
+   /Scedilla
+   /Tcaron
+   /Zacute
+   /.notdef
+   /Zcaron
+   /Zdotaccent
+%%%%%   '260 = "B0
+   /ring
+   /aogonek
+   /cedilla
+   /lslash
+   /acute
+   /lcaron
+   /sacute
+   /caron
+%%%%%   '270 = "B8
+   /agrave
+   /scaron
+   /scedilla
+   /tcaron
+   /zacute
+   /hungarumlaut
+   /zcaron
+   /zdotaccent
+%%%%%   '300 = "C0
+   /Racute
+   /Aacute
+   /Acircumflex
+   /Abreve
+   /Adieresis
+   /Lacute
+   /Cacute
+   /Ccedilla
+%%%%%   '310 = "C8
+   /Ccaron
+   /Eacute
+   /Eogonek
+   /Edieresis
+   /Ecaron
+   /Iacute
+   /Icircumflex
+   /Dcaron
+%%%%%   '320 = "D0
+   /Eth
+   /Nacute
+   /Ncaron
+   /Oacute
+   /Ocircumflex
+   /Ohungarumlaut
+   /Odieresis
+   /multiply
+%%%%%   '330 = "D8
+   /Rcaron
+   /Uring
+   /Uacute
+   /Uhungarumlaut
+   /Udieresis
+   /Yacute
+   /Togonek
+   /germandbls
+%%%%%   '340 = "E0
+   /racute
+   /aacute
+   /acircumflex
+   /abreve
+   /adieresis
+   /lacute
+   /cacute
+   /ccedilla
+%%%%%   '350 = "E8
+   /ccaron
+   /eacute
+   /eogonek
+   /edieresis
+   /ecaron
+   /iacute
+   /icircumflex
+   /dcaron
+%%%%%   '360 = "F0
+   /eth
+   /nacute
+   /ncaron
+   /oacute
+   /ocircumflex
+   /ohungarumlaut
+   /odieresis
+   /divide
+%%%%%   '370 = "F8
+   /rcaron
+   /uring
+   /uacute
+   /uhungarumlaut
+   /udieresis
+   /yacute
+   /quotedblbase
+   /quotedblleft
+] def
+
+% LIGKERN quoteleft quoteleft =: quotedblleft ;
+% LIGKERN quoteright quoteright =: quotedblright ;
+% LIGKERN exclamdown exclamdown =: guillemotleft ;
+% frenchdblquotes
+% LIGKERN questiondown questiondown =: guillemotright ;
+% csquoteleft
+% LIGKERN comma comma =: quotedblbase ;
+% LIGKERN space {} * ; * {} space ; zero {} * ; * {} zero ;
+% LIGKERN one {} * ; * {} one ; two {} * ; * {} two ;
+% LIGKERN three {} * ; * {} three ; four {} * ; * {} four ;
+% LIGKERN five {} * ; * {} five ; six {} * ; * {} six ;
+% LIGKERN seven {} * ; * {} seven ; eight {} * ; * {} eight ;
+% LIGKERN nine {} * ; * {} nine ;
+% LIGKERN question {} quoteleft ; exclam {} quoteleft ;
+% LIGKERN f {} f ; f {} i ; f {} l ;
+
+ +
+


+ +Next: , +Previous: Encodings, +Up: Top + +
+ +

Appendix C Font legalities

+ +

+This section owes a great deal to Charles Bigelow (co-designer with Kris +Holmes of the Lucida typeface family, among others), who has generously +answered our many queries about fonts and the law around the world with +remarkable patience and understanding. (But he is naturally not +responsible for any errors here, much less our opinions.) + +

Fonts have always been treated rather strangely under the law, as befits +their rather strange nature: letterforms are indivisibly both +useful and artistic. In most countries—in all countries +until recently—utility has taken precedence; i.e., it has been legal +to copy fonts without permission or fee. + +

In any case, to the best of my knowledge, the situation in those +countries which have adopted any sort of typeface protection is as +follows. This was originally written in the early 1990's; these days, +the situation is probably different, due to widespread adoption of +software patents, among other things, but I lack specific information +to include. + + + + + +

United States
Typeface designs can be patented, but not copyrighted. Only a few +designs have been patented. (Lucida and Stone are the only ones I know +of. I don't know what the grounds were for patenting Stone, but Lucida +had some novel features in its design which make it reasonable to +patent, given the acceptance of the patent system in the first place.) + +

Particular programs which instantiate a font can be copyrighted just as +any other computer program can. This is arguably wrong, since font +programs are nothing but a description of the shapes, possibly with some +simple hints, and there's only one basic way to describe the shapes in +any given language. Thus, the creativity lies in making the shape +right, not in making the computer program right, so it would seem that +to be consistent, the copyright laws should protect the design, not the +program—the opposite of the current situation. + +


Germany
Typeface designs have been copyrightable as original works of art since +1981. As a result, many (perhaps most) designs have been copyrighted +there. The law is not retroactive, but German courts have upheld the +intellectual property rights of designers of earlier fonts as well: In +one case the heirs of Paul Renner (designer of Futura) won a suit against +the Bauer foundry for arbitrarily discontinuing a portion of their +royalties. + +


England
A copyright law passed in 1989 covers typeface designs first published +in England (or published in Britain within 30 days of its publication +elsewhere), and it is retroactive. It's unclear how far back +the law extends, but Times Roman, designed in the late 1920's and +1930's by Stanley Morison is probably covered. This does not mean GNU +(for example) cannot have a Times Roman; it just means we cannot start +with an English version, as the law does not forbid importing foreign +versions of English typefaces. + +


France
The Romain du Roi typeface designed by Philippe Grandjean in 1702 for +the French royal family is protected, and perhaps other such “royal” +designs. There is no protection for designs in general. + +
+ +

In 1973 the international Vienna treaty on typeface design protection +was proposed. France ratified it in 1974 or 1975, and Germany in 1981. +The English law might constitute ratification, but this has not been +settled. In any case, since at least four countries have to ratify it +before it takes effect (and even then it takes effect only in those +countries which ratify it), it is still of no consequence for now. + +

+


+ +Previous: Font legalities, +Up: Top + +
+ +

General index

+ + + diff --git a/Master/texmf-dist/doc/fontname/fontname.pdf b/Master/texmf-dist/doc/fontname/fontname.pdf new file mode 100644 index 00000000000..a0c18389311 Binary files /dev/null and b/Master/texmf-dist/doc/fontname/fontname.pdf differ diff --git a/Master/texmf-dist/doc/fontname/fontname.texi b/Master/texmf-dist/doc/fontname/fontname.texi new file mode 100644 index 00000000000..ec8a17036c9 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/fontname.texi @@ -0,0 +1,1344 @@ +\input texinfo +@c This file is in the public domain and may be used freely. +@c +@c @texinfofile{ +@c author = "Karl Berry", +@c date = "10sep05", +@c filename = "fontname.texi", +@c email = "tex-fonts@@math.utah.edu", +@c url = "http://tug.org/fontname/", +@c docstring = "A naming scheme for font files intended to be usable +@c with all systems on which TeX runs." +@c } +@setfilename fontname.info +@settitle Filenames for @TeX{} fonts + +@copying +This document is in the public domain and may be used freely. +@end copying + +@c Define a new index for filenames, and use the concept index for everything. +@defcodeindex fl +@syncodeindex fl cp +@syncodeindex fn cp + +@dircategory TeX +@direntry +* Naming TeX fonts: (fontname). Filenames for TeX fonts. +@end direntry + + +@titlepage +@title Fontname +@subtitle September 2005 +@subtitle Filenames for @TeX{} fonts +@author K. Berry +@end titlepage + +@contents + +@ifnottex +@node Top +@top Filenames for @TeX{} fonts + +This is Fontname, a naming scheme for (the base part of) external @TeX{} +font filenames. Last update 10 September 2005. + +@menu +* Introduction:: Rationale and basic information about fonts. +* Filenames for fonts:: The construction of font names. +* Long names:: A specification for long filenames. +* Font name lists:: Real fontnames for many existing fonts. +* Encodings:: Specifications for various encodings. +* Font legalities:: Legal issues vary from country to country. +* General index:: Index. + +@detailmenu + --- The Detailed Node Listing --- + +Introduction + +* History:: +* References:: + +Filenames for fonts + +* Suppliers:: +* Typefaces:: +* Weights:: +* Variants:: +* Widths:: + +Long names + +* Name mapping file:: Aliases for fonts. +* Long naming scheme:: A way to use more than 8 alphanumerics. + +Font name lists + +* Standard PostScript fonts:: The standard 35 PostScript fonts. +* Adobe fonts:: +* Apple fonts:: +* Bitstream fonts:: +* DTC fonts:: +* ITC fonts:: +* Linotype fonts:: +* Monotype fonts:: +* URW fonts:: + +Encodings + +* 8a:: Adobe standard. +* 8r:: TeX base. +* cork:: Cork (aka EC, TeX Latin 1, tex256). +* dvips:: Dvips. +* qx:: QX, from GUST. +* t5:: Vietnamese, from vntex. +* texmext:: TeX math extension. +* texmsym:: TeX math symbol. +* texmital:: TeX math italic. +* texnansi:: From Y&Y. +* texnansx:: From Y&Y. +* xl2:: OT1 + ISO Latin 2 (extended). +* xt2:: Typewriter version of xl2. + +@end detailmenu +@end menu + +@end ifnottex + + +@node Introduction +@chapter Introduction + +@cindex introduction + +This is Fontname, a naming scheme for (the base part of) external @TeX{} +font filenames. This makes at most eight-character names from (almost) +arbitrarily complex font names, thus helping portability of @TeX{} +documents. We point out some shortcomings of the scheme, and ways of +dealing with them. + +@cindex bugs, reporting +@cindex reporting bugs +@flindex tex-fonts@@tug.org +Please send additions, corrections, or other comments to +@email{tex-fonts@@tug.org}. Email +@email{tex-fonts-request@@tug.org} to join the list. + +@cindex distribution +@cindex encoding files +@cindex mapping files +@cindex utilities +Besides this document, the Fontname distribution includes various +encoding files, mapping files, and utilities. See the file +@file{README} for details. You can retrieve the most up-to-date +version of these lists from @uref{http://tug.org/fontname}. It is +also mirrored on all CTAN hosts in the directory +@file{tex-archive/doc/fontname}. For a list of CTAN mirrors, see +@uref{http://www.ctan.org/tex-archive/CTAN.sites}. + +This document is in the public domain and may be used freely. + +@menu +* History:: +* References:: +@end menu + + +@node History +@section History + +@cindex history + +@cindex Mittelbach, Frank +@cindex Schoepf, Rainer +The original inspiration for Fontname was Frank Mittelbach and Rainer +Schoepf's article in @cite{TUGboat} 11(2) (June 1990), which led to my +article in @cite{TUGboat} 11(4) (November 1990), pages 512--519. +Mittelbach wrote another article criticizing the scheme below in +@cite{TUGboat} 13(1) (April 1992), pages 51--53; most of his points are +well-taken, but I saw no alternative then, and see no alternative now. +Others of his points are addressed in the appropriate sections below. + +@cindex Fontname version 2 +In August 1995, Fontname version 2 was released, concomitantly with a new +release of the PostScript fonts for use with La@TeX{} and Dvips. After +several years of experience, several modifications of the original +distribution seemed desirable: more precise specification of encodings +(@pxref{Variants}); machine-readable mapping files (the @file{*.map} +files in the distribution) and standardizing directory names as well as +font filenames (included in @file{supplier.map} and +@file{typeface.map}). + +In Fontname version 1, some encoding variant characters (@samp{0}, +@samp{2}, etc.) have been reassigned to a @samp{7} or @samp{8} sequence +(@pxref{Variants}). Although this is an incompatible change, the +advantages of (1) consistency in naming encoding variants, and (2) +having some free variants makes it worthwhile. Also, not so +coincidentally, new metrics for PostScript fonts in the Cork encoding +were issued---same encoding, different metrics. So a new name served a +practical purpose as well. + +@cindex contributors +@cindex Beebe, Nelson +@cindex Beeton, Barbara +@cindex Bernstein, Rocky +@cindex Bouche, Thierry +@cindex Cugley, Damian +@cindex Horn, Berthol +@cindex Jeffrey, Alan +@cindex Lang, Russell +@cindex MacKay, Pierre +@cindex Rahtz, Sebastian +@cindex Rivlin, Jean +@cindex Rokicki, Tom +Many people have contributed to this work. In particular, I gratefully +acknowledge Nelson Beebe, Barbara Beeton, Rocky Bernstein, Thierry Bouche, +Damian Cugley, Berthold K.P. Horn, Alan Jeffrey, Russell Lang, Pierre +MacKay, Sebastian Rahtz, Jean Rivlin, and Tom Rokicki. + + +@node References +@section References + +@cindex references +@cindex related files + +Related files and distributions: + +@itemize @bullet +@item +@cindex @TeX{} Directory Structure standard +@cindex TDS standard +The @TeX{} Directory Structure (TDS) standard, available at +(@uref{ftp://tug.org/tex/tds} and @file{@var{CTAN:}/tds}) +specifies a directory tree for all @TeX{} library files. The directory +names given in @ref{Suppliers} and @ref{Typefaces} are intended to mesh +with that standard. + +@item +@flindex modes.mf +The @file{modes.mf} file (@uref{ftp://tug.org/tex/modes.mf}) +contains recommended mode names to use as directory names. + +@item +@cindex PSfonts distribution +The PSfonts distribution (@file{@var{CTAN:}/fonts/psfonts}) contains +@TeX{} support for many fonts, both commercially available and free. + +@item +@cindex Fontinst distribution +The Fontinst distribution (@file{@var{CTAN:}/fonts/utilities/psfonts}) +supports quite general creation of virtual fonts, named according to the +scheme given here. + +@item +@cindex Dvips translator +The Dvips translator (original at +@uref{ftp://labrea.stanford.edu/pub/dvips*.tar.gz} and variation at +@uref{ftp://tug.org/tex/dvipsk.tar.gz}) supports resident and +downloadable PostScript fonts. Dvips was the first real application of +Fontname 1. Dvips also includes Afm2tfm, another program that can +create virtual fonts. + +@item +@cindex Dviljk translator +The Dviljk processor (@uref{ftp://tug.org/tex/dviljk.tar.gz}) +contains @TeX{} support for the fonts built into the LaserJet 4. + +@item +@cindex terminology +@cindex Southall, Richard +`Designing New Typefaces with Metafont', by Richard Southall, +Stanford Computer Science Department Technical Report STAN-CS-85-1074, +September 1985, for a comprehensive terminology of font design. + +@end itemize + + +@node Filenames for fonts +@chapter Filenames for fonts + +@cindex limitations +@cindex eight-character limitation +@cindex DOS filesystems +@cindex ISO 9660 +@cindex CD-ROM distribution +We must limit ourselves to eight character names, for compatibility with +DOS filesystems and the ISO 9660 standard used for CD-ROM distribution. +Names may consist of only the letters (monocase a-z), numerals (0-9), +and underscore. + +@cindex filenames, basics +Here is the basic division of the eight characters (the spaces here are +merely for readability): + +@example + @var{S} @var{TT} @var{W} [@var{V@dots{}}] [@var{N}] [@var{E}] [@var{DD}] +@end example + +@noindent where + +@table @var +@item S +represents the supplier of the font. + +@item TT +represents the typeface name. + +@item W +represents the weight. + +@item V@dots{} +represents the variant(s), and is omitted if both it and the width are +normal. Many fonts have more than one variant. + +@item N +represents the encoding, and is omitted if the encoding is nonstandard. +Encodings are subsumed in the section on variants (@pxref{Variants}). + +@item E +represents the width (``expansion''), and is omitted if +it is normal. + +@item DD +@cindex design size specification +@cindex hexadecimal design size +@cindex font scaling +@cindex Mittelbach, Frank +represents the design size (in decimal), and is omitted if the font is +linearly scaled. Mittelbach in @cite{TUGboat} 13(1) proposes using +hexadecimal or base-36 notation. I don't think the increased range +makes up for the unreadability of the common sizes (e.g., 10@dmn{pt} +fonts would have a suffix @samp{a} (in hex), or @samp{j} (in base 36)). + +@end table + +The weight, variants, and width are probably all best taken from the +original name of the font, instead of trying to relate them to some +external standard. + +@menu +* Suppliers:: +* Typefaces:: +* Weights:: +* Variants:: +* Widths:: +@end menu + + +@node Suppliers +@section Suppliers + +@cindex suppliers +@cindex foundries +@cindex type foundries + +The @dfn{supplier} is the source of a font, typically a (digital) type +foundry. + +@cindex Avant Garde +@cindex Lubalin, Herb +You should use the supplier letter which matches the supplier you +obtained the font from, not the original source; for example, Avant +Garde was designed by Herb Lubalin for ITC, but Adobe also sells it. +The name of the font that you get from Adobe should start with @samp{p}. +This is because font resellers typically make modifications to the +original design. + +Notes on specific suppliers: + +@table @samp +@item f +@cindex individual font designers +@cindex small foundries +@cindex attribution of fonts, missing +@cindex unattributed fonts +For fonts that are distributed without any specific attribution to the +creator, by individuals, or by small foundries. (Unfortunately, we +don't have enough characters to assign one to every font +supplier in the world.) + +@item r +@cindex raw fonts +obsolete; specifies raw fonts, in the old distribution of Dvips. New +fonts should never use @samp{r}. (The right thing to do is specify the +correct encoding, variant, or whatever the font's characteristics +actually are.) + +@item z +@cindex bizarre font names +@cindex nonstandard names, escape for +@cindex escape for nonstandard names +for fonts that just don't fit well into the naming scheme. The @samp{z} +should be followed by the real supplier letter. +@end table + +@flindex supplier.map +Here is the table from the file @file{supplier.map}. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation, +directory name, and comment. + +@example +@include supplier.map +@end example + + +@node Typefaces +@section Typefaces + +@cindex typefaces + +For our purposes, a @dfn{typeface} is a collection of related fonts. + +We sometimes use the same typeface abbreviation for fonts with different +supplier names, where we know (usually by inspection) that the fonts +truly are the same. This helps conserve abbreviations. + +Notes on specific typefaces: + +@table @samp +@item ad +@itemx gm +@cindex Garamond, versions of +To explain a common confusion: @samp{ad} is Adobe Garamond (with a +@samp{FontName} of @samp{AGaramond}). This is quite different from the +@samp{Garamond} typeface distributed by Adobe, which is actually ITC +Garamond. (Garamond No.@: 3 (@samp{f3}), Simoncini Garamond +(@samp{ig}), and Stempel Garamond (@samp{eg}) are still other +variations on the Garamond theme.) + +@item lh +@itemx ls +@itemx lx +@itemx r1 +These abbreviations for Lucida typeface subfamilies, et al., solve a +problem with names getting too long, or help conserve variant +abbreviations. @xref{Variants}. Ideally, they would not exist. + +@item ns +@itemx nt +@itemx tm +Suppliers offer as many variations on the Times New Roman design as they +do Garamond. Adobe has @samp{Times}, @samp{TimesNewRoman}, and +@samp{TimesNewRomanPS}. Although this last has been used by other +foundries (e.g., Monotype) for a Times variation exactly compatible with +Adobe's @samp{Times}, Adobe itself also offers it, so we must have +abbreviations for all three. + +@item pi +@cindex pi fonts +For pi fonts. Since names of pi fonts are rather arbitrary, it is +not useful to try to assign typeface abbreviations to all of +them. Instead, we use the supplier letter, @samp{pi}, an +arbitarily-assigned three-digit number, a weight and (if necessary) a +variant. For example, @samp{mpi001r}. Pi font @samp{001} for one +supplier has nothing to do with pi font @samp{001} for another. +@end table + +@flindex typeface.map +@findex FontName +Here is the table, from the file @file{typeface.map}. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation +and directory name, possibly followed by PostScript @samp{FontName}s +and/or a comment in roman. The @samp{FontName} may be preceded by a +letter @var{s} and a @samp{:}, as in @samp{b:Dutch}. In that case, the +@var{s} is a supplier abbreviation, and we've used that abbreviation for +the given @samp{FontName} from that supplier. + +@example +@iftex +@ifclear html +@global@hfuzz@maxdimen +@end ifclear +@end iftex +@include typeface.map +@end example +@iftex +@ifclear html +@global@hfuzz1pt +@end ifclear +@end iftex + + +@node Weights +@section Weights + +@cindex weight + +The @dfn{weight} of a font specifies its boldness. Arranged from +lightest to heaviest (more or less): + +@display +hairline, extra light, light +book, regular, medium +demibold, semibold, bold, extra bold, heavy +black, ultra, poster +@end display + +@flindex weight.map +Here is the table, from the file @file{weight.map}. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation +and any parts of a PostScript @samp{FontName} which use that +abbreviation. + +@example +@include weight.map +@end example + + +@node Variants +@section Variants + +@cindex variants + +@dfn{Variants} include typeface variations (e.g., italic, sans serif), +and font encodings (e.g., Adobe standard, @TeX{} text). + +@cindex multiple variants +A fontname may require multiple variants. To resolve the worst +ambiguities, we specify that any encoding variant (@samp{7}, @samp{8}, +or @samp{9}, see below) come last and any other numeral variant come +first (to avoid confusion with a design size). We recommend but do not +require that the other variants be given in alphabetical order. (It's +not required because it's too painful to implement the sorting in +@TeX{}, and many existing names already have non-alphabetized variants.) + +@cindex letterspacing +@cindex small caps fonts +The letterspacing possibilities introduced by @code{fontinst} and +virtual fonts have not yet become sufficiently widespread to make +standardization beneficial. Likewise for the many possible ways to +generate small caps fonts. + +Notes on specific variants, both old and new: + +@table @samp +@item 1 +@itemx 4 +@itemx 6 +@itemx b +@cindex semisans variant +@cindex semiserif variant +@cindex fax variant +@cindex bright variant +These variants (`semisans', `bright', `semiserif', and `fax') were used +only for single typefaces, so to conserve variant abbreviations, they +now have typeface abbreviations instead. Also, for @samp{b}, to avoid +too-long names; and for the others, to avoid variant vs.@: design-size +ambiguities. + +@item g +@itemx h +Since these variants were not actually used in any font names, they are +now obsolete and may be reassigned in the future. + +@item 5 +@itemx 6 +@itemx 7 +@itemx 8 +@itemx 9 +@cindex phonetic encodings +@cindex Cyrillic encodings +@cindex 7-bit encodings +@cindex 8-bit encodings +@cindex expertised encodings +@findex SuperFont +@findex 9s @r{variant} +These characters begin a two-character @dfn{encoding variant}. +Generally, @samp{7} is for 7-bit encodings, @samp{8} is for 8-bit +encodings, and @samp{9} is for expertised encodings with or without +oldstyle digits (see the @samp{x} item below), but this is not an +absolute rule. Also, @samp{5} is presently used for phonetic encodings +and @samp{6} for Cyrillic encodings. The @samp{9s} (@samp{SuperFont}) +variant contain all of Adobe, Latin 1, and Expert glyphs, perhaps with +slightly different metrics than the original fonts. + +@cindex ligatures and encodings +@findex Lslash +@findex lslash +@flindex T1.etx +For a font to be named with a certain encoding variant, it's not +necessary that all the characters appear in precisely the same positions +as in the encoding definition. It's enough that the usual @TeX{} macros +work. In practice, this means that it's ok for a font to be labelled +@samp{7t} if the only difference from Computer Modern is that the +ligatures and the @samp{lslash} and @samp{Lslash} characters are +different, since it's impossible to access or change the ligature table +from @TeX{}. Standard PostScript fonts don't have an @samp{lslash} +character the way Computer Modern does, but they do have the +@samp{Lslash} and @samp{lslash} characters themselves, so the usual +@TeX{} @code{\lslash} and @code{\Lslash} macros can be made to work via +ligatures. See the file @file{T1.etx} file in the @code{fontinst} +distribution for details. + +@cindex encodings, unspecified +@cindex Afm2tfm encoding +@cindex LaserJet 4 fonts +If a name does not contain a specific encoding variant, its encoding is +unspecified. For example, some of the fonts distributed with Dvips(k) +have names like @samp{ptmr} for @samp{Times-Roman}; they use the Dvips +encoding (@pxref{dvips}), which is close to (but not the same +as) the @TeX{} text encoding (as in Computer Modern Roman). Similarly, +the TFM files distributed with Dvilj(k) for the builtin LaserJet 4 fonts +have names like @samp{cunm}, since these fonts, while compatible with +@TeX{} text, contain many additional characters. + +@item 9 +These items are needed only because @samp{x} (and possibly @samp{j}) +followed by a two-character regular variant makes some names too long. +That is, @samp{9t} is equivalent in meaning to @samp{x7t}, and @samp{9d} +is equivalent to @samp{jx7t}. (This may not be true for all +@samp{9@var{x}} encodings, though.) + +@item k +@itemx z +@cindex scripts +@cindex Greek fonts +@cindex Cyrillic fonts +These variants (indicating Greek and Cyrillic fonts, respectively) are +obsolete; future fonts in different scripts should be assigned an +appropriate encoding abbreviation. These are not currently +standardized, due to ignorance of the appropriate encodings. Please +send suggestions for abbreviations to the address in @ref{Introduction}. + +@item m +@itemx v +@itemx y +@cindex math variants +These math-related variants remain for the sake of typeface-specific +math encodings, e.g., Lucida. Fonts that use the Computer Modern math +encodings should use @samp{7m} (@pxref{texmital}), @samp{7v} +(@pxref{texmext}), and @samp{7y} (@pxref{texmsym}). + +@item n +@cindex informal variant +@cindex schoolbook variant +@cindex Stone Informal +This is used for several different (but very rare) variants: only the +Stone typeface has an ``informal'' variant, and only a few Monotype +fonts have a ``schoolbook'' variant, with different `a', `g', and `y' +shapes. + +@item r +Included only if no other variants, including encodings, apply, and +either the width (@pxref{Widths}) is not @samp{r} or a design size is +present. I.e., @samp{r} is only used as a placeholder. When the normal +version of the typeface is sans serif (e.g., Helvetica), @samp{r} should +be used when necessary, not @samp{s}. Use @samp{s} only when the +typeface family has both serif and sans serif variants. + +@item s +@itemx t +@cindex typewriter variant +@cindex sans variant +@cindex Mittelbach, Frank +Mittelbach in @cite{TUGboat} 13(1) suggests that these variants (for +`sans' and `typewriter') should be identified as part of the typeface +name, because there are few typeface families with these variants. I +feel that since they are logically variants, it's best to name them that +way. But @samp{LucidaSans} (@pxref{Typefaces}) and a few others are +exceptions, to avoid too-long names. + +@item x +@itemx 8x +@itemx 9? +@cindex expert encoding +@cindex expertised font +@samp{8x} indicates a font in the @samp{Expert} encoding itself. +@samp{x} indicates an @dfn{expertised} font, i.e., a composite (virtual) +font that includes characters from an @samp{8x} font. And in fact an +@samp{x@var{ee}} sequence is replaced by @samp{9@var{e}}, to save +characters. +@end table + +@flindex variant.map +Fontname 1 assignments are shown in brackets in the following table, +from the file @file{variant.map}. It is organized alphabetically by +abbreviation. Each line consists of an abbreviation and either any +parts of a PostScript @samp{FontName} which use that abbreviation or the +PostScript @samp{Encoding} name. + +@example +@include variant.map +@end example + + +@node Widths +@section Widths + +@cindex widths +@cindex compression +@cindex expansion + +The @dfn{width} of a font specifies the compression or expansion of the +font. Arranged from narrowest to widest (more or less): + +@display +ultra compressed, extra condensed, compressed, condensed, narrow +regular +extended, expanded, wide +@end display + +@cindex automatic expansion +@cindex character scaling, automatic +Expansion or compression of fonts is sometimes done automatically (as by +the PostScript @code{scale} operator), and sometimes done by humans. In +the latter case, the human will also presumably choose a font name which +includes `Extended' or `Expanded' or `Condensed' or `Narrow' or whatever +according to their own preferences; the abbreviation can follow along. +When creating a new synthetically expanded or compressed font for use +with @TeX{}, e.g., with Afm2tfm or @code{fontinst}, use @samp{n} and +@samp{e}. + +@flindex width.map +Here is the table, from the file @file{width.map}. It is organized +alphabetically by abbreviation. Each line consists of an abbreviation +and any parts of a PostScript @samp{FontName} which use that +abbreviation. + +@example +@include width.map +@end example + + +@node Long names +@chapter Long names + +@cindex long names + +Eight characters is not enough to unambiguously represent all fonts. To +do that, we have to allow ourselves arbitrarily long names. Although we +certainly cannot use such names for the files themselves, we could still +use them in @TeX{} documents given a simple mapping file, as discussed +below. + +@menu +* Name mapping file:: Aliases for fonts. +* Long naming scheme:: A way to use more than 8 alphanumerics. +@end menu + + +@node Name mapping file +@section A fontname mapping file + +@cindex fontname mapping file +@cindex mapping file + +At the moment, most implementations of @TeX{} look up a TFM file (as +part of the @code{\font} command), by searching for a file with the name +given by the user (possibly in any of series of directories). But if we +also looked TFM names up in @emph{another} file (or set of files), which +specifies the actual filename, the fontname given in the @TeX{} source +file could be almost anything at all, of any length. + +@flindex texfonts.map +In version 5.851d of Web2c, I implemented this mapping file. Each file +@file{texfonts.map} in a search path is read for abbreviations. The file +has a straightforward format: each line specifies the filename and the +@TeX{} name for one font, separated by whitespace. Extra information on +the line is ignored; then more information could be specified for the +benefit of DVI-reading programs in the same file. Comments start with +@code{%} and continue to the end of the line. + +Besides allowing long names, this sort of mapping file has other +benefits. @TeX{} source or DVI files can be more easily transported, +because the font names in a particular file can be made work on every +system. Also, when combined with a consistent naming scheme, macros +could be written to access any of a number of fonts. Right now, each +font family has to have specialized macros written to deal with it. + +@cindex Knuth, Donald E. +Incidentally, Professor Knuth has approved this as a legitimate +``system-dependent'' extension; a @TeX{} with such a feature can still +be called ``@TeX{}''. + + +@node Long naming scheme +@section A naming scheme for long names + +@cindex long naming scheme + +@cindex X Window System font names +Once we allow ourselves long names, we can construct a naming scheme +to handle arbitrary fonts without much difficulty. Here is one +proposal, based on the X Window System font naming conventions. + +@example +@var{supplier}-@var{family}-@var{weight}-@var{variants}-@var{width}-@var{encoding}--@var{size} +@end example + +@var{supplier} is the usual @code{Adobe}, @code{Autologic}, etc., as +well as @code{unknown} or @code{bizarre}---this last meaning the rest of +the name is nonstandard. If the @var{supplier} is missing, i.e., the +name starts with a @code{-}, ``public domain'' is assumed. For fonts +made by individuals, the initials of the designer would probably make a +good @var{supplier}. + +@var{family} is @code{ComputerModern} or @code{Times} or whatever. + +Everything else is optional. The @code{--} before the @var{size} lets +one specify a name with, say, a weight and variants, but then skip the +@var{width} and @var{encoding}, but still be able to +give a size. + +@var{weight} and @var{width} are as described earlier. + +If there is more than one variant, they are separated with some +character other than @samp{-}, say @samp{=}: +@example +B+H-Lucida-Bold-Sans=Typewriter--10 +@end example + +@findex font_coding_scheme +@var{encoding} is what Metafont calls the +@code{font_coding_scheme}---the layout of the characters in the font. +For example, @samp{Cork} or @samp{ISOLatin1} or @samp{AdobeAlternate}. + +@cindex category codes +Names are case-sensitive, for consistency with the rest of @TeX{} and +with PostScript, etc. Spaces cannot be used in the name, to make it +easier for @TeX{} to parse. Likewise, characters with default category +codes other than 11 (letter) or 12 (other) should not be used. + +Another possibility is to forget all the above, and simply use the +vendor's name (perhaps prefixed by the vendor): +@samp{Times-Roman}. + + +@node Font name lists +@appendix Font name lists + +These sections contain a list of fonts from various suppliers together +with the corresponding names. + +@menu +* Standard PostScript fonts:: The standard 35 PostScript fonts. +* Adobe fonts:: +* Apple fonts:: +* Bitstream fonts:: +* DTC fonts:: +* ITC fonts:: +* Linotype fonts:: +* Monotype fonts:: +* URW fonts:: +@end menu + + +@node Standard PostScript fonts +@section Standard PostScript fonts + +@cindex 35 standard PostScript fonts +@cindex standard PostScript fonts +@cindex PostScript fonts, standard + +Abbreviated names for the 35 standard PostScript fonts. An encoding +variant, such as @samp{8a} for the Adobe @samp{StandardEncoding}, is +omitted. + +@table @file +@item pagk + @samp{AvantGarde-Book} +@item pagko + @samp{AvantGarde-BookOblique} +@item pagd + @samp{AvantGarde-Demi} +@item pagdo + @samp{AvantGarde-DemiOblique} +@item pbkd + @samp{Bookman-Demi} +@item pbkdi + @samp{Bookman-DemiItalic} +@item pbkl + @samp{Bookman-Light} +@item pbkli + @samp{Bookman-LightItalic} +@item pcrb + @samp{Courier-Bold} +@item pcrbo + @samp{Courier-BoldOblique} +@item pcrr + @samp{Courier} +@item pcrro + @samp{Courier-Oblique} +@item phvb + @samp{Helvetica-Bold} +@item phvbo + @samp{Helvetica-BoldOblique} +@item phvbrn + @samp{Helvetica-NarrowBold} +@item phvbon + @samp{Helvetica-NarrowBoldOblique} +@item phvr + @samp{Helvetica} +@item phvro + @samp{Helvetica-Oblique} +@item phvrrn + @samp{Helvetica-Narrow} +@item phvron + @samp{Helvetica-NarrowOblique} +@item pncb + @samp{NewCenturySchlbk-Bold} +@item pncbi + @samp{NewCenturySchlbk-BoldItalic} +@item pncri + @samp{NewCenturySchlbk-Italic} +@item pncr + @samp{NewCenturySchlbk-Roman} +@item pplb + @samp{Palatino-Bold} +@item pplbi + @samp{Palatino-BoldItalic} +@item pplri + @samp{Palatino-Italic} +@item pplr + @samp{Palatino-Roman} +@item psyr + @samp{Symbol} +@item ptmb + @samp{Times-Bold} +@item ptmbi + @samp{Times-BoldItalic} +@item ptmri + @samp{Times-Italic} +@item ptmr + @samp{Times-Roman} +@item pzcmi + @samp{ZapfChancery-MediumItalic} +@item pzdr + @samp{ZapfDingbats} +@end table + + +@node Adobe fonts +@section Adobe fonts + +@flindex adobe.map +The @file{adobe.map} file has abbreviations for Adobe fonts. + +@example +@include adobe.map +@end example + + +@node Apple fonts +@section Apple fonts + +@flindex apple.map +The @file{apple.map} file has abbreviations for Apple fonts. + +@example +@include apple.map +@end example + + +@node Bitstream fonts +@section Bitstream fonts + +@flindex bitstrea.map +The @file{bitstrea.map} file has abbreviations for Bitstream fonts. + +@example +@include bitstrea.map +@end example + + +@node DTC fonts +@section DTC fonts + +@flindex dtc.map +The @file{dtc.map} file has abbreviations for DTC (Digital Typeface +Corporation) fonts. + +@example +@include dtc.map +@end example + + +@node ITC fonts +@section ITC fonts + +@flindex itc.map +The @file{itc.map} file has abbreviations for ITC (International +Typeface Corporation) fonts. + +@example +@include itc.map +@end example + + +@node Linotype fonts +@section Linotype fonts + +@flindex linotype.map +The @file{linotype.map} file has abbreviations for Linotype fonts. + +@example +@include linotype.map +@end example + + +@node Monotype fonts +@section Monotype fonts + +@flindex monotype.map +The @file{monotype.map} file has abbreviations for Monotype fonts. + +@example +@iftex +@ifclear html +@global@hfuzz@maxdimen +@end ifclear +@end iftex +@include monotype.map +@iftex +@ifclear html +@global@hfuzz1pt +@end ifclear +@end iftex +@end example + + +@node URW fonts +@section URW fonts + +@cindex URW fonts +@cindex Ertner, Vincent + +Information graciously supplied through URW, via Vincent Ertner: Each +URW font has an assigned font number. The last character describes +the size or purpose of the font, as the design of the font is +optimized accordingly: + +@table @code +@item X000000E +Extreme: 8@dmn{pt} and smaller + +@item X000000T +Text: between 8 and 18@dmn{pt} + +@item X000000D +Display: 18@dmn{pt} and larger + +@item X000000P +Poster: 48@dmn{pt} and larger + +@item X000000M +Monospaced / Typewriter + +@item X000000L +LaserWriter / PostScript / Adobe compatible + +@item X000000I +Intellifont PCL (5) compatible + +@end table +@noindent An @samp{F} identifier is not known. + +@flindex urw.map +The @file{urw.map} file has abbreviations for URW fonts. + +@example +@include urw.map +@end example + + +@node Encodings +@appendix Encodings + +@cindex PostScript encoding vectors +@cindex encoding vectors + +The following sections define various encodings as PostScript encoding +vectors. These files can be installed in the Dvips header directory and +then used in @file{psfonts.map} to change font encodings of downloadable +or builtin fonts (@pxref{psfonts.map,,, dvips, Dvips}). + +You can also specify these @file{.enc} files to Afm2tfm when building a +font (@pxref{Changing font encodings,,, dvips, Dvips}). + +For a discussion of @TeX{} font encodings in general, and defining new +ones for use with @command{fontinst} in particular, see +@uref{http://www.ctan.org/tex-archive/fonts/utilities/fontinst/doc/encspecs}. + +Naming specific characters is a tangled and difficult area. Here are +some links to character tables for Unicode, Adobe, and WGL4, for your +researching pleasure (thanks to Boguslaw Jackowski for the list): + +@itemize @bullet +@item @uref{http://www.unicode.org/Public/UNIDATA/UnicodeData.txt} +@item @uref{http://www.unicode.org/Public/UNIDATA/NamesList.txt} +@item @uref{http://partners.adobe.com/asn/tech/type/corporateuse-old.txt} +@item @uref{http://partners.adobe.com/asn/tech/type/aglfn13.txt} +@item @uref{http://partners.adobe.com/asn/tech/type/unicodegn.jsp} +@item @uref{http://www.microsoft.com/OpenType/otspec/WGL4.htm} +@end itemize + +@menu +* 8a:: Adobe standard. +* 8r:: TeX base. +* cork:: Cork (aka EC, TeX Latin 1, tex256). +* dvips:: Dvips. +* t5:: Vietnamese, from vntex. +* qx:: QX, from GUST. +* texmext:: TeX math extension. +* texmsym:: TeX math symbol. +* texmital:: TeX math italic. +* texnansi:: From Y&Y. +* texnansx:: From Y&Y. +* xl2:: OT1 + ISO Latin 2 (extended). +* xt2:: Typewriter version of xl2. +@end menu + + +@node 8a +@section @samp{8a.enc}: Adobe standard encoding + +@flindex 8a.enc +@cindex Adobe standard encoding +@cindex encodings, Adobe standard + +@verbatiminclude 8a.enc + + +@node 8r +@section @samp{8r.enc}: @TeX{} base encoding + +@flindex 8r.enc +@cindex @TeX{} base encoding +@cindex base encoding, for @TeX{} +@cindex encodings, @TeX{} base +@cindex Windows ANSI +@cindex Lucida Bright + +@verbatiminclude 8r.enc + +@node cork +@section @samp{cork.enc}: Cork encoding + +@flindex cork.enc +@cindex Cork encoding +@cindex EC encoding +@cindex @TeX{} Latin 1 encoding +@cindex encodings, Cork +@cindex encodings, EC +@cindex encodings, @TeX{} Latin 1 + +@verbatiminclude cork.enc + + +@node dvips +@section @samp{dvips.enc}: Dvips encoding + +@flindex dvips.enc +@cindex Dvips encoding +@cindex encoding, Dvips + +@verbatiminclude dvips.enc + + +@node t5 +@section @samp{t5.enc}: T5 encoding + +@flindex t5.enc +@cindex T5 encoding +@cindex Vietnamese encoding +@cindex encoding, T5 + +@verbatiminclude t5.enc + + +@node qx +@section @samp{qx.enc} + +@flindex qx.enc +@cindex encodings, qx +@cindex qx encoding + +From GUST. + +@verbatiminclude qx.txt +@verbatiminclude qx.enc + + +@node texmext +@section @samp{texmext.enc}: @TeX{} math extension encoding + +@flindex texmext.enc +@cindex @TeX{} math extension encoding +@cindex math extension, @TeX{} encoding +@cindex extension, @TeX{} math encoding +@cindex encodings, @TeX{} math symbol + +@verbatiminclude texmext.enc + + +@node texmsym +@section @samp{texmsym.enc}: @TeX{} math symbol encoding + +@flindex texmsym.enc +@cindex @TeX{} math symbol encoding +@cindex math symbol, @TeX{} encoding +@cindex symbol, @TeX{} math encoding +@cindex encodings, @TeX{} math symbol + +@verbatiminclude texmsym.enc + + +@node texmital +@section @samp{texmital.enc}: @TeX{} math italic encoding + +@flindex texmital.enc +@cindex @TeX{} math italic encoding +@cindex math italic, @TeX{} encoding +@cindex italic, @TeX{} math encoding +@cindex encodings, @TeX{} math italic + +@verbatiminclude texmital.enc + + +@node texnansi +@section @samp{texnansi.enc} + +@flindex texnansi.enc +@cindex encodings, texnansi +@cindex texnansi encoding + +From Y&Y. + +@verbatiminclude texnansi.enc + + +@node texnansx +@section @samp{texnansx.enc} + +@flindex texnansx.enc +@cindex encodings, texnansx +@cindex texnansx encoding + +From Y&Y. @samp{texnansi} without repeats. + +@verbatiminclude texnansx.enc + + +@node xl2 +@section @samp{xl2.enc}: OT1 + ISO Latin 2 extended + +@flindex xl2.enc +@cindex ISO Latin 2 extended, @TeX{} encoding + +@verbatiminclude xl2.enc + + +@node xt2 +@section @samp{xt2.enc}: typewriter OT1 + ISO Latin 2 extended + +@flindex xt2.enc +@cindex ISO Latin 2 extended and typewriter, @TeX{} encoding + +@verbatiminclude xt2.enc + + +@node Font legalities +@appendix Font legalities + +@cindex legalisms +@cindex typeface design protection +@cindex copyright on fonts +@cindex font copyrighting +@cindex patenting of fonts + +@cindex Bigelow, Charles +@cindex Holmes, Kris +This section owes a great deal to Charles Bigelow (co-designer with Kris +Holmes of the Lucida typeface family, among others), who has generously +answered our many queries about fonts and the law around the world with +remarkable patience and understanding. (But he is naturally not +responsible for any errors here, much less our opinions.) + +Fonts have always been treated rather strangely under the law, as befits +their rather strange nature: letterforms are indivisibly both +@emph{useful} and @emph{artistic}. In most countries---in all countries +until recently---utility has taken precedence; i.e., it has been legal +to copy fonts without permission or fee. + +In any case, to the best of my knowledge, the situation in those +countries which have adopted any sort of typeface protection is as +follows. This was originally written in the early 1990's; these days, +the situation is probably different, due to widespread adoption of +software patents, among other things, but I lack specific information +to include. + +@table @asis + +@cindex United States, font design protection law +@cindex Lucida, protection of +@cindex Stone, protection of +@item United States +Typeface designs can be patented, but not copyrighted. Only a few +designs have been patented. (Lucida and Stone are the only ones I know +of. I don't know what the grounds were for patenting Stone, but Lucida +had some novel features in its design which make it reasonable to +patent, given the acceptance of the patent system in the first place.) + +Particular programs which instantiate a font can be copyrighted just as +any other computer program can. This is arguably wrong, since font +programs are nothing but a description of the shapes, possibly with some +simple hints, and there's only one basic way to describe the shapes in +any given language. Thus, the creativity lies in making the shape +right, not in making the computer program right, so it would seem that +to be consistent, the copyright laws should protect the design, not the +program---the opposite of the current situation. + +@cindex Germany, font design protection law +@cindex Renner, Paul +@cindex Futura +@item Germany +Typeface designs have been copyrightable as original works of art since +1981. As a result, many (perhaps most) designs have been copyrighted +there. The law is not retroactive, but German courts have upheld the +intellectual property rights of designers of earlier fonts as well: In +one case the heirs of Paul Renner (designer of Futura) won a suit against +the Bauer foundry for arbitrarily discontinuing a portion of their +royalties. + +@cindex England, font design protection law +@cindex Times Roman, protection of +@cindex Morison, Stanley +@item England +A copyright law passed in 1989 covers typeface designs first published +in England (or published in Britain within 30 days of its publication +elsewhere), and it @emph{is} retroactive. It's unclear how far back +the law extends, but Times Roman, designed in the late 1920's and +1930's by Stanley Morison is probably covered. This does not mean GNU +(for example) cannot have a Times Roman; it just means we cannot start +with an English version, as the law does not forbid importing foreign +versions of English typefaces. + +@cindex France, font design protection law +@cindex romain du roi +@cindex Grandjean, Philippe +@item France +The Romain du Roi typeface designed by Philippe Grandjean in 1702 for +the French royal family is protected, and perhaps other such ``royal'' +designs. There is no protection for designs in general. + +@end table + +@cindex Vienna treaty +In 1973 the international Vienna treaty on typeface design protection +was proposed. France ratified it in 1974 or 1975, and Germany in 1981. +The English law might constitute ratification, but this has not been +settled. In any case, since at least four countries have to ratify it +before it takes effect (and even then it takes effect only in those +countries which ratify it), it is still of no consequence for now. + + +@node General index +@unnumbered General index + +@printindex cp + + +@bye diff --git a/Master/texmf-dist/doc/fontname/fontname.toc b/Master/texmf-dist/doc/fontname/fontname.toc new file mode 100644 index 00000000000..2c1437a4b53 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/fontname.toc @@ -0,0 +1,36 @@ +\numchapentry{Introduction}{1}{Introduction}{1} +\numsecentry{History}{1.1}{History}{1} +\numsecentry{References}{1.2}{References}{1} +\numchapentry{Filenames for fonts}{2}{Filenames for fonts}{3} +\numsecentry{Suppliers}{2.1}{Suppliers}{3} +\numsecentry{Typefaces}{2.2}{Typefaces}{4} +\numsecentry{Weights}{2.3}{Weights}{18} +\numsecentry{Variants}{2.4}{Variants}{19} +\numsecentry{Widths}{2.5}{Widths}{23} +\numchapentry{Long names}{3}{Long names}{24} +\numsecentry{A fontname mapping file}{3.1}{Name mapping file}{24} +\numsecentry{A naming scheme for long names}{3.2}{Long naming scheme}{24} +\appentry{Font name lists}{A}{Font name lists}{26} +\appsecentry{Standard PostScript fonts}{A.1}{Standard PostScript fonts}{26} +\appsecentry{Adobe fonts}{A.2}{Adobe fonts}{27} +\appsecentry{Apple fonts}{A.3}{Apple fonts}{85} +\appsecentry{Bitstream fonts}{A.4}{Bitstream fonts}{85} +\appsecentry{DTC fonts}{A.5}{DTC fonts}{103} +\appsecentry{ITC fonts}{A.6}{ITC fonts}{103} +\appsecentry{Linotype fonts}{A.7}{Linotype fonts}{120} +\appsecentry{Monotype fonts}{A.8}{Monotype fonts}{210} +\appsecentry{URW fonts}{A.9}{URW fonts}{237} +\appentry{Encodings}{B}{Encodings}{238} +\appsecentry{\samp {8a.enc}: Adobe standard encoding}{B.1}{8a}{238} +\appsecentry{\samp {8r.enc}: \TeX {} base encoding}{B.2}{8r}{243} +\appsecentry{\samp {cork.enc}: Cork encoding}{B.3}{cork}{247} +\appsecentry{\samp {dvips.enc}: Dvips encoding}{B.4}{dvips}{249} +\appsecentry{\samp {texmext.enc}: \TeX {} math extension encoding}{B.5}{texmext}{250} +\appsecentry{\samp {texmsym.enc}: \TeX {} math symbol encoding}{B.6}{texmsym}{254} +\appsecentry{\samp {texmital.enc}: \TeX {} math italic encoding}{B.7}{texmital}{258} +\appsecentry{\samp {texnansi.enc}}{B.8}{texnansi}{262} +\appsecentry{\samp {texnansx.enc}}{B.9}{texnansx}{269} +\appsecentry{\samp {xl2.enc}: OT1 + ISO Latin 2 extended}{B.10}{xl2}{276} +\appsecentry{\samp {xt2.enc}: typewriter OT1 + ISO Latin 2 extended}{B.11}{xt2}{283} +\appentry{Font legalities}{C}{Font legalities}{290} +\unnchapentry{Index}{10001}{Index}{292} diff --git a/Master/texmf-dist/doc/fontname/index.html b/Master/texmf-dist/doc/fontname/index.html new file mode 100644 index 00000000000..cc076d74bf4 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/index.html @@ -0,0 +1,100 @@ + + +Filenames for TeX fonts + + + + + + + + +

Filenames for TeX fonts

+ + + + +
+

+Node: Top, +Next: , +Up: (dir) +



+
+ +

Filenames for TeX fonts

+ +

This is Fontname, a naming scheme for (the base part of) external TeX +font filenames. Last update 9 May 2003. + +

+ + + diff --git a/Master/texmf-dist/doc/fontname/texmext.html b/Master/texmf-dist/doc/fontname/texmext.html new file mode 100644 index 00000000000..932fd8bb10d --- /dev/null +++ b/Master/texmf-dist/doc/fontname/texmext.html @@ -0,0 +1,220 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: texmext, +Next: , +Previous: dvips, +Up: Encodings +



+
+ +

texmext.enc: TeX math extension encoding

+ +
+
+     % TeX math extension encoding.
+     % No ligatures or kerns.
+     %
+     /TeXMathExtensionEncoding [          % now 256 chars follow
+     
+     % 0x0
+     /parenleftbig
+     /parenrightbig
+     /bracketleftbig
+     /bracketrightbig
+     /floorleftbig
+     /floorrightbig
+     /ceilingleftbig
+     /ceilingrightbig
+     
+     % 0x8
+     /braceleftbig
+     /bracerightbig
+     /angbracketleftbig
+     /angbracketrightbig
+     /vextendsingle
+     /vextenddouble
+     /slashbig
+     /backslashbig
+     
+     % 0x10
+     /parenleftBig
+     /parenrightBig
+     /parenleftbigg
+     /parenrightbigg
+     /bracketleftbigg
+     /bracketrightbigg
+     /floorleftbigg
+     /floorrightbigg
+     
+     % 0x18
+     /ceilingleftbigg
+     /ceilingrightbigg
+     /braceleftbigg
+     /bracerightbigg
+     /angbracketleftbigg
+     /angbracketrightbigg
+     /slashbigg
+     /backslashbigg
+     
+     % 0x20
+     /parenleftBigg
+     /parenrightBigg
+     /bracketleftBigg
+     /bracketrightBigg
+     /floorleftBigg
+     /floorrightBigg
+     /ceilingleftBigg
+     /ceilingrightBigg
+     
+     % 0x28
+     /braceleftBigg
+     /bracerightBigg
+     /angbracketleftBigg
+     /angbracketrightBigg
+     /slashBigg
+     /backslashBigg
+     /slashBig
+     /backslashBig
+     
+     % 0x30
+     /parenlefttp
+     /parenrighttp
+     /bracketlefttp
+     /bracketrighttp
+     /bracketleftbt
+     /bracketrightbt
+     /bracketleftex
+     /bracketrightex
+     
+     % 0x38
+     /bracelefttp
+     /bracerighttp
+     /braceleftbt
+     /bracerightbt
+     /braceleftmid
+     /bracerightmid
+     /braceex
+     /arrowvertex
+     
+     % 0x40
+     /parenleftbt
+     /parenrightbt
+     /parenleftex
+     /parenrightex
+     /angbracketleftBig
+     /angbracketrightBig
+     /unionsqtext
+     /unionsqdisplay
+     
+     % 0x48
+     /contintegraltext
+     /contintegraldisplay
+     /circledottext
+     /circledotdisplay
+     /circleplustext
+     /circleplusdisplay
+     /circlemultiplytext
+     /circlemultiplydisplay
+     
+     % 0x50
+     /summationtext
+     /producttext
+     /integraltext
+     /uniontext
+     /intersectiontext
+     /unionmultitext
+     /logicalandtext
+     /logicalortext
+     
+     % 0x58
+     /summationdisplay
+     /productdisplay
+     /integraldisplay
+     /uniondisplay
+     /intersectiondisplay
+     /unionmultidisplay
+     /logicalanddisplay
+     /logicalordisplay
+     
+     % 0x60
+     /coproducttext
+     /coproductdisplay
+     /hatwide
+     /hatwider
+     /hatwidest
+     /tildewide
+     /tildewider
+     /tildewidest
+     
+     % 0x68
+     /bracketleftBig
+     /bracketrightBig
+     /floorleftBig
+     /floorrightBig
+     /ceilingleftBig
+     /ceilingrightBig
+     /braceleftBig
+     /bracerightBig
+     
+     % 0x70
+     /radicalbig
+     /radicalBig
+     /radicalbigg
+     /radicalBigg
+     /radicalbt
+     /radicalvertex
+     /radicaltp
+     /arrowvertexdbl
+     
+     % 0x78
+     /arrowtp
+     /arrowbt
+     /bracehtipdownleft
+     /bracehtipdownright
+     /bracehtipupleft
+     /bracehtipupright
+     /arrowdbltp
+     /arrowdblbt
+     
+     % Have to have 128 .notdef's now to fill things out.
+     %
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     ] def
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/texmital.html b/Master/texmf-dist/doc/fontname/texmital.html new file mode 100644 index 00000000000..9760f802bf0 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/texmital.html @@ -0,0 +1,219 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: texmital, +Next: , +Previous: texmsym, +Up: Encodings +



+
+ +

texmital.enc: TeX math italic encoding

+ +
+
+     % TeX math italic encoding.
+     % No ligatures or kerns.
+     %
+     /TeXMathItalicEncoding [          % now 256 chars follow
+     % 0x0
+     /Gamma
+     /Delta
+     /Theta
+     /Lambda
+     /Xi
+     /Pi
+     /Sigma
+     /Upsilon
+     
+     % 0x8
+     /Phi
+     /Psi
+     /Omega
+     /alpha
+     /beta
+     /gamma
+     /delta
+     /epsilon1
+     
+     % 0x10
+     /zeta
+     /eta
+     /theta
+     /iota
+     /kappa
+     /lambda
+     /mu
+     /nu
+     
+     % 0x18
+     /xi
+     /pi
+     /rho
+     /sigma
+     /tau
+     /upsilon
+     /phi
+     /chi
+     
+     % 0x20
+     /psi
+     /omega
+     /epsilon
+     /theta1
+     /pi1
+     /rho1
+     /sigma1
+     /phi1
+     
+     % 0x28
+     /arrowlefttophalf
+     /arrowleftbothalf
+     /arrowrighttophalf
+     /arrowrightbothalf
+     /arrowhookleft
+     /arrowhookright
+     /triangleright
+     /triangleleft
+     
+     % 0x30
+     /zerooldstyle
+     /oneoldstyle
+     /twooldstyle
+     /threeoldstyle
+     /fouroldstyle
+     /fiveoldstyle
+     /sixoldstyle
+     /sevenoldstyle
+     
+     % 0x38
+     /eightoldstyle
+     /nineoldstyle
+     /period
+     /comma
+     /less
+     /slash
+     /greater
+     /star
+     
+     % 0x40
+     /partialdiff
+     /A
+     /B
+     /C
+     /D
+     /E
+     /F
+     /G
+     
+     % 0x48
+     /H
+     /I
+     /J
+     /K
+     /L
+     /M
+     /N
+     /O
+     
+     % 0x50
+     /P
+     /Q
+     /R
+     /S
+     /T
+     /U
+     /V
+     /W
+     
+     % 0x58
+     /X
+     /Y
+     /Z
+     /flat
+     /natural
+     /sharp
+     /slurbelow
+     /slurabove
+     
+     % 0x60
+     /lscript
+     /a
+     /b
+     /c
+     /d
+     /e
+     /f
+     /g
+     
+     % 0x68
+     /h
+     /i
+     /j
+     /k
+     /l
+     /m
+     /n
+     /o
+     
+     % 0x70
+     /p
+     /q
+     /r
+     /s
+     /t
+     /u
+     /v
+     /w
+     
+     % 0x78
+     /x
+     /y
+     /z
+     /dotlessi
+     /dotlessj
+     /weierstrass
+     /vector
+     /tie
+     
+     % Have to have 128 .notdef's now to fill things out.
+     %
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef /.notdef
+     ] def
+     
+ + + diff --git a/Master/texmf-dist/doc/fontname/texnansx.html b/Master/texmf-dist/doc/fontname/texnansx.html new file mode 100644 index 00000000000..c82c7e84c36 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/texnansx.html @@ -0,0 +1,353 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: texnansx, +Next: , +Previous: texnansi, +Up: Encodings +



+
+ +

texnansx.enc

+ +

From Y&Y. texnansi without repeats. + +

% @psencodingfile{
+%   author = "Y&Y, Inc.",
+%   version = "1.1",
+%   date = "1 December 1996",
+%   filename = "texnansi.enc",
+%   email = "help@YandY.com",
+%   address = "45 Walden Street // Concord, MA 01742, USA",
+%   codetable = "ISO/ASCII",
+%   checksum = "xx",
+%   docstring = "Encoding for fonts in Adobe Type 1 format for use with TeX."
+% }
+%
+% The idea is to have all 228 characters normally included in Type 1 text
+% fonts (plus a few more) available for typesetting.  This is effectively
+% the character set in Adobe Standard Encoding, ISO Latin 1, plus a few more.
+%
+% Character code assignments were made as follows:
+%
+% (1) The character layout largely matches `ASCII' in the 32 -- 126 range,
+% except for `circumflex' in 94 and `tilde' in 126, to match `TeX text'
+% (`asciicircumflex' and `asciitilde' appear in 158 and 142 instead).
+%
+% (2) The character layout matches `Windows ANSI' in almost all places,
+% except for `quoteright' in 39 and `quoteleft' in 96 to match ASCII
+% (`quotesingle' and `grave' appear in 129 and 18 instead).
+%
+% (3) The character layout matches `TeX typewriter' used by CM text fonts
+% in most places (except for discordant positions such as hungarumlaut
+% (instead of braceright), dotaccent (instead of underscore) etc.
+%
+% (4) Remaining characters are assigned arbitrarily to the `control character'
+% range (0 -- 31), avoiding 0, 9, 10 and 13 in case we meet dumb software
+% - similarly one should really avoid 127 and 128 if possible.
+% In addition, the 8 open slots in Windows ANSI between 128 and 159 are used.
+%
+% (5) Y&Y Lucida Bright includes some extra ligatures and such; ff, ffi, ffl,
+% and `dotlessj,' these are included 11 -- 15, and 17.
+%
+% (6) Hyphen appears both at 45 and 173 for compatibility with both ASCII
+% and Windows ANSI.
+%
+% (7) It doesn't really matter where ligatures appear (both real, such as ffi,
+% and pseudo such as ---) since these should not be accessed directly, only
+% via ligature information in the TFM file.
+%
+% SAMPLE USAGE (in `psfonts.map' file for DVIPS):
+% 
+% lbr LucidaBright "TeXnANSIEncoding ReEncodeFont" <texnansi.enc <lbr.pfb
+%
+% This tells DVIPS that the font called `lbr' in TeX has PostScript 
+% FontName `LucidaBright.'  It also asks DVIPS to expand the file `lbr.pfb'
+% into PFA form, to include the attached `texnansi.enc' encoding vector,
+% and to then actually reencode the font based on that encoding vector.
+%
+% Revised 1996 June 1 by adding second position for `fl' to avoid Acrobat bug.
+% Revised 1996 June 1 by adding second position for `fraction' for same reason.
+% Revised 1997 Oct 1 by adding cwm  (used in boundary char TFM code)
+% Revised 1998 Mar 1 by adding Unicode for Euro character
+%
+/TeXnANSIEncoding [
+/.notdef % 0
+/Euro % /Uni20AC 1
+/.notdef % 2
+/.notdef % 3
+/fraction %	4
+/dotaccent %	5
+/hungarumlaut %	6
+/ogonek	%	7
+/fl	%	8
+/.notdef % /fraction %	9	not used (see 4), backward compatability only
+/cwm	%	10	not used, except boundary char internally maybe
+/ff    %	11
+/fi    %	12
+/.notdef % /fl    %	13	not used (see 8), backward compatability only
+/ffi   %	14
+/ffl   %	15
+/dotlessi %	16
+/dotlessj %	17
+/grave %	18
+/acute %	19
+/caron %	20
+/breve %	21
+/macron %	22
+/ring  %	23
+/cedilla %	24
+/germandbls %	25
+/ae    %	26
+/oe    %	27
+/oslash %	28
+/AE    %	29
+/OE    %	30
+/Oslash %	31
+/space %	32	% /suppress in TeX text
+/exclam %	33
+/quotedbl %	34	% /quotedblright in TeX text
+/numbersign %	35
+/dollar %	36
+/percent %	37
+/ampersand %	38
+/quoteright %	39	% /quotesingle in ANSI
+/parenleft %	40
+/parenright %	41
+/asterisk %	42
+/plus  %	43
+/comma %	44
+/hyphen %	45
+/period %	46
+/slash %	47
+/zero  %	48
+/one   %	49
+/two   %	50
+/three %	51
+/four  %	52
+/five  %	53
+/six   %	54
+/seven %	55
+/eight %	56
+/nine  %	57
+/colon %	58
+/semicolon %	59
+/less  %	60	% /exclamdown in Tex text
+/equal %	61
+/greater %	62	% /questiondown in TeX text
+/question %	63
+/at %	64
+/A %	65
+/B %	66
+/C %	67
+/D %	68
+/E %	69
+/F %	70
+/G %	71
+/H %	72
+/I %	73
+/J %	74
+/K %	75
+/L %	76
+/M %	77
+/N %	78
+/O %	79
+/P %	80
+/Q %	81
+/R %	82
+/S %	83
+/T %	84
+/U %	85
+/V %	86
+/W %	87
+/X %	88
+/Y %	89
+/Z %	90
+/bracketleft %	91
+/backslash %	92	% /quotedblleft in TeX text
+/bracketright %	93
+/circumflex %	94	% /asciicircum in ASCII
+/underscore %	95	% /dotaccent in TeX text
+/quoteleft %	96	% /grave accent in ANSI
+/a %	97
+/b %	98
+/c %	99
+/d %	100
+/e %	101
+/f %	102
+/g %	103
+/h %	104
+/i %	105
+/j %	106
+/k %	107
+/l %	108
+/m %	109
+/n %	110
+/o %	111
+/p %	112
+/q %	113
+/r %	114
+/s %	115
+/t %	116
+/u %	117
+/v %	118
+/w %	119
+/x %	120
+/y %	121
+/z %	122
+/braceleft %	123	% /endash in TeX text
+/bar   %	124	% /emdash in TeX test
+/braceright %	125	% /hungarumlaut in TeX text
+/tilde %	126	% /asciitilde in ASCII
+/dieresis %	127	not used (see 168), use higher up instead
+/Lslash	%	128	this position is unfortunate, but now too late to fix
+/quotesingle %	129
+/quotesinglbase %	130
+/florin %	131
+/quotedblbase %	132
+/ellipsis %	133
+/dagger %	134
+/daggerdbl %	135
+/circumflex %	136
+/perthousand %	137
+/Scaron %	138
+/guilsinglleft %	139
+/OE    %	140
+/Zcaron %	141
+/asciicircum %	142
+/minus %	143
+/lslash %	144
+/quoteleft %	145
+/quoteright %	146
+/quotedblleft %	147
+/quotedblright %	148
+/bullet %	149
+/endash %	150
+/emdash %	151
+/tilde %	152
+/trademark %	153
+/scaron %	154
+/guilsinglright %	155
+/oe    %	156
+/zcaron %	157
+/asciitilde %	158
+/Ydieresis %	159
+/nbspace %	160	% /space (no break space)
+/exclamdown %	161
+/cent  %	162
+/sterling %	163
+/currency %	164
+/yen   %	165
+/brokenbar %	166
+/section %	167
+/dieresis %	168
+/copyright %	169
+/ordfeminine %	170
+/guillemotleft %	171
+/logicalnot %	172
+/sfthyphen %	173 % /hyphen (hanging hyphen)
+/registered %	174
+/macron %	175
+/degree %	176
+/plusminus %	177
+/twosuperior %	178
+/threesuperior %	179
+/acute %	180
+/mu    %	181
+/paragraph %	182
+/periodcentered %	183
+/cedilla %	184
+/onesuperior %	185
+/ordmasculine %	186
+/guillemotright %	187
+/onequarter %	188
+/onehalf %	189
+/threequarters %	190
+/questiondown %	191
+/Agrave %	192
+/Aacute %	193
+/Acircumflex %	194
+/Atilde %	195
+/Adieresis %	196
+/Aring %	197
+/AE    %	198
+/Ccedilla %	199
+/Egrave %	200
+/Eacute %	201
+/Ecircumflex %	202
+/Edieresis %	203
+/Igrave %	204
+/Iacute %	205
+/Icircumflex %	206
+/Idieresis %	207
+/Eth   %	208
+/Ntilde %	209
+/Ograve %	210
+/Oacute %	211
+/Ocircumflex %	212
+/Otilde %	213
+/Odieresis %	214
+/multiply %	215	% OE in T1
+/Oslash %	216
+/Ugrave %	217
+/Uacute %	218
+/Ucircumflex %	219
+/Udieresis %	220
+/Yacute %	221
+/Thorn %	222
+/germandbls %	223
+/agrave %	224
+/aacute %	225
+/acircumflex %	226
+/atilde %	227
+/adieresis %	228
+/aring %	229
+/ae    %	230
+/ccedilla %	231
+/egrave %	232
+/eacute %	233
+/ecircumflex %	234
+/edieresis %	235
+/igrave %	236
+/iacute %	237
+/icircumflex %	238
+/idieresis %	239
+/eth   %	240
+/ntilde %	241
+/ograve %	242
+/oacute %	243
+/ocircumflex %	244
+/otilde %	245
+/odieresis %	246
+/divide %	247	% oe in T1
+/oslash %	248
+/ugrave %	249
+/uacute %	250
+/ucircumflex %	251
+/udieresis %	252
+/yacute %	253
+/thorn %	254
+/ydieresis %	255	% germandbls in T1
+] def
+
+ + + diff --git a/Master/texmf-dist/doc/fontname/xl2.html b/Master/texmf-dist/doc/fontname/xl2.html new file mode 100644 index 00000000000..effc42d63c4 --- /dev/null +++ b/Master/texmf-dist/doc/fontname/xl2.html @@ -0,0 +1,352 @@ + + +Filenames for TeX fonts + + + + + + + + +
+

+Node: xl2, +Next: , +Previous: texnansx, +Up: Encodings +



+
+ +

xl2.enc: OT1 + ISO Latin 2 extended

+ +
+
+     % Date: Thu, 25 May 1995 19:00:36 +0200 (MET DST)
+     % From: Petr Sojka <sojka@daeron.ics.muni.cz>
+     %
+     % some of our (CSTUG- czech TeX Users Group) users want to support
+     % 8bit font coding such that:
+     % -- lower 7bit  is exactly OT1 (but with differences imposed
+     %   by DEK -- e.g. layout of cmr is different from cmtt)
+     % -- upper part is taken from ISO-Latin 2 (iso 8859-2),
+     %    but some of empty positions are filled with useful characters
+     %    usually available in type-1 font (permill sign etc.)
+     /XL2encoding [
+     %%%%%   '000 = "00
+        /Gamma
+        /Delta
+        /Theta
+        /Lambda
+        /Xi
+        /Pi
+        /Sigma
+        /Upsilon
+     %%%%%   '010 = "08
+        /Phi
+        /Psi
+        /Omega
+        /ff
+        /fi
+        /fl
+        /ffi
+        /ffl
+     %%%%%   '020 = "10
+        /dotlessi
+        /dotlessj
+        /grave
+        /acute
+        /caron
+        /breve
+        /macron
+        /ring
+     %%%%%   '030 = "18
+        /cedilla
+        /germandbls
+        /ae
+        /oe
+        /oslash
+        /AE
+        /OE
+        /Oslash
+     %%%%%   '040 = "20
+        /.notdef
+        /exclam
+        /quotedblright
+        /numbersign
+        /dollar
+        /percent
+        /ampersand
+        /quoteright
+     %%%%%   '050 = "28
+        /parenleft
+        /parenright
+        /asterisk
+        /plus
+        /comma
+        /hyphen
+        /period
+        /slash
+     %%%%%   '060 = "30
+        /zero
+        /one
+        /two
+        /three
+        /four
+        /five
+        /six
+        /seven
+     %%%%%   '070 = "38
+        /eight
+        /nine
+        /colon
+        /semicolon
+        /exclamdown
+        /equal
+        /questiondown
+        /question
+     %%%%%   '100 = "40
+        /at
+        /A
+        /B
+        /C
+        /D
+        /E
+        /F
+        /G
+     %%%%%   '110 = "48
+        /H
+        /I
+        /J
+        /K
+        /L
+        /M
+        /N
+        /O
+     %%%%%   '120 = "50
+        /P
+        /Q
+        /R
+        /S
+        /T
+        /U
+        /V
+        /W
+     %%%%%   '130 = "58
+        /X
+        /Y
+        /Z
+        /bracketleft
+        /quotedblleft
+        /bracketright
+        /circumflex
+        /dotaccent
+     %%%%%   '140 = "60
+        /quoteleft
+        /a
+        /b
+        /c
+        /d
+        /e
+        /f
+        /g
+     %%%%%   '150 = "68
+        /h
+        /i
+        /j
+        /k
+        /l
+        /m
+        /n
+        /o
+     %%%%%   '160 = "70
+        /p
+        /q
+        /r
+        /s
+        /t
+        /u
+        /v
+        /w
+     %%%%%   '170 = "78
+        /x
+        /y
+        /z
+        /endash
+        /emdash
+        /hungarumlaut
+        /tilde
+        /dieresis
+     %%%%%   '200 = "80
+        /ellipsis
+        /dagger
+        /daggerdbl
+        /bullet
+        /sterling
+        /paragraph
+        /.notdef
+        /.notdef
+     %%%%%   '210 = "88
+        /.notdef
+        /.notdef
+        /.notdef
+        /.notdef
+        /.notdef
+        /perthousand
+        /.notdef
+        /.notdef
+     %%%%%   '220 = "90
+        /.notdef
+        /.notdef
+        /.notdef
+        /.notdef
+        /.notdef
+        /.notdef
+        /.notdef
+        /.notdef
+     %%%%%   '230 = "98
+        /Agrave
+        /.notdef
+        /.notdef
+        /.notdef
+        /hyphen
+        /ogonek
+        /guillemotleft
+        /guillemotright
+     %%%%%   '240 = "A0
+        /.notdef
+        /Aogonek
+        /breve
+        /Lslash
+        /currency
+        /Lcaron
+        /Sacute
+        /section
+     %%%%%   '250 = "A8
+        /dieresis
+        /Scaron
+        /Scedilla
+        /Tcaron
+        /Zacute
+        /.notdef
+        /Zcaron
+        /Zdotaccent
+     %%%%%   '260 = "B0
+        /ring
+        /aogonek
+        /cedilla
+        /lslash
+        /acute
+        /lcaron
+        /sacute
+        /caron
+     %%%%%   '270 = "B8
+        /agrave
+        /scaron
+        /scedilla
+        /tcaron
+        /zacute
+        /hungarumlaut
+        /zcaron
+        /zdotaccent
+     %%%%%   '300 = "C0
+        /Racute
+        /Aacute
+        /Acircumflex
+        /Abreve
+        /Adieresis
+        /Lacute
+        /Cacute
+        /Ccedilla
+     %%%%%   '310 = "C8
+        /Ccaron
+        /Eacute
+        /Eogonek
+        /Edieresis
+        /Ecaron
+        /Iacute
+        /Icircumflex
+        /Dcaron
+     %%%%%   '320 = "D0
+        /Eth
+        /Nacute
+        /Ncaron
+        /Oacute
+        /Ocircumflex
+        /Ohungarumlaut
+        /Odieresis
+        /multiply
+     %%%%%   '330 = "D8
+        /Rcaron
+        /Uring
+        /Uacute
+        /Uhungarumlaut
+        /Udieresis
+        /Yacute
+        /Togonek
+        /germandbls
+     %%%%%   '340 = "E0
+        /racute
+        /aacute
+        /acircumflex
+        /abreve
+        /adieresis
+        /lacute
+        /cacute
+        /ccedilla
+     %%%%%   '350 = "E8
+        /ccaron
+        /eacute
+        /eogonek
+        /edieresis
+        /ecaron
+        /iacute
+        /icircumflex
+        /dcaron
+     %%%%%   '360 = "F0
+        /eth
+        /nacute
+        /ncaron
+        /oacute
+        /ocircumflex
+        /ohungarumlaut
+        /odieresis
+        /divide
+     %%%%%   '370 = "F8
+        /rcaron
+        /uring
+        /uacute
+        /uhungarumlaut
+        /udieresis
+        /yacute
+        /quotedblbase
+        /quotedblleft
+     ] def
+     
+     % LIGKERN hyphen hyphen =: endash ; endash hyphen =: emdash ;
+     % LIGKERN quoteleft quoteleft =: quotedblleft ;
+     % LIGKERN quoteright quoteright =: quotedblright ;
+     % LIGKERN exclamdown exclamdown =: guillemotleft ;
+     % frenchdblquotes
+     % LIGKERN questiondown questiondown =: guillemotright ;
+     % csquoteleft
+     % LIGKERN comma comma =: quotedblbase ;
+     % LIGKERN space {} * ; * {} space ; zero {} * ; * {} zero ;
+     % LIGKERN one {} * ; * {} one ; two {} * ; * {} two ;
+     % LIGKERN three {} * ; * {} three ; four {} * ; * {} four ;
+     % LIGKERN five {} * ; * {} five ; six {} * ; * {} six ;
+     % LIGKERN seven {} * ; * {} seven ; eight {} * ; * {} eight ;
+     % LIGKERN nine {} * ; * {} nine ;
+     % LIGKERN question {} quoteleft ; exclam {} quoteleft ;
+     
+ + + diff --git a/Master/texmf-dist/doc/fonts/txfonts/00patch1.txt b/Master/texmf-dist/doc/fonts/txfonts/00patch1.txt new file mode 100644 index 00000000000..fa14e172943 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/txfonts/00patch1.txt @@ -0,0 +1,9 @@ + +An encoding mistake in Math Italic fonts (txmi and txmi1) fixed. +That is, "5E and "5F were accidentally switched. +This patch corrects the mistake. + +Properly place enclosed tfm and vf files. + +Also properly place enclosed document files. + diff --git a/Master/texmf-dist/doc/fonts/txfonts/COPYRIGHT b/Master/texmf-dist/doc/fonts/txfonts/COPYRIGHT new file mode 100644 index 00000000000..c539a6d4cab --- /dev/null +++ b/Master/texmf-dist/doc/fonts/txfonts/COPYRIGHT @@ -0,0 +1,17 @@ + Txfonts and pxfonts copyright notice + June 2002 + +Txfonts and pxfonts, as of June 2002, are distributed +under the GNU General Public License (GPL) with a special +exception. See http://www.gnu.org/licenses/licenses.html#GPL +for the detail of GPL. The special exception is as follows: + + Permission is granted to include txfonts and pxfonts + in a document in the Postscript, PDF, or any other + formats that may be displayed or printed using these + fonts, regardless of the licensing condition applied + to the document itself. + +Young Ryu + + diff --git a/Master/texmf-dist/doc/fonts/txfonts/txfontsdoc.pdf b/Master/texmf-dist/doc/fonts/txfonts/txfontsdoc.pdf new file mode 100644 index 00000000000..fd187d7e0e7 Binary files /dev/null and b/Master/texmf-dist/doc/fonts/txfonts/txfontsdoc.pdf differ diff --git a/Master/texmf-dist/doc/fonts/txfonts/txfontsdoc.tex b/Master/texmf-dist/doc/fonts/txfonts/txfontsdoc.tex new file mode 100644 index 00000000000..2292666ba4f --- /dev/null +++ b/Master/texmf-dist/doc/fonts/txfonts/txfontsdoc.tex @@ -0,0 +1,1239 @@ +\documentclass[11pt]{article} + +\setlength{\textwidth}{\paperwidth} +\addtolength{\textwidth}{-2in} + +\setlength{\textheight}{\paperheight} +\addtolength{\textheight}{-2.5in} + +\setlength{\evensidemargin}{0in} +\setlength{\oddsidemargin}{\evensidemargin} + +\setlength{\headsep}{0.5in} +\addtolength{\headsep}{-\headheight} + +\setlength{\topmargin}{.25in} +\addtolength{\topmargin}{-\headheight} +\addtolength{\topmargin}{-\headsep} + +\usepackage{amsmath} +\usepackage{txfonts} +%\normalfont +%\usepackage[T1]{fontenc} +%\usepackage{textcomp} +\let\orgnonumber=\nonumber\usepackage{mathenv}\let\nonumb=\nonumber\let\nonumber=\orgnonumber + +\allowdisplaybreaks + +\newcommand{\bs}{\symbol{'134}} + + +\def\Ent#1{\csname #1\endcsname & \texttt{\bs #1}} +\def\EEnt#1#2{\csname #1\endcsname & \texttt{\bs #1},\,\texttt{\bs #2}} + +\makeatletter +\newcount\curchar \newcount\currow \newcount\curcol +\newdimen\indexwd \newdimen\tempcellwd +\setbox0\hbox{\ttfamily0\kern.2em} +\indexwd=\wd0 + +\def\ident#1{#1} +\def\hexnumber#1{\ifcase\expandafter\ident\expandafter{\number#1} 0\or +1\or 2\or 3\or 4\or 5\or 6\or 7\or 8\or 9\or A\or B\or C\or D\or E\or +F\else ?\fi} + +\def\rownumber{\ttfamily\hexnumber\currow} +\def\colnumber{\ttfamily\hexnumber\curcol \global\advance\curcol 1 } + +\def\charnumber{\setbox0=\hbox{\char\curchar}% + \ifdim\ht0>7.5pt\reposition + \else\ifdim\dp0>2.5pt\reposition\fi\fi + \box0 \global\advance\curchar1 } +\def\reposition{\setbox0=\hbox{$\vcenter{\kern1.5pt\box0\kern1.5pt}$}} + +\def\dochart#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartA#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrowX\setrow\setrowX % +% \hline % + \setrow\setrowX\setrow\setrowX % + \hline % + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartB#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow%\setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartC#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartD#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartE#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrowX\setrow\setrowX\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} +\def\colnumbers{\hbox to\hsize{\global\curcol 0 + \def\1{\hbox to\cellwd{\curcol}{\hfil\colnumber\hfil}}% + \kern\indexwd\hfil\hfil + \1\1\1\1\hfil\hfil \1\1\1\1\hfil\hfil + \1\1\1\1\hfil\hfil \1\1\1\1\hfil\hfil + \kern\indexwd}% +} + +\def\dochartF#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + + +\def\setrow{\hbox to\hsize{% + \hbox to\indexwd{\hfil\rownumber\kern.2em}\hfil\hfil + \0\0\0\0\hfil\hfil \0\0\0\0\hfil\hfil + \0\0\0\0\hfil\hfil \0\0\0\0\hfil\hfil + \hbox to\indexwd{\ttfamily\kern.2em \rownumber\hfil}}% + \global\advance\currow 1 }% + +\def\setrowX{\global\advance\curchar16\global\advance\currow 1\relax} + +\def\cellwd#1{20pt}% initialize + +\def\measurecolwidths#1{% + \tempcellwd\hsize \advance\tempcellwd-2\indexwd + \advance\tempcellwd -12pt + \divide\tempcellwd 16 + \xdef\cellwd##1{\the\tempcellwd}% +} + +\def \table #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochart{#1}% +}} + + +\def \tableA #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartA{#1}% +}} + +\def \tableB #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartB{#1}% +}} + +\def \tableC #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartC{#1}% +}} + +\def \tableD #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartD{#1}% +}} + +\def \tableE #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartE{#1}% +}} + +\def \tableF #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartF{#1}% +}} + +\makeatother + +\begin{document} + +\title{The \texttt{TX} Fonts% +\thanks{Special thanks to those who reported problems of +\texttt{TX} fonts and provided suggestions!}} + +\author{Young Ryu} + +\date{December 15, 2000} + +\maketitle + +\tableofcontents + +\clearpage +\section{Introduction} + +The \texttt{TX} fonts consist of +\begin{enumerate}\itemsep=0pt +\item virtual text roman fonts using Adobe Times (or URW NimbusRomNo9L) with + some modified and additional text symbols in OT1, T1, TS1, and LY1 encodings +\item \textsf{virtual text sans serif fonts using Adobe Helvetica (or URW NimbusSanL) with + additional text symbols in OT1, T1, TS1, and LY1 encodings} +\item \texttt{monospaced typewriter fonts in OT1, T1, TS1, and LY1 encodings} +\item math alphabets using Adobe Times (or URW NimbusRomNo9L) + with modified metrics +\item math fonts of all symbols corresponding to those of Computer Modern + math fonts (CMSY, CMMI, CMEX, and Greek letters of CMR) +\item math fonts of all symbols corresponding to those of AMS fonts + (MSAM and MSBM) +\item additional math fonts of various symbols +\end{enumerate} +% +All fonts are in the Type 1 format (in \texttt{afm} and \texttt{pfb} files). +Necessary \texttt{tfm} and \texttt{vf} files together with +\LaTeXe\ package files and font map files for \texttt{dvips} are +provided. + +\begin{bfseries}%\itshape +The \texttt{TX} fonts and related files are distributed +without any guaranty or warranty. +I do not assume responsibility for any actual or possible +damages or losses, directly or indirectly caused by the +distributed files. +\end{bfseries} +The \texttt{TX} fonts are distributed under the GNU public license (GPL)\@. + +\section{Changes} + +\begin{description} +\item[1.0] (October 25, 2000) 1st public release +\item[2.0] (November 2, 2000) + \begin{itemize} + \item An encoding error in txi and txbi (`\textdollar' \texttt{"24}) is fixed. + \item Mistakes in symbol declarations for `\AA' and `\aa' in \texttt{txfonts.sty} + are fixed. + \item $\lambda$ (\texttt{"15} of txmi and txbmi), + $\lambdaslash$ (\texttt{"6E} of txsyc and txbsyc), and + $\lambdabar$ (\texttt{"6F} of txsyc and txbsyc) + are updated to be more slanted. + \item More symbols added in txexa and txbexa (\texttt{"29}--\texttt{"2E}) + and in txsyc and txbsyc (\texttt{"80}--\texttt{"94}). + \item Some fine tuning of a few glyphs. + \item Math italic font metrics are improved. + \item Text font metrics are improved. + \item T1 and TS1 encodings are supported. (Not all TS1 encoding glyphs are implemented.) + \end{itemize} +\item[2.1] (November 18, 2000) + \begin{itemize} + \item Complete implementation of TS1 encoding fonts. + \item Various improvements of font metrics and font encodings. For instance, + the bogus entry of char \texttt{'27} in T1 encoding virtual font files + are removed. (This bogus entry caused ``warning char 23 replaced + by \bs.notdef'' with PDF\TeX/PDF\LaTeX.) + \item Helvetica-based TX sans serif fonts in OT1, T1, and TS1 encodings. + \item Monospaced TX typewriter fonts, which are thicker than Courier (and thus may look better + with Times), in OT1, T1, and TS1 encodings. + \end{itemize} +\item[2.2] (November 22, 2000) + \begin{itemize} + \item LY1 encoding support + \item Monospaced typewriter fonts redone (Uppercase letters are tall enough to match with Times.) + \item Various glyph and metric improvement + \end{itemize} +\item[2.3] (December 6, 2000) + \begin{itemize} + \item Math extension fonts (radical symbols) updated + \item Alternative blackboard bold letters ($\varmathbb{A}\ldots\varmathbb{Z}$ and $\varBbbk$) + introduced. (Enter \verb|$\varmathbb{...}$| and \verb|$\varBbk$| to get them.) + \item More large operators symbols + \item Now \verb|\lbag| ($\lbag$) and \verb|\rbag| ($\rbag$) are + delimiters. + \item Alternative math alphabets $\varg$ and $\vary$ added + \end{itemize} +\item[2.4] (December 12, 2000) + \begin{itemize} + \item An encoding mistake in text companion typewriter fonts fixed + \item Bugs in \LaTeX\ input files fixed + \end{itemize} +\item[3.0] (December 14, 2000) + \begin{itemize} + \item Minor problem fixes. + \item Manual fine-tuning of Type 1 font files + \end{itemize} +\item[3.1] (December 15, 2000) + \begin{itemize} + \item Alternative math alphabets $\varv$ and $\varw$ added + \item Hopefully, this is the final release \ldots + \end{itemize} +\end{description} + +\section{A Problem: \texttt{DVIPS} Partial Font Downloading} + +It was reported that when \texttt{TX} fonts +are partially downloaded with \texttt{dvips}, +some HP Laserprinters (with Postscript) cannot +print documents. To resolve this problem, +turn the partial font downloading off. +See the \texttt{dvips} document for various ways to +turn off partial font downloading. + +\textbf{\itshape Even though one does not observe such a problem, +I would like to strongly recommend to turn off \texttt{dvips} +partial font downloading.} +%I think the \texttt{dvips} partial font downloading +%mechanism appears to have some problems. For instance, +%when Adobe Times fonts are set to be downloaded, e.g., +%\begin{verbatim} +% ptmr8r Times-Roman "TeXBase1Encoding ReEncodeFont" <8r.enc 7.5pt\reposition + \else\ifdim\dp0>2.5pt\reposition\fi\fi + \box0 \global\advance\curchar1 } +\def\reposition{\setbox0=\hbox{$\vcenter{\kern1.5pt\box0\kern1.5pt}$}} + +\def\dochart#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartA#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrowX\setrow\setrowX % +% \hline % + \setrow\setrowX\setrow\setrowX % + \hline % + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartB#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow%\setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartC#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartD#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + +\def\dochartE#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrowX\setrow\setrowX\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} +\def\colnumbers{\hbox to\hsize{\global\curcol 0 + \def\1{\hbox to\cellwd{\curcol}{\hfil\colnumber\hfil}}% + \kern\indexwd\hfil\hfil + \1\1\1\1\hfil\hfil \1\1\1\1\hfil\hfil + \1\1\1\1\hfil\hfil \1\1\1\1\hfil\hfil + \kern\indexwd}% +} + +\def\dochartF#1{% + \begingroup + \global\curchar=0 \global\currow=0 \global\curcol=0 + \def\hline{\kern2pt\hrule\kern3pt }% + \setbox0\vbox{#1% + \def\0{\hbox to\cellwd{\curcol}{\hss\charnumber\hss}}% + \colnumbers + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow\setrow + \hline + \setrow\setrow\setrow + \hline + \colnumbers + }% + \vbox{% + \hbox to\hsize{\kern\indexwd + \def\fullrule{\hfil\vrule height\ht0 depth\dp0\hfil}% + \fullrule\kern\cellwd{0}\kern\cellwd{1}\kern\cellwd{2}\kern\cellwd{3}% + \fullrule\kern\cellwd{4}\kern\cellwd{5}\kern\cellwd{6}\kern\cellwd{7}% + \fullrule\kern\cellwd{8}\kern\cellwd{9}\kern\cellwd{10}\kern\cellwd{11}% + \fullrule\kern\cellwd{12}\kern\cellwd{13}\kern\cellwd{14}\kern\cellwd{15}% + \fullrule\kern\indexwd}% + \kern-\ht0 \kern-\dp0 \unvbox0}% + \endgroup +} + + +\def\setrow{\hbox to\hsize{% + \hbox to\indexwd{\hfil\rownumber\kern.2em}\hfil\hfil + \0\0\0\0\hfil\hfil \0\0\0\0\hfil\hfil + \0\0\0\0\hfil\hfil \0\0\0\0\hfil\hfil + \hbox to\indexwd{\ttfamily\kern.2em \rownumber\hfil}}% + \global\advance\currow 1 }% + +\def\setrowX{\global\advance\curchar16\global\advance\currow 1\relax} + +\def\cellwd#1{20pt}% initialize + +\def\measurecolwidths#1{% + \tempcellwd\hsize \advance\tempcellwd-2\indexwd + \advance\tempcellwd -12pt + \divide\tempcellwd 16 + \xdef\cellwd##1{\the\tempcellwd}% +} + +\def \table #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochart{#1}% +}} + + +\def \tableA #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartA{#1}% +}} + +\def \tableB #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartB{#1}% +}} + +\def \tableC #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartC{#1}% +}} + +\def \tableD #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartD{#1}% +}} + +\def \tableE #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartE{#1}% +}} + +\def \tableF #1#2#3{\par\penalty-200 \bigskip + \font #1=#2 \relax + \vbox{\hsize=29pc + \measurecolwidths{#1}% + \centerline{#3 -- {\tt#2}}% + \medskip + \dochartF{#1}% +}} + +\makeatother + +\begin{document} + +\title{The \texttt{TX} Fonts% +\thanks{Special thanks to those who reported problems of +\texttt{TX} fonts and provided suggestions!}} + +\author{Young Ryu} + +\date{December 15, 2000} + +\maketitle + +\tableofcontents + +\clearpage +\section{Introduction} + +The \texttt{TX} fonts consist of +\begin{enumerate}\itemsep=0pt +\item virtual text roman fonts using Adobe Times (or URW NimbusRomNo9L) with + some modified and additional text symbols in OT1, T1, TS1, and LY1 encodings +\item \textsf{virtual text sans serif fonts using Adobe Helvetica (or URW NimbusSanL) with + additional text symbols in OT1, T1, TS1, and LY1 encodings} +\item \texttt{monospaced typewriter fonts in OT1, T1, TS1, and LY1 encodings} +\item math alphabets using Adobe Times (or URW NimbusRomNo9L) + with modified metrics +\item math fonts of all symbols corresponding to those of Computer Modern + math fonts (CMSY, CMMI, CMEX, and Greek letters of CMR) +\item math fonts of all symbols corresponding to those of AMS fonts + (MSAM and MSBM) +\item additional math fonts of various symbols +\end{enumerate} +% +All fonts are in the Type 1 format (in \texttt{afm} and \texttt{pfb} files). +Necessary \texttt{tfm} and \texttt{vf} files together with +\LaTeXe\ package files and font map files for \texttt{dvips} are +provided. + +\begin{bfseries}%\itshape +The \texttt{TX} fonts and related files are distributed +without any guaranty or warranty. +I do not assume responsibility for any actual or possible +damages or losses, directly or indirectly caused by the +distributed files. +\end{bfseries} +The \texttt{TX} fonts are distributed under the GNU public license (GPL)\@. +The fonts will be improved and additional glyphs will be added +in the future. + +\section{Changes} + +\begin{description} +\item[1.0] (October 25, 2000) 1st public release +\item[2.0] (November 2, 2000) + \begin{itemize} + \item An encoding error in txi and txbi (`\textdollar' \texttt{"24}) is fixed. + \item Mistakes in symbol declarations for `\AA' and `\aa' in \texttt{txfonts.sty} + are fixed. + \item $\lambda$ (\texttt{"15} of txmi and txbmi), + $\lambdaslash$ (\texttt{"6E} of txsyc and txbsyc), and + $\lambdabar$ (\texttt{"6F} of txsyc and txbsyc) + are updated to be more slanted. + \item More symbols added in txexa and txbexa (\texttt{"29}--\texttt{"2E}) + and in txsyc and txbsyc (\texttt{"80}--\texttt{"94}). + \item Some fine tuning of a few glyphs. + \item Math italic font metrics are improved. + \item Text font metrics are improved. + \item T1 and TS1 encodings are supported. (Not all TS1 encoding glyphs are implemented.) + \end{itemize} +\item[2.1] (November 18, 2000) + \begin{itemize} + \item Complete implementation of TS1 encoding fonts. + \item Various improvements of font metrics and font encodings. For instance, + the bogus entry of char \texttt{'27} in T1 encoding virtual font files + are removed. (This bogus entry caused ``warning char 23 replaced + by \bs.notdef'' with PDF\TeX/PDF\LaTeX.) + \item Helvetica-based TX sans serif fonts in OT1, T1, and TS1 encodings. + \item Monospaced TX typewriter fonts, which are thicker than Courier (and thus may look better + with Times), in OT1, T1, and TS1 encodings. + \end{itemize} +\item[2.2] (November 22, 2000) + \begin{itemize} + \item LY1 encoding support + \item Monospaced typewriter fonts redone (Uppercase letters are tall enough to match with Times.) + \item Various glyph and metric improvement + \end{itemize} +\item[2.3] (December 6, 2000) + \begin{itemize} + \item Math extension fonts (radical symbols) updated + \item Alternative blackboard bold letters ($\varmathbb{A}\ldots\varmathbb{Z}$ and $\varBbbk$) + introduced. (Enter \verb|$\varmathbb{...}$| and \verb|$\varBbk$| to get them.) + \item More large operators symbols + \item Now \verb|\lbag| ($\lbag$) and \verb|\rbag| ($\rbag$) are + delimiters. + \item Alternative math alphabets $\varg$ and $\vary$ added + \end{itemize} +\item[2.4] (December 12, 2000) + \begin{itemize} + \item An encoding mistake in text companion typewriter fonts fixed + \item Bugs in \LaTeX\ input files fixed + \end{itemize} +\item[3.0] (December 14, 2000) + \begin{itemize} + \item Minor problem fixes. + \end{itemize} +\item[3.1] (December 15, 2000) + \begin{itemize} + \item Alternative math alphabets $\varv$ and $\varw$ added + \item Hopefully, this is the final release \ldots + \end{itemize} +\end{description} + +\section{A Problem: \texttt{DVIPS} Partial Font Downloading} + +It was reported that when \texttt{TX} fonts +are partially downloaded with \texttt{dvips}, +some HP Laserprinters (with Postscript) cannot +print documents. To resolve this problem, +turn the partial font downloading off. +See the \texttt{dvips} document for various ways to +turn off partial font downloading. + +\textbf{\itshape Even though one does not observe such a problem, +I would like to strongly recommend to turn off \texttt{dvips} +partial font downloading.} +%I think the \texttt{dvips} partial font downloading +%mechanism appears to have some problems. For instance, +%when Adobe Times fonts are set to be downloaded, e.g., +%\begin{verbatim} +% ptmr8r Times-Roman "TeXBase1Encoding ReEncodeFont" <8r.enc 7.5pt\reposition + \else\ifdim\dp0>2.5pt\reposition\fi\fi + \box0\global\advance\n 1 } +\def\reposition{\setbox0=\vbox{\kern2pt\box0}\dim=\dp0 + \advance\dim 2pt \dp0=\dim} +\def\centerlargechars{ + \def\reposition{\setbox0=\hbox{$\vcenter{\kern2pt\box0\kern2pt}$}}} + +\def\text{{\advance\baselineskip-4pt +\setbox0=\hbox{abcdefghijklmnopqrstuvwxyz} +\ifdim\hsize>2\wd0 \ifdim 15pc>2\wd0 \hsize=15pc \else \hsize=2\wd0 \fi\fi +On November 14, 1885, Senator \& Mrs.~Leland Stanford called +together at their San Francisco mansion the 24~prominent men who had +been chosen as the first trustees of The Leland Stanford Junior University. +They handed to the board the Founding Grant of the University, which they +had executed three days before. This document---with various amendments, +legislative acts, and court decrees---remains as the University's charter. +In bold, sweeping language it stipulates that the objectives of the University +are ``to qualify students for personal success and direct usefulness in life; +and to promote the publick welfare by exercising an influence in behalf of +humanity and civilization, teaching the blessings of liberty regulated by +law, and inculcating love and reverence for the great principles of +government as derived from the inalienable rights of man to life, liberty, +and the pursuit of happiness.'' \moretext +(!`THE DAZED BROWN FOX QUICKLY GAVE 12345--67890 JUMPS!)\par}} +\def\moretext{?`But aren't Kafka's Schlo{\ss} and {\AE}sop's {\OE}uvres +often na{\"\i}ve vis-\`a-vis the d{\ae}monic ph{\oe}nix's official r\^ole +in fluffy souffl\'es? } +\def\omitaccents{\let\moretext=\relax} + +\def\sample{\table\text} + +\init diff --git a/Master/texmf-dist/doc/fonts/umrand/umrand.tex b/Master/texmf-dist/doc/fonts/umrand/umrand.tex new file mode 100644 index 00000000000..06df87d0ef7 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/umrand/umrand.tex @@ -0,0 +1,191 @@ +\documentstyle[german,umrand,stamm,struts,verbatim,bsp]{article} + +\Nr{9a} +\Thema{Anleitung zu UMRAND.STY} + +\def\C{\char'} +\font\UA=umranda +\font\UB=umrandb at 20pt + +\def\make{% + \begin{flushleft} + \begin{minipage}[c]{0.58\linewidth} + \verbatiminput{\bspname} + \end{minipage} + \hfill\vrule\hfill + \begin{minipage}[c]{0.38\linewidth} + \input{\bspname} + \end{minipage} + \end{flushleft}} + +\begin{document} +{\bf Als Nachtrag hier eine kleine Anleitung zu UMRAND.STY:}\\[3mm] +Notwendige Dateien: +\[ \begin{tabular}{|l|l|} + \hline + \oustrut Datei & Bedeutung \\ \hline\hline + \ostrut umranda.mf & 1.\,Font \\ + umrandb.mf & 2.\,Font \\ + \ustrut umrand.mf & MF-Makros \\ \hline + \ostrut umrand.sty & \TeX-Makros + \ustrut \\ \hline + \end{tabular} \] +Achtung! Die Fonts funktionieren zur Zeit (Version 1.2) nur bei +Ausgabeger"aten mit gleicher horizontaler und vertikaler Auf"|l"osung! +Vielleicht "andert sich das irgendwann. + +\verb|umrand.sty| dient zum Zeichnen von Umrandungen. Grunds"atzlich wird die +Gr"o"se des Rahmens von dessen Inhalt (und den Rahmenzeichen) bestimmt. Sie +wird automatisch berechnet. Die allgemeine Form des Aufrufs sieht so aus: +\begin{verbatim} +\RandBox {...} + font {...} + [...] + (...) (...[...]...) (...) + (...[...]...) (...[...]...) + (...) (...[...]...) (...) +\end{verbatim} +Der erste Parameter ist der Inhalt, der in eine \verb|\hbox| gesetzt wird. Mit +dem Wort \verb|font| eingeleitet wird ein Parameter, der den Font f"ur den +Rahmen ausw"ahlt. In den eckigen Klammern \verb|[...]| steht eine L"angenangabe, +die den Abstand der einzelnen Zeichen voneinander angibt. Mit den folgenden +sechs runden Klammern wird die Struktur definiert. Hier k"onnen Zeichen des +Rahmen-Fonts eingetragen werden. Die Zeichenfolgen, die in den eckigen +Klammern hier stehen, werden sooft wiederholt wie notwendig, um die +Rahmengr"o"se zu erzeugen. Zeichen in Folgen werden durch \verb|\\| voneinander +getrennt. Die runden Klammern bilden in ihrer Reihenfolge die Rahmenteile: +\begin{itemize} +\item linke obere Ecke +\item oberer Rand +\item rechte obere Ecke +\item linker Rand +\item rechter Rand +\item linke untere Ecke +\item unterer Rand +\item rechte untere Ecke +\end{itemize} +Beispiele: +\begin{verbatim} +(G\\H[I\\K]L) +\end{verbatim} +hei"st: Setze G und H, dann I und K abwechselnd, bis die Rahmengr"o"se +erreicht ist, dann setze L. +\begin{verbatim} +([A\\B]A) +\end{verbatim} +hei"st: A und B abwechselnd, am Schlu"s ein A. + +Wenn man die Fonts aus \verb|umranda.mf| und \verb|umrandb.mf| benutzt, +geht man normalerweise von einer Fonttabelle (\verb|testfont.tex| +benutzen) aus. Hier sind die Zeichen oktal beziffert. Setzt man zum +Beispiel \verb|\def\C{\char'}|, \verb|\font\UA=umranda at 20pt| und +\verb|\font\UB=umrandb at 20pt| in seine Datei, so kann man die Fonts +folgenderma"sen ansprechen: +\begin{bsp} +\RandBox {Testinhalt} font {\UA} [-0.3em] + (\C113) ([\C65]) (\C113) + ([\C67]) ([\C67]) + (\C113) ([\C65]) (\C113) +\end{bsp} +\make +Die Ecken bestehen aus dem Zeichen Oktal\,113, die waagerechten Kanten aus +Oktal\,65, die senkrechten aus Oktal\,67. + +Jetzt ein Beispiel mit wechselnden Zeichen: +\begin{bsp} +\RandBox {Eine Wiese} + font {\UA} [0pt] + () ([\C75\\\C77]\C75) () + (\C76[\C100\\\C76]) + ([\C100\\\C76]\C100) + () (\C77[\C75\\\C77]) () +\end{bsp} +\make + +Bei den Linienfonts (\verb|umrandb.mf|) mu"s man auf die Lage der Elemente +achten. Linienelemente an unterschiedlichen Positionen sind auch +unterschiedliche Zeichen. Hier gibt es aber die nach dem Beispiel +beschriebene Kurzform. +\begin{bsp} +\RandBox {Ein Test} + font {\UB} [0pt] + (\C5) ([\C1]) (\C4) + ([\C2]) ([\C0]) + (\C6) ([\C3]) (\C7) +\end{bsp} +\make + +Als Kurzform kann man jeweils das erste Zeichen der Eckenteile und der +Linienteile angeben: +\begin{bsp} +\LinienBox {Ein Test} + font {\UB} + ecken 4 linien 0 +\end{bsp} +\make + +Hier noch eine Zusammenstellung anderer Umrandungen: +\begin{flushleft} +\def\TAB#1{Mit\begin{tabular}[t]{l}#1\end{tabular}} +\LinienBox {\TAB{ecken 10\\linien 0}} font {\UB} ecken 10 linien 0 +\LinienBox {\TAB{ecken 14\\linien 0}} font {\UB} ecken 14 linien 0 +\LinienBox {\TAB{ecken 20\\linien 0}} font {\UB} ecken 20 linien 0 +\LinienBox {\TAB{ecken 24\\linien 0}} font {\UB} ecken 24 linien 0 +\LinienBox {\TAB{ecken 30\\linien 0}} font {\UB} ecken 30 linien 0 +\LinienBox {\TAB{ecken 34\\linien 0}} font {\UB} ecken 34 linien 0 +\LinienBox {\TAB{ecken 40\\linien 0}} font {\UB} ecken 40 linien 0 +\LinienBox {\TAB{ecken 44\\linien 0}} font {\UB} ecken 44 linien 0 +\LinienBox {\TAB{ecken 50\\linien 0}} font {\UB} ecken 50 linien 0 +\LinienBox {\TAB{ecken 54\\linien 0}} font {\UB} ecken 54 linien 0 +\LinienBox {\TAB{ecken 60\\linien 0}} font {\UB} ecken 60 linien 0 +\LinienBox {\TAB{ecken 64\\linien 0}} font {\UB} ecken 64 linien 0 +\LinienBox {\TAB{ecken 70\\linien 0}} font {\UB} ecken 70 linien 0 +\LinienBox {\TAB{ecken 74\\linien 0}} font {\UB} ecken 74 linien 0 +\LinienBox {\TAB{ecken 104\\linien 100}} font {\UB} ecken 104 linien 100 +\LinienBox {\TAB{ecken 110\\linien 100}} font {\UB} ecken 110 linien 100 +\LinienBox {\TAB{ecken 114\\linien 100}} font {\UB} ecken 114 linien 100 +\LinienBox {\TAB{ecken 120\\linien 100}} font {\UB} ecken 120 linien 100 +\LinienBox {\TAB{ecken 124\\linien 100}} font {\UB} ecken 124 linien 100 +\LinienBox {\TAB{ecken 130\\linien 100}} font {\UB} ecken 130 linien 100 +\LinienBox {\TAB{ecken 134\\linien 100}} font {\UB} ecken 134 linien 100 +\LinienBox {\TAB{ecken 140\\linien 100}} font {\UB} ecken 140 linien 100 +\LinienBox {\TAB{ecken 144\\linien 100}} font {\UB} ecken 144 linien 100 +\end{flushleft} + +Ein Meander-Rand ist mit dem folgenden Befehl zu erzeugen: +\begin{bsp} +\MeanderBox {Ein Meander-Rand} at 20pt +\end{bsp} +\make + +Einfache R"ander, die nur aus einem einzigen Zeichen bestehen, erh"alt man +auf die folgende Weise: +\begin{bsp} +\EinfachRand {Inhalt} + font {\Large} + char {$\ast$} [0.1em] +\end{bsp} +\make +Hierbei sieht man auch, da"s Zeichen aus beliebigen Fonts f"ur die Rahmen +benutzt werden k"onnen. Problematisch wird es dann, wenn sie +unterschiedliche Breiten/H"ohen haben. + +\[ \MeanderBox {Weitere Beispiele findet man in + {\tt ob1.tex} und {\tt ob2.tex}} at 10pt \] + +Eine Font-Tabelle liefert die \TeX-Datei \verb|testfont.tex|. Man ruft sie +unter {\sc Plain}-\TeX\ auf (z.\,B. \verb|tex &plain testfont|). Als Font +gibt man bei der Frage \verb|umranda at 20pt| oder etwas "ahnliches an. +Wenn der \verb|*| erscheint, tippt man \verb|\table| ein, beim n"achsten +\verb|*| schreibt man \verb|\end|. Nun mu"s nur noch \verb|testfont.dvi| +gedruckt werden. + +Falls der Druckertreiber eine Einstellung von |maxdrift| erlaubt, sollte +diese auf Null gesetzt werden. Sonst kann es vorkommen, da"s +Linienanschl"usse nicht 100\,\%ig stimmen. + +\input{umrand1} +\input{umrand2} +\input{umrand3} +\end{document} + diff --git a/Master/texmf-dist/doc/fonts/umrand/umrand1.tex b/Master/texmf-dist/doc/fonts/umrand/umrand1.tex new file mode 100644 index 00000000000..df714084db3 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/umrand/umrand1.tex @@ -0,0 +1,201 @@ +\newpage\setcounter{page}{1} +\font\f=umranda +\font\F=umranda at 20pt +{\def\make{\input{b} + \vskip 2mm + \hrule + \verbatiminput{b} + \vskip 2mm\hrule\hrule\vskip 1mm} +\fussy +\Thema{Umrandungen} +\Nr{9} + +Heute gehts um Umrandungen, die Makros und der Font sind ziemlich +umfangreich, so da"s beide hier nur in der Anwendung gezeigt werden sollen. +Es sind definiert: +\begin{verbatim} +\def\C{\char'} % Oktaldarstellung +\font\f = umranda +\font\F = umranda at 20pt +\end{verbatim} +Und los gehts: +\vskip 2mm + +\begin{bsp} +\RandBox {Dieses ist eine Quadrat-Testbox} + font {\f} [0pt] + (\C114) ([\C71\\\C73]\C71) (\C114) + (\C72[\C74\\\C72]) ([\C74\\\C72]\C74) + (\C114) (\C73[\C71\\\C73]) (\C114) +\end{bsp} +\make + +\begin{bsp} +\RandBox {Es w"achst Gras "uber die Sache} + font {\f} [0pt] + () ([\C75\\\C77]\C75) () + (\C76[\C100\\\C76]) ([\C100\\\C76]\C100) + () (\C77[\C75\\\C77]) () +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Ist das nicht zum Kringeln?} + font {\f} [-0.3em] + () ([\C65]) () + ([\C67]) ([\C67]) + () ([\C65]) () +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Eine sich schl"angelnde Schlange.} + font {\F} [-0.3em] + () ([\C127]) () + ([\C131]) ([\C135]) + () ([\C133]) () +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Dieses ist eine riesige Box mit Fischen} + font {\f} [0.1em] + (\C113) ([\C102]) (\C113) + ([\C104]) ([\C110]) + (\C113) ([\C106]) (\C113) +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Wellenlinien mit verschiedenen Ecken} + font {\f} [0pt] + (\C115) ([\C111]) (\C114) + ([\C112]) ([\C112]) + (\C115) ([\C111]) (\C114) +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {\parbox{7cm}{Dieses ist eine riesige und gro"se Testbox + mit hoffentlich zwei Zeilen! Der Rand besteht + aus sich "uberlappenden Wellenteilen.}} + font {\f} [-0.5em] + (\C113) ([\C111]) (\C113) + ([\C112]) ([\C112]) + (\C113) ([\C111]) (\C113) +\end{bsp} +\make + + + +\begin{bsp} +\EinfachRand {Wieder mal eine (andere) Box} font {\F} char {\C43} [0pt] +\end{bsp} +\make + + + +\begin{bsp} +\EinfachRand {Noch eine Box, diesmal mit Stacheldraht.} + font {\F} char {\C41} [0.2em] +\end{bsp} +\make + + + +\begin{bsp} +\EinfachRand {Und man sieht hier noch einen Kasten.} + font {\F} char {\C42} [0.2em] +\end{bsp} +\make + + + +\begin{bsp} +\EinfachRand {Yin und Yang} font {\f} char {\C10} [0.2em] +\end{bsp} +\make + + + +\begin{bsp} +\EinfachRand {Nach einer Grafik von Apollonio.} + font {\F} char {\C37} [0.2em] +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Test in einer Box mit Buchstaben.} + font {\tt} [0.2em] + (W) ([B\\C]B) (X) + ([D\\E\\F]) ([G\\H\\I]) + (Y) ([J\\K]J) (Z) +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Wir machen das Unm"ogliche m"oglich.} + font {\F} [0.1em] + (\C3) ([\C2\\\C6]\C2) (\C1) + ([\C4\\\C0]\C4) ([\C0\\\C4]\C0) + (\C5) ([\C6\\\C2]\C6) (\C7) +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Wunder dauern etwas l"anger.} + font {\F} [0.2em] + () ([\C2\\\C6]\C2) () + ([\C4\\\C0]\C4) ([\C0\\\C4]\C0) + () ([\C6\\\C2]\C6) () +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Eine Box wie vorne, aber mit Abst"anden.} + font {\F} [0.2em] + () ([\C43]) () + ([\C43]) ([\C43]) + () ([\C43]) () +\end{bsp} +\make + + + +\begin{bsp} +\RandBox {Mischmasch mit gedrehtem Yin und Yang.} + font {\f} [0.2em] + (\C7) ([\C10\\\C12\\\C14\\\C16\\\C20\\\C22]) (\C5) + ([\C21]) ([\C13]) + (\C1) ([\C10\\\C12\\\C14\\\C16\\\C20\\\C22]) (\C3) +\end{bsp} +\make + +\begin{bsp} +\EinfachRand {\parbox{7cm}{Dieses hier ist eine Parbox mit mehreren Zeilen +Text, die sp"ater umrahmt werden soll. Der Rahmen besteht nicht aus Linien +sondern aus Schmucksymbolen, die von \TeX\ automatisch zu einem Rahmen in +der erforderlichen Gr"o"se zusammengesetzt werden.}} + font {\f} char {\C66} [-0.7em] +\end{bsp} +\make +} +\endinput \ No newline at end of file diff --git a/Master/texmf-dist/doc/fonts/umrand/umrand12.readme_e b/Master/texmf-dist/doc/fonts/umrand/umrand12.readme_e new file mode 100644 index 00000000000..6409d340462 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/umrand/umrand12.readme_e @@ -0,0 +1,72 @@ + We are finished! After a lot of trouble + + UMRAND.STY + + and the fonts + + UMRANDA.MF + UMRANDB.MF + + version 1.2 + +are ready for use! This is the first officially distributed version. +With UMRAND.STY you can typeset fancy frames in TeX. This can by done +with \fbox too? Well no one of this type: + + *+++*+++*+++*+++*+++*+++*+++* + + + + + TeX & METAFONT + + * for * + + President! + + + + + *+++*+++*+++*+++*+++*+++*+++* + +Instead of + and * there are line elements, meander, fishes, snakes, +flowers, curls and many others in our fonts. The framesize is +automatically computed in respect of the frame's contents. Many +combinations of frame elements are possible. + +One restriction we had to made: The fonts only work on devices with +equal x- and y-resolution. With 180x360dpi you will run into +problems. A little comfort: You should try. You may be able to use +some of the chars in our fonts. We don't know, whether that will +change in the future. + +PS: Here you see, what we are doing at our ``table reserved for + regular guests'' (Langenscheid dictionary, "`Stammtisch"' in + German) in Wuppertal, Germany. + +We, that are in this case: + + Andreas H"orstemeier Andreas Schrell + Oberlinweg 7 and Windh"ovel 2 + D-58675 Hemer D-42279 Wuppertal + + E-MAIL: Andreas.Schrell @ FernUni-Hagen.de + +Oh yes, you will find the files named + + umrand12.zip umrand12.readme_g umrand12.readme_e + +in Stuttgart: ftp.uni-stuttgart.de +in Aston: ftp.tex.ac.uk +in Texas: ftp.shsu.edu +in the directory: tex-archive/macros/generic/umrand + +Included are PK-fonts at 101 dpi (screen) + 300 dpi (Atari-laser SLM) + 300 dpi (HP-Laser/DeskJet). + +We hope other Servers will obtain it from there. The package may be +freely distributed, as always you are not allowed to change the +files. Bug reports and further hints please to one of the adresses +above. + + oooooooooooooooooooooooooooooooooooooooooooooooooooo + o o + o Especially we will be happy if all TeXnicians, o + o who like our fonts and use them, would send us o + o a POSTCARD of their home town! o + o o + oooooooooooooooooooooooooooooooooooooooooooooooooooo + +A lot of fun and best wishes from Andreas & Andreas diff --git a/Master/texmf-dist/doc/fonts/umrand/umrand12.readme_g b/Master/texmf-dist/doc/fonts/umrand/umrand12.readme_g new file mode 100644 index 00000000000..b7623175184 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/umrand/umrand12.readme_g @@ -0,0 +1,71 @@ + Es ist soweit! Nach langem Basteln ist es fertig: + + UMRAND.STY + + und die Fonts + + UMRANDA.MF + UMRANDB.MF + + Version 1.2 + +sind verf"ugbar! Dies ist die erste offiziell verbreitete Version. +Mit UMRAND.STY kann man Umrandungen in TeX setzen. Kann man doch mit +\fbox? Klar, aber nicht solche: + + *+++*+++*+++*+++*+++*+++*+++* + + + + + TeX & METAFONT + + * for * + + President! + + + + + *+++*+++*+++*+++*+++*+++*+++* + +Statt + und * gibt es in unseren Fonts Linienelemente, Meander, +Fische, Schlangen, Blumen, Kringel und vieles andere. Die Rahmen- +gr"o"se wird automatisch aus dem Inhalt ermittelt. Beliebige +Zusammenstellungen von Randelementen sind m"oglich. + +Eine Einschr"ankung mu"sten wir leider machen: Die Fonts funktionieren +nur auf Ausgabeger"aten mit gleicher x- und y-Aufl"osung. Also bei +180x360dpi gehts schief. Kleiner Trost: Vielleicht mal ausprobieren, +das eine oder andere Zeichen ist wahrscheinlich zu gebrauchen. Ob +sich das mal "andern wird, ist sehr ungewi"s! + +PS: Da sieht man mal, was auf unserem Wuppertaler Stammtisch so alles + ausgeheckt wird! + +Wir, das sind in diesem Fall + + Andreas H"orstemeier Andreas Schrell + Oberlinweg 7 und Windh"ovel 2 + D-58675 Hemer D-42279 Wuppertal + + E-MAIL: Andreas.Schrell @ FernUni-Hagen.de + +Ach ja, das Paket steht unter den Namen + + umrand12.zip umrand12.readme_g umrand12.readme_e + +in Stuttgart: ftp.uni-stuttgart.de +in Aston: ftp.tex.ac.uk +in Texas: ftp.shsu.edu +im Verzeichnis: tex-archive/macros/generic/umrand + +Es sind PK-Fonts in 101 dpi (Bildschirm) + 300 dpi (Atari-Laser SLM) + 300 dpi (HP-Laser/DeskJet) enthalten. + +Wir hoffen, da"s andere Server es von dort uebernehmen. Das Paket ist +nat"urlich frei verteilbar, es d"urfen aber wie immer keine Dateien +ver"andert werden. Fehlermeldungen und Vorschl"age bitte an eine der +oben genannten Adressen. + + ooooooooooooooooooooooooooooooooooooooooooooooo + o o + o Wir freuen uns allerdings besonders "uber o + o POSTKARTEN der Heimatstadt von allen, die o + o unsere Umrandungen m"ogen und benutzen! o + o o + ooooooooooooooooooooooooooooooooooooooooooooooo + +Viel Spa"s w"unschen Andreas & Andreas! diff --git a/Master/texmf-dist/doc/fonts/umrand/umrand2.tex b/Master/texmf-dist/doc/fonts/umrand/umrand2.tex new file mode 100644 index 00000000000..39b0e10559b --- /dev/null +++ b/Master/texmf-dist/doc/fonts/umrand/umrand2.tex @@ -0,0 +1,316 @@ +\newpage\setcounter{page}{1} +\parindent=0pt \parskip=0pt +\font\G=umrandb at 20pt +\font\F=umranda at 20pt +\fussy +\Thema{Neue Umrandungen} +\Nr{10} +\def\C{\char'} + +Angeregt vom letzten Stammtisch habe ich einen weiteren Font mit Rahmen +erstellt. Da das {\tt .mf}--File f"ur eine Vorstellung zu lang ist, +gebe ich hier nur die m"oglichen Rahmen zum Besten. + +Zun"achst wird definiert: +\begin{verbatim} +\def\C{\char'} % Oktaldarstellung +\font\G = umrandb at 20pt +\end{verbatim} +Und nun kommen die Rahmen, zun"achst jene mit 6 Linien:\vskip 2mm + +\begin{bsp} +\RandBox {A} + font {\G} [0pt] + (\C5) ([\C1]) (\C4) + ([\C2]) ([\C0]) + (\C6) ([\C3]) (\C7) +\end{bsp} +\make + +\begin{bsp} +\RandBox {B} + font {\G} [0pt] + (\C11) ([\C1]) (\C10) + ([\C2]) ([\C0]) + (\C12) ([\C3]) (\C13) +\end{bsp} +\make + +\begin{bsp} +\RandBox {C} + font {\G} [0pt] + (\C15) ([\C1]) (\C14) + ([\C2]) ([\C0]) + (\C16) ([\C3]) (\C17) +\end{bsp} +\make + +\begin{bsp} +\RandBox {D} + font {\G} [0pt] + (\C21) ([\C1]) (\C20) + ([\C2]) ([\C0]) + (\C22) ([\C3]) (\C23) +\end{bsp} +\make + +\begin{bsp} +\RandBox {E} + font {\G} [0pt] + (\C25) ([\C1]) (\C24) + ([\C2]) ([\C0]) + (\C26) ([\C3]) (\C27) +\end{bsp} +\make + +\begin{bsp} +\RandBox {F} + font {\G} [0pt] + (\C31) ([\C1]) (\C30) + ([\C2]) ([\C0]) + (\C32) ([\C3]) (\C33) +\end{bsp} +\make + +\begin{bsp} +\RandBox {G} + font {\G} [0pt] + (\C35) ([\C1]) (\C34) + ([\C2]) ([\C0]) + (\C36) ([\C3]) (\C37) +\end{bsp} +\make + +\begin{bsp} +\RandBox {H} + font {\G} [0pt] + (\C41) ([\C1]) (\C40) + ([\C2]) ([\C0]) + (\C42) ([\C3]) (\C43) +\end{bsp} +\make + +\begin{bsp} +\RandBox {I} + font {\G} [0pt] + (\C45) ([\C1]) (\C44) + ([\C2]) ([\C0]) + (\C46) ([\C3]) (\C47) +\end{bsp} +\make + +\begin{bsp} +\RandBox {J} + font {\G} [0pt] + (\C51) ([\C1]) (\C50) + ([\C2]) ([\C0]) + (\C52) ([\C3]) (\C53) +\end{bsp} +\make + +\begin{bsp} +\RandBox {K} + font {\G} [0pt] + (\C55) ([\C1]) (\C54) + ([\C2]) ([\C0]) + (\C56) ([\C3]) (\C57) +\end{bsp} +\make + +\begin{bsp} +\RandBox {L} + font {\G} [0pt] + (\C61) ([\C1]) (\C60) + ([\C2]) ([\C0]) + (\C62) ([\C3]) (\C63) +\end{bsp} +\make + +\begin{bsp} +\RandBox {M} + font {\G} [0pt] + (\C65) ([\C1]) (\C64) + ([\C2]) ([\C0]) + (\C66) ([\C3]) (\C67) +\end{bsp} +\make + +\begin{bsp} +\RandBox {N} + font {\G} [0pt] + (\C71) ([\C1]) (\C70) + ([\C2]) ([\C0]) + (\C72) ([\C3]) (\C73) +\end{bsp} +\make + +\begin{bsp} +\RandBox {O} + font {\G} [0pt] + (\C75) ([\C1]) (\C74) + ([\C2]) ([\C0]) + (\C76) ([\C3]) (\C77) +\end{bsp} +\make + +\vskip2mm +Nat"urlich k"onnen die Ecken auch gemischt werden, es ergeben sich so $15^4=50625$ +m"ogliche Rahmen; inwieweit diese auch gut aussehen, bleibt jedem selbst +"uberlassen. Einen der $50610$ noch nicht abgedruckten Rahmen gibt's hier +noch als Draufgabe: +\begin{bsp} +\RandBox {P} + font {\G} [0pt] + (\C25) ([\C1]) (\C30) + ([\C2]) ([\C0]) + (\C32) ([\C3]) (\C27) +\end{bsp} +\make + +\newpage +Ein paar Rahmen mit vier Linien. +\begin{bsp} +\RandBox {a} + font {\G} [0pt] + (\C105) ([\C101]) (\C104) + ([\C102]) ([\C100]) + (\C106) ([\C103]) (\C107) +\end{bsp} +\make + +\begin{bsp} +\RandBox {b} + font {\G} [0pt] + (\C111) ([\C101]) (\C110) + ([\C102]) ([\C100]) + (\C112) ([\C103]) (\C113) +\end{bsp} +\make + +\begin{bsp} +\RandBox {c} + font {\G} [0pt] + (\C115) ([\C101]) (\C114) + ([\C102]) ([\C100]) + (\C116) ([\C103]) (\C117) +\end{bsp} +\make + +\begin{bsp} +\RandBox {d} + font {\G} [0pt] + (\C121) ([\C101]) (\C120) + ([\C102]) ([\C100]) + (\C122) ([\C103]) (\C123) +\end{bsp} +\make + +\begin{bsp} +\RandBox {e} + font {\G} [0pt] + (\C125) ([\C101]) (\C124) + ([\C102]) ([\C100]) + (\C126) ([\C103]) (\C127) +\end{bsp} +\make + +\begin{bsp} +\RandBox {f} + font {\G} [0pt] + (\C131) ([\C101]) (\C130) + ([\C102]) ([\C100]) + (\C132) ([\C103]) (\C133) +\end{bsp} +\make + +\begin{bsp} +\RandBox {g} + font {\G} [0pt] + (\C135) ([\C101]) (\C134) + ([\C102]) ([\C100]) + (\C136) ([\C103]) (\C137) +\end{bsp} +\make + +\begin{bsp} +\RandBox {h} + font {\G} [0pt] + (\C141) ([\C101]) (\C140) + ([\C102]) ([\C100]) + (\C142) ([\C103]) (\C143) +\end{bsp} +\make + +\begin{bsp} +\RandBox {i} + font {\G} [0pt] + (\C145) ([\C101]) (\C144) + ([\C102]) ([\C100]) + (\C146) ([\C103]) (\C147) +\end{bsp} +\make + +\vskip2mm +Auch hier gibt es wieder eine ganze Reihe von m"oglichen Kombinationen, +und zwar genau $6561$. + +\newpage + +Nun noch ein paar Rahmen mit 5 Linien:\\[1mm] +{ +\def\make{\input{b} + \vskip 2mm + \hrule + \verbatiminput{b} + \vskip 2mm\hrule\hrule\vskip 1mm} +\begin{bsp} +\RandBox {\hspace*{1cm}1\hspace*{1cm}} + font {\G} [0pt] + (\C161) ([\C151\\\C155]\C151) (\C160) + ([\C152\\\C156]\C152) ([\C150\\\C154]\C150) + (\C162) ([\C153\\\C157]\C153) (\C163) +\end{bsp} +\make + +\begin{bsp} +\RandBox {\hspace*{1cm}1\hspace*{1cm}} + font {\G} [0pt] + (\C165) ([\C151\\\C155]\C151) (\C164) + ([\C152\\\C156]\C152) ([\C150\\\C154]\C150) + (\C166) ([\C153\\\C157]\C153) (\C167) +\end{bsp} +\make + +\begin{bsp} +\RandBox {\hspace*{1cm}1\hspace*{1cm}} + font {\G} [0pt] + (\C171) ([\C151\\\C155]\C151) (\C170) + ([\C152\\\C156]\C152) ([\C150\\\C154]\C150) + (\C172) ([\C153\\\C157]\C153) (\C173) +\end{bsp} +\make + +} + +Nun gibt es noch einen Rahmen, der selbst den alten Pharaonen gefallen +w"urde. Um die 128-Zeichen-Grenze nicht zu "uberschreiten stehen die hierzu +geh"orenden Zeichen im Font {\tt umranda.mf}. +\begin{bsp} +\RandBox {4} + font {\F} [0pt] + (\C136) ([\C137]) (\C140) + ([\C145]) ([\C141]) + (\C144) ([\C143]) (\C142) +\end{bsp} +\make + + +\vskip2mm +Sollten die Rahmen beim Ausdrucken nicht exakt aneinanderpassen, so kann +dies daran liegen, da"s beim Druckertreiber eine gewisse Positionsabweichung +der Zeichen erlaubt ist (die sogenannte {\tt maxdrift}), da bei "ublichen +{\tt .dvi}--Files eine gewisse Abweichung nicht auff"allt. Bei diesen Fonts +darf jedoch keine Verschiebung auftreten, also mu"s der {\tt maxdrift}--Wert +auf 0 gesetzt werden. F"ur die em\TeX--Druckertreiber z.B.\ geht dies mit +der Option {\tt /fd0}. +\endinput diff --git a/Master/texmf-dist/doc/fonts/umrand/umrand3.tex b/Master/texmf-dist/doc/fonts/umrand/umrand3.tex new file mode 100644 index 00000000000..294e77580f6 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/umrand/umrand3.tex @@ -0,0 +1,100 @@ +\originalTeX +% stolen from testfont.tex +\tracinglostchars=0 +\tolerance=1000 +\raggedbottom +\parindent=0pt +\newlinechar=`@ +\hyphenpenalty=200 +\doublehyphendemerits=30000 +\newcount\m \newcount\n \newcount\p \newdimen\dim +\chardef\other=12 +\def\today{\ifcase\month\or + January\or February\or March\or April\or May\or June\or + July\or August\or September\or October\or November\or December\fi + \space\number\day, \number\year} +\def\hours{\n=\time \divide\n 60 + \m=-\n \multiply\m 60 \advance\m \time + \twodigits\n\twodigits\m} +\def\twodigits#1{\ifnum #1<10 0\fi \number#1} +\def\setbaselineskip{\setbox0=\hbox{\n=0 +\loop\char\n \ifnum \n<255 \advance\n 1 \repeat} +\baselineskip=6pt \advance\baselineskip\ht0 \advance\baselineskip\dp0 } +\def\setchar#1{{\escapechar-1\message{\string#1 character = }% + \def\do##1{\catcode`##1=\other}\dospecials + \read-1 to\next + \expandafter\finsetchar\next\next#1}} +\def\finsetchar#1#2\next#3{\global\chardef#3=`#1 + \ifnum #3=`\# \global\chardef#3=#2 \fi} +\def\promptthree{\setchar\background + \setchar\starting \setchar\ending} +\def\init#1{%\message{@Name of the font to test = } + % \read-1 to\fontname + \def\fontname{#1} + \font\testfont=\fontname + \leftline{\sevenrm Test of \fontname\unskip\ on \today\ at \hours} + \medskip + \testfont \setbaselineskip + \ifdim\fontdimen6\testfont<10pt \rightskip=0pt plus 20pt + \else\rightskip=0pt plus 2em \fi + \spaceskip=\fontdimen2\testfont % space between words (\raggedright) + \xspaceskip=\fontdimen2\testfont \advance\xspaceskip by\fontdimen7\testfont + %\message{Now type a test command (\string\help\space for help):} + } +\def\oct#1{\hbox{\rm\'{}\kern-.2em\it#1\/\kern.05em}} % octal constant +\def\hex#1{\hbox{\rm\H{}\tt#1}} % hexadecimal constant +\def\setdigs#1"#2{\gdef\h{#2}% \h=hex prefix; \0\1=corresponding octal + \m=\n \divide\m by 64 \xdef\0{\the\m}% + \multiply\m by-64 \advance\m by\n \divide\m by 8 \xdef\1{\the\m}} +\def\testrow{\setbox0=\hbox{\penalty 1\def\\{\char"\h}% + \\0\\1\\2\\3\\4\\5\\6\\7\\8\\9\\A\\B\\C\\D\\E\\F% + \global\p=\lastpenalty}} % \p=1 if none of the characters exist +\def\oddline{\cr + \noalign{\nointerlineskip} + \multispan{19}\hrulefill& + \setbox0=\hbox{\lower 2.3pt\hbox{\hex{\h x}}}\smash{\box0}\cr + \noalign{\nointerlineskip}} +\newif\ifskipping +\def\evenline{\loop\skippingfalse + \ifnum\n<256 \m=\n \divide\m 16 \chardef\next=\m + \expandafter\setdigs\meaning\next \testrow + \ifnum\p=1 \skippingtrue \fi\fi + \ifskipping \global\advance\n 16 \repeat + \ifnum\n=256 \let\next=\endchart\else\let\next=\morechart\fi + \next} +\def\morechart{\cr\noalign{\hrule\penalty5000} + \chartline \oddline \m=\1 \advance\m 1 \xdef\1{\the\m} + \chartline \evenline} +\def\chartline{&\oct{\0\1x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&} +\def\chartstrut{\lower4.5pt\vbox to14pt{}} +\def\table{$$\global\n=0 + \halign to\hsize\bgroup + \chartstrut##\tabskip0pt plus10pt& + &\hfil##\hfil&\vrule##\cr + \lower6.5pt\null + &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline} +\def\endchart{\cr\noalign{\hrule} + \raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B& + &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup$$\par} +\def\:{\setbox0=\hbox{\char\n}% + \ifdim\ht0>7.5pt\reposition + \else\ifdim\dp0>2.5pt\reposition\fi\fi + \box0\global\advance\n 1 } +\def\reposition{\setbox0=\vbox{\kern2pt\box0}\dim=\dp0 + \advance\dim 2pt \dp0=\dim} +\def\centerlargechars{ + \def\reposition{\setbox0=\hbox{$\vcenter{\kern2pt\box0\kern2pt}$}}} +% +\newpage +\ifx\selectfont\undefined + \font\sevenrm=cmr7 + \else + \def\sevenrm{\fontfamily{cmr}\fontshape{n}\fontseries{m}\fontsize{7}{7pt}\selectfont} +\fi +\pagestyle{empty} +\init{umranda at 20pt} +\table +\newpage +\init{umrandb at 20pt} +\table +\endinput diff --git a/Master/texmf-dist/doc/fonts/umrand/umrand_up1.readme b/Master/texmf-dist/doc/fonts/umrand/umrand_up1.readme new file mode 100644 index 00000000000..09800475fcb --- /dev/null +++ b/Master/texmf-dist/doc/fonts/umrand/umrand_up1.readme @@ -0,0 +1,13 @@ +1. Update zu Umrand 1.2 +======================= + +Es wurde der Befehl \c durch \C in allen Anleitungen ersetzt, da \c in +Plain und LaTeX als Cedille definiert ist. Der Befehl \C ist nun auch +in UMRAND.STY enthalten. + +Die Anleitung lief nicht ohne NFSS, da der PLAIN-Befehl \sevenrm in +\LaTeX nicht enthalten ist. Da \testfont in die Anleitung integriert +wurde, war hier eine kleine Anpassung notwendig. +(Bug-Report von K. Blum, Oldenburg) + +MfG Andreas Schrell. diff --git a/Master/texmf-dist/doc/fonts/universa/copyright.tex b/Master/texmf-dist/doc/fonts/universa/copyright.tex new file mode 100644 index 00000000000..79328ce157e --- /dev/null +++ b/Master/texmf-dist/doc/fonts/universa/copyright.tex @@ -0,0 +1,379 @@ +%% +%% This is file `copyright', +%% generated with the docstrip utility. +%% +%% The original source files were: +%% +%% uni.dtx (with options: `copyright') +%% +%% Copyright (C) 1998 Christian Holm. +%% +%% This file is NOT the source for universal, because almost all +%% comments have been stripped from it. It is NOT the preferred +%% form of universal for making modifications to it. +%% +%% Therefore you can NOT redistribute and/or modify THIS file. +%% You can however redistribute the complete source (uni.dtx +%% and uni.ins) and/or modify it under the terms of the GNU +%% General Public License as published by the Free Software +%% Foundation; either version 2, or (at your option) any later +%% version. +%% +%% The universal font and package is distributed in the hope that +%% it will be useful, but WITHOUT ANY WARRANTY; without even the +%% implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR +%% PURPOSE. See the GNU General Public License for more details. +%% +%% You should have received a copy of the GNU General Public +%% License along with this package; if not, write to the +%% Free Software Foundation, Inc., +%% 675 Mass Ave, Cambridge, +%% MA 02139, USA. +%% +%% See the file uni.dtx for further comments and documentation. +%% + GNU GENERAL PUBLIC LICENSE + Version 2, June 1991 + + Copyright (C) 1989, 1991 Free Software Foundation, Inc. + 675 Mass Ave, Cambridge, MA 02139, USA + Everyone is permitted to copy and distribute verbatim copies + of this license document, but changing it is not allowed. + + Preamble + + The licenses for most software are designed to take away your +freedom to share and change it. By contrast, the GNU General Public +License is intended to guarantee your freedom to share and change free +software--to make sure the software is free for all its users. This +General Public License applies to most of the Free Software +Foundation's software and to any other program whose authors commit to +using it. (Some other Free Software Foundation software is covered by +the GNU Library General Public License instead.) You can apply it to +your programs, too. + + When we speak of free software, we are referring to freedom, not +price. Our General Public Licenses are designed to make sure that you +have the freedom to distribute copies of free software (and charge for +this service if you wish), that you receive source code or can get it +if you want it, that you can change the software or use pieces of it +in new free programs; and that you know you can do these things. + + To protect your rights, we need to make restrictions that forbid +anyone to deny you these rights or to ask you to surrender the rights. +These restrictions translate to certain responsibilities for you if you +distribute copies of the software, or if you modify it. + + For example, if you distribute copies of such a program, whether +gratis or for a fee, you must give the recipients all the rights that +you have. You must make sure that they, too, receive or can get the +source code. And you must show them these terms so they know their +rights. + + We protect your rights with two steps: (1) copyright the software, and +(2) offer you this license which gives you legal permission to copy, +distribute and/or modify the software. + + Also, for each author's protection and ours, we want to make certain +that everyone understands that there is no warranty for this free +software. If the software is modified by someone else and passed on, we +want its recipients to know that what they have is not the original, so +that any problems introduced by others will not reflect on the original +authors' reputations. + + Finally, any free program is threatened constantly by software +patents. We wish to avoid the danger that redistributors of a free +program will individually obtain patent licenses, in effect making the +program proprietary. To prevent this, we have made it clear that any +patent must be licensed for everyone's free use or not licensed at all. + + The precise terms and conditions for copying, distribution and +modification follow. + + GNU GENERAL PUBLIC LICENSE + TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION + + 0. This License applies to any program or other work which contains +a notice placed by the copyright holder saying it may be distributed +under the terms of this General Public License. The "Program", below, +refers to any such program or work, and a "work based on the Program" +means either the Program or any derivative work under copyright law: +that is to say, a work containing the Program or a portion of it, +either verbatim or with modifications and/or translated into another +language. (Hereinafter, translation is included without limitation in +the term "modification".) Each licensee is addressed as "you". + +Activities other than copying, distribution and modification are not +covered by this License; they are outside its scope. The act of +running the Program is not restricted, and the output from the Program +is covered only if its contents constitute a work based on the +Program (independent of having been made by running the Program). +Whether that is true depends on what the Program does. + + 1. You may copy and distribute verbatim copies of the Program's +source code as you receive it, in any medium, provided that you +conspicuously and appropriately publish on each copy an appropriate +copyright notice and disclaimer of warranty; keep intact all the +notices that refer to this License and to the absence of any warranty; +and give any other recipients of the Program a copy of this License +along with the Program. + +You may charge a fee for the physical act of transferring a copy, and +you may at your option offer warranty protection in exchange for a fee. + + 2. You may modify your copy or copies of the Program or any portion +of it, thus forming a work based on the Program, and copy and +distribute such modifications or work under the terms of Section 1 +above, provided that you also meet all of these conditions: + + a) You must cause the modified files to carry prominent notices + stating that you changed the files and the date of any change. + + b) You must cause any work that you distribute or publish, that in + whole or in part contains or is derived from the Program or any + part thereof, to be licensed as a whole at no charge to all third + parties under the terms of this License. + + c) If the modified program normally reads commands interactively + when run, you must cause it, when started running for such + interactive use in the most ordinary way, to print or display an + announcement including an appropriate copyright notice and a + notice that there is no warranty (or else, saying that you provide + a warranty) and that users may redistribute the program under + these conditions, and telling the user how to view a copy of this + License. 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You may copy and distribute the Program (or a work based on it, +under Section 2) in object code or executable form under the terms of +Sections 1 and 2 above provided that you also do one of the following: + + a) Accompany it with the complete corresponding machine-readable + source code, which must be distributed under the terms of Sections + 1 and 2 above on a medium customarily used for software interchange; or, + + b) Accompany it with a written offer, valid for at least three + years, to give any third party, for a charge no more than your + cost of physically performing source distribution, a complete + machine-readable copy of the corresponding source code, to be + distributed under the terms of Sections 1 and 2 above on a medium + customarily used for software interchange; or, + + c) Accompany it with the information you received as to the offer + to distribute corresponding source code. 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Any attempt +otherwise to copy, modify, sublicense or distribute the Program is +void, and will automatically terminate your rights under this License. +However, parties who have received copies, or rights, from you under +this License will not have their licenses terminated so long as such +parties remain in full compliance. + + 5. You are not required to accept this License, since you have not +signed it. However, nothing else grants you permission to modify or +distribute the Program or its derivative works. These actions are +prohibited by law if you do not accept this License. Therefore, by +modifying or distributing the Program (or any work based on the +Program), you indicate your acceptance of this License to do so, and +all its terms and conditions for copying, distributing or modifying +the Program or works based on it. + + 6. Each time you redistribute the Program (or any work based on the +Program), the recipient automatically receives a license from the +original licensor to copy, distribute or modify the Program subject to +these terms and conditions. You may not impose any further +restrictions on the recipients' exercise of the rights granted herein. +You are not responsible for enforcing compliance by third parties to +this License. + + 7. If, as a consequence of a court judgment or allegation of patent +infringement or for any other reason (not limited to patent issues), +conditions are imposed on you (whether by court order, agreement or +otherwise) that contradict the conditions of this License, they do not +excuse you from the conditions of this License. If you cannot +distribute so as to satisfy simultaneously your obligations under this +License and any other pertinent obligations, then as a consequence you +may not distribute the Program at all. For example, if a patent +license would not permit royalty-free redistribution of the Program by +all those who receive copies directly or indirectly through you, then +the only way you could satisfy both it and this License would be to +refrain entirely from distribution of the Program. + +If any portion of this section is held invalid or unenforceable under +any particular circumstance, the balance of the section is intended to +apply and the section as a whole is intended to apply in other +circumstances. + +It is not the purpose of this section to induce you to infringe any +patents or other property right claims or to contest validity of any +such claims; this section has the sole purpose of protecting the +integrity of the free software distribution system, which is +implemented by public license practices. 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The Free Software Foundation may publish revised and/or new versions +of the General Public License from time to time. Such new versions will +be similar in spirit to the present version, but may differ in detail to +address new problems or concerns. + +Each version is given a distinguishing version number. If the Program +specifies a version number of this License which applies to it and "any +later version", you have the option of following the terms and conditions +either of that version or of any later version published by the Free +Software Foundation. If the Program does not specify a version number of +this License, you may choose any version ever published by the Free Software +Foundation. + + 10. If you wish to incorporate parts of the Program into other free +programs whose distribution conditions are different, write to the author +to ask for permission. For software which is copyrighted by the Free +Software Foundation, write to the Free Software Foundation; we sometimes +make exceptions for this. Our decision will be guided by the two goals +of preserving the free status of all derivatives of our free software and +of promoting the sharing and reuse of software generally. + + NO WARRANTY + + 11. BECAUSE THE PROGRAM IS LICENSED FREE OF CHARGE, THERE IS NO WARRANTY +FOR THE PROGRAM, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN +OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES +PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED +OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF +MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS +TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE +PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, +REPAIR OR CORRECTION. + + 12. IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING +WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MAY MODIFY AND/OR +REDISTRIBUTE THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, +INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING +OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED +TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY +YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER +PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE +POSSIBILITY OF SUCH DAMAGES. + + END OF TERMS AND CONDITIONS + + How to Apply These Terms to Your New Programs + + If you develop a new program, and you want it to be of the greatest +possible use to the public, the best way to achieve this is to make it +free software which everyone can redistribute and change under these terms. + + To do so, attach the following notices to the program. It is safest +to attach them to the start of each source file to most effectively +convey the exclusion of warranty; and each file should have at least +the "copyright" line and a pointer to where the full notice is found. + + + Copyright (C) 19yy + + This program is free software; you can redistribute it and/or modify + it under the terms of the GNU General Public License as published by + the Free Software Foundation; either version 2 of the License, or + (at your option) any later version. + + This program is distributed in the hope that it will be useful, + but WITHOUT ANY WARRANTY; without even the implied warranty of + MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the + GNU General Public License for more details. + + You should have received a copy of the GNU General Public License + along with this program; if not, write to the Free Software + Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA. + +Also add information on how to contact you by electronic and paper mail. + +If the program is interactive, make it output a short notice like this +when it starts in an interactive mode: + + Gnomovision version 69, Copyright (C) 19yy name of author + Gnomovision comes with ABSOLUTELY NO WARRANTY; for details type `show w'. + This is free software, and you are welcome to redistribute it + under certain conditions; type `show c' for details. + +The hypothetical commands `show w' and `show c' should show the appropriate +parts of the General Public License. Of course, the commands you use may +be called something other than `show w' and `show c'; they could even be +mouse-clicks or menu items--whatever suits your program. + +You should also get your employer (if you work as a programmer) or your +school, if any, to sign a "copyright disclaimer" for the program, if +necessary. Here is a sample; alter the names: + + Yoyodyne, Inc., hereby disclaims all copyright interest in the program + `Gnomovision' (which makes passes at compilers) written by James Hacker. + + , 1 April 1989 + Ty Coon, President of Vice + +This General Public License does not permit incorporating your program into +proprietary programs. If your program is a subroutine library, you may +consider it more useful to permit linking proprietary applications with the +library. If this is what you want to do, use the GNU Library General +Public License instead of this License. + + + +\endinput +%% +%% End of file `copyright'. diff --git a/Master/texmf-dist/doc/fonts/wasy/README b/Master/texmf-dist/doc/fonts/wasy/README new file mode 100644 index 00000000000..8c44610fcf6 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wasy/README @@ -0,0 +1,36 @@ + +Hi there, + +This directory contains a Type 1 version of (some of) the +Metafont sources from the directory above. The pfb files +are intended to be used with the original TFM files, +_don't_ run finst or afmtotfm on the afm files! + +The afm and pfm files are provided just in case you want to +install the files on your windowing system. I'm sorry for +the Macintosh users amongst you, but I don't know how to +create the MacType1 files. + +The fonts should give exactly the same output results as +the .mf originals, up to the point of sillyness. All bugs +in the metafont sources have been kept (and there might be +new ones). + +Files are herewith donated to the public domain, and +provided as is. Note that I feel that the copyright +from the metafont sources still applies, my only statement +here is that I do not impose extra restrictions. + +Conversion process: + .mf -> metapost (c) Hobby -> .eps + .eps -> metafog (c) Kinch -> .pfb + .pfb -> hinted & touched up with FontLab v3.0c + +More fonts should follow in the next few months. I can be reached for +propositions/bugs at: taco.hoekwater@wkap.nl + +Greetings, + +Taco Hoekwater + + \ No newline at end of file diff --git a/Master/texmf-dist/doc/fonts/wasy/legal.txt b/Master/texmf-dist/doc/fonts/wasy/legal.txt new file mode 100644 index 00000000000..7a9df31dadd --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wasy/legal.txt @@ -0,0 +1,9 @@ +The files of this package "wasy2" are hereby released into the public +domain. So, permission is granted to use and/or distribute these files. +The scope of this license are the following files: + rsym.mf wasy10.mf wasy5.mf wasy6.mf wasy7.mf wasy8.mf wasy9.mf + wasyb10.mf wasychr.mf wasydoc.tex wasyfont.2 wasyfont.tex + +As for lasychr.mf, the license is given in the header of the file. + +June 2002, Roland Waldi diff --git a/Master/texmf-dist/doc/fonts/wasy/wasydoc.pdf b/Master/texmf-dist/doc/fonts/wasy/wasydoc.pdf new file mode 100644 index 00000000000..726d45eff71 Binary files /dev/null and b/Master/texmf-dist/doc/fonts/wasy/wasydoc.pdf differ diff --git a/Master/texmf-dist/doc/fonts/wasy/wasydoc.tex b/Master/texmf-dist/doc/fonts/wasy/wasydoc.tex new file mode 100644 index 00000000000..f0adc1e21d7 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wasy/wasydoc.tex @@ -0,0 +1,630 @@ +\magnification\magstep1 +\parskip 1.1ex plus 0.4ex +\parindent 0pt +\pretolerance 1000 +\tolerance 2000 +\hbadness 2000 +\advance\hsize -5truemm +% +\font\tenssf = cmss10 % sans-serif font +\def\ssf{\tenssf} +\def\\{\char"5C{}} % define backslash +\def\newline{\hfill\break} +\def\de{\,{\rm d}} +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sevenrm A}\kern-.15em\TeX}} +% +\input wasyfont +% +%%% START %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\centerline{\bf The Symbol Font \tt wasy} +\vskip 1\parskip +\centerline{\it Roland Waldi} +\vskip 1mm +\centerline{Institut f\"ur Experimentelle Kernphysik} +\centerline{Universit\"at Karlsruhe} +\centerline{Physikhochhaus, P.O.Box 6980} +\centerline{D-7500 Karlsruhe, Fed.~Rep.~Germany} +\vskip 1mm +\centerline{Version 2.0 -- September 1992} + +\vskip 1.5\parskip + +The font {\tt wasy} contains all {\tt lasy} characters, and +a lot more symbols. +New characters +were modified from the {\tt mf} files of the standard \TeX\ fonts, +and many were designed from scratch. +Metafont sources for 5--10pt and a bold 10pt font are available. + +An extension to PLAIN-\TeX\ for using the fonts is included +in the file {\tt wasyfont.tex}. +This can probably be used in \LaTeX\ documents, +but a new \LaTeX\ format with the bindings already included and with +{\tt wasy} replacing the {\tt lasy} font would be the superiour +solution. +This version includes all {\tt lasy} characters at the proper codes +(causing some incompatibilities with version 1 of {\tt wasy}) +to make such a procedure easy. +The file {\tt wasyfont.2} contains substitutes for some macros +of {\tt wasyfont.tex} to be used +at installations, that do not +support the {\tt wasy} fonts. + +A list of characters with their bindings in +{\tt wasyfont.tex} follows. +Some macros are actually compositions of several characters useful in +the given context. +Macros using symbols +which are already available from standard \TeX\ fonts +are also included; these are marked +with $^*$. + +general symbols +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +male&\male &female&\female \cr +currency&\currency ¢ &\cent \cr +lozenge&\lozenge &kreuz&\kreuz \cr +smiley&\smiley &blacksmiley&\blacksmiley \cr +frownie&\frownie &sun&\sun \cr +checked&\checked &brokenvert&\brokenvert \cr +diameter&\diameter &invdiameter&\invdiameter \cr +phone&\phone &recorder &\recorder \cr +clock&\clock &permil &\permil \cr +bell&\bell &ataribox &\ataribox \cr +pointer&\pointer &lightning &\lightning \cr +agemO &\agemO \cr} +$$ + +diagrams +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +photon &\photon &gluon &\gluon \cr} +$$ + +music notes +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +eighthnote&\eighthnote &quarternote&\quarternote \cr +halfnote&\halfnote &fullnote&\fullnote \cr +twonotes&\twonotes \cr} +$$ + +electrical engineering +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +AC &\AC &HF &\HF \cr +VHF &\VHF \cr} +$$ + +APL +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +APLup &\APLup &APLdown &\APLdown \cr +APLbox &\APLbox &APLinv &\APLinv \cr +APLleftarrowbox &\APLleftarrowbox&APLrightarrowbox &\APLrightarrowbox\cr +APLuparrowbox &\APLuparrowbox&APLdownarrowbox &\APLdownarrowbox\cr +APLinput&\APLinput &APLminus$^*$&\APLminus \cr +APLlog &\APLlog &APLstar &\APLstar \cr +APLvert$^*$&\APLvert{\ } & + APLvert\char`\{\\APLdown\char`\} &\APLvert{\APLdown} \cr +APLnot$^*$&\APLnot{\ } & + APLnot\char`\{\\APLdown\char`\} &\APLnot{\APLdown} \cr +APLnot\char`\{\\land\char`\} &\APLnot{\land} & + APLnot\char`\{\\lor\char`\} &\APLnot{\lor} \cr +APLcirc$^*$&\APLcirc{\ } & + APLcirc\char`\{\\bot\char`\} &\APLcirc{\bot} \cr +notbackslash$^*$ &\notbackslash & + notslash$^*$ &\notslash \cr +APLcomment &\APLcomment \cr} +$$ + +astronomy +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +ascnode &\ascnode &descnode &\descnode \cr +vernal &\vernal &astrosun$^*$&\astrosun \cr +newmoon &\newmoon &fullmoon &\fullmoon \cr +leftmoon &\leftmoon &rightmoon &\rightmoon \cr +mercury &\mercury &venus &\venus \cr +mars &\mars &jupiter &\jupiter \cr +saturn &\saturn &uranus &\uranus \cr +neptune &\neptune &pluto &\pluto \cr +earth &\earth \cr} +$$ + +astrological symbols and zodiacal symbols +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +conjunction &\conjunction &opposition &\opposition\cr +aries &\aries &libra &\libra \cr +taurus &\taurus &scorpio &\scorpio \cr +gemini &\gemini &sagittarius &\sagittarius\cr +cancer &\cancer &capricornus &\capricornus\cr +leo &\leo &aquarius &\aquarius \cr +virgo &\virgo &pisces &\pisces \cr +} +$$ + + +geometrical shapes +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +hexstar &\hexstar &varhexstar&\varhexstar \cr +davidsstar &\davidsstar&APLstar&\APLstar \cr +Circle &\Circle &CIRCLE &\CIRCLE \cr +Leftcircle &\Leftcircle &LEFTCIRCLE &\LEFTCIRCLE \cr +Rightcircle&\Rightcircle &RIGHTCIRCLE &\RIGHTCIRCLE \cr +LEFTcircle &\LEFTcircle &RIGHTcircle &\RIGHTcircle \cr +LEFTarrow &\LEFTarrow &RIGHTarrow &\RIGHTarrow \cr +UParrow &\UParrow &DOWNarrow &\DOWNarrow \cr +Box &\Box &APLbox &\APLbox \cr +XBox &\XBox&Bowtie &\Bowtie \cr +Diamond &\Diamond &octagon &\octagon \cr +hexagon &\hexagon &varhexagon &\varhexagon \cr +pentagon &\pentagon \cr} +$$ + +general math \& physics +$$ +\halign{&\tt# \hfil&#\qquad\hfil\cr +\\varangle&\varangle &\$\\invneg\$ &$\invneg$\cr +\\leftturn &\leftturn &\\rightturn &\rightturn \cr +\\diameter &\diameter &\\therefore&\therefore \cr} +$$ + +math operators +$$ +\halign{&\tt\$a\\# b \hfil&$a#b$\qquad\hfil\cr +ocircle&\ocircle &logof&\logof \cr +oplus$^*$&\oplus &otimes$^*$&\otimes \cr +le$^*$ &\le &ge$^*$&\ge \cr +apprle &\apprle &apprge&\apprge \cr +lhd &\lhd &rhd &\rhd \cr +unlhd &\unlhd &unrhd&\unrhd \cr +LHD &\LHD &RHD &\RHD \cr +sqsubset&\sqsubset &sqsupset&\sqsupset \cr +sqsubseteq$^*$&\sqsubseteq &sqsupseteq$^*$&\sqsupseteq \cr +propto$^*$&\propto &varpropto &\varpropto \cr +leadsto &\leadsto \cr} +$$ + +integrals (text style) +$$ +\halign{&\tt\$\\#\_a\char`\^b f(x)dx \hfil&$#_a^b f(x)dx$\qquad\hfil\cr +varint&\varint &iint&\iint \cr +iiint&\iiint &varoint&\varoint \cr +oiint&\oiint \cr} +$$ + +integrals (display style) +$$ +\varint \iint \iiint \varoint \oiint +$$ + +With the control sequence +{\tt\\newpropto} you can change the proportional sign to the +thin {\tt wasy} symbol ($\varpropto$), +which is more distinct from alpha ($\alpha$) +then the default symbol ($\propto$). + +With the control sequence +{\tt\\newint} you can change the \TeX\ integrals from $\int,\oint$ +to the vertical ones $\varint,\varoint$, in display: +$$\int_a^b \to \varint_a^b,\qquad + \oint_C \to \varoint_C +$$ + +There are also a few letters +in roman style added (although these and some symbols as +\agemO, \permil\ should +be in a separate font, to be created in different +styles like italic, sans serif etc. -- the {\tt wasychr.mf} source +is prepared for that. +$$ +\halign{&\tt\\# \hfil&#\qquad\hfil\cr +thorn &\thorn &Thorn &\Thorn \cr +dh &\dh &Dh$^*$ &\Dh \cr +inve &\inve &openo &\openo \cr +} +$$ + + +\bigskip + +\centerline{\bf Examples} + +``We provide the \eighthnote\twonotes, you provide the \smiley'' + +The planets ($\astrosun\to{}$outer space): +\mercury\ \venus\ \earth\ \mars\ asteroids +\jupiter\ \saturn\ \uranus\ \neptune\ \pluto. + +special characters on IBM PC's: \smiley, \blacksmiley, $\heartsuit$, +$\diamondsuit$, $\clubsuit$, $\spadesuit$, $\bullet$, +$\ocircle$, \male, \female, \eighthnote, \twonotes, \sun, \RIGHTarrow, +\LEFTarrow, $\updownarrow$, !!, \P, \S, +$\underline{\underline{\rm\hbox to 0.85em{\hss}}}$, +$\underline{\updownarrow}$, +$\uparrow$, $\downarrow$, $\to$, $\leftarrow$, \UParrow, \DOWNarrow, +\brokenvert, $\invneg$, $\neg$, \dots + +special characters on Atari ST's: \pointer, \ataribox, +\checked, \clock, \bell, +\eighthnote, \inve, +$\invneg$, $\neg$, $\varoint$, \dots + +tube dimensions: $\diameter 5\,{\rm mm}$, $d = 0.5\,{\rm mm}$, + $l = 50\,{\rm mm}$ + +display math: +$$ +\mathop{\varangle}(\vec a,\vec b) = 30^{\circ} +$$ +$$ +\prod_{x \apprle 5} a_x \logof b_x \simeq \varint_{x \apprge 5} + a \ocircle b\de x +\eqno{(\hbox{nonsense.1})} +$$ +$$ +\hbox{Gauss' law:\qquad} \iiint_V \nabla {\bf F}({\bf x}) \de^3x += \oiint_{S(V)} {\bf F}({\bf x}) \de{\bf a} +$$ +$$ +\hbox{Stokes' law:\qquad} \iint_A +\lbrack\nabla \times {\bf F}({\bf x})\rbrack \de{\bf a} += \varoint_{C(A)} {\bf F}({\bf x}) \de{\bf l} +$$ + + +APL Program:\newline +$U \leftarrow \APLminus 1+ G \leftarrow 2 \times \iota N +\leftarrow \APLbox$ \qquad \APLcomment\quad generate vectors of odd and +even numbers + +APL keyboard layout: + +\def\1{\underbar} +\halign{&#\ \cr +&1& &2& &3& &4& &5& &6& &7& &8& &9& &0& &+& &$\times$& &$\diamond$\cr +&&Q& &W& &E& &R& &T& &Y& &U& &I& &O& &P& &$\leftarrow$& &$\to$\cr +&&A& &S& &D& &F& &G& &H& &J& &K& &L& &$\lbrack$& &$\rbrack$& &\#\cr +&$\vdash$& &Z& &X& &C& &V& &B& &N& &M& &,& &.& &/\cr +\cr +&\"\ & &\APLminus& &$<$& &$\le$& &=& &$\ge$& &$>$& &$\ne$& &$\lor$& + &$\land$& &$-$& &$\div$& &\$\cr +&&?& &$\omega$& &$\epsilon$& &$\rho$& &$\sim$& &$\uparrow$& + &$\downarrow$& &$\iota$& &$\ocircle$& &$\star$& &$\{$& &$\}$\cr +&&$\alpha$& &$\lceil$& &$\lfloor$& &\tt\_& &\APLdown& + &\APLup& &$\circ$& &{\tt\char"0D}& &\APLbox& &(& &)& &$\sim$\cr +&$\dashv$& &$\subset$& &$\supset$& &$\cap$& &$\cup$& &$\bot$& &$\top$& + &$\vert$& &;& &:& &$\backslash$\cr +\cr +&\tt I& &\APLnot{\APLdown}& &\APLvert{\APLdown}& &\APLvert{\APLup}& + &\APLvert{\ocircle}& &\invdiameter& &$\ominus$& &\APLlog& + &\APLnot{\lor}& &\APLnot{\land}& &!& &\APLinv& &\APLinput\cr +&&\1Q& &\1W& &\1E& &\1R& &\1T& &\1Y& &\1U& &\1I& &\1O& &\1P& + &\APLleftarrowbox& &\APLrightarrowbox\cr +&&\1A& &\1S& &\1D& &\1F& &\1G& &\1H& &\1J& &\1K& &\1L& + &\APLcirc{\bot}& &\APLcirc{\top}& &\=,& \cr +&\1{\APLup}& &\1Z& &\1X& &\1C& &\1V& &\1B& &\1N& &\1M& &\APLcomment& + &\notbackslash& &\notslash\cr +\cr +& & & & & & & & + & & & & & & &$\otimes$& \cr +&& & & & & & & & & & &\APLuparrowbox& &\APLdownarrowbox& \cr% +} +\medskip + +simple phonetic notation: +corner [{\tt'}k\openo:n\inve], this [\dh is], +thrash [{\teni\char"12}r\ae{\tensy\char"73\kern 0.3pt}] + +check the appropriate box like this \XBox\ or that +\Box\kern-.6em\checked: + +\noindent\Box\quad I need the {\tt wasy} fonts\newline +\Box\quad I don't need the {\tt wasy} fonts + + + + + +\bigskip + +\centerline{\bf Font Table} + +{\tt wasy}: +{\wasy$$ +\halign {&#\quad\hfil\cr + {\tt 00 =} \char"00% +&{\tt 01 =} \char"01% +&{\tt 02 =} \char"02% +&{\tt 03 =} \char"03% +&{\tt 04 =} \char"04% +&{\tt 05 =} \char"05% +&{\tt 06 =} \char"06% +&{\tt 07 =} \char"07\cr + {\tt 08 =} \char"08% +&{\tt 09 =} \char"09% +&{\tt 0A =} \char"0A% +&{\tt 0B =} \char"0B% +&{\tt 0C =} \char"0C% +&{\tt 0D =} \char"0D% +&{\tt 0E =} \char"0E% +&{\tt 0F =} \char"0F\cr + {\tt 10 =} \char"10% +&{\tt 11 =} \char"11% +&{\tt 12 =} \char"12% +&{\tt 13 =} \char"13% +&{\tt 14 =} \char"14% +&{\tt 15 =} \char"15% +&{\tt 16 =} \char"16% +&{\tt 17 =} \char"17\cr + {\tt 18 =} \char"18% +&{\tt 19 =} \char"19% +&{\tt 1A =} \char"1A% +&{\tt 1B =} \char"1B% +&{\tt 1C =} \char"1C% +&{\tt 1D =} \char"1D% +&{\tt 1E =} \char"1E% +&{\tt 1F =} \char"1F\cr + {\tt 20 =} \char"20% +&{\tt 21 =} \char"21% +&{\tt 22 =} \char"22% +&{\tt 23 =} \char"23% +&{\tt 24 =} \char"24% +&{\tt 25 =} \char"25% +&{\tt 26 =} \char"26% +&{\tt 27 =} \char"27\cr + {\tt 28 =} \char"28% +&{\tt 29 =} \char"29% +&{\tt 2A =} \char"2A% +&{\tt 2B =} \char"2B% +&{\tt 2C =} \char"2C% +&{\tt 2D =} \char"2D% +&{\tt 2E =} \char"2E% +&{\tt 2F =} \char"2F\cr + {\tt 30 =} \char"30% +&{\tt 31 =} \char"31% +&{\tt 32 =} \char"32% +&{\tt 33 =} \char"33% +&{\tt 34 =} \char"34% +&{\tt 35 =} \char"35% +&{\tt 36 =} \char"36% +&{\tt 37 =} \char"37\cr + {\tt 38 =} \char"38% +&{\tt 39 =} \char"39% +&{\tt 3A =} \char"3A% +&{\tt 3B =} \char"3B% +&{\tt 3C =} \char"3C% +&{\tt 3D =} \char"3D% +&{\tt 3E =} \char"3E% +&{\tt 3F =} \char"3F\cr + {\tt 40 =} \char"40% +&{\tt 41 =} \char"41% +&{\tt 42 =} \char"42% +&{\tt 43 =} \char"43% +&{\tt 44 =} \char"44% +&{\tt 45 =} \char"45% +&{\tt 46 =} \char"46% +&{\tt 47 =} \char"47\cr + {\tt 48 =} \char"48% +&{\tt 49 =} \char"49% +&{\tt 4A =} \char"4A% +&{\tt 4B =} \char"4B% +&{\tt 4C =} \char"4C% +&{\tt 4D =} \char"4D% +&{\tt 4E =} \char"4E% +&{\tt 4F =} \char"4F\cr + {\tt 50 =} \char"50% +&{\tt 51 =} \char"51% +&{\tt 52 =} \char"52% +&{\tt 53 =} \char"53% +&{\tt 54 =} \char"54% +&{\tt 55 =} \char"55% +&{\tt 56 =} \char"56% +&{\tt 57 =} \char"57\cr + {\tt 58 =} \char"58% +&{\tt 59 =} \char"59% +&{\tt 5A =} \char"5A% +&{\tt 5B =} \char"5B% +&{\tt 5C =} \char"5C% +&{\tt 5D =} \char"5D% +&{\tt 5E =} \char"5E% +&{\tt 5F =} \char"5F\cr + {\tt 60 =} \char"60% +&{\tt 61 =} \char"61% +&{\tt 62 =} \char"62% +&{\tt 63 =} \char"63% +&{\tt 64 =} \char"64% +&{\tt 65 =} \char"65% +&{\tt 66 =} \char"66% +&{\tt 67 =} \char"67\cr + {\tt 68 =} \char"68% +&{\tt 69 =} \char"69% +&{\tt 6A =} \char"6A% +&{\tt 6B =} \char"6B% +&{\tt 6C =} \char"6C% +&{\tt 6D =} \char"6D% +&{\tt 6E =} \char"6E% +&{\tt 6F =} \char"6F\cr + {\tt 70 =} \char"70% +&{\tt 71 =} \char"71% +&{\tt 72 =} \char"72% +&{\tt 73 =} \char"73% +&{\tt 74 =} \char"74% +&{\tt 75 =} \char"75% +&{\tt 76 =} \char"76% +&{\tt 77 =} \char"77\cr + {\tt 78 =} \char"78% +&{\tt 79 =} \char"79% +&{\tt 7A =} \char"7A% +&{\tt 7B =} \char"7B% +&{\tt 7C =} \char"7C% +&{\tt 7D =} \char"7D% +&{\tt 7E =} \char"7E% +&{\tt 7F =} \char"7F\cr} +$$} + +\bigskip + +{\tt wasyb}: +{\wasyb$$ +\halign {&#\quad\hfil\cr + {\tt 00 =} \char"00% +&{\tt 01 =} \char"01% +&{\tt 02 =} \char"02% +&{\tt 03 =} \char"03% +&{\tt 04 =} \char"04% +&{\tt 05 =} \char"05% +&{\tt 06 =} \char"06% +&{\tt 07 =} \char"07\cr + {\tt 08 =} \char"08% +&{\tt 09 =} \char"09% +&{\tt 0A =} \char"0A% +&{\tt 0B =} \char"0B% +&{\tt 0C =} \char"0C% +&{\tt 0D =} \char"0D% +&{\tt 0E =} \char"0E% +&{\tt 0F =} \char"0F\cr + {\tt 10 =} \char"10% +&{\tt 11 =} \char"11% +&{\tt 12 =} \char"12% +&{\tt 13 =} \char"13% +&{\tt 14 =} \char"14% +&{\tt 15 =} \char"15% +&{\tt 16 =} \char"16% +&{\tt 17 =} \char"17\cr + {\tt 18 =} \char"18% +&{\tt 19 =} \char"19% +&{\tt 1A =} \char"1A% +&{\tt 1B =} \char"1B% +&{\tt 1C =} \char"1C% +&{\tt 1D =} \char"1D% +&{\tt 1E =} \char"1E% +&{\tt 1F =} \char"1F\cr + {\tt 20 =} \char"20% +&{\tt 21 =} \char"21% +&{\tt 22 =} \char"22% +&{\tt 23 =} \char"23% +&{\tt 24 =} \char"24% +&{\tt 25 =} \char"25% +&{\tt 26 =} \char"26% +&{\tt 27 =} \char"27\cr + {\tt 28 =} \char"28% +&{\tt 29 =} \char"29% +&{\tt 2A =} \char"2A% +&{\tt 2B =} \char"2B% +&{\tt 2C =} \char"2C% +&{\tt 2D =} \char"2D% +&{\tt 2E =} \char"2E% +&{\tt 2F =} \char"2F\cr + {\tt 30 =} \char"30% +&{\tt 31 =} \char"31% +&{\tt 32 =} \char"32% +&{\tt 33 =} \char"33% +&{\tt 34 =} \char"34% +&{\tt 35 =} \char"35% +&{\tt 36 =} \char"36% +&{\tt 37 =} \char"37\cr + {\tt 38 =} \char"38% +&{\tt 39 =} \char"39% +&{\tt 3A =} \char"3A% +&{\tt 3B =} \char"3B% +&{\tt 3C =} \char"3C% +&{\tt 3D =} \char"3D% +&{\tt 3E =} \char"3E% +&{\tt 3F =} \char"3F\cr + {\tt 40 =} \char"40% +&{\tt 41 =} \char"41% +&{\tt 42 =} \char"42% +&{\tt 43 =} \char"43% +&{\tt 44 =} \char"44% +&{\tt 45 =} \char"45% +&{\tt 46 =} \char"46% +&{\tt 47 =} \char"47\cr + {\tt 48 =} \char"48% +&{\tt 49 =} \char"49% +&{\tt 4A =} \char"4A% +&{\tt 4B =} \char"4B% +&{\tt 4C =} \char"4C% +&{\tt 4D =} \char"4D% +&{\tt 4E =} \char"4E% +&{\tt 4F =} \char"4F\cr + {\tt 50 =} \char"50% +&{\tt 51 =} \char"51% +&{\tt 52 =} \char"52% +&{\tt 53 =} \char"53% +&{\tt 54 =} \char"54% +&{\tt 55 =} \char"55% +&{\tt 56 =} \char"56% +&{\tt 57 =} \char"57\cr + {\tt 58 =} \char"58% +&{\tt 59 =} \char"59% +&{\tt 5A =} \char"5A% +&{\tt 5B =} \char"5B% +&{\tt 5C =} \char"5C% +&{\tt 5D =} \char"5D% +&{\tt 5E =} \char"5E% +&{\tt 5F =} \char"5F\cr + {\tt 60 =} \char"60% +&{\tt 61 =} \char"61% +&{\tt 62 =} \char"62% +&{\tt 63 =} \char"63% +&{\tt 64 =} \char"64% +&{\tt 65 =} \char"65% +&{\tt 66 =} \char"66% +&{\tt 67 =} \char"67\cr + {\tt 68 =} \char"68% +&{\tt 69 =} \char"69% +&{\tt 6A =} \char"6A% +&{\tt 6B =} \char"6B% +&{\tt 6C =} \char"6C% +&{\tt 6D =} \char"6D% +&{\tt 6E =} \char"6E% +&{\tt 6F =} \char"6F\cr + {\tt 70 =} \char"70% +&{\tt 71 =} \char"71% +&{\tt 72 =} \char"72% +&{\tt 73 =} \char"73% +&{\tt 74 =} \char"74% +&{\tt 75 =} \char"75% +&{\tt 76 =} \char"76% +&{\tt 77 =} \char"77\cr + {\tt 78 =} \char"78% +&{\tt 79 =} \char"79% +&{\tt 7A =} \char"7A% +&{\tt 7B =} \char"7B% +&{\tt 7C =} \char"7C% +&{\tt 7D =} \char"7D% +&{\tt 7E =} \char"7E% +&{\tt 7F =} \char"7F\cr} +$$} + +\bigskip + +{\bf Changes since version 1.0} + +version 1.1: + +{\tt\\varangle} has been centered at the math axis + +version 2.0: + +new: letters \Thorn,\thorn,\dh,\inve,\openo,\agemO + +new astrological and zodiacal symbols + +new symbols permil, cent, ataribox + +now the full set of +{\tt lasy} is included; for this purpose 9 characters +(\smiley, \blacksmiley, \frownie, \sun, +\jupiter, \saturn, \uranus, \neptune, \pluto) have +{\bf changed code}! + +{\tt wasyb10} font for bold math added + +\bye diff --git a/Master/texmf-dist/doc/fonts/wasy/wasyfont.2 b/Master/texmf-dist/doc/fonts/wasy/wasyfont.2 new file mode 100644 index 00000000000..0a2e2533086 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wasy/wasyfont.2 @@ -0,0 +1,120 @@ +% +% this is a substitute if the wasy fonts are missing +% +\font\tenwasy = lasy10 +\font\wasyb = lasyb10 +\font\ninewasy = lasy9 +\font\eightwasy = lasy8 +\font\sevenwasy = lasy7 +\font\fivewasy = lasy5 +\newfam\wasyfam +\newcount\wasyfamcount +\wasyfamcount=\wasyfam \multiply\wasyfamcount by 256 +\def\wasy{\fam\wasyfam\tenwasy} +\textfont\wasyfam=\tenwasy +\scriptfont\wasyfam=\sevenwasy +\scriptscriptfont\wasyfam=\fivewasy +%%%%%% special macro +\def\overstrike#1#2{{\setbox0\hbox{$#2$}\hbox to \wd0{\hss + $#1$\hss}\kern-\wd0\box0}} +%%%%%%%%%%%%%%%%%%%%%% <) angle +\def\varangle{\hbox{$<$\lower 0.5pt\hbox{\kern -0.5em\tt)}}} +%%%%%%%%%%%%%%%%%%%%%% < approx, > approx +\def\apprle{\mathrel{\mathpalette\buildover{<\sim {-1.15pt}{-0.25pt}}}} +\def\apprge{\mathrel{\mathpalette\buildover{>\sim {-1.15pt}{-0.25pt}}}} +\newdimen\buildraise\newdimen\buildspace +\def\buildover#1#2{\getargs#2\raise\buildraise\vbox{% + \resetall{\buildspace}\halign{$#1\hfil##\hfil$\crcr + \buildtop\crcr\buildbot\crcr}}} +\def\getargs#1#2#3#4{\def\buildtop{#1}\def\buildbot{#2}% + \global\buildraise=#3\global\buildspace=#4\relax} +\def\resetall#1{\mathsurround=0pt\everycr={}\tabskip=0pt + \baselineskip=0pt\lineskiplimit=0pt\lineskip=#1} +%%%%%%%%%%%%%%%%%%%%%% >O< +\def\currency{\hbox{\tt\kern -1.0pt + \lower 4.4pt\hbox to 0pt{\char"13\hss}% + \lower 1.3pt\hbox to 0pt{\kern 0.82pt\char"12\hss}% + \kern 2.9pt{\tensy\char"0E}\kern -3.3pt% + \lower 1.3pt\hbox to 0pt{\char"13\hss}% + \lower 4.4pt\hbox to 0pt{% + \kern 0.82pt\char"12\hss}\kern 4.2pt}} +%%%%%%%%%%%%%%%%%%%%%% +\def\clock{\hbox{\kern 1pt + \vrule width 0.4pt height 3.6pt depth -1.2pt + \vrule width 0.4pt height 1.2pt depth -0.8pt\kern -0.4pt + \vrule width 0.4pt height 4.0pt depth -3.6pt + \vrule width 0.4pt height 0.8pt depth -0.4pt\kern -0.4pt + \vrule width 0.4pt height 4.4pt depth -4.0pt + \vrule width 2.4pt height 0.4pt depth 0.0pt\kern -2.4pt + \vrule width 2.4pt height 4.8pt depth -4.4pt\kern -1.4pt + \vrule width 0.4pt height 3.6pt depth -2.2pt + \vrule width 1.0pt height 2.6pt depth -2.2pt + \vrule width 0.4pt height 0.8pt depth -0.4pt\kern -0.4pt + \vrule width 0.4pt height 4.4pt depth -4.0pt + \vrule width 0.4pt height 1.2pt depth -0.8pt\kern -0.4pt + \vrule width 0.4pt height 4.0pt depth -3.6pt + \vrule width 0.4pt height 3.6pt depth -1.2pt + \kern 1pt}} +%%%%%%%%%%%%%%%%%%%%%% bell +\def\bell{\hbox{\kern 1pt + \vrule width 0.8pt height 0.8pt depth 0pt + \vrule width 1.0pt height 4.5pt depth 0pt + \vrule width 0.8pt height 5.3pt depth 0.8pt + \vrule width 1.0pt height 4.5pt depth 0pt + \vrule width 0.8pt height 0.8pt depth 0pt + \kern 1pt}} +%%%%%%%%%%%%%%%%%%%%%% note +\def\eighthnote{\hbox{\kern 0.5pt\lower 0.2pt + \hbox{\sevensy\char"0F\kern -0.9pt}% + \vrule width 0.2pt height 6.8pt depth -1.4pt + \raise 0.8pt\hbox{\tt\kern -1.3pt\char"12}\kern -1pt}} +%%%%%%%%%%%%%%%%%%%%%% +\def\phone{\hbox{Tel.}} +\def\Box{\hbox{\wasy\char"32}}\let\Square\Box +\def\Diamond{\hbox{\wasy\char"33}} +\def\RIGHTarrow{{\wasy\char"03}} +\def\LEFTarrow{{\wasy\char"01}} +%%%%%%%%%%%%%%%%%%%%%% +\def\notbackslash{\overstrike{\backslash}{-}} +\def\notslash{\overstrike{/}{-}} +\def\APLnot#1{\overstrike{\sim}{#1}} +\def\APLcirc#1{\overstrike{\circ}{#1}} +\def\APLvert#1{\overstrike{\vert}{#1}} +\def\APLminus{\raise0.7ex\hbox{$-$}} +%%%%%%%%%%%%%%%%%%%%%% +\def\AC{\hbox{\kern0.5pt\wasy\char"3A\kern0.5pt}} +\def\HF{\lower0.9pt\hbox to 0pt{\kern0.5pt\wasy\char"3A\hss}% + \raise0.9pt\hbox{\kern0.5pt\wasy\char"3A\kern0.5pt}} +\def\VHF{\lower1.7pt\hbox to 0pt{\kern0.5pt\wasy\char"3A\hss}% + \hbox to 0pt{\kern0.5pt\wasy\char"3A\kern0.5pt\hss}% + \raise1.7pt\hbox{\kern0.5pt\wasy\char"3A\kern0.5pt}} +%%%%%%%%%%%%%%%%%%%%%% +\def\iint{\int\mkern -2mu\int} +\def\iiint{\int\mkern -2mu\int\mkern -2mu\int} +%%%%%% math characters +\def\Bowtie{\hbox{\wasy\char"31}} +%%%%%% special characters +\def\permil{$^0\!{/}\!{}_{00}$} +\def\agemO{{\wasy\char"30}} +\def\Dh{\leavevmode{\rm\setbox0\hbox{D}% + \hbox to\wd0{\kern 0.04em\char32\hss D}}} +\def\cent{\overstrike/{\rm c}} +\def\thorn{\overstrike{\rm b}{\rm p}} +\def\astrosun{\hbox{\tensy\char"0C}} +%%%%%% math operators as mathchars +\def\wasymathchardef#1#2{% + \count"FF=\wasyfamcount + \advance\count"FF by"#1 + \mathchardef#2\count"FF} +\wasymathchardef{3001}{\lhd} +\wasymathchardef{3001}{\LHD} +\wasymathchardef{3003}{\rhd} +\wasymathchardef{3003}{\RHD} +\wasymathchardef{3002}{\unlhd} +\wasymathchardef{3004}{\unrhd} +\wasymathchardef{303C}{\sqsubset} +\wasymathchardef{303D}{\sqsupset} +\wasymathchardef{303B}{\leadsto} +%%%%%%%%%%%%%%%%%%%%%% +\let\newpropto\relax +\let\newint\relax diff --git a/Master/texmf-dist/doc/fonts/wntamil/readme.doc b/Master/texmf-dist/doc/fonts/wntamil/readme.doc new file mode 100644 index 00000000000..631aaea6749 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wntamil/readme.doc @@ -0,0 +1,91 @@ +\input tamilmax +4/20/90 + +** Brief notes on the use of the wntml Tamil-in-METAFONT font ** + +Wntml was developed for a bilingual dictionary project which +has now been in development for some six years. The project +was begun on PCs using a romanized transcription with no +attempts to represent Tamil script interactively. Existing +facilities for producing Tamil output are based entirely on this +less than optimal transcription of Tamil. + +Someone at liberty to begin anew, could use a much cleaner solution. +The transcription scheme we are using is illustrated by the following chart. +To view this chart in a meaningful way, run + tamilize readme.doc readme.tex +then TeX and print the results. (You will need to have +run METAFONT on wntml first, of course.) + + +~ a aa i ii u uu e ee o oo ai au + +ka kaa ki kii ku kuu ke kee ko koo kai kau + +nga ngaa ngi ngii ngu nguu nge ngee ngo ngoo ngai ngau + +ca caa ci cii cu cuu ce cee co coo cai cau + +5a 5aa 5i 5ii 5u 5uu 5e 5ee 5o 5oo 5ai 5au + +8a 8aa 8i 8ii 8u 8uu 8e 8ee 8o 8oo 8ai 8au + +3a 3aa 3i 3ii 3u 3uu 3e 3ee 3o 3oo 3ai 3au + +ta taa ti tii tu tuu te tee to too tai tau + +na naa ni nii nu nuu ne nee no noo nai nau + +pa paa pi pii pu puu pe pee po poo pai pau + +ma maa mi mii mu muu me mee mo moo mai mau + +ya yaa yi yii yu yuu ye yee yo yoo yai yau + +ra raa ri rii ru ruu re ree ro roo rai rau + +la laa li lii lu luu le lee lo loo lai lau + +va vaa vi vii vu vuu ve vee vo voo vai vau + +7a 7aa 7i 7ii 7u 7uu 7e 7ee 7o 7oo 7ai 7au + +9a 9aa 9i 9ii 9u 9uu 9e 9ee 9o 9oo 9ai 9au + +6a 6aa 6i 6ii 6u 6uu 6e 6ee 6o 6oo 6ai 6au + +2a 2aa 2i 2ii 2u 2uu 2e 2ee 2o 2oo 2ai 2au + +~ + +Tamilize converts the transcribed tamil (using the tilde +character as a delimiter for strings in Tamil script --- +text is assumed in Roman until the first tilde; the vertical +bar character is used to delimit strings which should be +output as romanized Tamil using the usual dots-under-letters +and other customary diacritics for Indic) into a series of +TeX macros, each of which prints a single +Tamil grapheme. Tamil graphemes generally correspond to +syllables, so essentially Tamilize is scanning its input +for syllables and invoking a predetermined macro for +each syllable. The current version of Tamilmax, in +which the syllable macros are defined, catcodes Ctrl-A +as equivalent to backslash, and Tamilize uses Ctrl-A as +the command character for all the Tamil syllable macros. +With an editor which can hide control characters, the +tamilized transliteration is still somewhat readable, +and is useful for debugging output. Extensive editing of text +should always take place in the un-tamilized transcription, +with subsequent tamilizing before running TeX --- otherwise +errors will almost certainly be introduced in the editing +process. + + +IF YOUR COPY OF WNTML INCLUDES A TAMDICT.TXT OR TAMDICT.TEX SAMPLE +FILE, PLEASE BE AWARE THAT THE SAMPLE IS FROM A WORK IN PROGRESS: +DO NOT QUOTE THE SAMPLE TEXT. + + +7/10/91 Some TeXs on PCs gag when they see the control-As which tamilize +introduces; users of such TeXs will prefer tmilize, which is just like +tamilize but uses '\' instead of '^A'. diff --git a/Master/texmf-dist/doc/fonts/wntamil/tamdict.tex b/Master/texmf-dist/doc/fonts/wntamil/tamdict.tex new file mode 100644 index 00000000000..f3275447cc3 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wntamil/tamdict.tex @@ -0,0 +1,313 @@ +\input tamilmax +\hsize=4in +\font\norm=cmr10 +\font\roman=cmr10 +\font\vclass=cmr7 +\font\glossy=cmti10 +\font\emphatic=cmb10 +\font\transcribe=cmss10 +\norm +\newif\ifnewentry +\def\hw#1{\par\medskip{\emphatic #1\hfil\break\newentrytrue}} +\def\md#1#2{{\emphatic\ifnewentry\hbox to 25pt{\hfil}\newentryfalse\fi(#1)} #2} +\def\rt#1{,\ {\transcribe #1}} +\def\vc#1{,\ {\vclass #1}} +\def\eg#1{,\ {\glossy #1}} +\def\syn#1#2{\ $\mapsto$ #1: #2} +\def\wtvc#1{,\ {\vclass #1}} +\hw{fascinated, be} + \md{1}{{\btam sokku}\etam }\rt{|sokku|}\vc{3 intr} + \eg{be charmed, enchanted or absorbed in} + \syn{1}{{\btam mayangku}\etam }\wtvc{3 i} + \md{2}{{\btam mayangku}\etam }\rt{|mayangu|}\vc{3 intr} + \eg{be charmed or enchanted; be enamoured; be confused} + \md{3}{{\btam vasappaTu}\etam }\rt{|vasa-pa8u|}\vc{4 intr} + \eg{be captivated or enchanted; come under the power or influence of; lose oneself in} + \syn{1}{{\btam vayappaTu}\etam }\wtvc{4i}. +\hw{fashion} + \md{1}{{\btam sey}\etam }\wtvc{1t}\rt{|seyyi|}\vc{2b tr} + \eg{make; form; shape s.t. out of s.t. else} + \syn{1}{{\btam puNai}\etam }\wtvc{2t} + \md{2}{{\btam amaittukkoL}\etam }\wtvc{1t}\rt{|a8p8 pa33u|}\vc{3 tr} + \eg{adapt}. +\hw{fashionable, be} + \md{1}{{\btam naakarikamaaka iru}\etam }\wtvc{7i} + \eg{be stylish, conforming to the fashion; be liked by people of fashion} + \syn{1}{{\btam xpaaSaNaaka iru}\etam }\rt{|fae4anaa iru|}\vc{7 intr} + \syn{2}{{\btam sTailaaka iru}\etam }\rt{|s8aylaa iru|}\vc{7 intr}. +\hw{fast} + \md{1}{{\btam saappiTaamal iru}\etam }\rt{|saappi8aame iru|}\vc{7 intr} + \eg{deliberately go without food; fast temporarily} + \md{2}{{\btam paTTiNi keTa}\etam }\rt{|pa8ni ke8a|}\vc{7 intr} + \eg{go without food; abstain from food} + \md{3}{{\btam uNNNNaaviratam iru}\etam }\rt{|u33aaviradam iru|}\vc{7 intr} + \eg{abstain from food, as a religious duty or for political and other reasons} + \md{4}{{\btam nooNpu iru}\etam }\wtvc{7i} + \eg{go without any or certain kinds of food, as a religious duty} + \syn{1}{{\btam upavaacam iru}\etam }\wtvc{7i}. +\hw{fast, be} + \md{1}{{\btam veekamaaka iru}\etam }\rt{|veehamaa iru|}\vc{7 intr} + \eg{be rapid, quick, speedy} + \syn{1}{{\btam virai}\etam }\wtvc{2i} + \md{2}{{\btam veekamaaka ooTu}\etam }\rt{|veehamaa oo8u|}\vc{3 intr} + \eg{(of a watch, clock) be in advance; be ahead of time; run rapidly or quickly} + \md{3}{{\btam uRutiyaaka iru}\etam }\wtvc{7i} + \eg{be firm; be firmly tied, as a knot; be strong or secure} + \md{4}{{\btam uutaariyaaka iru}\etam }\rt{|uudaariyaa iru|}\vc{7 intr} + \eg{be a spendthrift; lead a carefree, wild life}. +\hw{fast, become} + \md{1}{{\btam uRutiyaaku}\etam }\wtvc{3i} + \eg{become firm, strong or secure}. +\hw{fasten} + \md{1}{{\btam kaTTu}\etam }\rt{|ka88u|}\vc{3 tr} + \eg{bind; pack; tie up, as an animal to a peg} + \md{2}{{\btam muuTu}\etam }\rt{|muu8u|}\vc{3 tr} + \eg{close, as a window, a door, a box} + \md{3}{{\btam aTai}\etam }\rt{|a8e|}\vc{6 tr} + \eg{shut, as a window or door; shut animals up in a fold; put s.t. or s.o. in a cage or enclosure} + \md{4}{{\btam puuTTu}\etam }\rt{|puu88u|}\vc{3 tr} + \eg{lock up, as a door or a box} + \md{5}{{\btam pooTu}\etam }\rt{|poo8u|}\vc{4 tr} + \eg{make secure, as a shirt with buttons, a door with a bolt} + \syn{1}{{\btam maaTTu}\etam }\rt{|maa88u|}\vc{3 tr} + \eg{hook s.t.} + \md{6}{{\btam taaZ iTu}\etam }\wtvc{4t} + \eg{bolt, as the door, window, etc.} + \md{7}{{\btam poruttu}\etam }\wtvc{3t} + \eg{fix; attach firmly; attach s.t. to s.t. else, as sewing buttons on to a shirt, fixing a lock to a door, etc.; fix (one's eyes) on s.t. or s.o.} + \md{8}{{\btam toTuttuvai}\etam }\rt{|to8uttu vayyi|}\vc{6b tr} + \eg{tie or fasten lightly; string together, as garlands, flowers, etc.}. +\hw{fasten down} + \md{1}{{\btam kaTTu}\etam }\rt{|ka88u|}\vc{3 tr} + \eg{fasten to a horizontal surface; bind; tie; batten down}. +\hw{fasten off} + \md{1}{{\btam piNNai}\etam }\rt{|po3e, po3e|}\vc{6 tr} + \eg{tie, as two pieces of thread by knotting} + \syn{1}{{\btam muTi}\etam }\rt{|mu8i|}\vc{6b tr} + \eg{tie as two pieces of thread by rolling the ends together}. +\hw{fasten on} + \md{1}{{\btam piTittuk koL}\etam }\wtvc{1}\rt{|pi8iccikkoo|}\vc{4 tr} + \eg{seize; take a firm hold of; single s.t. or s.o. out for attack} + \st{{\btam naaN coNNataiyee avaN piTittuk koNNTaaN}\etam } + \sr{|naan sonnadayee aven pi{\d d}iccikki{\d t}{\d t}aan|} + \se{He fastened (or) seized upon what I said.}. +\hw{fasten one's eyes on} + \md{1}{{\btam veRittup paar}\etam }\rt{|vericci paaru|}\vc{6 tr} + \eg{gaze at; focus on; stare at} + \syn{1}{{\btam veRi}\etam }\wtvc{6t} + \md{2}{{\btam kaNNkaNNaip pa{\roman d}i}\etam }\rt{|ka33e padi|}\vc{6b ta} + \eg{fix one's eyes, as on s.o. or s.t.} + \st{{\btam avaN eN miitu kaNNkaNNaip patittaaN}\etam } + \sr{|avan en meele ka{\d n}{\d n}e padiccaan|} + \se{He fixed his eyes on me.}. +\hw{fasten up} + \md{1}{{\btam maaTTu}\etam }\rt{|maa88u|}\vc{3 tr} + \eg{fasten s.t. to a vertical surface} + \st{{\btam intap paTattai angkee maaTTu}\etam } + \sr{|indap pa{\d d}atte ange maa{\d t}{\d t}u|} + \se{Fasten this picture up there.}. +\hw{fasten upon} + \md{1}{{\btam pattikkoL}\etam }\wtvc{1t} + \eg{sieze; take hold of} + \st{cf. fasten on}. +\hw{fastened, be} + \md{1}{{\btam pati}\etam }\rt{|padi|}\vc{2b intr} + \eg{be fixed, as one's sight or attention upon s.t.; be coupled firmly, as two planks of wood in joining} + \md{2}{{\btam poruntu}\etam }\wtvc{3i} + \eg{be attached firmly; dovetail} + \md{3}{{\btam iNNai}\etam }\wtvc{2i} + \eg{be attached or joined; be tied or made fast}. +\hw{fat} + \md{1}{{\btam paruttuviTu}\etam }\rt{|paruttu8u|}\vc{4 intr} + \eg{become fleshy, stout or heavy} + \syn{1}{{\btam paru}\etam }\wtvc{6i} + \md{2}{{\btam cataipiTittiru}\etam }\rt{|sade pi8icc-iru|}\vc{7 intr + dat} + \eg{put on flesh; become plump or heavy} + \syn{1}{{\btam catai pooTTiru}\etam }\rt{|sade poo88iru|}\vc{7 intr} + \md{3}{{\btam eTai kuuTu}\etam }\rt{|e8e kuu8u|}\vc{3 intr + dat} + \eg{gain weight} + \md{4}{{\btam taTittuviTu}\etam }\rt{|ta8icc-i8u|}\vc{4 ta} + \eg{become heavy or stout} + \syn{1}{{\btam taTi}\etam }\wtvc{6i} + \md{5}{{\btam koZuttiru}\etam }\rt{|ko7utt-iru|}\vc{7 intr} + \eg{be very fat; be fattened, as a animal, etc.; be thick or well-filled as a purse} + \syn{1}{{\btam koZa}\etam }\wtvc{6i}. +\hw{fatal, be} + \md{1}{{\btam uyirukku aapattaaka iru}\etam }\rt{|uyirukku aabattaa iru|}\vc{7 intr} + \eg{be a danger or risk to one's life; cause danger to one's life} + \syn{1}{{\btam uyirukku aapattaaku}\etam }\rt{|uyirukku aabatt-aahu|}\vc{3b intr} + \syn{2}{{\btam  uyirukku apaayam viNNaivi}\etam }\wtvc{6ta} + \syn{3}{{\btam  uyirukku aapattu viNNaivi}\etam }\wtvc{6ta} + \md{2}{{\btam caavukkuk kaaraNNamaaka iru}\etam }\rt{|saavukku kaara3amaa iru|}\vc{7 intr} + \eg{bring about death; be the cause of s.o.'s death.} + \md{3}{{\btam naacamaakku}\etam }\rt{|naasam aakku|}\vc{3 tr} + \eg{destroy, ruin, cause misfortune} + \syn{1}{{\btam naacappaTuttu}\etam }\rt{|naasa-pa8uttu|}\vc{3 tr} + \syn{2}{{\btam naasamuTTu}\etam }\wtvc{3ta} + \md{4}{{\btam paaZaakku}\etam }\rt{|paa7-aakku|}\vc{3 tr} + \eg{cause ruin, destruction or failure} + \syn{1}{{\btam paaZpaTuttu}\etam }\rt{|paa7 pa8uttu|}\vc{3 tr} + \syn{2}{{\btam naasamaakku}\etam }\wtvc{3t} + \md{5}{{\btam vitivasamaaku}\etam }\rt{|vidivasam-aahu|}\vc{3b intr 3 pn} + \eg{be connected with fate or destiny; be fateful, as a meeting, an occurrence, a period} + \st{{\btam anta cantippu vitivacamaaNatu}\etam } + \sr{|anda sandippu vidivasamaanadu|} + \se{That meeting (or) encounter was fatal (fateful).} + \md{6}{{\btam talaivitiyaaku}\etam }\rt{|talevidi aahu|}\vc{3b intr 3pn} + \eg{be fated or destined; be so written} + \st{{\btam anta vipattu avaN talaiviti {\roman (}yaakum{\roman )}}\etam } + \sr{|anda vibattu avan talevidi (aahum)|} + \se{That accident occurred because of his fate; That accident was fated to occur to him. (both used usually in an unfavourable sense)} + \md{7}{{\btam keeTukaalam piTittiru}\etam }\rt{|kee8ukaalam pi8icc-iru|}\vc{7 intr + dat} + \eg{be in for a bad time; be on the road to ruin; be under bad stars} + \st{{\btam avaNukku keeTukaalam piTittirukkiRatu}\etam } + \sr{|avanukku kee{\d d}ukaalam pi{\d d}iccirukku|} + \se{Misfortune has caught up with him; (or) He is in for a bad time; he is jinxed.}. +\hw{fatalistic, be} + \md{1}{{\btam vitiyee eNRu iru}\etam }\rt{|vidiyee-33u iru|}\vc{7 intr} + \eg{hold the attitude of fatality or the doctrine of fatalism; be resigned; have a negative attitude about s.t.} + \syn{1}{{\btam uuZvali eNRu iru}\etam }\wtvc{7i} + \md{2}{{\btam naTappatu naTakkaTTum eNRu iru}\etam }\rt{|na8appadu na8akka88um-33u iru|}\vc{7 intr} + \eg{hold the attitude that whatever will be will be; submit to circumstances as inevitable; submit passively to misfortune, calamity, etc.} + \syn{1}{{\btam {\roman (}kaTavuL{\roman )} viTTavaZi eNRu iru}\etam }\rt{|(ka8avu9) vi88ava7i-33u iru|}\vc{7 intr}. +\hw{fateful, be} + \md{1}{{\btam vitivacamaaku}\etam }\rt{|vidivasam-aahu|}\vc{3b intr 3pn (pres \& fut only)} + \eg{be connected with fate or destiny; be fatal, as an event, a period, etc.} + \st{{\btam avaL taRkolai vitivacamaaTum}\etam } + \sr{|ava9 tarkolai vidivasam aahum|} + \se{Hers was a fateful suicide.} + \syn{1}{{\btam uuviNaiyaaku}\etam }\wtvc{3 3pn} + \md{2}{{\btam mukkiyamaaku}\etam }\rt{|mukkiyam aahu|}\vc{3b intr 3pn} + \eg{be important; be momentous} + \syn{1}{{\btam siRappaaku}\etam }\wtvc{3 3pn} + \syn{2}{{\btam viseevimaaku}\etam }\wtvc{3 3pn}. +\hw{father} + \md{1}{{\btam uruvaakku}\etam }\rt{|uruvakku|}\vc{3 tr} + \eg{found, originate, as a doctrine, a sect, etc.; propound as a theory, a practice, a way of life} + \syn{1}{{\btam tooRRuvi}\etam }\wtvc{6t} + \syn{2}{{\btam uNNTaakku}\etam }\rt{|u38-aakku|}\vc{3 tr}. +\hw{fathom} + \md{1}{{\btam aaZam kaNNTupiTi}\etam }\rt{|aa7am ka38u-pi8i|}\vc{6b ta} + \eg{find or measure the depth of river, sea, well, pit, crater, etc.} + \syn{1}{{\btam aaZam {\roman (}aaZattaik{\roman )} kaNNakkiTu}\etam }\wtvc{4ta} + \md{2}{{\btam aaZam paar}\etam }\rt{|aa7am paaru|}\vc{6 tr} + \eg{find or measure the depth of river, pit, etc.; test or examine s.o.'s learning, qualification, sincerity, etc.} + \md{3}{{\btam parintukoL}\etam }\wtvc{1t}\rt{|purinjikkoo|}\vc{4 tr} + \eg{understand, comprehend; get to the bottom of, as an event, a person's motive, etc.} + \syn{1}{{\btam aRi}\etam (or)? {\btam aaZankaRi}\etam }\wtvc{2t}. +\hw{fatigue} + \md{1}{{\btam kaLaippu uNNTaakku}\etam }\rt{|ka9eppe u38-aakku|}\vc{3 ta} + \eg{cause fatigue; cause to feel fatigued} + \syn{1}{{\btam coorvu uNNTaakku}\etam }\wtvc{3ta} + \md{2}{{\btam kaLaippaTaiyac cey}\etam }\wtvc{1t} + \eg{cause to fatigue; cause to feel tired or weary} + \syn{1}{{\btam coorvaTaiyac cey}\etam (or) {\btam coorv}\etam }\wtvc{1t}. % synonym truncated? +\hw{fatigued, be} + \md{1}{{\btam aluttup poo}\etam }\rt{|aluttup poo|}\vc{3b intr 3pn (usu + past only)} + \eg{become weary; become discouraged} + \st{{\btam eNakku aluttup pooyiRRu}\etam } + \sr{|enakku aluttu pooccu|} + \se{I am tired, fed up.} + \syn{1}{{\btam salittup poo}\etam }\wtvc{w. dat.}\rt{|saliccu poo|}\vc{3b intr (usu + past only)} + \syn{2}{{\btam aluttuviTu}\etam }\wtvc{4i 3 pn} + \syn{3}{{\btam salittuviTu}\etam }\wtvc{4i 3 pn} + \md{2}{{\btam kaLaittup poo}\etam }\rt{|ka9eccip poo|}\vc{3b intr 3pn + dat (usu + past} + \eg{become tired or wearied; become exhausted} + \syn{1}{{\btam soorntu poo}\etam }\rt{|soondu poo|}\vc{3 intr 3pn + dat (usu + past} + \syn{2}{{\btam ayarntu poo}\etam }\rt{|asandu poo|}\vc{3 intr 3pn + dat (usu past onl} + \md{3}{{\btam kaLaippaay iru}\etam }\rt{|ka9eppaa iru|}\vc{7 intr + dat} + \eg{be tired or exhausted; look or feel tired and weary} + \st{{\btam avaN kaLaippaay iruntaaN}\etam , {\btam avaNukku kaLaippaay iruntatu}\etam } + \sr{|avan ka9eppaa irundaan, avanukku ka9eppaa irundadu|} + \se{He was (or felt) fatigued.} + \syn{1}{{\btam coorvaay iru}\etam }\rt{|soorvaa iru|}\vc{7 intr + dat} + \md{4}{{\btam coorntuviTi}\etam }\rt{|soondu8u|}\vc{4 intr} + \eg{grow weary or exhausted; be tired and worn out} + \syn{1}{{\btam kaLaittuviTu}\etam }\rt{|ka9ecc-i8u|}\vc{4 ta} + \syn{2}{{\btam ayarntuviTu}\etam }\rt{|asandu8u|}\vc{4 intr} + \md{5}{{\btam ayarvuRu}\etam }\wtvc{1i} + \eg{be tired or weary} + \syn{1}{{\btam ayarvaTai}\etam }\wtvc{2i} + \syn{2}{{\btam kaLappaTai}\etam }\wtvc{2i} + \syn{3}{{\btam coorvaTai}\etam }\wtvc{2i} + \syn{4}{{\btam coorvuRu}\etam }\wtvc{1i} + \md{6}{{\btam iNaippaay iru}\etam }\wtvc{7i} + \eg{be short of breath or gasp because of over exhaustion; be weak and worn out}. +\hw{fatten} + \md{1}{{\btam koZu}\etam }\rt{|ko7u|}\vc{6 intr} + \eg{grow fat; become plump} + \syn{1}{{\btam paruttuviTu}\etam }\rt{|paattu8u|}\vc{4 intr} + \md{2}{{\btam koZukka vai}\etam }\rt{|ko7ukka vayyi|}\vc{6b tr} + \eg{make fat; fatten up, as sheep for slaughter} + \md{3}{{\btam seZikkas sey}\etam }\wtvc{1t} + \eg{help grow better; nourish, as crop, people, etc.; enrich, as soil, ideas, etc.} + \syn{1}{{\btam seZikka vai}\etam }\wtvc{6t}. +\hw{fatty, be} + \md{1}{{\btam kooZuppaay iru}\etam }\rt{|ko7uppaa iru|}\vc{7 intr} + \eg{contain excessive fat, as muscle, food, meat, soup, etc.} + \md{2}{{\btam koZuppas sattu uTaiyataay iru}\etam }\wtvc{7i} + \eg{contain nutrative fat, as foods etc.} + \syn{1}{{\btam koZuppus sattu noNNTiru }\etam }\wtvc{7i}. +\hw{fatuous, be} + \md{1}{{\btam maTattaNamaaka iru}\etam }\rt{|ma8attanamaa iru|}\vc{7 intr} + \eg{be silly; be inane} + \syn{1}{{\btam peetaitataNamaaka iru}\etam }\wtvc{7i} + \md{2}{{\btam muTTaaLtaNamaaka iru}\etam }\rt{|mu88aa9tanamaa iru|}\vc{7 intr} + \eg{be foolish; be silly} + \syn{1}{{\btam maTattaNamaaka iru}\etam }\wtvc{7i}. +\hw{fault} + \md{1}{{\btam tappu sol}\etam }\rt{|tappu sollu|}\vc{3c tr} + \eg{censure; blame; find fault with} + \syn{1}{{\btam tavaRu sol}\etam }\wtvc{3t} + \syn{2}{{\btam piZai sol}\etam }\wtvc{3t} + \md{2}{{\btam kuRRam sol}\etam }\rt{|kuttam sollu|}\vc{3c tr, ta} + \eg{find fault with; blame; criticise} + \syn{1}{{\btam kuRai sol}\etam }\rt{|kore sollu|}\vc{3c tr} + \syn{2}{{\btam piZai sol}\etam }\wtvc{3t}. +\hw{faulty, be} + \md{1}{{\btam tappaaka iru}\etam }\rt{|tappaa iru|}\vc{7 intr 3pn} + \eg{be wrong; contain faults, mistakes or errors} + \syn{1}{{\btam piZaiyaay iru}\etam (and) {\btam tavaruk}\etam }\wtvc{7 3pn} + \md{2}{{\btam piZaiyaaka iru}\etam }\wtvc{7i 3pn} + \eg{be full of faults or defects} + \md{3}{{\btam kuRaipaaTu koNNTiru}\etam }\wtvc{7i} + \eg{contain faults or blemishes; be defective}. +\hw{favour} + \md{1}{{\btam aatari}\etam }\rt{|aadari|}\vc{6b tr} + \eg{support, show favour to} + \syn{1}{{\btam aataravu kaaTTu}\etam }\rt{|aadaruvu kaa88u|}\vc{3 tr + dat} + \syn{2}{{\btam aataravu taa}\etam }\rt{|aadaravu taa|}\vc{2c ta + dat} + \st{{\btam avarkaL avaNai aakarittaarkaL}\etam , {\btam avarkaL avarukku aataravu koTuttaarkaL}\etam (or) {\btam tantaarkaL}\etam } + \sr{|avanga avane aadariccaanga, avanga avanukku aadaravu ku{\d d}uttaanga (or) tandaanga|} + \se{They gave him the benefit of the doubt; they favoured him.} + \md{2}{{\btam virumpu}\etam }\rt{|virumbu|}\vc{3 tr} + \eg{prefer; like; choose} + \st{{\btam naaN avaNai virumpukiReeN}\etam } + \sr{|naan avane virumbureen|} + \se{I like him.} + \syn{1}{{\btam piTi}\etam }\rt{|pi8i|}\vc{6b tr 3pn + dat} + \st{{\btam eNakku avaNNaip piTikkiRatu}\etam } + \sr{|enakku avane pi{\d d}ikkidu|} + \se{I like him.} + \md{3}{{\btam salukai kaaTTu}\etam }\rt{|saluhe kaa88u|}\vc{3 tr} + \eg{show partiality to; give unfair help or advantages to; give s.o. the benefit of the doubt} + \syn{1}{{\btam paTsa paatam kaaTTu}\etam }\rt{|pa8ca paadam kaa88u|}\vc{3 tr} + \syn{2}{{\btam ooravancaNai kaTTu}\etam }\wtvc{3ta} + \eg{act with partiality} + \syn{3}{{\btam ooravancaNai sey}\etam }\wtvc{1}\rt{|ooravanjane pa33u|}\vc{3 tr} + \md{4}{{\btam nalku}\etam }\wtvc{3t} + \eg{bestow, grant, give} + \syn{1}{{\btam aruL}\etam }\wtvc{3t} + \md{5}{{\btam aruLpuri}\etam }\wtvc{2ta} + \eg{patronise; grace; grant, as a prayer} + \syn{1}{{\btam aruL sey}\etam }\wtvc{1ta} + \md{6}{{\btam ottiru}\etam }\rt{|ott-iru|}\vc{7 tr} + \eg{resemble; be like or similar to} + \md{7}{{\btam caayalaaka iru}\etam }\rt{|saayalaa iru|}\vc{7 intr} + \eg{have the likeness of; show the same features of} + \syn{1}{{\btam caaTaiyaaka iru}\etam }\rt{|jaa8eyaa iru|}\vc{7 intr} + \st{{\btam antak kuZantai ammaaviN caayalaaka}\etam (or) {\btam caaTaiyaaka irukkiRatu}\etam } + \sr{|anda ko7ende ammaa(voo{\d d}a) saayalaa (or) jaadayaa irukku|} + \se{The baby favours her mother} +\bye + diff --git a/Master/texmf-dist/doc/fonts/wntamil/tamdict.txt b/Master/texmf-dist/doc/fonts/wntamil/tamdict.txt new file mode 100644 index 00000000000..caec2ed8fc8 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wntamil/tamdict.txt @@ -0,0 +1,313 @@ +\input tamilmax +\hsize=4in +\font\norm=cmr10 +\font\roman=cmr10 +\font\vclass=cmr7 +\font\glossy=cmti10 +\font\emphatic=cmb10 +\font\transcribe=cmss10 +\norm +\newif\ifnewentry +\def\hw#1{\par\medskip{\emphatic #1\hfil\break\newentrytrue}} +\def\md#1#2{{\emphatic\ifnewentry\hbox to 25pt{\hfil}\newentryfalse\fi(#1)} #2} +\def\rt#1{,\ {\transcribe #1}} +\def\vc#1{,\ {\vclass #1}} +\def\eg#1{,\ {\glossy #1}} +\def\syn#1#2{\ $\mapsto$ #1: #2} +\def\wtvc#1{,\ {\vclass #1}} +\hw{fascinated, be} + \md{1}{~sokku~}\rt{|sokku|}\vc{3 intr} + \eg{be charmed, enchanted or absorbed in} + \syn{1}{~mayangku~}\wtvc{3 i} + \md{2}{~mayangku~}\rt{|mayangu|}\vc{3 intr} + \eg{be charmed or enchanted; be enamoured; be confused} + \md{3}{~vasappa8u~}\rt{|vasa-pa8u|}\vc{4 intr} + \eg{be captivated or enchanted; come under the power or influence of; lose oneself in} + \syn{1}{~vayappa8u~}\wtvc{4i}. +\hw{fashion} + \md{1}{~sey~}\wtvc{1t}\rt{|seyyi|}\vc{2b tr} + \eg{make; form; shape s.t. out of s.t. else} + \syn{1}{~pu2ai~}\wtvc{2t} + \md{2}{~amaittukko9~}\wtvc{1t}\rt{|a8p8 pa33u|}\vc{3 tr} + \eg{adapt}. +\hw{fashionable, be} + \md{1}{~naakarikamaaka iru~}\wtvc{7i} + \eg{be stylish, conforming to the fashion; be liked by people of fashion} + \syn{1}{~xpaa4a2aaka iru~}\rt{|fae4anaa iru|}\vc{7 intr} + \syn{2}{~s8ailaaka iru~}\rt{|s8aylaa iru|}\vc{7 intr}. +\hw{fast} + \md{1}{~saappi8aamal iru~}\rt{|saappi8aame iru|}\vc{7 intr} + \eg{deliberately go without food; fast temporarily} + \md{2}{~pa88i2i ke8a~}\rt{|pa8ni ke8a|}\vc{7 intr} + \eg{go without food; abstain from food} + \md{3}{~u33aaviratam iru~}\rt{|u33aaviradam iru|}\vc{7 intr} + \eg{abstain from food, as a religious duty or for political and other reasons} + \md{4}{~noo2pu iru~}\wtvc{7i} + \eg{go without any or certain kinds of food, as a religious duty} + \syn{1}{~upavaacam iru~}\wtvc{7i}. +\hw{fast, be} + \md{1}{~veekamaaka iru~}\rt{|veehamaa iru|}\vc{7 intr} + \eg{be rapid, quick, speedy} + \syn{1}{~virai~}\wtvc{2i} + \md{2}{~veekamaaka oo8u~}\rt{|veehamaa oo8u|}\vc{3 intr} + \eg{(of a watch, clock) be in advance; be ahead of time; run rapidly or quickly} + \md{3}{~u6utiyaaka iru~}\wtvc{7i} + \eg{be firm; be firmly tied, as a knot; be strong or secure} + \md{4}{~uutaariyaaka iru~}\rt{|uudaariyaa iru|}\vc{7 intr} + \eg{be a spendthrift; lead a carefree, wild life}. +\hw{fast, become} + \md{1}{~u6utiyaaku~}\wtvc{3i} + \eg{become firm, strong or secure}. +\hw{fasten} + \md{1}{~ka88u~}\rt{|ka88u|}\vc{3 tr} + \eg{bind; pack; tie up, as an animal to a peg} + \md{2}{~muu8u~}\rt{|muu8u|}\vc{3 tr} + \eg{close, as a window, a door, a box} + \md{3}{~a8ai~}\rt{|a8e|}\vc{6 tr} + \eg{shut, as a window or door; shut animals up in a fold; put s.t. or s.o. in a cage or enclosure} + \md{4}{~puu88u~}\rt{|puu88u|}\vc{3 tr} + \eg{lock up, as a door or a box} + \md{5}{~poo8u~}\rt{|poo8u|}\vc{4 tr} + \eg{make secure, as a shirt with buttons, a door with a bolt} + \syn{1}{~maa88u~}\rt{|maa88u|}\vc{3 tr} + \eg{hook s.t.} + \md{6}{~taa7 i8u~}\wtvc{4t} + \eg{bolt, as the door, window, etc.} + \md{7}{~poruttu~}\wtvc{3t} + \eg{fix; attach firmly; attach s.t. to s.t. else, as sewing buttons on to a shirt, fixing a lock to a door, etc.; fix (one's eyes) on s.t. or s.o.} + \md{8}{~to8uttuvai~}\rt{|to8uttu vayyi|}\vc{6b tr} + \eg{tie or fasten lightly; string together, as garlands, flowers, etc.}. +\hw{fasten down} + \md{1}{~ka88u~}\rt{|ka88u|}\vc{3 tr} + \eg{fasten to a horizontal surface; bind; tie; batten down}. +\hw{fasten off} + \md{1}{~pi3ai~}\rt{|po3e, po3e|}\vc{6 tr} + \eg{tie, as two pieces of thread by knotting} + \syn{1}{~mu8i~}\rt{|mu8i|}\vc{6b tr} + \eg{tie as two pieces of thread by rolling the ends together}. +\hw{fasten on} + \md{1}{~pi8ittuk ko9~}\wtvc{1}\rt{|pi8iccikkoo|}\vc{4 tr} + \eg{seize; take a firm hold of; single s.t. or s.o. out for attack} + \st{~naa2 co22ataiyee ava2 pi8ittuk ko38aa2~} + \sr{|naan sonnadayee aven pi{\d d}iccikki{\d t}{\d t}aan|} + \se{He fastened (or) seized upon what I said.}. +\hw{fasten one's eyes on} + \md{1}{~ve6ittup paar~}\rt{|vericci paaru|}\vc{6 tr} + \eg{gaze at; focus on; stare at} + \syn{1}{~ve6i~}\wtvc{6t} + \md{2}{~ka3ka3aip padi~}\rt{|ka33e padi|}\vc{6b ta} + \eg{fix one's eyes, as on s.o. or s.t.} + \st{~ava2 e2 miitu ka3ka3aip patittaa2~} + \sr{|avan en meele ka{\d n}{\d n}e padiccaan|} + \se{He fixed his eyes on me.}. +\hw{fasten up} + \md{1}{~maa88u~}\rt{|maa88u|}\vc{3 tr} + \eg{fasten s.t. to a vertical surface} + \st{~intap pa8attai angkee maa88u~} + \sr{|indap pa{\d d}atte ange maa{\d t}{\d t}u|} + \se{Fasten this picture up there.}. +\hw{fasten upon} + \md{1}{~pattikko9~}\wtvc{1t} + \eg{sieze; take hold of} + \st{cf. fasten on}. +\hw{fastened, be} + \md{1}{~pati~}\rt{|padi|}\vc{2b intr} + \eg{be fixed, as one's sight or attention upon s.t.; be coupled firmly, as two planks of wood in joining} + \md{2}{~poruntu~}\wtvc{3i} + \eg{be attached firmly; dovetail} + \md{3}{~i3ai~}\wtvc{2i} + \eg{be attached or joined; be tied or made fast}. +\hw{fat} + \md{1}{~paruttuvi8u~}\rt{|paruttu8u|}\vc{4 intr} + \eg{become fleshy, stout or heavy} + \syn{1}{~paru~}\wtvc{6i} + \md{2}{~cataipi8ittiru~}\rt{|sade pi8icc-iru|}\vc{7 intr + dat} + \eg{put on flesh; become plump or heavy} + \syn{1}{~catai poo88iru~}\rt{|sade poo88iru|}\vc{7 intr} + \md{3}{~e8ai kuu8u~}\rt{|e8e kuu8u|}\vc{3 intr + dat} + \eg{gain weight} + \md{4}{~ta8ittuvi8u~}\rt{|ta8icc-i8u|}\vc{4 ta} + \eg{become heavy or stout} + \syn{1}{~ta8i~}\wtvc{6i} + \md{5}{~ko7uttiru~}\rt{|ko7utt-iru|}\vc{7 intr} + \eg{be very fat; be fattened, as a animal, etc.; be thick or well-filled as a purse} + \syn{1}{~ko7a~}\wtvc{6i}. +\hw{fatal, be} + \md{1}{~uyirukku aapattaaka iru~}\rt{|uyirukku aabattaa iru|}\vc{7 intr} + \eg{be a danger or risk to one's life; cause danger to one's life} + \syn{1}{~uyirukku aapattaaku~}\rt{|uyirukku aabatt-aahu|}\vc{3b intr} + \syn{2}{~ uyirukku apaayam vi3aivi~}\wtvc{6ta} + \syn{3}{~ uyirukku aapattu vi3aivi~}\wtvc{6ta} + \md{2}{~caavukkuk kaara3amaaka iru~}\rt{|saavukku kaara3amaa iru|}\vc{7 intr} + \eg{bring about death; be the cause of s.o.'s death.} + \md{3}{~naacamaakku~}\rt{|naasam aakku|}\vc{3 tr} + \eg{destroy, ruin, cause misfortune} + \syn{1}{~naacappa8uttu~}\rt{|naasa-pa8uttu|}\vc{3 tr} + \syn{2}{~naasamu88u~}\wtvc{3ta} + \md{4}{~paa7aakku~}\rt{|paa7-aakku|}\vc{3 tr} + \eg{cause ruin, destruction or failure} + \syn{1}{~paa7pa8uttu~}\rt{|paa7 pa8uttu|}\vc{3 tr} + \syn{2}{~naasamaakku~}\wtvc{3t} + \md{5}{~vitivasamaaku~}\rt{|vidivasam-aahu|}\vc{3b intr 3 pn} + \eg{be connected with fate or destiny; be fateful, as a meeting, an occurrence, a period} + \st{~anta cantippu vitivacamaa2atu~} + \sr{|anda sandippu vidivasamaanadu|} + \se{That meeting (or) encounter was fatal (fateful).} + \md{6}{~talaivitiyaaku~}\rt{|talevidi aahu|}\vc{3b intr 3pn} + \eg{be fated or destined; be so written} + \st{~anta vipattu ava2 talaiviti (yaakum)~} + \sr{|anda vibattu avan talevidi (aahum)|} + \se{That accident occurred because of his fate; That accident was fated to occur to him. (both used usually in an unfavourable sense)} + \md{7}{~kee8ukaalam pi8ittiru~}\rt{|kee8ukaalam pi8icc-iru|}\vc{7 intr + dat} + \eg{be in for a bad time; be on the road to ruin; be under bad stars} + \st{~ava2ukku kee8ukaalam pi8ittirukki6atu~} + \sr{|avanukku kee{\d d}ukaalam pi{\d d}iccirukku|} + \se{Misfortune has caught up with him; (or) He is in for a bad time; he is jinxed.}. +\hw{fatalistic, be} + \md{1}{~vitiyee e26u iru~}\rt{|vidiyee-33u iru|}\vc{7 intr} + \eg{hold the attitude of fatality or the doctrine of fatalism; be resigned; have a negative attitude about s.t.} + \syn{1}{~uu7vali e26u iru~}\wtvc{7i} + \md{2}{~na8appatu na8akka88um e26u iru~}\rt{|na8appadu na8akka88um-33u iru|}\vc{7 intr} + \eg{hold the attitude that whatever will be will be; submit to circumstances as inevitable; submit passively to misfortune, calamity, etc.} + \syn{1}{~(ka8avu9) vi88ava7i e26u iru~}\rt{|(ka8avu9) vi88ava7i-33u iru|}\vc{7 intr}. +\hw{fateful, be} + \md{1}{~vitivacamaaku~}\rt{|vidivasam-aahu|}\vc{3b intr 3pn (pres \& fut only)} + \eg{be connected with fate or destiny; be fatal, as an event, a period, etc.} + \st{~ava9 ta6kolai vitivacamaa8um~} + \sr{|ava9 tarkolai vidivasam aahum|} + \se{Hers was a fateful suicide.} + \syn{1}{~uuvi2aiyaaku~}\wtvc{3 3pn} + \md{2}{~mukkiyamaaku~}\rt{|mukkiyam aahu|}\vc{3b intr 3pn} + \eg{be important; be momentous} + \syn{1}{~si6appaaku~}\wtvc{3 3pn} + \syn{2}{~viseevimaaku~}\wtvc{3 3pn}. +\hw{father} + \md{1}{~uruvaakku~}\rt{|uruvakku|}\vc{3 tr} + \eg{found, originate, as a doctrine, a sect, etc.; propound as a theory, a practice, a way of life} + \syn{1}{~too66uvi~}\wtvc{6t} + \syn{2}{~u38aakku~}\rt{|u38-aakku|}\vc{3 tr}. +\hw{fathom} + \md{1}{~aa7am ka38upi8i~}\rt{|aa7am ka38u-pi8i|}\vc{6b ta} + \eg{find or measure the depth of river, sea, well, pit, crater, etc.} + \syn{1}{~aa7am (aa7attaik) ka3akki8u~}\wtvc{4ta} + \md{2}{~aa7am paar~}\rt{|aa7am paaru|}\vc{6 tr} + \eg{find or measure the depth of river, pit, etc.; test or examine s.o.'s learning, qualification, sincerity, etc.} + \md{3}{~parintuko9~}\wtvc{1t}\rt{|purinjikkoo|}\vc{4 tr} + \eg{understand, comprehend; get to the bottom of, as an event, a person's motive, etc.} + \syn{1}{~a6i~ (or)? ~aa7anka6i~}\wtvc{2t}. +\hw{fatigue} + \md{1}{~ka9aippu u38aakku~}\rt{|ka9eppe u38-aakku|}\vc{3 ta} + \eg{cause fatigue; cause to feel fatigued} + \syn{1}{~coorvu u38aakku~}\wtvc{3ta} + \md{2}{~ka9aippa8aiyac cey~}\wtvc{1t} + \eg{cause to fatigue; cause to feel tired or weary} + \syn{1}{~coorva8aiyac cey~ (or) ~coorv~}\wtvc{1t}. % synonym truncated? +\hw{fatigued, be} + \md{1}{~aluttup poo~}\rt{|aluttup poo|}\vc{3b intr 3pn (usu + past only)} + \eg{become weary; become discouraged} + \st{~e2akku aluttup pooyi66u~} + \sr{|enakku aluttu pooccu|} + \se{I am tired, fed up.} + \syn{1}{~salittup poo~}\wtvc{w. dat.}\rt{|saliccu poo|}\vc{3b intr (usu + past only)} + \syn{2}{~aluttuvi8u~}\wtvc{4i 3 pn} + \syn{3}{~salittuvi8u~}\wtvc{4i 3 pn} + \md{2}{~ka9aittup poo~}\rt{|ka9eccip poo|}\vc{3b intr 3pn + dat (usu + past} + \eg{become tired or wearied; become exhausted} + \syn{1}{~soorntu poo~}\rt{|soondu poo|}\vc{3 intr 3pn + dat (usu + past} + \syn{2}{~ayarntu poo~}\rt{|asandu poo|}\vc{3 intr 3pn + dat (usu past onl} + \md{3}{~ka9aippaay iru~}\rt{|ka9eppaa iru|}\vc{7 intr + dat} + \eg{be tired or exhausted; look or feel tired and weary} + \st{~ava2 ka9aippaay iruntaa2~, ~ava2ukku ka9aippaay iruntatu~} + \sr{|avan ka9eppaa irundaan, avanukku ka9eppaa irundadu|} + \se{He was (or felt) fatigued.} + \syn{1}{~coorvaay iru~}\rt{|soorvaa iru|}\vc{7 intr + dat} + \md{4}{~coorntuvi8i~}\rt{|soondu8u|}\vc{4 intr} + \eg{grow weary or exhausted; be tired and worn out} + \syn{1}{~ka9aittuvi8u~}\rt{|ka9ecc-i8u|}\vc{4 ta} + \syn{2}{~ayarntuvi8u~}\rt{|asandu8u|}\vc{4 intr} + \md{5}{~ayarvu6u~}\wtvc{1i} + \eg{be tired or weary} + \syn{1}{~ayarva8ai~}\wtvc{2i} + \syn{2}{~ka9appa8ai~}\wtvc{2i} + \syn{3}{~coorva8ai~}\wtvc{2i} + \syn{4}{~coorvu6u~}\wtvc{1i} + \md{6}{~i2aippaay iru~}\wtvc{7i} + \eg{be short of breath or gasp because of over exhaustion; be weak and worn out}. +\hw{fatten} + \md{1}{~ko7u~}\rt{|ko7u|}\vc{6 intr} + \eg{grow fat; become plump} + \syn{1}{~paruttuvi8u~}\rt{|paattu8u|}\vc{4 intr} + \md{2}{~ko7ukka vai~}\rt{|ko7ukka vayyi|}\vc{6b tr} + \eg{make fat; fatten up, as sheep for slaughter} + \md{3}{~se7ikkas sey~}\wtvc{1t} + \eg{help grow better; nourish, as crop, people, etc.; enrich, as soil, ideas, etc.} + \syn{1}{~se7ikka vai~}\wtvc{6t}. +\hw{fatty, be} + \md{1}{~koo7uppaay iru~}\rt{|ko7uppaa iru|}\vc{7 intr} + \eg{contain excessive fat, as muscle, food, meat, soup, etc.} + \md{2}{~ko7uppas sattu u8aiyataay iru~}\wtvc{7i} + \eg{contain nutrative fat, as foods etc.} + \syn{1}{~ko7uppus sattu no38iru ~}\wtvc{7i}. +\hw{fatuous, be} + \md{1}{~ma8atta2amaaka iru~}\rt{|ma8attanamaa iru|}\vc{7 intr} + \eg{be silly; be inane} + \syn{1}{~peetaitata2amaaka iru~}\wtvc{7i} + \md{2}{~mu88aa9ta2amaaka iru~}\rt{|mu88aa9tanamaa iru|}\vc{7 intr} + \eg{be foolish; be silly} + \syn{1}{~ma8atta2amaaka iru~}\wtvc{7i}. +\hw{fault} + \md{1}{~tappu sol~}\rt{|tappu sollu|}\vc{3c tr} + \eg{censure; blame; find fault with} + \syn{1}{~tava6u sol~}\wtvc{3t} + \syn{2}{~pi7ai sol~}\wtvc{3t} + \md{2}{~ku66am sol~}\rt{|kuttam sollu|}\vc{3c tr, ta} + \eg{find fault with; blame; criticise} + \syn{1}{~ku6ai sol~}\rt{|kore sollu|}\vc{3c tr} + \syn{2}{~pi7ai sol~}\wtvc{3t}. +\hw{faulty, be} + \md{1}{~tappaaka iru~}\rt{|tappaa iru|}\vc{7 intr 3pn} + \eg{be wrong; contain faults, mistakes or errors} + \syn{1}{~pi7aiyaay iru~ (and) ~tavaruk~}\wtvc{7 3pn} + \md{2}{~pi7aiyaaka iru~}\wtvc{7i 3pn} + \eg{be full of faults or defects} + \md{3}{~ku6aipaa8u ko38iru~}\wtvc{7i} + \eg{contain faults or blemishes; be defective}. +\hw{favour} + \md{1}{~aatari~}\rt{|aadari|}\vc{6b tr} + \eg{support, show favour to} + \syn{1}{~aataravu kaa88u~}\rt{|aadaruvu kaa88u|}\vc{3 tr + dat} + \syn{2}{~aataravu taa~}\rt{|aadaravu taa|}\vc{2c ta + dat} + \st{~avarka9 ava2ai aakarittaarka9~, ~avarka9 avarukku aataravu ko8uttaarka9~ (or) ~tantaarka9~} + \sr{|avanga avane aadariccaanga, avanga avanukku aadaravu ku{\d d}uttaanga (or) tandaanga|} + \se{They gave him the benefit of the doubt; they favoured him.} + \md{2}{~virumpu~}\rt{|virumbu|}\vc{3 tr} + \eg{prefer; like; choose} + \st{~naa2 ava2ai virumpuki6ee2~} + \sr{|naan avane virumbureen|} + \se{I like him.} + \syn{1}{~pi8i~}\rt{|pi8i|}\vc{6b tr 3pn + dat} + \st{~e2akku ava3aip pi8ikki6atu~} + \sr{|enakku avane pi{\d d}ikkidu|} + \se{I like him.} + \md{3}{~salukai kaa88u~}\rt{|saluhe kaa88u|}\vc{3 tr} + \eg{show partiality to; give unfair help or advantages to; give s.o. the benefit of the doubt} + \syn{1}{~pa8sa paatam kaa88u~}\rt{|pa8ca paadam kaa88u|}\vc{3 tr} + \syn{2}{~ooravanca2ai ka88u~}\wtvc{3ta} + \eg{act with partiality} + \syn{3}{~ooravanca2ai sey~}\wtvc{1}\rt{|ooravanjane pa33u|}\vc{3 tr} + \md{4}{~nalku~}\wtvc{3t} + \eg{bestow, grant, give} + \syn{1}{~aru9~}\wtvc{3t} + \md{5}{~aru9puri~}\wtvc{2ta} + \eg{patronise; grace; grant, as a prayer} + \syn{1}{~aru9 sey~}\wtvc{1ta} + \md{6}{~ottiru~}\rt{|ott-iru|}\vc{7 tr} + \eg{resemble; be like or similar to} + \md{7}{~caayalaaka iru~}\rt{|saayalaa iru|}\vc{7 intr} + \eg{have the likeness of; show the same features of} + \syn{1}{~caa8aiyaaka iru~}\rt{|jaa8eyaa iru|}\vc{7 intr} + \st{~antak ku7antai ammaavi2 caayalaaka~ (or) ~caa8aiyaaka irukki6atu~} + \sr{|anda ko7ende ammaa(voo{\d d}a) saayalaa (or) jaadayaa irukku|} + \se{The baby favours her mother} +\bye + diff --git a/Master/texmf-dist/doc/fonts/wntamil/tamilize.c b/Master/texmf-dist/doc/fonts/wntamil/tamilize.c new file mode 100644 index 00000000000..368bbd573b9 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wntamil/tamilize.c @@ -0,0 +1,323 @@ +/* Convert transliterated Tamil text to codes known to the Tamilmax.tex */ +/* set of macros using the wntml fonts */ + +#include +#include + + +/* globally accessible variables */ + +int tamilflag,t_errors,true,false,errorcount,transflag; +char switcher,tdelim; +char tspace[2]; +void changestate(); +FILE *input,*output; +char filename[128]; + + + +/* functions */ + +/* void bracket_err() +{ + printf("\nCharacter '}' read while scanning Tamil; need to edit file.\n"); + printf("Examine end of the output file to find location of problem."); + fclose(input); + fclose(output); + abort(); +} */ + +void haccbox() +{ + puts("Tamilize: Tamil to TeX converter v:0.97 of 4/24/90"); + puts("Humanities And Arts Computing Center, DR-10"); + puts("University of Washington"); + puts("Seattle, Washington, 98195 USA"); + puts("phone (206)-543-4218"); + puts("ridgeway@blake.u.washington.edu"); + puts("Copyright 1990 Humanities and Arts Computing Center"); + puts("You are welcome to use this work-in-progress, but please do not"); + puts("redistribute: rather, refer other interested parties to us."); + puts("Since this is a work in progress, we do not want uncontrolled"); + puts("proliferation of pre-release versions."); + return; +} + +FILE *getopen(char *access) +{ + int temp; + FILE *handle; + gets(filename); + handle=fopen(filename,access); + if (handle == (FILE *) NULL) { + printf("Can't open file %s",filename); + errorcount++; + if (errorcount > 9) { + printf("\n\n\n\n\nToo many errors!\n"); + abort(); + } + } + return handle; +} +FILE *get_file(char *access,char *prompt) +{ + puts(prompt); + return getopen(access); +} + +int isvowel(char thischar) +{ + switch (thischar) { + case 'a' : + case 'e' : + case 'i' : + case 'o' : + case 'u' : return true; + default : return false; + } +} + +void stringout(char *string) +{ + fputs(string,output); +} + +void charout(char thischar) +{ + putc(thischar,output); +} + +void romanout(char thischar) +{ + stringout("{\\roman "); + charout(thischar); + charout('}'); +} + +void transcribe_err(char thischar) +{ + printf("Character %c encountered in Tamil environment.\n",thischar); + romanout(thischar); +} + +void pushback(char thischar) +{ + ungetc(thischar,input); +} + +void processtamil() +{ + char ch; + int newsyl; + newsyl=true; + for (tamilflag=true; tamilflag==true; ) { + ch = getc(input); + if (ch == EOF) abort(); + if (ch == switcher) changestate(); + else if (isspace(ch)) { + stringout(tspace); + charout(ch); + for ( ch=getc(input); isspace(ch); ch=getc(input)) charout(ch); + pushback(ch); + newsyl=true; + } + else if (ispunct(ch) ) { + if (ch == 125) printf("\nCharacter } encountered while scanning tamil -- probable error.\n"); + romanout(ch); + newsyl=true; + } + else { + switch (ch) { + case 'a': + case 'e': + case 'i': + case 'o': + case 'u': if (newsyl==true) { + charout(tdelim); + newsyl=false; + } + charout(ch); + break; + case 'c': + case 't': + case 'p': + case 'm': + case 'y': + case 'r': + case 'l': + case 'v': + case 's': + case 'j': + case 'x': + case 'h': charout(tdelim); + charout(ch); + newsyl=false; + break; + case 'k': charout(tdelim); + ch=getc(input); + if (ch=='4') charout('X'); + else { + charout('k'); + pushback(ch); + } + newsyl=false; + break; + case '2': charout(tdelim); + charout('N'); + newsyl=false; + break; + case '3': charout(tdelim); + stringout("NN"); + newsyl=false; + break; + case '4': charout(tdelim); + charout('S'); + newsyl=false; + break; + case '5': charout(tdelim); + stringout("NY"); + newsyl=false; + break; + case '6': charout(tdelim); + charout('R'); + newsyl=false; + break; + case '7': charout(tdelim); + charout('Z'); + newsyl=false; + break; + case '8': charout(tdelim); + charout('T'); + newsyl=false; + break; + case '9': charout(tdelim); + charout('L'); + newsyl=false; + break; + case 'n': charout(tdelim); + ch=getc(input); + if (ch=='g') stringout("ng"); + else { + charout('n'); + pushback(ch); + } + newsyl=false; + break; + default : transcribe_err(ch); + newsyl=true; + } /* endcase */ + } /* endif */ + } /* endfor*/ +} + +void starttamil() +{ + stringout("{\\btam "); /* stringout("{\\starttamil\%\n"); */ + processtamil(); +} + +void endtamil() +{ + stringout("}\\etam{}"); /* stringout("}\\endtamil\%\n"); */ + tamilflag=false; +} + +void changestate() +{ + if (tamilflag==true) endtamil(); + else starttamil(); +} + +main(int argc, char *argv[]) +{ + int ch,err,notdone,vowflag,initflag; + errorcount=0; + switcher='~'; + true=1; + false=0; + tamilflag=false; + tdelim=1; /* i.e. control-a ::: if yah don't like it, change it */ + tspace[0]=tdelim; + tspace[1]=' '; + haccbox(); + vowflag=0; + if (argc > 1) input = fopen(argv[1],"rb"); + if (input == (FILE *) NULL) { + /* prompt for and open input file */ + for ( ; input == (FILE *) NULL ; input=get_file("rb","Enter name of input file: ")) ; + } + /* we are making these binary, as we have no guarantee what kind */ + /* of character may be in the transcription: we don't care about */ + /* ends of lines, as we are reading character by character */ + if (argc > 2) output = fopen(argv[2],"wb"); + if (output == (FILE *) NULL) { + for ( ; output == (FILE *) NULL ; output=get_file("wb","Enter name of output file: ")) ; + /* prompt for and open output file */ + } + while ((ch = getc(input)) != EOF) { + if (ch == switcher) changestate(); + else { + if (ch == '|') { + vowflag=1; + notdone=1; + initflag=2; + while (notdone) { + ch=getc(input); + if (isalnum(ch)) { + initflag--; + if (vowflag==0) { + if (! isvowel(ch)) stringout("\\-"); + } + if (isvowel(ch)) vowflag=1; + else vowflag=0; + } + else { + vowflag=1; + initflag=2; + } + if (ch==EOF) notdone=0; + else { + switch(ch) { + case '2': stringout("\\ndot{}"); + break; + case '3': stringout("\\nndot{}"); + break; + case '4': stringout("\\skts{}"); + break; + case '5': stringout("\\paln{}"); + break; + case '6': stringout("\\rdot{}"); + break; + case '7': stringout("\\rdotdot{}"); + break; + case 'T': stringout("\\tdot{}"); + break; + case 'D': stringout("\\dotd{}"); + break; + case '8': + if ( initflag > 0 ) stringout("\\tdot{}"); + else { + err=getc(input); + if (err == '8') stringout("\\tdot{}\\tdot{}"); + else { + stringout("\\dotd{}"); + pushback(err); + } + } + break; + case '9': stringout("\\dotl{}"); + break; + case '|': notdone=0; + break; + default: putc(ch,output); + } /* endcase */ + } /* end else */ + } /* endwhile */ + } /* endif */ + else putc(ch,output); + } /* endelse */ + } /* endwhile */ + fclose(input); + fclose(output); + puts("Tamilize is done."); +} diff --git a/Master/texmf-dist/doc/fonts/wntamil/tamilmax.tex b/Master/texmf-dist/doc/fonts/wntamil/tamilmax.tex new file mode 100644 index 00000000000..4d1ca5039f9 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wntamil/tamilmax.tex @@ -0,0 +1,369 @@ +\font\tmlfnt=wntml10 +\catcode`^^A=0 +\def\starttamil{\tmlfnt} +\def\endtamil{} +\def\thyph{\discretionary{}{}{}} +\def\btam{\starttamil} +\def\etam{\endtamil} +\def\viram{\accent241} +\def\C{\char} +\def\zaa{\C97} +\def\ze{\C22} +\def\zee{\C23} +\def\zai{\C17} +\def\zo#1{\ze#1\zaa} +\def\zoo#1{\zee#1\zaa} +\def\zau#1{\ze#1\La} +\def\a{\C0} +\def\aa{\C1} +\def\i{\C2} +\def\ii{\C3} +\def\u{\C4} +\def\uu{\C5} +\def\e{\C6} +\def\ai{\C7} +\def\au{\o\La} +\def\k{\viram\C8\thyph} +\def\ka{\C8} +\def\kaa{\C8\zaa} +\def\o{\C9} +\def\ki{\C10} +\def\kii{\C11} +\def\ku{\C12} +\def\kuu{\C13} +\def\ke{\ze\C8} +\def\kee{\zee\C8} +\def\kai{\zai\C8} +\def\ko{\zo{\C8}} +\def\koo{\zoo{\C8}} +\def\kau{\zau{\C8}} +\def\oo{\C14} +\def\ee{\C15} +\def\ng{\viram\C16\thyph} +\def\nga{\C16} +\def\ngaa{\C16\zaa} +\def\ngi{\C18} +\def\ngii{\C19} +\def\ngu{\C20} +\def\nguu{\C21} +\def\nge{\ze\C16} +\def\ngee{\zee\C16} +\def\ngai{\zai\C16} +\def\ngo{\zo{\C16}} +\def\ngoo{\zoo{\C16}} +\def\ngau{\zau{\C16}} +% +\def\c{\viram\C24\thyph} +\def\ca{\C24} +\def\caa{\C24\zaa} +\def\ci{\C26} +\def\cii{\C27} +\def\cu{\C28} +\def\cuu{\C29} +\def\ce{\ze\C24} +\def\cee{\zee\C24} +\def\cai{\zai\C24} +\def\co{\zo{\C24}} +\def\coo{\zoo{\C24}} +\def\cau{\zau{\C24}} +% +\def\NY{\viram\C32\thyph} +\def\NYa{\C32} +\def\NYaa{\C32\zaa} +\def\NYi{\C34} +\def\NYii{\C35} +\def\NYu{\C36} +\def\NYuu{\C37} +\def\NYe{\ze\C32} +\def\NYee{\zee\C32} +\def\NYai{\zai\C32} +\def\NYo{\zo{\C32}} +\def\NYoo{\zoo{\C32}} +\def\NYau{\zau{\C32}} +% +\def\T{\viram\C40\thyph} +\def\Ta{\C40} +\def\Taa{\C40\zaa} +\def\Ti{\C42} +\def\Tii{\C43} +\def\Tu{\C44} +\def\Tuu{\C45} +\def\Te{\ze\C40} +\def\Tee{\zee\C40} +\def\Tai{\zai\C40} +\def\To{\zo{\C40}} +\def\Too{\zoo{\C40}} +\def\Tau{\zau{\C40}} +% +\def\NN{\viram\C48\thyph} +\def\NNa{\C48} +\def\NNaa{\C49} +\def\NNi{\C50} +\def\NNii{\C51} +\def\NNu{\C52} +\def\NNuu{\C53} +\def\NNe{\ze\C48} +\def\NNee{\zee\C48} +\def\NNai{\C54} +\def\NNo{\ze{\C49}} +\def\NNoo{\zee{\C49}} +\def\NNau{\zau{\C48}} +% +\def\t{\viram\C56\thyph} +\def\ta{\C56} +\def\taa{\C56\zaa} +\def\ti{\C58} +\def\tii{\C59} +\def\tu{\C60} +\def\tuu{\C61} +\def\te{\ze\C56} +\def\tee{\zee\C56} +\def\tai{\zai\C56} +\def\to{\zo{\C56}} +\def\too{\zoo{\C56}} +\def\tau{\zau{\C56}} +% +\def\n{\viram\C64\thyph} +\def\na{\C64} +\def\naa{\C64\zaa} +\def\ni{\C66} +\def\nii{\C67} +\def\nu{\C68} +\def\nuu{\C69} +\def\ne{\ze\C64} +\def\nee{\zee\C64} +\def\nai{\zai\C64} +\def\no{\zo{\C64}} +\def\noo{\zoo{\C64}} +\def\nau{\zau{\C64}} +% +\def\p{\viram\C72\thyph} +\def\pa{\C72} +\def\paa{\C72\zaa} +\def\pi{\C74} +\def\pii{\C75} +\def\pu{\C76} +\def\puu{\C77} +\def\pe{\ze\C72} +\def\pee{\zee\C72} +\def\pai{\zai\C72} +\def\po{\zo{\C72}} +\def\poo{\zoo{\C72}} +\def\pau{\zau{\C72}} +% +\def\m{\viram\C80\thyph} +\def\ma{\C80} +\def\maa{\C80\zaa} +\def\mi{\C82} +\def\mii{\C83} +\def\mu{\C84} +\def\muu{\C85} +\def\me{\ze\C80} +\def\mee{\zee\C80} +\def\mai{\zai\C80} +\def\mo{\zo{\C80}} +\def\moo{\zoo{\C80}} +\def\mau{\zau{\C80}} +% +\def\y{\viram\C88\thyph} +\def\ya{\C88} +\def\yaa{\C88\zaa} +\def\yi{\C90} +\def\yii{\C91} +\def\yu{\C92} +\def\yuu{\C93} +\def\ye{\ze\C88} +\def\yee{\zee\C88} +\def\yai{\zai\C88} +\def\yo{\zo{\C88}} +\def\yoo{\zoo{\C88}} +\def\yau{\zau{\C88}} +% +\def\r{\viram\C96\thyph} +\def\ra{\C96} +\def\raa{\C96\zaa} +\def\ri{\C98} +\def\rii{\C99} +\def\ru{\C100} +\def\ruu{\C101} +\def\re{\ze\C96} +\def\ree{\zee\C96} +\def\rai{\zai\C96} +\def\ro{\zo{\C96}} +\def\roo{\zoo{\C96}} +\def\rau{\zau{\C96}} +% +\def\l{\viram\C104\thyph} +\def\la{\C104} +\def\laa{\C104\zaa} +\def\li{\C106} +\def\lii{\C107} +\def\lu{\C108} +\def\luu{\C109} +\def\le{\ze\C104} +\def\lee{\zee\C104} +\def\lai{\C110} +\def\lo{\zo{\C104}} +\def\loo{\zoo{\C104}} +\def\lau{\zau{\C104}} +% +\def\v{\viram\C112\thyph} +\def\va{\C112} +\def\vaa{\C112\zaa} +\def\vi{\C114} +\def\vii{\C115} +\def\vu{\C116} +\def\vuu{\C117} +\def\ve{\ze\C112} +\def\vee{\zee\C112} +\def\vai{\zai\C112} +\def\vo{\zo{\C112}} +\def\voo{\zoo{\C112}} +\def\vau{\zau{\C112}} +% +\def\Z{\viram\C120\thyph} +\def\Za{\C120} +\def\Zaa{\C120\zaa} +\def\Zi{\C122} +\def\Zii{\C123} +\def\Zu{\C124} +\def\Zuu{\C125} +\def\Ze{\ze\C120} +\def\Zee{\zee\C120} +\def\Zai{\zai\C120} +\def\Zo{\zo{\C120}} +\def\Zoo{\zoo{\C120}} +\def\Zau{\zau{\C120}} +% +\def\L{\viram\C128\thyph} +\def\La{\C128} +\def\Laa{\C128\zaa} +\def\Li{\C130} +\def\Lii{\C131} +\def\Lu{\C132} +\def\Luu{\C133} +\def\Le{\ze\C128} +\def\Lee{\zee\C128} +\def\Lai{\C134} +\def\Lo{\zo{\C128}} +\def\Loo{\zoo{\C128}} +\def\Lau{\zau{\C128}} +% +\def\R{\viram\C136\thyph} +\def\Ra{\C136} +\def\Raa{\C137} +\def\Ri{\C138} +\def\Rii{\C139} +\def\Ru{\C140} +\def\Ruu{\C141} +\def\Re{\ze\C136} +\def\Ree{\zee\C136} +\def\Rai{\zai\C136} +\def\Ro{\ze{\C137}} +\def\Roo{\zee{\C137}} +\def\Rau{\zau{\C136}} +% +\def\N{\viram\C144\thyph} +\def\Na{\C144} +\def\Naa{\C145} +\def\Ni{\C146} +\def\Nii{\C147} +\def\Nu{\C148} +\def\Nuu{\C149} +\def\Ne{\ze\C144} +\def\Nee{\zee\C144} +\def\Nai{\C150} +\def\No{\ze{\C145}} +\def\Noo{\zee{\C145}} +\def\Nau{\zau{\C144}} +% +\def\S{\viram\C176\thyph} +\def\Sa{\C176} +\def\Saa{\C176\zaa} +\def\Si{\C178} +\def\Sii{\C179} +\def\Su{\C176\C242} +\def\Suu{\C176\C243} +\def\Se{\ze\C176} +\def\See{\zee\C176} +\def\Sai{\zai\C176} +\def\So{\zo{\C176}} +\def\Soo{\zoo{\C176}} +\def\Sau{\zau{\C176}} +% +\def\s{\viram\C184\thyph} +\def\sa{\C184} +\def\saa{\C184\zaa} +\def\si{\C186} +\def\sii{\C187} +\def\su{\C184\C242} +\def\suu{\C184\C243} +\def\se{\ze\C184} +\def\see{\zee\C184} +\def\sai{\zai\C184} +\def\so{\zo{\C184}} +\def\soo{\zoo{\C184}} +\def\sau{\zau{\C184}} +% +\def\j{\viram\C192\thyph} +\def\ja{\C192} +\def\jaa{\C192\zaa} +\def\ji{\C194} +\def\jii{\C195} +\def\ju{\C192\C242} +\def\juu{\C192\C243} +\def\je{\ze\C192} +\def\jee{\zee\C192} +\def\jai{\zai\C192} +\def\jo{\zo{\C192}} +\def\joo{\zoo{\C192}} +\def\jau{\zau{\C192}} +% +\def\h{\viram\C200\thyph} +\def\ha{\C200} +\def\haa{\C200\zaa} +\def\hi{\C202} +\def\hii{\C203} +\def\hu{\C200\C242} +\def\huu{\C200\C243} +\def\he{\ze\C200} +\def\hee{\zee\C200} +\def\hai{\zai\C200} +\def\ho{\zo{\C200}} +\def\hoo{\zoo{\C200}} +\def\hau{\zau{\C200}} +% +\def\x{\viram\C208\thyph} +\def\xa{\C208} +\def\xaa{\C208\zaa} +\def\xi{\C210} +\def\xii{\C211} +\def\xu{\C208\C242} +\def\xuu{\C208\C243} +\def\xe{\ze\C208} +\def\xee{\zee\C208} +\def\xai{\zai\C208} +\def\xo{\zo{\C208}} +\def\xoo{\zoo{\C208}} +\def\xau{\zau{\C208}} +% +\newbox\wnbox +\newdimen\wndimen +\def\wnalign#1{\leavevmode\vtop to0pt{\baselineskip0pt\lineskip.25ex% + \ialign{##\crcr#1\crcr}}} % put characters over each other +\def\pstack#1#2{\leavevmode\setbox\wnbox=\hbox{#2}{\wnalign{#1\crcr\hidewidth\wndimen=\ht\wnbox\advance\wndimen by .25ex\lower\wndimen\hbox{\unhbox\wnbox}\hidewidth}}} +% +\def\ndot{n} +\def\nndot{\d n} +\def\skts{\'s} +\def\rdot{\d r} +\def\rdotdot{\pstack{r}{\char127}} +\def\tdot{\d t} +\def\dotd{\d d} +\def\dotl{\d l} +\def\paln{\~n} +% +% temporary place holders +\def\sr{\relax} +\def\st{\relax} +% end of file tamilmax diff --git a/Master/texmf-dist/doc/fonts/wntamil/tmilize.c b/Master/texmf-dist/doc/fonts/wntamil/tmilize.c new file mode 100644 index 00000000000..f717699a177 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/wntamil/tmilize.c @@ -0,0 +1,324 @@ +/* Convert transliterated Tamil text to codes known to the Tamilmax.tex */ +/* set of macros using the wntml fonts */ + +#include +#include + + +/* globally accessible variables */ + +int tamilflag,t_errors,true,false,errorcount,transflag; +char switcher,tdelim; +char tspace[2]; +void changestate(); +FILE *input,*output; +char filename[128]; + + + +/* functions */ + +/* void bracket_err() +{ + printf("\nCharacter '}' read while scanning Tamil; need to edit file.\n"); + printf("Examine end of the output file to find location of problem."); + fclose(input); + fclose(output); + abort(); +} */ + +void haccbox() +{ + puts("Tamilize: Tamil to TeX converter v:0.97 of 4/24/90"); + puts("Humanities And Arts Computing Center, DR-10"); + puts("University of Washington"); + puts("Seattle, Washington, 98195 USA"); + puts("phone (206)-543-4218"); + puts("ridgeway@blake.u.washington.edu"); + puts("Copyright 1990 Humanities and Arts Computing Center"); + puts("You are welcome to use this work-in-progress, but please do not"); + puts("redistribute: rather, refer other interested parties to us."); + puts("Since this is a work in progress, we do not want uncontrolled"); + puts("proliferation of pre-release versions."); + return; +} + +FILE *getopen(char *access) +{ + int temp; + FILE *handle; + gets(filename); + handle=fopen(filename,access); + if (handle == (FILE *) NULL) { + printf("Can't open file %s",filename); + errorcount++; + if (errorcount > 9) { + printf("\n\n\n\n\nToo many errors!\n"); + abort(); + } + } + return handle; +} +FILE *get_file(char *access,char *prompt) +{ + puts(prompt); + return getopen(access); +} + +int isvowel(char thischar) +{ + switch (thischar) { + case 'a' : + case 'e' : + case 'i' : + case 'o' : + case 'u' : return true; + default : return false; + } +} + +void stringout(char *string) +{ + fputs(string,output); +} + +void charout(char thischar) +{ + putc(thischar,output); +} + +void romanout(char thischar) +{ + stringout("{\\roman "); + charout(thischar); + charout('}'); +} + +void transcribe_err(char thischar) +{ + printf("Character %c encountered in Tamil environment.\n",thischar); + romanout(thischar); +} + +void pushback(char thischar) +{ + ungetc(thischar,input); +} + +void processtamil() +{ + char ch; + int newsyl; + newsyl=true; + for (tamilflag=true; tamilflag==true; ) { + ch = getc(input); + if (ch == EOF) abort(); + if (ch == switcher) changestate(); + else if (isspace(ch)) { + stringout(tspace); + charout(ch); + for ( ch=getc(input); isspace(ch); ch=getc(input)) charout(ch); + pushback(ch); + newsyl=true; + } + else if (ispunct(ch) ) { + if (ch == 125) printf("\nCharacter } encountered while scanning tamil -- probable error.\n"); + romanout(ch); + newsyl=true; + } + else { + switch (ch) { + case 'a': + case 'e': + case 'i': + case 'o': + case 'u': if (newsyl==true) { + charout(tdelim); + newsyl=false; + } + charout(ch); + break; + case 'c': + case 't': + case 'p': + case 'm': + case 'y': + case 'r': + case 'l': + case 'v': + case 's': + case 'j': + case 'x': + case 'h': charout(tdelim); + charout(ch); + newsyl=false; + break; + case 'k': charout(tdelim); + ch=getc(input); + if (ch=='4') charout('X'); + else { + charout('k'); + pushback(ch); + } + newsyl=false; + break; + case '2': charout(tdelim); + charout('N'); + newsyl=false; + break; + case '3': charout(tdelim); + stringout("NN"); + newsyl=false; + break; + case '4': charout(tdelim); + charout('S'); + newsyl=false; + break; + case '5': charout(tdelim); + stringout("NY"); + newsyl=false; + break; + case '6': charout(tdelim); + charout('R'); + newsyl=false; + break; + case '7': charout(tdelim); + charout('Z'); + newsyl=false; + break; + case '8': charout(tdelim); + charout('T'); + newsyl=false; + break; + case '9': charout(tdelim); + charout('L'); + newsyl=false; + break; + case 'n': charout(tdelim); + ch=getc(input); + if (ch=='g') stringout("ng"); + else { + charout('n'); + pushback(ch); + } + newsyl=false; + break; + default : transcribe_err(ch); + newsyl=true; + } /* endcase */ + } /* endif */ + } /* endfor*/ +} + +void starttamil() +{ + stringout("{\\btam "); /* stringout("{\\starttamil\%\n"); */ + processtamil(); +} + +void endtamil() +{ + stringout("}\\etam{}"); /* stringout("}\\endtamil\%\n"); */ + tamilflag=false; +} + +void changestate() +{ + if (tamilflag==true) endtamil(); + else starttamil(); +} + +main(int argc, char *argv[]) +{ + int ch,err,notdone,vowflag,initflag; + errorcount=0; + switcher='~'; + true=1; + false=0; + tamilflag=false; + tdelim=92; /* if we are in ASCII, that is a backslash */ + /* if we aren't in ASCII, we just bought the farm probably */ + tspace[0]=tdelim; + tspace[1]=' '; + haccbox(); + vowflag=0; + if (argc > 1) input = fopen(argv[1],"rb"); + if (input == (FILE *) NULL) { + /* prompt for and open input file */ + for ( ; input == (FILE *) NULL ; input=get_file("rb","Enter name of input file: ")) ; + } + /* we are making these binary, as we have no guarantee what kind */ + /* of character may be in the transcription: we don't care about */ + /* ends of lines, as we are reading character by character */ + if (argc > 2) output = fopen(argv[2],"wb"); + if (output == (FILE *) NULL) { + for ( ; output == (FILE *) NULL ; output=get_file("wb","Enter name of output file: ")) ; + /* prompt for and open output file */ + } + while ((ch = getc(input)) != EOF) { + if (ch == switcher) changestate(); + else { + if (ch == '|') { + vowflag=1; + notdone=1; + initflag=2; + while (notdone) { + ch=getc(input); + if (isalnum(ch)) { + initflag--; + if (vowflag==0) { + if (! isvowel(ch)) stringout("\\-"); + } + if (isvowel(ch)) vowflag=1; + else vowflag=0; + } + else { + vowflag=1; + initflag=2; + } + if (ch==EOF) notdone=0; + else { + switch(ch) { + case '2': stringout("\\ndot{}"); + break; + case '3': stringout("\\nndot{}"); + break; + case '4': stringout("\\skts{}"); + break; + case '5': stringout("\\paln{}"); + break; + case '6': stringout("\\rdot{}"); + break; + case '7': stringout("\\rdotdot{}"); + break; + case 'T': stringout("\\tdot{}"); + break; + case 'D': stringout("\\dotd{}"); + break; + case '8': + if ( initflag > 0 ) stringout("\\tdot{}"); + else { + err=getc(input); + if (err == '8') stringout("\\tdot{}\\tdot{}"); + else { + stringout("\\dotd{}"); + pushback(err); + } + } + break; + case '9': stringout("\\dotl{}"); + break; + case '|': notdone=0; + break; + default: putc(ch,output); + } /* endcase */ + } /* end else */ + } /* endwhile */ + } /* endif */ + else putc(ch,output); + } /* endelse */ + } /* endwhile */ + fclose(input); + fclose(output); + puts("Tamilize is done."); +} diff --git a/Master/texmf-dist/doc/fonts/yi4latex/FILES b/Master/texmf-dist/doc/fonts/yi4latex/FILES new file mode 100644 index 00000000000..c4929c57cb7 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/yi4latex/FILES @@ -0,0 +1,49 @@ +## This is a list of all files belonging to the yi4LaTeX package. ## +## This list was generated with ls -R. ## +##################################################################### +FILES +README +doc +mfinput +texinput +tfm +yi4latex.zip + +doc: +yi-table.tex +yi4latex.tex + +mfinput: +yib-1.mf +yib-2.mf +yib-3.mf +yib-4.mf +yib-5.mf +yibparms.mf +yir-1.mf +yir-2.mf +yir-3.mf +yir-4.mf +yir-5.mf +yirdefs.mf +yirparms.mf +yis-1.mf +yis-2.mf +yis-3.mf +yis-4.mf +yis-5.mf + +texinput: +yi.sty + +tfm: +yib-1.tfm +yib-2.tfm +yib-3.tfm +yib-4.tfm +yib-5.tfm +yir-1.tfm +yir-2.tfm +yir-3.tfm +yir-4.tfm +yir-5.tfm diff --git a/Master/texmf-dist/doc/fonts/yi4latex/README b/Master/texmf-dist/doc/fonts/yi4latex/README new file mode 100644 index 00000000000..4e7c2271668 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/yi4latex/README @@ -0,0 +1,35 @@ +This is the README file accompanying the Yi for LaTeX package. +Please consult yi4tex.tex if you require detailed information. + + +Package name: Yi for LaTeX, v. 0.1 + +Author: Oliver Corff + +Description: Yi for LaTeX provides support for writing all + standardized Yi characters in LaTeX documents. The + language Yi is spoken by the Yi nationality (also + known as Lolo) in Southern China (namely in Sichuan, + Guizhou, Yunnan and Guangxi). The script is a purely + syllabic script which was developed on the basis of + an older, ideographic system. + + All 1165 characters are provided in two typefaces, + regular and boldface and can be accessed by their + syllable names. + +Requirements: LaTeX2e. The package relies on the NFSS + mechanism and will probably not work with LaTeX209. + +Comments: The version number will increase once the following + things happen: + - Review of the character set (at present, glyph shapes + were defined after books, without feedback + from native speakers) + - Inclusion of the Yi syllable set in ISO 10646 and + Unicode. The final arrangement may differ + from the present arrangement. + - Improvement of the user interface. + + + Oliver Corff, Ulaanbaatar, September 1997 diff --git a/Master/texmf-dist/doc/fonts/yi4latex/yi-table.tex b/Master/texmf-dist/doc/fonts/yi4latex/yi-table.tex new file mode 100644 index 00000000000..0259d88a4bf --- /dev/null +++ b/Master/texmf-dist/doc/fonts/yi4latex/yi-table.tex @@ -0,0 +1,595 @@ +\documentclass[a4paper]{article} +\usepackage{yi} +\newcommand{\Lg}{\huge} +\newcommand{\scr}{\scriptsize} +\newcommand{\tsf}{\textsf} +\addtolength{\topmargin}{-.5in} +\setlength{\headsep}{15pt} +\addtolength{\textheight}{1.5in} +\begin{document} +\thispagestyle{myheadings} +\pagestyle{myheadings} +\markboth{Yi Encoding Proposal: GB Streamlined Arrangement}% + {Yi Encoding Proposal Draft: GB Streamlined Arrangement} +\begin{center}\Large{Table 1 --- Row A0: Yi} +\end{center} +\message{A few 'overfull box' messages will appear. Do not panic.} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A00 &A01 &A02 &A03 &A04 &A05 &A06 &A07\\ \hline +0&{\Lg\Ybit} &{\Lg\Ybox} &{\Lg\Ybyrx} &{\Lg\Ybbuop} &{\Lg\Ybby} &{\Lg\Ycuop} &{\Lg\Ycy} &{\Lg\Ychet}\\ +&\tsf{\scr 0:bit} &\tsf{\scr 16:box} &\tsf{\scr 32:byrx} &\tsf{\scr 48:bbuop} &\tsf{\scr 64:bby} &\tsf{\scr 80:cuop} &\tsf{\scr 96:cy} &\tsf{\scr 112:chet}\\ +\hline +1&{\Lg\Ybix} &{\Lg\Ybo} &{\Lg\Ybyr} &{\Lg\Ybbot} &{\Lg\Ybbyp} &{\Lg\Ycot} &{\Lg\Ycyp} &{\Lg\Ychex}\\ +&\tsf{\scr 1:bix} &\tsf{\scr 17:bo} &\tsf{\scr 33:byr} &\tsf{\scr 49:bbot} &\tsf{\scr 65:bbyp} &\tsf{\scr 81:cot} &\tsf{\scr 97:cyp} &\tsf{\scr 113:chex}\\ +\hline +2&{\Lg\Ybi} &{\Lg\Ybop} &{\Lg\Ybbit} &{\Lg\Ybbox} &{\Lg\Ycit} &{\Lg\Ycox} &{\Lg\Ycyrx} &{\Lg\Yche}\\ +&\tsf{\scr 2:bi} &\tsf{\scr 18:bop} &\tsf{\scr 34:bbit} &\tsf{\scr 50:bbox} &\tsf{\scr 66:cit} &\tsf{\scr 82:cox} &\tsf{\scr 98:cyrx} &\tsf{\scr 114:che}\\ +\hline +3&{\Lg\Ybip} &{\Lg\Ybex} &{\Lg\Ybbix} &{\Lg\Ybbo} &{\Lg\Ycix} &{\Lg\Yco} &{\Lg\Ycyr} &{\Lg\Ychep}\\ +&\tsf{\scr 3:bip} &\tsf{\scr 19:bex} &\tsf{\scr 35:bbix} &\tsf{\scr 51:bbo} &\tsf{\scr 67:cix} &\tsf{\scr 83:co} &\tsf{\scr 99:cyr} &\tsf{\scr 115:chep}\\ +\hline +4&{\Lg\Ybiet} &{\Lg\Ybe} &{\Lg\Ybbi} &{\Lg\Ybbop} &{\Lg\Yci} &{\Lg\Ycop} &{\Lg\Ychat} &{\Lg\Ychux}\\ +&\tsf{\scr 4:biet} &\tsf{\scr 20:be} &\tsf{\scr 36:bbi} &\tsf{\scr 52:bbop} &\tsf{\scr 68:ci} &\tsf{\scr 84:cop} &\tsf{\scr 100:chat} &\tsf{\scr 116:chux}\\ +\hline +5&{\Lg\Ybiex} &{\Lg\Ybep} &{\Lg\Ybbip} &{\Lg\Ybbex} &{\Lg\Ycip} &{\Lg\Ycex} &{\Lg\Ychax} &{\Lg\Ychu}\\ +&\tsf{\scr 5:biex} &\tsf{\scr 21:bep} &\tsf{\scr 37:bbip} &\tsf{\scr 53:bbex} &\tsf{\scr 69:cip} &\tsf{\scr 85:cex} &\tsf{\scr 101:chax} &\tsf{\scr 117:chu}\\ +\hline +6&{\Lg\Ybie} &{\Lg\Ybut} &{\Lg\Ybbiet} &{\Lg\Ybbe} &{\Lg\Yciet} &{\Lg\Yce} &{\Lg\Ycha} &{\Lg\Ychup}\\ +&\tsf{\scr 6:bie} &\tsf{\scr 22:but} &\tsf{\scr 38:bbiet} &\tsf{\scr 54:bbe} &\tsf{\scr 70:ciet} &\tsf{\scr 86:ce} &\tsf{\scr 102:cha} &\tsf{\scr 118:chup}\\ +\hline +7&{\Lg\Ybiep} &{\Lg\Ybux} &{\Lg\Ybbiex} &{\Lg\Ybbep} &{\Lg\Yciex} &{\Lg\Ycep} &{\Lg\Ychap} &{\Lg\Ychurx}\\ +&\tsf{\scr 7:biep} &\tsf{\scr 23:bux} &\tsf{\scr 39:bbiex} &\tsf{\scr 55:bbep} &\tsf{\scr 71:ciex} &\tsf{\scr 87:cep} &\tsf{\scr 103:chap} &\tsf{\scr 119:churx}\\ +\hline +8&{\Lg\Ybat} &{\Lg\Ybu} &{\Lg\Ybbie} &{\Lg\Ybbut} &{\Lg\Ycie} &{\Lg\Ycut} &{\Lg\Ychuot} &{\Lg\Ychur}\\ +&\tsf{\scr 8:bat} &\tsf{\scr 24:bu} &\tsf{\scr 40:bbie} &\tsf{\scr 56:bbut} &\tsf{\scr 72:cie} &\tsf{\scr 88:cut} &\tsf{\scr 104:chuot} &\tsf{\scr 120:chur}\\ +\hline +9&{\Lg\Ybax} &{\Lg\Ybup} &{\Lg\Ybbiep} &{\Lg\Ybbux} &{\Lg\Yciep} &{\Lg\Ycux} &{\Lg\Ychuox} &{\Lg\Ychyt}\\ +&\tsf{\scr 9:bax} &\tsf{\scr 25:bup} &\tsf{\scr 41:bbiep} &\tsf{\scr 57:bbux} &\tsf{\scr 73:ciep} &\tsf{\scr 89:cux} &\tsf{\scr 105:chuox} &\tsf{\scr 121:chyt}\\ +\hline +A&{\Lg\Yba} &{\Lg\Yburx} &{\Lg\Ybbat} &{\Lg\Ybbu} &{\Lg\Ycat} &{\Lg\Ycu} &{\Lg\Ychuo} &{\Lg\Ychyx}\\ +&\tsf{\scr 10:ba} &\tsf{\scr 26:burx} &\tsf{\scr 42:bbat} &\tsf{\scr 58:bbu} &\tsf{\scr 74:cat} &\tsf{\scr 90:cu} &\tsf{\scr 106:chuo} &\tsf{\scr 122:chyx}\\ +\hline +B&{\Lg\Ybap} &{\Lg\Ybur} &{\Lg\Ybbax} &{\Lg\Ybbup} &{\Lg\Ycax} &{\Lg\Ycup} &{\Lg\Ychuop} &{\Lg\Ychy}\\ +&\tsf{\scr 11:bap} &\tsf{\scr 27:bur} &\tsf{\scr 43:bbax} &\tsf{\scr 59:bbup} &\tsf{\scr 75:cax} &\tsf{\scr 91:cup} &\tsf{\scr 107:chuop} &\tsf{\scr 123:chy}\\ +\hline +C&{\Lg\Ybuox} &{\Lg\Ybyt} &{\Lg\Ybba} &{\Lg\Ybburx} &{\Lg\Yca} &{\Lg\Ycurx} &{\Lg\Ychot} &{\Lg\Ychyp}\\ +&\tsf{\scr 12:buox} &\tsf{\scr 28:byt} &\tsf{\scr 44:bba} &\tsf{\scr 60:bburx} &\tsf{\scr 76:ca} &\tsf{\scr 92:curx} &\tsf{\scr 108:chot} &\tsf{\scr 124:chyp}\\ +\hline +D&{\Lg\Ybuo} &{\Lg\Ybyx} &{\Lg\Ybbap} &{\Lg\Ybbur} &{\Lg\Ycap} &{\Lg\Ycur} &{\Lg\Ychox} &{\Lg\Ychyrx}\\ +&\tsf{\scr 13:buo} &\tsf{\scr 29:byx} &\tsf{\scr 45:bbap} &\tsf{\scr 61:bbur} &\tsf{\scr 77:cap} &\tsf{\scr 93:cur} &\tsf{\scr 109:chox} &\tsf{\scr 125:chyrx}\\ +\hline +E&{\Lg\Ybuop} &{\Lg\Yby} &{\Lg\Ybbuox} &{\Lg\Ybbyt} &{\Lg\Ycuox} &{\Lg\Ycyt} &{\Lg\Ycho} &{\Lg\Ychyr}\\ +&\tsf{\scr 14:buop} &\tsf{\scr 30:by} &\tsf{\scr 46:bbuox} &\tsf{\scr 62:bbyt} &\tsf{\scr 78:cuox} &\tsf{\scr 94:cyt} &\tsf{\scr 110:cho} &\tsf{\scr 126:chyr}\\ +\hline +F&{\Lg\Ybot} &{\Lg\Ybyp} &{\Lg\Ybbuo} &{\Lg\Ybbyx} &{\Lg\Ycuo} &{\Lg\Ycyx} &{\Lg\Ychop} &{\Lg\Ydit}\\ +&\tsf{\scr 15:bot} &\tsf{\scr 31:byp} &\tsf{\scr 47:bbuo} &\tsf{\scr 63:bbyx} &\tsf{\scr 79:cuo} &\tsf{\scr 95:cyx} &\tsf{\scr 111:chop} &\tsf{\scr 127:dit}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 2 --- Row A0: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A08 &A09 &A0A &A0B &A0C &A0D &A0E &A0F\\ \hline +0&{\Lg\Ydix} &{\Lg\Ydex} &{\Lg\Yddat} &{\Lg\Yddu} &{\Lg\Yfux} &{\Lg\Ygiep} &{\Lg\Ygep} &{\Lg\Yggap}\\ +&\tsf{\scr 128:dix} &\tsf{\scr 144:dex} &\tsf{\scr 160:ddat} &\tsf{\scr 176:ddu} &\tsf{\scr 192:fux} &\tsf{\scr 208:giep} &\tsf{\scr 224:gep} &\tsf{\scr 240:ggap}\\ +\hline +1&{\Lg\Ydi} &{\Lg\Yde} &{\Lg\Yddax} &{\Lg\Yddup} &{\Lg\Yfu} &{\Lg\Ygat} &{\Lg\Ygut} &{\Lg\Ygguot}\\ +&\tsf{\scr 129:di} &\tsf{\scr 145:de} &\tsf{\scr 161:ddax} &\tsf{\scr 177:ddup} &\tsf{\scr 193:fu} &\tsf{\scr 209:gat} &\tsf{\scr 225:gut} &\tsf{\scr 241:gguot}\\ +\hline +2&{\Lg\Ydip} &{\Lg\Ydep} &{\Lg\Ydda} &{\Lg\Yddurx} &{\Lg\Yfup} &{\Lg\Ygax} &{\Lg\Ygux} &{\Lg\Ygguox}\\ +&\tsf{\scr 130:dip} &\tsf{\scr 146:dep} &\tsf{\scr 162:dda} &\tsf{\scr 178:ddurx} &\tsf{\scr 194:fup} &\tsf{\scr 210:gax} &\tsf{\scr 226:gux} &\tsf{\scr 242:gguox}\\ +\hline +3&{\Lg\Ydiex} &{\Lg\Ydut} &{\Lg\Yddap} &{\Lg\Yddur} &{\Lg\Yfurx} &{\Lg\Yga} &{\Lg\Ygu} &{\Lg\Ygguo}\\ +&\tsf{\scr 131:diex} &\tsf{\scr 147:dut} &\tsf{\scr 163:ddap} &\tsf{\scr 179:ddur} &\tsf{\scr 195:furx} &\tsf{\scr 211:ga} &\tsf{\scr 227:gu} &\tsf{\scr 243:gguo}\\ +\hline +4&{\Lg\Ydie} &{\Lg\Ydux} &{\Lg\Ydduox} &{\Lg\Yfit} &{\Lg\Yfur} &{\Lg\Ygap} &{\Lg\Ygup} &{\Lg\Ygguop}\\ +&\tsf{\scr 132:die} &\tsf{\scr 148:dux} &\tsf{\scr 164:dduox} &\tsf{\scr 180:fit} &\tsf{\scr 196:fur} &\tsf{\scr 212:gap} &\tsf{\scr 228:gup} &\tsf{\scr 244:gguop}\\ +\hline +5&{\Lg\Ydiep} &{\Lg\Ydu} &{\Lg\Ydduo} &{\Lg\Yfix} &{\Lg\Yfyt} &{\Lg\Yguot} &{\Lg\Ygurx} &{\Lg\Yggot}\\ +&\tsf{\scr 133:diep} &\tsf{\scr 149:du} &\tsf{\scr 165:dduo} &\tsf{\scr 181:fix} &\tsf{\scr 197:fyt} &\tsf{\scr 213:guot} &\tsf{\scr 229:gurx} &\tsf{\scr 245:ggot}\\ +\hline +6&{\Lg\Ydat} &{\Lg\Ydup} &{\Lg\Ydduop} &{\Lg\Yfi} &{\Lg\Yfyx} &{\Lg\Yguox} &{\Lg\Ygur} &{\Lg\Yggox}\\ +&\tsf{\scr 134:dat} &\tsf{\scr 150:dup} &\tsf{\scr 166:dduop} &\tsf{\scr 182:fi} &\tsf{\scr 198:fyx} &\tsf{\scr 214:guox} &\tsf{\scr 230:gur} &\tsf{\scr 246:ggox}\\ +\hline +7&{\Lg\Ydax} &{\Lg\Ydurx} &{\Lg\Yddot} &{\Lg\Yfip} &{\Lg\Yfy} &{\Lg\Yguo} &{\Lg\Yggit} &{\Lg\Yggo}\\ +&\tsf{\scr 135:dax} &\tsf{\scr 151:durx} &\tsf{\scr 167:ddot} &\tsf{\scr 183:fip} &\tsf{\scr 199:fy} &\tsf{\scr 215:guo} &\tsf{\scr 231:ggit} &\tsf{\scr 247:ggo}\\ +\hline +8&{\Lg\Yda} &{\Lg\Ydur} &{\Lg\Yddox} &{\Lg\Yfat} &{\Lg\Yfyp} &{\Lg\Yguop} &{\Lg\Yggix} &{\Lg\Yggop}\\ +&\tsf{\scr 136:da} &\tsf{\scr 152:dur} &\tsf{\scr 168:ddox} &\tsf{\scr 184:fat} &\tsf{\scr 200:fyp} &\tsf{\scr 216:guop} &\tsf{\scr 232:ggix} &\tsf{\scr 248:ggop}\\ +\hline +9&{\Lg\Ydap} &{\Lg\Yddit} &{\Lg\Yddo} &{\Lg\Yfax} &{\Lg\Ygit} &{\Lg\Ygot} &{\Lg\Yggi} &{\Lg\Ygget}\\ +&\tsf{\scr 137:dap} &\tsf{\scr 153:ddit} &\tsf{\scr 169:ddo} &\tsf{\scr 185:fax} &\tsf{\scr 201:git} &\tsf{\scr 217:got} &\tsf{\scr 233:ggi} &\tsf{\scr 249:gget}\\ +\hline +A&{\Lg\Yduox} &{\Lg\Yddix} &{\Lg\Yddop} &{\Lg\Yfa} &{\Lg\Ygix} &{\Lg\Ygox} &{\Lg\Yggiex} &{\Lg\Yggex}\\ +&\tsf{\scr 138:duox} &\tsf{\scr 154:ddix} &\tsf{\scr 170:ddop} &\tsf{\scr 186:fa} &\tsf{\scr 202:gix} &\tsf{\scr 218:gox} &\tsf{\scr 234:ggiex} &\tsf{\scr 250:ggex}\\ +\hline +B&{\Lg\Yduo} &{\Lg\Yddi} &{\Lg\Yddex} &{\Lg\Yfap} &{\Lg\Ygi} &{\Lg\Ygo} &{\Lg\Yggie} &{\Lg\Ygge}\\ +&\tsf{\scr 139:duo} &\tsf{\scr 155:ddi} &\tsf{\scr 171:ddex} &\tsf{\scr 187:fap} &\tsf{\scr 203:gi} &\tsf{\scr 219:go} &\tsf{\scr 235:ggie} &\tsf{\scr 251:gge}\\ +\hline +C&{\Lg\Ydot} &{\Lg\Yddip} &{\Lg\Ydde} &{\Lg\Yfox} &{\Lg\Ygip} &{\Lg\Ygop} &{\Lg\Yggiep} &{\Lg\Yggep}\\ +&\tsf{\scr 140:dot} &\tsf{\scr 156:ddip} &\tsf{\scr 172:dde} &\tsf{\scr 188:fox} &\tsf{\scr 204:gip} &\tsf{\scr 220:gop} &\tsf{\scr 236:ggiep} &\tsf{\scr 252:ggep}\\ +\hline +D&{\Lg\Ydox} &{\Lg\Yddiex} &{\Lg\Yddep} &{\Lg\Yfo} &{\Lg\Ygiet} &{\Lg\Yget} &{\Lg\Yggat} &{\Lg\Yggut}\\ +&\tsf{\scr 141:dox} &\tsf{\scr 157:ddiex} &\tsf{\scr 173:ddep} &\tsf{\scr 189:fo} &\tsf{\scr 205:giet} &\tsf{\scr 221:get} &\tsf{\scr 237:ggat} &\tsf{\scr 253:ggut}\\ +\hline +E&{\Lg\Ydo} &{\Lg\Yddie} &{\Lg\Yddut} &{\Lg\Yfop} &{\Lg\Ygiex} &{\Lg\Ygex} &{\Lg\Yggax} &{\Lg\Yggux}\\ +&\tsf{\scr 142:do} &\tsf{\scr 158:ddie} &\tsf{\scr 174:ddut} &\tsf{\scr 190:fop} &\tsf{\scr 206:giex} &\tsf{\scr 222:gex} &\tsf{\scr 238:ggax} &\tsf{\scr 254:ggux}\\ +\hline +F&{\Lg\Ydop} &{\Lg\Yddiep} &{\Lg\Yddux} &{\Lg\Yfut} &{\Lg\Ygie} &{\Lg\Yge} &{\Lg\Ygga} &{\Lg\Yggu}\\ +&\tsf{\scr 143:dop} &\tsf{\scr 159:ddiep} &\tsf{\scr 175:ddux} &\tsf{\scr 191:fut} &\tsf{\scr 207:gie} &\tsf{\scr 223:ge} &\tsf{\scr 239:gga} &\tsf{\scr 255:ggu}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 3 --- Row A1: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A10 &A11 &A12 &A13 &A14 &A15 &A16 &A17\\ \hline +0&{\Lg\Yggup} &{\Lg\Yho} &{\Lg\Yhmuox} &{\Lg\Yhmyrx} &{\Lg\Yhnot} &{\Lg\Yhla} &{\Lg\Yhlur} &{\Lg\Yhxax}\\ +&\tsf{\scr 256:ggup} &\tsf{\scr 272:ho} &\tsf{\scr 288:hmuox} &\tsf{\scr 304:hmyrx} &\tsf{\scr 320:hnot} &\tsf{\scr 336:hla} &\tsf{\scr 352:hlur} &\tsf{\scr 368:hxax}\\ +\hline +1&{\Lg\Yggurx} &{\Lg\Yhop} &{\Lg\Yhmuo} &{\Lg\Yhmyr} &{\Lg\Yhnox} &{\Lg\Yhlap} &{\Lg\Yhlyt} &{\Lg\Yhxa}\\ +&\tsf{\scr 257:ggurx} &\tsf{\scr 273:hop} &\tsf{\scr 289:hmuo} &\tsf{\scr 305:hmyr} &\tsf{\scr 321:hnox} &\tsf{\scr 337:hlap} &\tsf{\scr 353:hlyt} &\tsf{\scr 369:hxa}\\ +\hline +2&{\Lg\Yggur} &{\Lg\Yhex} &{\Lg\Yhmuop} &{\Lg\Yhnit} &{\Lg\Yhnop} &{\Lg\Yhluox} &{\Lg\Yhlyx} &{\Lg\Yhxap}\\ +&\tsf{\scr 258:ggur} &\tsf{\scr 274:hex} &\tsf{\scr 290:hmuop} &\tsf{\scr 306:hnit} &\tsf{\scr 322:hnop} &\tsf{\scr 338:hluox} &\tsf{\scr 354:hlyx} &\tsf{\scr 370:hxap}\\ +\hline +3&{\Lg\Yhit} &{\Lg\Yhe} &{\Lg\Yhmot} &{\Lg\Yhnix} &{\Lg\Yhnex} &{\Lg\Yhluo} &{\Lg\Yhly} &{\Lg\Yhxuot}\\ +&\tsf{\scr 259:hit} &\tsf{\scr 275:he} &\tsf{\scr 291:hmot} &\tsf{\scr 307:hnix} &\tsf{\scr 323:hnex} &\tsf{\scr 339:hluo} &\tsf{\scr 355:hly} &\tsf{\scr 371:hxuot}\\ +\hline +4&{\Lg\Yhiex} &{\Lg\Yhep} &{\Lg\Yhmox} &{\Lg\Yhni} &{\Lg\Yhne} &{\Lg\Yhluop} &{\Lg\Yhlyp} &{\Lg\Yhxuox}\\ +&\tsf{\scr 260:hiex} &\tsf{\scr 276:hep} &\tsf{\scr 292:hmox} &\tsf{\scr 308:hni} &\tsf{\scr 324:hne} &\tsf{\scr 340:hluop} &\tsf{\scr 356:hlyp} &\tsf{\scr 372:hxuox}\\ +\hline +5&{\Lg\Yhie} &{\Lg\Yhmit} &{\Lg\Yhmo} &{\Lg\Yhnip} &{\Lg\Yhnep} &{\Lg\Yhlox} &{\Lg\Yhlyrx} &{\Lg\Yhxuo}\\ +&\tsf{\scr 261:hie} &\tsf{\scr 277:hmit} &\tsf{\scr 293:hmo} &\tsf{\scr 309:hnip} &\tsf{\scr 325:hnep} &\tsf{\scr 341:hlox} &\tsf{\scr 357:hlyrx} &\tsf{\scr 373:hxuo}\\ +\hline +6&{\Lg\Yhat} &{\Lg\Yhmix} &{\Lg\Yhmop} &{\Lg\Yhniet} &{\Lg\Yhnut} &{\Lg\Yhlo} &{\Lg\Yhlyr} &{\Lg\Yhxuop}\\ +&\tsf{\scr 262:hat} &\tsf{\scr 278:hmix} &\tsf{\scr 294:hmop} &\tsf{\scr 310:hniet} &\tsf{\scr 326:hnut} &\tsf{\scr 342:hlo} &\tsf{\scr 358:hlyr} &\tsf{\scr 374:hxuop}\\ +\hline +7&{\Lg\Yhax} &{\Lg\Yhmi} &{\Lg\Yhmut} &{\Lg\Yhniex} &{\Lg\Yhlit} &{\Lg\Yhlop} &{\Lg\Yhxit} &{\Lg\Yhxot}\\ +&\tsf{\scr 263:hax} &\tsf{\scr 279:hmi} &\tsf{\scr 295:hmut} &\tsf{\scr 311:hniex} &\tsf{\scr 327:hlit} &\tsf{\scr 343:hlop} &\tsf{\scr 359:hxit} &\tsf{\scr 375:hxot}\\ +\hline +8&{\Lg\Yha} &{\Lg\Yhmip} &{\Lg\Yhmux} &{\Lg\Yhnie} &{\Lg\Yhlix} &{\Lg\Yhlex} &{\Lg\Yhxix} &{\Lg\Yhxox}\\ +&\tsf{\scr 264:ha} &\tsf{\scr 280:hmip} &\tsf{\scr 296:hmux} &\tsf{\scr 312:hnie} &\tsf{\scr 328:hlix} &\tsf{\scr 344:hlex} &\tsf{\scr 360:hxix} &\tsf{\scr 376:hxox}\\ +\hline +9&{\Lg\Yhap} &{\Lg\Yhmiex} &{\Lg\Yhmu} &{\Lg\Yhniep} &{\Lg\Yhli} &{\Lg\Yhle} &{\Lg\Yhxi} &{\Lg\Yhxo}\\ +&\tsf{\scr 265:hap} &\tsf{\scr 281:hmiex} &\tsf{\scr 297:hmu} &\tsf{\scr 313:hniep} &\tsf{\scr 329:hli} &\tsf{\scr 345:hle} &\tsf{\scr 361:hxi} &\tsf{\scr 377:hxo}\\ +\hline +A&{\Lg\Yhuot} &{\Lg\Yhmie} &{\Lg\Yhmup} &{\Lg\Yhnat} &{\Lg\Yhlip} &{\Lg\Yhlep} &{\Lg\Yhxip} &{\Lg\Yhxop}\\ +&\tsf{\scr 266:huot} &\tsf{\scr 282:hmie} &\tsf{\scr 298:hmup} &\tsf{\scr 314:hnat} &\tsf{\scr 330:hlip} &\tsf{\scr 346:hlep} &\tsf{\scr 362:hxip} &\tsf{\scr 378:hxop}\\ +\hline +B&{\Lg\Yhuox} &{\Lg\Yhmiep} &{\Lg\Yhmurx} &{\Lg\Yhnax} &{\Lg\Yhliex} &{\Lg\Yhlut} &{\Lg\Yhxiet} &{\Lg\Yhxex}\\ +&\tsf{\scr 267:huox} &\tsf{\scr 283:hmiep} &\tsf{\scr 299:hmurx} &\tsf{\scr 315:hnax} &\tsf{\scr 331:hliex} &\tsf{\scr 347:hlut} &\tsf{\scr 363:hxiet} &\tsf{\scr 379:hxex}\\ +\hline +C&{\Lg\Yhuo} &{\Lg\Yhmat} &{\Lg\Yhmur} &{\Lg\Yhna} &{\Lg\Yhlie} &{\Lg\Yhlux} &{\Lg\Yhxiex} &{\Lg\Yhxe}\\ +&\tsf{\scr 268:huo} &\tsf{\scr 284:hmat} &\tsf{\scr 300:hmur} &\tsf{\scr 316:hna} &\tsf{\scr 332:hlie} &\tsf{\scr 348:hlux} &\tsf{\scr 364:hxiex} &\tsf{\scr 380:hxe}\\ +\hline +D&{\Lg\Yhuop} &{\Lg\Yhmax} &{\Lg\Yhmyx} &{\Lg\Yhnap} &{\Lg\Yhliep} &{\Lg\Yhlu} &{\Lg\Yhxie} &{\Lg\Yhxep}\\ +&\tsf{\scr 269:huop} &\tsf{\scr 285:hmax} &\tsf{\scr 301:hmyx} &\tsf{\scr 317:hnap} &\tsf{\scr 333:hliep} &\tsf{\scr 349:hlu} &\tsf{\scr 365:hxie} &\tsf{\scr 381:hxep}\\ +\hline +E&{\Lg\Yhot} &{\Lg\Yhma} &{\Lg\Yhmy} &{\Lg\Yhnuox} &{\Lg\Yhlat} &{\Lg\Yhlup} &{\Lg\Yhxiep} &{\Lg\Yjit}\\ +&\tsf{\scr 270:hot} &\tsf{\scr 286:hma} &\tsf{\scr 302:hmy} &\tsf{\scr 318:hnuox} &\tsf{\scr 334:hlat} &\tsf{\scr 350:hlup} &\tsf{\scr 366:hxiep} &\tsf{\scr 382:jit}\\ +\hline +F&{\Lg\Yhox} &{\Lg\Yhmap} &{\Lg\Yhmyp} &{\Lg\Yhnuo} &{\Lg\Yhlax} &{\Lg\Yhlurx} &{\Lg\Yhxat} &{\Lg\Yjix}\\ +&\tsf{\scr 271:hox} &\tsf{\scr 287:hmap} &\tsf{\scr 303:hmyp} &\tsf{\scr 319:hnuo} &\tsf{\scr 335:hlax} &\tsf{\scr 351:hlurx} &\tsf{\scr 367:hxat} &\tsf{\scr 383:jix}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 4 --- Row A1: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A18 &A19 &A1A &A1B &A1C &A1D &A1E &A1F\\ \hline +0&{\Lg\Yji} &{\Lg\Yju} &{\Lg\Yjjie} &{\Lg\Yjjyx} &{\Lg\Ykuop} &{\Lg\Ylix} &{\Lg\Ylox} &{\Lg\Ylyrx}\\ +&\tsf{\scr 384:ji} &\tsf{\scr 400:ju} &\tsf{\scr 416:jjie} &\tsf{\scr 432:jjyx} &\tsf{\scr 448:kuop} &\tsf{\scr 464:lix} &\tsf{\scr 480:lox} &\tsf{\scr 496:lyrx}\\ +\hline +1&{\Lg\Yjip} &{\Lg\Yjup} &{\Lg\Yjjiep} &{\Lg\Yjjy} &{\Lg\Ykot} &{\Lg\Yli} &{\Lg\Ylo} &{\Lg\Ylyr}\\ +&\tsf{\scr 385:jip} &\tsf{\scr 401:jup} &\tsf{\scr 417:jjiep} &\tsf{\scr 433:jjy} &\tsf{\scr 449:kot} &\tsf{\scr 465:li} &\tsf{\scr 481:lo} &\tsf{\scr 497:lyr}\\ +\hline +2&{\Lg\Yjiet} &{\Lg\Yjurx} &{\Lg\Yjjuox} &{\Lg\Yjjyp} &{\Lg\Ykox} &{\Lg\Ylip} &{\Lg\Ylop} &{\Lg\Ymit}\\ +&\tsf{\scr 386:jiet} &\tsf{\scr 402:jurx} &\tsf{\scr 418:jjuox} &\tsf{\scr 434:jjyp} &\tsf{\scr 450:kox} &\tsf{\scr 466:lip} &\tsf{\scr 482:lop} &\tsf{\scr 498:mit}\\ +\hline +3&{\Lg\Yjiex} &{\Lg\Yjur} &{\Lg\Yjjuo} &{\Lg\Ykit} &{\Lg\Yko} &{\Lg\Yliet} &{\Lg\Ylex} &{\Lg\Ymix}\\ +&\tsf{\scr 387:jiex} &\tsf{\scr 403:jur} &\tsf{\scr 419:jjuo} &\tsf{\scr 435:kit} &\tsf{\scr 451:ko} &\tsf{\scr 467:liet} &\tsf{\scr 483:lex} &\tsf{\scr 499:mix}\\ +\hline +4&{\Lg\Yjie} &{\Lg\Yjyt} &{\Lg\Yjjuop} &{\Lg\Ykix} &{\Lg\Ykop} &{\Lg\Yliex} &{\Lg\Yle} &{\Lg\Ymi}\\ +&\tsf{\scr 388:jie} &\tsf{\scr 404:jyt} &\tsf{\scr 420:jjuop} &\tsf{\scr 436:kix} &\tsf{\scr 452:kop} &\tsf{\scr 468:liex} &\tsf{\scr 484:le} &\tsf{\scr 500:mi}\\ +\hline +5&{\Lg\Yjiep} &{\Lg\Yjyx} &{\Lg\Yjjot} &{\Lg\Yki} &{\Lg\Yket} &{\Lg\Ylie} &{\Lg\Ylep} &{\Lg\Ymip}\\ +&\tsf{\scr 389:jiep} &\tsf{\scr 405:jyx} &\tsf{\scr 421:jjot} &\tsf{\scr 437:ki} &\tsf{\scr 453:ket} &\tsf{\scr 469:lie} &\tsf{\scr 485:lep} &\tsf{\scr 501:mip}\\ +\hline +6&{\Lg\Yjuot} &{\Lg\Yjy} &{\Lg\Yjjox} &{\Lg\Ykip} &{\Lg\Ykex} &{\Lg\Yliep} &{\Lg\Ylut} &{\Lg\Ymiex}\\ +&\tsf{\scr 390:juot} &\tsf{\scr 406:jy} &\tsf{\scr 422:jjox} &\tsf{\scr 438:kip} &\tsf{\scr 454:kex} &\tsf{\scr 470:liep} &\tsf{\scr 486:lut} &\tsf{\scr 502:miex}\\ +\hline +7&{\Lg\Yjuox} &{\Lg\Yjyp} &{\Lg\Yjjo} &{\Lg\Ykiex} &{\Lg\Yke} &{\Lg\Ylat} &{\Lg\Ylux} &{\Lg\Ymie}\\ +&\tsf{\scr 391:juox} &\tsf{\scr 407:jyp} &\tsf{\scr 423:jjo} &\tsf{\scr 439:kiex} &\tsf{\scr 455:ke} &\tsf{\scr 471:lat} &\tsf{\scr 487:lux} &\tsf{\scr 503:mie}\\ +\hline +8&{\Lg\Yjuo} &{\Lg\Yjyrx} &{\Lg\Yjjop} &{\Lg\Ykie} &{\Lg\Ykep} &{\Lg\Ylax} &{\Lg\Ylu} &{\Lg\Ymiep}\\ +&\tsf{\scr 392:juo} &\tsf{\scr 408:jyrx} &\tsf{\scr 424:jjop} &\tsf{\scr 440:kie} &\tsf{\scr 456:kep} &\tsf{\scr 472:lax} &\tsf{\scr 488:lu} &\tsf{\scr 504:miep}\\ +\hline +9&{\Lg\Yjuop} &{\Lg\Yjyr} &{\Lg\Yjjut} &{\Lg\Ykiep} &{\Lg\Ykut} &{\Lg\Yla} &{\Lg\Ylup} &{\Lg\Ymat}\\ +&\tsf{\scr 393:juop} &\tsf{\scr 409:jyr} &\tsf{\scr 425:jjut} &\tsf{\scr 441:kiep} &\tsf{\scr 457:kut} &\tsf{\scr 473:la} &\tsf{\scr 489:lup} &\tsf{\scr 505:mat}\\ +\hline +A&{\Lg\Yjot} &{\Lg\Yjjit} &{\Lg\Yjjux} &{\Lg\Ykat} &{\Lg\Ykux} &{\Lg\Ylap} &{\Lg\Ylurx} &{\Lg\Ymax}\\ +&\tsf{\scr 394:jot} &\tsf{\scr 410:jjit} &\tsf{\scr 426:jjux} &\tsf{\scr 442:kat} &\tsf{\scr 458:kux} &\tsf{\scr 474:lap} &\tsf{\scr 490:lurx} &\tsf{\scr 506:max}\\ +\hline +B&{\Lg\Yjox} &{\Lg\Yjjix} &{\Lg\Yjju} &{\Lg\Ykax} &{\Lg\Yku} &{\Lg\Yluot} &{\Lg\Ylur} &{\Lg\Yma}\\ +&\tsf{\scr 395:jox} &\tsf{\scr 411:jjix} &\tsf{\scr 427:jju} &\tsf{\scr 443:kax} &\tsf{\scr 459:ku} &\tsf{\scr 475:luot} &\tsf{\scr 491:lur} &\tsf{\scr 507:ma}\\ +\hline +C&{\Lg\Yjo} &{\Lg\Yjji} &{\Lg\Yjjup} &{\Lg\Yka} &{\Lg\Ykup} &{\Lg\Yluox} &{\Lg\Ylyt} &{\Lg\Ymap}\\ +&\tsf{\scr 396:jo} &\tsf{\scr 412:jji} &\tsf{\scr 428:jjup} &\tsf{\scr 444:ka} &\tsf{\scr 460:kup} &\tsf{\scr 476:luox} &\tsf{\scr 492:lyt} &\tsf{\scr 508:map}\\ +\hline +D&{\Lg\Yjop} &{\Lg\Yjjip} &{\Lg\Yjjurx} &{\Lg\Ykap} &{\Lg\Ykurx} &{\Lg\Yluo} &{\Lg\Ylyx} &{\Lg\Ymuot}\\ +&\tsf{\scr 397:jop} &\tsf{\scr 413:jjip} &\tsf{\scr 429:jjurx} &\tsf{\scr 445:kap} &\tsf{\scr 461:kurx} &\tsf{\scr 477:luo} &\tsf{\scr 493:lyx} &\tsf{\scr 509:muot}\\ +\hline +E&{\Lg\Yjut} &{\Lg\Yjjiet} &{\Lg\Yjjur} &{\Lg\Ykuox} &{\Lg\Ykur} &{\Lg\Yluop} &{\Lg\Yly} &{\Lg\Ymuox}\\ +&\tsf{\scr 398:jut} &\tsf{\scr 414:jjiet} &\tsf{\scr 430:jjur} &\tsf{\scr 446:kuox} &\tsf{\scr 462:kur} &\tsf{\scr 478:luop} &\tsf{\scr 494:ly} &\tsf{\scr 510:muox}\\ +\hline +F&{\Lg\Yjux} &{\Lg\Yjjiex} &{\Lg\Yjjyt} &{\Lg\Ykuo} &{\Lg\Ylit} &{\Lg\Ylot} &{\Lg\Ylyp} &{\Lg\Ymuo}\\ +&\tsf{\scr 399:jux} &\tsf{\scr 415:jjiex} &\tsf{\scr 431:jjyt} &\tsf{\scr 447:kuo} &\tsf{\scr 463:lit} &\tsf{\scr 479:lot} &\tsf{\scr 495:lyp} &\tsf{\scr 511:muo}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 5 --- Row A2: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A20 &A21 &A22 &A23 &A24 &A25 &A26 &A27\\ \hline +0&{\Lg\Ymuop} &{\Lg\Ymyp} &{\Lg\Ymgep} &{\Lg\Ynap} &{\Lg\Ynur} &{\Lg\Ynbut} &{\Lg\Yndiex} &{\Lg\Yndup}\\ +&\tsf{\scr 512:muop} &\tsf{\scr 528:myp} &\tsf{\scr 544:mgep} &\tsf{\scr 560:nap} &\tsf{\scr 576:nur} &\tsf{\scr 592:nbut} &\tsf{\scr 608:ndiex} &\tsf{\scr 624:ndup}\\ +\hline +1&{\Lg\Ymot} &{\Lg\Ymgiex} &{\Lg\Ymgut} &{\Lg\Ynuox} &{\Lg\Ynbit} &{\Lg\Ynbux} &{\Lg\Yndie} &{\Lg\Yndurx}\\ +&\tsf{\scr 513:mot} &\tsf{\scr 529:mgiex} &\tsf{\scr 545:mgut} &\tsf{\scr 561:nuox} &\tsf{\scr 577:nbit} &\tsf{\scr 593:nbux} &\tsf{\scr 609:ndie} &\tsf{\scr 625:ndurx}\\ +\hline +2&{\Lg\Ymox} &{\Lg\Ymgie} &{\Lg\Ymgux} &{\Lg\Ynuo} &{\Lg\Ynbix} &{\Lg\Ynbu} &{\Lg\Yndat} &{\Lg\Yndur}\\ +&\tsf{\scr 514:mox} &\tsf{\scr 530:mgie} &\tsf{\scr 546:mgux} &\tsf{\scr 562:nuo} &\tsf{\scr 578:nbix} &\tsf{\scr 594:nbu} &\tsf{\scr 610:ndat} &\tsf{\scr 626:ndur}\\ +\hline +3&{\Lg\Ymo} &{\Lg\Ymgat} &{\Lg\Ymgu} &{\Lg\Ynuop} &{\Lg\Ynbi} &{\Lg\Ynbup} &{\Lg\Yndax} &{\Lg\Yngiex}\\ +&\tsf{\scr 515:mo} &\tsf{\scr 531:mgat} &\tsf{\scr 547:mgu} &\tsf{\scr 563:nuop} &\tsf{\scr 579:nbi} &\tsf{\scr 595:nbup} &\tsf{\scr 611:ndax} &\tsf{\scr 627:ngiex}\\ +\hline +4&{\Lg\Ymop} &{\Lg\Ymgax} &{\Lg\Ymgup} &{\Lg\Ynot} &{\Lg\Ynbip} &{\Lg\Ynburx} &{\Lg\Ynda} &{\Lg\Yngie}\\ +&\tsf{\scr 516:mop} &\tsf{\scr 532:mgax} &\tsf{\scr 548:mgup} &\tsf{\scr 564:not} &\tsf{\scr 580:nbip} &\tsf{\scr 596:nburx} &\tsf{\scr 612:nda} &\tsf{\scr 628:ngie}\\ +\hline +5&{\Lg\Ymex} &{\Lg\Ymga} &{\Lg\Ymgurx} &{\Lg\Ynox} &{\Lg\Ynbiex} &{\Lg\Ynbur} &{\Lg\Yndap} &{\Lg\Yngiep}\\ +&\tsf{\scr 517:mex} &\tsf{\scr 533:mga} &\tsf{\scr 549:mgurx} &\tsf{\scr 565:nox} &\tsf{\scr 581:nbiex} &\tsf{\scr 597:nbur} &\tsf{\scr 613:ndap} &\tsf{\scr 629:ngiep}\\ +\hline +6&{\Lg\Yme} &{\Lg\Ymgap} &{\Lg\Ymgur} &{\Lg\Yno} &{\Lg\Ynbie} &{\Lg\Ynbyt} &{\Lg\Yndot} &{\Lg\Yngat}\\ +&\tsf{\scr 518:me} &\tsf{\scr 534:mgap} &\tsf{\scr 550:mgur} &\tsf{\scr 566:no} &\tsf{\scr 582:nbie} &\tsf{\scr 598:nbyt} &\tsf{\scr 614:ndot} &\tsf{\scr 630:ngat}\\ +\hline +7&{\Lg\Ymut} &{\Lg\Ymguox} &{\Lg\Ynit} &{\Lg\Ynop} &{\Lg\Ynbiep} &{\Lg\Ynbyx} &{\Lg\Yndox} &{\Lg\Yngax}\\ +&\tsf{\scr 519:mut} &\tsf{\scr 535:mguox} &\tsf{\scr 551:nit} &\tsf{\scr 567:nop} &\tsf{\scr 583:nbiep} &\tsf{\scr 599:nbyx} &\tsf{\scr 615:ndox} &\tsf{\scr 631:ngax}\\ +\hline +8&{\Lg\Ymux} &{\Lg\Ymguo} &{\Lg\Ynix} &{\Lg\Ynex} &{\Lg\Ynbat} &{\Lg\Ynby} &{\Lg\Yndo} &{\Lg\Ynga}\\ +&\tsf{\scr 520:mux} &\tsf{\scr 536:mguo} &\tsf{\scr 552:nix} &\tsf{\scr 568:nex} &\tsf{\scr 584:nbat} &\tsf{\scr 600:nby} &\tsf{\scr 616:ndo} &\tsf{\scr 632:nga}\\ +\hline +9&{\Lg\Ymu} &{\Lg\Ymguop} &{\Lg\Yni} &{\Lg\Yne} &{\Lg\Ynbax} &{\Lg\Ynbyp} &{\Lg\Yndop} &{\Lg\Yngap}\\ +&\tsf{\scr 521:mu} &\tsf{\scr 537:mguop} &\tsf{\scr 553:ni} &\tsf{\scr 569:ne} &\tsf{\scr 585:nbax} &\tsf{\scr 601:nbyp} &\tsf{\scr 617:ndop} &\tsf{\scr 633:ngap}\\ +\hline +A&{\Lg\Ymup} &{\Lg\Ymgot} &{\Lg\Ynip} &{\Lg\Ynep} &{\Lg\Ynba} &{\Lg\Ynbyrx} &{\Lg\Yndex} &{\Lg\Ynguot}\\ +&\tsf{\scr 522:mup} &\tsf{\scr 538:mgot} &\tsf{\scr 554:nip} &\tsf{\scr 570:nep} &\tsf{\scr 586:nba} &\tsf{\scr 602:nbyrx} &\tsf{\scr 618:ndex} &\tsf{\scr 634:nguot}\\ +\hline +B&{\Lg\Ymurx} &{\Lg\Ymgox} &{\Lg\Yniex} &{\Lg\Ynut} &{\Lg\Ynbap} &{\Lg\Ynbyr} &{\Lg\Ynde} &{\Lg\Ynguox}\\ +&\tsf{\scr 523:murx} &\tsf{\scr 539:mgox} &\tsf{\scr 555:niex} &\tsf{\scr 571:nut} &\tsf{\scr 587:nbap} &\tsf{\scr 603:nbyr} &\tsf{\scr 619:nde} &\tsf{\scr 635:nguox}\\ +\hline +C&{\Lg\Ymur} &{\Lg\Ymgo} &{\Lg\Ynie} &{\Lg\Ynux} &{\Lg\Ynbot} &{\Lg\Yndit} &{\Lg\Yndep} &{\Lg\Ynguo}\\ +&\tsf{\scr 524:mur} &\tsf{\scr 540:mgo} &\tsf{\scr 556:nie} &\tsf{\scr 572:nux} &\tsf{\scr 588:nbot} &\tsf{\scr 604:ndit} &\tsf{\scr 620:ndep} &\tsf{\scr 636:nguo}\\ +\hline +D&{\Lg\Ymyt} &{\Lg\Ymgop} &{\Lg\Yniep} &{\Lg\Ynu} &{\Lg\Ynbox} &{\Lg\Yndix} &{\Lg\Yndut} &{\Lg\Yngot}\\ +&\tsf{\scr 525:myt} &\tsf{\scr 541:mgop} &\tsf{\scr 557:niep} &\tsf{\scr 573:nu} &\tsf{\scr 589:nbox} &\tsf{\scr 605:ndix} &\tsf{\scr 621:ndut} &\tsf{\scr 637:ngot}\\ +\hline +E&{\Lg\Ymyx} &{\Lg\Ymgex} &{\Lg\Ynax} &{\Lg\Ynup} &{\Lg\Ynbo} &{\Lg\Yndi} &{\Lg\Yndux} &{\Lg\Yngox}\\ +&\tsf{\scr 526:myx} &\tsf{\scr 542:mgex} &\tsf{\scr 558:nax} &\tsf{\scr 574:nup} &\tsf{\scr 590:nbo} &\tsf{\scr 606:ndi} &\tsf{\scr 622:ndux} &\tsf{\scr 638:ngox}\\ +\hline +F&{\Lg\Ymy} &{\Lg\Ymge} &{\Lg\Yna} &{\Lg\Ynurx} &{\Lg\Ynbop} &{\Lg\Yndip} &{\Lg\Yndu} &{\Lg\Yngo}\\ +&\tsf{\scr 527:my} &\tsf{\scr 543:mge} &\tsf{\scr 559:na} &\tsf{\scr 575:nurx} &\tsf{\scr 591:nbop} &\tsf{\scr 607:ndip} &\tsf{\scr 623:ndu} &\tsf{\scr 639:ngo}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 6 --- Row A2: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A28 &A29 &A2A &A2B &A2C &A2D &A2E &A2F\\ \hline +0&{\Lg\Yngop} &{\Lg\Ynzuo} &{\Lg\Ynrat} &{\Lg\Ynrur} &{\Lg\Ynjuo} &{\Lg\Ynyit} &{\Lg\Ynyux} &{\Lg\Ypuop}\\ +&\tsf{\scr 640:ngop} &\tsf{\scr 656:nzuo} &\tsf{\scr 672:nrat} &\tsf{\scr 688:nrur} &\tsf{\scr 704:njuo} &\tsf{\scr 720:nyit} &\tsf{\scr 736:nyux} &\tsf{\scr 752:puop}\\ +\hline +1&{\Lg\Yngex} &{\Lg\Ynzox} &{\Lg\Ynrax} &{\Lg\Ynryt} &{\Lg\Ynjot} &{\Lg\Ynyix} &{\Lg\Ynyu} &{\Lg\Ypot}\\ +&\tsf{\scr 641:ngex} &\tsf{\scr 657:nzox} &\tsf{\scr 673:nrax} &\tsf{\scr 689:nryt} &\tsf{\scr 705:njot} &\tsf{\scr 721:nyix} &\tsf{\scr 737:nyu} &\tsf{\scr 753:pot}\\ +\hline +2&{\Lg\Ynge} &{\Lg\Ynzop} &{\Lg\Ynra} &{\Lg\Ynryx} &{\Lg\Ynjox} &{\Lg\Ynyi} &{\Lg\Ynyup} &{\Lg\Ypox}\\ +&\tsf{\scr 642:nge} &\tsf{\scr 658:nzop} &\tsf{\scr 674:nra} &\tsf{\scr 690:nryx} &\tsf{\scr 706:njox} &\tsf{\scr 722:nyi} &\tsf{\scr 738:nyup} &\tsf{\scr 754:pox}\\ +\hline +3&{\Lg\Yngep} &{\Lg\Ynzex} &{\Lg\Ynrap} &{\Lg\Ynry} &{\Lg\Ynjo} &{\Lg\Ynyip} &{\Lg\Ypit} &{\Lg\Ypo}\\ +&\tsf{\scr 643:ngep} &\tsf{\scr 659:nzex} &\tsf{\scr 675:nrap} &\tsf{\scr 691:nry} &\tsf{\scr 707:njo} &\tsf{\scr 723:nyip} &\tsf{\scr 739:pit} &\tsf{\scr 755:po}\\ +\hline +4&{\Lg\Ynzit} &{\Lg\Ynze} &{\Lg\Ynrox} &{\Lg\Ynryp} &{\Lg\Ynjop} &{\Lg\Ynyiet} &{\Lg\Ypix} &{\Lg\Ypop}\\ +&\tsf{\scr 644:nzit} &\tsf{\scr 660:nze} &\tsf{\scr 676:nrox} &\tsf{\scr 692:nryp} &\tsf{\scr 708:njop} &\tsf{\scr 724:nyiet} &\tsf{\scr 740:pix} &\tsf{\scr 756:pop}\\ +\hline +5&{\Lg\Ynzix} &{\Lg\Ynzux} &{\Lg\Ynro} &{\Lg\Ynryrx} &{\Lg\Ynjux} &{\Lg\Ynyiex} &{\Lg\Ypi} &{\Lg\Yput}\\ +&\tsf{\scr 645:nzix} &\tsf{\scr 661:nzux} &\tsf{\scr 677:nro} &\tsf{\scr 693:nryrx} &\tsf{\scr 709:njux} &\tsf{\scr 725:nyiex} &\tsf{\scr 741:pi} &\tsf{\scr 757:put}\\ +\hline +6&{\Lg\Ynzi} &{\Lg\Ynzu} &{\Lg\Ynrop} &{\Lg\Ynryr} &{\Lg\Ynju} &{\Lg\Ynyie} &{\Lg\Ypip} &{\Lg\Ypux}\\ +&\tsf{\scr 646:nzi} &\tsf{\scr 662:nzu} &\tsf{\scr 678:nrop} &\tsf{\scr 694:nryr} &\tsf{\scr 710:nju} &\tsf{\scr 726:nyie} &\tsf{\scr 742:pip} &\tsf{\scr 758:pux}\\ +\hline +7&{\Lg\Ynzip} &{\Lg\Ynzup} &{\Lg\Ynret} &{\Lg\Ynjit} &{\Lg\Ynjup} &{\Lg\Ynyiep} &{\Lg\Ypiex} &{\Lg\Ypu}\\ +&\tsf{\scr 647:nzip} &\tsf{\scr 663:nzup} &\tsf{\scr 679:nret} &\tsf{\scr 695:njit} &\tsf{\scr 711:njup} &\tsf{\scr 727:nyiep} &\tsf{\scr 743:piex} &\tsf{\scr 759:pu}\\ +\hline +8&{\Lg\Ynziex} &{\Lg\Ynzurx} &{\Lg\Ynrex} &{\Lg\Ynjix} &{\Lg\Ynjurx} &{\Lg\Ynyuox} &{\Lg\Ypie} &{\Lg\Ypup}\\ +&\tsf{\scr 648:nziex} &\tsf{\scr 664:nzurx} &\tsf{\scr 680:nrex} &\tsf{\scr 696:njix} &\tsf{\scr 712:njurx} &\tsf{\scr 728:nyuox} &\tsf{\scr 744:pie} &\tsf{\scr 760:pup}\\ +\hline +9&{\Lg\Ynzie} &{\Lg\Ynzur} &{\Lg\Ynre} &{\Lg\Ynji} &{\Lg\Ynjur} &{\Lg\Ynyuo} &{\Lg\Ypiep} &{\Lg\Ypurx}\\ +&\tsf{\scr 649:nzie} &\tsf{\scr 665:nzur} &\tsf{\scr 681:nre} &\tsf{\scr 697:nji} &\tsf{\scr 713:njur} &\tsf{\scr 729:nyuo} &\tsf{\scr 745:piep} &\tsf{\scr 761:purx}\\ +\hline +A&{\Lg\Ynziep} &{\Lg\Ynzyt} &{\Lg\Ynrep} &{\Lg\Ynjip} &{\Lg\Ynjyt} &{\Lg\Ynyuop} &{\Lg\Ypat} &{\Lg\Ypur}\\ +&\tsf{\scr 650:nziep} &\tsf{\scr 666:nzyt} &\tsf{\scr 682:nrep} &\tsf{\scr 698:njip} &\tsf{\scr 714:njyt} &\tsf{\scr 730:nyuop} &\tsf{\scr 746:pat} &\tsf{\scr 762:pur}\\ +\hline +B&{\Lg\Ynzat} &{\Lg\Ynzyx} &{\Lg\Ynrut} &{\Lg\Ynjiet} &{\Lg\Ynjyx} &{\Lg\Ynyot} &{\Lg\Ypax} &{\Lg\Ypyt}\\ +&\tsf{\scr 651:nzat} &\tsf{\scr 667:nzyx} &\tsf{\scr 683:nrut} &\tsf{\scr 699:njiet} &\tsf{\scr 715:njyx} &\tsf{\scr 731:nyot} &\tsf{\scr 747:pax} &\tsf{\scr 763:pyt}\\ +\hline +C&{\Lg\Ynzax} &{\Lg\Ynzy} &{\Lg\Ynrux} &{\Lg\Ynjiex} &{\Lg\Ynjy} &{\Lg\Ynyox} &{\Lg\Ypa} &{\Lg\Ypyx}\\ +&\tsf{\scr 652:nzax} &\tsf{\scr 668:nzy} &\tsf{\scr 684:nrux} &\tsf{\scr 700:njiex} &\tsf{\scr 716:njy} &\tsf{\scr 732:nyox} &\tsf{\scr 748:pa} &\tsf{\scr 764:pyx}\\ +\hline +D&{\Lg\Ynza} &{\Lg\Ynzyp} &{\Lg\Ynru} &{\Lg\Ynjie} &{\Lg\Ynjyp} &{\Lg\Ynyo} &{\Lg\Ypap} &{\Lg\Ypy}\\ +&\tsf{\scr 653:nza} &\tsf{\scr 669:nzyp} &\tsf{\scr 685:nru} &\tsf{\scr 701:njie} &\tsf{\scr 717:njyp} &\tsf{\scr 733:nyo} &\tsf{\scr 749:pap} &\tsf{\scr 765:py}\\ +\hline +E&{\Lg\Ynzap} &{\Lg\Ynzyrx} &{\Lg\Ynrup} &{\Lg\Ynjiep} &{\Lg\Ynjyrx} &{\Lg\Ynyop} &{\Lg\Ypuox} &{\Lg\Ypyp}\\ +&\tsf{\scr 654:nzap} &\tsf{\scr 670:nzyrx} &\tsf{\scr 686:nrup} &\tsf{\scr 702:njiep} &\tsf{\scr 718:njyrx} &\tsf{\scr 734:nyop} &\tsf{\scr 750:puox} &\tsf{\scr 766:pyp}\\ +\hline +F&{\Lg\Ynzuox} &{\Lg\Ynzyr} &{\Lg\Ynrurx} &{\Lg\Ynjuox} &{\Lg\Ynjyr} &{\Lg\Ynyut} &{\Lg\Ypuo} &{\Lg\Ypyrx}\\ +&\tsf{\scr 655:nzuox} &\tsf{\scr 671:nzyr} &\tsf{\scr 687:nrurx} &\tsf{\scr 703:njuox} &\tsf{\scr 719:njyr} &\tsf{\scr 735:nyut} &\tsf{\scr 751:puo} &\tsf{\scr 767:pyrx}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 7 --- Row A3: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A30 &A31 &A32 &A33 &A34 &A35 &A36 &A37\\ \hline +0&{\Lg\Yxop} &{\Lg\Yqo} &{\Lg\Yra} &{\Lg\Yrurx} &{\Lg\Yrret} &{\Lg\Ysit} &{\Lg\Yso} &{\Lg\Ysyr}\\ +&\tsf{\scr 768:xop} &\tsf{\scr 784:qo} &\tsf{\scr 800:ra} &\tsf{\scr 816:rurx} &\tsf{\scr 832:rret} &\tsf{\scr 848:sit} &\tsf{\scr 864:so} &\tsf{\scr 880:syr}\\ +\hline +1&{\Lg\Ypyr} &{\Lg\Yqop} &{\Lg\Yrap} &{\Lg\Yrur} &{\Lg\Yrrex} &{\Lg\Ysix} &{\Lg\Ysop} &{\Lg\Yssit}\\ +&\tsf{\scr 769:pyr} &\tsf{\scr 785:qop} &\tsf{\scr 801:rap} &\tsf{\scr 817:rur} &\tsf{\scr 833:rrex} &\tsf{\scr 849:six} &\tsf{\scr 865:sop} &\tsf{\scr 881:ssit}\\ +\hline +2&{\Lg\Yqit} &{\Lg\Yqut} &{\Lg\Yruox} &{\Lg\Yryt} &{\Lg\Yrre} &{\Lg\Ysi} &{\Lg\Ysex} &{\Lg\Yssix}\\ +&\tsf{\scr 770:qit} &\tsf{\scr 786:qut} &\tsf{\scr 802:ruox} &\tsf{\scr 818:ryt} &\tsf{\scr 834:rre} &\tsf{\scr 850:si} &\tsf{\scr 866:sex} &\tsf{\scr 882:ssix}\\ +\hline +3&{\Lg\Yqix} &{\Lg\Yqux} &{\Lg\Yruo} &{\Lg\Yryx} &{\Lg\Yrrep} &{\Lg\Ysip} &{\Lg\Yse} &{\Lg\Yssi}\\ +&\tsf{\scr 771:qix} &\tsf{\scr 787:qux} &\tsf{\scr 803:ruo} &\tsf{\scr 819:ryx} &\tsf{\scr 835:rrep} &\tsf{\scr 851:sip} &\tsf{\scr 867:se} &\tsf{\scr 883:ssi}\\ +\hline +4&{\Lg\Yqi} &{\Lg\Yqu} &{\Lg\Yruop} &{\Lg\Yry} &{\Lg\Yrrut} &{\Lg\Ysiex} &{\Lg\Ysep} &{\Lg\Yssip}\\ +&\tsf{\scr 772:qi} &\tsf{\scr 788:qu} &\tsf{\scr 804:ruop} &\tsf{\scr 820:ry} &\tsf{\scr 836:rrut} &\tsf{\scr 852:siex} &\tsf{\scr 868:sep} &\tsf{\scr 884:ssip}\\ +\hline +5&{\Lg\Yqip} &{\Lg\Yqup} &{\Lg\Yrot} &{\Lg\Yryp} &{\Lg\Yrrux} &{\Lg\Ysie} &{\Lg\Ysut} &{\Lg\Yssiex}\\ +&\tsf{\scr 773:qip} &\tsf{\scr 789:qup} &\tsf{\scr 805:rot} &\tsf{\scr 821:ryp} &\tsf{\scr 837:rrux} &\tsf{\scr 853:sie} &\tsf{\scr 869:sut} &\tsf{\scr 885:ssiex}\\ +\hline +6&{\Lg\Yqiet} &{\Lg\Yqurx} &{\Lg\Yrox} &{\Lg\Yryrx} &{\Lg\Yrru} &{\Lg\Ysiep} &{\Lg\Ysux} &{\Lg\Yssie}\\ +&\tsf{\scr 774:qiet} &\tsf{\scr 790:qurx} &\tsf{\scr 806:rox} &\tsf{\scr 822:ryrx} &\tsf{\scr 838:rru} &\tsf{\scr 854:siep} &\tsf{\scr 870:sux} &\tsf{\scr 886:ssie}\\ +\hline +7&{\Lg\Yqiex} &{\Lg\Yqur} &{\Lg\Yro} &{\Lg\Yryr} &{\Lg\Yrrup} &{\Lg\Ysat} &{\Lg\Ysu} &{\Lg\Yssiep}\\ +&\tsf{\scr 775:qiex} &\tsf{\scr 791:qur} &\tsf{\scr 807:ro} &\tsf{\scr 823:ryr} &\tsf{\scr 839:rrup} &\tsf{\scr 855:sat} &\tsf{\scr 871:su} &\tsf{\scr 887:ssiep}\\ +\hline +8&{\Lg\Yqie} &{\Lg\Yqyt} &{\Lg\Yrop} &{\Lg\Yrrax} &{\Lg\Yrrurx} &{\Lg\Ysax} &{\Lg\Ysup} &{\Lg\Yssat}\\ +&\tsf{\scr 776:qie} &\tsf{\scr 792:qyt} &\tsf{\scr 808:rop} &\tsf{\scr 824:rrax} &\tsf{\scr 840:rrurx} &\tsf{\scr 856:sax} &\tsf{\scr 872:sup} &\tsf{\scr 888:ssat}\\ +\hline +9&{\Lg\Yqiep} &{\Lg\Yqyx} &{\Lg\Yrex} &{\Lg\Yrra} &{\Lg\Yrrur} &{\Lg\Ysa} &{\Lg\Ysurx} &{\Lg\Yssax}\\ +&\tsf{\scr 777:qiep} &\tsf{\scr 793:qyx} &\tsf{\scr 809:rex} &\tsf{\scr 825:rra} &\tsf{\scr 841:rrur} &\tsf{\scr 857:sa} &\tsf{\scr 873:surx} &\tsf{\scr 889:ssax}\\ +\hline +A&{\Lg\Yquot} &{\Lg\Yqy} &{\Lg\Yre} &{\Lg\Yrruox} &{\Lg\Yrryt} &{\Lg\Ysap} &{\Lg\Ysur} &{\Lg\Yssa}\\ +&\tsf{\scr 778:quot} &\tsf{\scr 794:qy} &\tsf{\scr 810:re} &\tsf{\scr 826:rruox} &\tsf{\scr 842:rryt} &\tsf{\scr 858:sap} &\tsf{\scr 874:sur} &\tsf{\scr 890:ssa}\\ +\hline +B&{\Lg\Yquox} &{\Lg\Yqyp} &{\Lg\Yrep} &{\Lg\Yrruo} &{\Lg\Yrryx} &{\Lg\Ysuox} &{\Lg\Ysyt} &{\Lg\Yssap}\\ +&\tsf{\scr 779:quox} &\tsf{\scr 795:qyp} &\tsf{\scr 811:rep} &\tsf{\scr 827:rruo} &\tsf{\scr 843:rryx} &\tsf{\scr 859:suox} &\tsf{\scr 875:syt} &\tsf{\scr 891:ssap}\\ +\hline +C&{\Lg\Yquo} &{\Lg\Yqyrx} &{\Lg\Yrut} &{\Lg\Yrrot} &{\Lg\Yrry} &{\Lg\Ysuo} &{\Lg\Ysyx} &{\Lg\Yssot}\\ +&\tsf{\scr 780:quo} &\tsf{\scr 796:qyrx} &\tsf{\scr 812:rut} &\tsf{\scr 828:rrot} &\tsf{\scr 844:rry} &\tsf{\scr 860:suo} &\tsf{\scr 876:syx} &\tsf{\scr 892:ssot}\\ +\hline +D&{\Lg\Yquop} &{\Lg\Yqyr} &{\Lg\Yrux} &{\Lg\Yrrox} &{\Lg\Yrryp} &{\Lg\Ysuop} &{\Lg\Ysy} &{\Lg\Yssox}\\ +&\tsf{\scr 781:quop} &\tsf{\scr 797:qyr} &\tsf{\scr 813:rux} &\tsf{\scr 829:rrox} &\tsf{\scr 845:rryp} &\tsf{\scr 861:suop} &\tsf{\scr 877:sy} &\tsf{\scr 893:ssox}\\ +\hline +E&{\Lg\Yqot} &{\Lg\Yrat} &{\Lg\Yru} &{\Lg\Yrro} &{\Lg\Yrryrx} &{\Lg\Ysot} &{\Lg\Ysyp} &{\Lg\Ysso}\\ +&\tsf{\scr 782:qot} &\tsf{\scr 798:rat} &\tsf{\scr 814:ru} &\tsf{\scr 830:rro} &\tsf{\scr 846:rryrx} &\tsf{\scr 862:sot} &\tsf{\scr 878:syp} &\tsf{\scr 894:sso}\\ +\hline +F&{\Lg\Yqox} &{\Lg\Yrax} &{\Lg\Yrup} &{\Lg\Yrrop} &{\Lg\Yrryr} &{\Lg\Ysox} &{\Lg\Ysyrx} &{\Lg\Yssop}\\ +&\tsf{\scr 783:qox} &\tsf{\scr 799:rax} &\tsf{\scr 815:rup} &\tsf{\scr 831:rrop} &\tsf{\scr 847:rryr} &\tsf{\scr 863:sox} &\tsf{\scr 879:syrx} &\tsf{\scr 895:ssop}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 8 --- Row A3: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A38 &A39 &A3A &A3B &A3C &A3D &A3E &A3F\\ \hline +0&{\Lg\Yssex} &{\Lg\Yshap} &{\Lg\Yshurx} &{\Lg\Ytax} &{\Lg\Ytu} &{\Lg\Yvot} &{\Lg\Yvyrx} &{\Lg\Yxix}\\ +&\tsf{\scr 896:ssex} &\tsf{\scr 912:shap} &\tsf{\scr 928:shurx} &\tsf{\scr 944:tax} &\tsf{\scr 960:tu} &\tsf{\scr 976:vot} &\tsf{\scr 992:vyrx} &\tsf{\scr 1008:xix}\\ +\hline +1&{\Lg\Ysse} &{\Lg\Yshuox} &{\Lg\Yshur} &{\Lg\Yta} &{\Lg\Ytup} &{\Lg\Yvox} &{\Lg\Yvyr} &{\Lg\Yxi}\\ +&\tsf{\scr 897:sse} &\tsf{\scr 913:shuox} &\tsf{\scr 929:shur} &\tsf{\scr 945:ta} &\tsf{\scr 961:tup} &\tsf{\scr 977:vox} &\tsf{\scr 993:vyr} &\tsf{\scr 1009:xi}\\ +\hline +2&{\Lg\Yssep} &{\Lg\Yshuo} &{\Lg\Yshyt} &{\Lg\Ytap} &{\Lg\Yturx} &{\Lg\Yvo} &{\Lg\Ywat} &{\Lg\Yxip}\\ +&\tsf{\scr 898:ssep} &\tsf{\scr 914:shuo} &\tsf{\scr 930:shyt} &\tsf{\scr 946:tap} &\tsf{\scr 962:turx} &\tsf{\scr 978:vo} &\tsf{\scr 994:wat} &\tsf{\scr 1010:xip}\\ +\hline +3&{\Lg\Yssut} &{\Lg\Yshuop} &{\Lg\Yshyx} &{\Lg\Ytuot} &{\Lg\Ytur} &{\Lg\Yvop} &{\Lg\Ywax} &{\Lg\Yxiet}\\ +&\tsf{\scr 899:ssut} &\tsf{\scr 915:shuop} &\tsf{\scr 931:shyx} &\tsf{\scr 947:tuot} &\tsf{\scr 963:tur} &\tsf{\scr 979:vop} &\tsf{\scr 995:wax} &\tsf{\scr 1011:xiet}\\ +\hline +4&{\Lg\Yssux} &{\Lg\Yshot} &{\Lg\Yshy} &{\Lg\Ytuox} &{\Lg\Yvit} &{\Lg\Yvex} &{\Lg\Ywa} &{\Lg\Yxiex}\\ +&\tsf{\scr 900:ssux} &\tsf{\scr 916:shot} &\tsf{\scr 932:shy} &\tsf{\scr 948:tuox} &\tsf{\scr 964:vit} &\tsf{\scr 980:vex} &\tsf{\scr 996:wa} &\tsf{\scr 1012:xiex}\\ +\hline +5&{\Lg\Yssu} &{\Lg\Yshox} &{\Lg\Yshyp} &{\Lg\Ytuo} &{\Lg\Yvix} &{\Lg\Yvep} &{\Lg\Ywap} &{\Lg\Yxie}\\ +&\tsf{\scr 901:ssu} &\tsf{\scr 917:shox} &\tsf{\scr 933:shyp} &\tsf{\scr 949:tuo} &\tsf{\scr 965:vix} &\tsf{\scr 981:vep} &\tsf{\scr 997:wap} &\tsf{\scr 1013:xie}\\ +\hline +6&{\Lg\Yssup} &{\Lg\Ysho} &{\Lg\Yshyrx} &{\Lg\Ytuop} &{\Lg\Yvi} &{\Lg\Yvut} &{\Lg\Ywuox} &{\Lg\Yxiep}\\ +&\tsf{\scr 902:ssup} &\tsf{\scr 918:sho} &\tsf{\scr 934:shyrx} &\tsf{\scr 950:tuop} &\tsf{\scr 966:vi} &\tsf{\scr 982:vut} &\tsf{\scr 998:wuox} &\tsf{\scr 1014:xiep}\\ +\hline +7&{\Lg\Yssyt} &{\Lg\Yshop} &{\Lg\Yshyr} &{\Lg\Ytot} &{\Lg\Yvip} &{\Lg\Yvux} &{\Lg\Ywuo} &{\Lg\Yxuox}\\ +&\tsf{\scr 903:ssyt} &\tsf{\scr 919:shop} &\tsf{\scr 935:shyr} &\tsf{\scr 951:tot} &\tsf{\scr 967:vip} &\tsf{\scr 983:vux} &\tsf{\scr 999:wuo} &\tsf{\scr 1015:xuox}\\ +\hline +8&{\Lg\Yssyx} &{\Lg\Yshet} &{\Lg\Ytit} &{\Lg\Ytox} &{\Lg\Yviet} &{\Lg\Yvu} &{\Lg\Ywuop} &{\Lg\Yxuo}\\ +&\tsf{\scr 904:ssyx} &\tsf{\scr 920:shet} &\tsf{\scr 936:tit} &\tsf{\scr 952:tox} &\tsf{\scr 968:viet} &\tsf{\scr 984:vu} &\tsf{\scr 1000:wuop} &\tsf{\scr 1016:xuo}\\ +\hline +9&{\Lg\Yssy} &{\Lg\Yshex} &{\Lg\Ytix} &{\Lg\Yto} &{\Lg\Yviex} &{\Lg\Yvup} &{\Lg\Ywox} &{\Lg\Yxot}\\ +&\tsf{\scr 905:ssy} &\tsf{\scr 921:shex} &\tsf{\scr 937:tix} &\tsf{\scr 953:to} &\tsf{\scr 969:viex} &\tsf{\scr 985:vup} &\tsf{\scr 1001:wox} &\tsf{\scr 1017:xot}\\ +\hline +A&{\Lg\Yssyp} &{\Lg\Yshe} &{\Lg\Yti} &{\Lg\Ytop} &{\Lg\Yvie} &{\Lg\Yvurx} &{\Lg\Ywo} &{\Lg\Yxox}\\ +&\tsf{\scr 906:ssyp} &\tsf{\scr 922:she} &\tsf{\scr 938:ti} &\tsf{\scr 954:top} &\tsf{\scr 970:vie} &\tsf{\scr 986:vurx} &\tsf{\scr 1002:wo} &\tsf{\scr 1018:xox}\\ +\hline +B&{\Lg\Yssyrx} &{\Lg\Yshep} &{\Lg\Ytip} &{\Lg\Ytex} &{\Lg\Yviep} &{\Lg\Yvur} &{\Lg\Ywop} &{\Lg\Yxo}\\ +&\tsf{\scr 907:ssyrx} &\tsf{\scr 923:shep} &\tsf{\scr 939:tip} &\tsf{\scr 955:tex} &\tsf{\scr 971:viep} &\tsf{\scr 987:vur} &\tsf{\scr 1003:wop} &\tsf{\scr 1019:xo}\\ +\hline +C&{\Lg\Yssyr} &{\Lg\Yshut} &{\Lg\Ytiex} &{\Lg\Yte} &{\Lg\Yvat} &{\Lg\Yvyt} &{\Lg\Ywex} &{\Lg\Yxyt}\\ +&\tsf{\scr 908:ssyr} &\tsf{\scr 924:shut} &\tsf{\scr 940:tiex} &\tsf{\scr 956:te} &\tsf{\scr 972:vat} &\tsf{\scr 988:vyt} &\tsf{\scr 1004:wex} &\tsf{\scr 1020:xyt}\\ +\hline +D&{\Lg\Yshat} &{\Lg\Yshux} &{\Lg\Ytie} &{\Lg\Ytep} &{\Lg\Yvax} &{\Lg\Yvyx} &{\Lg\Ywe} &{\Lg\Yxyx}\\ +&\tsf{\scr 909:shat} &\tsf{\scr 925:shux} &\tsf{\scr 941:tie} &\tsf{\scr 957:tep} &\tsf{\scr 973:vax} &\tsf{\scr 989:vyx} &\tsf{\scr 1005:we} &\tsf{\scr 1021:xyx}\\ +\hline +E&{\Lg\Yshax} &{\Lg\Yshu} &{\Lg\Ytiep} &{\Lg\Ytut} &{\Lg\Yva} &{\Lg\Yvy} &{\Lg\Ywep} &{\Lg\Yxy}\\ +&\tsf{\scr 910:shax} &\tsf{\scr 926:shu} &\tsf{\scr 942:tiep} &\tsf{\scr 958:tut} &\tsf{\scr 974:va} &\tsf{\scr 990:vy} &\tsf{\scr 1006:wep} &\tsf{\scr 1022:xy}\\ +\hline +F&{\Lg\Ysha} &{\Lg\Yshup} &{\Lg\Ytat} &{\Lg\Ytux} &{\Lg\Yvap} &{\Lg\Yvyp} &{\Lg\Yxit} &{\Lg\Yxyp}\\ +&\tsf{\scr 911:sha} &\tsf{\scr 927:shup} &\tsf{\scr 943:tat} &\tsf{\scr 959:tux} &\tsf{\scr 975:vap} &\tsf{\scr 991:vyp} &\tsf{\scr 1007:xit} &\tsf{\scr 1023:xyp}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 9 --- Row A4: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A40 &A41 &A42 &A43 &A44 &A45 &A46 &A47\\ \hline +0&{\Lg\Yxyrx} &{\Lg\Yyo} &{\Lg\Yzi} &{\Lg\Yzex} &{\Lg\Yzzix} &{\Lg\Yzzep} &{\Lg\Yzhuox} &{\Lg\Yzhur}\\ +&\tsf{\scr 1024:xyrx} &\tsf{\scr 1040:yo} &\tsf{\scr 1056:zi} &\tsf{\scr 1072:zex} &\tsf{\scr 1088:zzix} &\tsf{\scr 1104:zzep} &\tsf{\scr 1120:zhuox} &\tsf{\scr 1136:zhur}\\ +\hline +1&{\Lg\Yxyr} &{\Lg\Yyop} &{\Lg\Yzip} &{\Lg\Yze} &{\Lg\Yzzi} &{\Lg\Yzzux} &{\Lg\Yzhuo} &{\Lg\Yzhyt}\\ +&\tsf{\scr 1025:xyr} &\tsf{\scr 1041:yop} &\tsf{\scr 1057:zip} &\tsf{\scr 1073:ze} &\tsf{\scr 1089:zzi} &\tsf{\scr 1105:zzux} &\tsf{\scr 1121:zhuo} &\tsf{\scr 1137:zhyt}\\ +\hline +2&{\Lg\Yyit} &{\Lg\Yyut} &{\Lg\Yziex} &{\Lg\Yzep} &{\Lg\Yzzip} &{\Lg\Yzzu} &{\Lg\Yzhuop} &{\Lg\Yzhyx}\\ +&\tsf{\scr 1026:yit} &\tsf{\scr 1042:yut} &\tsf{\scr 1058:ziex} &\tsf{\scr 1074:zep} &\tsf{\scr 1090:zzip} &\tsf{\scr 1106:zzu} &\tsf{\scr 1122:zhuop} &\tsf{\scr 1138:zhyx}\\ +\hline +3&{\Lg\Yyix} &{\Lg\Yyux} &{\Lg\Yzie} &{\Lg\Yzut} &{\Lg\Yzziet} &{\Lg\Yzzup} &{\Lg\Yzhot} &{\Lg\Yzhy}\\ +&\tsf{\scr 1027:yix} &\tsf{\scr 1043:yux} &\tsf{\scr 1059:zie} &\tsf{\scr 1075:zut} &\tsf{\scr 1091:zziet} &\tsf{\scr 1107:zzup} &\tsf{\scr 1123:zhot} &\tsf{\scr 1139:zhy}\\ +\hline +4&{\Lg\Yyi} &{\Lg\Yyu} &{\Lg\Yziep} &{\Lg\Yzux} &{\Lg\Yzziex} &{\Lg\Yzzurx} &{\Lg\Yzhox} &{\Lg\Yzhyp}\\ +&\tsf{\scr 1028:yi} &\tsf{\scr 1044:yu} &\tsf{\scr 1060:ziep} &\tsf{\scr 1076:zux} &\tsf{\scr 1092:zziex} &\tsf{\scr 1108:zzurx} &\tsf{\scr 1124:zhox} &\tsf{\scr 1140:zhyp}\\ +\hline +5&{\Lg\Yyip} &{\Lg\Yyup} &{\Lg\Yzat} &{\Lg\Yzu} &{\Lg\Yzzie} &{\Lg\Yzzur} &{\Lg\Yzho} &{\Lg\Yzhyrx}\\ +&\tsf{\scr 1029:yip} &\tsf{\scr 1045:yup} &\tsf{\scr 1061:zat} &\tsf{\scr 1077:zu} &\tsf{\scr 1093:zzie} &\tsf{\scr 1109:zzur} &\tsf{\scr 1125:zho} &\tsf{\scr 1141:zhyrx}\\ +\hline +6&{\Lg\Yyiet} &{\Lg\Yyurx} &{\Lg\Yzax} &{\Lg\Yzup} &{\Lg\Yzziep} &{\Lg\Yzzyt} &{\Lg\Yzhop} &{\Lg\Yzhyr}\\ +&\tsf{\scr 1030:yiet} &\tsf{\scr 1046:yurx} &\tsf{\scr 1062:zax} &\tsf{\scr 1078:zup} &\tsf{\scr 1094:zziep} &\tsf{\scr 1110:zzyt} &\tsf{\scr 1126:zhop} &\tsf{\scr 1142:zhyr}\\ +\hline +7&{\Lg\Yyiex} &{\Lg\Yyur} &{\Lg\Yza} &{\Lg\Yzurx} &{\Lg\Yzzat} &{\Lg\Yzzyx} &{\Lg\Yzhet} &{\Lg\Yit}\\ +&\tsf{\scr 1031:yiex} &\tsf{\scr 1047:yur} &\tsf{\scr 1063:za} &\tsf{\scr 1079:zurx} &\tsf{\scr 1095:zzat} &\tsf{\scr 1111:zzyx} &\tsf{\scr 1127:zhet} &\tsf{\scr 1143:it}\\ +\hline +8&{\Lg\Yyie} &{\Lg\Yyyt} &{\Lg\Yzap} &{\Lg\Yzur} &{\Lg\Yzzax} &{\Lg\Yzzy} &{\Lg\Yzhex} &{\Lg\Yix}\\ +&\tsf{\scr 1032:yie} &\tsf{\scr 1048:yyt} &\tsf{\scr 1064:zap} &\tsf{\scr 1080:zur} &\tsf{\scr 1096:zzax} &\tsf{\scr 1112:zzy} &\tsf{\scr 1128:zhex} &\tsf{\scr 1144:ix}\\ +\hline +9&{\Lg\Yyiep} &{\Lg\Yyyx} &{\Lg\Yzuox} &{\Lg\Yzyt} &{\Lg\Yzza} &{\Lg\Yzzyp} &{\Lg\Yzhe} &{\Lg\Yi}\\ +&\tsf{\scr 1033:yiep} &\tsf{\scr 1049:yyx} &\tsf{\scr 1065:zuox} &\tsf{\scr 1081:zyt} &\tsf{\scr 1097:zza} &\tsf{\scr 1113:zzyp} &\tsf{\scr 1129:zhe} &\tsf{\scr 1145:i}\\ +\hline +A&{\Lg\Yyuot} &{\Lg\Yyy} &{\Lg\Yzuo} &{\Lg\Yzyx} &{\Lg\Yzzap} &{\Lg\Yzzyrx} &{\Lg\Yzhep} &{\Lg\Yip}\\ +&\tsf{\scr 1034:yuot} &\tsf{\scr 1050:yy} &\tsf{\scr 1066:zuo} &\tsf{\scr 1082:zyx} &\tsf{\scr 1098:zzap} &\tsf{\scr 1114:zzyrx} &\tsf{\scr 1130:zhep} &\tsf{\scr 1146:ip}\\ +\hline +B&{\Lg\Yyuox} &{\Lg\Yyyp} &{\Lg\Yzuop} &{\Lg\Yzy} &{\Lg\Yzzox} &{\Lg\Yzzyr} &{\Lg\Yzhut} &{\Lg\Yiet}\\ +&\tsf{\scr 1035:yuox} &\tsf{\scr 1051:yyp} &\tsf{\scr 1067:zuop} &\tsf{\scr 1083:zy} &\tsf{\scr 1099:zzox} &\tsf{\scr 1115:zzyr} &\tsf{\scr 1131:zhut} &\tsf{\scr 1147:iet}\\ +\hline +C&{\Lg\Yyuo} &{\Lg\Yyyrx} &{\Lg\Yzot} &{\Lg\Yzyp} &{\Lg\Yzzo} &{\Lg\Yzhat} &{\Lg\Yzhux} &{\Lg\Yiex}\\ +&\tsf{\scr 1036:yuo} &\tsf{\scr 1052:yyrx} &\tsf{\scr 1068:zot} &\tsf{\scr 1084:zyp} &\tsf{\scr 1100:zzo} &\tsf{\scr 1116:zhat} &\tsf{\scr 1132:zhux} &\tsf{\scr 1148:iex}\\ +\hline +D&{\Lg\Yyuop} &{\Lg\Yyyr} &{\Lg\Yzox} &{\Lg\Yzyrx} &{\Lg\Yzzop} &{\Lg\Yzhax} &{\Lg\Yzhu} &{\Lg\Yie}\\ +&\tsf{\scr 1037:yuop} &\tsf{\scr 1053:yyr} &\tsf{\scr 1069:zox} &\tsf{\scr 1085:zyrx} &\tsf{\scr 1101:zzop} &\tsf{\scr 1117:zhax} &\tsf{\scr 1133:zhu} &\tsf{\scr 1149:ie}\\ +\hline +E&{\Lg\Yyot} &{\Lg\Yzit} &{\Lg\Yzo} &{\Lg\Yzyr} &{\Lg\Yzzex} &{\Lg\Yzha} &{\Lg\Yzhup} &{\Lg\Yiep}\\ +&\tsf{\scr 1038:yot} &\tsf{\scr 1054:zit} &\tsf{\scr 1070:zo} &\tsf{\scr 1086:zyr} &\tsf{\scr 1102:zzex} &\tsf{\scr 1118:zha} &\tsf{\scr 1134:zhup} &\tsf{\scr 1150:iep}\\ +\hline +F&{\Lg\Yyox} &{\Lg\Yzix} &{\Lg\Yzop} &{\Lg\Yzzit} &{\Lg\Yzze} &{\Lg\Yzhap} &{\Lg\Yzhurx} &{\Lg\Yat}\\ +&\tsf{\scr 1039:yox} &\tsf{\scr 1055:zix} &\tsf{\scr 1071:zop} &\tsf{\scr 1087:zzit} &\tsf{\scr 1103:zze} &\tsf{\scr 1119:zhap} &\tsf{\scr 1135:zhurx} &\tsf{\scr 1151:at}\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\begin{center}\Large{Table 10 --- Row A4: Yi} +\end{center} +\begin{center}\begin{tabular}{|c|c|c|c|c|c|c|c|c|} +\hline +&A48 &A49 &A4A &A4B &A4C &A4D &A4E &A4F\\ \hline +0&{\Lg\Yax} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1152:ax} & & & & & & &\\ +\hline +1&{\Lg\Ya} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1153:a} & & & & & & &\\ +\hline +2&{\Lg\Yap} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1154:ap} & & & & & & &\\ +\hline +3&{\Lg\Yuox} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1155:uox} & & & & & & &\\ +\hline +4&{\Lg\Yuo} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1156:uo} & & & & & & &\\ +\hline +5&{\Lg\Yuop} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1157:uop} & & & & & & &\\ +\hline +6&{\Lg\Yot} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1158:ot} & & & & & & &\\ +\hline +7&{\Lg\Yox} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1159:ox} & & & & & & &\\ +\hline +8&{\Lg\Yo} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1160:o} & & & & & & &\\ +\hline +9&{\Lg\Yop} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1161:op} & & & & & & &\\ +\hline +A&{\Lg\Yex} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1162:ex} & & & & & & &\\ +\hline +B&{\Lg\Ye} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1163:e} & & & & & & &\\ +\hline +C&{\Lg\Yw} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +&\tsf{\scr 1164:w} & & & & & & &\\ +\hline +D&{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +& & & & & & & &\\ +\hline +E&{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +& & & & & & & &\\ +\hline +F&{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg} &{\Lg}\\ +& & & & & & & &\\ +\hline +\end{tabular} +\end{center} + +%\newpage +\newpage +\end{document} diff --git a/Master/texmf-dist/doc/fonts/yi4latex/yi4latex.tex b/Master/texmf-dist/doc/fonts/yi4latex/yi4latex.tex new file mode 100644 index 00000000000..c7290a372a7 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/yi4latex/yi4latex.tex @@ -0,0 +1,274 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% File: yi4latex.tex +% Date: September 2, 1997 +% Author: Oliver Corff +% (c) 1997 Ulaanbaatar, Beijing, Berlin +% +% A package for providing the Yi script to LaTeX-users. +% +% NB: This package requires LaTeX2e! +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\documentclass[11pt,a4paper]{article} +\usepackage{yi} +\title{\huge\textbf{\Ynuo\Ysu\Ybbur\Yma}\\ + \vspace{.25cm} + \sf Yi for \LaTeX , v.~0.1} +\author{Oliver Corff\protect\footnote{% + The \YiL\ package was developed while receiving + a DFG (German Research Council) grant to which + the author expresses his sincere gratitude.}} +\date{Sep.~2nd, 1997} +\newcommand{\YiL}{\textsf{Yi for \LaTeX}} +\markboth{\YiL}{\YiL} +\pagestyle{myheadings} +\begin{document} +\maketitle +\thispagestyle{myheadings} + +\section{Introduction} +{\YiL} is a package providing the Yi script for \LaTeX\ users. +The Yi live mainly in Sichuan, Yunnan, Guizhou and Guangxi, and +have a population of about 6.5 million (1990). There are various +viewpoints on when the Yi script originated; some scholars claim +this happened during the Tang dynasty, others say it occurred +only during the Ming dynasty, and others again place the date +well back by 6000 years. A detailed summary of arguments is +presented by Ding Chunshou in his treaty (\emph{On Yi})% +\footnote{Ding Chunshou: \emph{Yiwen Lun}. Sichuan Minzu Chubanshe, +Chengdu 1993. ISBN 7-5409-0659-6/H.41} + +The historical Yi script comprised somewhere close to 10,000 +characters which were used in a way similar to Chinese, i.~e.~they +had ideographic properties. Modern Yi, however, takes a radically +different approach: All syllables have a unique sound but no +intrinsic meaning whatsoever. This system was promulgated by the +State Council as Standardized Yi in 1980 and subsequently popularized +by a number of dictionaries, grammars etc. + +The \YiL\ package provides all 1165 Yi syllables as defined in the State +Council decree of 1980, arranged by a consonant order which is a +hybrid between the syllabic arrangement by phonetics and a pure +alphabetical arrangement. This arrangement was not chosen by the +author; it reflects the current status of discussions on creating +ISO and Unicode standards for Yi. If this order is preserved, +the only thing needed for using these fonts in 16-bit environments +is to indicate the offset into this code space. + +Since the number of syllables is so large, five encodings had +to be defined. These are labelled as local encodings: the +series LYA, \dots\ LYE stands for [L]ocal [Y]i, [A] to [E]. + +Regardless of the physical arrangement of the syllables in the font, +the user always has access to all syllables via their syllable name. + + +\section{How to use the Yi package} +This section describes which files are necessary and which commands +are needed for invoking the Yi syllables. + + +\subsection{Necessary files} +The Yi package consists of the following files: +\begin{raggedright} +\begin{description} +\item [Package] The file {\tt yi.sty} provides all necessary + declarations and commands for selecting and entering the + Yi script. Place this file somewhere where your + \LaTeX\ installation will find it. In {\tt emtex} systems, + this could be the path \verb"\emtex\texinput\yi" assuming you + have a subdirectory named \verb"yi" which holds everything + necessary for Yi Language Support. +\item [Fonts] The font files are: + \begin{enumerate} + \item {\tt yir-[1-5].mf}: These are the font drivers + for generating regular typeface. + \item {\tt yib-[1-5].mf}: These are the font drivers + for generating boldface. + \item {\tt yis-[1-5].mf}: These files contain the + individual syllable definitions. + \item {\tt yi[rb]parms.mf}: These files contain the + settings for different typefaces. + \item {\tt yirdefs.mf}: This file contains general + macro definitions used for + the syllable definitions. + \end{enumerate} + These 18 files should + reside in a directory where {\sc Metafont} can find them, e.~g. + \verb"\emtex\mfinput\yi" if using \verb"emtex", or perhaps in + \verb"/usr/local/tex.local/texmf/fonts/source/public/yi/" when + using \verb"teTeX". + +\item [Font Metrics] The ten font metrics files {\tt yi[rb]-[1-5].tfm} + go into \verb"\emtex\tfm\yi" or + \verb"/usr/local/tex.local/texmf/fonts/tfm/yi/". + +\item [Documentation] There are two files, a character table + named \verb"yi-table.tex" and a description of the + package named {\tt yi4latex.tex}. You are reading it at + the moment. Both files can be placed in the same + directory as {\tt yi.sty} or in a separate directory in the + \verb"\emtex\doc" branch, or in + \verb"/usr/local/tex.local/texmf/doc/". +\end{description} +\end{raggedright} + +\subsection{Declarations and Input Methods} +In order to use the Yi script, the document preamble +must contain the declaration \verb"\usepackage{yi}". This +is the only necessary step. + +Entering Yi syllables into any text is straightforward. In the +\YiL\ package, all syllable names are defined as text commands. +The syllable names are prefixed by \verb"\Y". Two typefaces, +regular and boldface, are supported, and they are addressed as +in any textmode. Thus, the title +of this paper is generated with the following commands: +\begin{center} + regular: \verb"\Ynuo\Ysu\Ybbur\Yma" \\ + \Ynuo\Ysu\Ybbur\Yma \\ + boldface: \verb"{\textbf{\Ynuo\Ysu\Ybbur\Yma}}" \\ + {\Large\textbf{\Ynuo\Ysu\Ybbur\Yma}}\\ +\end{center} + +Instead of stating \verb"\Y"\emph{syllable} it is also possible +to use the form \verb"\Y{"\emph{syllable}\verb"}". + +Besides that, the Yi numbers can be entered with the commands +\verb"\YOne", \verb"YTwo", \verb"\YThree" up to \verb"\YTen": +\YOne, \YTwo, \YThree, \YFour, \YFive, \YSix, \YSeven, \YEight, +\YNine\ and \YTen. + +Another command is useful when writing about Yi (rather than in Yi): +The pronounciation of each syllable can be attached to that syllable +by saying \verb"\YP{"\emph{syllable}\verb"}": +\begin{center} + Input: \verb"\YP{nuo}\YP{su}\YP{bbur}\YP{ma}" \\ + Result: \YP{nuo}\YP{su}\YP{bbur}\YP{ma} \\ +\end{center} +The text example on the next page shows the result of applying this +command to a whole text. + +The syllable reduplication mark \YP{wu} can also be entered as \YP{w}. +This is done intentionally. + +\section{Known Problems} + +There seems to be only one genuine problem so far: In \TeX\ +environments which do not go through PostScript to generate +printer output, e.~g.~\verb"emtex", it is possible that downloading +a large amount of large character bitmaps into the printer can cause +a printer memory overflow. This happened with a Hewlett-Packard +LaserJet IV when trying to print the whole font table (comprising +1165 characters) with Yi characters set at \verb"|\Huge". The remedy +is simple: Print until the printer complains and gives up, and start +a new printing job with the first page set to where the printer died +on the last job. This will take you safely through the rest of your +printing job. + + +\section{Legal Status} + +The \YiL\ package is protected by copyright: it is not in the public +domain. Non-commercial, academic and private use is permitted; +commercial parties willing to use \YiL\ are requested to obtain a licence. + +You are allowed and indeed encouraged to share this software with +others; you are not allowed to modify the software and redistribute +the modified software under the same name. Modified versions of this +software may only be distributed if the name is different from the +original software and if the modified software is accompanied by +the original software. + +This software package may only be distributed in complete form, +preferably in form of the archive as which is was obtained from +its source. + +\section{Desiderata} +%\begin{sloppypar} +The package in its present stage cannot be regarded complete. +Some of the letter shapes still need a bit of refinement, and for +a future research project it is desirable to encode the +pre-standardization Yi characters (of which there are around 10,000 +or so). This, however, is work which cannot be done from books alone; +the support of native Yi speakers is required. + +The punctuation marks used in Yi literature are in Chinese style; +though the use of Western style punctuation may be permissible, a +full set of suitable punctuation marks waits to be implemented. + +The input method works but can barely called a user interface; an +input preprocessor which allows the entering of Yi text without specific +syllable markup would be fine, and waits to be written. Either a +small C preprocessor or a \TeX\ program are acceptable; the latter +to be preferred since no additional user interaction would be necessary. + +It would be a great thing if Omega appears soon; the characters could +then be mapped to the Unicode world simply by defining an offset into +the 16-bit code space, and the LYA to LYE business would become obsolete. + +Comments and suggestions are highly appreciated and should be +directed to the author of these lines at \verb"corff@zedat.fu-berlin.de". +%\end{sloppypar} + +\pagebreak + +\section{A text sample% + \protect\footnote{See Ding:1993, p.~120}: + \Ypup\Yguop\Ymgu\Yxi\Yndit} + +\YP{ngop} \YP{ox} \YP{ge} \YP{ap} \YP{mop} \YP{su} \YP{pup} +\YP{guop} \YP{li}, \YP{mux} \YP{pyr} \YP{a} \YP{jjy}, +\YP{ddur} \YP{lu} \YP{ax} \YP{nyi} \YP{mu} \YP{jjo}, +\YP{zzur} \YP{pup} \YP{ax} \YP{li} \YP{xip} \YP{ma} +\YP{nge}. \YP{guop} \YP{jiet} \YP{cyx} \YP{ma} \YP{xy} +\YP{wa} \YP{mu}, \YP{mu} \YP{wa} \YP{vo} \YP{le} \YP{ggup} +\YP{mu} \YP{sot} \YP{go} \YP{ho} \YP{ne} \YP{kop} \YP{ggu} +\YP{hxa} \YP{fut} \YP{ci} \YP{vat} \YP{nra} \YP{ma} +\YP{jjo}; \YP{co} \YP{cux} \YP{vyt} \YP{nyi} \YP{nge} +\YP{cix} \YP{nge} \YP{bbup} \YP{nra} \YP{jjo}, \YP{co} +\YP{go} \YP{ci} \YP{vat} \YP{w} \YP{o} \YP{hmy} \YP{jjo}. + +\YP{ngop} \YP{pup} \YP{guop} \YP{cyx} \YP{ma} \YP{li}, +``\YP{zho} \YP{huop} \YP{vo} \YP{co} \YP{jjy} \YP{gex} + \YP{nzix} \YP{nyi} \YP{guop} '' \YP{hmi}. \YP{guop} +\YP{jiet} \YP{ly} \YP{kop} \YP{rep} \YP{dde} \YP{ne} +\YP{bip} \YP{ji} \YP{lur} \YP{kur} \YP{nge}. \YP{guop} +\YP{jiet} \YP{gu} \YP{ho} \YP{sat} \YP{ma} \YP{nge}, +\YP{mu} \YP{jy} \YP{nge} \YP{ma} \YP{bbop} \YP{jjie} +\YP{lap} \YP{vut} \YP{tie} \YP{nga} \YP{mop} \YP{jjip}, +\YP{ggup} \YP{lep} \YP{w} \YP{ne} \YP{che} \YP{si} \YP{nip} +\YP{zzie} \YP{ma} \YP{sip} \YP{zhop} \YP{mga} \YP{mu} \YP{da} +\YP{ma} \YP{nge}. \YP{guop} \YP{jiet} \YP{po} \YP{bbo} +\YP{li}, \YP{po} \YP{bbo} \YP{a} \YP{hni} \YP{bbut} \YP{go} +\YP{jyx} \YP{nge} \YP{rry} \YP{nge} \YP{ma} \YP{dit} \YP{da} +\YP{bbut} \YP{nge}. \YP{guop} \YP{jiet} \YP{shyp} \YP{si} +\YP{hmox} \YP{li} \YP{zho} \YP{guop} \YP{gop} \YP{cha} +\YP{dax} \YP{nge}. + +\YP{ngop} \YP{pup} \YP{guop} \YP{mgu} \YP{xi} \YP{ndit} +\YP{cyx} \YP{ma} \YP{li}, \YP{zzyt} \YP{mu} \YP{gax} \YP{tuo} +\YP{guop} \YP{jiet} \YP{co} \YP{ma} \YP{ax} \YP{nyi} \YP{lop} +\YP{ax} \YP{nyi} \YP{max} \YP{su}, \YP{mux} \YP{pyr} +\YP{nyi} \YP{a} \YP{jjy} \YP{lop} \YP{a} \YP{jjy} \YP{suo} +\YP{ma} \YP{su} \YP{nge}. \YP{guop} \YP{jiet} \YP{xy} +\YP{wa} \YP{nbi} \YP{se} \YP{nyip} \YP{zi} \YP{nyix} \YP{ma}, +\YP{zyt} \YP{jie} \YP{jux} \YP{dde} \YP{qu} \YP{nge} +\YP{ma}, \YP{lur} \YP{kur} \YP{shyp} \YP{ax} \YP{yy} +\YP{suo} \YP{ma}, \YP{jjy} \YP{gex} \YP{mu} \YP{jux} \YP{dde} +\YP{suo} \YP{ci} \YP{ma} \YP{mu} \YP{da}. + +\YP{ngop} \YP{ox} \YP{pup} \YP{guop} \YP{li}, \YP{zzur} +\YP{pup} \YP{ax} \YP{li}, \YP{mo} \YP{nyop}, \YP{get} \YP{nyop}, +\YP{syr} \YP{nyop}, \YP{bbot} \YP{nyop}, \YP{hxe} \YP{nyop} +\YP{cyp} \YP{xix} \YP{cyp} \YP{yiet} \YP{ap} \YP{ddur} \YP{ddu} +\YP{ap} \YP{jjo}, \YP{syp} \YP{lu} \YP{mo} \YP{lu} \YP{get} +\YP{lu} \YP{bbo} \YP{pat} \YP{ry} \YP{su} \YP{nyi} \YP{ax} +\YP{nyi} \YP{mu} \YP{jjox} \YP{ma} \YP{nge}. \YP{yy} \YP{hmy} +\YP{jox} \YP{zhy} \YP{dop} \YP{yit}, \YP{tep} \YP{yy} \YP{su} +\YP{qu} \YP{ddie} \YP{su}, \YP{cy} \YP{mop} \YP{ddie} \YP{su} +\YP{si} \YP{nip} \YP{tep} \YP{yy} \YP{bbur} \YP{ma} \YP{zhet} +\YP{su} \YP{jix} \YP{po} \YP{cyx} \YP{ly} \YP{yiet} \YP{jjy} +\YP{gex} \YP{ngop} \YP{guop} \YP{jiet} \YP{miep} \YP{lie} +\YP{bbo} \YP{pat} \YP{shu} \YP{la} \YP{su} \YP{nge}. +\end{document} diff --git a/Master/texmf-dist/doc/generic/abbr/README b/Master/texmf-dist/doc/generic/abbr/README new file mode 100644 index 00000000000..4591aefc4d5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/abbr/README @@ -0,0 +1,24 @@ +abbr.tex is a file containing some simple macros to support +abbreviations in plain or latex. + +Usage example: + +===================================================================== +\input abbr + +\abbr{TEX}{\TeX}{TeX} +\abbr{LATEX}{\LaTeX}{LaTeX} +\abbr{TEX4HT}{\TeX4HT}{TeX4ht} +% more user-defined abbreviations here if needed + +I love \ and \, espciallly when I don't have to pay attention +whether to espace or not to espace a space after a \ control sequence. +I also love \, and when using it I prefer to have `TeX' and `LaTeX' +in the html output intead of `TEX' and 'LATEX'. Using abbr.tex also frees +me from having to remember whether I defined a \ControlSequence or +\controlsequence or \Controlsequence, and where. Anytime when I need to use +some abbreviation, I just write \ and if it's not defined, I add a new +definition to abbr.tex. It also saves a lot of typing, because in fact +what I type is not '\' but 'foo' and some shortcut to turn it to +\. +===================================================================== diff --git a/Master/texmf-dist/doc/generic/arrayjob/README b/Master/texmf-dist/doc/generic/arrayjob/README new file mode 100644 index 00000000000..eac512f9db6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/arrayjob/README @@ -0,0 +1,21 @@ + -------------------------------------------------------- + | `arrayjob' | + | Version 1.03 | + | May 3, 2000 | + | | + | Zhuhan Jiang (University of New England - Australia) | + | | + -------------------------------------------------------- + + + The `arrayjob' package provides array data structures in (La)TeX, in the +meaning of the classical procedural programming languages like Fortran, Ada +or C, and macros to manipulate them. Arrays can be mono or bi-dimensional. + + This is useful for applications which require high level programming +technics, like algorithmic graphics programmed in the TeX language. + + The accompanying documentation file (arrayjob.doc) was written by +Denis Girou . + + This package is released under the terms of the LaTeX Project Public License. diff --git a/Master/texmf-dist/doc/generic/arrayjob/arrayjob.doc b/Master/texmf-dist/doc/generic/arrayjob/arrayjob.doc new file mode 100644 index 00000000000..80165e4ef75 --- /dev/null +++ b/Master/texmf-dist/doc/generic/arrayjob/arrayjob.doc @@ -0,0 +1,2096 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -*- Mode: Latex -*- %%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% arrayjob.doc --- Documentation of the `arrayjob' package from Zhuhan Jiang +%% +%% Author : Denis GIROU (CNRS/IDRIS - France) +%% Created the : Fri Jan 7 21:13:20 2000 +%% Last mod. by : Denis GIROU (CNRS/IDRIS - France) +%% Last mod. the : Wed May 31 20:10:39 2000 +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\documentclass{article} + +\usepackage{arrayjob} % Arrays management +\usepackage{fancyvrb} % Fancy verbatims +\usepackage[width=18cm]{geometry} % Page layout +\usepackage{graphics} % Graphics LaTeX standard package +\usepackage{ifthen} % Convenient conditionals in LaTeX +\usepackage{mflogo} % For the MetaFont and MetaPost logos +\usepackage{multido} % General loop macro +\usepackage{url} % URLs convenient typesetting + +% For PSTricks examples +\newif\ifpstricks +\IfFileExists{pstricks.sty}{% +\pstrickstrue +\usepackage{pstcol} % PSTricks package with `color' interface +\usepackage{pst-node} % PSTricks nodes package +\usepackage{pst-plot} % PSTricks plots package +\usepackage{pst-grad} % PSTricks gradients package +\usepackage{pst-key} % PSTricks interface to the `keyval' package +}{% +\usepackage{color}} % Color LaTeX standard package + +% Definition of new colors +\definecolor{Khaki} {rgb}{0.94,0.90,0.55} +\definecolor{LemonChiffon}{rgb}{1.,0.98,0.8} + +% A unique string for TeX and LaTeX +\newcommand{\AllTeX}{% +{\rm(L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em)% +T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +% Package names +\newcommand{\AlDraTeXPackage}{\textsf{(Al)Dra\TeX}} +\newcommand{\ArrayJobPackage}{`\textsf{arrayjob}'} +\newcommand{\FormLettPackage}{`\textsf{formlett}'} +\newcommand{\IfThenPackage}{`\textsf{ifthen}'} +\newcommand{\MetaFontPackage}{\MF} +\newcommand{\MetaPostPackage}{\MP} +\newcommand{\MultiDoPackage}{`\textsf{multido}'} +\newcommand{\PSTricksPackage}{\textsf{PSTricks}} +\newcommand{\RepeatPackage}{`\textsf{repeat}'} + +% Aligned labels in a description environment +\newenvironment{Description}[1]{% +\begin{list}{nothing}{\setlength{\leftmargin}{#1} +\setlength{\labelwidth}{\leftmargin}\setlength{\labelsep}{1mm}}} +{\end{list}} + +% If PSTricks is not available +\newcommand{\PSTricksExampleNotShown}{% +\vspace{2mm} +\centerline{\fbox{\textbf{Example not shown here because PSTricks is not + available on this platform.}}}} + +% Character to define verbatim strings, with escape characters /?; (from `fancyvrb') +\DefineShortVerb[commandchars=/?;]{\!} + +\VerbatimFootnotes % Allow verbatim material in footnotes (from `fancyvrb') + +% Some advices from Rolf Niepraschk +\newcommand{\BS}{\texttt{\symbol{`\\}}} +\newcommand{\Macro}[1]{\texttt{\BS#1}} +\newcommand{\Variable}[1]{\textnormal{\textit{\(\langle\)#1\,\(\rangle\)}}} +\newcommand{\Parameter}[1]{\texttt{\symbol{`\{}#1\symbol{`\}}}} + +% To format TeX macro strings +\newcommand{\FormatTeXMacro}[1]{\Macro{#1}\hfill :} + +\makeatletter + +% Example environments +% (do not use in them the /?; characters, that we will be used as escape characters!) + +% For highlighting some verbatim sequences (array names, macro names and comments) +\def\HLReverse#1{{% +\setlength{\fboxsep}{1pt}% +\colorbox{black}{\textcolor{white}{\textbf{#1}}}}} +\def\HLMacro#1{\BS{}def\HLMacro@i#1\@nil} +\def\HLMacro@i#1def#2\@nil{{% +\setlength{\fboxsep}{1pt}% +\colorbox{black}{\textcolor{white}{\textbf{#2}}}}} +\def\HLComment#1{\textit{#1}} + +\def\Example{\FV@Environment{}{Example}} +\def\endExample{% +\end{VerbatimOut} +\Below@Example{\input{\jobname.tmp}} +\endgroup} + +\def\CenterExample{\FV@Environment{}{Example}} +\def\endCenterExample{% +\end{VerbatimOut}% +\begin{center} +\Below@Example{\input{\jobname.tmp}} +\end{center} +\endgroup} + +\def\SideBySideExample{\FV@Environment{}{Example}} +\def\endSideBySideExample{% +\end{VerbatimOut}% +\SideBySide@Example{\input{\jobname.tmp}} +\endgroup} + +\def\FVB@Example{% +\begingroup +\FV@UseKeyValues +\parindent=0pt +\multiply\topsep by 2 +\VerbatimEnvironment +\begin{VerbatimOut}[codes={\catcode`\Z=12}]{\jobname.tmp}} + +\def\Below@Example#1{% +\VerbatimInput[gobble=0,commentchar=Z,commandchars=/?;,numbersep=3pt, + frame=single,numbers=left]% + {\jobname.tmp} +\catcode`\Z=9\relax% +% We suppress the effect of the highlighting macros +\catcode`/=0\relax% +\catcode`?=1\relax% +\catcode`;=2\relax% +\def\HLReverse##1{##1}% +\def\HLMacro##1{##1}% +\def\HLComment##1{##1}% +#1\par} + +\def\SideBySide@Example#1{% +\@tempdimb=\FV@XRightMargin +\advance\@tempdimb -5mm +\begin{minipage}[c]{\@tempdimb} + \fvset{xrightmargin=0pt} + \catcode`\Z=9\relax% + % We suppress the effect of the highlighting macros + \catcode`/=0\relax% + \catcode`?=1\relax% + \catcode`;=2\relax% + \def\HLReverse##1{##1}% + \def\HLMacro##1{##1}% + \def\HLComment##1{##1}% + #1 +\end{minipage}% +\@tempdimb=\textwidth +\advance\@tempdimb -\FV@XRightMargin +\advance\@tempdimb 5mm +\begin{minipage}[c]{\@tempdimb} + \VerbatimInput[gobble=0,commentchar=Z,commandchars=/?;, + numbersep=3pt,frame=single,numbers=left, + xleftmargin=5mm,xrightmargin=0pt]{\jobname.tmp} +\end{minipage}} + +\makeatother + +% Source codes must be indented by 2 spaces +\fvset{gobble=2,frame=single,numbers=left,numbersep=1mm} + +\begin{document} + +\title{The \ArrayJobPackage{} package\\Management of arrays in \AllTeX} +\author{Zhuhan Jiang\\School of Mathematical and Computer Sciences\\ + University of New England\\Armidale\\Australia\\ + {\footnotesize email: zhuhan@turing.une.edu.au}\\[5mm] + {\footnotesize (Documentation: Denis Girou% + \footnote{All errors and misunderstandings are mine.} + \hspace{1mm}(CNRS/IDRIS -- France) -- + Denis.Girou@idris.fr)}} +\date{Version 1.03\\May 3, 2000\\ + {\small Documentation revised May 31, 2000}} + +\maketitle + +\begin{abstract} + This package provides array data structures in \AllTeX, in the meaning of +the classical procedural programming languages like Fortran, Ada or C, and +macros to manipulate them. Arrays can be mono or bi-dimensional. + + This is useful for applications which require high level programming +technics, like algorithmic graphics programmed in \TeX. +\end{abstract} + +\tableofcontents + +\section{Introduction} + + One of the big advantages of the \AllTeX{} system over common interactive +software for text processing is that it offer, also, a programming language, +which give, to people who have some knowledge in the algorithmic and +programming fields, an exceptional flexibility and power. + + Nevertheless, \TeX{} is a rather specific programming language, based on +macros expansion, which implement a lot of unusual constructs but not +some ones very familiar in the classical procedural languages, as +\emph{arrays} to store and retrieve arbitrary pieces of data, stored in a +structured way. The main reason for which this was not integrated in \TeX{} is +that this is mainly unuseful in a language focused on text processing (but +\MetaFontPackage{}, for instance, has them). Nevertheless, one of the few +applications where this is straightforward to use them is to program a mailing +system, where nearly the same informations are to be formatted several times, +depending of values which can be simply retrieved from an array of data. This +was the goal of the \FormLettPackage{} package \cite{FORMLETT}, written in +1993-1995 by Zhuhan Jiang for dealing with mass letters, invoices and similar +tasks of some duplicative nature. It integrate a small but powerful set of +macros to manage arrays, which have been extracted to form the present +\ArrayJobPackage{} package. The arrays can be mono or bi-dimensional% +\footnote{You can use more than two dimensions, but not in the meaning of the +classical programming languages (see page \pageref{par:DataHeight}).} +and they are dynamically allocated (so we have not to declare statically +a dimension for them)% +\footnote{Stephan von Bechtolsheim \cite[Volume \textsc{III}, paragraph 20.3, +page 136]{SVB93} also demonstrate such macros for array management in the +third volume of his huge book, but it was limited to monodimensional +arrays.}. + + Array structures are, at the opposite of text management, often very useful +in graphic programming. This is why the \AlDraTeXPackage{} package from Eitan +Gurari \cite{ALDRATEX} (see also \cite{Gur94}) integrate such functionality +(but which is bundled inside this package and could not be extracted easily +from it), and this is also the case for the \MetaPostPackage{} package +\cite{METAPOST} (but this one do not use \TeX{} as programming language)% +\footnote{Another required feature, used in conjunction with the managements +of arrays, is a generic loop mechanism. \TeX{} offer the \Macro{loop} macro +and \LaTeX{} the \Macro{whiledo} macro of the \IfThenPackage{} package (and +also the internal \Macro{@for}, \Macro{@whilenum}, etc. macros), but a more +high-level structure is to be preferred, as the ones defined too in the +\AlDraTeXPackage{} or \MetaPostPackage{} packages. We will use in our examples +the \MultiDoPackage{} package \cite{MULTIDO}, also written by Timothy van +Zandt, but others are available, like the \RepeatPackage{} package written by +Victor Eijkhout \cite{REPEAT}.}. This fact explain why most of our examples in +this documentation will concern the area of \emph{graphic programming} (here +using the \PSTricksPackage{} package from Timothy van Zandt \cite{PSTRICKS}). + +\section{Command reference} + +\begin{Description}{4cm} + \item[\FormatTeXMacro{newarray}] Define a new array. + + Syntax: !\newarray/Macro?/Variable?ArrayName;;! + + Example: !\newarray\Values! + + \item[\FormatTeXMacro{delarray}] Delete an array. + + Syntax: !\delarray/Macro?/Variable?ArrayName;;! + + Example: !\delarray\Values! + + Remarks: + \begin{enumerate} + \item obviously, elements of a deleted array could not be accessed + later, + \item take care that the elements of a deleted array are not + themselves deleted.\newline + So, \verb+\delarray\Data \newarray\Data \Data(I)+ can produce a + strange behavior. Just avoid to reuse deleted arrays. + \end{enumerate} + + \item[\FormatTeXMacro{ArrayName}] Store or get the content of the array + element specified by the indice(s). In the last case, the content is + inserted at the current point. + + Syntax: !/Macro?/Variable?ArrayName;;(I)=/Parameter?/Variable?Content;;! or more + generally\newline + \hspace*{1.3cm}!/Macro?/Variable?ArrayName;;(I1,...,In)=/Parameter?/Variable?Content;;! + to store a value + + \hspace{1.3cm}!/Macro?/Variable?ArrayName;;(I)! or more generally + !/Macro?/Variable?ArrayName;;(I1,...,In)! to retrieve a value + + Examples: !\Data(6)={Paul Adams}! + + \hspace{1.75cm}!\Values(19)! + + \item[\FormatTeXMacro{readarray}] Store consecutive values in an array, + starting from the indice one. + + Syntax: !\readarray/Parameter?/Variable?ArrayName;;=/Parameter?/Variable?Content1;&...&/Variable?ContentM;;! + + Example: !\readarray{Actors}{Louise Brooks&Marlene Dietrich&Clark Gable}! + + Remarks: + \begin{enumerate} + \item the values must be separated by the \textbf{\&} character, + \item take care that the trailing spaces are significant, so the + previous definition is different from the following one: + + !\readarray{Actors}{Louise Brooks & Marlene Dietrich & Clark Gable}! + \item you can use \AllTeX{} macros inside the values. + \end{enumerate} +\end{Description} + +\begin{SideBySideExample}[xrightmargin=6cm] + \newarray\Values + \readarray{/HLReverse?Values;}{A&B&C&D} + \verb+\Values(3)+ = `\Values(3)' + \newarray\Actors + \readarray{/HLReverse?Actors;}{Louise Brooks&Marlene Dietrich&Clark Gable} + Z\par + \verb+\Actors(2)+ = `\Actors(2)' + \readarray{/HLReverse?Actors;}{% + Louise Brooks & Marlene Dietrich & Clark Gable} + Z\par + \verb+\Actors(2)+ = `\Actors(2)' + \Actors(4)={\textit{\underline{Ida Lupino}}} + Z\par + \verb+\Actors(4)+ = `\Actors(4)' +\end{SideBySideExample} + +\vspace{3mm} +\noindent If you realy need to trim the unnecessary left and right spaces, you must +apply a special action, like this one: + +\begin{Example} + \def\BS{\texttt{\symbol{`\\}}} + + \newarray\Strings + \readarray{/HLReverse?Strings;}{a& b&c c & d dd ddd } + + \multido{\iString=1+1}{4}{% + \checkStrings(\iString)% + \BS\texttt{Strings(\iString)}=`\cachedata'\qquad} + + \makeatletter + + % /HLComment?A \TrimSpaces macro adapted from Michael J. Downes ; + % /HLComment?(posted on c.t.t. June 19, 1998); + % /HLComment?\number`\x reads past one following space (expanding as it goes); + \long\def\TrimSpaces#1{\expandafter\TrimSpaces@i\number`\^^00#1| |} + % /HLComment?Remove the "0" produced by \number`\^^00, and " |" at the end.; + \long\def\TrimSpaces@i 0#1 |{\TrimSpaces@ii\empty#1|} + % /HLComment?" |" was removed by \TrimSpaces@i, now remove a trailing "||" or "| |"; + \long\def\TrimSpaces@ii #1|#2|{#1} + + \makeatother + + \multido{\iString=1+1}{4}{% + \checkStrings(\iString)% + \BS\texttt{Strings(\iString)}=`\TrimSpaces{\cachedata}'\qquad} +\end{Example} + +\begin{Description}{4cm} + \item[\FormatTeXMacro{check}] Get the content of the array element specified + by the indice(s) and store the result in the macro !\cachedata! + + Syntax: !\check/Variable?ArrayName;(I)! or more generally + !\check/Variable?ArrayName;(I1,..,In)! + + Example: !\checkActors(2)! + \item[\FormatTeXMacro{cachedata}] Macro where the content is stored after + a !\check! request. + \item[\FormatTeXMacro{ifemptydata}] True if the last \Macro{check} request + has given an empty result. +\end{Description} + +\newarray\Values +\readarray{Values}{A&B&C&D} + +\newarray\Actors +\newarray\Dates +\newarray\Sexes +\readarray{Actors}{Louise Brooks&% + Marlene Dietrich&% + Clark Gable} +\readarray{Dates}{1906--1985&% + 1902--1992&% + 1901--1960} +\readarray{Sexes}{2&2&1} + +\begin{SideBySideExample}[xrightmargin=6cm] + % /HLComment?Plain TeX usage; + \checkValues(2)% + \verb+\Values(2)+ = `\cachedata' + Z\par + \checkActors(3)% + \verb+\Actors(3)+ = `\cachedata' + Z\par + \checkActors(5)% + \ifemptydata + \verb+\Actors(5)+ not defined. + \fi + Z\par + % /HLComment?LaTeX usage; + \newcommand{\IsEmptyElement}[2]{% + \ifthenelse{\boolean{emptydata}}{#1}{#2}} + \checkActors(3)% + \verb+\Actors(3)+ = \IsEmptyElement{not defined}{`\cachedata'} + Z\par + \checkActors(5)% + \verb+\Actors(5)+ \IsEmptyElement{not defined}{`\cachedata'} +\end{SideBySideExample} + +\begin{Description}{4cm} + \item[\FormatTeXMacro{ifnormalindex}] See below (Default: !\normalindexfalse!). + + \item[\FormatTeXMacro{dataheight}\label{par:DataHeight}] Counter containing + the number of elements in the first dimension, if arrays are bi-dimensional. + + Syntax: !\dataheight=/Variable?Number;! + + Remarks: + \begin{enumerate} + \item arrays are monodimensional when !\dataheight!~$\leq~1$, + \item if !\normalindexfalse! (which is the default value), we have: + $$\hspace{-3cm}\Macro{\Variable{ArrayName}}(I_1,...,I_n) + = \Macro{\Variable{ArrayName}}(I_n + (I_{n-1}-1) * + \Macro{dataheight} + \cdots + + (I_1-1) * \Macro{dataheight}^{n-1})$$ + + and if !\normalindextrue!, we have: + $$\hspace{-3cm}\Macro{\Variable{ArrayName}}(I_1,...,I_n) + = \Macro{\Variable{ArrayName}}(I_1 + (I_2-1) * + \Macro{dataheight} + \cdots + + (I_n-1) * \Macro{dataheight}^{n-1})$$ + \end{enumerate} +\end{Description} + +\begin{SideBySideExample}[xrightmargin=6cm] + \newarray\Letters + \readarray{/HLReverse?Letters;}{A&B&C&D&E&F&G&H&I&J} + \dataheight=5 + + Z\begin{tabular}{c|c|c|c|c|c|c|c|c|} + Z \multicolumn{1}{c}{} & \multicolumn{1}{c}{1} & \multicolumn{1}{c}{2} & + Z \multicolumn{1}{c}{3} & \multicolumn{1}{c}{4} & \multicolumn{1}{c}{5} \\ \cline{2-6} + Z 1 & A & B & C & D & E \\ \cline{2-6} + Z 2 & F & G & H & I & J \\ \cline{2-6} + Z\end{tabular} + Z\\[2mm] + % /HLComment?Default is \normalindexfalse; + \verb+\Letters(1,2)=+`\Letters(1,2)' + Z\par + \verb+\Letters(2,1)=+`\Letters(2,1)' + Z\\[2mm] + Z\begin{tabular}{c|c|c|} + Z \multicolumn{1}{c}{} & \multicolumn{1}{c}{1} & \multicolumn{1}{c}{2} \\ \cline{2-3} + Z 1 & A & F \\ \cline{2-3} + Z 2 & B & G \\ \cline{2-3} + Z 3 & C & H \\ \cline{2-3} + Z 4 & D & I \\ \cline{2-3} + Z 5 & E & J \\ \cline{2-3} + Z\end{tabular} + Z\\[2mm] + \normalindextrue + \verb+\Letters(1,2)=+`\Letters(1,2)' + Z\par + \verb+\Letters(2,1)=+`\Letters(2,1)' +\end{SideBySideExample} + +\begin{Description}{4cm} + \item[\FormatTeXMacro{ifexpandarrayelement}] Boolean macro to allow or not + the element to be evaluated before to be stored in the array (Default: + !\expandarrayelementfalse!). + + Syntax: !\expandarrayelementtrue! or !\expandarrayelementfalse! + + Remark: take care to the possible side effects if you store some macros + as values of some array elements without evaluating them, as they can + change of content later... (see the following examples). +\end{Description} + +\begin{SideBySideExample}[xrightmargin=6cm] + \newarray\Data + \newcount\CounterP % /HLComment?Plain TeX usage; + \CounterP=3 + \newcounter{CounterL} % /HLComment?LaTeX usage; + \setcounter{CounterL}{3} + \def\Town{Madrid} + \Data(1)={\the\CounterP} + \Data(2)={\the\value{CounterL}} + \Data(3)={\Town} + + \expandarrayelementtrue + \Data(4)={\the\CounterP} + \Data(5)={\the\value{CounterL}} + \Data(6)={\Town} + + \CounterP=5 + \setcounter{CounterL}{5} + \def\Town{Roma} + + \multido{\iData=1+1}{6}{% + \BS\texttt{Data(\iData)}=`\Data(\iData)'\\} +\end{SideBySideExample} + +\vspace{3mm} +\noindent Some other macros exists for monodimensional arrays (and only for +them), but with few additive interest: + +\begin{Description}{4cm} + \item[\FormatTeXMacro{array}] Store or get the content of the array element + specified by the indice. In the last case, the content is inserted at the + current point. + + Syntax: !\array/Parameter?/Variable?ArrayName;;(I)=/Parameter?/Variable?Content;;! + to store a value + + \hspace{1.3cm}!\array/Parameter?/Variable?ArrayName;;(I)! to retrieve a value + + Examples: !\array{Actors}(6)={Joan Crawford}! + + \hspace{1.75cm}!\array{Actors}(3)! + + \item[\FormatTeXMacro{clrarray}] Clear the content of the array element specified. + A following inquiry on this element will give an empty content. + + Syntax: !\clrarray/Parameter?/Variable?ArrayName;;(I)! + + Example: !\clrarray{Actors}(2)! + + \item[\FormatTeXMacro{testarray}] Get the content of the array element specified + by the indice and store the result in the macro !\temp@macro!% + \footnote{In \LaTeX, this macro should be used inside a package or between + the \verb+\makeatletter+ $\cdots$ \verb+\makeatother+ macros pair.}. + + Syntax: !\testarray/Parameter?/Variable?ArrayName;;(I)! + + Example: !\testarray{Actors}(1)\typeout{Actors(1)=`\temp@macro'}! +\end{Description} + +\section{Examples} + +\UndefineShortVerb{\!} % We will use the ! character in the next examples + + We will first show some basic and easy examples, before to look at more +advanced ones to solve some complex problems, which require more knowledge of +\TeX{} programming technics. + +\subsection{Basic examples} + + The immediate thing for which we can use arrays is to store and retrieve +informations: + +\vspace{2mm} +\begin{SideBySideExample}[xrightmargin=6cm] + \newarray\Actors + \newarray\Dates + \newarray\Sexes + + \readarray{/HLReverse?Actors;}{Louise Brooks&Marlene Dietrich&Clark Gable} + \readarray{/HLReverse?Dates;}{1906--1985&1902--1992&1901--1960} + \readarray{/HLReverse?Sexes;}{2&2&1} + + \begin{description} + \item[\Actors(1)] : \Dates(1) + \item[\Actors(2)] : \Dates(2) + \item[\Actors(3)] : \Dates(3) + \end{description} +\end{SideBySideExample} + +\vspace{2mm} + But we can also use a general loop macro, as the one provided by the +\MultiDoPackage{} package, for more powerful usage and a management +independant of the number of elements: + +\vspace{2mm} +\begin{SideBySideExample}[xrightmargin=6cm] + \newcommand{\NumberActors}{3} + + \begin{description} + \multido{\iActor=1+1}{\NumberActors}{% + \item[\Actors(\iActor)] : \Dates(\iActor)} + \end{description} +\end{SideBySideExample} + +\vspace{2mm} + This allow various usage in the formatting of texts. A common usage is for a +\emph{mailing} process, when we must compose some similar lettters to various +people (as we said previously, this was the reason for which these macros were +developed in the \FormLettPackage{} package). Here, the usage of a programming +language allow a great flexibility, using some conditionals to format the text +differently or even to insert different pieces of text according to the person: + +\newcommand{\NumberActors}{3} + +\begin{CenterExample} + \newcounter{iActor} + + \newcommand{\AccordingSexe}[2]{% + \checkSexes(\the\value{iActor})% + \ifthenelse{\equal{\cachedata}{1}}{#1}{#2}} + + \whiledo{\value{iActor} < \NumberActors}{% + \stepcounter{iActor}% + \fbox{% + \begin{minipage}{0.985\textwidth} + Dear \AccordingSexe{Mr}{Mrs} \Actors(\the\value{iActor}), + + I would like to tell you how I admire the great \AccordingSexe{actor}{actress} + you are, etc. + \end{minipage}}\\[5mm]} +\end{CenterExample} + + Nevertheless, people who know a little \TeX{} as a programming language know +that it behaviour is full of pitfalls... For instance, the following example, +which format a table according to the content of entries stored in external +arrays, can't work: + +\begin{Verbatim} + \begin{tabular}{|l|c|} + \hline + \multicolumn{1}{|c}{\textbf{Actors}} & \multicolumn{1}{|c|}{\textbf{Dates}} \\ \hline + \multido{\iActor=1+1}{\NumberActors}{\Actors(\iActor) & \Dates(\iActor) \\ \hline} + \end{tabular} +\end{Verbatim} + + This is because there is an implicit grouping of each entry in a tabular +environment and that it do not work with the grouping of the \verb+\multido+ +loop. So, this must be program in a different way, storing all the content of +the table before really inserting it: + +\begin{SideBySideExample}[xrightmargin=6cm,baselinestretch=0.9] + \begin{tabular}{|l|c|} + \hline + \multicolumn{1}{|c}{\textbf{Actors}} & + \multicolumn{1}{|c|}{\textbf{Dates}} \\ \hline + \let\ListActors\empty + \begingroup + \let\Actors\relax + \let\Dates\relax + \let\\\relax + \let\hline\relax + \multido{\iActor=1+1}{\NumberActors}{% + \xdef\ListActors{\ListActors + \Actors(\iActor) & \Dates(\iActor) \\ \hline}} + \endgroup + \ListActors + \end{tabular} +\end{SideBySideExample} + +\subsubsection{Plot labels} + + A basic usage in graphic programming is to use arrays to retrieve the labels +to put on a drawing, as here to label this simple plot: + +\ifpstricks % If PSTricks is available +\begin{CenterExample}[baselinestretch=0.9] + \savedata{\Data}[(1,3)(2,1)(3,2)(4,1)(5,1)(6,3),(7,2)(8,1)(9,3)(10,3)(11,1)(12,1)] + + \newcommand{\PlotData}{% + \begin{pspicture}(-0.5,-0.5)(13,4) + \psaxes[showorigin=false]{->}(13,4) + \dataplot[plotstyle=dots,dotstyle=o,dotsize=0.3]{\Data} + \end{pspicture}} + + \PlotData + + \newarray{\Months} + \readarray{/HLReverse?Months;}{January&February&March&April&May&June&July&August&September&% + October&November&December} + \newarray{\Levels} + \readarray{/HLReverse?Levels;}{Low&Medium&High} + + \renewcommand{\pshlabel}[1]{\tiny\Months(#1)} + \PlotData + + \renewcommand{\psvlabel}[1]{\small\Levels(#1)} + \PlotData +\end{CenterExample} +\else + \PSTricksExampleNotShown +\fi % End \pstrickstrue + +\subsubsection{Checkboard drawing} + + Of course, a bi-dimensional array directly allow to store the state of a +checkboard of one of the numberous ones existing, like the reversi game that +we will show here (in fact, the only more difficult part to understand in this +example concern the definition of the elementary piece, but as this is not +related at all to the usage of \ArrayJobPackage, this point can be forgotten +by most of the readers). + +\ifpstricks % If PSTricks is available +\begin{SideBySideExample}[xrightmargin=6cm,baselinestretch=0.89] + /HLMacro?\def\Black;{B} + /HLMacro?\def\White;{W} + + /HLMacro?\def\Piece;#1#2{{% + \psset{unit=0.8}% + \pspicture(0,-0.1)(1,0.8) + \pscustom[fillstyle=gradient,gradmidpoint=0,gradangle=90, + gradbegin=#2,gradend=#1]{% + \psbezier(0,0.2)(0.1,-0.2)(0.9,-0.2)(1,0.2) + \psline(1,0.2)(1,0.5) + \psbezier(1,0.5)(0.9,0.9)(0.1,0.9)(0,0.5) + \psline(0,0.5)(0,0.2)} + \psbezier(0,0.5)(0.1,0.1)(0.9,0.1)(1,0.5) + \endpspicture}} + + /HLMacro?\def\PieceBlack;{\Piece{black}{gray}} + /HLMacro?\def\PieceWhite;{\Piece{white}{gray}} + + /HLMacro?\def\CheckboardHook;{} + + \newarray\Checkboard + + /HLMacro?\def\ShowCheckboard;{% + \dataheight=8 + \pspicture(8,8) + \psgrid[subgriddiv=0,gridlabels=0](8,8) + \CheckboardHook + \multido{\iColumn=1+1,\iColumnPos=0+1}{8}{% + \multido{\iRow=1+1,\iRowPos=7+-1}{8}{% + \checkCheckboard(\iRow,\iColumn)% + \ifx\cachedata\Black + \rput(\iColumnPos.5,\iRowPos.5){\PieceBlack} + \else + \ifx\cachedata\White + \rput(\iColumnPos.5,\iRowPos.5){\PieceWhite} + \fi + \fi}} + \endpspicture} + + \readarray{/HLReverse?Checkboard;}{% + W& &B& & & & &B&% + &W&B& & & & &B&% + W&W&B& &W& & &B&% + W&W&B&W&W&W&B&B&% + B& &W&W&W&B&W&B&% + B&B&W&W&W&B&W&B&% + B&B&B&W&W&W&W&B&% + W&B&B&B&B&B&B&B&% + } + + \psset{unit=0.6} + \ShowCheckboard + + \Checkboard(2,1)={B} % /HLComment?Black move; + /HLMacro?\def\CheckboardHook;{% + \psframe[linestyle=none,fillstyle=hlines](0,6)(1,7)} + % /HLComment?White pieces changed by the black move; + \Checkboard(3,1)={B}\Checkboard(4,1)={B} + \Checkboard(2,2)={B}\Checkboard(3,2)={B} + \vspace{1cm} + \ShowCheckboard +\end{SideBySideExample} +\else + \PSTricksExampleNotShown +\fi % End \pstrickstrue + + Note also that, if \TeX{} is obviously not well suited to implement a +program to \emph{really} play at a game like reversi or chess, nevertheless +it can be used to solve internally some non trivial algorithmic problems, +where the usage of arrays help a lot. For such example (on the coloration of +the Truchet's tiling), see \cite{EG98}. + +\subsection{Advanced examples} + + This section will show slightly more difficult to really complex examples, +and is mainly for \emph{advanced users} or for people who want to be able to +program complex tasks themselves. + +\subsubsection{Example with recursion usage} + +\begin{CenterExample} + \makeatletter + + % /HLComment?The recursion macro used (from David Carlisle); + /HLMacro?\def\Recursion;#1{% + #1\relax + \expandafter\@firstoftwo + \else + \expandafter\@secondoftwo + \fi} + + \newcount\IndexRecursion + \IndexRecursion=\z@ + + /HLMacro?\def\PiFrac;#1{{% + \Recursion + {\ifnum#1>\@ne\relax} + {\@tempcnta=#1 + \advance\@tempcnta\m@ne + \advance\IndexRecursion\@ne + \PiValues(\IndexRecursion) + +\frac{\strut\displaystyle 1}{\strut\displaystyle\PiFrac{\@tempcnta}}} + {\advance\IndexRecursion\@ne + \PiValues(\IndexRecursion)}}} + + \makeatother + + \newarray\PiValues + \readarray{/HLReverse?PiValues;}{3&7&15&1&292&1&1&1&2&1&3&1&14} + + \(\pi\approx\PiFrac{/HLReverse?4;}\approx\PiFrac{/HLReverse?13;}\) + + \textbf{\(\pi\) as a continued fraction} +\end{CenterExample} + +\subsubsection{Structured dynamic diagrams on a grid} + + A very common case is when we must use some strutured data which are to be +drawn on a kind of abstract grid. + +\ifpstricks % If PSTricks is available + To draw a diagram like this one (such example illustrate the exchanges of +data between processors when using applications on multiprocessors computers +in parallel programming): + +\vspace{2mm} +\begin{SideBySideExample}[xrightmargin=5.8cm] + \psset{linestyle=none,fillstyle=solid,subgriddiv=0,gridlabels=0} + \begin{pspicture}(-1,0)(4,4) + % /HLComment?Line 0; + \psframe[fillcolor=Khaki](0,3.1)(1,3.9) + \psframe[fillcolor=LemonChiffon](1,3.1)(4,3.9) + \rput(0,3.1){\psgrid[yunit=0.8](4,1)} + \rput(-0.5,3.5){P0} + \rput(0.5,3.5){A0} + % /HLComment?Line 1; + \psframe[fillcolor=Khaki](0,2.1)(2,2.9) + \psframe[fillcolor=LemonChiffon](2,2.1)(4,2.9) + \rput(0,2.1){\psgrid[yunit=0.8](4,1)} + \rput(-0.5,2.5){P1} + \rput(0.5,2.5){A0}\rput(1.5,2.5){A1} + % /HLComment?Line 2; + \psframe[fillcolor=Khaki](0,1.1)(3,1.9) + \psframe[fillcolor=LemonChiffon](3,1.1)(4,1.9) + \rput(0,1.1){\psgrid[yunit=0.8](4,1)} + \rput(-0.5,1.5){P2} + \rput(0.5,1.5){A0}\rput(1.5,1.5){A1}\rput(2.5,1.5){A2} + % /HLComment?Line 3; + \psframe[fillcolor=Khaki](0,0.1)(4,0.9) + \rput(0,0.1){\psgrid[yunit=0.8](4,1)} + \rput(-0.5,0.5){P3} + \rput(0.5,0.5){A0}\rput(1.5,0.5){A1} + \rput(2.5,0.5){A2}\rput(3.5,0.5){A3} + \end{pspicture} +\end{SideBySideExample} + +\vspace{2mm} +\noindent is easy but rather painful, as we must manage a lot of coordinates. +Nevertheless, even if we introduce a little more abstraction level using some +minor programming with a loop structure: +\vspace{2mm} + +\begin{SideBySideExample}[xrightmargin=5.8cm] + \psset{linestyle=none,fillstyle=solid,subgriddiv=0,gridlabels=0} + \begin{pspicture}(-1,0)(4,4) + \multido{\iLoop=1+1,\iRow=0+1,\iRowPos=3+-1}{4}{% + \psframe[fillcolor=Khaki](0,\iRowPos.1)(\iLoop,\iRowPos.9) + \psframe[fillcolor=LemonChiffon] + (\iLoop,\iRowPos.1)(4,\iRowPos.9) + \rput(0,\iRowPos.1){\psgrid[yunit=0.8](4,1)} + \rput(-0.5,\iRowPos.5){P\iRow} + \multido{\iColumn=0+1,\iLabel=1+1}{\iLoop}{% + \rput(\iColumn.5,\iRowPos.5){A\iColumn}}} + \end{pspicture} +\end{SideBySideExample} + +\vspace{2mm} +\noindent we succeed to heavily reduce the number of lines of the code in this +specific case, but we gain nothing in genericity. If we have several such +diagrams to draw, with each that must be done differently according to the +empty and full cells of the array, we must proceed in a completely different +way, defining a \emph{generic object} which can obtain the different values of +a data structure previously filled. For such tasks, the \ArrayJobPackage{} +package allow to build very efficient and powerful tools. + +\begin{Verbatim}[commandchars=/?;] + % /HLComment?The grid; + /HLMacro?\def\ArrayGrid;#1#2#3{{% + % /HLComment?#1=array of data, #2=number of rows, #3=number of columns; + \psset{dimen=middle,xunit=0.8} + \dataheight=#3 + \pspicture(-1,-#2)(#3,0) + \multido{\iRow=1+1,\iRowMinusOne=0+1}{#2}{% + \rput(-1,-\iRow){\LineGrid{#1}{\iRow}{\iRowMinusOne}{#3}}} + \endpspicture}} + + % /HLComment?One line of the grid; + /HLMacro?\def\LineGrid;#1#2#3#4{% + \rput(0.5,0.4){\AttributeLabel{P#3}} + \multido{\iColumn=1+1}{#4}{% + \expandafter\csname check#1\endcsname(#2,\iColumn)% + \rput(\iColumn,0){% + \ifemptydata + \def\ColorBackground{\ColorBackgroundEmpty}% + \else + \ifx\cachedata\space + \def\ColorBackground{\ColorBackgroundEmpty}% + \else + \def\ColorBackground{\ColorBackgroundFull}% + \fi + \fi + \psframe[fillstyle=solid,fillcolor=\ColorBackground](1,0.8) + \rput(0.5,0.4){\AttributeElement{\cachedata}}}}} +\end{Verbatim} + +% The grid +\def\ArrayGrid#1#2#3{{% +% #1=array of data, #2=number of rows, #3=number of columns +\psset{dimen=middle,xunit=0.8} +\dataheight=#3 +\pspicture(-1,-#2)(#3,0) +\multido{\iRow=1+1,\iRowMinusOne=0+1}{#2}{% + \rput(-1,-\iRow){\LineGrid{#1}{\iRow}{\iRowMinusOne}{#3}}} +\endpspicture}} + +% One line of the grid +\def\LineGrid#1#2#3#4{% +\rput(0.3,0.4){\AttributeLabel{P#3}} +\multido{\iColumn=1+1}{#4}{% + \expandafter\csname check#1\endcsname(#2,\iColumn)% + \rput(\iColumn,0){% + \ifemptydata + \def\ColorBackground{\ColorBackgroundEmpty}% + \else + \ifx\cachedata\space + \def\ColorBackground{\ColorBackgroundEmpty}% + \else + \def\ColorBackground{\ColorBackgroundFull}% + \fi + \fi + \psframe[fillstyle=solid,fillcolor=\ColorBackground](1,0.8) + \rput(0.5,0.4){\AttributeElement{\cachedata}}}}} + +\begin{SideBySideExample}[xrightmargin=6cm] + % /HLComment?Default attributes; + \def\ColorBackgroundEmpty{LemonChiffon} + \def\ColorBackgroundFull{Khaki} + \def\AttributeElement#1{\textcolor{red}{#1}} + \def\AttributeLabel#1{\bf #1} + + % /HLComment?Example 1; + \newarray\ArrayA + + % /HLComment?Data; + \readarray{/HLReverse?ArrayA;}{% + A0& & & &% + A0&A1& & &% + A0&A1&A2& &% + A0&A1&A2&A3} + + \ArrayGrid{ArrayA}{4}{4} +\end{SideBySideExample} + +\newarray\ArrayA + +% Default attributes +\def\ColorBackgroundEmpty{LemonChiffon} +\def\ColorBackgroundFull{Khaki} +\def\AttributeElement#1{\textcolor{red}{#1}} +\def\AttributeLabel#1{\bf #1} + +\begin{CenterExample}[baselinestretch=0.9] + % /HLComment?Example 2; + \newarray\ArrayB + + % /HLComment?Data; + \readarray{/HLReverse?ArrayA;}{% + A& & & &% + & & & &% + & & & &% + & & & } + \readarray{/HLReverse?ArrayB;}{% + A& & & &% + A& & & &% + A& & & &% + A& & & } + + \ArrayGrid{ArrayA}{4}{4}\hfill\ArrayGrid{ArrayB}{4}{4} +\end{CenterExample} + +\newarray\ArrayB + +\begin{CenterExample}[baselinestretch=0.9] + % /HLComment?Example 3; + \newarray\ArrayC + + % /HLComment?Data; + \readarray{/HLReverse?ArrayA;}{% + A0& & &% + A1& & &% + A2& & } + \readarray{/HLReverse?ArrayB;}{% + A0&A1&A2&% + A0&A1&A2&% + A0&A1&A2} + \readarray{/HLReverse?ArrayC;}{% + A0& & &% + &A1& &% + & &A2} + + % /HLComment?Attributes; + \def\ColorBackgroundEmpty{green} + \def\ColorBackgroundFull{red} + \def\AttributeElement#1{\footnotesize\textcolor{white}{#1}} + \def\AttributeLabel#1{\small\bf #1} + + \psset{unit=0.7} + \ArrayGrid{ArrayA}{3}{3}\hfill\ArrayGrid{ArrayB}{3}{3}\hfill\ArrayGrid{ArrayC}{3}{3} +\end{CenterExample} + +\begin{CenterExample}[baselinestretch=0.9] + % /HLComment?Example 4; + + % /HLComment?Data; + \readarray{/HLReverse?ArrayA;}{% + A0&A1&A2&A3&% + B0&B1&B2&B3&% + C0&C1&C2&C3&% + D0&D1&D2&D3} + \readarray{/HLReverse?ArrayB;}{% + A0&B0&C0&D0&% + A1&B1&C1&D1&% + A2&B2&C2&D2&% + A3&B3&C3&D3} + + % /HLComment?Attributes; + \def\AttributeElement#1{\textcolor{red}{#1}} + \def\AttributeLabel#1{\Large\it #1} + + \ArrayGrid{ArrayA}{4}{4}\hfill\ArrayGrid{ArrayB}{4}{4} +\end{CenterExample} +\else + \PSTricksExampleNotShown +\fi % End \pstrickstrue + +\vspace{5mm} +\subsubsection{Another example of a structured dynamic diagram on a grid} + + The preceding technic is in fact relevant for a lot of problems. Here we +give another example about the drawing of linked lists (but do not miss to +note that these ones have here no internal existence). + +\ifpstricks % If PSTricks is available +\begin{CenterExample} + \makeatletter + + \newpsstyle{LinkedListsArrowStyle}{linecolor=red,arrowscale=2} % /HLComment?Default arrow style; + + /HLMacro?\def\LinkedListsDraw;{\@ifnextchar[\LinkedListsDraw@i{\LinkedListsDraw@i[]}} + + /HLMacro?\def\LinkedListsDraw@i;[#1]#2#3{{% + \setkeys{psset}{#1} + \dataheight=#3 + % + \pst@cnta=#3 + \multiply\pst@cnta\tw@ + \advance\pst@cnta\tw@ + \pspicture(0,-#2)(\pst@cnta,0) + \multido{\iRow=1+1}{#2}{% + \rput(0,-\iRow){% + \psframe(1,1) + \psline[dimen=middle,style=LinkedListsArrowStyle]{->}(0.5,0.5)(2,0.5)} + \multido{\iColumn=1+1}{#3}{% + \checkLinkedListsTable(\iRow,\iColumn)% + \ifemptydata + \else + \pst@cnta=\iColumn + \advance\pst@cnta\@ne + \pst@cntb=\@ne + \checkLinkedListsTable(\iRow,\pst@cnta)% + \ifemptydata % /HLComment?We test if it is empty; + \else + \ifnum\multidocount=#3 % /HLComment?We test if it is the last one; + \else + \pst@cntb=\z@ + \fi + \fi + % + \pst@cnta=\iColumn + \multiply\pst@cnta\tw@ + \rput(\the\pst@cnta,-\iRow){% + \LinkedListsDraw@ii{\LinkedListsTable(\iRow,\iColumn)}{\the\pst@cntb}} + \fi}} + \endpspicture}}%} + + /HLMacro?\def\LinkedListsDraw@ii;#1#2{{% + \rput(0,0.1){% + \psset{unit=0.8} + \psgrid[subgriddiv=0,gridlabels=0](2,1) % /HLComment?Element; + \rput(0.5,0.5){#1} % /HLComment?Label for this element; + \ifnum#2=\@ne + \psline(1,0)(2,1) % /HLComment?Mark of the end of the list; + \else + \psline[style=LinkedListsArrowStyle]{->}(1.5,0.5)(2.5,0.5) % /HLComment?Link to the next element; + \fi}}} + + \makeatother + + \newarray\LinkedListsTable + \readarray{/HLReverse?LinkedListsTable;}{% + 11&12&13&14&% + 21&&&&% + 31&32&33&&} + + \LinkedListsDraw{3}{4} + + \vspace{1cm} + \newpsstyle{LinkedListsArrowStyle}{linecolor=green,doubleline=true} + + \readarray{/HLReverse?LinkedListsTable;}{% + a&&&&&% + A&B&C&D&E&% + 0&1&2&3&4&% + +&$\times$&&&&} + + \LinkedListsDraw{4}{5} +\end{CenterExample} +\else + \PSTricksExampleNotShown +\fi % End \pstrickstrue + +\subsubsection{Management of heaps and linked lists} + + Here we will demonstrate a really more complex usage, but very useful. +In fact, if the \ArrayJobPackage{} package primarily allow to manage only +arrays, it allow a lot more with some efforts. Above it, we can implement the +common internal data structures frequently used in programming, like heaps, +simple or double linked lists, trees, associative arrays, etc. Here we will +show how to define macros to build and manage heaps and simple linked lists. + +\ifpstricks % If PSTricks is available +\vspace{1cm} % Poor hack to force a page break... +\begin{CenterExample}[baselinestretch=0.98] + \makeatletter + + /HLMacro?\def\PstDebug;{\z@} % /HLComment?For debugging, set \def\PstDebug{1}; + + % /HLComment?Code for heaps management; + % /HLComment?-------------------------; + + /HLMacro?\def\HeapMaxDepth;{100} % /HLComment?No more than 100 elements in the heap; + + \newarray\Heap + + % /HLComment?Add an element at top of the heap; + /HLMacro?\def\HeapPush;#1{% + \multido{\iElem=1+1}{\HeapMaxDepth}{% + \checkHeap(\iElem)% + \ifemptydata + \ifnum\PstDebug=\@ne\typeout{Push Heap(\iElem)=#1}\fi% /HLComment?Debug; + \Heap(\iElem)={#1}% + \multidostop + \fi}} + + % /HLComment?Get (in the \cachedata macro) and delete the element at top of the heap; + /HLMacro?\def\HeapPop;{% + \Multido{\iElem=\HeapMaxDepth+-1}{\HeapMaxDepth}{% + \checkHeap(\iElem)% + \ifemptydata + \else + \ifnum\PstDebug=\@ne\typeout{Delete Heap(\iElem)=\cachedata}\fi% /HLComment?Debug; + \Heap(\iElem)={}% + \multidostop + \fi}} + + % /HLComment?Print the current state of the heap; + /HLMacro?\def\HeapPrint;{% + \checkHeap(\@ne)% + \ifemptydata + \typeout{The heap is empty!}% /HLComment?Empty heap; + \else + \multido{\iElem=\HeapMaxDepth+-1}{\HeapMaxDepth}{% + \checkHeap(\iElem)% + \ifemptydata + \else + \typeout{Heap(\iElem)=\cachedata}% + \fi} + \fi + \typeout{}} + + % /HLComment?Draw the current state of the heap; + /HLMacro?\def\HeapDraw;{% + % /HLComment?To compute the size of the picture; + \Multido{\iSize=0+1}{\HeapMaxDepth}{% + \checkHeap(\the\multidocount)% + \ifemptydata + \multidostop + \fi} + % + \ifnum\iSize=\z@ + % /HLComment?Empty heap; + \typeout{The heap is empty!^^J}% + \else + \pspicture(1,\iSize) + \psgrid[subgriddiv=0,gridlabels=0](1,\iSize) + \multido{\iPos=0+1}{\HeapMaxDepth}{% + \checkHeap(\the\multidocount)% + \ifemptydata + \multidostop + \else + \rput(0.5,\iPos.5){\cachedata} + \fi} + \endpspicture% + \fi} + + \makeatother + + \psset{unit=1.5}\footnotesize + + \HeapPush{Germany}\HeapPrint\HeapDraw + \hfill + \HeapPush{France}\HeapPrint\HeapDraw + \hfill + \HeapPush{Italy}\HeapPrint\HeapDraw + \hfill + \HeapPush{Spain}\HeapPrint\HeapDraw + \hfill + \HeapPop\typeout{Popped element: `\cachedata'}\HeapPrint\HeapDraw + \hfill + \HeapPop\typeout{Popped element: `\cachedata'}\HeapPrint\HeapDraw + \hfill + \HeapPop\typeout{Popped element: `\cachedata'}\HeapPrint\HeapDraw + \hfill + \HeapPop\typeout{Popped element: `\cachedata'}\HeapPrint\HeapDraw +\end{CenterExample} + +\begin{Example}[baselinestretch=0.95] + \makeatletter + + /HLMacro?\def\PstDebug;{\z@}% /HLComment?For debugging, set \def\PstDebug{1}; + + % /HLComment?Code for linked lists management; + % /HLComment?--------------------------------; + + /HLMacro?\def\LinkedListMaxDepth;{100}% /HLComment?No more than 100 elements in the list; + + \newarray\LinkedList + + \dataheight=2% /HLComment?Two cells by element: the content and the pointer; + + % /HLComment?Add an element at the end of the list; + % /HLComment?In fact, we define it here as a simple heap, but the difference is that; + % /HLComment?we will be able to get and to delete any element in it; + /HLMacro?\def\LinkedListAdd;#1{% + \edef\@tempa{\@ne}% /HLComment?Pointer initialization; + \multido{\iElem=2+1}{\LinkedListMaxDepth}{% + \checkLinkedList(\@tempa,2)% /HLComment?We got the content of this element; + \ifemptydata + % /HLComment?No pointed element, so we will insert the new one here; + \LinkedList(\iElem,1)={#1}% + % /HLComment?We update the pointer for the last preceding element; + \expandarrayelementtrue% /HLComment?We must evaluate the content of the counter; + \LinkedList(\@tempa,2)={\iElem}% + \expandarrayelementfalse + \ifnum\PstDebug=\@ne + \typeout{Add LinkedList(\@tempa)->\iElem}% /HLComment?Debug; + \typeout{\space\space\space\space LinkedList(\iElem)=#1}% /HLComment?Debug; + \fi + \multidostop + \else + \edef\@tempa{\cachedata}% + \fi}} + + % /HLComment?Get (in the \cachedata macro) the next element in the list; + /HLMacro?\def\LinkedListGetNext;#1{% + \checkLinkedList(1,2)% /HLComment?We got the pointer for the first element; + \edef\@tempa{\@ne}% + \ifx\cachedata\empty + \else + \edef\@tempc{#1}% + \Multido{}{\LinkedListMaxDepth}{% + \edef\@tempb{\@tempa}% + \edef\@tempa{\cachedata}% + \checkLinkedList(\cachedata,1)% /HLComment?We got the pointed element; + \ifx\cachedata\@tempc + % /HLComment?This is the element for which we want the next one: we got it pointer; + % /HLComment?to the next element in the list, then the content of it; + \checkLinkedList(\@tempa,2)% + \ifemptydata + \typeout{Element `#1' has no successor!^^J}% + \else + \checkLinkedList(\cachedata,1)% + \fi + \multidostop + \else + \checkLinkedList(\@tempa,2)% /HLComment?We got the pointer to the next element; + \ifemptydata + % /HLComment?We have reach the end of the list without finding the element; + \typeout{Element `#1' not found!^^J}% + \multidostop% /HLComment?No pointed element: end of the list; + \fi + \fi} + \fi} + + % /HLComment?Delete an element in the list (the code is very close to \LinkedListGetNext); + /HLMacro?\def\LinkedListDelete;#1{% + \checkLinkedList(1,2)% /HLComment?We got the pointer for the first element; + \edef\@tempa{\@ne}% + \ifx\cachedata\empty + \else + \edef\@tempc{#1}% + \multido{}{\LinkedListMaxDepth}{% + \edef\@tempb{\@tempa}% + \edef\@tempa{\cachedata}% + \checkLinkedList(\cachedata,1)% /HLComment?We got the pointed element; + \ifx\cachedata\@tempc + % /HLComment?This is the element to delete: we will update the pointer of; + % /HLComment?the preceding element to the value of the pointer of the deleted one; + \checkLinkedList(\@tempa,2)% + \expandarrayelementtrue + \LinkedList(\@tempb,2)={\cachedata}% + \expandarrayelementfalse + \ifnum\PstDebug=\@ne + \typeout{Delete LinkedList(\@tempa)=#1}% /HLComment?Debug; + \typeout{\space\space\space\space\space\space\space % + LinkedList(\@tempb)->\cachedata}% /HLComment?Debug; + \fi + \multidostop + \else + \checkLinkedList(\@tempa,2)% /HLComment?We got the pointer to the next element; + \ifemptydata + % /HLComment?We have reach the end of the list without finding the element; + \typeout{Element `#1' not found and so not deleted!^^J}% + \multidostop% /HLComment?No pointed element: end of the list; + \fi + \fi} + \fi} + + % /HLComment?Print the current state of the list; + /HLMacro?\def\LinkedListPrint;{% + \checkLinkedList(1,2)% /HLComment?We got the pointer for the first element; + \ifx\cachedata\empty + % /HLComment?Empty list; + \typeout{The list is empty!}% + \else + \multido{}{\LinkedListMaxDepth}{% + \edef\@tempa{\cachedata}% + \checkLinkedList(\cachedata,1)% /HLComment?We got the pointed element; + \typeout{LinkedList=\cachedata}% + \checkLinkedList(\@tempa,2)% /HLComment?We got the pointer to the next element; + \ifemptydata + \multidostop% /HLComment?No pointed element: end of the list; + \fi} + \fi + \typeout{}} + + % /HLComment?Draw the current state of the list; + /HLMacro?\def\LinkedListDraw;{{% + \psset{subgriddiv=0,gridlabels=0} + \checkLinkedList(1,2)% /HLComment?We got the pointer for the first element; + \ifx\cachedata\empty + % /HLComment?Empty list; + \typeout{The list is empty!^^J}% + \else + % /HLComment?To compute the size of the picture; + \Multido{\iSize=3+3}{\LinkedListMaxDepth}{% + \checkLinkedList(\cachedata,2)% /HLComment?We got the pointer to the next element; + \ifemptydata + \multidostop + \fi} + % + \checkLinkedList(1,2)% /HLComment?We got the pointer for the first element; + \pspicture(\iSize,1.5) + \multido{\iPos=0+3}{\LinkedListMaxDepth}{% + \edef\@tempa{\cachedata}% + \checkLinkedList(\cachedata,1)% /HLComment?We got the pointed element; + \rput(\iPos,0){% + \psgrid(2,1) + \rput(0.5,0.5){\cachedata} + \ifnum\iPos=\z@ + \else + \rput(-1.5,0.5){\psline[linecolor=red,arrowscale=2]{->}(1.5,0)} + \fi} + \checkLinkedList(\@tempa,2)% /HLComment?We got the pointer to the next element; + \ifemptydata + \rput(\iPos,0){\psline[linecolor=red](1,0)(2,1)} % /HLComment?End of the list; + \multidostop% /HLComment?No pointed element: end of the list; + \fi} + \endpspicture% + \fi}} + + \makeatother + + \psset{unit=1.5} + + \LinkedListPrint\LinkedListDraw + + \LinkedListAdd{Germany}\LinkedListPrint\LinkedListDraw + + \LinkedListAdd{France}\LinkedListPrint\LinkedListDraw + + \LinkedListAdd{Italy}\LinkedListPrint\LinkedListDraw + + \LinkedListAdd{Spain}\LinkedListPrint\LinkedListDraw + + \LinkedListGetNext{France}\typeout{Next element after `France' is: `\cachedata'}% + \LinkedListGetNext{Germany}\typeout{Next element after `Germany is: `\cachedata'}% + \LinkedListGetNext{Spain} + \LinkedListGetNext{Unknown} + + \LinkedListDelete{Unknown} + + \LinkedListDelete{France}\LinkedListPrint\LinkedListDraw + + \LinkedListDelete{Germany}\LinkedListPrint\LinkedListDraw + + \LinkedListDelete{Spain}\LinkedListPrint\LinkedListDraw + + \LinkedListDelete{Italy}\LinkedListPrint\LinkedListDraw +\end{Example} + +\makeatletter + +\def\PstDebug{\z@}% For debugging, set \def\PstDebug{1} + +\def\LinkedListMaxDepth{100}% No more than 100 elements in the heap + +\newarray\LinkedList + +\dataheight=2% Two cells by element: the content and the pointer + +% Delete an element in the list +\def\LinkedListDelete#1{% +\checkLinkedList(1,2)% We got the pointer for the first element +\edef\@tempa{\@ne}% +\ifx\cachedata\empty +\else + \edef\@tempc{#1}% + \multido{}{\LinkedListMaxDepth}{% + \edef\@tempb{\@tempa}% + \edef\@tempa{\cachedata}% + \checkLinkedList(\cachedata,1)% We got the pointed element + \ifx\cachedata\@tempc + % This is the element to delete: we will update the pointer of + % the preceding element to the value of the pointer of the deleted one + \checkLinkedList(\@tempa,2)% + \expandarrayelementtrue + \LinkedList(\@tempb,2)={\cachedata}% + \expandarrayelementfalse + \ifnum\PstDebug=\@ne + \typeout{Delete LinkedList(\@tempa)=#1}%Debug + \typeout{\space\space\space\space\space\space\space % + LinkedList(\@tempb)->\cachedata}%Debug + \fi + \multidostop + \else + \checkLinkedList(\@tempa,2)% We got the pointer to the next element + \ifemptydata + % We have reach the end of the list without finding the element + \typeout{Element `#1' not found and so not deleted!^^J}% + \multidostop% No pointed element: end of the list + \fi + \fi} +\fi} + +% Print the current state of the list +\def\LinkedListPrint{% +\checkLinkedList(1,2)% We got the pointer for the first element +\ifx\cachedata\empty + % Empty list + \typeout{The list is empty!}% +\else + \multido{}{\LinkedListMaxDepth}{% + \edef\@tempa{\cachedata}% + \checkLinkedList(\cachedata,1)% We got the pointed element + \typeout{LinkedList=\cachedata}% + \checkLinkedList(\@tempa,2)% We got the pointer to the next element + \ifemptydata + \multidostop% No pointed element: end of the list + \fi} +\fi +\typeout{}} + +% Draw the current state of the list +\def\LinkedListDraw{{% +\psset{subgriddiv=0,gridlabels=0} +\checkLinkedList(1,2)% We got the pointer for the first element +\ifx\cachedata\empty + % Empty list + \typeout{The list is empty!^^J}% +\else + % To compute the size of the picture + \Multido{\iSize=3+3}{\LinkedListMaxDepth}{% + \checkLinkedList(\cachedata,2)% We got the pointer to the next element + \ifemptydata + \multidostop + \fi} + % + \checkLinkedList(1,2)% We got the pointer for the first element + \pspicture(\iSize,1.5) + \multido{\iPos=0+3}{\LinkedListMaxDepth}{% + \edef\@tempa{\cachedata}% + \checkLinkedList(\cachedata,1)% We got the pointed element + \rput(\iPos,0){% + \psgrid(2,1) + \rput(0.5,0.5){\cachedata} + \ifnum\iPos=\z@ + \else + \rput(-1.5,0.5){\psline[linecolor=red,arrowscale=2]{->}(1.5,0)} + \fi} + \checkLinkedList(\@tempa,2)% We got the pointer to the next element + \ifemptydata + \rput(\iPos,0){\psline[linecolor=red](1,0)(2,1)} % End of the list + \multidostop% No pointed element: end of the list + \fi} + \endpspicture% +\fi}} + +\makeatother + +% We clear the linked list +\multido{\iElem=1+1}{\LinkedListMaxDepth}{% + \checkLinkedList(\iElem,1)% + \ifemptydata + \else + \LinkedList(\iElem,1)={}% + \LinkedList(\iElem,2)={}% + \fi} + +\vspace{2mm} + We can write an extended version of the inclusion of an element, where we do +not still store each element at the end of the list, but insert it at a +special position. For instance, we can decide to use the list to sort the +elements, inserting a new one at it sorted position. In the next example, we +will manage integer numbers in this way (of course, we can do the same thing +with arbitrary strings, but it would be more difficult to program in \TeX{}, +mainly if we want to be able to use accentuated letters). + +\vspace{2mm} +\begin{Example} + \makeatletter + + % /HLComment?Add an element at the end of the list, linked in it ordered place; + % /HLComment?(this version work only with contents as numbers); + /HLMacro?\def\LinkedListSortedAdd;#1{% + % /HLComment?Initializations; + \edef\@tempa{\@ne}% + \edef\@tempb{\@ne}% + \edef\@tempc{\z@}% + % + \multido{\iElem=2+1}{\LinkedListMaxDepth}{% + \checkLinkedList(\@tempa,2)% /HLComment?We got the pointer of this element; + \ifemptydata + % /HLComment?No pointed element, so we will insert the new one here; + \LinkedList(\iElem,1)={#1}% + % /HLComment?We update the pointer for the last element; + \expandarrayelementtrue + \LinkedList(\@tempb,2)={\iElem}% + \ifnum\PstDebug=\@ne + \typeout{Add LinkedList(\@tempb)->\iElem}% /HLComment?Debug; + \typeout{\space\space\space\space LinkedList(\iElem)=#1}% /HLComment?Debug; + \fi + % /HLComment?We update the pointer of the new element to the position; + % /HLComment?of the next greater one, if it exist; + \ifnum\@tempc=\z@ + \else + \LinkedList(\iElem,2)={\@tempc}% + \ifnum\PstDebug=\@ne + \typeout{Update LinkedList(\iElem)->\@tempc}% /HLComment?Debug; + \fi + \fi + \expandarrayelementfalse + \multidostop + \else + \edef\@tempa{\cachedata}% + \checkLinkedList(\cachedata,1)% + \ifnum#1<\cachedata + \edef\@tempc{\@tempa}% /HLComment?New element less than this one; + \else + \edef\@tempb{\@tempa}% /HLComment?New element greater or equal than this one; + \fi + \fi}} + + \makeatother + + \LinkedListPrint + + \LinkedListSortedAdd{732}\LinkedListPrint\LinkedListDraw + + \LinkedListSortedAdd{487}\LinkedListPrint\LinkedListDraw + + \LinkedListSortedAdd{718}\LinkedListPrint\LinkedListDraw + + \LinkedListSortedAdd{962}\LinkedListPrint\LinkedListDraw + + \LinkedListDelete{487}\LinkedListPrint\LinkedListDraw + + \LinkedListDelete{732}\LinkedListPrint\LinkedListDraw + + \LinkedListDelete{500} + + \LinkedListDelete{962}\LinkedListPrint\LinkedListDraw + + \LinkedListDelete{718}\LinkedListPrint\LinkedListDraw +\end{Example} +\else + \PSTricksExampleNotShown +\fi % End \pstrickstrue + +\subsubsection{Associative arrays} + + To finish, we will give a complete solution to a classical problem: to count +the number of occurrences of the various letters in a sentence. For this, we +will first build some macros to deal with \emph{associative} arrays, as they +have been popularized by scripting languages like \texttt{AWK} and +\texttt{Perl}. + +\begin{Example} + \makeatletter + + % /HLComment?Internally, we use two "standard" arrays to define one associative array; + \newarray\AssociativeArray@Names + \newarray\AssociativeArray@Values + + \newcount\AssociativeArrayNbValues + \AssociativeArrayNbValues=\z@ + + \newif\ifAssociativeArray@ElementFound + + % /HLComment?To store one element; + /HLMacro?\def\AssociativeArray;(#1)=#2{% + \expandarrayelementtrue + \AssociativeArray@ElementFoundfalse + \edef\@tempa{#1}% + \Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \ifx\@tempa\cachedata + % /HLComment?This element already exist: we replace it current value; + % /HLComment?\checkAssociativeArray@Values(\iValue)% Debug; + % /HLComment?\typeout{In #1, replace `\cachedata'\space by `#2'}% Debug; + \AssociativeArray@Values(\iValue)={#2}% + \AssociativeArray@ElementFoundtrue + \multidostop + \fi} + \ifAssociativeArray@ElementFound + \else + % /HLComment?New element; + \advance\AssociativeArrayNbValues\@ne + \AssociativeArray@Names(\AssociativeArrayNbValues)={#1}% + \AssociativeArray@Values(\AssociativeArrayNbValues)={#2}% + \fi} + + % /HLComment?To get one element; + /HLMacro?\def\checkAssociativeArray;(#1){% + \edef\@tempa{#1}% + \edef\@tempb{999999}% + \Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \ifx\@tempa\cachedata + % /HLComment?We have found it by name; + \edef\@tempb{\iValue}% + \multidostop + \fi} + % /HLComment?We have now to get it value; + \checkAssociativeArray@Values(\@tempb)} + + % /HLComment?Simple macro to print all the associative array; + /HLMacro?\def\printAssociativeArray;{% + \multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \iValue: \BS\texttt{FirstNames(\cachedata)}=`\AssociativeArray@Values(\iValue)'\space}} + + \makeatother + + \let\FirstNames\AssociativeArray + \let\checkFirstNames\checkAssociativeArray + \let\printFirstNames\printAssociativeArray + + \FirstNames(Crawford)={Joan} + \FirstNames(Tierney)={Gene} + \FirstNames(Lake)={Veronika} + + \printFirstNames + + \checkFirstNames(Lake) + \verb+\FirstNames(Lake)+=`\cachedata' + + \checkFirstNames(Monroe) + \ifemptydata + \verb+\FirstNames(Monroe) undefined!+ + \else + \verb+\FirstNames(Monroe)+=`\cachedata' + \fi +\end{Example} + +\makeatletter + +% Internally, we use two "standard" arrays to define one associative array +\newarray\AssociativeArray@Names +\newarray\AssociativeArray@Values + +\newcount\AssociativeArrayNbValues +\AssociativeArrayNbValues=\z@ + +\newif\ifAssociativeArray@ElementFound + +% To store one element +\def\AssociativeArray(#1)=#2{% +\expandarrayelementtrue +\AssociativeArray@ElementFoundfalse +\edef\@tempa{#1}% +\Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \ifx\@tempa\cachedata + % This element already exist: we replace it current value + % \checkAssociativeArray@Values(\iValue)% debug + % \typeout{In #1, replace `\cachedata'\space by `#2'}% Debug + \AssociativeArray@Values(\iValue)={#2}% + \AssociativeArray@ElementFoundtrue + \multidostop + \fi} +\ifAssociativeArray@ElementFound +\else + % New element + \advance\AssociativeArrayNbValues\@ne + \AssociativeArray@Names(\AssociativeArrayNbValues)={#1}% + \AssociativeArray@Values(\AssociativeArrayNbValues)={#2}% +\fi} + +% To get one element +\def\checkAssociativeArray(#1){% +\edef\@tempa{#1}% +\edef\@tempb{999999}% +\Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \ifx\@tempa\cachedata + % We have found it by name + \edef\@tempb{\iValue}% + \multidostop + \fi} +% We have now to get it value +\checkAssociativeArray@Values(\@tempb)} + +% Simple macro to print all the associative array +\def\printAssociativeArray{% +\multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \iValue: \BS\texttt{FirstNames(\cachedata)}=`\AssociativeArray@Values(\iValue)'}} + +\makeatother + +\vspace{2mm} + Now, we can define the macros to read a sentence, to cut it letter by letter, +to count the occurrences of each of them, and finally to draw a summary plot of +the results. + +\makeatletter % Problem with the \ifpstricks conditional if not set... + +\ifpstricks % If PSTricks is available +\begin{CenterExample} + \makeatletter + + % /HLComment?A \PerChar style macro adapted from Juergen Schlegelmilch; + % /HLComment?( - posted on c.t.t. January 27, 1998); + /HLMacro?\def\PerChar;#1#2{\DoPerChar#1#2\@nil} + + /HLMacro?\def\DoPerChar;#1#2#3\@nil{% + #1#2% + \edef\@tempa{#3}% + \ifx\@tempa\empty + \else + \DoPerChar#1#3\@nil + \fi} + + % /HLComment?The action to do for each character: we increase the counter; + % /HLComment?for this character by one; + /HLMacro?\def\ActionPerChar;#1{% /HLComment?#1=character; + \checkAssociativeArray(#1)% + \ifemptydata + \@tempcnta=\@ne + \else + \@tempcnta=\cachedata + \advance\@tempcnta\@ne + \fi + \AssociativeArray(#1)={\the\@tempcnta}} + + % /HLComment?To store in an associative array the number of occurrences by characters; + % /HLComment?(spaces are not counted); + /HLMacro?\def\StatSentence;#1{% /HLComment?#1=sentence; + \AssociativeArrayNbValues=\z@ + \PerChar{\ActionPerChar}{#1}} + + % /HLComment?To draw a plot of the number of occurrences of the characters of a sentence; + /HLMacro?\def\DrawOccurrences;#1{% /HLComment?#1=sentence; + \StatSentence{#1} + % + \pst@cnta=\AssociativeArrayNbValues + \advance\pst@cnta\@ne + % + % /HLComment?To know the maximum of the numbers; + \pst@cntb=\z@ + \Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Values(\iValue)% + \ifnum\cachedata>\pst@cntb + \pst@cntb=\cachedata + \fi} + \advance\pst@cntb\@ne + % + % /HLComment?The drawing itself; + \pspicture(-0.5,-0.5)(\pst@cnta,\pst@cntb) + \psaxes[axesstyle=frame,labels=y](\pst@cnta,\pst@cntb) + \multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \Draw@OneOccurrence{\iValue}} + \endpspicture} + + % /HLComment?To draw the value for one occurrence; + /HLMacro?\def\Draw@OneOccurrence;#1{% /HLComment?#1=Letter; + \checkAssociativeArray@Values(#1)% + \psdot(#1,\cachedata) + \rput[B](\iValue,-0.5){\AssociativeArray@Names(#1)}} + + \makeatother + + \let\Names\AssociativeArray + \let\checkNames\checkAssociativeArray + + \psset{dotstyle=o,dotsize=0.4} + + \DrawOccurrences{We are Wednesday} +\end{CenterExample} + +\makeatletter + +%% A \PerChar style macro adapted from Juergen Schlegelmilch +%% ( - posted on c.t.t. Jan. 27, 1998) +\def\PerChar#1#2{\DoPerChar#1#2\@nil} + +\def\DoPerChar#1#2#3\@nil{% +#1#2% +\edef\@tempa{#3}% +\ifx\@tempa\empty +\else + \DoPerChar#1#3\@nil +\fi} + +% The action to do for each character: we increase the counter +% for this character by one +\def\ActionPerChar#1{% #1=character +\checkAssociativeArray(#1)% +\ifemptydata + \@tempcnta=\@ne +\else + \@tempcnta=\cachedata + \advance\@tempcnta\@ne +\fi +\AssociativeArray(#1)={\the\@tempcnta}} + +% To store in an associative array the number of occurrences by characters +% (spaces are not counted) +\def\StatSentence#1{% #1=sentence +\AssociativeArrayNbValues=\z@ +\PerChar{\ActionPerChar}{#1}} + +% To draw a plot of the number of occurrences of the characters of a sentence +\def\DrawOccurrences#1{% +\StatSentence{#1} +% +\pst@cnta=\AssociativeArrayNbValues +\advance\pst@cnta\@ne +% +% To know the maximum of the numbers +\pst@cntb=\z@ +\Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Values(\iValue)% + \ifnum\cachedata>\pst@cntb + \pst@cntb=\cachedata + \fi} +\advance\pst@cntb\@ne +% +% The drawing itself +\pspicture(-0.5,-0.5)(\pst@cnta,\pst@cntb) + \psaxes[axesstyle=frame,labels=y](\pst@cnta,\pst@cntb) + \multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \Draw@OneOccurrence{\iValue}} +\endpspicture} + +% To draw the value for one occurrence +\def\Draw@OneOccurrence#1{% +\checkAssociativeArray@Values(#1)% +\psdot(#1,\cachedata) +\rput[B](\iValue,-0.5){\AssociativeArray@Names(#1)}} + +\let\Names\AssociativeArray +\let\checkNames\checkAssociativeArray + +\psset{dotstyle=o,dotsize=0.4} + +\makeatother + +\vspace{8mm} % Poor hack to force a page break... + We will now write another version, using another array to store indexes, +to allow us to sort the letters found in the sentence read. + +\begin{CenterExample} + \makeatletter + + % /HLComment?To get in #2 the ASCII code of the #1 character; + /HLMacro?\def\Character@AsciiCode;#1#2{\chardef#2=`#1\relax} + + % /HLComment?A new "standard" array to store the sorted indexes; + \newarray\AssociativeArray@Indexes + + % /HLComment?A simple macro to print the array of indexes (for debugging); + /HLMacro?\def\PrintIndexes;{% + \multido{\iIndexes=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Indexes(\iIndexes)% + \BS\texttt{indexes(\iIndexes)}=`\cachedata'\space}} + + % /HLComment?We redefine the macro to store an element in the associative array,; + % /HLComment?to allow to sort it elements, using an additional array of indexes; + /HLMacro?\def\AssociativeArray;(#1)=#2{% + \expandarrayelementtrue + \AssociativeArray@ElementFoundfalse + \edef\@tempa{#1}% + \edef\@tempb{#2}% + \Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \ifx\@tempa\cachedata + % /HLComment?This element already exist: we replace it current value; + % /HLComment?\checkAssociativeArray@Values(\iValue)% Debug; + % /HLComment?\typeout{In #1, replace `\cachedata'\space by `#2'}% Debug; + \AssociativeArray@Values(\iValue)={\@tempb}% + \AssociativeArray@ElementFoundtrue + \multidostop + \fi} + \ifAssociativeArray@ElementFound + \else + % /HLComment?New element: we must insert it at it sorted position; + \@tempcnta=\@ne + \expandafter\Character@AsciiCode\@tempa\@tempx + \Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \expandafter\Character@AsciiCode\cachedata\@tempy + \ifnum\@tempx<\@tempy + % /HLComment?The new element must be before this one: we will exchange their values; + \checkAssociativeArray@Indexes(\iValue)% + \@tempcntb=\cachedata + \advance\@tempcntb\@ne + \AssociativeArray@Indexes(\iValue)={\the\@tempcntb}% + \else + \advance\@tempcnta\@ne + \fi} + % + \advance\AssociativeArrayNbValues\@ne + \AssociativeArray@Names(\AssociativeArrayNbValues)={\@tempa}% + \AssociativeArray@Values(\AssociativeArrayNbValues)={\@tempb}% + \AssociativeArray@Indexes(\AssociativeArrayNbValues)={\the\@tempcnta}% + \fi} + + % /HLComment?We change the way we draw each number of occurrences; + /HLMacro?\def\Draw@OneOccurrence;#1{% + \checkAssociativeArray@Indexes(#1)% + \pst@cnta=\cachedata + \checkAssociativeArray@Values(#1)% + \psdot(\the\pst@cnta,\cachedata) + \rput[B](\the\pst@cnta,-0.5){\AssociativeArray@Names(#1)}} + + \makeatother + + \DrawOccurrences{We are Wednesday} + + \PrintIndexes +\end{CenterExample} + +\makeatletter + +% To get in #2 the ASCII code of the #1 character +\def\Character@AsciiCode#1#2{\chardef#2=`#1\relax}% + +% A new "standard" array to store the sorted indexes +\newarray\AssociativeArray@Indexes + +% We redefine the macro to store an element in the associative array, +% to allow to sort it elements, using an additional array of indexes +\def\AssociativeArray(#1)=#2{% +\expandarrayelementtrue +\AssociativeArray@ElementFoundfalse +\edef\@tempa{#1}% +\edef\@tempb{#2}% +\Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \ifx\@tempa\cachedata + % This element already exist: we replace it current value + % \checkAssociativeArray@Values(\iValue)% Debug + % \typeout{In #1, replace `\cachedata'\space by `#2'}% Debug + \AssociativeArray@Values(\iValue)={\@tempb}% + \AssociativeArray@ElementFoundtrue + \multidostop + \fi} +\ifAssociativeArray@ElementFound +\else + % New element: we must insert it at it sorted position + \@tempcnta=\@ne + \expandafter\Character@AsciiCode\@tempa\@tempx + \Multido{\iValue=\@ne+\@ne}{\AssociativeArrayNbValues}{% + \checkAssociativeArray@Names(\iValue)% + \expandafter\Character@AsciiCode\cachedata\@tempy + \ifnum\@tempx<\@tempy + % The new element must be before this one: we will exchange their values + \checkAssociativeArray@Indexes(\iValue)% + \@tempcntb=\cachedata + \advance\@tempcntb\@ne + \AssociativeArray@Indexes(\iValue)={\the\@tempcntb}% + \else + \advance\@tempcnta\@ne + \fi} + % + \advance\AssociativeArrayNbValues\@ne + \AssociativeArray@Names(\AssociativeArrayNbValues)={\@tempa}% + \AssociativeArray@Values(\AssociativeArrayNbValues)={\@tempb}% + \AssociativeArray@Indexes(\AssociativeArrayNbValues)={\the\@tempcnta}% +\fi} + +% We change the way we draw each number of occurrences +\def\Draw@OneOccurrence#1{% +\checkAssociativeArray@Indexes(#1)% +\pst@cnta=\cachedata +\checkAssociativeArray@Values(#1)% +\psdot(\the\pst@cnta,\cachedata) +\rput[B](\the\pst@cnta,-0.5){\AssociativeArray@Names(#1)}} + +\makeatother + +\begin{CenterExample} + \DrawOccurrences{Tuesday 8 February} +\end{CenterExample} + +\noindent Now, we can easily redefine the internal macro which plot each +occurrence, to obtain various kinds of graphics: + +\begin{CenterExample} + \makeatletter + + /HLMacro?\def\Draw@OneOccurrence;#1{% + \checkAssociativeArray@Indexes(#1)% + \pst@cnta=\cachedata + \checkAssociativeArray@Values(#1) + \psline[linestyle=dotted](\the\pst@cnta,0)(\the\pst@cnta,\cachedata) + \psdot(\the\pst@cnta,\cachedata) + \rput[B](\the\pst@cnta,-0.5){\AssociativeArray@Names(#1)}} + + \makeatother + + \psset{xunit=0.5,dotstyle=*,dotsize=0.3} + \DrawOccurrences{I do not believe that it can be correct} +\end{CenterExample} + +\begin{CenterExample} + \makeatletter + + \SpecialCoor + + /HLMacro?\def\Draw@OneOccurrence;#1{% + \checkAssociativeArray@Indexes(#1)% + \pst@cnta=\cachedata + \checkAssociativeArray@Values(#1)% + \pspolygon*[linecolor=red](! \the\pst@cnta\space 0.3 sub 0) + (! \the\pst@cnta\space 0.3 sub \cachedata) + (! \the\pst@cnta\space 0.3 add \cachedata) + (! \the\pst@cnta\space 0.3 add 0) + \rput[B](\the\pst@cnta,-0.5){\AssociativeArray@Names(#1)}} + + \makeatother + + \psset{xunit=0.5,ticks=y} + \DrawOccurrences{I don't know a better solution than this one} +\end{CenterExample} +\else + \PSTricksExampleNotShown +\fi % End \pstrickstrue + +\section{Thanks} + + I would like to thank Rolf Niepraschk \verb++ to have +carefully read a preliminary version of this document and to have sent me +several good advices to clarify and improve some points. + +\begin{thebibliography}{9} + \bibitem{SVB93} Stephan von \textsc{Bechtolsheim}, \emph{\TeX{} in + Practice}, four volumes, Springer-Verlag, New York, 1993 (see also + \url{CTAN: macros/tip/arraymac.tip}). + \bibitem{REPEAT} \RepeatPackage, by Victor \textsc{Eijkhout}, University of + Illinois, Urbana-Champaign, USA, \url{CTAN: macros/generic/eijkhout/repeat} + \bibitem{EG98} Philippe \textsc{Esperet} and Denis \textsc{Girou}, + \emph{Coloriage du pavage dit de Truchet}, Cahiers GUTenberg, Number~31, + December 98, pages 5-18, in french (see + \url{http://www.gutenberg.eu.org/pub/GUTenberg/publicationsPS/31-girou.ps.gz}). + \bibitem{ALDRATEX} \AlDraTeXPackage, by Eitan M. \textsc{Gurari}, Ohio State + University, Columbus, USA, \url{CTAN: graphics/dratex} (see also + \url{http://www.cis.ohio-state.edu/~gurari/systems.html}). + \bibitem{Gur94} Eitan M. \textsc{Gurari}, \emph{\TeX{} and \LaTeX: Drawing + and Literate Programming}, McGraw-Hill, New-York, 1994. + \bibitem{METAPOST} \MetaPostPackage, by John D. \textsc{Hobby}, AT\&T Bell + Laboratories, USA, \url{CTAN: graphics/metapost} (see also + \url{http://cm.bell-labs.com/who/hobby/MetaPost.html}). + \bibitem{FORMLETT} \FormLettPackage, by Zhuhan \textsc{Jiang}, University of + New England, Armidale, Australia, \url{CTAN: macros/generic/formlett.sty} (see + also \url{http://maths.une.edu.au/~zhuhan/util.html#computer}). + \bibitem{MULTIDO} \MultiDoPackage, by Timothy van \textsc{Zandt}, INSEAD, + Fontainebleau, France, \url{CTAN: macros/generic/multido} + \bibitem{PSTRICKS} \PSTricksPackage, by Timothy van \textsc{Zandt}, INSEAD, + Fontainebleau, France, \url{CTAN: graphics/pstricks} (see also + \url{http://www.tug.org/applications/PSTricks}). +\end{thebibliography} + +\end{document} diff --git a/Master/texmf-dist/doc/generic/arrayjob/arrayjob.pdf b/Master/texmf-dist/doc/generic/arrayjob/arrayjob.pdf new file mode 100644 index 00000000000..b2a48631dfa Binary files /dev/null and b/Master/texmf-dist/doc/generic/arrayjob/arrayjob.pdf differ diff --git a/Master/texmf-dist/doc/generic/borceux/Diagram_Mode_d_Emploi b/Master/texmf-dist/doc/generic/borceux/Diagram_Mode_d_Emploi new file mode 100644 index 00000000000..437dd80e812 --- /dev/null +++ b/Master/texmf-dist/doc/generic/borceux/Diagram_Mode_d_Emploi @@ -0,0 +1,589 @@ +\documentstyle{article} + +\textheight532pt +\textwidth355pt +\footskip15pt + +\hoffset-35mm +\voffset-35mm + +\language=1 +\hyphenation{dia-gram-me} +\diagramlabel{Diagramme} + +\title{Mode d'emploi de {\em Diagram 3}\thanks{Par rapport aux versions~1 et +~2, le dessin des flches a t amlior, la varit de directions et de +flches disponibles a t plus que double, toutes les flches pour diagrammes +admettent un argument optionnel de longueur, la frappe des diagrammes a t +simplifie, des messages d'erreur et d'aide ont t introduits. Pour compiler +avec {\em Diagram~3}, des documents prpars avec les versions~1 ou~2, lire le +fichier {\em OldDiagram} aprs le fichier {\em Diagram}.}} +\author{Francis Borceux, Louvain-la-Neuve} +\date{borceux@agel.ucl.ac.be} + +\font\bldfc=cmmib10 +\def\boldface#1{\mbox{\bldfc#1}} + +\newcommand{\XA}% +{\truex{300}% +\begin{picture}(0,0)% +\put(0,0){\circle{\value{x}}}% +\end{picture}} + +\newcommand{\XB}% +{\truex{500}% +\begin{picture}(0,0)% +\put(0,0){\circle*{\value{x}}}% +\end{picture}} + +\newcommand{\V}[3]{\cross{\XB}{\movevertex(#1,#2){\scriptstyle#3}}} + +\begin{document} + +\maketitle + +\section{A propos de {\em Diagram}} + +Le fichier {\em Diagram} ralise la construction de diagrammes du type de ceux +apparaissant dans les textes de thorie des catgories. L'utilisateur donne la +liste des objets et des flches constituant le diagramme, comme s'il composait +une matrice, et le programme prend soin de calculer les dimensions des flches +et de raliser la mise en page. Tout ce que l'utilisateur doit faire en ce qui +concerne les flches est prciser leur type (monomorphisme, paire de flches, +\ldots) et leur direction (nord, sud-est,\ldots): 12 types de flches et 32 +directions sont disponibles; voir figures~1 et~3 pour des listes exhaustives. + +Un fichier {\em MultipleArrows} existe galement: il produit des flches +triples, quadruples et quintuples, parallles ou adjointes. La taille de ces +lments est telle que de svres restrictions s'appliquent ceux-ci. + +{\em Diagram} fait un usage abondant des commandes \LaTeX\ et ne peut donc +fonctionner sans \LaTeX. + +Certaines implmentations de \TeX, surtout celles limites $2^{16}$ mots de +m\-moi\-re, sont incapables de manipuler {\em Diagram}. Pour ces situations, +deux fichiers rduits de macros ont t crs; la restriction s'applique +uniquement aux types de flches disponibles. +\begin{itemize} +\item {\em MicroDiagram} ne dessine que des flches simples; +\item {\em MiniDiagram} dessine des flches simples, des paires de flches et +des flches adjointes. +\end{itemize} +La restriction est d'ailleurs plus subtile, car les flches sont produites ici +d'une manire plus conomique. + +Compiler de grands diagrammes requiert beaucoup de mmoire \TeX; si vous tes +fortement limit cet gard, esssayez de produire ces diagrammes commes +documents spars. Pour conomiser de la mmoire, vous pouvez aussi supprimer +du fichier les macros que vous n'envisagez pas d'utiliser. Ne copiez pas des +macros de {\em Diagram} vers {\em MiniDiagram} ou {\em MicroDiagram}: cela ne +fonctionnerait pas. + +{\em Diagram} a t conu pour fournir des rsultats optimaux sur les +imprimantes avec une rsolution allant jusque 300dpi. Dans le cas d'imprimantes + plus haute rsolution, il convient d'adapter en consquence le paramtre {\em +printerresolution} donn comme premire instruction du fichier {\em Diagram}. +Notez en passant que diminuer ce paramtre est une autre manire d'conomiser +de la mmoire. + +\section{Les flches dans les formules} + +Des flches peuvent tre introduites dans les formules, donc dans une ligne de +texte entre simples dollars ou dans une formule hors-texte, entre doubles +dollars. La commande est la mme dans les deux cas, mais l'effet produit est +diffrent. La varit de flches disponibles est donne la figure~1. +\begin{figure} +\settextarrowlength{45} +\begin{center} +\begin{tabular}{|l|c|l|} +\hline +{\bf Nom}&{\bf Flche}&{\bf Code}\\ +\hline\hline +flche simple&$\ar$&ar\\ +flche pointille&$\dotar$&dotar\\ +distributeur&$\dist$&dist\\ +monomorphisme&$\mono$&mono\\ +pimorphisme&$\epi$&epi\\ +bimorphisme&$\bimo$&bimo\\ +isomorphisme&$\iso$&iso\\ +galit&$\eql$&eql\\ & & \\ +paire de flches&$\biar$&biar\\ & & \\ +flches adjointes&$\adjar$&adjar\\ & & \\ +paire de distributeurs&$\bidist$&bidist\\ & & \\ +distributeurs adjoints&$\adjdist$&adjdist\\ +\hline +\end{tabular} +\hspace{5mm} +\begin{minipage}{30mm} +Les codes {\em iso, dist, bidist, adjdist} sont g\-n\-ri\-ques: +les mar\-ques $\cong$, $\circ$ peu\-vent tre chan\-ges a tout mo\-ment +par les ins\-truc\-tions \verb+\isomark{...}+, \verb+\distmark{...}+ +o \verb+...+ sont les nou\-vel\-les mar\-ques. Les mar\-ques par d\-faut sont +\verb+\cong+ et \verb+\distcircle+. +\end{minipage} +\end{center} +\caption{Les divers types de flches.} +\settextarrowlength{20} +\end{figure} +\begin{itemize} +\item Pour produire un type donn de flche dans le sens direct (comme la +figure~1), il suffit de frapper un {\em backslash} suivi du code pour ce type +de flche: donc +\verb+$f \colon A \mono B$+ produit $f \colon A \mono B$. +\item Pour produire un type donn de flche dans le sens oppos, frappez une +commande commenant par \verb+\bk+ et se terminant par le code pour ce type de +flche: donc +\verb+$g \colon B \bkepi C$+ produit $g \colon B \bkepi C$. +\item Pour donner un nom l'une des flches prcdentes, il suffit de frapper +en majuscule la premire lettre de la commande et de donner le nom comme +argument: donc +\verb+$C \Dist h D$+ produit $C \Dist h D$. +Bien entendu, dans le cas de doubles flches, il faut donner deux noms: +d'abord celui de la flche suprieure puis celui de la flche infrieure: +par exemple +\verb+$D \Bkadjar ij E$+ produit $D \Bkadjar ij E$. Comme d'habitude, quand les +noms ne sont pas des caractres uniques, utilisez des accolades pour les +dlimiter. +\end{itemize} +Pour vous permettre de juger la diffrence entre les flches +dans le texte et les flches hors-texte, voici les flches prcdentes +produites hors-texte +$$ A \Mono f B \Bkepi g C \Dist h D \Bkadjar ij E $$ +via les commandes +\begin{verbatim} +$$ A \Mono f B \Bkepi g C \Dist h D \Bkadjar ij E $$ +\end{verbatim} + +La longueur par dfaut d'une flche dans le texte est 20pt et son nom ventuel +est produit en taille {\em scriptstyle}; la longueur par dfaut d'une flche +hors-texte est 30pt et son nom ventuel est produit en taille {\em textstyle}. +Ces longueurs par dfaut peuvent tre modifies tout moment via des +instructions +\begin{verbatim} +\settextarrowlength{25} +\setdisplayarrowlength{40} +\end{verbatim} +o 25 et 40 expriment les nouvelles longueurs en points. + +\section{Construire un diagramme} + +Pour construire un diagramme bi-dimensionnel, imaginez un rseau de points, +visualis par des cercles et des ``boulets'' dans la figure~2: +\begin{figure} +\begin{diagram} +\XB\XA\XB\XA\XB\XA\XB +\XA\cross{\XA}{\sear}\cross{\XA}{\esear}\cross{\XA}{\eesear}\XA\XA\XA +\XB\cross{\XA}{\ssear}\XB\cross{\XA}{\ear}\XB\cross{\XA}{\ear}\XB +\XA\XA\cross{\XA}{\sar}\XA\cross{\XA}{\sar}\XA\cross{\XA}{\sar} +\XB\XA\XB\cross{\XA}{\ear}\XB\cross{\XA}{\ear}\XB +\end{diagram} +\caption{Conception d'un diagramme bi-dimensionnel.} +\end{figure} +les boulets indiquent les points du rseau o l'on peut s'attendre trouver un +objet. Chaque objet et chaque flche est attach par son centre en un point du +rseau. Il suffit maintenant d'numrer les lments, ligne par ligne et +colonne par colonne, comme pour une matrice; en particulier quand tous les +lments non vides d'une ligne ont t numrs, on peut passer directement +la ligne suivante. Tous les lments sont traits automatiquement en mode +mathmatique. Le programme prend soin de choisir correctement la longueur de +chaque flche. + +Un objet se frappe comme n'importe quelle formule mathmatique. Les rgles pour +introduire une flche sont compltement analogues celles de la section~2: les +divers types de flches sont de nouveau ceux de la figure ~1 tandis que les +directions possibles et leur code sont donnes la figure~3. +\begin{figure} +\begin{diagram}[60] +\XB\XA\V{0}{10}{nwnnw}\XA\V{0}{10}{nnnw}\XA\XB\XA\V{0}{10}{nnne} +\XA\V{0}{10}{nenne}\XA\XB +\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA +\V{-10}{0}{\makebox[0pt][r]{$\scriptstyle nwwnw$}}\XA\XB\XA +\V{-5}{10}{\boldface{nnw}}\XA\XB\XA\V{5}{10}{\boldface{nne}}\XA\XB\XA +\V{10}{0}{\makebox[0pt][l]{$\scriptstyle +neene$}} +\XA\XA\XA\XA\cross{\XA}{\nwnnwar}\cross{\XA}{\nnnwar}\XA\cross{\XA}{\nnnear} +\cross{\XA}{\nennear}\XA\XA\XA\XA +\V{-10}{0}{\makebox[0pt][r]{$\scriptstyle +wwnw$}}\XA\V{-10}{10}{\boldface{wnw}}\cross{\XA}{\nwwnwar} +\V{-5}{10}{\boldface{nw}}\cross{\XA}{\bold\nnwar}\V{0}{10}{\boldface{n}} +\cross{\XA}{\bold\nnear}\V{5}{10}{\boldface{ne}}\cross{\XA}{\neenear} +\V{10}{10}{\boldface{ene}}\XA\V{10}{0}{\makebox[0pt][l]{$\scriptstyle +eene$}} +\XA\XA\XA\cross{\XA}{\wwnwar}\cross{\XA}{\bold\wnwar}\cross{\XA}{\bold\nwar} +\cross{\XA}{\bold\nar}\cross{\XA}{\bold\near}\cross{\XA}{\bold\enear} +\cross{\XA}{\eenear}\XA\XA\XA +\XB\XA\XB\XA\V{-10}{0}{\boldface{w}}\cross{\XA}{\bold\war}\XB +\cross{\XA}{\bold\ear}\V{10}{0}{\boldface{e}}\XA\XB\XA\XB +\XA\XA\XA\cross{\XA}{\wwswar}\cross{\XA}{\bold\wswar}\cross{\XA}{\bold\swar} +\cross{\XA}{\bold\sar}\cross{\XA}{\bold\sear}\cross{\XA}{\bold\esear} +\cross{\XA}{\eesear}\XA\XA\XA +\V{-10}{0}{\makebox[0pt][r]{$\scriptstyle +wwsw$}}\XA\V{-10}{-10}{\boldface{wsw}}\cross{\XA}{\swwswar} +\V{-5}{-10}{\boldface{sw}}\cross{\XA}{\bold\sswar}\V{0}{-10}{\boldface{s}} +\cross{\XA}{\bold\ssear}\V{5}{-10}{\boldface{se}}\cross{\XA}{\seesear} +\V{10}{-10}{\boldface{ese}}\XA\V{10}{0}{\makebox[0pt][l]{$\scriptstyle +eese$}} +\XA\XA\XA\XA\cross{\XA}{\swsswar}\cross{\XA}{\ssswar}\XA\cross{\XA}{\sssear} +\cross{\XA}{\sessear}\XA\XA\XA\XA +\V{-10}{0}{\makebox[0pt][r]{$\scriptstyle +swwsw$}}\XA\XB\XA\V{-5}{-10}{\boldface{ssw}}\XA\XB\XA +\V{5}{-10}{\boldface{sse}}\XA\XB\XA +\V{10}{0}{\makebox[0pt][l]{$\scriptstyle seese$}} +\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA +\XB\XA\V{0}{-10}{swssw}\XA\V{0}{-10}{sssw}\XA\XB\XA\V{0}{-10}{ssse} +\XA\V{0}{-10}{sesse}\XA\XB +\end{diagram} +\caption{Les 32 directions de flches dans un diagramme.} +\end{figure} +Prenant une certaine libert avec la gographie et la trigonomtrie, +les 32 directions considres ont reu les noms habituels dans +la rose des vents. +\begin{itemize} +\item Pour produire un type de flche dans une direction donne, frappez un +{\em backslash} suivi du code de la direction et du code de la flche. +Par exemple +\verb+\nemono+ founit un monomorphisme orient au nord-est. +\item Pour mettre un nom au-dessus d'une flche, frappez la premire lettre de +la commande en majuscule et donnez le nom comme argument. Par exemple +\verb+\Ssedist f+ fournit un distributeur $f$ orient au sud-sud-est. Bien +entendu dans le cas de doubles flches il faut donner deux noms: d'abord celui +de la flche suprieure puis celui de la flche infrieure. Dans le cas de +flches verticales, le nom apparat gauche de la flche. +\item La procdure pour mettre un nom en-dessous d'une flche est analogue: +frappez cette fois la dernire lettre de la commande en majuscule et donnez le +nom comme argument. Donc \verb+\wbimO f+ produit un bimorphisme $f$ orient +l'ouest. Dans le cas de flches verticales, le nom apparat cette fois +droite. Pour les doubles flches, les deux procdures pour insrer les noms +sont quivalentes. +\end{itemize} +Les 12 types de flches de la figure~1 existent dans les 16 directions +principales, imprimes en gras la figure~3; dans les 16 autres directions, +seules les flches simples existent. + +Il reste expliquer la syntaxe pour frapper un diagramme. C'est simplement +\begingroup% +\catcode`\=\active\def{{\S}}% +\begin{verbatim} +\begin{diagram} +......... +............ +............ +\end{diagram} +\end{verbatim}% +\endgroup% +\noindent o \verb+...+ indiquent les lments successifs. Donc un simple \S\ +est le dlimiteur entre deux lments d'une mme ligne, tandis qu'un double +\S\S\ indique la fin d'une ligne\footnote{Si l'utilisation du symbole \S\ vous +cause un problme, remplacez-le par n'importe quel symbole que vous ne risquez +gure d'utiliser dans un diagramme, par exemple ?; vous pouvez effectuer ce +changement de manire globale et automatique dans le fichier {\em Diagram}.}. Il +est impratif de frapper le double \S\S\ la fin de la dernire ligne et rien ne +peut se trouver entre ce double \S\S\ et l'instruction \verb+\end{diagram}+ (il +y a une seule exception, expose dans la section~6). N'oubliez pas un espace +blanc pour indiquer un lment vide, car deux \S\S\ conscutifs seraient +interprts comme la fin de la ligne. Plusieurs blancs sont, comme toujours, +quivalents un seul. + + +Donc le diagramme~1, +\begin{floatingdiagram} +A + \Sedotar x\eseaR y \Eesear z + \sseaR u A \Eepi a B \Emono bC + \saR c \Sadjar de \seqL{1_C} + D \waR g D\oplus E \eaR h C +\end{floatingdiagram} +qui a exactement la forme voque par la figure ~2, est produit +par les instructions suivantes: +\begingroup% +\catcode`\=\active\def{{\S}}% +\begin{verbatim} +\begin{diagram} +A + \Sedotar x\eseaR y \Eesear z + \sseaR u A \Eepi a B \Emono bC + \saR c \Sadjar de \seqL{1_C} + D \waR g D\oplus E \eaR h C +\end{diagram} +\end{verbatim}% +\endgroup% + +Il existe un second environnement, parfaitement analogue, pour produire des +diagrammes; il prend la forme +\begingroup% +\catcode`\=\active\def{{\S}}% +\begin{verbatim} +\begin{floatingdiagram} +......... +............ +............ +\end{floatingdiagram} +\end{verbatim}% +\endgroup% +\noindent Comme son nom l'indique, le diagramme est cette fois introduit comme +corps flottant et se trouve numrot automatiquement (cf.~diagrammes~1 ~3). Le +choix par dfaut est de numroter successivement les diagrammes travers tout +le document. Vous pouvez prfrer un numro 3.12 pour, par exemple, le douzime +diagramme du chapitre~3 (dans un style avec des chapitres!). Ceci s'obtient par +l'instruction +\begin{verbatim} +\setdiagramcounter{chapter} +\end{verbatim} +o bien entendu {\em chapter} peut tre remplac par tout autre niveau de +sectionnement: {\em part, section,\ldots} Pour des textes rdigs dans une +autre langue que l'anglais, vous pouvez traduire le mot {\em Diagram} +prcdant le numro en donnant, par exemple, l'instruction +\begin{verbatim} +\diagramlabel{Diagramme} +\end{verbatim} +n'importe o dans le texte, mais pas l'intrieur d'un diagramme. + +Chaque diagramme, flottant ou non, peut en outre recevoir une lgende. +Cela se fait via une instruction +\begin{verbatim} +\diagramcaption{...} +\end{verbatim} +qui peut se donner n'importe o dans le diagramme, mais avant les derniers +\S\S. Dans le cas d'un diagramme flottant, cette lgende complte la +numrotation automatique, comme au diagramme~4. + +\section{Modifications de tailles} + +Le pas du rseau formel de points sous-tendant un diagramme est de 40 units, +o l'unit par dfaut est le point. Un facteur d'chelle peut tre +appliqu cette valeur par dfaut, via une instruction +\begin{verbatim} +\setdefaultscale{75} +\end{verbatim} +(facteur d'chelle 75\%); cette instruction s'applique tous les diagrammes +ul\-t\-rieurs et doit tre donne en dehors de tout environnement {\em +diagram} ou {\em floatingdiagram}. Si vous souhaitez appliquer un facteur +d'chelle un seul diagramme, donnez ce facteur d'chelle comme argument +optionnel de l'environnement correspondant; par exemple +\begin{verbatim} +\begin{diagram}[125] +........ +\end{diagram} +\end{verbatim} +pour un agrandissement de 125\%, et de manire analogue pour les diagrammes +flottants. Le facteur d'chelle donn ainsi pour un diagramme spcifique se +subsitue la valeur par dfaut en vigueur, juste le temps du digramme +concern. Par exemple le digramme~1 est l'chelle 100\% et le diagramme~2 +l'chelle 75\%. Observez l'effet prcis d'un tel facteur d'chelle, qui n'est +en rien une homthtie brutale. +\begin{floatingdiagram}[75] +A + \Sedotar x\eseaR y \Eesear z + \sseaR u A \Eepi a B \Emono bC + \saR c \Sadjar de \seqL{1_C} + D \waR g D\oplus E \eaR h C +\end{floatingdiagram} + +Pour motiver les notions suivantes, considrons la conception d'un diagramme +tri-dimensionnel, comme la figure~4. Comparez tout d'abord la dispositon +des ``boulets'' par rapport celle de la figure~2. +\begin{figure} +\begin{diagram}[50] +\XB\XA\cross{\XA}{\ear[130]}\XA\XB\XA\cross{\XA}{\ear[130]}\XA\XB\XA\XA +\XA\cross{\XA}{\sear}\XA\XA\XA\cross{\XA}{\sear}\XA\XA\XA\cross{\XA}{\sear}\XA +\cross{\XA}{\sar[130]}\XA\XB\XA\cross{\XA}{\cross{\ear[130]}{\sar[130]}}\XA + \XB\XA\cross{\XA}{\cross{\ear[130]}{\sar[130]}}\XA\XB +\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA +\XB\XA\cross{\XA}{\cross{\ear[130]}{\sar[130]}}\XA\XB + \cross{\XA}{\cross{\ear[130]}{\sar[130]}}\XA\XB\XA\cross{\XA}{\sar[130]} +\XA\cross{\XA}{\sear}\XA\XA\XA\cross{\XA}{\sear}\XA\XA\XA\cross{\XA}{\sear}\XA +\XA\XA\XB\XA\cross{\XA}{\ear[130]}\XA\XB\XA\cross{\XA}{\ear[130]}\XA\XB +\end{diagram} +\caption{Conception d'un diagramme tri-dimensionnel} +\end{figure} +Dans ce cas non seulement il faut ``croiser'' des flches en un mme point du +rseau formel, mais il faut aussi considrer des flches traversant plusieurs +points du rseau avant d'atteindre les objets qu'elles relient. En fait {\em +Diagram} suppose toujours qu'une flche relie les deux points adjacents du +rseau dans la direction de la flche. Si ce n'est pas le cas, c'est vous de +dterminer la longueur de la flche correspondante. + +Pour imposer une longueur spcifique une flche d'un diagramme, donnez +l'tendue correspondante de la flche comme argument optionnel\footnote{Cet +argument doit imprativement tre un nombre entier positif; toute autre chose, y +compris la valeur d'un compteur, troublerait profondment \TeX. Les flches +inclure dans le texte (section~2) n'admettent pas cet argument optionnel.}: +l'tendue d'une flche horizontale ou verticale est sa longueur; l'tendue des +autres flches est la longueur de leur projection horizontale (voir le manuel +\LaTeX, {\em Picture environment}, pour de plus amples dtails). Donc +\verb+\Near[60]f+ dessine une flche $f$ d'tendue 60 units, oriente au +nord-est. Voici les valeurs par dfaut des tendues des diverses flches: 50 +dans les directions n, s, e, w; 59 dans les directions ne, nw, se, sw; 133 dans +les directions ene, ese, wnw, wsw; 67 dans les directions nne, sse, nnw, ssw; +211 dans les directions eene, eese, wwnw, wwsw; 71 dans les directions nnne, +ssse, nnnw, sssw; 215 dans les direction neene, seese, nwwnw, swwsw; 143 dans +les directions nenne, sesse, nwnnw, swssw. Dans la plupart des cas, vous +obtiendrez l'tendue requise en augmentant la valeur par dfaut d'autant de fois +40 que la flche traverse de points supplmentaires du rseau. + +En ce qui concerne les flches ``croises'', la commande +\begin{verbatim} +\cross{element 1}{element 2} +\end{verbatim} +vous permet d'introduire simultanment {\em element 1} et {\em element 2} +en un mme point du rseau, sans perturber la construction gnrale +du diagramme; ces deux {\em elements} peuvent tre indiffremment des +objets ou des flches. +Le diagramme~3, conu la figure~4, peut donc s'obtenir comme +\begingroup +\catcode`\=\active\def{{\S}} +\begin{verbatim} +\begin{floatingdiagram}[50] +A \ear[130] B \ear[130] C +\sear \sear \sear +\sar[130] D \cross{\ear[130]}{\sar[130]} + E \cross{\ear[130]}{\sar[130]} F +G \cross{\ear[130]}{\sar[130]} H + \cross{\ear[130]}{\sar[130]} I \sar[130] +\sear \sear \sear + J \ear[130] K \ear[130] L +\end{floatingdiagram} +\end{verbatim} +\endgroup +\begin{floatingdiagram}[50] +A \ear[130] B \ear[130] C +\sear \sear \sear +\sar[130] D \cross{\ear[130]}{\sar[130]} + E \cross{\ear[130]}{\sar[130]} F +G \cross{\ear[130]}{\sar[130]} H + \cross{\ear[130]}{\sar[130]} I \sar[130] +\sear \sear \sear + J \ear[130] K \ear[130] L +\end{floatingdiagram} + +Enfin vous pouvez modifier l'paisseur du trait d'une flche en frappant +d'abord la commande \verb+\bold+; donc \verb+\bold\nar+ produit une flche +grasse oriente au nord. Cette option \verb+\bold+ est supprime +automatiquement par le symbole \S\ suivant; vous pouvez aussi l'annuler plus +tt (par exemple dans une commande \verb+\cross+) par l'instruction +\verb+\unbold+. Voyez la figure~3 pour des exemples de flches grasses. + + +\section{Les flches courbes} + +{\em Diagram} fournit galement huit flches courbes pouvant tre utilises +pour relier des points distants le long d'un bord d'un diagramme; +le code pour une flche courbe est {\em curvar}. Ces flches sont prsentes +la figure ~5, l'chelle 50\%, +\begin{figure} +\begin{diagram}[50] +\cdot\ear\cross{\XB}{\Necurvar{ne}}\ear\cdot +\cdot\ear\cross{\XB}{\Nwcurvar{nw}}\ear\cdot +\sar \sar \sar \sar \sar \sar +\cross{\XB}{\Wncurvar{wn}}\ear\cdot\ear\cross{\XB}{\Escurvar{es}} +\cross{\XB}{\Wscurvar{ws}}\ear\cdot\ear\cross{\XB}{\Encurvar{en}} +\sar \sar \sar \sar \sar \sar +\cdot\ear\cross{\XB}{\Swcurvar{sw}}\ear\cdot +\cdot\ear\cross{\XB}{\Securvar{se}}\ear\cdot +\spacing(15,0,15) +\end{diagram} +\caption{Les huit flches courbes.} +\end{figure} +avec les codes de direction correspondants. La premire lettre du code de +direction indique la position de la flche par rapport au diagramme; la seconde +lettre prcise l'orientation globale de la flche. Ainsi \verb+\wscurvar+ +dessine une flche courbe, l'ouest du diagramme, oriente au sud. Comme pour +les autres flches, une premire (ou dernire) lettre majuscule permet +d'affubler la flche d'un nom. + +Les flches courbes sont des exemples typiques d'lments qui sont +g\-n\-ra\-le\-ment introduits via la commande \verb+\cross+ de la section~4, en +un point du rseau partag avec un objet ou une autre flche. Dans la figure~5, +les ``boulets'' indiquent le centre formel des flches courbes, c'est--dire le +point du rseau en lequel elles sont attaches. + +La longueur par dfaut des flches courbes est 160 units, fournissant la +situation de la figure~5. Comme les autres flches introduites dans un +diagramme, une longueur arbitraire peut tre impose comme premier argument +optionnel. + +Les flches courbes sont galement incluses dans {\em MiniDiagram} et {\em +MicroDiagram}. + + +\section{Corrections d'espacements} + +{\em Diagram} dtermine les dimensions d'un diagramme en comptant le nombre de +lignes et de colonnes. Quand les dimensions relles diffrent sensiblement de +celles estimes par ce procd, par exemple quand vous introduisez des flches +courbes le long d'un diagramme, une correction d'espacement peut tre +ncessaire. Elle se ralise via l'instruction \verb+\spacing(t,b,l)+ qui doit +im\-p\-ra\-ti\-ve\-ment tre donne entre les derniers \S\S\ et l'instruction +\verb+\end{diagram}+ (ou \verb+\end{floatingdiagram}+). Cette +commande\footnote{N'abbrviez pas cette commande, cela troublerait profondment +\TeX.} ajoute un espacement de $t$ points au dessus du diagramme, $l$ points +gauche et $b$ points en dessous. $t$, $l$, $b$ sont des entiers positifs ou +ngatifs. + +\begingroup% +\catcode`\=\active\def{{\S}}% +\begin{verbatim} +\begin{diagram}[80] +\diagramcaption{What a nice diagram!} +......... +............ +............ +\spacing(10,-15,10) +\end{diagram} +\end{verbatim}% +\endgroup% + +L'usage de la commande \verb+\cross+ peut provoquer des collisons +entre une flche et le nom d'une autre flche. Ceci et d'autres situations +inhabituelles peuvent tre corriges par les instructions suivantes, +qui ne perturbent pas la construction gnrale du diagramme. +\begin{itemize} +\item \verb+\movename(n,m){f}+ dplace le nom $f$ d'une flche $n$ points vers +la droite et $m$ points vers le haut. +\item \verb+\movearrow(n,m){\arrow}+ dplace la flche \verb+\arrow+ (et son +nom ventuel) $n$ points vers la droite et $m$ points vers le haut. +\item +\verb+\movevertex(n,m){XXX}+ dplace l'objet $XXX$ $n$ points vers la droite et +$m$ points vers le haut. +\item \verb+\movevertexleft{XXX}+ dplace un trop long objet $XXX$ situ +gauche d'un diagramme de sorte que la flche horizontale suivante garde une +longueur maximale. +\item \verb+\movevertexright{XXX}+ dplace un trop long objet $XXX$ +situ droite d'un diagramme de sorte que la flche horizontale +prcdente garde une longueur maximale. +\end{itemize} + +Par exemple, le diagramme~4 +\begin{floatingdiagram} +(A\oplus B)\otimes(C\oplus D) \Ear f X\oplus V +\Sar g \saR h +Y\oplus W \eaR i (E\oplus F)\otimes(G\oplus H) +\movevertexleft{(A\oplus B)\otimes(C\oplus D)} \Ear f X\oplus V +\Sar g \saR h +Y\oplus W \eaR i \movevertexright{(E\oplus F)\otimes(G\oplus H)} +\diagramcaption{Ajustements automatiques et manuels.} +\end{floatingdiagram} +a t obtenu en frappant +\begingroup +\catcode`\=\active\def{{\S}} +\begin{verbatim} +\begin{floatingdiagram} +(A\oplus B)\otimes(C\oplus D)\Ear fX\oplus V +\Sar g \saR h +Y\oplus W\eaR i(E\oplus F)\otimes(G\oplus H) +\movevertexleft{(A\oplus B)\otimes(C\oplus D)}\Ear fX\oplus V +\Sar g \saR h +Y\oplus W\eaR i\movevertexright{(E\oplus F)\otimes(G\oplus H)} +\diagramcaption{Ajustements automatiques et manuels.} +\end{floatingdiagram} +\end{verbatim} +\endgroup +Le carr suprieur est donc produit automatiquement par {\em Diagram} +tandis que le carr infrieur a t ajust par l'utilisateur. A vous de +choisir.\vfill + +\mbox{}\hfill{\footnotesize An English version of this user's guide is also +available.} + + +\end{document} \ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/borceux/Diagram_Read_Me b/Master/texmf-dist/doc/generic/borceux/Diagram_Read_Me new file mode 100644 index 00000000000..e811bd0fe9d --- /dev/null +++ b/Master/texmf-dist/doc/generic/borceux/Diagram_Read_Me @@ -0,0 +1,580 @@ +\documentstyle{article} + +\textheight520pt +\textwidth349pt +\footskip15pt + +\hoffset-35mm +\voffset-35mm + +\title{User's guide for {\em Diagram 3}\thanks{With respect +to versions 1 and 2, the shape of arrows has been improved, the variety of +directions and arrows available has been more than doubled, all diagram arrows +admit an optional length argument, the typing of diagrams has been shortened, error +and help messages have been introduced. To typeset with {\em Diagram~3}, diagrams +prepared with versions~1 or~2, read the file {\em OldDiagram} after the file {\em +Diagram}.}} +\author{Francis Borceux, Louvain-la-Neuve} +\date{borceux@agel.ucl.ac.be} + +\font\bldfc=cmmib10 +\def\boldface#1{\mbox{\bldfc#1}} + +\newcommand{\XA}% +{\truex{300}% +\begin{picture}(0,0)% +\put(0,0){\circle{\value{x}}}% +\end{picture}} + +\newcommand{\XB}% +{\truex{500}% +\begin{picture}(0,0)% +\put(0,0){\circle*{\value{x}}}% +\end{picture}} + +\newcommand{\V}[3]{\cross{\XB}{\movevertex(#1,#2){\scriptstyle#3}}} + +\begin{document} + +\maketitle + +\section{The {\em Diagram} macros} + +The {\em Diagram macros} realize the construction of diagrams as +those appearing in category theory texts. The user gives the list +of vertices and arrows to be included, just as when composing a +matrix, and the program takes care of computing the dimensions of +the arrows and realizing the pagesetting. All the user has to do +about the arrows is precising their type (monomorphism, pair of +adjoint arrows,\ldots) and their direction (north, +south-east,\ldots): 12 types and 32 directions are available; see +figures~1 and~3 for exhaustive lists. + +A file {\em MultipleArrows} exists, producing additional +triple, quadruple and quintuple arrows, parallel or adjoint, but +the size of those pictures is so big that severe restrictions apply +to them. + +The {\em Diagram macros} make a big use of \LaTeX\ commands and +cannot work without \LaTeX\ being loaded. + +Some small implementations of \TeX, essentially those limited to +$2^{16}$ words of memory, are unable to handle the {\em Diagram +macros}. For those cases, two levels of restricted files have been +created, where the restriction applies just to the number of types +of arrows: +\begin{itemize} +\item {\em MicroDiagram} is only able to design plain arrows; +\item {\em MiniDiagram} designs plain arrows, pairs of +plain arrows and adjoint pairs of plain arrows. +\end{itemize} +The restriction is even more subtle, since arrows are produced +here in a more economical way. + +Big diagrams require much \TeX\ memory when typesetting; if you are +badly limited, try to produce them as separate one-page documents. To save +memory, you can also cancel from a file those macros you are not intending to +use. Do not copy macros from {\em Diagram} to {\em MiniDiagram} or {\em +MicroDiagram}\/: this would not work. + +The {\em Diagram macros} have been designed to give optimal results +on printers with resolutions up to 300dpi. In the case of printers +with higher resolutions, the parameter {\em printerresolution} +given as a first instruction of the file {\em Diagram} must be changed +accordingly. Notice that reducing this parameter is another way of +saving \TeX\ memory. This parameter does not exist in the files +{\em MicroDiagram} and {\em Minidiagram}. + +\section{Arrows in formulas} + +Arrows can be introduced in formulas, thus in a line of +text between single dollars or in a displayed formula, between +double dollars. While the command to be given is the same, the +effect which is produced is different in the text and in a +displayed formula. The variety of arrows available is described in +figure~1. +\begin{figure} +\settextarrowlength{45} +\begin{center} +\begin{tabular}{|l|c|l|} +\hline +{\bf Name}&{\bf Arrow}&{\bf Code}\\ +\hline\hline +plain arrow&$\ar$&ar\\ +dotted arrow&$\dotar$&dotar\\ +distributor&$\dist$&dist\\ +monomorphism&$\mono$&mono\\ +epimorphism&$\epi$&epi\\ +bimorphism&$\bimo$&bimo\\ +isomorphism&$\iso$&iso\\ +equality&$\eql$&eql\\ & & \\ +pair of arrows&$\biar$&biar\\ & & \\ +adjoint arrows&$\adjar$&adjar\\ & & \\ +pair of distributors&$\bidist$&bidist\\ & & \\ +adjoint distributors&$\adjdist$&adjdist\\ +\hline +\end{tabular} +\hspace{5mm} +\begin{minipage}{30mm} +The codes {\em iso, dist, bidist, adjdist} are generic: +the marks $\cong$, $\circ$ can be changed anywhere in the document via the +instructions \verb+\isomark{...}+, \verb+\distmark{...}+, +where \verb+...+ are the new marks. The default marks are \verb+\cong+ and +\verb+\distcircle+. +\end{minipage} +\end{center} +\caption{The various types of arrows.} +\settextarrowlength{20} +\end{figure} +\begin{itemize} +\item To produce a given type of formula arrow +in the forward direction (as in figure~1), just type a {\em +backslash} followed by the code for this type of arrow: thus +\verb+$f \colon A \mono B$+ will produce $f \colon A \mono B$. +\item To produce a given type of formula arrow in the ``backward'' direction, type a +command starting with \verb+\bk+ and ending with the code for the type of +arrow: thus \verb+$g \colon B \bkepi C$+ produces $g \colon B \bkepi C$. +\item To give an upper name to one of the previous arrows, just use +a first uppercase letter and give the name as an argument: thus +\verb+$C \Dist h D$+ will produce $C \Dist h D$. Of course, when +the picture consists of two arrows, two names must be given, first +the top one and next the bottom one; for example +\verb+$D \Bkadjar ij E$+ to produce $D \Bkadjar ij E$. As usual, when +the names are not single tokens, use curly brackets to delimit them. +\end{itemize} +To let you appreciate the difference between {\em textstyle} and +{\em displaystyle}, here are the previous arrows in {\em display +style} +$$ A \Mono f B \Bkepi g C \Dist h D \Bkadjar ij E $$ +introduced via the commands +\begin{verbatim} +$$ A \Mono f B \Bkepi g C \Dist h D \Bkadjar ij E $$ +\end{verbatim} + +The default length of a {\em text arrow} is 20pt while the names +are processed in {\em scriptstyle}; the default length of a {\em display +arrow} is 30 pt and the names are processed in {\em textstyle}. The +default lengthes can be changed at any time in the document via +instructions of the form +\begin{verbatim} +\settextarrowlength{25} +\setdisplayarrowlength{40} +\end{verbatim} +where 25 and 40 express the new lengthes in points. + +\section{Constructing a diagram} + +To construct a 2-dimensional diagram, imagine a pattern of +points, visualized by circles and bullets as in figure~2: +\begin{figure} +\begin{diagram} +\XB\XA\XB\XA\XB\XA\XB +\XA\cross{\XA}{\sear}\cross{\XA}{\esear}\cross{\XA}{\eesear}\XA\XA\XA +\XB\cross{\XA}{\ssear}\XB\cross{\XA}{\ear}\XB\cross{\XA}{\ear}\XB +\XA\XA\cross{\XA}{\sar}\XA\cross{\XA}{\sar}\XA\cross{\XA}{\sar} +\XB\XA\XB\cross{\XA}{\ear}\XB\cross{\XA}{\ear}\XB +\end{diagram} +\caption{Conceiving a 2-dimensional diagram.} +\end{figure} +the bullets indicate the points of this pattern where vertices +could be expected. Each vertex and each arrow is attached by its center at a +point of the pattern. It suffices now to enumerate the items, line by line and +column by column, like for a matrix; in particular when all actual items of a +line have been enumerated, you can pass directly to the next line. All items are +processed in math mode. The program will take care of choosing correctly the +length of each arrow. + +A vertex is typed as any mathematical formula. The rules for typing +an arrow are completely analogous to those of section~2: +the various types of arrows are again those of figure~1 while +the possible directions and their codes are given in figure~3. +\begin{figure} +\begin{diagram}[60] +\XB\XA\V{0}{10}{nwnnw}\XA\V{0}{10}{nnnw}\XA\XB\XA\V{0}{10}{nnne} +\XA\V{0}{10}{nenne}\XA\XB +\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA +\V{-10}{0}{\makebox[0pt][r]{$\scriptstyle nwwnw$}}\XA\XB\XA +\V{-5}{10}{\boldface{nnw}}\XA\XB\XA\V{5}{10}{\boldface{nne}}\XA\XB\XA +\V{10}{0}{\makebox[0pt][l]{$\scriptstyle +neene$}} +\XA\XA\XA\XA\cross{\XA}{\nwnnwar}\cross{\XA}{\nnnwar}\XA\cross{\XA}{\nnnear} +\cross{\XA}{\nennear}\XA\XA\XA\XA +\V{-10}{0}{\makebox[0pt][r]{$\scriptstyle +wwnw$}}\XA\V{-10}{10}{\boldface{wnw}}\cross{\XA}{\nwwnwar} +\V{-5}{10}{\boldface{nw}}\cross{\XA}{\bold\nnwar}\V{0}{10}{\boldface{n}} +\cross{\XA}{\bold\nnear}\V{5}{10}{\boldface{ne}}\cross{\XA}{\neenear} +\V{10}{10}{\boldface{ene}}\XA\V{10}{0}{\makebox[0pt][l]{$\scriptstyle +eene$}} +\XA\XA\XA\cross{\XA}{\wwnwar}\cross{\XA}{\bold\wnwar}\cross{\XA}{\bold\nwar} +\cross{\XA}{\bold\nar}\cross{\XA}{\bold\near}\cross{\XA}{\bold\enear} +\cross{\XA}{\eenear}\XA\XA\XA +\XB\XA\XB\XA\V{-10}{0}{\boldface{w}}\cross{\XA}{\bold\war}\XB +\cross{\XA}{\bold\ear}\V{10}{0}{\boldface{e}}\XA\XB\XA\XB +\XA\XA\XA\cross{\XA}{\wwswar}\cross{\XA}{\bold\wswar}\cross{\XA}{\bold\swar} +\cross{\XA}{\bold\sar}\cross{\XA}{\bold\sear}\cross{\XA}{\bold\esear} +\cross{\XA}{\eesear}\XA\XA\XA +\V{-10}{0}{\makebox[0pt][r]{$\scriptstyle +wwsw$}}\XA\V{-10}{-10}{\boldface{wsw}}\cross{\XA}{\swwswar} +\V{-5}{-10}{\boldface{sw}}\cross{\XA}{\bold\sswar}\V{0}{-10}{\boldface{s}} +\cross{\XA}{\bold\ssear}\V{5}{-10}{\boldface{se}}\cross{\XA}{\seesear} +\V{10}{-10}{\boldface{ese}}\XA\V{10}{0}{\makebox[0pt][l]{$\scriptstyle +eese$}} +\XA\XA\XA\XA\cross{\XA}{\swsswar}\cross{\XA}{\ssswar}\XA\cross{\XA}{\sssear} +\cross{\XA}{\sessear}\XA\XA\XA\XA +\V{-10}{0}{\makebox[0pt][r]{$\scriptstyle +swwsw$}}\XA\XB\XA\V{-5}{-10}{\boldface{ssw}}\XA\XB\XA +\V{5}{-10}{\boldface{sse}}\XA\XB\XA +\V{10}{0}{\makebox[0pt][l]{$\scriptstyle seese$}} +\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA +\XB\XA\V{0}{-10}{swssw}\XA\V{0}{-10}{sssw}\XA\XB\XA\V{0}{-10}{ssse} +\XA\V{0}{-10}{sesse}\XA\XB +\end{diagram} +\caption{The 32 directions for {\em Diagram} arrows.} +\end{figure} +Taking some +liberty with geography and trigonometry, the 32 directions considered +by the {\em Diagram macros} are named after those of the compass card. +\begin{itemize} +\item To produce a type of arrow in a given direction, type a {\em +backslash} followed by the code of the direction and the code of +the arrow. For example \verb+\nemono+ draws a north-east +monomorphism. +\item To give an upper name to a diagram arrow, use a first upper case +letter and give the name as an argument. For example +\verb+\Ssedist f+ draws a south-sout-east distributor with upper +name $f$. Of course, when the picture consists in two arrows, +two names must be given: first the upper one and next the lower one. +In the case of vertical arrows, read {\em left} instead of {\em +upper}. +\item The procedure for giving a lower name is analogous, but uses +a last uppercase letter. Thus \verb+\wbimO f+ produces a west +bimorphism with lower name $f$. In the case of vertical arrows, +read {\em right} instead of {\em lower}. For two-arrow pictures, +both naming procedures are equivalent. +\end{itemize} +All 12 types of arrows exist in all 16 principal directions printed in bold +in figure~3; just plain arrows are provided in the 16 other +directions. + +It remains to explain the syntax\footnote{This syntax uses the character \S. If +this is a problem for you, just replace \S\ by any character you are unlikely to +use in a digram, for example ?; you can safely make this change globally and +automatically in the file {\em Diagram}.} for typing diagrams. This is just +\begingroup% +\catcode`\=\active\def{{\S}}% +\begin{verbatim} +\begin{diagram} +......... +............ +............ +\end{diagram} +\end{verbatim}% +\endgroup% +\noindent where \verb+...+ denote the various items of the diagram. So a +single \S\ is the delimiter between two items of a same line, while +a double \S\S\ indicate the end of a line. Typing the double \S\S\ at the end of the last line is +compulsory and nothing should stand between this double \S\S\ and the +\verb+\end{diagram}+ instruction (well, there is a single exception to this rule, +explained in section~6). Do not forget a blank space to indicate an empty item, +since two consecutive \S\S\ would be interpreted as an {\em end of line} symbol; of +course several blank spaces are always equivalent to a single one. + +So diagram~1, +\begin{floatingdiagram} +A + \Sedotar x\eseaR y \Eesear z + \sseaR u A \Eepi a B \Emono bC + \saR c \Sadjar de \seqL{1_C} + D \waR g D\oplus E \eaR h C +\end{floatingdiagram} +which has the precise shape of the diagram conceived in figure~2, is produced by +the following commands: +\begingroup% +\catcode`\=\active\def{{\S}}% +\begin{verbatim} +\begin{diagram} +A + \Sedotar x\eseaR y \Eesear z + \sseaR u A \Eepi a B \Emono bC + \saR c \Sadjar de \seqL{1_C} + D \waR g D\oplus E \eaR h C +\end{diagram} +\end{verbatim}% +\endgroup% + +There is a second, completely analogous environment for producing +diagrams; it has the form +\begingroup% +\catcode`\=\active\def{{\S}}% +\begin{verbatim} +\begin{floatingdiagram} +......... +............ +............ +\end{floatingdiagram} +\end{verbatim}% +\endgroup% +\noindent As the name indicates, the diagram is then introduced as +a floating body and will automatically receive a numbered label +(cf.~diagrams~1~to~3). The default is to number successively the +diagrams through all the document. You can prefer +a number 3.12 for, let us say, the twelfth diagram of chapter~3 +(in a style which contains chapters!). This is forced +by the instruction +\begin{verbatim} +\setdiagramcounter{chapter} +\end{verbatim} +where, of course, {\em chapter} can be replaced by any sectioning +level, for example {\em part, section,\ldots} For non-English texts, you +will also want to ``translate'' the word {\em Diagram} in the label: this +is achieved by an instruction like +\begin{verbatim} +\diagramlabel{Diagramme} +\end{verbatim} +given anywhere in the text, but not inside a diagram. + +Every diagram, floating or not, can be given a caption. This is done +by the instruction +\begin{verbatim} +\diagramcaption{...} +\end{verbatim} +which can be introduced anywhere in the diagram, but before the last two +\S\S. In the case of a floating diagram, this caption completes the automatic +label, as in diagram~4. + +\section{Changing the sizes} + +The step of the pattern +underlying a diagram is 40~units, where the default value of the unit is 1pt. +This default value can be ``scaled'' at any time in the document by giving an +instruction like +\begin{verbatim} +\setdefaultscale{75} +\end{verbatim} +(scaling factor of 75\%); this instruction applies to all subsequent diagrams +and must be given outside a diagram environment. +If you want to apply a scaling factor to just one specific diagram, give the +scaling factor as an optional argument of the corresponding environment; thus +type +\begin{verbatim} +\begin{diagram}[125] +........ +\end{diagram} +\end{verbatim} +for an enlargement of 125\%, and correspondingly for floating diagrams. The +scaling factor given for a specific diagram overrides the {\em defaultscale} +value just for this specific diagram. For example, diagram~1 is not scaled and +diagram~2 is the same diagram, scaled at 75\%. Observe the precise +effect of the scaling option: this is by no way a brute homothetic process. +\begin{floatingdiagram}[75] +A + \Sedotar x\eseaR y \Eesear z + \sseaR u A \Eepi a B \Emono bC + \saR c \Sadjar de \seqL{1_C} + D \waR g D\oplus E \eaR h C +\end{floatingdiagram} + +To motivate the next features, consider the conception of a +3-dimensional diagram, as in figure~4. Compare first the subpattern of bullets +with that of figure~2. +\begin{figure} +\begin{diagram}[50] +\XB\XA\cross{\XA}{\ear[130]}\XA\XB\XA\cross{\XA}{\ear[130]}\XA\XB\XA\XA +\XA\cross{\XA}{\sear}\XA\XA\XA\cross{\XA}{\sear}\XA\XA\XA\cross{\XA}{\sear}\XA +\cross{\XA}{\sar[130]}\XA\XB\XA\cross{\XA}{\cross{\ear[130]}{\sar[130]}}\XA + \XB\XA\cross{\XA}{\cross{\ear[130]}{\sar[130]}}\XA\XB +\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA\XA +\XB\XA\cross{\XA}{\cross{\ear[130]}{\sar[130]}}\XA\XB + \cross{\XA}{\cross{\ear[130]}{\sar[130]}}\XA\XB\XA\cross{\XA}{\sar[130]} +\XA\cross{\XA}{\sear}\XA\XA\XA\cross{\XA}{\sear}\XA\XA\XA\cross{\XA}{\sear}\XA +\XA\XA\XB\XA\cross{\XA}{\ear[130]}\XA\XB\XA\cross{\XA}{\ear[130]}\XA\XB +\end{diagram} +\caption{Conceiving a 3-dimensional diagram} +\end{figure} +In this case, not only you must +``cross'' different arrows at a same point of the pattern, +but you must also consider arrows which cross several points +of the pattern before reaching the objects they connect. In fact, the {\em +Diagram macros} assume that an arrow attached at some point of the +pattern connects the two adjacent points of the pattern, in the direction of the +arrow. When this is not the case, it is left on you to determine the length of +the corresponding arrow. + +To impose a specific length to a diagram arrow, just give the corresponding extent as +an optional argument\footnote{This argument should be an actual positive +integer; anything else, including the value of a counter, could put \TeX\ in +deep trouble. The formula arrows (section~2) do not admit this optional +argument.}:the extent of vertical and horizontal arrows is their length; the extent +of other arrows is the length of their horizontal projection (see \LaTeX\ manual, +{\em Picture environment}, for further explanations). Thus \verb+\Near[60]f+ draws a +north-east arrow of horizontal extent 60 units with upper name $f$. Here are +the basic default extents of diagram arrows: 50 in the directions n, s, e, w; +59 in the directions ne, nw, se, sw; 133 in the directions ene, ese, wnw, +wsw; 67 in the directions nne, sse, nnw, ssw; 211 in the directions +eene, eese, wwnw, wwsw; 71 in the directions nnne, ssse, nnnw, +sssw; 215 in the direction neene, seese, nwwnw, swwsw; 143 in the +directions nenne, sesse, nwnnw, swssw. In most circumstances, you will obtain +the required extent by augmenting the basic default extent by 40 for +each additional point of the formal pattern crossed by the arrow. + +As far as ``crossing arrows'' is concerned, the command +\begin{verbatim} +\cross{item 1}{item 2} +\end{verbatim} +allows you to introduce at the same time {\em item~1} and {\em +item~2} at the same point of the pattern; those two items can be +indifferently vertices or arrows. Diagram~3, +conceived in figure~4, must thus be typed as +\begingroup +\catcode`\=\active\def{{\S}} +\begin{verbatim} +\begin{floatingdiagram}[50] +A \ear[130] B \ear[130] C +\sear \sear \sear +\sar[130] D \cross{\ear[130]}{\sar[130]} + E \cross{\ear[130]}{\sar[130]} F +G \cross{\ear[130]}{\sar[130]} H + \cross{\ear[130]}{\sar[130]} I \sar[130] +\sear \sear \sear + J \ear[130] K \ear[130] L +\end{floatingdiagram} +\end{verbatim} +\endgroup +\begin{floatingdiagram}[50] +A \ear[130] B \ear[130] C +\sear \sear \sear +\sar[130] D \cross{\ear[130]}{\sar[130]} + E \cross{\ear[130]}{\sar[130]} F +G \cross{\ear[130]}{\sar[130]} H + \cross{\ear[130]}{\sar[130]} I \sar[130] +\sear \sear \sear + J \ear[130] K \ear[130] L +\end{floatingdiagram} + +Finally you can change the thickness of a diagram arrow by typing first the command +\verb+\bold+; thus \verb+\bold\nar+ produces a bold north arrow. This +\verb+\bold+ option will be cancelled by the next \S\ sign; you can cancel its +effects earlier (for example during a \verb+\cross+ command) by the +instruction \verb+\unbold+. See figure~3 for examples of bold arrows. + +\section{Curved arrows} + +The {\em Diagram macros} provide also eight curved arrows which can be used +for connecting two rather distant points lying on a same edge of a diagram; +the code for curved arrows is {\em curvar}. +These arrows are presented in figure~5, scaled at 50\%, +\begin{figure} +\begin{diagram}[50] +\cdot\ear\cross{\XB}{\Necurvar{ne}}\ear\cdot +\cdot\ear\cross{\XB}{\Nwcurvar{nw}}\ear\cdot +\sar \sar \sar \sar \sar \sar +\cross{\XB}{\Wncurvar{wn}}\ear\cdot\ear\cross{\XB}{\Escurvar{es}} +\cross{\XB}{\Wscurvar{ws}}\ear\cdot\ear\cross{\XB}{\Encurvar{en}} +\sar \sar \sar \sar \sar \sar +\cdot\ear\cross{\XB}{\Swcurvar{sw}}\ear\cdot +\cdot\ear\cross{\XB}{\Securvar{se}}\ear\cdot +\spacing(15,0,15) +\end{diagram} +\caption{The eight curved arrows} +\end{figure} +together with the +corresponding direction codes. The first +letter of the direction code indicates the position of the arrow with respect to the +diagram; the second letter indicates the global direction of the arrow. So +\verb+\wscurvar+ draws a curved arrow, on the west side of the diagram, oriented +to the south. As for the other arrows, a first (or last) upper case letter allows you +to name the curved arrows. + +Curved arrows are a typical example of items which are generally introduced +via the \verb+\cross+ command of section~4, at a formal point of the pattern +which they share with a vertex or another arrow. In figure~5, the bullets +indicate the formal ``center'' of the curved arrows; i.e.~the point of the +pattern where to attach them. + +The default extent of curved arrows is 160 units, yielding the situation of +figure~5. As for other diagram arrows, an arbitary extent can be imposed as a +first optional argument (again an actual positive integer!). + +Curved arrows are also part of the {\em MicroDiagram} and {\em Minidiagram} +packages. + +\section{Spacing adjustments} + +The {\em Diagram macros} determine the dimensions of a diagram by counting the +number of rows and columns in the formal pattern. When the actual dimensions +are rather different from those estimated in this way, for example when you +introduce curved arrows along a diagram, a spacing correction can be needed. +This is realized via the command \verb+\spacing(t,l,b)+ +which must imperatively be given between the \S\S\ of the last line and the +instruction \verb+\end{diagram}+ (or \verb+\end{floatingdiagram}+). This +command\footnote{Do not +abbreviate that command, this would put \TeX\ in deep trouble.} +adds $t$ points space at the top of the diagram, $l$ points space at the left and +$b$ points space at the bottom. $t$, $l$, $b$ should be positive or negative +integers. +\begingroup% +\catcode`\=\active\def{{\S}}% +\begin{verbatim} +\begin{diagram}[80] +\diagramcaption{What a nice diagram!} +......... +............ +............ +\spacing(10,-15,10) +\end{diagram} +\end{verbatim}% +\endgroup% + +When using the \verb+\cross+ command, it can also happen that an arrow +collides with the name of another arrow. To take care of this and other +unusual situations, commands exist to move elements of a diagram without +disturbing the general construction. +\begin{itemize} +\item \verb+\movename(n,m){f}+ moves the name $f$ of an arrow $n$ points right +and $m$ points up. +\item \verb+\movearrow(n,m){\arrow}+ moves the arrow \verb+\arrow+ (and its +name when there is one) $n$ points right and $m$ points up. +\item \verb+\movevertex(n,m){XXX}+ moves the vertex $XXX$ $n$ points right and +$m$ points up. +\item \verb+\movevertexleft{XXX}+ moves a too long vertex $XXX$ +positioned on the left edge of a diagram, +so that the next horizontal arrow keeps maximal length. +\item \verb+\movevertexright{XXX}+ moves a too long vertex $XXX$ +positioned on the right edge of a diagram, +so that the previous horizontal arrow keeps a maximal length. +\end{itemize} + +For example, diagram~4 +\begin{floatingdiagram} +(A\oplus B)\otimes(C\oplus D) \Ear f X\oplus V +\Sar g \saR h +Y\oplus W \eaR i (E\oplus F)\otimes(G\oplus H) +\movevertexleft{(A\oplus B)\otimes(C\oplus D)} \Ear f X\oplus V +\Sar g \saR h +Y\oplus W \eaR i \movevertexright{(E\oplus F)\otimes(G\oplus H)} +\diagramcaption{Automatic and manual adjustments} +\end{floatingdiagram} +has been obtained by just typing +\begingroup +\catcode`\=\active\def{{\S}} +\begin{verbatim} +\begin{floatingdiagram} +(A\oplus B)\otimes(C\oplus D)\Ear fX\oplus V +\Sar g \saR h +Y\oplus W\eaR i(E\oplus F)\otimes(G\oplus H) +\movevertexleft{(A\oplus B)\otimes(C\oplus D)}\Ear f X\oplus V +\Sar g \saR h +Y\oplus W\eaR i\movevertexright{(E\oplus F)\otimes(G\oplus H)} +\diagramcaption{Automatic and manual adjustments} +\end{floatingdiagram} +\end{verbatim} +\endgroup +The upper square is thus produced automatically by the {\em Diagram macros}, +while the lower square has been adjusted by the user. Make your choice. +\vfill + +\mbox{}\hfill{\footnotesize Une version fran\c caise de ce mode d'emploi est +\'egalement disponible.} + + +\end{document} \ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/c-pascal/demo1.tex b/Master/texmf-dist/doc/generic/c-pascal/demo1.tex new file mode 100644 index 00000000000..76d349b1de2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/c-pascal/demo1.tex @@ -0,0 +1,42 @@ +\input cap_c +\magnification 1440 + + +\BeginC +// this is a short demo program +/* both kinds of comment are recognised */ + +// some compiler directives +#pragma hdrfile "hello.sym" +#include +#include +#pragma hdrstop + +void hello(int n) +{ + // obviously, keywords inside comments or + // texts are not emphasized: + // void return switch for double + for (; n>0; n--) + printf("Hello, void world!\n"); + /* ^ isn't that beautiful? */ +} + +float silly_funct() +{ + #define max(a,b) ((a)>(b))?(a):(b) + printf("%7.4lf\n", max(3.14, 012)); +} + +// words not recognised as keywords are considered +// to be identifiers and are typeset in italic +void main() +{ + int n; + hello(0x1C); + silly_funct(); +} +\EndC + + +\bye diff --git a/Master/texmf-dist/doc/generic/c-pascal/demo2.tex b/Master/texmf-dist/doc/generic/c-pascal/demo2.tex new file mode 100644 index 00000000000..bd26d89b713 --- /dev/null +++ b/Master/texmf-dist/doc/generic/c-pascal/demo2.tex @@ -0,0 +1,49 @@ +\input cap + + +A short program in C. It was inserted directly into the \TeX\ source file. + +\medskip +\BeginC +#include + +void main() +{ + a=~a; + printf("Hello, world!\n"); + // printf("Hello, world!\n"); +} +\EndC + +\hrule +\bigskip + +And now a program inserted from a separate file. + +\medskip +\InputC{prog/sun.c} + +\vfill\eject + + +And now programs written in Pascal. This one was typed directly into this +file. + +\medskip +\BeginPascal +program Hello_world; +begin + writeln('Hello, world!'); + { writeln('Hello, world!'); } +end. +\EndPascal + +\hrule +\bigskip + +This one was imported from another file. + +\medskip +\InputPascal{prog/guess.pas} + +\bye diff --git a/Master/texmf-dist/doc/generic/c-pascal/prog/guess.pas b/Master/texmf-dist/doc/generic/c-pascal/prog/guess.pas new file mode 100644 index 00000000000..743f297622e --- /dev/null +++ b/Master/texmf-dist/doc/generic/c-pascal/prog/guess.pas @@ -0,0 +1,26 @@ +program guess; + +var + num1, num2: integer; + +begin + randomize; + num2 := random(100); + + repeat + { make user guess } + write('Guess my number: '); + readln(num1); + + { check the relation } + if num1 = num2 then + writeln('Very well!'); + if num1 < num2 then + writeln('Too small.'); + if num1 > num2 then + writeln('Too big.'); + until num1 = num2; + + { pause } + readln; +end. diff --git a/Master/texmf-dist/doc/generic/c-pascal/prog/sun.c b/Master/texmf-dist/doc/generic/c-pascal/prog/sun.c new file mode 100644 index 00000000000..889341b5b9d --- /dev/null +++ b/Master/texmf-dist/doc/generic/c-pascal/prog/sun.c @@ -0,0 +1,39 @@ +#include +#include + +int months[]={0, 31, 28, 31, 30, 31, 30, + 31, 31, 30, 31, 30, 31}; +char weekdays[7][15]={"Sunday", "Monday", "Tuesday", "Wednesday", + "Thursday", "Friday", "Sunday"}; + +/* this program calculates the latidude + where polar day begins/ends */ +void main() +{ + int day=24, month=6, weekday=2; + double angle=0; + double latitude; + + do + { + latitude=atan(tan((23+27.0/60)*M_PI/180)*cos(angle))*180/M_PI; + latitude=(latitude>0)? 90-latitude : -90-latitude; + printf("%2d.%02d %12s : %d %02d'\n", day, month, + weekdays[weekday], (int)latitude, + (int)fabs((latitude-(int)latitude)*60)); + if (weekday==0) + printf("\n"); + + angle+=2*M_PI/365; + day++; + if (day>months[month]) + { + day=1; + month++; + if (month>12) + month=1; + } + if (++weekday>6) + weekday=0; + } while (month!=1); +} diff --git a/Master/texmf-dist/doc/generic/c-pascal/readme.eng b/Master/texmf-dist/doc/generic/c-pascal/readme.eng new file mode 100644 index 00000000000..170acaa2a54 --- /dev/null +++ b/Master/texmf-dist/doc/generic/c-pascal/readme.eng @@ -0,0 +1,90 @@ +====================================================================== + + CAP --- macro package for typesetting programs in C and Pascal + +====================================================================== + + + Contents +---------- +This macro package consists of three files: + cap_c.tex -- macros for typesetting programs in C + cap_pas.tex -- macros for typesetting programs in Pascal + cap_comm.tex -- helpful macros and declarations used for typesetting + programs in both languages; this file does not contain + any macros useful for a user + + + Programs in C +--------------- +There are two macros available in the cap_c.tex file: + + 1. \BeginC ... \EndC + Between these commands you may insert sorce code of any program + written in the C language. The text of the program will be + formatted using appropriate fonts. The macro recognises the + following elements of a program: + * keywords --- by default typeset in boldface + * texts --- everything inside single quotes; by default slanted + * comments --- both /*these...*/ and //these... , but not nested; + italic typewriter + * symbols --- operators, brackets, etc.; typewriter + * compiler directives --- typeset using slanted typewriter font + * identifiers --- everything that is none of the above; italic + The macro does not change the layout of a program. All + indentations are left as they are in the source program. No line + breaks are inserted. + NOTE: While compiling, the \BeginC ... \EndC macro reads the whole + program into TeX's memory. Therefore, you may expect problems when + typesetting huge programs in this way. In my configuration + (emTeX under DOS) everything works fine if the program is not bigger + than about 15KB. If you REALLY need to insert a vast program + directly into your TeX source file you will have to split + the program into smaller pieces, each inserted into a separate + pair \BeginC ... \EndC. + + 2. \InsertC{filename} + Inserts a C program from a separate file. The program is formatted + as above. If you use DOS you need to remember that all backslashes + in the pathname should be replaced by slashes. + This macro has NO limitations for the size of the program --- it reads + the file line by line, so TeX should never run out of memory. + +The list of keywords can be easily found in the cap_c.tex file. I do not +guarantee that it is complete, so fell free to correct it if necessary. + + + Programs in Pascal +-------------------- +In order to typeset programs in Pascal you need to \input the cap_pas.tex +file. It contains two macros, as well: + + 1. \BeginPascal ... \EndPascal + + 2. \InsertPascal{filename} + +They work similarly. They recognise the same elements of a Pascal program. +Both {this} and (*this*) kind of comment is accepted, but they cannot +be nested. In case of \BeginPascal ... \EndPascal size limitations are +similar as in C. + +The list of keywords was taken from Borland Delphi Help. If you need, you +may modify it. + + + Common +-------- +Fonts used to typeset programs are declared in the beginning of +the cap_comm.tex file. They are easy to redefine if necessary. + + + Note +------ +If you modify aby of the files in any way, mark your changes, please. +I do not want to take responsibility for other people's modifications. + + +------------ + + Michal Gulczynski + mgulcz@we.tuniv.szczecin.pl diff --git a/Master/texmf-dist/doc/generic/c-pascal/readme.pol b/Master/texmf-dist/doc/generic/c-pascal/readme.pol new file mode 100644 index 00000000000..baa1bb3c1f5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/c-pascal/readme.pol @@ -0,0 +1,92 @@ +Polskie robaczki w standardzie ISO-Latin2. +======================================================================= + + CAP (C albo Pascal) --- makra do skadu programw w C i Pascalu + +======================================================================= + + + Zawarto +----------- +Ten pakiet makr skada si z trzech plikw: + cap_c.tex --- makra do skadu programw w jzyku C + cap_pas.tex --- makra do skadu programw w Pascalu + cap_comm.tex --- pomocnicze makra i deklaracje uywane do skadania + programw w obu jzykach; ten plik nie zawiera + adnych makr poytecznych dla uytkownika + + + Programy w C +-------------- +W pliku cap_c.tex znajduj si definicje dwch makr: + + 1. \BeginC ... \EndC + Pomidzy te komendy naley wstawi dowolny program rdowy + w jzyku C. Tre programu zostanie sformatowana z wykorzystaniem + odpowiednich czcionek. Rozpoznawane s nastpujce elementy + programu: + * sowa kluczowe --- domylnie wyrniane s pogrubieniem + * teksty --- wszystko to, co wewntrz apostrofw; domylnie pochylone + * komentarze --- zarwno /*takie...*/ jak i //takie... , + ale nie zagniedone; kursywa typewriter + * symbole --- operatory, nawiasy, itp.; typewriter + * dyrektywy kompilatora --- skadane pochylon czcionk typewriter + * identyfikatory --- wszystko, co nie jest adnym z powyszych; + kursywa + Makro nie ingeruje w ukad programu. Wcicia s pozostawione takie, + jakie s w programie rdowym. Podzia na linie rwnie nie jest + zmieniany. + UWAGA: W trakcie kompilacji makro \BeginC ... \EndC wczytuje cay + program do pamici TeXa. Z tego powodu mona spodziewa si kopotw + skadajc tym makrem bardzo duy program. W mojej konfiguracji + (emTeX pod DOSem) wszystko dziaa bez zarzutu jeli program jest + nie wikszy ni okoo 15KB. Jeli NAPRAWD konieczne jest wstawnienie + ogromnego programu bezporednio do pliku TeXowego, konieczny bdzie + podzia programu na mniejsze czci, z ktrych kada bdzie ujta + w komendy \BeginC ... \EndC. + + 2. \InsertC{nazwapliku} + Wstawia program w jzyku C z pliku zewntrznego. Program zostanie + sformatowany jak w poprzednim przypadku. Przypomnienie dla pracujcych + pod DOSem: w nazwie pliku wszystkie wtyciachy naley zastpi + ciachami. + To makro nie nakada ADNYCH ogranicze na rozmiar programu --- czyta + wskazany plik linia po linii, wic nie grozi mu wyczerpanie pamici. + +Lista sw kluczowych znajduje si w pliku cap_c.tex. Nie gwarantuj, e +jest kompletna, wic w razie potrzeby mona j poprawi. + + + Programy w Pascalu +-------------------- +Aby skada programy w Pascalu naley zaczy plik cap_pas.tex. Zawiera +on rwnie dwa makra: + + 1. \BeginPascal ... \EndPascal + + 2. \InsertPascal{nazwapliku} + +Dziaaj one analogicznie. W przypadku \BeginPascal ... \EndPascal +obowizuj podobne ograniczenia na wielko formatowanego programu. +W programie rozpoznawane s zarwno {takie} jak i (*takie*) komentarze. + +Lista sw kluczowych pochodzi z Pomocy Borland Delphi. W razie potrzeby +mona j zmodyfikowa. + + + Wsplne +--------- +Czcionki uywane do skadania programw s zadeklarowane na pocztku +pliku cap_comm.tex. W razie potrzeby mona je atwo przedefiniowa. + + + Uwaga +------- +Jeli modyfikujesz ktry z plikw, zaznacz wyranie swoje zmiany. Nie +chc bra odpowiedzialnoci na modyfikacje wprowadzone przez innych. + + +------------ + + Micha Gulczyski + mgulcz@we.tuniv.szczecin.pl diff --git a/Master/texmf-dist/doc/generic/colortab/colortab.doc b/Master/texmf-dist/doc/generic/colortab/colortab.doc new file mode 100644 index 00000000000..d4d7e771daf --- /dev/null +++ b/Master/texmf-dist/doc/generic/colortab/colortab.doc @@ -0,0 +1,469 @@ +%% BEGIN colortab.doc +\def\FileVersion{0.9} +\def\FileDate{1997/03/28} +%% +%% Documentation for colortab.tex/colortab.sty. +%% Run through LaTeX, with or without the NFSS. +%% +%% You need the file fancybox.sty, available from Princeton.EDU:/pub/tvz +%% +%% The color commands \gray and \lightgray must be defined if you +%% want to see the examples. pstricks.tex will be loaded for this +%% purpose if it is found. Otherwise, you must load your own +%% color commands. +%% +%% Change these if using different size paper. You can also include the +%% twosided style option, if desired: + +\def\paperwidth{8.5in} +\def\paperheight{11in} + +\documentstyle[12pt,fancybox]{article} + +\makeatletter + +% Load pstricks.tex if it is found: +\@input{pstricks.tex} + +% Input colortab.tex here to check file version: +\input colortab.tex +\ifx\FileVersion\fileversion\else + \@latexerr{colortab input file and documentation do not have the same + version}\@ehd +\fi + +% DATES, VERSIONS AND TITLES: + +\def\expanddate#1/#2/#3/{\year=19#1 \month=#2 \day=#3} +\begingroup + \expandafter\expanddate\filedate/ + \xdef\thefiledate{\today} +\endgroup + +\title{Documentation for colortab.tex/colortab.sty:\\[5pt] + Shading and coloring \TeX\ tables} +\author{Timothy Van Zandt\\ tvz@Princeton.EDU} +\date{Version \fileversion\\ \thefiledate} + +\def\@maketitle{% + \begin{center} + {\Large\bf \@title \par} + \vskip 1.2em {\lineskip .5em + \begin{tabular}[t]{c}\@author\end{tabular}\par} + \vskip .8em {\@date}% + \end{center} + \par + \vskip .5em} + +% PAGE STYLE: + +\pagestyle{myheadings} +\if@twoside + \markboth{Documentation for colortab.tex/.sty}% + {Version \fileversion, \thefiledate}% +\else + \markright{colortab.tex, Version \fileversion} +\fi + +% TABLE OF CONTENTS + +\newskip\myskip + +\def\tableofcontents{% + \par\vfill + \begin{quote} + \begin{center} \Large\bf Contents \end{center} + \def\numberline##1{\hbox to 0pt{\hss##1\hskip 1em}}% + \let\oldaddvspace\addvspace + \def\addvspace##1{% + \myskip##1\relax + \oldaddvspace{.5\myskip}} + \@starttoc{toc}% + \end{quote} + \thispagestyle{empty} + \vfill + \clearpage} + + +% PAGE PARAMETERS: + +% Paragraphs are marked by large space rather than indentation: +\parindent 0pt +\parskip 7pt plus 1pt minus 1pt + +\setlength{\topmargin}{0pt} +\setlength{\headheight}{12pt} % height of running head +\setlength{\headsep}{30pt} % distance between header and text +\setlength{\textheight}{8.2in} % height of text on page + +% Adjust margins for different paper size: +\@tempdima=\paperwidth +\advance\@tempdima-8.5in +\advance\oddsidemargin .5\@tempdima +\advance\evensidemargin .5\@tempdima +\@tempdima=\paperheight +\advance\@tempdima-11in +\advance\topmargin .5\@tempdima + +% VERBATIM HACKS: + +\VerbatimFootnotes + +% Short meta (works in verbatim. Can't use < for other purposes. +\catcode`\<=13 \def<#1>{{\rm\it #1\/}} % (works in verbatim) + +% Short verbatim. " can appear in verbatim environments. +\def\temp{\Verb"} +\expandafter\def\expandafter\dospecials\expandafter{\dospecials\do\"} +\catcode`\"=13 +\let"\temp + +\def\n#1{{\tt\string#1}} + +% Verbatim item: +\newcommand{\vitem}{\SaveVerb[{\def\bf{}\item[\UseVerb{\MyTemp}]}]{\MyTemp}} + +% Verbatim section" + +% EXAMPLES: +% 1. Save example verbatim to \jobname.tmp, +% 2. Input verbatim with \catcode`\"=14 (" is a comment). +% 3. Input again with \catcode\`"=9 (" is ignored). + +\renewcommand{\EveryVerbatimLine}[2]{} + +\renewcommand{\EveryVerbOutLine}[2]{} + +\newcommand{\BeginExample}{% + \VerbatimEnvironment\begin{VerbatimOut}{\jobname.tmp}} + +\newcommand{\EndExample}{% + \end{VerbatimOut}%. + \renewcommand{\EveryVerbatimLine}{}% + \renewcommand{\EveryVerbatimCodes}{\catcode`\"=14}% + \LVerbatimInput{\jobname.tmp}% + \catcode`\"=9} + +\@ifundefined{lightgray}{\@testfalse}% + {\@ifundefined{gray}{\@testfalse}{\@testtrue}} + +\if@test + +\newenvironment{example}{\BeginExample}{\EndExample + \begin{center}\leavevmode\input{\jobname.tmp}\end{center}} + +\else + +\newenvironment{example}{\VerbatimEnvironment\LVerbatim}{\endLVerbatim} + +\fi + +% END PREAMBLE: +\makeatother + +\begin{document} + +\maketitle + +\begin{quote} +"colortab.tex/colortab.sty" contains macros that let you use your color +commands for shading and coloring cells in tables and other alignment +environments. It is compatible with most \TeX\ macro packages. +\end{quote} + +\tableofcontents + +\section{Introduction} + +Adding color to tables is fraught with difficulties, but as the examples in +this file indicate, it can be done. In any case, consider this an advanced +topic, and be aware that the commands in "colortab.tex" are not robust. + +This is meant to supplement your own color commands. There are many macro +files that implement color for the various "dvi" drivers that can support +color. E.g., the PSTricks package works with a variety of DVI-to-PS drivers. + +For example, suppose you have a macro that defines the color command "\gray". +"colortab.tex" requires that one of the following produce a gray line: +\begin{LVerbatim} + {\gray \hrule} + \gray{\hrule} +\end{LVerbatim} +if you want to use this command to color the cells in tables. +This is probably the case if the one of the following produces gray text: +\begin{LVerbatim} + {\gray I am gray!} + \gray{I am gray!} +\end{LVerbatim} + +"colortab.tex" contains macros for \TeX's "\halign" primitive. Incorporating +color into high-level macros based on the "\halign" primitive requires a +case-by-case treatment. "colortab.tex" also contains macros for coloring cells +\LaTeX's various array environments, and for the \LaTeX\ "longtable" +environment that is defined in the "longtable" (or "longtabl") style option. +These can serve as examples that can be accommodated to other table macros. +See the code itself for happy hacking. + +\section{\TeX's halign primitive} + +To shade cells in an alignment, use +\begin{LVerbatim} + \coloralign +\end{LVerbatim} +instead of "\halign". Then, to color the columns in one or more rows, type +\begin{LVerbatim} + \CC + \cr + \cr + \ECC +\end{LVerbatim} +For example: +\begin{example} + \setbox\strutbox=\hbox{\vrule height11.5pt + depth6.5pt width0pt}% + \vbox{\offinterlineskip + \coloralign{% + \vrule\strut\quad\hfil#\hfil\quad + &\vrule\quad\hfil#\quad\vrule\cr + \noalign{\hrule}% + \CC + \gray &\cr + Tamarind&Chiplote\cr + \ECC\noalign{\hrule}% + \CC + \lightgray &\gray\cr + Lulu&Serrano\cr\noalign{\hrule}% + Guanabana&Larga\cr + \ECC\noalign{\hrule}% + }} +\end{example} + +"\CC" and "\ECC" stand for ``ColorCells'' and ``EndColorCells'', respectively. +You cannot change the name of "\ECC" with "\let" or "\def" (without redefining +"\CC"), because it is really just a delimiter. This is also true of the first +"\cr", which marks the end of the row of color commands. +Remember that only complete rows can go between "\CC" and "\ECC". Where you +include horizontal lines is generally inconsequential. You can have nested +"\coloralign" environments, but the nested environment must be enclosed in +brackets "{}". There is no "\coloralign to" or "\coloralign spread" because +the space inserted by "\tabskip" won't be shaded. + +These macros are not very robust. You can make best use of them by knowing how +they work. "\coloralign" just saves the preamble, and otherwise is identical +to "\halign". "\CC" finds the height of the rows that have to be colored, and +then "\CC" draws a rectangle using \TeX's line-drawing primitives in each +cell, colored by the color commands included in the first line that follows +"\CC". E.g., +\begin{LVerbatim} + \yellow &&\red \cr +\end{LVerbatim} +draws a yellow rectangle in column 1, nothing in column 2, and a red rectangle +in column 3. Then "\CC" goes back up the height of the rectangle, so that +\TeX's current point is back where it was when "\CC" started. At this point, +"\CC" has finished its work. When the next rows of the alignment environment +are processed by "\halign", they are put down on top of the rectangles, and +hence have colored backgrounds. + +"\CC" finds the height of the rows to be colored by putting the rows into an +"\halign" environment, using the preamble that was saved by "\coloralign", and +then measuring the height of the resulting box. + +\section{\LaTeX\ array environments} + +Cells can be colored in a \LaTeX\ array without using a special array +environment (i.e., there is no \LaTeX\ analog to "\coloralign"). Use "\LCC" +instead of "\CC", and use "\\" to end the row of color commands instead of +"\cr". For example: +\begin{example} + \def\arraystretch{1.5}% + \begin{tabular}{|l|c|}\hline + \LCC + \gray & \\ + Tamarind & Chiplote \\ \hline + \ECC + \LCC + \lightgray & \gray\\ + Lulu & Serrano\\ \hline + Guanabana & Larga\\ \hline + \ECC + \end{tabular} +\end{example} +The same caveats apply as with the "\coloralign" environment. + +When \n\LCC\ and \n\ECC\ are used with Frank Mittelbach's "array.sty", nested +array-type environments and "\multicolumn" commands wipe out information +needed by \n\ECC\. Here is a workaround: Put "\SP" (``SavePreamble'') at the +beginning of the array-type environment (right after the column declarations), +and put "\RP" (``RestorePreamble'') at the end of each line containing a +"\multicolumn" command or nested array-type environment (after the "\\", and +before the \n\ECC). For example: +\begin{LVerbatim} + \begin{tabular}{|l|c|}\SP\hline + \LCC + \gray & \\ + \multicolumn{2}{c}{Tamarind}\\ \RP \hline + \ECC + \end{tabular} +\end{LVerbatim} +Further nesting (e.g., an array within a "\multicolumn", or a "\multicolumn" +or array within a nested array) sometimes works and sometimes doesn't. You +will have to figure that one out for yourself. + + +\section{longtable.sty} + +"longtable.sty", by David Carlisle, defines the "longtable" environment, for +making multipage tables. "\LCC" will not work with "longtable". However, +"colortab" contains other macros that will work, if you use "longtable.sty" in +conjunction with Frank Mittelbach's "array.sty". These macros have been tested +only briefly, with version 3.04 of "longtable.sty" and version 2.1b of +"array.sty". + +Before every column identifier in the environment's argument (e.g., "c", "l", +"r", "p", "m" or "b"), put +\begin{description} + \vitem"!{\LC}" If none of the below applies; + \vitem"!{\LCi}" If the column is preceded by one or more vertical lines; + \vitem"!{\LCii}" If the column is followed by two vertical lines; + \vitem"!{\LCiii}" If the column is preceded by one or more vertical lines +and followed by two vertical lines. + \vitem"!{\LCz{}{}}" If "colortab" should back up by +before drawing the background, and should draw the background shorter +than the width of the column. +\end{description} +Remember that you have to do this for every column, not just the columns that +you want to color. + +Then include +\begin{LVerbatim} + \LColors & & ... & \\ +\end{LVerbatim} +in the first row of the environment, and later on as well if you wish to +change the colors. Here also you have to include every column, but you can +leave an entry blank if you don't want any background color in that column. + +The color comes out right, or at all, only after you have run the file enough +times for "longtable.sty" to set the alignment correctly. + +Here is an example. The output will appear in this documentation only if +"longtable.sty" or "longtabl.sty" is installed on your system. +\begingroup + \makeatletter + \catcode`\<=12 +% Modification Denis GIROU (CNRS/IDRIS - France) - <Denis.Girou@idris.fr> - 10 Sep. 1996 +% Can't work with LaTeX 2e +% \@input{longtable.sty}% +% \@input{longtabl.sty}% +% \@input{array.sty}% + \@input{longtable.styX}% Avoid loading of longtable.sty... + \@input{longtabl.sty}% + \@input{array.styX}% Avoid loading of array.sty... + \@testtrue + \@ifundefined{c@LT@tables}{\@testfalse}{}% + \@ifundefined{d@llarbegin}{\@testfalse}{}% + \if@test\else + \renewenvironment{example}{\VerbatimEnvironment\LVerbatim}{\endLVerbatim}% + \fi + \makeatother +\begin{example} + \LARGE + \begin{longtable}{|!{\LCiii}l||!{\LCi}c|!{\LCi}c|}\hline + \LColors \gray & & \\ + Tamarind & Chiplote & Galanga\\ \hline + \LColors \lightgray & & \gray\\ + Lulu & & Serrano\\ \hline + Guanabana & Larga &\\ \hline + \end{longtable} +\end{example} +\endgroup + +\section{Coloring lines} + +Let's begin with the "\halign" environment. Changing the color of lines is +easy, because if you write, say, "{\gray\hrule}", then the line comes out +gray. For example: +\begin{example} + % Thicker lines and wider spacing give better view: + \setbox\strutbox=\hbox{% + \vrule height15.5pt depth8.5pt width0pt}% + \def\Hrule{\hrule height 2.5pt}% + \def\Vrule{\vrule width 2.5pt}% + % Now the table: + \vbox{\offinterlineskip + \halign{% + {\lightgray\Vrule}\strut\quad\hfil#\hfil\quad + &{\gray\Vrule}\quad\hfil#\quad\Vrule\cr + \noalign{\Hrule}% + Tamarind& Chiplote\cr\noalign{{\darkgray\Hrule}}% + Lulu& Serrano\cr\noalign{\Hrule}% + Guanabana& Larga\cr\noalign{{\lightgray\Hrule}}% + }} +\end{example} + +With \LaTeX, you can add an entry like +\begin{LVerbatim} + @{\hspace{\tabcolsep}{\gray\vrule}\hspace{\tabcolsep}} +\end{LVerbatim} +to the argument of the alignment environment, instead of "|", if you want to +color the vertical line that is drawn. If using "array.sty", you can try: +\begin{LVerbatim} + !{{\gray\vrule}} +\end{LVerbatim} + +To color horizontal lines with \LaTeX, don't bother trying +\begin{LVerbatim} + {\gray\hline} +\end{LVerbatim} +because it won't work. You write your own version of "\hline" and "\cline", or +use the non-aligned color commands described in the next section. + +\section{Non-aligned color with PSTricks} + +Here are a few other commands that can be useful for adding color to tables. +{\bf They only work with PSTricks, v0.93 or later.} in this case is +the name of the color, without the backslash. These fudge the color commands +so that they do not have to be balanced with respect to \TeX\ grouping. You +can achieve the same thing using "\special{}" and "\noalign", +if you know what you are doing. These should work with just about any +alignment macro, include "\halign" and \LaTeX's "tabular" environment. + +\begin{description} + +\vitem"\AC{} ... \EAC" \ + + These stand for "AlignColor" and "EndAlignColor", respectively. is +the name of the color, without a backslash, rather than a color command. This +can be used within a cell, but they do not have to be within the same cell, +nor do they have to be properly nested with respect to \TeX\ grouping. +Generally, "\AC{}" switches to , and \n\EAC\ restores the color +that would be in effect if the first \n\AC\ command were missing. + +\vitem"\NAC{} ... \ENAC" \ + + These stand for "NoAlignColor" and "EndNoAlignColor", respectively. These +are like \n\AC\ and \n\EAC, but the color commands are put inside a +"\noalign". They can only appear at the end of a line, after "\\" or "\cr". + +\end{description} +Actually, these do not even have to be used in pairs. + +Here is an example of how "\AC", etc., can be used. to color lines in \LaTeX\ +arrays. The output will appear in this documentation only if PSTricks is +installed on your system: +\begingroup +\ifx\PSTricksLoaded\endinput\else + \renewenvironment{example}{\VerbatimEnvironment\LVerbatim}{\endLVerbatim} +\fi +\begin{example} + \arrayrulewidth 1.5pt + \begin{tabular}{|l|c|}\hline + Tamarind& Chiplote\\ \NAC{gray}\hline\ENAC + Lulu& Serrano\\ \cline{1-1} + \NAC{lightgray}\cline{2-2}\ENAC + Guanabana\AC{lightgray} & \EAC Larga\\ \hline + \end{tabular} +\end{example} +\endgroup + +\end{document} +%% END colortab.doc diff --git a/Master/texmf-dist/doc/generic/dratex/Examples.tex b/Master/texmf-dist/doc/generic/dratex/Examples.tex new file mode 100644 index 00000000000..ade0a511abb --- /dev/null +++ b/Master/texmf-dist/doc/generic/dratex/Examples.tex @@ -0,0 +1,2058 @@ +%\def\TexFiles{} +\def\ext{Changeable} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% Compile this file with TeX and review the document. %% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\hfill 15 Apr. 94 +\bigskip +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Code of examples and exercises from % +% % +% TeX and LaTeX: Drawing and Literate Programming % +% % +% gurari@cis.ohio-state.edu % +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +\immediate\write16{<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<} +\immediate\write16{<<< tex Examples.tex <<<<<<<<<<<} +\immediate\write16{<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + %% + %% +\input ProTex.sty %%%%%%%%%%%%%%%%%%%% + + +\expandafter\def\csname :warn\endcsname#1{} +\Code\top{}{\immediate\write16{<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<} +\immediate\write16{<<<<< \op \name.\ext} +\immediate\write16{<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<} + +% \com +} + + \ifx \TexFiles\empty %%%%%%%%%%%%%%%%%%%%%%%% +\def\tex{tex} + +\def\DEFEND{\% LaTeX requires a {\tt\string\Defend} here \%} + +\Code\Open{}{\files +\startInput +} + +\Code\Close{}{ +\endInput +\\bye} + \else %%%%%%%%%%%%%%%%%%%%%%%% +\def\tex{latex} + +\Code\DEFEND{{\it LaTeX requires a {\tt\string\Defend} + here}}{\% LaTeX requires a \string\Defend here \%\string\Defend} + +\Code\Open{}{\\documentstyle{book} +\files +\\begin{document} +\startInput} + +\Code\Close{}{ +\endInput +\\end{document}} + \fi %%%%%%%%%%%%%%%%%%%%%%%% + +\Code\fileD{}{ +\\input DraTex.sty } + +\Code\fileAD{}{ +\\input DraTex.sty +\\input AlDraTex.sty } + +\Code\fileP{}{ +\\input ProTex.sty } + +\Code\startInput{}{\\Draw} +\Code\endInput{}{\\EndDraw} + +\AlProTex{\ext,<<<>>>,[],list,|,ShowFile,NoShow} %%%%%%%%%%%%%%%%%%%% + +\let\SC=\ShowCode +\Code\execute{}<<< +>>> + +\newcount\exron +\def\nop#1{\ifnum \exron>0 #1 \fi} + +\catcode`\^^M=13 \catcode`\#=12 % +\def\<<<{% + \edef\temp{% + \noexpand\AppendCode\noexpand\execute<<< + \nop#\op\space\space \name.\ext\space\space\space # \com + \nop#xdvi\space\space \name.dvi + >>>}\ShowOff\temp\ShowOn% + \def\ShowCode{% + \expandafter\OutputCode\csname\name\endcsname \def\top + {} \global\let\ShowCode=\SC \ShowCode}% + \expandafter\Code\csname\name\endcsname{}<<< + \top}% +\catcode`\^^M=5 \catcode`\#=6 + +\def\newpage{\def\newpage{\par\vfill\break}} +\newcount\1 \newcount\2 \newcount\3 + +\def\ForTex{tex} + +\def\Ex#1#2#3{\global\advance\exron by -1 + \edef\op{#1} + \edef\For{for \ifx \op\ForTex \else La\fi TeX} + \def\com{#2} + \def\name{#3} \hrule + \medskip\noindent$\underline{\hbox{#1\quad\name.\ext}}$ + \qquad{\it #2\/} {\rm(\For)}\medskip} + +\def\Exr#1#2#3{\global\exron=2 + \setbox0=\hbox{\global\1#1 \global\2#2 \global\3#3} + \Ex{\tex}{Exercise \the\1.\the\2.\the\3}{exr#1#2#3}} + +\def\Lib#1{\newpage\hrule + \noindent\hfil{\bf \strut#1}\hrule} + +\hbadness=10000 \vbadness=10000 \hfuzz=99in \vfuzz=99in + %% + %% + %% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\noindent NOTES + +(a) If you want to get TeX files instead of LaTeX files, remove `\%' +from the first line of file `{\tt Examples.tex}'.%%% first line of this file + + +(b) If you want different extensions in the files' names, +change the definition of {\tt\string\ext} in the second line +of file `{\tt Examples.tex}'.%%% second line of this file + +(c) Files carrying names that start with `exr' have been retrieved +from exercises. Many of these files are incomplete, and they expect +that the reader will provide the missing code. (La)TeX will prompt you +with `?' on incomplete files. In such cases, type `x' followed by +RETURN. + +\bigskip \Lib{DraTeX} \def\files{\fileD} + +\Ex{tex}{First example in section 6.2}{sec62a} + +\<<< +\input DraTex.sty +\Draw + \LineAt(0.1, 0,-18,-10) + \LineAt(-18,-10,- 6, 26) + \LineAt(- 6, 26, 18,- 4) + \LineAt( 18,- 4, 12,-40) + \LineAt( 18,- 4, 24,-40) + \LineAt( 18,- 4, 58,- 4) + \LineAt( 58,- 4, 52,-40) + \LineAt(58,-4,64,-40) \LineAt(58,-4,66,4) +\EndDraw +\bye >>> + +\Ex{latex}{First example in section 6.2}{sec62b} + +\<<< +\documentstyle{report} + \input DraTex.sty +\begin{document} +\Draw + \LineAt(0.1, 0,-18,-10) + \LineAt(-18,-10,- 6, 26) + \LineAt(- 6, 26, 18,- 4) + \LineAt( 18,- 4, 12,-40) + \LineAt( 18,- 4, 24,-40) + \LineAt( 18,- 4, 58,- 4) + \LineAt( 58,- 4, 52,-40) + \LineAt(58,-4,64,-40) \LineAt( 58,-4,66,4) +\EndDraw +\end{document}>>> + + +\Ex{latex}{First example in section 6.2---second version}{sec62c} + +\<<< +\documentstyle[DraTex]{report} +\begin{document} +\Draw + \LineAt(0.1, 0,-18,-10) + \LineAt(-18,-10,- 6, 26) + \LineAt(- 6, 26, 18,- 4) + \LineAt( 18,- 4, 12,-40) + \LineAt( 18,- 4, 24,-40) + \LineAt( 18,- 4, 58,- 4) + \LineAt( 58,- 4, 52,-40) + \LineAt(58,-4,64,-40) \LineAt(58,-4,66,4) +\EndDraw +\end{document}>>> + + + +\Exr672 + +\<<< +|Open + \MarkLoc(a) \Move(50,0) + \MarkLoc(A) \Move(50,0) + \MarkLoc(b) \Move(-30,30) + \MarkLoc(B) \Move(-30,30) + \MarkLoc(c) \Move(-20,-30) + \MarkLoc(C) + \Curve(A,b,b,B) + \Curve(B,c,c,C) + \Curve(C,a,a,A) +|Close>>> + + + \Ex{tex}{First example in section 6.1}{sec61} + +\<<< +\input DraTex.sty + +We can draw clocks of +different styles and sizes. + +\Draw + \Move(0,20) \Line(0,-50) \Line(50,0) + \PenSize(1.5pt) \Line(0,50) \Line(-50,0) + \Move(5,-25) \Text(--9--) + \Move(20,-18) \Text(--6--) + \Move(20,18) \Text(--3--) + \Move(-20,18) \Text(--12--) + \Move(0,-18) {\RotateTo(60) \LineF(19)} + \RotateTo(210) \LineF(14) +\EndDraw + +We can draw people of +different shapes and looks. + +\Draw(0.6pt,0.6pt) + \DrawOvalArc(30,45)(0,180) + \DrawOvalArc(30,12)(180,360) + \DrawOvalArc(60,25)(140,400) + \Move(0,5) + \DrawOvalArc(30,60)(225,315) + \DrawOvalArc(20,52)(260,280) + \Move(-10,-37) {\Text(--$\cdotp$--)} \Text(--o--) + \Move(20,0) {\Text(--$\cdotp$--)} \Text(--o--) +\EndDraw + +And we can produce many other +types of drawings. \bye>>> + + + +\Ex{latex}{First example in section 6.1}{sec61a} + +\<<< +\documentstyle{report} +\input DraTex.sty +\begin{document} + +We can draw clocks of +different styles and sizes. + +\Draw + \Move(0,20) \Line(0,-50) \Line(50,0) + \PenSize(1.5pt) \Line(0,50) \Line(-50,0) + \Move(5,-25) \Text(--9--) + \Move(20,-18) \Text(--6--) + \Move(20,18) \Text(--3--) + \Move(-20,18) \Text(--12--) + \Move(0,-18) {\RotateTo(60) \LineF(19)} + \RotateTo(210) \LineF(14) +\EndDraw + +We can draw people of +different shapes and looks. + +\Draw(0.6pt,0.6pt) + \DrawOvalArc(30,45)(0,180) + \DrawOvalArc(30,12)(180,360) + \DrawOvalArc(60,25)(140,400) + \Move(0,5) + \DrawOvalArc(30,60)(225,315) + \DrawOvalArc(20,52)(260,280) + \Move(-10,-37) {\Text(--$\cdotp$--)} \Text(--o--) + \Move(20,0) {\Text(--$\cdotp$--)} \Text(--o--) +\EndDraw + +And we can produce many other +types of drawings. \end{document}>>> + +\Ex{latex}{First example in section 6.1---second version}{sec61b} + +\<<< +\documentstyle[DraTex]{report} +\begin{document} + +We can draw clocks of +different styles and sizes. + +\Draw + \Move(0,20) \Line(0,-50) \Line(50,0) + \PenSize(1.5pt) \Line(0,50) \Line(-50,0) + \Move(5,-25) \Text(--9--) + \Move(20,-18) \Text(--6--) + \Move(20,18) \Text(--3--) + \Move(-20,18) \Text(--12--) + \Move(0,-18) {\RotateTo(60) \LineF(19)} + \RotateTo(210) \LineF(14) +\EndDraw + +We can draw people of +different shapes and looks. + +\Draw(0.6pt,0.6pt) + \DrawOvalArc(30,45)(0,180) + \DrawOvalArc(30,12)(180,360) + \DrawOvalArc(60,25)(140,400) + \Move(0,5) + \DrawOvalArc(30,60)(225,315) + \DrawOvalArc(20,52)(260,280) + \Move(-10,-37) {\Text(--$\cdotp$--)} \Text(--o--) + \Move(20,0) {\Text(--$\cdotp$--)} \Text(--o--) +\EndDraw + +And we can produce many other +types of drawings. \end{document}>>> + + +\Exr732 + +\<<< +|Open +\font\ARROWS=line10\space scaled\magstep5 +\font\CIRCLES=lcircle10\space scaled\magstep5 +% \newfont{\ARROWS}{line10\space scaled\magstep5} +% \newfont{\CIRCLES}{lcircle10\space scaled\magstep5} + + \Text(--\CIRCLES \char 10--) +\Text(--\CIRCLES \char 11--) \Text(--\ARROWS \char 55--) +\Text(--\CIRCLES \char 110--)\EntryExit(-1,0,-1,0) +\Text(--\CIRCLES \char 114--)|Close>>> + +\Exr741 + +\<<< +|Open +\Ragged(8) +\Line(10,-10) \Line(10,20) +\LineTo(0,0) +|Close>>> + + +\Ex{\tex}{First example in section 8.1}{sec81} + +\<<< +|Open +\ThreeDim(-150,-60,-600) + \Line(60,0,0) \Line(0,0,60) + \Line(-60,0,0) \Line(0,0,-60) + \LineTo(0,60,0) \Line(60,0,0) + \Line(0,-60,0) + \LineAt(0,60,0,0,60,60) + \Line(0,-60,0) +\EndThreeDim |Close>>> + + +\Ex{\tex}{Example of USA map in section 9.3}{usa} + +\<<< +|Open(0.9pt,0.9pt) +\Table\USA{ % California + -60,-35 & -77,-30 & -80, + -20 & -90,-15 & -100,40 & + % Oregon + -100,50 & -90,80 & + % Wash + -90,95 & -78,90 & -75,95 & + % Minn + 100,70 & 85,60 & + % Wisc-Mich + 95,60 & 105,65 & 102,63 & 110,60 & 125,60 & 110,55 & 110,30 & + 115,25 & 120,30 & 115,40 & 115,50 & 120,55 & 130,55 & 140,40 & + 135,25 & + % Ohio-NY-Vt + 145,25 & 155,30 & 160,45 & 175,45 & 175,55 & 180,60 & 195,65 & + % Maine + 200,75 & 200,85 & 205,90 & 210,90 & 215,80 & 220,75 & 205,60 & 205,50 & + % Mass--NY + 210,43 & 208,47 & 215,43 & 190,30 & 202,35 & + % NJ--Va + 197,25 & 190,18 & 185,20 & 190,15 & 190,5 & 182,18 & 182,0 & 185,0 & + % NC + 190,-8 & 185,-4 & 183,-6 & 186,-6 & 182,-15 & + 190,-18 & 190,-10 & 192,-10 & + 195,-18 & + % Ga-Fl + 165,-40 & 160,-50 & 175,-80 & 175,-90 & 170,-100 & 165,-100 & + 155,-80 & 155,-65 & 145,-60 & 140,-62 & 136,-62 & 120,-60 & + % Alaba--La + 102,-63 & 107,-67 & 107,-72 & 110,-75 & 90,-65 & + 78,-65 & + % Texas + 62,-78 & 57,-78 & 50,-82 & 53,-92 & 48,-90 & 25,-65 & 15,-65 & + 15,-68 & -10,-50 & + % New Mexico + -40,-50 & + % Back to California + -60,-35 } +{ \USA(0,0){\MoveTo} \USA(1,99){\LineTo} } \Text(--USA--) +\Scale(0.5,0.5) \USA(46,46){\MoveTo} \USA(47,92){\LineTo} +\MoveTo(-30,0) \MarkLoc(a) \USA(0,0){\Move} \MarkLoc(b) +\USA(0,46){{\LineToLoc(b)} \MarkLoc(b) \MoveToLoc(a) \Move} +|Close>>> + + +\Exr{10}1{1a} +\<<< +|Open +\Text(--Government~% + Bonds (\%)--) +\Table\B{Britain,9.59 & + Canada,7.98 & Japan,5.46 & + U.S., 6.84 & Mexico,14.9} +\B(0,4){\PutBar} +|Close >>> + +\Exr{10}1{1b} +\<<< +|Open +\chick(0,75) \Scale(-1,1) +\chick(0,140) +|Close >>> + +\Exr{10}1{1c} +\<<< +|Open +\Table\x{ 30,40 + & 15,60 & 27,15 & 35,35 + & 50,45 & 25,70 & 20,20 + & 25,75 } \x(0,99){\Tr} +|Close >>> + +\Exr{10}1{1d} +\<<< +|Open +\sqr(-24,0) +\sqr(0,32) +\sqr(24,-32) +|Close >>> + +\Exr{10}1{1e} +\<<< +|Open +\engine(90) \MoveTo(50,0) +\engine(180) \MoveTo(100,0) +\engine(-30) +|Close >>> + +\Exr{10}1{1f} +\<<< +|Open +\MarkLoc(A) +\spring(110) \Rotate(70) +\spring(60) \MarkLoc(B) +\DSeg\RotateTo(B,A) +\LSeg\spring(B,A) +|Close >>> + +\Exr{10}21 +\<<< +|Open +\new(BODY) \(20) +\LineF(20) \Rotate(55) \LineF(16) +\new(hand) \(140) \LineF(35) +\new(hand) \(90) \LineF(7) +\new(head) \(-60) \LineF(19) +\new(left-leg) \(210) \LineF(12) +\Rotate(30) \LineF(14) \new(right-leg) +\Do(1,11){\I+15; \(\Val\I) +\LineF(11)} +|Close >>> + + +\Exr{10}22 + +\<<< +|Open +\def\DefineSymbol#1{% + \Indirect\Define<#1>} + +\def\DrawText(--#1--){% + \let\xNextSym=\xDrawSym \xNextSym#1{}} + +\def\xDrawSym#1{\def\temp{#1}% + \ifx \temp\empty \let \xNextSym=\relax + \else \Indirect<#1>\fi \xNextSym } + +\DefineSymbol A{{ \Line(21,60) + \Line(21,-60) \Move(-7,20) + \Line(-28,0) } \Move(52,0) } +\DefineSymbol B{{ \DrawText(--P--) + \Move(-25,18) + \DrawOvalArc(15,18)(-90,90) + \Move(0,-18) \Line(-25,0)} + \Move(50,0) } \DefineSymbol P +{{ \Line(0,60) \Line(25,0) + \Move(0,-12) \DrawOvalArc(15,12)(-90,90) + \Move(0,-12) \Line(-25,0) } \Move(50,0) } + \DefineSymbol C{{ \Move(20,30) + \DrawOvalArc(20,30)(45,315) } \Move(46.6,0) } + \DefineSymbol D{{ \Line(0,60) \Line(20,0) + \Move(0 ,-30) \DrawOvalArc(20,30)(-90,90) \Move(0,-30) + \Line(-20,0) } \Move(50,0) } + \DefineSymbol E{{ \DrawText(--F--) \Move(-50,0) + \Line(40,0) } \Move(50,0) } + \DefineSymbol F{{ \Line(0,60) \Line(40,0) + \Move(-40,-30) \Line(30,0) } \Move(50,0) } + \DefineSymbol G{{ \DrawText(--C--) + \Move(-10,30) {\Line(-20,0)} \Line(0,-30) } + \Move(46.6,0) } + \DefineSymbol H{{ \Line(0,60) \Move(40,0) + \Line(0,-60) \Move(0,30) \Line(-40,0) } \Move(50,0) } + \DefineSymbol I{{ \Line(0,60) } \Move(10,0) } + \DefineSymbol J{{ \Move(20,17) \DrawOvalArc(20,17)(180,360) + \Move(20,0) \Line(0,43) } \Move(50,0) } + \DefineSymbol K{{ \Line(0,60) \Move(0,-35) + \Line(40,35) \Move(-32,-28) \Line(32,-32) } \Move(50,0) } + \DefineSymbol L{{ { \Line(0,60) } \Line(40,0) } \Move(50,0) } + \DefineSymbol M{{ \Line(0,60) \Line(25,-60) + \Line(25,60) \Line(0,-60) } \Move(60,0) } + \DefineSymbol N{{ \Line(0,60) \Line(40,-60) + \Line(0,60) } \Move(50,0) } + \DefineSymbol O{{ \Move(22,30) \DrawOval(22,30) } \Move(54,0) } + \DefineSymbol P{{ \Line(0,60) \Line(25,0) + \Move(0,-12) \DrawOvalArc(15,12)(-90,90) + \Move(0,-12) \Line(-25,0) } \Move(50,0) } + \DefineSymbol Q{{ \DrawText(--O--) \Move(-10,-5) + \Line(-15,15) } \Move(55,0) } + \DefineSymbol R{{ \DrawText(--P--) \Move(-10,0) + \Line(-15,36) } \Move(50,0) } + \DefineSymbol S{{ \Move(20,18) \DrawOvalArc(20,18)(-140,90) + \Move(0,30) \DrawOvalArc(20,12)(40,270) } \Move(50,0) } + \DefineSymbol T{{ \Move(22,0) \Line(0,60) \Move(-22,0) + \Line(44,0) } \Move(54,0) } + \DefineSymbol U{{ \Move(20,15) \DrawOvalArc(20,15)(180,360) + \Move(-20,0) \Line(0,45) \Move(40,0) \Line(0,-45) } + \Move(50,0) } + \DefineSymbol V{{ \Move(0,60) \Line(22,-60) + \Line(22,60) } \Move(54,0) } + \DefineSymbol W{{ \Move(0,60) \Line(15,-60) + \Line(15,60) \Line(15,-60) \Line(15,60) } \Move(70,0) } + \DefineSymbol X{{ \Line(40,60) \Move(-40,0) + \Line(40,-60) } \Move(50,0) } + \DefineSymbol Y{{ \Move(20,0) \Line(0,34) { \Line(-20,26)} + \Line(20,26) } \Move(50,0) } + \DefineSymbol Z{{ \Move(0,60) \Line(40,0) \Line(-40,-60) + \Line(40,0) } \Move(50,0) } + \DefineSymbol 0{{ \Move(25,30) \DrawOval(25,30) } \Move(60,0) } + \DefineSymbol 1{{ \Line(0,60) } \Move(10,0) } + \DefineSymbol 2{{ \MarkLoc(a) \Move(0,10) + \MarkLoc(a') \Move(40,30) \MarkLoc(b) + \Move(0,-10) \MarkLoc(b') \Curve(a,a',b',b) + \Move(-20,10) \DrawOvalArc(20,20)(0,180) + \Move(-20,-40) \Line(40,0) } \Move(50,0) } + \DefineSymbol 3{{ \MarkLoc(a') \Move(0,10) \MarkLoc(a) + \Move(20,-10) \MarkLoc(b) \Move(-10,0) \MarkLoc(b') + \Curve(a,a',b',b) \Move(22,0) \MarkLoc(b') + \Move(8,8) \MarkLoc(a') \Move(0,10) \MarkLoc(a) + \Curve(a,a',b',b) \Move(0,10) \MarkLoc(a') + \Move(-8,8) \MarkLoc(b') \Move(-10,0) + \MarkLoc(b) \Curve(a,a',b',b) \Move(-5,0) + \MarkLoc(b') \Move(-5,-3) \MarkLoc(a') + \Move(0,-2) \MarkLoc(a) \Curve(a,a',b',b) + \Line(30,29) \Line(-40,0) } \Move(50,0) } +\DefineSymbol 4{{ \Move(35,0) \Line(0,60) + \Line(-35,-35) \Line(45,0)} \Move(55,0) } + \DefineSymbol 5{{ \Move(15,20) \DrawOvalArc(19,20)(-140,140) + \Move(-15,10) \Line(0,30) \Line(30,0) } \Move(44,0) } + \DefineSymbol 6{{ \Move(22,30) \DrawOvalArc(22,30)(70,270) + \Move(0,-10) \DrawOvalArc(22,15)(0,174) + \DrawOvalArc(22,20)(270,360) } \Move(54,0) } + \DefineSymbol 7{{ \Move(0,60) \Line(40,0) + \MarkLoc(a) \Move(-20,-60) \MarkLoc(b) + \DSeg\RotateTo(b,a) \Rotate(20) \MoveF(10) \MarkLoc(b') + \MoveToLoc(a) + \DSeg\RotateTo(a,b) \Rotate(-20) \MoveF(10) \MarkLoc(a') + \Curve(a,a',b',b) } \Move(50,0) } + \DefineSymbol 8{{ \Move(20,17) \DrawOval(20,17) + \Move(0,30) \DrawOval(20,13) } \Move(50,0) } + \DefineSymbol 9{{\Move(50,60) \Scale(-1,-1) \DrawText(--6--) } \Move(54,0) +} + +\Scale(0.1,0.1) \Ragged(1) +\DrawText(--BOLD--) +\PenSize(0.2pt) \MoveTo(0,-100) +{ \Scale(-1,1) + \DrawText(--BACKWARD--) } +\MoveTo(0,-200) \RotatedAxes(0,75) \DrawText(--SLANTED--) +\EndRotatedAxes \MoveTo(0,-300) \RotatedAxes(-45,45) +\DrawText(--ROTATED--) \EndRotatedAxes +|Close>>> + +\Ex{\tex}{Last example in section 11.2}{boxes} + +\<<< +|Open +\Object\ch(1){\Text(--#1--) + \MoveToExit(-1,-1) + \FigSize\Q\R{\Text(--#1--)} + \DrawRect(\Val\Q,\Val\R) } +\Define\chrs(1){\font\f=#1\space scaled\magstep4 \f + \Table\chrs{A & l & l & ~ & i & n & ~ & + b & o & x & e & s & .} \chrs(0,99){\ch} } +\PenSize(0.2pt) \EntryExit(-1,-1,1,-1) +{\chrs(cmtt10)} \Move(0,-20) \chrs(cmsl10) +|Close>>> + +\Exr{11}21 +\<<< +|Open +\Define\side(3){ + \ProjectedAxes(#1,#2)(#1,#3) + \DrawRect(1,1) \Move(0.5,0.5) + \DrawCircle(0.5) + \EndProjectedAxes } +\ThreeDim(80,70,-40) \MarkPLoc(a) + \Move(0,-50,0) \MarkPLoc(b) + \Move(0,50,25) \MarkPLoc(c) + \Move(-25,0,-25) \MarkPLoc(d) + \side(a,b,d) \side(a,b,c) \side(a,c,d) +\EndThreeDim +|Close >>> + + +\Exr{11}24 + +\<<< +|Open +\Define\Spline(1){ + \MarkLoc(0) \MoveTo(0,0) \MarkLoc(00) + \Table\P{#1} \Define\Count(1){\K+1;} \K=-4; + \P(0,999){\Count} + \Do(0,\Val\K){ + \GetCoefficients + \MoveTo(\Val\Ao,\Val\Bo) \CSeg\Move(00,0) + \MarkLoc(o) \f \MarkLoc(x) + \Do(1,30){ + \T=\DoReg; \T/30; + \X=\Aiii; \X*\T; \X+\Aii; \X*\T; \X+\Ai; \X*\T; + \Y=\Biii; \Y*\T; \Y+\Bii; \Y*\T; \Y+\Bi; \Y*\T; + \MoveToLoc(o) \Move(\Val\X,\Val\Y) \f + {\LineToLoc(x)} \MarkLoc(x) }} + \MoveToLoc(0)} + +\Define\f{} +\DecVar\Ao \DecVar\Ai \DecVar\Aii \DecVar\Aiii \DecVar\X +\DecVar\Bo \DecVar\Bi \DecVar\Bii \DecVar\Biii \DecVar\Y + +\Define\GetCoefficients{ + \I=\DoReg; \P(\Val\I,\Val\I){\First} + \I+1; \P(\Val\I,\Val\I){\Second} + \I+1; \P(\Val\I,\Val\I){\Third} + \I+1; \P(\Val\I,\Val\I){\Fourth} } +\Define\First(2){\Ao=#1; \Ai=-#1; \Aii=#1; \Aiii=-#1; + \Bo=#2; \Bi=-#2; \Bii=#2; \Biii=-#2;} +\Define\Second(2){ + \T=#1; \T* 4; \Ao +\T; \T=#2; \T* 4; \Bo +\T; + \T=#1; \T*-2; \Aii+\T; \T=#2; \T*-2; \Bii+\T; + \T=#1; \T* 3; \Aiii +\T; \T=#2; \T* 3; \Biii +\T;} +\Define\Third(2){ \Ao +#1; \Ao /6; \Bo +#2; \Bo /6; + \Ai +#1; \Ai /2; \Bi +#2; \Bi /2; + \Aii+#1; \Aii/2; \Bii+#2; \Bii/2; + \T=#1; \T*-3; \Aiii+\T; \T=#2; \T*-3; \Biii+\T;} +\Define\Fourth(2){ + \Aiii+#1; \Aiii/6; \Biii+#2; \Biii/6;} + +\Spline(0,15 & 30,-70 + & 40,-50 & 10,0 & 15,30 + & 50,5 &60,10 & 8,45 & + 8,55 & 30,70 & 0,80 & + -30,70 &-8,55 & -8,45 & + -60,10 &-50,5 & -15,30 & + -10,0 &-40,-50 &-30,-70 & + 0,15 & 30,-70 & 40,-50 ) +\Define\ShowPoint(2){ + \MoveToLoc(0) \Move(#1,#2) + \Text(--$\circ$--)} +\P(0,99){\ShowPoint} + +\Define\TEX{ + \Spline(0,-15 & 0,-15 & + 0,-15 & 0, 15 & + 0, 15 & 0, 15 ) + \Spline(-10,15 & + -10,15 & -10,15 & 10,15 & + 10,15 & 10,15) + \Move(12,0) + \Spline(0,0 & 0,0 & 0,0 & 14,0 & 14,0 & 14,0) + \Spline( 20,15 &20,15 &20,15 & 0,15 & 0,15 + & 0,-15 & 0,-15 & 20,-15 &20,-15&20,-15) + \Move(32,0) \Spline( -10,-15 & -10,-15 & + -10,-15 & 10,15 & 10,15 & 10,15) + \Spline( -10,15 & + -10,15 & -10,15 & 10,-15 & 10,-15 & 10,-15) } +\TEX \MoveTo(0,0) \F +\TEX \MoveTo(0,-35) \G +\TEX +|Close >>> + + +\Exr{11}31 +\<<< +|Open +\Define\put(2){ + \IF \EqText(,#1) \THEN + \top \Define\put(1){} + \ELSE \push(#1) \FI \put(#2)} +\Define\stack(1){ + {\put(#1,,)} \Move(0,-13)} +\Table\x{ & 1& 1, 2& +1, 2, 3& 1, 2, 3, 4& +1, 2, 3, 4, *& 1, 2, 12& +1, 2, 12,+& 1, 14& 1, 14,+& 15} +\x(0,100){\stack} +|Close >>> + + +\Exr{11}32 +\<<< +|Open +\Table\g{ + 16 & 8 & 4 & 2 & 1 & + 20 & 16 & 8 & 4 & 2 & + 17 & 12 & 16 & 8 & 4 & + 23 & 20 & 12 & 13 & 17 } +\ThreeDim(160,75,-70) + \Scale(20,5,20) + \g(0,140){\surface} +\EndThreeDim +|Close >>> + + + + + + +\Ex{\tex}{NEW OPTION FOR {\tt\char92}ThreeDim}{NewThreeDim} + + + +{\tt\string\ThreeDim($x_e$,$y_e$,$z_e$)} perspective projections (old option) + +{\tt\string\ThreeDim($\alpha_{xy}$,$\alpha_z$)} parallel projections (new additional option): +$\alpha_{xy}$ --- direction within xy plane, +$\alpha_z$ --- direction with respect to xy plane. + + e.g., {\tt\string\ThreeDim(30,60)} or +{\tt\string \ThreeDim(45,60)} + + +\<<< +|Open +\Define\cube{ + \Line(50,0,0){\Line(0,0,50)} + \Line(0,50,0){\Line(0,0,50)} + \Line(-50,0,0){\Line(0,0,50)} + \Line(0,-50,0) \Move(0,0,50) + \Move(50,0,0) \Line(0,50,0) + \Line(-50,0,0) } +\ThreeDim(80,80,-100) \cube \EndThreeDim +\MoveTo(0,-130) +\ThreeDim(45,60) \cube \EndThreeDim +\MoveTo(0,-260) +\ThreeDim(30,60) \cube \EndThreeDim +|Close>>> + +\Lib{AlDraTeX} \def\files{\fileAD} + + +\Ex{tex}{Example in section 13.2}{sec132} + +\<<< +\input DraTex.sty +\input AlDraTex.sty +\Draw + \Scale(1,0.5) + \PieChartSpec(1,50,20)() + \PieChart(15 & 10 & 30) + \Move(0,-6) + \DrawOvalArc(50,50)(180,360) +\EndDraw +\bye>>> + +\Ex{tex}{Example in section 13.2---second version}{sec132a} + +\<<< +\input DraTex.sty + \def\AlDraTex{pie} +\input AlDraTex.sty +\Draw + \Scale(1,0.5) + \PieChartSpec(1,50,20)() + \PieChart(15 & 10 & 30) + \Move(0,-6) + \DrawOvalArc(50,50)(180,360) +\EndDraw +\bye>>> + + +\Ex{latex}{Example in section 13.2}{sec132b} + +\<<< +\documentstyle{report} + \input DraTex.sty + \input AlDraTex.sty +\begin{document} +\Draw + \Scale(1,0.5) + \PieChartSpec(1,50,20)() + \PieChart(15 & 10 & 30) + \Move(0,-6) + \DrawOvalArc(50,50)(180,360) +\EndDraw +\end{document}>>> + +\Ex{latex}{Example in section 13.2---second version}{sec132c} + +\<<< +\documentstyle[DraTex,AlDraTex]{report} +\begin{document} +\Draw + \Scale(1,0.5) + \PieChartSpec(1,50,20)() + \PieChart(15 & 10 & 30) + \Move(0,-6) + \DrawOvalArc(50,50)(180,360) +\EndDraw +\end{document}>>> + +\Ex{latex}{Example in section 13.2---third version}{sec132d} + +\<<< +\documentstyle{report} + \input DraTex.sty + \def\AlDraTex{pie} + \input AlDraTex.sty +\begin{document} +\Draw + \Scale(1,0.5) + \PieChartSpec(1,50,20)() + \PieChart(15 & 10 & 30) + \Move(0,-6) + \DrawOvalArc(50,50)(180,360) +\EndDraw +\end{document}>>> + +\Ex{latex}{Example in section 13.2---forth version}{sec132e} + +\<<< +\def\AlDraTex{pie} +\documentstyle[DraTex,AlDraTex]{report} +\begin{document} +\Draw + \Scale(1,0.5) + \PieChartSpec(1,50,20)() + \PieChart(15 & 10 & 30) + \Move(0,-6) + \DrawOvalArc(50,50)(180,360) +\EndDraw +\end{document}>>> + +\Ex{\tex}{Chemical diagram in section 16.1}{sec161} + +\<<< +|Open +\Define\ChemEdge(3){{ + \MoveToNodeDir(#2,#1) + \MarkLoc(b) \MoveToNodeDir(#1,#2) + \MarkLoc(a) \DSeg\RotateTo(a,b) + \Rotate(-90)\Q=#3; \Q/2; \Q-0.5; + \Q*2.2; \MoveF(\Val\Q) + \Do(1,#3){ {\CSeg\Line(a,b)} + \MoveF(-2.2) } }} +\Do(1,6){ \MoveF(30) + \Node(\DoReg)(--C--) \MoveF(20) \Node(x)(--H--) + \ChemEdge(\DoReg,x,1) \MoveTo(0,0) \Rotate(60) } +\ChemEdge(1,2,2) \ChemEdge(2,3,1) \ChemEdge(3,4,2) +\ChemEdge(4,5,1) \ChemEdge(5,6,2) \ChemEdge(6,1,1) +|Close >>> + + +\Ex{\tex}{Finite automaton in last example of chapter 17}{FA} + +\<<< +|Open +\NewCIRCNode(\StateNode,106,) +\NewCIRCNode(\AStateNode,106,103) +\Define\StateAt(3){ \MoveTo(#2,#3) + \StateNode(#1)(--$q_{#1}$--)} +\Define\AStateAt(3){ + \MoveTo(#2,#3) + \AStateNode(#1)(--$q_{#1}$--)} +\DiagramSpec(\StateAt& + \AStateAt&\TransEdge) +\ArrowHeads(1) \Diagram + ( 0,0,0 & 1,50,50 & + 3,90,-50 & 4,20,-50 )(2,75,0) + (0,1,a,b & 1,2,a, & 0,2, ,b & 2,2,0,b & 0,4,a, & 4,3,a,b ) +\CurvedEdgeAt(3,1,0,1,1,0)(20,0.3,0,0.5) \EdgeLabel[+](--a--) +|Close>>> + + +\noindent\dotfill\ + +New commands in AlDraTeX for setting spread diagrams (add to end of ch +17) + +\noindent\dotfill\ + +\begingroup +\leftskip= 1.5em +\parindent = -\leftskip + +\def\item{\medskip\leavevmode\hbox to \leftskip{$\circ$\hss}} + +\item + `{\tt\string\DefNode}'. A prefix to a node-generating command. The +prefix asks that the command will produce an invisble node. The +invisible node is assigned addresses but is not drawn into the +figure. + + +\item + `{\tt\string\PutNode(N)}'. This command realizes, according to the current +conditions, a specified invisible node that has been defined earlier +by `{\tt\string\DefNode}'. + +\item + `{\tt\string\ZeroNodesDim}'. Sets the pseudovariables `{\tt\string\WidthX}', +`{\tt\string\WidthY}', `{\tt\string\MaxX}', and `{\tt\string\MaxY}' to 0. + +\item + `{\tt\string\AddNodeDim(N)}'. Inserts the horizontal and vertical +dimensions of node N to the pseudovariables `{\tt\string\Widthx}' and +`{\tt\string\Widthy}', respectively. Adds these values to the +pseudovariables `{\tt\string\WidthX}' and `{\tt\string\WidthY}', +respectively. In addition, half the horizontal dimension of node N is +stored in `{\tt\string\MaxX}' if the pseudovariable contains a smaller +value, and a similar outcome holds for the vertical dimension with +respect to the pseudovariable `{\tt\string\MaxY}'. +\par\endgroup + +\Ex{\tex}{}{newA} + +\<<< +|Open +\DefNode\CircleNode(a)(--Two--) +\MoveToNode(a,0,0) \MarkLoc(A) +\MoveToNode(a,1,0) \MarkLoc(B) +\LSeg\R(A,B) \MoveTo(0,0) +\OvalNode(b)(--Touching Nodes--) +\RotateTo(19.5) \MoveF(5) \MarkLoc(A) +\MoveToNodeDir(b,A) \MarkLoc(A) +\MoveToNode(b,0,0) +\RotateTo(20.5) \MoveF(5) \MarkLoc(B) +\MoveToNodeDir(b,B) \MarkLoc(B) +\RotateTo(20) \MoveF(5) \MarkLoc(C) +\MoveToNode(b,0,0) \MoveToNodeDir(b,C) +\DSeg\RotateTo(A,B) \Rotate(-90) +\MoveF(\Val\R) \PutNode(a) +|Close>>> + + +\Ex{\tex}{}{newB} + +\<<< +|Open + +\def\Dist#1(#2,#3,#4){\MarkLoc(a*)% + \MoveToNode(#2,0,0)\MarkLoc(b*)% + \MoveToNode(#2,#3,#4)\MarkLoc(c*)% + \LSeg#1(b*,c*)\MoveToLoc(a*)} + +\EntryExit(1,1,1,-1.5) +\Object\G(3){ + \RectNode(a)(--#1--) + \DefNode\RectNode(b)(--#2--) + \DefNode\RectNode(c)(--#3--) + \Dist\T(a,1,0) \Dist\R(b,1,0) \Dist\Q(c,1,0) + \R+\Q; \T-\R; \T*2; + \ZeroNodesDim \AddNodeDim(b) + \AddNodeDim(c) \Q=\MaxY; + \Dist\R(a,0,1) \Q+\R; + \Q+20; \EntryExit(-1,0,1,0) + \IF \GtDec(\T,40) \THEN + \T+40; \T/3; + \SetNodes(20,\Val\T) + \ELSE \T=-\T; \T+60; \T/2; + \SetNodes(\Val\T,20) \FI + \Edge(b,c) \ArrowHeads(1) + \VHEdge(A,c) \VHEdge(B,b) } +\Define\SetNodes(2){ + \MoveToNode(a, 1,0) \Line( #1,0) \FcNode(A) + \MoveToNode(a,-1,0) \Line(-#1,0) \FcNode(B) + \Move(#2,-\Val\Q) \PutNode(b) + \Move(#2, 0) \PutNode(c) } +\G(short~~and~~deep,d~~e~~e~~p,shallow) +\G(very~very~long~node,shallow,d~~e~~e~~p) +|Close>>> + + +\Ex{\tex}{}{newC} + + + + +\<<< +|Open +\Define\Vertex(2){ + \IF \EqText(r,#1) \THEN \Define\NodeType{\RectNode} + \ELSE \IF \EqText(d,#1) \THEN \Define\NodeType{\DiamondNode} + \ELSE \IF \EqText(o,#1) \THEN \Define\NodeType{\OvalNode} + \ELSE \Define\NodeType{\Node} + \FI\FI\FI + \DefNode\NodeType(\Val\I..\Val\J)(--#2--) + \AddNodeDim(\Val\I..\Val\J) } +\Define\DefRow(1){ + \IF \EqText({},{#1}) \THEN \Define\g{\MoveToLoc(start)} + \ELSE \ZeroNodesDim \J=-1; + \Table\x{#1} \x(0,99){\J+1; \Vertex} + \Move( 0,-\MaxY) \MarkLoc(\Val\I) \Move(5,0) \MarkLoc(\Val\I') + \Move(-5,-\MaxY) \Move(0,-\Sy) \I+1; + \FI \g } + +\Define\ProjectToRow(1){ + \MarkLoc(x) \Move(0,5) \MarkLoc(x') + \MoveToLL(#1,#1')(x,x') } + +\Define\VSpace(1){ \Define\Sy{#1} } +\VSpace(15) + +\Define\DefRowDiagram{ + \MarkLoc(start) \I=0; \Define\g{\DefRow} \g} + +\DefRowDiagram + ( o, An~ approach~~ for~ setting~~ flow~ diagrams + & r, Use~~ {\tt\char92DefineRowDiagram}~~ + to~ define~~ the~ rows~~ of~ nodes + )( r, Derive~~ x~ coordinate~~ for~ N~ then~ + call~~ {\tt\char92ProjectToRow} + & r, Choose~~ nonrealized~~ node~ N + & d, More~ nodes~~ to~ realize? + )( r, Realize~ N~~ with~ {\tt\char92PutNode} + & o, Done + )() +\ProjectToRow(0) \EntryExit(0,0,-1,0) \PutNode(0..0) +\ProjectToRow(2) \MarkLoc(A) +\ProjectToRow(1) \EntryExit(-1,0,1,0) \PutNode(1..0) +\Move(20,0) \PutNode(1..1) \Move(20,0) +\EntryExit(-1,0,0,0) \PutNode(1..2) +\ProjectToRow(0) \EntryExit(0,0, 0,0) \PutNode(0..1) +\ProjectToRow(2) \EntryExit(0,0,-1,0) \PutNode(2..1) +\MarkLoc(B) \CSeg[0.5]\Move(B,A) \PutNode(2..0) +\ArrowHeads(1) \Edge(0..0,0..1) \Edge(0..1,1..2) + \Edge(1..2,1..1) \EdgeLabel(--Yes--) + \Edge(1..2,2..1) \EdgeLabel(--No--) +\Edge(1..1,1..0) \VHEdge(1..0,2..0) +\EdgeFrom(2..0,1,0,1..2) +|Close>>> + +\begingroup + \def\startInput{} + \def\endInput{} + +\Ex{\tex}{}{newD} + +\<<< +|Open +\Define\DefNd(1){ + \DefNode\RectNode(\Val\I)(--#1--) + \AddNodeDim(\Val\I) \I+1; } +\Define\D(1){ + \IF \EqText({},{#1}) \THEN \Define\g{} + \ELSE \ZeroNodesDim \J=-1; + \Table\x{#1} \x(0,99){\J+1; \DefNd} + \T=\J; \T*15; \T+\WidthX; \T/\F; + \Move(0,-\MaxY) \MarkLoc(a) \Move(\Val\T,0) + \K=\I; + \Do(0,\Val\J){ \K-1; \PutNode(\Val\K) \Move(-15,0) } + \MoveToLoc(a) \Move(0,-\MaxY) \Move(0,-15) + \FI \g } +\Define\G(1){\I=0; \EntryExit(1,0,-1,0) + \Define\g{\D} \Define\F{#1} \g} + +\Draw +\G(2)(first & diagram) + (centers & of~~rows~~on & vertical~~line ) + (distance~=~15 & between~~rows) + () +\Table\x{0,2 & 0,3 & 1,3 & 1,4 & 2,5 & 3,5 & 3,6 & 4,6} +\x(0,99){\Edge} +\EndDraw + +\Draw\Move(0,-15) +\G(1)(new~diagram) + (left~~margins & for~rows) () +\Edge(0,1) \Edge(1,2) \Edge(2,0) +\EndDraw + +\Draw +\Move(0,-15) +\G(10000)(new~diagram) + (right~margins & for~~rows) () +\Edge(0,1) \Edge(1,2) \Edge(2,0) +\EndDraw +|Close>>> + + +\Ex{\tex}{}{newE} + +\<<< +|Open +\Define\DefNd(1){ + \DefNode\RectNode(\Val\I..\Val\J)(--#1--) + \AddNodeDim(\Val\I..\Val\J) } +\Define\DefG(1){ + \IF \EqText({},{#1}) \THEN \Define\g{\PutG} + \ELSE \ZeroNodesDim \J=-1; + \Table\x{#1} \x(0,99){\J+1; \DefNd} + \Indirect\let<\Val\I.width>=\WidthX + \Indirect\edef<\Val\I.size>{\Val\J} + \T=\J; \T*\Sx; \T+\WidthX; + \IF \GtDec(\T,\Q) \THEN \Q=\T; \FI + \Move(0,-\MaxY) \MarkLoc(\Val\I) + \Move(0,-\MaxY) \Move(0,-\Sy) \I+1; + \FI \g } +\Define\PutG(1){ \I-1; \EntryExit(-1,0,1,0) + \Do(0,\Val\I){ \MoveToLoc(\DoReg) + \R=\Q; \Indirect{\R-}<\DoReg.width>; + \Indirect{\J=}<\DoReg.size>; \K=\J; + \DiagType + \IF \GtDec(\Q,\T) \THEN + \K+2; \R/\K; \Move(\Val\R,0) + \ELSE + \IF \GtInt(\J,0) \THEN \R/\K; \FI + \FI + \I=\DoReg; + \Do(0,\Val\J){ \J=\DoReg; + \PutNode(\Val\I..\Val\J) \Move(\Val\R,0) } + } + \Table\x{#1} \x(0,99){\Edge} } +\Define\G{ \I=0; \Q=0; + \Define\g{\DefG} \g} + +\Define\FillDiagram{ + \Define\DiagType{\T=\Q;} + \G} +\Define\MarginsDiagram{ + \Define\DiagType{\T=\J; \T*\Sx; \Indirect{\T+}<\DoReg.width>;} + \G} +\Define\HVSpaces(2){ \Define\Sx{#1} \Define\Sy{#2} } +\HVSpaces(15,15) + +\Draw +\FillDiagram(Fill & Diagram) + (fixed & distances & between~~rows) + (uniform & spaces &within~~each &row) + () + ( 0..0,1..0 & 0..0,1..1 & 0..1,1..1 & 0..1,1..2 + & 1..0,2..0 & 1..0,2..1 & 1..1,2..1 & 1..1,2..2 + & 1..2,2..2 & 1..2,2..3) +\EndDraw + +\Draw \HVSpaces(25,15) +\MarginsDiagram(Margins & Diagram) + (fixed & distances &between~~rows) + (uniform~~spaces&between~nodes&within~~each~row) + () + ( 0..0,1..0 & 0..0,1..1 & 0..1,1..1 & 0..1,1..2 + & 1..0,2..0 & 1..0,2..1 & 1..1,2..1 & 1..1,2..2 + & 1..2,2..2 ) + +\EndDraw +|Close>>> + +\endgroup +\noindent\dotfill\ + +End new commands for setting spread diagrams (end of ch 17) + +\noindent\dotfill\ + + + +\Ex{\tex}{Commutative diagram in last example of section 18.3}{CM} + +\<<< +|Open +\GridDiagramSpec()(\MyEdge) +\Define\L(4){,+#1..+#2\,L\,#3\,#4} +\Define\D(4){,+#1..+#2\,D\,#3\,#4} +\Define\MyEdge(5){ + \IF \EqText(#3,D) \THEN\EdgeSpec(D) + \ELSE \EdgeSpec(L) \FI + \IF \EqText(#1,#2) \THEN + \RotateTo(#4) \CycleEdge(#1) + \EdgeLabel(--$#5$--) + \ELSE\Edge(#1,#2) + \IF \EqText(,#4) \THEN \EdgeLabel(--$#5$--) + \ELSE \EdgeLabel[#4](--$#5$--) \FI + \FI} +\ArrowHeads(1) +\GridDiagram(3,3)()()({ +& T \D(0,1,,f) \D(2,0,,h) & N \L(2,0,,\sigma)// +S \L(0,0,180,t) \L(-1,1,,f) \L(1,1,+,g\circ f)// +& W \L(0,1,,f) & X \D(0,0,-45,r)//}) +|Close >>> + + +\Ex{\tex}{Second example in section 20.2}{sec202} + +\<<< +|Open +\NewNode(\MyNode,\MoveToRect){ + \Move(-24,-8) \DrawRect(48,16) + \Move(16,0) {\Line(0,16)} + \Move(16,0) \Line(0,16) } +\Define\MyEdge(2){ + \CSeg\FindSign(#1,#2) + \EdgeAt(#1,\sign 0.66,0,#2,0,1)} +\Define\FindSign(2){ + \IF \GtDec(#1,0) \THEN + \Define\sign{} + \ELSE \Define\sign{-} \FI} +\TextNode(2){ \Text(--$#2$--) + \IF \EqInt(#1,0) \THEN { + \Move(-16,0) \Text(--$\Lambda$--) + \Move(32,0) \Text(--$\Lambda$--) + }\FI } +\ArrowHeads(1) +\TreeSpace(D,10,20) +\TreeSpec(\MyNode)()(\MyEdge) +\Tree()(2,2,A// 0,0,B&2,2,C// 2,2,D&0,0,E// 0,0,F&0,0,G//) +|Close >>> + + +\Ex{\tex}{Last example in section 20.2}{LR} + +\<<< +|Open +\GridDiagramSpec(\RNode)(\MyEdge) +\GridSpace(10,10) \ArrowSpec(F,5,3,3) +\ArrowHeads(1) \CycleEdgeSpec(-30,20) +\NewNode(\RNode,\MoveToOval){ + \GetNodeSize \Va+4; \Vb+4; + \SetMinNodeSize \Move(0,3) + \DrawOval(\Val\Va,\Val\Vb) } +\Define\MyEdge(3){ + \IF \EqText(#1,#2) \THEN + \RotateTo(45) \LabelPos(+0.5;,3) + \CycleEdge(#1) + \ELSE \DSeg\Q(#1,#2) + \IF \GtDec(\Q,180) \THEN + \LabelPos(+0.4;,3) \ELSE \LabelPos(0.5;,3) + \FI \Edge(#1,#2) \FI \EdgeLabel(--$#3$--) } +\baselineskip=9pt \Define\NEXT(3){,#1..#2\,#3} +\def\/#1/#2.#3;{\hbox{$\scriptstyle#1\rightarrow #2\cdotp#3$}~~} +\GridDiagram(3,3)()()({ +& \/S'/ S. ; \/A / S.a; $I_1$ \NEXT(+0,+1,a) +& \/A / Sa.; $I_2$ +// \/S'/ .S ; \/S / .AS; \/ / .b ; + \/A / .Sa; \/ / .a ; $I_0$ \NEXT(-1,+1,S) \NEXT(+0,+1,A) + \NEXT(+1,+1,b) \NEXT(+1,+0,a) +& \/S /A.S ; \/S /.AS ; \/ /.b ; + \/A /.Sa ; \/ /.a ; $I_3$ \NEXT(+0,+1,S) \NEXT(+0,+0,A) +& \/A/ S.a ; $I_4$ \NEXT(+1,+0,a) +// + \/A/a.; $I_5$ +& \/S/ b. ; $I_6$ +& \/A/ Sa. ; $I_7$ +// +}) +|Close >>> + + + +\Ex{\tex}{Last example in chapter 20}{TM} + + +\<<< +|Open +\NewCIRCNode(\StateNode,104,) +\NewCIRCNode(\AStateNode,104,102) +\Define\StateAt(3){ \MoveTo(#2,#3) + \StateNode(#1)(--$q_{#1}$--)} +\Define\AStateAt(3){\MoveTo(#2,#3) + \AStateNode(#1)(--$q_{#1}$--)} +\LabelSpec(4){\PictLabel{ + { \Move(1,-5) \Line(8,20) } + { \Move(4,10) { \EntryExit(1,0,0,0) + \Text(--\strut$#1$--) } \Move(6,0) + \EntryExit(-1,0,0,0) \Text(--\strut$#3$--) } + { \EntryExit( 1,0,0,0) \Text(--\strut$#2$--) } + \Move(6,0) \EntryExit(-1,0,0,0) \Text(--\strut$#4$--) }} +\DiagramSpec(\StateAt&\AStateAt&\TransEdge) \ArrowHeads(1) +\Diagram( 0,0,0 & 1,80,0 )(2,80,-60)( + 0,0,90,{a,B,+1,a{,+}1} & + 0,1, {a,B,+1,a{,+}1}, {b,B,0,B{,-}1} & + 1,2, {|DEFEND\$,B,0,B{, }0}, ) +|Close >>> + + + + + +\Lib{ProTeX and AlProTex} \def\files{\fileP} \def\LLL{>>>} + +\let\startInput=\empty + +\let\endInput=\empty + +NOTE. The La\TeX{} files of this part put the +{\tt\string\AlProTex....} command after the +{\tt\string\begin\string{document\string}} command. This is not a nice +style for files. + +\Exr{22}2{2a} +\<<< +|Open +\AlProTex{awk,<<<|LLL,@,% + list,title,[]} +\catcode`\@=0 + +An Awk program for deriving +the distribution of words. + +@<<< +BEGIN {print"words\t lines"} +@ +END { i=0 + while (i<=m) + {if (c[i]>0) + {print i "\t " c[i]} + i=i+1 }} +|LLL + +NF is a built-in variable +that holds the number of +words in the current input +line. + +@<<< +{ c[NF]=c[NF]+1 + {if (NF>m) m=NF} } +|LLL \OutputCode@ +|Close >>> + + +\Exr{22}2{2b} +\<<< +|Open +\AlProTex{awk,<<<|LLL,@,% + list,title,[]} + +An Awk program for deriving +the distribution of words. + +\<<< +BEGIN {print"words\t lines"} +@ +END { i=0 + while (i<=m) + {if (c[i]>0) + {print i "\t " c[i]} + i=i+1 }} +|LLL + +NF is a built-in variable +that holds the number of +words in the current input +line. + +\<<< +{ c[NF]=c[NF]+1 + {if (NF>m) m=NF} } +|LLL \OutputCode\ +|Close >>> + + +\Exr{22}2{3} + +\<<< +|Open +\AlProTex{p,<<<|LLL,% + title,list,[]} + +\<<< +PROGRAM prog;|LLL + +\<<< +{ comment } |LLL + +\<<< +BEGIN + \ +END.|LLL + +\OutputCode\ +|Close >>> + +\Exr{22}2{4a} + +\<<< +|Open +\AlProTex{p,list,% + <<<|LLL,title,[]} + +\<\><<< +PROGRAM prog;|LLL + +\<<< +{ comment } |LLL + +\<\><<< +BEGIN + \ +END.|LLL + +\OutputCode\<\> +|Close >>> + +\Exr{22}2{4b} + +\<<< +|Open +\AlProTex{p,% + <<<|LLL,title,[]} + +\<\><<< +PROGRAM prog;|LLL +\ShowCode-\<\> + +\<<< +{ comment } |LLL +\ShowCode\ + +\<\><<< +BEGIN + \ +END.|LLL +\ShowCode\<\> +\OutputCode\<\> +|Close >>> + +\Exr{22}2{4c} + +\<<< +|Open +\AlProTex{p,% + <<<|LLL,title,[]} + +\<\><<< +PROGRAM prog;|LLL + +\<<< +{ comment } |LLL + +\<\><<< +BEGIN + \ +END.|LLL + +\OutputCode\<\> +|Close >>> + + + +\Exr{22}2{5a} + +\<<< +|Open +\AlProTex{p,<<<|LLL,% + title,list,[]} + +\<<< +PROGRAM prog;|LLL + +\<<< +{ comment } |LLL + +\<<< +BEGIN + \ +END.|LLL +\OutputCode\ + +|Close >>> + +\Exr{22}2{5b} + +\<<< +|Open +\AlProTex{p,title,list,[]} + +\{PROGRAM prog;} + +\{ \{ comment \} } + +\{BEGIN + \ +END.} +\OutputCode\ + +|Close >>> + + + + +\Exr{22}2{6a} + +\<<< +|Open +\AlProTex{p,<<<|LLL,[],% + title,list} +\<<< +PROGRAM prog; +BEGIN + \ +END.|LLL + +\<<< +{ comment: \\@||` } |LLL +|Close >>> + +\Exr{22}2{6b} + +\<<< +|Open +\AlProTex{p,<<<|LLL,[],% + title,list,@} +\<<< +PROGRAM prog; +BEGIN + @ +END.|LLL + +\<<< +{ comment: \@@||` } |LLL +|Close >>> + +\Exr{22}2{6c} + + +\<<< +|Open +\AlProTex{p,<<<|LLL,[],% + title,list,||} +\<<< +PROGRAM prog; +BEGIN + || +END.|LLL + +\<<< +{ comment: \@||||` } |LLL +|Close >>> + + +\Exr{22}2{6d} + +\<<< +|Open +\AlProTex{p,<<<|LLL,[],% + title,list,`} +\<<< +PROGRAM prog; +BEGIN + ` +END.|LLL + +\<<< +{ comment: \@||`` } |LLL +|Close >>> + +\Exr{22}2{7} + +\<<< +|Open +\AlProTex{p,<<<|LLL,[],% + title,list,||} + +\<<< +\<<< +PROGRAM prog; +BEGIN + |||| +END.>||empty>> + +\<<< +{comment: \@||||||||} >||empty>> + +\OutputCode\ |LLL + +\OutputCode[prg]\ +\input temp.prg +|Close >>> + + +\Exr{22}2{8a} + +\<<< +|Open +\Code\myprog{my + program}{PROGRAM prog;} +\ShowCode-\myprog + +\AppendCode\myprog{BEGIN + \body +END.} +\Code\body{body}{} +\ShowCode-\myprog + +\AppendCode\body{\{comment\}} +\ShowCode\body + +Code of title \myprog{} +linearized within +the paragraph: +`\ShowCode-\myprog'. + +\OutputCode\myprog +|Close >>> + +\Exr{22}2{8b} + + +\<<< +|Open +\AlProTex{p,<<<|LLL,list,@} + +\Code\myprog{my program}<<< +PROGRAM prog;|LLL + +\Code\body{body}<<< +|LLL +\AppendCode\myprog<<< +BEGIN + @body +END.|LLL + +\AppendCode\body<<< + {comment} |LLL + +Code of title \myprog{} +linearized within the +paragraph: +`\ShowCode-\myprog'. + +\OutputCode\myprog +|Close >>> + + +\Exr{22}2{9} + +\<<< +|Open +\AlProTex{p,<<<|LLL,% + title,list,[]} + +\<<< +PROGRAM prog;|LLL + +\<<< +{ comment } |LLL + +\<<< +BEGIN + \ +END.|LLL + +\OutputCode\ +|Close >>> + +\Exr{22}2{10a} + +\<<< +|Open +\AlProTex{p,<<<|LLL,title,% + list,[],enumerate} + +See lines \RefLine[*]. + +\<<< +PROGRAM prog;\TagLine[*] |LLL + +\<<< +{comment: see \RefLine[*]}|LLL + +\<<< +BEGIN + \ \TagLine[*] |LLL + +\ResetLineCount +\<<< +END.|LLL \OutputCode\ +|Close >>> + +\Exr{22}2{10b} + + +\<<< +|Open +\AlProTex{p,<<<|LLL,title,% + list,[]} +\def\CodeRef[#1]{\Ref{#1}} +\def\CodeTag[#1][#2]{% + \Tag{#1}{#2}} + +See lines \Ref{*}. + +\<<< +PROGRAM prog;\CodeTag[*][1]|LLL + +\<<< +{comment: see \CodeRef[*]}|LLL + +\<<< +BEGIN + \ \CodeTag[*][2]|LLL + +\ResetLineCount \Tag{*}{3} +\<<< +END.|LLL \OutputCode\ +|Close >>> + + + + +\Exr{22}2{11} + +\<<< +|Open +\AlProTex{p,<<<|LLL,title,% + list,[],ShowIndex} + +\<<< +PROGRAM prog;|LLL + +\<<< +{ comment } |LLL +\TextIndex{Tracing} +\SecIndex{***} + +\<<< +BEGIN + \ +END.|LLL + +\def\BeforeIndex{Index} +\ShowIndex +|Close >>> + + + \Exr{22}2{12} + +\<<< +|Open +\AlProTex{p,<<<|LLL,% + title,[],ShowTop} + +\<<< +PROGRAM prog; +BEGIN \ +END.|LLL +\<<< +{ comment 1} +|LLL +\<<< +\ +|LLL +\<<< +{ comment 2 } |LLL +\ShowTop\ + +\def\ShowSep{(* ***** *)\par} +\ShowTop\ +|Close >>> + + \Exr{22}2{13} + + +\<<< +|Open +\AlProTex{p,<<<|LLL,title,% + list,[],NoShow} + +First piece of text. + +\<<< +PROGRAM prog; |LLL + +\ShowOff Second piece of text. + +\<<< +{ comment } |LLL + +\Note Third piece of +text. \EndNote\ShowOn + +\<<< +BEGIN + \ +END.|LLL + +Last piece of text. +|Close >>> + + \Exr{22}2{14} + +\<<< +|Open +\AlProTex{p,<<<|LLL,title,% + list,ShowIndex,ClearCode} + +Chapter 1 + +\<<< +PROGRAM prog; +|LLL +\<<< +BEGIN + { comment 1 } +END.|LLL \ShowIndex + \ClearCode +\vfil\break Chapter 2 + +\<<< +PROGRAM prog; +|LLL +\<<< +BEGIN + { comment 2 } +END.|LLL \ShowIndex +|Close >>> + +\begingroup +\def\tex{tex}\let\op=\ForTex \Exr{22}2{15}\par\nobreak + +\<<< +\hsize=2.5in \noindent{\bf +LITERATE PROGRAM IN WEB} +\medskip We compute a +two-dimensional view of a +three-dimensional point. + +@* The mapping. The view + {\tt (x,y)} is on the + {\tt Z=0} plane. +@= + x := X * D DIV (D + Z); + +@ The viewer is located + at {\tt (0,0,-D)}. +@= + CONST D=100; + VAR X {x}, Z: INTEGER; + +@ +@= + y := Y * D DIV (D + Z); + +@ +@=Y {y}: INTEGER; + +@* Main program. +@p PROGRAM D2view; + @ + BEGIN read(X,Y,Z); + @ + write(x,y) + END. +\bye>>> +\endgroup + + +\Ex{\tex}{NEW OPTION `[[]]' FOR {\tt\char92}AlProTex}{NewAlPrOptionA} + +An extension of `[]' which frame also the code fragments. + +\<<< +|Open +\AlProTex{p,<<<|LLL,% + title,list,[[]]} + +Foooo... + +\<<< +PROGRAM prog;|LLL + +Foooo... + +\<<< +{ comment } |LLL + +Foooo... + +\<<< +BEGIN + \ +END.|LLL + +Foooo... + +\OutputCode\ +|Close >>> + +\begingroup +\def\tex{latex}\let\op=\ForTex + + +\Ex{\tex}{NEW OPTION `basic' FOR {\tt\char92}AlProTex}{NewAlPrOptionB} + + +An option that requires compilation by latex. The following +are the only available commands. + + +A. References to code segments: \hfill {\tt\string\} + +B. Definitions of code fragments: \hfill {\tt\string\<<< + +\hfill code fragment>>>} + +B. Output file of code (`[{\it extension}]' is optional): + \hfill{\tt\string\o[{\it extention}]\string\} + + +C. The character `{\tt\char92}' \hfill{\tt\string\\} + +D. End of source program \hfill{\tt\string\e} + +E. Logical partitioning of prose (chapters, sections, subsections, and verbatim): +\hfill\hbox{\tt\string\c, \string\s, \string\u, \string\v{$\cdots$}{\char92}} + +\noindent\phantom{E.} A title +must be delimited by an empty line. + +F. Reference to {\tt\string\ClearCode} \hfill {\tt\string\c} + + + + +\<<< +\input ProTex.sty +\AlProTex{foo,basic} + +\cFirst Chapter + +Foooo... + +\sSsssss... + +Foooo. + +\uUuuuuuu..... + +\vVerbatim +verbatim\ +\<<< +PROGRAM prog;|LLL +\cCccc... + +Foooo... + +\<<< +{ comment } |LLL + +Foooo... + +\<<< +BEGIN + \ +END.|LLL + +Foooo... + +\o\ + +\e + >>> + +\Ex{\tex}{variant of `basic'}{NewAlPrOptionC} + +The options `{\tt @}', `{\tt|}', and `{\tt`}' ask that the listed +characters will be used instead of `{\tt\char92}', respectively, +within the commands of option `{\tt basic}'. + +\<<< +\input ProTex.sty +\AlProTex{foo,@,basic} + +@cFirst Chapter + +Foooo... + +@sSsssss... + +Foooo. + +@uUuuuuuu..... + +@vVerbatim +verbatim@ + +@<<< +PROGRAM prog;|LLL +@cCccc... + +Foooo... + +@<<< +{ comment } |LLL + +Foooo... + +@<<< +BEGIN + @ +END.|LLL + +Foooo... + +@o@ + +@e +>>> + +\endgroup + +\newpage \OutputCode[me]\execute + + + On a Unix system containing the xdvi application, the instructions of + the following file can be executed with the compound command + `chmod 777 execute.me ; execute.me'. + + \bigskip + \ShowFile{execute.me} + +\write16{<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<} +\write16{<< Please review the document <<} +\write16{<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<} + +\bye diff --git a/Master/texmf-dist/doc/generic/dratex/README b/Master/texmf-dist/doc/generic/dratex/README new file mode 100644 index 00000000000..32f9a71ce18 --- /dev/null +++ b/Master/texmf-dist/doc/generic/dratex/README @@ -0,0 +1,2 @@ +Documentation can be found at + http://www.cis.ohio-state.edu/~gurari/systems.html diff --git a/Master/texmf-dist/doc/generic/enctex/COPYING b/Master/texmf-dist/doc/generic/enctex/COPYING new file mode 100644 index 00000000000..60549be514a --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/COPYING @@ -0,0 +1,340 @@ + GNU GENERAL PUBLIC LICENSE + Version 2, June 1991 + + Copyright (C) 1989, 1991 Free Software Foundation, Inc. + 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA + Everyone is permitted to copy and distribute verbatim copies + of this license document, but changing it is not allowed. + + Preamble + + The licenses for most software are designed to take away your +freedom to share and change it. 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Of course, the commands you use may +be called something other than `show w' and `show c'; they could even be +mouse-clicks or menu items--whatever suits your program. + +You should also get your employer (if you work as a programmer) or your +school, if any, to sign a "copyright disclaimer" for the program, if +necessary. Here is a sample; alter the names: + + Yoyodyne, Inc., hereby disclaims all copyright interest in the program + `Gnomovision' (which makes passes at compilers) written by James Hacker. + + , 1 April 1989 + Ty Coon, President of Vice + +This General Public License does not permit incorporating your program into +proprietary programs. If your program is a subroutine library, you may +consider it more useful to permit linking proprietary applications with the +library. If this is what you want to do, use the GNU Library General +Public License instead of this License. diff --git a/Master/texmf-dist/doc/generic/enctex/COPYING.UCD b/Master/texmf-dist/doc/generic/enctex/COPYING.UCD new file mode 100644 index 00000000000..a5f75d395ce --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/COPYING.UCD @@ -0,0 +1,30 @@ +The unimap.diff file contains parts of Unicode Character Database data, +covered by following license: + + +UCD Terms of Use + +Disclaimer + +The Unicode Character Database is provided as is by Unicode, Inc. No claims are +made as to fitness for any particular purpose. No warranties of any kind are +expressed or implied. The recipient agrees to determine applicability of +information provided. If this file has been purchased on magnetic or optical +media from Unicode, Inc., the sole remedy for any claim will be exchange of +defective media within 90 days of receipt. + +This disclaimer is applicable for all other data files accompanying the Unicode +Character Database, some of which have been compiled by the Unicode Consortium, +and some of which have been supplied by other sources. + +Limitations on Rights to Redistribute This Data + +Recipient is granted the right to make copies in any form for internal +distribution and to freely use the information supplied in the creation of +products supporting the UnicodeTM Standard. The files in the Unicode Character +Database can be redistributed to third parties or other organizations (whether +for profit or not) as long as this notice and the disclaimer notice are +retained. Information can be extracted from these files and used in +documentation or programs, as long as there is an accompanying notice +indicating the source. + diff --git a/Master/texmf-dist/doc/generic/enctex/INSTALL b/Master/texmf-dist/doc/generic/enctex/INSTALL new file mode 100644 index 00000000000..aa3d949725a --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/INSTALL @@ -0,0 +1,131 @@ + + EncTeX -- rozen TeXu o monost pekdovn -- popis instalace + ================================================================= + 1. 9. 1997 Petr Olk + 3. 1. 2003 + +Nejprve popu postup pi instalaci encTeXu na web2c verze 7.3, kde ji +pvodn byl originln program TeX kompilovn, nebo byl aspo sputn +configure (podle pokyn pro instalaci web2c TeXu) a jsou pipraveny +knihovny TeXu (*.tfm, *.tex apod.) v /usr/local/share/texmf. + +V balku jsou dodvn patch pro verzi web2c 7.3.7 + +1. pejdeme do adrese, kde je tex.ch a tex.web: + + $ cd source/TeX/texk/web2c + +2. Rozbalme enctex.tar.gz: + + $ zcat /zdroj/enctex.tar.gz | tar xvf - + +3. Aplikujeme zmnu souboru tex.ch: + + $ patch -p0 <./enctex/enctex.patch-to-7.3.7 + + nebo + + $ patch -p0 <./enctex/enctex.patch-to-7.5 + + v zvislosti na verzi web2c, kterou mme. + Soubor enctex.patch-to-7.5 je mon pout i na web2c 7.4.5, + co byla aktuln stabiln verze teTeXu. + + Pokud mte verzi web2c 7.5, pak mete navc + po aplikaci tohoto patche pout jet patch + enc-option.patch-to-7.5, kter pidv pepna -enc do + pkazovho dku (bez nho nen encTeX inicializovn) a + e spoluprci s TCX tabulkami. Tato dvojice patch byla zaslna + Olafu Weberovi k zaazen do standardn distribuce web2c. + + Doporuuji pejt z verze encTeXu Feb. 2003 na verzi Jun. 2004, + kter opravuje nkter chyby: + + $ patch -p0 <./enctex/enctex.patch-jun2004 + + Pokud tento krok ohls chybu pro Hunk #1, je poteba v souboru + tex.ch nahradit etzec "Feb. 2003" textem "Jun. 2004" manuln. + Ostatn sti zplaty (hunks) by mly projt bez problm. + +4. Pekompilujeme TeX: + + $ make tex + +Tento povel v sob zahrnuje jednak +tangle tex.web tex.ch +co vytvo Pascalsk kd TeXu tex.p. Dle se provede +./web2c/convert tex.p +take vznikaj jednotliv moduly tex?.c v jazyce C. Potom se tyto moduly +kompiluj kompiltorem jazyka C a nakonec linkuj do spustitelnho programu +tex. Vsledkem je tedy nov program tex a dle nov inicializan soubor +tex.pool. + +5. Instalujeme binrn program tex a soubor tex.pool do systmu +(cesty se ve Vaem systmu mohou mrn liit): + + $ strip tex + $ su + # cp tex /usr/local/bin + # cp tex.pool /usr/local/share/texmf/web2c + +6. Instalujeme vstupn tabulky *.tex z balku encTeX. Doporuuji je zaadit +do adrese enctex: + + # mkdir /usr/local/share/texmf/tex/generic/enctex + # cp enctex/*.tex /usr/local/share/texmf/tex/generic/enctex + # texhash + +7. Inicializujeme znovu formty. Pro verzi encTeXu z oficiln +web2c-7.5.3 je nutn pout pi generovn formt (nikoli pi pouit +formtu) pepna -enc. Vznam tohoto pepnae je vysvtlen +v dokumentaci encdoc.tex|dvi|pdf. +Pklady proto uvdm s tmto pepnaem. + + # cd /usr/local/share/texmf/web2c + # tex -ini -enc plain + *\dump + # tex -ini -enc csplain.ini + # tex -ini -enc -jobname cslatex cslatex.ini + +Pokud chcete hned vyut novch vlastnost TeXu, zkuste instalovat +nkter z formt plain-x-y, napklad: + + # tex -ini -enc plain-1250-cs + +Viz soubory enctex/plain-*-*.tex a enctex/kam-latex.tex. + +8. Pozmnn tex.ch te tangle i pi kompilaci program pdftex a +etex. Tyto programy budou tedy po kompilaci tak obsahovat encTeX. +Pi poit enctex.patch-to-7.3 se krom tex.ch pozmnil v drobn +malikosti i soubor pdftexdir/tex.pch, co je nutn pro zdrnou +kompilaci. Sta tedy vytvoit pdftex obvyklm zpsobem: + + $ make pdftex + $ strip pdftex + $ su + # cp pdftex /usr/local/bin + # cp pdftex.pool /usr/local/share/texmf/web2c + # cd /usr/local/share/texmf/web2c + # pdftex -ini -enc -jobname pdfplain plain + *\dump + # pdftex -ini -enc -jobname pdfcsplain csplain.ini + # pdftex -ini -enc -jobname pdfcslatex cslatex.ini + +9. Program Omega nen encTeXem pozmnn, protoe pi sv kompilaci +nenat tex.ch. Taky by to nemlo dnou logiku, protoe omega m +svj vlastn konfigurovateln input procesor. + +-------------- + +Protoe encTeX pozmuje pouze velmi mlo vc ve zmnovm souboru +tex.ch, je mon jej pi troe run prce instalovat i na jinch +implementacch TeXu, kde jsou k dispozici zdrojov texty TeXu tex.web +a tex.ch. Sta se podvat do souboru enctex.ch, kde je patrn, jak +zmny se maj provst. Veker kd encTeXu se opr o standardn +sti programu tex.web s vjimkou ukldn vektor xord a xchr do +formtu. Zde jsem s vhodou pouil ji hotov pomocn funkce +dump_things a undump_things napsan pro web2c pmo v jazyce C. Pokud +by to nkdo poteboval v jin implementaci, musel by zejm pout +analogii k dump_four_ASCII z tex.web. + + diff --git a/Master/texmf-dist/doc/generic/enctex/INSTALL.eng b/Master/texmf-dist/doc/generic/enctex/INSTALL.eng new file mode 100644 index 00000000000..5bf9db32dac --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/INSTALL.eng @@ -0,0 +1,121 @@ + + EncTeX -- the extension of TeX based on tex.ch --- INSTALLATION + =============================================================== + 1. Sep. 1997 Petr Ol\v s\'ak + 3. Jan. 2003 + +For more information about encTeX -- read the README file. + +You can install the encTeX extension with no problems on web2c +ver 7.3. + +We describe the installation, if the original TeX was complied already or +if (at least) the ./configure script was run on web2c source tree and +the TeX libraries are installed in /usr/local/share/texmf. + +1. Go to a directory with the tex.ch and tex.web files: + + $ cd source/TeX/texk/web2c + +2. Unpack enctex.tar.gz: + + $ zcat /somewhere/enctex.tar.gz | tar xvf - + + The ./enctex directory is created with files of the package. + +3. Apply the patch to tex.ch file: + + $ patch -p0 < ./enctex/enctex.patch-to-7.3.7 + + or + + $ patch -p0 < ./enctex/enctex.patch-to-7.5 + + If you are using the web2c 7.4.5 or web2c 7.5.x then apply the + enctex.patch-to-7.5. If you are using web2c 7.5.x then you + can apply the second patch enc-option.patch-to-7.5. This second patch + implements the -enc commandline option (the encTeX is not + initialized without this option) and solves the cooperation with + TCX tables. The enctex.patch-to-7.5 and enc-option.patch-to-7.5 + patches were sent to Olaf Weber in order to include the encTeX to + the standard web2c TeX distribution. + + The next patch from encTeX Feb. 2003 to Jun. 2004 is recommended: + + $ patch -p0 < ./enctex/enctex.patch-jun2004 + + If an error occurs in Hunk #1 then you have to replace text + "Feb. 2003" to new text "Jun. 2004" in file tex.ch manually. + + +4. Re-compile TeX: + + $ make tex + + The result is the new tex binary and tex.pool file. + +5. Install the tex binary and tex.pool into the system (your paths may +be different from this example): + + $ strip tex + $ su + # cp tex /usr/local/bin + # cp tex.pool /usr/local/share/texmf/web2c + +6. Install the input tables of encTeX + + # mkdir /usr/local/share/texmf/tex/generic/enctex + # cp enctex/*.tex /usr/local/share/texmf/tex/enctex + # texhash + +7. Re-install the formats. The official version web2c-7.5.3 requires +the -enc option when format is generated (not required when format is +used). See the encdoc-e.tex|dvi|pdf for more information about +this option. + + # cd /usr/local/share/texmf/web2c + # tex -ini -enc plain + *\dump + # tex -ini -enc csplain.ini + # mv csplain.ini.fmt csplain.fmt + # tex -ini -enc cslatex.ini + # mv cslatex.ini.fmt cslatex.fmt + +If you want to try the new feature of the encTeX, you can inicialize some of +format plain-*-*.tex (see the enctex directory). For example: + + # tex -i plain-1250-cs + +8. The patched tex.ch is read by compilation process for tex, etex and +pdftex. You can recompile all these programs and the encTeX extension +will infect them succesfully. The enctex.patch-to-7.3 includes a +little patch to pdftexdir/tex.pch file in order to succesfull +compilation of pdftex. So, it is sufficient to do: + + $ make pdftex + $ strip pdftex + $ su + # cp pdftex /usr/local/bin + # cp pdftex.pool /usr/local/share/texmf/web2c + # cd /usr/local/share/texmf/web2c + # pdftex -ini -enc -jobname pdfplain plain + *\dump + # pdftex -ini -enc -jobname pdfcsplain csplain.ini + # pdftex -ini -enc -jobname pdfcslatex cslatex.ini + +9. The omega program is never infected by encTeX because it does not +read the tex.ch file during compilation. Omega has its own input +preprocessor. + +-------------- + +The encTeX is installable on others than web2c implementation of TeX too. +All changes are made in tex.ch file. You can see to enctex.ch file (with +all changes of encTeX sumarized) and do the changes into your tex.ch +manually. There is only one problem here: I used the functions +dump_things/undump_things for dumping/undumping the xord, xchr and xprn +vectors to/from fmt file. These functions are the part of web2c libraries +only. If these functions are not available on your implementation, you must +rewrite the dumping using macros similar to dump_four_ASCII from +tex.web. + diff --git a/Master/texmf-dist/doc/generic/enctex/README b/Master/texmf-dist/doc/generic/enctex/README new file mode 100644 index 00000000000..1c8fde8b6a8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/README @@ -0,0 +1,101 @@ + + EncTeX - moznost prekodovani vstupu v TeXu + ============================================================ + Sep. 1997, Dec. 2002 -- Jun. 2004 Petr Olsak + +See end of this file for English version of this text. + +Tento balicek je volne programove vybaveni, viz COPYING a encdoc.tex. +Balicek se sklada z techto souboru: + +README ................ tento soubor +COPYING ............... licence GPL +INSTALL ............... navod na instalaci v ceskem jazyce +INSTALL.eng ........... navod na isntalaci v anglickem jazyce +enctex.patch-to-7.3.7 . zaplata zdojovych kodu pro web2c 7.3.7 (TeXlive7) +enctex.patch-to-7.5 ... zaplata zdojovych kodu pro web2c 7.4.5 a 7.5.x +enc-option.patch-to-7.5 zaplata pridavajici -enc option a resici + spolupraci s TCX tabulkami, jen pro 7.5.x +enctex.patch-jun2004 .. zaplata z encTeXu Feb. 2003 na encTeX Jun. 2004. +enctex.ch ............. navod na provedeni zaplaty manualne +encdoc.tex, .pdf ...... dokumentace v ceskem jazyce +encdoc-e.tex, .pdf .... dokumentace v anglickem jazuce +encmacro.tex .......... pomocne makro pro tabulky *.tex +*-csf.tex, *-t1.tex ... konverzni tabulky z kodovani systemu do + kodovani CSfontu resp. T1 kodovani +plain-*-*.tex ......... inicializacni soubory pro modifikace plainu +vlna.tex .............. ukazka pouziti encTeXu pro vyhledani + neslabickych predlozek +polyset.tex ........... makro umoznujici zadavat slozitejsi + vyhledavaci pravidla pro encTeX +ostatni *.tex ......... dalsi pomocna makra + +Balicek je k dispozici na + + ftp://math.feld.cvut.cz/pub/olsak/enctex/. + +EncTeX byl testovan s velikou peci. Pokud byste presto v nem +nasli nejakou chybu, prosim, poslete o tom zpravu na +olsak@math.feld.cvut.cz. + +Dekuji Davidu Necasovi (Yeti) za doplneni tabulek a dalsi podpory +pro UTF-8 kodovani. Jedna se o soubory: + +plain-utf8-*.tex .............. ini soubory pro generovani formatu +utf8-csf.tex, utf8-t1.tex ..... kodovaci tabulky pro UTF-8 +utf8cseq.tex, utf8math.tex .... soubory jsou potreba v kodovacich tabulkach +utf8raw.tex ................... generovany soubor, potrebny v utf8math.tex +unimap.py, unimap.diff ........ skript a diff pro generovani utf8raw.tex +math-example.tex .............. ukazka matematicke sazby v UTF-8 + +--------------------------------------------------------- + + EncTeX - The Extension of TeX For Input Re-encoding + ============================================================ + Sep. 1997, Dec. 2002 -- Feb. 2003 Petr Olsak + +This package is free software, see COPYING and encdoc-e.tex for more +details. The package includes the following files: + +README ................ this file +COPYING ............... GPL +INSTALL.eng ........... the installation instruction in English language +INSTALL ............... the installation instruction in Czech language +enctex.patch-to-7.3.7 . the patch to source files in web2c 7.3.7 (TeXlive7) +enctex.patch-to-7.5 ... the patch to source files in web2c 7.4.5 and 7.5.x +enc-option.patch-to-7.5 this patch adds -enc option and solves the + cooperation with TCX tables, only for web2c 7.5.x +enctex.patch-jun2004 .. the patch from encTeX Feb. 2003 to encTeX Jun. 2004. +enctex.ch ............. the instruction to do the patch manually +encdoc-e.tex, .pdf .... the English documentation +encdoc.tex, .pdf ...... the Czech documentation +encmacro.tex .......... the auxiliary macro for *.tex tables +*-csf.tex, *-t1.tex ... the conversion tables from * input encoding + to encoding of CSfonts or T1 encoding +vlna.tex .............. the example of another usage of encTeX: there + cannot be line break after non syllabus prepsositions +polyset.tex ........... macro for more powerfull declaration of + encTeX's search rules +plain-*-*.tex ......... the ini files for various plain modifications +others *.tex .......... other macros for encTeX + +The package is available on: + + ftp://math.feld.cvut.cz/pub/olsak/enctex/. + +The encTeX was carefuly tested. If you still find a bug in it, please, +send the bug report to the address olsak@math.feld.cvut.cz. + +Many thanks to David Necas (Yeti) who made the tables and other +support for UTF-8 encoding in the following files: + +plain-utf8-*.tex .............. the ini files for making formats +utf8-csf.tex, utf8-t1.tex ..... the UTF-8 tables +utf8cseq.tex, utf8math.tex .... files included from UTF-8 tables +utf8raw.tex ................... generated file included from utf8math.tex +unimap.py, unimap.diff ........ python program and diff for making utf8raw.tex +math-example.tex .............. the example of math typesetting in UTF-8 + +------------------------------------------------------------- + + diff --git a/Master/texmf-dist/doc/generic/enctex/changes.txt b/Master/texmf-dist/doc/generic/enctex/changes.txt new file mode 100644 index 00000000000..455e9b5ede8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/changes.txt @@ -0,0 +1,27 @@ +2003/01/19 Version Jan. 2003 released + +2003/01/22 the enctex.patch-to-7.4 improved to the dirty trick in + pdftex.ch code added in new versions of pdftex. +2003/01/23 the enctex.patch-to-7.4 keeps the pdftex.ch unchanged now +2003/01/24 \ifx\cmd\relax can be used in \write parameters + +2003/02/19 encTeX Feb. 2003 released: + - new primitives \mubytelog, \noconvert + - the ABC and ABCDE are not in conflict now + - the utf8unkn.tex file released + - documentation upgraded +2003/02/25 enc-option.patch-to-7.5: corrected the dump_int and unpump_int + of boolean value enc_option +2003/03/03 - little changes in encdoc + encdoc-e. + - The web page http://www.olsak.net/enctex.html introduced + - The version Feb. 2003 is kept. +2003/03/11 enc-option.patch-to-7.5: the link to www.olsak.net/enctex.html + added in --help text and man pages +2003/09/18 polyset.tex added to encTeX distribution +2004/05/06 little doc corrections: -i -> -ini, -fmt -> -jobname etc. + The version is still named Feb. 2003. +2004/06/28 corrections in unimap.diff, utf8raw.tex and unimap.py + The version is still named Feb. 2003. + +2004/06/30 encTeX Jun 2004 released. + Three bugs fixed -- see enctex.patch-jun2004. diff --git a/Master/texmf-dist/doc/generic/enctex/encdoc-e.pdf b/Master/texmf-dist/doc/generic/enctex/encdoc-e.pdf new file mode 100644 index 00000000000..059b94e6074 Binary files /dev/null and b/Master/texmf-dist/doc/generic/enctex/encdoc-e.pdf differ diff --git a/Master/texmf-dist/doc/generic/enctex/encdoc-e.tex b/Master/texmf-dist/doc/generic/enctex/encdoc-e.tex new file mode 100644 index 00000000000..32a06241727 --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/encdoc-e.tex @@ -0,0 +1,947 @@ +% EncTeX documentation +%%%%%%%%%%%%%%%%%%%%%% +% Petr Olsak + +% see encdoce.tex for Czech version of this documentation + + +{\nopagenumbers} % use the plain format (the command: "tex encdoc-e") + +\def\Red{} +\def\Black{} +\def\Blue{} +\def\Green{} +\def\beglink#1{} +\def\endlink{} +\def\aimlink#1{} +\def\urllink#1{{\tt#1}} +\def\urllinkk#1#2{{\tt#1}} + +\ifx\pdfoutput\undefined\else %%%% pdfTeX is used %%%%%%%%%% +\ifnum\pdfoutput>0 + +\ifx\pdfannotlink\undefined % Verze pdfTeXu >= 14 + \let\pdfannotlink=\pdfstartlink +\fi + +\def\beglink#1{% + \Green \pdfstartlink height9pt depth3pt + attr{/Border[0 0 0]} goto name{#1}\relax} +\def\endlink{\pdfendlink\Black} + +\def\aimlink#1{% + \expandafter\ifx \csname aim:#1\endcsname \relax + \expandafter\gdef \csname aim:#1\endcsname {}% + \vbox to0pt{\vss\hbox{\pdfdest name{#1} fith}\kern15pt}% + \fi +} +\def\urllinkk#1#2{\pdfannotlink height 10pt depth 3pt + user{/Border[0 0 0]/Subtype/Link/A << /Type/Action/S/URI/URI(#2)>>}\relax + \Green{\tt #1}\Black\pdfendlink} +\def\urllink#1{\urllinkk{#1}{#1}} + +\def\pdfsetcmykcolor#1{\special{PDF:#1 k}} +\def\Red{\leavevmode\pdfsetcmykcolor{0.1 0.9 0.9 0}} +\def\Black{\leavevmode\pdfsetcmykcolor{0 0 0 1}} +\def\Green{\leavevmode\pdfsetcmykcolor{0.9 0.1 0.9 .3}} +\def\Blue{\leavevmode\pdfsetcmykcolor{0.9 0.9 0.1 0}} + +\pdfcompresslevel=9 +\pdfinfo{/Author (Petr Olsak) + /CreationDate (Feb. 2003) + /ModDate (Jun. 2004) + /Creator (TeX) + /Producer (pdfTeX) + /Title (encTeX) + /Subject (Documentation) + /Keywords (TeX, fonts) +} + +\fi\fi %%%%%%%%%%%%%%%%%%%%%%%%%%%% End of pdfTeX macros %%%%% + + +\font\titulfont=\fontname\tenbf\space scaled\magstep4 +\font\bigbf=\fontname\tenbf\space scaled\magstep1 + +\parindent=12pt + +\newcount\secnum \newcount\subsecnum + +\def\kap #1\par{\ifnum\secnum>0 \goodbreak\fi\removelastskip + \vskip2\baselineskip + \subsecnum=0 \advance\secnum by1 + \noindent{\bigbf\llap{\the\secnum.\quad}#1}\par\nobreak\medskip} +\def\sec #1\par{\removelastskip\bigskip + \advance\subsecnum by1 + \noindent{\bf \llap{\aimlink{\the\secnum.\the\subsecnum}% + \the\secnum.\the\subsecnum.\quad}#1}\par\nobreak\medskip} +\def\title #1\par{\vglue2\baselineskip + \centerline{\titulfont #1}\vskip2\baselineskip} +\def\date #1\par{\bigskip#1\par} +\def\author #1\par{\bigskip#1\par} + +\catcode`<=13 +\def<{\hbox\bgroup\catcode`_=\active\relax\skoba} +\def\skoba #1>{$\langle$\it#1\/$\rangle$\egroup} +\def\,{\thinspace} +{\catcode`_=\active \gdef_{\_}} + +{\obeyspaces \gdef\activespace{\obeyspaces\let =\ }} +\def\setverb{\def\do##1{\catcode`##1=12}\dospecials} +\def\begtt{\medskip\bgroup \setverb \activespace + \catcode`\"=12 \catcode`_=13 + \def\par##1{\endgraf\ifx##1\par\leavevmode\fi ##1} + \obeylines \startverb} +{\catcode`\|=0 \catcode`\\=12 +|gdef|startverb#1\endtt{|tt#1|egroup|medskip|testpar}} +\long\def\testpar#1{\ifx\par#1\else\noindent\fi#1} + +\catcode`"=13 +\def"{\leavevmode\hbox\bgroup\setverb\activespace\tt\readverb} +\def\readverb #1"{#1\egroup} + +\def\begitems{\medskip\bgroup \catcode`*=13 } +{\catcode`*=13 \gdef*{\item{$\bullet$}}} +\def\enditems{\medskip\egroup} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +{\nopagenumbers + +\vglue 4cm + +\centerline {\titulfont Enc\TeX} +\vskip2cm +\centerline {\titulfont The Extension of \TeX{}} +\medskip +\centerline {\titulfont For Input Re-encoding} + +\vskip3cm + +\centerline{\bigbf Petr Ol\v s\'ak} + +\vskip2cm + +\centerline{\urllinkk{www.olsak.net/enctex.html}{http://www.olsak.net/enctex.html}} + +\vfil + +\centerline {\bigbf This text documents the version Feb. 2003 and Jun. 2004} + +\vskip 4cm +\break + +\null \vfil + +This package is free software; you can redistribute it and/or modify +it under the terms of the GNU General Public License as published by +the Free Software Foundation; either version 2 of the License, or +(at your option) any later version. + +This package is available on +\urllink{ftp://math.feld.cvut.cz/pub/olsak/enctex/}. + +This program is distributed in the hope that it will be useful, +but WITHOUT ANY WARRANTY; without even the implied warranty of +MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +GNU General Public License for more details. + +You should have received a copy of the GNU General Public License +along with this program; if not, write to the Free Software +Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA + +\bigskip +\copyright\quad 1997, 2002, 2003, 2004\enspace RNDr. Petr Ol\v s\'ak + +\bigskip +\TeX{} is trademark of the American Mathematical Society. + +\bigskip +The author of the \TeX{} is professor Donald Knuth. The \TeX{} +is a free software with the specific license. See the documentation +of~\TeX. + +\bigskip +The original version of the enc\TeX{} documentation (in Czech language) is in +"encdoc.tex" file. + +P\accent23uvodn\'\i{} \v cesk\'a dokumentace je v souboru "encdoc.tex". + +\break +} + +\kap The basic information + %%%%%%%%%%%%%%%%%%%%% + + +The enc\TeX{} package is a little extension of \TeX{}. You can install +it from source files of \TeX{} by changing the "tex.ch" file in your +distribution. The patch to "tex.ch" file for "web2c" distribution is +supported. + +The enc\TeX{} is backward compatible with the original \TeX{}. It adds +ten new primitives by which you can set or read the conversion +tables used by input processor of \TeX{} or used during output to the +terminal, log and "\write" files. These tables are stored to the +format files thus, they are reinitialized to the same state as in time +of "\dump" command when the format file is read. + +This extension is fully tested and it passes the TRIP test with only +two differences: + +\begitems +* The banner is different +* The number of ``multiletter control sequences'' is + greater by ten. +\enditems + + +\sec The installation +% ---------------- + +For install instructions of enc\TeX{} -- read the "INSTALL.eng" file. + +\sec Versions +% -------- + +I released the first version of enc\TeX{} in 1997. This version +was able to do the byte to byte conversion only by xord and xchr +vector and to assign the characters as ``printable'' (the "\xordcode", +"\xchrcode" and "\xprncode" primitives). + +The TCX tables were renoved in 1998. These tables do the same work as +enc\TeX{} 1997 thus I closed my support of enc\TeX{}. The problem +with the missing support of UTF-8 encoding on input processor caused +the reinterpretation of my old decision: I implemented the UTF-8 +support to the enc\TeX{} in December 2002 and I propagate enc\TeX{} again. + +The new version +``Feb.~2003'' adds seven new primitives: "\mubyte", +"\endmubyte", "\mubytein", "\mubyteout", "\mubytelog", "\specialout" +and "\noconvert". +They give a possibility to set the conversion from UTF-8 encoded files. + +The version ``Jun.~2004'' fixes a little bugs only. +No new features are added. +See "enctex.patch-jun2004" file for more information +about these bugs. + +Of course, the new version is backward compatible with the old one +from 1997. I don't plan any new big changes. If a little change will +be done then {\it the backward compatibility with the previous version +of enc\TeX{} is guaranteed by me}. + +\sec Enc\TeX{} in web2c distribution, TCX tables +% ------------------------------------------- + +If your web2c distribution implements enc\TeX{} then you can +initialize it by the "-enc" option in command line. +You have to use this option during ini\TeX{} because enc\TeX{} stores +its primitives and its data to the format file. When the format is +used, the enc\TeX{} is initialized from format file automatically and +you need not use the "-enc" option again. If you are using a format +without enc\TeX{} initialized in it and you write "-enc" option then +the warning is printed and this option is ignored. + +The TCX tables ("-translate-file" option) are working with the same +xord and xchr vector as enc\TeX{} in web2c distribution. This implies +the following little conflicts: If enc\TeX{} is used together with TCX +table then TCX table may re-write the initial values of "\xordcode", +"\xchrcode" and "\xprncode". These initial values are documented in +section~2.2. If these values are stored in format by enc\TeX{} and TCX +table is used together with such format then the values from format +can be re-written by TCX table too. On the other hand, you can use the +"\xordcode", "\xchrcode" and "\xprncode" primitives for reading or +saving of these values after TCX table initialization without +problems. + +\sec The \TeX{} license +% -------------------- + +The enc\TeX{} adds the new primitives into \TeX{} so, we cannot call +the resulting program by name \TeX. On the other hand D.~Knuth assumed +that \TeX{} internals are filtered always from system dependences. +This was a reason why he implemented xord/xchr vectors in \TeX. +D.~Knuth assumed that the parameters of filter from system +dependences is set at source code level. Enc\TeX{} only moves this +setting from source code level to the runtime level. This is nothing +new: the \TeX{} memory parameters are possible to set at runtime in +modern \TeX{} distributions too. You can set the conversion tables +depend on your system. Then you can say "\let\xordcode=\undefined" +etc.~(the same for other enc\TeX{} primitives) and you can do "\dump". +The format has the conversion tables stored by the system +specifications and the user cannot do any more changes. The using of +this format acts the same as the using of the original \TeX{}. + +I think that the second line on the terminal and log file is +sufficient information about the fact that the program is +a modified version of \TeX. I think that if the UTF-8 encoding will be +used more common then there is no another way than to modify the input +processor of \TeX{} otherwise the 8bit \TeX{} will dead in short time. + +It is important to say that enc\TeX{} has the same default behavior as +the original \TeX{} if the new primitives are never used. + +IMHO, the new web2c \TeX{} is not exactly the \TeX{} too because you can +change its behavior by writing "%&" at the first line of the document. +This feature is not documented in {\it Computers \& Typesetting\/} +series. + + +\kap The byte per byte conversion + %%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\sec The xord and xchr vectors +% ------------------------- + +All text inputs into \TeX{} are mapped by xord vector in input +preprocessor (the eyes in \TeX{}book terminology). If the character +has the code $x$ in your system, the same character has the code +$y$ = xord[x] in \TeX. + +All text outputs from \TeX{} to terminal, log file and files managed +by "\write" primitive are filtered by xchr vector and by +``printability'' feature of the character. If the character with code +$y$ is not ``printable'', then it outputs by "^^code" notation +(documented in \TeX{}book, page 45). If the character with code +$y$ is ``printable'' then the output code of this character on +terminal and text files is $z$ = xchr[$y$]. + +\sec The new primitives with the access to the xord and xchr vectors +% -------------------------------------------------------------- + +The enc\TeX{} extension introduces three new primitives with the same +syntax as "\lccode": + +\begitems +* "\xordcode" $i$ ... is xord[$i$] +* "\xchrcode" $i$ ... is xchr[$i$] +* the character with the code $i$ is ``printable'' + (not "^notation" on terminal and the log is used) + iff \hfil\break + \hbox{("\xprncode" $i > 0$ )} or \hbox{( $i\in \{32,...,126\}$ )}. +\enditems + +All setting to "\xordcode", "\xchrcode" and "\xprncode" are possible +in 0...255 range and are {\it global} every time. It means +that the setting inside group are global and it is irrelevant +if you write "\global" prefix or you do not. + +The initial values at ini\TeX{} state of the mentioned vectors are: + +\begitems +* "\xordcode" $i = i $ for $ i \in \{128...255\}$, +* "\xchrcode" $i = i $ for $ i \in \{128...255\}$, +* "\xprncode" $i = 0 $ for $ i \in \{0...31, 127...255\}$, +* "\xprncode" $i = 1 $ for $ i \in \{32...126\}$. +\enditems + +The "\xordcode" $i$ and "\xchrcode" $i$ for $i \in \{0...127\}$ are +system dependent, but on systems with ASCII encoding holds: +"\xordcode"~$i = i$, "\xchrcode"~$i = i$. + + +\kap The multi-byte conversion + %%%%%%%%%%%%%%%%%%%%%%%% + +Since version Dec 2002, the enc\TeX{} is able to convert more bytes to +one byte or control sequence on input processor level. This ``one byte'' +is converted back to the original ``more bytes'' when "\write" is +processed or \TeX{} outputs to the terminal or log file. +The main reason of this extension of \TeX{} is to serve to work with the +UTF-8 encoded input files: we need to assign the "\catcode"s, +"\uccode"s etc.~to the letters in our alphabet but some letters are +encoded in two bytes in UTF-8. The enc\TeX{} is able to map other codes +from UTF-8 to control sequences thus, the number of UTF-8 codes +from input file examined by \TeX{} is unlimited. + +There are five new primitives to manage the conversion: +"\mubytein", "\mubyteout", "\mubytelog", "\mubyte", "\endmubyte". +The "\mubytein", "\mubyteout" and "\mubytelog" are integer registers with +zero value by default: it means that no conversion is processed even +if the conversion table (created by "\mubyte", "\endmubyte") is non +empty. If "\mubytein" is positive then the conversion on input processor +level is performed by the conversion table. If "\mubyteout" +is positive then the conversion for output to the "\write" files +is activated by the same conversion table. If "\mubytelog" is positive +then the output conversion is activated for log file and terminal +output. + +The conversion table is empty by default and you can add the +new line into this table by the couple of "\mubyte", "\endmubyte" +primitives: + +\begtt +\mubyte \endmubyte +\endtt + +Each will be converted to the at input +processor level. There are two possibilities for : it may +be a character or a control sequence. If the is a +character then the catcode of it is ignored and the is +interpreted as a . This is converted back to the + in "\write" files, log file and terminal. + +If the is a control sequence then the +will be converted to this control sequence of the ``one token'' +form at input processor level. It means that the +token processor never changes this control sequence. +The token processor stays in +middle line state after this control sequence is scanned. +If {\catcode`\<=12 "\mubyteout<2"} then the output to the "\write" +files is not converted back to the and +the control sequence is expanded as usual. +If "\mubyteout>=2" then the control sequence declared by "\mubyte" is +converted back to the in "\write" parameters. +This works only if the control sequence is not expanded. +It means that the control sequence have to be non expandable or +it have to be marked by "\noexpand". If "\mubyteout>=3" then +enc\TeX{} suppresses the expansion of control +sequences declared by "\mubyte" automatically. See section~3.7 for +more details. + +The control sequences are never converted back to +in log file and on the terminal output. + +The syntax and the meaning of will be explained in +section~3.4. + +\sec The conversion table manipulation +% --------------------------------- + +The data are stored into conversion table as a global assignment. On +the other hand the assignment to "\mubytein", "\mubyteout" and +"\mubytelog" registers are local as usually. + +The "\mubyte", "\endmubyte" primitives work very similar as a +well known "\csname", "\endcsname" pair. The difference is that +the is not expanded and that this token can be followed +by (after expansion). The is +scanned with the full expansion. If the other non expandable control +sequence than "\endmubyte" occurs during this process then the error +message is printed: + +\begtt +! Missing \endmubyte inserted. +\begtt + +The "\mubyte" is not performed on the expand processor level: it is a +assign primitive. If you write + +\begtt +\edef\a{\mubyte X ABC\endmubyte} +\endtt +% +then the macro "\a" includes the "\mubyte X ABC\endmubyte" tokens. + +Examples: + +\begtt +\mubyte ^^c1 ^^c3^^81\endmubyte % \'A +\mubyte ^^e1 ^^c3^^a1\endmubyte % \'a +% etc. -- the UTF8 implementation + +\mubyte \endash ^^c4^^f6\endmubyte % the mapping to the control sequence +\mubyte \integral INT\endmubyte % the illustrative example, see below + +\mubytein=1 \mubyteout=1 % conversions are activated here + +\def\endash {--} % this is good definition for \write files too +\def\integral {\ifmmode \int\else $\int$\fi} +\endtt + +We have written more spaces (or tabs) in in +this example because these characters have the catcode of the space +and the token processor converts them to right . + +The word ``"INTEGRAL"'' is converted to the token "\integral" followed +by the letters ``"EGRAL"'' if the example code is used. +The text ``"INT something"'' is converted to the token "\integral" +followed by space and the word ``"something"''. You can write the +following constructions: "\defINT{something}", "\let INT=\foo", etc. +After "\show INT" we get: + +\begtt +> \integral=macro: +->\ifmmode \int \else $\int $\fi . +l.18 \show INT +\endtt +% +and "\string INT" expands to the text: "\integral". + +Assume the "INT" declaration from the previous example and assume that +you write "\INT". What happens? Strictly speaking, the empty control +sequence ("\csname\endcsname") followed by "\integral" control +sequence would be the output from the token processor. But there is an +exception in enc\TeX{} because to avoid the confusion with the empty control +sequences. The "\INT" produces only the control sequence "\integral", +the backslash is ignored in this situation. The token processor stays +in middle state after "\INT" is scanned, the letter can follow +immediately. + +\sec The features of the conversion process +% -------------------------------------- + +The input is converted immediately after "\mubytein" is set to the +positive value; it means the conversion may start at the same line +where the "\mubytein" setting occurs. + +The is converted only if the whole is +included in the one line. The "\endlinechar" character can be the last +part of the . + +The sequence "^^c3^^81" is not converted to the letter \'A even if the +code from the example was used. The reason is that the "^^" conversion +is done in token processor after the "\mubyte" conversion. + +The "\xordcode" conversion is performed before "\mubyte" conversion +in input side and the "\xchrcode" conversion is done after "\mubyte" +conversion during output to the files or to the terminal. The +following diagram shows the sequence of the conversions: + +\begtt +input text -> \xordcode -> \endlinechar appended -> + \mubyte -> token processor -> expand processor ... +\write argument -> expand processor -> \mubyte -> \xchrcode -> output +\endtt + +The is not converted to the "^^" form during +output to the file even if the "\xprncode" of the bytes from + is zero. The is not converted again +even if there exist a character in it which is normally +converted by another rule in conversion table. + +Let exist two or more in the conversion table which are +equal or which have the same begin part and one sequence is a +subsequence of the second. Then the conversion in input processor is +done by maximal possible . This feature was implemented +in version Feb.~2003. Example: + +\begtt +\mubyte X A\endmubyte +\mubyte Y ABC\endmubyte +\mubyte \foo ABCD\endmubyte +\endtt + +The letter A is normally converted to X in this example, but if the +BC letters immediately follow then ABC is converted to Y with the +exception ABCD which is converted to "\foo". + +The order of "\mubyte" settings in this example has no significance. + +If the same are used by "\mubyte" records then the +last one has a precedence and the previous records are cleared. + + +\sec The conversion to log file and to the terminal +% ---------------------------------------------- + +The output to terminal and to log file is not converted if +"\mubytelog" is zero. If the "\xprncode" of the character is zero then +the character is printed in "^^A" or "^^bc" form. If the "\mubytelog" +is positive then the characters stored in conversion table are +converted to the and the bytes from these + are never converted to "^^" form. +On the other hand, control sequences are keept unchanged +in log and in terminal even if the "\mubytelog" is positive. + +The conversion is switched on or off by "\mubytelog" value for both: +terminal and log file. You cannot separate these outputs. It means that +(for example) the conversion to log and no conversion to terminal +is not possible. + +There exists a special part of terminal and log output: if the complete +line from input is reprinted (for example when the context of an error is +shown). We call this situation as ``line-reprinting'' for the purpose +of the following text. + +If the "\mubytein" is zero then line-reprinting works as usual in +standard \TeX{}. If "\mubytein" is positive and "\mubytelog" is zero +then line-reprinting includes the output from the input processor of +enc\TeX{}. It means that control sequences generated by input +processor can be shown here even if they don't actually present in the +input line. If both "\mubytein" and "\mubytlog" are positive then +line-reprinting works without any multi-byte conversion, only xord is +used immediately followed by xchr. No "^^A" form is used in this +situation. Note that the error messages can be somewhat peculiar when +"\mubytein" and "\mubytlog" are positive: + +\begtt +\mubyte \cmd ABC\endmubyte \let\cmd=\undefined +\mubytein=1 \mubytelog=1 +This is test of ABC and another text. +\endtt +% +We get the following message: + +\begtt +! Undefined control sequence. +l.3 This is test of ABC + and another text. +? +\endtt +% +The "\show ABC" can say you more information: + +\begtt +> \cmd=undefined. +l.3 \show ABC +\endtt + + +\sec Clearing records from the conversion table +% ------------------------------------------ + +There exists only the chance to clear all records which begin with +the same first byte of . This is done by the command +"\mubyte \endmubyte". For example + +\begtt +\mubyte A A\endmubyte +\endtt +% +clears all from conversion table which begin with the +character A. The following code clears all conversion table: + +\catcode`<=12 +\begtt +{\catcode`\^^@=12 +\gdef\clearmubytes{\bgroup \count255=1 + \loop \uccode`X=\count255 + \uppercase{\mubyte XX\endmubyte}% + \advance\count255 by1 + \ifnum\count255<256 \repeat + \mubyte ^^@^^@\endmubyte + \egroup} +} +\clearmubytes +\endtt +\catcode`<=13 + + + +\sec Input and output sides of the conversion table +% ---------------------------------------------- + +The conversion table consists from two independent parts: input side +used by input processor and output side used during "\write" or +printing to the log and terminal. You can save the record only to one +of this parts by using the nonempty . +If the is empty then the same record is stored +twice: into input and output sides. If is a token of +catcode~8 (usually the "_" character) then the record is stored only +into input side . If is a pair of tokens catcode~8 +(usually "__") then the record is stored only into output side. + +If the optional prefix has a form of "__" then the following + can be empty. Enc\TeX{} removes the record +corresponding to the from output side in such situation. + +The macro code for clearing the conversion table from previous section +clears all records from input side but only the records concerned to +the in ``one byte form'' from output side. You can +remove the record concerned to control sequence from output side +only by "\mubyte \foo __\endmubyte". + +\sec Inserted control sequences +% -------------------------- + +If the is the control sequence and the +is one token of catcode~6 (usually the "#" character) +followed by +then the bytes are kept by input +processor (it means they are no converted again) +and the declared control sequence is inserted before +. The example: + +\begtt +\def\abc{ABC} +\mubyte X BC\endmubyte \mubytein=1 +\mubyte \foo #3 \abc\endmubyte ABC is converted to \foo ABC +\mubyte \foo #1 \abc\endmubyte ABC is converted to \foo AX +\endtt + +The has the same syntax as from \TeX{}book. +It means that ``one optional space'' can work as a separator of +digit(s). See the previous example. + +If is zero then the control sequence is inserted and the +whole is unchanged. This has the same effect as if the + equals to the length of the . + +The is accepted only in the range 0 to 50. The negative + are silently interpreted as zero and the numbers greater +than 50 mean that the rest of the converted line will be unchanged +by input processor. + +More practical example follows. Note, that the is greater +than the length of the here. + +\begtt +\mubyte \warntwobytes #2^^c3\endmubyte +\mubyte \warntwobytes #2^^c4\endmubyte +\mubyte \warntwobytes #2^^c5\endmubyte +% atd... +\def\warntwobytes #1#2{\message{WARNING: the UTF8 code: + \noconvert#1\noconvert#2 is not defined i my macros.}} +\endtt + +The new primitive "\noconvert" is used in this example +(see chapter~5). The similar code is used in the file +"utf8unkn.tex". + + +\sec The virtual mark of line begin +% ------------------------------ + +If "\mubytein>0" and if the first byte in is equal to +"\endlinechar" (it means has a format +) +then input processor checks the matching of the + with the begin of every line. If it matches then the given +conversion is done. The example: + +\begtt +\bgroup \uccode`X=\endlinechar \uppercase{\gdef\echar{X}}\egroup +\mubyte \fooB \echar ABC\endmubyte % ABC matches at begin of line +\mubyte \fooE ABC\echar \endmubyte % ABC matches at end of line +\mubyte \fooW \spce\space ABC\space \endmubyte + % ABC matches as a word with spaces before and after +\mubyte \foo #\echar XYZ\endmubyte % + % if XYZ is at begin of line the \foo is inserted before them +\endtt + +\sec The suppression of the expansion in write parameters +% ---------------------------------------------------- + +If you need to convert the control sequences back to its + then the expansion of such control sequences is not +welcome. You can suppress the expansion by "\let\macro=\relax" before +"\write" starts the expansion of its parameter. But "\write" works +asynchronously in most situations and you can manipulate with hundreds +or thousands control sequences declared as UTF-8 codes. The enc\TeX{} +serves a simple tool to solve this problem: If "\mubyteout>=3" then +enc\TeX{} gives the "\relax" meaning to each control sequence declared +in output side of the conversion table before the "\write" starts its +expansion and it returns back these control sequences to their original +meaning immediately after "\write" finish its work. +Example: + +\begtt +\mubyte \foo ABC\endmubyte \def\foo{macro body} +\mubyteout=2 +\immediate\write16{testwrite: \foo} % prints "testwrite: macro body" +\immediate\write16{testwrite: \noexpand\foo} % prints "testwrite: ABC" +\mubyteout=3 +\immediate\write16{testwrite: \foo} % prints "testwrite: ABC" +\message{testmessage: \foo} % prints "testmessage: macro body" +\message{testmessage: \noexpand\foo} % prints "testmessage: \foo" +\edef\a{testedef: \foo} % expands to macro body +\foo % expands to macro body +\immediate\write16{\meaning\foo} % prints "\relax" +\message{\meaning\foo} % prints "macro:->macro body" +\endtt + +Note the difference between "\message" and "\immediate\write16". +The control sequences in "\message" parameter are always expanded and +never converted to the . + +You can set the ``noexpand'' flag (for "\write" parameters only) +to any and you need not declare the +for it. Write "\mubyte \relax \endmubyte" for this +purposes. This has the same effect as +"\mubyte" " __\string" "\space\endmubyte", +but this second solution is more memory consuming because \TeX{} has +to store the as a string to the pool. + +You can write your own macros which expand to one code in normal +situation and to different code in write parameters. The declaration +of "\writeparameter" control sequence is recommended: + +\begtt +\mubyte \writeparameter \relax \endmubyte \def\writeparameter{} +\def\mymacro{\ifx\writeparameter\relax THIS CODE IS USED IN WRITE. + \else THIS CODE IS USED IN NORMAL EXPANSION.\fi} +\endtt + + + +\sec The asynchronous write command and the mubyteout value +% ------------------------------------------------------ + +If you don't use "\immediate" then the "\write" command first gets its +parameter but it expands and prints this parameter at another +time. The "\write" command stores the actual value of the "\mubyteout" +register when it gets its parameter. This value is used late when +parameter is expanded and written to the file. + +This feature gives the possibility to write to more files, first (for +table of contents, for example) is written with conversion to UTF-8 +and another files are written without this conversion, because (for +example) this file is an input for a program which cannot read the +UTF-8 encoding. You can try: + +\begtt +\newwrite\tocfile \newwrite\indexfile +\immediate\openout\tocfile=\jobname.toc +\immediate\openout\indexfile=\jobname.idx +\mubyteout=3 +\write\tocfile{this parameter will be converted to UTF-8} +{\mubyteout=0 \write\indexfile{this parameter stay unchanged}} +\write\tocfile{this parameter will be converted to UTF-8} +\end % now, all three writes are actually done +\endtt + +\sec Summary of the mubyteout values +% ------------------------------- + +Apart from the values 0, 1, 2 and 3, you can set the "\mubyteout" +register to the value $-1$ or $-2$. The summary table of meanings of +these values follows: + +\vbox{ +\begtt +\mubyteout -> -> noexpanding +---------------------------------------------------------------------------- + 0 off off off + 1 on off off + 2 on on off + 3 on on on + -1 on off on + -2 off off on +\endtt +\par} + +If the "->" conversion is on then all texts +written to the "\write" files, log file and to the terminal are converted. +On the other hand, the "->" conversion and the +noexpanding are related only to the "\write" arguments (and the +"\special" arguments, see the following chapter). + + + +\kap The arguments of the special primitive + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +The plain texts in non-english languages can occur in +"\special" arguments. The PDF-outlines are a good +example of this situation. May be, +you need to save these arguments in UTF-8 encoding. +The enc\TeX{} gives the possibility to do it. + +The argument of "\special" is processed by the value of the integer +primitive register "\specialout". This register is introduced by +enc\TeX{} and its default value is zero. + +\begitems +* "\specialout=0" -- no conversion, the same as in the original \TeX. +* "\specialout=1" -- only the xchr conversion. +* "\specialout=2" -- only the "\mubyteout" conversion. +* "\specialout=3" -- the "\mubyteout" conversion followed by + the xchr conversion. +\enditems + +The "\special" primitive expands its argument immediately. If +"\specialout" is 2 or 3 then the expansion is done by "\mubyteout" +value in the same manner as during the "\write" expansion. +Moreover, "\special" saves the current values of "\specialout" and +"\mubyteout" registers to its memory and use them at the time of the +output to the "dvi" file. + + +\kap The noconvert primitive + %%%%%%%%%%%%%%%%%%%%%%% + +The "\noconvert" primitive is introduced by enc\TeX. This primitive +suppress the possible conversion of the following character or the +control sequence. More exactly: the "\noconvert" is non expandable +primitive and does nothing in typesetting output +(the same as "\relax"). If this primitive is used in "\message" or +"\errmessage" argument then the control sequence of this primitive is +never printed and the following character is not converted to + even if the "\mubytelog" is positive and the character +is recorded in output side of conversion table. + +The primitive "\noconvert" does the same in "\write" and "\special" +parameters. Moreover, if a control sequence follows then this +control sequence is normally printed even if the "\mubyteout" is positive +and this control sequence is recorded in output side of conversion +table. + +The "\noconvert\noconvert" yields to one "\noconvert" in the output. + +The "\noconvert" primitive is normally printed to the log and to the +terminal in the another situation than "\message" and "\errmessage" +parameters. For example when "\tracing..." is used. + + +\kap Summary of the enc\TeX{}'s primitives + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\begitems +* "\mubyte" --- new record to the conversion table, see chapter~3. +* "\endmubyte" --- the "\mubyte" separator. +* "\mubytein" --- integer register. 0: multi-byte input conversion + suppressed, 1 and more: multi-byte input conversion + activated. +* "\mubyteout" --- integer register, the level of the output conversion + in "\write" and "\special" parameters, see~3.10. +* "\mubytelog" --- integer register, 0: multi-byte output conversion + to log and terminal suppressed, 1 and more: + multi-byte output conversion activated. +* "\specialout" --- integer register, the mode of the "\special" + parameter conversion, see chapter~4. +* "\noconvert" --- similar as "\noexpand", but for conversion process. + See~chapter~5. +* "\xordcode" --- access to xord vector, see 2.1. +* "\xchrcode" --- access to xchr vector, see 2.1. +* "\xprncode" --- access to ``printability'' vector, see 2.2. +\enditems + +The summary of in "\mubyte" primitive follows. The +character ``"#"'' means the token of category~6 and ``"_"'' means the token of +category~7 here. + +\begitems +* no prefix --- records to the input and output side of the conversion + table. +* "_" --- records only to the input side of the conversion table. +* "__" --- records only to the output side of the conversion table. +* "#" --- records to the input side of the conversion table, + the control sequence will be inserted and + bytes will be kept without conversion again. +* "\relax" --- the control sequence will be not expand in "\write" + parameters. +\enditems + +More prefixes may be implemented in next versions of enc\TeX. The +prefix has its first character different from catcode 10, 11 or 12. +This rule will be kept in next versions thus it is sufficient to use +the first character of with this category if no prefix +is needed. + + + +\kap The macro files + %%%%%%%%%%%%%%% + +The enc\TeX{} package includes some encoding tables inputted by +"\input" during format generation. These tables support encodings +widely used in Czech texts. The more information about these macro +files are in comments of these files and in the Czech version of the +documentation. + + + +\end + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/enctex/encdoc.pdf b/Master/texmf-dist/doc/generic/enctex/encdoc.pdf new file mode 100644 index 00000000000..361b6cb685e Binary files /dev/null and b/Master/texmf-dist/doc/generic/enctex/encdoc.pdf differ diff --git a/Master/texmf-dist/doc/generic/enctex/encdoc.tex b/Master/texmf-dist/doc/generic/enctex/encdoc.tex new file mode 100644 index 00000000000..f9007af6efa --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/encdoc.tex @@ -0,0 +1,1168 @@ +% EncTeX documentation +%%%%%%%%%%%%%%%%%%%%%% +% Petr Olsak + +% see encdoce-e.tex for English version of this documentation + +\chyph % zpracujte formatem csplain + +\def\Red{} +\def\Black{} +\def\Blue{} +\def\Green{} +\def\beglink#1{} +\def\endlink{} +\def\aimlink#1{} +\def\urllink#1{{\tt#1}} +\def\urllinkk#1#2{{\tt#1}} + +\ifx\pdfoutput\undefined\else %%%% pdfTeX is used %%%%%%%%%% +\ifnum\pdfoutput>0 + +\ifx\pdfannotlink\undefined % Verze pdfTeXu >= 14 + \let\pdfannotlink=\pdfstartlink +\fi + + +\def\beglink#1{% % Zatek textu odkazu, #1 je kl odkazu + \Green \pdfstartlink height9pt depth3pt + attr{/Border[0 0 0]} goto name{#1}\relax} +\def\endlink{\pdfendlink\Black} + +\def\aimlink#1{% % Msto cle odkazu, #1 je kl odkazu + \expandafter\ifx \csname aim:#1\endcsname \relax + \expandafter\gdef \csname aim:#1\endcsname {}% + \vbox to0pt{\vss\hbox{\pdfdest name{#1} fith}\kern15pt}% + \fi +} +\def\urllinkk#1#2{\pdfannotlink height 10pt depth 3pt + user{/Border[0 0 0]/Subtype/Link/A << /Type/Action/S/URI/URI(#2)>>}\relax + \Green{\tt #1}\Black\pdfendlink} +\def\urllink#1{\urllinkk{#1}{#1}} + + +\def\pdfsetcmykcolor#1{\special{PDF:#1 k}} +\def\Red{\leavevmode\pdfsetcmykcolor{0.1 0.9 0.9 0}} +\def\Black{\leavevmode\pdfsetcmykcolor{0 0 0 1}} +\def\Green{\leavevmode\pdfsetcmykcolor{0.9 0.1 0.9 .3}} +\def\Blue{\leavevmode\pdfsetcmykcolor{0.9 0.9 0.1 0}} + +\pdfcompresslevel=9 +\pdfinfo{/Author (Petr Olsak) + /CreationDate (Feb. 2003) + /ModDate (Jun. 2004) + /Creator (TeX) + /Producer (pdfTeX) + /Title (encTeX) + /Subject (Documentation) + /Keywords (TeX, fonts) +} + +\fi\fi %%%%%%%%%%%%%%%%%%%%%%%%%%%% End of pdfTeX macros %%%%% + + +\font\titulfont=\fontname\tenbf\space scaled\magstep4 +\font\bigbf=\fontname\tenbf\space scaled\magstep1 + +\parindent=12pt + +\newcount\secnum \newcount\subsecnum + +\def\kap #1\par{\ifnum\secnum>0 \goodbreak\fi\removelastskip + \vskip2\baselineskip + \subsecnum=0 \advance\secnum by1 + \noindent{\bigbf\llap{\the\secnum.\quad}#1}\par\nobreak\medskip} +\def\sec #1\par{\removelastskip\bigskip + \advance\subsecnum by1 + \noindent{\bf \llap{\aimlink{\the\secnum.\the\subsecnum}% + \the\secnum.\the\subsecnum.\quad}#1}\par\nobreak\medskip} +\def\title #1\par{\vglue2\baselineskip + \centerline{\titulfont #1}\vskip2\baselineskip} +\def\date #1\par{\bigskip#1\par} +\def\author #1\par{\bigskip#1\par} + +\catcode`<=13 +\def<{\hbox\bgroup\catcode`_=\active\relax\skoba} +\def\skoba #1>{$\langle$\it#1\/$\rangle$\egroup} +\def\,{\thinspace} +{\catcode`_=\active \gdef_{\_}} + +{\obeyspaces \gdef\activespace{\obeyspaces\let =\ }} +\def\setverb{\def\do##1{\catcode`##1=12}\dospecials} +\def\begtt{\medskip\bgroup \setverb \activespace + \catcode`\"=12 \catcode`_=13 + \def\par##1{\endgraf\ifx##1\par\leavevmode\fi ##1} + \obeylines \startverb} +{\catcode`\|=0 \catcode`\\=12 +|gdef|startverb#1\endtt{|tt#1|egroup|medskip|testpar}} +\long\def\testpar#1{\ifx\par#1\else\noindent\fi#1} + +\catcode`"=13 +\def"{\leavevmode\hbox\bgroup\setverb\activespace\tt\readverb} +\def\readverb #1"{#1\egroup} + +\def\begitems{\medskip\bgroup \catcode`*=13 } +{\catcode`*=13 \gdef*{\item{$\bullet$}}} +\def\enditems{\medskip\egroup} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +{\nopagenumbers + +\vglue 4cm + +\centerline {\titulfont Enc\TeX} +\vskip2cm +\centerline {\titulfont monost pekdovn vstupu v~\TeX{}u} + +\vskip3cm + +\centerline {\bigbf Petr Olk} + +\vskip2cm + +\centerline{\urllinkk{www.olsak.net/enctex.html}{http://www.olsak.net/enctex.html}} + +\vfil + +\centerline {\bigbf Toto je dokumentace k~verzi Feb. 2003 a Jun. 2004} + +\vskip 4cm +\break + +\null \vfil + +Enc\TeX{} je voln programov vybaven; mete jej dle it +a modifikovat podle podmnek \uv{GNU General Public License}, kterou +publikovala "Free Software Foundation"; pouijte verzi 2 tto licence +nebo (podle Va volby) libovolnou pozdj verzi. + +Balek najdete na Internetu na +\urllink{ftp://math.feld.cvut.cz/pub/olsak/enctex/}. + + +Tento balek je roziovn v~nadji, e bude uiten, avak BEZJAKKOLI ZRUKY; neposkytuj se ani odvozen zruky PRODEJNOSTI anebo +VHODNOSTI PRO URIT EL. Dal podrobnosti hledejte v~Obecn veejn +licenci GNU. + +Kopii \uv{GNU General Public License} jste ml obdret spolu s~tmto +programem; pokud se tak nestalo, napite o~ni Free Software Foundation, +Inc., 675 Mass Ave, Cambridge, MA 02139, USA. esk peklad tto +licence najdete na "http://www.gnu.cz/gplcz.html". + +\bigskip +\copyright\quad 1997, 2002, 2003, 2004\enspace RNDr. Petr Olk + +\bigskip + +\TeX{} je ochrann znmka American Mathematical Society. + +\bigskip +Autor \TeX{}u je profesor Donald Knuth. \TeX{} je voln programov +vybaven se specifickou licenc, viz dokumentaci k~tomuto programu. + +\break +} + +\kap Zkladn informace + %%%%%%%%%%%%%%%%%% + +Balk enc\TeX{} je jednoduch rozen \TeX{}u pro takov implementace, ve +kterch se \TeX{} instaluje ze zdrojovho kdu "tex.web". Tuto +podmnku napklad spluje implementace web2c, uren pro UNIXy +a jin operan systmy s~kvalitnm pekladaem jazyka C. + +Rozen enc\TeX{} je zptn kompatibiln s~originlnm +\TeX{}em. Pidv deset novch primitiv, ktermi lze st nebo +naplovat vnitn kdovac tabulky, podle nich je znak transformovn +na rovni vstupnho procesoru \TeX{}u nebo pi vstupu na terminl, do +"log" souboru a "\write" soubor. Tyto tabulky se ukldaj do +formtovch soubor, take po naten formtu se inicializuj ve +stejnm stavu, v~jakm byly v~okamiku pkazu "\dump". + +Zmna \TeX{}u je dkladn testovan a prola t testem TRIP +s~tmito dvma odlinostmi: + +\begitems +* Odlin banner +* Poet \uv{multiletter control sequences} je o~deset vt. +\enditems + +\sec Instalace +% --------- + +Viz soubor "INSTALL". + +\sec Verze +% ----- + +V~roce 1997 byla zveejnna prvn verze enc\TeX{}u, kter umoovala +konverze pouze v~reimu \uv{byte na byte} a nastavovala tisknutelnost +znak (primitivy "\xordcode", "\xchrcode", "\xprncode"). + +V~roce 1998 obnovil nkdo z~Polska pouvn TCX tabulek ve web2c +\TeX{}u. Protoe enc\TeX{} z~roku 1997 dlal vcemn tot a +pouvn obou nadstaveb souasn by mohlo bt pro mnoho uivatel +matouc, pestal jsem enc\TeX{} prosazovat. Ovem v~roce 2002 +jsem se rozhodl pidat do enc\TeX{}u podporu UTF-8 kdovn, protoe +tato podpora nen a asi nebude v~TCX tabulkch implementovna. +V~prosinci 2002 jsem se tedy rozhodl znovu zat propagovat enc\TeX{}, +kter navc zvldne UTF-8 kdovn. + +Verze enc\TeX{}u "Feb.2003" pidv dalch +7~primitiv "\mubyte", "\endmubyte", "\mubytein", "\mubyteout", +"\mubytelog", "\specialout" a "\noconvert". To umon definovat vstup +pro UTF-8 kdovan soubory. Tato verze je samozejm zptn +kompatibiln s~pvodn verz enc\TeX{}u z~roku 1997. Neplnuji do +budoucna dn rozshlej zmny. Pokud peci jenom k~njakm zmnm +dojde, pak vdy budou zptn kompatibiln se stvajcm eenm + +Verze "Jun.2004" opravuje jen nkter drobn chyby a nepdv dn +nov funkce (podrobnji viz soubor "enctex.patch-jun2004"). + + +\sec Enc\TeX{} ve web2c distribuci +% ----------------------------- + +Enc\TeX{} se v~\TeX{}u, pdf\TeX{}u, e-\TeX{}u a pdfe\TeX{}u +v~distribuci web2c inicializuje pomoc pepnae "-enc" na pkazov +dce. Tento pepna je nutno pout pi inicializaci formtu. +V~takovm ppad enc\TeX{} ulo sv primitivy a sv data do formtu. Pi +pouit formtu u nen nutn pepna "-enc" pst znova. Enc\TeX{} se +v~tomto ppad inicializuje z~formtu a nape o~tom zprvu na terminl +a do log souboru. Pokud nepouijete pepna "-enc" v~dob generovn +formtu, ale pouijete jej a pi pouit formtu, pak +\TeX{} vype varovn o~neexistenci enc\TeX{}u ve formtu a pepna +"-enc" je ignorovn. + +Ve web2c distribuci pracuj se stejnmi kdovacmi vektory xord a xchr +(pro pekdovn byte na byte) jednak enc\TeX{} a jednak tzv. TCX tabulky +(pi pouit pepnae "-translate-file"). Uritmu konfliktu se tedy pi +souasnm pouvn obou rozen nevyhneme. +Je-li v~enc\TeX{}u pouita TCX tabulka, pak pi startu \TeX{}u +pepe hodnoty "\xordcode", "\xchrcode" a "\xprncode" podle sebe. +Znamen to, e pi pouit ini\TeX{}u pak nemusej platit implicitn +hodnoty tchto kd dokumentovan v~sekci 2.2 a pi pouit formtu +s~enc\TeX{}em jsou hodnoty tchto kd, kter si do formtu uloil +enc\TeX{}, pepsny podle TCX tabulky. O~tto skutenosti enc\TeX{} +nleit informuje na terminlu a v~logu. Pi bhu programu pak mete +enc\TeX{}ovmi primitivy tyto kdy dle st a mnit. Pouit TCX +tabulky tedy nevyluuje monosti enc\TeX{}u. + +\sec Problm s~licenc \TeX{}u +% ------------------------- + +Enc\TeX{} roziuje \TeX{} o~nov primitivy, take bychom nemli tomuto +programu kat \TeX{}. Na druh stran ale Knuth samotn pedpokld, +e vnitnosti \TeX{}u budou odstnny od prosted operanho +systmu. Proto implementoval xord a xchr vektory. V~enc\TeX{}u meme +nastavit podle zvyklost operanho systmu vstupn a vstupn +pekdovac tabulky a pak nastavit vem novm primitivm vznam +"\undefined". Dle se bude \TeX{} modifikovan enc\TeX{}em chovat stejn, +jako originln \TeX{}. Navc meme pekdovac tabulky nastavit pi +generovn formtu a v~produkn verzi \TeX{}u zakzat pstup +k~primitivm. Produkn verze \TeX{}u se pak chov zcela stejn jako +originln \TeX{}. Knuth pedpokld, e odstnn od prosted +operanho systmu se provede vdy pi kompilaci zdrojovho kdu +\TeX{}u, zatmco enc\TeX{} umouje tuto otzku eit pozdji, +napklad v~dob generovn formtu. Umonn pravy nkterch +(napklad pamovch) parametr a za bhu \TeX{}u tak nen nic +novho a znme to skoro u~vech distribuc \TeX{}u. + +Domnvm se, e druh dek na terminlu a v~logu dostaten informuje +o~tom, e se jedn o~modifikovanou verzi \TeX{}u. Tak se domnvm, e +pokud se velmi roz kdovn UTF-8, pak nen zbyt a takov +konverze jsou v~8 bitov verzi \TeX{}u nezbytn. + +Je dleit rovn pipomenout, e implicitn chovn enc\TeX{}u je +takov, e pokud se nepouij rozen primitivy enc\TeX{}u, pak se +chov naprosto stejn jako originln \TeX{}. + +Podle mho nzoru novj implementace web2c \TeX{}u taky nen v~psnm +slova smyslu \TeX{}. Umouje toti zmnu chovn programu, pokud na +prvnm dku dokumentu za znaky "%&" je cosi specifickho napsno. To +je podle mho nzoru vt pestupek oproti licenci \TeX{}u, ne +enc\TeX{}ovmi primitivy nastavit ve formtu prosted systmu a pak tyto +primitivy v~produkn verzi \TeX{}u zakzat. + + +\kap Pekdovn byte na byte pomoc vektor xord, xchr + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +\sec Vektory xord a xchr +% ------------------- + +Vektory xord a xchr maj velikost 255 byt a obsahuj informaci +o~pekdovn znaku vstupujcho do \TeX{}u nebo vystupujcho na +terminl a do textovch soubor. Jedn se o~pole vestavn do +programu, pes kter jsou filtrovny veker textov vstupn a +vstupn informace. M-li znak na vstupu kd $x$ a chceme, aby ml +uvnit \TeX{}u kd $y$, pak mus bt nastaven vektor xord tak, aby +xord[$x$]=$y$. Pi zptnm vstupu znaku na terminl, do logu a do +soubor zpracovvanch pomoc "\write" plat tato pravidla: Nen-li znak +s~kdem $y$ oznaen jako \uv{tisknuteln}, pak vystupuje pomoc pepisu +"^^"kd~$y$. Je-li tisknuteln, pak vystupuje s~kdem $z$=xchr[$y$]. + +Standardn bvaj v~systmech s~kdem ASCII nastaveny hodnoty tchto +vektor tak, e +\medskip +xord[$i$]=xchr[$i$]=$i$ pro vechna $i$ v~rozsahu 0~a~255. +\medskip +Na systmech, kter nepouvaj ASCII, se me mapovat 94 +tisknutelnch ASCII znak jinam. Mimoto je deklarovan vlastnost +\uv{tisknutelnosti} znaku v~ASCII takto: Znak je tisknuteln, pokud m +kd~$y$ v~rozsahu 32 a 126. Ostatn znaky se povauj za netisknuteln a +\TeX{} je standardn pepisuje pomoc dvojit stky. + +Po instalaci balku enc\TeX{} je mono pmo nastavovat a st obsahy +vektor xord a xchr prostednictvm primitiv "\xordcode" +a "\xchrcode" a dle nastavovat vlastnost \uv{tisknutelnosti} znaku +pomoc primitivu "\xprncode". Syntaxe vech t novch primitiv +je naprosto stejn, jakou znme napklad u~primitiv "\lccode" a +"\uccode". Napklad: + +\begtt +\xordcode"AB="CD \xchrcode\xordcode"AB="AB \the\xchrcode200 +\endtt +% +nastavuje xord[0xAB]=0xCD; xchr[xord[0xAB]]=0xAB a dle vytiskne +hodnotu xchr[200]. + +Na rozdl od podobnch primitiv "\catcode", "\lccode", "\sfcode" a +dalch vak nov zaveden primitivy maj jednu podstatnou vjimku. +Reprezentuj intern registry \TeX{}u, kter vdy maj globln +platnost. Proto je nastaven "\xordcode" a "\xchrcode" uvnit +skupiny za vech okolnost globln, akoli to explicitn nepeme. +stupem z~poadavku na monost loklnho deklarovn +hodnot jsem doshl podstatn vt efektivity vslednho kdu programu. + + +\sec Tisknutelnost znak nastaven pomoc {\tt\char`\\xprncode} +% ---------------------------------------------------------- + +Primitiv "\xprncode" umouje nastavovat vlastnost \uv{tisknutelnosti} +znaku takto: Znak s~kdem $y$ je tisknuteln prv tehdy, kdy je +$y$ v~rozsahu 32 a 126 nebo je "\xprncode" $y > 0$. Napeme-li napklad +"\xprncode255=1", bude tisknuteln znak s~kdem 255. Na druh stran, +nastaven "\xprncode`a" teba na nulu nem na chovn programu dn +vliv, protoe kd znaku "a" je v~rozsahu 32 a 126. Tmto +opatenm program vykazuje urit pud sebezchovy, protoe zl uivatel +by mu mohl nastavit vechny znaky jako netisknuteln a program by ztratil +schopnost se vyjadovat. Hodnoty "\xprncode" lze nastavit jako u~ostatnch +novch primitiv v~rozsahu nula a 255, ovem otzka tisknutelnosti je +toton s~otzkou na kladnou hodnotu bez ohledu na to, jak velk tato +hodnota je. + +Vchoz hodnoty pro kdovn v~dob ini\TeX{}u jsou nsledujc: + +\vbox{ +\begitems +* "\xordcode" $i$ = $i$ pro vechna $i$ v~rozsahu 0...255, +* "\xchrcode" $i$ = $i$ pro vechna $i$ v~rozsahu 0...255, +* "\xprncode" $i$ = 0 pro $i$ v~rozsahu 0...31, 127...255, +* "\xprncode" $i$ = 1 pro $i$ v~rozsahu 32...126. +\enditems +} + +Prvn dva dky jsou pravdiv jen na operanch systmech, kter pijaly +kdovn anglick abecedy podle ASCII. Pokud tomu tak nen, pak jsou +vchoz hodnoty vektor xord a xchr pozmnny tak, aby mapovaly tisknuteln +znaky podle systmu do ASCII uvnit \TeX{}u. Takov zmna se tk jen 95 +zkladnch tisknutelnch znak, kter jsou v~ASCII na pozicch +32~a~126. + + +\kap Konverze vce byt na jeden byte nebo kontroln sekvenci + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Od verze Dec 2002 enc\TeX{} um tak konvertovat na rovni vstupnho +procesoru vce byt na jeden byte nebo kontroln sekvenci. +Pi vstupu do logu a "\write" soubor je pak tento objekt +zptn peveden na pvodnch vce byt. Tato vlastnost nechce nahradit +chybjc interpret regulrnch vraz ve vstupnm procesoru \TeX{}u. +Byla implementovna pouze z~dvodu umonit pracovat s~UTF-8 kdovanmi +soubory v~bnm 8 bitovm \TeX{}u tak, e znaky z~UTF-8 +z~nejastji pouvan abecedy mohou bt mapovny na jeden znak, +kter me mt svj "\catcode", "\uccode" atd. Jin znaky +z~UTF-8 mohou bt mapovny na libovoln kontroln sekvence. + +Pro nastaven takov konverze jsou do \TeX{}u pidno nov pt +primitiv: "\mubytein", "\mubyteout", "\mubytelog", "\mubyte" a "\endmubyte". +Primitivy "\mubytein", "\mubyteout" a "\mubytelog" jsou celoseln +registry implicitn s~nulovou hodnotou, tj. konverze vstupu a vstupu +podle konverzn tabulky se neprovdj. Je-li "\mubytein" nastaveno na +kladnou hodnotu, \TeX{} okamit zahj konverze vstupnho dku podle +konverzn tabulky. Je-li "\mubyteout" nastaveno na kladnou hodnotu, +\TeX{} zane konvertovat do vstupnch "\write" soubor podle +stejn konverzn tabulky. Pi kladnm "\mubytelog" bude \TeX{} zptn +konvertovat tak vstup do logu a na terminl. +Implicitn je konverzn tabulka przdn a +jednotliv dky se do n pidvaj pomoc dvojice primitiv +"\mubyte", "\endmubyte" s~touto syntax: + +\begtt +\mubyte \endmubyte +\endtt + +Kad bude pevedena ve vstupnm procesoru na +. Je-li znakem (tj. nen to kontroln +sekvence), pak se ignoruje jeho kategorie, protoe konverze je +provdna v~input procesoru podle schmatu: na jeden +. Pi vstupu do logu a "\write" soubor se pak kad takov + znovu pevede na . + +Pokud je +kontroln sekvence, pak se na rovni vstupnho procesoru promn +kad na tuto kontroln sekvenci implementovanou ve form +nemnitelnho tokenu. Token procesor tuto sekvenci tedy znovu +neinterpretuje a zstv za n ve stavu neignorovn mezer. Pi +{\catcode`\<=12 "\mubyteout<2"} nen pi vstupu do "\write" +soubor tato kontroln sekvence zptn pevdna na pvodn , +ale podlh jen bn expanzi, jako ostatn kontroln sekvence. +Pi "\mubyteout>=2" se i tyto kontroln sekvence pevdj do +"\write" soubor na pvodn . Aby se ale mohly pevst, +nesmj ped tm expandovat, tj.~musej +mt v~dob expanze vznam neexpandovateln kontroln sekvence +nebo musej bt oznaeny pomoc "\noexpand". +Pi "\mubyteout>=3" enc\TeX{} potla expanzi kontrolnch sekvenc +deklarovanch v~"\mubyte" automaticky (podrobnji viz sekci~3.8). +Vstup do logu a na terminl, kter nen produktem pkazu "\write", +ponechv i pi kladnm "\mubytelog" kontroln sekvence nezmnny. + +Vznam je vysvtlen v~sekci~3.5. + +\sec Zanen daj do konverzn tabulky +% ----------------------------------- + +Zznamy do konverzn tabulky jsou pomoc primitiv "\mubyte", "\endmubyte" +zaneny globln, zatmco hodnoty v~registerch "\mubytein", +"\mubyteout" a "\mubytelog" maj obvykou lokln platnost. + +Dvojice primitiv "\mubyte", "\endmubyte" pracuje analogicky, jako +dvojice "\csname", "\endcsname". Rozdl je pouze v~tom, e prvn token + se neexpanduje a e za nm me (po expanzi) nsledovat +. Pi skenovn a + ji probh pln expanze a pi n se nesm objevit na +vstupu do hlavnho procesoru token typu kontroln sekvence, jinak +nastane chyba, kterou u znme z~pouvn "\csname", "\endcsname": + +\begtt +! Missing \endmubyte inserted. +\endtt + +Primitiv "\mubyte" na rozdl od "\csname" neprovd innost na rovni +expand procesoru, ale jedn se o~piazovac primitiv zpracovan na +rovni hlavnho procesoru. Take po + +\begtt +\edef\a{\mubyte X ABC\endmubyte} +\endtt +% +bude makro "\a" obsahovat tokeny: "\mubyte X ABC\endmubyte". + +Pklady: + +\begtt +\mubyte ^^c1 ^^c3^^81\endmubyte % +\mubyte ^^e1 ^^c3^^a1\endmubyte % +% atd. -- implementace UTF8 + +\mubyte \endash ^^c4^^f6\endmubyte % pklad na kontroln sekvenci +\mubyte \integral INT\endmubyte % pklad pro ilustraci, viz dle. + +\mubytein=1 \mubyteout=1 \mubytelog=1 % od tto chvle je pekdovn aktivn + +\def\endash {--} +\def\integral {\ifmmode \int\else $\int$\fi} +\endtt + +V~tomto pklad je v~mst vce mezer a +tabultor. Protoe tabultory maj kategorii mezery, jsou vechny +tyto znaky pemnny token procesorem na jedinou mezeru poadovanou +v~syntaktickm pravidle pro "\mubyte", "\endmubyte". + +Po pouit definic z~pkladu se napklad slovo INTEGRAL promn v~token +"\integral" okamit nsledovan psmeny \uv{EGRAL}. V~textu INT EGRAL +bude za tokenem "\integral" mezera a teprve pak psmena +\uv{EGRAL}. Tak jsou mon konstrukce typu "\defINT{nco}" apod. +Kdy napeme "\show INT", dostaneme odpov: + +\begtt +> \integral=macro: +->\ifmmode \int \else $\int $\fi . +l.18 \show INT +\endtt +% +a "\string INT" se expanduje na text: "\integral". + +Po deklaraci INT podle pedchozho pkladu se me +stt, e nkdo nape: "\INT". Sprvn by to mlo vst na przdnou +kontroln sekvenci ("\csname\endcsname") nsledovanou kontroln +sekvenc "\integral". Protoe se ale s~przdnmi kontrolnmi +sekvencemi v~\TeX{}u moc asto nepracuje a pro uivatele by to mohlo +bt matouc, rozhodl jsem se tuto situaci oetit tak, e "\INT" je +pevedeno pouze na token "\integral". Pozor na skutenost, +e za sekvenc "\INT" nen \TeX{} ve stavu ignorovn mezer +a navc me za n okamit nsledovat psmeno. + +\sec Vlastnosti konverze +% ------------------- + +Multibytov sekvence jsou pevedeny ze vstupu pouze tehdy, pokud jsou +cel obsaeny v~jedinm dku. Pesah do dalho dku nen +mon. Pipojen "\endlinechar" na konci dku se me stt pedmtem +konverze podle konverzn tabulky. + +Sekvence "^^c3^^81" se nepromn ani po pouit definic z~pkladu na +byte \uv{}, protoe pevod dvojitch zobk na jednotliv byty +probh v~token procesoru, tj. pozdji, ne pevody vce byt na +jeden podle "\mubyte". + +Pevod vce byt na jeden byte nebo kontroln sekvenci +probh pozdji ne konverze podle "\xordcode" a pi vstupu do "\write" a +log soubor pak pevod podle "\mubyte" probh dve ne konverze podle +"\xchrcode". tedy mus obsahovat sekvenci byt tak, jak +jsou tyto byty konvertovny ze vstupnho souboru pomoc "\xordcode". + +Postupn procesy na vstupu a vstupu si meme naznait takto: + +\begtt +vstupn text -> \xordcode -> pipojen \endlinechar -> + \mubyte -> token procesor -> expanze ... +argument \write -> expanze -> \mubyte -> \xchrcode -> vstup +\endtt + +Pi vstupu do "\write" soubor a log zptn konvertovan + u nepodlhaj dal konverzi na formt typu +"^^c3^^81" ani opakovan konverzi podle "\mubyte". Tyto + se pouze pevedou podle hodnot "\xchrcode". + +Pokud se v~konverzn tabulce vyskytuj se spolenm +zatkem, ale rzn dlouh, pak input procesor enc\TeX{}u (od verze +Feb.~2003) pevd vdy podle nejdel mon , kter se +na vstupu objev. Pklad: + +\begtt +\mubyte X A\endmubyte +\mubyte Y ABC\endmubyte +\mubyte \foo ABCD\endmubyte +\endtt + +V~tomto pklad se kad A~konvertuje na X, ale pokud nsleduje BC, +pak se skupina ABC konvertuje na Y ovem s~tou vjimkou, e se skupina +ABCD konvertuje na "\foo". Na poad vkldn daj do konverzn tabulky +primitivem "\mubyte" v~tomto ppad nezle. + +Pokud se v~konverzn tabulce objev dv stejn , pak m +pednost ta, kter byla zanesena do tabulky pozdji. + + +\sec Konverze vstupu do logu a na terminl +% -------------------------------------- + +Vstup do logu a na terminl je pi nulovm "\mubytelog" ponechn bez +konverze. Pokud je v~takovm ppad "\xprncode" znaku nulov, pak se +znak vytiskne ve form "^^A" nebo "^^bc". Pi kladnm "\mubytelog" se +znaky zanesen do konverzn tabulky konvertuj zpt na +. Do logu a na terminl se ale na +nikdy nekonvertuj kontroln sekvence. + +Zptn konverze do logu a na terminl je nastavovna spolen +primitivem "\mubytelog" a nelze ji oddlit tak, e by napklad pro +terminl byla zptn konverze potlaena a pro log soubory nikoli. + +Vpisy do logu a na terminl obas obsahuj kompletn pepis prv +tenho dku, kter je napklad pi hlen chyby rozrten na dva +dky, aby \TeX{} naznail msto, kde dolo k~problmu. Pro dal +vklad budeme tmto stem logu kad \uv{pepisy dk}. + +Je-li registr "\mubytein" nulov, pak pepisy dk +funguj jako ve standardnm \TeX{}u. Je-li "\mubytein" kladn a +"\mubytelog" nulov, pak je v~pepisech dk zobrazen obsah dku a +po konverzi input procesorem enc\TeX{}u, tj. v~tchto pepisech se +mohou napklad vyskytovat kontroln sekvence, kter tam uivatel +vbec nenapsal. Jsou-li "\mubytein" i "\mubytelog" +kladn, pak jsou pepisy dk realizovny bez multibytov konverze +tam ani zpt. Probh jen konverze podle xchr a xord vektor. +Je teba si uvdomit, e v~tomto ppad mohou bt chybov vpisy +ponkud matouc. Napklad po + +\begtt +\mubyte \sekvence ABC\endmubyte \let\sekvence=\undefined +\mubytein=1 \mubytelog=1 +Tady je test ABC a dek pokauje. +\endtt +% +dostvme na vstupu: + +\begtt +! Undefined control sequence. +l.3 Tady je test ABC + a dek pokauje. +? +\endtt +% +Teprve "\show ABC" odhal: + +\begtt +> \sekvence=undefined. +l.3 \show ABC +\endtt + + +\sec Mazn daj v~konverz tabulce +% ------------------------------- + +daje v~konverzn tabulce lze mazat jen hromadn: pkaz vymae +vechny daje zanajc na spolen prvn znak v~. +Provede se to pomoc pkazu "\mubyte \endmubyte". +Napklad: + +\begtt +\mubyte A A\endmubyte +\endtt +% +odstran z~konverzn tabulky vechny zanajc +psmenem A. + +Nsledujc kd promae celou tabulku: + +\catcode`<=12 +\begtt +{\catcode`\^^@=12 +\gdef\clearmubytes{\bgroup \count255=1 + \loop \uccode`X=\count255 + \uppercase{\mubyte XX\endmubyte}% + \advance\count255 by1 + \ifnum\count255<256 \repeat + \mubyte ^^@^^@\endmubyte + \egroup} +} +\clearmubytes +\endtt +\catcode`<=13 + + +\sec Vstupn a vstupn st konverzn tabulky +% ----------------------------------------- + +Konverzn tabulka konstruovan pomoc "\mubyte", "\endmubyte" m dv +nezvisl sti: vstupn, se kterou pracuje input procesor a vstupn, +kter se pouv pi zptnch konverzch. daje je mon zanst +nezvisle do kad sti pi pouit neprzdnho +(viz syntaktick pravidlo "\mubyte" na zatku tto kapitoly). +Je-li +przdn, pak se poadavek na konverzi zanese dvojmo do vstupn i +vstupn sti. Je-li ale znak kategorie~8 (obvykle +znak "_"), pak se daj zanese jen do vstupn sti tabulky. Obsahuje-li + dvojici znak kategorie~8 (obvykle tedy "__"), pak +se daj zanese jen do vstupn sti tabulky. + +Pi "__" (vstupn st tabulky) je dovoleno mt +przdnou . V~takovm ppad se pvodn +daje z~vstupn sti tabulky, kter odpovdaj , +vymaou. Pokud tam dn takov daje nebyly, nestane se nic. + +Vrame se ke kdu na vymazn tabulky z~pedchoz sekce. Tento kd +vymae ve ze vstupn sti tabulky a z~vstupn jen ty daje, kter +jsou vzny na ve tvaru . daje z~vstupn sti +vzan na kontroln sekvence nejsou tmto zpsobem promazny. +Promazn jednoho daje udlme pomoc: +"\mubyte \foo __\endmubyte". + + +\sec Vkldn dalch kontrolnch sekvenc +% ------------------------------------- + +Je-li ve tvaru kontroln sekvence a navc + je token kategorie~6 +(obvykle znak "#") nsledovan , +pak input procesor ponech beze zmny znak, +ale vlo ped n deklarovanou kontroln sekvenci. +daj se zanese jen do vstupn sti konverzn tabulky. +Pklad: + +\begtt +\def\abc{ABC} +\mubyte X BC\endmubyte \mubytein=1 +\mubyte \foo #3 \abc\endmubyte Nyn ABC pechz na \foo ABC +\mubyte \foo #1 \abc\endmubyte Nyn ABC pechz na \foo AX +\endtt + +Parametr m stejnou syntaxi, jako gramatick kategorie +z~\TeX{}booku. Napklad pi pmm zpisu dekadickch slic +me nsledovat jedna nepovinn mezera, jako v~pedchoz ukzce. + +Je-li rovno nule, pak bude +ponechna beze zmny cel , kter nsleduje. +Vsledek je tedy stejn, jako kdyby mlo hodnotu dlky +. + +Hodnota je akceptovna jen v~rozsahu 0 a 50. Zporn sla +jsou interpretovna stejn jako nula a sla vt ne 50 zpsob, e +input procesor vypne po vloen kontroln sekvence dal konverzi a +do konce dku. + +Praktick pklad pouit: + +\begtt +\mubyte \warntwobytes #2^^c3\endmubyte +\mubyte \warntwobytes #2^^c4\endmubyte +\mubyte \warntwobytes #2^^c5\endmubyte +% atd... +\def\warntwobytes #1#2{\message{WARNING: the UTF8 code: + \noconvert#1\noconvert#2 is not defined i my macros.}} +\endtt + +V~tomto pklad byl pouit nov primitiv enc\TeX{}u "\noconvert", +jeho vlastnosti jsou uvedeny pozdji v~kapitole~5. Pipomnm tak, +e od verze Feb.~2003 nezpsobuj jednoznakov kolizi +s~vceznakovmi se stejnm zatkem, take tento +pklad neru konverzi \uv{znmch} UTF-8 kd. + + + +\sec Rozpoznn zatku dku +% ------------------------ + +Existuj-li v~konverzn tabulce +s~prvnm znakem shodnm s~aktulnm "\endlinechar", +tj.~ jsou ve tvaru , +pak input procesor navc ovuje, zda je shodn se +zatkem kadho dku. Pokud ano, provede poadovanou konverzi. +Pklad pouit: + +\begtt +\bgroup \uccode`X=\endlinechar \uppercase{\gdef\echar{X}}\egroup +\mubyte \fooB \echar ABC\endmubyte % vyhovuje ABC na zatku dku +\mubyte \fooE ABC\echar \endmubyte % vyhovuje ABC na konci dku +\mubyte \fooW \spce\space ABC\space \endmubyte + % vyhovuje ABC jako slovo s mezerami vpedu i vzadu +\mubyte \foo #\echar ABC\endmubyte % + % je-li ABC na zatku dku, vlo ped nj \foo +\endtt + + +\sec Potlaen expanze v~parametrech write +% ------------------------------------- + +Chceme-li pevdt kontroln sekvence zptn na pi +zpisu do "\write" soubor, musme potlait ppadnou expanzi tchto +kontrolnch sekvenc napklad pomoc "\let\macro=\relax". Protoe ale +"\write" asto pracuje asynchronn a kontrolnch sekvenc mapujcch +UTF-8 meme mt stovky nebo tisce, umouje enc\TeX{} nastavit +v~dob expanze parametr "\write" pslunm kontrolnm sekvencm +vznam "\relax" automaticky. Dl to pi "\mubyteout>=3" a vznam +"\relax" piad prv tm kontrolnm sekvencm, kter maj +ve vstupn sti konverzn tabulky neprzdnou . +Jakkoli jin expanze mimo parametr "\write" probhaj +normlnm zpsobem. Pklad: + +\begtt +\mubyte \foo ABC\endmubyte \def\foo{macro body} +\mubyteout=2 +\immediate\write16{testwrite: \foo} % zape "testwrite: macro body" +\immediate\write16{testwrite: \noexpand\foo} % zape "testwrite: ABC" +\mubyteout=3 +\immediate\write16{testwrite: \foo} % zape "testwrite: ABC" +\message{testmessage: \foo} % zape "testmessage: macro body" +\message{testmessage: \noexpand\foo} % zape "testmessage: \foo" +\edef\a{testedef: \foo} % expanduje na macro body +\foo % expanduje na macro body +\immediate\write16{\meaning\foo} % zape "\relax" +\message{\meaning\foo} % zape "macro:->macro body" +\endtt + +Pomoc zpisu "\mubyte \relax \endmubyte" je mono +pidlit kontroln sekvenci pznak, aby se neexpandovala +v~parametrech "\write" pi "\mubyteout>=3", ale na druh stran nebude +konvertovna do dn , ale vype se jako obvykle. +Uveden zpis m tedy stejn vznam jako +"\mubyte" " __\string" "\space\endmubyte", +ale navc et pamt \TeX{}u, nebo \TeX{} nen nucen ukldat +string do poolu. + +Popsanou vlastnost enc\TeX{}u mete vyut k~vytven vlastnch +maker, kter jinak expanduj v~parametrech "\write" a jinak +\uv{normln}. Pklad: + +\begtt +\mubyte \writeparameter \relax \endmubyte \def\writeparameter{} +\def\mymacro{\ifx\writeparameter\relax Tady expanduji ve write. + \else Tady expanduji normln.\fi} +\endtt + + +\sec Asynchronn zpracovn pkazu write +% ------------------------------------ + +Je znmo, e pokud nepouijeme "\immediate", pak se argument pkazu +"\write" expanduje a pozdji: ne v~okamiku vskytu pkazu. +Pkaz "\write" si proto ulo do sv pamti aktuln +hodnotu registru "\mubyteout" v~dob prvnho zpracovn a pak +pi expanzi a zpisu do souboru tuto hodnotu pouije. + +Dky tto vlastnosti meme teba pro soubor s~obsahem zapisovat +s~hodnotou "\mubyteout=3" a souasn pi zpisu do jinho souboru +ponechme hodnotu "\mubyteout=0". To me bt douc +napklad proto, e soubor je uren ke zpracovn programem, kter +nem implementovnu schopnost prce s~UTF-8 kdovnm. Vyzkouejte: + +\begtt +\newwrite\tocfile \newwrite\indexfile +\immediate\openout\tocfile=\jobname.toc +\immediate\openout\indexfile=\jobname.idx +\mubyteout=3 +\write\tocfile{parametr se bude pozdji konvertovat do UTF-8} +{\mubyteout=0 \write\indexfile{parametr zstane nezmnn bez konverze}} +\write\tocfile{zde se znovu provede konverze} +\end % a teprve v tento okamik se vechny ti zpisy provedou +\endtt + + +\sec Hodnoty registru mubyteout +% -------------------------- + +Krom ji zmnnch hodnot 0, 1, 2 a 3 registru "\mubyteout" me bt +nkdy uiten nastavit tento registr na hodnoty $-1$, $-2$ a $-3$. +Vznam tchto hodnot je vysvtlen v~nsledujc tabulce: + +\vbox{ +\begtt +\mubyteout -> -> potlaen expanze +---------------------------------------------------------------------------- + 0 ne ne ne + 1 ano ne ne + 2 ano ano ne + 3 ano ano ano + -1 ano ne ano + -2 ne ne ano +\endtt +\relax} + +Je-li zapnut konverze "->", pak se tato konverze +provd i do logu a na terminl, zatmco konverze +"->" a potlaen +expanze se tkaj jen argument "\write" a "\special". + + +\kap Argumenty primitivu special + %%%%%%%%%%%%%%%%%%%%%%%%%%% + +V~argumentech "\special" se asto objevuj texty +v~pirozenm jazyce (napklad texty pro zloky do PDF dokumentu). +Pi stle astjm pouvn UTF-8 je douc, aby tyto texty byly +kdovny v~tomto kdovn. Enc\TeX{} tuto monost nabz. + +Argument primitivu "\special" je zpracovn podle hodnoty celoselnho +registru "\specialout", kter m implicitn hodnotu~0. + +\begitems +* "\speialout=0" -- dn konverze argumentu se neprovede. +* "\speialout=1" -- provede se konverze jen podle vektoru xchr. +* "\speialout=2" -- provede se konverze jen podle hodnoty "\mubyteout". +* "\speialout=3" -- provede se konverze podle hodnoty "\mubyteout" + nsledovan konverz podle xchr. +\enditems + +Primitiv "\special" expanduje svj argument okamit. Pi +"\specialout" 2 nebo 3 se expanze provede podle hodnoty "\mubyteout" +stejn jako u~primitivu "\write". Pak si pkaz "\special" ulo do +pamti aktuln hodnoty "\specialout" a "\mubyteout" a tyto hodnoty +pouije jet jednou pi skutenm vstupu argumentu do "dvi" souboru. + + +\kap Primitiv noconvert + %%%%%%%%%%%%%%%%%% + +Enc\TeX{} zavd primitiv "\noconvert", kter +potla ppadnou konverzi nsledujcho znaku nebo kontroln sekvence. +Pesnji: primitiv "\noconvert" je neexpandujc a v~sazb neudl nic +(podobn jako "\relax"). Pokud se ale +tento primitiv vyskytne v~argumentu "\message" nebo "\errmessage", +pak jeho kontroln sekvence nen vbec vytitna. Navc pak nsledujc +znak nen konvertovn na , akoli teba je "\mubytelog" +kladn a znak je uveden ve vstupn sti konverzn tabulky. + +Primitiv "\noconvert" se chov stejn i v~parametrech "\write" a +"\special". V~tomto ppad navc me primitiv "\noconvert" potlait +konverzi nsledujc kontroln sekvence, akoli je teba "\mubyteout" +v ne~2. + +Konstrukce "\noconvert\noconvert" vytiskne jedno "\noconvert". + +Pokud se m primitiv "\noconvert" vypsat v~jinch situacch (napklad +pi vpisu kontextu pi hlen o~chyb nebo pi rznch +"\tracing..."), pak jeho kontroln sekvence nemiz a navc +neovlivn tisk nsledujcho znaku. + + +\kap Seznam primitiv enc\TeX{}u + %%%%%%%%%%%%%%%%%%%%%%%%%%% + +Pro lep orientaci uvdm pehled novch primitiv enc\TeX{}u: + +\begitems +* "\mubyte" --- zan daje do konverzn tabulky, viz~kap.~3. +* "\endmubyte" --- separtor pro "\mubyte". +* "\mubytein" --- registr integer. 0: vcebytov vstupn konverze + potlaena, 1 a vce: vcebytov vstupn konverze je + aktivovna. +* "\mubyteout" --- registr integer, ovlivn konverzi do vstupnch + soubor "\write" a parametr "\special", viz~3.10. +* "\mubytelog" --- registr integer, 0: vcebytov vstupn konverze do + logu a na terminl potlaena, 1 a vce: vcebytov + vstupn konverze je aktivovna. +* "\specialout" --- registr integer, ovlivn zpracovn parametr + "\special", viz~kap.~4. +* "\noconvert" --- podobn jako "\noexpand", ale pro konverze. Viz~kap.~5. +* "\xordcode" --- pstup k~vektoru xord, viz 2.1. +* "\xchrcode" --- pstup k~vektoru xchr, viz 2.1. +* "\xprncode" --- pstup k~vektoru pro tisknutelnost znak, viz 2.2. +\enditems + +Pehled prefix pi pouit +"\mubyte""\endmubyte". +Znak~"#" zde oznauje libovoln token kategorie~6 a znak~"_" oznauje +libovoln token kategorie~7. + +\begitems +* dn prefix --- zznam do vstupn i vstupn tabulky. +* "_" --- zznam jen do vstupn sti tabulky +* "__" --- zznam jen do vstupn sti tabulky +* "#" --- vloen kontroln sekvence, nsledujcch znak + ponech input procesor beze zmny. +* "\relax" --- kontroln sekvence nebude expandovat v~parametrech "\write" +\enditems + +Dal prefixy se mohou objevit v~budoucch verzch enc\TeX{}u. Vdy +budou mt kategorie odlin od 11 a 12, take pro zatek + je vhodn v~makrech pout token kategorie 11 nebo 12, +aby se pedelo ppadnmu konfliktu s~budouc vez enc\TeX{}u. + + +\kap Dokumentace k~piloenm souborm maker + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Tato st dokumentace nebyla ve verzi Dec. 2002 revidovan a je +ponechna ve stavu z~roku 1997 s~vjimkou nsledujcho odstavce. + +\sec Kdovn UTF-8 +% -------------- + +Pro vstupn kdovn UTF-8 jsou pipraveny soubory "utf8-csf.tex" a +"utf8-t1.tex". V~tomto ppad je pekdovn implementovno pomoc +"\mubyte" a vektory xord, xchr jsou nastaveny tak, e na jejich rovni +je zachovno identick zobrazen. + +\sec Formty typu {\tt plain-x-y} +% ---------------------------- + +V~balku jsou pipraveny inicializan soubory pro vygenerovn formtu +podobnmu standardnmu formtu plain. Napklad pkazem + +\begtt +$ tex -ini -enc plain-1250-cs +\endtt + +vygenerujeme formt analogick plainu, kter te vstupn soubory +v~kdovn CP1250 a pracuje s~CS-fonty. + +V~balku jsou k~dispozici tyto inicializan soubory pro plain: + +\begtt +plain-il2-cs ... vstup podle ISO8859-2, textov fonty v TeXu: CS-font +plain-kam-cs ... vstup podle Kamenickch, textov fonty v TeXu: CS-font +plain-1250-cs ... vstup podle CP1250, textov fonty v TeXu: CS-font +plain-852-cs ... vstup podle CP852, textov fonty v TeXu: CS-font +plain-il2-dc ... vstup podle ISO8859-2, textov fonty v TeXu: DC +plain-kam-dc ... vstup podle Kamenickch, textov fonty v TeXu: DC +plain-1250-dc ... vstup podle CP1250, textov fonty v TeXu: DC +plain-852-dc ... vstup podle CP852, textov fonty v TeXu: DC +\endtt + +\sec Poznmka k~dlouhm nzvm soubor +% --------------------------------- + +Vechny soubory "*.tex" v~balku spluj DOSov omezen na dlku nzvu +8+3. Vjimkou z~tohoto pravidla jsou pouze soubory plain-x-y popsan +ve a analogick inicializan soubory pro La\TeX{}. Pokud pouvte +systm, kter je omezen na 8+3, doporuuji pro kad kdovn zvolit +jedno psmeno (napklad c=cs, d=dc, i=il2, w=1250, p=852, k=kam, +o=koi8, m=mac) a nahradit nzvy soubor v~distribuci tmito nzvy: + +\begtt +plain-il2-cs.tex plain-ic.tex +plain-kam-cs.tex plain-kc.tex +plain-1250-cs.tex plain-wc.tex +plain-852-cs.tex plain-pc.tex +plain-il2-dc.tex plain-id.tex +plain-kam-dc.tex plain-kd.tex +plain-1250-dc.tex plain-wd.tex +plain-852-dc.tex plain-pd.tex +kam-latex.tex latex-ki.tex +852-latex.tex latex-pi.tex +\endtt + +Obsah "\message" v~souborech {\tt plain-x-y} nemte. Napklad formt +"plain-wc" se po sputn pedstav svm plnm jmnem + +\catcode`\<=12 +\begtt +The format: plain-1250-cs . +\endtt +\catcode`\<=13 + +\sec Kdovac tabulky +% ---------------- + +Protoe zmna vektor xord a xchr me totln rozhodit chovn +\TeX{}u zcela k~nepoznn, doporuuji pouvat urit soubory, kter +nastav poadovan kdovn, a dle s~primitivy "\xordcode", +"\xchrcode" a "\xprncode" za bhu \TeX{}u moc nelakovat. V~balku +enc\TeX{} jsou k~dispozici soubory, kter zmnu vektor pro bn +kdovn definuj. Tyto soubory maj obvyklou pponu tex. kme jim +kdovac tabulky. Rozliujeme dva typy kdovacch tabulek. + + +\sec Prvn typ kdovacch tabulek +% ---------------------------- + +Prvn typ tabulek deklaruje vnitn kdovn \TeX{}u ve vztahu ke kdovn, +kter je bn pouvan v~hostitelskm operanm systmu. Mme-li +napklad v~systmu kdovn ISO-8859-2 a vnitn kdovn \TeX{}u volme +podle Corku (kdovn je oznaovno jako T1), pak tabulka mus pedefinovat +xord vektor tak, aby mapoval znaky z~ISO-8859-2 do T1 a vektor xchr mus +pevdt zptky z~T1 do kdovn systmu. + +Tento typ tabulek je pouit v~inicializanch souborech "plain-*.tex" a +obsahuje v~nzvu souboru vstupn i clov vnitn kdovn \TeX{}u. Podvejte +se, jak vypad napklad tabulka "il2-t1.tex", kter definuje vnitn +kdovn \TeX{}u podle Corku a vstupn kdovn ISO8859-2. + +Kad tabulka prvnho typu te soubor "encmacro.tex" s~definicemi maker +"\setcharcode", "\expandto", "\texaccent", "\texmacro" a "\redefaccent". + +\begitems +* "\setcharcode #1 #2 #3 #4 #5 #6 #7" deklaruje \TeX{}ov kdy pro jeden znak. + Nastav xord["#1"]="#2", xchr["#2"]="#1", "\xprncode#2"="#7" a + postupn nastav "\lccode", "\uccode", "\sfcode" a "\catcode" znaku + s~kdem "#2" na hodnoty "#3", "#4", "#5" a "#6". + Je-li "#1" otaznk, pak se xord a xchr nenastav. + +* "\expandto {}" definuje aktivn podobu znaku "#2" z~poslednho + "\setcharcode" tak, e tento token expanduje na . Podrobnji: + je-li v~"\setcharcode" uvedeno "#6=13", pak bude kad vskyt znaku "#2" + expandovat na . Nen-li v~"\setcharcode" eeno "#6=13", pak + k~expanzi znaku "#2" na dojde teprve tehdy, kdy bude + (teba pozdji) nastaveno "\catcode" znaku "#2" na "13". + +* "\texaccent" uv{zpis akcentu} pipravuje expanzi \uv{zpisu akcentu} + na znak s~kdem "#2" z~naposledy pouitho "\setcharcode". Napklad + zpis "\v C" bude po naten souboru il2-t1.tex expandovat na znak + s~kdem {\tt\char`\"83}. Pokud zpis pro akcent nen v~tabulce uveden, + zstv v~pvodnm vznamu, tj. teba "\v g" expanduje na primitiv + "\accent", kter usad hek nad psmeno g. + K~aktivaci vech \uv{zpis akcentu} dojde a po pouit makra + "\redefaccent" (viz ne). + +* "\texmacro #1" deklaruje makro "#1" tak, e bude expandovat na znak s~kdem + "#2" z~naposledy pouitho "\setcharcode". K~pedefinovn makra "#1" + dojde (na rozdl od "\texaccent") okamit. Napklad makro "\S" bude + po naten souboru "il2-t1.tex" expandovat na znak s~kdem "9F", protoe + na tto pozici je podle Corku znak paragraf. + +* "\redefaccent #1" aktivuje expanzi zpis podle "\texaccent" pro jeden + konkrtn akcent "#1". +\enditems + +Krom toho je na zatku tabulky ten soubor definic zvislch na kdovn +textovho fontu \TeX{}u. V~na ukzce jde napklad o~soubor "t1macro.tex". +Definuj se tam sekvence "\promile", "\clqq" a dal. + +Me se stt, e nechceme uveden makra pout, ale hodnoty z~tabulky +nast chceme. Pak meme pistoupit k~nsledujcmu triku: Definujeme si +makra "\setcharcode" a "\redefaccent" sami a dle provedeme naten tabulky +takto: + +\begtt +\let\originput=\input \def\input #1 \originput il2-t1 +\let\input=\originput +\endtt + +V~balku jsou pipraveny tyto tabulky prvnho druhu: + +\begtt +Nzev souboru vstupn kdovn vnitn kdovn TeXu +------------------------------------------------------------- +il2-csf.tex ISO8859-2 CS-font +kam-csf.tex Kamenickch CS-font +1250-csf.tex CP1250, MS-Windows CS-font +852-csf.tex CP852, PC Latin2 CS-font +il2-t1.tex ISO8859-2 T1 alias Cork +kam-t1.tex Kamenickch T1 alias Cork +1250-t1.tex CP1250, MS-Windows T1 alias Cork +852-t1.tex CP852, PC Latin2 T1 alias Cork +\endtt + +Za zmnku stoj prvn uveden tabulka "il2-csf.tex", protoe ta +jedin ponechv vektory xord a xchr beze zmny. Tuto tabulku +je tedy mon pout i v~\TeX{}u, kter neobsahuje rozen +enc\TeX{}. Vechny ostatn tabulky enc\TeX{} explicitn vyaduj. + + +\sec Druh typ kdovacch tabulek +% ---------------------------- + +Druh typ tabulek provd pekdovn pouze na vstupn stran \TeX{}u. Poznme +je podle toho, e nemaj na konci nzvu znaku pro vnitn kdovn \TeX{}u +(tj. "t1" nebo "csf"), ale znaku pouvanou pro kdovn operanho systmu +(nap. "il2", "kam"). Teba tabulka "kam-il2.tex" provd na vstupn stran +konverzi z~kdovn kamenickch do kdovn ISO8859-2. Tento typ tabulek +pozmuje pouze vektor xchr, ale vstupn vektor xord ponechv beze zmny. +Takovou tabulku pouijeme, pokud \TeX{}em natme soubor, kter je v~jinm +kdovn, ne bn pouvme na naem operanm systmu. Pitom vstup do +log, aux apod. ponechme v~kdovn podle naeho systmu. Tyto zmny +kdovn je mon provdt i v~prbhu zpracovn jedinho dokumentu. + +Druh typ tabulek navazuje na vstupn kdovn deklarovan dve +tabulkou prvnho typu. Nastaven vnitnho kdovn \TeX{}u nen vbec +druhm typem tabulek mnno. Uvedeme pklad. Pi generovn formtu +jsme pouili tabulku prvnho typu "il2-t1.tex", take vnitn +kdovn mme podle Corku. Nyn meme pi zpracovn dokumentu na +pechodnou dobu vybrat nkterou z~tabulek "*-il2.tex", teba: + +\begtt +\input kam-il2 +\input dokument +\restoreinputencoding +nyn mohu pracovat v pvodnm kdovn... +\end +\endtt + +V~dob, kdy probh natn souboru dokument.tex se provd +pekdovn z~Kamenickch do T1, uvnit \TeX{}u se ve zpracovv +v~T1 a vstup na terminl a do logu mme v~ISO8859-2. V~tomto +kdovn je tak zapsn dal text pod "\restoreinputencoding". +Tabulka toti deklaruje toto makro, aby byl mon nvrat k~pvodnmu +nastaven vektoru xord. + +Pi pouit tabulek druhho typu musme dt velk pozor, abychom nco +neudlali patn. V~naem pklad jsou vechny vstupy do soubor +typu aux v~ISO-8859-2, take je pi opakovanm sputn \TeX{}u nesmme +natat v~okamiku, kdy mme nastaven vstupn kd podle Kamenickch. To je +tak dvod, pro nedoporuuji generovat formt pkazem "\dump" v~situaci, +kdy mme natenou tabulku druhho typu. + +\end + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/enctex/math-example.tex b/Master/texmf-dist/doc/generic/enctex/math-example.tex new file mode 100644 index 00000000000..24cdc0af05e --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/math-example.tex @@ -0,0 +1,23 @@ +% this file is encoded by UTF-8. +% If your text editor supports this encoding you can see raw math +% characters here. + +% You can try: +% $ initex plain-utf8-ec +% $ tex -fmt plain-utf8-ec math-example + +\mathchardef\d="0064 +$$ x∧(y∨z) ≥ (x∧y)∨(x∧z) $$ +$$ f(ξ,η) = ∑_{i=1}^m ∑_{j=1}^n f(x_iα_{ij}y_j,α_{ij}) = f(β_i,γ_j) $$ +$$ (φ,ψ) = ∫φ(x)\,ψ(x)\,\d x $$ +$$ 240° + 240° → 120° $$ +$$ A△B = (A∖B)∪(B∖A) $$ +$$ τ(E∪F) = τ\!\left(⋃_{n=1}^∞ τ(E_n)\right) = ∑_{n=1}^∞ τ(E_n) $$ +$$ ∀f_n∈F\colon ∫f_n\,\dμ↘0 $$ +$$ A≈B ⇔ B≈A $$ +$$ Ξ = X^i{∂\over∂x^i} + Y^A{∂\over∂y^A} + Z^A_i{∂\over∂y^A_i} $$ +$$ \hatΛ_c \hatΛ_{c'} ≠ 0 $$ +$$ W_{j→k}(τ_0,τ) = {2π\overℏ}|H^{\rm I}_{kj}|^2\,δ_{Δτ}(ω_{kj})\,Δτ $$ +$$ Β(β)/Γ(γ) ≪ Ζ(ζ)/Υ(υ) $$ +$$ 1\;℉ = 5/9\;℃\;,\quad 1\;Å = 10^{-4}\;µ{\rm m} $$ +\bye diff --git a/Master/texmf-dist/doc/generic/enctex/unimap.diff b/Master/texmf-dist/doc/generic/enctex/unimap.diff new file mode 100644 index 00000000000..2c8e2efa36f --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/unimap.diff @@ -0,0 +1,1402 @@ +--- NamesList.txt 2004-06-11 17:12:47.000000000 +0200 ++++ unimap.txt 2004-06-11 13:57:46.000000000 +0200 +@@ -469,6 +469,7 @@ + 00AC NOT SIGN + = angled dash (in typography) + x (reversed not sign - 2310) ++ \ \neg + 00AD SOFT HYPHEN + = SHY + = discretionary hyphen +@@ -488,8 +489,10 @@ + x (combining ring above - 030A) + x (superscript zero - 2070) + x (ring operator - 2218) ++ \ \degree + 00B1 PLUS-MINUS SIGN + x (minus-or-plus sign - 2213) ++ \ \pm + 00B2 SUPERSCRIPT TWO + = squared + * other superscript digit characters: 2070-2079 +@@ -508,6 +511,7 @@ + # 0020 0301 + 00B5 MICRO SIGN + # 03BC greek small letter mu ++ \ \mu + 00B6 PILCROW SIGN + = PARAGRAPH SIGN + * section sign in some European usage +@@ -608,6 +612,7 @@ + @ Mathematical operator + 00D7 MULTIPLICATION SIGN + = z notation Cartesian product ++ \ \times + @ Letters + 00D8 LATIN CAPITAL LETTER O WITH STROKE + = LATIN CAPITAL LETTER O SLASH +@@ -688,6 +693,7 @@ + : 006F 0308 + @ Mathematical operator + 00F7 DIVISION SIGN ++ \ \div + @ Letters + 00F8 LATIN SMALL LETTER O WITH STROKE + = LATIN SMALL LETTER O SLASH +@@ -853,6 +859,7 @@ + * Turkish, Azerbaijani + * uppercase is 0049 + x (latin small letter i - 0069) ++ \ \imath + 0132 LATIN CAPITAL LIGATURE IJ + # 0049 004A + 0133 LATIN SMALL LIGATURE IJ +@@ -2431,37 +2438,61 @@ + 0390 GREEK SMALL LETTER IOTA WITH DIALYTIKA AND TONOS + : 03CA 0301 + 0391 GREEK CAPITAL LETTER ALPHA ++ \ \Alpha + 0392 GREEK CAPITAL LETTER BETA ++ \ \Beta + 0393 GREEK CAPITAL LETTER GAMMA + = gamma function ++ \ \Gamma + 0394 GREEK CAPITAL LETTER DELTA + x (increment - 2206) ++ \ \Delta + 0395 GREEK CAPITAL LETTER EPSILON ++ \ \Epsilon + 0396 GREEK CAPITAL LETTER ZETA ++ \ \Zeta + 0397 GREEK CAPITAL LETTER ETA ++ \ \Eta + 0398 GREEK CAPITAL LETTER THETA ++ \ \Theta + 0399 GREEK CAPITAL LETTER IOTA + = iota adscript ++ \ \Iota + 039A GREEK CAPITAL LETTER KAPPA ++ \ \Kappa + 039B GREEK CAPITAL LETTER LAMDA ++ \ \Lambda + 039C GREEK CAPITAL LETTER MU ++ \ \Mu + 039D GREEK CAPITAL LETTER NU ++ \ \Nu + 039E GREEK CAPITAL LETTER XI ++ \ \Xi + 039F GREEK CAPITAL LETTER OMICRON ++ \ \Omicron + 03A0 GREEK CAPITAL LETTER PI + x (n-ary product - 220F) ++ \ \Pi + 03A1 GREEK CAPITAL LETTER RHO ++ \ \Rho + 03A3 GREEK CAPITAL LETTER SIGMA + x (latin capital letter esh - 01A9) + x (n-ary summation - 2211) ++ \ \Sigma + 03A4 GREEK CAPITAL LETTER TAU ++ \ \Tau + 03A5 GREEK CAPITAL LETTER UPSILON ++ \ \Upsilon + 03A6 GREEK CAPITAL LETTER PHI ++ \ \Phi + 03A7 GREEK CAPITAL LETTER CHI ++ \ \Psi + 03A8 GREEK CAPITAL LETTER PSI ++ \ \Psi + 03A9 GREEK CAPITAL LETTER OMEGA + x (ohm sign - 2126) + x (inverted ohm sign - 2127) ++ \ \Omega + 03AA GREEK CAPITAL LETTER IOTA WITH DIALYTIKA + : 0399 0308 + 03AB GREEK CAPITAL LETTER UPSILON WITH DIALYTIKA +@@ -2479,51 +2510,76 @@ + 03B1 GREEK SMALL LETTER ALPHA + x (latin small letter alpha - 0251) + x (proportional to - 221D) ++ \ \alpha + 03B2 GREEK SMALL LETTER BETA + x (latin small letter sharp s - 00DF) + x (latin small letter b with stroke - 0180) ++ \ \beta + 03B3 GREEK SMALL LETTER GAMMA + x (latin small letter gamma - 0263) ++ \ \gamma + 03B4 GREEK SMALL LETTER DELTA ++ \ \delta + 03B5 GREEK SMALL LETTER EPSILON + x (latin small letter open e - 025B) ++ \ \varepsilon + 03B6 GREEK SMALL LETTER ZETA ++ \ \zeta + 03B7 GREEK SMALL LETTER ETA ++ \ \eta + 03B8 GREEK SMALL LETTER THETA + x (latin small letter barred o - 0275) + x (cyrillic small letter fita - 0473) ++ \ \theta + 03B9 GREEK SMALL LETTER IOTA + x (latin small letter iota - 0269) + x (turned greek small letter iota - 2129) ++ \ \iota + 03BA GREEK SMALL LETTER KAPPA ++ \ \kappa + 03BB GREEK SMALL LETTER LAMDA + = lambda ++ \ \lambda + 03BC GREEK SMALL LETTER MU + x (micro sign - 00B5) ++ \ \mu + 03BD GREEK SMALL LETTER NU ++ \ \nu + 03BE GREEK SMALL LETTER XI ++ \ \xi + 03BF GREEK SMALL LETTER OMICRON ++ \ \omicron + 03C0 GREEK SMALL LETTER PI + * math constant 3.141592... ++ \ \pi + 03C1 GREEK SMALL LETTER RHO ++ \ \rho + 03C2 GREEK SMALL LETTER FINAL SIGMA + = stigma (the Modern Greek name for this letterform) + * not to be confused with the actual stigma letter + x (greek small letter stigma - 03DB) ++ \ \varsigma + 03C3 GREEK SMALL LETTER SIGMA + * used symbolically with a numeric value 200 ++ \ \sigma + 03C4 GREEK SMALL LETTER TAU ++ \ \tau + 03C5 GREEK SMALL LETTER UPSILON + x (latin small letter upsilon - 028A) + x (latin small letter v with hook - 028B) ++ \ \upsilon + 03C6 GREEK SMALL LETTER PHI + x (latin small letter phi - 0278) + x (greek phi symbol - 03D5) + * the ordinary Greek letter, showing considerable glyph variation + * in mathematical contexts, the loopy glyph is preferred, to contrast with 03D5 ++ \ \varphi + 03C7 GREEK SMALL LETTER CHI ++ \ \chi + 03C8 GREEK SMALL LETTER PSI ++ \ \psi + 03C9 GREEK SMALL LETTER OMEGA ++ \ \omega + 03CA GREEK SMALL LETTER IOTA WITH DIALYTIKA + : 03B9 0308 + 03CB GREEK SMALL LETTER UPSILON WITH DIALYTIKA +@@ -2542,6 +2598,7 @@ + = GREEK SMALL LETTER SCRIPT THETA + * used as a technical symbol + # 03B8 greek small letter theta ++ \ \vartheta + 03D2 GREEK UPSILON WITH HOOK SYMBOL + = GREEK CAPITAL LETTER UPSILON HOOK + # 03A5 greek capital letter upsilon +@@ -2555,11 +2612,13 @@ + * used as a technical symbol, with a stroked glyph + * maps to "phi1" symbol entities + # 03C6 greek small letter phi ++ \ \phi + 03D6 GREEK PI SYMBOL + = GREEK SMALL LETTER OMEGA PI + * used as a technical symbol + * a variant of pi, looking like omega + # 03C0 greek small letter pi ++ \ \varpi + 03D7 GREEK KAI SYMBOL + * used as an ampersand + @ Archaic letters +@@ -2601,10 +2660,12 @@ + = GREEK SMALL LETTER SCRIPT KAPPA + * used as technical symbol + # 03BA greek small letter kappa ++ \ \varkappa + 03F1 GREEK RHO SYMBOL + = GREEK SMALL LETTER TAILED RHO + * used as technical symbol + # 03C1 greek small letter rho ++ \ \varrho + 03F2 GREEK LUNATE SIGMA SYMBOL + = GREEK SMALL LETTER LUNATE SIGMA + # 03C2 greek small letter final sigma +@@ -2618,9 +2679,11 @@ + = straight epsilon + x (small element of - 220A) + # 03B5 greek small letter epsilon ++ \ \epsilon + 03F6 GREEK REVERSED LUNATE EPSILON SYMBOL + = reversed straight epsilon + x (small contains as member - 220D) ++ \ \backepsilon + @ Additional archaic letters for Bactrian + 03F7 GREEK CAPITAL LETTER SHO + 03F8 GREEK SMALL LETTER SHO +@@ -9309,6 +9372,7 @@ + = three dot leader + x (vertical ellipsis - 22EE) + # 002E 002E 002E ++ \ \ldots + 2027 HYPHENATION POINT + @ Formatting characters + 2028 LINE SEPARATOR +@@ -9662,6 +9726,7 @@ + 2103 DEGREE CELSIUS + = degrees Centigrade + # 00B0 0043 ++ \ \degreeC + 2104 CENTRE LINE SYMBOL + = clone + 2105 CARE OF +@@ -9674,6 +9739,7 @@ + 2108 SCRUPLE + 2109 DEGREE FAHRENHEIT + # 00B0 0046 ++ \ \degreeF + 210A SCRIPT SMALL G + = real number symbol + # 0067 latin small letter g +@@ -9690,11 +9756,13 @@ + 210F PLANCK CONSTANT OVER TWO PI + x (cyrillic small letter tshe - 045B) + # 0127 latin small letter h with stroke ++ \ \hbar + 2110 SCRIPT CAPITAL I + # 0049 latin capital letter i + 2111 BLACK-LETTER CAPITAL I + = imaginary part + # 0049 latin capital letter i ++ \ \Im + 2112 SCRIPT CAPITAL L + = Laplace symbol + # 004C latin capital letter l +@@ -9705,6 +9773,7 @@ + * the SI recommended symbol for liter is 006C + x (mathematical script small l - 1D4C1) + # 006C latin small letter l ++ \ \ell + 2114 L B BAR SYMBOL + = pounds + 2115 DOUBLE-STRUCK CAPITAL N +@@ -9719,6 +9788,7 @@ + 2118 SCRIPT CAPITAL P + = Weierstrass elliptic function + * actually this has the form of a lowercase calligraphic p, despite its name ++ \ \wp + 2119 DOUBLE-STRUCK CAPITAL P + # 0050 latin capital letter p + 211A DOUBLE-STRUCK CAPITAL Q +@@ -9730,6 +9800,7 @@ + 211C BLACK-LETTER CAPITAL R + = real part + # 0052 latin capital letter r ++ \ \Re + 211D DOUBLE-STRUCK CAPITAL R + = the set of real numbers + # 0052 latin capital letter r +@@ -9753,12 +9824,14 @@ + * SI unit of resistance, named after G. S. Ohm, German physicist + * preferred representation is 03A9 + : 03A9 greek capital letter omega ++ \ \Omega + 2127 INVERTED OHM SIGN + = MHO + * archaic unit of conductance (= the SI unit siemens) + * typographically a turned greek capital letter omega + x (latin capital letter upsilon - 01B1) + x (greek capital letter omega - 03A9) ++ \ \mho + 2128 BLACK-LETTER CAPITAL Z + # 005A latin capital letter z + 2129 TURNED GREEK SMALL LETTER IOTA +@@ -9766,10 +9839,12 @@ + x (greek small letter iota - 03B9) + 212A KELVIN SIGN + : 004B latin capital letter k ++ \ \Kelvin + 212B ANGSTROM SIGN + * non SI length unit (=0.1 nm) named after A. J. ngstrm, Swedish physicist + * preferred representation is 00C5 + : 00C5 latin capital letter a with ring above ++ \ \Angstrom + 212C SCRIPT CAPITAL B + = Bernoulli function + # 0042 latin capital letter b +@@ -9789,6 +9864,7 @@ + # 0046 latin capital letter f + 2132 TURNED CAPITAL F + x (latin capital letter f - 0046) ++ \ \Finv + 2133 SCRIPT CAPITAL M + = M-matrix (physics) + = German Mark (not the current Deutsche Mark) +@@ -9801,15 +9877,19 @@ + 2135 ALEF SYMBOL + = first transfinite cardinal (countable) + # 05D0 hebrew letter alef ++ \ \aleph + 2136 BET SYMBOL + = second transfinite cardinal (the continuum) + # 05D1 hebrew letter bet ++ \ \beth + 2137 GIMEL SYMBOL + = third transfinite cardinal (functions of a real variable) + # 05D2 hebrew letter gimel ++ \ \gimel + 2138 DALET SYMBOL + = fourth transfinite cardinal + # 05D3 hebrew letter dalet ++ \ \daleth + @ Additional letterlike symbols + 2139 INFORMATION SOURCE + * intended for use with 20DD +@@ -9891,68 +9971,100 @@ + @ Roman numerals + 2160 ROMAN NUMERAL ONE + # 0049 latin capital letter i ++ \ \romannumI + 2161 ROMAN NUMERAL TWO + # 0049 0049 ++ \ \romannumII + 2162 ROMAN NUMERAL THREE + # 0049 0049 0049 ++ \ \romannumIII + 2163 ROMAN NUMERAL FOUR + # 0049 0056 ++ \ \romannumIV + 2164 ROMAN NUMERAL FIVE + # 0056 latin capital letter v ++ \ \romannumV + 2165 ROMAN NUMERAL SIX + # 0056 0049 ++ \ \romannumVI + 2166 ROMAN NUMERAL SEVEN + # 0056 0049 0049 ++ \ \romannumVII + 2167 ROMAN NUMERAL EIGHT + # 0056 0049 0049 0049 ++ \ \romannumVIII + 2168 ROMAN NUMERAL NINE + # 0049 0058 ++ \ \romannumIX + 2169 ROMAN NUMERAL TEN + # 0058 latin capital letter x ++ \ \romannumX + 216A ROMAN NUMERAL ELEVEN + # 0058 0049 ++ \ \romannumXI + 216B ROMAN NUMERAL TWELVE + # 0058 0049 0049 ++ \ \romannumXII + 216C ROMAN NUMERAL FIFTY + # 004C latin capital letter l ++ \ \romannumL + 216D ROMAN NUMERAL ONE HUNDRED + # 0043 latin capital letter c ++ \ \romannumC + 216E ROMAN NUMERAL FIVE HUNDRED + # 0044 latin capital letter d ++ \ \romannumD + 216F ROMAN NUMERAL ONE THOUSAND + # 004D latin capital letter m ++ \ \romannumM + 2170 SMALL ROMAN NUMERAL ONE + # 0069 latin small letter i ++ \ \romannumi + 2171 SMALL ROMAN NUMERAL TWO + # 0069 0069 ++ \ \romannumii + 2172 SMALL ROMAN NUMERAL THREE + # 0069 0069 0069 ++ \ \romannumiii + 2173 SMALL ROMAN NUMERAL FOUR + # 0069 0076 ++ \ \romannumiv + 2174 SMALL ROMAN NUMERAL FIVE + # 0076 latin small letter v ++ \ \romannumv + 2175 SMALL ROMAN NUMERAL SIX + # 0076 0069 ++ \ \romannumvi + 2176 SMALL ROMAN NUMERAL SEVEN + # 0076 0069 0069 ++ \ \romannumvii + 2177 SMALL ROMAN NUMERAL EIGHT + # 0076 0069 0069 0069 ++ \ \romannumviii + 2178 SMALL ROMAN NUMERAL NINE + # 0069 0078 ++ \ \romannumix + 2179 SMALL ROMAN NUMERAL TEN + # 0078 latin small letter x ++ \ \romannumx + 217A SMALL ROMAN NUMERAL ELEVEN + # 0078 0069 ++ \ \romannumxi + 217B SMALL ROMAN NUMERAL TWELVE + # 0078 0069 0069 ++ \ \romannumxii + 217C SMALL ROMAN NUMERAL FIFTY + # 006C latin small letter l ++ \ \romannuml + 217D SMALL ROMAN NUMERAL ONE HUNDRED + # 0063 latin small letter c ++ \ \romannumc + 217E SMALL ROMAN NUMERAL FIVE HUNDRED + # 0064 latin small letter d ++ \ \romannumd + 217F SMALL ROMAN NUMERAL ONE THOUSAND + # 006D latin small letter m ++ \ \romannumm + 2180 ROMAN NUMERAL ONE THOUSAND C D + 2181 ROMAN NUMERAL FIVE THOUSAND + 2182 ROMAN NUMERAL TEN THOUSAND +@@ -9963,55 +10075,80 @@ + @ Arrows + 2190 LEFTWARDS ARROW + x (combining leftwards arrow overlay - 20EA) ++ \ \leftarrow + 2191 UPWARDS ARROW + * IPA: egressive airflow ++ \ \uparrow + 2192 RIGHTWARDS ARROW + = z notation total function ++ \ \rightarrow + 2193 DOWNWARDS ARROW + * IPA: ingressive airflow ++ \ \downarrow + 2194 LEFT RIGHT ARROW + = z notation relation ++ \ \leftrightarrow + 2195 UP DOWN ARROW ++ \ \updownarrow + 2196 NORTH WEST ARROW ++ \ \nwarrow + 2197 NORTH EAST ARROW ++ \ \nearrow + 2198 SOUTH EAST ARROW ++ \ \searrow + 2199 SOUTH WEST ARROW ++ \ \swarrow + 219A LEFTWARDS ARROW WITH STROKE + * negation of 2190 + : 2190 0338 ++ \ \nleftarrow + 219B RIGHTWARDS ARROW WITH STROKE + * negation of 2192 + : 2192 0338 ++ \ \nrightarrow + 219C LEFTWARDS WAVE ARROW + 219D RIGHTWARDS WAVE ARROW ++ \ \leadsto + 219E LEFTWARDS TWO HEADED ARROW ++ \ \twoheadleftarrow + 219F UPWARDS TWO HEADED ARROW + 21A0 RIGHTWARDS TWO HEADED ARROW + = z notation total surjection ++ \ \twoheadrightarrow + 21A1 DOWNWARDS TWO HEADED ARROW + = form feed + 21A2 LEFTWARDS ARROW WITH TAIL ++ \ \leftarrowtail + 21A3 RIGHTWARDS ARROW WITH TAIL ++ \ \rightarrowtail + = z notation total injection + 21A4 LEFTWARDS ARROW FROM BAR + 21A5 UPWARDS ARROW FROM BAR + 21A6 RIGHTWARDS ARROW FROM BAR + = z notation maplet ++ \ \mapsto + 21A7 DOWNWARDS ARROW FROM BAR + = depth symbol + 21A8 UP DOWN ARROW WITH BASE + 21A9 LEFTWARDS ARROW WITH HOOK ++ \ \hookleftarrow + 21AA RIGHTWARDS ARROW WITH HOOK ++ \ \hookrightarrow + 21AB LEFTWARDS ARROW WITH LOOP ++ \ \looparrowright + 21AC RIGHTWARDS ARROW WITH LOOP ++ \ \looparrowleft + 21AD LEFT RIGHT WAVE ARROW + 21AE LEFT RIGHT ARROW WITH STROKE + * negation of 2194 + : 2194 0338 ++ \ \nleftrightarrow + 21AF DOWNWARDS ZIGZAG ARROW + = electrolysis + 21B0 UPWARDS ARROW WITH TIP LEFTWARDS ++ \ \Lsh + 21B1 UPWARDS ARROW WITH TIP RIGHTWARDS ++ \ \Rsh + 21B2 DOWNWARDS ARROW WITH TIP LEFTWARDS + 21B3 DOWNWARDS ARROW WITH TIP RIGHTWARDS + 21B4 RIGHTWARDS ARROW WITH CORNER DOWNWARDS +@@ -10020,60 +10157,94 @@ + * may indicate a carriage return or new line + x (return symbol - 23CE) + 21B6 ANTICLOCKWISE TOP SEMICIRCLE ARROW ++ \ \curvearrowleft + 21B7 CLOCKWISE TOP SEMICIRCLE ARROW ++ \ \curvearrowright + 21B8 NORTH WEST ARROW TO LONG BAR + = home + 21B9 LEFTWARDS ARROW TO BAR OVER RIGHTWARDS ARROW TO BAR + = tab with shift tab + 21BA ANTICLOCKWISE OPEN CIRCLE ARROW ++ \ \circlearrowleft + 21BB CLOCKWISE OPEN CIRCLE ARROW ++ \ \circlearrowright + 21BC LEFTWARDS HARPOON WITH BARB UPWARDS ++ \ \leftharpoonup + 21BD LEFTWARDS HARPOON WITH BARB DOWNWARDS ++ \ \leftharpoondown + 21BE UPWARDS HARPOON WITH BARB RIGHTWARDS ++ \ \upharpoonright + 21BF UPWARDS HARPOON WITH BARB LEFTWARDS ++ \ \upharpoonleft + 21C0 RIGHTWARDS HARPOON WITH BARB UPWARDS ++ \ \rightharpoonup + 21C1 RIGHTWARDS HARPOON WITH BARB DOWNWARDS ++ \ \rightharpoondown + 21C2 DOWNWARDS HARPOON WITH BARB RIGHTWARDS ++ \ \downharpoonright + 21C3 DOWNWARDS HARPOON WITH BARB LEFTWARDS ++ \ \downharpoonleft + 21C4 RIGHTWARDS ARROW OVER LEFTWARDS ARROW ++ \ \rightleftarrows + 21C5 UPWARDS ARROW LEFTWARDS OF DOWNWARDS ARROW + 21C6 LEFTWARDS ARROW OVER RIGHTWARDS ARROW ++ \ \leftrightarrows + 21C7 LEFTWARDS PAIRED ARROWS ++ \ \leftleftarrows + 21C8 UPWARDS PAIRED ARROWS ++ \ \upuparrows + 21C9 RIGHTWARDS PAIRED ARROWS ++ \ \rightrightarrows + 21CA DOWNWARDS PAIRED ARROWS ++ \ \downdownarrows + 21CB LEFTWARDS HARPOON OVER RIGHTWARDS HARPOON ++ \ \leftrightharpoons + 21CC RIGHTWARDS HARPOON OVER LEFTWARDS HARPOON ++ \ \rightleftharpoons + 21CD LEFTWARDS DOUBLE ARROW WITH STROKE + * negation of 21D0 + : 21D0 0338 ++ \ \nLeftarrow + 21CE LEFT RIGHT DOUBLE ARROW WITH STROKE + * negation of 21D4 + : 21D4 0338 ++ \ \nLeftrightarrow + 21CF RIGHTWARDS DOUBLE ARROW WITH STROKE + * negation of 21D2 + : 21D2 0338 ++ \ \nRightarrow + 21D0 LEFTWARDS DOUBLE ARROW ++ \ \Leftarrow + 21D1 UPWARDS DOUBLE ARROW ++ \ \Uparrow + 21D2 RIGHTWARDS DOUBLE ARROW ++ \ \Rightarrow + 21D3 DOWNWARDS DOUBLE ARROW ++ \ \Downarrow + 21D4 LEFT RIGHT DOUBLE ARROW ++ \ \Leftrightarrow + 21D5 UP DOWN DOUBLE ARROW ++ \ \Updownarrow + 21D6 NORTH WEST DOUBLE ARROW + 21D7 NORTH EAST DOUBLE ARROW + 21D8 SOUTH EAST DOUBLE ARROW + 21D9 SOUTH WEST DOUBLE ARROW + 21DA LEFTWARDS TRIPLE ARROW ++ \ \Lleftarrow + 21DB RIGHTWARDS TRIPLE ARROW ++ \ \Rrightarrow + 21DC LEFTWARDS SQUIGGLE ARROW + 21DD RIGHTWARDS SQUIGGLE ARROW ++ \ \rightsquigarrow + 21DE UPWARDS ARROW WITH DOUBLE STROKE + = page up + 21DF DOWNWARDS ARROW WITH DOUBLE STROKE + = page down + 21E0 LEFTWARDS DASHED ARROW ++ \ \dashleftarrow + 21E1 UPWARDS DASHED ARROW + 21E2 RIGHTWARDS DASHED ARROW ++ \ \dashrightarrow + 21E3 DOWNWARDS DASHED ARROW + 21E4 LEFTWARDS ARROW TO BAR + = leftward tab +@@ -10123,27 +10294,36 @@ + @@ 2200 Mathematical Operators 22FF + @ Mathematical operators + 2200 FOR ALL ++ \ \forall + 2201 COMPLEMENT + x (latin letter stretched c - 0297) ++ \ \complement + 2202 PARTIAL DIFFERENTIAL ++ \ \partial + 2203 THERE EXISTS ++ \ \exists + 2204 THERE DOES NOT EXIST + : 2203 0338 ++ \ \nexists + 2205 EMPTY SET + = null set + x (latin capital letter o with stroke - 00D8) + x (diameter sign - 2300) ++ \ \emptyset + 2206 INCREMENT + = Laplace operator + = forward difference + x (greek capital letter delta - 0394) + x (white up-pointing triangle - 25B3) ++ \ \Delta + 2207 NABLA + = Laplace operator (written with superscript 2) + = backward difference + = del + x (white down-pointing triangle - 25BD) ++ \ \nabla + 2208 ELEMENT OF ++ \ \in + 2209 NOT AN ELEMENT OF + : 2208 0338 + 220A SMALL ELEMENT OF +@@ -10151,6 +10331,7 @@ + x (greek lunate epsilon symbol - 03F5) + 220B CONTAINS AS MEMBER + = such that ++ \ \ni + 220C DOES NOT CONTAIN AS MEMBER + : 220B 0338 + 220D SMALL CONTAINS AS MEMBER +@@ -10159,77 +10340,104 @@ + = Q.E.D. + x (triangular bullet - 2023) + x (black vertical rectangle - 25AE) ++ \ \blacksquare + 220F N-ARY PRODUCT + = product sign + x (greek capital letter pi - 03A0) ++ \ \prod + 2210 N-ARY COPRODUCT + = coproduct sign ++ \ \coprod + 2211 N-ARY SUMMATION + = summation sign + x (greek capital letter sigma - 03A3) ++ \ \sum + 2212 MINUS SIGN + x (hyphen-minus - 002D) ++ \ \utfminus + 2213 MINUS-OR-PLUS SIGN + x (plus-minus sign - 00B1) ++ \ \mp + 2214 DOT PLUS ++ \ \dotplus + 2215 DIVISION SLASH + * generic division operator + x (solidus - 002F) + x (fraction slash - 2044) ++ \ \utfslash + 2216 SET MINUS + x (reverse solidus - 005C) ++ \ \setminus + 2217 ASTERISK OPERATOR + x (asterisk - 002A) ++ \ \ast + 2218 RING OPERATOR + = composite function + = APL jot + x (degree sign - 00B0) + x (white bullet - 25E6) ++ \ \circ + 2219 BULLET OPERATOR + x (middle dot - 00B7) + x (bullet - 2022) + x (one dot leader - 2024) ++ \ \bullet + 221A SQUARE ROOT + = radical sign + x (check mark - 2713) ++ \ \surd + 221B CUBE ROOT + 221C FOURTH ROOT + 221D PROPORTIONAL TO + x (greek small letter alpha - 03B1) ++ \ \propto + 221E INFINITY ++ \ \infty + 221F RIGHT ANGLE + 2220 ANGLE ++ \ \angle + 2221 MEASURED ANGLE ++ \ \measuredangle + 2222 SPHERICAL ANGLE + = angle arc ++ \ \sphericalangle + 2223 DIVIDES + = such that + = APL stile + x (vertical line - 007C) + x (latin letter dental click - 01C0) ++ \ \mid + 2224 DOES NOT DIVIDE + : 2223 0338 ++ \ \nmid + 2225 PARALLEL TO + x (latin letter lateral click - 01C1) + x (double vertical line - 2016) ++ \ \parallel + 2226 NOT PARALLEL TO + : 2225 0338 ++ \ \nparallel + 2227 LOGICAL AND + = wedge, conjunction + x (n-ary logical and - 22C0) + x (up arrowhead - 2303) ++ \ \land + 2228 LOGICAL OR + = vee, disjunction + x (n-ary logical or - 22C1) + x (down arrowhead - 2304) ++ \ \lor + 2229 INTERSECTION + = cap, hat + x (n-ary intersection - 22C2) ++ \ \cap + 222A UNION + = cup + x (n-ary union - 22C3) ++ \ \cup + 222B INTEGRAL + x (latin small letter esh - 0283) ++ \ \intop + 222C DOUBLE INTEGRAL + # 222B 222B + 222D TRIPLE INTEGRAL +@@ -10237,6 +10445,7 @@ + # 222B 222B 222B + 222E CONTOUR INTEGRAL + x (integral around a point operator - 2A15) ++ \ \ointop + 222F SURFACE INTEGRAL + # 222E 222E + 2230 VOLUME INTEGRAL +@@ -10246,9 +10455,12 @@ + 2233 ANTICLOCKWISE CONTOUR INTEGRAL + * clockwise or anticlockwise arrows do not reverse during layout mirroring + 2234 THEREFORE ++ \ \therefore + 2235 BECAUSE ++ \ \because + 2236 RATIO + x (colon - 003A) ++ \ \ratio + 2237 PROPORTION + 2238 DOT MINUS + = symmetric difference +@@ -10266,26 +10478,33 @@ + x (tilde - 007E) + x (not sign - 00AC) + x (small tilde - 02DC) ++ \ \sim + 223D REVERSED TILDE (lazy S) + = lazy S + * reversed tilde and lazy S are glyph variants ++ \ \backsim + 223E INVERTED LAZY S + = most positive + 223F SINE WAVE + = alternating current + 2240 WREATH PRODUCT ++ \ \wr + 2241 NOT TILDE + : 223C 0338 ++ \ \nsim + 2242 MINUS TILDE + 2243 ASYMPTOTICALLY EQUAL TO ++ \ \simeq + 2244 NOT ASYMPTOTICALLY EQUAL TO + : 2243 0338 + 2245 APPROXIMATELY EQUAL TO ++ \ \cong + 2246 APPROXIMATELY BUT NOT ACTUALLY EQUAL TO + 2247 NEITHER APPROXIMATELY NOR ACTUALLY EQUAL TO + : 2245 0338 + 2248 ALMOST EQUAL TO + = asymptotic to ++ \ \approx + 2249 NOT ALMOST EQUAL TO + : 2248 0338 + 224A ALMOST EQUAL OR EQUAL TO +@@ -10293,18 +10512,27 @@ + 224C ALL EQUAL TO + * reversed tilde and lazy S are glyph variants + 224D EQUIVALENT TO ++ \ \asymp + 224E GEOMETRICALLY EQUIVALENT TO ++ \ \Bumpeq + 224F DIFFERENCE BETWEEN ++ \ \bumpeq + 2250 APPROACHES THE LIMIT ++ \ \doteq + 2251 GEOMETRICALLY EQUAL TO ++ \ \doteqdot + 2252 APPROXIMATELY EQUAL TO OR THE IMAGE OF + = nearly equals ++ \ \failingdoteq + 2253 IMAGE OF OR APPROXIMATELY EQUAL TO ++ \ \risingdoteq + 2254 COLON EQUALS + 2255 EQUALS COLON + 2256 RING IN EQUAL TO ++ \ \eqcirc + 2257 RING EQUAL TO + = approximately equal to ++ \ \circeq + 2258 CORRESPONDS TO + 2259 ESTIMATES + = corresponds to +@@ -10313,6 +10541,7 @@ + 225C DELTA EQUAL TO + = equiangular + = equal to by definition ++ \ \triangleq + 225D EQUAL TO BY DEFINITION + 225E MEASURED BY + 225F QUESTIONED EQUAL TO +@@ -10320,40 +10549,59 @@ + x (equals sign - 003D) + x (latin letter alveolar click - 01C2) + : 003D 0338 ++ \ \neq + 2261 IDENTICAL TO ++ \ \equiv + 2262 NOT IDENTICAL TO + : 2261 0338 + 2263 STRICTLY EQUIVALENT TO + 2264 LESS-THAN OR EQUAL TO ++ \ \leq + 2265 GREATER-THAN OR EQUAL TO ++ \ \geq + 2266 LESS-THAN OVER EQUAL TO ++ \ \leqq + 2267 GREATER-THAN OVER EQUAL TO ++ \ \geqq + 2268 LESS-THAN BUT NOT EQUAL TO ++ \ \lneqq + 2269 GREATER-THAN BUT NOT EQUAL TO ++ \ \gneqq + 226A MUCH LESS-THAN + x (left-pointing double angle quotation mark - 00AB) ++ \ \ll + 226B MUCH GREATER-THAN + x (right-pointing double angle quotation mark - 00BB) ++ \ \gg + 226C BETWEEN + = plaintiff, quantic ++ \ \between + 226D NOT EQUIVALENT TO + : 224D 0338 + 226E NOT LESS-THAN + : 003C 0338 ++ \ \nless + 226F NOT GREATER-THAN + : 003E 0338 ++ \ \ngtr + 2270 NEITHER LESS-THAN NOR EQUAL TO + : 2264 0338 ++ \ \nleq + 2271 NEITHER GREATER-THAN NOR EQUAL TO + : 2265 0338 ++ \ \ngeq + 2272 LESS-THAN OR EQUIVALENT TO ++ \ \lesssim + 2273 GREATER-THAN OR EQUIVALENT TO ++ \ \gtrsim + 2274 NEITHER LESS-THAN NOR EQUIVALENT TO + : 2272 0338 + 2275 NEITHER GREATER-THAN NOR EQUIVALENT TO + : 2273 0338 + 2276 LESS-THAN OR GREATER-THAN ++ \ \lessgtr + 2277 GREATER-THAN OR LESS-THAN ++ \ \gtrless + 2278 NEITHER LESS-THAN NOR GREATER-THAN + : 2276 0338 + 2279 NEITHER GREATER-THAN NOR LESS-THAN +@@ -10361,33 +10609,49 @@ + 227A PRECEDES + = lower rank than + x (precedes under relation - 22B0) ++ \ \prec + 227B SUCCEEDS + = higher rank than + x (succeeds under relation - 22B1) ++ \ \succ + 227C PRECEDES OR EQUAL TO ++ \ \preceq + 227D SUCCEEDS OR EQUAL TO ++ \ \succeq + 227E PRECEDES OR EQUIVALENT TO ++ \ \precsim + 227F SUCCEEDS OR EQUIVALENT TO ++ \ \succsim + 2280 DOES NOT PRECEDE + : 227A 0338 ++ \ \nprec + 2281 DOES NOT SUCCEED + : 227B 0338 ++ \ \nsucc + 2282 SUBSET OF + = included in set ++ \ \subset + 2283 SUPERSET OF + = includes in set ++ \ \supset + 2284 NOT A SUBSET OF + : 2282 0338 + 2285 NOT A SUPERSET OF + : 2283 0338 + 2286 SUBSET OF OR EQUAL TO ++ \ \subseteq + 2287 SUPERSET OF OR EQUAL TO ++ \ \supseteq + 2288 NEITHER A SUBSET OF NOR EQUAL TO + : 2286 0338 ++ \ \nsubseteq + 2289 NEITHER A SUPERSET OF NOR EQUAL TO + : 2287 0338 ++ \ \nsupseteq + 228A SUBSET OF WITH NOT EQUAL TO ++ \ \subsetneq + 228B SUPERSET OF WITH NOT EQUAL TO ++ \ \supsetneq + 228C MULTISET + 228D MULTISET MULTIPLICATION + x (n-ary union operator with dot - 2A03) +@@ -10395,76 +10659,106 @@ + 228E MULTISET UNION + = z notation bag addition + x (n-ary union operator with plus - 2A04) ++ \ \uplus + 228F SQUARE IMAGE OF ++ \ \sqsubset + 2290 SQUARE ORIGINAL OF ++ \ \sqsupset + 2291 SQUARE IMAGE OF OR EQUAL TO ++ \ \sqsubseteq + 2292 SQUARE ORIGINAL OF OR EQUAL TO ++ \ \sqsupseteq + 2293 SQUARE CAP + x (n-ary square intersection operator - 2A05) ++ \ \sqcap + 2294 SQUARE CUP ++ \ \sqcup + 2295 CIRCLED PLUS + = direct sum + = vector pointing into page + x (earth - 2641) + x (n-ary circled plus operator - 2A01) ++ \ \oplus + 2296 CIRCLED MINUS + = symmetric difference + x (circle with horizontal bar - 29B5) ++ \ \ominus + 2297 CIRCLED TIMES + = tensor product + = vector pointing into page + x (n-ary circled times operator - 2A02) ++ \ \otimes + 2298 CIRCLED DIVISION SLASH ++ \ \oslash + 2299 CIRCLED DOT OPERATOR + = direct product + = vector pointing out of page + x (latin letter bilabial click - 0298) + x (sun - 2609) + x (n-ary circled dot operator - 2A00) ++ \ \odot + 229A CIRCLED RING OPERATOR + x (apl functional symbol circle jot - 233E) + x (bullseye - 25CE) ++ \ \circledcirc + 229B CIRCLED ASTERISK OPERATOR + x (apl functional symbol circle star - 235F) ++ \ \circledast + 229C CIRCLED EQUALS + 229D CIRCLED DASH ++ \ \circleddash + 229E SQUARED PLUS ++ \ \boxplus + 229F SQUARED MINUS ++ \ \boxminus + 22A0 SQUARED TIMES + x (ballot box with x - 2612) ++ \ \boxtimes + 22A1 SQUARED DOT OPERATOR ++ \ \boxdot + 22A2 RIGHT TACK + = turnstile + = proves, implies, yields + = reducible ++ \ \vdash + 22A3 LEFT TACK + = reverse turnstile + = non-theorem, does not yield ++ \ \dashv + 22A4 DOWN TACK + = top ++ \ \top + 22A5 UP TACK + = orthogonal to + = perpendicular + = base, bottom ++ \ \bot + 22A6 ASSERTION + = reduces to + 22A7 MODELS ++ \ \models + 22A8 TRUE + = statement is true, valid + = is a tautology + = satisfies + = results in + 22A9 FORCES ++ \ \Vdash + 22AA TRIPLE VERTICAL BAR RIGHT TURNSTILE ++ \ \Vvdash + 22AB DOUBLE VERTICAL BAR DOUBLE RIGHT TURNSTILE + 22AC DOES NOT PROVE + : 22A2 0338 ++ \ \nvdash + 22AD NOT TRUE + : 22A8 0338 ++ \ \nvDash + 22AE DOES NOT FORCE + : 22A9 0338 ++ \ \nVdash + 22AF NEGATED DOUBLE VERTICAL BAR DOUBLE RIGHT TURNSTILE + : 22AB 0338 ++ \ \nVDash + 22B0 PRECEDES UNDER RELATION + x (precedes - 227A) + 22B1 SUCCEEDS UNDER RELATION +@@ -10478,65 +10772,98 @@ + 22B6 ORIGINAL OF + 22B7 IMAGE OF + 22B8 MULTIMAP ++ \ \multimap + 22B9 HERMITIAN CONJUGATE MATRIX + 22BA INTERCALATE ++ \ \intercal + 22BB XOR ++ \ \veebar + 22BC NAND + x (projective - 2305) ++ \ \barwedge + 22BD NOR + 22BE RIGHT ANGLE WITH ARC + 22BF RIGHT TRIANGLE + 22C0 N-ARY LOGICAL AND + x (logical and - 2227) ++ \ \bigwedge + 22C1 N-ARY LOGICAL OR + x (logical or - 2228) ++ \ \bigvee + 22C2 N-ARY INTERSECTION + = z notation generalised intersection + x (intersection - 2229) ++ \ \bigcap + 22C3 N-ARY UNION + = z notation generalised union + x (union - 222A) ++ \ \bigcup + 22C4 DIAMOND OPERATOR + x (white diamond - 25C7) ++ \ \diamond + 22C5 DOT OPERATOR + x (middle dot - 00B7) ++ \ \cdot + 22C6 STAR OPERATOR + * APL + x (arabic five pointed star - 066D) + x (black star - 2605) ++ \ \star + 22C7 DIVISION TIMES ++ \ \divideontimes + 22C8 BOWTIE + x (ocr bow tie - 2445) ++ \ \bowtie + 22C9 LEFT NORMAL FACTOR SEMIDIRECT PRODUCT ++ \ \ltimes + 22CA RIGHT NORMAL FACTOR SEMIDIRECT PRODUCT ++ \ \rtimes + 22CB LEFT SEMIDIRECT PRODUCT ++ \ \leftthreetimes + 22CC RIGHT SEMIDIRECT PRODUCT + x (caret insertion point - 2041) ++ \ \rightthreetimes + 22CD REVERSED TILDE EQUALS ++ \ \backsimeq + 22CE CURLY LOGICAL OR ++ \ \curlyvee + 22CF CURLY LOGICAL AND ++ \ \curlywedge + 22D0 DOUBLE SUBSET ++ \ \Subset + 22D1 DOUBLE SUPERSET ++ \ \Supset + 22D2 DOUBLE INTERSECTION ++ \ \Cap + 22D3 DOUBLE UNION ++ \ \Cup + 22D4 PITCHFORK + = proper intersection ++ \ \pitchfork + 22D5 EQUAL AND PARALLEL TO + x (viewdata square - 2317) + 22D6 LESS-THAN WITH DOT ++ \ \lessdot + 22D7 GREATER-THAN WITH DOT ++ \ \grtdot + 22D8 VERY MUCH LESS-THAN ++ \ \ggg + 22D9 VERY MUCH GREATER-THAN ++ \ \lll + 22DA LESS-THAN EQUAL TO OR GREATER-THAN ++ \ \lesseqqgtr + 22DB GREATER-THAN EQUAL TO OR LESS-THAN ++ \ \grteqqless + 22DC EQUAL TO OR LESS-THAN + 22DD EQUAL TO OR GREATER-THAN + 22DE EQUAL TO OR PRECEDES + 22DF EQUAL TO OR SUCCEEDS + 22E0 DOES NOT PRECEDE OR EQUAL + : 227C 0338 ++ \ \npreceq + 22E1 DOES NOT SUCCEED OR EQUAL + : 227D 0338 ++ \ \nsucceq + 22E2 NOT SQUARE IMAGE OF OR EQUAL TO + : 2291 0338 + 22E3 NOT SQUARE ORIGINAL OF OR EQUAL TO +@@ -10544,7 +10871,9 @@ + 22E4 SQUARE IMAGE OF OR NOT EQUAL TO + 22E5 SQUARE ORIGINAL OF OR NOT EQUAL TO + 22E6 LESS-THAN BUT NOT EQUIVALENT TO ++ \ \lnsim + 22E7 GREATER-THAN BUT NOT EQUIVALENT TO ++ \ \gnsim + 22E8 PRECEDES BUT NOT EQUIVALENT TO + 22E9 SUCCEEDS BUT NOT EQUIVALENT TO + 22EA NOT NORMAL SUBGROUP OF +@@ -10558,9 +10887,12 @@ + 22EE VERTICAL ELLIPSIS + * these four ellipses are used for matrix row/column elision + x (horizontal ellipsis - 2026) ++ \ \vdots + 22EF MIDLINE HORIZONTAL ELLIPSIS ++ \ \cdots + 22F0 UP RIGHT DIAGONAL ELLIPSIS + 22F1 DOWN RIGHT DIAGONAL ELLIPSIS ++ \ \ddots + 22F2 ELEMENT OF WITH LONG HORIZONTAL STROKE + 22F3 ELEMENT OF WITH VERTICAL BAR AT END OF HORIZONTAL STROKE + 22F4 SMALL ELEMENT OF WITH VERTICAL BAR AT END OF HORIZONTAL STROKE +@@ -10579,6 +10911,7 @@ + @ Miscellaneous technical + 2300 DIAMETER SIGN + x (empty set - 2205) ++ \ \varemptyset + 2301 ELECTRIC ARROW + * from ISO 2047 + * symbol for End of Transmission +@@ -10602,12 +10935,16 @@ + 2308 LEFT CEILING + = APL upstile + x (left corner bracket - 300C) ++ \ \lceil + 2309 RIGHT CEILING + x (combining annuity symbol - 20E7) ++ \ \rceil + 230A LEFT FLOOR + = APL downstile ++ \ \lfloor + 230B RIGHT FLOOR + x (right corner bracket - 300D) ++ \ \rfloor + @ Crops + 230C BOTTOM RIGHT CROP + * set of four "crop" corners, arranged facing outward +@@ -10639,9 +10976,13 @@ + @ Quine corners + 231C TOP LEFT CORNER + * set of four "quine" corners, for quincuncial arrangement ++ \ \ulcorner + 231D TOP RIGHT CORNER ++ \ \urcorner + 231E BOTTOM LEFT CORNER ++ \ \llcorner + 231F BOTTOM RIGHT CORNER ++ \ \lrcorner + @ Integral pieces + 2320 TOP HALF INTEGRAL + x (integral extension - 23AE) +@@ -10649,8 +10990,10 @@ + @ Frown and smile + 2322 FROWN + x (character tie - 2040) ++ \ \frown + 2323 SMILE + x (undertie - 203F) ++ \ \smile + @ Keyboard symbols + 2324 UP ARROWHEAD BETWEEN TWO HORIZONTAL BARS + = ENTER KEY +@@ -11527,6 +11870,7 @@ + = trine + x (combining enclosing upward pointing triangle - 20E4) + x (increment - 2206) ++ \ \bigtriangleup + 25B4 BLACK UP-POINTING SMALL TRIANGLE + 25B5 WHITE UP-POINTING SMALL TRIANGLE + 25B6 BLACK RIGHT-POINTING TRIANGLE +@@ -11535,6 +11879,7 @@ + 25B8 BLACK RIGHT-POINTING SMALL TRIANGLE + x (triangular bullet - 2023) + 25B9 WHITE RIGHT-POINTING SMALL TRIANGLE ++ \ \triangleright + 25BA BLACK RIGHT-POINTING POINTER + 25BB WHITE RIGHT-POINTING POINTER + = forward arrow indicator +@@ -11543,6 +11888,7 @@ + 25BD WHITE DOWN-POINTING TRIANGLE + = Hamilton operator + x (nabla - 2207) ++ \ \bigtriangledown + 25BE BLACK DOWN-POINTING SMALL TRIANGLE + 25BF WHITE DOWN-POINTING SMALL TRIANGLE + 25C0 BLACK LEFT-POINTING TRIANGLE +@@ -11550,6 +11896,7 @@ + = z notation domain restriction + 25C2 BLACK LEFT-POINTING SMALL TRIANGLE + 25C3 WHITE LEFT-POINTING SMALL TRIANGLE ++ \ \triangleleft + 25C4 BLACK LEFT-POINTING POINTER + 25C5 WHITE LEFT-POINTING POINTER + = backward arrow indicator +@@ -11565,6 +11912,7 @@ + = tainome (Japanese, a kind of bullet) + 25CA LOZENGE + x (white diamond suit - 2662) ++ \ \lozenge + 25CB WHITE CIRCLE + x (combining enclosing circle - 20DD) + x (large circle - 25EF) +@@ -11797,12 +12145,16 @@ + 265F BLACK CHESS PAWN + @ Playing card symbols + 2660 BLACK SPADE SUIT ++ \ \spadesuit + 2661 WHITE HEART SUIT ++ \ \heartsuit + 2662 WHITE DIAMOND SUIT + x (white diamond - 25C7) + x (lozenge - 25CA) ++ \ \diamondsuit + 2663 BLACK CLUB SUIT + = shamrock ++ \ \clubsuit + 2664 WHITE SPADE SUIT + 2665 BLACK HEART SUIT + = valentine +@@ -11818,8 +12170,11 @@ + 266B BEAMED EIGHTH NOTES + 266C BEAMED SIXTEENTH NOTES + 266D MUSIC FLAT SIGN ++ \ \flat + 266E MUSIC NATURAL SIGN ++ \ \natural + 266F MUSIC SHARP SIGN ++ \ \sharp + = z notation infix bag count + x (number sign - 0023) + @ Syriac cross symbols +@@ -12183,11 +12538,13 @@ + = z notation left sequence bracket + x (left-pointing angle bracket - 2329) + x (left angle bracket - 3008) ++ \ \langle + 27E9 MATHEMATICAL RIGHT ANGLE BRACKET + = ket + = z notation right sequence bracket + x (right-pointing angle bracket - 232A) + x (right angle bracket - 3009) ++ \ \rangle + 27EA MATHEMATICAL LEFT DOUBLE ANGLE BRACKET + = z notation left chevron bracket + x (left double angle bracket - 300A) +@@ -12211,16 +12568,22 @@ + @+ The long arrows are used for mapping whereas the short forms would be used in limits. They are also needed for MathML to complete mapping to the ASMA sets. + 27F5 LONG LEFTWARDS ARROW + x (leftwards arrow - 2190) ++ \ \longleftarrow + 27F6 LONG RIGHTWARDS ARROW + x (rightwards arrow - 2192) ++ \ \longrightarrow + 27F7 LONG LEFT RIGHT ARROW + x (left right arrow - 2194) ++ \ \longleftrightarrow + 27F8 LONG LEFTWARDS DOUBLE ARROW + x (leftwards double arrow - 21D0) ++ \ \Longleftarrow + 27F9 LONG RIGHTWARDS DOUBLE ARROW + x (rightwards double arrow - 21D2) ++ \ \Longrightarrow + 27FA LONG LEFT RIGHT DOUBLE ARROW + x (left right double arrow - 21D4) ++ \ \Longleftrightarrow + 27FB LONG LEFTWARDS ARROW FROM BAR + = maps from + x (leftwards arrow from bar - 21A4) +@@ -12821,6 +13184,7 @@ + 29EA BLACK DIAMOND WITH DOWN ARROW + 29EB BLACK LOZENGE + x (lozenge - 25CA) ++ \ \blacklozenge + 29EC WHITE CIRCLE WITH DOWN ARROW + 29ED BLACK CIRCLE WITH DOWN ARROW + @ Error bar symbols +@@ -12864,17 +13228,23 @@ + 2A00 N-ARY CIRCLED DOT OPERATOR + x (circled dot operator - 2299) + x (fisheye - 25C9) ++ \ \bigodot + 2A01 N-ARY CIRCLED PLUS OPERATOR + x (circled plus - 2295) ++ \ \bigoplus + 2A02 N-ARY CIRCLED TIMES OPERATOR + x (circled times - 2297) ++ \ \bigotimes + 2A03 N-ARY UNION OPERATOR WITH DOT + 2A04 N-ARY UNION OPERATOR WITH PLUS ++ \ \biguplus + x (multiset union - 228E) + 2A05 N-ARY SQUARE INTERSECTION OPERATOR + x (square cap - 2293) ++ \ \bigsqcap + 2A06 N-ARY SQUARE UNION OPERATOR + x (square cup - 2294) ++ \ \bigsqcup + 2A07 TWO LOGICAL AND OPERATOR + = merge + x (two intersecting logical and - 2A55) diff --git a/Master/texmf-dist/doc/generic/enctex/unimap.py b/Master/texmf-dist/doc/generic/enctex/unimap.py new file mode 100755 index 00000000000..7618ae84051 --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/unimap.py @@ -0,0 +1,144 @@ +#!/usr/bin/python +################################################################### +# unimap.py +# Generates utf8raw.tex file containing math character definitions +# from modified Unicode character database unimap.txt. +# +# Copyright (C) 2003 David Necas (Yeti) +# +# This program is free software; you can redistribute it and/or modify +# it under the terms of the GNU General Public License as published by +# the Free Software Foundation; either version 2 of the License, or +# (at your option) any later version. +# +# This program is distributed in the hope that it will be useful, +# but WITHOUT ANY WARRANTY; without even the implied warranty of +# MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +# GNU General Public License for more details. +# +# You should have received a copy of the GNU General Public License +# along with this program; if not, write to the Free Software +# Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA +# +################################################################### +# Usage: ./unimap.py +# It takes no arguments, input and output file names are `unimap.txt' and +# `utf8raw.tex' and are hardcoded below (should be fixed once someone finds +# a reason for running it on different files). +# +# The source file unimap.txt is basically Unicode character name list +# http://www.unicode.org/Public/UNIDATA/NamesList.txt +# with additional lines defining TeX expansions of particular characters. +# These lines have format similar to other character info lines, with +# backslash (\) as the line type mark: +# \\TeXcontrolsequence +# \TeXcontrolsequence is the control sequence the character should be +# mapped to. +# +# The NamesList.txt file is huge and the number of supported characters is +# still relatively small. Thus only diff NamesList.txt -> unimap.txt is +# normally distributed (unimap.diff). Once you have NamesList.txt, you can +# create unimap.txt with following command: +# patch -o unimap.txt NamesList.txt unimap.diff + +import re +from time import asctime, gmtime + +database = 'unimap.txt' # Input file +output = 'utf8raw.tex' # Output file + +# Compatibility with Pyhton-2.1 +if not __builtins__.__dict__.has_key('True'): + True = 1; False = 0 +if not __builtins__.__dict__.has_key('file'): + file = open +if not __builtins__.__dict__.has_key('dict'): + def dict(l): + d = {} + for x in l: d[x[0]] = x[1] + return d + +charline_re = re.compile(r'^[0-9A-F]{4,}\t') +comsect_re = re.compile(r'^@+\t') +line_template = '\\mubyte %s %s\\endmubyte %% U+%04X %s\n' + +class LineType: + """NamesList.txt line types. Something between an enum and a hash.""" + Empty = 0 + Comment = '++' + Section = '@@' + Character = 'AA' + IsNot = 'x' + Alias = '=' + Note = '*' + Combining = ':' + Render = '#' + TeX = '\\' + +LineType.map = dict([(val, name) for name, val in LineType.__dict__.items() + if name[0].isupper()]) + +def linetype(line): + """Determine line type of a NamesList.txt file and extract the text.""" + if not line: + return LineType.Empty, None + if line.startswith('@'): + if line[1:].startswith('@') or line[1:].startswith('+'): + return LineType.Comment, comsect_re.sub('', line).strip() + return LineType.Section, comsect_re.sub('', line).strip() + m = charline_re.match(line) + if m: + return LineType.Character, (int(line[:m.end()], 16), + line[m.end():].strip().lower()) + if not line.startswith('\t'): + raise ValueError, 'Queer line doesn\'t start with @ or Tab' + line = line.strip() + if not line: + return LineType.Empty, None + if not LineType.map.has_key(line[0]): + raise ValueError, 'Queer character info line (marker %s)' % line[0] + return line[0], line[1:].strip() + +def utf8chars(u): + """Format an Unicode character in a \\mubyte-friendly style. + + character ordinal value should be < 0x10000.""" + if u < 0x80: + return '^^%02x' % u + if u < 0x800: + return '^^%02x^^%02x' % (0xc0 | (u >> 6), + 0x80 | (0x3f & u)) + return '^^%02x^^%02x^^%02x' % (0xe0 | (u >> 12), + 0x80 | (0x3f & (u >> 6)), + 0x80 | (0x3f & u)) + +fh = file(database, 'r') +# skip some initial noise +while True: + line = fh.readline() + try: + typ, val = linetype(line) + except ValueError: + continue + if typ == LineType.Section: + break + +fw = file(output, 'w') +fw.write('%% Generated from %s %s\n' % (database, asctime(gmtime()))) +while typ: + if typ == LineType.Section: + sect = val + elif typ == LineType.Character: + char = val + elif typ == LineType.TeX: + if not val.startswith('\\'): + raise ValueError, '%s is not a control seq (U%X)' % (val, char[0]) + if sect: + fw.write('\n%% %s\n' % sect) + sect = None + fw.write(line_template % (val, utf8chars(char[0]), char[0], char[1])) + typ, val = linetype(fh.readline()) +fh.close() +fw.write('\n\\endinput\n') +fw.close() + diff --git a/Master/texmf-dist/doc/generic/enctex/vlna.tex b/Master/texmf-dist/doc/generic/enctex/vlna.tex new file mode 100644 index 00000000000..fcc3e8216be --- /dev/null +++ b/Master/texmf-dist/doc/generic/enctex/vlna.tex @@ -0,0 +1,54 @@ +% Vlna implementovana jako makra v encTeXu +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Leden 2003 Petr Olsak + +% Toto je ukazka moznosti encTeXu. Na urovni maker muzeme +% naprogramovat program vlna. + +% Pomocna makra: + +\def\setmu #1#2{\mubyte #1##1 #2\endmubyte} % use encTeX Feb 2003 +\bgroup \uccode`X=\endlinechar \uppercase{\gdef\endchar{X}} + \uccode`X=`\{ \uppercase{\gdef\leftbrace{X}} +\egroup + +\def\sylabi #1{% + \setmu \spacesylab {\space#1} % v lese -> v~lese + \setmu \normalsylab {(#1} % (v lese -> (v~lese + \setmu \normalsylab {\endchar#1} % v lese -> v~lese + \setmu \normalsylab {[#1} % [v lese -> [v~lese + \setmu \specsylab {\leftbrace#1} % {v lese -> {v~lese +} +% dve moznosti za predlozkou: mezera nebo konec radku: + +\def\sylab #1{\sylabi {#1\space}\sylabi {#1\endchar}} + +% seznam predlozek: + +\sylab v \sylab k \sylab o \sylab s \sylab u \sylab z +\sylab V \sylab K \sylab O \sylab S \sylab U \sylab Z +\sylab A \sylab I \sylab i \sylab a + +% makra neudelaji nic v matematickem modu a verbatim prostredi: + +\def\exx{\expandafter\expandafter\expandafter} +\def\spacesylab {\ifmmode\else\ifnum\catcode`\ =10 \exx\spacesylabP \fi\fi} +\def\normalsylab {\ifmmode\else\ifnum\catcode`\ =10 \exx\normalsylabP \fi\fi} +\def\specsylab {\ifmmode\else\ifnum\catcode`\ =10 \exx\specsylabP \fi\fi} + +\def\spacesylabP {\afterassignment\spacesylabR \let\next= } +\def\spacesylabR {\ifhmode\unskip\fi \next \normalsylabP} +\def\normalsylabP #1 {#1~} +\def\specsylabP #1{{\normalsylabP #1}} + +\def\uv{\futurelet\next\uvR} +\def\uvR{\ifx \next\specsylab \expandafter \uvS \else \expandafter \uvP \fi} +\long\def\uvP #1{\clqq#1\crqq} +\long\def\uvS \specsylab #1{\normalsylab \clqq#1\crqq} + +\mubytein=2 % potrebujeme i konstrukce "a v lese -> a~v~lese" + +\endinput + + + diff --git a/Master/texmf-dist/doc/generic/epsf/LICENSE b/Master/texmf-dist/doc/generic/epsf/LICENSE new file mode 100644 index 00000000000..5bb543fb044 --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/LICENSE @@ -0,0 +1,5 @@ +The epsf.tex and epsf.sty files are identical, and are freely +redistributable and placed into the public domain by Tomas Rokicki. +The changes since their original release in 1989 are similarly in the +public domain, as are all of the files distributed in the epsf-x.y.z +package. diff --git a/Master/texmf-dist/doc/generic/epsf/Makefile b/Master/texmf-dist/doc/generic/epsf/Makefile new file mode 100644 index 00000000000..16b4c3f58ba --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/Makefile @@ -0,0 +1,83 @@ +### ==================================================================== +### [30-Jul-2005] +### ==================================================================== + +prefix = /usr/local + +CP = /bin/cp -p + +INSTDIRS = $(prefix)/share/lib/tex/inputs \ + $(prefix)/share/lib/tex/latex \ + $(prefix)/share/lib/tex/latex2e/unpacked + +LATEX = latex +LATEX = latex2e + +LN = /bin/ln -f + +LS = ls + +RM = /bin/rm -f + +SHELL = /bin/sh + +TEX = tex + +### ==================================================================== + +LTXFILES = tepsf2.ltx + +TEXFILES = tepsf1.tex tepsf3.tex + +### ==================================================================== + +all: + @echo There is nothing to build in this directory. + +check: check-latex check-tex + +check-latex: + for f in $(LTXFILES) ; \ + do \ + $(LATEX) $$f ; \ + $(LS) -l `basename $$f .ltx`.* ; \ + done + +check-tex: + for f in $(TEXFILES) ; \ + do \ + $(TEX) $$f ; \ + $(LS) -l `basename $$f .tex`.* ; \ + done + +clean: + -$(RM) *.aux + -$(RM) *.dvi + -$(RM) *.log + -$(RM) *~ + -$(RM) \#* + -$(RM) a.out + -$(RM) core core.* + +clobber: distclean + +distclean: mostlyclean + +maintainer-clean: distclean + @echo "This command is intended for maintainers to use;" + @echo "it deletes files that may require special tools to rebuild." + +mostlyclean: clean + +install: uninstall + for d in $(INSTDIRS) ; \ + do \ + $(CP) epsf.tex $$d/epsf.tex ; \ + $(LN) $$d/epsf.tex $$d/epsf.sty ; \ + done + +uninstall: + for d in $(INSTDIRS) ; \ + do \ + $(RM) $$d/epsf.tex $$d/epsf.sty ; \ + done diff --git a/Master/texmf-dist/doc/generic/epsf/README b/Master/texmf-dist/doc/generic/epsf/README new file mode 100644 index 00000000000..986453765a2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/README @@ -0,0 +1,294 @@ +%% /u/sy/beebe/tex/epsf/epsf-2.7.3/README, Sat Jul 30 18:41:35 2005 +%% Edit by Nelson H. F. Beebe + +============ +Introduction +============ + +The epsf.tex and epsf.sty (identical) files provide for +low-level typesetting of Encapsulated PostScript (EPS) +files, with optional suppression of the figure contents (for +faster display and printing during document development), +optional figure framing, and optional figure labeling. + +See the header comments in epsf.tex or epsf.sty files for +usage information. + +LaTeX users are cautioned that the graphicx package +documented in the LaTeX Graphics Companion and LaTeX +Companion (2nd ed.) books provides a much more powerful and +general facility, and allows easy switching between +pdf(la)tex and (la)tex without document modification. + +Plain TeX and AmSTeX users, however, may find epsf.tex +useful. + + +=================== +Testing the package +=================== + +The test files in the package can be typeset on Unix systems +with + + make check + +You can then view or print the .dvi files to see several +examples of what they are supposed to look like. + +If you are in doubt about their appearance when generated at +your site, try the okay/*.dvi files: they were produced by +the package maintainers to illustrate the correct behavior +the package macros. + + +================= +Problem EPS files +================= + +If you experience difficulty in positioning an EPS picture, +and find that it appears in an unexpected location, or in an +incorrect scale or orientation, then it is often the case +that the PostScript is not EPSF-conformant (see the +specification in the references below). This may be because +it uses forbidden low-level PostScript operators that modify +the PostScript page transformations. The fndbadps shell +script in the distribution can be used on Unix systems to +search for forbidden operators in EPS files. If you find +any, you should complain to the author or vendor of the +software that produced the bad EPS files: the EPS +specification has been available since 1992, and is very +clear about what operators are forbidden. + +It is sometimes possible to repair problem EPS files by +converting from PostScript to PDF and back to PostScript. +Suitable tools for PostScript to PDF conversion include +Adobe distill, ghostscript ps2pdf, and Frank M. Siegert's +pstill. For PDF to PostScript conversion, use Adobe +acroread, ghostscript pdf2ps, or your PDF file viewer's +print-to-PostScript-file option. + +In bad cases, the only way to deal with a problem EPS file +may be to convert it to a high-resolution bitmap and back to +PostScript, taking care to choose a lossless bitmap format. +This can be done with the NetPBM tools and ghostscript. +These utilities offer a myriad of options, so it is +convenient to combine them in a separate tool that provides +the commonly-needed options: pstopngtops (see the References +section below). + + +=========================== +Bounding boxes and clipping +=========================== + +Sometimes the only problem is that the size of the figure is +wrong. This is usually because the %%BoundingBox comment +that is normally present in the first few lines of the EPS +file is wrong: indeed, most PostScript-producing software +produces nonsensical bounding boxes. + +One way to fix this problem is to print your EPS file and +the bboxgrid.ps file from this package on the SAME printer, +overlay them against a light source, and measure the +lower-left and upper-right corner coordinates in big points +(72bp = 1in = 25.4mm) of the picture and then edit the EPS +file to supply the correct coordinates as whole numbers in +order: + + %%BoundingBox: lower-left-x lower-left-y upper-right-x upper-right-y + +The PostScript coordinate system is right-handed Cartesian +with the origin at the lower-left page corner. The reason +that you need the grid provided by bboxgrid.ps is that even +though PostScript defines the coordinate position (0,0) to +be at the lower-left page corner, mechanical limitations +and/or misadjustments in PostScript printers often result in +that point being displaced by as much 1cm in any direction. +Even two identical models of the same printer can differ in +their true page origins! When you measure the picture +corners of your figure using the bboxgrid.ps output on the +same printer, you eliminate this source of confusion and +error. + +A better way to obtain an accurate bounding box is to ask +ghostscript to measure it for you: + + % gs -sDEVICE=bbox -dNOPAUSE bboxgrid.ps quit.ps + AFPL Ghostscript 8.51 (2005-04-18) + Copyright (C) 2005 artofcode LLC, Benicia, CA. All rights reserved. + This software comes with NO WARRANTY: see the file PUBLIC for details. + Loading NimbusSanL-Bold font from /usr/local/share/ghostscript/fonts/n019004l.pfb... 4506264 2452117 1502816 214110 1 done. + Loading NimbusSanL-Regu font from /usr/local/share/ghostscript/fonts/n019003l.pfb... 4506264 2483411 1522912 220580 1 done. + %%BoundingBox: 15 18 610 783 + %%HiResBoundingBox: 15.444000 18.395999 609.713981 782.045976 + +You can then replace the faulty %%BoundingBox comment in +your file with the correct one. + +The %%HiResBoundingBox comment is produced and used by some +software, but is nonstandard, and should not be relied on. +The epsf package ignores it, and PostScript printers ignore +all comments (text outside strings from percent to end of +line). + +If editing the EPS file is impossible, impractical, or +undesirable, you can supply the correct bounding box as a +square-bracketed optional argument to \epsfbox: + + \epsfbox[30 50 250 270]{filename.eps} + +This will override any %%BoundingBox comment in the file, +and if clipping is turned on with \epsfclipon, only material +inside the bounding box will appear in your output. + +If you find that the bounding box specification near the +start of the EPS file looks like this: + + %%BoundingBox: (atend) + +then search backward from the end of the file to find the +NEAREST %%BoundingBox comment, and then replace the (atend) +comment with the one you just found. TeX has to read the +EPS file until it finds the %%BoundingBox comment, and the +further it is from the beginning, the longer TeX will take +to find it. Parsing text in TeX is NOT a fast operation! + +Historical note: The bbox device was added to ghostscript at +version 3.68 in April 1996 at the suggestion of Nelson +H. F. Beebe. + + +========== +References +========== + +Web resources: + + LaTeX graphicx package: + http://ctan.tug.org/tex-archive/macros/latex/required/graphics/graphicx.dtx + + + Pstill (PostScript to PDF conversion tool): + http://www.wizards.de/~frank/pstill.html + http://www.this.net/~frank/pstill_win.html + + Aladdin Ghostscript: + ftp://mirror.cs.wisc.edu/pub/mirrors/ghost/ + http://prdownloads.sourceforge.net/ghostscript/ + http://www.artifex.com/ + http://www.cs.wisc.edu/~ghost/ + + GNU Ghostscript: + ftp://ftp.gnu.org/gnu/ghostscript + http://directory.fsf.org/ghostscript.html + + pstopngtops: + ftp://ftp.math.utah.edu/pub/pstopngtops + http://www.math.utah.edu/pub/pstopngtops + + netpbm: + http://netpbm.sourceforge.net/ + http://sourceforge.net/projects/netpbm/ + http://ii2.sourceforge.net/ + Note: NetPBM has a nonstandard build + procedure and historically has been very + painful to build on most Unix systems. The + first URL listed provides pointers to binary + distributions for some platforms that you + may find easier to install. Some GNU/Linux + distributions already have them: if the + Unix command + + which pngtopnm pnmcrop pnmmargin pnmtops + + reports locations of each those tools, then + you already have the ones needed for pstopngtops. + Mac OS X users can most conveniently install NetPBM + from the ii2 link above. + + +Books: + +@String{pub-ADOBE = "{Adobe Systems Incorporated}"} +@String{pub-ADOBE:adr = "San Jose, CA, USA"} + +@String{pub-AW = "Ad{\-d}i{\-s}on-Wes{\-l}ey"} +@String{pub-AW:adr = "Reading, MA, USA"} + +@Book{Adobe:1990:PLR, + author = "Adobe Systems Incorporated", + title = "{PostScript} Language Reference Manual", + publisher = pub-AW, + address = pub-AW:adr, + edition = "Second", + pages = "viii + 764", + year = "1990", + ISBN = "0-201-18127-4", + ISBN-13 = "978-0-201-18127-2", + LCCN = "QA76.73.P67 P67 1990", + bibdate = "Sat Oct 28 08:25:15 2000", + remark = "Appendix H documents the EPSF 3.0 specification.", +} + +@TechReport{Adobe:1992:EPF, + author = "{Adobe PostScript Developer Support Group}", + title = "{Encapsulated PostScript Files} Specification Version + 3.0", + number = "PN LPS5002", + institution = pub-ADOBE, + address = pub-ADOBE:adr, + day = "1", + month = may, + year = "1992", + bibdate = "Sat Jul 30 18:50:43 2005", + URL = "http://partners.adobe.com/public/developer/en/ps/5002.EPSF_Spec.pdf", + note = "The specification is also published in + \cite[Appendix~H]{Adobe:PLR90}.", +} + +@Book{Goossens:1997:LGC, + author = "Michel Goossens and Sebastian Rahtz and Frank + Mittelbach", + title = "The {\LaTeX} Graphics Companion: Illustrating + Documents with {\TeX} and {PostScript}", + publisher = pub-AW, + address = pub-AW:adr, + pages = "xxi + 554", + year = "1997", + ISBN = "0-201-85469-4", + ISBN-13 = "978-0-201-85469-5", + LCCN = "Z253.4.L38G663 1997", + bibdate = "Fri Jul 11 07:51:47 1997", + price = "US\$39.75", + series = "Tools and Techniques for Computer Typesetting", + acknowledgement = ack-nhfb, + keywords = "LaTeX (Computer file); Computerized typesetting.; + PostScript (Computer program language); Scientific + illustration --- Computer programs.; Mathematics + printing --- Computer programs.; Technical publishing + --- Computer programs.", +} + +@Book{Mittelbach:2004:LC, + author = "Frank Mittelbach and Michel Goossens and Johannes + Braams and David Carlisle and Chris Rowley and + Christine Detig and Joachim Schrod", + title = "The {\LaTeX} Companion", + publisher = pub-AW, + address = pub-AW:adr, + edition = "Second", + pages = "xxvii + 1090", + year = "2004", + ISBN = "0-201-36299-6", + ISBN-13 = "978-0-201-36299-2", + LCCN = "Z253.4.L38 G66 2004", + bibdate = "Thu May 20 13:23:24 2004", + price = "US\$59.99, CAN\$86.99", + series = "Tools and Techniques for Computer Typesetting", + acknowledgement = ack-nhfb, + remark = "Authors listed as: Frank Mittelbach and Michel + Goossens with Johannes Braams, David Carlisle, and + Chris Rowley, and with contributions by Christine Detig + and Joachim Schrod.", +} diff --git a/Master/texmf-dist/doc/generic/epsf/bboxgrid.ps b/Master/texmf-dist/doc/generic/epsf/bboxgrid.ps new file mode 100644 index 00000000000..7db6828817c --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/bboxgrid.ps @@ -0,0 +1,317 @@ +%!PS-Adobe +%%BoundingBox: 0 0 612 792 +%%% ==================================================================== +%%% @PostScript-file{ +%%% author = "Nelson H. F. Beebe", +%%% version = "1.01", +%%% date = "22 January 1994", +%%% time = "23:33:36 MST", +%%% filename = "bboxgrid.ps", +%%% address = "Center for Scientific Computing +%%% Department of Mathematics +%%% University of Utah +%%% Salt Lake City, UT 84112 +%%% USA +%%% Tel: +1 801 581 5254 +%%% FAX: +1 801 581 4148", +%%% checksum = "57568 317 1097 8973", +%%% email = "beebe@solitude.math.utah.edu (Internet)", +%%% codetable = "ISO/ASCII", +%%% keywords = "grid, measure, calibration", +%%% supported = "yes", +%%% docstring = "This PostScript file produces a numbered grid +%%% measured in PostScript units of big points +%%% for the determination of correct bounding +%%% boxes of other PostScript files. +%%% +%%% Accurate bounding box measurements are +%%% required if the PostScript is to be included +%%% in other PostScript documents, such as via +%%% the TeX \special{} command. +%%% +%%% While PostScript by default places the (0,0) +%%% origin at the lower-left page corner, +%%% variations of several points will be found in +%%% different printers, even between identical +%%% models from the same vendor. +%%% +%%% To correctly determine the BoundingBox of an +%%% arbitrary PostScript figure, overlay a +%%% printed copy of the figure on the grid +%%% produced by this file on the SAME printer, +%%% and measure from it the coordinates of the +%%% lower-left and upper-right corners. These +%%% four integers should be entered in the +%%% PostScript file as a comment of the form +%%% +%%% %%BoundingBox: llx lly urx ury +%%% +%%% This comment should be placed near the +%%% beginning, preferably right after the initial +%%% line that should start %! or %!PS-Adobe... +%%% +%%% The checksum field above contains a CRC-16 +%%% checksum as the first value, followed by the +%%% equivalent of the standard UNIX wc (word +%%% count) utility output of lines, words, and +%%% characters. This is produced by Robert +%%% Solovay's checksum utility.", +%%% } +%%% ==================================================================== + +%%% 1.01 [22-Jan-1994] add top label, and bp axis labels +%%% 1.00 [22-Nov-1991] original version + +/TickSize 5 def +/TickStep 5 def +/TickFontSize 9 def + +/Frame % x y width height Frame +{ + /height exch def + /width exch def + /y exch def + /x exch def + newpath + x y moveto + width 0 rlineto + 0 height rlineto + width neg 0 rlineto + closepath + stroke + + x y width TickStep TickSize TickX + x y width TickStep TickSize NumberX + x y height add width TickStep TickSize neg TickX + x y height add width TickStep TickSize neg NumberX + x y height TickStep TickSize TickY + x y height TickStep TickSize NumberY + x width add y height TickStep TickSize neg TickY + x width add y height TickStep TickSize neg NumberY + x y 25 25 width height Grid +} def + +/Grid % x y dx dy width height Grid +{ + /Gheight exch def + /Gwidth exch def + /Gdy exch def + /Gdx exch def + /Gy exch def + /Gx exch def + + Gx + Gdx + Gx Gwidth add + { + newpath + Gy moveto + 0 Gheight rlineto + closepath + stroke + } + for + + Gy + Gdy + Gy Gheight add + { + newpath + Gx exch moveto + Gwidth 0 rlineto + closepath + stroke + } + for +} def + + +/NumberX % x y length dx tick NumberX +{ + /Helvetica findfont TickFontSize scalefont setfont + /Ttick exch def + /Tdx exch def + /Tlength exch def + /Ty exch def + /Tx exch def + + /temp 12 string def + Tx + Tdx 5 mul + Tx Tlength add + { + dup + Ty moveto % Tx already on stack + Ttick 0 lt + { 0 TickFontSize 0.5 mul rmoveto } + { 0 TickFontSize -1.5 mul rmoveto } + ifelse + temp cvs + dup stringwidth pop -2 div 0 rmoveto + show + } + for +} def + +/NumberY % x y length dy tick NumberY +{ + /Helvetica findfont TickFontSize scalefont setfont + /Ttick exch def + /Tdy exch def + /Tlength exch def + /Ty exch def + /Tx exch def + + /temp 12 string def + Ty + Tdy 5 mul + Ty Tlength add + { + dup + Tx exch moveto % Ty already on stack + Ttick neg TickFontSize -2 div rmoveto + temp cvs + Ttick 0 gt + { dup stringwidth pop neg 0 rmoveto } + if + show + } + for +} def + +/TickX % x y length dx tick TickX +{ + /Ttick exch def + /Tdx exch def + /Tlength exch def + /Ty exch def + /Tx exch def + + Tx + Tdx + Tx Tlength add + { + dup + newpath + Ty moveto % Tx already on stack + cvi Tdx 5 mul cvi mod 0 eq% draw tick, double length every 5th + { Ttick 2 mul } + { Ttick } + ifelse + 0 + exch + rlineto + closepath + stroke + } + for +} def + +/TickY % x y length dy tick TickY +{ + /Ttick exch def + /Tdy exch def + /Tlength exch def + /Ty exch def + /Tx exch def + + Ty + Tdy + Ty Tlength add + { + dup + newpath + Tx exch moveto % Ty already on stack + cvi Tdy 5 mul cvi mod 0 eq% draw tick, double length every 5th + { Ttick 2 mul } + { Ttick } + ifelse + 0 + rlineto + closepath + stroke + } + for +} def + +/inch +{ + 72 mul +} def + +/mm +{ + 72 mul 25.4 div +} def + +% (string) CenterCenterShow -- show centered at currentpoint +/CenterCenterShow +{ + dup stringwidth pop -2 div TickFontSize -2 div rmoveto show +} def + +% (string) RightCenterShow -- show right-centered at currentpoint +/RightCenterShow +{ + dup stringwidth pop neg TickFontSize -2 div rmoveto show +} def + +% (string) LeftCenterShow -- show right-centered at currentpoint +/LeftCenterShow +{ + 0 TickFontSize -2 div rmoveto show +} def + +% Select ONE of these pairs of page dimensions + +% ISO A4-format paper +% /PageWidth 210 mm def +% /PageHeight 297 mm def + +% US A-format paper +/PageWidth 8.5 inch def +/PageHeight 11.0 inch def + +% Make grid lines half the normal thickness +currentlinewidth 0.5 mul setlinewidth + +% Title the grid +/Helvetica-Bold findfont TickFontSize scalefont setfont +PageWidth 2 div 25 moveto +(bboxgrid.ps [Version 1.01] [22 January 1994]) dup +CenterCenterShow + +PageWidth 2 div 780 moveto +CenterCenterShow + +% You can change this line to make a different grid. The values +% should all be multiples of 25. +% The values 50 50 525 700 are appropriate for an Apple LaserWriter II. +% x y width height Frame +50 50 525 700 Frame + +% label bottom horizontal axis at each end +50 30 moveto +(bp) CenterCenterShow +575 30 moveto +(bp) CenterCenterShow + +% label top horizontal axis at each end +50 770 moveto +(bp) CenterCenterShow +575 770 moveto +(bp) CenterCenterShow + +% label left vertical axis at each end +25 50 moveto +(bp) RightCenterShow +25 750 moveto +(bp) RightCenterShow + +% label right vertical axis at each end +600 50 moveto +(bp) LeftCenterShow +600 750 moveto +(bp) LeftCenterShow + +showpage diff --git a/Master/texmf-dist/doc/generic/epsf/fndbadps b/Master/texmf-dist/doc/generic/epsf/fndbadps new file mode 100755 index 00000000000..bf91a717111 --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/fndbadps @@ -0,0 +1,18 @@ +#!/bin/sh +# Find forbidden PostScript operators in the files specified +# on stdin. +# [21-May-1999] -- update with extended list for PostScript Level 3, +# from pp. 802--803 of the PostScript Language Reference +# Manual, 3rd edition, 1999. +# [29-Jun-1996] -- update to show matching bad operator +# [23-Oct-1992] + +# Level 2 list (19 operators): +# /banddevice|grestoreall|nulldevice|setpageparams|copypage|initclip|quit|setsccbatch|erasepage|initgraphics|renderbands|setscreen|exitserver|initmatrix|setdevice|settransfer|framedevice|note|setmatrix/ + +# Level 3 list (36 operators): +nawk ' +/^%/ {next} +match($0,/[^A-Za-z](banddevice|clear|cleardictstack|copypage|erasepage|executive|exitserver|framedevice|grestoreall|initclip|initgraphics|initmatrix|nulldevice|quit|renderbands|setblackgeneration|setcolorrendering|setcolorscreen|setcolortransfer|setflat|setglobal|setgstate|sethalftone|setmatrix|setoverprint|setpagedevice|setscreen|setshared|setsmoothness|settransfer|setundercolorremoval|startjob|statusdict|undefinefont|undefineresource|userdict)[^A-Za-z]/) { + print FILENAME ":" NR ": " $0 ": [" substr($0,RSTART,RLENGTH) "] illegal in EPS file" +}' $* diff --git a/Master/texmf-dist/doc/generic/epsf/okay/teps.eps b/Master/texmf-dist/doc/generic/epsf/okay/teps.eps new file mode 100644 index 00000000000..9c92e663a56 --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/okay/teps.eps @@ -0,0 +1,186 @@ +%!PS-Adobe-3.0 EPSF-3.0 +%%Title: psposter +x 1in +y 1in +w 2in +h 0.75in +p 20pt +fg navyblue +bd red +bg skyblue test of epsf.tex +%%CreationDate: Sat Jul 23 17:26:56 MDT 2005 +%%Creator: psposter Version 0.11 [13-Jan-2000] +%%For: Nelson H. F. Beebe +%%BoundingBox: 72 72 216 126 +%%DocumentMedia: A 612 792 0 () () +%%DocumentData: Clean7Bit +%%DocumentFonts: font Times-Bold +%%DocumentNeededResources: font Times-Bold +%%Orientation: Portrait +%%PageOrder: Ascend +%%Pages: 1 +%%EndComments +%======================================================================= +%%BeginProlog +/psposterdict 50 dict def +psposterdict begin +/inch { 72 mul } def +/BackgroundColor { 0.529412 0.807843 0.921569 } def % skyblue +/BaselineSkipFactor 1.2 def +/BorderColor { 1 0 0 } def % red +/BorderMargin 0 def +/BorderWidth 10 def +/CapHeight +{ + gsave newpath 0 0 moveto (M) true charpath pathbbox + exch pop sub neg exch pop grestore +} def +/ForegroundColor { 0 0 0.501961 } def % navyblue +/reencodePRIVATE { + dup length dict begin + {1 index /FID ne {def}{pop pop} ifelse} forall + %% Using default font encoding, perhaps: /Encoding StandardEncoding def + currentdict + end +} def +/findPRIVATE { + dup /FontType known { + dup /FontType get 3 ne { + dup /CharStrings known { + dup /CharStrings get /Thorn known { + true + }{ false } ifelse + }{ false } ifelse + }{ false } ifelse + }{ false } ifelse +} def +/LandscapeMode false def +/MarginWidth 0 def +/PageHeight 792 def +/PageWidth 612 def +/Height 54 def +/Width 144 def +/PointSize 19.9253 def +/ROTATE_0 {} def +/ROTATE_90 {Width 0 translate 90 rotate} bind def +/ROTATE_180 {Width Height translate 180 rotate} bind def +/ROTATE_270 {0 Height translate 270 rotate} bind def +/ScaleFactor 1 def +LandscapeMode +{ + /TextHeight Width MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def + /TextWidth Height MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def +} +{ + /TextHeight Height MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def + /TextWidth Width MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def +} +ifelse +/XOffset 72 def +/YOffset 72 def +% Center and show a string at the current point, leaving +% point at the center of the next line. +% Usage: (string) cshow +/cshow +{ + currentpoint /cpy exch def /cpx exch def + dup stringwidth pop 0.5 mul neg 0 rmoveto show + cpx cpy moveto + NewLine +} def +/max +{ + /a exch def + /b exch def + a b gt { a } { b } ifelse +} def +/min +{ + /a exch def + /b exch def + a b lt { a } { b } ifelse +} def +/TheFont /Times-Bold def +/TheFontPRIVATE /Times-Bold-PRIVATE def +TheFontPRIVATE TheFont findfont reencodePRIVATE definefont pop +% Set the font size so that longest PosterLines string fills the TextWidth +% Usage: setfontsize +/setfontsize +{ + TheFont findfont + findPRIVATE {reencodePRIVATE TheFontPRIVATE exch definefont} if + 10 scalefont setfont + % Set TheFontSize according to maximum string width + 0 PosterLines { stringwidth pop max } forall TextWidth exch div 10 mul + /TheFontSize exch def + % Adjust TheFontSize according to the number of text lines + LineCount TheFontSize mul BaselineSkipFactor mul + TextHeight div + dup 1 gt { TheFontSize exch div /TheFontSize exch def } { pop } ifelse + % NB: The following definition silently overrides the previous one + /TheFontSize PointSize def + /BaselineSkip BaselineSkipFactor TheFontSize mul def + TheFont findfont + findPRIVATE {reencodePRIVATE TheFontPRIVATE exch definefont} if + TheFontSize scalefont setfont +} def +/NewLine {0 BaselineSkip neg rmoveto} def +/PosterLines +[ + (test of epsf.tex) +] def +/LineCount PosterLines length 1 max def +end % psposterdict +%%EndProlog +%======================================================================= +%%BeginSetup +/#copies 1 def +%%EndSetup +%======================================================================= +%%Page: 1 1 +%%BeginPageSetup +psposterdict begin +XOffset YOffset translate +ScaleFactor dup scale +ROTATE_0 +end % psposterdict +%%EndPageSetup + +psposterdict begin +% Draw a frame box and fill it with the background color, and a border color. +BorderWidth setlinewidth +newpath +MarginWidth BorderWidth 0.5 mul add dup moveto +TextWidth BorderMargin 2 mul add BorderWidth add 0 rlineto +0 TextHeight BorderMargin 2 mul add BorderWidth add rlineto +TextWidth BorderMargin 2 mul add BorderWidth add neg 0 rlineto +closepath +BackgroundColor setrgbcolor gsave fill grestore +BorderColor setrgbcolor stroke + +0 0 0 setrgbcolor % revert to black + +% Set the clipping path to the text region +0 setlinewidth +newpath +MarginWidth BorderWidth add BorderMargin add dup moveto +TextWidth 0 rlineto +0 TextHeight rlineto +TextWidth neg 0 rlineto +closepath +clip + +% Move origin to text box center, since x = 0 is a convenient +% value for centering text. +LandscapeMode + { Height 0.5 mul Width 0.5 mul translate } + { Width 0.5 mul Height 0.5 mul translate } +ifelse +% Set font size so that the longest line just fills the TextWidth. +setfontsize +% Center the text vertically, such that the middle line has its text +% (rather than baseline distance) centered on a horizontal line +% passing through the center of the picture. +0 LineCount 0.5 mul BaselineSkip mul BaselineSkip sub moveto +0 BaselineSkip CapHeight sub 0.5 mul rmoveto +ForegroundColor setrgbcolor +% Typeset the poster text. +PosterLines { cshow } forall +end % psposterdict +showpage +%%PageTrailer +%======================================================================= +%%Trailer +%%EOF diff --git a/Master/texmf-dist/doc/generic/epsf/okay/tepsf.eps b/Master/texmf-dist/doc/generic/epsf/okay/tepsf.eps new file mode 100644 index 00000000000..c1a3954832a --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/okay/tepsf.eps @@ -0,0 +1,186 @@ +%!PS-Adobe-3.0 EPSF-3.0 +%%Title: psposter +x 1in +y 1in +w 2in +h 0.75in +p 20pt +fg navyblue +bg lightblue +bd skyblue test of epsf.tex +%%CreationDate: Sat Jul 23 17:29:32 MDT 2005 +%%Creator: psposter Version 0.11 [13-Jan-2000] +%%For: Nelson H. F. Beebe +%%BoundingBox: 72 72 216 126 +%%DocumentMedia: A 612 792 0 () () +%%DocumentData: Clean7Bit +%%DocumentFonts: font Times-Bold +%%DocumentNeededResources: font Times-Bold +%%Orientation: Portrait +%%PageOrder: Ascend +%%Pages: 1 +%%EndComments +%======================================================================= +%%BeginProlog +/psposterdict 50 dict def +psposterdict begin +/inch { 72 mul } def +/BackgroundColor { 0.678431 0.847059 0.901961 } def % lightblue +/BaselineSkipFactor 1.2 def +/BorderColor { 0.529412 0.807843 0.921569 } def % skyblue +/BorderMargin 0 def +/BorderWidth 10 def +/CapHeight +{ + gsave newpath 0 0 moveto (M) true charpath pathbbox + exch pop sub neg exch pop grestore +} def +/ForegroundColor { 0 0 0.501961 } def % navyblue +/reencodePRIVATE { + dup length dict begin + {1 index /FID ne {def}{pop pop} ifelse} forall + %% Using default font encoding, perhaps: /Encoding StandardEncoding def + currentdict + end +} def +/findPRIVATE { + dup /FontType known { + dup /FontType get 3 ne { + dup /CharStrings known { + dup /CharStrings get /Thorn known { + true + }{ false } ifelse + }{ false } ifelse + }{ false } ifelse + }{ false } ifelse +} def +/LandscapeMode false def +/MarginWidth 0 def +/PageHeight 792 def +/PageWidth 612 def +/Height 54 def +/Width 144 def +/PointSize 19.9253 def +/ROTATE_0 {} def +/ROTATE_90 {Width 0 translate 90 rotate} bind def +/ROTATE_180 {Width Height translate 180 rotate} bind def +/ROTATE_270 {0 Height translate 270 rotate} bind def +/ScaleFactor 1 def +LandscapeMode +{ + /TextHeight Width MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def + /TextWidth Height MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def +} +{ + /TextHeight Height MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def + /TextWidth Width MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def +} +ifelse +/XOffset 72 def +/YOffset 72 def +% Center and show a string at the current point, leaving +% point at the center of the next line. +% Usage: (string) cshow +/cshow +{ + currentpoint /cpy exch def /cpx exch def + dup stringwidth pop 0.5 mul neg 0 rmoveto show + cpx cpy moveto + NewLine +} def +/max +{ + /a exch def + /b exch def + a b gt { a } { b } ifelse +} def +/min +{ + /a exch def + /b exch def + a b lt { a } { b } ifelse +} def +/TheFont /Times-Bold def +/TheFontPRIVATE /Times-Bold-PRIVATE def +TheFontPRIVATE TheFont findfont reencodePRIVATE definefont pop +% Set the font size so that longest PosterLines string fills the TextWidth +% Usage: setfontsize +/setfontsize +{ + TheFont findfont + findPRIVATE {reencodePRIVATE TheFontPRIVATE exch definefont} if + 10 scalefont setfont + % Set TheFontSize according to maximum string width + 0 PosterLines { stringwidth pop max } forall TextWidth exch div 10 mul + /TheFontSize exch def + % Adjust TheFontSize according to the number of text lines + LineCount TheFontSize mul BaselineSkipFactor mul + TextHeight div + dup 1 gt { TheFontSize exch div /TheFontSize exch def } { pop } ifelse + % NB: The following definition silently overrides the previous one + /TheFontSize PointSize def + /BaselineSkip BaselineSkipFactor TheFontSize mul def + TheFont findfont + findPRIVATE {reencodePRIVATE TheFontPRIVATE exch definefont} if + TheFontSize scalefont setfont +} def +/NewLine {0 BaselineSkip neg rmoveto} def +/PosterLines +[ + (test of epsf.tex) +] def +/LineCount PosterLines length 1 max def +end % psposterdict +%%EndProlog +%======================================================================= +%%BeginSetup +/#copies 1 def +%%EndSetup +%======================================================================= +%%Page: 1 1 +%%BeginPageSetup +psposterdict begin +XOffset YOffset translate +ScaleFactor dup scale +ROTATE_0 +end % psposterdict +%%EndPageSetup + +psposterdict begin +% Draw a frame box and fill it with the background color, and a border color. +BorderWidth setlinewidth +newpath +MarginWidth BorderWidth 0.5 mul add dup moveto +TextWidth BorderMargin 2 mul add BorderWidth add 0 rlineto +0 TextHeight BorderMargin 2 mul add BorderWidth add rlineto +TextWidth BorderMargin 2 mul add BorderWidth add neg 0 rlineto +closepath +BackgroundColor setrgbcolor gsave fill grestore +BorderColor setrgbcolor stroke + +0 0 0 setrgbcolor % revert to black + +% Set the clipping path to the text region +0 setlinewidth +newpath +MarginWidth BorderWidth add BorderMargin add dup moveto +TextWidth 0 rlineto +0 TextHeight rlineto +TextWidth neg 0 rlineto +closepath +clip + +% Move origin to text box center, since x = 0 is a convenient +% value for centering text. +LandscapeMode + { Height 0.5 mul Width 0.5 mul translate } + { Width 0.5 mul Height 0.5 mul translate } +ifelse +% Set font size so that the longest line just fills the TextWidth. +setfontsize +% Center the text vertically, such that the middle line has its text +% (rather than baseline distance) centered on a horizontal line +% passing through the center of the picture. +0 LineCount 0.5 mul BaselineSkip mul BaselineSkip sub moveto +0 BaselineSkip CapHeight sub 0.5 mul rmoveto +ForegroundColor setrgbcolor +% Typeset the poster text. +PosterLines { cshow } forall +end % psposterdict +showpage +%%PageTrailer +%======================================================================= +%%Trailer +%%EOF diff --git a/Master/texmf-dist/doc/generic/epsf/teps.eps b/Master/texmf-dist/doc/generic/epsf/teps.eps new file mode 100644 index 00000000000..9c92e663a56 --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/teps.eps @@ -0,0 +1,186 @@ +%!PS-Adobe-3.0 EPSF-3.0 +%%Title: psposter +x 1in +y 1in +w 2in +h 0.75in +p 20pt +fg navyblue +bd red +bg skyblue test of epsf.tex +%%CreationDate: Sat Jul 23 17:26:56 MDT 2005 +%%Creator: psposter Version 0.11 [13-Jan-2000] +%%For: Nelson H. F. Beebe +%%BoundingBox: 72 72 216 126 +%%DocumentMedia: A 612 792 0 () () +%%DocumentData: Clean7Bit +%%DocumentFonts: font Times-Bold +%%DocumentNeededResources: font Times-Bold +%%Orientation: Portrait +%%PageOrder: Ascend +%%Pages: 1 +%%EndComments +%======================================================================= +%%BeginProlog +/psposterdict 50 dict def +psposterdict begin +/inch { 72 mul } def +/BackgroundColor { 0.529412 0.807843 0.921569 } def % skyblue +/BaselineSkipFactor 1.2 def +/BorderColor { 1 0 0 } def % red +/BorderMargin 0 def +/BorderWidth 10 def +/CapHeight +{ + gsave newpath 0 0 moveto (M) true charpath pathbbox + exch pop sub neg exch pop grestore +} def +/ForegroundColor { 0 0 0.501961 } def % navyblue +/reencodePRIVATE { + dup length dict begin + {1 index /FID ne {def}{pop pop} ifelse} forall + %% Using default font encoding, perhaps: /Encoding StandardEncoding def + currentdict + end +} def +/findPRIVATE { + dup /FontType known { + dup /FontType get 3 ne { + dup /CharStrings known { + dup /CharStrings get /Thorn known { + true + }{ false } ifelse + }{ false } ifelse + }{ false } ifelse + }{ false } ifelse +} def +/LandscapeMode false def +/MarginWidth 0 def +/PageHeight 792 def +/PageWidth 612 def +/Height 54 def +/Width 144 def +/PointSize 19.9253 def +/ROTATE_0 {} def +/ROTATE_90 {Width 0 translate 90 rotate} bind def +/ROTATE_180 {Width Height translate 180 rotate} bind def +/ROTATE_270 {0 Height translate 270 rotate} bind def +/ScaleFactor 1 def +LandscapeMode +{ + /TextHeight Width MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def + /TextWidth Height MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def +} +{ + /TextHeight Height MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def + /TextWidth Width MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def +} +ifelse +/XOffset 72 def +/YOffset 72 def +% Center and show a string at the current point, leaving +% point at the center of the next line. +% Usage: (string) cshow +/cshow +{ + currentpoint /cpy exch def /cpx exch def + dup stringwidth pop 0.5 mul neg 0 rmoveto show + cpx cpy moveto + NewLine +} def +/max +{ + /a exch def + /b exch def + a b gt { a } { b } ifelse +} def +/min +{ + /a exch def + /b exch def + a b lt { a } { b } ifelse +} def +/TheFont /Times-Bold def +/TheFontPRIVATE /Times-Bold-PRIVATE def +TheFontPRIVATE TheFont findfont reencodePRIVATE definefont pop +% Set the font size so that longest PosterLines string fills the TextWidth +% Usage: setfontsize +/setfontsize +{ + TheFont findfont + findPRIVATE {reencodePRIVATE TheFontPRIVATE exch definefont} if + 10 scalefont setfont + % Set TheFontSize according to maximum string width + 0 PosterLines { stringwidth pop max } forall TextWidth exch div 10 mul + /TheFontSize exch def + % Adjust TheFontSize according to the number of text lines + LineCount TheFontSize mul BaselineSkipFactor mul + TextHeight div + dup 1 gt { TheFontSize exch div /TheFontSize exch def } { pop } ifelse + % NB: The following definition silently overrides the previous one + /TheFontSize PointSize def + /BaselineSkip BaselineSkipFactor TheFontSize mul def + TheFont findfont + findPRIVATE {reencodePRIVATE TheFontPRIVATE exch definefont} if + TheFontSize scalefont setfont +} def +/NewLine {0 BaselineSkip neg rmoveto} def +/PosterLines +[ + (test of epsf.tex) +] def +/LineCount PosterLines length 1 max def +end % psposterdict +%%EndProlog +%======================================================================= +%%BeginSetup +/#copies 1 def +%%EndSetup +%======================================================================= +%%Page: 1 1 +%%BeginPageSetup +psposterdict begin +XOffset YOffset translate +ScaleFactor dup scale +ROTATE_0 +end % psposterdict +%%EndPageSetup + +psposterdict begin +% Draw a frame box and fill it with the background color, and a border color. +BorderWidth setlinewidth +newpath +MarginWidth BorderWidth 0.5 mul add dup moveto +TextWidth BorderMargin 2 mul add BorderWidth add 0 rlineto +0 TextHeight BorderMargin 2 mul add BorderWidth add rlineto +TextWidth BorderMargin 2 mul add BorderWidth add neg 0 rlineto +closepath +BackgroundColor setrgbcolor gsave fill grestore +BorderColor setrgbcolor stroke + +0 0 0 setrgbcolor % revert to black + +% Set the clipping path to the text region +0 setlinewidth +newpath +MarginWidth BorderWidth add BorderMargin add dup moveto +TextWidth 0 rlineto +0 TextHeight rlineto +TextWidth neg 0 rlineto +closepath +clip + +% Move origin to text box center, since x = 0 is a convenient +% value for centering text. +LandscapeMode + { Height 0.5 mul Width 0.5 mul translate } + { Width 0.5 mul Height 0.5 mul translate } +ifelse +% Set font size so that the longest line just fills the TextWidth. +setfontsize +% Center the text vertically, such that the middle line has its text +% (rather than baseline distance) centered on a horizontal line +% passing through the center of the picture. +0 LineCount 0.5 mul BaselineSkip mul BaselineSkip sub moveto +0 BaselineSkip CapHeight sub 0.5 mul rmoveto +ForegroundColor setrgbcolor +% Typeset the poster text. +PosterLines { cshow } forall +end % psposterdict +showpage +%%PageTrailer +%======================================================================= +%%Trailer +%%EOF diff --git a/Master/texmf-dist/doc/generic/epsf/tepsf.eps b/Master/texmf-dist/doc/generic/epsf/tepsf.eps new file mode 100644 index 00000000000..c1a3954832a --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/tepsf.eps @@ -0,0 +1,186 @@ +%!PS-Adobe-3.0 EPSF-3.0 +%%Title: psposter +x 1in +y 1in +w 2in +h 0.75in +p 20pt +fg navyblue +bg lightblue +bd skyblue test of epsf.tex +%%CreationDate: Sat Jul 23 17:29:32 MDT 2005 +%%Creator: psposter Version 0.11 [13-Jan-2000] +%%For: Nelson H. F. Beebe +%%BoundingBox: 72 72 216 126 +%%DocumentMedia: A 612 792 0 () () +%%DocumentData: Clean7Bit +%%DocumentFonts: font Times-Bold +%%DocumentNeededResources: font Times-Bold +%%Orientation: Portrait +%%PageOrder: Ascend +%%Pages: 1 +%%EndComments +%======================================================================= +%%BeginProlog +/psposterdict 50 dict def +psposterdict begin +/inch { 72 mul } def +/BackgroundColor { 0.678431 0.847059 0.901961 } def % lightblue +/BaselineSkipFactor 1.2 def +/BorderColor { 0.529412 0.807843 0.921569 } def % skyblue +/BorderMargin 0 def +/BorderWidth 10 def +/CapHeight +{ + gsave newpath 0 0 moveto (M) true charpath pathbbox + exch pop sub neg exch pop grestore +} def +/ForegroundColor { 0 0 0.501961 } def % navyblue +/reencodePRIVATE { + dup length dict begin + {1 index /FID ne {def}{pop pop} ifelse} forall + %% Using default font encoding, perhaps: /Encoding StandardEncoding def + currentdict + end +} def +/findPRIVATE { + dup /FontType known { + dup /FontType get 3 ne { + dup /CharStrings known { + dup /CharStrings get /Thorn known { + true + }{ false } ifelse + }{ false } ifelse + }{ false } ifelse + }{ false } ifelse +} def +/LandscapeMode false def +/MarginWidth 0 def +/PageHeight 792 def +/PageWidth 612 def +/Height 54 def +/Width 144 def +/PointSize 19.9253 def +/ROTATE_0 {} def +/ROTATE_90 {Width 0 translate 90 rotate} bind def +/ROTATE_180 {Width Height translate 180 rotate} bind def +/ROTATE_270 {0 Height translate 270 rotate} bind def +/ScaleFactor 1 def +LandscapeMode +{ + /TextHeight Width MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def + /TextWidth Height MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def +} +{ + /TextHeight Height MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def + /TextWidth Width MarginWidth 2 mul sub BorderWidth 2 mul sub BorderMargin 2 mul sub def +} +ifelse +/XOffset 72 def +/YOffset 72 def +% Center and show a string at the current point, leaving +% point at the center of the next line. +% Usage: (string) cshow +/cshow +{ + currentpoint /cpy exch def /cpx exch def + dup stringwidth pop 0.5 mul neg 0 rmoveto show + cpx cpy moveto + NewLine +} def +/max +{ + /a exch def + /b exch def + a b gt { a } { b } ifelse +} def +/min +{ + /a exch def + /b exch def + a b lt { a } { b } ifelse +} def +/TheFont /Times-Bold def +/TheFontPRIVATE /Times-Bold-PRIVATE def +TheFontPRIVATE TheFont findfont reencodePRIVATE definefont pop +% Set the font size so that longest PosterLines string fills the TextWidth +% Usage: setfontsize +/setfontsize +{ + TheFont findfont + findPRIVATE {reencodePRIVATE TheFontPRIVATE exch definefont} if + 10 scalefont setfont + % Set TheFontSize according to maximum string width + 0 PosterLines { stringwidth pop max } forall TextWidth exch div 10 mul + /TheFontSize exch def + % Adjust TheFontSize according to the number of text lines + LineCount TheFontSize mul BaselineSkipFactor mul + TextHeight div + dup 1 gt { TheFontSize exch div /TheFontSize exch def } { pop } ifelse + % NB: The following definition silently overrides the previous one + /TheFontSize PointSize def + /BaselineSkip BaselineSkipFactor TheFontSize mul def + TheFont findfont + findPRIVATE {reencodePRIVATE TheFontPRIVATE exch definefont} if + TheFontSize scalefont setfont +} def +/NewLine {0 BaselineSkip neg rmoveto} def +/PosterLines +[ + (test of epsf.tex) +] def +/LineCount PosterLines length 1 max def +end % psposterdict +%%EndProlog +%======================================================================= +%%BeginSetup +/#copies 1 def +%%EndSetup +%======================================================================= +%%Page: 1 1 +%%BeginPageSetup +psposterdict begin +XOffset YOffset translate +ScaleFactor dup scale +ROTATE_0 +end % psposterdict +%%EndPageSetup + +psposterdict begin +% Draw a frame box and fill it with the background color, and a border color. +BorderWidth setlinewidth +newpath +MarginWidth BorderWidth 0.5 mul add dup moveto +TextWidth BorderMargin 2 mul add BorderWidth add 0 rlineto +0 TextHeight BorderMargin 2 mul add BorderWidth add rlineto +TextWidth BorderMargin 2 mul add BorderWidth add neg 0 rlineto +closepath +BackgroundColor setrgbcolor gsave fill grestore +BorderColor setrgbcolor stroke + +0 0 0 setrgbcolor % revert to black + +% Set the clipping path to the text region +0 setlinewidth +newpath +MarginWidth BorderWidth add BorderMargin add dup moveto +TextWidth 0 rlineto +0 TextHeight rlineto +TextWidth neg 0 rlineto +closepath +clip + +% Move origin to text box center, since x = 0 is a convenient +% value for centering text. +LandscapeMode + { Height 0.5 mul Width 0.5 mul translate } + { Width 0.5 mul Height 0.5 mul translate } +ifelse +% Set font size so that the longest line just fills the TextWidth. +setfontsize +% Center the text vertically, such that the middle line has its text +% (rather than baseline distance) centered on a horizontal line +% passing through the center of the picture. +0 LineCount 0.5 mul BaselineSkip mul BaselineSkip sub moveto +0 BaselineSkip CapHeight sub 0.5 mul rmoveto +ForegroundColor setrgbcolor +% Typeset the poster text. +PosterLines { cshow } forall +end % psposterdict +showpage +%%PageTrailer +%======================================================================= +%%Trailer +%%EOF diff --git a/Master/texmf-dist/doc/generic/epsf/tepsf1.tex b/Master/texmf-dist/doc/generic/epsf/tepsf1.tex new file mode 100644 index 00000000000..d045f167cda --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/tepsf1.tex @@ -0,0 +1,146 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% Preamble + +\input epsf.tex + +\def \bs {\char`\\} + +\def \heading #1{\centerline{\bf #1}} + +\def \myfont {% + \baselineskip = 9.6pt + \font \rm = cmr8 at 8pt + \rm +} + +\def \noise +{% + Blah blah blah blah blah blah. Blah blah blah blah blah blah. Blah + blah blah blah blah blah. Blah blah blah blah blah blah +} + +\def \ARROWPICTURE {\llap{$\Rightarrow$}\PLAINPICTURE\rlap{$\Leftarrow$}} + +\def \PLAINPICTURE {\epsffile{tepsf.eps}} + +\parindent = 2em + +\parskip = 2ex plus 0.5ex minus 0.5ex + +%% Page size in mid-Atlantic units +\voffset = -0.5in + +\vsize = 9.5in + +\hsize = 12.5cm + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% Document body + +\myfont + +\heading{Test of {\tt epsf.tex}} + +\noise + +This figure should be centered: + +\centerline{\PLAINPICTURE} + +\noise + +This figure should be left-adjusted: + +\leftline{\PLAINPICTURE} + +\noise + +This figure should be right-adjusted: + +\rightline{\PLAINPICTURE} + +\noise + +This figure should be centered with abutting arrows on the baseline: + +\centerline{\ARROWPICTURE} + +\noise + +This figure should be left-adjusted with abutting arrows on the +baseline, the leftmost of which is in the left margin on the baseline: + +\leftline{\ARROWPICTURE} + +\noise + +This figure should be right-adjusted with abutting arrows on the +baseline, the rightmost of which is in the right margin on the +baseline: + +\rightline{\ARROWPICTURE} + +\noise + +\vfill +\eject + +%% --------------------------------------------------------------------- + +\heading{Test of {\tt epsf.tex}} +\heading{with} +\heading{{\tt \bs epsfframetrue} and {\tt \bs epsfshowfalse} and + {\tt \bs epsfshowfilenametrue}} + +\epsfframetrue +\epsfshowfalse +\epsfshowfilenametrue +\epsfverbosetrue + +\noise + +This figure should be centered: + +\centerline{\PLAINPICTURE} + +\noise + +This figure should be left-adjusted: + +\leftline{\PLAINPICTURE} + +\noise + +This figure should be right-adjusted: + +\rightline{\PLAINPICTURE} + +\noise + +This figure should be centered with abutting arrows on the baseline: + +\centerline{\ARROWPICTURE} + +\noise + +This figure should be left-adjusted with abutting arrows on the +baseline, the leftmost of which is in the left margin on the baseline: + +\leftline{\ARROWPICTURE} + +\noise + +This figure should be right-adjusted with abutting arrows on the +baseline, the rightmost of which is in the right margin on the +baseline: + +\rightline{\ARROWPICTURE} + +\noise + +\vfill +\eject + +%% --------------------------------------------------------------------- + +\bye diff --git a/Master/texmf-dist/doc/generic/epsf/tepsf2.ltx b/Master/texmf-dist/doc/generic/epsf/tepsf2.ltx new file mode 100644 index 00000000000..7c8fd4c071f --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/tepsf2.ltx @@ -0,0 +1,232 @@ +% -*-latex-*- +% Document name: /u/sy/beebe/tex/epsf/new/tepsf2.ltx +% Creator: Nelson H. F. Beebe [beebe@math.utah.edu] +% Creation Date: Sat Jul 23 14:51:49 2005 + +\ifx \documentclass \undefined % LaTeX 2.09 + \documentstyle{article} + \input {epsf.sty} +\else % LaTeX 2e + \documentclass{article} + \usepackage{epsf} +\fi + +\newcommand{\bs}{\char`\\} + +\newcommand {\heading} [1] {\centerline{\bf #1}} + +\newcommand {\myfont} +{ + \baselineskip = 9.6pt + \font \rm = cmr8 at 8pt + \rm +} + +\newcommand {\noise} +{% + Blah blah blah blah blah blah. Blah blah blah blah blah blah. Blah + blah blah blah blah blah. Blah blah blah blah blah blah +} + +\newcommand{\ARROWPICTURE}{% + \makebox[0pt][r]{$\Rightarrow$}% + \PLAINPICTURE + \makebox[0pt][l]{$\Leftarrow$}% +} + +\newcommand{\PLAINPICTURE}{% + \epsffile{tepsf.eps}% +} + +\setlength{\parindent} {2em} + +\setlength{\parskip} {2ex plus 0.5ex minus 0.5ex} + +\setlength{\topmargin} {0pt} + +\setlength{\headheight} {0pt} + +\setlength{\headsep} {0pt} + +\setlength{\leftmargin} {0pt} + +\setlength{\textheight} {9in} + +\setlength{\textwidth} {12.5cm} + +\begin{document} + +\myfont + +\heading{Test of {\tt \bs epsfbox} with {\tt \bs centerline}} + +\noise + +This figure should be centered: + +\centerline{\PLAINPICTURE{}} + +\noise + +This figure should be left-adjusted: + +\centerline{\PLAINPICTURE{}\hfill} + +\noise + +This figure should be right-adjusted: + +\centerline{\hfill \PLAINPICTURE{}} + +\noise + +This figure should be centered with abutting arrows on the baseline: + +\centerline{$\Rightarrow$\PLAINPICTURE{}$\Leftarrow$} + +\noise + +This figure should be left-adjusted with abutting arrows on the +baseline, the leftmost of which is in the left margin on the baseline: + +\centerline{\hbox to 0pt{\hss$\Rightarrow$}\PLAINPICTURE{}$\Leftarrow$ \hfill} + +\noise + +This figure should be right-adjusted with abutting arrows on the +baseline, the rightmost of which is in the right margin on the +baseline: + +\centerline{\hfill $\Rightarrow$\PLAINPICTURE{}\hbox to 0pt{$\Leftarrow$ \hss}} + +\noise + +%% --------------------------------------------------------------------- + +\newpage + +\heading{Test of {\tt \bs epsfbox} with {\tt center} environment} + +\noise + +This figure should be centered: + +\begin{center} + \PLAINPICTURE{} +\end{center} + +\noise + +This figure should be left-adjusted: + +\begin{flushleft} + \PLAINPICTURE{} +\end{flushleft} + +\noise + +This figure should be right-adjusted: + +\begin{flushright} + \PLAINPICTURE{} +\end{flushright} + +\noise + +This figure should be centered with abutting arrows on the baseline: + +\begin{center} + \ARROWPICTURE{} +\end{center} + +\noise + +This figure should be left-adjusted with abutting arrows on the +baseline, the leftmost of which is in the left margin on the +baseline:% + +\begin{flushleft} + \ARROWPICTURE{} +\end{flushleft} + +\noise + +This figure should be right-adjusted with abutting arrows on the +baseline, the rightmost of which is in the right margin on the +baseline: + +\begin{flushright} + \ARROWPICTURE{} +\end{flushright} + +\noise + +%% --------------------------------------------------------------------- + +\newpage + +\heading{Test of {\tt \bs epsfbox} with {\tt center} environment} +\heading{with} +\heading{{\tt \bs epsfframetrue} and {\tt \bs epsfshowfalse} and + {\tt \bs epsfshowfilenametrue}} + +\epsfframetrue +\epsfshowfalse +\epsfshowfilenametrue +\epsfverbosetrue + +\noise + +This figure should be centered: + +\begin{center} + \PLAINPICTURE{} +\end{center} + +\noise + +This figure should be left-adjusted: + +\begin{flushleft} + \PLAINPICTURE{} +\end{flushleft} + +\noise + +This figure should be right-adjusted: + +\begin{flushright} + \PLAINPICTURE{} +\end{flushright} + +\noise + +This figure should be centered with abutting arrows on the baseline: + +\begin{center} + \ARROWPICTURE{} +\end{center} + +\noise + +This figure should be left-adjusted with abutting arrows on the +baseline, the leftmost of which is in the left margin on the +baseline:% + +\begin{flushleft} + \ARROWPICTURE{} +\end{flushleft} + +\noise + +This figure should be right-adjusted with abutting arrows on the +baseline, the rightmost of which is in the right margin on the +baseline: + +\begin{flushright} + \ARROWPICTURE{} +\end{flushright} + +\noise + +\end{document} diff --git a/Master/texmf-dist/doc/generic/epsf/tepsf3.tex b/Master/texmf-dist/doc/generic/epsf/tepsf3.tex new file mode 100644 index 00000000000..24d2734b17b --- /dev/null +++ b/Master/texmf-dist/doc/generic/epsf/tepsf3.tex @@ -0,0 +1,108 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% Preamble + +\input epsf.tex + +\def \bs {\char`\\} + +\def \heading #1{\centerline{\bf #1}} + +\def \myfont {% + \baselineskip = 9.6pt + \font \rm = cmr8 at 8pt + \rm +} + +\def \noise +{% + Blah blah blah blah blah blah. Blah blah blah blah blah blah. Blah + blah blah blah blah blah. Blah blah blah blah blah blah +} + +\def \ARROWPICTURE {\llap{$\Rightarrow$}\PLAINPICTURE\rlap{$\Leftarrow$}} + +\def \PLAINPICTURE {\epsffile{tepsf.eps}} + +\parindent = 2em + +\parskip = 2ex plus 0.5ex minus 0.5ex + +%% Page size in mid-Atlantic units +\voffset = -0.5in + +\vsize = 9.5in + +\hsize = 12.5cm + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% Document body + +\myfont + +\heading{Test of {\tt epsf.tex}} + +\noise + +This figure should be centered: + +\centerline{XXX\vbox{\PLAINPICTURE}XXX} + +\noise + +This figure should be left-adjusted: + +\leftline{\vbox{\PLAINPICTURE}XXX} + +\noise + +This figure should be right-adjusted: + +\rightline{XXX\vbox{\PLAINPICTURE}} + +\noise + +This figure should be centered: + +\centerline{XXX\hbox{\PLAINPICTURE}XXX} + +\noise + +This figure should be left-adjusted: + +\leftline{\hbox{\PLAINPICTURE}XXX} + +\noise + +This figure should be right-adjusted: + +\rightline{XXX\hbox{\PLAINPICTURE}} + +\noise + +This figure should be centered with abutting arrows on the baseline: + +\centerline{\vbox{\ARROWPICTURE}} + +\noise + +This figure should be left-adjusted with abutting arrows on the +baseline, the leftmost of which is in the left margin on the baseline: + +\leftline{\vbox{\ARROWPICTURE}} + +\noise + +This figure should be right-adjusted with abutting arrows on the +baseline, the rightmost of which is in the right margin on the +baseline: + +\rightline{\vbox{\ARROWPICTURE}} + +\noise + +\vfill +\eject + +%% --------------------------------------------------------------------- + +\bye diff --git a/Master/texmf-dist/doc/generic/german/00readme.1st b/Master/texmf-dist/doc/generic/german/00readme.1st new file mode 100644 index 00000000000..7b7171a2224 --- /dev/null +++ b/Master/texmf-dist/doc/generic/german/00readme.1st @@ -0,0 +1,160 @@ +%% 00readme.1st +%% +%% README for the `german' files, version 2.5e of 1998-07-08 +%% +%% Copyright (C) 1998 by B.Raichle +%% All rights reserved. +%% + +Dieses Verzeichnis enthaelt Makropakete zum Schreiben +deutschsprachiger Texte. `german.sty' unterstuetzt die +traditionelle, `ngerman.sty' die neue Rechtschreibung. + +Zur Nutzung der Makropakete werden zusaetzlich die deutschen +Silbentrennmuster benoetigt; sie sind im CTAN zu finden als: + + language/hyphenation/ghyph31.tex (alte Rechtschreibung) + language/hyphenation/gnhyph01.tex (neue Rechtschreibung) + + + +Uebersicht +---------- + +Die vorliegende Verteilung enthaelt folgende Dateien: + + german.sty -- das Makropaket fuer die alte Rechtschreibung + ngerman.sty -- das Makropaket fuer die neue Rechtschreibung, + hyphxmpl.cfg -- Beispiel fuer die Konfigurationsdatei + `hyphen.cfg' zum Laden der Trennmuster + in LaTeX2e (Naeheres siehe `gerdoc.dvi') + + gerdoc.dvi -- deutschsprachige Anleitung + gerdoc.tex -- LaTeX-Quelltext + + german.dtx -- Docstrip-Archiv, + enthaelt die Makropakete u. hyphxmpl.cfg + german.ins -- Installationsskript fuer Docstrip + +Falls Sie das Docstrip-Archiv selbst entpacken wollen, benoetigen Sie +`docstrip.tex' v2.4 oder neuer, das in der LaTeX2e-Verteilung enthalten +ist. Das Installationsskript laesst sich sowohl mit LaTeX als auch mit +Plain-TeX ausfuehren. + + + +Dokumentation +------------- + +Eine Anleitung zur Installation und Verwendung der Makropakete und zur +Installation der Trennmuster finden Sie in der Datei `gerdoc.dvi'. +Der dazugehoerigen Quelltext `gerdoc.tex' laesst sich mit LaTeX2e oder +LaTeX 2.09 uebersetzen. Eine mit Plain-TeX uebersetzbare Version +existiert leider nicht. + + + +Interna +------- + +Die Dokumentation, die die Implementierung der Makropakete beschreibt, +erhalten Sie durch Uebersetzen der Datei `german.dtx' mit LaTeX. Als +`normaler' (La)TeX-Nutzer benoetigen Sie diese Dokumentation _nicht_. +Sie ist nur zur internen Dokumentation gedacht und es werden zum +Verstaendnis tiefergehende TeX-Kenntnisse vorausgesetzt. + + + +Fehlermeldungen +--------------- + +Bitte senden Sie Fehlermeldungen an: + + Bernd Raichle +oder an + Koordinator German-Style + + + +!!! AENDERUNGEN !!! Achtung !!! AENDERUNGEN !!! Achtung !!! +----------------------------------------------------------- + +Unterschiede zwischen Version 2.5d und 2.5e: + + * Fuer Texte in neuer Rechtschreibung wird zusaetzlich das Paket + `ngerman' bereitgestellt. + + * In den then- und else-Zweigen des Befehls \iflanguage duerfen nun + Makros stehen, deren Argumente erst nach \iflanguage folgen. + + * Dokumentation `germdoc' verbessert; Name geaendert in `gerdoc'. + + +Unterschiede zwischen Version 2.5c und 2.5d: + + * Die Anfuehrungszeichen "` und "' sowie "> und "< wurden mit den + EC-Fonts v1.0 nicht korrekt plaziert, da {} in den Definitionen ein + meist notwendiges Kerning verhindert haben. + + * \ss ergab mit einem mit Babel 3.5 erzeugten Format eine + Endlosschleife -- ausser mit LaTeX2e. Dies wurde abgefangen, + jedoch sollte man besser Babel Version 3.6 installieren, in dem + dieser Fehler behoben wurde. + + * "ff ergab fuer "f ohne folgendes `f' einen Fehler. + + * Dokumentation `germdoc.tex' und dokumentierter Code wurden + verbessert und auf neuesten Stand gebracht. + + * Im Entpack-Skript `german.ins' werden nun die Anweisungen von + `docstrip' Version 2.4 (oder neuer) verwendet, so dass die + Dateien gleichzeitig entpackt werden. + + +Unterschiede zwischen Version 2.5a/b und 2.5c: + + * Mit "ff erhaelt man nun eine ff-Ligatur. + + * Die schliessenden Anfuehrungszeichen wurden mit den DC-Fonts + Version 1.2 zu nah an das Wort gerueckt. Dies wurde verbessert. + + * Fuer das Paket `bibgerm', das ein internes Makro aus German-Style + umdefiniert hat und deshalb mit neueren Versionen nicht mehr + funktionierte, wurde in German-Style ein Patch eingebaut. Somit + kann man dieses Paket jetzt wieder zusammen mit German-Style + verwenden. (Besser waere es aber, wenn man `bibgerm' aendern und + "sauber" implementieren wuerde. Bitte nicht auf den Patch in + German-Style vertrauen, da dieser sicher in spaeteren Versionen + entfernt wird!) + + * Verschiedene kleinere Fehler (u.a. bei Verwendung mit AMS-TeX) + wurden berichtigt. + + +Wichtige Aenderungen im Vergleich zu Version 2.4: + + * \language = 1 wird nicht mehr als Default fuer die deutschen + Trennmuster angenommen, falls die `control sequence' \l@german + nicht definiert wurde. + Fuer diesen Fall werden Sie beim Laden der Style-Option ``german'' + durch eine entsprechende Warnung darauf hingewiesen. + + Ist \l@german undefiniert, wird __nicht__ getrennt!! + + Deshalb muessen Sie jetzt beim Installieren der deutschen + Trennmuster die `control sequence' \l@german definieren. + Dasselbe gilt auch fuer die (US-)englische Trennung. Mehr + dazu erfahren Sie in der Dokumentation "germdoc.tex". + + + * Nach der Installation von "german.sty" kann der erste + Formatierlauf Fehler beim Lesen von *.aux-, *.toc-, *.lof-, + *.lot-, u.a. -Datei erzeugen, da sich ein kleines Detail + geaendert hat. + + Sie koennen diese Fehler, die nur beim Lesen dieser Dateien + und beim ersten Formatierlauf auftreten sollten, ignorieren oder + Sie loeschen einfach diese Dateien nach dem Installieren der neuen + Version der Style-Option ``german''. + +%% finis diff --git a/Master/texmf-dist/doc/generic/german/gerdoc.tex b/Master/texmf-dist/doc/generic/german/gerdoc.tex new file mode 100644 index 00000000000..49efee862dd --- /dev/null +++ b/Master/texmf-dist/doc/generic/german/gerdoc.tex @@ -0,0 +1,1488 @@ +%% File ``gerdoc.tex'', V. 2.5e <1998-07-08> +%% +%% Copyright (C) 1992, 1995-1997 by B.Raichle and DANTE e.V. +%% Copyright (C) 1998 by B.Raichle +%% All rights reserved. +%% +%% +%% "Anderungen: +%% -- Erste Fassung: Tagungsbericht (ca. 3 Seiten) -- +%% <87/11/27> Hubert Partl +%% Bericht "uber die Einigung auf einen "`Minimal Subset von +%% einheitlichen deutschen \TeX-Befehlen"' auf dem 6. Treffen der +%% deutschen \TeX-Interessenten in M"unster (Oktober 1987). +%% <90/04/??> Hubert Partl +%% Korrektur \selectlanguage statt \setlanguage, f"ur v2.3 +%% <92/04/12> br +%% erste Erweiterungen und Erg"anzungen des Berichts mit einer +%% kurzen Installationsanleitung und den "Anderungen im +%% German-Style, f"ur v2.4a +%% --- Neufassung: Benutzerhandbuch (ca. 20-22 Seiten) -- +%% <95/01/01> br +%% komplett "uberarbeitete, restrukturierte und stark erweiterte +%% Version mit ausf"uhrlicherer Benutzungs- und Installations- +%% anleitung, f"ur v2.5a +%% <95/01/20> br +%% vier(!) kleinere Korrekturen, f"ur v2.5b +%% <96/05/01> br +%% "uberarbeitete und korrigierte Version mit Neuerungen aus v2.5c +%% <97/05/01> br +%% "uberarbeitete Version mit einigen Umformulierungen und +%% Erg"anzungen, au"serdem Verweis auf neuere Pakete, fuer v2.5d +%% <1998-07-08> Walter Schmidt +%% Dokument in gerdoc.tex umbenannt, f"ur v2.5e. +%% Informationen zur neuen Rechtschreibung (Paket ngerman) erg"anzt. +%% F"ur den Begriff `Style-Option' nun `Paket' oder `Makropaket' verwendet. +%% In Kap.1 auf die Umschaltung der Trennmuster hingewiesen. +%% Bessere Erkl"arung des Befehls "= . +%% Erg"anzung: Tieferlegen der Umlaut-Punkte betrifft nur OT1-Fonts. +%% Kap. 2.2.5 ausf"uhrlicher und (hoffentlich) verst"andlicher gemacht. +%% Installationsanleitung komplett "uberarbeitet. +%% Das Beispiel `Laden nur einer einzigen Trennmusterdatei' entfernt. +%% Internet-Adressen aktualisiert. +%% *** Dank an H.Oberdiek (Freiburg) und P.Zimmermann (Eichst"att) +%% f"ur viele Hinweise auf Schreib- und Formulierungsfehler! *** +%% +\ifx\documentclass\undefined % LaTeX2e? + \documentstyle[11pt,a4,german]{article} +\else + \NeedsTeXFormat{LaTeX2e} + \documentclass[11pt,a4paper]{article} + \usepackage{german} + \addtolength{\textheight}{7\baselineskip} + \addtolength{\topmargin}{-5\baselineskip} + %%\usepackage[T1]{fontenc} +\fi + +\title{Kurzbeschreibung\\ +{\tt german.sty} und {\tt ngerman.sty} (Version~2.5)} + +\author{Bernd Raichle} + +\date{8.~Juli 1998\\ (f"ur die Version~2.5e)} + +\ifx\LaTeXe\undefined + \newcommand{\pLaTeXe}{% + \mbox{\LaTeX\kern.15em\(2_{\textstyle\varepsilon}\)}} + \newcommand{\LaTeXe}{\protect\pLaTeXe}\fi +\ifx\emergencystretch\undefined \else + \setlength{\emergencystretch}{1em}\fi +\newenvironment{beispiel}{% + \begin{quote}\small \begin{tabbing}% + {\tt 1234Merci bien12!1234}\quad \=ergibt:\qquad\=\kill +}{\end{tabbing}\end{quote}} +\renewcommand\labelitemi{\(\triangleright\)} +\renewcommand\labelitemii{\(\diamond\)} +\renewcommand\labelitemiii{\(\circ\)} +\newcommand\CS[1]{{\tt\symbol{`\\}#1}} +\hyphenation{Datei-name Datei-namen} +\makeatletter +\def\ps@firstpage{\let\@mkboth\@gobbletwo + \let\@oddhead\@empty\def\@oddfoot{\reset@font% + \makebox[0pt][l]{{\footnotesize \copyright{} 1998 B.~Raichle}} + \hfil\thepage\hfil} + \let\@evenhead\@empty\let\@evenfoot\@oddfoot} +\makeatother + +\begin{document} +\maketitle +\thispagestyle{firstpage} + +\begin{abstract} + Beim 6.~Treffen der deutschen \TeX-""Interessenten in M"unster + (Oktober 1987) wurde Einigung "uber ein "`Minimal Subset von + einheitlichen deutschen \TeX-Befeh\-len"' erzielt, das seitdem an + allen Installationen von \TeX\ und \LaTeX\ als Makropaket + "`german"' zur Ver"-f"u"-gung stehen und f"ur Texte in deutscher + Sprache verwendet werden soll. Damit wird erreicht, da"s alle + \TeX- und \LaTeX-Dokumente, die diese Befehle enthalten, problemlos + von einem Rechner zum anderen "uber"-tragen werden k"onnen. + In der Zwischenzeit wurde das Makropaket "`ngerman"' erg"anzt, + das die neue Rechtschreibung unterst"utzt. +\end{abstract} + +\tableofcontents + +\section{Allgemeines} + +Die Makropakete "`german"' und "`ngerman"' dienen mehreren Zwecken: +\begin{itemize}\tolerance=2000 +\item Sie aktivieren die der deutschen Sprache zugeordneten + Silbentrennmuster. +\item Der deutsche Schriftsatz weist einige Besonderheiten auf, die + in \TeX{} durch neue Makros und verschiedene "Anderungen + unterst"utzt und dem Benutzer angeboten werden k"onnen. Beispiele + sind die Makros f"ur die unterschiedlichen + Anf"uhrungszeichen und die "Anderung des Umlautmakros f"ur + OT1-codierte Schriften. +\item Zur Vereinfachung und Standardisierung der Eingabe von Umlauten + und des Buchstabens~"s wird die Kurznotation~\verb:"x: f"ur + Rechner einge"-f"uhrt, die die Eingabe dieser Zeichen nicht direkt + erlauben. Heutzutage unter"-st"utzen die meisten Rechnersysteme die + direkte Eingabe und Anzeige von Umlauten, jedoch ist die + Kurznotation weiterhin als Quasi-Standard zum Austausch von \TeX- + und \LaTeX-Dokumenten sinnvoll und f"ur deutschsprachige Texte weit + verbreitet. +\item Das Umschalten zwischen den Sprachen Deutsch, Englisch und + Franz"osisch wird rudiment"ar unterst"utzt. +\end{itemize} + +Je nachdem, ob ein deutschsprachiger Text in alter oder neuer +Rechtschreibung verfa"st ist, m"ussen f"ur \TeX{} unterschiedliche +Silbentrennmuster benutzt werden; au"serdem werden bestimmte Makros +nur f"ur Sonderf"alle der "`alten"' Silbentrennung ben"otigt. Dies +wird ber"ucksichtigt, indem f"ur die alte Rechtschreibung das Paket +"`german"', f"ur die neue aber das Paket "`ngerman"' zur Verf"ugung +steht. Wo im Folgenden von "`german"' die Rede ist, sind {\em beide} +Pakete gemeint; auf Unterschiede wird explizit hingewiesen. + + +\section{Verwendung} + +\subsection{Laden der Makropakete je nach Rechtschreibung} + +Je nachdem, ob ein deutschsprachiger Text nach der traditionellen +oder der "`neuen"' Rechtschreibung verfa"st ist, mu"s entweder das +Paket "`german"' oder das Paket "`ngerman"' benutzt werden. + +\paragraph{\LaTeX:} Mit \LaTeX\ (genauer: \LaTeXe) wird das +Makropaket mit +\begin{quote} + \verb:\usepackage{german}: +\end{quote} +oder +\begin{quote} + \verb:\usepackage{ngerman}: +\end{quote} +%nach der Deklaration der Dokumentenklasse mit \verb:\documentclass: +geladen. Momentan haben die Pakete keine eigenen Optionen und +werten auch keine Dokumenten"-klassen"-optionen aus. + +\paragraph{\LaTeX~2.09:} Mit der alten \LaTeX-Version oder im +\LaTeX~2.09-Kompatibi\-li\-t"ats"-modus von \LaTeXe{} wird das Paket +als Style-Option innerhalb des optionalen Arguments des +\verb:\documentstyle:-Befehls, beispielsweise mit +\begin{quote} + \verb:\documentstyle[11pt,german]{article}: +\end{quote} +angegeben. + +\paragraph{Plain-\protect\TeX:} Unter Plain-\TeX\ wird das +Paket als gew"ohnliche Makro"-datei mit dem \TeX-Befehl +\begin{quote} + \verb:\input german.sty: +\end{quote} +dazugeladen. + + +\subsection{Befehle} + +Der beim 6.~Treffen der deutschen \TeX-Interessenten in M"unster +festgelegte Befehlssatz wurde nach"-tr"aglich um einige Befehle +erweitert. Diese Erweiterungen werden zur Kenntlichmachung in der +folgenden Liste mit einem~\(\dagger\) versehen. + + +\subsubsection{Umlaute, Tremata und der Buchstabe "s} + +\begin{itemize} +\item \verb:\"a: ergibt ein "`a"' mit einem Trema. Das Paket + "`german"' definiert dieses Makro so um, da"s bei Verwendung von + OT1-codierten Schriften die Umlautpunkte etwas + nach unten verschoben werden (Original: {\originalTeX \"a}, mit + "`german"': \"a). +\item \verb:"a: als Kurzform f"ur \verb:\"a: (Umlaute, wie~"a) -- + ebenso f"ur die Vokale o und~u und die entsprechenden Gro"sbuchstaben. +\item \verb:"e: und \verb:"i: f"ur ein e und i mit Trema. +\item \verb:"s: als Kurzform f"ur \verb:\ss: (scharfes~s:~"s), + \verb:"S:\(^\dagger\) ergibt "`SS"', \verb:"z:\(^\dagger\) und + \verb:"Z:\(^\dagger\) kann f"ur~\ss\ bzw.\ SZ verwendet werden, + falls man Mi"sverst"andnisse bei der Verwendung in + gro"sgeschriebenen W"ortern vermeiden m"ochte. +\end{itemize} + +\paragraph{Verwendungsbeispiele} +\begin{beispiel} +\verb:sch"on: \> ergibt: \> sch"on \\ +\verb:sch\"on: \> ergibt: \> + sch\"on (statt: {\originalTeX sch\"on})\\[3pt] +\verb:Citro"en: \> ergibt: \> Citro"en \\[3pt] +\verb:Stra"se Ma"ze: \> ergibt: \> Stra"se Ma"ze \\ +\verb:STRA"SE MA"ZE: \> ergibt: \> STRA"SE MA"ZE \\ +\end{beispiel} + +\paragraph{Anmerkungen:} +Die Befehle f"ur Umlaute und scharfes~s sind so definiert, da"s auch +in Silben {\em vor\/} und {\em nach\/} dem Befehl die automatische +Silbentrennung funktioniert. Dabei kann \TeX\ jedoch nicht mehr alle +oder eventuell falsche Trennstellen finden (Beispiel: {\tt"ubert-ra-gen} +statt {\tt "uber-tra-gen}). Diese fehlerhaften Trennungen treten bei +der Verwendung von {\tt T1}-kodierten Schriften, wie beispielsweise +den {\tt EC}-Schriften, die man unter \LaTeXe{} ohne gro"se +Anpassungen verwenden kann, nicht auf. \TeX{}s Trennalgorithmus kann +Trennstellen prinzip"-bedingt nicht 100\%ig fehlerfrei finden. +Deshalb erhalten Sie, unabh"angig von der verwendeten Schrift, immer +einige, wenn auch nur sehr wenige fehlerhafte Wort"-trennungen. + + +\subsubsection{Zusammentreffen von drei gleichen Konsonanten und + \protect\mbox{"`ck"'} bei Silbentrennung} + +\begin{itemize} +\item \verb:"ck: f"ur \mbox{"`ck"'}, das als \mbox{"`k-k"'} getrennt + wird. +\item \verb:"ff: f"ur \mbox{"`ff"'}, das als \mbox{"`ff-f"'} getrennt + wird -- auch f"ur die anderen relevanten Konsonanten l, m, n, p, r + und~t. +\end{itemize} +% +Diese Befehle sind nur mit der alten Rechtschreibung +notwendig. + Regel~\(204\) der "`Richtlinien zur Rechtschreibung~\ldots"'~\cite{Duden} + bestimmte: {\it Treffen bei + Wortbildungen drei gleiche Konsonanten zusammen, dann setzt man nur + zwei, wenn ein Vokal folgt. Bei Silbentrennung tritt der dritte + Konsonant wieder ein.} {\it \mbox{ck} wird\/} nach Regel~\(179\) {\it + bei der Silbentrennung in \mbox{k-k} aufgel"ost.} + +\paragraph{Verwendungsbeispiele:} +\begin{beispiel} +\verb:Dru"cker: \> ergibt: \> Drucker bzw.\ Druk-ker \\ +\verb:Ro"lladen: \> ergibt: \> Rolladen bzw.\ Roll-laden \\ +\verb:Bettuch: \> ergibt: \> Bettuch bzw.\ Bet-tuch \\ +\verb:Be"ttuch: \> ergibt: \> Bettuch bzw.\ Bett-tuch \\ +\end{beispiel} + +\paragraph{Anmerkungen:} +Da man diese besonderen F"alle der Silbentrennung nur durch den +\TeX-Befehl \verb:\discretionary: als Trennausnahmen realisieren kann, +wird dadurch die Trennung in den restlichen Wortteilen und die +Ligaturbildung um diese Konsonanten beeinflu"st. + +\paragraph{Neue Rechtschreibung:} +Mit der neuen Rechtschreibung wird +das "`ck"' nicht mehr in \mbox{"`k-k"' } getrennt, +und Dreifachkonsonanten werden immer ausgeschrieben. +Im Paket "`ngerman"' haben diese Befehle deshalb eine ge"anderte Funktion. +Sollten sie hier irrt"umlich benutzt werden, dann wird diejenige +Ausgabe erzeugt, die offensichtlich gemeint ist, also ein "`ck"' mit +einer Trennstelle davor oder die drei Konsonanten; eine entsprechende +Warnung wird ausgegeben. + + +\subsubsection{Anf"uhrungszeichen} + +\begin{itemize} +\item \verb:"`: oder \verb:\glqq: f"ur untere und \verb:"': oder + \verb:\grqq: f"ur obere "`deutsche An\-f"uh\-rungs"-zeichen"' + (\glqq G"anse"-f"u"schen\grqq). +\item \verb:\glq: f"ur untere und \verb:\grq: f"ur obere \glq + halbierte An\-f"uh\-rungs"-zeichen\grq{} (bitte Anmerkungen zur + Verwendung beachten!). +\item \verb:"<: oder \verb:\flqq: f"ur linke und \verb:">: oder + \verb:\frqq: f"ur rechte " in der + franz"osischen Form (\flqq\,guillemets\,\frqq). +\item \verb:\flq: f"ur linke und \verb:\frq: f"ur rechte \flq + halbierte An\-f"uh\-rungs"-zeichen\frq\ in der franz"osischen Form, +\item \verb:\dq: zum Ausdrucken des Doublequote-Zeichens~(\verb:":). +\end{itemize} +% +In~\cite{Duden} findet man: {\it Im deutschen Schriftsatz werden + vornehmlich die An"-f"uhrungszeichen "`\ldots"' und ">\ldots"< + angewendet. Die franz"osische Form "<\,\ldots\,"> ist im Deutschen + weniger gebr"auchlich; in der Schweiz hat sie sich f"ur den + Antiquasatz eingeb"urgert.} Die Regeln~\(10\)ff erg"anzen diese + Aussagen durch: {\it Eine Anf"uhrung in einer Anf"uhrung wird durch + halbe Anf"uhrungszeichen deutlich gemacht.} In franz"osischen + Texten ist hinter dem "offnenden und vor dem schlie"senden ein + zus"atzlicher Leerraum einzuf"ugen und es werden keine halben + Anf"uhrungszeichen verwendet. + +\paragraph{Verwendungsbeispiele:} +\begin{beispiel} +\verb:"`Ja, bitte!"': \> ergibt: \> "`Ja, bitte!"' \\[3pt] +\verb:"`Sag' doch nicht immer \glq Ja, bitte!{}\grq!"': \\ + \> ergibt: \> + "`Sag' doch nicht immer \glq Ja, bitte!{}\grq!"' \\[3pt] +\verb:">Ja, bitte!"<: \> ergibt: \> ">Ja, bitte!"< \\[3pt] +\verb:">Sag' doch nicht immer \frq Ja, bitte!\flq!"<: \\ + \> ergibt: \> + ">Sag' doch nicht immer \frq Ja, bitte!\flq!"< \\[3pt] +\verb:"<\,Merci bien\,!\,">: \> ergibt: \> "<\,Merci bien\,!\,"> \\ +\end{beispiel} + +\paragraph{Anmerkungen:} +Folgt \verb:\grq: auf ein Ausrufe- oder Fragezeichen, so sollte man +zwischen diesen beiden Zeichen, wie im Beispiel gezeigt, ein leeres +Klammerpaar~\verb:{}: oder \verb:{\kern0pt}: einf"ugen, um die +Ligaturen~\verb:!`:~(!`) bzw.~\verb:?`:~(?`) zu verhindern, die sonst +bei Verwendung von T1-kodierten Schriften gebildet w"urden. + +F"ur die Realisierung der Anf"uhrungszeichen existiert keine L"osung, +die uneingeschr"ankt f"ur alle Schriften verwendbar w"are. Bei der +momentanen Realisierung ist zu beachten, da"s bei Verwendung von +nicht-{\tt T1}-kodierten Schriften kein {\it Kerning\/} zwischen den +An\-f"uh\-rungs"-zeichen und den anderen Zeichen einge"-f"ugt wird. +Bei einigen Buch\-staben-Anf"uhrungs\-zeichen-Kombi"-nationen k"onnen +daher zu gro"-"se bzw.\ zu kleine Ab"-st"an"-de auftreten (Beispiel: +\mbox{"`\kern0ptV} statt~\mbox{"`\negthinspace V}). + +Relativ h"aufig ist in Dokumenten folgender Fehler zu beobachten: +Statt mit Hilfe von \verb:"`: und \verb:"': die Anf"uhrungszeichen +"`\ldots"' bzw.\ mit \verb:``: und \verb:'': die im +englischsprachigen Raum gebr"auchlichen Anf"uhrungszeichen ``\ldots'' +zu erzeugen, wird einfach der direkt auf der Tastatur zu findende +Double\-quote~\verb:": verwendet, der das falsche Ergebnis ''\ldots'' +erzeugt. Dieser Fehler ist leider in vielen mit \LaTeX\ erstellten +deutschsprachigen Texte zu beobachten, obwohl das Fehlen der unteren, +"offnenden Anf"uhrungszeichen auf"|fallen m"u"ste! Bei Verwendung +des Pakets "`german"' mit der dann ge"anderten Bedeutung des +Double\-quote kann dies au"serdem zu verschiedenen Fehlermeldungen +f"uhren. + +Ben"otigt man das Double\-quote-Zeichen, so mu"s man mit dem Paket +"`german"' die Befehle \verb:\dq: oder~\verb:\verb+"+: verwenden. Aus +Kompatibilit"ats"-gr"unden mit alten Versionen des Makropakets wird +auch noch~\verb:"{}: unter"-st"utzt. + + +\subsubsection{Trennhilfen f"ur die automatische Silbentrennung} + +\begin{itemize} +\item \verb:\-: f"ur eine Silbentrennstelle, wobei vor und nach + dieser Trennstelle die Silbentrennung unter"-dr"uckt wird (dies ist + der Original"-befehl in \TeX{} zur Kennzeichnung von Trennstellen). +\item \verb:"-: f"ur eine Silbentrennstelle an der angegebenen + Stelle; "ahnlich wie mit \verb:\-:, jedoch bleibt die automatische + Silbentrennung vor und nach dieser Trennstelle erhalten. Im + Unterschied zu \verb:\-: kann man mit \verb:"-: eine Trennstelle + ein"-f"ugen und alle weiteren Trennstellen werden von \TeX\ selbst + bestimmt, solange man dies nicht unterdr"uckt. +\item \verb:"": f"ur eine Silbentrennstelle an der angegebenen + Stelle, an der im Fall einer Trennung {\it kein\/} Bindestrich + hinzugef"ugt wird. +\item \verb:"|: zur Verhinderung von Ligaturen, "ahnlich wie + \verb:"-:, jedoch wird zu"-s"atzlich ein kleiner Zwischenraum zur + besseren Trennung der Einzelzeichen einer Ligatur eingef"ugt. +%\item \verb:\allowhyphens: dient zum Einf"ugen einer Wortfuge, wobei +% an dieser Stellen {\it keine\/} Silbentrennstelle eingef"ugt wird, +% aber die automatische Silbentrennung vor und nach dieser Stelle +% weiterhin erhalten bleibt. +\item \verb:-: f"ur einen Bindestrich (Divis) bei Zusammensetzungen + von W"ortern und Wort"-abk"urzungen; \TeX\ erlaubt eine Trennung + nach dem Bindestrich und trennt nie automatisch in den Wortteilen + vor und nach dem Bindestrich. +\item \verb:"~:\(^\dagger\) f"ur einen Bindestrich, an dem nicht + getrennt wird. +\item \verb:"=:\(^\dagger\) f"ur einen Bindestrich, an dem die + Trennung erlaubt ist; au"serdem darf vor und nach dieser Stelle + automatisch getrennt werden. +\end{itemize} + +\paragraph{Verwendungsbeispiele:}\hspace{0pt plus 1em} Die m"oglichen +Silbentrennstellen sind in den Beispielen durch das Zeichen~\(|\) +gekennzeichnet. +\begin{beispiel} +\verb:Auf"|lage: \> ergibt: \> Auf\(|\)la\(|\)ge \\ + \> \> (formatiert: Auf"|lage statt Auflage) \\[3pt] + +\verb:"ubertragen: \> ergibt: + \> "ubert\(|\)ra\(|\)gen (falsche Trennstelle) \\ +\verb:"uber\-tragen: \> ergibt: \> "uber\(|\)tragen \\ +\verb:"uber"-tragen: \> ergibt: \> "uber\(|\)tra\(|\)gen \\[3pt] + +\verb:bergauf und -ab: \> ergibt: + \> berg\(|\)auf und -\(|\)ab (falsche Trennstelle)\\ +\verb:bergauf und "~ab: \> ergibt: \> berg\(|\)auf und "~ab \\ +\verb:I-Punkt: \> ergibt: + \> I-\(|\)Punkt (schlechte Trennstelle)\\ +\verb:I"~Punkt: \> ergibt: \> I"~Punkt \\ +\verb:Arbeiter"=Unfall: \> ergibt: + \> Ar\(|\)bei\(|\)ter-\(|\)Un\(|\)fall\(|\)ver\(|\)si\(|\)che\(|\)rungs- \\ +\verb:versicherungsgesetz: \> \> ge\(|\)setz \\ +\end{beispiel} + +\pagebreak[0] +\paragraph{Tips:} +\begin{itemize} +\item Bei zusammengesetzten W"ortern, die falsche Trennstellen + aufweisen, sollte man zuerst die Trennhilfe~\verb:"-: in die + Wortfuge der Zusammensetzung ein"-f"ugen und nochmals testen, ob + danach richtig getrennt wird, bevor man weitere Trennhilfen + ein"-f"ugt. + \begin{beispiel} + \verb:"ubertragen: \> ergibt: \> "ubert\(|\)ra\(|\)gen \\ + \verb:"uber"-tragen: \> ergibt: \> "uber\(|\)tra\(|\)gen \\ + \verb:Bedienoberfl"ache: \> ergibt: + \> Be\(|\)dieno\(|\)ber\(|\)fl"ache \\ + \verb:Bedien"-oberfl"ache: \> ergibt: + \> Be\(|\)di\(|\)en\(|\)ober\(|\)fl"ache \\ + \verb:Be\-dien"-oberfl"ache: \> ergibt: + \> Be\(|\)dien\(|\)ober\(|\)fl"ache \\ + \end{beispiel} +\item Bei der Verwendung von Bindestrichen zur Er"-g"anzung ("`bergauf + und \mbox{-ab}"', "`\mbox{ein-}, zwei- oder dreimal"'), vor + Schr"ag"-strichen ("`\mbox{Ein-}\slash Aus\-gang"') und Klammern + ("`Prim"ar-\mbox{(Haupt-)}""Strom"') sollte man mit den Befehlen + \verb:\mbox:, \verb:"": und \verb:"~: vor den Satzzeichen die + Trennung unterbinden und eventuell nach den Satzzeichen wieder + erlauben. + \begin{beispiel} + \verb:bergauf und -ab: \> ergibt: + \> berg\(|\)auf und -\(|\)ab \\ + \verb:bergauf und \mbox{-ab}: \> ergibt: + \> berg\(|\)auf und -ab \\ + \verb:bergauf und "~ab: \> ergibt: + \> berg\(|\)auf und -ab \\ + \verb:Ein-/Ausgang: \> ergibt: \> Ein-\(|\)/Ausgang \\ + \verb:\mbox{Ein-}/""Ausgang: \> ergibt: \> Ein-/\(|\)Aus\(|\)gang \\ + \verb:Ein"~/""Ausgang: \> ergibt: \> Ein-/\(|\)Aus\(|\)gang \\ + \end{beispiel} +\item Der Befehl~\verb:"=: erlaubt + in den mit dem Bindestrich verbundenen + Wortteilen auch nahe am Bindestrich liegende Trennstellen, + die oft h"a"slich oder gar sinnwidrig sind. Zusammengesetzte W"orter sollten + normalerweise ohne Bindestrich geschrieben werden. + Wenn der Bindestrich dennoch zur Vermeidung von Mi"sverst"andnissen + n"otig ist, oder um das Schriftbild "ubersichtlicher zu machen, + und man neben der Trennung am + Bindestrich weitere Trennstellen erlauben will, sollte man mit + \verb:\-: und \verb:"-: wenige, wohl"-"uber"-legte Trennhilfen + ein"-f"ugen. + \begin{beispiel} +\verb:Arbeiter-Unfall: \> ergibt: \> Arbeiter-\(|\) \\ +\verb:versicherungsgesetz: \> \> Unfallversicherungsgesetz \\ +\verb:Arbeiter"=Unfall: \> ergibt: + \> Ar\(|\)bei\(|\)ter-\(|\)Un\(|\)fall\(|\) \\ +\verb:versicherungsgesetz: \> + \> ver\(|\)si\(|\)che\(|\)rungs\(|\)ge\(|\)setz \\ +\verb:Arbeiter-Unfall"-: \> ergibt: + \> Arbeiter-\(|\)Unfall\(|\) \\ +\verb:versicherungsgesetz: \> + \> ver\(|\)si\(|\)che\(|\)rungs\(|\)ge\(|\)setz \\ + \end{beispiel} + Der Befehl~\verb:"=: ist also vorzugsweise in automatisch + erstellten oder konvertierten Texten zu verwenden, wo + manuelle Trennhilfen nicht verf"ugbar sind. +\end{itemize} + + +%\subsubsection{Erstellen deutschsprachiger Dokumente und Einbinden +% von deutschsprachigen Texten in fremdsprachige Dokumente} +\subsubsection{Befehle zur Sprachauswahl} + +\begin{itemize} +\item \verb:\selectlanguage{:\mbox{\(\langle\)\it + Sprache\/\(\rangle\)}\verb:}: aktiviert + die der Sprache zugeordneten Trennmuster (siehe + auch~\ref{sec:languageundef}, S.~\pageref{sec:languageundef}) + und schaltet zwischen deutschen, + "oster"-reichischen, englischen, amerikanischen und franz"osischen + Datumsangaben und "Uber"-schriften um. + F"ur~\mbox{\(\langle\)\it Sprache\/\(\rangle\)} ist einer der + folgenden Namen zu verwenden: + \begin{itemize} + \item Mit dem Paket "`german"':\\ + \verb:german:, \verb:austrian:, + \verb:english:, \verb:USenglish: oder \verb:french: + \item Mit dem Paket "`ngerman"':\\ + \verb:ngerman:, \verb:naustrian:, + \verb:english:, \verb:USenglish: oder \verb:french:. + \end{itemize} +\item \verb:\germanTeX: zum Einschalten der deutschen \TeX-Befehle. + Dieser Befehl aktiviert alle \verb:"x:-Befehle, "andert das + \verb:\"x:-Makro, setzt durch einen Aufruf von + \CS{select\-language} die traditionellen deutschen Trennmuster in Kraft + und "andert die + Datumsangabe und "Uberschriften. {\em Dieser Befehl ist nur im Paket + "`german"' definiert.} +\item \verb:\ngermanTeX:\(^\dagger\) dito, aber aktiviert die + "`neuen"' deutschen Trennmuster. + {\em Dieser Befehl ist nur im Paket "`ngerman"' definiert.} +\item \verb:\originalTeX: zum Zur"uckschalten auf Original-\TeX\ bzw.\ + \mbox{-\LaTeX}: deaktiviert alle durch \verb:\germanTeX: oder + \verb:\ngermanTeX: eingeschalteten Befehle. +\end{itemize} +Zu jeder Sprache geh"oren ein spezifisches Datumsformat und +eigene, in den +\LaTeX-Klassen bzw.\ \mbox{-Styles}\footnote{Anpa"sbare Klassen bzw. + Styles sind seit Dezember~1991 Bestandteil der offiziellen + \LaTeX-Verteilung.} verwendete "Uber"-schriften: +\begin{quote}\small +\day=1 \month=1 \year=1995 % Beispieldatum (J\"anner!) +\begin{tabular}{@{}lll@{}} +\mbox{\(\langle\)\it Sprache\/\(\rangle\)}& +\verb:\today:&\verb:\chaptername:\\[3pt] +\verb:german:, \verb:ngerman: & \selectlanguage{german}\today + & \selectlanguage{german}\chaptername \\ +\verb:austrian:, \verb:naustrian: & \selectlanguage{austrian}\today + & \selectlanguage{austrian}\chaptername \\ +\verb:english: & \selectlanguage{english}\today + & \selectlanguage{english}\chaptername \\ +\verb:USenglish:& \selectlanguage{USenglish}\today + & \selectlanguage{USenglish}\chaptername \\ +\verb:french: & \selectlanguage{french}\today + & \selectlanguage{french}\chaptername +\end{tabular} +\end{quote} + +\paragraph{Voreinstellung:} +Nach dem Laden des Pakets "`german"' oder "`ngerman"' wird implizit +der Befehl \verb:\germanTeX: bzw. \verb:\ngermanTeX :ausgef"uhrt, +so da"s ohne weiteres Zutun +von Seiten des Anwenders die Sprache +\verb:german: bzw. \verb:ngerman: als Voreinstellung aktiviert wird. + +\paragraph{Verwendung:} + +\CS{selectlanguage} +%ist nicht dazu geeignet, innerhalb eines +%Dokuments zwischen mehreren Sprachen umzuschalten. Mit ihm bestimmt +%man die "`Haupt\-sprache"' des Dokuments, deshalb sollte dieser +ist prim"ar dazu bestimmt, die "`Hauptsprache"' eines Dokuments einzustellen. +%deshalb sollte der Befehl nur ein einziges Mal in einem Dokument in der Pr"a"-ambel +%verwendet werden. Dadurch +So k"onnen die Befehle aus dem Paket +"`german"' auch innerhalb eines fremdsprachigen Dokuments benutzt +werden: +\begin{quote}\small +\begin{verbatim} +\NeedsTeXFormat{latex2e} +\documentclass{article} +\usepackage{german} +%\germanTeX % nicht notwendig, wird durch das Laden von + % `german' implizit aufgerufen +\selectlanguage{USenglish} +\begin{document} +An english text with some german words, e.g., "Au"serung. +\end{document} +\end{verbatim} +\end{quote} +Benutzt man \CS{selectlanguage} zum Umschalten der Sprache +{\em innerhalb} eines Textes, etwa f"ur fremdsprachige Zitate, +dann ist zu beachten, da"s das Umschalten der "Uberschriften und der Datumsdarstellung +unerw"unschte Nebenwirkungen haben kann, z.\,B. wenn das aktuelle Datum in der +Fu"szeile erscheinen soll.\footnote{Eine zuk"unftige Version des Pakets "`german"' +wird vsl. zus"atzliche und angemessenere Befehle f"ur mehrsprachige Dokumente +zur Verf"ugung stellen.} + +Die Befehle \CS{originalTeX} und \CS{(n)germanTeX} dienen vor allem dazu, +f"ur einen Teil eines Dokuments das Verhalten des originalen, englischsprachigen +\LaTeX\ herzustellen, wenn dies aus Gr"unden der Kompatibilit"at mit +anderer Software notwendig werden sollte. H"aufig gen"ugen dazu aber die Befehle +\CS{mdqoff} und \CS{mdqon}, siehe Tab.~\ref{tab:cmds}, die nur die \verb:"x:-Makros +aus- und einschalten. + + +\begin{table} +\setlength{\partopsep}{0pt} +\begin{center} +\rule[.3\baselineskip]{.3\textwidth}{.1pt} +\renewcommand{\arraystretch}{1.1} +%\setlength{\tabcolsep}{.5\tabcolsep} +\begin{tabular}[b]{ll@{}} +\multicolumn{2}{@{\strut}l}{\it + Befehle mit aktivem Doublequote:}\\[4pt] +\verb:"a:, \verb:"A:, \verb:"o:, \verb:"O:, \verb:"u:, \verb:"U: + & Umlaute: "a, "A, "o, "O, "u, "U \\ +\verb:"s:, \verb:"S:, \verb:"z:, \verb:"Z: + & Buchstaben: "s, "S, "z und "Z \\ +\verb:"e:, \verb:"E:, \verb:"i:, \verb:"I: + & Buchstaben mit Trema: "e, "E, "i, "I \\[3pt] +\verb:"c:, \verb:"C: & ck \(\rightarrow\) k-k \\ +\verb:"f:, \verb:"l:, \verb:"m:, \verb:"n:, + \verb:"p:, \verb:"r:, \verb:"t:,\\ +\verb:"F:, \verb:"L:, \verb:"M:, \verb:"N:, + \verb:"P:, \verb:"R:, \verb:"T: + & ausfallender dritter Konsonant \\[3pt] +\verb:"`:, \verb:"': & "` "' \\ +\verb:">:, \verb:"<: & "> "< \\[3pt] +\verb:"-:, \verb:"|:, \verb:"": & Trennhilfen \\ +\verb:"~:, \verb:"=: & Bindestriche mit besonderem Verhalten \\[5pt] +\multicolumn{2}{p{.95\textwidth}}{% + Alle anderen {\tt\string"x}-Befehle, die mit keiner Bedeutung + belegt sind, erzeugen eine Fehlermeldung, um auf eine fehlerhafte + Eingabe hinzuweisen.}\\ + \\ +\multicolumn{2}{@{}l}{\it Befehle mit ge"andertem Verhalten:}\\[4pt] +\verb:\": & Umlautmakro mit tieferem Akzentzeichen, \\ + & ohne Unterdr"uckung der Silbentrennung \\ + \\[-3pt] +\multicolumn{2}{@{}l}{\it Befehle f"ur Anf"uhrungszeichen:}\\[4pt] +\CS{glqq}, \CS{grqq}, \CS{glq}, \CS{grq} + & Anf"uhrungszeichen: \glqq\ \grqq\ \glq\ \grq \\ +\CS{flqq}, \CS{frqq}, \CS{flq}, \CS{frq} + & dto., franz"osische Form: \flqq\ \frqq\ \flq\ \frq \\[3pt] +\CS{dq} & Doublequote-Zeichen: \dq \\ + \\ +\multicolumn{2}{@{}l}{\it Befehle zur Sprachumschaltung:}\\[4pt] +\CS{selectlanguage} & Trennmuster u. "Uberschriften wechseln\\ +\CS{originalTeX} + & deaktiviere deutsche \TeX-Befehle \\ +\CS{germanTeX} (nur mit "`german"') + & aktiviere deutsche \TeX-Befehle \\ +\CS{ngermanTeX} (nur mit "`ngerman"') + & aktiviere deutsche \TeX-Befehle \\ + \\ +\multicolumn{2}{@{}l}{\it Obsolete Befehle: + (Nicht mehr verwenden!)}\\[4pt] +\CS{3}, \CS{ck} + & alte Form von \ss\ und ck\,\(\rightarrow\)\,k-k\\ +\CS{setlanguage} & ersetzt durch \CS{selectlanguage}\\ + \\ +\multicolumn{2}{@{}l}{\it Low-Level-Befehle:}\\[4pt] +\CS{allowhyphens} & k"unstliche, nicht trennbare Wortfuge \\ +\CS{mdqoff}, \CS{mdqon} + & (de-)aktiviere Doublequote-Befehle +\end{tabular} +\rule{.3\textwidth}{.1pt} +\end{center} +\caption{Befehls"ubersicht} + \label{tab:cmds} +\end{table} + + +\subsection{Beschr"ankungen und bekannte Fehler}\label{sec:fehler} + +\paragraph{Double\-quote-Mechanismus:} +Da "`german"' das Double\-quote-Zeichen aktiviert und dessen +urspr"ungliche Bedeutung "andert, k"onnen Probleme mit anderen +Makropaketen und fremden Dokumenten auftreten: +\begin{itemize} +\item Ganzzahlige Konstanten k"onnen in \TeX\ auch in hexadezimaler + Notation mit einem voranstehenden Double\-quote eingegeben werden + (Beispiel: \verb:"FF: f"ur die Dezimalzahl~255). Beginnt die + Hexadezimalzahl mit einer Ziffer, so sollten mit neueren Versionen + des Pakets "`german"' keine Probleme auftreten. Beginnt die + Zahl stattdessen mit einem Buchstaben \mbox{A--F}, so tritt durch + die ge"-"anderte Bedeutung des Double\-quote meist der Fehler "`{\tt + Missing number, treated as zero}"' auf. + + Abhilfe: Hexadezimalzahlen, die mit einem Buchstaben beginnen, die + Ziffer~\(0\) voranstellen -- statt \verb:"FF: sollte man demnach + \verb:"0FF: verwenden. Eine andere M"oglichkeit besteht darin, den + Double\-quote mit Hilfe des \TeX-Primitivs \CS{string} (Bsp: + \verb:\string"FF:) oder mit einem vorangestellten \CS{original\-TeX} + bzw.\ \CS{mdqoff} zu deaktivieren. +\item Leerschritte nach einem aktivierten Double\-quote werden + ignoriert, d.\,h.\ sowohl \verb:" a: als auch~\verb:"a: erzeugen + dasselbe Ergebnis. Da dies eine Eigenschaft von \TeX\ selbst ist, + kann es nicht ohne andere Nachteile verhindert werden. +\item Nach einem aktivierten Double\-quote sollten keine geschweiften + Klammern folgen. Sowohl die Kombination mit einer "offnenden + Klammer~\verb:"{: als auch mit einer schlie"senden Klammer~\verb:"}: + f"uhrt zu Fehlern. +\end{itemize} +% +Treten die in den letzten beiden Punkten beschriebenen Fehler auf, +ist dies meist auf die falsche Eingabe von An"-f"uh\-rungs"-zeichen +zur"uckzuf"uhren. An"-f"uh\-rungs"-zeichen sind als +\verb:"`:\ldots\verb:"': (bzw.\ als \verb:``:\ldots\verb:'':) +einzugeben, die Verwendung eines einfachen Double\-quote f"uhrt zu +falschen Ergebnissen! + +\paragraph{OT1-kodierte Schriften:} +Bei Verwendung von Schriften in der Kodierung~{\tt OT1}, z.\,B.\ der +CM-Familie, gibt es zu"-s"atzlich folgende +Einschr"ankungen: +% +\begin{itemize} +\item Es werden nicht alle oder falsche Silbentrennstellen in W"ortern + mit Umlauten gefunden, insbesondere wird nicht direkt am Umlaut + getrennt. Hier mu"s man bei Bedarf mit dem Befehl~\verb:"-: + nachhelfen. +\item Da \TeX\ mit Hilfe der Makros im Paket "`german"' die + Umlaute und die An"-f"uh\-rungs"-zeichen aus mehreren Zeichen + aufbauen mu"s, findet {\it kein\/} Kerning und {\it keine\/} + Ligaturbildung mit den umgebenden Zeichen statt. Dies f"allt + insbesondere bei den Kombinationen \mbox{"`\kern0pt V}, + \mbox{"`\kern0pt W} und \mbox{f\kern0pt "'} auf und wird bei + schr"ag"-gestellten Schriften noch ver"-st"arkt. Eine Abhilfe ist + auf Makroebene nur sehr schwer realisierbar, so da"s man von Hand + mit den Befehlen \CS{neg\-thin\-space} und~\CS{/} f"ur korrektere + Ab"-st"ande sorgen mu"s. +\item Die Anf"uhrungszeichen in der franz"osischen Form "> und~"< + k"onnten, auch vom Aussehen, verbessert werden. Au"serdem wird nach + diesen An"-f"uh\-rungs"-zeichen nicht umbrochen, selbst wenn ein + Wortzwischenraum folgen sollte. +\item Die Typewriter-Schriften {\tt cmtt} +% besitzen keine Ligatur f"ur +% die doppelten An"-f"uhrungszeichen ({\tt`\kern0pt`} statt~`` und +% {\tt'\kern0pt'} statt~''), +% sondern nur ein Zeichen f"ur den + enthalten keine deutschen Anf"uhrungszeichen, sondern nur den einfachen + Double\-quote~{\tt\dq}. Daher er"-h"alt man mit \LaTeXe{} f"ur die + Eingabe \verb:"`..."': das unerwartete Ergebnis~"`\mbox{\tt + \begingroup\setbox2=\hbox{,}\setbox0=\hbox{\char34}% + \setbox0=\hbox{\dimen0=\ht0\advance\dimen0-\ht2\lower\dimen0\box0}% + \ht0=\ht2\dp0=\dp2\box0\endgroup...\char92}"'. + + Wer dies vermeiden will, mu"s die \LaTeXe-Deklarationen f"ur die + beiden Symbole \CS{text\-quote\-dblleft} und + \CS{text\-quote\-dblright} f"ur die OT1-Kodierung entsprechend + "andern. +\end{itemize} + +\paragraph{T1-kodierte Schriften:} +Die meisten der f"ur OT1-kodierte Schriften genannten Einschr"ankungen +existieren f"ur Schriften in der Kodierung~{\tt T1}, wie +beispielsweise die EC-Schrift\-familie, nicht, da diese Schriften +Umlaute und An"-f"uhrungszeichen enthalten. F"ur T1-kodierte +Schriften existiert nur die Einschr"ankung, da"s man bei Verwendung +des halben schlie"senden An"-f"uhrungszeichens~\CS{grq} ein leeres +Klammerpaar~\verb:{}: oder \verb:{\kern0pt}: ein"-f"ugen mu"s, wenn +\CS{grq} auf ein Ausrufe- oder Fragezeichen folgt. Andernfalls +er"-h"alt man sonst die Ligatur~\verb:!`:~(!`) bzw.~\verb:?`:~(?`). + +\paragraph{PostScript-Schriften:} +Zur Einbindung dieser Schriften in \TeX{} und \LaTeX{} existieren +unterschiedliche Versionen, wobei neuere Versionen die Verwendung von +Post\-Script-Schriften sowohl in der Kodierung~{\tt OT1} als auch in +der Kodierung~{\tt T1} und seit Anfang~1997 auch in der Kodierung~{\tt +TS1} der Text-Companion-Schriften erlauben. F"ur die jeweilige +Kodierung gelten die zuvor aufgez"ahlten Einschr"ankungen. + +Verwendet man mit \LaTeXe{} eine zu alte Version der Einbindung, so +erh"alt man mit dem Paket "`german"' fehlerhafte Akzent- und +Anf"uhrungszeichen. Bitte probieren Sie mit folgendem Testdokument +aus, ob sie ein zu altes Paket zur Verwendung von +Post\-Script-Schriften installiert haben. (Hinweis: Das Testdokument +verwendet "`german"' {\it nicht}, da der Test nur von +der verwendeten Einbindung der Post\-Script-Schriften abh"angt.) +% +\begin{quote}\small +\begin{verbatim} +\NeedsTeXFormat{LaTeX2e} +\documentclass{article} +\renewcommand\rmdefault{ptm}% oder: \usepackage{times} +\begin{document} +Test: \"a \"A \ss. +\end{document} +\end{verbatim} +\end{quote} +% +Erhalten Sie fehlerhafte Umlaute oder kein scharfes~s, so besorgen Sie +sich bitte eine neuere Version des Post\-Script-Schrift\-pakets und +installieren Sie die darin enthaltenen \mbox{{\sc tfm}-}, \mbox{{\sc +vf}-}, \mbox{{\sc tex}-}, {\sc fd}- und {\sc map}-Dateien nach +Anleitung. + +\paragraph{\LaTeXe{} (1.~Dezember~1994 und neuer):} +\LaTeXe{} benutzt als Standard"-schrift"-auswahlschema die +Version~\(2\) des~\mbox{NFSS}, das den neuen Schriftparameter +\CS{font\-encoding} zur Verf"ugung stellt. Dadurch k"onnen +sehr einfach Schriften in unterschiedlicher Kodierung verwendet +werden. So kann jetzt innerhalb eines Dokuments beliebig zwischen +{\tt OT1}- und {\tt T1}-kodierten Schriften gewechselt werden. + +Sollen Schriften in anderen Kodierungen verwendet werden, so m"ussen +nur die entsprechenden \LaTeXe-Deklarationen f"ur diese Kodierung mit +den Anweisungen \CS{Declare\-Text}\ldots{} durchgef"uhrt werden, damit +"`german"' die Lettern dieser Schrift korrekt verwenden kann. + +\paragraph{\LaTeXe{} (1.~Juni~1994):} +Da die erste "offentliche \LaTeXe-Version die Verwendung von Schriften +in unterschiedlicher Kodierung nur unvoll"-st"andig erlaubt, wird sie +von "`german"' nicht mehr unter"-st"utzt. Ein \mbox{Update} auf die +neueste \LaTeXe-Version ist auf alle F"alle ratsam! + +\paragraph{\LaTeX~2.09:} +Mit der mittlerweile veralteten \LaTeX-Version k"on\-nen andere als +die Schriften der Computer-Modern-Familie nur mit relativ gro"sen +Aufwand integriert werden. Die von den Entwicklern nicht mehr +gewartete Version~\(1\) des Schrift"-auswahlschemas~\mbox{NFSS} +erleichtert dies zwar, jedoch unterst"utzt diese Version die +Einbindung von Schriften in anderen Kodierungen noch nicht. + +Die Style-Option "`german"' unterst"utzt daher mit \LaTeX~2.09 nur +Schriften in der Kodierung~{\tt OT1}. Sollen Schriften mit einer +anderen Kodierung verwendet werden, so m"us\-sen die Makros \verb:\":, +\verb:\ss:, \verb:\flqq:,\,\ldots\,\verb:\grq: entsprechend +ge"-"andert werden. Weitere "Anderungen, insbesondere am +Double\-quote-Mechanismus, sind nicht notwendig. + +\paragraph{Plain-\protect\TeX:} Hier gilt das zuvor f"ur \LaTeX~2.09 +Gesagte. Es ist geplant, \mbox{NFSS} Version~\(2\) auch f"ur +Plain-\TeX\ verf"ugbar zu machen, so da"s man auch die unter \LaTeXe{} +verf"ugbaren Vorteile nutzen kann. Leider ist der Zeitpunkt der +Fertigstellung nicht absehbar. + + +\subsection{Wohin melde ich Fehler?} + +Wenn Sie einen Fehler in dieser Version 2.5e +der Makropakete "`german"' oder "`ngerman"' gefunden haben +oder Vorschl"age zu deren Verbesserung haben, schreiben Sie bitte an +\begin{quote} + Bernd Raichle\\ + Stettener Str. 73\\ + 73732 Esslingen-W"aldenbronn\\ + Germany\\[.5ex] + E-Mail: {\tt raichle@Informatik.Uni-Stuttgart.DE} +\end{quote} +oder an +\begin{quote} + DANTE, Deutschsprachige Anwendervereinigung + \TeX\ e.V\negthinspace. \\ + Betreuung "`german.sty"' \\ + Postfach 10\,18\,40 \\ + 69008 Heidelberg \\ + Germany\\[.5ex] + E-Mail: {\tt german@dante.de} +\end{quote} +Ein Kontakt per {\it electronic mail\/} wird bevorzugt. + +Der Fehlermeldung sollten Sie die komplette Eingabedatei beilegen, mit +der dieser Fehler erzeugt werden kann. In Ihrem eigenen Interesse +sollte diese Eingabedatei m"og"-lichst klein sein und nur die wirklich +zur Reproduktion des Fehlers notwendigen Klassen, Pakete, Styles, +Style-Optionen und Makrodateien laden. Andernfalls gestaltet sich die +Fehlersuche zu aufwendig und/oder es fehlen verwendete Makrodateien, +um den Fehler nachvollziehen zu k"onnen. F"ugen Sie auch die +Protokolldatei f"ur diese Eingabedatei mit an, da diese weitere +Hinweise auf die verwendeten Makros enth"alt. Um die Protokolldatei +klein zu halten, brechen Sie bitte bei einem Fehler \TeX{} bzw.\ +\LaTeX{} mit~{\tt x} und nicht mit~{\tt q} ab. + +Bevor Sie einen Fehler melden, vergewissern Sie sich bitte, da"s der +Fehler tats"achlich durch das Makropaket "`german"' und nicht durch +eine fehlerhafte Eingabe Ihrerseits oder einen Folgefehler eines zuvor +aufgetretenen Fehlers verursacht wird. Sehen Sie bitte auch in der +Protokolldatei nach, ob diese eventuell Hinweise auf die Fehlerursache +gibt. Sehr h"aufig gibt es Fehler in Zusammenhang mit Konstanten in +hexadezimaler Schreibweise, die zur Fehlermeldung "`{\tt Missing +number, treated as zero}"' f"uhren. Dieser "`Fehler"' ist bekannt und +ist in dieser Anleitung in Abschnitt~\ref{sec:fehler} +% auf Seite~\pageref{sec:fehler} +beschrieben. + + +% \condbreak{.2\textheight} -- bedingtes \newpage +\vspace{0pt plus.2\textheight} +\pagebreak[3] +\vspace{0pt plus-.2\textheight} + +\section{Installation} + +F"ur die Benutzung der Pakete "`german"' und "`ngerman"' ben"otigen +Sie folgende Dateien: +% +\begin{enumerate}\sloppy +\item {\tt german.sty} und {\tt ngerman.sty}, die Makropakete selbst; +\item {\tt ghyph31.tex}, die deutschen Trennmuster + f"ur die alte Rechtschreibung (nur mit {\tt german.sty}) in + der z.\,Z.\ aktuellen Version~3.1a vom 13.~Februar 1994;\\ + {\em Vorsicht\/}: Auf der CD TeX\,Live\,3 hei"st diese Datei + {\tt dehyphen.tex}; +\item {\tt gnhyph01.tex}, die deutschen Trennmuster + f"ur die neue Recht\-schreibung (nur mit {\tt ngerman.sty}); +\item wahlweise weitere Dateien mit Trennmustern f"ur andere + Sprachen; +\item evtl. {\tt hyphxmpl.cfg}, eine Beispieldatei f"ur die + Konfiguration der Trennmuster. +\end{enumerate} + + +\subsection{Vorbereitungen f"ur Benutzer}\label{sec:benutzerinit} + +Als gew"ohnlicher \TeX- bzw.\ \LaTeX-Benutzer m"ussen Sie nur daf"ur +sorgen, da"s die Dateien {\tt german.sty} und {\tt ngerman.sty} +in der neuesten Version vorhanden sind und geladen werden k"onnen. +Dazu sind diese Dateien einfach in ein Verzeichnis zu kopieren, +in dem \TeX{} nach Makrodateien sucht. + +Erscheint beim Laden des Makropakets die +Meldung\label{sec:languageundef} +% +\begin{quote}\small +\verb:\language number for German undefined, default 255 used.: +\end{quote} +% +so haben Sie die deutschen Trennmuster nicht korrekt installiert und +erhalten eventuell fehlerhafte Trennungen, oder es wird nicht +getrennt. Wie Sie die Trennmuster installieren m"ussen, erfahren Sie +im n"achsten Abschnitt. + +M"oglicherweise hat Ihre Plain-\TeX- oder \LaTeX-Version eines der +Makropakete "`german"' oder "`ngerman"' bereits vorgeladen, +d.\,h., Sie m"ussen es nicht explizit als \LaTeXe-Paket bzw.\ als +Style-Option deklarieren oder die Makro\-datei laden. Sie sollten +dies dennoch {\it nicht\/} ausnutzen: Wenn Sie Ihre Dokumente +weitergeben wollen, vermeiden Sie dadurch un"-n"otige Probleme und +R"uck"-fragen. Am besten "andern Sie Ihre Installation so ab, da"s +"`german"' {\it nicht\/} vorgeladen wird, da Sie mit einem +vorgeladenen Makropaket zu anderen \TeX-Installationen i.\,d.\,R. +inkompatibel sind. + +\subsection{Vorbereitungen f"ur \protect\TeX-Administratoren} + +Damit Sie die Pakete "`german"' und "`ngerman"' den \TeX-Benutzern zur +Ver"-f"ugung stellen, m"ussen diese, falls noch nicht getan, +% ausgepackt und +installiert werden. Au"serdem m"ussen Sie alle Format"-dateien +mit den deutschen Trennmustern so erstellen, da"s die Makropakete +erkennen k"onnen, wie auf diese Trennmuster umgeschaltet wird. +Andernfalls wird nicht mehr oder falsch getrennt! + +\subsubsection{Installation der Makropakete} + + +Die Dateien {\tt german.sty} und {\tt ngerman.sty}, sollten Sie in +ein Verzeichnis kopieren, in dem \TeX\ nach Makrodateien sucht (Bsp: +{\tt{}.../texmf/""tex/""generic/""german/}). "Altere +Versionen dieser Dateien in weiteren Verzeichnissen, die +\TeX\ durchsucht, sollten Sie l"oschen. + +Bitte lesen Sie nun den n"achsten Abschnitt, da es sehr +wahrscheinlich ist, da"s die Trennmuster in Ihren bisher +verwendeten Formatdateien nicht korrekt oder nicht +vollst"andig installiert wurden. Ist dies der Fall, wird in +allen Dokumenten, die diese Pakete verwenden, nicht mehr +automatisch getrennt! + +\subsubsection{Installation der Trennmuster} + +\TeX\ kann ab Version~3.0 in einer einzigen Formatdatei +mehrere verschiedene Trennmuster halten. +%,so da"s mehrsprachige Dokumente mit korrekter Trennung m"oglich sind. +Zur Auswahl der Trennmuster einer +Sprache dient eine ganze Zahl von 0--255, die der Sprache beim Installieren der +Trennmuster zugeordnet worden sein mu"s. + +Beim Laden eines Satzes von Trennmustern w"ahrend der Installation +(Ini\TeX-Lauf) erfolgt die Zuordnung der Trennmuster zu einer +Sprache durch Zuweisung der f"ur diese Sprache ge"-w"ahlten Zahl an +das spezielle \TeX-Register \CS{language}. Ebenso werden sp"ater beim +"Uber"-setzen eines Dokuments die zu verwendenden Trennmuster durch +Zuweisung der Zahl an \CS{language} wieder aktiviert. Achtung: Weist +man \CS{language} beim "Uber"-setzen eines Dokuments einen Wert zu, +f"ur den Ini\TeX{} keine Trennmuster geladen hatte, so findet {\it keine\/} +automatische Silbentrennung statt. + +Wie werden nun die Nummern von 0--255 an die einzelnen Sprachen +vergeben? Als Quasi-Standard f"ur die Vergabe der Nummern hat sich +mittlerweile das im {\it + Babel-System\/}~\cite{Braams91,Goossens94a,Goossens94b} verwendete +Schema herausgebildet. +Dabei wird jede Sprache deklariert und an diese eine Nummer in +aufsteigender Folge von~0 an vergeben. Wichtig dabei ist, da"s die +jeweils zugeordnete Nummer in einer {\it control sequence\/} +\mbox{\CS{l@}\(\langle\)Sprache\(\rangle\)} abgespeichert wird. +So kann man sp"ater auf die Sprache unter ihrem Namen +zugreifen, also ohne die Nummer explizit angeben zu m"ussen. + +Der Code zum Laden der Trennmuster und zum Zuordnen der Sprachnamen +befindet sich in einer Makrodatei, die f"ur das +aktuelle \LaTeXe{} beispielsweise {\tt hyphen.cfg} hei"st. +Sie mu"s normalerweise neu erstellt oder zumindest angepa"st werden, +um festzulegen, welche Sprachen unterst"utzt werden sollen. + +Mit dem Babel-Paket wird eine besondere Version dieser Datei +ausgeliefert, die die Information "uber die zu ladenden Sprachen einer +weiteren Konfigurationsdatei {\tt language.dat} entnimmt, die ihrerseits +einfacher aufgebaut und leichter zu bearbeiten ist. + +Unabh"angig davon, welche +der beiden Methoden zur Konfiguration benutzt wird, kann das damit erzeugte +Format sowohl mit Babel als auch mit dem Paket "`german"' benutzt werden. +Die Version 3.6h des Babel-Pakets selbst +kennt allerdings noch keine Option f"ur "`Deutsch mit neuer Rechtschreibung"'. + +Gehen Sie zum Konfigurieren der Sprachunterst"utzung wie folgt vor: + +\paragraph{Schritt 1\protect\(^*\protect\):} +Sie verwenden den Konfigurationsmechanismus des Babel-Pakets; +dies ist standardm"a"sig z.\,B. mit teTeX oder dem Web2c-\TeX{} der +CD TeX\,Live der Fall. +In diesem Fall m"ussen in der Konfigurationsdatei {\tt language.dat} +die folgenden Zeilen (neben evtl. weiteren) eingetragen sein: +\begin{quote}\small +\begin{verbatim} + german ghyph31.tex + ngerman gnhyph01.tex +\end{verbatim} +\end{quote} +Damit wird die Zuordnung von Sprachnamen und Trenn\-muster\-dateien +festgelegt. +Evtl. fehlende Eintr"age sind am Ende der Datei zu erg"anzen. +(Mit der TeX\,Live-CD ist der Dateiname {\tt ghyph31.tex} +durch {\tt dehyphen.tex} zu ersetzen.) + +%Bitte beachten Sie, da"s innerhalb eines Dokuments nur +%{\em entweder} die vom Babel-Paket +%zur Verf"ugung gestellten Sprachanpassungen (einschl. "`german"') +%{\em oder} das Paket "`german"' benutzt werden sollen; +%ihre gleichzeitige Verwendung kann zu Problemen f"uhren! + +"Uberspringen Sie +nun die Schritte 1 und 2. Falls in Ihrem \TeX-System {\em nicht} der +Babel-Mechanismus zur Konfiguration der Trennmuster benutzt wird, +dann lesen Sie bitte weiter: + +\paragraph{Schritt 1:} +Sie ben"otigen zum Laden der Trennmusterdateien f"ur verschiedene +Sprachen eine Makrodatei, die (leider) je nach verwendetem +Format einen unterschiedlichen Dateinamen besitzt. Den Namen dieser +Datei k"onnen Sie der Tabelle in Schritt~\(2\) entnehmen, die Datei +selbst sollte folgenden Inhalt haben: +% +\begin{quote}\small +\begin{verbatim} +%% Konfigurationsdatei -- Trennmuster: `hyphen.cfg' +\message{== Loading hyphenation patterns:} + +%% american english +\chardef\l@USenglish=\language +%% british english als "Dialekt" +\chardef\l@english=\l@USenglish +\input hyphen + +%% german +\newlanguage\l@german \language=\l@german +%% oesterreichisch als "Dialekt": +\chardef\l@austrian=\l@german +\input ghyph31 + +%% new german +\newlanguage\l@ngerman \language=\l@ngerman +%% oesterreichisch (neu) als "Dialekt" +\chardef\l@naustrian=\l@ngerman +\input gnhyph01 + +%% weitere Sprachen nach folgendem Schema: +% \newlanguage\l@SPRACHE \language=\l@SPRACHE +% \chardef\l@DIALEKT=\l@SPRACHE +% \input SPRACHhyphen + +%% Default-Trennmuster: USenglish +\language=\l@USenglish \lefthyphenmin=2 \righthyphenmin=3 +\message{done.} +\endinput +\end{verbatim} +\end{quote} +% +In dem gezeigten Beispiel werden die +US-eng\-li\-schen Trennmuster, die "`alten"' und die "`neuen"' +deutschen Trennmuster geladen, wobei f"ur die britisch-englische und +f"ur die "oster"-reichische "`Sprache"' Synonyme deklariert werden. +Eine Datei mit genau diesem Inhalt wird unter dem Namen +\begin{quote} + {\tt hyphxmpl.cfg} +\end{quote} +zusammen mit dem Makropaket "`german"' verteilt. +Wollen Sie f"ur weitere Sprachen Trennmuster laden, +%-- beispielsweise existieren solche f"ur britisch-englische Silbentrennung -- +sollten +Sie in der Lage sein, die dazu notwendigen Zeilen anhand des +auskommentierten Schemas im gezeigten Beispiel zu +vervoll"-st"andigen. + +Es ist wichtig, da"s Sie die beiden Parameter \CS{left\-hyphen\-min} +und \CS{right\-hyphen\-min}, die die Mindest"-l"ange der nicht +trennbaren Wortpr"afixe und \mbox{-suffixe} angeben, am Ende der Datei +mit passenden Werten f"ur diejenige Sprache +vorbesetzen, mit der \TeX{} startet. Ansonsten erhalten Sie eventuell +Trennungen, bei denen einzelne Zeichen am Wortanfang oder \mbox{-ende} +abgetrennt werden. Es ist jedoch {\em nicht\/} notwendig, diese +beiden Parameter f"ur jede zu ladende Trennmusterdatei zu setzen, da +\TeX\ die Parameterwerte sowieso nicht mit den Trennmustern abspeichert. + + +\paragraph{Schritt 2:} +Entscheiden Sie sich, f"ur welches \TeX-Format Sie eine neue +Formatdatei erstellen wollen. Je nach zu erzeugendem Format hat die +in Schritt~\(1\) gezeigte Konfigurationsdatei einen anderen Namen: +% +\begin{quote} +\begin{tabular}{@{}ll@{}} +\qquad {\it Format} & {\it Dateiname} \\[3pt] +\LaTeXe{} (ab 1.~Dezember 1994) & {\tt hyphen.cfg}\\ +\LaTeXe{} (1.~Juni 1994) & {\tt lthyphen.cfg} \\ +\LaTeX 2.09 (ab Dezember 1991) & {\tt lhyphen.tex} \\ +\LaTeX 2.09 (vor Dezember 1991) & {\tt hyphen.tex} \\ +Plain-\TeX & {\tt hyphen.tex} +\end{tabular} +\end{quote} +% +Geben Sie der in Schritt~\(1\) erstellten Datei (oder dem +Beispiel {\tt hyphxmpl.cfg}) den entsprechenden +Dateinamen aus dieser Tabelle. + +{\it Zu Plain-\TeX{} und den "alteren \LaTeX-Versionen:\/} Da die +US-englischen Trennmuster, die als Mindestausstattung jeder +Installation beiliegen, den selben von Donald E.\ Knuth vergebenen +Namen {\tt hyphen.tex} haben, m"us\-sen Sie diese Trennmusterdatei +f"ur Plain-\TeX\ und die "alteren \LaTeX~2.09-Versionen in {\tt +ushyphen.tex} umbenennen, um Namens"-kollisionen zu vermeiden. +Vergessen Sie in diesem Fall nicht, auch in der Konfigurationsdatei +den Namen {\tt hyphen.tex} durch {\tt ushyphen.tex} zu ersetzen! + +\paragraph{Schritt 3:} +Bevor Sie nun mit Ini\TeX\ eine Formatdatei erstellen, sollten Sie +sich vergewissern, da"s Ihre \TeX-Version gen"ugend Platz f"ur die +Trennmuster reserviert. + +Um beispielsweise die amerikanischen und die beiden deutschen +Trennmusterdateien zu laden, ben"otigen Sie einen "`Trie"'-Wert, der +mindestens \(21547\) {\tt trie\_size} und \(625\) {\tt +trie\_op\_size} Platz bietet. Wollen Sie Trennmuster f"ur weitere +Sprachen, wie beispielsweise britisches Englisch, dazuladen, m"ussen +diese Werte er"-h"oht werden. Vergessen Sie sp"ater nicht, da"s Sie +auch bei der "Uber"-setzung der Dokumente entsprechend mehr Platz +f"ur die Trennmuster be"-n"otigen. + +Ob Sie diese Werte in Ihrer \TeX-Installation "andern m"ussen, und +wenn ja, wie, entnehmen Sie bitte der zugeh"origen +Dokumentation. +H"aufig kann man die +Gr"o"se der Trennmustertabelle "uber Umgebungsvariablen, spezielle +Konfigurationsdateien oder Optionen in der Kommandozeile festlegen. + +Mit emTeX beispielsweise mu"s die Voreinstellung f"ur {\tt trie\_size} +"uber die Option {\tt -mt} erh"oht werden, wenn die o.\,g. drei +Trennmusterdateien gleichzeitig verf"ugbar sein sollen: +\begin{quote} + \begin{tabular}{ll} + Format erzeugen: & {\tt -mt27000} \\ + \TeX-Lauf: & {\tt -mt23000} + \end{tabular} +\end{quote} + + +\paragraph{Schritt 4:} +Erzeugen Sie durch Aufruf von Ini\TeX\ aus der Datei, die die Makros +f"ur das \TeX-Format, z.\,B. \LaTeX, ent"-h"alt, die Formatdatei. +% +\iffalse +Zum Beispiel wird die \LaTeXe-Formatdatei unter {\sc Unix} durch den +Aufruf +% +\begin{quote}\small + \verb:initex latex.ltx: +\end{quote} +% +erzeugt. +\fi +% Unix ist kein gutes Beispiel, weil ausgerechnet das verbreitete +% teTeX ein Konfigurationsskript hat, so dass IniTeX normalerweise +% nie manuell aufgerufen werden muss. +% +Genaueres dar"uber, wie Sie eine Formatdatei erstellen, entnehmen +Sie bitte der zu Ihrem \TeX-System geh"orenden Beschreibung. + +W"ahrend Ini\TeX\ abl"auft, +sollten Sie darauf achten, da"s auch die oben +angegebene Konfigurationsdatei und die Trennmusterdateien eingelesen +werden. Wenn dies nicht geschieht, haben Sie einen falschen Namen +f"ur die Konfigurationsdatei ge"-w"ahlt. "Uber"-pr"ufen Sie nochmals +den Dateinamen und ziehen Sie die Format"-dokumentation zu Rate. + +Bricht Ini\TeX\ beim Laden der Trennmusterdateien mit der +Fehlermeldung +% +\begin{quote}\small + {\tt \TeX\ capacity exceeded, sorry + [pattern memory=}{\it x}{\tt ]} +\end{quote} +% +ab, so haben Sie {\tt trie\_size} zu klein gew"ahlt, bei +% +\begin{quote}\small + {\tt \TeX\ capacity exceeded, sorry + [pattern memory ops=}{\it x}{\tt ]} +\end{quote} +% +wurde {\tt trie\_op\_size} zu klein gew"ahlt. Falls dies bei Ihrer +\TeX-Implemen"-tierung m"og"-lich ist, sollten Sie in diesen F"allen +die Tabellen entsprechend ver"-gr"o"sern (siehe Schritt~3). +Ansonsten k"onnen Sie nicht alle in Ihrer Konfigurationsdatei +angegebenen Trennmusterdateien in einer einzigen Formatdatei +verwenden. + +\paragraph{Schritt~5:} +Wenn alles ohne Probleme durchlief, sollte zum Schlu"s eine Datei mit +Endung~{\tt .fmt} und eine Protokolldatei mit Endung~{\tt .log} +erstellt worden sein. Kopieren Sie beide Dateien in das Verzeichnis, +wo Ihre \TeX-Implementierung nach Formatdateien sucht, falls +dieser Schritt nicht automatisch erfolgt. Die Protokolldatei sollten +Sie nicht l"oschen, da Sie anhand dieser Datei noch Monate sp"ater +nachvollziehen k"onnen, wie Sie diese Formatdatei erstellt haben. + +Als Kontrolle, welche Trennmuster f"ur welche Sprachen geladen wurden, +k"onnen Sie das Ende der Protokolldatei betrachten. Sie sollten beim +Erstellen eines \LaTeXe-Formates ungef"ahr folgende Zeilen erhalten: +% +\begin{quote}\small +\begin{verbatim} +This is emTeX (tex386), Version 3.14159 [4b] (INITEX) ... +**latex.ltx +(latex.ltx (texsys.cfg) +... +(e:/texmf/tex/latex/local/hyphen.cfg +== Loading hyphenation patterns: +(e:/texmf/tex/generic/hyphen/hyphen.tex) +\l@german=\language1 + +(e:/texmf/tex/generic/hyphen/ghyph31.tex +German Hyphenation Patterns `ghyphen' Version 3.1a <94/02/13>) +\l@ngerman=\language2 + +(e:/texmf/tex/generic/hyphen/gnhyph01.tex +New German Hyphenation Patterns `gnhyph01' Rev. 22) done.) +... +Beginning to dump on file latex.fmt +... +14 hyphenation exceptions +Hyphenation trie of length 21547 has 625 ops out of 750 + 237 for language 2 + 207 for language 1 + 181 for language 0 +No pages of output. +\end{verbatim} +\end{quote} +% +Wie Sie in der vorletzten und den vorhergehenden Zeilen sehen, enth"alt die +Formatdatei Trennmuster f"ur drei Sprachen, denen die Nummern \(0\) +bis~\(2\) zugewiesen wurden. Zusammen be"-n"o"-tigen Sie +\(\mbox{\tt trie\_size}=21547\) und \(\mbox{\tt trie\_op\_size}=625\) +von \(750\)~vorhandenen Pl"atzen im "`Trie"'-Bereich. Au"serdem +wurden mit \CS{hyphenation} zus"atzlich \(14\)~Trennungsausnahmen +geladen. Laden Sie andere Trennmuster, unterscheiden sich Ihre Werte +nat"urlich von den hier gezeigten Werten. + +\vspace{\baselineskip} + +In der Konfigurationsdatei, in der die Trennmuster geladen werden, +werden die den Sprachen zugeordneten Nummern in den {\it control +sequences\/} \mbox{\CS{l@}\(\langle\)Sprache\(\rangle\)} +abgespeichert. Wird sp"ater beim "Uber"-setzen eines Dokuments auf +eine Sprache gewechselt, f"ur die keine {\it control sequence\/} +definiert wurde, so verwenden die Pakete "`german"' und "`ngerman"' die +folgenden Default-Werte: +% +\begin{quote}\small +\begin{tabular}{@{}lcl@{}} +\multicolumn{1}{@{}c}{\it Sprache~}&\it Wert&\it oder, + falls gesetzt, Wert der Sprache\\[3pt] + \tt USenglish & 255 & \tt english\\ + \tt english & 255 & \tt USenglish\\ + \tt german & 255 & \tt austrian\\ + \tt austrian & 255 & \tt german\\ + \tt ngerman & 255 & \tt naustrian\\ + \tt naustrian & 255 & \tt ngerman\\ + \tt french & 255 +\end{tabular} +\end{quote} +% +In "alteren Versionen der Style-Option "`german"' wurden den Sprachen +Werte zwischen \(0\) und~\(5\) zugewiesen. Ab Version~2.5a wird der +Wert~\(255\) verwendet, um die Trennung f"ur alle undefinierten Sprachen +zu unterbinden. Dies funktioniert in den meisten F"allen, da im +allgemeinen f"ur den Wert~\(255\) keine Trennmuster geladen werden. + + +\section{Sonstiges} + +\subsection{Geschichtliches} + +Die Style-Option "`german"', die das Erstellen deutschsprachiger +Texte mit \TeX\ vereinfacht, wurde von Dr.\ H.\ Partl (Technische +Universit"at Wien) realisiert und zusammengestellt. Sie war als +"`rasche L"osung"' entstanden, die den Vorteil hat, da"s sie keine +"Anderungen an der \TeX-Software, den Schriftdateien und den +Trennmustern erfordert, sondern direkt auf die Originalversion von +\TeX\ aufgesetzt werden kann~\cite{Partl87,Partl88}. Diese "`rasche +L"osung"' hat sich be"-w"ahrt und besitzt heutzutage ein weites +Verbreitungsgebiet im deutschsprachigen Raum und dar"uberhinaus. + +Folgende Personen haben durch Ideen und Code-Beispiele zum Erfolg der +Style-Option "`german"' beigetragen (die Liste erhebt keinen Anspruch +auf Voll"-st"andigkeit): W.~Appelt, F.~Hommes und andere +(Gesellschaft f"ur Mathematik und Datenverarbeitung St.~Augustin), +T.~Hofmann ({\sc Ciba-Geigy} Basel), N.~Schwarz (Universit"at +Bochum), J.~Schrod (TH Darmstadt), D.~Armbruster (Universit"at +Stuttgart), R.~Sch\"opf (Universit"at Mainz, Universit"at Heidelberg, +Zuse-Zentrum f"ur Informationsverarbeitung Berlin), F.~Mittelbach +(Universit"at Mainz, EDS R"usselsheim), J.~Knappen (Universit"at +Mainz), P.~Breitenlohner (Max-Planck-Institut M\"unchen), +H.~Oberdiek (Universit"at Freiburg) und viele +andere. + +F"ur die Anpassung an die neue Rechtschreibung +war W.~Schmidt verantwortlich. + +Seit Version~2.3e vom 31.~Juli 1991 werden die Pakete "`german"' und "`ngerman"' +von B.~Raichle (Universit"at Stuttgart) gepflegt und weiterentwickelt. + + + +\subsection{Verf"ugbarkeit der Makropakete} + +Die Makropakete "`german"' und "`ngerman"' kann man, wie fast jede andere +\TeX-Soft\-ware, vom {\it Comprehensive \TeX\ Archive Network}, kurz +\mbox{CTAN}, erhalten. Dieses Netzwerk besteht z.\,Z.\ aus den +ftp-Servern {\tt ftp.dante.de}, {\tt ftp.tex.ac.uk} und {\tt ctan.tug.org}, +wobei auf +jedem dieser Ser\-ver der gleiche Inhalt zu finden ist. +\mbox{CTAN} dient als sogenannter "`Back\-bone"', d.\,h.\ das +komplette Archiv oder Teile davon werden von diesen Servern auf vielen +weiteren Ser\-ver "`gespiegelt"' vorgehalten, so da"s Sie die f"ur Sie +g"unstigste Zugriffs"-m"oglichkeit w"ahlen k"onnen. Au"serdem ist der +Inhalt von \mbox{CTAN} von mehreren Anbietern auch auf CD-ROM +er"-h"altlich. + +Die Pakete, die zugeh"orige Dokumentation und die +deutschen Trennmuster finden Sie auf \mbox{CTAN} in den +Verzeichnissen +\begin{quote} +\begin{verbatim} +tex-archive/language/german/ +tex-archive/language/hyphenation/ +\end{verbatim} +\end{quote} + +Die Mitgliedschaft in DANTE~e.V\negthinspace.\ bietet eine weitere +M"og"-lichkeit an die \TeX-Soft\-ware +und viele Kontakte zu anderen \TeX-Anwendern zu gelangen. +Informationen "uber DANTE~e.V\negthinspace.\ erhalten Sie von +% +\begin{quote} + DANTE, Deutschsprachige Anwendervereinigung + \TeX\ e.V\negthinspace. \\ + Postfach 10\,18\,40 \\ + 69008 Heidelberg \\ + Federal Republic of Germany\\[4pt] + Tel.: +49 6221 2\,97\,66\\ + Fax: +49 6221 16\,79\,06\\ + E-Mail: {\tt dante@dante.de}\\[4pt] + {\sc www}: {\tt http://www.dante.de/}\\ + ftp: {\tt ftp://ftp.dante.de/tex-archive/usergrps/dante/} +\end{quote} + + +\subsection{\protect\TeX~2.x vs.\ \protect\TeX~3.x und die + Style-Option "`german"'} + +Seit Oktober~1987 ist \TeX\ in der Version~\(3.x\) verf"ugbar. Da +diese Version gegen"-"uber \TeX~\(2.x\) einige Erweiterungen besitzt, +soll hier kurz auf die wichtigsten "Anderungen in der Style-Option +"`german"' eingegangen werden. + +\TeX\ Version~3 f"uhrte neue {\it control sequences\/} f"ur neue +Primitive und interne Register ein. Darunter f"allt das in "alteren +Versionen der Style-Option "`german"' verwendete Makro +\CS{set\-language}, das ab Version~2.3 in \CS{select\-language} +umbenannt wurde. Da \CS{set\-language} ein \TeX~3-Primitiv ist und +deshalb keine auf"-w"arts"-kompatible Definition angeboten werden +kann, mu"s in "alteren Texten der alte Makroname durch den neuen Namen +ersetzt werden. + +Zu \TeX{}s internen Registern kamen u.\,a.\ \CS{language}, +\CS{left\-hyphen\-min} und \CS{right\-hyphen\-min} hinzu, um +Trennmuster f"ur mehr als eine Sprache unter"-st"utzen zu k"on\-nen. +Diese drei Register bestimmen die zu verwendenden Trennmuster und die +Mindest"-l"an"-ge der nicht trennbaren Wort"-pr"a"-fixe und +\mbox{-suffixe}. Der "`normale"' \TeX-Benutzer sollte diese Register +zum Wechsel der Trennmuster nie direkt "andern, sondern sollte dazu +das \CS{select\-language}-Makro verwenden. Ab Version~2.4a der +Style-Option "`german"' werden f"ur die Sprachen {\tt german} und +{\tt austrian} zu"-s"atzlich \CS{french\-spacing} und die Werte f"ur +\CS{left\-hyphen\-min} und \CS{right\-hyphen\-min} auf zwei gesetzt. + + +\subsection{"Anderungen seit Version~2.0 (Oktober 1987)} + +Zus"atzlich zu den in fr"uheren Abschnitten erw"ahnten "Anderungen +kommen folgende hinzu: + +\begin{itemize}\tolerance=9999\hbadness=2500 +\item In Versionen vor~2.2 fehlen die Befehle \verb:"S:, \verb:"CK:, + \verb:"FF: f"ur Gro"sbuchstaben und die entsprechenden Befehle f"ur + die Konsonanten L, M, N, P und~T. +\item In Versionen bis~2.2 gab es die undokumentierten Makros + \CS{original\-@dospecials} und \CS{original\-@sanitize}, die die + urspr"unglichen Definitionen von \CS{do\-special} und \CS{@sanitize} + enthielten, und \CS{german\-@dospecials}, \CS{german\-@sanitize}, + die zu"-s"atzlich das Double\-quote~(\verb:":) enthielten. Diese + Makros werden von einigen "`fremden"' Makros benutzt, obwohl sie + undokumentiert und nur zur internen Verwendung bestimmt waren. +\item Bis Version~2.3e wurden bei Verwendung von~\verb:"|: zur + Verhinderung von Ligaturen keine weiteren Trennstellen im Wort + gefunden. +\item Ab Version~2.3e werden die etwas tieferen Umlautakzente durch + ein ge"-"an"-der"-tes Makro erzeugt, das schneller ist und zu + kleineren \verb:dvi:-Dateien f"uhrt. Au"serdem werden jetzt bis auf + die Z"ah\-ler"-allokationen alle Definitionen und Zuweisungen lokal + aus\-ge\-f"uhrt. +\item In Version~2.4a wurden durch zu"-s"atzliche \CS{/}-Anweisungen + "Uberschneidungen der "offnenden An"-f"uh\-rungs"-zeichen mit + nachfolgenden Zeichen bei Verwendung der + Com\-pu\-ter-Modern-Schriften f"ur viele F"alle verhindert. + Undefinierte \verb:"x:-Befehle f"uhren jetzt zu einer Fehlermeldung + -- dies f"uhrt oft dazu, da"s viele einfache Tippfehler schon beim + "Ubersetzen aufgedeckt werden. Die Befehle \verb:"z:, \verb:"Z:, + \verb:"~: und \verb:"=: kamen neu dazu. +\item Version~2.5a ent"-h"alt Anpassungen an \LaTeXe{} zur Verwendung + von Schriften mit Kodierung {\tt OT1} und~{\tt T1}. Die Befehle + \verb:"r: und~\verb:"R: kamen hinzu. Die Defaults f"ur + "`undefinierte"' Sprachen sind jetzt~\(255\) mit entsprechenden + Warnungen, um die Benutzer zu zwingen, beim Laden der Trennmuster + gleich die verwendete \CS{language}-Nummer zu sichern (z.\,B.\ mit + dem Babel-System oder einer von Hand geschriebenen + Konfigurationsdatei). Intern wurden, neben der Verwendung von {\it + docstrip}, kleinere Optimierungen ausgef"uhrt. +\item Bis Version~2.5b wird bei \verb:"ff: die ff-Ligatur verhindert, + obwohl diese bei Ausfall des dritten~"`\mbox{f}"' stehen sollte. + Diese "Anderung ab Version~2.5c kann zu gering"-f"ugig anderen + Trennungen im direkt auf \verb:"ff: folgenden Wortteil f"uhren. +\item Version~2.5c f"ugt das explizite Kerning der oberen deutschen + Anf"uhrungszeichen~"' f"ur T1-kodierte Schriften nicht mehr ein, da + die EC-Schriften (und die DC-Schriften ab Version~1.2 als deren + Testversion) diese Anf"uhrungszeichen etwas weiter nach links + plazieren, so da"s es sonst zu "Uber"-schneidungen kommt. +\item Version~2.5d erlaubt bei T1-kodierten Schriften das dort + notwendige Kerning der Anf"uhrungszeichen sowohl bei \CS{glqq}, + \CS{grqq}, \CS{flqq} und \CS{frqq} als auch bei \verb:"`:, + \verb:"':, \verb:"<: und~\verb:">:. +\item Mit Version~2.5e wird zus"atzlich das Paket "`ngerman"' + eingef"uhrt. Die Implementierung des undokumentierten Befehls + \verb:\iflanguage: wird dahingehend ge"andert, da"s in seinen + "`then"'- und "`else"'"~Argumenten auch Makros verwendet werden k"onnen, + deren Parameter erst hinter dem \verb:\iflanguage:-Befehl folgen. + Das erm"oglicht Konstrukte wie + \verb:Sto\iflanguage{german}{"}{f}ffetzen:. +\end{itemize} + + + +\begin{thebibliography}{99}\tolerance=2000\hbadness=2000 +\bibitem[Duden, Bd.~1]{Duden} {\sc Duden}, + Rechtschreibung der deutschen Sprache und der + Fremd"-w"orter. Hrsg.\ von der {\sc Duden}-Redaktion. + Auf der Grundlage der amtlichen Rechtschreibregeln. + Mannheim; Wien; Z"urich: Bibliographisches Institut, + 19.~Auf"|lage, 1986. +\bibitem[Partl87]{Partl87} Hubert Partl, + {\it Ein "`Minimal Subset"' f"ur einheitliche deutsche + \TeX-Befehle}, Vortrag und Diskussion beim 6.~Treffen der + deutschen \TeX-""Interessenten in M"unster (1987). + Anm.: ver"offentlicht in einer Datei namens {\tt germdoc.tex}, + mittlerweile ersetzt durch das Ihnen vorliegende + Dokument "`Kurzbeschreibung -- {\tt (n)german.sty}"'. +\bibitem[Partl88]{Partl88} Hubert Partl, + German \TeX, {\em TUGboat\/} 9(1):70--72, 1988. +\bibitem[Braams91]{Braams91} Johannes Braams, + Babel, a multilingual style-option system for use with \LaTeX's + standard document styles, + {\it TUGboat\/} 12(2):291--301, Juni 1991. +\bibitem[Goossens94a]{Goossens94a} Michel Goossens, Frank Mittelbach und + Alexander Samarin, {\it The \LaTeX\ Companion}, + Addison-Wesley, Reading, 2.~Auf"|lage, 1994. +\bibitem[Goossens94b]{Goossens94b} Michel Goossens, Frank Mittelbach und + Alexander Samarin, {\it Der \LaTeX-Begleiter}, + Addison-Wesley, Bonn, 1.~Auf"|lage, 1994. + Anm.: "uber"-arbeitete, deutsche "Uber"-setzung + von~\cite{Goossens94a}. +\end{thebibliography} + +\end{document} diff --git a/Master/texmf-dist/doc/generic/german/hyphxmpl.cfg b/Master/texmf-dist/doc/generic/german/hyphxmpl.cfg new file mode 100644 index 00000000000..bed73ccfc1c --- /dev/null +++ b/Master/texmf-dist/doc/generic/german/hyphxmpl.cfg @@ -0,0 +1,45 @@ +%% +%% This is file `hyphxmpl.cfg', +%% generated with the docstrip utility. +%% +%% The original source files were: +%% +%% german.dtx (with options: `hyphcfg') +%% +%% ---------------------------------------------- +%% Beispielkonfigurationsdatei fuer: `hyphen.cfg' +%% Naeheres siehe Dokumentation `gerdoc.tex'. +%% Copyleft 1995-1998 by Bernd Raichle. + +%% Konfigurationsdatei -- Trennmuster: `hyphen.cfg' +\message{== Loading hyphenation patterns:} + +%% american english +\chardef\l@USenglish=\language +%% british english als "Dialekt" +\chardef\l@english=\l@USenglish +\input hyphen + +%% german +\newlanguage\l@german \language=\l@german +%% oesterreichisch als "Dialekt" +\chardef\l@austrian=\l@german +\input ghyph31 + +%% new german +\newlanguage\l@ngerman \language=\l@ngerman +%% oesterreichisch (neu) als "Dialekt" +\chardef\l@naustrian=\l@ngerman +\input gnhyph01 + +%% weitere Sprachen nach folgendem Schema: +% \newlanguage\l@SPRACHE \language=\l@SPRACHE +% \chardef\l@DIALEKT=\l@SPRACHE +% \input SPRACHhyphen + +%% Default-Trennmuster: USenglish +\language=\l@USenglish \lefthyphenmin=2 \righthyphenmin=3 +\message{done.} +\endinput +%% +%% End of file `hyphxmpl.cfg'. diff --git a/Master/texmf-dist/doc/generic/ibycus/README b/Master/texmf-dist/doc/generic/ibycus/README new file mode 100644 index 00000000000..189e8b1935e --- /dev/null +++ b/Master/texmf-dist/doc/generic/ibycus/README @@ -0,0 +1,303 @@ +[This is ./doc/fonts/ibycus4/tex/README + 12 July, 1997. [For some of the previous history see the + final notes on Ibycus 3, from May 30, 1966 in README.ibycus3] + + ( THIS IS A TDS-CONFORMANT PACKAGE ) + +BE SURE THAT ibycus4.map HAS BEEN MADE ACCESSIBLE AS DESCRIBED BELOW + +FOR INCOMPATIBILITIES WITH IBYCUS3, SEARCH FOR %%%%%%%%%%%% on page 3. + +Like its predecessors, Ibycus4 is based on Silvio Levy's +realization of a classic Didot cut of Greek type from around 1800. +Ibycus4 is as close as possible to Ibycus3 in all possible +respects, but there are some improved set widths and pair-kernings +which might clobber old carefully adjusted text spacings +such as Alexandrian shaped poetry. + +A sample input file is provided in iby4text.tex or ibycus4.ltx + +PLAIN TeX USAGE: \input iby4text + + then: \setgreek10/12 (or other reasonable combination + of pointsize and leading) + + then: Latin text \GK{}a)rxai=a gra'mmata\RM{} Latin again. + + NOTE that the ) is a smooth breathing, not a parenthesis. + +LaTeX2e USAGE: \usepackage{ibycus4} + + then: Latin text {\greek{a)rxai=a gra'mmata}} Latin again. + (Note the double braces, there is a font change here.) + + change font size with the \fontsize macro, thus: + + \fontsize{14}{17pt}\selectfont + + +The TeX files in $TEXMF/tex/generic/ibycus4 together with the METAFONT +files in $TEXMF/fonts/source/public/ibycus4 {\em especially +ibycus4.map} are intended to provide a reasonable degree of +compatibility between David Packard Jr.'s Ibycus/TLG system, and the +TeX and METAFONT environment. If you are not using Karl Berry's +path-searching or its equivalent, these TeX files may have to be moved +to an appropriate branch directory of $TEXMF/tex/ + continues . . . + + README Page 2 + +The TeX files are: + + 1. $TEXMF/tex/generic/ibycus4/ibycus4.tex + + The driver file for this package (in plain tex). + + 1a. $TEXMF/tex/generic/ibycus4/ibycus4.sty + + The driver file for this package (in LaTeX2e). + + 2. $TEXMF/tex/generic/ibycus4/setiby4.tex + + Included by ibygrk.tex unless newnep format is running + + 3. $TEXMF/tex/generic/ibycus4/tlgsqq.tex + + The name suggests the association with coding of the + Thesaurus Linguae Graecae. + + This file provides uniquely named macros for all combinations + of letter and accent, so that any invocation of the macro will + produce a sequence of characters corresponding with the + entries put into the TFM ligature table. These sequences may + always be used to generate accented characters. They are + based, with some slight modifications where David Packard's Ibycus + input coding seems too misleading, on the Ibycus adaptation of + TLG beta-code. + + For input coding, the parentheses, ) and ( are used for + breathings, ' (ASCII char '047--acute or single quote) and ` + (ASCII char '140--grave) are used for oxytone and barytone (to + avoid preemption of the usual TeX excape character) and = + (ASCII char '075) is used for perispomenon to avoid preemption + of the active tie character in plain.tex. + is used for + dieresis after u or i and for some other special characters. + | is used for iota subscript and ! (ASCII char '041--\bang) is + used to call out the "dot-under" convention for partially + preserved letters in manuscript or epigraphical texts. Order + is significant. Breathings or diereses come first, after the + affected letter, then accents, then iota subscript or \bang. + These codings represent the input coding convention, not the + mapping in the font itself. + + The digraphs, trigraphs etc. can be read from tlgsqq.tex + Postpositives fall into three order-dependent and + exclusive classes--only one from each class may be used + in any single accented cluster. + + 1 2 3 + nil nil nil + ( [asper] ' [oxytone] | [iota subscript] + ) [lenis] ` [barytone] ! [dot below letter] + + [other] = [perispomene] + + continues . . . + + README Page 3 + + Some special digraphs are K+ Koppa, k+ koppa, C+ lunate Cigma, + c+ lunate cigma, s+ sampi (lowercase late form only) and s| which + forces a medial sigma. + << and >> give guillemets (not guillemots as Adobe + ornithologically supposes) and (( )) give single parentheses + though care must be taken that the first ( or ) is not + interpreted as a breathing. {((} and {))} are safe. + + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + NOTE: THE FOLLOWING CODINGS ARE NOT COMPATIBLE WITH IBYCUS3 + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + I have tried to keep incompatible codings to the minimum + but the ibycus3 versions of the following were extremely + undesirable. These are all simplifications of ibycus3 coding. + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + The mark of elision is ' or {'} (the form in braces may be + needed to prevent ' from being read as an accent). + Single quotes may be provided by ` {`} and ' {'}, (isolate them + in braces if necessary). Double quotes are `` {``} and + '' {''} (isolate in braces if necessary). < and > are the + angle brackets used for conjectural supplements. + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + 4. ibycus4.map + + This is {\em exactly} the same file as is used by METAFONT. + Copy $TEXMF/fonts/source/public/ibycus4/ibycus4.map + to the same directory as ibycus4.tex + or, even better, link it with a symbolic link. + It is so structured that it can be read by either + TeX or Metafont. The mapping is very close to that of GreekKeys, + which is distributed for the Macintosh by the American + Philological Association. Other mappings can be created + in the same manner. + + 5. $TEXMF/tex/generic/ibycus4/Uibycus4.fd + + Supporting fd file for LaTeX2e. + + 6. $TEXMF/tex/generic/ibycus4/iby4extr.tex + + Access to some editorial symbols for classical editions. + + continues . . . + + README Page 4 + + 7. $TEXMF/tex/generic/ibygrk/ibycus4.ltx + $TEXMF/tex/generic/ibygrk/iby4text.tex + The exquisite little poem by Ibycus of Rhegium, until recently + almost the only thing known by him. (The Ibycus system + developed by David Packard is only indirectly named after + the poet. The direct inspiration was Packard's cat.) + + M E T A F O N T + +The METAFONT part of the package consists of a set of files which use +the original characters of Silvio Levy's greek fonts and combine them +in ways which reflect the increased capabilities of TeX and METAFONT +developed since Levy did the original greek for TeX. The Levy source +files can be got from one of the CTAN archives and placed in +$TEXMF/fonts/source/public/levy + where they will automatically become +accessible if you are using a TeX Directory Structure [TDS] layout of +files. If you are not using a file searching system like Karl Berry's +"kpathsea", see $TEXMF/fonts/source/public/ibycus4/ibycus4.mf for +hints on making the Levy source available. For directions on the +use and management of Karl Berry's path searching, consult "The TeX +Live Guide, version 2" by Sebastian Rahtz and Michael Goosens, in +{\it TUGboat}. Volume 18 (1997). Pages 81-112, especially pp. 87--9. +Web2c TeX for Unix systems, Thomas Esser's teTeX, and the Solaris package +referenced at http://smc.vnet.net/solaris_2.5.html all use Karl +Berry's path searching. + +Ibycus4 METAFONT files are in $TEXMF/fonts/source/public/ibycus4 + +The most significant changes are: + + 1. The large repertory of initial/medial sigma + letter pairs + is suppressed from the new fonts, and the new enhanced TFM + ligature scheme is used instead to provide for the automatic + differentiation between medial and final sigma. + + 2. The cells thus opened up in the font mapping are used for + a variety of additional characters: + + a. A full repertory of vowels with breathings and + barytone accents (many of these were absent from the + original). The various forms of long epsilon and + omicron with perispomene accent needed for early Attic + and similar local scripts are provided. + + b. Lunate sigma, digamma, koppa and sampi are + provided (the last in its lowercase late form + only, since earlier forms are rather problematic + and are virtually unused even in epigraphical texts). + + c. A simple iota subscript in a 0.5em character space + is provided at position '174 for use in unusual + + continues . . . + + README Page 5 + + groupings. For all normal usages three additional + occurences of the glyph are kerned (in the traditional + sense) far to the left so that they will fit under + alpha, eta and omega respectively. These characters + are called out automatically through the TeX TFM + ligature system, for which see below. The glyph under + eta is shortened slightly to give better clearance + under the left stem of lowercase eta. The iota + subscript glyph retains its simple form in 300dpi + renditions, and in any bitmap which drops below + 500dpi, but it thins out and develops a slight + rightward hook at 600dpi and above. + + d. The mechanism of drastic left kerning is also used + to set dots under letters which cannot be read + completely from the manuscript or stone. These dota + are likewise called out automatically through the TFM + ligature system. A final ! {\bang} after any letter + or letter with postpositive accents (except those + with iota subscripts) will produce the dotted form. + + e. Angle brackets, half brackets, double quotes, braces, + a dagger and a doubledagger are now provided (see + iby4extr.tex). + + 3. All characters have been named. The constructs + ASCII"A" and oct"000" appear only at lower levels + of programming. + + 4. Character spacing has been adjusted through kerning tables, + particularly around lowercase iota (file ibylig4.mf). + There is better separation between breathings and accents + (this has required a redesign of almost all accents) and + clearance between accent and base letter has been increased. + The perispomene has been restored to its traditional form with + a thick center and tapered ends, and the breathings have been + given shorter, tapered tails. The deep ink trap between the + bulb and tail of the breathings has been eliminated. Accents + over epsilon have been raised and slightly shortened to give + better clearance. The accents with diaeresis have been shifted + up and laterally to clear the dot they lean toward. + + 5. Font mapping is specified independently of other + parameters, in a distinct and separate file (file ibycus4.map). + In some cases it may be more effective to remap the font + than to struggle with TeX remapping. + + continues . . . + + README Page 6 + + 6. A programming error which produced the wrong displacement + value with free-standing accents has been corrected. Accents + before uppercase vowels are kerned (in the traditional sense) + out left to a negative left side bearing of about one unit + (1/18em) unit so that their escapement does not leave + excessive space after the preceding word or at the start of a + line. They have also been properly pair-kerned with the + uppercase vowels. + +A new naming convention uses "ibycus4" wherever possible, and +the shorter string "iby4" where that would lead to ambiguity. +some of the individual METAFONT character files are simply +taged with the number 4. 8+3 filename compatibility is preserved. +(under protest and with difficulty). + +The names of PK and TFM files follow Karl Berry's font name convention +( 84 is the encoding for Ibycus 4). + +Foundry Facename Weights Variants Encoding_Variants DesignSize + +f ib [r], b r, o 84 [10], 9, 8 + +fibr84 fibo84 fibb84 + + with METAFONT design-size additions +fibr848 fibo848 fibb848 +fibr849 fibo849 fibb849 + +Driver files for the Bold Oblique variant can be provided but their use +is discouraged. These Didot-derived characters do not stand up well +to either boldfacing or obliqueing, and the combination is quite +unfortunate. The typewriter style originally offered with these +designs is quietly forgotten, although the code for it is still +embedded in Silvio Levy's source. + + Also in the works, a type1 version. + +Pierre A. MacKay +Department of Classics +University of Washington +mackay@cs.washington.edu diff --git a/Master/texmf-dist/doc/generic/ibycus/ibycus3.RME b/Master/texmf-dist/doc/generic/ibycus/ibycus3.RME new file mode 100644 index 00000000000..7f7f5672380 --- /dev/null +++ b/Master/texmf-dist/doc/generic/ibycus/ibycus3.RME @@ -0,0 +1,231 @@ +[This is ./doc/fonts/ibycus3/tex/README + May 1992, revised Apr. 1994, revised for LaTeX2e Sep-Oct. 1995 + Final notes on Ibycus 3, May 30, 1966 ] + + ( THIS IS A TDS-CONFORMANT PACKAGE ) + +BE SURE THAT ibycus3.map HAS BEEN COPIED AS DESCRIBED BELOW + +A sample input file is provided in iby3text.tex or ibycus3.ltx + +PLAIN TeX USAGE: \input iby3text + + then: \setgreek10/12 (or other reasonable combination + of pointsize and leading) + + then: Latin text \GK{}a)rxai=a gra'mmata\RM{} Latin again. + + NOTE that the ) is a smooth breathing, not a parenthesis. + +LaTeX2e USAGE: \usepackage{ibycus3} + + then: Latin text {\greek{a)rxai=a gra'mmata}} Latin again. + (Note the double braces, there is a font change here.) + + change font size with the \fontsize macro, thus: + + \fontsize{14}{17pt}\selectfont + + +The TeX files in $TEXMF/tex/generic/ibycus3 together with the +METAFONT files in $TEXMF/fonts/source/public/ibycus3 +{\em especially ibycus3.map} are intended to provide a +reasonable degree of compatibility between David Packard Jr.'s +Ibycus/TLG system, and the TeX and METAFONT environment. These TeX +files may have to be moved to an appropriate branch directory of +$TEXMF/tex/ if you are not using Karl Berry's path-searching +or its equivalent. + +The package consists of a set of METAFONT files which use the original +characters of Silvio Levy's greek fonts (these can be got from +one of the CTAN archives and placed in $TEXMF/fonts/source/public/levy +if you are using a TeX Directory Structure [TDS] layout of files) +and combine them in ways which reflect the increased capabilities of TeX +and METAFONT developed since Levy did the original greek for TeX. +If you are not using a file searching system like Karl Berry's +"kpathsea", see $TEXMF/fonts/source/public/ibycus3/ibycus3.mf for +hints on making the levy source available + +Ibycus3 METAFONT files are in $TEXMF/fonts/source/public/ibycus3 + +The most significant changes are: + + 1. The large repertory of initial/medial sigma + letter pairs + is suppressed from the new fonts, and the new enhanced TFM + ligature scheme is used instead to provide for the automatic + differentiation between medial and final sigma. + + 2. The cells thus opened up in the font mapping are used for + a variety of additional characters: + + a. A full repertory of vowels with breathings and + barytone accents (absent from the original). + + b. Digamma, koppa and sampi (the last in lowercase + late form only, since earlier forms are rather + problematic and are virtually unused even in + epigraphical texts). + NOTE: there is still room for things like acrophonic + numerals, and perhaps the two markers used to + distinguish numeric from alphabetic use of the letters + ought to be provided. Another possibility is + special symbols for text-edition, such as double + brackets. (Editor supplements can be done + using the characters defined in iby3extr.tex). + + Iota subscript retains its simple form in 300dpi + renditions, and in any bitmap which drops below + 500dpi, but it thins out and develops a slight + rightward hook at 600dpi and above. + + 3. All characters have been named. The constructs + ASCII"A" and oct"000" appear only at lower levels + of programming. + + 4. Character spacing has been adjusted through kerning tables, + particularly around lowercase iota (file ibylig.mf). + There is more that could and should be done. + Maybe it will yet happen. + + 5. Font mapping is specified independently of other + parameters, in a distinct and separate file (file ibycus3.map). + In some cases it may be more effective to remap the font + than to struggle with TeX remapping. + + 6. Accents have been redesigned in several cases, usually + in an attempt to reduce crowding among the elements of + accent clusters. The accents with diaeresis have been shifted + to clear the dot they lean toward. A programming error which + produced the wrong displacement value with free-standing accents + has been corrected. Accents before uppercase vowels are + pair-kerned with the vowels. Angle brackets, half brackets, + double quotes, braces and a dagger are now provided (see + ibyextra.tex). + +The associated TeX files are: + + 1. $TEXMF/tex/generic/ibycus3/ibycus3.tex + + The driver file for this package (in plain tex). + + 1a. $TEXMF/tex/generic/ibycus3/ibycus3.sty + + The driver file for this package (in LaTeX2e). + + 2. $TEXMF/tex/generic/ibycus3/set3grk.tex + + Included by ibygrk.tex unless newnep format is running + + 3. $TEXMF/tex/generic/ibycus3/tlgsqq.tex + + The name suggests the association with coding of the + Thesaurus Linguae Graecae. + + This file provides uniquely named macros for all combinations + of letter and accent, so that any invocation of the macro will + produce a sequence of characters corresponding with the + entries put into the TFM ligature table. These sequences may + always be used to generate accented characters. They are + based, with some slight modifications where David Packard's Ibycus + input coding seems too misleading, on the Ibycus adaptation of + TLG beta-code. ) and ( are used for breathings, ' and ` are + used for oxytone and barytone (to avoid preemption of the + usual TeX excape character) and = is used for perispomenon + to avoid preemption of the active tie character in plain.tex. + | is used for iota subscript. Order is significant. + Breathings or diereses come first, after the affected letter, then + accents, then iota subscript. + is dieresis, which should + only appear after u or i. '' is the mark of elision + Single quotes may be provided by `` and '', but isolate them + in braces whereever the first of either pair risks being + interpreted as an accent. + + The digraphs, trigraphs etc can be read from tlgsqq.tex + + Additional digraphs are K+ Koppa, k+ koppa, C+ lunate Cigma, + c+ lunate cigma, s+ sampi (lowercase late form only) and s| which + forces a medial sigma at word end. + << and >> give guillemets (not guillemots as Adobe + ornithologically supposes) and (( )) give single parentheses + though care must be taken that the first ( or ) is not + interpreted as a breathing. {((} and {))} are safe. + + 4. ibycus3.map + + This is {\em exactly} the same file as is used by METAFONT. + Copy $TEXMF/fonts/source/public/ibycus3/ibycus3.map + to the same directory as ibycus3.tex + or, even better, link it with a symbolic link. + It is so structured that it can be read by either + TeX or Metafont. The mapping is very close to that of GreekKeys, + which is distributed for the Macintosh by the American + Philological Association. Other mappings can be created + in the same manner. + + 5. $TEXMF/tex/generic/ibycus3/Uibycus3.fd + + Supporting fd file for LaTeX2e. + + 6. $TEXMF/tex/generic/ibycus3/iby3extr.tex + + Some editorial symbols for classical editions. + + 7. $TEXMF/tex/generic/ibygrk/ibycus3.ltx + $TEXMF/tex/generic/ibygrk/iby3text.tex + The exquisite little poem by Ibycus of Rhegium, until recently + almost the only thing known by him. (The Ibycus system + developed by David Packard is only indirectly named after + the poet. The direct inspiration was Packard's cat.) + +NOTE: Earlier users of this package may be dismayed by the new naming +system for the fonts, but it seems the only way to provide for +desirable results. It is necessary to keep this Ibycus package +clearly distinct from the new package announced below. Symbolic +links are provided to ease the transition. Ibycus4 (see below) will +be as close as possible to Ibycus3 in all external respects, but +there are some improved set widths which might clobber old carefully +adjusted text spacings. + +The new naming convention uses "ibycus3" wherever possible, and +the shorter string "iby3" where that would lead to ambiguity. +some of the individual METAFONT character files are simply +taged with the number 3. 8+3 filename compatibility is preserved. +(with difficulty). + +The names of PK and TFM files follow Karl Berry's font name convention +( 84 is the encoding for Ibycus 4, for which see below). + +Foundry Facename Weights Variants Encoding_Variants DesignSize + +f ib [r], b r, o 83, 84 [10], 9, 8 + +fibr83 fibo83 fibb83 + + with METAFONT design-size additions +fibr838 fibo838 fibb838 +fibr839 fibo839 fibb839 + + + +Still in the future. + + Ibycus4 will have the major epigraphical characters and conventions, + dotted letters, epsilon and omicron with perispomene accent + for pre-403 Attic orthography, uprighted italic h for aspirate and + a special set of TFM files for "stoichedon" inscriptions. + Maybe even a prime that really works for numbers. + The input coding for Ibycus4 is hardly changed at all from + Ibycus3 coding: The apostrophe and single quotes can be + given as ` {`} and ' {'} instead of having to be doubled + and <> give conjectural emendation angle brackets without + requiring an excursion into math mode. ! {\bang} gives + a dotted letter for all except iota-subscripted vowels. + Slight improvements in set widths, which is the chief reason + for keeping Ibycus3 and Ibycus4 clearly separate. + + Also in the works, a type1 version. + +Pierre A. MacKay +Department of Classics +University of Washington +mackay@cs.washington.edu diff --git a/Master/texmf-dist/doc/generic/ibycus/ibycus4.ltx b/Master/texmf-dist/doc/generic/ibycus/ibycus4.ltx new file mode 100644 index 00000000000..2800c5904b1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/ibycus/ibycus4.ltx @@ -0,0 +1,40 @@ +% ibycus4.ltx-- P.A. MacKay -- July 13, 1997 +% Pierre A. MacKay, Dept. of Classics, University of Washington +% mackay@cs.washington.edu +% ------------------------ +% An example of ibycus4 using LaTeX2e +% +% Text from D. L. Page, {\it Greek Melic Poets}, (Oxford, 1962), p. 148 +% accepting the emendations of Mehlhorn and Hermann. +% +\documentclass[11pt]{article} +\usepackage{ibycus4} +\pagestyle{empty} + +\begin{document} +\begin{center} +\greek{\fontsize{20.74}{17pt}\selectfont +IBUKOU TOU RHGINOU} +\end{center} + +\vspace{.5in} + +\greek{ +\fontsize{14}{17pt}\selectfont +\begin{verse} +\leavevmode\llap{)=}Hri me`n ai(' te Kudw'niai\\ +mhli'des a)rdo'menai r(oa=n\\ +e)k pota'mwn i('na Parqe'nwn\\ +kh=pos a)kh'ratos, ai(' t' oi)nanqi'des\\ +au)co'menai skie'roisin u(f' e('rnesin\\ +oi)nare'ois qale'qoisin; e)moi` d' e)'ros\\ +ou)demi'an kata'koitos w('ran.\\ +q' u(po` steropa=s fle'gwn\\ +Qrhi+'kios Bore'as a)i's|-\\ +\quad swn para` Ku'pridos a)zale'ais mani'aisin e)remno`s a)qambh`s\\ +e)gkrate'ws pedo'qen \dagger fla'sen\dagger\\ +h(mete'ras fre'nas. +\end{verse}} +\end{document} + +\bye diff --git a/Master/texmf-dist/doc/generic/ibycus/psibycus.RME b/Master/texmf-dist/doc/generic/ibycus/psibycus.RME new file mode 100644 index 00000000000..0abc81d1dae --- /dev/null +++ b/Master/texmf-dist/doc/generic/ibycus/psibycus.RME @@ -0,0 +1,99 @@ +This file is psibycus.RME + +The Type1 version of the Ibycus Greek font (regular weight only) +available on orhan.classics.washington.edu, in the directory +/ftp/pub/tex has been sell enough received that it is being added to +the ibycus4 package. The font is still largely unhinted, but I am +beginning to wonder whether that matters. I did plan to provide a +rather thorough set of hints, since the primary purpose for making up +this font was to get away from the crude bitmap scaling that is all +you can get out of PDF readers. Hinting, however, is even worse than +filing matrices. It is a soul-destroying bore, and I cannot do very +much of it at any given session. The absence of hints will not be +noticed at resolutions of 600dpi and above. On paper, the weight is +just about right. In PDF files created with Adobe Distiller, the +screen appearance is remarkably good. In xdvi it is even better. In +ghostscript the rasterization uncontrolled by hints produces too dark +an effect, but it does make it that much more readable. The font has +a private UniqueID in the open range for now, but a registered +UniqueID will be applied for. + +The original METAFONT realization of ibycus4 remains the controlling +form of the font. The TeX user will see absolutely no difference +in the set-widths of the Type1 font because the set widths in the +TFM file are directly related (with infinitesimal roundings) to +those in the the TFM file for the METAFONT version. NOTE: My previous +hope that I could use exactly the same TFM for the type1 version +and the METAFONT version failed because some renderers such as +pdftex choke on even the slightest difference in set width. + +The Type1 control points have been derived from METAFONT log output +generated by "tracingspecs". This is not impossible, as has sometimes +been claimed, but it does take work. + +The additions to the METAFONT based package consist of: + +1. IbycusHTG-Regular.pfa ( = fibr.pfa = IBYHTGR_.PFB ). + The character designs are Silvio Levy's. Some small differences + in accent positioning and vertical positioning on the classic + METAFONT typeface grid have been allowed. My own lowercase lunate + sigma has been improved. These changes will ultimately be read + back into the ibycus4 METAFONT source. + +2. fibr.tfm (blended from the TFM file produced by afm2tfm and + the ligature and kerning from fibr84.tfm. The use of the Type1 font + is specified by calling on fibr, rather than fibr84. + Obliqued versions are invoked with fibo.tfm (derived in the same way). + Bold versions of the font are still exclusively METAFONT. + They will continue to be invoked as fibb84[89]? + until I make up Type1 versions of them (if I ever do). + +3. fibr.vf (fibo.vf), which serves to provide a reference into a dvips map + file. The raw TFM for this VF file is fibr84.tfm (fibo84.tfm), which + has the interesting effect of making METAFONT generated PK files a + fail-safe alternative in sizes above 10pt if the dvips map lookup fails. + The checksums for fibr.tfm fibr84.tfm and fibr.vf are identical. + likewise for fibo.tfm fibo84.tfm and fibo.vf. + This is arbitrary, since fibr.vf has integer escapement values + rounded from the METAFONT values in the tfm files. + +4. config.iby and iby.map. The iby.map file shows how to associate + fibr84 and fibo84 with IbycusHTG-Regular. + fibr84 IbycusHTG-Regular q' u(po` steropa=s fle'gwn\\ +Qrhi+'kios Bore'as a)i's|-\\ +\quad swn para` Ku'pridos a)zale'ais mani'aisin e)remno`s a)qambh`s\\ +e)gkrate'ws pedo'qen \dagger fla'sen\dagger\\ +h(mete'ras fre'nas. +\end{verse}} +\end{document} + +\bye diff --git a/Master/texmf-dist/doc/generic/insbox/demo.tex b/Master/texmf-dist/doc/generic/insbox/demo.tex new file mode 100644 index 00000000000..f2ec5e48866 --- /dev/null +++ b/Master/texmf-dist/doc/generic/insbox/demo.tex @@ -0,0 +1,118 @@ +% This file contains description of \InsertBoxL, \InsertBoxR, \InsertBoxC +% and \MoveBelowBox macros that are defined in the INSBOX package. +% Compile it and check this source file to see how that all was done. + +\nopagenumbers + +\input insbox +\input epsf + + +% a macro for building a box with a frame around it +\def\Frame#1{% + \vbox{ + \hrule + \hbox{% + \vrule + \vbox{\vskip 4mm \hbox{\hskip 4mm #1 \hskip 4mm} \vskip 4mm}% + \vrule + } + \hrule + } +} + + + +% Put an \epsfbox in the right after two lines of text: +\InsertBoxR{2}{\epsfbox{pic1.eps}} +Creating documents like this is quite easy. Just four easy macros +can do all the stuff required to put pictures on the page and +format all the neighbouring paragraphs so that they do not interfere +with pictures. The picture you see in the right was inserted using +the following command put just before the beginning of this paragraph: +\hfil\break +{\tt\string\InsertBoxR\char123 2\char125\char123\string\epsfbox\char123 + pic1.eps\char125\char125} + + +The meaning of the macro's arguments is very easy. The first +argument should be the number of lines to be typeset ``normally'', +that is using the whole width of the page. The second argument +is {\it any\/} box that is to be put on the page beside the text. +The letter {\tt R} at the end of the macro's name indicates +that the picture should be put in the right. Of course, there is +also a macro named {\tt\string\InsertBoxL} which works similarly, +but puts the picture in the left. Further in this document you will +find a description of the {\tt\string\InsertBoxC} macro. As you +probably guessed, it inserts a picture centered in the page. + + +\def\somebox{\vbox{ + \hsize = 5cm + \noindent Some simple text. Some simple text. Some simple text. + Some\break simple text. Some simple text. + $$ a^2 + b^2 = c^2 $$ + That was a simple formula. Let's put more text here to make + this box bigger... Some simple text. Some simple text. +}} + +% as you see, you can supply the third optional parameter to +% \InsertBoxL and \InsertBoxR macros; it may help if they +% calculate the space for the frame incorrectly +\InsertBoxL{2}{\Frame{\somebox}}[-2] +I mentioned earlier that almost {\it anything\/} can be inserted +in the document --- not only {\tt\string\epsfbox}es. You can create +{\it any\/} box containing graphics, text, math formulas and put it +beside your text using {\tt\string\InsertBox} macros. The simple +example in the left should be a good proof. + + +The macros are quite reliable, but you may experience some problems +if you put displayed math formulas beside pictures. The space reserved +for the frame may appear too little or too big. But there is an +easy way to make neccessary correction. Check the source file +to see how it was done in this particular situation. + $$ \sum_{i=1}^{n} i^3 = \left( {n(n+1) \over 2} \right)^2 $$ +Also, I do not guarrantee correct behaviour of these macros in other +extreme conditions. It is not possible to put two {\tt\string\InsertBox} +commands before a paragraph --- in that case you should not expect +a paragraph squeezed between two frames. + + +\def\somebox{\vbox{ + \epsfxsize=4cm + \hbox{\epsfbox{pic2.eps}} + \hbox to 4cm{\hss Figure 2.\hss} +}} + +There is also a macro for inserting boxes centered in the page. Its name +is {\tt\string\InsertBoxC} and it requires only one argument --- the +box to be inserted. The macro should be called from {\it inside\/} +a paragraph (not put {\it before\/} a paragraph). The box will be put +just below the line containing the macro. For example the picture below +was inserted by putting +{\tt\string\InsertBoxC\char123 \string\somebox\char125} +after {\it this\/}\InsertBoxC{\somebox} word. The line was completed, +the picture was inserted and the paragraph continues below the picture. +The usage seems very simple and intuitive. + + +\InsertBoxR{0}{\somebox} +I recommend that you see the source of this document and check how +changes to arguments of {\tt\string\InsertBox} macros affect paragraphs. +But before I end, let me give you one more hint. Sometimes you may wish +to generate a vertical skip like this: + + +\MoveBelowBox +In such situation you should use the {\tt\string\MoveBelowBox} command. +It starts the next paragraph just below the current picture. + + +\bigskip +\noindent +Micha\l{} Gulczy\'nski \hfil\break +{\tt mgulcz@we.tuniv.szczecin.pl} + + +\bye diff --git a/Master/texmf-dist/doc/generic/insbox/pic1.eps b/Master/texmf-dist/doc/generic/insbox/pic1.eps new file mode 100644 index 00000000000..fa512826250 --- /dev/null +++ b/Master/texmf-dist/doc/generic/insbox/pic1.eps @@ -0,0 +1,1113 @@ +%!PS-Adobe-3.0 EPSF-3.0 +%%BoundingBox: 102 557 287 678 +%%Creator: CorelDRAW 7 +%%Title: +%%CreationDate: Mon May 26 16:04:28 1997 +%%DocumentProcessColors: Black +%%DocumentSuppliedResources: (atend) +%%EndComments +%%BeginProlog +/AutoFlatness true def +/AutoSteps 0 def +/CMYKMarks false def +/UseLevel2 false def +%Color profile: _DEFAULT.CCM - Generic Profile +%%BeginResource: procset wCorel7Dict 7.0 0 +/wCorel7Dict 300 dict def wCorel7Dict begin +% Copyright (c)1992-96 Corel Corporation +% All rights reserved. v7.0 r1.0 +/bd{bind def}bind def/ld{load def}bd/xd{exch def}bd/_ null def/rp{{pop}repeat} +bd/@cp/closepath ld/@gs/gsave ld/@gr/grestore ld/@np/newpath ld/Tl/translate ld +/$sv 0 def/@sv{/$sv save def}bd/@rs{$sv restore}bd/spg/showpage ld/showpage{} +bd currentscreen/@dsp xd/$dsp/@dsp def/$dsa xd/$dsf xd/$sdf false def/$SDF +false def/$Scra 0 def/SetScr/setscreen ld/setscreen{pop pop pop}bd/@ss{2 index +0 eq{$dsf 3 1 roll 4 -1 roll pop}if exch $Scra add exch load SetScr}bd +/SepMode_5 where{pop}{/SepMode_5 0 def}ifelse/CurrentInkName_5 where{pop} +{/CurrentInkName_5(Composite)def}ifelse/$ink_5 where{pop}{/$ink_5 -1 def} +ifelse/$c 0 def/$m 0 def/$y 0 def/$k 0 def/$t 1 def/$n _ def/$o 0 def/$fil 0 +def/$C 0 def/$M 0 def/$Y 0 def/$K 0 def/$T 1 def/$N _ def/$O 0 def/$PF false +def/s1c 0 def/s1m 0 def/s1y 0 def/s1k 0 def/s1t 0 def/s1n _ def/$bkg false def +/SK 0 def/SM 0 def/SY 0 def/SC 0 def/$op false def matrix currentmatrix/$ctm xd +/$ptm matrix def/$ttm matrix def/$stm matrix def/$ffpnt true def +/CorelDrawReencodeVect[16#0/grave 16#5/breve 16#6/dotaccent 16#8/ring +16#A/hungarumlaut 16#B/ogonek 16#C/caron 16#D/dotlessi 16#27/quotesingle +16#60/grave 16#7C/bar +16#82/quotesinglbase/florin/quotedblbase/ellipsis/dagger/daggerdbl +16#88/circumflex/perthousand/Scaron/guilsinglleft/OE +16#91/quoteleft/quoteright/quotedblleft/quotedblright/bullet/endash/emdash +16#98/tilde/trademark/scaron/guilsinglright/oe 16#9F/Ydieresis +16#A1/exclamdown/cent/sterling/currency/yen/brokenbar/section +16#a8/dieresis/copyright/ordfeminine/guillemotleft/logicalnot/minus/registered/macron +16#b0/degree/plusminus/twosuperior/threesuperior/acute/mu/paragraph/periodcentered +16#b8/cedilla/onesuperior/ordmasculine/guillemotright/onequarter/onehalf/threequarters/questiondown +16#c0/Agrave/Aacute/Acircumflex/Atilde/Adieresis/Aring/AE/Ccedilla 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setflat}bd/@eofill/eofill ld/eofill +{currentflat{{@eofill}stopped{@ifl}{exit}ifelse}bind loop setflat}bd/@clip +/clip ld/clip{currentflat{{@clip}stopped{@ifl}{exit}ifelse}bind loop setflat} +bd/@eoclip/eoclip ld/eoclip{currentflat{{@eoclip}stopped{@ifl}{exit}ifelse} +bind loop setflat}bd/@stroke/stroke ld/stroke{currentflat{{@stroke}stopped +{@ifl}{exit}ifelse}bind loop setflat}bd}if L2?{/@ssa{true setstrokeadjust}bd}{ +/@ssa{}bd}ifelse/d/setdash ld/j/setlinejoin ld/J/setlinecap ld/M/setmiterlimit +ld/w/setlinewidth ld/O{/$o xd}bd/R{/$O xd}bd/W/eoclip ld/c/curveto ld/C/c ld/l +/lineto ld/L/l ld/rl/rlineto ld/m/moveto ld/n/newpath ld/N/newpath ld/P{11 rp} +bd/u{}bd/U{}bd/A{pop}bd/q/@gs ld/Q/@gr ld/&{}bd/@j{@sv @np}bd/@J{@rs}bd/g{1 +exch sub/$k xd/$c 0 def/$m 0 def/$y 0 def/$t 1 def/$n _ def/$fil 0 def}bd/G{1 +sub neg/$K xd _ 1 0 0 0/$C xd/$M xd/$Y xd/$T xd/$N xd}bd/k{1 index type +/stringtype eq{/$t xd/$n xd}{/$t 0 def/$n _ def}ifelse/$k xd/$y xd/$m xd/$c xd +/$fil 0 def}bd/K{1 index type/stringtype eq{/$T xd/$N xd}{/$T 0 def/$N _ def} +ifelse/$K xd/$Y xd/$M xd/$C xd}bd/x/k ld/X/K ld/sf{1 index type/stringtype eq{ +/s1t xd/s1n xd}{/s1t 0 def/s1n _ def}ifelse/s1k xd/s1y xd/s1m xd/s1c xd}bd/i{ +dup 0 ne{setflat}{pop}ifelse}bd/v{4 -2 roll 2 copy 6 -2 roll c}bd/V/v ld/y{2 +copy c}bd/Y/y ld/@w{matrix rotate/$ptm xd matrix scale $ptm dup concatmatrix +/$ptm xd 1 eq{$ptm exch dup concatmatrix/$ptm xd}if 1 w}bd/@g{1 eq dup/$sdf xd +{/$scp xd/$sca xd/$scf xd}if}bd/@G{1 eq dup/$SDF xd{/$SCP xd/$SCA xd/$SCF xd} +if}bd/@D{2 index 0 eq{$dsf 3 1 roll 4 -1 roll pop}if 3 copy exch $Scra add exch +load SetScr/$dsp xd/$dsa xd/$dsf xd}bd/$ngx{$SDF{$SCF SepMode_5 0 eq{$SCA} +{$dsa}ifelse $SCP @ss}if}bd/p{/$pm xd 7 rp/$pyf xd/$pxf xd/$pn xd/$fil 1 def} +bd/@MN{2 copy le{pop}{exch pop}ifelse}bd/@MX{2 copy ge{pop}{exch pop}ifelse}bd +/InRange{3 -1 roll @MN @MX}bd/@sqr{dup 0 rl dup 0 exch rl neg 0 rl @cp}bd +/currentscale{1 0 dtransform matrix defaultmatrix idtransform dup mul exch dup +mul add sqrt 0 1 dtransform matrix defaultmatrix idtransform dup mul exch dup +mul add sqrt}bd/@unscale{}bd/wDstChck{2 1 roll dup 3 -1 roll eq{1 add}if}bd +/@dot{dup mul exch dup mul add 1 exch sub}bd/@lin{exch pop abs 1 exch sub}bd +/cmyk2rgb{3{dup 5 -1 roll add 1 exch sub dup 0 lt{pop 0}if exch}repeat pop}bd +/rgb2cmyk{3{1 exch sub 3 1 roll}repeat 3 copy @MN @MN 3{dup 5 -1 roll sub neg +exch}repeat}bd/rgb2g{2 index .299 mul 2 index .587 mul add 1 index .114 mul add +4 1 roll pop pop pop}bd/WaldoColor_5 where{pop}{/SetRgb/setrgbcolor ld/GetRgb +/currentrgbcolor ld/SetGry/setgray ld/GetGry/currentgray ld/SetRgb2 systemdict +/setrgbcolor get def/GetRgb2 systemdict/currentrgbcolor get def/SetHsb +systemdict/sethsbcolor get def/GetHsb systemdict/currenthsbcolor get def +/rgb2hsb{SetRgb2 GetHsb}bd/hsb2rgb{3 -1 roll dup floor sub 3 1 roll SetHsb +GetRgb2}bd/setcmykcolor where{pop/SetCmyk_5/setcmykcolor ld}{/SetCmyk_5{ +cmyk2rgb SetRgb}bd}ifelse/currentcmykcolor where{pop/GetCmyk/currentcmykcolor +ld}{/GetCmyk{GetRgb rgb2cmyk}bd}ifelse/setoverprint where{pop}{/setoverprint{ +/$op xd}bd}ifelse/currentoverprint where{pop}{/currentoverprint{$op}bd}ifelse +/@tc_5{5 -1 roll dup 1 ge{pop}{4{dup 6 -1 roll mul exch}repeat pop}ifelse}bd +/@trp{exch pop 5 1 roll @tc_5}bd/setprocesscolor_5{SepMode_5 0 eq{SetCmyk_5}{0 +4 $ink_5 sub index exch pop 5 1 roll pop pop pop pop SepsColor true eq{$ink_5 3 +gt{1 sub neg SetGry}{0 0 0 4 $ink_5 roll SetCmyk_5}ifelse}{1 sub neg SetGry} +ifelse}ifelse}bd/findcmykcustomcolor where{pop}{/findcmykcustomcolor{5 array +astore}bd}ifelse/setcustomcolor where{pop}{/setcustomcolor{exch aload pop +SepMode_5 0 eq{pop @tc_5 setprocesscolor_5}{CurrentInkName_5 eq{4 index}{0} +ifelse 6 1 roll 5 rp 1 sub neg SetGry}ifelse}bd}ifelse/@scc_5{dup type +/booleantype eq{setoverprint}{1 eq setoverprint}ifelse dup _ eq{pop +setprocesscolor_5 pop}{findcmykcustomcolor exch setcustomcolor}ifelse SepMode_5 +0 eq{true}{GetGry 1 eq currentoverprint and not}ifelse}bd/colorimage where{pop +/ColorImage{colorimage}def}{/ColorImage{/ncolors xd pop/dataaq xd{dataaq +ncolors dup 3 eq{/$dat xd 0 1 $dat length 3 div 1 sub{dup 3 mul $dat 1 index +get 255 div $dat 2 index 1 add get 255 div $dat 3 index 2 add get 255 div rgb2g +255 mul cvi exch pop $dat 3 1 roll put}for $dat 0 $dat length 3 idiv +getinterval pop}{4 eq{/$dat xd 0 1 $dat length 4 div 1 sub{dup 4 mul $dat 1 +index get 255 div $dat 2 index 1 add get 255 div $dat 3 index 2 add get 255 div +$dat 4 index 3 add get 255 div cmyk2rgb rgb2g 255 mul cvi exch pop $dat 3 1 +roll put}for $dat 0 $dat length ncolors idiv getinterval}if}ifelse}image}bd +}ifelse/setcmykcolor{1 5 1 roll _ currentoverprint @scc_5/$ffpnt xd}bd +/currentcmykcolor{0 0 0 0}bd/setrgbcolor{rgb2cmyk setcmykcolor}bd +/currentrgbcolor{currentcmykcolor cmyk2rgb}bd/sethsbcolor{hsb2rgb setrgbcolor} +bd/currenthsbcolor{currentrgbcolor rgb2hsb}bd/setgray{dup dup setrgbcolor}bd +/currentgray{currentrgbcolor rgb2g}bd}ifelse/WaldoColor_5 true def/@sft{$tllx +$pxf add dup $tllx gt{$pwid sub}if/$tx xd $tury $pyf sub dup $tury lt{$phei +add}if/$ty xd}bd/@stb{pathbbox/$ury xd/$urx xd/$lly xd/$llx xd}bd/@ep{{cvx exec +}forall}bd/@tp{@sv/$in true def 2 copy dup $lly le{/$in false def}if $phei sub +$ury ge{/$in false def}if dup $urx ge{/$in false def}if $pwid add $llx le{/$in +false def}if $in{@np 2 copy m $pwid 0 rl 0 $phei neg rl $pwid neg 0 rl 0 $phei +rl clip @np $pn cvlit load aload pop 7 -1 roll 5 index sub 7 -1 roll 3 index +sub Tl matrix currentmatrix/$ctm xd @ep pop pop pop pop}{pop pop}ifelse @rs}bd +/@th{@sft 0 1 $tly 1 sub{dup $psx mul $tx add{dup $llx gt{$pwid sub}{exit} +ifelse}loop exch $phei mul $ty exch sub 0 1 $tlx 1 sub{$pwid mul 3 copy 3 -1 +roll add exch @tp pop}for pop pop}for}bd/@tv{@sft 0 1 $tlx 1 sub{dup $pwid mul +$tx add exch $psy mul $ty exch sub{dup $ury lt{$phei add}{exit}ifelse}loop 0 1 +$tly 1 sub{$phei mul 3 copy sub @tp pop}for pop pop}for}bd/$fm 0 def/wfill{1 +$fm eq{fill}{eofill}ifelse}bd/wclip{1 $fm eq{clip}{eoclip}ifelse}bd/@pf{@gs +$ctm setmatrix $pm concat @stb wclip Bburx Bbury $pm itransform/$tury xd/$turx +xd Bbllx Bblly $pm itransform/$tlly xd/$tllx xd/$wid $turx $tllx sub def/$hei +$tury $tlly sub def @gs $vectpat{1 0 0 0 0 _ $o @scc_5{wfill}if}{$t $c $m $y $k +$n $o @scc_5{SepMode_5 0 eq $pfrg or{$tllx $tlly Tl $wid $hei scale <00> 8 1 +false[8 0 0 1 0 0]{}imagemask}{/$bkg true def}ifelse}if}ifelse @gr $wid 0 gt +$hei 0 gt and{$pn cvlit load aload pop/$pd xd 3 -1 roll sub/$phei xd exch sub +/$pwid xd $wid $pwid div ceiling 1 add/$tlx xd $hei $phei div ceiling 1 add +/$tly xd $psx 0 eq{@tv}{@th}ifelse}if @gr @np/$bkg false def}bd/@Pf{@sv +SepMode_5 0 eq $Psc 0 ne or $ink_5 3 eq or{0 J 0 j[]0 d $t $c $m $y $k $n $o +@scc_5 pop $ctm setmatrix 72 1000 div dup matrix scale dup concat dup Bburx +exch Bbury exch itransform ceiling cvi/Bbury xd ceiling cvi/Bburx xd Bbllx exch +Bblly exch itransform floor cvi/Bblly xd floor cvi/Bbllx xd $Prm aload pop $Psn +load exec}{1 SetGry wfill}ifelse @rs @np}bd/F{matrix currentmatrix $sdf{$scf +$sca $scp @ss}if $fil 1 eq{@pf}{$fil 2 eq{@ff}{$fil 3 eq{@Pf}{$t $c $m $y $k $n +$o @scc_5{wfill}{@np}ifelse}ifelse}ifelse}ifelse $sdf{$dsf $dsa $dsp @ss}if +setmatrix}bd/f{@cp F}bd/S{matrix currentmatrix $ctm setmatrix $SDF{$SCF $SCA +$SCP @ss}if $T $C $M $Y $K $N $O @scc_5{matrix currentmatrix $ptm concat stroke +setmatrix}{@np}ifelse $SDF{$dsf $dsa $dsp @ss}if setmatrix}bd/s{@cp S}bd/B{@gs +F @gr S}bd/b{@cp B}bd/_E{5 array astore exch cvlit xd}bd/@cc{currentfile $dat +readhexstring pop}bd/@sm{/$ctm $ctm currentmatrix def}bd/@E{/Bbury xd/Bburx xd +/Bblly xd/Bbllx xd}bd/@c{@cp}bd/@p{/$fil 1 def 1 eq dup/$vectpat xd{/$pfrg true +def}{@gs $t $c $m $y $k $n $o @scc_5/$pfrg xd @gr}ifelse/$pm xd/$psy xd/$psx xd +/$pyf xd/$pxf xd/$pn xd}bd/@P{/$fil 3 def/$Psn xd/$Psc xd array astore/$Prm xd +}bd/@ii{concat 3 index 3 index m 3 index 1 index l 2 copy l 1 index 3 index l 3 +index 3 index l clip pop pop pop pop}bd/tcc{@cc}def/@i{@sm @gs @ii 6 index 1 ne +{/$frg true def pop pop}{1 eq{s1t s1c s1m s1y s1k s1n $O @scc_5/$frg xd}{/$frg +false def}ifelse 1 eq{@gs $ctm setmatrix F @gr}if}ifelse @np/$ury xd/$urx xd +/$lly xd/$llx xd/$bts xd/$hei xd/$wid xd/$dat $wid $bts mul 8 div ceiling cvi +string def $bkg $frg or{$SDF{$SCF $SCA $SCP @ss}if $llx $lly Tl $urx $llx sub +$ury $lly sub scale $bkg{$t $c $m $y $k $n $o @scc_5 pop}if $wid $hei abs $bts +1 eq{$bkg}{$bts}ifelse[$wid 0 0 $hei neg 0 $hei 0 gt{$hei}{0}ifelse]/tcc load +$bts 1 eq{imagemask}{image}ifelse $SDF{$dsf $dsa $dsp @ss}if}{$hei abs{tcc pop} +repeat}ifelse @gr $ctm setmatrix}bd/@I{@sm @gs @ii @np/$ury xd/$urx xd/$lly xd +/$llx xd/$ncl xd/$bts xd/$hei xd/$wid xd/$dat $wid $bts mul $ncl mul 8 div +ceiling cvi string def $ngx $llx $lly Tl $urx $llx sub $ury $lly sub scale $wid +$hei abs $bts[$wid 0 0 $hei neg 0 $hei 0 gt{$hei}{0}ifelse]/@cc load false $ncl +ColorImage $SDF{$dsf $dsa $dsp @ss}if @gr $ctm setmatrix}bd/COMP 0 def L2?{ +/@I_2{@sm @gs @ii @np/$ury xd/$urx xd/$lly xd/$llx xd/$ncl xd/$bts xd/$hei xd +/$wid xd/$dat $wid $bts mul $ncl mul 8 div ceiling cvi string def $ngx $ncl 1 +eq{/DeviceGray}{$ncl 3 eq{/DeviceRGB}{/DeviceCMYK}ifelse}ifelse setcolorspace +$llx $lly Tl $urx $llx sub $ury $lly sub scale 8 dict begin/ImageType 1 def +/Width $wid def/Height $hei abs def/BitsPerComponent $bts def/Decode $ncl 1 eq +{[0 1]}{$ncl 3 eq{[0 1 0 1 0 1]}{[0 1 0 1 0 1 0 1]}ifelse}ifelse def +/ImageMatrix[$wid 0 0 $hei neg 0 $hei 0 gt{$hei}{0}ifelse]def/DataSource +currentfile/ASCII85Decode filter COMP 1 eq{/DCTDecode filter}{COMP 2 eq +{/RunLengthDecode filter}if}ifelse def currentdict end image $SDF{$dsf $dsa +$dsp @ss}if @gr $ctm setmatrix}bd}{/@I_2{}bd}ifelse/@B{@gs S @gr F}bd/@b{@cp @B +}bd/@sep{CurrentInkName_5(Composite)eq{/$ink_5 -1 def}{CurrentInkName_5(Cyan) +eq{/$ink_5 0 def}{CurrentInkName_5(Magenta)eq{/$ink_5 1 def}{CurrentInkName_5 +(Yellow)eq{/$ink_5 2 def}{CurrentInkName_5(Black)eq{/$ink_5 3 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+171.63524 569.23342 L +171.77924 568.29742 L +171.77924 567.36142 L +S + +@rax %Note: Object +216.63524 567.28942 218.72324 574.27342 @E +0 J 0 j [] 0 d 0 R 0 @G +0.84 0.73 0.72 0.91 K +0 0.21600 0.21600 0.00000 @w +/$fm 0 def +216.63524 567.28942 m +216.63524 567.28942 L +216.70724 569.23342 L +217.06724 571.10542 L +217.71524 572.76142 L +218.72324 574.27342 L +S + +@rax %Note: Object +128.79524 566.64142 130.16324 568.15342 @E + 0 O 0 @g +0.84 0.74 0.71 0.64 k +/$fm 0 def +129.51524 568.15342 m +129.73124 568.08142 L +129.94724 567.93742 L +130.09124 567.64942 L +130.16324 567.36142 L +130.09124 567.07342 L +129.94724 566.85742 L +129.73124 566.71342 L +129.51524 566.64142 L +129.22724 566.71342 L +129.01124 566.85742 L +128.86724 567.07342 L +128.79524 567.36142 L +128.86724 567.64942 L +129.01124 567.93742 L +129.22724 568.08142 L +129.51524 568.15342 L +@c +F + +@rax %Note: Object +128.79524 566.64142 130.16324 568.15342 @E +0 J 0 j [] 0 d 0 R 0 @G +0.84 0.73 0.72 0.91 K +0 0.21600 0.21600 0.00000 @w +/$fm 0 def +129.51524 568.15342 m +129.51524 568.15342 L +129.73124 568.08142 L +129.94724 567.93742 L +130.09124 567.64942 L +130.16324 567.36142 L +130.16324 567.36142 L +130.09124 567.07342 L +129.94724 566.85742 L +129.73124 566.71342 L +129.51524 566.64142 L +129.51524 566.64142 L +129.22724 566.71342 L +129.01124 566.85742 L +128.86724 567.07342 L +128.79524 567.36142 L +128.79524 567.36142 L +128.86724 567.64942 L +129.01124 567.93742 L +129.22724 568.08142 L +129.51524 568.15342 L +S + +@rax %Note: Object +194.96324 590.97742 196.40324 592.41742 @E + 0 O 0 @g +0.84 0.74 0.71 0.64 k +/$fm 0 def +195.68324 592.41742 m +195.97124 592.34542 L +196.18724 592.20142 L +196.33124 591.98542 L +196.40324 591.69742 L +196.33124 591.40942 L +196.18724 591.19342 L +195.97124 591.04942 L +195.68324 590.97742 L +195.39524 591.04942 L +195.17924 591.19342 L +195.03524 591.40942 L +194.96324 591.69742 L +195.03524 591.98542 L +195.17924 592.20142 L +195.39524 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L +258.97124 566.64142 L +258.75524 566.78542 L +258.61124 567.00142 L +258.53924 567.28942 L +258.61124 567.57742 L +258.75524 567.79342 L +258.97124 567.93742 L +259.25924 568.00942 L +@c +F + +@rax %Note: Object +258.53924 566.56942 259.90724 568.00942 @E +0 J 0 j [] 0 d 0 R 0 @G +0.84 0.73 0.72 0.91 K +0 0.21600 0.21600 0.00000 @w +/$fm 0 def +259.25924 568.00942 m +259.25924 568.00942 L +259.47524 567.93742 L +259.69124 567.79342 L +259.83524 567.57742 L +259.90724 567.28942 L +259.90724 567.28942 L +259.83524 567.00142 L +259.69124 566.78542 L +259.47524 566.64142 L +259.25924 566.56942 L +259.25924 566.56942 L +258.97124 566.64142 L +258.75524 566.78542 L +258.61124 567.00142 L +258.53924 567.28942 L +258.53924 567.28942 L +258.61124 567.57742 L +258.75524 567.79342 L +258.97124 567.93742 L +259.25924 568.00942 L +S + +@rax %Note: Object +160.33124 566.78542 161.77124 568.22542 @E + 0 O 0 @g +0.84 0.74 0.71 0.64 k +/$fm 0 def +161.05124 568.22542 m +161.33924 568.15342 L +161.55524 568.00942 L +161.69924 567.79342 L +161.77124 567.50542 L +161.69924 567.21742 L +161.55524 567.00142 L +161.33924 566.85742 L +161.05124 566.78542 L +160.76324 566.85742 L +160.54724 567.00142 L +160.40324 567.21742 L +160.33124 567.50542 L +160.40324 567.79342 L +160.54724 568.00942 L +160.76324 568.15342 L +161.05124 568.22542 L +@c +F + +@rax %Note: Object +160.33124 566.78542 161.77124 568.22542 @E +0 J 0 j [] 0 d 0 R 0 @G +0.84 0.73 0.72 0.91 K +0 0.21600 0.21600 0.00000 @w +/$fm 0 def +161.05124 568.22542 m +161.05124 568.22542 L +161.33924 568.15342 L +161.55524 568.00942 L +161.69924 567.79342 L +161.77124 567.50542 L +161.77124 567.50542 L +161.69924 567.21742 L +161.55524 567.00142 L +161.33924 566.85742 L +161.05124 566.78542 L +161.05124 566.78542 L +160.76324 566.85742 L +160.54724 567.00142 L +160.40324 567.21742 L +160.33124 567.50542 L +160.33124 567.50542 L +160.40324 567.79342 L +160.54724 568.00942 L +160.76324 568.15342 L +161.05124 568.22542 L +S + +@rax %Note: Object +194.24324 668.80942 195.68324 670.17742 @E + 0 O 0 @g +0.84 0.74 0.71 0.64 k +/$fm 0 def +194.96324 670.17742 m +195.25124 670.10542 L +195.46724 669.96142 L +195.61124 669.81742 L +195.68324 669.52942 L +195.61124 669.24142 L +195.46724 669.02542 L +195.25124 668.88142 L +194.96324 668.80942 L +194.67524 668.88142 L +194.45924 669.02542 L +194.31524 669.24142 L +194.24324 669.52942 L +194.31524 669.81742 L +194.45924 669.96142 L +194.67524 670.10542 L +194.96324 670.17742 L +@c +F + +@rax %Note: Object +194.24324 668.80942 195.68324 670.17742 @E +0 J 0 j [] 0 d 0 R 0 @G +0.84 0.73 0.72 0.91 K +0 0.21600 0.21600 0.00000 @w +/$fm 0 def +194.96324 670.17742 m +194.96324 670.17742 L +195.25124 670.10542 L +195.46724 669.96142 L +195.61124 669.81742 L +195.68324 669.52942 L +195.68324 669.52942 L +195.61124 669.24142 L +195.46724 669.02542 L +195.25124 668.88142 L +194.96324 668.80942 L +194.96324 668.80942 L +194.67524 668.88142 L +194.45924 669.02542 L +194.31524 669.24142 L +194.24324 669.52942 L +194.24324 669.52942 L +194.31524 669.81742 L +194.45924 669.96142 L +194.67524 670.10542 L +194.96324 670.17742 L +S + +@rax %Note: Object +226.93124 566.64142 228.37124 568.15342 @E + 0 O 0 @g +0.84 0.74 0.71 0.64 k +/$fm 0 def +227.65124 568.15342 m +227.93924 568.08142 L +228.15524 567.93742 L +228.29924 567.64942 L +228.37124 567.36142 L +228.29924 567.07342 L +228.15524 566.85742 L +227.93924 566.71342 L +227.65124 566.64142 L +227.36324 566.71342 L +227.14724 566.85742 L +227.00324 567.07342 L +226.93124 567.36142 L +227.00324 567.64942 L +227.14724 567.93742 L +227.36324 568.08142 L +227.65124 568.15342 L +@c +F + +@rax %Note: Object +226.93124 566.64142 228.37124 568.15342 @E +0 J 0 j [] 0 d 0 R 0 @G +0.84 0.73 0.72 0.91 K +0 0.21600 0.21600 0.00000 @w +/$fm 0 def +227.65124 568.15342 m +227.65124 568.15342 L +227.93924 568.08142 L +228.15524 567.93742 L +228.29924 567.64942 L +228.37124 567.36142 L +228.37124 567.36142 L +228.29924 567.07342 L +228.15524 566.85742 L +227.93924 566.71342 L +227.65124 566.64142 L +227.65124 566.64142 L +227.36324 566.71342 L +227.14724 566.85742 L +227.00324 567.07342 L +226.93124 567.36142 L +226.93124 567.36142 L +227.00324 567.64942 L +227.14724 567.93742 L +227.36324 568.08142 L +227.65124 568.15342 L +S + +@rax %Note: Object +191.79524 670.53742 198.20324 677.23342 @E + 0 O 0 @g +0.84 0.73 0.72 0.91 k +/$fm 0 def +194.60324 677.23342 m +195.39524 677.23342 L +198.20324 670.53742 L +197.48324 670.53742 L +196.47524 672.69742 L +193.45124 672.69742 L +192.51524 670.53742 L +191.79524 670.53742 L +194.60324 677.23342 L +@c +194.96324 676.36942 m +193.66724 673.34542 L +196.33124 673.34542 L +194.96324 676.36942 L +@c +F + +@rax %Note: Object +128.07524 569.08942 132.32324 575.42542 @E + 0 O 0 @g +0.84 0.73 0.72 0.91 k +/$fm 0 def +128.07524 569.08942 m +128.07524 575.42542 L +129.73124 575.42542 L +130.30724 575.42542 L +130.81124 575.35342 L +131.24324 575.28142 L +131.53124 575.13742 L +131.89124 574.84942 L +132.10724 574.48942 L +132.25124 574.12942 L +132.32324 573.62542 L +132.32324 573.48142 L +132.25124 573.04942 L +132.17924 572.68942 L +131.96324 572.40142 L +131.67524 572.11342 L +131.38724 571.89742 L +131.02724 571.75342 L +130.59524 571.68142 L +130.09124 571.60942 L +128.72324 571.60942 L +128.72324 569.08942 L +128.07524 569.08942 L +@c +128.72324 574.92142 m +128.72324 572.11342 L +130.01924 572.11342 L +130.45124 572.18542 L +130.81124 572.25742 L +131.09924 572.40142 L +131.31524 572.61742 L +131.45924 572.83342 L +131.60324 573.04942 L +131.67524 573.33742 L +131.67524 573.62542 L +131.67524 573.91342 L +131.53124 574.27342 L +131.38724 574.48942 L +131.17124 574.63342 L +130.88324 574.70542 L +130.59524 574.84942 L +130.23524 574.92142 L +129.80324 574.92142 L +128.72324 574.92142 L +@c +F + +@rax %Note: Object +255.58724 569.08942 262.13924 575.28142 @E + 0 O 0 @g +0.84 0.73 0.72 0.91 k +/$fm 0 def +255.65924 572.68942 m +255.80324 573.26542 L +256.09124 573.84142 L +256.45124 574.27342 L +256.88324 574.63342 L +257.31524 574.92142 L +257.81924 575.06542 L +258.32324 575.20942 L +258.82724 575.28142 L +259.11524 575.28142 L +259.47524 575.20942 L +259.76324 575.13742 L +260.05124 575.06542 L +260.33924 574.99342 L +260.55524 574.84942 L +260.84324 574.63342 L +261.13124 574.48942 L +261.56324 574.05742 L +261.85124 573.55342 L +262.06724 572.97742 L +262.13924 572.25742 L +262.13924 571.96942 L +262.13924 571.68142 L +262.13924 571.32142 L +262.06724 571.03342 L +261.92324 570.81742 L +261.77924 570.52942 L +261.63524 570.24142 L +261.41924 570.02542 L +261.20324 569.80942 L +261.20324 569.73742 L +261.27524 569.73742 L +261.41924 569.66542 L +261.49124 569.59342 L +261.63524 569.52142 L +261.70724 569.52142 L +261.85124 569.52142 L +261.92324 569.52142 L +261.92324 569.52142 L +261.99524 569.52142 L +262.06724 569.52142 L +262.13924 569.52142 L +262.13924 569.08942 L +261.85124 569.08942 L +261.63524 569.08942 L +261.41924 569.08942 L +261.27524 569.08942 L +261.13124 569.16142 L +260.98724 569.23342 L +260.84324 569.30542 L +260.69924 569.44942 L +260.41124 569.30542 L +260.19524 569.16142 L +259.97924 569.08942 L +259.76324 569.08942 L +259.47524 569.08942 L +259.25924 569.08942 L +259.04324 569.08942 L +258.82724 569.08942 L +258.46724 569.08942 L +258.17924 569.08942 L +257.81924 569.16142 L +257.53124 569.23342 L +257.24324 569.37742 L +257.02724 569.52142 L +256.73924 569.73742 L +256.52324 569.95342 L +256.09124 570.45742 L +255.80324 570.96142 L +255.65924 571.53742 L +255.58724 572.11342 L +255.58724 572.25742 L +255.58724 572.40142 L +255.58724 572.54542 L +255.65924 572.68942 L +@c +256.30724 571.39342 m +256.66724 571.46542 L +256.95524 571.53742 L +257.31524 571.60942 L +257.60324 571.60942 L +258.03524 571.60942 L +258.46724 571.53742 L +258.82724 571.39342 L +259.25924 571.24942 L +259.61924 571.03342 L +259.97924 570.81742 L +260.33924 570.52942 L +260.69924 570.16942 L +260.91524 570.38542 L +261.13124 570.67342 L +261.20324 570.88942 L +261.34724 571.10542 L +261.41924 571.32142 L +261.49124 571.53742 L +261.56324 571.75342 L +261.56324 571.96942 L +261.56324 572.11342 L +261.56324 572.32942 L +261.49124 572.47342 L +261.49124 572.61742 L +261.34724 573.04942 L +261.20324 573.48142 L +260.98724 573.84142 L +260.62724 574.12942 L +260.26724 574.34542 L +259.83524 574.56142 L +259.33124 574.63342 L +258.82724 574.70542 L +258.32324 574.63342 L +257.81924 574.56142 L +257.38724 574.34542 L +256.95524 573.98542 L +256.59524 573.55342 L +256.37924 573.12142 L +256.23524 572.54542 L +256.16324 572.04142 L +256.16324 571.96942 L +256.16324 571.89742 L +256.16324 571.75342 L +256.23524 571.68142 L +256.23524 571.60942 L +256.30724 571.46542 L +256.30724 571.39342 L +256.30724 571.39342 L +@c +256.59524 570.88942 m +256.81124 570.52942 L +257.02724 570.24142 L +257.31524 570.02542 L +257.60324 569.80942 L +257.89124 569.66542 L +258.25124 569.59342 L +258.53924 569.52142 L +258.89924 569.52142 L +259.04324 569.52142 L +259.25924 569.52142 L +259.40324 569.52142 L +259.54724 569.59342 L +259.76324 569.66542 L +259.90724 569.73742 L +260.12324 569.80942 L +260.26724 569.95342 L +259.97924 570.16942 L +259.61924 570.38542 L +259.33124 570.60142 L +258.97124 570.74542 L +258.61124 570.81742 L +258.25124 570.96142 L +257.89124 571.03342 L +257.60324 571.03342 L +257.31524 571.03342 L +257.02724 570.96142 L +256.81124 570.96142 L +256.59524 570.88942 L +@c +F + +@rax %Note: Object +151.90724 574.27342 156.01124 579.02542 @E + 0 O 0 @g +0.84 0.73 0.72 0.91 k +/$fm 0 def +151.90724 574.27342 m +153.56324 576.72142 L +151.90724 579.02542 L +152.69924 579.02542 L +153.99524 577.22542 L +155.29124 579.02542 L +156.01124 579.02542 L +154.35524 576.72142 L +156.01124 574.27342 L +155.29124 574.27342 L +153.99524 576.14542 L +152.69924 574.27342 L +151.90724 574.27342 L +@c +F + +@rax %Note: Object +230.81924 571.68142 235.78724 578.73742 @E + 0 O 0 @g +0.84 0.73 0.72 0.91 k +/$fm 0 def +232.83524 573.62542 m +230.81924 578.73742 L +231.53924 578.66542 L +233.33924 574.48942 L +235.06724 578.73742 L +235.78724 578.73742 L +232.76324 571.68142 L +231.97124 571.68142 L +232.83524 573.62542 L +@c +F + +%%PageTrailer +@rs +@rs +%%Trailer +@EndSysCorelDict +end +%%DocumentSuppliedResources: procset wCorel7Dict +%%EOF diff --git a/Master/texmf-dist/doc/generic/insbox/pic2.eps b/Master/texmf-dist/doc/generic/insbox/pic2.eps new file mode 100644 index 00000000000..e19e8be0f65 --- /dev/null +++ b/Master/texmf-dist/doc/generic/insbox/pic2.eps @@ -0,0 +1,906 @@ +%!PS-Adobe-3.0 EPSF-3.0 +%%BoundingBox: 144 462 316 553 +%%Creator: CorelDRAW 7 +%%Title: +%%CreationDate: Mon May 26 16:00:20 1997 +%%DocumentProcessColors: Black +%%DocumentSuppliedResources: (atend) +%%EndComments +%%BeginProlog +/AutoFlatness true def +/AutoSteps 0 def +/CMYKMarks false def +/UseLevel2 false def +%Color profile: _DEFAULT.CCM - Generic Profile +%%BeginResource: procset wCorel7Dict 7.0 0 +/wCorel7Dict 300 dict def wCorel7Dict begin +% Copyright (c)1992-96 Corel Corporation +% All rights reserved. v7.0 r1.0 +/bd{bind def}bind def/ld{load def}bd/xd{exch def}bd/_ null def/rp{{pop}repeat} +bd/@cp/closepath ld/@gs/gsave ld/@gr/grestore ld/@np/newpath ld/Tl/translate ld +/$sv 0 def/@sv{/$sv save def}bd/@rs{$sv restore}bd/spg/showpage ld/showpage{} +bd currentscreen/@dsp xd/$dsp/@dsp def/$dsa xd/$dsf xd/$sdf false def/$SDF +false def/$Scra 0 def/SetScr/setscreen ld/setscreen{pop pop pop}bd/@ss{2 index +0 eq{$dsf 3 1 roll 4 -1 roll pop}if exch $Scra add exch load SetScr}bd +/SepMode_5 where{pop}{/SepMode_5 0 def}ifelse/CurrentInkName_5 where{pop} +{/CurrentInkName_5(Composite)def}ifelse/$ink_5 where{pop}{/$ink_5 -1 def} +ifelse/$c 0 def/$m 0 def/$y 0 def/$k 0 def/$t 1 def/$n _ def/$o 0 def/$fil 0 +def/$C 0 def/$M 0 def/$Y 0 def/$K 0 def/$T 1 def/$N _ def/$O 0 def/$PF false +def/s1c 0 def/s1m 0 def/s1y 0 def/s1k 0 def/s1t 0 def/s1n _ def/$bkg false def +/SK 0 def/SM 0 def/SY 0 def/SC 0 def/$op false def matrix currentmatrix/$ctm xd +/$ptm matrix def/$ttm matrix def/$stm matrix def/$ffpnt true def +/CorelDrawReencodeVect[16#0/grave 16#5/breve 16#6/dotaccent 16#8/ring +16#A/hungarumlaut 16#B/ogonek 16#C/caron 16#D/dotlessi 16#27/quotesingle +16#60/grave 16#7C/bar +16#82/quotesinglbase/florin/quotedblbase/ellipsis/dagger/daggerdbl +16#88/circumflex/perthousand/Scaron/guilsinglleft/OE +16#91/quoteleft/quoteright/quotedblleft/quotedblright/bullet/endash/emdash +16#98/tilde/trademark/scaron/guilsinglright/oe 16#9F/Ydieresis +16#A1/exclamdown/cent/sterling/currency/yen/brokenbar/section +16#a8/dieresis/copyright/ordfeminine/guillemotleft/logicalnot/minus/registered/macron +16#b0/degree/plusminus/twosuperior/threesuperior/acute/mu/paragraph/periodcentered +16#b8/cedilla/onesuperior/ordmasculine/guillemotright/onequarter/onehalf/threequarters/questiondown +16#c0/Agrave/Aacute/Acircumflex/Atilde/Adieresis/Aring/AE/Ccedilla +16#c8/Egrave/Eacute/Ecircumflex/Edieresis/Igrave/Iacute/Icircumflex/Idieresis +16#d0/Eth/Ntilde/Ograve/Oacute/Ocircumflex/Otilde/Odieresis/multiply +16#d8/Oslash/Ugrave/Uacute/Ucircumflex/Udieresis/Yacute/Thorn/germandbls +16#e0/agrave/aacute/acircumflex/atilde/adieresis/aring/ae/ccedilla +16#e8/egrave/eacute/ecircumflex/edieresis/igrave/iacute/icircumflex/idieresis +16#f0/eth/ntilde/ograve/oacute/ocircumflex/otilde/odieresis/divide +16#f8/oslash/ugrave/uacute/ucircumflex/udieresis/yacute/thorn/ydieresis]def +/L2?/languagelevel where{pop languagelevel 2 ge}{false}ifelse def +/@BeginSysCorelDict{systemdict/Corel30Dict known{systemdict/Corel30Dict get +exec}if}bd/@EndSysCorelDict{systemdict/Corel30Dict known{end}if}bd AutoFlatness +{/@ifl{dup currentflat exch sub 10 gt{ +([Error: PathTooComplex; OffendingCommand: AnyPaintingOperator]\n)print flush +@np exit}{currentflat 2 add setflat}ifelse}bd/@fill/fill ld/fill{currentflat{ +{@fill}stopped{@ifl}{exit}ifelse}bind loop setflat}bd/@eofill/eofill ld/eofill +{currentflat{{@eofill}stopped{@ifl}{exit}ifelse}bind loop setflat}bd/@clip +/clip ld/clip{currentflat{{@clip}stopped{@ifl}{exit}ifelse}bind loop setflat} +bd/@eoclip/eoclip ld/eoclip{currentflat{{@eoclip}stopped{@ifl}{exit}ifelse} +bind loop setflat}bd/@stroke/stroke ld/stroke{currentflat{{@stroke}stopped +{@ifl}{exit}ifelse}bind loop setflat}bd}if L2?{/@ssa{true setstrokeadjust}bd}{ +/@ssa{}bd}ifelse/d/setdash ld/j/setlinejoin ld/J/setlinecap ld/M/setmiterlimit +ld/w/setlinewidth ld/O{/$o xd}bd/R{/$O xd}bd/W/eoclip ld/c/curveto ld/C/c ld/l +/lineto ld/L/l ld/rl/rlineto ld/m/moveto ld/n/newpath ld/N/newpath ld/P{11 rp} +bd/u{}bd/U{}bd/A{pop}bd/q/@gs ld/Q/@gr ld/&{}bd/@j{@sv @np}bd/@J{@rs}bd/g{1 +exch sub/$k xd/$c 0 def/$m 0 def/$y 0 def/$t 1 def/$n _ def/$fil 0 def}bd/G{1 +sub neg/$K xd _ 1 0 0 0/$C xd/$M xd/$Y xd/$T xd/$N xd}bd/k{1 index type +/stringtype eq{/$t xd/$n xd}{/$t 0 def/$n _ def}ifelse/$k xd/$y xd/$m xd/$c xd +/$fil 0 def}bd/K{1 index type/stringtype eq{/$T xd/$N xd}{/$T 0 def/$N _ def} +ifelse/$K xd/$Y xd/$M xd/$C xd}bd/x/k ld/X/K ld/sf{1 index type/stringtype eq{ +/s1t xd/s1n xd}{/s1t 0 def/s1n _ def}ifelse/s1k xd/s1y xd/s1m xd/s1c xd}bd/i{ +dup 0 ne{setflat}{pop}ifelse}bd/v{4 -2 roll 2 copy 6 -2 roll c}bd/V/v ld/y{2 +copy c}bd/Y/y ld/@w{matrix rotate/$ptm xd matrix scale $ptm dup concatmatrix +/$ptm xd 1 eq{$ptm exch dup concatmatrix/$ptm xd}if 1 w}bd/@g{1 eq dup/$sdf xd +{/$scp xd/$sca xd/$scf xd}if}bd/@G{1 eq dup/$SDF xd{/$SCP xd/$SCA xd/$SCF xd} +if}bd/@D{2 index 0 eq{$dsf 3 1 roll 4 -1 roll pop}if 3 copy exch $Scra add exch +load SetScr/$dsp xd/$dsa xd/$dsf xd}bd/$ngx{$SDF{$SCF SepMode_5 0 eq{$SCA} +{$dsa}ifelse $SCP @ss}if}bd/p{/$pm xd 7 rp/$pyf xd/$pxf xd/$pn xd/$fil 1 def} +bd/@MN{2 copy le{pop}{exch pop}ifelse}bd/@MX{2 copy ge{pop}{exch pop}ifelse}bd +/InRange{3 -1 roll @MN @MX}bd/@sqr{dup 0 rl dup 0 exch rl neg 0 rl @cp}bd +/currentscale{1 0 dtransform matrix defaultmatrix idtransform dup mul exch dup +mul add sqrt 0 1 dtransform matrix defaultmatrix idtransform dup mul exch dup +mul add sqrt}bd/@unscale{}bd/wDstChck{2 1 roll dup 3 -1 roll eq{1 add}if}bd +/@dot{dup mul exch dup mul add 1 exch sub}bd/@lin{exch pop abs 1 exch sub}bd +/cmyk2rgb{3{dup 5 -1 roll add 1 exch sub dup 0 lt{pop 0}if exch}repeat pop}bd +/rgb2cmyk{3{1 exch sub 3 1 roll}repeat 3 copy @MN @MN 3{dup 5 -1 roll sub neg +exch}repeat}bd/rgb2g{2 index .299 mul 2 index .587 mul add 1 index .114 mul add +4 1 roll pop pop pop}bd/WaldoColor_5 where{pop}{/SetRgb/setrgbcolor ld/GetRgb +/currentrgbcolor ld/SetGry/setgray ld/GetGry/currentgray ld/SetRgb2 systemdict +/setrgbcolor get def/GetRgb2 systemdict/currentrgbcolor get def/SetHsb +systemdict/sethsbcolor get def/GetHsb systemdict/currenthsbcolor get def +/rgb2hsb{SetRgb2 GetHsb}bd/hsb2rgb{3 -1 roll dup floor sub 3 1 roll SetHsb +GetRgb2}bd/setcmykcolor where{pop/SetCmyk_5/setcmykcolor ld}{/SetCmyk_5{ +cmyk2rgb SetRgb}bd}ifelse/currentcmykcolor where{pop/GetCmyk/currentcmykcolor +ld}{/GetCmyk{GetRgb rgb2cmyk}bd}ifelse/setoverprint where{pop}{/setoverprint{ +/$op xd}bd}ifelse/currentoverprint where{pop}{/currentoverprint{$op}bd}ifelse +/@tc_5{5 -1 roll dup 1 ge{pop}{4{dup 6 -1 roll mul exch}repeat pop}ifelse}bd +/@trp{exch pop 5 1 roll @tc_5}bd/setprocesscolor_5{SepMode_5 0 eq{SetCmyk_5}{0 +4 $ink_5 sub index exch pop 5 1 roll pop pop pop pop SepsColor true eq{$ink_5 3 +gt{1 sub neg SetGry}{0 0 0 4 $ink_5 roll SetCmyk_5}ifelse}{1 sub neg SetGry} +ifelse}ifelse}bd/findcmykcustomcolor where{pop}{/findcmykcustomcolor{5 array +astore}bd}ifelse/setcustomcolor where{pop}{/setcustomcolor{exch aload pop +SepMode_5 0 eq{pop @tc_5 setprocesscolor_5}{CurrentInkName_5 eq{4 index}{0} +ifelse 6 1 roll 5 rp 1 sub neg SetGry}ifelse}bd}ifelse/@scc_5{dup type +/booleantype eq{setoverprint}{1 eq setoverprint}ifelse dup _ eq{pop +setprocesscolor_5 pop}{findcmykcustomcolor exch setcustomcolor}ifelse SepMode_5 +0 eq{true}{GetGry 1 eq currentoverprint and not}ifelse}bd/colorimage where{pop +/ColorImage{colorimage}def}{/ColorImage{/ncolors xd pop/dataaq xd{dataaq +ncolors dup 3 eq{/$dat xd 0 1 $dat length 3 div 1 sub{dup 3 mul $dat 1 index +get 255 div $dat 2 index 1 add get 255 div $dat 3 index 2 add get 255 div rgb2g +255 mul cvi exch pop $dat 3 1 roll put}for $dat 0 $dat length 3 idiv +getinterval pop}{4 eq{/$dat xd 0 1 $dat length 4 div 1 sub{dup 4 mul $dat 1 +index get 255 div $dat 2 index 1 add get 255 div $dat 3 index 2 add get 255 div +$dat 4 index 3 add get 255 div cmyk2rgb rgb2g 255 mul cvi exch pop $dat 3 1 +roll put}for $dat 0 $dat length ncolors idiv getinterval}if}ifelse}image}bd +}ifelse/setcmykcolor{1 5 1 roll _ currentoverprint @scc_5/$ffpnt xd}bd +/currentcmykcolor{0 0 0 0}bd/setrgbcolor{rgb2cmyk setcmykcolor}bd +/currentrgbcolor{currentcmykcolor cmyk2rgb}bd/sethsbcolor{hsb2rgb setrgbcolor} +bd/currenthsbcolor{currentrgbcolor rgb2hsb}bd/setgray{dup dup setrgbcolor}bd +/currentgray{currentrgbcolor rgb2g}bd}ifelse/WaldoColor_5 true def/@sft{$tllx +$pxf add dup $tllx gt{$pwid sub}if/$tx xd $tury $pyf sub dup $tury lt{$phei +add}if/$ty xd}bd/@stb{pathbbox/$ury xd/$urx xd/$lly xd/$llx xd}bd/@ep{{cvx exec +}forall}bd/@tp{@sv/$in true def 2 copy dup $lly le{/$in false def}if $phei sub +$ury ge{/$in false def}if dup $urx ge{/$in false def}if $pwid add $llx le{/$in +false def}if $in{@np 2 copy m $pwid 0 rl 0 $phei neg rl $pwid neg 0 rl 0 $phei +rl clip @np $pn cvlit load aload pop 7 -1 roll 5 index sub 7 -1 roll 3 index +sub Tl matrix currentmatrix/$ctm xd @ep pop pop pop pop}{pop pop}ifelse @rs}bd +/@th{@sft 0 1 $tly 1 sub{dup $psx mul $tx add{dup $llx gt{$pwid sub}{exit} +ifelse}loop exch $phei mul $ty exch sub 0 1 $tlx 1 sub{$pwid mul 3 copy 3 -1 +roll add exch @tp pop}for pop pop}for}bd/@tv{@sft 0 1 $tlx 1 sub{dup $pwid mul +$tx add exch $psy mul $ty exch sub{dup $ury lt{$phei add}{exit}ifelse}loop 0 1 +$tly 1 sub{$phei mul 3 copy sub @tp pop}for pop pop}for}bd/$fm 0 def/wfill{1 +$fm eq{fill}{eofill}ifelse}bd/wclip{1 $fm eq{clip}{eoclip}ifelse}bd/@pf{@gs +$ctm setmatrix $pm concat @stb wclip Bburx Bbury $pm itransform/$tury xd/$turx +xd Bbllx Bblly $pm itransform/$tlly xd/$tllx xd/$wid $turx $tllx sub def/$hei +$tury $tlly sub def @gs $vectpat{1 0 0 0 0 _ $o @scc_5{wfill}if}{$t $c $m $y $k +$n $o @scc_5{SepMode_5 0 eq $pfrg or{$tllx $tlly Tl $wid $hei scale <00> 8 1 +false[8 0 0 1 0 0]{}imagemask}{/$bkg true def}ifelse}if}ifelse @gr $wid 0 gt +$hei 0 gt and{$pn cvlit load aload pop/$pd xd 3 -1 roll sub/$phei xd exch sub +/$pwid xd $wid $pwid div ceiling 1 add/$tlx xd $hei $phei div ceiling 1 add +/$tly xd $psx 0 eq{@tv}{@th}ifelse}if @gr @np/$bkg false def}bd/@Pf{@sv +SepMode_5 0 eq $Psc 0 ne or $ink_5 3 eq or{0 J 0 j[]0 d $t $c $m $y $k $n $o +@scc_5 pop $ctm setmatrix 72 1000 div dup matrix scale dup concat dup Bburx +exch Bbury exch itransform ceiling cvi/Bbury xd ceiling cvi/Bburx xd Bbllx exch +Bblly exch itransform floor cvi/Bblly xd floor cvi/Bbllx xd $Prm aload pop $Psn +load exec}{1 SetGry wfill}ifelse @rs @np}bd/F{matrix currentmatrix $sdf{$scf +$sca $scp @ss}if $fil 1 eq{@pf}{$fil 2 eq{@ff}{$fil 3 eq{@Pf}{$t $c $m $y $k $n +$o @scc_5{wfill}{@np}ifelse}ifelse}ifelse}ifelse $sdf{$dsf $dsa $dsp @ss}if +setmatrix}bd/f{@cp F}bd/S{matrix currentmatrix $ctm setmatrix $SDF{$SCF $SCA +$SCP @ss}if $T $C $M $Y $K $N $O @scc_5{matrix currentmatrix $ptm concat stroke +setmatrix}{@np}ifelse $SDF{$dsf $dsa $dsp @ss}if setmatrix}bd/s{@cp S}bd/B{@gs +F @gr S}bd/b{@cp B}bd/_E{5 array astore exch cvlit xd}bd/@cc{currentfile $dat +readhexstring pop}bd/@sm{/$ctm $ctm currentmatrix def}bd/@E{/Bbury xd/Bburx xd +/Bblly xd/Bbllx xd}bd/@c{@cp}bd/@p{/$fil 1 def 1 eq dup/$vectpat xd{/$pfrg true +def}{@gs $t $c $m $y $k $n $o @scc_5/$pfrg xd @gr}ifelse/$pm xd/$psy xd/$psx xd +/$pyf xd/$pxf xd/$pn xd}bd/@P{/$fil 3 def/$Psn xd/$Psc xd array astore/$Prm xd +}bd/@ii{concat 3 index 3 index m 3 index 1 index l 2 copy l 1 index 3 index l 3 +index 3 index l clip pop pop pop pop}bd/tcc{@cc}def/@i{@sm @gs @ii 6 index 1 ne +{/$frg true def pop pop}{1 eq{s1t s1c s1m s1y s1k s1n $O @scc_5/$frg xd}{/$frg +false def}ifelse 1 eq{@gs $ctm setmatrix F @gr}if}ifelse @np/$ury xd/$urx xd +/$lly xd/$llx xd/$bts xd/$hei xd/$wid xd/$dat $wid $bts mul 8 div ceiling cvi +string def $bkg $frg or{$SDF{$SCF $SCA $SCP @ss}if $llx $lly Tl $urx $llx sub +$ury $lly sub scale $bkg{$t $c $m $y $k $n $o @scc_5 pop}if $wid $hei abs $bts +1 eq{$bkg}{$bts}ifelse[$wid 0 0 $hei neg 0 $hei 0 gt{$hei}{0}ifelse]/tcc load +$bts 1 eq{imagemask}{image}ifelse $SDF{$dsf $dsa $dsp @ss}if}{$hei abs{tcc pop} +repeat}ifelse @gr $ctm setmatrix}bd/@I{@sm @gs @ii @np/$ury xd/$urx xd/$lly xd +/$llx xd/$ncl xd/$bts xd/$hei xd/$wid xd/$dat $wid $bts mul $ncl mul 8 div +ceiling cvi string def $ngx $llx $lly Tl $urx $llx sub $ury $lly sub scale $wid +$hei abs $bts[$wid 0 0 $hei neg 0 $hei 0 gt{$hei}{0}ifelse]/@cc load false $ncl +ColorImage $SDF{$dsf $dsa $dsp @ss}if @gr $ctm setmatrix}bd/COMP 0 def L2?{ +/@I_2{@sm @gs @ii @np/$ury xd/$urx xd/$lly xd/$llx xd/$ncl xd/$bts xd/$hei xd +/$wid xd/$dat $wid $bts mul $ncl mul 8 div ceiling cvi string def $ngx $ncl 1 +eq{/DeviceGray}{$ncl 3 eq{/DeviceRGB}{/DeviceCMYK}ifelse}ifelse setcolorspace +$llx $lly Tl $urx $llx sub $ury $lly sub scale 8 dict begin/ImageType 1 def +/Width $wid def/Height $hei abs def/BitsPerComponent $bts def/Decode $ncl 1 eq +{[0 1]}{$ncl 3 eq{[0 1 0 1 0 1]}{[0 1 0 1 0 1 0 1]}ifelse}ifelse def +/ImageMatrix[$wid 0 0 $hei neg 0 $hei 0 gt{$hei}{0}ifelse]def/DataSource +currentfile/ASCII85Decode filter COMP 1 eq{/DCTDecode filter}{COMP 2 eq +{/RunLengthDecode filter}if}ifelse def currentdict end image $SDF{$dsf $dsa +$dsp @ss}if @gr $ctm setmatrix}bd}{/@I_2{}bd}ifelse/@B{@gs S @gr F}bd/@b{@cp @B +}bd/@sep{CurrentInkName_5(Composite)eq{/$ink_5 -1 def}{CurrentInkName_5(Cyan) +eq{/$ink_5 0 def}{CurrentInkName_5(Magenta)eq{/$ink_5 1 def}{CurrentInkName_5 +(Yellow)eq{/$ink_5 2 def}{CurrentInkName_5(Black)eq{/$ink_5 3 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When that file is correctly +processed by Metafont (or MetaPost), and LaTeX or TeX is run again, the +result is a figure in the TeX document in the location of each +environments. + +See install.txt for initial setup and brief installation instructions. +See mfpguide.pdf for a short tutorial. See below for a summary of +features added since the previous official release (0.6c beta). See the +manual mfpman.pdf for more detailed instructions and descriptions +of features. + +This is mfpic version 0.7a beta. + +LEGALITIES +---------- + +All files of the core mfpic distribution (listed below) may be +distributed and/or modified under the conditions of the LaTeX Project +Public License, either version 1.2 of this license or (at your option) +any later version. The latest version of this license is in + http://www.latex-project.org/lppl.txt +and version 1.2 or later is part of all distributions of LaTeX version +1999/12/01 or later. + +While every effort has been made to make mfpic useful, it comes with no +warranty, expressed or implied. + + +MANIFEST +-------- + +Here is a list, plus explanation of purpose, of all files in the mfpic +distribution. Read it *before* trying to process any of the example +files. These, and the files generated by TeXing mfpic.ins, constitute +the mfpic distribution to which the LPPL applies. + +The three files marked with * below are the only ones essential +for using all the facilities of mfpic. + +All the *.tex files in the src directory (except the plainTeX file +refcard.tex) require the LaTeX style file mfpdoc.sty. The manual is +mfpman.pdf. + +TeX/LaTeX code: +-------------- +*mfpic.dtx Contains mfpic.sty and mfpic.tex +*mfpic.ins The unpacking script, run latex on it. It reads in + mfpic.dtx and grafbase.dtx and produces the only + required files: mfpic.sty, mfpic.tex, grafbase.mf, + grafbase.mp, and dvipsnam.mp + +MetaPost/Metafont code: +---------------------- +*grafbase.dtx Contains grafbase.mf, grafbase.mp and dvipsnam.mp + +Documentation: +------------- + + install.txt Basic information on installation + README.txt This file. + changes.txt Rambling history of (most) changes + mfpguide.pdf Precompiled tutorial + mfpman.pdf Precompiled manual + src/refcard.tex reference card, landscape, should fit on two sides + of either USletter or A4paper. Plain TeX source. + src/mfpdoc.sty LaTeX style used by the next two + src/mfpguide.tex tutorial (LaTeX source, requires mfpdoc.sty and mfpic) + src/mfpman.tex manual (LaTeX source, requires mfpdoc.sty) + + examples/pictures.tex Run tex, produce pics.mf file + examples/lapictures.tex Run latex, produce pics.mf file (same) + examples/data.dat External data file needed for above two + examples/forfun.tex Example of \mfsrc: Run tex, produce forfun.mp + + +NEW FEATURES since Version 0.6c +------------------------------- + -- Mfpic is now distribution in two .dtx files and an unpacking + script (mfpic.ins). The manual is now supplied as a linked PDF file + written in LaTeX. A short introductory guide is supplied, also PDF. + + -- New path modification commands that produce a subpath of a + given path: + \partpath{,} + The arguments are fractions of the length of indicating + where the subpath begins and ends. + \subpath{n,m} + {n,m} are the `times' on where the subpath begins and + ends. (See the Metafontbook for the meaning of `time'.) + \cutoffbefore{X} + X is a symbolic name for a path previously defined using \store. + The subpath produced begins where X and first intersect, + and ends where ends. + \cutoffafter{X} + Similar to \cutoffafter but starts where starts and ends + where X and _last_ intersect. + \trimpath{,} + The dimensions are the lengths trimmed from the start and end + of the following path. + + -- Color commands now work under Metafont in the sense that no errors + or even warnings are caused by the commands that set and change + colors, and moreover, \draw[white]. will erase the pixels + along and \gfill[] will attempt to convert + the color to a shade of gray and approximate that by filling with a + pattern of pixels. All the following: \draw, \dashed, \dotted, + \plot, \plotnodes, all hatching commands, \point and \plotsymbol are + limited to black and white. \gfill and \polkadot will produce + shades of gray if the color is not black or white. filling (or + polkadotting) with white will erase pixels. + + For this to work, bare MetaPost color triples should not be used, + but only color functions (e.g., rgb(1,.5,0)) or names defined with + \mfpdefinecolor. The colors defined in dvipsnam.mp are not + recognized by Metafont. + + -- New color setting command, \pointcolor. The \point and \plotsymbol + commands now draw in the color set with \pointcolor. (In Metafont + this can be black or white.) + + -- The dashpatterns, colors, and symbols used by the \plotdata command + for different curves can be reconfigured by the user with + \reconfigureplot {dashes}{}, + \reconfigureplot {colors}{}, and + \reconfigureplot{symbols}{}, + where is a comma separated list of dash patterns, colors, or + symbols. The builtin defaults can be restored with + \defaultplot{dashes}, etc. + + -- \circle now accepts an optional argument similar to \arc that + allows one to define the circle in different ways. For example, + \circle[t]{,,}, will draw the circle that passes + through the three given points. + + -- For those curve creation commands that accept an optional tension + argument, the default (= 1) can be changed with the command + \settension. The affected commands are \curve, \cyclic, \function, + \plrfcn, \datafile, \plotdata, \bclosed, \sclosed, \btwnfcn, + \plrregion, \fcncurve, \mfbezier, and \closedmfbezier. + + -- The closure commands \bclosed and \sclosed now accept an optional + argument for the tension to be used in the closing link. The + commands \sclosed\curve and \cycle have always produced the same + path. Now the same is true when tension is used: + \sclosed[1.5]\curve[1.5] = \cycle[1.5] The default tension is the + same as for \curve. + + -- The commands to surround text with a path (\tlabelrect, \tlabeloval + and \tlabelellipse) now accept a second optional argument that + is the same as that taken by \tlabel for justification/rotation of + the text. In order to use it, the first optional argument must be + present (though it may be empty to select the default). The + preloaded default for this new argument is [cc]. This can be + changed with \tlpathjustify. + + Moreover, the first optional argument of \tlabelrect (which gives + the radius of the rounded corners) may now consist of the keyword + "roundends" which tells mfpic to use the maximum reasonable radius: + so that the short sides of the rectangle become half-circles. + + -- All commands that take an optional argument can now take an empty + optional argument to select the default. Useful only when a command + has 2 optional arguments and you want only to change the second. + + -- A command \overlaylabels (or package option) is available to make + the behavior of labels under mplabels close to the same as without + mplabels: this option causes them to be added last, on top of all + picture elements. They are then not covered up by any drawing + commands and they are not clipped off under the clip option or by + the \gclip command. + + -- A command \clearsymbols (or package option) that makes + \plotsymbol and \plotnodes behave like \point does when + \pointfillfalse: the portions of the drawing in the interior of the + open symbols is cleared (erased). \noclearsymbols restores the + previous default. + + -- New figures: + \makesector\arc + Makes a sector by connecting the arc's center to the arc's + endpoints. Calculates the center automatically. + \mfbezier[]{} + \closedmfbezier[]{} + Connect the list of point with the standard MF connector ".." + or optionally with "..tension ..". + \qbeziers{} + \closedqbeziers{} + Make a path by connecting the first point in the list to the + third, then the fifth, etc., with quadratic Bezier curves using + the second, fourth, etc., points as controls. The equivalent of + a series of LaTeX \qbezier commands. + \regpolygon{}{}{}{} + Makes a regular polygon with n sides, being a symbolic + name for the array of points. The last two parameters are + equations that should fix the location of two of the vertices, + or of the center and one vertex. In the equations, 0 is + the center, 1 through are the vertices + anticlockwise. Example: + \regpolygon{17}{Bob}{Bob0=(0,0)}{Bob1=(0,1)} + After this, the names Bob0 through Bob17 can be used in drawing + commands where MF or MP point data is required (but not in TeX + commands like \tlabel without mplabels). + + -- \pairarray{}{} + \numericarray{}{} + These define 1, 2, etc., as symbolic names for the + elements in the list. After + \pairarray{Bob}{(0,1),(1,2),(3,0)} + one can draw a triangle with \polygon{Bob1,Bob2,Bob3}. The + symbolic names are only recognized by MF or MP and so can't be + used to position text without mplabels. + + -- \hgridlines{}: like \gridlines, but draw only horizontal + lines. Similarly: \vgridlines{} . All three commands now + draw their lines within the margins set by \axismargin and its + relatives. + + -- \gridarcs{}: Like \plrgrid except only the arcs are drawn. + Similarly: \gridrays{} + + -- Enhanced \barchart: the data can be ordered pairs that specifiy a + _both_ ends of the bar (Gantt diagrams). + + -- Almost all commands that set or change an mfpic variable or value + now arrange for the change to be global when outside an mfpic + environment, unconstrained by other groups, but local when inside. + The main exceptions are \store and \patharr, which need to be + inside a picture to work at all and so are always global. There may + be other exceptions. + + -- Some backward incompatibilities have been introduced; the above + changes in scope is the main one. Also: a permitted but + undocumented syntax in \plottext is no longer permitted. Points and + symbols are drawn in pointcolor, where in the past the filled + symbols were drawn in fillcolor and unfilled symbols in drawcolor. + + -- All old commands have been reexamined and most rewritten or + tweaked. All known bugs have been removed. (Unknown bugs might well + have been increased.) + + +This distribution, the latest updates, and some past versions, should also be +available at my web site: +. + +-- +Dan Luecking +Department of Mathematical Sciences +University of Arkansas +Fayetteville, Arkansas 72701-1201 +U.S.A. diff --git a/Master/texmf-dist/doc/generic/mfpic/changes.txt b/Master/texmf-dist/doc/generic/mfpic/changes.txt new file mode 100644 index 00000000000..a362e6d95a1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/changes.txt @@ -0,0 +1,3053 @@ +%%% File: changes.tex +%%% A part of mfpic 0.7a beta 2004/04/16 +%%% + + Changes History. + +VERSION 0.0.x: + +Development versions. Never released. + + +VERSION 0.1: + +First version released to network, 30 June 1992. + + +VERSION 0.1.x: + +Test versions for new features, fixes, etc. None of them +were released for general distribution. Many new features added, bugs +worked out, code cleaned up. + + +VERSION 0.2: + +Second version released to network, 7 Sept. 1992. (Still had 0.1.13.1 +version number in code---oops!) + + +VERSIONS 0.2.x: + +Resumed serious development of TeX code: Sun 7 Nov. 1993. Much work +done on graphbase code in meantime, especially by Geoffrey Tobin. The +primary task at this point was a radical rewrite of the TeX code, +including defining a prefix form for shading macros. + + +VERSION 0.2.5 of Wed 10 Nov. 1993: + +Bug fix release Primarily work by Geoffrey Tobin. + + +REVISION 0.2.(5.0.)9 of Mon 28 Feb. 1994: + +Intended to release as version 0.3 to network. Release delayed, as +picture operator code is overhauled to cope with arbitrary overlays: 11 +Mar. 1994. + +Horizontal offset by unwanted glue is traced to missing comment +characters: Fri 29 Apr. 1994. + +Vertical displacement of shading reported for MF modes with +nonrectangular pixels: Mon 23 May 1994. + + +REVISION 0.2.5.1 of Wed 13 July 1994: + +Bug fix release Corrected "unxconv" bug which remained in version +0.2.5's graphbase.mf. + + +Alpha Test Versions. + +VERSION 0.2.9 Alpha of Thu 11 August 1994: + +A test release prior to any official version 0.3, is ready for intrepid +users. Introduces coordinate transforms, and other novelties. + + +UPDATE 0.2.9.1 Alpha} of Thu 8 September 1994: Fixes a bug in \sclosed +and a bug in \white, corrects some omissions and typos in the +documentation, and adds the \shadewd, \hatchwd, \lhatch and \rhatch +macros. + + +UPDATE 0.2.9.2 Alpha of Fri 24 February 1995: Rearranges some code in +mfpic.tex; little else to report. + +In 0.2.9.3 Alpha of Thu 21 March 1995: + +GT renamed \fill to \gfill, in order to avoid conflict with the LaTeX +\fill macro. + + +UPDATE 0.2.9.4 Alpha of Thu 13 April 1995: + +Contributes a test for an existing definition of each macro in +mfpic.tex, + +Renaming of \label to \tlabel, and \caption to \tcaption, in order to +avoid conflict with the LaTeX macros with those names. + +\white was renamed to \gclear, because \white is a likely name for a +color macro. + +Also, a new macro for defining Metafont functions was introduced, +because user-defined functions provide more power, and function plotting +macros were added that accept Metafont function names instead of +Metafont expressions. + +Renaming of graphbase.mf and graphdoc.tex to grafbase.mf and grafdoc.tex +to emphasise incompatible upgrade of mfpic Metafont macros, and to +provide $8+3$ filenames for ms-dos users. + +Added \hbox{} to start of \mfpic, for some now forgotten reason to do +with formatting, I suppose. + +VERSION 0.2.9.5 Alfa of Wed 19 July 1995: + +Replaces TeX dimensions by font dimensions for economy. + +Renames \mfcmd to \mfsrc for clarity. + +Renames \wedge to \sector to avoid conflict with the character name +defined in plain TeX and LaTeX. + +Introduces \mftitle, \tmtitle and \plr. + +Abolishes \plrpoint, \plrlines, \plrcurve and \plrcyclic as +redundant specializations. The meaning of \turtle is changed to a +Cartesian form, for flexibility. + +Changed objects.tex to use \tmtitle, \plr, \mfsrc, \gfill, +\gclear, \tlabel, and \tcaption. + +Rendering macros redesigned, and \setrender introduced. Coordinate +transforms in grafbase.mf made slightly more robust. Begin an attempt +to make grafbase.mf compatible with John Hobby's MetaPost drawing +program. + +Added comment in grafbase.mf about dangers of text arguments, + +Updated the documentation files grafdoc.tex, Acknowl.tex, README2, +MANIFEST and mfpicdoc.tex. + + +UPDATE 0.2.9.6 Alfa of Mon 24 July 1995: + +Contributes \thatch which provides hatching by lines at any angle. + +Modifications to \pen, \shadewd and \hatchwd, along with changes to +grafbase.mf to make drawing, shading and hatching more independent. + +Decided that the behavior of \point inside a connect environment was +bizarre, hazardous, and an unnecessary complication to the mfpic macros, +so \point has reverted to its original, obvious and simple definition. + +Renamed \rotate to \rotatepath. + +Also renamed the affine transform macros, so that they no longer use the +`s' of the present tense, which could be mistaken for a plural. (The +sample files did not hitherto use the affine transform macros, so the +damage may be slight.) + +Modified grafbase.mf to use a transform stack to implement local +Metafont coordinate systems; this may be more robust, and extensible to +other graphic localizations. + + +UPDATE 0.2.9.7 alfa, Fri 18 August 1995: + +Changes to pictures.tex: + +Replaced version from "0.2.9.1 alpha Thu 8 September 1994" to +"0.2.9.7 alfa Sat 5 August 1995". + +Added a comment containing an ASCII sketch of the commutative diagram +example, and indicated where each arc is drawn. + +Replaced all uses of \label by \tlabel, \caption by \tcaption, +\fill by \gfill, \wedge by \sector. + +Added some uses of \mftitle. + +Moved one arrow in the commutative diagram, to illustrate the b +option of the \arrow command. + +Simplified Metafont algebraic expressions used in function plots, so +that they use fewer * operators. + +Edited the example of \turtle to allow for the new semantics of +rectangular coordinates. + +Captioned all eight figures, with figure numbers and descriptions. + +Deleted an instance of "\vfill\eject". + +Increased the complexity of the seventh figure, to illustrate use of +hatching, closing, point, dotted curves, and so forth. + +Made figures seven and eight twice as large. + + +Changes to lapictures.tex: + +Renamed version from "0.2.9.1 alpha Thu 8 September 1994" to +"0.2.9.7 alfa Thu 17 August 1995". + +Magnified the LaTeX pictures document to the same scale as the plain TeX +one, using the \mag command. + +Set \fboxsep to zero. + +Initialized arrow heads using \headshape. + +Commented out the center environment around the commutative diagram +example. + +Placed \fbox commands around each picture. + +Other changes as in pictures.tex. + + +Extensive changes to grafbase.mf: + +Turned warningcheck off. + +Used an explicit designsize. + +Debugging refined. + +Rearranged some code. + +Made ClipOn boolean (instead of numeric). + +Added maparr macro. + +Eliminated mistake of using hround in graph-to-pixel coordinate +transformation. + +Remarked that clipping can distort paths by changing their points. + +Tried to clip on character boundary. + +Added Metafont vector coordinate transform, to complement affine +transform for geometric points. + +Write message when drawing nominal Metafont bounding box. + +Changed beginmfpic Metafont macro to take only the character code as +an argument. + +Introduced global Metafont transform stack, for coordinate changes. + +Replaced currentpen by drawpen in path stroking. + +Changed ourfill and ourunfill to use an undelimited path argument. + +Added setdotpath, ourdot. + +Changed onedot to use dotpath instead of a scaled shape path. + +Edited tightbbox and bbox to take a path described in pixel +coordinates as their first argument, instead of one in graph +coordinates. + +Added tbbox. + +Did some more saving of local variables in Metafont functions. + +Deleted lhatchf and rhatchf. + +Added thatchf, thatch, hhatch and xhatch. + +Rewrote lhatch and rhatch to use thatch. + +Edited dotted, renamed it dashed. + +Added a separate dotted Metafont macro. + +Changed head from a def to a vardef; edited head to clarify its +code. + +Altered axis tic mark macros, xmarks and ymarks to ensure that the +tic marks are always at right angles to their axes, irrespective of +coordinate transforms. + +Added a grid command. + +Renamed mkellipse to ellipse, deleted old ellipse. + +Renamed mkarc to arc. + + +UPDATE 0.2.9.8 alfa, Mon 11 September 1995: + +Added to Acknowl.tex. + + +In mfpic.tex: + +Add comment about use of \ignorespaces to skip spaces in user's +document after \mfpic command. + +Retain line separations of user's document's mfpic environment when +writing Metafont file. This prevents long Metafont commands from +exceeding Metafont's input buffer. + + +UPDATE 0.2.9.9 alfa, Thu 5 October 1995: + +In mfpicdoc.tex: + +changed \wedge references to \sector, and \rotateabout to +\rotatearound. + +Added some logical formatting commands to mfpicdoc.tex. + +Included much more information about recent changes (from 0.2.9.1 to +0.2.9.8). + + +In mfpic.tex: + +Renamed \@graph to \@graphfont for identifiability. + + +UPDATE 0.2.9.10 alfa, Fri 6 October 1995: + +In grafbase.mf: + +Deleted spurious argument to \xyswap. + +Changed \store to take two arguments, and to logically bracket the +second, which is the path description. + + +UPDATE 0.2.9.11 alfa, Fri 24 November 1995: + +In grafbase.mf: + +Fixed X-coordinate rounding bug in thatchf. + + +REVISION 0.2.10.0 alfa, Wed 17 January 1996: + +In mfpic.tex and grafbase.mf: + +Changed names of five Metafont macros: xslanted, yslanted, zslanted, +boosted, and xyswapped to xslant, yslant, zslant, boost, xyswap. + + +In grafbase.mf: + +Replaced my dash and dot code by Frank Michielsen's, modified to use +suffix arguments instead of text for l-values. + +Also, the dotsize argument to dotted is now effective. + +Deleted the unused ourdraw, ourfill, ourunfill macros. + +Simplified the dotpath and onedot initialization code; it was too +baroque. + +Added a pixdot macro as a shorthand for picdot(active_plane,onedot,p). + +Replaced the apoint (w, a) macro by bpoint (w, b) which is a +shorthand for fullcircle scaled w shifted b. + +Gratuitously added Bruce Leban's overlay macros from the METAFONTbook, +page 295. + +Cosmetic reformatting of source. + + +In Acknowl.tex: + +Add Frank Michielsen's name. + + +REVISION 0.2.10.1 alfa, Thu 18 January 1996: + +In grafbase.mf: + +Fixed wrong declaration in dotted of dp from path to pair. + + +REVISION 0.2.10.2 alfa, Tue 23 January 1996: + +Editing to restore compatibility with older graphbase.mf versions used +with xfig's (actually, transfig's fig2dev's) mf driver (genmf.c). + + +In mfpic.tex: + +Edited writing of setting of Metafont variables xscale and yscale to +omit factor of unitlen. + +Changed references to drawwd to penwd in \drawpen. + + +In grafbase.mf: + +Add declarations and initializations of these variables: unitlen, +xscale, yscale, xneg, xpos, yneg, ypos. + +Renamed drawwd to its former name, penwd. + +Again made penwd, hdwdr, hdten into newinternal variables, and +assign them using interim. + +Definition of ztr now includes unitlen as a factor in the x and y +scaling. + +mfpicenv and endmfpicenv defined as empty statements. + +bounds defined for setting xneg, xpos, yneg, ypos. + +beginchar now includes unitlen. + + +REVISION 0.2.10.3 alfa, Tue 6 February 1996: + +In mfpicdoc.tex: + +Updated documentation to cover to \dotted, \dotsize and \dotspace +on the one hand, and \dashed, \dashlen and \dashspace on the other. + + +REVISION 0.2.10.4 alfa, Mon 26 February 1996: + +In mfpic.tex: + +Let internal \sim@gdef (simple global definition) stand for \gdef. + +Added \newgdef for new global definitions with a test for previous +definition. + +Replaced use of \obeylines by \mfpicobeylines, to use \endgraf instead +of \par, because LaTeX(2e) redefines \par with unpleasant effects on +Metafont files when using LaTeX's center environment. (To wit, LaTeX's +center environment would write \@@par to the Metafont file. + +Defined \preservelines to call \mfpicobeylines then set +\newlinechar to control-M (carriage return). + +Use \preservelines in \mfsrc, thus bypassing (I hope) the mischief +arising from LaTeX in the center environment. + +Wrapped replacement text of \mfsrc in a layer of braces. + +Added descriptive comments for \tlabel and \tcaption. + +Set TeX's primitives \leftskip and \rightskip to zero dimension +inside \tcaption, so as to protect typesetting of diagrams' captions +from unwanted effects. + + +REVISION 0.2.10.5 alfa, Sat 9 March 1996: + +Minor reformatting of mfpic.tex, including adding spaces, adding +comment characters at end of more lines, and renaming some internal +register variables. + +Introduced \polyline as an alternative name for \lines. + +In order to avoid repetition of side-effects, changed \tcaption to use +\unhbox\@textbox, instead of repeating its text argument. + + +REVISION 0.2.10.6 alfa, (two hours later) on Sat 9 March 1996: + +Updated mfpic.tex and documentation files to incorporate improvements +by Dan Luecking: + +a loading check that automatically saves and restores the catcode of +`@'; + +the name of the graph base is now stored in a macro near the top of +mfpic.tex; + +\leavevmode is now moved [GT has, for now, commented it out +completely]; + +\polyline introduced as a synonym for \lines; a \polygon figure +has been introduced; + +\\ specifies explicit line breaks in tlabels and tcaptions; + +\onelevel causes one level of expansion in an \edef; + +\savepic and \copypic allow saving, use and copying of an entire +mfpic picture, including its tcaptions and tlabels. + +Also modified \tcaption code to prevent repeated use of the text +argument, as that can cause side effects, as reported by Dennis +Petrovic. + + +REVISION 0.2.10.7 alfa, Sat 28 March 1996: + +First release via Geoffrey Tobin's School's local anon ftp site: + + ftp.ee.latrobe.edu.au : pub/gt/mfpic + +Added skip-pix.tex file, which tests whether TeX's \leftskip +primitive breaks up mfpic's typesetting of diagrams. Fortunately, it +seems not. + + +REVISION 0.2.10.8 alfa, Tue 26 May 1996: + +Second, and bug fix, release via Geoffrey Tobin's anonymous ftp area. + +Due to change in syntax of \store to take the path command as a second +argument (which made coding of mfpic.tex easier), objects.tex and +part of mfpicdoc.tex needed to be amended. Reported by Miroslav Dont +(Thu 16 May 1996). + +Descriptions of LaTeX environments clarified to emphasise that mfpic's +plain TeX command names may be used in LaTeX. This is useful to know +when designing automatic code generators. Reported by Van Snyder (Fri +17 May 1996). + +Added hyphenation to \MFbook in documentation macro file header.tex. + +Noticed that the method by which the line breaks in the TeX file are +copied into the Metafont file can cause command arguments to be omitted +from the Metafont file unless at least the left brace (immediately +before the arguments) occurs on the same line as the command. Corrected +objects.tex to obey this restriction. Also noted this phenomenon in +mfpicdoc.tex. Effect reported by Miroslav Dont (Thu 16 May 1996). + +Updated lapictures.tex to LaTeX2e. + +Added LaTeX2e logo to header.tex. + + +REVISION 0.3.0 alpha, 1998: + +Numbers jump a lot from here because I (Dan Luecking) have been lax in +keeping track of changes. First version with support for Metapost. +(Yes!) + +Translated grafbase.mf to grafbase.mp, retaining all(?) +functionality. Now any(?) .mf file created by a recent mfpic can be +run through Metapost to produce a PostScript picture. Lots of problems +with Metapost capacity, especially with shading. It is apparently a lot +more memory intensive to hold thousands of circular paths in memory than +hundreds of thousands of pixels. Ultimately recoded the grafbase.mp +shading macros to simply calculate a gray colored fill. + +Added grafbase functions sin, cos, and their inverses invsin, +etc., that compute in radian measure. Also tan and cot. + +Wrote mppicdoc.tex, which can be TeX-ed alone or input from +mfpicdoc.tex. Should probably combine the two documents. Made small +changes to header.tex: added logos for pdfTeX and pdfLaTeX. Changed +The macros \MF and \MP to use small capitals. Minor modifications to +\LaTeX and \LaTeXe + + +REVISION 0.3.8 alpha, 1999: + +Color has been added. Standard colors for lines/curves (drawcolor), +fills (fillcolor), hatch patterns (hatchcolor), and arrowheads +(headcolor) added to grafbase.mp. Corresponding macros in mppic.tex +for setting these colors. Optional arguments for color added to \gfill, +\draw, \arrow, and all the hatching macros. A new macro \polkadot +creates polkadot fill patterns. + +Changed some of the commands for setting dimensions so that they +actually worked, and so they are local to mfpic environments. + +Added support for LaTeX2e's \usepackage command and options. Added +graphics inclusion code, summoning the following packages: epsf for +plain TeX or LaTeX209, graphics for LaTeX2e and pdfLaTeX, the macro +files supp-pdf.tex and supp-mis.tex from the ConTeXt distribution +for plain \pdfTeX). Added code to detect which TeX format was in use. + + +REVISION 0.3.9 alpha, 2000: + +Altered almost all messages written to the log file or the terminal to +announce they were from mfpic. Altered format detection code to test +against both \UndEfInEd _and_ \relax (lest some previous package +convert certain commands to \relax using the \csname style test). +Minor change to definition of \circle to avoid error messages in LaTeX. + +Changed the graphic placement code so that it tests for the existence of +the graphic first (to avoid all those error messages from epsf, +graphics, etc., on the first pass, or when Metapost fails to make a +graphic). + +Tried to find and change code in grafbase where we could inadvertently +divide by zero. Added another closure prefix \uclosed and its +corresponding grafbase support, to close a path smoothly (meaning +simply matching directions at both ends), but keep the original curve +Unchanged. The current (\sclosed simply closes with ..cycle which +alters the original curve. + + +REVISION 0.3.10 alpha, 2000: + +Put mfpic version, date and package name into macros for use in +messages. Decided the package name is "mfpic" if it is input as +mfpic.tex or mfpic.sty, otherwise mppic, regardless of whether the +metafont or metapost option is used. There are four files +m[fp]ic.[sty,tex], which simply set the package name and input +mppic.tex if necessary. Also put this version and date info into +strings in grafbase.mf. + +Added changes contributed by Jaromir Kuben (Thanks!): An option +centercaptions and command \centercaptions to center the lines in a +\tcaption. Also \nocentercaptions; these can be used at any point to +turn the feature on and off. Improvements (corrections?) to the code +that positions text labels (so that) labels that extend outside the +picture are correctly taken into account. Changes to the positioning +parameters in \tlabel. Both c and b now take into account the +depth of the text b puts the absolute bottom of the text in line with +the point. A new parameter B to align the baseline of the text with +the point. Jaromir also contributed several corrections to grafbase.mp +(mostly inadvertently introduced by me, DHL). + +Added option dvipsnames to allow color names as in the dvips header +color.pro. Requires file dvipsnam.mp. Added grafbase.mp macros: +cmyk, RGB, gray and rgb to convert from the indicated color space +to Metapost's internal color space (which is rgb, so the last is a +no-op). In plain TeX the command \dvipsnames can be used in the +preamble (before \opengraphsfile). + +Added macro \ConTeXt to header.tex, a macro \opt for style of +LaTeX2e option names. Changed \prog to typeset its argument in +sans serif font. Changed \tmtitle in mppic.tex so it _doesn't_ ignore +following spaces (it ended with \mftitle which invokes \ignorespaces). + +Added functions tanh, its inverse atanh, and additional trig +functions secd, sec, cscd, csc, atan, invtan. Made log a +synonym for ln. Added complex variables functions Arg, cis, zexp +and Log. + +Changed all trig, hyperbolic, exp, log, etc, to use syntax "vardef + primary X" so as to match (I hope) as close as possible the +behavior of the built-in sind and cosd. + +Changed \do@ptparami so that it does not strip too many braces. This +was done by changing the line \redef\@ptparami to be parameterless +(delaying the reading of the optional parameter). The old code read the +optional parameter, replaced it, then read it again. This strips two +levels of braces, making two levels of bracing necessary to hide an +enclosed bracket: + \draw[{{\color[cmyk]{1,1,0,0}}}]... +(Such use of LaTeX color macros has not yet been added, but might be one +day.) This strategy is closer to LaTeX's optional parameter handling +technique. + + +REVISION 0.3.11 alpha, 2000: + +Added \plot (usage \plot[,]{}...) similar to +\dotted except: +1) explicit shape required (shapes Triangle, Square, Circle, Plus, + Cross, Star, SolidTriangle, SolidSquare, SolidCircle). +2) initial size and separation are 2pt and 5pt. +3) Size is governed by \plotsymbolsize, and separation by + \plotsymbolspace. The dimension \plotsymbolsize corresponds + roughly to the _average_ diameter of the shape. + +Added code to mkfcn and parafcn so that the end of the curve falls +on the given endpoint (even if bst doesn't go evenly into bmax-bmin). +Also ensure the loop parameter doesn't exceed infinity. Also avoid +problems if the sign of bmax-bmin differs from that of bst. + + +REVISION 0.3.12 alpha, 2000: + +Save and restore catcodes of certain punctuation (@.,:;!?{}`'=/- and +parentheses), as well as spaces, setting punctuation to 12 while reading +mppic.tex to ensure the right stuff gets written to the .log and .mp +files. + +Added macro \datafile to read a file of number pairs and create the +polygonal path connecting them. Works like the other figure macros +(i.e., may take any prefixes). + +Added options clip (to clip all pictures to the specified dimensions), +truebbox (to give the metapost output file the true bounding box rather +than the one specified in the \mfpic arguments), and debug (write +debugging info to terminal and log file). Command forms: \clipmfpic +turns it on \noclipmfpic turns it off. Similarly, \usetruebbox and +\notruebbox. For debug we can define \mfpicdebug before loading +mfpic.tex (which will turn on debugging information written prior to +option processing), and in the rest of a source file, \mfpicdebugtrue +and \mfpicdebugfalse will switch it on and off. + +%%% Revised after here, adding spaces before and after code and math +%%% removing blank lines, stray TeX markup, reformatting paragraphs, etc. +Changed names of various commands to a more imperative form: +\usingmetapost becomes \usemetapost, \usingmetafont becomes +\usemetafont, \dvipsnames becomes \usedvipsnames, etc. Also changed +name of option centercaptions to centeredcaptions. Changed many +internal names, prefixing most with "mfp@", inserting "@mfp@" in the +\if... commands. + + +REVISION 0.3.13 alpha, 2000: + +\datafile rewritten, now ignores leading blank lines and comments, and +won't gag on commented out EOLs. Code somewhat modularized. + +Went back to technique of expanding argument of \tcaption twice +(caveat emptor). + +New command \plotdata reads a data file and draws one (polygonal) path +for each non-blank sequence of lines in the data file. Exits when a pair +of blank lines is encountered (or EOF). Cycles through six different +drawing styles for successive curves. User may elect different colors +(with \coloredlines), different symbols (\pointedlines), or +different dashing patterns (\dashedlines). NOT a figure macro, (i.e., +no prefixes). + +New command \using affects what \datafile and \plotdata write to +the .mf output. Default is \using{#1 #2 #3}{#1,#2}, meaning: of two +or more space delimited numbers, write the first two separated by a +comma. + +Brand new dashing and dotting code in grafbase. A complete +reorganization of the code made dashing faster. That was followed by +another reorganization and the gendashed (generalized dashes) command +added to grafbase. Now any dashing pattern can be drawn. A dashing +pattern, ptrn, consists of three arrays: ptrn.start[], ptrn.rep[], +ptrn.finish[]. The command gendashed (ptrn) p; draws the path p +beginning with ptrn.start, repeating ptrn.rep, and ending with +ptrn.finish. The arrays are numeric and specify the lengths of dashes +and gaps. A command + dashpat (suffix name) (text dims) +takes a comma separated list dims, assigns them to the array name.rep, +and computes reasonable name.start and name.finish. + +\gendashed{}... is a generalized dashing command; +is the name of a dashing pattern. + \dashpat{}{,,...,} +will create a dashing pattern with the specified name. Here , +etc., are dimensions specifying the length of dashes (odd positions) and +the length of gaps (even positions). A dash length of 0 is written as a +dot. Patterns dashtype0 through dashtype5 are predefined and used by +\plotdata when \dashedlines is selected. + +Commented out several macros in grafbase that were never used +elsewhere, and also some that were only used once (replacing that use by +the replacement text). I haven't done any comparisons, but for the macro +dotted, avoiding two expansions out of four (what it used to take to +draw a dot) might be a significant time saving when thousands of dots +are being drawn. + +Added a couple of rounding commands to the .mf shading code. All dots +now pixel aligned, looks infinitely better. + +Corrections to mkfcn and parafcn, they could still have overshot the +value of bmax. + +Removed all spaces (commenting out EOL's) in mppic.tex. It can now be +\input in horizontal mode without generating any spaces (even without +switching to \nullfont). Removed \nullfont. + +Changed some more internal names. Added Diamond and SolidDiamond to +the symbols available to \plot and \plotsymbol. + +At some point (perhaps this or the last revision) I added a command +\fcncurve that draws a function (i.e., curve doesn't double back) if +the x-values are unique and listed in order. It has an optional +tension-like argument. Added an optional tension parameter to \curve, +also. + + +REVISION 0.3.14 alpha, 2000: + +Added \@@tlabel to write label text to output file between btex and +etex. Added mplabels to make \tlabel use it instead of original +\@tlabel. Commands \usemplabels and \nomplabels to turn the option +on and off. Added third part to the optional argument of \tlabel to +rotate the text (ignored in \@tlabel) so \tlabel[Bl45] will place +the left baseline at the point and rotate 45 degrees around that point. + +New macro \mfpdatacomment so that \datafile and \plotdata can now +have their comment character reset. A side effect is that `%'s in the +data file will be recognized. Commands \makepercentother and +\makepercentcomment created to allow the user to use `%' in \using +arguments. + +Gave \plotdata the ability to cycle through 8 colors or 9 symbols +(instead of only 6), but still only 6 dash patterns. (Too many makes for +confusion. Only increased colors and symbols because it was so easy.) + +Added framing macro. On the first TeX run (indicated by nonexistence of +.tfm or fig.1), now show a visible rectangle of appropriate size with +the figure number inside. For plain TeX users, the internal code is made +available in the user level command \framed[]{...}. Parameters +\framegap and \framethickness control the default appearance. +(Internal code for undefined figures uses \framegap =-\framethickness +so not to take up any extra space.) + +Added some error checking: when option mplabels is selected without +metapost, issue error message and ignore. Same when \usemetapost is +used after \opengraphsfile. Remove dvipsnames option, making all +dvips color names always available to mfpic. + +Multiple changes to documentation: Added \GS for Ghostscript and \sc +for small caps to header.tex. Folded all the new macros and their +descriptions into mfpicdoc.tex. Still keeping mppicdoc.tex for more +detail on differences between the Metafont and Metapost support. + +Made some small additions to MFobjs.tex and MPobjs.tex to better +illustrate some new features. Adjusted pictures.tex and +lapictures.tex so they produce the same output and no overfull boxes. +Changed TeXMPobjs.tex and LTXMPobjs.tex so that they work better in +pdfTeX and pdfLaTeX, resetting \pdfpageheight and \pdfpagewidth (which +otherwise get magnified by \mag=1200). + +Replaced curves.dat with curves1.dat and curves2.dat to better +show features of \plotdata. + +Changed the default for \using to \using{#1 #2 #3}{(#1,#2)}, +(redundant parentheses). + +Added \fdef, which seemed to be documented, but not defined! Changed +the format slightly and adjusted the documentation to reflect that. + +Changed \savepic: Now use \newpic{\foo} to allocate a box, +\savepic{\foo} to store the next picture, and \usepic{\foo} to copy +it. Now more like LaTeX's system of save boxes. + + +REVISION 0.3.15 alpha, 2000: + +In grafbase, changed secd and cscd so that abs(temp) < +nottoosmall is tested instead of temp itself (which was incorrect when +temp < -nottoosmall). Renamed dashed to DASHED to make primitive +dashed available to power users. Added some error checking to dashing +code. Added save in several places in *fcn commands. Changed +hatching code in grafbase.mp so that all (even those not used by mfpic) +respect hatchcolor. + +Redefined parafcn so it can call mkfcn like all the other function +drawing commands. + +Added \mfpverbtex to write verbatimtex block to .mp file. + +Changed a few \newdef-s and \newlets to \def and \let to keep +ConTeXt from complaining. Affected commands are \rotate, \mirror, +\scale and \grid. Changed code for date written to output file for +same reason. + +Changed \newpic to \newsavepic to more closely parallel LaTeX's +\newsavebox command. + +Allow plotting of a number in a data file against its sequence position +with \using{...}{...\sequence...}. + +Rename \mf@gobble to \mfp@gobble. Move the definition of \newdef +earlier and use it more (didn't catch any new conflicts). + +Changed \rotatepath from a \@modmac to a \@closmac (even though it +doesn't close anything), because that makes its behavior vis-a-vis +rendering more in line with what one might expect. Actually, closing and +rotating both simply accept a path, change it, and pass the result on. +So both should be handled the same. + +Added contributed macro \pointdef: \pointdef{A}(1,3) makes \A expand +to (1,3), with \Ax and \Ay expanding +to 1 and 3, respectively. + +Provide a directory structure to the distribution. Rename file mppic.tex +to mfpic.tex and provide files mppic.tex, mfpic.sty, and mppic.sty +as wrappers to input it. Made Metapost the default when mppic.* are +used. + +Add some error correction to dashpat: force an even number of +dimensions. + + +REVISION 0.3.16 alpha, 2000: + +In grafbase: + +Change name of glabel (in grafbase.mp) to gblabel so as not to +conflict with glabel from graph.mp in the standard Metapost +distribution. Adjusted mfpic.tex accordingly. + +Correct the change to dashpat made in 0.3.15: don't force dashing when +there are fewer than 2 dimensions in the list. Instead, this is the +signal to draw a solid curve. + +Save the variables dashes and dots used in the macros DASHED and +dotted. + +Uncomment three macros commented out in 0.3.13: tightbbox, tbbox and +bbox. Though these are not used in any other macro, but they might +nevertheless be useful to users of grafbase. + +Change the dashtype[] arrays that mix dots and dashes so they begin +with a dot. This will produce a dot at the ends of the curve. This just +looks better than a partial dash. + +Added unbound.tex updating mfpic info in "TeX Unbound". + +Restored mf-revu.tex, somewhat altering its formatting and correcting a +TeX error. + +Changed \endconnect so it tests for its use in LaTeX as an +environment and if so issues \aftergroup\@startfigtrue and +\aftergroup\@imrendtrue to bypass the LaTeX-supplied \endgroup. +Added a similar test to \endmfpic to set \@ignoretrue. + + +REVISION 0.4.0 beta, Aug 2000: + +Released to CTAN. Removed mppic.*, package is named mfpic regardless +of whether MF or MP support is needed. + + +REVISION 0.4.01 beta, Nov/Dec 2000: + +Sergei V. Znamenskii reported (and mostly solved) an incompatibility +with AmSTeX using amsppt style if mfpic.tex is input after the +\documentstyle[amsppt] command. The file amstex.tex loads the dummy +font, setting 22 font dimensions. Then amsppt.sty loads some more fonts. +It appears that if font loading intervenes, mfpic.tex cannot add extra +font dimension parameters to dummy to use with \newfdim. Solved by +changing + \font\@dummy=dummy +to + \font\@dummy=dummy scaled 1002 +in mfpic.tex + +Also corrected code that purported to detect LaTeX when in fact AmSTeX +was in use. + +Added documentation of a bug in supp-pdf.tex which requires +\usemetapost (as well as \usepackage[metapost]{mfpic}) to come before +\usepackage[french]{babel} when running pdfLaTeX. The conflict was +reported by Pascal Chantriaux. + +Changed \tmtitle and \mftitle so they read the argument as a token +list and write it to .mf file and .log file without expansion. Simple +things like "\'" expand to quite long expressions in LaTeX2e. + +Added commands \MFPdebugwrite (to write its argument only in presence +of debug option), \MFPmsg (as a synonym for \immediate\write16) and +\MFPICmsg (to write its argument preceded by "MFpic: ". + +Added \restoreCODE to shorten all the lines in \mfpic-package that +restore the category codes of punctuation. + +Added a few new debug lines in response to previous failure to detect +\AmSTeX. + +Rewrote \mfp@now (which generates a time-stamp for the output file) to +use only 2 \count registers instead of three. + +Added \dimendef\mfp@scratch=255 for scratch use instead having +\dimen255 hard coded. This will make changes easier should use of +\dimen255 cause any problem. + +Added \penwd as a synonym for \pen (to be more in line with +\shadewd, etc.). + +Removed redundant parentheses from default \using. + +Changed internal command \mfp@rwdata, which is responsible for reading +and writing in the \datafile and \plotdata commands, so that it +outputs + polyline (false)((x_1,y_1),(x_2,y_2),...,(x_n,y_n)); +instead of + (x_1,y_1)--(x_2,y_2)--...--(x_n,y_n); +The intent is to have a better interface if ever we get 3D support +started. For example, polyline calls textpairs which processes the +list of coordinates. In a hypothetical 3D environment, we'd need to +change only \using to write triples, and then textpairs could choose +to run some command that processes triples instead of pairs. + +Changed use of \unpreservelines in \plotdata, etc., to the expicit +resetting of the category of ascii 13 (which was its only purpose +anyway). + +Added macros \xaxis[] and \yaxis[] with the obvious +meanings. Plan on adding something like \leftaxis, \bottomaxis, etc., +with changes to \xmarks and \ymarks for putting tics on them. +(Haven't figured out the best interface yet.) + +Added some new error messages. Rewrote almost all error messages, adding +linebreaks. Added command \mfp@errmsg to format error messages and set +the \errhelp tokens. + + +REVISION 0.4.02 beta, Jan 2001: + +Backward comparability was inadvertently destroyed when \curve was +given an optional parameter and the definition of curve in grafbase.m? +was changed. Any .mf file created by using \curve with an older +version of mfpic would give curve the wrong number of parameters for the +new grafbase files. I renamed the new curve to tcurve and gave curve +a definition equivalent to its old one. + + +REVISION 0.4.03 beta, Feb 2001: + +Corrected a typo in vardef thegblabel: had zz for a parameter, but +used z in the replacement text. I am surprised \tlabel _ever_ worked +when the mplabels option was selected. + + +REVISION 0.4.04 beta, Mar 2001: + +Added \smoothdata[] to cause \datafile and \plotdata to +draw smooth curves with optional tension setting. And \unsmoothdata to +restore the default. + +Changed \pointedlines to work as documented (causing \plotdata to +issue the equivalent of \plot{}) and added \datapointsonly to +behave as it used to (causing \plotdata to issue the equivalent of +\plotnodes, plotting only the data points). + +Some documentation changes: added info that something like +\xmarks{-4 step 2 until 6} is valid. + + +REVISION 0.4.05 beta, Mar 2001: + +Changed vc=vt; to vc:=vt; in function clipsto. When used on an +array of paths, the original caused an "Inconsistent equation" error +on the second iteration. Fortunately, this does not come up in mfpic +except for very advanced users. + + +REVISION 0.4.10 beta, May 2001: + +Renamed \fileversion and \filedate to \mfpfileversion and +\mfpfiledate to avoid name clashes with other packages. Most packages +only use these macros for messages while loading, but mfpic writes the +information as a header comment in the output file + +Added \mfp@ifnextchar, a clone of LaTeX's \@ifnextchar, and +redefined the macros \do@ptparam and \alt@ptparam in terms of it. +Copied LaTeX's code to eat one space after a command into the macro +\eatspacedef. + +Added \mfp@delim as an all-purpose argument delimiter. For debugging +purposes, its definition is to issue an error message saying it +shouldn't ever be triggered. + +Slight rewrite of \mfp@now and \mfp@today. + +Renamed \framed and related macros by prefixing mfp or mfp@. Some +formats and packages (ConTeXt, for example) have a \framed macro. Now +\mfpframed _can_ be used, and _must_ be used if \framed already +exists (as in ConTeXt). Replaced \framegap and \framethickness +with \mfpframegap and \mfpframethickness. If \framed is already +defined, the old version is kept and the user may not get the effect +described. + +Slight change to what is printed in the .dvi file when a mfpic detects +that Metafont or Metapost has not been run, or the figure is absent. + +New dimensions: \tlabel@hadj, \tlabel@vadj and \tlabel@sep for +shifting \tlabel text. The first is a horizontal adjustment, the second +vertical, added to every label. The third shifts the label directly away +from the point of placement (unless optional argument "[Bc]" or +"[cc]" is used). A label is shifted by \tlabel@sep downward when the +`t' parameter is found, upward for `b', rightward for `l' and +leftward for `r'. The first two dimensions can be set with a new macro +\adjustlabels{}{} (name later changed to \tlabeljustify, +and the third with \tlabelsep{}. Need to do it this way because +under mplabels they need to write the information to the output file. + +Added \expandafter before \@render\fi in several places. This now +appears not to be needed, but the \fi following \@render caused +problems with some experimental versions of optional argument handling. + +Added the following macros for drawing axes along the borders of the +picture: + \leftaxis + \rightaxis + \topaxis + \bottomaxis + \bottomleftaxes + \borderaxes + \leftaxisshift + \rightaxisshift + \topaxisshift + \bottomaxisshift +The first four draw the appropriate axis (no head by default), the last +four set an amount (in graph units) to shift the axis inward. + +For tick marks we have: + \lmarks + \rmarks + \tmarks + \bmarks + \lmarksposition + \rmarksposition + \tmarksposition + \bmarksposition + \xmarksposition + \ymarksposition +The first four set the positions (and optionally size) of the tick marks +on the corresponding axis, the next six determine if the marks are +centered, or on one side of the axis. They take an argument which must +be one of inside, outside, centered, ontop, onbottom, +onleft, or onright. For side axes the default is inside, while +for x- and y-axes it is centered. + +For arrowheads on the side axis we have \sideaxishead which takes a +dimension argument and sets the length of the arrowhead. To turn heads +off again set the length to 0pt. + +Added \gridlines to draw a regular grid of lines. It's syntax is the +same as that of \grid. Changed the behavior of \grid so that instead +of starting at the left and bottom, it draws the grid centered on the +origin of the graph coordinates. + +Changed most of the \if-tests so that if an incorrect optional parameter +is used, the default behavior will be seen. For example, \function +takes an optional argument of [s] or [p] with s the default. The +code had been: + \if ##1s true\else false\fi +and I changed it to + \if ##1p false\else true\fi +so for the typographical error \function[o], the user will get the effect +of the default s. + +Added the command \labeljustify to change the default justification +of text labels. For example, \labeljustify[cr] makes the default +[cr] instead of [Bl]. + +When truebbox is in effect, but mfpic detects that Metapost has not +been run, truebbox is turned off for each picture. Before, this was +global, now it is local (so that it doesn't affect a new \opengraphsfile +command, even though mfpic does not officially support more than one +\opengraphsfile commands per file). + +Added the command \tlabels (note the plural). It has one mandatory +argument which contains a concatenation of arguments for one or more +\tlabel commands. These arguments may (but need not be) separated by +spaces or new-lines. + +Replaced all occurrences of \@labeldim, which had been \let equal to +\mfp@scratch, to the explicit control sequence \mfp@scratch. This was +to avoid confusion that could have been caused by changing one of them, +not realizing they should be the same. + + +REVISIONs 0.4.11--15 beta, July 2001: + +Restored a lost backward comparability: I stored the (Metapost) +primitive meaning of dashed in the command dashed_ and made dashed +synonymous with DASHED. Power users will have to use dashed_ if they +wish to invoke that primitive after loading grafbase.mp + +Added \MFPICwarn in addition to \MFPICmsg and \mfp@errmsg. Added +"MFpic error: " to the front of all mfpic generated error messages. +Introduced \on@line (from LaTeX) to place the line number in warnings. + +Removed many more spaces and eols from mfpic.tex (lest it be input +with spaces or eols active). Added some spaces between a command and +`!' lest the latter have category 11. + +Changed name of \restoreCODE (and others) to \MFPrestorecode (etc.) +after running across a package which defined \restorecode. Introduced +\@xp (from AMSLaTeX) for \expandafter. Removed saving of the current +font as \@torig, since we no longer change to \nullfont. + +Added test for equality to \relax in \testdef. Removed \newlet +(later put it back), \sim@def and \sim@gdef as they are not used (any +longer). The latter two were used once each and those were changed. + +Changed handling of \if@mfp@metafont and \if@mfp@metapost to ensure +they are kept mutually exclusive. Changed handling of +\@if@mfp@beforefileopen from a simple \if...\else...\fi to saving the +alternatives in a macro and then issuing the macro after the test. +Changed \mfp@clip to make it global if issued before \opengraphsfile. +Redid \mfp@truebbox to ensure it is global, but leave an out so that +\@mfp@truebboxtrue/false could be set locally. Made similar +changes to mplabels. + +Removed \unpreservelines from \mfsrc since grouping restores EOLs. +Also made \mfsrc check that a .mf/p file has been opened. + +Removed the definition of \mf@bsl since it is not used (any longer). + +Delayed the definition of \mfp@data until \@mfpic@graf@macs. +Introduce the hook \mfp@additions, to be expanded last in +\@mfpic@graf@macs. + +Changed the name of macro \mfplinestyle to \mfplinetype and the +\count register \mfp@linestyle to \mfp@linetype. +Changed name of \missinggraphfileerror to \nooutputfileerror. +Changed name of \adjustlabels to \tlabeloffset. +Changed name of \labeljustify to \tlabeljustify. + +Try to support multiline labels even in the case of mplabels by writing +appropriate definition of `\\' to the .mp. + +Changed definition of \mfp@scratch from \dimension255 to a register +defined by \newdimen. + +Added ability to create a curve surrounding some text: macro +\textboundary creates a rectangle, with optionally rounded corners, +\textoval creates an ellipse with aspect ratio the same as the block of +text, \textellipse creates an ellipse with a given aspect ratio, +\textcircle is \textellipse with aspect ratio of 1. TeX measures +the text and transmits the information to Metafont. + +New macro \axislabels. This takes a letter indicating the axis, an +optional justification parameter (as in \tlabel) and a comma separated +list of TeX text and numbers. The numbers indicating the position on the +given axis to place the text. Since side axes may be offset from the +edge of the graph, the utility \mfp@addto is used to add the boundary +coordinate (one of the parameters of \mfpic) to the appropriate offset, +returning the result in graph units for use in a \tlabel command. The +default justification depends on the axis. It is chosen so that the text +ends up outside the border axes, below the x-axis and left of the +y-axis. + +Color additions: added \tlabelcolor and grafbase color variable +tlabelcolor to control color of Metapost placed text; added +\backgroundcolor to set the color variable background, the color used +by \gclear and by all plain Metapost unfill operations. Had to +rewrite the various color setting macros since, till now, all assumed +the color variable name ended with the string "color". + +Changed the macros introduced in 0.4.10 or previous that controlled the +position of the side axis. Now instead of saying + \leftaxisshift{} +one says + \axismargin{l}{}. +One can set all 4 margins at once with + \setaxismargins{}{}{}{}. +or all margins to the same number with + \setallaxismargins{}. + +A similar change was made to the setting of the axis marks position +(i.e., inside, outside or centered). Instead of + \lmarksposition{inside} +one writes + \setaxismarks{l}{inside}. +One can also set the position of all the border marks at once with +\setbordermarks, or all border marks to the same position with +\setallbordermarks. + +Command \drawaxes added: it takes a comma separated list of +letters chosen from x, y, l, b, r and t, and draws the specified +axes. Later renamed to \doaxes, and commas omitted. + +Added optional parameter to \plotdata and \datafile which +has the form p or s. "[p]" causes a polygonal curve to be +plotted and "[s]" causes a smooth curve to be drawn, with the +given number as the tension. The number may be omitted, and then +grafbase's value of curvetension (default 1.0) will be used. Any +other letter or none is the same as [p]. Internally, the optional +parameter is passed to \mfp@rwdata, which now, of course, takes +parameters. Along with this, \smoothdata was revamped to simply +change the default optional parameter, rather than set a switch. + +When option metapost is selected, each mfpic environment writes the +current font to the output file (in verbtimtex) to have at least the +chance (under mplabels) to match the fonts that TeX would use in +tlabels. + +Framing code: in addition to \framed or \mfpframed, we now have a +LaTeX environment: \begin{mfpframe}...\end{mfpframe} or, in plain TeX, +a command group \mfpframe...\endmfpframe. This is actually recommended +(over the first form) if the user wishes to frame an mfpic environment. +This ensures that category codes are not prematurely set by reading the +whole picture as an argument. + +Changes to grafbase: + +Moved interim warningcheck:=0; after mode_setup because mode_setup +sets it to 1. Now that warningcheck is correctly set, we can change +the test of parameters in secd, etc., from comparing with nottoosmall, +to comparing with reallysmall. + +Streamlined minpair and maxpair. + +Define transform vtr on its own in setztr rather than only the macro +vconv being defined (in terms of ztr). Define ztr in terms of vtr +(the "right way to do things", said the linear algebra teacher). +Remove definition of invztr and use inverse ztr the few times necessary. + +Remove the "complicated zconv" entirely. + +Added plain Metapost's image command to grafbase.mf. + +Changed the command executed when clipall is true to clipto instead +of clipsto. + +Added textboundary, textoval and textellipse to put paths around +text. Only the size and center point of the text is passed by mfpic, not +the actual text. These implement the mfpic commands \textboundary, etc. + +Added parameters pair label_adjust and numeric label_sep. +These are used in grafbase.mp for shifting labels. They are also +used there and in grafbase.mf for positioning and sizing textboundary, +textoval and textellipse. + +Added test for ClipOn to dashing code, plotsymbol and plotnodes. + +arrowdraw now checks for hlen > 0 before drawing head. + +Complete rewrite of axes code and drawing of hash marks on axes. Four +new axes added leftaxis, etc. + +Changed code for grid so it is fitted to the coordinates: integer +multiples of xspace and yspace are plotted. Added gridlines. + +Changed arcppp in grafbase for more robustness (I hope) and better +result on small values of sweep. + + +REVISION 0.4.16 beta, July 28--30 2001: + +-- Changed name of \textboundary to \tlabelboundary and then + \tlabelrect. +-- Changed name of \textoval to \tlabeloval. +-- Changed name of \textellipse to \tlabelellipse. +-- Added "star form" of each that defines the curve without placing the + label. +-- Renamed grafbase command textboundary to textrect. + +Replaced the four commands \leftaxis, etc., with single +command + \axis[]{} +(example \axis{l}) and \borderaxes, etc., with + \doaxes[]{} +(example \doaxes{lbrt} for the 4 borders). + +Recoded \mfp@now so that only 1 count register is used. + + +REVISION 0.4.17 beta, July 28--Aug 10, 2001: + +Changed grafbase.mp commands textrect, etc., so the first two +parameters (dimensions of some unspecified text) became one parameter, +which could be either of type pair (the two dimensions), string, or +picture (e.g., a btex...etex expression). In the latter two cases, +Metapost measures it and uses those dimensions to make a rectangle, etc. + +Gave all commands that take a [s] smoothness specification the +option to make it [s] to draw the curve more tightly. +Commands affected: \function, \parafcn, \plrfcn, \btwnfcn and +\plrregion. This necessitated changes in grafbase code to mkfcn so +that it accepts a tension parameter. Plus changes to all the macros that +call it: parafcn, xfcn, function, rfcn, and plrfcn. Those that +are used by mfpic, like function, were altered as follows. The name was +changed to tfunction, it was given a tension parameter and the call to +mkfcn passes that parameter. A new macro named function simply calls +tfunction with default tension. This was to make the new grafbase +accept old files generated by mfpic. Those macros not used by mfpic +(rfcn and xfcn) simply call mkfcn with tension equal to 1. + +Redid doplot, plotsymbol, and plotnodes so that the plotting symbol +can be a picture as well as a path. If a path, it is scaled by the scale +parameter. A picture is not scaled, since this is essentially not +possible in Metafont and since it is expected that in Metapost it will +be a btex...etex expression and the size is determined by the font. +Because this is expected to be the typical case, the picture is shifted +so that its center at the chosen position (instead of the left +baseline). This is not done in Metafont since finding the center of a +picture is non-trivial. In grafbase.mp the first parameter is also +allowed to be a string, and is then converted to a picture with the +infont operator. In all other cases it reverts to a default dot scaled +by the second parameter. + +Changed the \mfpic command so both optional parameters may be omitted +(scale 1 is then assumed). Also, the first parameter is no longer saved +in \@param. That was not a serious problem, but I did experience a +hard-to-debug problem from using the same temporary name in another +command. (It seems that \@param is not expanded until \@xconv and +\@yconv are used in tlabels, and I included a redefinition of \@param +in a command that calls \tlabel). + +Added EOL, `*', `"' and `$' to the list of symbols whose catcodes +are saved, changed while reading mfpic.tex, and restored at the end. +`$' is put in category 12 and used then in several \if tests for empty +arguments (previously `!' was used, then `@'. (Changed again a couple +of times!) + + +REVISION 0.4.18 beta, Aug 10--20, 2001: + +Added point size option to \grid. + +Added a macro \plottext similar to \plotsymbol except instead of a +symbol, it takes a bit of TeX text. The macro runs entirely in TeX, +issuing a sequence of \tlabel commands. + +Changed grid and gridlines so the lines and points are fitted to the +pixel grid. We now use safedraw on +hroundpair(zconv(p1))--hroundpair(zconv(point)) instead of on +zconv((p1)--(p2)). When grid and gridlines are used with the same +parameters, this seems to make the picture periodic. + +Added \plrgrid and \plrpatch. + +Added \piechart and \piewdge. + +Removed \d@adv, \i@mul, \i@div, \q@mul as it turns out they are +either no longer used or unnecessary: \i@mul and \i@div, were only +used in \q@mul and it isn't needed as \x= 1.2\x works for fdims. +\d@adv seems to have disappeared from use. + + +REVISION 0.4.19 beta, Aug 20--26, 2001: + +Added \mfpicnumber to set the number of the next character or figure. + +Removed explicit references to gcode, instead of writing +beginmfpic(incr gcode), \mfpic now writes +beginmfpic(\number\mfp@count). This way TeX's understanding of the +current figure number and Metafont's understanding are guaranteed to be +the same. The opening code of beginmfpic sets gcode in case any existing +files make use of it. This simplifies maintenance, and such things as +\noship and \mfpicnumber. + +Speaking of which, added code to \noship to set a switch so +\endmfpic could skip placing an empty box. I hope this makes an +mfpic environment a typesetting no-op. The only worry is that an +invisible character or box might creep into the output. (It hasn't yet, +that I've noticed, but checking would require testing virtually every +macro we've defined that can be used in an mfpic.) + + +REVISION 0.4.20 beta, Aug 26--Sep 1, 2001: + +Added \barchart (it was easy after \piechart) after seeing comments +on gnuplot list that deprecated pie charts as a means of conveying +quantitative information. The rectangles become available as +\chartbar{}. Where is the number of the bar. + +Changed the code (again!) for shade in grafbase.mf. I was certain +there had to be a faster way. The key turned out to be not to do a +double loop. Instead, draw the bottom row of pixels in one loop, and +then copy that row in a separate loop. The original looped O(nm) times +if n and m are the dimensions of the rectangle. The new one loops, +O(n+m) times. A slight extra bit of efficiency in coding is obtained +by finding the smallest repeating pattern and repeating that (avoids +shifting every other row). This turned out to be two dots at a 45 degree +angle placed \shadespace apart. Then copy _that_ picture. + +I was worried that this algorithm had to copy a much larger picture the +second loop, but it seemed to make little difference. The bottleneck +seems to be the loop overhead. There was a seven-fold speed increase in +shading a 100pt by 100pt rectangle with a \shadespace of 1.2pt +(this is about the most dots MiKTeX's Metafont could handle). I came up +with another algorithm that is O(m/n + \log n), when n < m. But it +was only marginally better at the sizes Metafont could handle. Plus it +traded memory for speed. It built a shading rectangle of size at least +n/8 in O(\log n) iterations and then tiled with O(m/n) of them. +This could require up to an additional 12.5% more memory, as the last +row or column could overshoot by up to n/8. + +Changed timing so that \mfp@count is initialized to 1, and +incremented only in \endmfpic (where it is in the code skipped if +\noship is used). + +Changed \newdef to \def for \arrow so eplain won't generate a +complaint. + + +REVISION 0.4.21 beta, Sept 1--10, 2001: + +Got tired of typing "\macro" so I changed it to \mac. Also got +tired of "\vskip\myskip", etc., so I wrote \bcd and \ecd to +bracket the headers of command descriptions. For examples, I wrote +\bex and \eex. Changed the font for \prog to small caps and for +\opt to sans serif. Added \null to the end of the definition of \TeX +for \spacefactor reasons (saw this somewhere). + +Wrote a \myverbatim macro for mfpicdoc.tex since header.tex's +verbatim wouldn't work for me. Completely rewrote \head and \subhead +for better spacing and page breaks. (One of these days I will give them +numbers and perhaps translate everything to either LaTeX or eplain to +provide cross references.) + +Added SolidStar to symbols allowed by \plot, etc. Changed grafbase +code so that Star produces an open five-pointed star instead of the +asterisk previously drawn. Added Asterisk in case anyone prefers the +old way. + +Separated the part of \mfp@rwdata that writes the rendering code from +the part that writes the data. This is for later enhancements. The +wrapper that writes the rendering code is called \do@datafile. Took +out of \mfp@rwdata the code that wraps the point in (redundant) +parentheses. Now the parentheses _must_ be added by \using. + +Changed the name of \mfpic-package to MFPicpackagE, (part of +the paranoia that catcodes of punctuation might be changed). + +Added code to several commands to test for empty optional arguments. The +reason: when an optional argument has two parts, as in \plotdata[s1.2] +the code splits it up as [#1#2] so that s is assigned to +#1 and 1.2 is assigned to #2. If 1.2 is omitted, then #2 is +empty, but if both parts are accidentally omitted, then the closing +bracket is assigned to #1 and TeX searches for another right +bracket. This can cause extremely unhelpful error messages from internal +commands generated much later. Now, a command like \plotdata[] is +treated as if there were no optional argument: default values are used. +The user can deduce from incorrect output where an error occurred. + +Did the above for \tlabel, but only for the second part of the +optional parameter (laziness). + +Added commands similar to \rotatepath: \shiftpath{p}, \scalepath{p,sc}, +\xscalepath{x,sc}, \yscalepath{y,sc} and \slantpath{y,sl}. "p" is a +point "sc" is a scale factor, "x" is an x-coordinate, "y" is a +y-coordinate and "sl" is a slant factor. These commands accept a +following path and pass back the corresponding transformed path (to +preceding prefix macros). + +Released to alpha testers. + + +REVISION 0.4.22 beta, Sept 11--22, 2001: + +Added \reflectpath{p1,p2}, \xyswappath and \yslantpath{x,sl}. Added +also \xslantpath as a synonym for \slantpath. + +Removed grouping in \mftitle that inadvertently caused \tmtitle's +argument to be omitted from the .log file. Rewrote both to call a +third macro. The third macro loads the argument in a token list and +writes to the .mf file. \mftitle supplies the grouping to preserve +the token variable. \tmtitle also adds the grouping, plus writes to +the .log and to the document. + +Redid \tlabel so that it checks for completely empty optional +parameter. + +Also avoid duplicating every \@...tlabel command. Only ever did that +to avoid the message about rotation being ignored in the \nomplabels +case. Somewhere along the way handling of default optional parameters +made that moot. + +Now \tlabel begins a group, then sets \tlabel@rot to empty (not +zero!) if mplabels is not in effect, then passes +"[\tlabel@vpos\tlabel@hpos\tlabel@rot]" as the optional parameter. The +two different commands \@tlabel and \@@tlabel ultimately end the +group. This necessitated changing a number of commands that call for +tlabels: I thought it more efficient to say + + \if@mfp@mplabels\expandafter\@tlabels\else\@@tlabels\fi... + +than to call \tlabel directly. But now that would unbalance the +grouping. + +Somehow I overwrote the version of mfpic.tex in which I made the above +three paragraphs of changes with the previous version. So I did it all +again, but now it does the following. \tlabel starts a group and calls +two different commands: if no "[]" follows, it defines \tlabel@rot +to be empty under \nomplabels; and if "[]" follows, it calls +\tlabeljustify. Finally it calls either \@@tlabel or \@tlabel, +depending on mplabels, feeding the arguments \tlabel@vpos, +\tlabel@hpos and \tlabel@rot. This ensures that insufficient optional +parameters produce default results, as \tlabeljustify does default +things with empty parameters. + +In grafbase: push vtr in bcoords command and pop it in ecoords. +Added vtr:=ztr shifted -zconv((0,0)); to apply_t. It seems coords +and apply_t were broken ever since I defined vconv in terms of vtr +instead of zconv. + +Added \@firstoftwo and \@secondoftwo and rewrote several commands to +use them, including \@if@mfp@beforefileopen.. + +REVISION 0.5.0 beta, Sept 24--Oct25, 2001: + +Change comment written at the top of the output file. Now includes the +name of the output file, as well as the \jobname of the TeX source +that produced it. + +Changed how \grid handles optional point size. Now it writes a command +vgrid that takes the extra parameter (and the old grid just calls +vgrid with default parameter). + +Made \mfpic and \endmfpic write the source line number to the +output for debugging use. + +Added token list \every@tlabel and a command \everytlabel for +setting it (and writing the settings to the .mp file when mplabels +is in effect.) In order to make this local to mfpic +environments, now \mfpic writes "verbatimtex \begingroup etex" to +output and \endmfpic ends the group (under mplabels). + +Renamed \if@graphfileexists to \ifmfpicFirstTime which +required reversing the sense of all \if... tests. This will allow the +user to override the behavior of mfpic in unusual circumstances. + +Restored the command that expands to a backslash with category 12, for +writing the outer token \newtoks to the output file. + +Because \mfsrc ends with \ignorespaces (should it?) commands +can generate a space under metafont but not under metapost with +mplabels (because they write TeX code to the output). I have therefore +started to look out for such differences and am adding \ignorespaces +when I notice them. + +Released to CTAN, Oct ??, 2001. + + +REVISION 0.5.01 beta + +This modification actually occurred in February 2002, but I made it on +version 0.5.0, correcting a small bug by adding some braces around the +point arguments of \tlabel in a couple of places. The problem was that +Metapost code in the point argument could contain parentheses or commas, +and these had to be hidden inside braces. The code of \tlabels and +other commands would read this argument twice so two levels of braces +were needed, but that would cause errors in other contexts. The internal +braces in the right places meant the user need only use one. All of this +was only a problem with mplabels. + + +REVISION 0.5.02 alpha, Oct 26--Nov 8, 2001: + +Put most of the catcode changes (in the "paranoia" section of +mfpic.tex) in a command \mfp@sanitize for possible reuse. + +In preparation for a planned enhancement, I have divided \@figmac into +three parts: the set-up, write, and post-write phases. The idea is that, +e.g., \@curve[1.2] will do the setup, and write the code +tcurve(1.2, false) but not the points or the ending semicolon, then +close with the all-purpose macro \@figmacdata. This macro will scoop up +the last parameter (listing the points), write them to output, adding +the semicolon, and then issue the post-write code. Why? Ultimately I +would like to be able to present the data in more than one form. +\@figmacdata would detect the form and do the appropriate thing. In +particular I would like to be able to do something like +\curve[1.2]\datafile{file.dat} to draw a curve connecting the points +listed in file.dat. + +Have actually changed the definition of \curve and \cyclic to use +this scheme, although \@figmacdata just writes the inline data points +to output. Shouldn't be unusually hard to make it open the file handle +and call \mfp@rwdata. I will first try to organize the opening, +reading, writing and closing of files into reusable modules. + + +REVISION 0.5.03 alpha, Nov 8, 2001--???: + +Further modified \@figmacdata: Split it in two. First, \mfp@writelist +writes the list, enclosed in parentheses and followed by a semicolon, +then issue \@figmacend. This is because lists are also used by +"non-figmacs", like \xmarks and \point. For these I just use +\mfp@writelist. Perhaps it wouldn't hurt to include \@figmacend on +those, but I wasn't prepared to chance it. Also put the common +combination \@figmacstart\mfsrc{#1}\@figmacdata in a new macro +\@listmac. + +Now all those macros that take a list as last argument (thank goodness +it always _is_ the last argument) follow the scheme. This includes +\xmarks, \ymarks, \lmarks, \bmarks, \rmarks, \tmarks, \point, +\plotsymbol, \piechart, \barchart, \polyline, \polygon, \fcncurve, +\curve, \cyclic, \qspline, \closedqspline, \cspline, +\closedcspline, and \turtle. Ultimately, I may make \@figmacdata +write data from a file (if the next token is \datafile) or data listed +inline as if in a file (if the next token is \inline). + +I rewrote the code in \@mfpic that loads the figure into \@wholegraph +so that when \ifmfpicdraft is true then it is skipped completely and +\@wholegraph is just set to an empty box. Then, at the end of \@mfpic, +if \ifmfpicdraft is true, the figure number in \tt is set as a +\tlabel (so the size of the figure will automatically adjust to +accommodate it). + +Oops! Had to change the above behavior: \tlabel doesn't expand its +contents when writing to the .mp file in mplabels. So it is +impossible to get \mfp@count (the picture number) written as a number. +Rather than have to write the definition of \mfp@count to the output +file, I changed the code that loads the figure into \@wholegraph to put +the figure number into the box as straight text. Now, the figure number +may again overwrite the boundaries of the box, but that's OK, I guess, +since it's just a temporary situation. + + +REVISION 0.5.04 alpha, ???--April 11, 2002: + +Added \@XP which expands to three \expandafters. + +Changed what the truebbox option writes to the .mf file. The scope +in Metafont should now more closely match the scope in TeX. + +Added options draft, final, and nowrite (as well as command +versions \mfpicdraft, \mfpicfinal, and \mfpicnowrite) which should +avoid including the pictures (draft) or include the pictures (final), +overriding automatic decisions. Option nowrite avoids writing anything +to the .mf file. + +Made several assignments, such as \mfp@count, \@graphfont, etc., +global, in case the command \opengraphsfile is issued inside a group. + +Rewrote \tlabel and friends so that the point arguments could +optionally be enclosed in braces. This was done by checking for a left +parenthesis with \mfp@ifnextchar and branching on that. This allowed +me to change the gblabel command to accept a list of points, and now +\tlabel can, under mplabels accept a list of points in braces. + +Completely reorganized the data file reading macros (much smaller and +free of \loop...\repeat constructs). Also added the previously +mentioned capability to replace any list after a macro such as +\curve{...} with the construct such as \curve\datafile{} to +construct the list from the data in file + +Changed explicit value of 5 data points per line to the value of +\mfpdataperline when plotting data files. + +Added error messages \nodatafileerror and \emptydatafileerror. + +Added command resizedrawpen to grafbase to unclutter the +output file. + +Collected the common code in \xmarks, \ymarks, etc., so that now they +are implemented with \marks x, etc. + +Added aliases \lattice and \gridpoints for \grid. + +Changed the option handling in \tlabel so that it is translated into +integer values and \ifcase can be used, making for simpler conditional +code. Added \mfp@justifyerror to the \tlabeljustify command, to +occur if an invalid letter is used. + +Added \extra@tlabel command at the end of \@tlabel and \@@tlabel. +Redefining this makes it easier to write macros looping through many +\tlabel commands. + + +REVISION 0.5.05 alpha, April 16, 2002: + +Corrected bug in \mfpverbtex which caused # symbols to be doubled in +the output: simply change catcode of # before reading the verbatimtex +material into the token list. + +Remove \DeclareGraphicsRule commands issued in mfpic.tex so +as not to interfere with the graphics package error checking. Instead +the equivalent is done inside a group for each picture with +\@namedef{Gin@rule@.\mfp@count}. + +Added a command index to \mfpicdoc.tex. The distribution now includes +a recent version of eplain.tex for the indexing macros and the actual +index mfpicdoc.ind. The makeindex style file that was used, +mfpic.ist, is also included. + + +REVISION 0.5.06 alpha, April 16--May 7, 2002: + +After installing new MiKTeX and forgetting to set localfont, I found +that textrect, textoval and textellipse (in grafbase.mf) fail due +to arithmetic overflow. This is because rather simple text can be (say) +40pt by 40pt. Since that is 400 by 400 pixels (under mode:=ljfour), +and we have to compute numbers on the order of their product, we exceed +the 32K limit on numbers. Changed these commands to do computations in +graph coordinates. That is at least resolution independent. Also change +some formulas involving sqrt to instead use ++ or abs to minimize +such problems. + +Updated most docs. Changed mfpic.ist so it will write an mfpic package +comment to the top of mfpicdoc.ind. + + +REVISION 0.5.07 alpha, May 7--June 25, 2002: + +Added \usingpairdefault to reset the \using specification to the +default. Also \usingnumericdefault for commands that take a numeric +list (equivalent to \using{#1 #2}{#1} ). + +Documented \marks commands. + + +REVISION 0.5g alpha, June 26--July 31, 2002: + +Changed version numbering scheme so LaTeX file utilities like the +snapshot package are better served. + +Change the graphic inclusion to use \@setmfpicgraphic which, in +addition to executing \setmfpicgraphic, also runs any additional +commands that may be needed and should be transparent to the user. These +include the above setting of the graphics inclusion rule, and now also a +scheme for recovering the bounding box (for future feature allowing +truebbox without mplabels). The graphics package makes this hard by +not saving it globally except in \@gtempa, which hardly seems safe to +rely on. Nevertheless that is what I use now, though it doesn't get used +yet. + +Changed \DeclareOption* to print a warning or a message (depending on +whether graphics was already loaded or not) instead of just passing +the option on to graphics package). + +The default verbatimtex stuff that was written to the out file in +\opengraphsfile is now stored in a token register +\mfp@commonverbatimtex and then written. + +\opengraphsfile now checks for the existence of a file with the +extension of the current value of \mfp@count (default 1) in case the +user changes its value (with \mfpicnumber) before that command. +mfpic.tex now sets it to 1 rather than rely on \opengraphsfile to do +so. + +Changed \tlabel to place its contents in a simple left aligned +\halign. This makes it possible to right-align or center multi-line +labels with an \hfill or \hfil on left. + +Corrected bugs in file read/write (\plotdata, etc.): Moved whitespace +resetting to \@processdatafile, and changed one \def in +\mfp@rwdataloop to \edef. + +Moved the LaTeX2e graphics rule stuff to \mfpic, \usemetapost now just +saves the graphics rule signature ("eps" or "mps") for use in that +stuff. + +Remove eplain.tex, substituting indexing.tex which contains only(?) +macros necessary to process the one indexing command actually used in +mfpicdoc.tex, and the two-column printing of the index. + + +REVISION 0.5h alpha, Aug 1--6, 2002: + +Added code to \@setmfpicgraphic to retain the lower left corner of the +picture under metapost. I did this by redefining \Gin@def@bp to make +its definitions (of \Gin@llx, etc.) global. Then added that info to +\@xconv and \@yconv. This allows truebbox to work without mplabels. +Added code to graphbase.mp that keeps track of maximum bounding box of +all the text labels and to adjust the figure's bounding box if that +extends past the boundary of the mfpic environment. This allows labels +to expand the size of the graph (as documented) in the remaining case: +with mplabels but without truebbox. + +This requires that any user who redefines \setmfpicgraphic must also +redefine a command \getmfpicoffset that stores the coordinates of the +lower left corner in the macros \mfpicllx and \mfpiclly. + +Reverted to the previous \tlabel method of producing multiline +labels. The \halign method (specifically the \let\\=\cr) produces +an error when either of the packages latexsym or amsfonts is used. So it +is not (yet) possible to right align or center multiline labels. + +Reverted back when I discovered that \def\\{\cr} did _not_ conflict +and seems to work just as well. It is again possible to right align and +center multiline labels. + +Added \gclip rendering macro (did no one ever miss this?), that clips +the current picture to the interior of the following path. And added an +example to *objs.tex. + + + +REVISION 0.5i alpha, Aug 7--12, 2002: + +Rearranged the endmfpic code of grafbase.mp so that truebbox, clip +and mplabels interact properly, meaning that text which is clipped off +_doesn't_ expand the bounding box. + +Announced to mfpic mailing list. Maybe this will become version 0.6 beta. +(Ha!) + + +REVISION 0.5j alpha, Aug 12--15, 2002: + +Changed name of \marks command (introduced in 0.5.04) to \axismarks +to avoid name clash with \eTeX primitive command (reported by Guy +Worthington). + + +REVISION 0.5k alpha, Aug 15--26, 2002: + +Rearrangement of \begingroup-s at some point caused a problem with +\datafile commands: the \@figmacend was issued inside a group. +(reported by Jaromir Kuben). + +I moved the location of \@figmacstart and \@figmacend and that +solved it but caused a problem with \plotdata, which reused that code. +Solved by putting an appropriate \@figmacend in the \plotdata code. + + +REVISION 0.5l alpha, Aug 26--29, 2002: + +Changed the code that saves the lower left corner of the picture under +metapost. Instead of making \Gin@llx, etc., global, I redefine +\Gread@parse@bb to store them globally in our own macros. This +redefinition happens only in the \mfpic environment (in fact only +inside the box where the graphic is included). + +I settled on this as having almost no side effects. Perhaps there is a +reason the \Gin@* commands are local even though no one on +comp.text.tex came up with one. + +Also, since now the only \begingroup/\endgroup pair in the +file read/write code is in one place: the \@processdatafile command, I +deleted all the \global in front of \read commands. + + +REVISION 0.5m alpha, Aug 29--30, 2002: + +Updates to *.txt, readme.1st, and documentation. + +Changed \mfp@ifnextchar so that when looking for the next token, it +will skip over \relax. This means one can put the optional argument on +another line even when \preservelines is in effect (at which time the +line end character is active and has been \let equal to \relax) + +Change \@figmaclist and \@mfp@writelist so they preserve lines. +Since all commands that write lists of data to the output file +ultimately run one of these, all those commands preserve lines. Then I +removed \preservelines from \mfpic. Now we no longer need the +caution about putting a macro and its arguments on the same line. + + +REVISION 0.5n alpha, Aug 30--Sep 04, 2002: + +Allow \tlabelsep and \tlabeloffset to have any argument. I +was so stupid: it was just a matter of setting the TeX dimensions first +and then writing their values to the output. + +Documented \mfpdataperline. Also changed it to a macro rather than a +\count because LaTeX users are unfamiliar with count registers +(\newcounter, yes, \newcount, no). I could have called it +\c@mfpdataperline, but then it wouldn't be user-level for plain TeX. + +Changed "\ifnum\mfp@n=\mfpdataperline" to +"\ifnum\mfp@n<\mfpdataperline" and exchanged the true and false clauses. +Just in case some user sets \mfpdataperline to some number which is not a +positive integer. + +Added \space to "\mfsrc{verbatimtex\endgroup\space etex}", just in +case TeX could enter a state where it doesn't append a space when it +writes the \endgroup. + + +REVISION 0.5o alpha, Sep 04--06, 2002: + +Corrected LTXMFobj.tex and LTXMPobj.tex. After testing various +combinations of mplabels and truebbox, I'd incorrectly added these +options to the former file and failed to restore them to the latter. + + +REVISION 0.5p alpha, Sep 06--09, 2002: + +Added commands \setpapersize and \setpagegeometry to header.tex. +Now the preamble of almost every .tex file in the docs directory is +reduced to using these two commands. + +Deleted old verbatim macros which were no longer used. + +Removed save piecenter; from grafbase. This variable was documented to +be set by the piechart command, but saving it made it unavailable. + +Corrected the example concerning \datafile with \xmarks: the +parameters of \using needed a space between them. + + +REVISION 0.5q alpha, Sep 09--12, 2002: + +Multiple documentation refinements. + +Removed \if@mfp@metafont, using only the switch \if@mfp@metapost. + +Added \mfp@ifdefined: it checks if a token is neither \undefined nor +\relax. Used in macros to detect format. Moved definition of +\@firstoftwo and \@secondoftwo before it. + +Made some definitions in \usemetapost global, in case it is +mistakenly issued inside a group. + +Removed \@eatspacedef since it was used only once to define something, +and it was shorter to define it directly. + +Changed all \ifx in \@@arrowoption to \if in case someone wants to +pass the the letter as a macro + +In axis code, changed `\x to simply `x lest \x have some +definition and some TeX state causes it to be expanded. + +Gave \newsavepic a definition closer to \newsavebox, which uses +\@ifundefined rather than strictly testing against \undefined. + + +REVISION 0.6 beta, Sep 12, 2002: + +Uploaded to CTAN. + + +REVISION 0.6a alpha, Sep 12--Nov 5, 2002. + +Added \let\par\relax in the definition of \@mfpic to +nullify blank lines in user code. Needed since I stopped using +\preservelines. (Reported by Jaromir Kuben.) Put in commands to +restore \par to its normal meaning in labels and captions. + + +REVISION 0.6b beta, Nov 6--, 2002. + +Incorrect sign on sinh function in grafbase. + +REVISION 0.6c beta, Nov 6--, 2002. + +Bounding box had the horizontal and vertical data reversed if all +of the following three options were selected: metapost, mplabels and +clip. + +REVISION 0.63 alpha + +Mfpic: + +Added code to write into the graphs file a test of the major version +number (to assure that the files mfpic.tex and graphbase.mf/p are +comparable). + +Added a switch \in@mfpicenv that is true inside an mfpic environment and +false outside. This allows macros to make global changes outside and +local changes inside, helping TeX and Metafont stay in sync. Modified +some commands to use it (clip and truebbox options, so far). Added +\mfp@local which expands to nothing inside and mfpic environment and +to \global outside. + +Changed \@dummy to \mfp@dummy (mfpic.tex) lest its name clash with +other packages. + +Added a \partialpath{a,b} command. It's argument is two fractions +separated by a comma and produces the subpath of the following path f +that goes from a*length(f) to b*length(f). (Hmmm...so +\partialpath{1,0} would inefficiently reverse a path!) + +Also added \subpath{a,b} to give the equivalent of the MF code + subpath (a, b) of + +Added command \closed[]{} where is l, b, +s, cb, or u so that, for example, \closed[2]{s} does the same as +\sclosed, except that added or modified links will have tension equal +to 2. Then I defined the previous commands in terms of this one (tension is +ignored for \lclosed and \cbclosed since they specify exactly what the +link should be.) Default for is 1. + +Moved \fdef to a global location and added "save #1;" to its +definition. Functions defined with it should now be local if it is used +in an mfpic environment and global otherwise. + +Redefine \+ for entire mfpic.tex. Avoids somewhat complicated +work-around of its outerness in \usemetapost. Restore previous meaning +at end of file. + +Added \@bsphack and \@esphack (as in LaTeX). + +Rewrote \tlabelrect, etc., so that they take a second optional +parameter: the label justification. Made the current \tlabel defaults +the default for \tlabel also. Might change this to [cc] after +talking to Jaromir. + +Changed \store to be usable as a prefix command. It still takes a +second argument but doesn't wrap anything around it, so +\store{m}\circle{...} is as valid as \store{m}{\circle{...}}. But now + \xscalepath{0,2}\store{m}\circle{...} +is also valid, storing the untransformed circle. It is written as a +\@rendmac so that it turns off automatic path rendering. It invokes a +new grafbase command stored , which stores the path and passes it on +(as the other prefix macros do). This may have restored the old behavior +(prior to 0.2.9.10 alpha), but I can't tell, since I never had any +experience using those versions and don't know why the change was made. + +Streamlined \arrow so that instead of a chain of 4 macros (that all +did the same thing!), each calling the next, it loops until no more +optional arguments are found. + +Renamed \mfpicdebugwrite to \mfpDBwrite to streamline the source +file. Later renamed to \mfp@DBlog to remind me that it only writes to +the .log . + +Change \getmfpicoffset and \preparemfpicgraphic so they take an +argument: the name of the figure file. The default versions do nothing +with it. Changed \@setmfpicgraphic so it calls them with the name of +file. In case a power user needed the file name in his redefinition. + +Shortened \usemetapost. Defined as much as possible outside it, and +include only what needs to be changed. E.g., we no longer redefine +\@setmfpicgraphic inside it (nor \preparemfpicgraphic in the +non-LaTeX version). + +Rearranged code so that \usemetapost is defined in three ways instead +of two: LaTeX2e, plain pdfTeX and plain TeX. Formerly the second two +were combined in one which contained an \ifpdf-\else-\fi construct. That +is now moved to an outer level. Shortened the name of \if@mfp@pdftex to +\if@mfp@pdf since pdftex could be used to produce dvi output, and we +want this to be true only when pdf is being produced. + +Added \mfcmd (adds semicolon to argument) and \mflist (wraps argument +in parentheses). Done so that we can delay reading the argument and +therefore preserve lines. Both of these and \mfsrc now call \@mfwrite +with an appropriate argument. It initiates \preservelines and +continues with \@mfcmd, \@mflist, or \@mfsrc. These read the +argument and end with \@mfsrc, which ends line preserving. + +Rearranged code of \@figmac. It now issues \@startfigtrue before +writing its argument and doesn't do \@imrendtrue. This allows it to +end with the code to read the argument, and avoids some cases of having +to read large arguments before \preservelines is issued. There was +only one case where the timing mattered: \connect, and there we needed +the current order! + +Simplified the scheme for list macros (\mfp@writedata). The above +rearrangement meant there was no longer any need for different treatment +of figmacs and non-figmacs. + +Grafbase: + +Added code to grafbase file to test if the major version of mfpic +(assuming it is input by an mfpic generated file) and that of +grafbase.mf/p are comparable. Added a boolean MFPIC that is true if +the test succeeds. Not used yet. + +Rewrote most of the arc commands in grafbase, focusing on trying to make +any points that were explicitly specified into actual nodes of the path +(i.e., use nothing that could result in round-off error) plus trying to +increase robustness. + +"Corrected" cbclosed command in grafbase. Its code used to put in one +cubic B-spline link and connect that to the beginning and end of the +path f with two ordinary MF Bezier path joins. Now it connects with +three cubic B-spline links, the middle one being the same as before. + +removed w, d, and h as internal variables because of another user +name clash, this time with \fdef(h)... . + +Rewrote grafbase messages and error messages for consistency and +pithiness. + +Changed gblabel to newlabel, but gblabel remains as an interface for old +files, calling newlabel. There are now three parameters rather than four +for horizontal and vertical adjustment. The first gives the fraction +of the text left of the point of placement. The third is a +boolean. If false, the second parameter is taken as the absolute +fraction of the text below this point. If true, it represents the same +except the depth of the text is ignored. This (.5,0,true) gives [Bc] +placement, while (.5,0,false) gives [bc]. + +Added textrectx, textellipsex and textovalx which now allow horizontal +and vertical adjustment and rotation, just like gblabel. The original +commands just call it with the old default (centered, not rotated). + +Rewrote nearly all error messages in grafbase.mf/p. Changed "GUBED" to +"END DEBUG". (That has always bothered me.) + +Reintroduced "bounds" to the mfpic file. It seemed a reasonable +shorthand, replacing four lines of code with one. And has been around +forever. + +Reexamined clipping, trying to make sure that when ClipOn is true, +nothing is written outside the clipping paths. Except there are things +drawn for debugging purposes, so I added noclip() which executes its +contents in a group where ClipOn is set to false. Added DoClip(v) as a +shorthand for: + if ClipOn and (ClipPath > 0) : clipsto (v, ClipPath); fi +Correspondingly changed several commands to write to a temporary picture +variable, which is then DoClip-ed before adding to active_plane. This +turned out to be a prescient act for the purpose of using color in MF +(see below). + +Changed P1 in headpath (giving the direction of the arrowhead) +from "direction n of g" to "point n of g - precontrol n of g". +This gives the arrowhead from \arrow\rect{...} a reasonable direction +without having to rotate it +/- 45 degrees. + +Determined that the filling commands shade , polkadot and tess (all +these are my doing) did not respect aspect_ratio. Changed all of +them to invoke a macro, filledwith, that returns a rectangular picture +tiled with shifted copies of a given picture. This macro respects +aspect_ratio (i.e, invokes .t_ where it should -- I hope). + +Introduced color to Metafont (gray levels only): made color synonymous +with numeric; assigned numeric gray levels to the variables red, +green, etc. Defined the color commands (rgb, RGB, cmyk, gray and +named) to produce appropriate gray levels. Added macro makegray for +this purpose. Allow black or white in drawing commands and gray +levels in filling commands. Gray fill is implemented by a new macro +shaded which is similar in some ways to the internal code of shade and +may one day replace it. Right now shade uses round dots and respects +shadewd and the spacing parameter. But shaded just builds a square +picture which is either two black almost-squares in a white background +(gray levels > .5) or two white almost-squares in a black background. +Works well in simple tests so far. + +Changed the code executed if mode is unknown back to switching on a +default mode, but this time ljfour instead of cx. + +Removed the aspect_ratio scaling from resizedrawpen, and also from +the definition of drawpen and hatchpen. Added that scaling to +shpath. + +Added partialpath and gsubpath to support mfpic's \partialpath +and \subpath . + +Docs: + +Changed this file (changes.tex) from a .tex file to a .txt file for +simplicity of maintenance. + +Transcribed mfpicdoc.tex to a LaTeX file adding mfpdoc.sty to preserve +most of the previous formatting. Adds a table of contents; allows an index +without the extra files indexing.tex and mfpic.ist (both now removed). +Added hyperref, producing a linked .pdf file if pdflatex is used. Did +the same with grafdoc.tex and mf-revu.tex, except the latter has no +index. Have removed mppicdoc.tex since the small part of it that was +not already covered in mfpicdoc.tex has been added in an additional +appendix. + +Made mfpic.dtx, mfpic.ins and grafbase.dtx files. Processing +mfpic.ins produces mfpic.tex and mfpic.sty from mfpic.dtx, plus +grafbase.mf, grafbase.mp and dvipsnam.mp from grafbase.dtx. + +REVISION 0.64 alpha + +Grafbase: + +Rewrote the mfpic macro \polkadotwd so all it does is set the width +(omitting the code "thepolkadot := setdot(...)"). The grafbase polkadot +command now remakes the dot each time it is run. This is really just for +simplicity (for the \cs{polkadotwd} macro). Same was done for \shadewd +and shade. To change the shape of the dots used, I've added +shadedotpath and polkadotpath in addition to dotpath. The last is +now only used for dotted lines and grid. + +Added command threeangles (suffix s) (expr A, B, C) that finds the +three angles of the triangle ABC and assigns them to the s1, s2, and +s3. Now used in arcppp and the new command circleppp . Later +threeangles was replaced by three calls to a new vardef: cornerangle +(A,B,C) , which was useful on its own. + +Added circleppp producing the circle through three points. + +Added circlecp producing the circle with center at a given point, and +passing through a given point. + +Added circlepps producing the circle completing the arc produced by +the corresponding arcpps. These three form their circle from arcs, +ensuring that the circle (a) begins at the first given point on the +circumference, (2) has all the given points as nodes (though more may +have to be added, of course), and (iii) it is at least as robust as the +arc commands, into which a lot of thought was put. + +Added commands that produce circles related to triangle. A triangle Q +is, by definition, required to be a closed path in the form +Q0--Q1--Q2--cycle. + +circumcircle Q produces the circle through all three corners +incircle Q produces the inscribed circle (inside the triangle + and tangent to all three sides) +excircle n of Q produces the exscribed circle opposite Q[n] (tangent + to Q[n-1]--Q[n+1], and to the extensions of + Q[n]--Q[n-1] and Q[n]--Q[n+1] outside the triangle) +ninepointcircle Q The circle through the base of all three altitudes, + through all three midpoints of the sides and through + the points on each median that is halfway + between the corner and the common intersection of + the medians. + +And commands that produce points related to a triangle: +incenter Q center of incircle Q (= intersection of angle + bisectors) +circumcenter Q center of circumcircle Q +excenter n of Q center of excircle n of Q +ninepointcenter Q center of ninepointcircle Q + +None of the triangle related command integrated into mfpic yet. + +Added command pathcenter c which obtains the center of a circle c +(or a rectangle c!) by finding the intersection of the perpendicular +bisectors of two chords. It will happily find the "center" of any path. + +Mfpic: + +Rewrote \function, \plrfcn and \parafcn so they all simply define +\mfp@fcnname to the appropriate grafbase command name and call the +same macro to write the code. As with a lot of other commands, we now +write the old shorter commands when the new parameter (in this case the +tension) is absent: \function {...} produces "function (true) (...)" +while \function[s1.5]{...} produces "tfunction (true) (1.5) (...)". +In retrospect it would have made cleaner code if I had placed the extra +"t" at the end of the name and the tension parameter at the beginning of +the parameters. + +Made similar changes to \btwnfcn and \plrregion . + +All the commands that have an optional argument for the color (\draw, +\gfill, \arrow and all the hatching commands) now have an empty value +for color as the default. When the color is empty we write the old +simpler commands. That is, "\draw..." or "\draw[]..." produces +"drawn ..." rather than "colordrawn (drawcolor) ..." Trying to +streamline the output file. + +Added optional argument to \circle (similar to the ones for \arc). So +the circle through three points can be easily drawn, filled, etc. + +Renamed \@graphdp to \@graphbot, since it is not the TeX depth, but +the coordinate of the bottom recalculated after each \tlabel . Also +\@graphht -> \@graphtop for the consistency. + +Streamlined some aspects of tlabel macros, reducing number of +macros in the chain. Also keep track of the \@graphleft, etc., +calculations so that we can later set the label on the graph with only +two kerns and no \if-clauses. \tb@moveright is the accumulated value to +kern horizontally, and \tb@raise is the amount to move vertically. + +Streamlined \tlabel macros, including consolidating main code into +one, rather than two alternative macros. + +Added \@firstofone and use it in place of \mfp@identity . Also use it +when passing a pair of coordinates for \tlabel : provides grouping that +is not stripped by parameter matching, but also not written into output +file. + +Assigned numbers to axes: x=0, y=1, l=2, b=3, r=4, t=5 . Defined +\get@axisnum similar to \tlabeljustify to assign the numbers, and can +now use \ifnum in \axis and \ifcase in \axislabels to branch on. +This also consolidates the error message in one place. + +Rewrote the \endmfpic debug messages to give me information I want to +see: compare \@graphleft and \@graphright with \wd\@wholegraph, etc. + +Rewrote \plottext under the assumption that all points are specified +as in other plotting commands: pairs separated by commas (i.e., no +braces). Changed docs to reflect it. + +Redid \axislabels so that it could proceed gracefully on an empty +argument. In fact... + +Added \mfp@ifempty as an abbreviation for + \if~#1~\@xp\@firstoftwo \else \@xp\@secondoftwo\fi +to make several such changes possible. Redid \do@mtparam using it. + + +Docs: + +Documented some aspects of MF naming conventions (basically: no +suffixes) and suggested only letters be used. + + +REVISION 0.65 alpha + +Mfpic: + +Rename \mfp@metaposttrue to \mfp@mposttrue, etc. + +Since \@mfp@mposttrue is never otherwise used, we don't define it +(i.e., remove \newif command), instead, replace its use in +\mfp@mposttrue with \global\let\if@mfp@mpost\iftrue . Similar +changes for the false version and for other switches: \if@mfp@clip, +\if@mfp@centcapt (formerly \if@mfp@centercaptions), \if@mfp@mplabels + +Added \mfp@ifmpost{1}{2} as shorthand for \if@mfp@mpost 1\else 2\fi. +Added \@ifmplabels{1}{2} as shorthand for \if@mfp@mplabels 1\else 2\fi. + +Added \xxxfalse (initializations). Though unnecessary, it provides +documentation of the default. + +Renamed \@if@mfp@beforefileopen to \@if@mfp@filenotopen (since it +could conceivably have been previously opened but then closed). + +Added \setdatadashes, \setdatacolors, and setdatasymbols, to allow +the user to set the dashing style, colors and symbols used when +\dashedlines, \coloredlines , or \pointedlines (or \datapointsonly), +respectively, are in effect. (later removed them, see below). + +Added \@nameuse and \@namedef and replaced a several lines of code +with shorter versions using them. + +Added \@ifmtarg (from ifmtarg.sty) and use it when possible instead +of \mfp@ifempty + +Reordered much of both mfpic.dtx and grafbase.dtx (many times!) to +make documentation more natural. + +Rather extensive revision of \axislabels , mainly so that braces around +the text argument are not prematurely stripped (bug introduced when we +tried to "gracefully" handle empty portions of the arguments). + +Added \@makeother and used it in \mfp@sanitize. + +Removed a number of \newif's : those whose values are always set by +another command. These commands now contain \let\ifxxx\iftrue instead +of \xxxtrue . This saves a couple of strings of pool. + +Added \mf@T for the frequently used string "true" , and \mf@F for +"false" . + +Removed grafdoc.tex from the manifest (grafbase.dtx documents the +grafbase macros). Also removed mf-revu.tex (because I'm lazy). +But will add mfpguide.tex as a short intro/tutorial. + +Set \@mfp@verbtexfalse after writing the verbatimtex in +\opengraphsfile (in case it a user tries to have more than one +\opengraphsfile command in a document). + +The utility \mfp@gettoks that was only used in \tmtitle and +\mftitle has now been used to abbreviate similar \afterassignment +constructs elsewhere. + +Rewrote \curve and \cyclic so both call the same command (as was +done some time ago with \polyline and \polygon though not documented +until now). + +Rewrote \noship and added \stopshipping and \resumeshipping so that +shipping can be turned off for several figures. + +Simplifies \mfpdatacomment so that it just sets the register +\@datacommentchar to the character code. Then \mfp@setcomment +changes the category of \@datacommentchar to 14 (comment). + +Added \transformpath , similar to \applyT except that it is a +modification macro for figures. It's argument is a transformer + +Added \cutoffafter {} and \cutoffbefore {} as prefix +macros that cut the following path after its intersection with the named + (a name defined with \store) + +Added \trimpath{,} , a prefix macro that removes the part +of the following path within of its start and within +of its end. + +Grafbase: + +Added transformedpath (transformer) expr f that reads a path f , applies +the transformer and returns the result. This is to supply the correct +syntax for the \transformpath macro. + +Added gbcutafter and gbcutbefore . Unlike the similarly named MP +macros, these try to cut off as much as possible. Later changed the +names to cutoffafter and cutoffbefore, but gave them standard mfpic +syntax: "vardef cutoffbefore (expr b) expr f =". Also reverted to +essentially the same as the MP definitions. + +Added trimmedpath (expr a,b) to implement \trimpath . + +Rewrote textovalx and textellipsex so they now simply call a common +command, xellipse with a switch set that affects only two lines of the +calculations. + +Slightly revised MF handling of colors. Now the only real difference +between MF and MP is in one macro, makeclr , plus the "color" keyword +("color" still means "numeric" in MF). What makeclr does is accept +three parameters and calculate a gray level in MF, but simply return a +color triple in MP. Then rgb(r, g, b) means + makeclr(snapto(r), snapto(g), snapto(b)) +while all other color functions (except named ) call rgb . + + +REVISION 0.66 alpha + +Grafbase: + +Will try to converge behavior of labels between options mplabels and +nomplabels . Therefor, we add the labels in grafbase on top of the +drawing, after any clipping. We do this in newgblabel (oh, yes, I +renamed newabel to newgblabel) by adding the label to their own +picture: currentlabels. Then currentlabels is added onto the picture +as the very last thing in endmfpic . + +Added emin(x,y) and emax(x,y) as somewhat more efficient versions +of min() and max() . They are vardefs and take two expression +arguments rather than a text parameter with an arbitrary list. + +Added the possibility for textrectx to be given "maximally" rounded +corners: each quarter circle meets the one at the nearest corner so the +end is a semicircle. This is done by allowing the radius parameter to be +a boolean. When it is true, maximal roundedness is used, when false the +corners are not rounded. Provided a mfpic interface by defining the +boolean variable roundends, which is true by default. + +Added TruncateWarn and NoCycleWarn , that print common warning +messages. + +Added pointcolor , the color in which points are drawn by pointd and +in which symbols are drawn by plotsymbol . Now implement pointd with +plotsymbol . However plotnodes , being a drawing command, uses +drawcolor . + +Removed "withcolor fillcolor" from the definition of interior , which +is normally only used in grafbase.mp in some other command that has a +color parameter. The only really "benefit" of having it there was a +dubious one: plotsymbol produced fillcolor solid symbols and +drawcolor open ones. Now all are in pointcolor . Also moved a couple +of other instances of withcolor out of low level commands and into +higher level commands. + +Removed the color parameter from thatchf . For MF to respond to +hatchcolor , the color has to be invoked when the hatching is added to +active_plane , and only the higher level command, thatch , does that. + +Rearranged some of grafbase.dtx for documentation purposes. I am +trying to follow this order: bitwise operations, picture manipulation +commands with use-motivated names, and then the rendering commands that +use those to manipulate active_plane, finally followed by the graph +coordinate rendering commands. + +Added vardefs pnt@#(f) , pre@#(f) and post@#(f) as abbreviations +for point @# of f , precontrol @# of f and postcontrol @# of f . + +Changed a few "max (x,0)" to "abs(x)". These had mostly been not +well-thought-out attempts to gracefully handle erroneous negative values +of "x". The "abs(x)" versions avoid problems in more situations + +Mfpic: + +I will eventually move the import of the picture from the beginning of +the environment (\mfpic) to the end (\endmfpic). Labels (when TeX is +placing them) will be kept in a separate box, and it will be added onto +the picture at the end. + +The optional parameter of \tlabelrect may now be the literal word +"roundends". This will make the radius of the quarter circles equal to +half the narrower dimension of the rectangle, giving the "rectangle" +semicircular ends. + +Added \pointcolor for setting the color of points (for \point) and for +symbols (\plotsymbol), but \plotnodes is interpreted as a drawing +command, and so still uses \drawcolor. + +Changed (again!) the name of \@if@mfp@filenotopen, this time to +\@if@mfp@fileisopen, reversing its sense, and reversed the order of all +commands. + +Moved the undefining of \mfp@filename in \closegraphsfile outside +the conditional (just in case). + + + +REVISION 0.67 alpha + +Grafbase: + +Added knownarray suffix arr, which returns a boolean: true if arr is +the name of a known array (arr is numeric and a positive integer and +arr[1] through arr[arr] are known). Added isdashpat suffix pat, +which applies knownarray to pat.start, pat.rep and pat.finish. + +Added defaultdashes, defaultsymbols, and defaultcolors, which +contains the code to define dashtype0, etc., pointtype0, etc., and +colortype0, etc. + +Added setdatadashes, setdatasymbols, and setdatacolors to allow the +user to change the definitions of the dashtype, pointtype, and +colortype arrays. + +Added getdashpat, getsymbol, and getcolor which perform the modding +operation that used to be done in TeX for reverting (for example) to +pointtype0 after the ninth curve is drawn by \plotdata. + +Changed thepolkadot (in MF) so it is shaded. But we should make it +cover other contents of a region, and we need to subtract black ones +before we add gray ones. Done. + +Added regularpolygon (expr n) (suffix P) (text eqns), where n +is the number of sides, P is the name of the array of vertices, and +eqns is a pair of equations specifying either the center, P0, and one +vertex, or two vertices. Vertices are numbered anticlockwise (otherwise +two points are not enough data). + +Added variables default_tension and fcn_tension to be used as the +default in path creation commands instead of the hard coded values 1 and +1.2. + +Mfpic: + +Realized that the opening code of \mfpic no longer needs to know the +setting of truebbox. No longer make it an error to use it in an mfpic +environment. + +Replaced the three commands \setdatadashes, \setdatacolors etc., with +a single command \reconfigureplot which takes the word `dashes', +`colors', or `symbols' for an argument. Added \defaultplot which +takes the same arguments and restores the builtin defaults. + +Changed name of \partialpath to \partpath. + +Added \regpolygon{n}{P}{}{} which writes +reguralpolygon (n) (P) (;;) (see above). + +Moved the loading of the figure to \endmfpic. Now tlabels are added +to a box \@alltlabels which is appended to the figure right after it +is loaded. This helps keep most of the box loading in one place. It also +permits the possibility of adding a write-18 capability for on-the-fly +figure creation. + +Added \mpobj as a synonym for \mfobj. + +Added \settension to set the grafbase variable default_tension. +and \setfcntension to set the grafbase variable fcn_tension. + +Docs: + +Started mfpguide.tex, a beginner's tutorial. + +Renamed mfpicdoc.tex to mfpicman.tex (can't remember why -- maybe +because I got it confused with mfpdoc.sty). + + +REVISION 0.68 alpha + +Grafbase: + +Improved fcncurve: fcncontrol does `the right thing' when two +successive points have the same x-coordinate. This gives the curve a +decent ending if, instead of extending the sequence by symmetry (in +order to calculate the controls for the endpoints) we extend by making +the additional points equal to the endpoints. Looks _so_ much better! +That was surprising given that all I tried to do was avoid dividing by +0! + +Modified plotnodes as well as plotsymbol so that both store the +relevant pairs in an array and call dosymbols, which draws the symbol +at each coordinate in the array. And dosymbols call another command, +addsymbols, one or two times (once to clear). + +Added boolean: clearsymbols. When true, those symbols place by +plotsymbol or plotnodes which are `clearable' (open paths that satisfy +their first point equals their last) are first closed and filled with +background color in MP (cleared in MF) before being drawn. + +Added complex function sgn Z : returns 0 if Z is (0,0) otherwise +unitvector Z. + +Modified shadepic. The main point to make sure we don't divide by 0. +But also, set dimensions for the picture by doing the lowest resolution +first (thus ensuring both dimensions are at least 2 _pixels_). + +Modified the arrowhead routine so that when the head is filled, the +extra line that closes the head is also drawn. + +Modified arcpps so that angles less than 45 are drawn as a single +segment without passing through a midpoint. + +Modified pathcenter c so it can find the center when c is only an +arc. + +Added barycenter expr t to average the points of the the path t. + +Added makesector expr p, where p is an arc (or any path). Connects +pathcenter p to its endpoints. Could be a little more accurate if we +limited it to arcpps and used arccenter. + +Added boolean: overlaylabels. When true, labels are added to +current_labels, which is then overlayed at endmfpic (new behavior), +when false, labels are added immediately to active_plane. + +Changed these so they produce a path (line segment); used to be they +returned the endpoint. (You can get the point by invoking +"point 1 of altitude n of Q".) + +altitude n of Q the altitude from Q[n] to the opposite side + (produced if necessary). +median n of Q the median from Q[n] to the opposite side +anglebisector n of Q the angle bisector from Q[n] to the opposite + side + +Added + tbezier (expr tens, cyclic) (text lst) +which makes the simple cubic bezier (connects the points in the list +with ..tension tens.. ), as well as its non-tense counterpart bezier. +Also added + mkbezier (expr tens, cyclic) (suffix pts) +which is called by the above after loading the text list in the +the array pts. + +For quadratic Be'ziers we have qbezier, and mkqbezier. + +Removed fcn_tension, using instead 1.2*default_tension. This is for +consistency, all curves responding to the same default + +Added verbatimtex definition to grafbase.mf. It just gobbles +everything to the next semicolon. + +Redid openqbs and closedqbs so they behave like most other +path-making commands: they call textpairs and then some common code, +mkqbs with the name of an array. Also redid mkclosedcbs so it +utilizes mkopencbs. + + +Mfpic: + +Changed the axis commands so they explicitly call \arrow. The purpose +was to ensure that the arrowhead is drawn _after_ the shaft. +Significant only for colored heads. This turns out to make axis@# in +grafbase unnecessary \arrow[l##1]\@figmac{axisline.##2} is all that is +required. + +Added \makesector, a \@closmac prefix that can make a sector out of +a following arc. Useful when the arc is given without a known center +([t] or [s]). + +Added \let\@nl=\@activectrlM to \@mfwrite so that \@nl can +be used for line breaks when catcodes of EOL are already fixed (e.g., in +macro definitions) + +Added check to \opengraphsfile that no previous file is still open. + +Added \clearsymbols \noclearsymbols to interface with the grafbase +clearsymbols boolean. Added clearsymbols LaTeX option + +Added \newdef\pinumber{3.14159}. + +Added new option: overlaylabels and commands \overlaylabels and +\nooverlaylabels. Similar in implementation to truebbox: a TeX +boolean is used only to communicate the setting to \opengraphsfile +before a file is open. Otherwise a MetaPost boolean (above) is switched +on or off. + +Moved \@processdatafile outside \@mfpic@graf@macs. Also moved +\skipBlanksandComments and definition of \mfp@data since they are +used by \@processdatafile. Also moved \skipcoomments because it +seemed it should go along with \skipBlanksandComments. Then I rewrote +the latter to actually call \skipcomments, so now it _has_ to go where +it goes. + +Renamed \mfp@empty to \@empty. + +Added \pairarray{}{} and +\numericarray{}{}. They define, respectively, an +array of pairs and an array of numbers. They can be used outside an mfpic +environments (unlike \patharr), and have the usual scoping properties. + +Added \mfbezier[]{} to interface with grafbase's new +bezier command. Also \closedmfbezier. + +And the equivalent of (a sequence of) LaTeX \qbezier: \qbeziers and +\closedqbeziers. + +Removed \setfcntension because grafbase's fcn_tension was removed. +Adjusted docs. + +Renamed \if@mfp@mpost to \ifmfpmpost so power users can use it to +write code dependent on the figure processor. The commands to change it +are still private: \mfp@mposttrue/false . + +Added the test for file being open to \setmfvariable. Saves a lot of +tokens. It seems we never used it without \@if@mfp@fileisopen. Require +moving it considerably earlier. + +Added \mfp@let as abbreviation for \mfp@local\let. Likewise +\mfp@def. + +Renamed \mfp@addto to \mfpaddto for power users (i.e., me) and added +\mfpmultiply (same syntax and similar effect). + +Renamed \@if@mfp@fileisopen to \@ifmfpfileisopen (it was just too +many @'s !) + +Changed \everytlabel so it tests for metapost rather than mplabels. +This allows it to be used anywhere without worrying whether \nomplabels +might have cancelled its effect. + +Renamed \massage@data to \parse@data. + +Make sure every write of verbatimtex ... etex ends with a semicolon so +it can be used by grafbase.mf (see above). + + +Docs: + +First version of mfpguide.tex finished. Writing it exposed a number of +bugs that got by the usual suite of tests. It is the first documentation +that actually shows the code and its result together. + +Second version of mfpguide.tex, adds appendices. Planning to ship a +PDF version. + + +REVISION 0.69 alpha and 0.69a + +Mfpic: + +Rewrote \do@ptparam so its first parameter is the command token (e.g., +\do@ptparam\@draw{} instead of the old \do@ptparam{@draw}{}). Added a +command \simple@opt to process simple optional arguments (those that +don't need further parsing), it calls a second command to read the +option, substitute the default if empty, and then call the command with +the given or supplied option as a normal (brace enclosed) argument. The +idea is to make all empty optional arguments the same as none at all. +Added a command \null@opt which is essentially \do@ptparam with a null +second argument. It turns out that now all commands can be handled by +the last two: \do@ptparam and \alt@ptparam are not used anywhere +anymore, although the bare "\mfp@ifnextchar[" does appear once or twice. + +Make \gridlines honor the settings of \axismargin (see grafbase +section below). + +Added \hgridlines to draw only the horizontal and \vgridlines to +draw only the vertical. + +Added \gridarcs and \gridrays to draw only the arcs or rays of a +polar grid. + +Added \setmfboolean for \setmfvariable{boolean}. +Added \setmfnumeric for \setmfvariable{numeric}. + + +Grafbase: + +Rewrote gridlines to honor the axis margins (laxis, baxis, raxis, +and taxis). + +Added hgridlines (expr ysp) and vgridlines (expr xsp) + +Corrected polargrid. How did it ever last this long without a bug +report? The computation of rmin was wrong, and it seems a semicolon +was missing! Added gridarcs (expr rstep) to draw only the arcs, and +gridrays (tstep) for only the rays. Complemented plrpatch with +patcharcs and patchrays for this purpose. + +Corrected polargrid again! It seems the calculation of max and min +angles didn't take into account that angle (0,0) was undefined but +could occur in the code. + +Redid resizedrawpen to save drawpen and currentpen (not just +penwd). + +Removed mindiam and substituted minpenwd in the MP version (they +were equal anyway). + +Added \InputIfFileExists{mfpic.cfg} in the LaTeX section just before +\ProcessOptions. Added code to detect and input mfppatch.tex if it +exists. + +Docs: + +Added a file plotting example to pictures.tex and lapictures.tex. + +Added some of the new commands to Objects.tex . Converted Objects.tex +to use built-in \ifmfpmpost instead of the ad hoc \ifmetapost +defined in TeXMPobj.tex and LTXMPobj.tex. + +Renamed mfpicman.tex to mfpman.tex. + + +Distribution: + +Packed up for distribution in mfpic69b.zip: + + mfpic.dtx + grafbase.dtx + mfpic.ins + README.txt + install.txt + changes.txt + mfpman.pdf + mfpguide.pdf + examlpes\pictures.tex + examlpes\lapictures.tex + examlpes\forfun.tex + examlpes\data.dat + scr\mfpman.tex + scr\mfpguide.tex + scr\refcard.tex + scr\mfpdoc.sty + +And placed on web site. + + +REVISION 0.69c alpha + +Grafbase: + +Redid gendashed so that it balances speed versus memory: If there are +n repeated patterns, add sqrt(_n) of them to the picture _v, then +DoClip (_v); coloraddto (drawcolor) (active_plane, _v); . Doing +that for each pattern was too slow, doing it only once wasted memory. + +Put on web site. + + +REVISION 0.69d + +Grafbase: + +Modified barchart so that the data can be pairs. Interpret (a,b) +as an interval and creates bars that begin at a and end at b (Gantt +diagrams). + +Added predirection@# (expr p) and postdirection@# (expr p) which +give correct results *whenever* the path p is nontrivial. Based on +the easily prove fact (which I only recently discovered) that for a +nontrivial single knot with keypoints A, B, C and D, the direction at A +is towards the first one of B, C or D that is not equal to A. The +predirection[j] returns (0,0) if the path is trivial. If the path is +trivial upto time j, it returns postdirection[j]. postdirection[j] +is analogous. + +Changed headpath to use predirection[length p](p) instead of +point length p of p - precontrol length p of p. + + +Mfpic: + +Added \gantt (= \barchart) + + +Distribution: + +Placed on web site, announced on c.t.t. + + +REVISION 0.69e + +Grafbase: + +Somehow the last version of grafbase included failed to include a +long-ago change to colorsafefill in which non-black fills first +subtract the interior under MF. Corrected that. + +Experimented with a O(log n) loop for filledwith. Made no significant +difference in speed in tests. Must be the extra overhead. Keeping old +O(n) method. + +Experimented with using "..tension atleast tens.." in mksmooth and +sclosed. All other tension using operations either call these or +require different treatment. The one case in the test suite where a +visible difference occured, it looked worse. Returned to old method. + +Proofed grafbase.dvi, the documentation of grafbase macros. + + +Docs: + +Proofed mfpguide. + + +REVISION 0.69f + +Mfpic: + +Made [cc] the default for \tlabelrect, etc. Added command +\tlpathjustify to change the default. + +Added code to input local additions, defaults, etc., in mfpic.usr, if +it exists. + +Changed \let\par\relax to \let\par\@empty at the beginning of +\@mfpic. It isn't really necessary to use \relax, we just want +to disable blank lines, we don't necessarily want to skip over them in +\mfp@ifnextchar. In fact, for catching errors, it is better if a blank +line stops \mfp@ifnextchar. + +Grafbase: + +New definition of image (writing on active_plane) prevents use of +plain.mp macros (draw and undraw, for example) inside it. Revert +to plain.mp version. + +Change patcharcs and patchrays so they draw on a suffix parameter +This avoids the use of image and saves memory since drawing on a +picture takes less memory (in some circumstances) than creating a +picture and then assigning it. Actually, the least memory would be to +clip each line as created and add that directly to active_plane. + +Re-examined use (or lack of use) of mono(). Added a few. + + +REVISION 0.69g + +Packed it up in mfpic69g.zip and put it on my web site. + +Docs: + +Added documentation that several arrays become defined after a +\piechart or \barchart command. + +Added documentation on \mfpicversion. Added a couple of overlooked +\index entries and a couple of commands omitted from the "by type" +list. + +Grafbase: + +Modified piechart and barchart so that the documentation about +arrays was correct What was missing: pieangle and piedirection +(without numeric suffixes) were not declared, nor given the correct +value. + +Modified code of textrectx so that documentation of \tlabelrect was +accurate: negative values of the optional argument should now produce +indented arcs and reversed path. All that needed doing was reversing the +order of the path connections for negative radii. + +Fine tune the calculation of gray level for the MP version of shade so +that the result more closely matches the MF version on modern printers +(600+ DPI). Formula is now gray = 1 - (.88*shadewd/sp)**2, which gives +a lighter gray than before. We therefore rewrite the MF code to permit +shadewd to be as high as sp/.88 before resorting to filling. The +number .88 was empirically arrived at (i.e. I determined what number +made most of the MP and MF shaded figures in Objects.tex look the most +similar on two different printers; then I averaged the two values). + +Change pi and deg to internals (along with radians). + +Make plrpatch do what it used to do: draw in drawcolor. Also change +polarpatch back to calling plrpatch. + + +REVISION 0.7 beta, 14 Nov 2003 + +Packed up and put on web page and CTAN. + + +REVISION 0.7a beta, 16 Apr 2004 + +Change one semicolon (;) in a string written by \opengraphsfile to a +colon (:) to work around a bug in the perl scripts mptopdf and/or +texexec. + + +------------------------------------------------------------------------ + + Stuff To Do + +------------------------------------------------------------------------ + + Pie-in-the-sky stuff + +A command to obtain the boundary of a region defined by F(x,y), where +F is a boolean valued function. Easy if the region is convex. + +A command to draw a path paralleling another path. Will need +predirection and postdirection and some notion of what to do when +they differ. Inside corners/cusps should be easy, + + /\ /\ + / \ --> / \ + / \ / /\ \ + +outside corners might need some limit on "mitering": + __ /\ + / \ / \ + /\ --> / /\ \ or / /\ \ or a rounded (circular?) connection. + + +A command to render a path with a "photon"? + +Try 'write18' on-the-fly creation of figures? Most straightforward would +be to mimic \opengraphsfile with each \mfpic. That would require +rethinking those commands that write to the graph file _outside_ an +mfpic figure. Maybe redo \mfsrc so it added to some macro or token list, +and write _that_ after the file is opened. + +Or maybe: \opengraphsfile at beginning of document, then +\closegraphsfile just before processing the figure, then \opengraphsfile +again right afterwards. Then only commands we insert occur when a file +is closed. + +Truebbox for MF? Might be done if every drawing command kept track of +bounding boxes (commands that fill, hatch, etc. already get this info +with gbbox). Would just need to add it to plotsymbol (for pointd and +plotnodes) and to the drawing commands (drawn, gendashed, etc.). Might +want to skip the lower-level things like safedraw, safefill, etc. (or +maybe add it _only_ there). Don't want to do it for anything that +doesn't add to active_plane. But some things only add pictures to +active_plane and by then it's impossible to determine the size. Once a +bounding box is known, endmfpic can adjust tfm dimensions. and shift the +picture before shipout. + + diff --git a/Master/texmf-dist/doc/generic/mfpic/data.dat b/Master/texmf-dist/doc/generic/mfpic/data.dat new file mode 100644 index 00000000000..24db6380230 --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/data.dat @@ -0,0 +1,37 @@ +### File: data.dat +### A part of mfpic 0.7a beta 2004/04/16 +### +# A file of data to plot a function curve +# (Sharp, not percent, must be comment character when this is read.) + + +# +-10% 11.68# This is a comment + -9% 9.62 + -8.5% 8.445 + -8% 8.28 + -7.5% 5.865 unused: random list, of, words,,, + -7% 5.5 +# This is not a blank line + -5.5% 3.445 + -5% 1 + -4.5% 1.965 + -4% 2.14 + -3.5% 2.985 + -2.5% -1.215 + -2% 1.52 + -0.5% 1.545 + 0% 0.42 + 0.5% -0.435 + 1% 0.96 + 2.5% -1.235 + 3% 0.94 + 3.5% 0.165 + 4% 0.28 + 5% 1.1 + 5.5% 3.145 + 6% 1.94 + 6.5% 5.505 + 7% 3.44 + 9.5% 8.925 + 10% 9.84 diff --git a/Master/texmf-dist/doc/generic/mfpic/forfun.tex b/Master/texmf-dist/doc/generic/mfpic/forfun.tex new file mode 100644 index 00000000000..8f9279a8763 --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/forfun.tex @@ -0,0 +1,137 @@ +%%% File: forfun.tex +%%% A part of mfpic 0.7a beta 2004/04/16 +%%% +\nopagenumbers +\input mfpic.tex +\usemetapost +\usetruebbox +\opengraphsfile{forfun} + +\mfpicunit=1bp + +\noindent +\mfpic[1]{-1.25}{118.5}{-11.25}{40} + +% meta-ness: +\mfsrc{h:=25; % height of "m" + s:=10; % width of stems +} + +% Calculate key points: +\mfsrc{% the "m" +z1=(0,0); +y1=y2=y5=y6=y9=y10; +x2-x1=x6-x5=x10-x9=s; +x6-x1=x10-x5=h; +z15-z1=z3-z2=z4-z5=z7-z6=z8-z9=z11-z10=(0,h/2); +y12=y1+h; x12=.5[x6,x9]; +y14=y12; x14=.5[x2,x5]; +z13= arcppp(z7,z14,z15) intersectionpoint arcppp(z11,z12,z4);} + +\mfsrc{% the "f" +z21=z10; % start "f" where the "m" ends +z22=z21+(s,0); +z23=z22+(0,h-s); +z24=z23+(3s/4,0); +z25=z24+(0,s); +z26=z23+(0,s); +z27=z26+(0,s/4); +z28=z27+(s/4,0)+ (s/4)*dir(30); +z29=z28+s*dir(30); +x30=x21; y30=y27;}% + +\mfsrc{% the "p" +x31=x24; +y31=y21; +z32=z31-(0,s); +z33=z32+(s,0); +z35=(x33,h/2); +z39=z31+(h,h)/2; %center of round part +z34=(z33--z35) intersectionpoint (fullcircle scaled h shifted z39); +z36=z39+(h/2,0); +z37=z31+(0,h/2);}% + +\mfsrc{% the "i" +z41=(x36,y31); +z42=z41+(s,0); +z43=z42+(0,h); +z44=z41+(0,h); +x45=0.5[x41,x42]; y45=y43 + s/2 +3/50;}% Center of dot + +\mfsrc{% the "c" +z51=z42; +z52=z51+(h,h)/2; %center +z53=z52+(h/2)*dir(15); +z54=z52-(h/2,0); +z55=z52+(h/2)*dir(-15); +z56=z52+(s/4)*dir(-15); +z57=z52-(s/4,0); +z58=z52+(s/4)*dir(15);}% + +\pen{2.5*\the\mfpicunit} + +% Calculate bounding box + +\mfsrc{% +% Need to account for half the thickness of pen; +% penwd is in absolute units so we need to convert. +% This is a displacement, so use invvconv (not invzconv): +begingroup +save border,ll,ur; +pair border,ll,ur; border:= invvconv((penwd,penwd))/2; +ll=(0,y32)-border; +ur=(x55,y30+(x29-x30)/2)+border;} + +\gfill[yellow]\rect{ll,ur} + +\mfsrc{endgroup;} + +\fillcolor{blue} +\drawcolor{green} + +\mftitle{m} +\draw\gfill\lclosed + \connect + \lines{z15,z1,z2,z3} + \arc[s]{z3,z4,-180} + \lines{z4,z5,z6,z7} + \arc[s]{z7,z8,-180} + \lines{z8,z9,z10,z11} + \arc[t]{z11,z12,z13} + \arc[t]{z13,z14,z15} + \endconnect + + +\mftitle{f} +\draw\gfill\lclosed + \connect + \lines{z21,z22,z23,z24,z25,z26,z27} + \arc[s]{z27,z28,-150} + \lines{z28,z29} + \arc[s]{z29,z30,150} + \endconnect + +\mftitle{p} +\draw\gfill\lclosed + \connect + \lines{z31,z32,z33,z34} + \arc[t]{z34,z36,z37} + \endconnect + +\draw\gfill[yellow]\circle{z39,(h/2-s)} + +\mftitle{i} +\draw\gfill\lclosed\lines{z41,z42,z43,z44} +\draw\gfill\circle{z45,s/2} + +\mftitle{c} +\draw\gfill\lclosed + \connect + \arc[t]{z53,z54,z55} + \arc[t]{z56,z57,z58} + \endconnect + +\endmfpic + +\closegraphsfile%{forfun} +\bye diff --git a/Master/texmf-dist/doc/generic/mfpic/install.txt b/Master/texmf-dist/doc/generic/mfpic/install.txt new file mode 100644 index 00000000000..9e881942298 --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/install.txt @@ -0,0 +1,119 @@ +%%% File: instruct.txt +%%% A part of mfpic 0.7a beta 2004/04/16 +%%% + +This is an alpha-test version of mfpic. See README.txt for a list of +files and a brief description of each. + +Generating and installing the files +----------------------------------- + +-- Put mfpic.ins, mfpic.dtx and grafbase.dtx in the same temporary + directory and change to that directory. Run latex on mfpic.ins, which + should produce the five files + mfpic.tex + mfpic.sty + grafbase.mf + grafbase.mp + dvipsnam.mp + +-- If you have an older version of mfpic, remove the old files with the + same names as the above five from your TeX directories, or ensure + that the following procedure overwrites them (back them up somewhere + else first if you wish). + +-- Copy mfpic.tex (and mfppatch.tex, if it exists) where TeX or LaTeX + will find it, and mfpic.sty where LaTeX will find it. On any TDS + compliant system (such as teTeX, fpTeX, TeXLive, or MiKTeX) they can + both be put in $TEXMF/tex/generic/mfpic/ (where $TEXMF indicates a + directory serving as a root of a texmf tree). + +-- Copy grafbase.mp and dvipsnam.mp where MetaPost will find them, for + example $TEXMF/metapost/mfpic/ . + +-- Copy grafbase.mf where Metafont will find it. For example, + $TEXMF/metafont/mfpic/ . + +-- Copy mfpguide.pdf and mfpman.pdf where documentation is kept. For + example, $TEXMF/doc/generic/mfpic/ . Optionally, copy src/*.* to the + LaTeX input path, and examples/*.* to either the same place or the + documentation area. + +-- If required by your TeX system (MiKTeX, teTeX, fpTeX, TeXLive + DO require it): UPDATE THE TeX FILENAME DATABASE ! + +There is one optional step that may be useful (if you only wish to use +mfpic to produce MetaPost pictures, you may skip this): find the file +modes.mf on your system. Typically this will be in $TEXMF/metafont/misc/ +Find near the end a line similar to + + localfont := ljfour; + +Replace, if necessary, the string "ljfour" by one of the modes listed in +that file. At minimum, select one whose resolution (DPI) matches your +printer and/or the configuration of your dvi viewer. If you make such a +change, regenerate the mf.base file (fmtutil on teTeX, fpTeX or TeXLive; +MiKTeX Options in MiKTeX). On some systems this may be named plain.base. + +Read mfpguide.pdf before trying anything further. If you are already +familiar with mfpic, version 0.2.10.9 or later, you can probably get +going right away. + +If you want to read the documented source code for mfpic, run latex on +mfpic.dtx and grafbase.dtx (Peter Wilson's docmfp.sty is required +for grafbase.dtx) 2 or 3 times each. Then run makeindex for each: + + makeindex -s gind.ist -o mfpic.ind mfpic.idx + makeindex -s gind.ist -o grafbase.ind grafbase.idx + +and then latex again (once each). The docmfp package can be found at +your favorite CTAN mirror. A copy of docmfp.sty is also on my web page +(see README.txt). + +------------------------------------------------------------------------ + +If you desire to remake the mfpic manual (and why in the world would you +be wanting to do a daft thing like that?), make sure mfpman.tex and +mfpdoc.sty are in the current directory or where LaTeX can find them. +Edit, if you like, the paper size option in the \documentclass command +in mfpman.tex. Make sure mfpdoc.sty is where LaTeX will find it. Then +run pdflatex two (2) times: + + pdflatex mfpman + pdflatex mfpman + +then run makeindex: + + makeindex mfpman + +then run latex two (2) more times + + pdflatex mfpman + pdflatex mfpman + +The last run is required to get the index into the table of contents. +You can use latex instead of pdflatex, but you won't get clickable links +in the result. (I was too lazy to work out the kinks.) + +You could do something similar for mfpguide.tex (but that, too, would be +daft): + pdflatex mfpguide + mpost guide.mp + pdflatex mfpguide + pdflatex mfpguide + +This relies on mfpic so you should probably wait to do that until after +you are accustomed to that process. (And then take a cold shower until +this compulsion passes.) + +And finally, if you forgot: + **************************************** + * ! UPDATE THE TeX FILENAME DATABASE ! * + **************************************** + +-- +Dan Luecking (luecking at uark dot edu) +Department of Mathematical Sciences +University of Arkansas +Fayetteville, Arkansas 72701-1201 +U.S.A diff --git a/Master/texmf-dist/doc/generic/mfpic/lapictures.tex b/Master/texmf-dist/doc/generic/mfpic/lapictures.tex new file mode 100644 index 00000000000..52a9f060d9e --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/lapictures.tex @@ -0,0 +1,199 @@ +%%% File: lapictures.tex +%%% A part of mfpic 0.7a beta 2004/04/16 +%%% +% Magnify to same scale as pictures.tex : +% (Use of \mag is against the law of LaTeX, but Bugs Bunny set a precedent.) +\mag=1200 +\documentclass{article} + +%%!!!!!!!!!!!!!!!!!!!!!!!!!!! +% adjust these to your liking: +\setlength{\paperheight}{11truein} +\setlength{\paperwidth}{8.5truein} + +% Default plainTeX margins +\setlength{\textwidth}{\paperwidth} +\addtolength{\textwidth}{-2truein} +\setlength{\textheight}{\paperheight} +\addtolength{\textheight}{-2.1truein} +\setlength{\headheight}{0in} +\setlength{\headsep}{0in} +\setlength{\oddsidemargin}{0in} +\setlength{\evensidemargin}{\oddsidemargin} +\setlength{\footskip}{\baselineskip} + +% Add the metapost option if you prefer. +\usepackage{mfpic} + +\ifx\pdfoutput\UndEfInEd +\else + \setlength{\pdfpageheight}{\paperheight} + \setlength{\pdfpagewidth}{\paperwidth} +\fi + +\opengraphsfile{pics} + +\setlength{\mfpframesep}{0pt} +\headshape{1}{1}{true} +\newcommand{\vs}{\bigskip\filbreak} +\renewcommand\raggedright{\rightskip 0pt plus2em \spaceskip.3333em \xspaceskip.5em\relax} +\begin{document} +\mftitle{Commutative Diagram example.} + +% A-----D +% |\ /| +% | C-F | +% |/ \| +% B- - -E + +\noindent +\begin{mfpframe} +\begin{mfpic}[12]{0}{10}{0}{10} +\tlabeljustify{cc} +\tcaption[2.0,1.0]{\raggedright{\it Figure 1:} Commutative diagram example.} +\tlabels{(1,9){A} (1,1){B} (3,5){C} (9,9){D} (9,1){E} (7,5){F}} +\setrender{\draw\arrow\trimpath{6pt}} +\lines{(1,9), (1,1)} % A -> B. +\lines{(1,9), (3,5)} % A -> C. +\lines{(3,5), (1,1)} % C -> B. +\lines{(1,9), (9,9)} % A -> D. +\lines{(9,9), (9,1)} % D -> E. +\lines{(9,9), (7,5)} % D -> F. +\lines{(7,5), (9,1)} % F -> E. +\lines{(3,5), (7,5)} % C -> F. +% B- - ->E : +%\dotted\arrow[r90][b-12pt]\arrow[b15pt]\reverse\arrow\lines{(1.5,1), (8.5,1)} +\dotted\arrow\arrow[b10pt]\reverse\arrow\trimpath{6pt}\lines{(1,1), (9,1)} +\end{mfpic} +\end{mfpframe} + +\vs + +\mftitle{Function Plot with Cartesian Axes.} + +\noindent +\begin{mfpframe} +\begin{mfpic}[20]{-3}{3}{-3}{3} +\axes +\function{-2,2,0.1}{((x**3)-x)/3} +\tcaption{\raggedright{\it Figure 2:} Function Plot with Cartesian Axes.} +\end{mfpic} +\end{mfpframe} + +\vs + +\mftitle{Parametric Function Plot, and Filled Circle.} + +\noindent +\begin{mfpframe} +\begin{mfpic}[30]{-1.5}{1.5}{-1}{1} +\parafcn{0,6,0.1}{cosd(150t)*dir(90t)} +\gfill\circle{(0,0),0.25} +\tcaption{\raggedright{\it Figure 3:} Parametric Function Plot, and Filled Circle.} +\end{mfpic} +\end{mfpframe} + +\vs + +\mftitle{Bar Graph.} + +\noindent +\begin{mfpframe} +\begin{mfpic}[20]{-0.5}{4}{-0.5}{4} +\axes +\shade\draw\rect{(0,0),(1,0.5)} +\darkershade +\shade\draw\rect{(1,0),(2,1)} +\hatch\draw\rect{(2,0),(3,2)} +\tcaption{\raggedright{\it Figure 4:} Bar Graph.} +\end{mfpic} +\end{mfpframe} + +\vs + +\mftitle{Pie Chart.} + +\noindent +\begin{mfpframe} +\begin{mfpic}[30]{-1.3}{1.7}{-1}{1.1} +\gfill\sector{(0.3,0.2), 1, 0,60} +\shade\sector{(0,0), 1, 60,105} +\turtle{(0,0), \plr{(1,105)}} +\sector{(0,0), 1, 60,360} +\tcaption{\raggedright{\it Figure 5:} Pie Chart.} +\end{mfpic} +\end{mfpframe} + +\noindent Unindented text here. + +\vs + +\mftitle{Circle with Arrow.} + +\noindent +\begin{mfpframe} +\begin{mfpic}[20]{-2}{2}{-1}{1} +\arrow\circle{(0,0),1} +\tcaption{\raggedright{\it Figure 6:} Circle with Arrow.} +\end{mfpic} +\end{mfpframe} + +\vs + +\mftitle{Use of hatch, draw, lclosed, connect, curve, point, lines, + dotted, reverse.} + +\noindent +\begin{mfpframe} +\begin{mfpic}[20]{-3}{3}{-3}{3} +\hatch\draw\lclosed\connect +\curve{(1,0), (1,0.5), (1,1), (0,1.5)} +\point{(0,0)} +\endconnect +\lines{(-1,1), (-1,-1), (1,-1.5)} +\point{(0,0)} +\dotted\reverse\lines{(-2,2), (-2,-2), (2,-3)} +\tcaption{\rightskip= 0pt plus 3em {\it Figure 7:} Use of hatch, draw, lclosed, connect, + curve, point, lines, dotted, reverse.} +\end{mfpic} +\end{mfpframe} + +\vs + +\mftitle{Simpler variant of the previous figure.} + +\noindent +\begin{mfpframe} +\begin{mfpic}[40]{-1}{1}{-1}{1} % Was `[20]'. +\tcaption{\raggedright{\it Figure 8:} Simpler variant of the previous figure.} +\hatch\draw\lclosed\connect +\curve{(1,0), (0.5,0.25), (0.5,0.5), (0,0.75)} +\point{(0,0)} +\endconnect +\reverse\lines{(-0.5,0.5), (-0.5,-0.5), (0.5,-0.75)} +\tcaption{\raggedright{\it Figure 8:} Simpler variant of the previous figure.} +\end{mfpic} +\end{mfpframe} + +\vs + +\mftitle{Graph of data from file.} + +\begin{mfpframe} +\begin{mfpic}[6]{-10}{10}{-2}{12} + \makepercentother + \using{#1% #2 #3}{(#1,#2)} + \makepercentcomment + \mfpdatacomment\# + \fcncurve\datafile{data.dat} + \axes +\end{mfpic} +\end{mfpframe} + +\closegraphsfile + +\end{document} + +%%% +%%% EOF lapictures.tex +%%% diff --git a/Master/texmf-dist/doc/generic/mfpic/mfpdoc.sty b/Master/texmf-dist/doc/generic/mfpic/mfpdoc.sty new file mode 100644 index 00000000000..674dc965061 --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/mfpdoc.sty @@ -0,0 +1,172 @@ +%%% File: mfpdoc.sty +%%% A part of mfpic 0.7a beta 2004/04/16 +%%% +\ProvidesPackage{mfpdoc}[2003/11/14 v0.5 macros for mfpic documentation] + +\RequirePackage{ifpdf} + +\newcommand\mfpversion{0.7a beta} +\newcommand\mfpdate {2004/04/16} + +% Text size: + +\textwidth 5.4167 in +\textheight 7.4166 in + +% Equal LR margins +\oddsidemargin 0.5\paperwidth + \advance\oddsidemargin-.5\textwidth + \advance\oddsidemargin-1truein +\evensidemargin\oddsidemargin + +% "Equal" TB margins (if headings are ignored). +\topmargin 0.5\paperheight + \advance\topmargin-0.5\textheight + \advance\topmargin-\headheight + \advance\topmargin-\headsep + \advance\topmargin-1truein + +\ifpdf + \pdfpageheight\paperheight + \pdfpagewidth\paperwidth +\else + \ifx\mfpdvipdfm\UndEfInEd + \special{papersize=\the\paperwidth,\the\paperheight} + \else + \special{pdf: pagesize width \the\paperwidth\space height \the\paperheight} + \fi +\fi + +\renewcommand\section{\@startsection {section}{1}{\z@}% + {-2.4ex \@plus -.5ex \@minus -.1ex}% + {1.0ex \@plus.1ex}% + {\normalfont\large\bfseries}} +\renewcommand\subsection{\@startsection{subsection}{2}{\z@}% + {-1.8ex\@plus -.4ex \@minus -.1ex}% + {.75ex \@plus .1ex}% + {\normalfont\bfseries}} +\renewcommand\subsubsection{\@startsection{subsubsection}{3}{\z@}% + {-1.2ex\@plus -.3ex \@minus -.1ex}% + {.5ex \@plus .1ex}% + {\normalfont\scshape\raggedright}} + +\def\mfpicversiontext{\prog{Mfpic} version: \mfpversion.} + +\def\@maketitle{% + \newpage\vspace*{-2\baselineskip} + \ifx\mfpicversiontext\relax + \else + {\let\p@footnote\relax\let\@thempfn\relax + \footnotetext{\mfpicversiontext}}% + \fi + {\centering% + {\Large \@title \par}% + \vskip 1em% + {\large \lineskip .5em% + \begin{tabular}[t]{c}% + \@author + \end{tabular}\par}% + \vskip .7em% + {\normalsize \@date}% + \par + }% + \vskip 1em\relax} + +\def\mfpindexheading{} +\def\mfpindexpagemarks{} + +\renewenvironment{theindex} + {% + \@restonecoltrue + \columnseprule \z@ + \columnsep 35\p@ + \twocolumn[\mfpindexheading% + \vspace{1ex}]% + \mfpindexpagemarks + \parindent\z@ + \parskip\z@ \@plus .3\p@\relax + \let\item\@idxitem + } + {\clearpage} + +% command descriptions: +\newenvironment{cd} + {\def\ {\leavevmode\null\quad}% small space at beginning of line + \par\addvspace{1.75ex plus .3ex minus .1ex} + \vbox\bgroup\parindent0pt\ignorespaces} + {\unskip\strut\egroup\nobreak\vspace{.75ex plus .3ex minus .1ex}% + \@ignoretrue} + +% examples: +\newenvironment{ex} + {\par\def\ {\leavevmode\null\quad}% + \addvspace{1ex plus.2ex minus.1ex}\leftskip2\parindent\relax + \vbox\bgroup\parindent0pt\ignorespaces} + {\unskip\egroup\vskip 1ex plus.2ex minus.1ex \@ignoretrue\@endpetrue} + +\def\pdfTeX{pdf\kern.04em\TeX} +\def\pdfLaTeX{pdf\kern.06em\LaTeX} +\def\ConTeXt{Con\kern-.16em \TeX \kern-0.06em t} +\def\eTeX{e\kern-.10em \TeX} +\def\AmSTeX{$\cal A$\kern-.1667em\lower.5ex + \hbox{$\cal M$}\kern-.125em$\cal S$-\TeX} +\def\PiCTeX{P\kern-.12em\lower.5ex\hbox{I}\kern-.075emC\kern-.11em\TeX} + +\hyphenation{meta-font meta-post Post-Script Ghost-script} + +\def\MF{\prog{metafont}} +\def\CMF{\prog{Metafont}} +\def\MP{\prog{metapost}} +\def\CMP{\prog{Metapost}} +\def\PS{\prog{PostScript}} +\def\GS{\prog{Ghostscript}} +\def\EPS{\prog{EPS}\null} +\def\mfp{\prog{mfpic}} +\def\Mfp{\prog{Mfpic}} +\def\grafbase{\prog{grafbase}} +\def\Grafbase{\prog{Grafbase}} + +\def\mytt#1{\relax + \ifmmode \mathtt{#1} + \else {\upshape\mdseries\ttfamily#1}\fi} +\def\mfc{\begingroup\mdseries\ttfamily\catcode`\_=12 \grabit} +\def\grabit#1{#1\endgroup} +\def\_{{\tt\char`\_}} +\def\prog#1{{\mdseries\scshape#1}} % programs, packages +\let\file\mytt % filenames +\def\opt#1{{\upshape\sffamily#1}} % LaTeX option names +\let\gbc \mfc % grafbase code +\let\env \file % LaTeX environment names +\let\email\file +\let\mail \file +\let\dim \file % TeX and Metafont dimensions + +\edef\otherbackslash{\expandafter\@gobble\string\\} +\DeclareRobustCommand\cs[1]{\mytt{\char`\\#1}} +\def\bbsl{\cs{}\cs{}}% prints "\\" +\DeclareRobustCommand\meta[1]{% + \ensuremath{\langle\mbox{\rmfamily\itshape#1\/}\rangle}} +\providecommand\marg[1]{\mytt{\char`\{#1\char`\}}} +\providecommand\oarg[1]{\mytt{[#1]}} +\providecommand\parg[1]{\mytt{(#1)}} + +\def\ps@mfpdoc{% + \let\@oddfoot\@empty\let\@evenfoot\@empty + \def\@oddhead{\small{\scshape\rightmark}\hfil\thepage}% + \let\@evenhead\@oddhead + \let\@mkboth\markboth + \def\sectionmark##1{\thispagestyle{plain}} + \def\subsectionmark##1{% + \markright {\thesubsection\quad##1}}% + \def\subsubsectionmark##1{}} + +\renewcommand\tableofcontents{\pagenumbering{roman}% + \section*{\contentsname + \@mkboth{\scshape\contentsname}{\scshape\contentsname}}% + \@starttoc{toc}\clearpage\pagenumbering{arabic}} + +% figures at top of float pages: +\@fptop=-\@fpsep + +\frenchspacing +\endinput diff --git a/Master/texmf-dist/doc/generic/mfpic/mfpguide.pdf b/Master/texmf-dist/doc/generic/mfpic/mfpguide.pdf new file mode 100644 index 00000000000..6567586c67e Binary files /dev/null and b/Master/texmf-dist/doc/generic/mfpic/mfpguide.pdf differ diff --git a/Master/texmf-dist/doc/generic/mfpic/mfpguide.tex b/Master/texmf-dist/doc/generic/mfpic/mfpguide.tex new file mode 100644 index 00000000000..ea0eaf04d88 --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/mfpguide.tex @@ -0,0 +1,1614 @@ +%%% File: mfpguide.tex +%%% A part of mfpic 0.7a beta 2004/04/16 +%%% +% Tutorial on mfpic +\documentclass[letterpaper]{article} + +\usepackage{pslatex} + +\usepackage{mfpdoc} +\usepackage{verbatim} + +\makeatletter +\def\verbatim@processline{\hspace{20pt}\the\verbatim@line\par} +\@addtoreset{figure}{section} +\makeatother + +\renewcommand{\thefigure}{\thesection.\arabic{figure}} + +\newenvironment{mfpfig}[1] +{\figure[htb] \centering \refstepcounter{figure} \label{#1}} +{\par\medskip Figure \thefigure. \endfigure} + +\usepackage[dvipdfm]{graphics} +\usepackage[metapost]{mfpic} +\opengraphsfile{guide} + +\ifpdf +\usepackage[pdftex,colorlinks,pdfpagemode=none,pdfstartview=FitH,% +plainpages=false,hypertexnames=true]{hyperref} +\pdfstringdefDisableCommands{\def\cs#1{\otherbackslash#1}% + \def\opt#1{#1}\def\prog#1{#1}} +\fi + +\def\theHfigure{\thefigure} + +\title{\Mfp: A Short Introduction} +\author{Daniel H. Luecking\thanks{luecking at uark dot edu}} +\date{\mfpdate} + +\begin{document} + +\maketitle +\tableofcontents + +\section{Introduction}\label{sec:intro} + +As this document aims only to instruct the reader in the building of +figures with \mfp{}, we will not be too concerned with the intricacies +of running programs in various operating systems and \TeX{} +distributions. What will be described here is the simplest case: a +command-line system in which commands are typed at a keyboard. To +simplify things further, we will assume that \mfp{} is used with the +\opt{metapost} option, in a \LaTeX{} document, with \pdfLaTeX{} as the +compiler. An appendix will discuss some of the differences when these +assumptions are not satisfied. + +We will start right out with the ``Hello, world'' of \mfp{}. Construct a +\LaTeX{} document by typing the following in a text editor and saving it +as \file{first.tex}. +\begin{verbatim} + \documentclass{article} + \usepackage[metapost]{mfpic} + \opengraphsfile{myfigs} + \begin{document} + My first figure: + \begin{mfpic}[72]{-1}{1}{-1}{1} + \ellipse{(0,0),1,.5} + \end{mfpic} + \closegraphsfile + \end{document} +\end{verbatim} +Run the command +\begin{ex} + \texttt{pdflatex first} +\end{ex} +which should create several files, the two most important being +\file{first.pdf} and \file{myfigs.mp}. You can go ahead and open +\file{first.pdf}. You should see a 2 inch by 2 inch square with +something similar to `\texttt{\#1}' in the lower left corner. This shows +where the picture will be when it has been created. + +Now run the command +\begin{ex} + \texttt{mpost myfigs} +\end{ex} +which should create the file \file{myfigs.1}. This is an EPS file +(Encapsulated PostScript) and can be opened in GhostScript or GSview or +similar Postscript viewing program to see an ellipse. + +If you are viewing \file{first.pdf} in Acrobat Reader or Adobe Reader, +you will need to close it. Now repeat the \pdfLaTeX{} step: +\begin{ex} + \texttt{pdflatex first} +\end{ex} +and then view the file \file{first.pdf}. You should see something very +close to figure~\ref{fig1}. +\begin{mfpfig}{fig1} + My first figure: + \begin{mfpic}[72]{-1}{1}{-1}{1} + \ellipse{(0,0),1,.5} + \end{mfpic} +\end{mfpfig} + +What can go wrong? According to Murphy's Law: anything. If \mfp{} is +not properly installed, one could obtain messages of files not found. If +that happens, determine (from your \TeX{} system's documentation) where +\TeX{} input files should go and make sure that \file{mfpic.tex} and +\file{mfpic.sty} reside there. Similarly, find out where \MP{} inputs +should go and make sure that \file{grafbase.mp} and \file{dvipsnam.mp} +reside there. Then run whatever command your \TeX{} system might require +to ``update the filename database''. You may safely ignore the message +from \mfp{} itself that \file{myfigs.1} is not found (on the first run +of \pdfLaTeX). This file should be created only after running +\texttt{mpost}. + +If you get an error message from \LaTeX{}, carefully check your typing. +Also check whether an older version of \mfp{} might have been used +instead of the current version. If you get an error message from \MP{} +do the same, especially within the \env{mfpic} environment. If you get a +message from \MP{} that ``Grafbase'' believes your \mfp{} installation +may be broken, check the log files (\file{first.log} and +\file{myfigs.log}) to find out the locations of these input files: +\begin{ex} + \file{mfpic.tex} and \file{grafbase.mp} +\end{ex} +and make sure that both these files are from the most recently installed +\mfp{} package. If you are only evaluating \mfp{} without committing to +upgrading it, just make sure all the files mentioned in the previous +paragraphs are in the current directory. + +If \pdfLaTeX{} complains it can't write on the file \file{first.pdf}, +unload first.pdf from your pdf viewer and try again. + +If the figures look a little choppy in Acrobat Reader, turn on ``smooth +line art'' in the edit preferences dialogue. + +I will assume that eventually all went well and you are now able to +obtain the ellipse of figure~\ref{fig1}. Each time you change an +\env{mfpic} environment or the options to the package, you potentially +change the file \file{myfigs.mp} produced and you should repeat the +sequence: +\begin{verbatim} + pdflatex first + mpost myfigs + pdflatex first +\end{verbatim} +to be sure of seeing the changes. + +One thing you might notice about figure~\ref{fig1} is that the ellipse +is positioned quite a bit above the base line of the text. This is +because \mfp{} reserves the amount of space specified in the arguments +of the \env{mfpic} environment. These arguments are +\verb$[72]{-1}{1}{-1}{1}$, which means the each unit in the picture is +72 times the value of \cs{mfpicunit}, that is, about one inch. the first +pair of mandatory arguments, \verb${-1}{1}$, indicate the +$x$-coordinates run from $-1$ to $1$. Since these differ by 2, they +indicate a width of two inches. The second pair similarly represents a +height of two inches. But the ellipse is centered at $(0,0)$, which is +one inch above the bottom (bottom is at $y = -1$), and its vertical +radius is .5. So the lowest point on the ellipse should be .5 inches +above the bottom of the space reserved. \Mfp{} provides a way to fit the +space reserved to the actual extent of `ink' in the picture. That is by +the option \opt{truebbox}: +\begin{verbatim} + \usepackage[metapost,truebbox]{mfpic} +\end{verbatim} +This would then produce something like figure~\ref{fig2}. +From now on, this option will be in effect in our examples. +\usetruebbox +\begin{mfpfig}{fig2} + My first figure: + \begin{mfpic}[72]{-1}{1}{-1}{1} + \ellipse{(0,0),1,.5} + \end{mfpic} +\end{mfpfig} + +Even though the arguments to the \env{mfpic} environment are ignored in +determining the size of the figure (under \opt{truebbox}), they are +still needed in order to establish the coordinate system that the +ordered pairs refer to (for example \texttt{(0,0)} in the \cs{ellipse} +arguments). + +\section{Positioning text}\label{sec:text} + +By now you are probably thinking: ``This so-called `Hello, world' +of \mfp{} doesn't say `Hello, world' anywhere!'' We correct that +with the following example: +\begin{verbatim} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \ellipse{(0,0),1,.5} + \tlabel[cc](0,0){Hello, world.} + \end{mfpic} +\end{verbatim} +This should give you figure~\ref{fig3}. +\begin{mfpfig}{fig3} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \ellipse{(0,0),1,.5} + \tlabel[cc](0,0){Hello, world.} + \end{mfpic} +\end{mfpfig} + +The \cs{tlabel} command places the given text at the given position +($(0,0)$) adjusted according to the optional argument \texttt{[cc]}, +which says to center the text (both vertically and horizontally) at that +location. The \texttt{[cc]} is optional. Without it, the text would have +the leftmost point of its baseline (the imaginary line that most letters +sit on) placed at $(0,0)$. + +You are no doubt thinking: ``The ellipse doesn't really match the +text. What you need is some macro that measures the text and produces an +oval with similar domensions.'' For that we have the \cs{tlabeloval} +command. The \cs{tlabeljustify} command in the example below is to +communicate to both the text placement and the curve generation +procedures that they are to be centered at the point $(0,0)$. (We'll see +an easier way to do this later.) +\begin{verbatim} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \tlabeljustify{cc} + \tlabeloval(0,0){Hello, world.} + \end{mfpic} +\end{verbatim} +This produces figure~\ref{fig4}. +\begin{mfpfig}{fig4} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \tlabeljustify{cc} + \tlabeloval(0,0){Hello, world.} + \end{mfpic} +\end{mfpfig} + +This would be better still if a little space is left around the text so +the ellipse doesn't touch it. The \cs{tlabelsep} command can do that: +\begin{verbatim} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \tlabeljustify{cc} + \tlabelsep{3pt} + \tlabeloval(0,0){Hello, world.} + \end{mfpic} +\end{verbatim} +producing figure~\ref{fig5}. +\begin{mfpfig}{fig5} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \tlabeljustify{cc} + \tlabelsep{3pt} + \tlabeloval(0,0){Hello, world.} + \end{mfpic} +\end{mfpfig} + +Now it would be nice to make the text pop out a bit with some color. +Adding \verb$\gfill[yellow]$ in front of either \verb$\ellipse$ or +\verb$\tlabeloval$ will do that: +\begin{verbatim} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \tlabelsep{3pt} + \tlabeljustify{cc} + \gfill[yellow]\tlabeloval(0,0){Hello, world.} + \end{mfpic} +\end{verbatim} +This will produce figure~\ref{fig6}. +\begin{mfpfig}{fig6} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \tlabelsep{3pt} + \tlabeljustify{cc} + \gfill[yellow]\tlabeloval(0,0){Hello, world.} + \end{mfpic} +\end{mfpfig} + +Notice that now the boundary of the oval has not been drawn. This is the +standard behavior of \mfp{}. A figure command alone will draw the +figure. If you want some other rendering than that, you must explicitly +provide all of it. To get the boundary back, simply add \verb$\draw$ +before the \verb$\gfill$. You can draw the curve in a color other than +black with an optional argument. We can also make the line thicker with +the command \verb$\penwd$: +\begin{verbatim} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \penwd{1.5pt} + \tlabelsep{3pt} + \tlabeljustify{cc} + \draw[blue]\gfill[yellow]\tlabeloval(0,0){Hello, world.} + \end{mfpic} +\end{verbatim} +This will produce figure~\ref{fig7}. +\begin{mfpfig}{fig7} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \penwd{1.5pt} + \tlabelsep{3pt} + \tlabeljustify{cc} + \draw[blue]\gfill[yellow]\tlabeloval(0,0){Hello, world.} + \end{mfpic} +\end{mfpfig} + +This last version doesn't look too bad, but it seems that the oval ought +to be a little fatter (slightly higher than it now is). By default, +\verb$\tlabeloval$ will make the ratio of width to height the same as +that of the text, or rather of the text plus the additional space +specified by \verb$\tlabelsep$. This can be changed with an optional +argument, a number that multiplies the width-to-height ratio. Decreasing +this ratio will decrease the width (slightly) and increase the height. +Here we have also omitted the \cs{tlabeljustify} command and shown that +\cs{tlabeloval} takes a second optional argument that can be used to +`justify' both the curve and the text. To use this, one must explicitly +include the first optional argument; if the default is intended, an +empty pair of brackets may be used. +\begin{verbatim} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \penwd{1.5pt} + \tlabelsep{3pt} + \draw[blue]\gfill[yellow]\tlabeloval[.8][cc](0,0){Hello, world.} + \end{mfpic} +\end{verbatim} +This will produce figure~\ref{fig8}. +\begin{mfpfig}{fig8} + \begin{mfpic}[72]{-1}{1}{-1}{1} + \penwd{1.5pt} + \tlabelsep{3pt} + \draw[blue]\gfill[yellow]\tlabeloval[.8][cc](0,0){Hello, world.} + \end{mfpic} +\end{mfpfig} + +The \cs{tlabeloval} command places the label last, after the action of +all the preceding macros; therefore the text ends up on top of +everything else. The \cs{tlabeloval} command also has a \mbox{`*-form'} that +does everything \emph{except} place the text. Finally, ovals are not the +only thing that can be used to surround text. See the manual +(\file{mfpman.pdf}) and below for others. + +Here is a more common use of \verb$tlabel$ commands: labeling a graph +and axes. In the following example we have given \cs{tlabel} the option +\texttt{[bl]} to place the bottom left corner of the text at the given +coordinates. However, we have used \verb$\tlabelsep{3pt}$ (which has the +additional effect of moving text away from its nominal location) to +prevent the text from colliding with the curve. +\begin{verbatim} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \tlabelsep{3pt} + \polyline{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \tlabel[bl](.5,1){Max output} + \dashed\polyline{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \tlabel[bl](1.5,.7){Max input} + \end{mfpic} +\end{verbatim} +This will produce figure~\ref{fig9}. +\begin{mfpfig}{fig9} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \tlabelsep{3pt} + \polyline{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \tlabel[bl](.5,1){Max output} + \dashed\polyline{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \tlabel[bl](1.5,.7){Max input} + \end{mfpic} +\end{mfpfig} + +Notice that \verb$\polyline$ alone produces a solid line while +\verb$\dashed\polyline$ makes a dashed line. Let us close this section +by dressing up this figure with axes, some fat dots marking the +keypoints, and hash marks on the axes: +\begin{verbatim} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \tlabelsep{3pt} + \polyline{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \point[3pt]{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \tlabel[bl](.5,1){Max output} + \dashed\polyline{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \pointfillfalse + \point[3pt]{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \tlabel[bl](1.5,.7){Max input} + \axes + \xmarks{0,0.5,1,1.5,2} + \axislabels x{{$50$} .5, {$100$} 1, {$150$} 1.5, {$200$} 2} + \end{mfpic} +\end{verbatim} +This will produce figure~\ref{fig10}. +\begin{mfpfig}{fig10} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \tlabelsep{3pt} + \polyline{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \point[3pt]{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \tlabel[bl](.5,1){Max output} + \dashed\polyline{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \pointfillfalse + \point[3pt]{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \tlabel[bl](1.5,.7){Max input} + \axes + \xmarks{0,0.5,1,1.5,2} + \axislabels x{{$50$} .5, {$100$} 1, {$150$} 1.5, {$200$} 2} + \end{mfpic} +\end{mfpfig} + +The optional argument of \verb$\point$ specifies the diameter of the +points to draw. The command \verb$\pointfillfalse$ forces the points to +be drawn as open circles. The axes configure themselves to the size +specified in the argument of the \env{mfpic} environment. The +\verb$axislabels$ command takes as arguments a letter, to specify the +axis, and a comma separated list of labels, each of which is specified +by some text to place (in braces) and the x-coordinate to place it at. + +\section{Drawing figures} + +\Mfp{} has several predefined figures and commands to obtain essentially +any curve (provided one can obtain enough points on it with sufficient +precision). We've already seen \verb$\polyline$ and \verb$\ellipse$. The +former needs a list of points to connect with line segments and the +latter needs the center and radii of the ellipse. The \verb$\ellipse$ +also takes an optional argument: the number of degrees to rotate the +ellipse. Here we list some of the more common such figures. Remember +that all of them will produce some sort of line drawing if used alone. +They can be preceded by \verb$\dashed$ to make the lines dashed or +\verb$dotted$ to make them dotted. If the figure is a closed curve, +\verb$\gfill$ will fill them in. +\begin{verbatim} + \begin{mfpic}[72]{0}{4}{0}{1} + \rect{(0,0),(1,.75)} + \circle{(1.5,.5),.45} + \arc[s]{(3,0),(2,1),45} + \ellipse[20]{(3.5, 0.5), 0.6, 0.4} + \end{mfpic} +\end{verbatim} +This produces figure~\ref{fig11}. The \verb$\arc$ command has several +forms. The optional argument picks the form to use. This one specifies +the endpoints of the circular arc and the angle of the arc (the angle +between the radii from the center of the circle to those two points). +Other possibilities are a three-point form (option \texttt{[t]}), a +polar form (option \texttt{[p]}), and a center-point-sweep form (option +\texttt{[c]}, specify a center, starting point, and angle). See the +manual for details. The default (what would be assumed if no optional +argument is given) is \oarg{s} and is called the point-sweep form. +\begin{mfpfig}{fig11} + \begin{mfpic}[72]{0}{4}{0}{1} + \rect{(0,0),(1,.75)} + \circle{(1.5,.5),.45} + \arc[s]{(3,0),(2,1),45} + \ellipse[20]{(3.5, 0.5), 0.6, 0.4} + \end{mfpic} +\end{mfpfig} + +The \cs{polyline} command draws straight lines connecting points. We can +also draw smooth curves. Lets take the same points from our +\cs{polyline} example (figure~\ref{fig9}), but change \cs{polyline} to +\cs{curve}, omit the text, and add the points from figure~\ref{fig10}: +\begin{verbatim} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \curve{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \point[3pt]{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \dashed\curve{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \pointfillfalse + \point[3pt]{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \end{mfpic} +\end{verbatim} +This should produce figure~\ref{fig12}. +\begin{mfpfig}{fig12} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \curve{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \point[3pt]{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \dashed\curve{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \pointfillfalse + \point[3pt]{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \end{mfpic} +\end{mfpfig} + +This is somewhat unsatisfying. One could improve the result by selecting +more points, or by increasing the `tension' in the curve. + +Roughly speaking, tension determines how straight the segments between +the points are, and how sharp the turns at each point. High tension +makes the curve look a little more like a polyline. The default tension +is 1, a tension of about 5 makes the result look somewhat like a +polyline with very slightly rounded corners, very high tensions make the +curve indistinguishable from a polyline. Another effect of increased +tension is to reduce the little wobbles we can see in the first curve. +Let's try a tension of 1.5, which can be specified as an optional +argument to \cs{curve}: +\begin{verbatim} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \curve[1.5]{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \point[3pt]{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \dashed\curve[1.5]{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \pointfillfalse + \point[3pt]{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \end{mfpic} +\end{verbatim} +This give figure~\ref{fig13}. +\begin{mfpfig}{fig13} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \curve[1.5]{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \point[3pt]{(0,.2),(.5,1),(1,.7),(1.5,0),(2,.3)} + \dashed\curve[1.5]{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \pointfillfalse + \point[3pt]{(0,.2),(.5,.6),(1,.3),(1.5,.7),(2,.1)} + \end{mfpic} +\end{mfpfig} + +When we use \cs{curve}, there is no way \MP{} can tell if we are just +connecting points or if we are trying to graph a function. +It \emph{cannot} enforce the requirement, which every function must +satisfy, that the curve should travel left-to-right. The command +\cs{fcncurve} does enforce this (assuming the points to be connected are +listed in left-to-right order). This command also permits a tension +argument. The dotted line in figure~\ref{fig14} is produced with +\cs{curve}, the solid one with \cs{fcncurve}. One might want +to increase the tension a bit here, too. +\begin{verbatim} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \dotted\curve{(0,.2),(.5,0),(.85,.5),(1,1),(1.5,0),(2,.3)} + \fcncurve{(0,.2),(.5,0),(.85,.5),(1,1),(1.5,0),(2,.3)} + \pointfillfalse + \point[3pt]{(0,.2),(.5,0),(.85,.5),(1,1),(1.5,0),(2,.3)} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig14} + \begin{mfpic}[72]{0}{2.5}{0}{1} + \dotted\curve{(0,.2),(.5,0),(.85,.5),(1,1),(1.5,0),(2,.3)} + \fcncurve{(0,.2),(.5,0),(.85,.5),(1,1),(1.5,0),(2,.3)} + \pointfillfalse + \point[3pt]{(0,.2),(.5,0),(.85,.5),(1,1),(1.5,0),(2,.3)} + \end{mfpic} +\end{mfpfig} + +Other figures available include\leftmargini=2\leftmargini +\begin{description} +\item[\cs{cyclic}] Used just like \cs{curve} but closes the path + (connects the last point smoothly to the starting point). +\item[\cs{polygon}] Used just like \cs{polyline} except it connects the + last point to the first with a straight line. +\item[\cs{sector}] Makes a wedge with two straight lines and an arc. The + arguments are almost the same as \cs{arc}\oarg{s}, but the order is + different: center, radius and two angles. +\end{description} + +Here are some other curves that, like \cs{tlabeloval}, are proportioned +to fit given text. All have a \texttt{*}-form that draws the path +without placing the text. +\begin{description} +\item[\cs{tlabelrect}] This produces a rectangle. It has the same usage + as \cs{tlabeloval}, except the first optional argument specifies + the radius of quarter-circles used to make rounded corners. +\item[\cs{tlabelellipse}] This is similar to \cs{tlabeloval} + except that instead of modifying the width-to-height ratio, the + first optional argument \emph{is} the width-to-height ratio. If that + argument is 1 (the default) you get a circle. +\item[\cs{tlabelcircle}] This produces a circle, of course. +\end{description} + + +\section{Functions} + +\CMP{} is able to calculate a number of functions natively, and still +more have been defined in \mfp{}. Also available are the usual +arithmetic operations. Any valid \MP{} expression, containing +one unknown \gbc{x} and producing a numerical result can be graphed. + +Here is an example of the graphs of $y = x^2$ and $y = \pm\sqrt{x}$. +Note that exponentials are denoted by \texttt{**} and it is important to +note that it has the same precedence as multiplication (denoted by +a single \texttt{*}). That is, in a formula like \mfc{3*3**2}, the +operations are performed in order, left to right, producing $9^2 = 81$ and +not $3\cdot 9 = 27$. Parentheses are needed if the latter is intended: +\mfc{3*(3**2)}. +\begin{verbatim} + \setlength{\mfpicunit}{1cm} + \begin{mfpic}{-2.5}{2.5}{-1.5}{4} + \function{-2,2,.1}{x**2} + \function{0,2,.1}{sqrt x} + \function{0,2,.1}{-sqrt x} + \axes + \xmarks{-2,-1,1,2} + \ymarks{-1,1,2,3} + \tlabelsep{3pt} + \axislabels x{{$-2$}-2,{$-1$}-1,{$1$}1,{$2$}2} + \axislabels y{{$-1$}-1,{$1$}1,{$2$}2,{$3$}3} + \end{mfpic} +\end{verbatim} +This produces figure~\ref{fig15}. +\begin{mfpfig}{fig15} + \setlength{\mfpicunit}{1cm} + \begin{mfpic}{-2.5}{2.5}{-1.5}{4} + \function{-2,2,.1}{x**2} + \function{0,2,.1}{sqrt x} + \function{0,2,.1}{-sqrt x} + \axes + \xmarks{-2,-1,1,2} + \ymarks{-1,1,2,3} + \tlabelsep{3pt} + \axislabels x{{$-2$}-2,{$-1$}-1,{$1$}1,{$2$}2} + \axislabels y{{$-1$}-1,{$1$}1,{$2$}2,{$3$}3} + \end{mfpic} +\end{mfpfig} + +The command \cs{function} has two arguments. The first contains the +starting and ending x-values of the desired graph, followed by a +\emph{step size}. Generally the smaller the steps the better the +accuracy, but \MP{} has a limit on the number of steps (usually about +2000). There is also an optional argument which can be \oarg{s}, the +default, which means the graph is to be smooth, or \oarg{p}, which means +the graph is constructed by connecting the calculated points with +straight lines. Here is the same example with larger step size to +emphasize the difference (see figure~\ref{fig16}) +\begin{verbatim} + \setlength{\mfpicunit}{1cm} + \begin{mfpic}{-2.5}{2.5}{-1.5}{4} + \function[p]{-2,2,.5}{x**2} + \function[p]{0,2,.5}{sqrt x} + \function[p]{0,2,.5}{-sqrt x} + \axes + \xmarks{-2,-1,1,2} + \ymarks{-1,1,2,3} + \tlabelsep{3pt} + \axislabels x{{$-2$}-2,{$-1$}-1,{$1$}1,{$2$}2} + \axislabels y{{$-1$}-1,{$1$}1,{$2$}2,{$3$}3} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig16} + \setlength{\mfpicunit}{1cm} + \begin{mfpic}{-2.5}{2.5}{-1.5}{4} + \function[p]{-2,2,.5}{x**2} + \function[p]{0,2,.5}{sqrt x} + \function[p]{0,2,.5}{-sqrt x} + \axes + \xmarks{-2,-1,1,2} + \ymarks{-1,1,2,3} + \tlabelsep{3pt} + \axislabels x{{$-2$}-2,{$-1$}-1,{$1$}1,{$2$}2} + \axislabels y{{$-1$}-1,{$1$}1,{$2$}2,{$3$}3} + \end{mfpic} +\end{mfpfig} + +In addition, one can increase the tension in the curve drawn by putting +a tension value after the \gbc{s} in \oarg{s}. For a tension of 2.4: +\cs{function}\oarg{s2.4}\marg{\dots}. + +The functions available include \gbc{sqrt} and all the trig functions: +\gbc{sin x} assumes \gbc{x} is an angle in radians, \mfc{sind x} assumes +it is in degrees, with a similar naming convention for the remaining +trig functions. The inverses are \gbc{asin x}, \gbc{acos x}, and +\gbc{atan x}, which produce angles in degrees, and \gbc{invsin x}, etc., +which produce angles in radians. There is also \gbc{ln~x} or \gbc{log~x} +for the natural logarithm, \gbc{exp~x} for $e^x$, \gbc{logten}~\gbc{x} +for the base 10 logarithm, \gbc{logtwo}~\gbc{x} for base 2, and +\gbc{logbase} for other bases: +\gbc{logbase(16)}~\gbc{x} (for example) for base 16. The general syntax of +these functions is the following: if the argument is \gbc{x} alone or a +pure number alone or the particular case of a number followed by \gbc{x} +(no \gbc{*} in between!) then parentheses are not needed. Example: +\gbc{sin~2x}. For almost anything else, parentheses are required: +\gbc{sin(3*x)} or \gbc{sin(x**2)}. + +Some other functions available are the hyperbolic functions, \gbc{sinh x}, +\gbc{cosh x}, etc. (all 6 of them), and the inverses of three of them: +\gbc{asinh x}, \gbc{acosh x}, and \gbc{atanh x}. + +These functions (or any \MP{} numeric expression) can also be used in +any of the coordinates of points in drawing commands like \cs{polyline} +(but not usually in text placement commands like \cs{tlabeloval}). For +example (from now on the value of \cs{mfpicunit} is set to +\texttt{1cm}):\setlength{\mfpicunit}{1cm} +\begin{verbatim} + \begin{mfpic}{-.5}{2.5}{-1.5}{1.5} + \polyline{(2,-sqrt 2),(1,-1),(.5,- sqrt .5),(0,0), + (.5,sqrt .5),(1,1),(2,sqrt 2)} + \axes + \xmarks{1,2} + \ymarks{-1,1} + \tlabelsep{3pt} + \axislabels x{{$1$}1,{$2$}2} + \axislabels y{{$-1$}-1,{$1$}1} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig17} + \begin{mfpic}{-.5}{2.5}{-1.5}{1.5} + \polyline{(2,-sqrt 2),(1,-1),(.5,- sqrt .5),(0,0), + (.5,sqrt .5),(1,1),(2,sqrt 2)} + \axes + \xmarks{1,2} + \ymarks{-1,1} + \tlabelsep{3pt} + \axislabels x{{$1$}1,{$2$}2} + \axislabels y{{$-1$}-1,{$1$}1} + \end{mfpic} +\end{mfpfig} + +There are other types of functions: parametric functions, and polar +coordinate versions. \Mfp{} provides \cs{parafcn} and \cs{plrfcn} to +graph these. The \cs{parafcn} requires a starting value, and ending +value and a step size just as in \cs{function}, but in the second +argument there must be either a pair of expressions in the variable +\gbc{t}, separated by a comma and enclosed in parentheses, or a single +\emph{pair-valued} expression. \CMP{} and \mfp{} provide only a few +pair-valued functions; one is used below. + +The second argument of \cs{plrfcn} must contain a single numeric +expression in the variable \gbc{t}, and indicates a function of $\theta$ +to be graphed in polar coordinates: $r = f(\theta)$. In the following +example (figure~\ref{fig22}), we draw a portion of the graph of $x = +y^2$ by representing it as the graph of the parametric equations $x = +t^2$, $y = t$, and a portion of a circle of radius $1.5$ by representing +it as the graph of the pair-valued function \mfc{dir(t)}. The expression +\mfc{dir(t)} gives the point whose distance from $(0,0)$ is $1$ in the +direction given by the angle \mfc{t}. +\begin{verbatim} + \begin{mfpic}{-2}{4}{-2}{2} + \parafcn{-2,2,.1}{(t**2,t)} + \dotted\parafcn{45,315,5}{1.5*dir(t)} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig22} + \begin{mfpic}{-2}{4}{-2}{2} + \parafcn{-2,2,.1}{(t**2,t)} + \dotted\parafcn{45,315,5}{1.5*dir(t)} + \end{mfpic} +\end{mfpfig} + + +Here is an example of a graph of the polar coordinate function +$r=2\sin 3\theta$ (figure~\ref{fig23}). We use the degree version +\mfc{sind} in order to work with integers. +\begin{verbatim} + \begin{mfpic}{-2}{2}{-2}{2} + \plrfcn{0,180,5}{2*sind 3t} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig23} + \begin{mfpic}{-2}{2}{-2}{2} + \plrfcn{0,180,5}{2*sind 3t} + \end{mfpic} +\end{mfpfig} + + +\section{Transforming figures} + +\CMP{} is capable of any affine transformation (things like shifting, +rotating, scaling, reflecting and slanting) of any path. The figures +we've been dealing with so far (\cs{ellipse}, \cs{curve}, \cs{function}, +etc.) all produce, in the \MP{} code, the definition of some path (as +well as a drawing of that path). \Mfp{} provides for different methods +of `drawing' the path with \emph{prefix macros}. We've seen \cs{dashed}, +\cs{dotted}, \cs{gfill} so far, in addition to the default \cs{draw}. +\Mfp{} also provides for modifying the shape and position of the path +with other prefixes. Here's a simple example. +\begin{verbatim} + \begin{mfpic}{-.5}{2.5}{-.5}{2.5} + \rotatepath{(1,.5), 45}\rect{(0,0),(2,1)} + \point{(1,.5)} + \end{mfpic} +\end{verbatim} +The command \cs{rotatepath} obviously rotates the path that follows, but +it needs to know what the center of rotation will be, and how much to +rotate. These are given in its mandatory argument, separated by a comma. +The example above (pictured in figure~\ref{fig18}) rotates 45 degrees +around the center of the rectangle. +\begin{mfpfig}{fig18} + \begin{mfpic}{-.5}{2.5}{-.5}{2.5} + \rotatepath{(1,.5), 45}\rect{(0,0),(2,1)} + \point{(1,.5)} + \end{mfpic} +\end{mfpfig} + +Notice that we have no drawing prefix. A combination of +transformation-plus-figure is treated as a figure in its own right and +behaves the same. If we want the figure dashed, we could write +\begin{verbatim} + \dashed\rotatepath{(1,.5),45}\rect{(0,0),(2,1)} +\end{verbatim} +It may not be obvious, but we can also write a drawing macro between +the rotation and the figure, producing figure~\ref{fig19} +\begin{verbatim} + \begin{mfpic}{-.5}{2.5}{-.5}{2.5} + \rotatepath{(1,.5), 45}\draw\rect{(0,0),(2,1)} + \point{(1,.5)} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig19} + \begin{mfpic}{-.5}{2.5}{-.5}{2.5} + \rotatepath{(1,.5), 45}\draw\rect{(0,0),(2,1)} + \point{(1,.5)} + \end{mfpic} +\end{mfpfig} + +This illustrates another property of \mfp{} macros: the combination of a +rendering prefix and a figure is also treated the same as a figure in +its own right: the same figure as the one that follows. In fact, the +only difference between \cs{rect} and \cs{draw}\cs{rect} in this +example is that the second one has a minor (!) side effect: the +rectangle is drawn. + +Finally, try to guess what happens if we add another prefix at the +front: +\begin{verbatim} + \begin{mfpic}{-.5}{2.5}{-.5}{2.5} + \dotted\rotatepath{(1,.5), 45} + \draw\rect{(0,0),(2,1)} + \end{mfpic} +\end{verbatim} +and if we add another rotation in front of that. +\begin{verbatim} + \begin{mfpic}{-.5}{2.5}{-.5}{2.5} + \rotatepath{(0,0),45} + \dotted\rotatepath{(1,.5), 45} + \draw\rect{(0,0),(2,1)} + \end{mfpic} +\end{verbatim} + +Transformations availiable include \cs{scalepath}, +\cs{shiftpath}, \cs{xscalepath}, \cs{yscalepath}, \cs{slantpath}, and +\cs{reflectpath}. See the manual for a description of what arguments are +required for each. Here's a final example, producing figure~\ref{fig20} +\begin{verbatim} + \begin{mfpic}{-.5}{2.5}{-.5}{2.5} + \shiftpath{(-1,1)}\draw[red]\slantpath{.5,1}\dotted + \rotatepath{(0,0), 90}\dashed\rect{(0,0),(2,1)} + \point{(0,0),(2,1)} + \tlabelsep{2pt} + \tlabel[tr](0,0){$(0,0)$} + \tlabel[bl](2,1){$(2,1)$} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig20} + \begin{mfpic}{-.5}{2.5}{-.5}{2.5} + \shiftpath{(-1,1)}\draw[red]\slantpath{.5,1}\dotted + \rotatepath{(0,0), 90}\dashed\rect{(0,0),(2,1)} + \point{(0,0),(2,1)} + \tlabelsep{2pt} + \tlabel[tr](0,0){$(0,0)$} + \tlabel[bl](2,1){$(2,1)$} + \end{mfpic} +\end{mfpfig} + +\section{Rendering figures} + +\emph{Rendering} is the act of making a description of a figure visible. +Examples are: drawing a solid curve, drawing a dashed curve, or filling +its interior, For \mfp{} figure macros the default, in the absence of +explicit commands, is to use \cs{draw}. That is, +\begin{verbatim} + \rect{(0,0),(1,2)} +\end{verbatim} +has the same result as +\begin{verbatim} + \draw\rect{(0,0),(1,2)} +\end{verbatim} +The default rendering can be changed. Just say +\cs{setrender}\marg{\cs{dashed}}, and all figures afterward will be dashed +(see figure~\ref{fig21}). +\begin{verbatim} + \begin{mfpic}{0}{2}{0}{1} + \setrender{\dashed} + \rect{(0,0),(1,1)} + \circle{(1.5,.5),.5} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig21} + \begin{mfpic}{0}{2}{0}{1} + \setrender{\dashed} + \rect{(0,0),(1,1)} + \circle{(1.5,.5),.5} + \end{mfpic} +\end{mfpfig} +The \cs{setrender} command can be inside an \env{mfpic} environment to +affect only later commands in that figure, or outside to affect all +later \mfp{} figures. + +We give a few examples now of the renderings possible. These divide +more-or-less into those that trace a path and those that fill in a path. +In order to fill in a path, it must be a closed path, of course, but +\MP{} distinguishes between closed paths and those that merely happen to +end where they began. There is a good reason for this: \MP{} cannot, +without human aid, know if two points are the same, or merely +accidentally so close that the accuracy of the program sees them as the +same. It requires human aid in the form of an explicit request to +create a closed path. Of the \mfp{} macros we've seen so far, +\cs{ellipse}, \cs{circle}, \cs{rect}, \cs{polygon}, and \cs{cyclic} +produce closed paths, but \cs{polyline}, \cs{curve}, \cs{function}, +\cs{parafcn}, and \cs{plrfcn} do not. Also producing closed paths are +\cs{tlabeloval} and its relatives. + +The following example illustrates filling with a hatching pattern +(parallel lines) and an \emph{unfilling}. Clearing the interior of a +path may not seem like rendering, it is treated in exactly the same way +(think of it as a negative rendering). We first hatch a rectangle, then +clear out a smaller rectangle with rounded corners to place our text +inside. The results are in figure~\ref{fig24}. +\begin{verbatim} + \begin{mfpic}{0}{2}{0}{2} + \draw[red]\lhatch[2pt][blue]\rect{(0,0),(2,2)} + \gclear\tlabelrect[6pt][cc](1,1){Hatching!} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig24} + \begin{mfpic}{0}{2}{0}{2} + \draw[red]\lhatch[2pt][blue]\rect{(0,0),(2,2)} + \gclear\tlabelrect[6pt][cc](1,1){Hatching!} + \end{mfpic} +\end{mfpfig} +This example illustrates that \cs{lhatch} fills with left slanting +lines. And that it takes two optional arguments. The first is the +distance between lines, and the second is the color to make the lines. +There are also \cs{rhatch} which slants the lines the other way, +\cs{xhatch} which uses both slants, and \cs{thatch} which can draw +the lines at any angle. + +Here is another example of rendering (figure~\ref{fig26}). The new +macro is \cs{polkadot}. We've repeated this example twice to +show the effect of changing the order of the prefixes. Each prefix +applies its rendering to the result of everything to the right of it. In +the second example the hatching goes over the dots (and a bit of the +dashes as well). If the \cs{gfill} were first, it would cover almost +everything else. +\begin{verbatim} + \begin{mfpic}{0}{6}{0}{2} + \penwd{2pt} + \hatchwd{2pt} + \drawcolor{blue} + \hatchcolor{red} + \fillcolor{green} + \dashed\polkadot\rhatch[5pt]\gfill[yellow]\rect{(0,0),(2.8,1.8)} + \rhatch[5pt]\dashed\polkadot\gfill[yellow]\rect{(3,0),(5.8,1.8)} + \end{mfpic} +\end{verbatim} +We've added a couple of other new features to this example. To emphasize +effects, we've increased the thickness of the drawing pen (\cs{penwd}) +and the hatch lines (\cs{hatchwd}). We've also used the \cs{drawcolor} +macro and its relatives to set the colors to be used. The \cs{polkadot} +macro uses the color set by \cs{fillcolor}; so does \cs{gfill} if no +optional color is given. +\begin{mfpfig}{fig26} + \begin{mfpic}{0}{6}{0}{2} + \penwd{2pt} + \hatchwd{2pt} + \drawcolor{blue} + \hatchcolor{red} + \fillcolor{green} + \dashed\polkadot\rhatch[5pt]\gfill[yellow]\rect{(0,0),(2.8,1.8)} + \rhatch[5pt]\dashed\polkadot\gfill[yellow]\rect{(3,0),(5.8,1.8)} + \end{mfpic} +\end{mfpfig} + +If one wants to plot several curves in a single graph, they often need +to be rendered differently. The three methods we've seen so far, +\cs{draw}, \cs{dashed}, and \cs{dotted}, may not be enough. The +\cs{dashed} and \cs{dotted} commands permit an optional argument to +adjust the length of the dashes and spaces, and size of the dots. One +can also change the curve thickness with \cs{penwd}. But +that may not be `different' enough. \Mfp{} provides a few solutions. +When color is available, they may be drawn in different colors. When +not, there are two possibilities: \cs{gendashed} and \cs{plot}. + +The first, \cs{gendashed}, is a generalized dashing macro. It takes one +mandatory argument, the name of a dashing pattern. Named dashing +patterns may be created with the \cs{dashpattern} command, as shown by +the following example (see figure~\ref{fig27}): +\begin{verbatim} + \begin{mfpic}{-3.5}{3.5}{-1}{1} + \dashpattern{dotdash}{0pt,4pt,3pt,4pt} + \gendashed{dotdash}\function{-pi,pi,.2}{sin 2x} + \function{-pi,pi,.2}{cos 2x} + \axes + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig27} + \begin{mfpic}{-3.5}{3.5}{-1}{1} + \dashpattern{dotdash}{0pt,4pt,3pt,4pt} + \gendashed{dotdash}\function{-pi,pi,.2}{sin 2x} + \function{-pi,pi,.2}{cos 2x} + \axes + \end{mfpic} +\end{mfpfig} + +The \cs{dashpattern} command takes a name and an even number of lengths. +The first, third, etc., lengths represent the lengths of dashes +(\texttt{0pt} means a dot), and the second, fourth, etc., represent +spaces. The given pattern is dot-space-dash-space. This pattern, when +used in a \cs{gendashed} command, is repeated for the length of the +curve. + +This last example illustrates that the predefined \MP{} variable +\gbc{pi} (equal to 3.14159) can be used pretty much anywhere a number +can be used (except, often, in text label commands). + +Another way to get more distinctive curves is to `dot' them with +something other than tiny dots. The \cs{plot} command does that. It +takes one mandatory argument, the name of a symbol to use instead of a +dot. Here are the same two curves \cs{plot}-ed (figure~\ref{fig28}): +\begin{verbatim} + \begin{mfpic}{-3.5}{3.5}{-1.2}{1.2} + \setlength{\pointsize}{2.5pt} + \plot{Triangle}\function{-pi,pi,.2}{sin 2x} + \plot[2pt,6pt]{SolidCircle}\function{-pi,pi,.2}{cos 2x} + \axes + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig28} + \begin{mfpic}{-3.5}{3.5}{-1.2}{1.2} + \setlength{\pointsize}{2.5pt} + \plot{Triangle}\function{-pi,pi,.2}{sin 2x} + \plot[2pt,6pt]{SolidCircle}\function{-pi,pi,.2}{cos 2x} + \axes + \end{mfpic} +\end{mfpfig} + +The \cs{plot} command takes an optional argument to specify the size of +the symbols and the spacing between them. The size of the symbols can +also be adjusted by changing the length command \cs{pointsize} (that also +adjusts the size of the dots placed with the \cs{point} command). + +In this last example, \cs{plotnodes} is similar to \cs{plot}, except it +placed the symbols at the `nodes' defined by the path command. In the +case of \cs{function}, these are the points $(x_k, f(x_k))$ with $x_k$ +stepping through all the $x$-values determined by the first argument of +\cs{function} (figure~\ref{fig29}). +\begin{verbatim} + \begin{mfpic}{-3.5}{3.5}{-1.2}{1.2} + \plotnodes[2.5pt]{Square}\function{-pi,pi,pi/16}{sin 2x} + \axes + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig29} + \begin{mfpic}{-3.5}{3.5}{-1.2}{1.2} + \plotnodes[2.5pt]{Square}\function{-pi,pi,pi/16}{sin 2x} + \axes + \end{mfpic} +\end{mfpfig} + +See the manual for the list of predefined symbols available to the +\cs{plot} and \cs{plotnodes} command. + +\section{More on text} + +The text positioning commands used so far in this guide are entirely +handled by \TeX{} or \LaTeX. This is why we have occasionally had to say +that certain things could be done ``except in text placement commands''. +It is possible for text positioning to be done within \MP, making many +things possible that couldn't be done otherwise. For example, text can +be rotated about the point of placement. You are probably thinking that +\LaTeX{} can rotate text, but it is not all that easy to arrange for the +point on the graph where we place the text to be the center of rotation. +Below are two examples, in which we attempt to place the text separated +from $(0,0)$ by \texttt{5pt} and rotated 45 degrees around $(0,0)$. In +the first we try to use \LaTeX's \cs{rotatebox} command, and in the +second we turn on \MP{} handling of labels and use a rotation option to +the \cs{tlabel} command. +\begin{verbatim} + \begin{mfpic}{0}{1}{0}{1} + \point{(0,0)} + \polyline{(0,0),(1,1)} + \tlabel[Bl](0,0){\rotatebox{45}{\hspace{5pt}Test text}} + \end{mfpic}\renewcommand\thefigure{\thesection.\arabic{figure}a} +\end{verbatim} +\begin{verbatim} + \usemplabels + \begin{mfpic}{0}{1}{0}{1} + \point{(0,0)} + \polyline{(0,0),(1,1)} + \tlabelsep{5pt} + \tlabel[Bl45](0,0){Test text} + \end{mfpic} +\end{verbatim} +\begin{figure}[!hb] + \centering + \begin{minipage}{4cm} + \centering + \begin{mfpic}{0}{1}{0}{1} + \point{(0,0)} + \polyline{(0,0),(1,1)} + \tlabel[Bl](0,0){\rotatebox{45}{\hspace{5pt}Test text}} + \end{mfpic}\renewcommand\thefigure{\thesection.\arabic{figure}a} + \refstepcounter{figure}\label{fig30a} + \par\medskip (a) + \end{minipage}\addtocounter{figure}{-1}\qquad + \begin{minipage}{4cm}\usemplabels + \centering + \begin{mfpic}{0}{1}{0}{1} + \point{(0,0)} + \polyline{(0,0),(1,1)} + \tlabelsep{5pt} + \tlabel[Bl45](0,0){Test text} + \end{mfpic}\renewcommand\thefigure{\thesection.\arabic{figure}b} + \refstepcounter{figure}\label{fig30b} + \par\medskip (b) + \end{minipage} + + \medskip Figure \thesection.\arabic{figure}. +\end{figure} + +The first produces figure~\ref{fig30a} and the second produces +figure~\ref{fig30b}. Our goal was to get the baseline of the text lined +up with the reference line drawn. + +In the first example, \LaTeX's \cs{rotatebox} command produces the +following result, where we put a frame around both the unrotated text +and the rotated result to emphasize what \LaTeX{} sees as the +boundaries: +$$ + \hbox{\setlength\fboxsep{0pt}% + \fbox{\rotatebox{45}{\fbox{\hspace{5pt}Test text}}}} +$$ +This is then placed by the \cs{tlabel} command with the lower left +corner of the \emph{outer} box at $(0,0)$. But \LaTeX's axis of rotation +was at the lower left corner of the inner box. In the second case, \MP{} +placed the label. The command \cs{tlabelsep}\marg{5pt} and the parameter +\oarg{Bl45} explicitly request that the label be placed with its left +baseline 5 points from $(0,0)$ and rotated 45 degrees \emph{about that +point}. + +The \cs{usemplabels} command used above asks \MP{} to arrange for the +setting of labels. Adding the option \opt{mplabels} to the +\cs{usepackage} command that loads \mfp{} has the same effect for the +whole document. There can be problems with using \MP{} to set labels. +One is that \MP{} has to call a \file{tex} program to do the actual +typesetting, and then one must either make arrangements that ensure +\MP{} will call \LaTeX, or never use any macros in the labels that are +not defined in plain\TeX. If one does arrange for \LaTeX{} to be used, +one needs to arrange that a \LaTeX{} preamble is prepended to the output +\file{.mp} file. The \cs{mfpverbtex} command can be used for this. + +The command \cs{nomplabels} can be used to return to having labels set +at the document level. For the rest of this guide, we have +\opt{mplabels} in effect. + +There are a few more commands that place text on the picture. All of +them pass the final responsability for text placement to \MP{} if +\opt{mplabels} is in effect. See the manual for more details. + + +\section{Arrows} + +The command \cs{arrow} adds an arrowhead onto the \emph{end} of any path +that follows. For this to have predictable effects, you need to know +which part of a curve is the end, and which the start. Not surprisingly, +for the commands that connect a list of points in order the first point +in the list is the start point and the last point is the end. Except the +closed paths (\cs{cyclic}, \cs{polygon}, etc.); for them, the start and +the end points are the same, but the order of the points gives a +direction to the arrowhead. The default \cs{circle} has an anticlockwise +direction, but if the circle is defined by three points (for example) +the direction of the circle is determined by the order in which the +points are written. + +Anyway, here are a few examples, illustrating the use of \cs{arrow}, and +some of its optional arguments. +\begin{verbatim} + \begin{mfpic}{0}{4}{0}{4} + \arrow[r -5]\circle{(1,1),.5} + \arrow[b 4pt]\arrow\polyline{(3,2),(3,0)} + \arrow[c red]\reverse\arrow\polyline{(0,3),(2,3)} + \arrow[l 5pt]\rect{(4,2),(2,4)} + \end{mfpic} +\end{verbatim} +See figure~\ref{fig31} for the results of this example. There are four +possible optional arguments, the first character inside the brackets +tells what option the rest of the argument applies to. The first example +above starts with `\texttt{r}', which stands for `rotate' and asks for +the arrowhead to be rotated -5 degrees (5 degrees clockwise). The second +starts with `\texttt{b}', which stands for `backset' and it moves the +head back \texttt{4pt} from where it would otherwise be placed. In the +example, this is used to put a double arrowhead on the line. In the +third example we put an arrow at both ends by reversing the sense of the +curve in between the two \cs{arrow} prefixes. We also used the letter +`\texttt{c}' in the optional argument of one arrowhead. This stands for +`color' and the requested color is `\texttt{red}'. Finally, the +\texttt{l} option, standing for `length', changes the length of the +arrowhead to \texttt{5pt} (from the default \texttt{3pt}). The space +between the letter and the value in these arguments may be omitted. +\begin{mfpfig}{fig31} + \begin{mfpic}{0}{4}{0}{4} + \arrow[r -5]\circle{(1,1),.5} + \arrow[b 4pt]\arrow\polyline{(3,2),(3,0)} + \arrow[c red]\reverse\arrow\polyline{(0,3),(2,3)} + \arrow[l 5pt]\rect{(4,2),(2,4)} + \end{mfpic} +\end{mfpfig} + +The options can be combined in one command: +\cs{arrow}\oarg{cblue}\oarg{b4pt}\oarg{r25}\oarg{l6pt} would produce a +\texttt{6pt} long blue arrowhead rotated 25 degrees anticlockwise, set back +\texttt{4pt}. The setting back is done in the direction determined +\emph{after} rotation. The order of the options is not significant. + +The need to occasionally tweak the arrowhead with a small rotation will +be apparent if you look closely at the circle example without any +rotation. + +The shape of the arrowhead can be changed with the \cs{headshape} +command. The following example draws the arrowhead first normally, and +then after an instance of this command. We increase the length of head +and the thickness of the pen to emphasize the effects. +\begin{verbatim} + \begin{mfpic}{0}{4}{0}{4} + \setlength{\headlen}{20pt} + \penwd{3pt} + \arrow\polyline{(0,3),(4,3)} + \headshape{.5}{2}{true} + \arrow\polyline{(0,1),(4,1)} + \end{mfpic} +\end{verbatim} +The results are pictured in figure~\ref{fig32}. The first argument to +\cs{headshape} sets the ratio of width to height for the head. We have +cut it in half here. The second argument sets the tension in the curves +that form the sides of the head. This reduces the curvature in the +sides. The third argument can be only \texttt{true} or \texttt{false} +and determines whether the head is a solid shape, or only the two +`barbs'. The defaults correspond to \verb$\headshape{1}{1}{false}$ +\begin{mfpfig}{fig32} + \begin{mfpic}{0}{4}{0}{4} + \setlength{\headlen}{20pt} + \penwd{3pt} + \arrow\polyline{(0,3),(4,3)} + \headshape{.5}{2}{true} + \arrow\polyline{(0,1),(4,1)} + \end{mfpic} +\end{mfpfig} + + +\section{Color} + +We saw the use of color in earlier sections, and now it's time to be +systematic about it. The several rendering commands have a color option; +examples are \cs{draw}, \cs{gfill}, \cs{arrow}, and the hatching +commands. However, even those commands that don't provide such an option +can have the color of their rendering changed. \Mfp{} provides the +following commands to change certain colors. Those commands with a +color option can be used without that option and then they will the use +the appropriate color described here. Each of these color-changing +commands takes a mandatory argument containing the color to change to, +and an optional argument to be described later. + +\begin{description} +\item[\cs{backgroundcolor}] This sets the color to be used by \cs{gclear}. + It is the same color used by \cs{point} for the inside of the + points when \cs{pointfillfalse} has been used. In \MP{}, the + only way to clear the inside of a region is to cover it up. The + default color for this purpose is \mfc{white}. Use this command + to change that default. +\item[\cs{drawcolor}] This sets the default color used by those rendering + commands that draw a path. This includes \cs{draw}, but also + includes \cs{dashed}, \cs{dotted}, \cs{plot} and \cs{plotnodes}. + It is also used by other commands that produce lines or curves: + figure macros used without any rendering prefix, as well as + \cs{axes} and related commands. +\item[\cs{fillcolor}] This sets the default color used by \cs{gfill}. It + is also the color used by \cs{polkadot} (which has no color + option). +\item[\cs{hatchcolor}] This sets the default color used by any hatching + command. +\item[\cs{headcolor}] This sets the default color for arrowheads added + by the \cs{arrow} command. It is also the color of + arrowheads on any coordinate axis. +\item[\cs{pointcolor}] This sets the color used by \cs{point}, \cs{grid}, + and \cs{plotsymbol} (the last one will be described later). +\item[\cs{tlabelcolor}] This sets the color used for all text labels if + the \opt{mplabels} option is turned on. +\end{description} + +The color can be a common name for a color, provided that name is one of +the following: \texttt{white}, \texttt{black}, \texttt{red}, +\texttt{green}, \texttt{blue}, \texttt{cyan}, \texttt{magenta}, or +\texttt{yellow}. We have already seen this usage. It can also be a color +name defined in the file \file{dvipsnam.mp} that accompanies \mfp. It can +also be an explicit color formula, where color formulas are described in +the \mfp{} manual. + +The optional argument is one of the \emph{color models}. See the manual +for details, but the syntax is just like that of the \prog{color} +package's \cs{color} command. For example, +\begin{verbatim} + \pointcolor[rgb]{0,1,0} +\end{verbatim} +would use the color model \opt{rgb} with parameters 0, 1, and 0 (this is +green). After each of these commands a certain color name is assigned a +value. For example, a use of the \cs{pointcolor} command assigns a value +to the color named \gbc{pointcolor}. This pattern is followed for all the +color setting commands above (i.e., \cs{drawcolor} sets \gbc{drawcolor}) +except \cs{backgroundcolor}, which assigns its value to the color named +\gbc{background}. + +Color names for \mfp{} use can be defined using the \cs{mfpdefinecolor} +command. Here's an example (figure~\ref{fig33}). Note the use of the +color name \gbc{pointcolor} to make arrowheads and points have the same +color. +\begin{verbatim} + \begin{mfpic}{0}{3.5}{0}{3.5} + \tlabelcolor{red} + \pointcolor{rgb(0,1,0)}% green + \drawcolor[rgb]{0,0,1} % blue + \fillcolor{Goldenrod} % from dvipsnam.mp + \headcolor{pointcolor} % will be green after above + \mfpdefinecolor{DarkerRed}{rgb}{.67,0,0} + \hatchcolor{DarkerRed} + \penwd{1pt} + \gfill\circle{(1,1),.5} + \point[3pt]{(1,.5),(1,1.5),(.5,1),(1.5,1)} + \hatch\rect{(2.5,2.5),(3.5,3.5)} + \arrow[l 5pt]\polyline{(1,1),(3,3)} + \tlabel[cc](1,3){Examples \\of\\colors} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig33} + \begin{mfpic}{0}{3.5}{0}{3.5} + \tlabelcolor{red} + \pointcolor{rgb(0,1,0)}% green + \drawcolor[rgb]{0,0,1} % blue + \fillcolor{Goldenrod} % from dvipsnam.mp + \headcolor{pointcolor} % will be green after above + \mfpdefinecolor{DarkerRed}{rgb}{.67,0,0} + \hatchcolor{DarkerRed} + \penwd{1pt} + \gfill\circle{(1,1),.5} + \point[3pt]{(1,.5),(1,1.5),(.5,1),(1.5,1)} + \hatch\rect{(2.5,2.5),(3.5,3.5)} + \arrow[l 5pt]\polyline{(1,1),(3,3)} + \tlabel[cc](1,3){Examples \\of\\colors} + \end{mfpic} +\end{mfpfig} + +\section{Closing paths} + +There are many different ways to modify a figure. We have already seen +\cs{arrow}, which appends an arrowhead, \cs{reverse} which reverses the +sense, and several that apply an affine transformation +(\cs{rotatepath}, \cs{shiftpath}, etc.). Now we will see the simple +operation of closing a path. + +All methods of closing a path have to connect the end to the start, but +simply drawing a connection is not enough. \MP{} has to be told to close +the path, and what kind of connection is desired. We have several macros +that can do the job, the simplest being \cs{lclosed}, which closes with +a straight line. Putting \cs{lclosed} in front of \cs{polyline}, for +example, produces the same result as \cs{polygon}. Another macro is +\cs{sclosed} which produces a smooth closure. Putting it in front of +\cs{curve} gives the same result as \cs{cyclic}. There is one other +useful macro, \cs{bclosed}, which also informs \MP{} to make a +smooth closure. The difference between \cs{sclosed} and +\cs{bclosed} is that the first modifies slightly the original path (in +order to achieve the effect that +\cs{sclosed}${}+{}$\cs{curve}${}={}$\cs{cyclic}), the second just asks +\MP{} to do its best to connect the ends smoothly. Here's an example +comparing the two smooth methods (figure~\ref{fig34}). +\begin{verbatim} + \begin{mfpic}{0}{4}{0}{4} + % an open curve: + \curve{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + % \sclosed a shifted copy: + \draw\gfill[green]\sclosed\shiftpath{(2,0)} + \curve{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + % \bclosed another copy: + \draw\gfill[yellow]\bclosed\shiftpath{(2,-2)} + \curve{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + % \cyclic with same points, shifted: + \draw\gfill[red]\shiftpath{(0,-2)} + \cyclic{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + \tlabeljustify{bc} + \nomplabels + \tlabels{ + (1,2.4){\cs{curve}} + (3,2.4){\cs{sclosed}} + (1,0.4){\cs{cyclic}} + (3,0.4){\cs{bclosed}} + } + % Some points to help illustrate + \point{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + \point{(2.49,3),(2.5,3.7),(3,4),(3.5,3.7),(3.51,3)} + \point{(0.49,1),(.5,1.7),(1,2),(1.5,1.7),(1.51,1)} + \point{(2.49,1),(2.5,1.7),(3,2),(3.5,1.7),(3.51,1)} + \end{mfpic} +\end{verbatim} +\begin{mfpfig}{fig34} + \begin{mfpic}{0}{4}{0}{4} + \curve{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + \draw\gfill[green]\sclosed\shiftpath{(2,0)} + \curve{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + \draw\gfill[yellow]\bclosed\shiftpath{(2,-2)} + \curve{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + \draw\gfill[red]\shiftpath{(0,-2)} + \cyclic{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + \tlabeljustify{bc} + \nomplabels + \tlabels{ + (1,2.4){\cs{curve}} + (3,2.4){\cs{sclosed}} + (1,0.4){\cs{cyclic}} + (3,0.4){\cs{bclosed}} + } + \point{(0.49,3),(.5,3.7),(1,4),(1.5,3.7),(1.51,3)} + \point{(2.49,3),(2.5,3.7),(3,4),(3.5,3.7),(3.51,3)} + \point{(0.49,1),(.5,1.7),(1,2),(1.5,1.7),(1.51,1)} + \point{(2.49,1),(2.5,1.7),(3,2),(3.5,1.7),(3.51,1)} + \end{mfpic} +\end{mfpfig} + +A word about the labels: we turned off \opt{mplabels} with the command +\verb$\nomplabels$, because we used a command (\verb$\cs$) defined for +this document and not known to basic \TeX{} or \LaTeX. The labels +therefore are position by \LaTeX{} while it assembles this document, +instead of by \MP{} which would call a separate instance of \TeX{} or +\LaTeX{} where \cs{cs} was unknown. We could have kept \opt{mplabels}, +provided we had used \verb$\mfpverbtex$ to write the appropriate +\LaTeX{} preamble to the \file{.mp} output. It would need to be some +subset of the preamble of this document. + +\appendix +\section{Appendices} + +In addition to \pdfLaTeX, \Mfp{} works with plain \pdfTeX, \LaTeX, and +plain \TeX{}. Instead of \MP{} as the figure processor, \MF{} can also +be used. Let's start with the difference between using \mfp{} in a +plain~\TeX{} document and using it in a \LaTeX{} document. + +\subsection{\Mfp{} in plain \TeX} + +Here is a sample plain \pdfTeX{} document with results the same as our +first ``Hello, world'' example. Let's call this file \file{plfirst} +\begin{verbatim} + \input mfpic + \usemetapost + \opengraphsfile{myfigs} + My first figure: + \mfpic[72]{-1}{1}{-1}{1} + \ellipse{(0,0),1,.5} + \endmfpic + \closegraphsfile + \end +\end{verbatim} +The main difference is the lack of \LaTeX{} commands. The crucial +difference is in the first two lines. There we simply +\verb$\input mfpic$ and we turn on \MP{} support with the +\verb$\usemetapost$ command instead of an option to \verb$\usepackage$. + +Since \verb$\usepackage$ and its options don't exist in plain \TeX{}, +all those features that we select with options in \LaTeX{} must be +selected by some command in plain. For example, the \opt{mplabels} +option is replaced with the command \verb$\usemplabels$ (which can also +be used in \LaTeX). + +Also, plain \TeX{} doesn't have environments, so instead of +\verb$\begin{mfpic}$ we just use \verb$\mfpic$ and instead of +\verb$\end{mfpic}$ we use \verb$\endmfpic$. + +The external processing is essentially the same: +\begin{verbatim} + pdftex plfirst + mpost myfigs + pdftex plfirst +\end{verbatim} +should produce \texttt{plfirst.pdf} with the same picture of an ellipse. + + +\subsection{\Mfp{} without PDF} + +If we wish to use nonPDF versions of \LaTeX{} or plain \TeX, the only +difference is in the processing steps. To process \file{first.tex} with +\LaTeX, run the command +\begin{ex} + \texttt{latex first} +\end{ex} +followed by +\begin{ex} + \texttt{mpost myfigs} +\end{ex} +followed by latex again. +\begin{ex} + \texttt{latex first} +\end{ex} +Then run the dvi processor of your choice. It should be one that can +successfully handle eps figures (or at least the simple eps produced by +\MP). Certainly \prog{dvips} can do it: +\begin{ex} + \texttt{dvips first} +\end{ex} +will produce \file{first.ps}. The file{.ps} file can be viewed with +\prog{gsview} or printed, or converted to PDF with some distillation +program like \prog{ps2pdf}. Also \prog{dvipdfm} (if recent, and properly +configured) can be used convert the \file{.dvi} file to PDF. + +\subsection{\Mfp{} without \MP} + +\Mfp{} can produce figures using \MF{} instead of \MP. What it does is +work with \MF{} to produce a made-to-order font, where each picture is a +large character in that font. + +Since \pdfTeX{} and \pdfLaTeX{} do not work well with the fonts produced +by \MF, and many PDF viewers don't display them well anyway, I do not +recommend using \mfp{} to produce PDF without turning on \MP{} support. +However, all dvi viewers and \prog{dvips} \emph{do} work well with such +fonts, so it can make sense to use \mfp{} with \MF{} \emph{if} you don't +need the features that \MP{} enables: color and rotation of labels. One +advantage of doing this is the smaller number of files produced. If +there are 100 \mfp{} figures in a document, \MP{} produces 100 files +(apart from a couple of temporary files and the \file{.log} file), but +the \MF{} procedure produces only four files no matter how many figures +are present. + +To use \mfp{} without \MP{}, omit the \opt{metapost} option or the +\verb$\usemetapost$ command. If you want a visible reminder of the fact +that \MF{} is being used, you can use the \opt{metafont} option or the +\verb$\usemetafont$ command. Of course, you may not use \opt{mplabels} +without \MP. You may use the color commands and options, but the only +colors actually produced will be black and white (and occasionally a +pattern of pixels that simulate gray). The processing steps are +different. After +\begin{ex} + \texttt{latex first} \quad(or \texttt{tex plfirst}) +\end{ex} +run \MF: +\begin{ex} + \texttt{mf myfigs} +\end{ex} +This should produce three files: \texttt{myfigs.log}, +\texttt{myfigs.tfm}, and \texttt{myfigs.600gf}. The last one (which +might have a different number on your system) is called a \emph{generic +font} (GF) file and contains the bitmap descriptions. If the file +produced is \texttt{myfigs.2602gf}, and the \file{.tfm} is not produced, +that indicates a configuration problem with your system that we'll get +to later. If this did work, one needs to convert the \file{gf} file to a +PK font file, the standard format for bitmap fonts in the \TeX{} world. +This may be done with +\begin{ex} + \texttt{gftopk myfigs.600gf} +\end{ex} +Some systems may require you to name the output file on the command +line: +\begin{ex} + \texttt{gftopk myfigs.600gf myfigs.600pk} +\end{ex} +And some systems may require the extension to be simply \file{.pk}: +\begin{ex} + \texttt{gftopk myfigs.600gf myfigs.pk} +\end{ex} +Finally, some systems may have a \prog{makepk} or \prog{mktexpk} command +that can be used in place of the combination of \MF{} and \prog{gftopk}. +You'll have to check what your system has and what its usage might be, +and what it might do with the PK file produced. + +After the above, one again runs `\texttt{latex first}' (or `\texttt{tex +plfirst}'), and then the {.dvi} can be viewed or processed with dvips. +The two files \file{myfigs.log} and \file{myfigs.600gf} can be deleted; +only \file{myfigs.tfm} and \file{myfigs.600pk} are needed. If the viewed +image shows the pictures at a far different size than you expect, this can +also indicate a configuration problem. + +Some systems permit on-the-fly creation of PK files by various +\file{.dvi} processing programs. It is not wise to allow this to happen +when working with \mfp. The problem is that this automatic creation +process is \emph{not} repeated when a figure is edited unless the old PK +files are deleted, and it may take some hunting to even locate them. One +should \emph{always} follow the \MF{} step with the \prog{gftopk} step. +You might even want to write a batch script or makefile to ensure that +this happens. + +Another problem, more an annoyance, that can occur comes from the +behavior of most dvi viewers: most will reload a \file{.dvi} file if +they detect that it has changed (or if asked to), but will usually +\emph{not} reload any fonts even if they have changed. So if one is +going through a edit-compile-view cycle involving \mfp{} figures, one +usually has to close the viewer and open it again before one can see +changes that were made in the figures after starting the viewer. + +\subsection{\MF{} configuration problems} + +To diagnose these problems it important to know something about +\emph{printer modes}. \CMF{} produces bitmap images of characters. This +means a description of a block of pixels, telling which ones are black +and which are white. If the description says that 60 pixels in a row are +black, that produces a thin black line. How long that line is depends on +the size of a printer's pixels. For the LaserJet IV, there are 600 +pixels to the inch, so 60 pixels makes 1/10 of an inch. The LaserJet~II, +however, has 300 pixels to the inch, so 60 pixels is 1/5 of an inch +long. What \MF{} needs in order to produce an image that is the correct +size is (at a minimum) the \emph{resolution} of the intended printer. +This is typically reported in DPI (dots per inch) and \MF{} keeps the +value in the variable \mfc{pixels_per_inch}. + +As part of the configuration of your DVI viewer or of \prog{dvips} you +may have needed to select a printer from a list, or edit a line in some +configuration file (e.g., \file{config.ps}). What was going on then was +the assigning of a default \MF{} printer mode. There is a file on most +\TeX{} systems named \file{modes.mf} which assigns symbolic names to a +set of parameters that enable \MF{} to tune its output to a particular +printer. For example, the LaserJet~IV is given the name +`\texttt{ljfour}' and that name is associated with the value 600 for +\mfc{pixels_per_inch}. In order to tell \MF{} to make output for the +LaserJet~IV, one can put that information on the command line: +\begin{ex} + \texttt{mf \cs{mode}:=ljfour; input myfigs} +\end{ex} +Your operating system or \TeX{} distribution may require you to quote +the backslash in the above command. + +There is a system for making the selection of the correct mode +semi-automatic, not requiring a command line specification. Near the end +of \file{modes.mf} is a line similar to +\begin{ex} + \mfc{localfont:=ljfour;} +\end{ex} +This is intended to equate the symbolic name \mfc{localfont} with the +user's default printer. If the LaserJet~IV is your default printer, the +line above would be the correct one. If it is not, then that line should +be changed. This can be done with an ordinary text editor, or your +\TeX{} system may have a configuration utility to take care of it. + +If you say ``\texttt{mf myfigs}'' on an \mfp{} file \file{myfigs.mf}, \mfp's +internal code will detect that no mode was defined on the command line. +It will then check if \mfc{localfont} is defined and if so, use that for +the printer mode. Finally, if that fails, it will select \mfc{ljfour}. +If even that is unknown, \MF{} will go into \emph{proof mode} and set +\mfc{pixels_per_inch} equal to approximately 2602 (and it will +\emph{not} produce a \file{.tfm} file). + +\Mfp{} doesn't need to know all the parameters associated to a printer +mode, only the value of \mfc{pixels_per_inch}. If you get a GF file that +indicates an incorrect DPI value for your printer, you should arrange +for the line in \file{modes.mf} that sets \mfc{localfont} to be +corrected. At the very least it should equate \mfc{localfont} to a name +defined in \file{modes.mf} and associated to a printer with the same DPI +as yours. After changing \file{modes.mf}, you need to run whatever +programs your \TeX{} systems requires to remake the \MF{} format. + +\end{document} diff --git a/Master/texmf-dist/doc/generic/mfpic/mfpman.pdf b/Master/texmf-dist/doc/generic/mfpic/mfpman.pdf new file mode 100644 index 00000000000..ac9baa1ca69 --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/mfpman.pdf @@ -0,0 +1,8730 @@ +%PDF-1.3 +5 0 obj +<< /S /GoTo /D (section.1) >> +endobj +8 0 obj +(Introduction) +endobj +9 0 obj +<< /S /GoTo /D (subsection.1.1) >> +endobj +12 0 obj +(Why?) +endobj +13 0 obj +<< /S /GoTo /D (subsection.1.2) >> +endobj +16 0 obj +(Who?) +endobj +17 0 obj +<< /S /GoTo /D (subsection.1.3) >> +endobj +20 0 obj +(What?) +endobj +21 0 obj +<< /S /GoTo /D (subsection.1.4) >> +endobj +24 0 obj +(How?) +endobj +25 0 obj +<< /S /GoTo /D (section.2) >> +endobj +28 0 obj +(Options.) +endobj +29 0 obj +<< /S /GoTo /D (subsection.2.1) >> +endobj +32 0 obj +(metapost, \usemetapost ) +endobj +33 0 obj +<< /S /GoTo 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O08BH?Mĕendstream +endobj +1439 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4202 0 R +/FirstChar 101 +/LastChar 110 +/Widths 4233 0 R +/BaseFont /SOJYCY+CMBXTI10 +/FontDescriptor 1437 0 R +>> endobj +1437 0 obj << +/Ascent 694 +/CapHeight 686 +/Descent -194 +/FontName /SOJYCY+CMBXTI10 +/ItalicAngle -14 +/StemV 107 +/XHeight 444 +/FontBBox [-29 -250 1274 754] +/Flags 4 +/CharSet (/e/i/k/n) +/FontFile 1438 0 R +>> endobj +4233 0 obj +[532 0 0 0 356 0 532 0 0 650 ] +endobj +1391 0 obj << +/Length1 872 +/Length2 2105 +/Length3 532 +/Length 2732 +/Filter /FlateDecode +>> +stream +xRk8fB%E**_̘a!117̌1吩drR"+9&T"cIkVJ{Z{~k_{|۰$tb@l$icph G44 Me@x6h ͑mD0`FH`bR)l@^ A& MD< d ; +h Y 0$ QlS!g?.Ҥ?K&uEE$ 3NoA?g*NEΠEA&a@&j .lf4)Ҭk!zչ +^6m[ mZuUQ%:r<%y_9FS3C1ؼj1kͣ֔?u AJ&ڡ ˊ, !(Jr lٓysA)% [rw˾qsQnܒzSi*XUVNC8z\?ќÔ;^?(T=ß3ԛ9 +.e@@I:;:mc&E[~ίAc5hyYJK^{@%5PBiX-+}tVywm>􅡺k,7U~ ׹JM̈́YM[OnWFw\jXw!dSn +],ނxJXk)V:zS2%Eysx p͊OIPEM/fpZg ~0I$᥶C{8)w?f :FF:G:DXՉ"uXyk!OIi-ܰ8iWMBSSNpۀsA|ک-K1.5?7xy`_O|㢳Mҵ`Λ|}ܒ-I/t3mG2_toV=98> y$jB4xղTn:\fV䊯XU)f|!L07Z#_c}8+hIQVMO=Z Ѧ$}lz<>eIdPV-"u^yW0ē0Defr >KT6Wx=q*6w0Vtts=,[}LU]RX&n9j_hZ68n߂`qEzNv^Ez jRlؕ|u({Qrv9}3AɇgдSAO`?ĖZ^N +#c!lK\6ګqcTW$!(2l/>#ځp4G6o;Tp0 +//ؽHd^7*y5VitgƨO>k9S>AE6\Mi2ßUnՂU"4Rqr_n^)rg"fǣ\< 3_pƐo;>:^H)SM o$^l_la?r*M=:س#GʧCCu !Qʌϩ" rHQ6l endstream +endobj +1392 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4206 0 R +/FirstChar 48 +/LastChar 105 +/Widths 4234 0 R +/BaseFont /DPZVZP+CMR7 +/FontDescriptor 1390 0 R +>> endobj +1390 0 obj << +/Ascent 694 +/CapHeight 683 +/Descent -194 +/FontName /DPZVZP+CMR7 +/ItalicAngle 0 +/StemV 79 +/XHeight 431 +/FontBBox [-27 -250 1122 750] +/Flags 4 +/CharSet (/zero/one/two/three/four/seven/A/i) +/FontFile 1391 0 R +>> endobj +4234 0 obj +[569 569 569 569 569 0 0 569 0 0 0 0 0 0 0 0 0 843 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 323 ] +endobj +1366 0 obj << +/Length1 1799 +/Length2 12573 +/Length3 532 +/Length 13589 +/Filter /FlateDecode +>> +stream +xU\϶wwhB\{ Kp-3gNﻚtZzIm b6NtLLa!u&F=#<9F `b A7+7#;<9@ @%NAk @ h ad`P52:p(.@czx&&hjn-vnr:8T IX& ـ ?{r1g++YRsv:dl6l4NVF6V@݀NFf+G@*ܿŕE~_6NvIO1U */#'6)``= b|c@71hT/?/`bO_`w_w`dkmm'`0s3 @m8 Vf"hF[ fzl'\u? u +X"Holeg;?:sA(C"nhbf?ZIH!JH!!"@. +@.J@.*@.j] 6ޜͬ$hg\S(ukusYP*ؗ&}XmYmh|F ռQAyPPR?!PIеI"&|MRG#6\F;e786KW|e< c ,@N H9@MaǾ+JU8VC*#LE׍j`Co + 8 xZu +76z<ω y#(5^eu$CuMNG,S4&J0D?;a@4(@ˤI!=ء* Ti'ߤ|f`5y]&QrskeZVqpB]KGB!?ʧPըdo`J旽Ha<0)䊠QUJ=8yA)\dC,OCfʜFo0Y*n%;kf/{cq^E;UjYe?>'C8._w\hHA\Sٿi)?:$fY1DǭgȐt~harHka:XяBߔQi!Ё[(26CfOK `d}KJ&SJ 4pMxpAl`XoL[$q`#\yuQ8b>6}5i5mrzo:@0MkT(粔fֵJVۍ۳Psw8:2/wW%s w~՛]FoPnv7JP3JQTnQ$܆uٲFu͹K|E~=})u)m^ . 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R+ 5DB||>\![# +{a'3[aQSlU :Ҝ1F&4WcllTιhh3[]2+&"/cs +-gk-y-fTdf689yⲧlP{JWU}2f2q{&\S5 ƵN_05THGs[FZ4>7FPTMY.\uwI`#wYqddNҐDmS,k,y os1\yu FVN$|r. +MM̥@:6U#^gA¯[U[gh);{b%&MB- Í>OdV} єӫdr3ot] w!_VGϔZ%q-l >W@V Vߣ$vQS\Ʊ%5mE`s; )y#lc*!5*KobyrkuZpcJl12DzK5l\ykG*#X~wy%fdO1warsZ-!+"TQpE2Xz/m?3@]'`endstream +endobj +1329 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4206 0 R +/FirstChar 46 +/LastChar 117 +/Widths 4243 0 R +/BaseFont /RUANDA+CMR17 +/FontDescriptor 1327 0 R +>> endobj +1327 0 obj << +/Ascent 694 +/CapHeight 683 +/Descent -195 +/FontName /RUANDA+CMR17 +/ItalicAngle 0 +/StemV 53 +/XHeight 430 +/FontBBox [-33 -250 945 749] +/Flags 4 +/CharSet (/period/zero/one/A/B/C/E/F/M/P/R/T/V/Z/a/b/c/d/e/f/g/h/i/k/l/m/n/o/p/r/s/t/u) +/FontFile 1328 0 R +>> endobj +4243 0 obj +[250 0 459 459 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 693 654 668 0 628 602 0 0 0 0 0 0 850 0 0 628 0 680 0 668 0 693 0 0 0 563 0 0 0 0 0 0 459 511 406 511 406 276 459 511 250 0 485 250 772 511 459 511 0 354 359 354 511 ] +endobj +1345 0 obj << +/Type /Pages +/Count 6 +/Parent 4244 0 R +/Kids [1322 0 R 1347 0 R 1351 0 R 1407 0 R 1466 0 R 1526 0 R] +>> endobj +1633 0 obj << +/Type /Pages +/Count 6 +/Parent 4244 0 R +/Kids [1575 0 R 1635 0 R 1690 0 R 1727 0 R 1734 0 R 1750 0 R] +>> endobj +1765 0 obj << +/Type /Pages +/Count 6 +/Parent 4244 0 R +/Kids [1756 0 R 1767 0 R 1773 0 R 1778 0 R 1786 0 R 1797 0 R] +>> endobj +1812 0 obj << +/Type /Pages +/Count 6 +/Parent 4244 0 R +/Kids [1808 0 R 1814 0 R 1827 0 R 1834 0 R 1838 0 R 1842 0 R] +>> endobj +1849 0 obj << +/Type /Pages +/Count 6 +/Parent 4244 0 R +/Kids [1846 0 R 1851 0 R 1855 0 R 1864 0 R 1873 0 R 1877 0 R] +>> endobj +1885 0 obj << +/Type /Pages +/Count 6 +/Parent 4244 0 R +/Kids [1882 0 R 1887 0 R 1891 0 R 1895 0 R 1899 0 R 1904 0 R] +>> endobj +1914 0 obj << +/Type /Pages +/Count 6 +/Parent 4245 0 R +/Kids [1908 0 R 1917 0 R 1923 0 R 1927 0 R 1931 0 R 1935 0 R] +>> endobj +1965 0 obj << +/Type /Pages +/Count 6 +/Parent 4245 0 R +/Kids [1947 0 R 1968 0 R 1972 0 R 1977 0 R 1984 0 R 2001 0 R] +>> endobj +2016 0 obj << +/Type /Pages +/Count 6 +/Parent 4245 0 R +/Kids [2005 0 R 2018 0 R 2023 0 R 2029 0 R 2033 0 R 2037 0 R] +>> endobj +2045 0 obj << +/Type /Pages +/Count 6 +/Parent 4245 0 R +/Kids [2042 0 R 2047 0 R 2051 0 R 2056 0 R 2060 0 R 2064 0 R] +>> endobj +2075 0 obj << +/Type /Pages +/Count 6 +/Parent 4245 0 R +/Kids [2072 0 R 2077 0 R 2081 0 R 2087 0 R 2091 0 R 2096 0 R] +>> endobj +2103 0 obj << +/Type /Pages +/Count 6 +/Parent 4245 0 R +/Kids [2100 0 R 2105 0 R 2109 0 R 2113 0 R 2120 0 R 2124 0 R] +>> endobj +2137 0 obj << +/Type /Pages +/Count 6 +/Parent 4246 0 R +/Kids [2134 0 R 2140 0 R 2146 0 R 2150 0 R 2155 0 R 2159 0 R] +>> endobj +2166 0 obj << +/Type /Pages +/Count 6 +/Parent 4246 0 R +/Kids [2163 0 R 2168 0 R 2190 0 R 2195 0 R 2204 0 R 2208 0 R] +>> endobj +2215 0 obj << +/Type /Pages +/Count 6 +/Parent 4246 0 R +/Kids [2212 0 R 2218 0 R 2227 0 R 2240 0 R 2248 0 R 2252 0 R] +>> endobj +2259 0 obj << +/Type /Pages +/Count 6 +/Parent 4246 0 R +/Kids [2256 0 R 2261 0 R 2266 0 R 2273 0 R 2277 0 R 2282 0 R] +>> endobj +2291 0 obj << +/Type /Pages +/Count 6 +/Parent 4246 0 R +/Kids [2287 0 R 2293 0 R 2297 0 R 2305 0 R 2309 0 R 2313 0 R] +>> endobj +2325 0 obj << +/Type /Pages +/Count 6 +/Parent 4246 0 R +/Kids [2318 0 R 2327 0 R 2335 0 R 2340 0 R 2344 0 R 2348 0 R] +>> endobj +2357 0 obj << +/Type /Pages +/Count 6 +/Parent 4247 0 R +/Kids [2353 0 R 2359 0 R 2364 0 R 2373 0 R 2377 0 R 2381 0 R] +>> endobj +2392 0 obj << +/Type /Pages +/Count 6 +/Parent 4247 0 R +/Kids [2389 0 R 2395 0 R 2400 0 R 2406 0 R 2410 0 R 2415 0 R] +>> endobj +2422 0 obj << +/Type /Pages +/Count 6 +/Parent 4247 0 R +/Kids [2419 0 R 2424 0 R 2428 0 R 2432 0 R 2436 0 R 2440 0 R] +>> endobj +2447 0 obj << +/Type /Pages +/Count 6 +/Parent 4247 0 R +/Kids [2444 0 R 2450 0 R 2455 0 R 2459 0 R 2463 0 R 2467 0 R] +>> endobj +2474 0 obj << +/Type /Pages +/Count 6 +/Parent 4247 0 R +/Kids [2471 0 R 2483 0 R 2487 0 R 2498 0 R 2502 0 R 2506 0 R] +>> endobj +2513 0 obj << +/Type /Pages +/Count 6 +/Parent 4247 0 R +/Kids [2510 0 R 2515 0 R 2519 0 R 2523 0 R 2528 0 R 2532 0 R] +>> endobj +2544 0 obj << +/Type /Pages +/Count 6 +/Parent 4248 0 R +/Kids [2536 0 R 2546 0 R 2557 0 R 2566 0 R 2574 0 R 2581 0 R] +>> endobj +2590 0 obj << +/Type /Pages +/Count 6 +/Parent 4248 0 R +/Kids [2587 0 R 2592 0 R 2596 0 R 2600 0 R 2604 0 R 2608 0 R] +>> endobj +2615 0 obj << +/Type /Pages +/Count 6 +/Parent 4248 0 R +/Kids [2612 0 R 2617 0 R 2621 0 R 2625 0 R 2631 0 R 2635 0 R] +>> endobj +2642 0 obj << +/Type /Pages +/Count 6 +/Parent 4248 0 R +/Kids [2639 0 R 2644 0 R 2648 0 R 2653 0 R 2657 0 R 2661 0 R] +>> endobj +2673 0 obj << +/Type /Pages +/Count 6 +/Parent 4248 0 R +/Kids [2667 0 R 2675 0 R 2679 0 R 2683 0 R 2687 0 R 2700 0 R] +>> endobj +2714 0 obj << +/Type /Pages +/Count 6 +/Parent 4248 0 R +/Kids [2711 0 R 2716 0 R 2721 0 R 2726 0 R 2730 0 R 2742 0 R] +>> endobj +2749 0 obj << +/Type /Pages +/Count 6 +/Parent 4249 0 R +/Kids [2746 0 R 2751 0 R 2755 0 R 2759 0 R 2763 0 R 2768 0 R] +>> endobj +2782 0 obj << +/Type /Pages +/Count 6 +/Parent 4249 0 R +/Kids [2774 0 R 2784 0 R 2788 0 R 2792 0 R 2797 0 R 2801 0 R] +>> endobj +2808 0 obj << +/Type /Pages +/Count 6 +/Parent 4249 0 R +/Kids [2805 0 R 2810 0 R 2814 0 R 2818 0 R 2823 0 R 2827 0 R] +>> endobj +2834 0 obj << +/Type /Pages +/Count 6 +/Parent 4249 0 R +/Kids [2831 0 R 2836 0 R 2840 0 R 2845 0 R 2850 0 R 2854 0 R] +>> endobj +2861 0 obj << +/Type /Pages +/Count 6 +/Parent 4249 0 R +/Kids [2858 0 R 2863 0 R 2873 0 R 2885 0 R 2890 0 R 2897 0 R] +>> endobj +2910 0 obj << +/Type /Pages +/Count 6 +/Parent 4249 0 R +/Kids [2907 0 R 2917 0 R 2926 0 R 2932 0 R 2937 0 R 2941 0 R] +>> endobj +2952 0 obj << +/Type /Pages +/Count 6 +/Parent 4250 0 R +/Kids [2948 0 R 2954 0 R 2959 0 R 2963 0 R 2967 0 R 2972 0 R] +>> endobj +2979 0 obj << +/Type /Pages +/Count 6 +/Parent 4250 0 R +/Kids [2976 0 R 2981 0 R 2986 0 R 2990 0 R 2999 0 R 3008 0 R] +>> endobj +3028 0 obj << +/Type /Pages +/Count 6 +/Parent 4250 0 R +/Kids [3019 0 R 3030 0 R 3045 0 R 3054 0 R 3059 0 R 3065 0 R] +>> endobj +3078 0 obj << +/Type /Pages +/Count 6 +/Parent 4250 0 R +/Kids [3075 0 R 3080 0 R 3084 0 R 3088 0 R 3092 0 R 3213 0 R] +>> endobj +3480 0 obj << +/Type /Pages +/Count 6 +/Parent 4250 0 R +/Kids [3344 0 R 3482 0 R 3604 0 R 3733 0 R 3867 0 R 3997 0 R] +>> endobj +4201 0 obj << +/Type /Pages +/Count 1 +/Parent 4250 0 R +/Kids [4125 0 R] +>> endobj +4244 0 obj << +/Type /Pages +/Count 36 +/Parent 4251 0 R +/Kids [1345 0 R 1633 0 R 1765 0 R 1812 0 R 1849 0 R 1885 0 R] +>> endobj +4245 0 obj << +/Type /Pages +/Count 36 +/Parent 4251 0 R +/Kids [1914 0 R 1965 0 R 2016 0 R 2045 0 R 2075 0 R 2103 0 R] +>> endobj +4246 0 obj << +/Type /Pages +/Count 36 +/Parent 4251 0 R +/Kids [2137 0 R 2166 0 R 2215 0 R 2259 0 R 2291 0 R 2325 0 R] +>> endobj +4247 0 obj << +/Type /Pages +/Count 36 +/Parent 4251 0 R +/Kids [2357 0 R 2392 0 R 2422 0 R 2447 0 R 2474 0 R 2513 0 R] +>> endobj +4248 0 obj << +/Type /Pages +/Count 36 +/Parent 4251 0 R +/Kids [2544 0 R 2590 0 R 2615 0 R 2642 0 R 2673 0 R 2714 0 R] +>> endobj +4249 0 obj << +/Type /Pages +/Count 36 +/Parent 4251 0 R +/Kids [2749 0 R 2782 0 R 2808 0 R 2834 0 R 2861 0 R 2910 0 R] +>> endobj +4250 0 obj << +/Type /Pages +/Count 31 +/Parent 4252 0 R +/Kids [2952 0 R 2979 0 R 3028 0 R 3078 0 R 3480 0 R 4201 0 R] +>> endobj +4251 0 obj << +/Type /Pages +/Count 216 +/Parent 4253 0 R +/Kids [4244 0 R 4245 0 R 4246 0 R 4247 0 R 4248 0 R 4249 0 R] +>> endobj +4252 0 obj << +/Type /Pages +/Count 31 +/Parent 4253 0 R +/Kids [4250 0 R] +>> endobj +4253 0 obj << +/Type /Pages +/Count 247 +/Kids [4251 0 R 4252 0 R] +>> endobj +4254 0 obj << +/Type /Outlines +/First 7 0 R +/Last 1315 0 R +/Count 6 +>> endobj +1319 0 obj << +/Title 1320 0 R +/A 1317 0 R +/Parent 1315 0 R +>> endobj +1315 0 obj << +/Title 1316 0 R +/A 1313 0 R +/Parent 4254 0 R +/Prev 1223 0 R +/First 1319 0 R +/Last 1319 0 R +/Count -1 +>> endobj +1311 0 obj << +/Title 1312 0 R +/A 1309 0 R +/Parent 1223 0 R +/Prev 1291 0 R +>> endobj +1307 0 obj << +/Title 1308 0 R +/A 1305 0 R +/Parent 1291 0 R +/Prev 1303 0 R +>> endobj +1303 0 obj << +/Title 1304 0 R +/A 1301 0 R +/Parent 1291 0 R +/Prev 1299 0 R +/Next 1307 0 R +>> endobj +1299 0 obj << +/Title 1300 0 R +/A 1297 0 R +/Parent 1291 0 R +/Prev 1295 0 R +/Next 1303 0 R +>> endobj +1295 0 obj << +/Title 1296 0 R +/A 1293 0 R +/Parent 1291 0 R +/Next 1299 0 R +>> endobj +1291 0 obj << +/Title 1292 0 R +/A 1289 0 R +/Parent 1223 0 R +/Prev 1239 0 R +/Next 1311 0 R +/First 1295 0 R +/Last 1307 0 R +/Count -4 +>> endobj +1287 0 obj << +/Title 1288 0 R +/A 1285 0 R +/Parent 1239 0 R +/Prev 1283 0 R +>> endobj +1283 0 obj << +/Title 1284 0 R +/A 1281 0 R +/Parent 1239 0 R +/Prev 1279 0 R +/Next 1287 0 R +>> endobj +1279 0 obj << +/Title 1280 0 R +/A 1277 0 R +/Parent 1239 0 R +/Prev 1275 0 R +/Next 1283 0 R +>> endobj +1275 0 obj << +/Title 1276 0 R +/A 1273 0 R +/Parent 1239 0 R +/Prev 1271 0 R +/Next 1279 0 R +>> endobj +1271 0 obj << +/Title 1272 0 R +/A 1269 0 R +/Parent 1239 0 R +/Prev 1267 0 R +/Next 1275 0 R +>> endobj +1267 0 obj << +/Title 1268 0 R +/A 1265 0 R +/Parent 1239 0 R +/Prev 1263 0 R +/Next 1271 0 R +>> endobj +1263 0 obj << +/Title 1264 0 R +/A 1261 0 R +/Parent 1239 0 R +/Prev 1259 0 R +/Next 1267 0 R +>> endobj +1259 0 obj << +/Title 1260 0 R +/A 1257 0 R +/Parent 1239 0 R +/Prev 1255 0 R +/Next 1263 0 R +>> endobj +1255 0 obj << +/Title 1256 0 R +/A 1253 0 R +/Parent 1239 0 R +/Prev 1251 0 R +/Next 1259 0 R +>> endobj +1251 0 obj << +/Title 1252 0 R +/A 1249 0 R +/Parent 1239 0 R +/Prev 1247 0 R +/Next 1255 0 R +>> endobj +1247 0 obj << +/Title 1248 0 R +/A 1245 0 R +/Parent 1239 0 R +/Prev 1243 0 R +/Next 1251 0 R +>> endobj +1243 0 obj << +/Title 1244 0 R +/A 1241 0 R +/Parent 1239 0 R +/Next 1247 0 R +>> endobj +1239 0 obj << +/Title 1240 0 R +/A 1237 0 R +/Parent 1223 0 R +/Prev 1227 0 R +/Next 1291 0 R +/First 1243 0 R +/Last 1287 0 R +/Count -12 +>> endobj +1235 0 obj << +/Title 1236 0 R +/A 1233 0 R +/Parent 1227 0 R +/Prev 1231 0 R +>> endobj +1231 0 obj << +/Title 1232 0 R +/A 1229 0 R +/Parent 1227 0 R +/Next 1235 0 R +>> endobj +1227 0 obj << +/Title 1228 0 R +/A 1225 0 R +/Parent 1223 0 R +/Next 1239 0 R +/First 1231 0 R +/Last 1235 0 R +/Count -2 +>> endobj +1223 0 obj << +/Title 1224 0 R +/A 1221 0 R +/Parent 4254 0 R +/Prev 743 0 R +/Next 1315 0 R +/First 1227 0 R +/Last 1311 0 R +/Count -4 +>> endobj +1219 0 obj << +/Title 1220 0 R +/A 1217 0 R +/Parent 1207 0 R +/Prev 1215 0 R +>> endobj +1215 0 obj << +/Title 1216 0 R +/A 1213 0 R +/Parent 1207 0 R +/Prev 1211 0 R +/Next 1219 0 R +>> endobj +1211 0 obj << +/Title 1212 0 R +/A 1209 0 R +/Parent 1207 0 R +/Next 1215 0 R +>> endobj +1207 0 obj << +/Title 1208 0 R +/A 1205 0 R +/Parent 743 0 R +/Prev 1191 0 R +/First 1211 0 R +/Last 1219 0 R +/Count -3 +>> endobj +1203 0 obj << +/Title 1204 0 R +/A 1201 0 R +/Parent 1191 0 R +/Prev 1199 0 R +>> endobj +1199 0 obj << +/Title 1200 0 R +/A 1197 0 R +/Parent 1191 0 R +/Prev 1195 0 R +/Next 1203 0 R +>> endobj +1195 0 obj << +/Title 1196 0 R +/A 1193 0 R +/Parent 1191 0 R +/Next 1199 0 R +>> endobj +1191 0 obj << +/Title 1192 0 R +/A 1189 0 R +/Parent 743 0 R +/Prev 1159 0 R +/Next 1207 0 R +/First 1195 0 R +/Last 1203 0 R +/Count -3 +>> endobj +1187 0 obj << +/Title 1188 0 R +/A 1185 0 R +/Parent 1159 0 R +/Prev 1175 0 R +>> endobj +1183 0 obj << +/Title 1184 0 R +/A 1181 0 R +/Parent 1175 0 R +/Prev 1179 0 R +>> endobj +1179 0 obj << +/Title 1180 0 R +/A 1177 0 R +/Parent 1175 0 R +/Next 1183 0 R +>> endobj +1175 0 obj << +/Title 1176 0 R +/A 1173 0 R +/Parent 1159 0 R +/Prev 1163 0 R +/Next 1187 0 R +/First 1179 0 R +/Last 1183 0 R +/Count -2 +>> endobj +1171 0 obj << +/Title 1172 0 R +/A 1169 0 R +/Parent 1163 0 R +/Prev 1167 0 R +>> endobj +1167 0 obj << +/Title 1168 0 R +/A 1165 0 R +/Parent 1163 0 R +/Next 1171 0 R +>> endobj +1163 0 obj << +/Title 1164 0 R +/A 1161 0 R +/Parent 1159 0 R +/Next 1175 0 R +/First 1167 0 R +/Last 1171 0 R +/Count -2 +>> endobj +1159 0 obj << +/Title 1160 0 R +/A 1157 0 R +/Parent 743 0 R +/Prev 1143 0 R +/Next 1191 0 R +/First 1163 0 R +/Last 1187 0 R +/Count -3 +>> endobj +1155 0 obj << +/Title 1156 0 R +/A 1153 0 R +/Parent 1143 0 R +/Prev 1151 0 R +>> endobj +1151 0 obj << +/Title 1152 0 R +/A 1149 0 R +/Parent 1143 0 R +/Prev 1147 0 R +/Next 1155 0 R +>> endobj +1147 0 obj << +/Title 1148 0 R +/A 1145 0 R +/Parent 1143 0 R +/Next 1151 0 R +>> endobj +1143 0 obj << +/Title 1144 0 R +/A 1141 0 R +/Parent 743 0 R +/Prev 1123 0 R +/Next 1159 0 R +/First 1147 0 R +/Last 1155 0 R +/Count -3 +>> endobj +1139 0 obj << +/Title 1140 0 R +/A 1137 0 R +/Parent 1123 0 R +/Prev 1135 0 R +>> endobj +1135 0 obj << +/Title 1136 0 R +/A 1133 0 R +/Parent 1123 0 R +/Prev 1131 0 R +/Next 1139 0 R +>> endobj +1131 0 obj << +/Title 1132 0 R +/A 1129 0 R +/Parent 1123 0 R +/Prev 1127 0 R +/Next 1135 0 R +>> endobj +1127 0 obj << +/Title 1128 0 R +/A 1125 0 R +/Parent 1123 0 R +/Next 1131 0 R +>> endobj +1123 0 obj << +/Title 1124 0 R +/A 1121 0 R +/Parent 743 0 R +/Prev 1091 0 R +/Next 1143 0 R +/First 1127 0 R +/Last 1139 0 R +/Count -4 +>> endobj +1119 0 obj << +/Title 1120 0 R +/A 1117 0 R +/Parent 1091 0 R +/Prev 1099 0 R +>> endobj +1115 0 obj << +/Title 1116 0 R +/A 1113 0 R +/Parent 1099 0 R +/Prev 1111 0 R +>> endobj +1111 0 obj << +/Title 1112 0 R +/A 1109 0 R +/Parent 1099 0 R +/Prev 1107 0 R +/Next 1115 0 R +>> endobj +1107 0 obj << +/Title 1108 0 R +/A 1105 0 R +/Parent 1099 0 R +/Prev 1103 0 R +/Next 1111 0 R +>> endobj +1103 0 obj << +/Title 1104 0 R +/A 1101 0 R +/Parent 1099 0 R +/Next 1107 0 R +>> endobj +1099 0 obj << +/Title 1100 0 R +/A 1097 0 R +/Parent 1091 0 R +/Prev 1095 0 R +/Next 1119 0 R +/First 1103 0 R +/Last 1115 0 R +/Count -4 +>> endobj +1095 0 obj << +/Title 1096 0 R +/A 1093 0 R +/Parent 1091 0 R +/Next 1099 0 R +>> endobj +1091 0 obj << +/Title 1092 0 R +/A 1089 0 R +/Parent 743 0 R +/Prev 1039 0 R +/Next 1123 0 R +/First 1095 0 R +/Last 1119 0 R +/Count -3 +>> endobj +1087 0 obj << +/Title 1088 0 R +/A 1085 0 R +/Parent 1039 0 R +/Prev 1071 0 R +>> endobj +1083 0 obj << +/Title 1084 0 R +/A 1081 0 R +/Parent 1071 0 R +/Prev 1079 0 R +>> endobj +1079 0 obj << +/Title 1080 0 R +/A 1077 0 R +/Parent 1071 0 R +/Prev 1075 0 R +/Next 1083 0 R +>> endobj +1075 0 obj << +/Title 1076 0 R +/A 1073 0 R +/Parent 1071 0 R +/Next 1079 0 R +>> endobj +1071 0 obj << +/Title 1072 0 R +/A 1069 0 R +/Parent 1039 0 R +/Prev 1067 0 R +/Next 1087 0 R +/First 1075 0 R +/Last 1083 0 R +/Count -3 +>> endobj +1067 0 obj << +/Title 1068 0 R +/A 1065 0 R +/Parent 1039 0 R +/Prev 1063 0 R +/Next 1071 0 R +>> endobj +1063 0 obj << +/Title 1064 0 R +/A 1061 0 R +/Parent 1039 0 R +/Prev 1043 0 R +/Next 1067 0 R +>> endobj +1059 0 obj << +/Title 1060 0 R +/A 1057 0 R +/Parent 1043 0 R +/Prev 1055 0 R +>> endobj +1055 0 obj << +/Title 1056 0 R +/A 1053 0 R +/Parent 1043 0 R +/Prev 1051 0 R +/Next 1059 0 R +>> endobj +1051 0 obj << +/Title 1052 0 R +/A 1049 0 R +/Parent 1043 0 R +/Prev 1047 0 R +/Next 1055 0 R +>> endobj +1047 0 obj << +/Title 1048 0 R +/A 1045 0 R +/Parent 1043 0 R +/Next 1051 0 R +>> endobj +1043 0 obj << +/Title 1044 0 R +/A 1041 0 R +/Parent 1039 0 R +/Next 1063 0 R +/First 1047 0 R +/Last 1059 0 R +/Count -4 +>> endobj +1039 0 obj << +/Title 1040 0 R +/A 1037 0 R +/Parent 743 0 R +/Prev 1007 0 R +/Next 1091 0 R +/First 1043 0 R +/Last 1087 0 R +/Count -5 +>> endobj +1035 0 obj << +/Title 1036 0 R +/A 1033 0 R +/Parent 1007 0 R +/Prev 1031 0 R +>> endobj +1031 0 obj << +/Title 1032 0 R +/A 1029 0 R +/Parent 1007 0 R +/Prev 1027 0 R +/Next 1035 0 R +>> endobj +1027 0 obj << +/Title 1028 0 R +/A 1025 0 R +/Parent 1007 0 R +/Prev 1023 0 R +/Next 1031 0 R +>> endobj +1023 0 obj << +/Title 1024 0 R +/A 1021 0 R +/Parent 1007 0 R +/Prev 1011 0 R +/Next 1027 0 R +>> endobj +1019 0 obj << +/Title 1020 0 R +/A 1017 0 R +/Parent 1011 0 R +/Prev 1015 0 R +>> endobj +1015 0 obj << +/Title 1016 0 R +/A 1013 0 R +/Parent 1011 0 R +/Next 1019 0 R +>> endobj +1011 0 obj << +/Title 1012 0 R +/A 1009 0 R +/Parent 1007 0 R +/Next 1023 0 R +/First 1015 0 R +/Last 1019 0 R +/Count -2 +>> endobj +1007 0 obj << +/Title 1008 0 R +/A 1005 0 R +/Parent 743 0 R +/Prev 947 0 R +/Next 1039 0 R +/First 1011 0 R +/Last 1035 0 R +/Count -5 +>> endobj +1003 0 obj << +/Title 1004 0 R +/A 1001 0 R +/Parent 947 0 R +/Prev 999 0 R +>> endobj +999 0 obj << +/Title 1000 0 R +/A 997 0 R +/Parent 947 0 R +/Prev 983 0 R +/Next 1003 0 R +>> endobj +995 0 obj << +/Title 996 0 R +/A 993 0 R +/Parent 983 0 R +/Prev 991 0 R +>> endobj +991 0 obj << +/Title 992 0 R +/A 989 0 R +/Parent 983 0 R +/Prev 987 0 R +/Next 995 0 R +>> endobj +987 0 obj << +/Title 988 0 R +/A 985 0 R +/Parent 983 0 R +/Next 991 0 R +>> endobj +983 0 obj << +/Title 984 0 R +/A 981 0 R +/Parent 947 0 R +/Prev 955 0 R +/Next 999 0 R +/First 987 0 R +/Last 995 0 R +/Count -3 +>> endobj +979 0 obj << +/Title 980 0 R +/A 977 0 R +/Parent 955 0 R +/Prev 975 0 R +>> endobj +975 0 obj << +/Title 976 0 R +/A 973 0 R +/Parent 955 0 R +/Prev 971 0 R +/Next 979 0 R +>> endobj +971 0 obj << +/Title 972 0 R +/A 969 0 R +/Parent 955 0 R +/Prev 967 0 R +/Next 975 0 R +>> endobj +967 0 obj << +/Title 968 0 R +/A 965 0 R +/Parent 955 0 R +/Prev 963 0 R +/Next 971 0 R +>> endobj +963 0 obj << +/Title 964 0 R +/A 961 0 R +/Parent 955 0 R +/Prev 959 0 R +/Next 967 0 R +>> endobj +959 0 obj << +/Title 960 0 R +/A 957 0 R +/Parent 955 0 R +/Next 963 0 R +>> endobj +955 0 obj << +/Title 956 0 R +/A 953 0 R +/Parent 947 0 R +/Prev 951 0 R +/Next 983 0 R +/First 959 0 R +/Last 979 0 R +/Count -6 +>> endobj +951 0 obj << +/Title 952 0 R +/A 949 0 R +/Parent 947 0 R +/Next 955 0 R +>> endobj +947 0 obj << +/Title 948 0 R +/A 945 0 R +/Parent 743 0 R +/Prev 915 0 R +/Next 1007 0 R +/First 951 0 R +/Last 1003 0 R +/Count -5 +>> endobj +943 0 obj << +/Title 944 0 R +/A 941 0 R +/Parent 915 0 R +/Prev 923 0 R +>> endobj +939 0 obj << +/Title 940 0 R +/A 937 0 R +/Parent 923 0 R +/Prev 935 0 R +>> endobj +935 0 obj << +/Title 936 0 R +/A 933 0 R +/Parent 923 0 R +/Prev 931 0 R +/Next 939 0 R +>> endobj +931 0 obj << +/Title 932 0 R +/A 929 0 R +/Parent 923 0 R +/Prev 927 0 R +/Next 935 0 R +>> endobj +927 0 obj << +/Title 928 0 R +/A 925 0 R +/Parent 923 0 R +/Next 931 0 R +>> endobj +923 0 obj << +/Title 924 0 R +/A 921 0 R +/Parent 915 0 R +/Prev 919 0 R +/Next 943 0 R +/First 927 0 R +/Last 939 0 R +/Count -4 +>> endobj +919 0 obj << +/Title 920 0 R +/A 917 0 R +/Parent 915 0 R +/Next 923 0 R +>> endobj +915 0 obj << +/Title 916 0 R +/A 913 0 R +/Parent 743 0 R +/Prev 859 0 R +/Next 947 0 R +/First 919 0 R +/Last 943 0 R +/Count -3 +>> endobj +911 0 obj << +/Title 912 0 R +/A 909 0 R +/Parent 859 0 R +/Prev 907 0 R +>> endobj +907 0 obj << +/Title 908 0 R +/A 905 0 R +/Parent 859 0 R +/Prev 903 0 R +/Next 911 0 R +>> endobj +903 0 obj << +/Title 904 0 R +/A 901 0 R +/Parent 859 0 R +/Prev 899 0 R +/Next 907 0 R +>> endobj +899 0 obj << +/Title 900 0 R +/A 897 0 R +/Parent 859 0 R +/Prev 895 0 R +/Next 903 0 R +>> endobj +895 0 obj << +/Title 896 0 R +/A 893 0 R +/Parent 859 0 R +/Prev 891 0 R +/Next 899 0 R +>> endobj +891 0 obj << +/Title 892 0 R +/A 889 0 R +/Parent 859 0 R +/Prev 887 0 R +/Next 895 0 R +>> endobj +887 0 obj << +/Title 888 0 R +/A 885 0 R +/Parent 859 0 R +/Prev 883 0 R +/Next 891 0 R +>> endobj +883 0 obj << +/Title 884 0 R +/A 881 0 R +/Parent 859 0 R +/Prev 879 0 R +/Next 887 0 R +>> endobj +879 0 obj << +/Title 880 0 R +/A 877 0 R +/Parent 859 0 R +/Prev 875 0 R +/Next 883 0 R +>> endobj +875 0 obj << +/Title 876 0 R +/A 873 0 R +/Parent 859 0 R +/Prev 871 0 R +/Next 879 0 R +>> endobj +871 0 obj << +/Title 872 0 R +/A 869 0 R +/Parent 859 0 R +/Prev 867 0 R +/Next 875 0 R +>> endobj +867 0 obj << +/Title 868 0 R +/A 865 0 R +/Parent 859 0 R +/Prev 863 0 R +/Next 871 0 R +>> endobj +863 0 obj << +/Title 864 0 R +/A 861 0 R +/Parent 859 0 R +/Next 867 0 R +>> endobj +859 0 obj << +/Title 860 0 R +/A 857 0 R +/Parent 743 0 R +/Prev 815 0 R +/Next 915 0 R +/First 863 0 R +/Last 911 0 R +/Count -13 +>> endobj +855 0 obj << +/Title 856 0 R +/A 853 0 R +/Parent 815 0 R +/Prev 851 0 R +>> endobj +851 0 obj << +/Title 852 0 R +/A 849 0 R +/Parent 815 0 R +/Prev 831 0 R +/Next 855 0 R +>> endobj +847 0 obj << +/Title 848 0 R +/A 845 0 R +/Parent 831 0 R +/Prev 843 0 R +>> endobj +843 0 obj << +/Title 844 0 R +/A 841 0 R +/Parent 831 0 R +/Prev 839 0 R +/Next 847 0 R +>> endobj +839 0 obj << +/Title 840 0 R +/A 837 0 R +/Parent 831 0 R +/Prev 835 0 R +/Next 843 0 R +>> endobj +835 0 obj << +/Title 836 0 R +/A 833 0 R +/Parent 831 0 R +/Next 839 0 R +>> endobj +831 0 obj << +/Title 832 0 R +/A 829 0 R +/Parent 815 0 R +/Prev 827 0 R +/Next 851 0 R +/First 835 0 R +/Last 847 0 R +/Count -4 +>> endobj +827 0 obj << +/Title 828 0 R +/A 825 0 R +/Parent 815 0 R +/Prev 823 0 R +/Next 831 0 R +>> endobj +823 0 obj << +/Title 824 0 R +/A 821 0 R +/Parent 815 0 R +/Prev 819 0 R +/Next 827 0 R +>> endobj +819 0 obj << +/Title 820 0 R +/A 817 0 R +/Parent 815 0 R +/Next 823 0 R +>> endobj +815 0 obj << +/Title 816 0 R +/A 813 0 R +/Parent 743 0 R +/Prev 767 0 R +/Next 859 0 R +/First 819 0 R +/Last 855 0 R +/Count -6 +>> endobj +811 0 obj << +/Title 812 0 R +/A 809 0 R +/Parent 799 0 R +/Prev 807 0 R +>> endobj +807 0 obj << +/Title 808 0 R +/A 805 0 R +/Parent 799 0 R +/Prev 803 0 R +/Next 811 0 R +>> endobj +803 0 obj << +/Title 804 0 R +/A 801 0 R +/Parent 799 0 R +/Next 807 0 R +>> endobj +799 0 obj << +/Title 800 0 R +/A 797 0 R +/Parent 767 0 R +/Prev 783 0 R +/First 803 0 R +/Last 811 0 R +/Count -3 +>> endobj +795 0 obj << +/Title 796 0 R +/A 793 0 R +/Parent 783 0 R +/Prev 791 0 R +>> endobj +791 0 obj << +/Title 792 0 R +/A 789 0 R +/Parent 783 0 R +/Prev 787 0 R +/Next 795 0 R +>> endobj +787 0 obj << +/Title 788 0 R +/A 785 0 R +/Parent 783 0 R +/Next 791 0 R +>> endobj +783 0 obj << +/Title 784 0 R +/A 781 0 R +/Parent 767 0 R +/Prev 771 0 R +/Next 799 0 R +/First 787 0 R +/Last 795 0 R +/Count -3 +>> endobj +779 0 obj << +/Title 780 0 R +/A 777 0 R +/Parent 771 0 R +/Prev 775 0 R +>> endobj +775 0 obj << +/Title 776 0 R +/A 773 0 R +/Parent 771 0 R +/Next 779 0 R +>> endobj +771 0 obj << +/Title 772 0 R +/A 769 0 R +/Parent 767 0 R +/Next 783 0 R +/First 775 0 R +/Last 779 0 R +/Count -2 +>> endobj +767 0 obj << +/Title 768 0 R +/A 765 0 R +/Parent 743 0 R +/Prev 747 0 R +/Next 815 0 R +/First 771 0 R +/Last 799 0 R +/Count -3 +>> endobj +763 0 obj << +/Title 764 0 R +/A 761 0 R +/Parent 747 0 R +/Prev 759 0 R +>> endobj +759 0 obj << +/Title 760 0 R +/A 757 0 R +/Parent 747 0 R +/Prev 755 0 R +/Next 763 0 R +>> endobj +755 0 obj << +/Title 756 0 R +/A 753 0 R +/Parent 747 0 R +/Prev 751 0 R +/Next 759 0 R +>> endobj +751 0 obj << +/Title 752 0 R +/A 749 0 R +/Parent 747 0 R +/Next 755 0 R +>> endobj +747 0 obj << +/Title 748 0 R +/A 745 0 R +/Parent 743 0 R +/Next 767 0 R +/First 751 0 R +/Last 763 0 R +/Count -4 +>> endobj +743 0 obj << +/Title 744 0 R +/A 741 0 R +/Parent 4254 0 R +/Prev 631 0 R +/Next 1223 0 R +/First 747 0 R +/Last 1207 0 R +/Count -14 +>> endobj +739 0 obj << +/Title 740 0 R +/A 737 0 R +/Parent 631 0 R +/Prev 719 0 R +>> endobj +735 0 obj << +/Title 736 0 R +/A 733 0 R +/Parent 719 0 R +/Prev 731 0 R +>> endobj +731 0 obj << +/Title 732 0 R +/A 729 0 R +/Parent 719 0 R +/Prev 727 0 R +/Next 735 0 R +>> endobj +727 0 obj << +/Title 728 0 R +/A 725 0 R +/Parent 719 0 R +/Prev 723 0 R +/Next 731 0 R +>> endobj +723 0 obj << +/Title 724 0 R +/A 721 0 R +/Parent 719 0 R +/Next 727 0 R +>> endobj +719 0 obj << +/Title 720 0 R +/A 717 0 R +/Parent 631 0 R +/Prev 715 0 R +/Next 739 0 R +/First 723 0 R +/Last 735 0 R +/Count -4 +>> endobj +715 0 obj << +/Title 716 0 R +/A 713 0 R +/Parent 631 0 R +/Prev 635 0 R +/Next 719 0 R +>> endobj +711 0 obj << +/Title 712 0 R +/A 709 0 R +/Parent 635 0 R +/Prev 707 0 R +>> endobj +707 0 obj << +/Title 708 0 R +/A 705 0 R +/Parent 635 0 R +/Prev 695 0 R +/Next 711 0 R +>> endobj +703 0 obj << +/Title 704 0 R +/A 701 0 R +/Parent 695 0 R +/Prev 699 0 R +>> endobj +699 0 obj << +/Title 700 0 R +/A 697 0 R +/Parent 695 0 R +/Next 703 0 R +>> endobj +695 0 obj << +/Title 696 0 R +/A 693 0 R +/Parent 635 0 R +/Prev 691 0 R +/Next 707 0 R +/First 699 0 R +/Last 703 0 R +/Count -2 +>> endobj +691 0 obj << +/Title 692 0 R +/A 689 0 R +/Parent 635 0 R +/Prev 687 0 R +/Next 695 0 R +>> endobj +687 0 obj << +/Title 688 0 R +/A 685 0 R +/Parent 635 0 R +/Prev 671 0 R +/Next 691 0 R +>> endobj +683 0 obj << +/Title 684 0 R +/A 681 0 R +/Parent 671 0 R +/Prev 679 0 R +>> endobj +679 0 obj << +/Title 680 0 R +/A 677 0 R +/Parent 671 0 R +/Prev 675 0 R +/Next 683 0 R +>> endobj +675 0 obj << +/Title 676 0 R +/A 673 0 R +/Parent 671 0 R +/Next 679 0 R +>> endobj +671 0 obj << +/Title 672 0 R +/A 669 0 R +/Parent 635 0 R +/Prev 667 0 R +/Next 687 0 R +/First 675 0 R +/Last 683 0 R +/Count -3 +>> endobj +667 0 obj << +/Title 668 0 R +/A 665 0 R +/Parent 635 0 R +/Prev 639 0 R +/Next 671 0 R +>> endobj +663 0 obj << +/Title 664 0 R +/A 661 0 R +/Parent 639 0 R +/Prev 659 0 R +>> endobj +659 0 obj << +/Title 660 0 R +/A 657 0 R +/Parent 639 0 R +/Prev 655 0 R +/Next 663 0 R +>> endobj +655 0 obj << +/Title 656 0 R +/A 653 0 R +/Parent 639 0 R +/Prev 651 0 R +/Next 659 0 R +>> endobj +651 0 obj << +/Title 652 0 R +/A 649 0 R +/Parent 639 0 R +/Prev 647 0 R +/Next 655 0 R +>> endobj +647 0 obj << +/Title 648 0 R +/A 645 0 R +/Parent 639 0 R +/Prev 643 0 R +/Next 651 0 R +>> endobj +643 0 obj << +/Title 644 0 R +/A 641 0 R +/Parent 639 0 R +/Next 647 0 R +>> endobj +639 0 obj << +/Title 640 0 R +/A 637 0 R +/Parent 635 0 R +/Next 667 0 R +/First 643 0 R +/Last 663 0 R +/Count -6 +>> endobj +635 0 obj << +/Title 636 0 R +/A 633 0 R +/Parent 631 0 R +/Next 715 0 R +/First 639 0 R +/Last 711 0 R +/Count -8 +>> endobj +631 0 obj << +/Title 632 0 R +/A 629 0 R +/Parent 4254 0 R +/Prev 259 0 R +/Next 743 0 R +/First 635 0 R +/Last 739 0 R +/Count -4 +>> endobj +627 0 obj << +/Title 628 0 R +/A 625 0 R +/Parent 615 0 R +/Prev 623 0 R +>> endobj +623 0 obj << +/Title 624 0 R +/A 621 0 R +/Parent 615 0 R +/Prev 619 0 R +/Next 627 0 R +>> endobj +619 0 obj << +/Title 620 0 R +/A 617 0 R +/Parent 615 0 R +/Next 623 0 R +>> endobj +615 0 obj << +/Title 616 0 R +/A 613 0 R +/Parent 259 0 R +/Prev 587 0 R +/First 619 0 R +/Last 627 0 R +/Count -3 +>> endobj +611 0 obj << +/Title 612 0 R +/A 609 0 R +/Parent 587 0 R +/Prev 607 0 R +>> endobj +607 0 obj << +/Title 608 0 R +/A 605 0 R +/Parent 587 0 R +/Prev 603 0 R +/Next 611 0 R +>> endobj +603 0 obj << +/Title 604 0 R +/A 601 0 R +/Parent 587 0 R +/Prev 599 0 R +/Next 607 0 R +>> endobj +599 0 obj << +/Title 600 0 R +/A 597 0 R +/Parent 587 0 R +/Prev 595 0 R +/Next 603 0 R +>> endobj +595 0 obj << +/Title 596 0 R +/A 593 0 R +/Parent 587 0 R +/Prev 591 0 R +/Next 599 0 R +>> endobj +591 0 obj << +/Title 592 0 R +/A 589 0 R +/Parent 587 0 R +/Next 595 0 R +>> endobj +587 0 obj << +/Title 588 0 R +/A 585 0 R +/Parent 259 0 R +/Prev 543 0 R +/Next 615 0 R +/First 591 0 R +/Last 611 0 R +/Count -6 +>> endobj +583 0 obj << +/Title 584 0 R +/A 581 0 R +/Parent 543 0 R +/Prev 579 0 R +>> endobj +579 0 obj << +/Title 580 0 R +/A 577 0 R +/Parent 543 0 R +/Prev 567 0 R +/Next 583 0 R +>> endobj +575 0 obj << +/Title 576 0 R +/A 573 0 R +/Parent 567 0 R +/Prev 571 0 R +>> endobj +571 0 obj << +/Title 572 0 R +/A 569 0 R +/Parent 567 0 R +/Next 575 0 R +>> endobj +567 0 obj << +/Title 568 0 R +/A 565 0 R +/Parent 543 0 R +/Prev 563 0 R +/Next 579 0 R +/First 571 0 R +/Last 575 0 R +/Count -2 +>> endobj +563 0 obj << +/Title 564 0 R +/A 561 0 R +/Parent 543 0 R +/Prev 559 0 R +/Next 567 0 R +>> endobj +559 0 obj << +/Title 560 0 R +/A 557 0 R +/Parent 543 0 R +/Prev 555 0 R +/Next 563 0 R +>> endobj +555 0 obj << +/Title 556 0 R +/A 553 0 R +/Parent 543 0 R +/Prev 551 0 R +/Next 559 0 R +>> endobj +551 0 obj << +/Title 552 0 R +/A 549 0 R +/Parent 543 0 R +/Prev 547 0 R +/Next 555 0 R +>> endobj +547 0 obj << +/Title 548 0 R +/A 545 0 R +/Parent 543 0 R +/Next 551 0 R +>> endobj +543 0 obj << +/Title 544 0 R +/A 541 0 R +/Parent 259 0 R +/Prev 479 0 R +/Next 587 0 R +/First 547 0 R +/Last 583 0 R +/Count -8 +>> endobj +539 0 obj << +/Title 540 0 R +/A 537 0 R +/Parent 479 0 R +/Prev 535 0 R +>> endobj +535 0 obj << +/Title 536 0 R +/A 533 0 R +/Parent 479 0 R +/Prev 523 0 R +/Next 539 0 R +>> endobj +531 0 obj << +/Title 532 0 R +/A 529 0 R +/Parent 523 0 R +/Prev 527 0 R +>> endobj +527 0 obj << +/Title 528 0 R +/A 525 0 R +/Parent 523 0 R +/Next 531 0 R +>> endobj +523 0 obj << +/Title 524 0 R +/A 521 0 R +/Parent 479 0 R +/Prev 511 0 R +/Next 535 0 R +/First 527 0 R +/Last 531 0 R +/Count -2 +>> endobj +519 0 obj << +/Title 520 0 R +/A 517 0 R +/Parent 511 0 R +/Prev 515 0 R +>> endobj +515 0 obj << +/Title 516 0 R +/A 513 0 R +/Parent 511 0 R +/Next 519 0 R +>> endobj +511 0 obj << +/Title 512 0 R +/A 509 0 R +/Parent 479 0 R +/Prev 487 0 R +/Next 523 0 R +/First 515 0 R +/Last 519 0 R +/Count -2 +>> endobj +507 0 obj << +/Title 508 0 R +/A 505 0 R +/Parent 487 0 R +/Prev 503 0 R +>> endobj +503 0 obj << +/Title 504 0 R +/A 501 0 R +/Parent 487 0 R +/Prev 499 0 R +/Next 507 0 R +>> endobj +499 0 obj << +/Title 500 0 R +/A 497 0 R +/Parent 487 0 R +/Prev 495 0 R +/Next 503 0 R +>> endobj +495 0 obj << +/Title 496 0 R +/A 493 0 R +/Parent 487 0 R +/Prev 491 0 R +/Next 499 0 R +>> endobj +491 0 obj << +/Title 492 0 R +/A 489 0 R +/Parent 487 0 R +/Next 495 0 R +>> endobj +487 0 obj << +/Title 488 0 R +/A 485 0 R +/Parent 479 0 R +/Prev 483 0 R +/Next 511 0 R +/First 491 0 R +/Last 507 0 R +/Count -5 +>> endobj +483 0 obj << +/Title 484 0 R +/A 481 0 R +/Parent 479 0 R +/Next 487 0 R +>> endobj +479 0 obj << +/Title 480 0 R +/A 477 0 R +/Parent 259 0 R +/Prev 387 0 R +/Next 543 0 R +/First 483 0 R +/Last 539 0 R +/Count -6 +>> endobj +475 0 obj << +/Title 476 0 R +/A 473 0 R +/Parent 387 0 R +/Prev 471 0 R +>> endobj +471 0 obj << +/Title 472 0 R +/A 469 0 R +/Parent 387 0 R +/Prev 447 0 R +/Next 475 0 R +>> endobj +467 0 obj << +/Title 468 0 R +/A 465 0 R +/Parent 447 0 R +/Prev 463 0 R +>> endobj +463 0 obj << +/Title 464 0 R +/A 461 0 R +/Parent 447 0 R +/Prev 459 0 R +/Next 467 0 R +>> endobj +459 0 obj << +/Title 460 0 R +/A 457 0 R +/Parent 447 0 R +/Prev 455 0 R +/Next 463 0 R +>> endobj +455 0 obj << +/Title 456 0 R +/A 453 0 R +/Parent 447 0 R +/Prev 451 0 R +/Next 459 0 R +>> endobj +451 0 obj << +/Title 452 0 R +/A 449 0 R +/Parent 447 0 R +/Next 455 0 R +>> endobj +447 0 obj << +/Title 448 0 R +/A 445 0 R +/Parent 387 0 R +/Prev 443 0 R +/Next 471 0 R +/First 451 0 R +/Last 467 0 R +/Count -5 +>> endobj +443 0 obj << +/Title 444 0 R +/A 441 0 R +/Parent 387 0 R +/Prev 439 0 R +/Next 447 0 R +>> endobj +439 0 obj << +/Title 440 0 R +/A 437 0 R +/Parent 387 0 R +/Prev 435 0 R +/Next 443 0 R +>> endobj +435 0 obj << +/Title 436 0 R +/A 433 0 R +/Parent 387 0 R +/Prev 431 0 R +/Next 439 0 R +>> endobj +431 0 obj << +/Title 432 0 R +/A 429 0 R +/Parent 387 0 R +/Prev 427 0 R +/Next 435 0 R +>> endobj +427 0 obj << +/Title 428 0 R +/A 425 0 R +/Parent 387 0 R +/Prev 423 0 R +/Next 431 0 R +>> endobj +423 0 obj << +/Title 424 0 R +/A 421 0 R +/Parent 387 0 R +/Prev 419 0 R +/Next 427 0 R +>> endobj +419 0 obj << +/Title 420 0 R +/A 417 0 R +/Parent 387 0 R +/Prev 415 0 R +/Next 423 0 R +>> endobj +415 0 obj << +/Title 416 0 R +/A 413 0 R +/Parent 387 0 R +/Prev 411 0 R +/Next 419 0 R +>> endobj +411 0 obj << +/Title 412 0 R +/A 409 0 R +/Parent 387 0 R +/Prev 395 0 R +/Next 415 0 R +>> endobj +407 0 obj << +/Title 408 0 R +/A 405 0 R +/Parent 395 0 R +/Prev 403 0 R +>> endobj +403 0 obj << +/Title 404 0 R +/A 401 0 R +/Parent 395 0 R +/Prev 399 0 R +/Next 407 0 R +>> endobj +399 0 obj << +/Title 400 0 R +/A 397 0 R +/Parent 395 0 R +/Next 403 0 R +>> endobj +395 0 obj << +/Title 396 0 R +/A 393 0 R +/Parent 387 0 R +/Prev 391 0 R +/Next 411 0 R +/First 399 0 R +/Last 407 0 R +/Count -3 +>> endobj +391 0 obj << +/Title 392 0 R +/A 389 0 R +/Parent 387 0 R +/Next 395 0 R +>> endobj +387 0 obj << +/Title 388 0 R +/A 385 0 R +/Parent 259 0 R +/Prev 335 0 R +/Next 479 0 R +/First 391 0 R +/Last 475 0 R +/Count -14 +>> endobj +383 0 obj << +/Title 384 0 R +/A 381 0 R +/Parent 335 0 R +/Prev 371 0 R +>> endobj +379 0 obj << +/Title 380 0 R +/A 377 0 R +/Parent 371 0 R +/Prev 375 0 R +>> endobj +375 0 obj << +/Title 376 0 R +/A 373 0 R +/Parent 371 0 R +/Next 379 0 R +>> endobj +371 0 obj << +/Title 372 0 R +/A 369 0 R +/Parent 335 0 R +/Prev 355 0 R +/Next 383 0 R +/First 375 0 R +/Last 379 0 R +/Count -2 +>> endobj +367 0 obj << +/Title 368 0 R +/A 365 0 R +/Parent 355 0 R +/Prev 363 0 R +>> endobj +363 0 obj << +/Title 364 0 R +/A 361 0 R +/Parent 355 0 R +/Prev 359 0 R +/Next 367 0 R +>> endobj +359 0 obj << +/Title 360 0 R +/A 357 0 R +/Parent 355 0 R +/Next 363 0 R +>> endobj +355 0 obj << +/Title 356 0 R +/A 353 0 R +/Parent 335 0 R +/Prev 351 0 R +/Next 371 0 R +/First 359 0 R +/Last 367 0 R +/Count -3 +>> endobj +351 0 obj << +/Title 352 0 R +/A 349 0 R +/Parent 335 0 R +/Prev 347 0 R +/Next 355 0 R +>> endobj +347 0 obj << +/Title 348 0 R +/A 345 0 R +/Parent 335 0 R +/Prev 343 0 R +/Next 351 0 R +>> endobj +343 0 obj << +/Title 344 0 R +/A 341 0 R +/Parent 335 0 R +/Prev 339 0 R +/Next 347 0 R +>> endobj +339 0 obj << +/Title 340 0 R +/A 337 0 R +/Parent 335 0 R +/Next 343 0 R +>> endobj +335 0 obj << +/Title 336 0 R +/A 333 0 R +/Parent 259 0 R +/Prev 299 0 R +/Next 387 0 R +/First 339 0 R +/Last 383 0 R +/Count -7 +>> endobj +331 0 obj << +/Title 332 0 R +/A 329 0 R +/Parent 299 0 R +/Prev 327 0 R +>> endobj +327 0 obj << +/Title 328 0 R +/A 325 0 R +/Parent 299 0 R +/Prev 323 0 R +/Next 331 0 R +>> endobj +323 0 obj << +/Title 324 0 R +/A 321 0 R +/Parent 299 0 R +/Prev 307 0 R +/Next 327 0 R +>> endobj +319 0 obj << +/Title 320 0 R +/A 317 0 R +/Parent 307 0 R +/Prev 315 0 R +>> endobj +315 0 obj << +/Title 316 0 R +/A 313 0 R +/Parent 307 0 R +/Prev 311 0 R +/Next 319 0 R +>> endobj +311 0 obj << +/Title 312 0 R +/A 309 0 R +/Parent 307 0 R +/Next 315 0 R +>> endobj +307 0 obj << +/Title 308 0 R +/A 305 0 R +/Parent 299 0 R +/Prev 303 0 R +/Next 323 0 R +/First 311 0 R +/Last 319 0 R +/Count -3 +>> endobj +303 0 obj << +/Title 304 0 R +/A 301 0 R +/Parent 299 0 R +/Next 307 0 R +>> endobj +299 0 obj << +/Title 300 0 R +/A 297 0 R +/Parent 259 0 R +/Prev 263 0 R +/Next 335 0 R +/First 303 0 R +/Last 331 0 R +/Count -5 +>> endobj +295 0 obj << +/Title 296 0 R +/A 293 0 R +/Parent 263 0 R +/Prev 291 0 R +>> endobj +291 0 obj << +/Title 292 0 R +/A 289 0 R +/Parent 263 0 R +/Prev 287 0 R +/Next 295 0 R +>> endobj +287 0 obj << +/Title 288 0 R +/A 285 0 R +/Parent 263 0 R +/Prev 283 0 R +/Next 291 0 R +>> endobj +283 0 obj << +/Title 284 0 R +/A 281 0 R +/Parent 263 0 R +/Prev 279 0 R +/Next 287 0 R +>> endobj +279 0 obj << +/Title 280 0 R +/A 277 0 R +/Parent 263 0 R +/Prev 275 0 R +/Next 283 0 R +>> endobj +275 0 obj << +/Title 276 0 R +/A 273 0 R +/Parent 263 0 R +/Prev 271 0 R +/Next 279 0 R +>> endobj +271 0 obj << +/Title 272 0 R +/A 269 0 R +/Parent 263 0 R +/Prev 267 0 R +/Next 275 0 R +>> endobj +267 0 obj << +/Title 268 0 R +/A 265 0 R +/Parent 263 0 R +/Next 271 0 R +>> endobj +263 0 obj << +/Title 264 0 R +/A 261 0 R +/Parent 259 0 R +/Next 299 0 R +/First 267 0 R +/Last 295 0 R +/Count -8 +>> endobj +259 0 obj << +/Title 260 0 R +/A 257 0 R +/Parent 4254 0 R +/Prev 7 0 R +/Next 631 0 R +/First 263 0 R +/Last 615 0 R +/Count -8 +>> endobj +255 0 obj << +/Title 256 0 R +/A 253 0 R +/Parent 239 0 R +/Prev 251 0 R +>> endobj +251 0 obj << +/Title 252 0 R +/A 249 0 R +/Parent 239 0 R +/Prev 247 0 R +/Next 255 0 R +>> endobj +247 0 obj << +/Title 248 0 R +/A 245 0 R +/Parent 239 0 R +/Prev 243 0 R +/Next 251 0 R +>> endobj +243 0 obj << +/Title 244 0 R +/A 241 0 R +/Parent 239 0 R +/Next 247 0 R +>> endobj +239 0 obj << +/Title 240 0 R +/A 237 0 R +/Parent 219 0 R +/Prev 223 0 R +/First 243 0 R +/Last 255 0 R +/Count -4 +>> endobj +235 0 obj << +/Title 236 0 R +/A 233 0 R +/Parent 223 0 R +/Prev 231 0 R +>> endobj +231 0 obj << +/Title 232 0 R +/A 229 0 R +/Parent 223 0 R +/Prev 227 0 R +/Next 235 0 R +>> endobj +227 0 obj << +/Title 228 0 R +/A 225 0 R +/Parent 223 0 R +/Next 231 0 R +>> endobj +223 0 obj << +/Title 224 0 R +/A 221 0 R +/Parent 219 0 R +/Next 239 0 R +/First 227 0 R +/Last 235 0 R +/Count -3 +>> endobj +219 0 obj << +/Title 220 0 R +/A 217 0 R +/Parent 7 0 R +/Prev 183 0 R +/First 223 0 R +/Last 239 0 R +/Count -2 +>> endobj +215 0 obj << +/Title 216 0 R +/A 213 0 R +/Parent 183 0 R +/Prev 211 0 R +>> endobj +211 0 obj << +/Title 212 0 R +/A 209 0 R +/Parent 183 0 R +/Prev 207 0 R +/Next 215 0 R +>> endobj +207 0 obj << +/Title 208 0 R +/A 205 0 R +/Parent 183 0 R +/Prev 203 0 R +/Next 211 0 R +>> endobj +203 0 obj << +/Title 204 0 R +/A 201 0 R +/Parent 183 0 R +/Prev 199 0 R +/Next 207 0 R +>> endobj +199 0 obj << +/Title 200 0 R +/A 197 0 R +/Parent 183 0 R +/Prev 195 0 R +/Next 203 0 R +>> endobj +195 0 obj << +/Title 196 0 R +/A 193 0 R +/Parent 183 0 R +/Prev 191 0 R +/Next 199 0 R +>> endobj +191 0 obj << +/Title 192 0 R +/A 189 0 R +/Parent 183 0 R +/Prev 187 0 R +/Next 195 0 R +>> endobj +187 0 obj << +/Title 188 0 R +/A 185 0 R +/Parent 183 0 R +/Next 191 0 R +>> endobj +183 0 obj << +/Title 184 0 R +/A 181 0 R +/Parent 7 0 R +/Prev 87 0 R +/Next 219 0 R +/First 187 0 R +/Last 215 0 R +/Count -8 +>> endobj +179 0 obj << +/Title 180 0 R +/A 177 0 R +/Parent 87 0 R +/Prev 175 0 R +>> endobj +175 0 obj << +/Title 176 0 R +/A 173 0 R +/Parent 87 0 R +/Prev 171 0 R +/Next 179 0 R +>> endobj +171 0 obj << +/Title 172 0 R +/A 169 0 R +/Parent 87 0 R +/Prev 167 0 R +/Next 175 0 R +>> endobj +167 0 obj << +/Title 168 0 R +/A 165 0 R +/Parent 87 0 R +/Prev 163 0 R +/Next 171 0 R +>> endobj +163 0 obj << +/Title 164 0 R +/A 161 0 R +/Parent 87 0 R +/Prev 159 0 R +/Next 167 0 R +>> endobj +159 0 obj << +/Title 160 0 R +/A 157 0 R +/Parent 87 0 R +/Prev 155 0 R +/Next 163 0 R +>> endobj +155 0 obj << +/Title 156 0 R +/A 153 0 R +/Parent 87 0 R +/Prev 151 0 R +/Next 159 0 R +>> endobj +151 0 obj << +/Title 152 0 R +/A 149 0 R +/Parent 87 0 R +/Prev 147 0 R +/Next 155 0 R +>> endobj +147 0 obj << +/Title 148 0 R +/A 145 0 R +/Parent 87 0 R +/Prev 143 0 R +/Next 151 0 R +>> endobj +143 0 obj << +/Title 144 0 R +/A 141 0 R +/Parent 87 0 R +/Prev 139 0 R +/Next 147 0 R +>> endobj +139 0 obj << +/Title 140 0 R +/A 137 0 R +/Parent 87 0 R +/Prev 135 0 R +/Next 143 0 R +>> endobj +135 0 obj << +/Title 136 0 R +/A 133 0 R +/Parent 87 0 R +/Prev 131 0 R +/Next 139 0 R +>> endobj +131 0 obj << +/Title 132 0 R +/A 129 0 R +/Parent 87 0 R +/Prev 127 0 R +/Next 135 0 R +>> endobj +127 0 obj << +/Title 128 0 R +/A 125 0 R +/Parent 87 0 R +/Prev 123 0 R +/Next 131 0 R +>> endobj +123 0 obj << +/Title 124 0 R +/A 121 0 R +/Parent 87 0 R +/Prev 119 0 R +/Next 127 0 R +>> endobj +119 0 obj << +/Title 120 0 R +/A 117 0 R 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+cosa- + + + + + + + + + + + + + + + + + + + + + + + + +

The angle a is 30o + in the example +(p/6 in radians). The sine of a, +which is the height of the red line, +is sina = 1/2. By the Theorem of +Pythagoras we have cos2a+sin2a = 1. +Thus the length of the blue line, +which is the cosine of a, must be +cosa =  V~ 1---1/4 = 1
+2 V~ 3.This shows +that tana, which is the height of the +orange line, is tana = sina-
+cosa = 1/ V~ 3. + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-50.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-50.svg new file mode 100644 index 00000000000..978e8e0088b --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-50.svg @@ -0,0 +1,25 @@ + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-500.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-500.svg new file mode 100644 index 00000000000..e18bf281d38 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-500.svg @@ -0,0 +1,24 @@ + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-501.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-501.svg new file mode 100644 index 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Ratings given by + 50 participants + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +“ok”: 10 (20%) + + + + + + + + + + +none: 20 (40%) + + + + + + + + + + +“very good”: 3 (6%) + + + + + + + + + + +“good”: 9 (18%) + + + + + + + + + + +“bad”: 8 (16%) + + + + + + + + + + +“very bad”: 0 (0%) + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-610.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-610.svg new file mode 100644 index 00000000000..49171d5c6b0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-610.svg @@ -0,0 +1,32 @@ + + + + + + + + + + + + + + + + + + + + + + + +Hi! + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-611.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-611.svg new file mode 100644 index 00000000000..e822698bd56 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-611.svg @@ -0,0 +1,32 @@ + + + + + + + + + + + + + + + + + + + + + + + +Hi! + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-612.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-612.svg new file mode 100644 index 00000000000..4ce3f9c65eb --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-612.svg @@ -0,0 +1,31 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-613.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-613.svg new file mode 100644 index 00000000000..365b424be67 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-613.svg @@ -0,0 +1,43 @@ + + + + + + + + + + + + + + + + + + + + + + + + +rotated + + + + + + + +shiftedonly + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-614.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-614.svg new file mode 100644 index 00000000000..3f27fbcfb92 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-614.svg @@ -0,0 +1,32 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-615.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-615.svg new file mode 100644 index 00000000000..e45b983bbf6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-615.svg @@ -0,0 +1,35 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-616.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-616.svg new file mode 100644 index 00000000000..6b637aa1429 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-616.svg @@ -0,0 +1,28 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-617.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-617.svg new file mode 100644 index 00000000000..cc75ecd6d4a --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-617.svg @@ -0,0 +1,35 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-618.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-618.svg new file mode 100644 index 00000000000..cc75ecd6d4a --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-618.svg @@ -0,0 +1,35 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-619.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-619.svg new file mode 100644 index 00000000000..9b15191fcef --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-619.svg @@ -0,0 +1,41 @@ + + + + + + + + + + + + + +________ image1 + + + + + + + + + image2 + + + + + + + + + image3 + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-62.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-62.svg new file mode 100644 index 00000000000..d0669ec1d26 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-62.svg @@ -0,0 +1,321 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Kohle ist am wichtigsten
+Energiemix bei der deutschen Stromerzeugung 2004 + + + + + + + + + + + + + + + + + + + + + +Gesamte Netto-Stromerzeugung in Prozent, in Milliarden Kilowattstunden (Mrd. kWh) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +9,4% + + + + + + + + + +27,8% + + + + + + + + + +25,6% + + + + + + + + + +22,3% + + + + + + + + + +10,4% + + + + + + + + + + + + + + + + + +Regenerative (53,7 kWh)/davon Wind 4,4% (25,0 kWh) + + + + + + + + + + + + +Kernenergie + + + + + + + + + +(158,4 kWh) + + + + + + + + + + + + +Braunkohle  (146,0 kWh) + + + + + + + + + + + + +Steinkohle  (127,1 kWh) + + + + + + + + + + + + +Erdgas  (59,2 kWh) + + + + + + + + + + + + +Mineralölprodukte  (9,2 kWh)   1,6% + + + + + + + + + + + + +Sonstige  (16,5 kWh)  2,9% + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-620.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-620.svg new file mode 100644 index 00000000000..f8f5044d15c --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-620.svg @@ -0,0 +1,41 @@ + + + + + + + + + + + + + +________image1.!25!white + + + + + + + + +image2.25!white + + + + + + + + +image3.white + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-621.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-621.svg new file mode 100644 index 00000000000..406dd80e2d5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-621.svg @@ -0,0 +1,41 @@ + + + + + + + + + + + + + +________pgflastimage + + + + + + + + +pgflastimage + + + + + + + + +pgflastimage + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-622.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-622.svg new file mode 100644 index 00000000000..4b68c3fbf32 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-622.svg @@ -0,0 +1,17 @@ + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-623.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-623.svg new file mode 100644 index 00000000000..4a9af789973 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-623.svg @@ -0,0 +1,12 @@ + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-624.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-624.svg new file mode 100644 index 00000000000..0e839c60da6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-624.svg @@ -0,0 +1,11 @@ + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-625.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-625.svg new file mode 100644 index 00000000000..2ff97ee185d --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-625.svg @@ -0,0 +1,11 @@ + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-626.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-626.svg new file mode 100644 index 00000000000..ea5a692365e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-626.svg @@ -0,0 +1,12 @@ + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-627.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-627.svg new file mode 100644 index 00000000000..311e3a7174e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-627.svg @@ -0,0 +1,13 @@ + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-628.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-628.svg new file mode 100644 index 00000000000..8bf4e9276d8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-628.svg @@ -0,0 +1,11 @@ + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-629.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-629.svg new file mode 100644 index 00000000000..96ada6dc2c1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-629.svg @@ -0,0 +1,11 @@ + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-63.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-63.svg new file mode 100644 index 00000000000..cbeb7a243d4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-63.svg @@ -0,0 +1,22 @@ + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-630.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-630.svg new file mode 100644 index 00000000000..795880d2b28 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-630.svg @@ -0,0 +1,29 @@ + + + + + + + + + + + + +

SVG-Viewer needed.

+
+
+
+ + + + +

SVG-Viewer needed.

+
+
+
+
+
+ + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-631.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-631.svg new file mode 100644 index 00000000000..99d6213f592 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-631.svg @@ -0,0 +1,13 @@ + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-632.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-632.svg new file mode 100644 index 00000000000..76a9acaef2e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-632.svg @@ -0,0 +1,100 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-633.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-633.svg new file mode 100644 index 00000000000..0ef6da5952f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-633.svg @@ -0,0 +1,13 @@ + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-634.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-634.svg new file mode 100644 index 00000000000..480b9aeeda0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-634.svg @@ -0,0 +1,13 @@ + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-635.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-635.svg new file mode 100644 index 00000000000..480b9aeeda0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-635.svg @@ -0,0 +1,13 @@ + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-636.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-636.svg new file mode 100644 index 00000000000..9672f1f1e1b --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-636.svg @@ -0,0 +1,112 @@ + + + + + + + + + + + + + + + +

SVG-Viewer needed.

+ + + + + + + + + + + + + + + + + + + +first two applications + + + + + + + + + + + +

SVG-Viewer needed.

+
+
+
+
+ + + + + + + + + + + + + + + +third application + + + + +
+ + + + + + + +

SVG-Viewer needed.

+
+
+
+
+ + + + + + + + + + + + + + + +fourth application + + + + +
+ + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-637.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-637.svg new file mode 100644 index 00000000000..3e574877f4d --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-637.svg @@ -0,0 +1,14 @@ + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-638.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-638.svg new file mode 100644 index 00000000000..bb16d9c7456 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-638.svg @@ -0,0 +1,79 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-639.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-639.svg new file mode 100644 index 00000000000..2a37b5075cf --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-639.svg @@ -0,0 +1,78 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-64.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-64.svg new file mode 100644 index 00000000000..966ff55429f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-64.svg @@ -0,0 +1,202 @@ + + + + + + + + + + + + + + + + + + + + +a + + + + + + + + + + + + + + + +b + + + + + + + + + + + + + + + + +g + + + + + + + + + + + + + + + +d + + + + + + + + + + + + + + + + + + + +E + + + + + + + + + + + + + + + + +F + + + + + + + + + + + + + + +A + + + + + + + + + +B + + + + + + + + + + + + + + + + +C + + + + + + + + + +D + + + + + + + + + + + + + + + + + + + +

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+++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-91.svg @@ -0,0 +1,138 @@ + + + + + + + + + + + + + + + + + + + + + + + + + +An ellipse + + + + + + + + + + +A circle + + + + + + + + + + +A rectangle + + + + + + + + + + +Another rectangle + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-92.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-92.svg new file mode 100644 index 00000000000..9d34a3ff72c --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-92.svg @@ -0,0 +1,26 @@ + + + + + + + + + + + + + + + + +Text + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-93.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-93.svg new file mode 100644 index 00000000000..ca92f325140 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-93.svg @@ -0,0 +1,36 @@ + + + + + + + + + + + + + + + + +X + + + + + + + + + +Y + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-94.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-94.svg new file mode 100644 index 00000000000..a98b00e64d9 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-94.svg @@ -0,0 +1,35 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-95.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-95.svg new file mode 100644 index 00000000000..e91a42b3d2b --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-95.svg @@ -0,0 +1,121 @@ + + + + + + + + + + + + + + +p1 + + + + + + + + + +p2 + + + + + + + + + + +q1 + + + + + + + + + + +q2 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-96.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-96.svg new file mode 100644 index 00000000000..e83725fd2c8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-96.svg @@ -0,0 +1,17 @@ + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-97.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-97.svg new file mode 100644 index 00000000000..e83725fd2c8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-97.svg @@ -0,0 +1,17 @@ + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-98.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-98.svg new file mode 100644 index 00000000000..fa76c8c65ee --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-98.svg @@ -0,0 +1,60 @@ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-99.svg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-99.svg new file mode 100644 index 00000000000..9a172902fe6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual-99.svg @@ -0,0 +1,15 @@ + + + + + + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual.html new file mode 100644 index 00000000000..0912d56797f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual.html @@ -0,0 +1,3941 @@ + + + + + + + + + + + +

TikZ and PGF +

Manual for Version 1.00 +

SVG-Viewer needed.

+

+\tikzstyle{level 1}=[sibling angle=120] +
\tikzstyle{level 2}=[sibling angle=60] +
\tikzstyle{level 3}=[sibling angle=30] +
\tikzstyle{every node}=[fill] +
\tikzstyle{edge from parent}=[snake=expanding waves,segment length=1mm,segment angle=10,draw] +
+
\tikz [grow cyclic,shape=circle,very thick,level distance=13mm,cap=round] +
  \node {} child [color=\A] foreach \A in {red,green,blue} +
    { node {} child [color=\A!50!\B] foreach \B in {red,green,blue} +
      { node {} child [color=\A!50!\B!50!\C] foreach \C in {black,gray,white} +
        { node {} } +
      } +
    };
+
+ + +

Für meinen Vater, damit er noch viele schöne TEX-Graphiken erschaffen kann. + + +

+ + +

+ + +

+

+The TikZ and PGF Packages
+Manual for Version 1.00
+http://sourceforge.net/projects/pgf +

+ +
Till Tantau
mailto:tantau@users.sourceforge.net
+
+

October 23, 2005

+
+
+ I  Getting Started +
1 Introduction +
 1.1 Structure of the System +
 1.2 Comparison with Other Graphics Packages +
 1.3 Utilities: Page Management +
 1.4 How to Read This Manual +
 1.5 Getting Help +
2 Installation +
 2.1 Package and Driver Versions +
 2.2 Installing Prebundled Packages +
  2.2.1 Debian +
  2.2.2 MiKTeX +
 2.3 Installation in a texmf Tree +
  2.3.1 Installation that Keeps Everything Together +
  2.3.2 Installation that is TDS-Compliant +
 2.4 Updating the Installation +
 2.5 License: The GNU Public License, Version 2 +
  2.5.1 Preamble +
  2.5.2 Terms and Conditions For Copying, Distribution and Modification +
  2.5.3 No Warranty +
3 Tutorial: A Picture for Karl’s Students +
 3.1 Problem Statement +
 3.2 Setting up the Environment +
  3.2.1 Setting up the Environment in LATEX +
  3.2.2 Setting up the Environment in Plain TEX +
 3.3 Straight Path Construction +
 3.4 Curved Path Construction +
 3.5 Circle Path Construction +
 3.6 Rectangle Path Construction +
 3.7 Grid Path Construction +
 3.8 Adding a Touch of Style +
 3.9 Drawing Options +
 3.10 Arc Path Construction +
 3.11 Clipping a Path +
 3.12 Parabola and Sine Path Construction +
 3.13 Filling and Drawing + + +
 3.14 Shading +
 3.15 Specifying Coordinates +
 3.16 Adding Arrow Tips +
 3.17 Scoping +
 3.18 Transformations +
 3.19 Repeating Things: For-Loops +
 3.20 Adding Text +
 3.21 Nodes +
4 Guidelines on Graphics +
 4.1 Should You Follow Guidelines? +
 4.2 Planning the Time Needed for the Creation of Graphics +
 4.3 Workflow for Creating a Graphic +
 4.4 Linking Graphics With the Main Text +
 4.5 Consistency Between Graphics and Text +
 4.6 Labels in Graphics +
 4.7 Plots and Charts +
 4.8 Attention and Distraction +
5 Input and Output Formats +
 5.1 Supported Input Formats +
  5.1.1 Using the LATEXFormat +
  5.1.2 Using the Plain TEX Format +
  5.1.3 Using the ConTEXt Format +
 5.2 Supported Output Formats +
  5.2.1 Selecting the Backend Driver +
  5.2.2 Producing PDF Output +
  5.2.3 Producing PostScript Output +
  5.2.4 Producing HTML / SVG Output +
II  TikZ ist kein Zeichenprogramm +
6 Design Principles +
 6.1 Special Syntax For Specifying Points +
 6.2 Special Syntax For Path Specifications +
 6.3 Actions on Paths +
 6.4 Key-Value Syntax for Graphic Parameters +
 6.5 Special Syntax for Specifying Nodes +
 6.6 Special Syntax for Specifying Trees +
 6.7 Grouping of Graphic Parameters +
 6.8 Coordinate Transformation System +
7 Hierarchical Structures: Package, Environments, Scopes, and Styles +
 7.1 Loading the Package +
 7.2 Creating a Picture +
  7.2.1 Creating a Picture Using an Environment +
  7.2.2 Creating a Picture Using a Command +
  7.2.3 Adding a Background +
 7.3 Using Scopes to Structure a Picture +
 7.4 Using Scopes Inside Paths +
 7.5 Using Styles to Manage How Pictures Look +
8 Specifying Coordinates +
 8.1 Coordinates and Coordinate Options +
 8.2 Simple Coordinates +
 8.3 Polar Coordinates +
 8.4 Xy- and Xyz-Coordinates +
 8.5 Node Coordinates +
  8.5.1 Named Anchor Coordinates +
  8.5.2 Angle Anchor Coordinates +
  8.5.3 Anchor-Free Node Coordinates +
 8.6 Intersection Coordinates +
  8.6.1 Intersection of Two Lines +
  8.6.2 Intersection of Horizontal and Vertical Lines + + +
 8.7 Relative and Incremental Coordinates +
9 Syntax for Path Specifications +
 9.1 The Move-To Operation +
 9.2 The Line-To Operation +
  9.2.1 Straight Lines +
  9.2.2 Horizontal and Vertical Lines +
  9.2.3 Snaked Lines +
 9.3 The Curve-To Operation +
 9.4 The Cycle Operation +
 9.5 The Rectangle Operation +
 9.6 Rounding Corners +
 9.7 The Circle and Ellipse Operations +
 9.8 The Arc Operation +
 9.9 The Grid Operation +
 9.10 The Parabola Operation +
 9.11 The Sine and Cosine Operation +
 9.12 The Plot Operation +
  9.12.1 Plotting Points Given Inline +
  9.12.2 Plotting Points Read From an External File +
  9.12.3 Plotting a Function +
  9.12.4 Placing Marks on the Plot +
  9.12.5 Smooth Plots, Sharp Plots, and Comb Plots +
 9.13 The Scoping Operation +
 9.14 The Node Operation +
10 Actions on Paths +
 10.1 Specifying a Color +
 10.2 Drawing a Path +
  10.2.1 Graphic Parameters: Line Width, Line Cap, and Line Join +
  10.2.2 Graphic Parameters: Dash Pattern +
  10.2.3 Graphic Parameters: Draw Opacity +
  10.2.4 Graphic Parameters: Arrow Tips +
  10.2.5 Graphic Parameters: Double Lines and Bordered Lines +
 10.3 Filling a Path +
  10.3.1 Graphic Parameters: Interior Rules +
  10.3.2 Graphic Parameters: Fill Opacity +
 10.4 Shading a Path +
  10.4.1 Choosing a Shading Type +
  10.4.2 Choosing a Shading Color +
 10.5 Establishing a Bounding Box +
 10.6 Using a Path For Clipping +
11 Nodes +
 11.1 Nodes and Their Shapes +
 11.2 Multi-Part Nodes +
 11.3 Options for the Text in Nodes +
 11.4 Placing Nodes Using Anchors +
 11.5 Transformations +
 11.6 Placing Nodes on a Line or Curve +
  11.6.1 Explicit Use of the Position Option +
  11.6.2 Implicit Use of the Position Option +
 11.7 Connecting Nodes +
 11.8 Predefined Shapes +
12 Making Trees Grow +
 12.1 Introduction to the Child Operation +
 12.2 Child Paths and the Child Nodes +
 12.3 Naming Child Nodes +
 12.4 Specifying Options for Trees and Children +
 12.5 Placing Child Nodes +
 12.6 Edges From the Parent Node + + +
13 Transformations +
 13.1 The Different Coordinate Systems +
 13.2 The Xy- and Xyz-Coordinate Systems +
 13.3 Coordinate Transformations +
III  Libraries and Utilities +
14 Libraries +
 14.1 Arrow Tip Library +
  14.1.1 Triangular Arrow Tips +
  14.1.2 Barbed Arrow Tips +
  14.1.3 Bracket-Like Arrow Tips +
  14.1.4 Circle and Diamond Arrow Tips +
  14.1.5 Partial Arrow Tips +
  14.1.6 Line Caps +
 14.2 Snake Library +
 14.3 Plot Handler Library +
  14.3.1 Curve Plot Handlers +
  14.3.2 Comb Plot Handlers +
  14.3.3 Mark Plot Handler +
 14.4 Plot Mark Library +
 14.5 Shape Library +
 14.6 Tree Library +
  14.6.1 Growth Functions +
  14.6.2 Edges From Parent +
 14.7 Background Library +
 14.8 Automata Drawing Library +
15 Repeating Things: The Foreach Statement +
16 Page Management +
 16.1 Basic Usage +
 16.2 The Predefined Layouts +
 16.3 Defining a Layout +
 16.4 Creating Logical Pages +
17 Extended Color Support +
IV  The Basic Layer +
18 Design Principles +
 18.1 Core and Optional Packages +
 18.2 Communicating with the Basic Layer via Macros +
 18.3 Path-Centered Approach +
 18.4 Coordinate Versus Canvas Transformations +
19 Hierarchical Structures: Package, Environments, Scopes, and Text +
 19.1 Overview +
  19.1.1 The Hierarchical Structure of the Package +
  19.1.2 The Hierarchical Structure of Graphics +
 19.2 The Hierarchical Structure of the Package +
  19.2.1 The Main Package +
  19.2.2 The Core Package +
  19.2.3 The Optional Basic Layer Packages +
 19.3 The Hierarchical Structure of the Graphics +
  19.3.1 The Main Environment +
  19.3.2 Graphic Scope Environments +
  19.3.3 Inserting Text and Images +
20 Specifying Coordinates +
 20.1 Overview +
 20.2 Basic Coordinate Commands +
 20.3 Coordinates in the Xy- and Xyz-Coordinate Systems +
 20.4 Building Coordinates From Other Coordinates +
  20.4.1 Basic Manipulations of Coordinates +
  20.4.2 Points Traveling along Lines and Curves +
  20.4.3 Points on Borders of Objects + + +
  20.4.4 Points on the Intersection of Lines +
 20.5 Extracting Coordinates +
 20.6 Internals of How Point Commands Work +
21 Constructing Paths +
 21.1 Overview +
 21.2 The Move-To Path Operation +
 21.3 The Line-To Path Operation +
 21.4 The Curve-To Path Operation +
 21.5 The Close Path Operation +
 21.6 Arc, Ellipse and Circle Path Operations +
 21.7 Rectangle Path Operations +
 21.8 The Grid Path Operation +
 21.9 The Parabola Path Operation +
 21.10 Sine and Cosine Path Operations +
 21.11 Plot Path Operations +
 21.12 Rounded Corners +
 21.13 Internal Tracking of Bounding Boxes for Paths and Pictures +
22 Snakes +
 22.1 Overview +
 22.2 Declaring a Snake +
  22.2.1 Segments +
  22.2.2 Snake Automata +
  22.2.3 The Snake Declaration Command +
  22.2.4 Predefined Snakes +
 22.3 Using Snakes +
23 Using Paths +
 23.1 Overview +
 23.2 Stroking a Path +
  23.2.1 Graphic Parameter: Line Width +
  23.2.2 Graphic Parameter: Caps and Joins +
  23.2.3 Graphic Parameter: Dashing +
  23.2.4 Graphic Parameter: Stroke Color +
  23.2.5 Graphic Parameter: Stroke Opacity +
  23.2.6 Graphic Parameter: Arrows +
 23.3 Filling a Path +
  23.3.1 Graphic Parameter: Interior Rule +
  23.3.2 Graphic Parameter: Filling Color +
  23.3.3 Graphic Parameter: Fill Opacity +
 23.4 Clipping a Path +
 23.5 Using a Path as a Bounding Box +
24 Arrow Tips +
 24.1 Overview +
  24.1.1 When Does PGF Draw Arrow Tips? +
  24.1.2 Meta-Arrow Tips +
 24.2 Declaring an Arrow Tip Kind +
 24.3 Declaring a Derived Arrow Tip Kind +
 24.4 Using an Arrow Tip Kind +
 24.5 Predefined Arrow Tip Kinds +
25 Nodes and Shapes +
 25.1 Overview +
  25.1.1 Creating and Referencing Nodes +
  25.1.2 Anchors +
  25.1.3 Layers of a Shape +
  25.1.4 Node Parts +
 25.2 Creating Nodes +
 25.3 Using Anchors +
 25.4 Declaring New Shapes +
  25.4.1 What Must Be Defined For a Shape? + + +
  25.4.2 Normal Anchors Versus Saved Anchors +
  25.4.3 Command for Declaring New Shapes +
 25.5 Predefined Shapes +
26 Coordinate and Canvas Transformations +
 26.1 Overview +
 26.2 Coordinate Transformations +
  26.2.1 How PGF Keeps Track of the Coordinate Transformation Matrix +
  26.2.2 Commands for Relative Coordinate Transformations +
  26.2.3 Commands for Absolute Coordinate Transformations +
  26.2.4 Saving and Restoring the Coordinate Transformation Matrix +
 26.3 Canvas Transformations +
27 Declaring and Using Images +
 27.1 Overview +
 27.2 Declaring an Image +
 27.3 Using an Image +
 27.4 Masking an Image +
28 Declaring and Using Shadings +
 28.1 Overview +
 28.2 Declaring Shadings +
 28.3 Using Shadings +
29 Creating Plots +
 29.1 Overview +
  29.1.1 When Should One Use PGF for Generating Plots? +
  29.1.2 How PGF Handles Plots +
 29.2 Generating Plot Streams +
  29.2.1 Basic Building Blocks of Plot Streams +
  29.2.2 Commands That Generate Plot Streams +
 29.3 Plot Handlers +
30 Layered Graphics +
 30.1 Overview +
 30.2 Declaring Layers +
 30.3 Using Layers +
31 Quick Commands +
 31.1 Quick Path Construction Commands +
 31.2 Quick Path Usage Commands +
 31.3 Quick Text Box Commands +
V  The System Layer +
32 Design of the System Layer +
 32.1 Driver Files +
 32.2 Common Definition Files +
33 Commands of the System Layer +
 33.1 Beginning and Ending a Stream of System Commands +
 33.2 Path Construction System Commands +
 33.3 Canvas Transformation System Commands +
 33.4 Stroking, Filling, and Clipping System Commands +
 33.5 Graphic State Option System Commands +
 33.6 Color System Commands +
 33.7 Scoping System Commands +
 33.8 Image System Commands +
 33.9 Shading System Commands +
 33.10 Reusable Objects System Commands +
 33.11 Invisibility System Commands +
 33.12 Internal Conversion Commands +
34 The Soft Path Subsystem +
 34.1 Path Creation Process +
 34.2 Starting and Ending a Soft Path +
 34.3 Soft Path Creation Commands +
 34.4 The Soft Path Data Structure + + +
35 The Protocol Subsystem +
VI  References and Index +
+ + +

Part I
Getting Started

+

This part is intended to help you get started with the PGF package. First, the installation process is explained; +however, the system will typically be already installed on your system, so this can often be skipped. Next, a +short tutorial is given that explains the most often used commands and concepts of TikZ, without +going into any of the glorious details. At the end of this section you will find some, hopefully useful, +hints on how to create “good” graphics in general. The information in this section is not specific to +PGF. +

SVG-Viewer needed.

+
+
\tikz \draw[thick,rounded corners=8pt] +
  (0,0) -- (0,2) -- (1,3.25) -- (2,2) -- (2,0) -- (0,2) -- (2,2) -- (0,0) -- (2,0);
+
+ + + + + + + +

Part II
TikZ ist kein Zeichenprogramm

+

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \draw[fill=yellow] (0,0) -- (60:.75cm) arc (60:180:.75cm); +
  \draw(120:0.4cm) node {$\alpha$}; +
+
  \draw[fill=green!30] (0,0) -- (right:.75cm) arc (0:60:.75cm); +
  \draw(30:0.5cm) node {$\beta$}; +
+
  \begin{scope}[shift={(60:2cm)}] +
    \draw[fill=green!30] (0,0) -- (180:.75cm) arc (180:240:.75cm); +
    \draw (30:-0.5cm) node {$\gamma$}; +
+
    \draw[fill=yellow] (0,0) -- (240:.75cm) arc (240:360:.75cm); +
    \draw (-60:0.4cm) node {$\delta$}; +
  \end{scope} +
+
  \begin{scope}[thick] +
    \draw  (60:-1cm) node[fill=white] {$E$} -- (60:3cm) node[fill=white] {$F$}; +
    \draw[red]                   (-2,0) node[left] {$A$} -- (3,0) node[right]{$B$}; +
    \draw[blue,shift={(60:2cm)}] (-3,0) node[left] {$C$} -- (2,0) node[right]{$D$}; +
+
    \draw[shift={(60:1cm)},xshift=4cm] +
    node [right,text width=6cm,rounded corners,fill=red!20,inner sep=1ex] +
    { +
      When we assume that $\color{red}AB$ and $\color{blue}CD$ are +
      parallel, i.\,e., ${\color{red}AB} \mathbin{\|} \color{blue}CD$, +
      then $\alpha = \delta$ and $\beta = \gamma$. +
    }; +
  \end{scope} +
\end{tikzpicture}
+
+ + + + + + + + + + +

Part III
Libraries and Utilities

+

In this part the library and utility packages are documented. The library packages provide additional predefined +graphic objects like new arrow heads, or new plot marks. These are not loaded by default since many users will not +need them. +

The utility packages are not directly involved in creating graphics, but you may find them useful nonetheless. All +of them either directly depend on PGF or they are designed to work well together with PGF even though they can +be used in a stand-alone way. +

+

SVG-Viewer needed.

+
+
\begin{tikzpicture}[scale=2] +
  \shade[top color=blue,bottom color=gray!50] (0,0) parabola (1.5,2.25) |- (0,0); +
  \draw (1.05cm,2pt) node[above] {$\displaystyle\int_0^{3/2} \!\!x^2\mathrm{d}x$}; +
+
  \draw[style=help lines] (0,0) grid (3.9,3.9) +
       [step=0.25cm]      (1,2) grid +(1,1); +
+
  \draw[->] (-0.2,0) -- (4,0) node[right] {$x$}; +
  \draw[->] (0,-0.2) -- (0,4) node[above] {$f(x)$}; +
+
  \foreach \x/\xtext in {1/1, 1.5/1\frac{1}{2}, 2/2, 3/3} +
    \draw[shift={(\x,0)}] (0pt,2pt) -- (0pt,-2pt) node[below] {$\xtext$}; +
+
  \foreach \y/\ytext in {1/1, 2/2, 2.25/2\frac{1}{4}, 3/3} +
    \draw[shift={(0,\y)}] (2pt,0pt) -- (-2pt,0pt) node[left] {$\ytext$}; +
+
  \draw (-.5,.25) parabola bend (0,0) (2,4) node[below right] {$x^2$}; +
\end{tikzpicture}
+
+ + + + + + +

Part IV
The Basic Layer

+

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \draw[gray,very thin] (-1.9,-1.9) grid (2.9,3.9) +
          [step=0.25cm] (-1,-1) grid (1,1); +
  \draw[blue] (1,-2.1) -- (1,4.1); % asymptote +
+
  \draw[->] (-2,0) -- (3,0) node[right] {$x(t)$}; +
  \draw[->] (0,-2) -- (0,4) node[above] {$y(t)$}; +
+
  \foreach \pos in {-1,2} +
    \draw[shift={(\pos,0)}] (0pt,2pt) -- (0pt,-2pt) node[below] {$\pos$}; +
+
  \foreach \pos in {-1,1,2,3} +
    \draw[shift={(0,\pos)}] (2pt,0pt) -- (-2pt,0pt) node[left] {$\pos$}; +
+
  \fill (0,0) circle (0.064cm); +
  \draw[thick,parametric,domain=0.4:1.5,samples=200] +
    % The plot is reparameterised such that there are more samples +
    % near the center. +
    plot[id=asymptotic-example] function{(t*t*t)*sin(1/(t*t*t)),(t*t*t)*cos(1/(t*t*t))} +
    node[right] {$\bigl(x(t),y(t)\bigr) = (t\sin \frac{1}{t}, t\cos \frac{1}{t})$}; +
+
  \fill[red] (0.63662,0) circle (2pt) +
    node [below right,fill=white,yshift=-4pt] {$(\frac{2}{\pi},0)$}; +
\end{tikzpicture}
+
+ + + + + + + + + + + + + + + + +

Part V
The System Layer

+

This part describes the low-level interface of PGF, called the system layer. This interface provides a complete +abstraction of the internals of the underlying drivers. +

Unless you intend to port PGF to another driver or unless you intend to write your own optimized frontend, you +need not read this part. +

In the following it is assumed that you are familiar with the basic workings of the graphics package and that +you know what TEX-drivers are and how they work. +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[shorten >=1pt,->] +
  \tikzstyle{vertex}=[circle,fill=black!25,minimum size=17pt,inner sep=0pt] +
+
  \foreach \name/\x in {s/1, 2/2, 3/3, 4/4, 15/11, 16/12, 17/13, 18/14, 19/15, t/16} +
    \node[vertex] (G-\name) at (\x,0) {$\name$}; +
+
  \foreach \name/\angle/\text in {P-1/234/5, P-2/162/6, P-3/90/7, P-4/18/8, P-5/-54/9} +
    \node[vertex,xshift=6cm,yshift=.5cm] (\name) at (\angle:1cm) {$\text$}; +
+
  \foreach \name/\angle/\text in {Q-1/234/10, Q-2/162/11, Q-3/90/12, Q-4/18/13, Q-5/-54/14} +
    \node[vertex,xshift=9cm,yshift=.5cm] (\name) at (\angle:1cm) {$\text$}; +
+
  \foreach \from/\to in {s/2,2/3,3/4,3/4,15/16,16/17,17/18,18/19,19/t} +
    \draw (G-\from) -- (G-\to); +
+
  \foreach \from/\to in {1/2,2/3,3/4,4/5,5/1,1/3,2/4,3/5,4/1,5/2} +
    { \draw (P-\from) -- (P-\to); \draw (Q-\from) -- (Q-\to); } +
+
  \draw (G-3) .. controls +(-30:2cm) and +(-150:1cm) .. (Q-1); +
  \draw (Q-5) -- (G-15); +
\end{tikzpicture}
+
+ + + + + + +

Part VI
References and Index

+

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \draw[line width=0.3cm,color=red!30,cap=round,join=round] (0,0)--(2,0)--(2,5); +
  \draw[help lines] (-2.5,-2.5) grid (5.5,7.5); +
  \draw[very thick] (1,-1)--(-1,-1)--(-1,1)--(0,1)--(0,0)-- +
    (1,0)--(1,-1)--(3,-1)--(3,2)--(2,2)--(2,3)--(3,3)-- +
    (3,5)--(1,5)--(1,4)--(0,4)--(0,6)--(1,6)--(1,5) +
    (3,3)--(4,3)--(4,5)--(3,5)--(3,6) +
    (3,-1)--(4,-1); +
  \draw[below left] (0,0) node(s){$s$}; +
  \draw[below left] (2,5) node(t){$t$}; +
  \fill (0,0) circle (0.06cm) (2,5) circle (0.06cm); +
  \draw[->,rounded corners=0.2cm,shorten >=2pt] +
    (1.5,0.5)-- ++(0,-1)-- ++(1,0)-- ++(0,2)-- ++(-1,0)-- ++(0,2)-- ++(1,0)-- +
    ++(0,1)-- ++(-1,0)-- ++(0,-1)-- ++(-2,0)-- ++(0,3)-- ++(2,0)-- ++(0,-1)-- +
    ++(1,0)-- ++(0,1)-- ++(1,0)-- ++(0,-1)-- ++(1,0)-- ++(0,-3)-- ++(-2,0)-- +
    ++(1,0)-- ++(0,-3)-- ++(1,0)-- ++(0,-1)-- ++(-6,0)-- ++(0,3)-- ++(2,0)-- +
    ++(0,-1)-- ++(1,0); +
\end{tikzpicture}
+
+

Index

+
( arrow tip, 177 +
) arrow tip, 177 +
* arrow tip, 177 +
* plot mark, 187 +
| arrow tip, 295 +
| plot mark, 187 +
+ plot mark, 187 +
- plot mark, 187 +
-- path operation, 93 +
-| path operation, 93 +
|- path operation, 94 +
--cycle path operation, 99 +
--plot path operation, 105 +
.. path operation, 99 + + +
> option, 123 +
[ arrow tip, 177 +
<shape name> option, 136 +
] arrow tip, 177 +
16 on 1 layout, 211 +
2 on 1 layout, 211 +
4 on 1 layout, 211 +
8 on 1 layout, 211 +

+ above option, 141 +
above left option, 142 +
above right option, 142 +
\anchor, 308 +
anchor option, 141 +
\anchorborder, 309 +
angle 45 arrow tip, 176 +
angle 45 reversed arrow tip, 176 +
angle 60 arrow tip, 176 +
angle 60 reversed arrow tip, 176 +
angle 90 arrow tip, 176 +
angle 90 reversed arrow tip, 176 +
arc path operation, 101 +
Arrow tips +
    (, 177 +
    ), 177 +
    *, 177 +
    |, 295 +
    [, 177 +
    ], 177 +
    angle 45, 176 +
    angle 45 reversed, 176 +
    angle 60, 176 +
    angle 60 reversed, 176 +
    angle 90, 176 +
    angle 90 reversed, 176 +
    butt cap, 177 +
    diamond, 177 +
    fast cap, 177 +
    fast cap reversed, 177 +
    hooks, 176 +
    hooks reversed, 176 +
    latex, 295 +
    latex reversed, 295 +
    latex', 176 +
    latex' reversed, 176 +
    left hook, 177 +
    left hook reversed, 177 +
    left to, 177 +
    left to reversed, 177 +
    o, 177 +
    open diamond, 177 +
    open triangle 45, 176 +
    open triangle 45 reversed, 176 +
    open triangle 60, 176 +
    open triangle 60 reversed, 176 +
    open triangle 90, 176 +
    open triangle 90 reversed, 176 + + +
    right hook, 177 +
    right hook reversed, 177 +
    right to, 177 +
    right to reversed, 177 +
    round cap, 177 +
    stealth, 295 +
    stealth reversed, 295 +
    stealth', 176 +
    stealth' reversed, 176 +
    to, 295 +
    to reversed, 295 +
    triangle 45, 176 +
    triangle 45 reversed, 176 +
    triangle 60, 176 +
    triangle 60 reversed, 176 +
    triangle 90, 176 +
    triangle 90 cap, 177 +
    triangle 90 cap reversed, 177 +
    triangle 90 reversed, 176 +
arrows option, 122 +
asterisk plot mark, 187 +
at option, 238 +
at end style, 145 +
at start style, 145 +

+ background grid style, 195 +
background rectangle style, 195 +
background top style, 196 +
\backgroundpath, 310 +
ball plot mark, 109 +
ball color option, 130 +
base option, 238 +
baseline option, 76 +
\beforebackgroundpath, 310 +
\beforeforegroundpath, 311 +
\behindbackgroundpath, 310 +
\behindforegroundpath, 310 +
below option, 142 +
below left option, 142 +
below right option, 142 +
bend option, 103 +
bend at end style, 104 +
bend at start style, 104 +
bend pos option, 104 +
border snake, 178 +
bottom option, 237 +
bottom color option, 129 +
brace snake, 178 +
\breakforeach, 205 +
bumps snake, 178 +
butt cap arrow tip, 177 +

+ cap option, 119 +
child path operation, 152 +
child anchor option, 163 +
circle path operation, 101 + + +
circle shape, 313 +
\clip, 116 +
clip option, 131 +
cm option, 173 +
coil snake, 179 +
color option, 116 +
color option option, 116 +
\colorcurrentmixin, 221 +
colormixin environment, 220 +
\coordinate, 116 +
coordinate path operation, 137 +
coordinate shape, 313 +
cos path operation, 105 +
cross out shape, 188 +

+ dash pattern option, 119 +
dash phase option, 120 +
dashed style, 120 +
densely dashed style, 120 +
densely dotted style, 120 +
diamond arrow tip, 177 +
diamond plot mark, 187 +
diamond* plot mark, 187 +
domain option, 108 +
dotted style, 120 +
double option, 124 +
double distance option, 124 +
draft package option, 231, 330 +
\draw, 115 +
draw option, 117 +
draw opacity option, 121 +

+ edge from parent path operation, 162 +
edge from parent style, 163 +
edge from parent fork down style, 193 +
edge from parent fork left style, 194 +
edge from parent fork right style, 193 +
edge from parent fork up style, 194 +
edge from parent path option, 162 +
ellipse path operation, 101 +
ellipse shape, 189 +
<empty> path operation, 92 +
Environments +
    colormixin, 220 +
    pgfinterruptpath, 236 +
    pgfinterruptpicture, 236 +
    pgflowlevelscope, 327 +
    pgfonlayer, 354, 355 +
    pgfpicture, 233, 234 +
    pgfscope, 234, 235 +
    scope, 78, 79 +
    tikzpicture, 76, 77 +
even odd rule option, 126 +
every <part name> node part style, 138 +
every <shape> node style, 137 +
every child style, 156 + + +
every child node style, 156 +
every node style, 136 +
every path style, 92 +
every picture style, 77 +
every plot style, 109 +
every scope style, 78 +
execute at begin picture option, 76 +
execute at begin scope option, 79 +
execute at end picture option, 76 +
execute at end scope option, 79 +
expanding waves snake, 179 +

+ fast cap arrow tip, 177 +
fast cap reversed arrow tip, 177 +
File, see Packages and files +
\fill, 115 +
fill option, 125 +
fill opacity option, 127 +
\filldraw, 115 +
font option, 138 +
forbidden sign shape, 189 +
\foreach, 201 +
\foregroundpath, 310 +
framed style, 195 +

+ gap after snake option, 95 +
gap around snake option, 95 +
gap before snakes option, 95 +
Graphic options +
    >, 123 +
    <shape name>, 136 +
    above, 141 +
    above left, 142 +
    above right, 142 +
    anchor, 141 +
    arrows, 122 +
    at, 238 +
    ball color, 130 +
    base, 238 +
    baseline, 76 +
    below, 142 +
    below left, 142 +
    below right, 142 +
    bend, 103 +
    bend pos, 104 +
    bottom, 237 +
    bottom color, 129 +
    cap, 119 +
    child anchor, 163 +
    clip, 131 +
    cm, 173 +
    color, 116 +
    color option, 116 +
    dash pattern, 119 +
    dash phase, 120 +
    domain, 108 + + +
    double, 124 +
    double distance, 124 +
    draw, 117 +
    draw opacity, 121 +
    edge from parent path, 162 +
    even odd rule, 126 +
    execute at begin picture, 76 +
    execute at begin scope, 79 +
    execute at end picture, 76 +
    execute at end scope, 79 +
    fill, 125 +
    fill opacity, 127 +
    font, 138 +
    gap after snake, 95 +
    gap around snake, 95 +
    gap before snakes, 95 +
    grow, 160 +
    grow via three points, 191 +
    grow', 161 +
    growth function, 161 +
    id, 109 +
    inner color, 129 +
    inner frame sep, 194 +
    inner frame xsep, 194 +
    inner frame ysep, 194 +
    inner sep, 147 +
    inner xsep, 147 +
    inner ysep, 147 +
    join, 119 +
    left, 142, 237 +
    left color, 129 +
    level distance, 158 +
    line after snake, 96 +
    line around snake, 96 +
    line before snake, 95 +
    line width, 118 +
    mark, 109 +
    mark options, 110 +
    mark size, 110 +
    middle color, 129 +
    minimum height, 148 +
    minimum size, 148 +
    minimum width, 148 +
    mirror snake, 96 +
    miter limit, 119 +
    name, 135 +
    next state, 269 +
    nonzero rule, 125 +
    only marks, 112 +
    opacity, 121 +
    outer color, 130 +
    outer frame sep, 196 +
    outer frame xsep, 196 +
    outer frame ysep, 196 +
    outer sep, 147 +
    outer xsep, 147 +
    outer ysep, 147 +
    parabola height, 104 + + +
    parametric, 108 +
    parent anchor, 163 +
    polar comb, 112 +
    pos, 143 +
    prefix, 109 +
    raise snake, 96 +
    raw gnuplot, 109 +
    reset cm, 173 +
    right, 142, 237 +
    right color, 129 +
    rotate, 172, 238 +
    rotate around, 173 +
    rounded corners, 100 +
    samples, 108 +
    scale, 171 +
    segment amplitude, 96 +
    segment angle, 97 +
    segment aspect, 98 +
    segment length, 97 +
    segment object length, 97 +
    set style, 80 +
    shade, 127 +
    shading, 128 +
    shading angle, 128 +
    shape, 136 +
    sharp corners, 101 +
    sharp plot, 110 +
    shift, 171 +
    shorten <, 124 +
    shorten >, 123 +
    sibling angle, 192 +
    sibling distance, 159 +
    sloped, 144 +
    smooth, 110 +
    smooth cycle, 111 +
    snake, 95 +
    step, 102, 259 +
    stepx, 259 +
    stepy, 259 +
    style, 79 +
    switch if less than, 269 +
    tension, 110 +
    text, 138 +
    text badly centered, 140 +
    text badly ragged, 140 +
    text centered, 140 +
    text justified, 139 +
    text ragged, 139 +
    text width, 139 +
    top, 237 +
    top color, 129 +
    transform shape, 142 +
    use as bounding box, 130 +
    width, 269 +
    x, 169, 238 +
    xcomb, 111 +
    xscale, 171 +
    xshift, 171 + + +
    xslant, 172 +
    xstep, 102 +
    y, 169, 238 +
    ycomb, 111 +
    yscale, 172 +
    yshift, 171 +
    yslant, 172 +
    ystep, 102 +
    z, 169 +
grid path operation, 102 +
gridded style, 196 +
grow option, 160 +
grow cyclic style, 192 +
grow via three points option, 191 +
grow' option, 161 +
growth function option, 161 +

+ help lines style, 103 +
hooks arrow tip, 176 +
hooks reversed arrow tip, 176 +

+ id option, 109 +
\ifpgfresetnontranslationsattime, 323 +
\ifpgfslopedattime, 323 +
\ifpgfsys@eorule, 374 +
\inheritanchor, 312 +
\inheritanchorborder, 312 +
\inheritbackgroundpath, 311 +
\inheritbeforebackgroundpath, 311 +
\inheritbeforeforegroundpath, 311 +
\inheritbehindbackgroundpath, 311 +
\inheritbehindforegroundpath, 311 +
\inheritforegroundpath, 311 +
\inheritsavedanchors, 311 +
inner color option, 129 +
inner frame sep option, 194 +
inner frame xsep option, 194 +
inner frame ysep option, 194 +
inner sep option, 147 +
inner xsep option, 147 +
inner ysep option, 147 +

+ join option, 119 +

+ latex arrow tip, 295 +
latex reversed arrow tip, 295 +
latex' arrow tip, 176 +
latex' reversed arrow tip, 176 +
Layout, see Page layout +
left option, 142, 237 +
left color option, 129 +
left hook arrow tip, 177 +
left hook reversed arrow tip, 177 +
left to arrow tip, 177 + + +
left to reversed arrow tip, 177 +
level <number> style, 156 +
level distance option, 158 +
line after snake option, 96 +
line around snake option, 96 +
line before snake option, 95 +
line width option, 118 +
lineto snake, 272 +
loose background style, 194 +
loosely dashed style, 120 +
loosely dotted style, 120 +

+ mark option, 109 +
mark options option, 110 +
mark size option, 110 +
middle color option, 129 +
midway style, 144 +
minimum height option, 148 +
minimum size option, 148 +
minimum width option, 148 +
mirror snake option, 96 +
miter limit option, 119 +
moveto snake, 272 +

+ name option, 135 +
near end style, 145 +
near start style, 145 +
nearly opaque style, 122 +
nearly transparent style, 121 +
next state option, 269 +
\node, 116 +
node path operation, 135 +
\nodepart, 137 +
\nodeparts, 306 +
nonzero rule option, 125 +

+ o arrow tip, 177 +
o plot mark, 187 +
only marks option, 112 +
opacity option, 121 +
opaque style, 122 +
open diamond arrow tip, 177 +
open triangle 45 arrow tip, 176 +
open triangle 45 reversed arrow tip, 176 +
open triangle 60 arrow tip, 176 +
open triangle 60 reversed arrow tip, 176 +
open triangle 90 arrow tip, 176 +
open triangle 90 reversed arrow tip, 176 +
oplus plot mark, 187 +
oplus* plot mark, 187 +
Options for graphics, see Graphic options +
Options for packages, see Package options +
otimes plot mark, 187 +
otimes* plot mark, 187 +
outer color option, 130 + + +
outer frame sep option, 196 +
outer frame xsep option, 196 +
outer frame ysep option, 196 +
outer sep option, 147 +
outer xsep option, 147 +
outer ysep option, 147 +

+ Package options for PGF +
    draft, 231, 330 +
    version=<version>, 231 +
Packages and files +
    pgf, 231 +
    pgf.cfg, 363 +
    pgfbaseimage, 330 +
    pgfbaselayers, 353 +
    pgfbaseplot, 345 +
    pgfbaseshapes, 298 +
    pgfcore, 232 +
    pgflibraryarrows, 176 +
    pgflibraryautomata, 197 +
    pgflibraryplothandlers, 182 +
    pgflibraryplotmarks, 187 +
    pgflibraryshapes, 188 +
    pgflibrarysnakes, 177 +
    pgflibrarytikzbackgrounds, 194 +
    pgflibrarytikztrees, 190 +
    pgfsys, 363 +
    pgfsys-common-pdf, 364 +
    pgfsys-common-postscript, 364 +
    pgfsys-dvipdfm.def, 64 +
    pgfsys-dvips.def, 65 +
    pgfsys-pdftex.def, 64 +
    pgfsys-tex4ht.def, 65 +
    pgfsys-vtex.def, 64 +
    tikz, 75 +
Page layouts +
    16 on 1, 211 +
    2 on 1, 211 +
    4 on 1, 211 +
    8 on 1, 211 +
    resize to, 210 +
    rounded corners, 211 +
    two screens with lagging second, 212 +
    two screens with optional second, 212 +
parabola path operation, 103 +
parabola height option, 104 +
parametric option, 108 +
parent anchor option, 163 +
\path, 91 +
Path operations +
    --, 93 +
    -|, 93 +
    |-, 94 +
    --cycle, 99 +
    --plot, 105 +
    .., 99 +
    arc, 101 + + +
    child, 152 +
    circle, 101 +
    coordinate, 137 +
    cos, 105 +
    edge from parent, 162 +
    ellipse, 101 +
    <empty>, 92 +
    grid, 102 +
    node, 135 +
    parabola, 103 +
    plot, 106 +
    rectangle, 100 +
    sin, 105 +
pentagon plot mark, 187 +
pentagon* plot mark, 187 +
pgf package, 231 +
pgf.cfg file, 363 +
\pgf@pathmaxx, 263 +
\pgf@pathmaxy, 263 +
\pgf@pathminx, 263 +
\pgf@pathminy, 263 +
\pgf@picmaxx, 263 +
\pgf@picmaxy, 264 +
\pgf@picminx, 263 +
\pgf@picminy, 263 +
\pgf@process, 249 +
\pgf@protocolsizes, 264 +
\pgf@relevantforpicturesizefalse, 264 +
\pgf@relevantforpicturesizetrue, 264 +
\pgf@sys@bp, 380 +
\pgfaliasimage, 331 +
\pgfalternateextension, 333 +
\pgfarrowsdeclare, 288 +
\pgfarrowsdeclarealias, 292 +
\pgfarrowsdeclarecombine, 292 +
\pgfarrowsdeclaredouble, 293 +
\pgfarrowsdeclarereversed, 292 +
\pgfarrowsdeclaretriple, 294 +
pgfbaseimage package, 330 +
pgfbaselayers package, 353 +
pgfbaseplot package, 345 +
pgfbaseshapes package, 298 +
pgfcore package, 232 +
\pgfdeclarehorizontalshading, 338 +
\pgfdeclareimage, 331 +
\pgfdeclarelayer, 353 +
\pgfdeclaremask, 334 +
\pgfdeclareplotmark, 186 +
\pgfdeclareradialshading, 339 +
\pgfdeclareshape, 306 +
\pgfdeclaresnake, 268 +
\pgfdeclareverticalshading, 339 +
\pgfextractx, 249 +
\pgfextracty, 249 +
\pgfgettransform, 325 +
\pgfimage, 333 +
pgfinterruptpath environment, 236 +
pgfinterruptpicture environment, 236 + + +
pgflibraryarrows package, 176 +
pgflibraryautomata package, 197 +
pgflibraryplothandlers package, 182 +
pgflibraryplotmarks package, 187 +
pgflibraryshapes package, 188 +
pgflibrarysnakes package, 177 +
pgflibrarytikzbackgrounds package, 194 +
pgflibrarytikztrees package, 190 +
\pgflinewidth, 278 +
\pgflowlevel, 326 +
\pgflowlevelobj, 326 +
pgflowlevelscope environment, 327 +
\pgflowlevelsynccm, 326 +
\pgfmultipartnode, 301 +
\pgfnode, 300 +
pgfonlayer environment, 354, 355 +
\pgfpagescurrentpagewillbelogicalpage, 217 +
\pgfpagesdeclarelayout, 212 +
\pgfpageslogicalpageoptions, 214 +
\pgfpagesphysicalpageoptions, 213 +
\pgfpagesshipoutlogicalpage, 216 +
\pgfpagesuselayout, 210 +
\pgfpatharc, 256 +
\pgfpathcirlce, 258 +
\pgfpathclose, 255 +
\pgfpathcosine, 261 +
\pgfpathcurveto, 255 +
\pgfpathellipse, 257 +
\pgfpathgrid, 259 +
\pgfpathlineto, 254 +
\pgfpathmoveto, 254 +
\pgfpathparabola, 260 +
\pgfpathqcircle, 359 +
\pgfpathqcurveto, 359 +
\pgfpathqlineto, 358 +
\pgfpathqmoveto, 358 +
\pgfpathrectangle, 258 +
\pgfpathrectanglecorners, 258 +
\pgfpathsine, 260 +
\pgfpathsnakealongvector, 272 +
\pgfpathsnakesto, 272 +
\pgfpathsnaketo, 273 +
pgfpicture environment, 233, 234 +
\pgfplotgnuplot, 348 +
\pgfplothandlerclosedcurve, 183 +
\pgfplothandlercurveto, 182 +
\pgfplothandlerdiscard, 350 +
\pgfplothandlerlineto, 349 +
\pgfplothandlermark, 185 +
\pgfplothandlerpolarcomb, 184 +
\pgfplothandlerrecord, 350 +
\pgfplothandlerxcomb, 184 +
\pgfplothandlerycomb, 184 +
\pgfplotmarksize, 187 +
\pgfplotstreamend, 347 +
\pgfplotstreampoint, 347 +
\pgfplotstreamstart, 347 +
\pgfplotxyfile, 347 + + +
\pgfplotxyzfile, 348 +
\pgfpoint, 241 +
\pgfpointadd, 244 +
\pgfpointanchor, 303 +
\pgfpointborderellipse, 248 +
\pgfpointborderrectangle, 247 +
\pgfpointcurveattime, 246 +
\pgfpointdiff, 244 +
\pgfpointintersectionoflines, 248 +
\pgfpointlineatdistance, 246 +
\pgfpointlineattime, 245 +
\pgfpointnormalised, 245 +
\pgfpointorigin, 241 +
\pgfpointpolar, 241 +
\pgfpointscale, 244 +
\pgfpointshapeborder, 304 +
\pgfpointxy, 242 +
\pgfpointxyz, 242 +
\pgfqbox, 360 +
\pgfqboxsynced, 360 +
pgfscope environment, 234, 235 +
\pgfsetarrows, 281, 295 +
\pgfsetarrowsend, 281, 294 +
\pgfsetarrowsstart, 281, 294 +
\pgfsetbaseline, 234 +
\pgfsetbeveljoin, 278 +
\pgfsetbuttcap, 278 +
\pgfsetcolor, 280 +
\pgfsetcornersarced, 262 +
\pgfsetdash, 279 +
\pgfseteorule, 282 +
\pgfsetfillcolor, 283 +
\pgfsetfillopacity, 283 +
\pgfsetlayers, 354 +
\pgfsetlinetofirstplotpoint, 349 +
\pgfsetlinewidth, 277 +
\pgfsetmiterjoin, 279 +
\pgfsetmiterlimit, 279 +
\pgfsetmovetofirstplotpoint, 349 +
\pgfsetnonzerorule, 282 +
\pgfsetplotmarksize, 186 +
\pgfsetplottension, 183 +
\pgfsetrectcap, 278 +
\pgfsetroundcap, 278 +
\pgfsetroundjoin, 278 +
\pgfsetshapeinnerxsep, 302 +
\pgfsetshapeinnerysep, 303 +
\pgfsetshapeminheight, 302 +
\pgfsetshapeminwidth, 302 +
\pgfsetshapeouterxsep, 303 +
\pgfsetshapeouterysep, 303 +
\pgfsetshortenend, 282 +
\pgfsetshortenstart, 281 +
\pgfsetsnakesegmenttransformation, 273 +
\pgfsetstrokecolor, 279 +
\pgfsetstrokeopacity, 280 +
\pgfsettransform, 325 +
\pgfsetxvec, 243 + + +
\pgfsetyvec, 243 +
\pgfsetzvec, 243 +
\pgfshadepath, 340 +
\pgfsnakecompleteddistance, 270 +
\pgfsnakeremainingdistance, 270 +
pgfsys package, 363 +
pgfsys-common-pdf file, 364 +
pgfsys-common-postscript file, 364 +
pgfsys-dvipdfm.def file, 64 +
pgfsys-dvips.def file, 65 +
pgfsys-pdftex.def file, 64 +
pgfsys-tex4ht.def file, 65 +
pgfsys-vtex.def file, 64 +
\pgfsys@begininvisible, 380 +
\pgfsys@beginpicture, 367 +
\pgfsys@beginpurepicture, 367 +
\pgfsys@beginscope, 377 +
\pgfsys@beveljoin, 373 +
\pgfsys@buttcap, 372 +
\pgfsys@clipnext, 372 +
\pgfsys@closepath, 369 +
\pgfsys@closestroke, 371 +
\pgfsys@color@cmy, 375 +
\pgfsys@color@cmy@fill, 375 +
\pgfsys@color@cmy@stroke, 375 +
\pgfsys@color@cmyk, 375 +
\pgfsys@color@cmyk@fill, 375 +
\pgfsys@color@cmyk@stroke, 375 +
\pgfsys@color@gray, 376 +
\pgfsys@color@gray@fill, 376 +
\pgfsys@color@gray@stroke, 376 +
\pgfsys@color@reset, 376 +
\pgfsys@color@reset@inorderfalse, 376 +
\pgfsys@color@reset@inordertrue, 376 +
\pgfsys@color@rgb, 374 +
\pgfsys@color@rgb@fill, 375 +
\pgfsys@color@rgb@stroke, 374 +
\pgfsys@color@unstacked, 377 +
\pgfsys@curveto, 369 +
\pgfsys@defineimage, 377 +
\pgfsys@definemask, 378 +
\pgfsys@defobject, 379 +
\pgfsys@discardpath, 372 +
\pgfsys@endinvisible, 380 +
\pgfsys@endpicture, 367 +
\pgfsys@endpurepicture, 368 +
\pgfsys@endscope, 377 +
\pgfsys@fill, 371 +
\pgfsys@fill@opacity, 374 +
\pgfsys@fillstroke, 372 +
\pgfsys@hbox, 368 +
\pgfsys@hboxsynced, 368 +
\pgfsys@horishading, 378 +
\pgfsys@imagesuffixlist, 377 +
\pgfsys@invoke, 379 +
\pgfsys@lineto, 368 +
\pgfsys@miterjoin, 373 +
\pgfsys@moveto, 368 + + +
\pgfsys@radialshading, 379 +
\pgfsys@rect, 369 +
\pgfsys@rectcap, 373 +
\pgfsys@roundcap, 372 +
\pgfsys@roundjoin, 373 +
\pgfsys@setdash, 373 +
\pgfsys@setlinewidth, 372 +
\pgfsys@setmiterlimit, 373 +
\pgfsys@stroke, 370 +
\pgfsys@stroke@opacity, 374 +
\pgfsys@transformcm, 370 +
\pgfsys@transformshift, 370 +
\pgfsys@transformxyscale, 370 +
\pgfsys@typesetpicturebox, 367 +
\pgfsys@useobject, 379 +
\pgfsys@vertshading, 379 +
\pgfsysdriver, 363 +
\pgfsysprotocol@bufferedfalse, 389 +
\pgfsysprotocol@bufferedtrue, 389 +
\pgfsysprotocol@flushcurrentprotocol, 390 +
\pgfsysprotocol@getcurrentprotocol, 390 +
\pgfsysprotocol@invokecurrentprotocol, 390 +
\pgfsysprotocol@literal, 389 +
\pgfsysprotocol@literalbuffered, 389 +
\pgfsysprotocol@setcurrentprotocol, 390 +
\pgfsyssoftpath@closepath, 385 +
\pgfsyssoftpath@curveto, 385 +
\pgfsyssoftpath@flushcurrentpath, 384 +
\pgfsyssoftpath@getcurrentpath, 384 +
\pgfsyssoftpath@invokecurrentpath, 384 +
\pgfsyssoftpath@lineto, 385 +
\pgfsyssoftpath@moveto, 384 +
\pgfsyssoftpath@rect, 385 +
\pgfsyssoftpath@setcurrentpath, 384 +
\pgftext, 237 +
\pgftransformarrow, 321 +
\pgftransformcm, 320 +
\pgftransformcurveattime, 322 +
\pgftransforminvert, 324 +
\pgftransformlineattime, 321 +
\pgftransformreset, 323 +
\pgftransformresetnontranslations, 324 +
\pgftransformrotate, 320 +
\pgftransformscale, 319 +
\pgftransformshift, 318 +
\pgftransformxscale, 319 +
\pgftransformxshift, 318 +
\pgftransformxslant, 319 +
\pgftransformyscale, 319 +
\pgftransformyshift, 318 +
\pgftransformyslant, 320 +
\pgfuseimage, 332 +
\pgfusepath, 276 +
\pgfusepathqclip, 360 +
\pgfusepathqfill, 360 +
\pgfusepathqfillstroke, 360 +
\pgfusepathqstroke, 360 +
\pgfuseplotmark, 185 + + +
\pgfuseshading, 340 +
plot path operation, 106 +
Plot marks +
    *, 187 +
    |, 187 +
    +, 187 +
    -, 187 +
    asterisk, 187 +
    ball, 109 +
    diamond, 187 +
    diamond*, 187 +
    o, 187 +
    oplus, 187 +
    oplus*, 187 +
    otimes, 187 +
    otimes*, 187 +
    pentagon, 187 +
    pentagon*, 187 +
    square, 187 +
    square*, 187 +
    star, 187 +
    triangle, 187 +
    triangle*, 187 +
    x, 187 +
polar comb option, 112 +
pos option, 143 +
prefix option, 109 +

+ raise snake option, 96 +
raw gnuplot option, 109 +
rectangle path operation, 100 +
rectangle shape, 313 +
reset cm option, 173 +
resize to layout, 210 +
right option, 142, 237 +
right color option, 129 +
right hook arrow tip, 177 +
right hook reversed arrow tip, 177 +
right to arrow tip, 177 +
right to reversed arrow tip, 177 +
rotate option, 172, 238 +
rotate around option, 173 +
round cap arrow tip, 177 +
rounded corners layout, 211 +
rounded corners option, 100 +

+ samples option, 108 +
\savedanchor, 307 +
\saveddimen, 308 +
saw snake, 180 +
scale option, 171 +
scope environment, 78, 79 +
segment amplitude option, 96 +
segment angle option, 97 +
segment aspect option, 98 +
segment length option, 97 + + +
segment object length option, 97 +
semithick style, 118 +
semitransparent style, 122 +
set style option, 80 +
\shade, 116 +
shade option, 127 +
\shadedraw, 116 +
shading option, 128 +
shading angle option, 128 +
shape option, 136 +
Shapes +
    circle, 313 +
    coordinate, 313 +
    cross out, 188 +
    ellipse, 189 +
    forbidden sign, 189 +
    rectangle, 313 +
    state, 197 +
    state with output, 197 +
    strike out, 190 +
sharp corners option, 101 +
sharp plot option, 110 +
shift option, 171 +
shorten < option, 124 +
shorten > option, 123 +
show background bottom style, 197 +
show background grid style, 195 +
show background left style, 197 +
show background rectangle style, 194 +
show background right style, 197 +
show background top style, 196 +
sibling angle option, 192 +
sibling distance option, 159 +
sin path operation, 105 +
sloped option, 144 +
smooth option, 110 +
smooth cycle option, 111 +
snake option, 95 +
snake snake, 180 +
snake triangles 45 style, 98 +
snake triangles 60 style, 98 +
snake triangles 90 style, 98 +
Snakes +
    border, 178 +
    brace, 178 +
    bumps, 178 +
    coil, 179 +
    expanding waves, 179 +
    lineto, 272 +
    moveto, 272 +
    saw, 180 +
    snake, 180 +
    ticks, 180 +
    triangles, 181 +
    waves, 181 +
    zigzag, 181 +
solid style, 120 +
square plot mark, 187 + + +
square* plot mark, 187 +
star plot mark, 187 +
\state, 269 +
state shape, 197 +
state with output shape, 197 +
stealth arrow tip, 295 +
stealth reversed arrow tip, 295 +
stealth' arrow tip, 176 +
stealth' reversed arrow tip, 176 +
step option, 102, 259 +
stepx option, 259 +
stepy option, 259 +
strike out shape, 190 +
style option, 79 +
Styles +
    at end, 145 +
    at start, 145 +
    background grid, 195 +
    background rectangle, 195 +
    background top, 196 +
    bend at end, 104 +
    bend at start, 104 +
    dashed, 120 +
    densely dashed, 120 +
    densely dotted, 120 +
    dotted, 120 +
    edge from parent, 163 +
    edge from parent fork down, 193 +
    edge from parent fork left, 194 +
    edge from parent fork right, 193 +
    edge from parent fork up, 194 +
    every <part name> node part, 138 +
    every <shape> node, 137 +
    every child, 156 +
    every child node, 156 +
    every node, 136 +
    every path, 92 +
    every picture, 77 +
    every plot, 109 +
    every scope, 78 +
    framed, 195 +
    gridded, 196 +
    grow cyclic, 192 +
    help lines, 103 +
    level <number>, 156 +
    loose background, 194 +
    loosely dashed, 120 +
    loosely dotted, 120 +
    midway, 144 +
    near end, 145 +
    near start, 145 +
    nearly opaque, 122 +
    nearly transparent, 121 +
    opaque, 122 +
    semithick, 118 +
    semitransparent, 122 +
    show background bottom, 197 +
    show background grid, 195 + + +
    show background left, 197 +
    show background rectangle, 194 +
    show background right, 197 +
    show background top, 196 +
    snake triangles 45, 98 +
    snake triangles 60, 98 +
    snake triangles 90, 98 +
    solid, 120 +
    thick, 118 +
    thin, 118 +
    tight background, 194 +
    transparent, 121 +
    ultra nearly opaque, 122 +
    ultra nearly transparent, 121 +
    ultra thick, 118 +
    ultra thin, 118 +
    very near end, 145 +
    very near start, 145 +
    very nearly opaque, 122 +
    very nearly transparent, 121 +
    very thick, 118 +
    very thin, 118 +
switch if less than option, 269 +

+ tension option, 110 +
text option, 138 +
text badly centered option, 140 +
text badly ragged option, 140 +
text centered option, 140 +
text justified option, 139 +
text ragged option, 139 +
text width option, 139 +
thick style, 118 +
thin style, 118 +
ticks snake, 180 +
tight background style, 194 +
\tikz, 77, 78 +
tikz package, 75 +
tikzpicture environment, 76, 77 +
\tikzstyle, 80 +
to arrow tip, 295 +
to reversed arrow tip, 295 +
top option, 237 +
top color option, 129 +
transform shape option, 142 +
transparent style, 121 +
triangle plot mark, 187 +
triangle 45 arrow tip, 176 +
triangle 45 reversed arrow tip, 176 +
triangle 60 arrow tip, 176 +
triangle 60 reversed arrow tip, 176 +
triangle 90 arrow tip, 176 +
triangle 90 cap arrow tip, 177 +
triangle 90 cap reversed arrow tip, 177 +
triangle 90 reversed arrow tip, 176 +
triangle* plot mark, 187 +
triangles snake, 181 + + +
two screens with lagging second layout, 212 +
two screens with optional second layout, 212 +

+ ultra nearly opaque style, 122 +
ultra nearly transparent style, 121 +
ultra thick style, 118 +
ultra thin style, 118 +
use as bounding box option, 130 +
\useasboundingbox, 116 +

+ version=<version> package option, 231 +
very near end style, 145 +
very near start style, 145 +
very nearly opaque style, 122 +
very nearly transparent style, 121 +
very thick style, 118 +
very thin style, 118 +

+ waves snake, 181 +
width option, 269 +

+ x option, 169, 238 +
x plot mark, 187 +
xcomb option, 111 +
xscale option, 171 +
xshift option, 171 +
xslant option, 172 +
xstep option, 102 +

+ y option, 169, 238 +
ycomb option, 111 +
yscale option, 172 +
yshift option, 171 +
yslant option, 172 +
ystep option, 102 +

+ z option, 169 +
zigzag snake, 181 +

+ + + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual.tex b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual.tex new file mode 100644 index 00000000000..7d8c454a8e5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual.tex @@ -0,0 +1,13 @@ +\documentclass{ltxdoc} + +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +% pgf version is defined in \pgfversion in file +% generic/pgf/utilities/pgfrcs.code.tex + +\input{../pgfmanual-tex4ht.cfg} +\input{../../text-en/pgfmanual-en-main.tex} diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual0x.gif b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanual0x.gif new file mode 100644 index 00000000000..eea9afe34cb Binary files /dev/null and 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1 Introduction

+

The PGF package, where “PGF” is supposed to mean “portable graphics format” (or “pretty, good, functional” if +you prefer...), is a package for creating graphics in an “inline” manner. The package defines a number of +TEX commands that draw graphics. For example, the code \tikz \draw (0pt,0pt) -- (20pt,6pt); yields the +line

SVG-Viewer needed.

and the code \tikz \fill[orange] (1ex,1ex) circle (1ex); yields

SVG-Viewer needed.

. +

In a sense, when using PGF you “program” your graphics, just as you “program” your document +when using TEX. This means that you get the advantages of the “TEX-approach to typesetting” +also for your graphics: quick creation of simple graphics, precise positioning, the use of macros, often +superior typography. You also inherit all the disadvantages: steep learning curve, no WYSIWYG, small +changes require a long recompilation time, and the code does not really “show” how things will look +like. +

+

1.1 Structure of the System

+

The PGF system consists of different layers: +

+

+System layer:
This layer provides a complete abstraction of what is going on “in the driver.” The driver + is a program like dvips or dvipdfm that takes a .dvi file as input and generates a .ps or a .pdf file. + (The pdftex program also counts as a driver, even though it does not take a .dvi file as input. Never + mind.) Each driver has its own syntax for the generation of graphics, causing headaches to everyone + who wants to create graphics in a portable way. PGF’s system layer “abstracts away” these differences. + For example, the system command \pgfsys@lineto{10pt}{10pt} extends the current path to the + coordinate (10pt,10pt) of the current {pgfpicture}. Depending on whether dvips, dvipdfm, or + pdftex is used to process the document, the system command will be converted to different \special + commands. +

The system layer is as “minimalistic” as possible since each additional command makes it more work to + port PGF to a new driver. Currently, only drivers that produce PostScript or PDF output are supported + and only few of these (hence the name portable graphics format is currently a bit boastful). However, + in principle, the system layer could be ported to many different drivers quite easily. It should even be + possible to produce, say, SVG output in conjunction with TEX4HT. +

As a user, you will not use the system layer directly. +

+Basic layer:
The basic layer provides a set of basic commands that allow you to produce complex graphics + in a much easier way than by using the system layer directly. For example, the system layer provides no + commands for creating circles since circles can be composed from the more basic Bézier curves (well, + almost). However, as a user you will want to have a simple command to create circles (at least I do) + instead of having to write down half a page of Bézier curve support coordinates. Thus, the basic layer + provides a command \pgfpathcircle that generates the necessary curve coordinates for you. +

The basic layer is consists of a core, which consists of several interdependent packages that can only be + loaded en bloc, and additional packages that extend the core by more special-purpose commands like + node management or a plotting interface. For instance, the BEAMER package uses the core, but not all + of the additional packages of the basic layer. +

+Frontend layer:
A frontend (of which there can be several) is a set of commands or a special syntax that makes + using the basic layer easier. A problem with directly using the basic layer is that code written for this layer is + often too “verbose.” For example, to draw a simple triangle, you may need as many as five commands when + using the basic layer: One for beginning a path at the first corner of the triangle, one for extending the path to + the second corner, one for going to the third, one for closing the path, and one for actually painting the + triangle (as opposed to filling it). With the tikz frontend all this boils down to a single simple METAFONT-like + command: + + +
+ \draw (0,0) -- (1,0) -- (1,1) -- cycle; +
+
+

+

There are different frontends: +

    +
  • The TikZ frontend is the “natural” frontend for PGF. It gives you access to all features of PGF, + but it is intended to be easy to use. The syntax is a mixture of METAFONT and PSTRICKS and + some ideas of myself. This frontend is neither a complete METAFONT compatibility layer nor a + PSTRICKS compatibility layer and it is not intended to become either. +
  • +
  • The pgfpict2e frontend reimplements the standard LATEX {picture} environment and + commands like \line or \vector using the PGF basic layer. This layer is not really “necessary” + since the pict2e.sty package does at least as good a job at reimplementing the {picture} + environment. Rather, the idea behind this package is to have a simple demonstration of how a + frontend can be implemented.
+

It would be possible to implement a pgftricks frontend that maps PSTRICKS commands to PGF commands. + However, I have not done this and even if fully implemented, many things that work in PSTRICKS will not + work, namely whenever some PSTRICKS command relies too heavily on PostScript trickery. Nevertheless, such + a package might be useful in some situations.

+

As a user of PGF you will use the commands of a frontend plus perhaps some commands of the basic layer. +For this reason, this manual explains the frontends first, then the basic layer, and finally the system +layer. +

+

1.2 Comparison with Other Graphics Packages

+

There were two main motivations for creating PGF: +

    +
  1. The standard LATEX {picture} environment is not powerful enough to create anything but really + simple graphics. This is certainly not due to a lack of knowledge or imagination on the part of LATEX’s + designer(s). Rather, this is the price paid for the {picture} environment’s portability: It works together + with all backend drivers. +
  2. +
  3. The {pstricks} package is certainly powerful enough to create any conceivable kind of graphic, but it + is not portable at all. Most importantly, it does not work with pdftex nor with any other driver that + produces anything but PostScript code.
+

The PGF package is a trade-off between portability and expressive power. It is not as portable as {picture} and +perhaps not quite as powerful as {pspicture}. However, it is more powerful than {picture} and more portable +than {pspicture}. +

+

1.3 Utilities: Page Management

+

The PGF package include a special subpackage called pgfpages, which is used to assemble several pages into a single +page. This package is not really about creating graphics, but it is part of PGF nevertheless, mostly because its +implementation uses PGF heavily. + + +

The subpackage pgfpages provides commands for assembling several “virtual pages” into a single “physical +page.” The idea is that whenever TEX has a page ready for “shipout,” pgfpages interrupts this shipout and +instead stores the page to be shipped out in a special box. When enough “virtual pages” have been accumulated in +this way, they are scaled down and arranged on a “physical page,” which then really shipped out. This mechanism +allows you to create “two page on one page” versions of a document directly inside LATEX without the use of any +external programs. +

However, pgfpages can do quite a lot more than that. You can use it to put logos and watermark on pages, print +up to 16 pages on one page, add borders to pages, and more. +

+

1.4 How to Read This Manual

+

This manual describes both the design of the PGF system and its usage. The organization is very roughly according +to “user-friendliness.” The commands and subpackages that are easiest and most frequently used are described first, +more low-level and esoteric features are discussed later. +

If you have not yet installed PGF, please read the installation first. Second, it might be a good idea to read the +tutorial. Finally, you might wish to skim through the description of TikZ. Typically, you will not need to read the +sections on the basic layer. You will only need to read the part on the system layer if you intend to write your own +frontend or if you wish to port PGF to a new driver. +

The “public” commands and environments provided by the pgf package are described throughout the text. In +each such description, the described command, environment or option is printed in red. Text shown in green is +optional and can be left out. +

+

1.5 Getting Help

+

When you need help with PGF and TikZ, please do the following: +

+

    +
  1. Read the manual, at least the part that has to do with your problem. +
  2. +
  3. If that does not solve the problem, try having a look at the sourceforge development page for PGF and + TikZ (see the title of this document). Perhaps someone has already reported a similar problem and + someone has found a solution. +
  4. +
  5. On the website you will find numerous forums for getting help. There, you can write to help forums, + file bug reports, join mailing lists, and so on. +
  6. +
  7. Before you file a bug report, especially a bug report concerning the installation, make sure that this + is really a bug. In particular, have a look at the .log file that results when you TEX your files. This + .log file should show that all the right files are loaded from the right directories. Nearly all installation + problems can be resolved by looking at the .log file. +
  8. +
  9. As a last resort you can try to email me (the author). I do not mind getting emails, I simply get + way too many of them. Because of this, I cannot guarantee that your emails will be answered timely + or even at all. Your chances that your problem will be fixed are somewhat higher if you mail to the + PGF mailing list (naturally, I read this list and answer questions when I have the time). +
  10. +
  11. Please, do not phone me in my office. If you need a hotline, buy a commercial product.
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse10.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse10.html new file mode 100644 index 00000000000..ba7e64a903b --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse10.html @@ -0,0 +1,3518 @@ + + +10 Actions on Paths + + + + + + + + +

+

10 Actions on Paths

+

Once a path has been constructed, different things can be done with it. It can be drawn (or stroked) with +a “pen,” it can be filled with a color or shading, it can be used for clipping subsequent drawing, it +can be used to specify the extend of the picture--or any combination of these actions at the same +time. +

To decide what is to be done with a path, two methods can be used. First, you can use a special-purpose +command like \draw to indicate that the path should be drawn. However, commands like \draw and \fill are +just abbreviations for special cases of the more general method: Here, the \path command is used +to specify the path. Then, options encountered on the path indicate what should be done with the +path. +

For example, \path (0,0) circle (1cm); means “This is a path consisting of a circle around the origin. Do +not do anything with it (throw it away).” However, if the option draw is encountered anywhere on the path, the +circle will be drawn. “Anywhere” is any point on the path where an option can be given, which is everywhere where +a path command like circle (1cm) or rectangle (1,1) or even just (0,0) would also be allowed. Thus, the +following commands all draw the same circle: +

+
+
\path [draw] (0,0) circle (1cm); +
\path (0,0) [draw] circle (1cm); +
\path (0,0) circle (1cm) [draw];
+

Finally, \draw (0,0) circle (1cm); also draws a path, because \draw is an abbreviation for \path [draw] +and thus the command expands to the first line of the above example. +

Similarly, \fill is an abbreviation for \path[fill] and \filldraw is an abbreviation for the +command \path[fill,draw]. Since options accumulate, the following commands all have the same +effect: +

+
+
\path [draw,fill]   (0,0) circle (1cm); +
\path [draw] [fill] (0,0) circle (1cm); +
\path [fill] (0,0) circle (1cm) [draw]; +
\draw [fill] (0,0) circle (1cm); +
\fill (0,0) [draw] circle (1cm); +
\filldraw (0,0) circle (1cm);
+

In the following subsection the different actions are explained that can be performed on a path. The following +commands are abbreviations for certain sets of actions, but for many useful combinations there are no +abbreviations: +

+

+\draw
+ +

Inside {tikzpicture} this is an abbreviation for \path[draw].

+

+

+\fill
+ +

Inside {tikzpicture} this is an abbreviation for \path[fill].

+

+

+\filldraw
+ +

Inside {tikzpicture} this is an abbreviation for \path[fill,draw].

+ + +

+

+\shade
+ +

Inside {tikzpicture} this is an abbreviation for \path[shade].

+

+

+\shadedraw
+ +

Inside {tikzpicture} this is an abbreviation for \path[shade,draw].

+

+

+\clip
+ +

Inside {tikzpicture} this is an abbreviation for \path[clip].

+

+

+\useasboundingbox
+ +

Inside {tikzpicture} this is an abbreviation for \path[use as bounding box].

+

+

+\node
+ +

Inside {tikzpicture} this is an abbreviation for \path node. Note that, for once, node is not an + option but a path operation.

+

+

+\coordinate
+ +

Inside {tikzpicture} this is an abbreviation for \path coordinate.

+

+

10.1 Specifying a Color

+

The most unspecific option for setting colors is the following: +

    +
  • color=<color name>This option sets the color that is used for fill, drawing, and text inside the current + scope. Any special settings for filling colors or drawing colors are immediately “overruled” by this + option. +

    The <color name> is the name of a previously defined color. For LATEX users, this is just a normal + “LATEX-color” and the xcolor extensions are allows. Here is an example: +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \fill[color=red!20] (0,0) circle (1ex);
    +
    +

    It is possible to “leave out” the color= part and you can also write: + + +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \fill[red!20] (0,0) circle (1ex);
    +
    +

    What happens is that every option that TikZ does not know, like red!20, gets a “second chance” as a color + name. +

    For plain TEX users, it is not so easy to specify colors since plain TEX has no “standardized” color naming + mechanism. Because of this, PGF emulates the xcolor package, though the emulation is extremely basic (more + precisely, what I could hack together in two hours or so). The emulation allows you to do the + following: +

      +
    • Specify a new color using \definecolor. Only the two color models gray and rgb are supported. +

      Example: \definecolor{orange}{rgb}{1,0.5,0} +

    • +
    • Use \colorlet to define a new color based on an old one. Here, the ! mechanism is supported, + though only “once” (use multiple \colorlet for more fancy colors). +

      Example: \colorlet{lightgray}{black!25} +

    • +
    • Use \color{<color name>} to set the color in the current TEX group. \aftergroup-hackery is + used to restore the color after the group.
    +
+

As pointed out above, the color= option applies to “everything” (except to shadings), which is not always what +you want. Because of this, there are several more specialized color options. For example, the draw= option sets the +color used for drawing, but does not modify the color used for filling. These color options are documented where the +path action they influence is described. +

+

10.2 Drawing a Path

+

You can draw a path using the following option: +

    +
  • draw=<color> Causes the path to be drawn. “Drawing” (also known as “stroking”) can be thought of + as picking up a pen and moving it along the path, thereby leaving “ink” on the canvas. +

    There are numerous parameters that influence how a line is drawn, like the thickness or the dash + pattern. These options are explained below. +

    If the optional <color> argument is given, drawing is done using the given <color>. This color can be + different from the current filling color, which allows you to draw and fill a path with different colors. + If no <color> argument is given, the last usage of the color= option is used. +

    If the special color name none is given, this option causes drawing to be “switched off.” This is useful + if a style has previously switched on drawing and you locally wish to undo this effect. +

    Although this option is normally used on paths to indicate that the path should be drawn, it also + makes sense to use the option with a {scope} or {tikzpicture} environment. However, this will not + cause all path to drawn. Instead, this just sets the <color> to be used for drawing paths inside the + environment. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \path[draw=red] (0,0) -- (1,1) -- (2,1) circle (10pt); +
    \end{tikzpicture}
    +
+

The following subsections list the different options that influence how a path is drawn. All of these options only +have an effect if the draw options is given (directly or indirectly). + + +

+

10.2.1 Graphic Parameters: Line Width, Line Cap, and Line Join
+
    +
  • line width=<dimension> Specifies the line width. Note the space. Default: 0.4pt. +

    +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw[line width=5pt] (0,0) -- (1cm,1.5ex);
    +
+

There are a number of predefined styles that provide more “natural” ways of setting the line width. You can also +redefine these styles. Remember that you can leave out the style= when setting a style. +

    +
  • style=ultra thin Sets the line width to 0.1pt. +

    +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw[ultra thin] (0,0) -- (1cm,1.5ex);
    +
    +
  • +
  • style=very thin Sets the line width to 0.2pt. +

    +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw[very thin] (0,0) -- (1cm,1.5ex);
    +
    +
  • +
  • style=thin Sets the line width to 0.4pt. +

    +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw[thin] (0,0) -- (1cm,1.5ex);
    +
    +
  • +
  • style=semithick Sets the line width to 0.6pt. +

    +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw[semithick] (0,0) -- (1cm,1.5ex);
    +
    +
  • +
  • style=thick Sets the line width to 0.8pt. +

    +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw[thick] (0,0) -- (1cm,1.5ex);
    +
    +
  • +
  • style=very thick Sets the line width to 1.2pt. +

    +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw[very thick] (0,0) -- (1cm,1.5ex);
    +
    +
  • +
  • style=ultra thick Sets the line width to 1.6pt. +

    +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw[ultra thick] (0,0) -- (1cm,1.5ex);
    +
    +
+ + +
    +
  • cap=<type> Specifies how lines “end.” Permissible <type> are round, rect, and butt (default). They + have the following effects: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \begin{scope}[line width=10pt] +
        \draw[cap=rect]  (0,0 ) -- (1,0); +
        \draw[cap=butt]  (0,.5) -- (1,.5); +
        \draw[cap=round] (0,1 ) -- (1,1); +
      \end{scope} +
      \draw[white,line width=1pt] +
        (0,0 ) -- (1,0) (0,.5) -- (1,.5) (0,1 ) -- (1,1); +
    \end{tikzpicture}
    +
  • +
  • join=<type> Specifies how lines “join.” Permissible <type> are round, bevel, and miter (default). They have + the following effects: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[line width=10pt] +
      \draw[join=round] (0,0) -- ++(.5,1) -- ++(.5,-1); +
      \draw[join=bevel] (1.25,0) -- ++(.5,1) -- ++(.5,-1); +
      \draw[join=miter] (2.5,0) -- ++(.5,1) -- ++(.5,-1); +
      \useasboundingbox (0,1.5); % make bounding box bigger +
    \end{tikzpicture}
    +
  • +
  • miter limit=<factor> When you use the miter join and there is a very sharp corner (a small angle), the miter + join may protrude very far over the actual joining point. In this case, if it were to protrude by more + than <factor> times the line width, the miter join is replaced by a bevel join. Default value is + 10. +

    SVG-Viewer needed.

    +
    +
    \begin{tikzpicture}[line width=5pt] +
      \draw                 (0,0) -- ++(5,.5) -- ++(-5,.5); +
      \draw[miter limit=25] (6,0) -- ++(5,.5) -- ++(-5,.5); +
      \useasboundingbox (14,0); % make bounding box bigger +
    \end{tikzpicture}
    +
    +
+

+

10.2.2 Graphic Parameters: Dash Pattern
+
    +
  • dash pattern=<dash pattern> Sets the dashing pattern. The syntax is the same as in METAFONT. For + example on 2pt off 3pt on 4pt off 4pt means “draw 2pt, then leave out 3pt, then draw 4pt once + more, then leave out 4pt again, repeat”. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[dash pattern=on 2pt off 3pt on 4pt off 4pt] +
      \draw (0pt,0pt) -- (3.5cm,0pt); +
    \end{tikzpicture}
    + + +
  • +
  • dash phase=<dash phase> Shifts the start of the dash pattern by <phase>. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[dash pattern=on 20pt off 10pt] +
      \draw[dash phase=0pt] (0pt,3pt) -- (3.5cm,3pt); +
      \draw[dash phase=10pt] (0pt,0pt) -- (3.5cm,0pt); +
    \end{tikzpicture}
    +
+

As for the line thickness, some predefined styles allow you to set the dashing conveniently. +

    +
  • style=solid Shorthand for setting a solid line as “dash pattern.” This is the default. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[solid] (0pt,0pt) -- (50pt,0pt);
    +
    +
  • +
  • style=dotted Shorthand for setting a dotted dash pattern. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[dotted] (0pt,0pt) -- (50pt,0pt);
    +
    +
  • +
  • style=densely dotted Shorthand for setting a densely dotted dash pattern. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[densely dotted] (0pt,0pt) -- (50pt,0pt);
    +
    +
  • +
  • style=loosely dotted Shorthand for setting a loosely dotted dash pattern. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[loosely dotted] (0pt,0pt) -- (50pt,0pt);
    +
    +
  • +
  • style=dashed Shorthand for setting a dashed dash pattern. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[dashed] (0pt,0pt) -- (50pt,0pt);
    +
    +
  • +
  • style=densely dashed Shorthand for setting a densely dashed dash pattern. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[densely dashed] (0pt,0pt) -- (50pt,0pt);
    +
    +
  • +
  • style=loosely dashed Shorthand for setting a loosely dashed dash pattern. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[loosely dashed] (0pt,0pt) -- (50pt,0pt);
    +
    +
+ + +

+

10.2.3 Graphic Parameters: Draw Opacity
+

When a line is drawn, it will normally “obscure” everything behind it as if you has used perfectly opaque ink. It is +also possible to ask TikZ to use an ink that is a little bit (or a big bit) transparent. To do so, use the following +option: +

    +
  • draw opacity=<value> This option sets “how transparent” lines should be. A value of 1 means “fully + opaque” or “not transparent at all,” a value of 0 means “fully transparent” or “invisible.” A value of + 0.5 yields lines that are semitransparent. +

    Note that when you use PostScript as your output format, this option works only with recent versions + of GhostScript. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[line width=1ex] +
      \draw (0,0) -- (3,1); +
      \filldraw [fill=examplefill,draw opacity=0.5] (1,0) rectangle (2,1); +
    \end{tikzpicture}
    +
+

Note that the draw opacity options only sets the opacity of drawn lines. The opacity of fillings is set using +the option fill opacity (documented in Section 10.3.2. The option opacity sets both at the same +time. +

    +
  • opacity=<value> Sets both the drawing and filling opacity to <value>. +

    The following predefined styles make it easier to use this option: +

      +
    • style=transparent Makes everything totally transparent and, hence, invisible. +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]             (0,0)   rectangle (1,0.5); +
            \fill[transparent,red] (0.5,0) rectangle (1.5,0.25); }
      +
    • +
    • style=ultra nearly transparent Makes everything, well, ultra nearly transparent. +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]                      (0,0)   rectangle (1,0.5); +
            \fill[ultra nearly transparent] (0.5,0) rectangle (1.5,0.25); }
      +
    • +
    • style=very nearly transparent +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]                     (0,0)   rectangle (1,0.5); +
            \fill[very nearly transparent] (0.5,0) rectangle (1.5,0.25); }
      +
    • +
    • style=nearly transparent +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]                (0,0)   rectangle (1,0.5); +
            \fill[nearly transparent] (0.5,0) rectangle (1.5,0.25); }
      + + +
    • +
    • style=semitransparent +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]             (0,0)   rectangle (1,0.5); +
            \fill[semitransparent] (0.5,0) rectangle (1.5,0.25); }
      +
    • +
    • style=nearly opaque +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]           (0,0)   rectangle (1,0.5); +
            \fill[nearly opaque] (0.5,0) rectangle (1.5,0.25); }
      +
    • +
    • style=very nearly opaque +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]                (0,0)   rectangle (1,0.5); +
            \fill[very nearly opaque] (0.5,0) rectangle (1.5,0.25); }
      +
    • +
    • style=ultra nearly opaque +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]                 (0,0)   rectangle (1,0.5); +
            \fill[ultra nearly opaque] (0.5,0) rectangle (1.5,0.25); }
      +
    • +
    • style=opaque This yields completely opaque drawings, which is the default. +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz{\fill[red]    (0,0)   rectangle (1,0.5); +
            \fill[opaque] (0.5,0) rectangle (1.5,0.25); }
      +
    +
+

+

10.2.4 Graphic Parameters: Arrow Tips
+

When you draw a line, you can add arrow tips at the ends. It is only possible to add one arrow tip at the start and +one at the end. If the path consists of several segments, only the last segment gets arrow tips. The behavior for +paths that are closed is not specified and may change in the future. +

    +
  • arrows=<start arrow kind>-<end arrow kind> This option sets the start and end arrow tips (an empty + value as in -> indicates that no arrow tip should be drawn at the start). +

    Note: Since the arrow option is so often used, you can leave out the text arrows=. What happens is + that every option that contains a - is interpreted as an arrow specification. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[->]        (0,0)   -- (1,0); +
      \draw[o-stealth] (0,0.3) -- (1,0.3); +
    \end{tikzpicture}
    +

    The permissible values are all predefined arrow tips, though you can also define new arrow tip kinds as + explained in Section 24. This is often necessary to obtain “double” arrow tips and arrow tips that have a fixed + size. Since pgflibraryarrows is loaded by default, all arrow tips described in Section 14.1 are + available. + + +

    One arrow tip kind is special: > (and all arrow tip kinds containing the arrow tip kind such as << + or >|). This arrow tip type is not fixed. Rather, you can redefine it using the >= option, see + below. +

    Example: You can also combine arrow tip types as in +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[thick] +
      \draw[to reversed-to]   (0,0) .. controls +(.5,0) and +(-.5,-.5) .. +(1.5,1); +
      \draw[[-latex reversed] (1,0) .. controls +(.5,0) and +(-.5,-.5) .. +(1.5,1); +
      \draw[latex-)]          (2,0) .. controls +(.5,0) and +(-.5,-.5) .. +(1.5,1); +
      \useasboundingbox (-.1,-.1) rectangle (3.1,1.1); % make bounding box bigger +
    \end{tikzpicture}
    +
  • +
  • >=<end arrow kind> This option can be used to redefine the “standard” arrow tip >. The idea is that different + people have different ideas what arrow tip kind should normally be used. I prefer the arrow tip of TEX’s \to + command (which is used in things like f : A --> B). Other people will prefer LATEX’s standard arrow tip, + which looks like this:

    SVG-Viewer needed.

    . Since the arrow tip kind > is certainly the most “natural” one to use, it is kept free of + any predefined meaning. Instead, you can change it by saying >=to to set the “standard” arrow tip kind to + TEX’s arrow tip, whereas >=latex will set it to LATEX’s arrow tip and >=stealth will use a PSTRICKS-like + arrow tip. +

    Apart from redefining the arrow tip kind > (and < for the start), this option also redefines the following arrow + tip kinds: > and < as the swapped version of <end arrow kind>, << and >> as doubled versions, + >> and << as swapped doubled versions, and |< and >| as arrow tips ending with a vertical + bar. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[scale=2] +
      \begin{scope}[>=latex] +
        \draw[->]    (0pt,6ex) -- (1cm,6ex); +
        \draw[>->>]  (0pt,5ex) -- (1cm,5ex); +
        \draw[|<->|] (0pt,4ex) -- (1cm,4ex); +
      \end{scope} +
      \begin{scope}[>=diamond] +
        \draw[->]    (0pt,2ex) -- (1cm,2ex); +
        \draw[>->>]  (0pt,1ex) -- (1cm,1ex); +
        \draw[|<->|] (0pt,0ex) -- (1cm,0ex); +
      \end{scope} +
    \end{tikzpicture}
    +
  • +
  • shorten >=<dimension> This option will shorten the end of lines by the given <dimension>. If you specify an + arrow tip, lines are already shortened a bit such that the arrow tip touches the specified endpoint and does not + “protrude over” this point. Here is an example: +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[line width=20pt] +
      \useasboundingbox (0,-1.5) rectangle (3.5,1.5); +
      \draw[red]        (0,0) -- (3,0); +
      \draw[gray,->]    (0,0) -- (3,0); +
    \end{tikzpicture}
    + + +

    The shorten > option allows you to shorten the end on the line additionally by the given distance. This + option can also be useful if you have not specified an arrow tip at all. +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[line width=20pt] +
      \useasboundingbox (0,-1.5) rectangle (3.5,1.5); +
      \draw[red]                     (0,0) -- (3,0); +
      \draw[-to,shorten >=10pt,gray] (0,0) -- (3,0); +
    \end{tikzpicture}
    +
  • +
  • shorten <=<dimension> works like shorten >, but for the start.
+

+

10.2.5 Graphic Parameters: Double Lines and Bordered Lines
+
    +
  • double=<core color> This option causes “two” lines to be drawn instead of a single one. However, this + is not what really happens. In reality, the path is drawn twice. First, with the normal drawing color, + secondly with the <core color>, which is normally white. Upon the second drawing, the line width is + reduced. The net effect is that it appears as if two lines had been drawn and this works well even with + complicated, curved paths: +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[double] +
      plot[smooth cycle] coordinates{(0,0) (1,1) (1,0) (0,1)};
    +

    You can also use the doubling option to create an effect in which a line seems to have a certain + “border”: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw (0,0) -- (1,1); +
      \draw[draw=white,double=red,very thick] (0,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • double distance=<dimension> Sets the distance the “two” lines are spaced apart (default is 0.6pt). In reality, + this is the thickness of the line that is used to draw the path for the second time. The thickness of the first + time the path is drawn is twice the normal line width plus the given <dimension>. As a side-effect, this option + “selects” the double option. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[very thick,double]              (0,0) arc (180:90:1cm); +
      \draw[very thick,double distance=2pt] (1,0) arc (180:90:1cm); +
      \draw[thin,double distance=2pt]       (2,0) arc (180:90:1cm); +
    \end{tikzpicture}
    +
+ + +

+

10.3 Filling a Path

+

To fill a path, use the following option: +

    +
  • fill=<color> This option causes the path to be filled. All unclosed parts of the path are first closed, + if necessary. Then, the area enclosed by the path is filled with the current filling color, which is either + the last color set using the general color= option or the optional color <color>. For self-intersection + paths and for paths consisting of several closed areas, the “enclosed area” is somewhat complicated to + define and two different definitions exist, namely the nonzero winding number rule and the even odd + rule, see the explanation of these options, below. +

    Just as for the draw option, setting <color> to none disables filling locally. +

    SVG-Viewer needed.

    +
    +
    \begin{tikzpicture} +
      \fill (0,0) -- (1,1) -- (2,1); +
      \fill (4,0) circle (.5cm)  (4.5,0) circle (.5cm); +
      \fill[even odd rule] (6,0) circle (.5cm)  (6.5,0) circle (.5cm); +
      \fill (8,0) -- (9,1) -- (10,0) circle (.5cm); +
    \end{tikzpicture}
    +
    +

    If the fill option is used together with the draw option (either because both are given as options or because a + \filldraw command is used), the path is filled first, then the path is drawn second. This is especially useful if + different colors are selected for drawing and for filling. Even if the same color is used, there is a difference + between this command and a plain fill: A “filldrawn” area will be slightly larger than a filled area because of + the thickness of the “pen.” +

    SVG-Viewer needed.

    +
    +
    \begin{tikzpicture}[fill=examplefill,line width=5pt] +
      \filldraw (0,0) -- (1,1) -- (2,1); +
      \filldraw (4,0) circle (.5cm)  (4.5,0) circle (.5cm); +
      \filldraw[even odd rule] (6,0) circle (.5cm)  (6.5,0) circle (.5cm); +
      \filldraw (8,0) -- (9,1) -- (10,0) circle (.5cm); +
    \end{tikzpicture}
    +
    +
+

+

10.3.1 Graphic Parameters: Interior Rules
+

The following two options can be used to decide how interior points should be determined: +

    +
  • nonzero rule If this rule is used (which is the default), the following method is used to determine + whether a given point is “inside” the path: From the point, shoot a ray in some direction towards + infinity (the direction is chosen such that no strange borderline cases occur). Then the ray may hit + the path. Whenever it hits the path, we increase or decrease a counter, which is initially zero. If the + ray hits the path as the path goes “from left to right” (relative to the ray), the counter is increased, + otherwise it is decreased. Then, at the end, we check whether the counter is nonzero (hence the name). + If so, the point is deemed to lie “inside,” otherwise it is “outside.” Sounds complicated? It is. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \filldraw[fill=examplefill] +
      % Clockwise rectangle +
      (0,0) -- (0,1) -- (1,1) -- (1,0) -- cycle +
      % Counter-clockwise rectangle +
      (0.25,0.25) -- (0.75,0.25) -- (0.75,0.75) -- (0.25,0.75) -- cycle; +
    +
      \draw[->] (0,1) (.4,1); +
      \draw[->] (0.75,0.75) (0.3,.75); +
    +
      \draw[->] (0.5,0.5) -- +(0,1) node[above] {crossings: $-1+1 = 0$}; +
    +
      \begin{scope}[yshift=-3cm] +
        \filldraw[fill=examplefill] +
        % Clockwise rectangle +
        (0,0) -- (0,1) -- (1,1) -- (1,0) -- cycle +
        % Clockwise rectangle +
        (0.25,0.25) -- (0.25,0.75) -- (0.75,0.75) -- (0.75,0.25) -- cycle; +
    +
        \draw[->] (0,1) (.4,1); +
        \draw[->] (0.25,0.75) (0.4,.75); +
    +
        \draw[->] (0.5,0.5) -- +(0,1) node[above] {crossings: $1+1 = 2$}; +
      \end{scope} +
    \end{tikzpicture}
    +
  • +
  • even odd rule This option causes a different method to be used for determining the inside and outside of + paths. While it is less flexible, it turns out to be more intuitive. +

    With this method, we also shoot rays from the point for which we wish to determine whether it is inside or + outside the filling area. However, this time we only count how often we “hit” the path and declare the point to + be “inside” if the number of hits is odd. +

    Using the even-odd rule, it is easy to “drill holes” into a path. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \filldraw[fill=examplefill,even odd rule] +
        (0,0) rectangle (1,1) (0.5,0.5) circle (0.4cm); +
      \draw[->] (0.5,0.5) -- +(0,1) [above] node{crossings: $1+1 = 2$}; +
    \end{tikzpicture}
    +
+

+

10.3.2 Graphic Parameters: Fill Opacity
+

Analogously to the draw opacity, you can also set the filling opacity: + + +

    +
  • fill opacity=<value> This option sets the opacity of fillings. In addition to filling operations, this + opacity also applies to text and images. +

    Note, again, that when you use PostScript as your output format, this option works only with recent + versions of GhostScript. +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[thick,fill opacity=0.5] +
      \filldraw[fill=red]   (0:1cm)    circle (12mm); +
      \filldraw[fill=green] (120:1cm)  circle (12mm); +
      \filldraw[fill=blue]  (-120:1cm) circle (12mm); +
    \end{tikzpicture}
    +

    +
     

    SVG-Viewer needed.

    +
    \begin{tikzpicture} +
      \fill[red] (0,0) rectangle (3,2); +
    +
      \node                   at (0,0) {\huge A}; +
      \node[fill opacity=0.5] at (3,2) {\huge B}; +
    \end{tikzpicture}
    +
+

+

10.4 Shading a Path

+

You can shade a path using the shade option. A shading is like a filling, only the shading changes its color smoothly +from one color to another. +

    +
  • shade Causes the path to be shaded using the currently selected shading (more on this later). If this + option is used together with the draw option, then the path is first shaded, then drawn. +

    It is not an error to use this option together with the fill option, but it makes no sense. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \shade (0,0) circle (1ex);
    +
    +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \shadedraw (0,0) circle (1ex);
    +
    +
+

For some shadings it is not really clear how they can “fill” the path. For example, the ball shading normally +looks like this:

SVG-Viewer needed.

. How is this supposed to shade a rectangle? Or a triangle? + + +

To solve this problem, the predefined shadings like ball or axis fill a large rectangle completely in a sensible +way. Then, when the shading is used to “shade” a path, what actually happens is that the path is temporarily used +for clipping and then the rectangular shading is drawn, scaled and shifted such that all parts of the path are +filled. +

+

10.4.1 Choosing a Shading Type
+

The default shading is a smooth transition from gray to white and from above to bottom. However, other shadings +are also possible, for example a shading that will sweep a color from the center to the corners outward. To choose +the shading, you can use the shading= option, which will also automatically invoke the shade option. Note that this +does not change the shading color, only the way the colors sweep. For changing the colors, other options are needed, +which are explained below. +

    +
  • shading=<name> This selects a shading named <name>. The following shadings are predefined: +
      +
    • axis This is the default shading in which the color changes gradually between three horizontal + lines. The top line is at the top (uppermost) point of the path, the middle is in the middle, the + bottom line is at the bottom of the path. +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz \shadedraw [shading=axis] (0,0) rectangle (1,1);
      +

      The default top color is gray, the default bottom color is white, the default middle is the “middle” of + these two. +

    • +
    • radial This shading fills the path with a gradual sweep from a certain color in the middle to another + color at the border. If the path is a circle, the outer color will be reached exactly at the border. If the + shading is not a circle, the outer color will continue a bit towards the corners. The default inner color is + gray, the default outer color is white. +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz \shadedraw [shading=radial] (0,0) rectangle (1,1);
      +
    • +
    • ball This shading fills the path with a shading that “looks like a ball.” The default “color” of the ball is + blue (for no particular reason). +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz \shadedraw [shading=ball] (0,0) rectangle (1,1);
      +

      +
       

      SVG-Viewer needed.

       
      +
      \tikz \shadedraw [shading=ball] (0,0) circle (.5cm);
      +
    +
  • +
  • shading angle=<degrees> This option rotates the shading (not the path!) by the given angle. For + example, we can turn a top-to-bottom axis shading into a left-to-right shading by rotating it by + 90o. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \shadedraw [shading=axis,shading angle=90] (0,0) rectangle (1,1);
    + + +
+

You can also define new shading types yourself. However, for this, you need to use the basic layer directly, which +is, well, more basic and harder to use. Details on how to create a shading appropriate for filling paths are given in +Section 28.3. +

+

10.4.2 Choosing a Shading Color
+

The following options can be used to change the colors used for shadings. When one of these options is given, the +shade option is automatically selected and also the “right” shading. +

    +
  • top color=<color> This option prescribes the color to be used at the top in an axis shading. When this + option is given, several things happen: +
      +
    1. The shade option is selected. +
    2. +
    3. The shading=axis option is selected. +
    4. +
    5. The middle color of the axis shading is set to the average of the given top color <color> and of + whatever color is currently selected for the bottom. +
    6. +
    7. The rotation angle of the shading is set to 0.
    +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[top color=red] (0,0) rectangle (2,1);
    +
  • +
  • bottom color=<color> This option works like top color, only for the bottom color. +
  • +
  • middle color=<color> This option specifies the color for the middle of an axis shading. It also sets the shade + and shading=axis options, but it does not change the rotation angle. +

    Note: Since both top color and bottom color change the middle color, this option should be given last if all + of these options need to be given: +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[top color=white,bottom color=black,middle color=red] +
      (0,0) rectangle (2,1);
    +
  • +
  • left color=<color> This option does exactly the same as top color, except that the shading angle is set to + 90o. +
  • +
  • right color=<color> Works like left color. +
  • +
  • inner color=<color> This option sets the color used at the center of a radial shading. When this option is + used, the shade and shading=radial options are set. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[inner color=red] (0,0) rectangle (2,1);
    + + +
  • +
  • outer color=<color> This option sets the color used at the border and outside of a radial + shading. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[outer color=red,inner color=white] +
      (0,0) rectangle (2,1);
    +
  • +
  • ball color=<color> This option sets the color used for the ball shading. It sets the shade and shading=ball + options. Note that the ball will never “completely” have the color <color>. At its “highlight” spot a certain + amount of white is mixed in, at the border a certain amount of black. Because of this, it also makes sense to + say ball color=white or ball color=black +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \shade[ball color=white] (0,0) circle (2ex); +
      \shade[ball color=red] (1,0) circle (2ex); +
      \shade[ball color=black] (2,0) circle (2ex); +
    \end{tikzpicture}
    +
+

+

10.5 Establishing a Bounding Box

+

PGF is reasonably good at keeping track of the size of your picture and reserving just the right amount of +space for it in the main document. However, in some cases you may want to say things like “do not +count this for the picture size” or “the picture is actually a little large.” For this you can use the +option use as bounding box or the command \useasboundingbox, which is just a shorthand for +\path[use as bounding box]. +

    +
  • use as bounding box Normally, when this option is given on a path, the bounding box of the present + path is used to determine the size of the picture and the size of all subsequent paths are ignored. + However, if there were previous path operations that have already established a larger bounding box, + it will not be made smaller by this operation. +

    In a sense, use as bounding box has the same effect as clipping all subsequent drawing against the + current path--without actually doing the clipping, only making PGF treat everything as if it were + clipped. +

    The first application of this option is to have a {tikzpicture} overlap with the main text: +

    Left of picture

    SVG-Viewer needed.

    right of picture.
    +
    +
    Left of picture\begin{tikzpicture} +
      \draw[use as bounding box] (2,0) rectangle (3,1); +
      \draw (1,0) -- (4,.75); +
    \end{tikzpicture}right of picture.
    +

    In a second application this option can be used to get better control over the white space around the + picture: +

    Left of picture

    SVG-Viewer needed.

    right of picture.
    +
    +
    Left of picture +
    \begin{tikzpicture} +
      \useasboundingbox (0,0) rectangle (3,1); +
      \fill (.75,.25) circle (.5cm); +
    \end{tikzpicture} +
    right of picture.
    +
    + + +

    Note: If this option is used on a path inside a TEX group (scope), the effect “lasts” only till the end of the + scope. Again, this behavior is the same as for clipping.

+

There is a node that allows you to get the size of the current bounding box. The current bounding box node +has the rectangle shape rectangle shape and its size is always the size of the current bounding +box. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[red] (0,0) circle (2pt); +
  \draw[red] (2,1) circle (3pt); +
+
  \draw (current bounding box.south west) rectangle +
        (current bounding box.north east); +
+
  \draw[red] (3,-1) circle (4pt); +
+
  \draw[thick] (current bounding box.south west) rectangle +
               (current bounding box.north east); +
\end{tikzpicture}
+

+

10.6 Using a Path For Clipping

+

To use a path for clipping, use the clip option. +

    +
  • clip This option causes all subsequent drawings to be clipped against the current path and the size of + subsequent paths will not be important for the picture size. If you clip against a self-intersecting path, + the even-odd rule or the nonzero winding number rule is used to determine whether a point is inside + or outside the clipping region. +

    The clipping path is a graphic state parameter, so it will be reset at the end of the current scope. + Multiple clippings accumulate, that is, clipping is always done against the intersection of all clipping + areas that have been specified inside the current scopes. The only way of enlarging the clipping area + is to end a {scope}. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[clip] (0,0) circle (1cm); +
      \fill[red] (1,0) circle (1cm); +
    \end{tikzpicture}
    +

    It is usually a very good idea to apply the clip option only to the first path command in a + scope. +

    If you “only wish to clip” and do not wish to draw anything, you can use the \clip command, which is a + shorthand for \path[clip]. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \clip (0,0) circle (1cm); +
      \fill[red] (1,0) circle (1cm); +
    \end{tikzpicture}
    +

    To keep clipping local, use {scope} environments as in the following example: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw (0,0) -- ( 0:1cm); +
      \draw (0,0) -- (10:1cm); +
      \draw (0,0) -- (20:1cm); +
      \draw (0,0) -- (30:1cm); +
      \begin{scope}[fill=red] +
        \fill[clip] (0.2,0.2) rectangle (0.5,0.5); +
    +
        \draw (0,0) -- (40:1cm); +
        \draw (0,0) -- (50:1cm); +
        \draw (0,0) -- (60:1cm); +
      \end{scope} +
      \draw (0,0) -- (70:1cm); +
      \draw (0,0) -- (80:1cm); +
      \draw (0,0) -- (90:1cm); +
    \end{tikzpicture}
    +

    There is a slightly annoying catch: You cannot specify certain graphic options for the command used for + clipping. For example, in the above code we could not have moved the fill=red to the \fill command. The + reasons for this have to do with the internals of the PDF specification. You do not want to know the details. It + is best simply not to specify any options for these commands.

+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse11.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse11.html new file mode 100644 index 00000000000..1cf07894112 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse11.html @@ -0,0 +1,2727 @@ + + +11 Nodes + + + + + + + + +

+

11 Nodes

+

+

11.1 Nodes and Their Shapes

+

TikZ offers an easy way of adding so-called nodes to your pictures. In the simplest case, a node is just some text +that is placed at some coordinate. However, a node can also have a border drawn around it or have a more complex +background and foreground. Indeed, some nodes do not have a text at all, but consist solely of the background. You +can name nodes so that you can reference their coordinates later in the picture. However, nodes cannot be referenced +across different pictures. +

There are no special TEX commands for adding a node to a picture; rather, there is path operation called node +for this. Nodes are created whenever TikZ encounters node or coordinate at a point on a path where it would +expect a normal path operation (like -- (1,1) or sin (1,1)). It is also possible to give node specifications inside +certain path operations as explained later. +

The node operation is typically followed by some options, which apply only to the node. Then, you can +optionally name the node by providing a name in round braces. Lastly, for the node operation you must provide +some label text for the node in curly braces, while for the coordinate operation you may not. The node is placed at +the current position of the path after the path has been drawn. Thus, all nodes are drawn “on top” of the path and +retained until the path is complete. If there are several nodes on a path, they are drawn on top of the path in the +order they are encountered. +

+ +
 

SVG-Viewer needed.

 
+
\tikz \fill[fill=examplefill] +
     (0,0) node {first node} +
  -- (1,1) node {second node} +
  -- (0,2) node {third node};
+

The syntax for specifying nodes is the following: +

+\path  ... node[<options>](<name>)at(<coordinate>){<text>} ...;
+ + +

The effect of at is to place the node at the coordinate given after at and not, as would normally be the + case, at the last position. The at syntax is not available when a node is given inside a path operation + (it would not make any sense, there). +

The (<name>) is a name for later reference and it is optional. You may also add the option name=<name> + to the <option> list; it has the same effect. +

    +
  • name=<node name> assigns a name to the node for later reference. Since this is a “high-level” name + (drivers never know of it), you can use spaces, number, letters, or whatever you like when naming + a node. Thus, you can name a node just 1 or perhaps start of chart or even y_1. Your node + name should not contain any punctuation like a dot, a comma, or a colon since these are used to + detect what kind of coordinate you mean when you reference a node.
+ + +

The <options> is an optional list of options that apply only to the node and have no effect outside. The other + way round, most “outside” options also apply to the node, but not all. For example, the “outside” rotation + does not apply to nodes (unless some special options are used, sigh). Also, the outside path action, like draw + or fill, never applies to the node and must be given in the node (unless some special other options are used, + deep sigh). +

As mentioned before, we can add a border and even a background to a node: +

+ +
 

SVG-Viewer needed.

 
+
\tikz \fill[fill=examplefill] +
      (0,0) node {first node} +
   -- (1,1) node[draw] {second node} +
   -- (0,2) node[fill=red!20,draw,double,rounded corners] {third node};
+

The “border” is actually just a special case of a much more general mechanism. Each node has a certain shape + which, by default, is a rectangle. However, we can also ask TikZ to use a circle shape instead or an ellipse + shape (you have to include pgflibraryshapes for the latter shape): +

+ +
 

SVG-Viewer needed.

 
+
\tikz \fill[fill=examplefill] +
      (0,0) node{first node} +
   -- (1,1) node[ellipse,draw] {second node} +
   -- (0,2) node[circle,fill=red!20] {third node};
+

In the future, there might be much more complicated shapes available such as, say, a shape for a + resistor or a shape for a state of a finite automaton or a shape for a UML class. Unfortunately, + creating new shapes is a bit tricky and makes it necessary to use the basic layer directly. Life is + hard. +

To select the shape of a node, the following option is used: +

    +
  • shape=<shape name> select the shape either of the current node or, when this option is not given + inside a node but somewhere outside, the shape of all nodes in the current scope. +

    Since this option is used often, you can leave out the shape=. When TikZ encounters an option + like circle that it does not know, it will, after everything else has failed, check whether this + option is the name of some shape. If so, that shape is selected as if you had said shape=<shape + name>. +

    By default, the following shapes are available: rectangle, circle, coordinate, and, when the + package pgflibraryshapes is loaded, also ellipse. Details of these shapes, like their anchors + and size options, are discussed in Section 11.8.

+

The following styles influences how nodes are rendered: +

    +
  • style=every node This style is installed at the beginning of every node. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \tikzstyle{every node}=[draw] +
      \draw (0,0) node {A} -- (1,1) node {B}; +
    \end{tikzpicture}
    +
  • +
  • style=every <shape> node These styles are installed at the beginning of a node of a given <shape>. For + example, every rectangle node is used for rectangle nodes, and so on. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \tikzstyle{every rectangle node}=[draw] +
      \tikzstyle{every circle node}=   [draw,double] +
      \draw (0,0) node[rectangle] {A} -- (1,1) node[circle] {B}; +
    \end{tikzpicture}
    +
+
+

The is a special syntax for specifying “light-weighed” nodes: +

+

+\path  ... coordinate[<options>](<name>)at(<coordinate>) ...;
+ + +

This has the same effect as +

node[shape=coordinate][<options>](<name>)at(<coordinate>){}, +

where the at part might be missing.

+

+

11.2 Multi-Part Nodes

+

Most nodes just have a single simple text label. However, nodes of a more complicated shapes might be made up +from several node parts. For example, in automata theory a so-called Moore state has a state name, drawn in the +upper part of the state circle, and an output text, drawn in the lower part of the state circle. These two parts are +quite independent. Similarly, a UML class shape would have a name part, a method part, and an attributes part. +Different molecule shape might use parts for the different atoms to be drawn at the different positions, and so +on. +

Both PGF and TikZ support such multipart nodes. On the lower level, PGF provides a system for specifying +that a shape consists of several parts. On the TikZ level, you specify the different node parts by using the following +command: +

+

+\nodepart{<part name>}
+ +

This command can only be used inside the <text> argument of a node path operation. It works a little + bit like a \part command in LATEX. It will stop the typesetting of whatever node part was typeset + until now and then start putting all following text into the node part named <part name>--until another + \partname is encountered or until the node <text> ends. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node [state with output,draw,double,fill=red!20] +
  { +
    % No \nodepart has been used, yet. So, the following is put in the +
    % ``text'' node part by default. +
    $q_1$ +
    \nodepart{output} % Ok, end ``text'' part, start ``output'' part +
    $00$ +
  }; % output part ended. +
\end{tikzpicture}
+

You will have to lookup which parts are defined by a shape. +

The following styles influences node parts: +

    +
  • style=every <part name> node part This style is installed at the beginning of every node part named + <part name>. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikzstyle{every output node part}=[red] +
    \tikz \node [state with output,draw] {$q_1$ \nodepart{output} $00$};
    +
+
+

+

11.3 Options for the Text in Nodes

+

The simplest option for the text in nodes is its color. Normally, this color is just the last color installed using +color=, possibly inherited from another scope. However, it is possible to specificly set the color used for text using +the following option: +

    +
  • text=<color> Sets the color to be used for text labels. A color= option will immediately override this + option. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[red]       (0,0) -- +(1,1) node[above]     {red}; +
      \draw[text=red]  (1,0) -- +(1,1) node[above]     {red}; +
      \draw            (2,0) -- +(1,1) node[above,red] {red}; +
    \end{tikzpicture}
    +
+

Next, you may wish to adjust the font used for the text. Use the following option for this: +

    +
  • font=<font commands> Sets the font used for text labels. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[font=\itshape] (1,0) -- +(1,1) node[above] {italic}; +
    \end{tikzpicture}
    + + +

    A perhaps more useful example is the following: +

    +
     

    SVG-Viewer needed.

     
    +
    \tikzstyle{every text node part}=[font=\itshape] +
    \tikzstyle{every output node part}=[font=\footnotesize] +
    \tikzstyle{every state with output node}=[draw] +
    \tikz \node [state with output] {state \nodepart{output} output};
    +
+

Normally, when a node is typeset, all the text you give in the braces is but in one long line (in an \hbox, to be +precise) and the node will become as wide as necessary. +

You can change this behaviour using the following options. They allow you to limit the width of a node +(naturally, at the expense of its height). +

    +
  • text width=<dimension> This option will put the text of a node in a box of the given width (more + precisely, in a {minipage} of this width; for plain TEX a rudimentary “minipage emulation” is used). +

    If the node text is not as wide as <dimension>, it will nevertheless be put in a box of this width. If it + is larger, line breaking will be done. +

    By default, when this option is given, a ragged right border will be used. This is sensible since, typically, these + boxes are narrow and justifying the text looks ugly. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) node[fill=examplefill,text width=3cm] +
      {This is a demonstration text for showing how line breaking works.};
    +
  • +
  • text justified causes the text to be justified instead of (right)ragged. Use this only with pretty broad + nodes. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) node[fill=examplefill,text width=3cm,text justified] +
      {This is a demonstration text for showing how line breaking works.};
    +

    In the above example, TEX complains (rightfully) about three very badly typeset lines. (For this + manual I asked TEX to stop complaining by using \hbadness=10000, but this is a foul deed, + indeed.) +

  • +
  • text ragged causes the text to be typeset with a ragged right. This uses the original plain TEX definition of + a ragged right border, in which TEX will try to balance the right border as well as possible. This is the + default. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) node[fill=examplefill,text width=3cm,text ragged] +
      {This is a demonstration text for showing how line breaking works.};
    + + +
  • +
  • text badly ragged causes the right border to be ragged in the LATEX-style, in which no balancing + occurs. This looks ugly, but it may be useful for very narrow boxes and when you wish to avoid + hyphenations. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) node[fill=examplefill,text width=3cm,text badly ragged] +
      {This is a demonstration text for showing how line breaking works.};
    +
  • +
  • text centered centers the text, but tries to balance the lines. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) node[fill=examplefill,text width=3cm,text centered] +
      {This is a demonstration text for showing how line breaking works.};
    +
  • +
  • text badly centered centers the text, without balancing the lines. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) node[fill=examplefill,text width=3cm,text badly centered] +
      {This is a demonstration text for showing how line breaking works.};
    +
+

+

11.4 Placing Nodes Using Anchors

+

When you place a node at some coordinate, the node is centered on this coordinate by default. This is often +undesirable and it would be better to have the node to the right or above the actual coordinate. +

PGF uses a so-called anchoring mechanism to give you a very fine control over the placement. The idea is simple: +Imaging a node of rectangular shape of a certain size. PGF defines numerous anchor positions in the shape. For +example to upper right corner is called, well, not “upper right anchor,” but the north east anchor of the shape. +The center of the shape has an anchor called center on top of it, and so on. Here are some examples (a complete +list is given in Section 11.8). + + +

SVG-Viewer needed.

+

Now, when you place a node at a certain coordinate, you can ask TikZ to place the node shifted around in such +a way that a certain anchor is at the coordinate. In the following example, we ask TikZ to shift the first node such +that its north east anchor is at coordinate (0,0) and that the west anchor of the second node is at coordinate +(1,1). +

SVG-Viewer needed.

+
+
\tikz \draw           (0,0) node[anchor=north east] {first node} +
            rectangle (1,1) node[anchor=west] {second node};
+
+

Since the default anchor is center, the default behaviour is to shift the node in such a way that it is centered on +the current position. +

    +
  • anchor=<anchor name> causes the node to be shifted such that it’s anchor <anchor name> lies on the + current coordinate. +

    The only anchor that is present in all shapes is center. However, most shapes will at least define + anchors in all “compass directions.” Furthermore, the standard shapes also define a base anchor, as + well as base west and base east, for placing things on the baseline of the text. +

    The standard shapes also define a mid anchor (and mid west and mid east). This anchor is half the height of + the character “x” above the base line. This anchor is useful for vertically centering multiple nodes that have + different heights and depth. Here is an example: +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[scale=3,transform shape] +
      % First, center alignment -> wobbles +
      \draw[anchor=center] (0,1)  node{x} -- (0.5,1)  node{y} -- (1,1)  node{t}; +
      % Second, base alignment -> no wobble, but too high +
      \draw[anchor=base]   (0,.5) node{x} -- (0.5,.5) node{y} -- (1,.5) node{t}; +
      % Third, mid alignment +
      \draw[anchor=mid]    (0,0)  node{x} -- (0.5,0)  node{y} -- (1,0)  node{t}; +
    \end{tikzpicture}
    +
+

Unfortunately, while perfectly logical, it is often rather counter-intuitive that in order to place a node above a +given point, you need to specify the south anchor. For this reason, there are some useful options that allow you to +select the standard anchors more intuitively: +

    +
  • above=<offset> does the same as anchor=south. If the <offset> is specified, the node is additionally shifted + upwards by the given <offset>. + + +

    +
     

    SVG-Viewer needed.

     

    +\tikz \fill (0,0) circle (2pt) node[above] {above};
    +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \fill (0,0) circle (2pt) node[above=2pt] {above};
    +
  • +
  • above left=<offset> does the same as anchor=south east. If the <offset> is specified, the node is additionally + shifted upwards and right by <offset>. +

    +
     

    SVG-Viewer needed.

     

    +\tikz \fill (0,0) circle (2pt) node[above left] {above left};
    +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \fill (0,0) circle (2pt) node[above left=2pt] {above left};
    +
  • +
  • above right=<offset> does the same as anchor=south west. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \fill (0,0) circle (2pt) node[above right] {above right};
    +
  • +
  • left=<offset> does the same as anchor=east. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \fill (0,0) circle (2pt) node[left] {left};
    +
  • +
  • right=<offset> does the same as anchor=west. +
  • +
  • below=<offset> does the same as anchor=north. +
  • +
  • below left=<offset> does the same as anchor=north east. +
  • +
  • below right=<offset> does the same as anchor=north west.
+

+

11.5 Transformations

+

It is possible to transform nodes, but, by default, transformations do not apply to nodes. The reason is that you +usually do not want your text to be scaled or rotated even if the main graphic is transformed. Scaling text is evil, +rotating slightly less so. +

However, sometimes you do wish to transform a node, for example, it certainly sometimes makes sense to rotate +a node by 90 degrees. There are two ways in which you can achieve this: +

+

    +
  1. You can use the following option: +
      +
    • transform shape causes the current “external” transformation matrix to be applied to the shape. + For example, if you said \tikz[scale=3] and then say node[transform shape] {X}, you will + get a “huge” X in your graphic.
    + + +
  2. +
  3. You can give transformation option inside the option list of the node. These transformations always apply to + the node. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \tikzstyle{every node}=[draw] +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw            (1,0) node{A} +
                       (2,0) node[rotate=90,scale=1.5] {B}; +
      \draw[rotate=30] (1,0) node{A} +
                       (2,0) node[rotate=90,scale=1.5] {B}; +
      \draw[rotate=60] (1,0) node[transform shape] {A} +
                       (2,0) node[transform shape,rotate=90,scale=1.5] {B}; +
    \end{tikzpicture}
    +
+

+

11.6 Placing Nodes on a Line or Curve

+

Until now, we always placed node on a coordinate that is mentioned in the path. Often, however, we wish to place +nodes on “the middle” of a line and we do not wish to compute these coordinates “by hand.” To facilitate such +placements, TikZ allows you to specify that a certain node should be somewhere “on” a line. There are two ways of +specifying this: Either explicitly by using the pos option or implicitly by placing the node “inside” a path operation. +These two ways are described in the following. +

+

11.6.1 Explicit Use of the Position Option
+
    +
  • pos=<fraction> When this option is given, the node is not anchored on the last coordinate. Rather, it is + anchored on some point on the line from the previous coordinate to the current point. The <fraction> + dictates how “far” on the line the point should be. A <fraction> or 0 is the previous coordinate, 1 is + the current one, everything else is in between. In particular, 0.5 is the middle. +

    Now, what is “the previous line”? This depends on the previous path construction operation. +

    In the simplest case, the previous path operation was a “line-to” operation, that is, a --<coordinate> + operation: +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) -- (3,1) +
        node[pos=0]{0} node[pos=0.5]{1/2} node[pos=0.9]{9/10};
    +

    The next case is the curve-to operation (the .. operation). In this case, the “middle” of the + curve, that is, the position 0.5 is not necessarily the point at the exact half distance on the line. + Rather, it is some point at “time” 0.5 of a point traveling from the start of the curve, where it + is at time 0, to the end of the curve, which it reaches at time 0.5. The “speed” of the point + depends on the length of the support vectors (the vectors that connect the start and end points to + the control points). The exact math is a bit complicated (depending on your point of view, of + course); you may wish to consult a good book on computer graphics and Bézier curves if you are + intrigued. + + +

    + +
     

    SVG-Viewer needed.

     
    +
      \tikz \draw (0,0) .. controls +(right:3.5cm) and +(right:3.5cm) .. (0,3) +
        \foreach \p in {0,0.125,...,1} {node[pos=\p]{\p}};
    +

    Another interesting case are the horizontal/vertical line-to operations |- and -|. For them, the position (or + time) 0.5 is exactly the corner point. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) |- (3,1) +
      node[pos=0]{0} node[pos=0.5]{1/2} node[pos=0.9]{9/10};
    +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) -| (3,1) +
      node[pos=0]{0} node[pos=0.5]{1/2} node[pos=0.9]{9/10};
    +

    For all other path construction operations, the position placement does not work, currently. This will hopefully + change in the future (especially for the arc operation). +

  • +
  • sloped This option causes the node to be rotated such that a horizontal line becomes a tangent to the curve. + The rotation will always be done in such a way that text is never “upside down.” If you really need upside + down text, use [rotate=180]. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) .. controls +(up:2cm) and +(left:2cm) .. (1,3) +
        \foreach \p in {0,0.25,...,1} {node[sloped,above,pos=\p]{\p}};
    +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[->] +
      \draw (0,0)   -- (2,0.5) node[midway,sloped,above] {$x$}; +
      \draw (2,-.5) -- (0,0)   node[midway,sloped,below] {$y$}; +
    \end{tikzpicture}
    +
+

There exist styles for specifying positions a bit less “technically”: +

    +
  • style=midway is set to pos=0.5. + + +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) .. controls +(up:2cm) and +(left:3cm) .. (1,5) +
           node[at end]          {|at end|} +
           node[very near end]   {|very near end|} +
           node[near end]        {|near end|} +
           node[midway]          {|midway|} +
           node[near start]      {|near start|} +
           node[very near start] {|very near start|} +
           node[at start]        {|at start|};
    +
  • +
  • style=near start is set to pos=0.25. +
  • +
  • style=near end is set to pos=0.75. +
  • +
  • style=very near start is set to pos=0.125. +
  • +
  • style=very near end is set to pos=0.875. +
  • +
  • style=at start is set to pos=0. +
  • +
  • style=at end is set to pos=1.
+

+

11.6.2 Implicit Use of the Position Option
+

When you wish to place a node on the line (0,0) -- (1,1), it is natural to specify the node not following the +(1,1), but “somewhere in the middle.” This is, indeed, possible and you can write (0,0) -- node{a} (1,1) to +place a node midway between (0,0) and (1,1). +

What happens is the following: The syntax of the line-to path operation is actually -- node<node +specification><coordinate>. (It is even possible to give multiple nodes in this way.) When the optional node is +encountered, that is, when the -- is directly followed by node, then the specification(s) are read and “stored away.” +Then, after the <coordinate> has finally been reached, they are inserted again, but with the pos option +set. +

There are two things to note about this: When a node specification is “stored,” its catcodes become fixed. +This means that you cannot use overly complicated verbatim text in them. If you really need, say, a +verbatim text, you will have to put it in a normal node following the coordinate and add the pos +option. +

Second, which pos is chosen for the node? The position is inherited from the surrounding scope. However, this +holds only for nodes specified in this implicit way. Thus, if you add the option [near end] to a scope, this does not +mean that all nodes given in this scope will be put on near the end of lines. Only the nodes for which an implicit +pos is added will be placed near the end. Typically, this is what you want. Here are some examples that should +make this clearer: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[near end] +
  \draw (0cm,4em) -- (3cm,4em) node{A}; +
  \draw (0cm,3em) --           node{B}          (3cm,3em); +
  \draw (0cm,2em) --           node[midway] {C} (3cm,2em); +
  \draw (0cm,1em) -- (3cm,1em) node[midway] {D} ; +
\end{tikzpicture}
+

Like the line-to operation, the curve-to operation .. also allows you to specify nodes “inside” the +operation. After both the first .. and also after the second .. you can place node specifications. Like for +the -- operation, these will be collected and then reinserted after the operation with the pos option +set. +

+

11.7 Connecting Nodes

+

Once you have defined a node and given it a name, you can use this name to reference it. This can be done in two +ways, see also Section 8.5. Suppose you have said \path(0,0) node(x) {Hello World!}; in order to define a node +named x. +

    +
  1. Once the node x has been defined, you can use (x.<anchor>) wherever you would normally use a + normal coordinate. This will yield the position at which the given <anchor> is in the picture. Note that + transformations do not apply to this coordinate, that is, (x.north) will be the northern anchor of x + even if you have said scale=3 or xshift=4cm. This is usually what you would expect. +
  2. +
  3. You can also just use (x) as a coordinate. In most cases, this gives the same coordinate as (x.center). + Indeed, if the shape of x is coordinate, then (x) and (x.center) have exactly the same effect. +

    However, for most other shapes, some path construction operations like -- try to be “clever” when + this they are asked to draw a line from such a coordinate or to such a coordinate. When you say + (x)--(1,1), the -- path operation will not draw a line from the center of x, but from the border of x + in the direction going towards (1,1). Likewise, (1,1)--(x) will also have the line end on the border + in the direction coming from (1,1). +

    In addition to --, the curve-to path operation .. and the path operations -| and |- will also handle nodes + without anchors correctly. Here is an example, see also Section 8.5: +

    SVG-Viewer needed.

    +
    +
    \begin{tikzpicture} +
      \path (0,0) node             (x) {Hello World!} +
            (3,1) node[circle,draw](y) {$\int_1^2 x \mathrm d x$}; +
    +
      \draw[->,blue]   (x) -- (y); +
      \draw[->,red]    (x) -| node[near start,below] {label} (y); +
      \draw[->,orange] (x) .. controls +(up:1cm) and +(left:1cm) .. node[above,sloped] {label} (y); +
    \end{tikzpicture}
    +
+

+

11.8 Predefined Shapes

+

PGF and TikZ define three shapes, by default: +

    +
  • rectangle, +
  • +
  • circle, and + + +
  • +
  • coordinate.
+

By loading library packages, you can define more shapes. Currently, the package pgflibraryshapes defines +

    +
  • ellipse.
+

The exact behaviour of these shapes differs, shapes defined for more special purposes (like a, say, transistor +shape) will have even more custom behaviors. However, there are some options that apply to most +shapes: +

    +
  • inner sep=<dimension> An additional (invisible) separation space of <dimension> will be added inside + the shape, between the text and the shape’s background path. The effect is as if you had added + appropriate horizontal and vertical skips at the beginning and end of the text to make it a bit “larger.” + The default inner sep is the size of a normal space. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw (0,0)     node[inner sep=0pt,draw] {tight} +
            (0cm,2em) node[inner sep=5pt,draw] {loose} +
            (0cm,4em) node[fill=examplefill]   {default}; +
    \end{tikzpicture}
    +
  • +
  • inner xsep=<dimension> Specifies the inner separation in the x-direction, only. +
  • +
  • inner ysep=<dimension> Specifies the inner separation in the y-direction, only. +
  • +
  • outer sep=<dimension> This option adds an additional (invisible) separation space of <dimension> outside the + background path. The main effect of this option is that all anchors will move a little “to the + outside.” +

    The default for this option is half the line width. When the default is used and when the background path is + draw, the anchors will lie exactly on the “outside border” of the path (not on the path itself). When the shape + is filled, but not drawn, this may not be desirable. In this case, the outer sep should be set to zero + point. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[line width=5pt] +
        (0,0) node[outer sep=0pt,fill=examplefill]     (f) {filled} +
        (2,0) node[inner sep=.5\pgflinewidth+2pt,draw] (d) {drawn}; +
    +
      \draw[->] (1,-1) -- (f); +
      \draw[->] (1,-1) -- (d); +
    \end{tikzpicture}
    +
  • +
  • outer xsep=<dimension> Specifies the outer separation in the x-direction, only. +
  • +
  • outer ysep=<dimension> Specifies the outer separation in the y-direction, only. + + +
  • +
  • minimum height=<dimension> This option ensures that the height of the shape (including the inner, but + ignoring the outer separation) will be at least <dimension>. Thus, if the text plus the inner separation is not at + least as large as <dimension>, the shape will be enlarged appropriately. However, if the text is already larger + than <dimension>, the shape will not be shrunk. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw (0,0) node[minimum height=1cm,draw] {1cm} +
            (2,0) node[minimum height=0cm,draw] {0cm}; +
    \end{tikzpicture}
    +
  • +
  • minimum width=<dimension> same as minimum height, only for the width. +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw (0,0) node[minimum height=2cm,minimum width=3cm,draw] {$3 \times 2$}; +
    \end{tikzpicture}
    +
  • +
  • minimum size=<dimension> sets both the minimum height and width at the same time. +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw (0,0)  node[minimum size=2cm,draw] {square}; +
      \draw (0,-2) node[minimum size=2cm,draw,circle] {circle}; +
    \end{tikzpicture}
    +
+

The coordinate shape is handled in a special way by TikZ. When a node x whose shape is coordinate is used +as a coordinate (x), this has the same effect as if you had said (x.center). None of the special “line +shortening rules” apply in this case. This can be useful since, normally, the line shortening causes +paths to be segmented and they cannot be used for filling. Here is an example that demonstrates the +difference: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \tikzstyle{every node}=[draw] +
  \path[yshift=1.5cm,shape=rectangle] +
    (0,0) node(a1){} (1,0) node(a2){} +
    (1,1) node(a3){} (0,1) node(a4){}; +
  \filldraw[fill=examplefill] (a1) -- (a2) -- (a3) -- (a4); +
+
  \path[shape=coordinate] +
    (0,0) coordinate(b1) (1,0) coordinate(b2) +
    (1,1) coordinate(b3) (0,1) coordinate(b4); +
  \filldraw[fill=examplefill] (b1) -- (b2) -- (b3) -- (b4); +
\end{tikzpicture}
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse12.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse12.html new file mode 100644 index 00000000000..9fc748984fc --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse12.html @@ -0,0 +1,2681 @@ + + +12 Making Trees Grow + + + + + + + + +

+

12 Making Trees Grow

+

+

12.1 Introduction to the Child Operation

+

Trees are a common way of visualizing hierarchical structures. A simple tree looks like this: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node {root} +
    child {node {left}} +
    child {node {right} +
      child {node {child}} +
      child {node {child}} +
    }; +
\end{tikzpicture}
+

Admittedly, in reality trees are more likely to grow upward and not downward as above. You can tell whether +the author of a paper is a mathematician or a computer scientist by looking at the direction their trees grow. A +computer scientist’s trees will grow downward while a mathematician’s tree will grow upward. Naturally, the correct +way is the mathematician’s way, which can be specify as follows: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node {root} [grow'=up] +
    child {node {left}} +
    child {node {right} +
      child {node {child}} +
      child {node {child}} +
    }; +
\end{tikzpicture}
+

In TikZ, trees are specified by adding children to a node on a path using the child operation: +

+

+\path  ... child[<options>]foreach<variables>in{<values>}{<child path>} ...;
+ + +

This operation should directly follow a completed node operation or another child operation, although + it is permissible that the first child operation is preceded by options (we will come to that). + + +

When a node operation like node {X} is followed by child, TikZ starts counting the number of child + nodes that follow the original node {X}. For this, it scans the input and stores away each child and + its arguments until it reaches a path operation that is not a child. Note that this will fix the character + codes of all text inside the child arguments, which means, in essence, that you cannot use verbatim + text inside the nodes inside a child. Sorry. +

Once the children have been collected and counted, TikZ starts generating the child nodes. For each + child of a parent node TikZ computes an appropriate position where the child is placed. For each child, + the coordinate system is transformed so that the origin is at this position. Then the <child path> is + drawn. Typically, the child path just consists of a node specification, which results in a node being + drawn at the child’s position. Finally, an edge is drawn from the first node in the <child path> to the + parent node. +

The optional foreach part (note that there is no backslash before foreach) allows you to specify multiple + children in a single child command. The idea is the following: A \foreach statement is (internally) used to + iterate over the list of <values>. For each value in this list, a new child is added to the node. The syntax for + <variables> and for <values> is the same as for the \foreach statement, see Section 15. For example, when you + say +

+
+
node {root} child [red] foreach \name in {1,2} {node {\name}}
+
+

the effect will be the same as if you had said +

+
+
node {root} child[red] {node {1}} child[ref] {node {2}}
+
+

When you write +

+
+
node {root} child[\pos] foreach \name/\pos in {1/left,2/right} {node[\pos] {\name}}
+
+

the effect will be the same as for +

+
+
node {root} child[left] {node[left] {1}} child[right] {node[right] {2}}
+
+

You can nest things as in the following example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[level distance=4mm] +
  \tikzstyle{level 1}=[sibling distance=8mm] +
  \tikzstyle{level 2}=[sibling distance=4mm] +
  \tikzstyle{level 3}=[sibling distance=2mm] +
  \coordinate +
    child foreach \x in {0,1} +
      {child foreach \y in {0,1} +
        {child foreach \z in {0,1}}}; +
\end{tikzpicture}
+

The details and options for this operation are described in the rest of this present section.

+

+

12.2 Child Paths and the Child Nodes

+

For each child of a root node, its <child path> is inserted at a specific location in the picture (the placement rules +are discussed in Section 12.5). The first node in the <child path>, if it exists, is special and called the child node. If +there is no first node in the <child path>, that is, if the <child path> is missing (including the curly braces) or if it +does not start with node or with coordinate, then an empty child node of shape coordinate is automatically +added. + + +

Consider the example \node {x} child {node {y}} child;. For the first child, the <child path> has the child +node node {y}. For the second child, no child node is specified and, thus, it is just coordinate. +

As for any normal node, you can give the child node a name, shift it around, or use options to influence how it is +rendered. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node[rectangle,draw] {root} +
    child {node[circle,draw] (left node) {left}} +
    child {node[ellipse,draw] (right node) {right}}; +
  \draw[dashed,->] (left node) -- (right node); +
\end{tikzpicture}
+

In many cases, the <child path> will just consist of a specification of a child node and, possibly, children of this +child node. However, the node specification may be followed by arbitrary other material that will be added to the +picture, transformed to the child’s coordinate system. For your convenience, a move-to (0,0) operation is inserted +automatically at the beginning of the path. Here is an example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node {root} +
    child {[fill] circle (2pt)} +
    child {[fill] circle (2pt)}; +
\end{tikzpicture}
+

At the end of the <child path> you may add a special path operation called edge from parent. +If this operation is not given by yourself somewhere on the path, it will be automatically added at +the end. This option causes a connecting edge from the parent node to the child node to be added +to the path. By giving options to this operation you can influence how the edge is rendered. Also, +nodes following the edge from parent operation will be placed on this edge, see Section 12.6 for +details. +

To sum up: +

    +
  1. The child path starts with a node specification. If it is not there, it is added automatically. +
  2. +
  3. The child path ends with a edge from parent operation, possibly followed by nodes to be put on this + edge. If the operation is not given at the end, it is added automatically.
+

+

12.3 Naming Child Nodes

+

Child nodes can be named like any other node using either the name option or the special syntax in +which the name of the node is placed in round parentheses between the node operation and the node’s +text. +

If you do not assign a name to a child node, TikZ will automatically assign a name as follows: Assume that the +name of the parent node is, say, parent. (If you did not assign a name to the parent, TikZ will do so itself, but that +name will not be user-accessible.) The first child of parent will be named parent-1, the second child is named +parent-2, and so on. +

This naming convention works recursively. If the second child parent-2 has children, then the first of these +children will be called parent-2-1 and the second parent-2-2 and so on. +

If you assign a name to a child node yourself, no name is generated automatically (the node does +not have two names). However, “counting continues,” which means that the third child of parent is +called parent-3 independently of whether you have assigned names to the first and/or second child of +parent. + + +

Here is an example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node (root) {root} +
    child +
    child { +
      child {coordinate (special)} +
      child +
    }; +
  \node at (root-1) {root-1}; +
  \node at (root-2) {root-2}; +
  \node at (special) {special}; +
  \node at (root-2-2) {root-2-2}; +
\end{tikzpicture}
+

+

12.4 Specifying Options for Trees and Children

+

Each child may have its own <options>, which apply to “the whole child,” including all of its grandchildren. Here is +an example: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[thick] +
  \tikzstyle{level 2}=[sibling distance=10mm] +
  \coordinate +
    child[red]   {child child} +
    child[green] {child child[blue]}; +
\end{tikzpicture}
+

The options of the root node have no effect on the children since the options of a node are always “local” to that +node. Because of this, the edges in the following tree are black, not red. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[thick] +
  \node [red] {root} +
    child +
    child; +
\end{tikzpicture}
+

This raises the problem of how to set options for all children. Naturally, you could always set options for the +whole path as in \path [red] node {root} child child; but this is bothersome in some situations. Instead, it is +easier to give the options before the first child as follows: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[thick] +
  \node [red] {root} +
    [green] % option applies to all children +
    child +
    child; +
\end{tikzpicture}
+

Here is the set of rules: +

    +
  1. Options for the whole tree are given before the root node. +
  2. +
  3. Options for the root node are given directly to the node operation of the root. +
  4. +
  5. Options for all children can be given between the root node and the first child. +
  6. +
  7. Options applying to a specific child path are given as options to the child operation. +
  8. +
  9. Options applying to the node of a child, but not to the whole child path, are given as options to the + node command inside the <child path>.
+

+
+
\begin{tikzpicture} +
  \path +
    [...]             % Options apply to the whole tree +
    node[...] {root}  % Options apply to the root node only +
      [...]           % Options apply to all children +
      child[...]      % Options apply to this child and all its children +
      { +
        node[...] {}  % Options apply to the child node only +
        ... +
      } +
      child[...]      % Options apply to this child and all its children +
    ; +
\end{tikzpicture}
+

There are additional styles that influence how children are rendered: +

    +
  • style=every child This style is used at the beginning of each child, as if you had given the options + to the child operation. +
  • +
  • style=every child node This style is used at the beginning of each child node in addition to the + every node style. +
  • +
  • style=level <number> This style is used at the beginning of each set of children, where <number> is + the current level in the current tree. For example, when you say \node {x} child child;, then the + style level 1 is used before the first child. If this first child has children itself, then level 2 would + be used for them. + + +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \tikzstyle{level 1}=[sibling distance=20mm] +
      \tikzstyle{level 2}=[sibling distance=5mm] +
      \node {root} +
        child { child child } +
        child { child child child }; +
    \end{tikzpicture}
    +
+

+

12.5 Placing Child Nodes

+

Perhaps the most difficult part in drawing a tree is the correct layout of the children. Typically, the children have +different sizes and it is not easy to arrange them in such a manner that not too much space is wasted, the children +do not overlap, and they are either evenly spaced or their centers are evenly distributed. Calculating good +positions is especially difficult since a good position for the first child may depend on the size of the last +child. +

In TikZ, a comparatively simple approach is taken to placing the children. In order to compute a child’s position, +all that is taken into account is the number of the current child in the list of children and the number of children in +this list. Thus, if a node has five children, then there is a fixed position for the first child, a position for the second +child, and so on. These positions do not depend on the size of the children and, hence, children can easily overlap. +However, since you can use options to shift individual children a bit, this is not as great a problem as it may +seem. +

Although the placement of the children only depends on their number in the list of children and the total +number of children, everything else about the placement is highly configurable. You can change the distance between +children (appropriately called the sibling distance) and the distance between levels of the tree. These distances +may change from level to level. The direction in which the tree grows can be changed globally and for parts of the +tree. You can even specify your own “growth function” to arrange children on a circle or along special lines or +curves. +

The default growth function works as follows: Assume that we are given a node and five children. These children +will be placed on a line with their centers (or, more generally, with their anchors) spaced apart by the current +sibling distance. The line is orthogonal to the current direction of growth, which is set with the grow and grow' +option (the latter option reverses the ordering of the children). The distance from the line to the parent node is +given by the level distance. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \path [help lines] +
    node (root) {root} +
    [grow=-10] +
    child {node {1}} +
    child {node {2}} +
    child {node {3}} +
    child {node {4}}; +
+
  \draw[|<->|,thick] (root-1.center) +
    -- node[above,sloped] {sibling distance} (root-2.center); +
+
  \draw[|<->|,thick] (root.center) +
    -- node[above,sloped] {level distance} +(-10:\tikzleveldistance); +
\end{tikzpicture}
+

Here is a detailed description of the options: +

    +
  • level distance=<distance> This option allows you to change the distance between different levels of + the tree, more precisely, between the parent and the line on which its children are arranged. When + given to a single child, this will set the distance for this child only. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node {root} +
        [level distance=20mm] +
        child +
        child { +
          [level distance=5mm] +
          child +
          child +
          child +
        } +
        child[level distance=10mm]; +
    \end{tikzpicture}
    + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \tikzstyle{level 1}=[level distance=10mm] +
      \tikzstyle{level 2}=[level distance=5mm] +
      \node {root} +
        child +
        child { +
          child +
          child[level distance=10mm] +
          child +
        } +
        child; +
    \end{tikzpicture}
    +
  • +
  • sibling distance=<distance> This option specifies the distance between the anchors of the children of a + parent node. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[level distance=4mm] +
      \tikzstyle{level 1}=[sibling distance=8mm] +
      \tikzstyle{level 2}=[sibling distance=4mm] +
      \tikzstyle{level 3}=[sibling distance=2mm] +
      \coordinate +
         child { +
           child {child child} +
           child {child child} +
         } +
         child { +
           child {child child} +
           child {child child} +
         }; +
    \end{tikzpicture}
    + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[level distance=10mm] +
      \tikzstyle{every node}=[fill=red!60,circle,inner sep=1pt] +
      \tikzstyle{level 1}=[sibling distance=20mm, +
        set style={{every node}+=[fill=red!45]}] +
      \tikzstyle{level 2}=[sibling distance=10mm, +
        set style={{every node}+=[fill=red!30]}] +
      \tikzstyle{level 3}=[sibling distance=5mm, +
        set style={{every node}+=[fill=red!15]}] +
      \node {31} +
         child {node {30} +
           child {node {20} +
             child {node {5}} +
             child {node {4}} +
           } +
           child {node {10} +
             child {node {9}} +
             child {node {1}} +
           } +
         } +
         child {node {20} +
           child {node {19} +
             child {node {1}} +
             child[fill=none] {edge from parent[draw=none]} +
           } +
           child {node {18}} +
         }; +
    \end{tikzpicture}
    +
  • +
  • grow=<direction> This option is used to define the <direction> in which the tree will grow. The <direction> can + either be an angle in degrees or one of the following special text strings: down, up, left, right, north, south, + east, west, north east, north west, south east, and south west. All of these have “their obvious + meaning,” so, say, south west is the same as the angle -135o. +

    As a side effect, this option installs the default growth function. +

    In addition to setting the direction, this option also has a seemingly strange effect: It sets the sibling distance + for the current level to 0pt, but leaves the sibling distance for later levels unchanged. +

    This somewhat strange behaviour has a highly desirable effect: If you give this option before the list of + children of a node starts, the “current level” is still the parent level. Each child will be on a later level and, + hence, the sibling distance will be as specified originally. This will cause the children to be neatly aligned in a + line orthogonal to the given <direction>. However, if you give this option locally to a single child, + then “current level” will be the same as the child’s level. The zero sibling distance will then + cause the child to be placed exactly at a point at distance level distance in the direction + <direction>. However, the children of the child will be placed “normally” on a line orthogonal to the + <direction>. +

    These placement effects are best demonstrated by some examples: +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \node {root} [grow=right] child child;
    + + +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \node {root} [grow=south west] child child;
    +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[level distance=10mm,sibling distance=5mm] +
      \node {root} +
        [grow=down] +
        child +
        child +
        child[grow=right] { +
          child child child +
        }; +
    \end{tikzpicture}
    +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[level distance=2em] +
      \node {C} +
        child[grow=up]    {node {H}} +
        child[grow=left]  {node {H}} +
        child[grow=down]  {node {H}} +
        child[grow=right] {node {C} +
            child[grow=up]    {node {H}} +
            child[grow=right] {node {H}} +
            child[grow=down]  {node {H}} +
          edge from parent[double] +
            coordinate (wrong) +
        }; +
      \draw[<-,red] ([yshift=-2mm]wrong) -- +(0,-1) +
        node[below]{This is wrong!}; +
    \end{tikzpicture}
    +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node[rectangle,draw] (a) at (0,0) {start node}; +
      \node[rectangle,draw] (b) at (2,1) {end}; +
    +
      \draw (a) -- (b) +
        node[coordinate,midway] {} +
          child[grow=100,<-] {node[above] {the middle is here}}; +
    \end{tikzpicture}
    +
  • +
  • grow'=<direction> This option has the same effect as grow, only the children are arranged in the opposite + order. +
  • +
  • growth function=<macro name> This rather low-level option allows you to set a new growth function. The + + + <macro name> must be the name of a macro without parameters. This macro will be called for each child of a + node. +

    The effect of executing the macro should be the following: It should transform the coordinate system in such a + way that the origin becomes the place where the current child should be anchored. When the macro is called, + the current coordinate system will be setup such that the anchor of the parent node is in the origin. Thus, in + each call, the <macro name> must essentially do a shift to the child’s origin. When the macro is called, the + TEX counter \tikznumberofchildren will be set to the total number of children of the parent + node and the counter \tikznumberofcurrentchild will be set to the number of the current + child. +

    The macro may, in addition to shifting the coordinate system, also transform the coordinate system further. + For example, it could be rotated or scaled. +

    Additional growth functions are defined in the library, see Section 14.6.

+

+

12.6 Edges From the Parent Node

+

Every child node is connected to its parent node via a special kind of edge called the edge from parent. This edge +is added to the <child path> when the following path operation is encountered: +

+

+\path  ... edge from parent[<options>] ...;
+ + +

This path operation can only be used inside <child paths> and should be given at the end, possibly + followed by node specifications (we will come to that). If a <child path> does not contain this operation, + it will be added at the end of the <child path> automatically. +

This operation has several effects. The most important is that it inserts the current “edge from parent path” + into the child path. The edge from parent path can be set using the following option: +

    +
  • edge from parent path=<path> This options allows you to set the edge from parent path to a new path. + The default for this path is the following: +

    +
    +
    (\tikzparentnode\tikzparentanchor) -- (\tikzchildnode\tikzchildanchor) +
        
    +

    The \tikzparentnode is a macro that will expand to the name of the parent node. This works even + when you have not assigned a name to the parent node, in this case an internal name is automatically + generated. The \tikzchildnode is a macro that expands to the name of the child node. The two + ...anchor macros are empty by default. So, what is essentially inserted is just the path segment + (\tikzparentnode) -- (\tikzchildnode); which is exactly an edge from the parent to the + child. +

    You can modify this edge from parent path to achieve all sorts of effects. For example, we could replace + the straight line by a curve as follows: + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[edge from parent path= +
      {(\tikzparentnode.south) .. controls +(0,-1) and +(0,1) +
                               .. (\tikzchildnode.north)}] +
      \node {root} +
        child {node {left}} +
        child {node {right} +
          child {node {child}} +
          child {node {child}} +
        }; +
    \end{tikzpicture}
    +

    Further useful edge from parent paths are defined in the tree library, see Section 14.6. +

    As said before, the anchors in the default edge from parent path are empty. However, you can set them + using the following options: +

      +
    • child anchor=<anchor> Specifies the anchor where the edge from parent meets the child + node by setting the macro \tikzchildanchor to .<anchor>. +

      If you specify border as the <anchor>, then the macro \tikzchildanchor is set to the empty string. + The effect of this is that the edge from the parent will meet the child on the border at an + automatically calculated position. +

      +
       

      SVG-Viewer needed.

       
      +
      \begin{tikzpicture} +
        \node {root} +
          [child anchor=north] +
          child {node {left} edge from parent[dashed]} +
          child {node {right} +
            child {node {child}} +
            child {node {child} edge from parent[draw=none]} +
          }; +
      \end{tikzpicture}
      +
    • +
    • parent anchor=<anchor> This option works the same way as the child anchor, only for the + parent.
    +
+

Besides inserting the edge from parent path, the edge from parent operation has another effect: The + <options> are inserted directly before the edge from parent path and the following style is also installed prior + to inserting the path: +

    +
  • style=edge from parent This style is inserted right before the edge from parent path and before the + <options> are inserted. By default, it just draws the edge from parent, but you can use it to make the + edge look different. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \tikzstyle{edge from parent}=[draw,red,thick] +
      \node {root} +
        child {node {left} edge from parent[dashed]} +
        child {node {right} +
          child {node {child}} +
          child {node {child} edge from parent[draw=none]} +
        }; +
    \end{tikzpicture}
    +
+

Note: The <options> inserted before the edge from parent path is added apply to the whole child path. Thus, it + is not possible to, say, draw a circle in red as part of the child path and then have an edge to parent + in blue. However, as always, the child node is a node and can be drawn in a totally different + way. +

Finally, the edge from parent operation has one more effect: It causes all nodes following the operation to be + placed on the edge. This is the same effect as if you had added the pos option to all these nodes, see also + Section 11.6.1. +

As an example, consider the following code: +

+
+
\node (root) {} child {node (child) {} edge to parent node {label}};
+
+

The edge to parent operation and the following node operation will, together, have the same effect as if we + had said: +

+
+
(root) -- (child) node [pos=0.5] {label}
+
+

Here is a more complicated example: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node {root} +
    child { +
      node {left} +
      edge from parent +
        node[left] {a} +
        node[right] {b} +
    } +
    child { +
      node {right} +
        child { +
          node {child} +
          edge from parent +
            node[left] {c} +
        } +
        child {node {child}} +
      edge from parent +
        node[near end] {x} +
    }; +
\end{tikzpicture}
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse13.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse13.html new file mode 100644 index 00000000000..26696889f98 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse13.html @@ -0,0 +1,1385 @@ + + +13 Transformations + + + + + + + + +

+

13 Transformations

+

PGF has a powerful transformation mechanism that is similar to the transformation capabilities of METAFONT. The +present section explains how you can access it in TikZ. +

+

13.1 The Different Coordinate Systems

+

It is a long process from a coordinate like, say, (1,2) or (1cm,5mathrmpt), to the position a point is finally placed +on the display or paper. In order to find out where the point should go, it is constantly “transformed,” +which means that it is mostly shifted around and possibly rotated, slanted, scaled, and otherwise +mutilated. +

In detail, (at least) the following transformations are applied to a coordinate like (1,2) before a point on the +screen is chosen: +

    +
  1. PGF interprets a coordinate like (1,2) in its xy-coordinate system as “add the current x-vector once + and the current y-vector twice to obtain the new point.” +
  2. +
  3. PGF applies its coordinate transformation matrix to the resulting coordinate. This yields the final + position of the point inside the picture. +
  4. +
  5. The backend driver (like dvips or pdftex) adds transformation commands such the coordinate is + shifted to the correct position in TEX’s page coordinate system. +
  6. +
  7. PDF (or PostScript) apply the canvas transformation matrix to the point, which can once more change + the position on the page. +
  8. +
  9. The viewer application or the printer applies the device transformation matrix to transform the + coordinate to its final pixel coordinate on the screen or paper.
+

In reality, the process is even more involved, but the above should give the idea: A point is constantly +transformed by changes of the coordinate system. +

In TikZ, you only have access to the first two coordinate systems: The xy-coordinate system and the coordinate +transformation matrix (these will be explained later). PGF also allows you to change the canvas transformation +matrix, but you have to use commands of the core layer directly to do so and you “better know what you +are doing” when you do this. The moment you start modifying the canvas matrix, PGF immediately +looses track of all coordinates and shapes, anchors, and bounding box computations will no longer +work. +

+

13.2 The Xy- and Xyz-Coordinate Systems

+

The first and easiest coordinate systems are PGF’s xy- and xyz-coordinate systems. The idea is very simple: +Whenever you specify a coordinate like (2,3) this means 2vx + 3vy, where vx is the current x-vector and vy is the +current y-vector. Similarly, the coordinate (1,2,3) means vx + 2vy + 3vz. +

Unlike other packages, PGF does not insist that vx actually has a y-component of 0, that is, that it is a +horizontal vector. Instead, the x-vector can point anywhere you want. Naturally, normally you will want the +x-vector to point horizontally. + + +

One undesirable effect of this flexibility is that it is not possible to provide mixed coordinates as in (1,2pt). Life +is hard. +

To change the x-, y-, and z-vectors, you can use the following options: +

    +
  • x=<dimension> Sets the x-vector of PGF’s xyz-coordinate system to point <dimension> to the right, + that is, to (<dimension>,0pt). The default is 1cm. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw                  (0,0)   -- +(1,0); +
      \draw[x=2cm,color=red] (0,0.1) -- +(1,0); +
    \end{tikzpicture}
    +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[x=1.5cm] (0,0) grid (2,2);
    +

    The last example shows that the size of steppings in grids, just like all other dimensions, are not affected by + the x-vector. After all, the x-vector is only used to determine the coordinate of the upper right corner of the + grid. +

  • +
  • x=<coordinate> Sets the x-vector of PGF’s xyz-coordinate system to the specified <coordinate>. If <coordinate> + contains a comma, it must be put in braces. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw                            (0,0) -- (1,0); +
      \draw[x={(2cm,0.5cm)},color=red] (0,0) -- (1,0); +
    \end{tikzpicture}
    +

    You can use this, for example, to exchange the meaning of the x- and y-coordinate. +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[smooth] +
      \draw plot coordinates{(1,0) (2,0.5) (3,0) (3,1)}; +
      \draw[x={(0cm,1cm)},y={(1cm,0cm)},color=red] +
            plot coordinates{(1,0) (2,0.5) (3,0) (3,1)}; +
    \end{tikzpicture}
    +
  • +
  • y=<value> Works like the x= option, only if <value> is a dimension, the resulting vector points to + (0,<value>). +
  • +
  • z=<value> Works like the z= option, but now a dimension is means the point (<value>,<value>). + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[z=-1cm,->,thick] +
      \draw[color=red] (0,0,0) -- (1,0,0); +
      \draw[color=blue] (0,0,0) -- (0,1,0); +
      \draw[color=orange] (0,0,0) -- (0,0,1); +
    \end{tikzpicture}
    +
+

+

13.3 Coordinate Transformations

+

PGF and TikZ allow you to specify coordinate transformations. Whenever you specify a coordinate as in (1,0) or +(1cm,1pt) or (30:2cm), this coordinate is first “reduced” to a position of the form “x points to the right and y +points upwards.” For example, (1in,5pt) is reduced to “72-72
+100 points to the right and 5 points upwards” and +(90:100pt) means “0pt to the right and 100 points upwards.” +

The next step is to apply the current coordinate transformation matrix to the coordinate. For example, the +coordinate transformation matrix might currently be set such that it adds a certain constant to the x value. Also, it +might be setup such that it, say, exchanges the x and y value. In general, any “standard” transformation like +translation, rotation, slanting, or scaling or any combination thereof is possible. (Internally, PGF keeps +track of a coordinate transformation matrix very much like the concatenation matrix used by PDF or +PostScript.) +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[style=help lines] (0,0) grid (3,2); +
  \draw (0,0) rectangle (1,0.5); +
  \begin{scope}[xshift=1cm] +
    \draw             [red]    (0,0) rectangle (1,0.5); +
    \draw[yshift=1cm] [blue]   (0,0) rectangle (1,0.5); +
    \draw[rotate=30]  [orange] (0,0) rectangle (1,0.5); +
  \end{scope} +
\end{tikzpicture}
+

The most important aspect of the coordinate transformation matrix is that it applies to coordinates +only! In particular, the coordinate transformation has no effect on things like the line width or the +dash pattern or the shading angle. In certain cases, it is not immediately clear whether the coordinate +transformation matrix should apply to a certain dimension. For example, should the coordinate transformation +matrix apply to grids? (It does.) And what about the size of arced corners? (It does not.) The general +rule is “If there is no ‘coordinate’ involved, even ‘indirectly,’ the matrix is not applied.” However, +sometimes, you simply have to try or look it up in the documentation whether the matrix will be +applied. +

Setting the matrix cannot be done directly. Rather, all you can do is to “add” another transformation to the +current matrix. However, all transformations are local to the current TEX-group. All transformations are added +using graphic options, which are described below. +

Transformations apply immediately when they are encountered “in the middle of a path” and they apply only to +the coordinates on the path following the transformation option. +

+
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) rectangle (1,0.5) [xshift=2cm] (0,0) rectangle (1,0.5);
+

A final word of warning: You should refrain from using “aggressive” transformations like a scaling of a factor of +10000. The reason is that all transformations are done using TEX, which has a fairly low accuracy. Furthermore, in +certain situations it is necessary that Tikinverts the current transformation matrix and this will fail if the +transformation matrix is badly conditioned or even singular (if you do not know what singular matrices are, you are + + +blessed). +

    +
  • shift={<coordinate>} adds the <coordinate> to all coordinates. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw                       (0,0) -- (1,1) -- (1,0); +
      \draw[shift={(1,1)},blue]   (0,0) -- (1,1) -- (1,0); +
      \draw[shift={(30:1cm)},red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • xshift=<dimension> adds <dimension> to the x value of all coordinates. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw                   (0,0) -- (1,1) -- (1,0); +
      \draw[xshift=2cm,blue]  (0,0) -- (1,1) -- (1,0); +
      \draw[xshift=-10pt,red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • yshift=<dimension> adds <dimension> to the y value of all coordinates. +
  • +
  • scale=<factor> multiplies all coordinates by the given <factor>. The <factor> should not be excessively large in + absolute terms or very near to zero. +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw               (0,0) -- (1,1) -- (1,0); +
      \draw[scale=2,blue] (0,0) -- (1,1) -- (1,0); +
      \draw[scale=-1,red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • xscale=<factor> multiplies only the x-value of all coordinates by the given <factor>. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw                (0,0) -- (1,1) -- (1,0); +
      \draw[xscale=2,blue] (0,0) -- (1,1) -- (1,0); +
      \draw[xscale=-1,red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • yscale=<factor> multiplies only the y-value of all coordinates by <factor>. +
  • +
  • xslant=<factor> slants the coordinate horizontally by the given <factor>: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw                (0,0) -- (1,1) -- (1,0); +
      \draw[xslant=2,blue] (0,0) -- (1,1) -- (1,0); +
      \draw[xslant=-1,red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • yslant=<factor> slants the coordinate vertically by the given <factor>: +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw                (0,0) -- (1,1) -- (1,0); +
      \draw[yslant=2,blue] (0,0) -- (1,1) -- (1,0); +
      \draw[yslant=-1,red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • rotate=<degree> rotates the coordinate system by <degree>: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw                 (0,0) -- (1,1) -- (1,0); +
      \draw[rotate=40,blue] (0,0) -- (1,1) -- (1,0); +
      \draw[rotate=-20,red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    + + +
  • +
  • rotate around={<degree>:<coordinate>} rotates the coordinate system by <degree> around the point + <coordinate>. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw                                (0,0) -- (1,1) -- (1,0); +
      \draw[rotate around={40:(1,1)},blue] (0,0) -- (1,1) -- (1,0); +
      \draw[rotate around={-20:(1,1)},red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • cm={<a>,<b>,<c>,<d>,<coordinate>} applies the following transformation to all coordinates: Let (x,y) be the + coordinate to be transformed and let <coordinate> specify the point (tx,ty). Then the new coordinate is given + by (a b)
+ c d x
+(y) + (tx)
+ ty. Usually, you do not use this option directly. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[style=help lines] (0,0) grid (3,2); +
      \draw                             (0,0) -- (1,1) -- (1,0); +
      \draw[cm={1,1,0,1,(0,0)},blue]    (0,0) -- (1,1) -- (1,0); +
      \draw[cm={0,1,1,0,(1cm,1cm)},red] (0,0) -- (1,1) -- (1,0); +
    \end{tikzpicture}
    +
  • +
  • reset cm completely resets the coordinate transformation matrix to the identity matrix. This will destroy not + only the transformations applied in the current scope, but also all transformations inherited from surrounding + scopes. Do not use this option.
+ + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse14.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse14.html new file mode 100644 index 00000000000..5bebfa48766 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse14.html @@ -0,0 +1,3886 @@ + + +14 Libraries + + + + + + + + +

+

14 Libraries

+

+

14.1 Arrow Tip Library

+

+

+\usepackage{pgflibraryarrows} % LATEX
+ + +
+\input pgflibraryarrows.tex % plain TEX
+
+\input pgflibraryarrows.tex % ConTEXt
+

The package defines additional arrow tips, which are described below. See page 295 for the arrows tips + that are defined by default. Note that neither the standard packages nor this package defines an arrow + name containing > or <. These are left for the user to defined as he or she sees fit.

+

+

14.1.1 Triangular Arrow Tips
+
+ + + + + + + + + + + + + + + +
latex' yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

latex' reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

stealth' yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

stealth' reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

triangle 90 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

triangle 90 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

triangle 60 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

triangle 60 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

triangle 45 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

triangle 45 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

open triangle 90 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

open triangle 90 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

open triangle 60 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

open triangle 60 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

open triangle 45 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

open triangle 45 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

+
+

+

14.1.2 Barbed Arrow Tips
+
+ + + + + + + +
angle 90 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

angle 90 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

angle 60 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

angle 60 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

angle 45 yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

angle 45 reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

hooks yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

hooks reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

+
+ + +

+

14.1.3 Bracket-Like Arrow Tips
+
+ + +
[-] yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

]-[ yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

(-) yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

)-( yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

+
+

+

14.1.4 Circle and Diamond Arrow Tips
+
+ + + +
o yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

* yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

diamond yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

open diamond yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

+
+

+

14.1.5 Partial Arrow Tips
+
+ + + + + + +
left to yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

left to reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

right to yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

right to reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

left hook yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

left hook reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

right hook yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

right hook reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

+
+

+

14.1.6 Line Caps
+
+ + + + + +
round cap yields for line width 1ex

SVG-Viewer needed.

butt cap yields for line width 1ex

SVG-Viewer needed.

triangle 90 cap yields for line width 1ex

SVG-Viewer needed.

triangle 90 cap reversed yields for line width 1ex

SVG-Viewer needed.

fast cap yields for line width 1ex

SVG-Viewer needed.

fast cap reversed yields for line width 1ex

SVG-Viewer needed.

+
+

+

14.2 Snake Library

+

+

+\usepackage{pgflibrarysnakes} % LATEX
+ + +
+\input pgflibrarysnakes.tex % plain TEX
+
+\input pgflibrarysnakes.tex % ConTEXt
+

This library package defines basic snakes. Section 9.2.3 explains how snakes are used in TikZ, + Section 22 explains how new snakes can be defined. + + +

The snakes are influenced by the current values of parameters like \pgfsnakesegmentamplitude. Only + this parameter and \pgfsnakesegmentlength are proper TEX dimensions, all other parameters are + TEX macros. +

In TikZ, each parameter can be set using an option having the parameters name minus the \pgfsnake + part.

+

+

+Snake border
+ + +

This snake adds straight lines the path that are at a specific angle to the line toward the target. The idea is to + add these little lines to indicate the “border” or an area. The following parameters influence the + snake: +

    +
  • \pgfsnakesegmentlength determines the distance between consecutive ticks. +
  • +
  • \pgfsnakesegmentamplitude determines the length of the ticks. +
  • +
  • \pgfsnakesegmentangle determines the angle between the ticks and the line toward the target.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw (0,0) rectangle (3,1) +
            [snake=border,segment angle=-45] (0,0) rectangle (3,1);}
+
+

+

+Snake brace
+ + +

This snake adds a long brace to the path. The left and right end of the brace will be exactly on the start and + endpoint of the snake. The following parameters influence the snake: +

    +
  • \pgfsnakesegmentamplitude determines how much the brace rises above the path. +
  • +
  • \pgfsnakesegmentaspect determines the fraction of the total length where the “middle part” of + the brace will be.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=brace,segment aspect=0.25] (0,0) -- (3,0);}
+
+
+

+

+Snake bumps
+ + +

This snake consists of little half ellipses. The following parameters influence the snake: +

    +
  • \pgfsnakesegmentamplitude determines the height of the half ellipse. + + +
  • +
  • \pgfsnakesegmentlength determines the width of the half ellipse.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=bumps] (0,0) -- (3,0);}
+
+
+

+

+Snake coil
+ + +

This snake adds a coil to the path. To understand how this works, imagine a three-dimensional spring. The + spring’s axis points along the line toward the target. Then, we “view” the spring from a certain angle. If we + look “straight from the side” we will see a perfect sine curve, if we look “more from the front” we will see a + coil. The following parameters influence the snake: +

    +
  • \pgfsnakesegmentamplitude determines how much the coil rises above the path and falls below + it. Thus, this is the radius of the coil. +
  • +
  • \pgfsnakesegmentlength determines the distance between two consecutive “curls.” Thus, when + the spring is see “from the side” this will be the wave length of the sine curve. +
  • +
  • \pgfsnakesegmentaspect determines the “viewing direction.” A value of 0 means “looking from + the side” and a value of 0.5, which is the default, means “look more from the front.”
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[segment amplitude=10pt] +
  \draw[snake=coil]                  (0,1) -- (3,1); +
  \draw[snake=coil,segment aspect=0] (0,0) -- (3,0); +
\end{tikzpicture}
+
+

+

+Snake expanding waves
+ + +

This snake adds arcs to the path that get bigger along the line towards the target. The following parameters + influence the snake: +

    +
  • \pgfsnakesegmentlength determines the distance between consecutive arcs. +
  • +
  • \pgfsnakesegmentangle determines the opening angle below and above the path. Thus, the total + opening angle is twice this angle.
+ + +

+ +
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=expanding waves] (0,0) -- (3,0);}
+
+

+

+Snake saw
+ + +

This snake looks like the blade of a saw. The following parameters influence the snake: +

    +
  • \pgfsnakesegmentamplitude determines how much each spike raises above the straight line. +
  • +
  • \pgfsnakesegmentlength determines the length each spike.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=saw] (0,0) -- (3,0);}
+
+
+

+

+Snake snake
+ + +

This snake is the “architypical” snake: It looks like a snake seen from above. More precisely, the + snake is a sine wave with a “softened” start and ending. The following parameters influence the + snake: +

    +
  • \pgfsnakesegmentamplitude determines the sine wave’s amplitude. +
  • +
  • \pgfsnakesegmentlength determines the sine wave’s wave length.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=snake] (0,0) -- (3,0);}
+
+
+

+

+Snake ticks
+ + +

This snake adds straight lines the path that are orthogonal to the line toward the target. The following + parameters influence the snake: + + +

    +
  • \pgfsnakesegmentlength determines the distance between consecutive ticks. +
  • +
  • \pgfsnakesegmentamplitude determines half the length of the ticks.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=ticks] (0,0) -- (3,0);}
+
+
+

+

+Snake triangles
+ + +

This snake adds triangles to the path that point toward the target. The following parameters influence the + snake: +

    +
  • \pgfsnakesegmentlength determines the distance between consecutive triangles. +
  • +
  • \pgfsnakesegmentamplitude determines half the length of the triangle side that is orthogonal + to the path. +
  • +
  • \pgfsnakesegmentobjectlength determines the height of the triangle.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=triangles] (0,0) -- (3,0);}
+
+
+

+

+Snake waves
+ + +

This snake adds arcs to the path that have a constant size. The following parameters influence the + snake: +

    +
  • \pgfsnakesegmentlength determines the distance between consecutive arcs. +
  • +
  • \pgfsnakesegmentangle determines the opening angle below and above the path. Thus, the total + opening angle is twice this angle. +
  • +
  • \pgfsnakesegmentamplitude determines the radius of each arc.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=waves] (0,0) -- (3,0);}
+
+
+

+

+Snake zigzag
+ + +

This snake looks like a zig-zag line. The following parameters influence the snake: + + +

    +
  • \pgfsnakesegmentamplitude determines how much the zig-zag lines raises above and falls below + a straight line to the target point. +
  • +
  • \pgfsnakesegmentlength determines the length of a complete “up-down” cycle.
+

+
 

SVG-Viewer needed.

 
+
\tikz{\draw[snake=zigzag] (0,0) -- (3,0);}
+
+
+

+

14.3 Plot Handler Library

+

+

+\usepackage{pgflibraryplothandlers} % LATEX
+ + +
+\input pgflibraryplothandlers.tex % plain TEX
+
+\input pgflibraryplothandlers.tex % ConTEXt
+

This library packages defines additional plot handlers, see Section 29.3 for an introduction to plot + handlers. The additional handlers are described in the following.

+

+

14.3.1 Curve Plot Handlers
+

+

+\pgfplothandlercurveto
+ +

This handler will issue a \pgfpathcurveto command for each point of the plot, except possibly + for the first. As for the line-to handler, what happens with the first point can be specified using + \pgfsetmovetofirstplotpoint or \pgfsetlinetofirstplotpoint. +

Obviously, the \pgfpathcurveto command needs, in addition to the points on the path, some control points. + These are generated automatically using a somewhat “dumb” algorithm: Suppose you have three points x, y, + and z on the curve such that y is between x and z: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfplothandlercurveto +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+ + +

In order to determine the control points of the curve at the point y, the handler computes the vector z - x + and scales it by the tension factor (see below). Let us call the resulting vector s. Then y + s + and y - s will be the control points around y. The first control point at the beginning of the + curve will be the beginning itself, once more; likewise the last control point is the end itself. +

+

+

+\pgfsetplottension{<value>}
+ +

Sets the factor used by the curve plot handlers to determine the distance of the control points from + the points they control. The higher the curvature of the curve points, the higher this value should be. + A value of 1 will cause four points at quarter positions of a circle to be connected using a circle. The + default is 0.5. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfsetplottension{0.75} +
  \pgfplothandlercurveto +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfplothandlerclosedcurve
+ +

This handler works like the curve-to plot handler, only it will add a new part to the current path that is a + closed curve through the plot points. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfplothandlerclosedcurve +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

14.3.2 Comb Plot Handlers
+

There are three “comb” plot handlers. There name stems from the fact that the plots they produce look like +“combs” (more or less). +

+ + +

+\pgfplothandlerxcomb
+ +

This handler converts each point in the plot stream into a line from the y-axis to the point’s coordinate, + resulting in a “horizontal comb.” +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfplothandlerxcomb +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfplothandlerycomb
+ +

This handler converts each point in the plot stream into a line from the x-axis to the point’s coordinate, + resulting in a “vertical comb.” +

This handler is useful for creating “bar diagrams.” +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfplothandlerycomb +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfplothandlerpolarcomb
+ +

This handler converts each point in the plot stream into a line from the origin to the point’s coordinate. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfplothandlerpolarcomb +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

14.3.3 Mark Plot Handler
+

+

+\pgfplothandlermark{<mark code>}
+ +

This command will execute the <mark code> for each point of the plot, but each time the coordinate + transformation matrix will be setup such that the origin is at the position of the point to be plotted. + This way, if the <mark code> draws a little circle around the origin, little circles will be drawn at each + point of the plot. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfplothandlermark{\pgfpathcircle{\pgfpointorigin}{4pt}\pgfusepath{stroke}} +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+

Typically, the <code> will be \pgfuseplotmark{<plot mark name>}, where <plot mark name> is the name of a + predefined plot mark.

+

+

+\pgfuseplotmark{<plot mark name>}
+ +

Draws the given <plot mark name> at the origin. The <plot mark name> must previously have been + declared using \pgfdeclareplotmark. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfplothandlermark{\pgfuseplotmark{pentagon}} +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfdeclareplotmark{<plot mark name>}{<code>}
+ +

Declares a plot mark for later used with the \pgfuseplotmark command. +

+
 

SVG-Viewer needed.

 
+
\pgfdeclareplotmark{my plot mark} +
  {\pgfpathcircle{\pgfpoint{0cm}{1ex}}{1ex}\pgfusepathqstroke} +
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfplothandlermark{\pgfuseplotmark{my plot mark}} +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfsetplotmarksize{<dimension>}
+ +

This command sets the TEX dimension \pgfplotmarksize to <dimension>. This dimension is a + “recommendation” for plot mark code at which size the plot mark should be drawn; plot mark code + may choose to ignore this <dimension> altogether. For circles, <dimension> should be the radius, for + other shapes it should be about half the width/height. +

The predefined plot marks all take this dimension into account. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; +
  \pgfsetplotmarksize{1ex} +
  \pgfplothandlermark{\pgfuseplotmark{*}} +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{tikzpicture}
+ + +
+

+

+\pgfplotmarksize
+ +

A TEX dimension that is a “recommendation” for the size of plot marks.

+

The following plot marks are predefined (the filling color has been set to yellow): +

+ + +
\pgfuseplotmark{*}

SVG-Viewer needed.

\pgfuseplotmark{x}

SVG-Viewer needed.

\pgfuseplotmark{+}

SVG-Viewer needed.

+
+

+

14.4 Plot Mark Library

+

+

+\usepackage{pgflibraryplotmarks} % LATEX
+ + +
+\input pgflibraryplotmarks.tex % plain TEX
+
+\input pgflibraryplotmarks.tex % ConTEXt
+

When this package is loaded, the following plot marks are defined in addition to *, x, and + (the filling + color has been set to a dark yellow): +

+ + + + + + + + + + + + + + + + + +
\pgfuseplotmark{-}

SVG-Viewer needed.

\pgfuseplotmark{|}

SVG-Viewer needed.

\pgfuseplotmark{o}

SVG-Viewer needed.

\pgfuseplotmark{asterisk}

SVG-Viewer needed.

\pgfuseplotmark{star}

SVG-Viewer needed.

\pgfuseplotmark{oplus}

SVG-Viewer needed.

\pgfuseplotmark{oplus*}

SVG-Viewer needed.

\pgfuseplotmark{otimes}

SVG-Viewer needed.

\pgfuseplotmark{otimes*}

SVG-Viewer needed.

\pgfuseplotmark{square}

SVG-Viewer needed.

\pgfuseplotmark{square*}

SVG-Viewer needed.

\pgfuseplotmark{triangle}

SVG-Viewer needed.

\pgfuseplotmark{triangle*}

SVG-Viewer needed.

\pgfuseplotmark{diamond}

SVG-Viewer needed.

\pgfuseplotmark{diamond*}

SVG-Viewer needed.

\pgfuseplotmark{pentagon}

SVG-Viewer needed.

\pgfuseplotmark{pentagon*}

SVG-Viewer needed.

+ + +

+

14.5 Shape Library

+

+

+\usepackage{pgflibraryshapes} % LATEX
+ + +
+\input pgflibraryshapes.tex % plain TEX
+
+\input pgflibraryshapes.tex % ConTEXt
+

This library packages defines additional shapes, which are described in the following.

+

+

+Shape cross out
+ + +

This shape “crosses out” the node. Its foreground path are simply two diagonal lines that between the + corners of the node’s bounding box. Here is an example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \node [cross out,draw=red] at (1.5,1) {cross out}; +
\end{tikzpicture}
+

A useful application is inside text as in the following example: +

+
 Cross

SVG-Viewer needed.

out!  
+
Cross \tikz[baseline] \node [cross out,draw,anchor=text] {me}; out!
+
+

This shape inherits all anchors from the rectangle shape, see also the following figure: +

SVG-Viewer needed.

+
+
\Huge +
\begin{tikzpicture} +
  \node[name=s,shape=cross out,style=shape example] {cross out\vrule width 1pt height 2cm}; +
  \foreach \anchor/\placement in +
    {north west/above left, north/above, north east/above right, +
     west/left, center/above, east/right, +
     mid west/right, mid/above, mid east/left, +
     base west/left, base/below, base east/right, +
     south west/below left, south/below, south east/below right, +
     text/left, 10/right, 130/above} +
     \draw[shift=(s.\anchor)] plot[mark=x] coordinates{(0,0)} +
       node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +
\end{tikzpicture}
+
+
+ + +

+

+Shape ellipse
+ + +

This shape is an ellipse tightly fitting the text box, if no inner separation is given. The following figure shows + the anchors this shape defines; the anchors 10 and 130 are example of border anchors. +

SVG-Viewer needed.

+
+
\Huge +
\begin{tikzpicture} +
  \node[name=s,shape=ellipse,style=shape example] {Ellipse\vrule width 1pt height 2cm}; +
  \foreach \anchor/\placement in +
    {north west/above left, north/above, north east/above right, +
     west/left, center/above, east/right, +
     mid west/right, mid/above, mid east/left, +
     base west/left, base/below, base east/right, +
     south west/below left, south/below, south east/below right, +
     text/left, 10/right, 130/above} +
     \draw[shift=(s.\anchor)] plot[mark=x] coordinates{(0,0)} +
       node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +
\end{tikzpicture}
+
+
+

+

+Shape forbidden sign
+ + +

This shape places the node inside a circle with a diagonal from the lower left to the upper right added. + The circle is part of the background, the diagonal line part of the foreground path; thus, the diagonal + line is on top of the text. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node [forbidden sign,line width=1ex,draw=red,fill=white] {Smoking}; +
\end{tikzpicture}
+

The shape inherits all anchors from the circle shape, see also the following figure: + + +

SVG-Viewer needed.

+
+
\Huge +
\begin{tikzpicture} +
  \node[name=s,shape=forbidden sign,style=shape example] {Forbidden\vrule width 1pt height 2cm}; +
  \foreach \anchor/\placement in +
    {north west/above left, north/above, north east/above right, +
     west/left, center/above, east/right, +
     mid west/right, mid/above, mid east/left, +
     base west/left, base/below, base east/right, +
     south west/below left, south/below, south east/below right, +
     text/left, 10/right, 130/above} +
     \draw[shift=(s.\anchor)] plot[mark=x] coordinates{(0,0)} +
       node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +
\end{tikzpicture}
+
+
+

+

+Shape strike out
+ + +

This shape is idential to the cross out shape, only its foreground path consists of a single line from + the lower left to the upper right. +

+
 Strike

SVG-Viewer needed.

out!  
+
Strike \tikz[baseline] \node [strike out,draw,anchor=text] {me}; out!
+
+

See the cross out shape for the anchors.

+

+

14.6 Tree Library

+

+

+\usepackage{pgflibrarytikztrees} % LATEX
+ + + + +
+\input pgflibrarytikztrees.tex % plain TEX
+
+\input pgflibrarytikztrees.tex % ConTEXt
+

This packages defines styles to be used when drawing trees.

+

+

14.6.1 Growth Functions
+

The package pgflibrarytikztrees defines two new growth functions. They are installed using the following +options: +

    +
  • grow via three points=one child at (<x>) and two children at (<y>) and (<z>) This option + installs a growth function that works as follows: If a parent node has just one child, this child is placed + at <x>. If the parent node has two children, these are placed at <y> and <z>. If the parent node has + more than two children, the children are placed at points that are linearly extrapolated from the three + points <x>, <y>, and <z>. In detail, the position is x+n-1
+ 2(y-x)+(c-1)(z-y), where n is the number + of children and c is the number of the current child (starting with 1). +

    The net effect of all this is that if you have a certain “linear arrangement” in mind and use this option + to specify the placement of a single child and of two children, then any number of children will be + placed correctly. +

    Here are some arrangements based on this growth function. We start with a simple “above” + arrangement: +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[grow via three points={% +
        one child at (0,1) and two children at (-.5,1) and (.5,1)}] +
      \node at (0,0) {one} child; +
      \node at (0,-1.5) {two} child child; +
      \node at (0,-3) {three} child child child; +
      \node at (0,-4.5) {four} child child child child; +
    \end{tikzpicture}
    +

    The next arrangement places children above, but “grows only to the right.” + + +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[grow via three points={% +
        one child at (0,1) and two children at (0,1) and (1,1)}] +
      \node at (0,0) {one} child; +
      \node at (0,-1.5) {two} child child; +
      \node at (0,-3) {three} child child child; +
      \node at (0,-4.5) {four} child child child child; +
    \end{tikzpicture}
    +

    In the final arrangement, the children are placed along a line going down and right. +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[grow via three points={% +
        one child at (-1,-.5) and two children at (-1,-.5) and (0,-.75)}] +
      \node at (0,0) {one} child; +
      \node at (0,-1.5) {two} child child; +
      \node at (0,-3) {three} child child child; +
      \node at (0,-4.5) {four} child child child child; +
    \end{tikzpicture}
    +

    These examples should make it clear how you can create new styles to arrange your children along a + line. +

  • +
  • style=grow cyclic This style causes the children to be arranged “on a circle.” For this, the children are + placed at distance \tikzleveldistance from the parent node, but not on a straight line, but points on a + circle. Instead of a sibling distance, there is a sibling angle that denotes the angle between two given + children. +
      +
    • sibling angle=<angle> Sets the angle between siblings in the grow cyclic style.
    +

    Note that this function will rotate the coordinate system of the children to ensure that the grandchildren will + grow in the right direction. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[grow cyclic] +
      \tikzstyle{level 1}=[level distance=8mm,sibling angle=60] +
      \tikzstyle{level 2}=[level distance=4mm,sibling angle=45] +
      \tikzstyle{level 3}=[level distance=2mm,sibling angle=30] +
      \coordinate [rotate=-90] % going down +
        child foreach \x in {1,2,3} +
          {child foreach \x in {1,2,3} +
            {child foreach \x in {1,2,3}}}; +
    \end{tikzpicture}
    +
+

+

14.6.2 Edges From Parent
+

The following styles can be used to modify how the edges from parents are drawn: +

    +
  • style=edge from parent fork down This style will draw a line from the parent downwards (for half the + level distance) and then on to the child using only horizontal and vertical lines. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node {root} +
        [edge from parent fork down] +
        child {node {left}} +
        child {node {right} +
          child[child anchor=north east] {node {child}} +
          child {node {child}} +
        }; +
    \end{tikzpicture}
    +
  • +
  • style=edge from parent fork right This style behaves similarly, only it will first draw its edge to the + right. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node {root} +
        [edge from parent fork right,grow=right] +
        child {node {left}} +
        child {node {right} +
          child {node {child}} +
          child {node {child}} +
        }; +
    \end{tikzpicture}
    + + +
  • +
  • style=edge from parent fork left behaves similary. +
  • +
  • style=edge from parent fork up behaves similary.
+

+

14.7 Background Library

+

+

+\usepackage{pgflibrarytikzbackgrounds} % LATEX
+ + +
+\input pgflibrarytikzbackgrounds.tex % plain TEX
+
+\input pgflibrarytikzbackgrounds.tex % ConTEXt
+

This packages defines “backgrounds” for pictures. This does not refer to background pictures, but + rather to frames drawn around and behind pictures. For example, this package allows you to just add + the framed option to a picture to get a rectangular box around your picture or gridded to put a grid + behind your picture.

+

When this package is loaded, the following styles become available: +

    +
  • style=show background rectangle This style causes a rectangle to be drawn behind your + graphic. This style option must be given to the {tikzpicture} environment or to the \tikz + command. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[show background rectangle] +
      \draw (0,0) ellipse (10mm and 5mm); +
    \end{tikzpicture}
    +

    The size of the background rectangle is determined as follows: We start with the bounding box of the picture. + Then, a certain separator distance is added on the sides. This distance can be different for the x- and + y-directions and can be set using the following options: +

      +
    • inner frame xsep=<dimension> Sets the additional horizontal separator distance for the + background rectangle. The default is 1ex. +
    • +
    • inner frame ysep=<dimension> Same for the vertical separator distance. +
    • +
    • inner frame sep=<dimension> sets the horizontal and vertical separator distances + simultaneously.
    +

    The following two styles make setting the inner separator a bit easier to remember: +

      +
    • style=tight background Sets the inner frame separator to 0pt. The background rectangle will + have the size of the bounding box. +
    • +
    • style=loose background Sets the inner frame separator to 2ex.
    + + +

    You can influence how the background rectangle is rendered by setting the following style: +

      +
    • style=background rectangle This style dictates how the background rectangle is drawn or filled. By + default this style is set to draw, which causes the path of the background rectangle to be drawn in + the usual way. Setting this style to, say, fill=blue!20 causes a light blue background to + be added to the picture. You can also use more fancy settings as shown in the following + example: +

      +
       

      SVG-Viewer needed.

       
      +
      \tikzstyle{background rectangle}= +
        [double,ultra thick,draw=red,top color=blue,rounded corners] +
      \begin{tikzpicture}[show background rectangle] +
        \draw (0,0) ellipse (10mm and 5mm); +
      \end{tikzpicture}
      +

      Naturally, no one in their right mind would use the above, but here is a nice background: +

      +
       

      SVG-Viewer needed.

       
      +
      \tikzstyle{background rectangle}= +
        [draw=blue!50,fill=blue!20,rounded corners=1ex] +
      \begin{tikzpicture}[show background rectangle] +
        \draw (0,0) ellipse (10mm and 5mm); +
      \end{tikzpicture}
      +
    +
  • +
  • style=framed This is a shorthand for show background rectangle. +
  • +
  • style=show background grid This style behaves similarly to the show background rectangle style, but it + will not use a rectangle path, but a grid. The lower left and upper right corner of the grid is computed in the + same way as for the background rectangle: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[show background grid] +
      \draw (0,0) ellipse (10mm and 5mm); +
    \end{tikzpicture}
    +

    You can influence the background grid by setting the following style: +

      +
    • style=background grid This style dictates how the background grid path is drawn. The default is + draw,help lines. +

      +
       

      SVG-Viewer needed.

       
      +
      \tikzstyle{background grid}=[thick,draw=red,step=.5cm] +
      \begin{tikzpicture}[show background grid] +
        \draw (0,0) ellipse (10mm and 5mm); +
      \end{tikzpicture}
      +

      This option can be combined with the framed option (use the framed option first): + + +

      +
       

      SVG-Viewer needed.

       
      +
      \tikzstyle{background grid}=[thick,draw=red,step=.5cm] +
      \tikzstyle{background rectangle}=[rounded corners,fill=yellow] +
      \begin{tikzpicture}[framed,gridded] +
        \draw (0,0) ellipse (10mm and 5mm); +
      \end{tikzpicture}
      +
    • +
    • style=gridded This is a shorthand for show background grid.
    +
  • +
  • style=show background top This style causes a single line to be drawn at the top of the background + rectangle. Normally, the line coincides exactly with the top line of the background rectangle: +

    +
     

    SVG-Viewer needed.

     
    +
    \tikzstyle{background rectangle}=[fill=yellow] +
    \begin{tikzpicture}[framed,show background top] +
      \draw (0,0) ellipse (10mm and 5mm); +
    \end{tikzpicture}
    +

    The following option allows you to lengthen (or shorten) the line: +

      +
    • outer frame xsep=<dimension> The <dimension> is added at the left and right side of the + line. +

      +
       

      SVG-Viewer needed.

       
      +
      \tikzstyle{background rectangle}=[fill=yellow] +
      \begin{tikzpicture} +
          [framed,show background top,outer frame xsep=1ex] +
        \draw (0,0) ellipse (10mm and 5mm); +
      \end{tikzpicture}
      +
    • +
    • outer frame ysep=<dimension> This option does not apply to the top line, but to the left and right + lines, see below. +
    • +
    • outer frame sep=<dimension> Sets both the x- and y-separation. +

      +
       

      SVG-Viewer needed.

       
      +
      \tikzstyle{background rectangle}=[fill=blue!20] +
      \begin{tikzpicture} +
        [outer frame sep=1ex,% +
         show background top,% +
         show background bottom,% +
         show background left,% +
         show background right] +
        \draw (0,0) ellipse (10mm and 5mm); +
      \end{tikzpicture}
      +
    +

    You can influence how the line is drawn grid by setting the following style: +

      +
    • style=background top Default is draw. + + +

      +
       

      SVG-Viewer needed.

       
      +
      \tikzstyle{background rectangle}=[fill=blue!20] +
      \tikzstyle{background top}=[draw=blue!50,line width=1ex] +
      \begin{tikzpicture}[framed,show background top] +
        \draw (0,0) ellipse (10mm and 5mm); +
      \end{tikzpicture}
      +
    +
  • +
  • style=show background bottom works like the style for the top line. +
  • +
  • style=show background left works like the style for the top line. +
  • +
  • style=show background right works like the style for the top line.
+

+

14.8 Automata Drawing Library

+

+

+\usepackage{pgflibraryautomata} % LATEX
+ + +
+\input pgflibraryautomata.tex % plain TEX
+
+\input pgflibraryautomata.tex % ConTEXt
+

This packages, which is still under construction, provides shapes and styles for drawing automata.

+

+

+Shape state
+ + +

This shape is currently just an alias for the circle shape. However, it is useful to have another shape + state since one can then say, for example, the the style every state shape should be set to some + special value.

+

+

+Shape state with output
+ + +

This shape is a multi-part shape. The main part (the text part) is the name of the state as in the + state shape. The second part is called output. This node part is drawn in the lower part of the node, + separated from the upper part by a line. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node [state with output,draw,double,fill=red!20] +
  { +
    $q_1$ +
    \nodepart{output} +
    $00$ +
  }; +
\end{tikzpicture}
+

The shape inherits all anchors from the circle shape and defines the output anchor in addition. See also the + following figure: +

SVG-Viewer needed.

+
+
\Huge +
\begin{tikzpicture} +
  \node[name=s,shape=state with output,style=shape example] {state name\nodepart{output}output}; +
  \foreach \anchor/\placement in +
    {north west/above left, north/above, north east/above right, +
     west/left, center/below, east/right, +
     mid west/right, mid/above, mid east/left, +
     base west/left, base/below, base east/right, +
     south west/below left, south/below, south east/below right, +
     text/left, output/left, 130/above} +
     \draw[shift=(s.\anchor)] plot[mark=x] coordinates{(0,0)} +
       node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +
\end{tikzpicture}
+
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse15.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse15.html new file mode 100644 index 00000000000..3be2199c388 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse15.html @@ -0,0 +1,974 @@ + + +15 Repeating Things: The Foreach Statement + + + + + + + + +

+

15 Repeating Things: The Foreach Statement

+

In this section the package pgffor.sty is described. It can be used independently of PGF, but it works particularly +well together with PGF and TikZ. +

When you say \usepackage{pgffor}, two commands are defined: \foreach and \breakforeach. Their +behaviour is described in the following: +

+

+\foreach <variables> in {<list>} <commands>
+ +

The syntax of this command is a bit complicated, so let us go through it step-by-step. +

In the easiest case, <variables> is a single TEX-command like \x or \point. (If you want to have some + fun, you can also use active characters. If you do not know what active characters are, you are blessed.) +

Still in the easiest case, <list> is a comma-separated list of values. Anything can be used as a value, + but numbers are most likely. +

Finally, in the easiest case, <commands> is some TEX-text in curly braces. +

With all these assumptions, the \foreach statement will execute the <commands> repeatedly, once for + every element of the <list>. Each time the <commands> are executed, the <variable> will be set to the + current value of the list item. +

+
 [1][2][3][0] 
+
\foreach \x in {1,2,3,0} {[\x]}
+
+

Syntax for the commands. Let use move on to a more complicated setting. The first complication occurs + when the <commands> are not some text in curly braces. If the \foreach statement does not encounter an + opening brace, it will instead scan everything up to the next semicolon and use this as <commands>. This is + most useful in situations like the following: +

+
 

SVG-Viewer needed.

 
+
\tikz +
  \foreach \x in {0,1,2,3} +
    \draw (\x,0) circle (0.2cm);
+

However, the “reading till the next semicolon” is not the whole truth. There is another rule: If a \foreach + statement is directly followed by another \foreach statement, this second foreach statement is collected as + <commands>. This allows you to write the following: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \foreach \x in {0,1,2,3} +
    \foreach \y in {0,1,2,3} +
      { +
        \draw (\x,\y) circle (0.2cm); +
        \fill (\x,\y) circle (0.1cm); +
      } +
\end{tikzpicture}
+ + +

The dots notation. The second complication concerns the <list>. If this <list> contains the + list item “...”, this list item is replaced by the “missing values.” More precisely, the following + happens: +

Normally, when a list item ... is encountered, there should already have been two list items before it, which + where numbers. Examples of numbers are 1, -10, or -0.24. Let us call these numbers x and y and let + d := y -x be their difference. Next, there should also be one number following the three dots, let us call this + number z. +

In this situation, the part of the list reading “x,y,...,z” is replaced by “x, x + d, x + 2d, x + 3d, ..., + x + md,” where the last dots are semantic dots, not syntactic dots. The value m is the largest number such + that x + md < z if d is positive or such that x + md > z if d is negative. +

Perhaps it is best to explain this by some examples: The following <list> have the same effects: +

\foreach \x in {1,2,...,6} {\x, } yields 1, 2, 3, 4, 5, 6, +

\foreach \x in {1,2,3,...,6} {\x, } yields 1, 2, 3, 4, 5, 6, +

\foreach \x in {1,3,...,11} {\x, } yields 1, 3, 5, 7, 9, 11, +

\foreach \x in {1,3,...,10} {\x, } yields 1, 3, 5, 7, 9, +

\foreach \x in {0,0.1,...,0.5} {\x, } yields 0, 0.1, 0.20001, 0.30002, 0.40002, +

\foreach \x in {a,b,9,8,...,1,2,2.125,...,2.5} {\x, } yields a, b, 9, 8, 7, 6, 5, 4, 3, 2, 1, 2, 2.125, + 2.25, 2.375, 2.5, +

As can be seen, for fractional steps that are not multiples of 2-n for some small n, rounding errors can + occur pretty easily. Thus, in the second last case, 0.5 should probably be replaced by 0.501 for + robustness. +

There is yet another special case for the ... statement: If the ... is used right after the first item in the list, + that is, if there is an x, but no y, the difference d obviously cannot be computed and is set to 1 if the number z + following the dots is larger than x and is set to -1 if z is smaller: +

\foreach \x in {1,...,6} {\x, } yields 1, 2, 3, 4, 5, 6, +

\foreach \x in {9,...,3.5} {\x, } yields 9, 8, 7, 6, 5, 4, +

Special handling of pairs. Different list items are separated by commas. However, this causes a problem + when the list items contain commas themselves as pairs like (0,1) do. In this case, you should put the items + containing commas in braces as in {(0,1)}. However, since pairs are such a natural and useful + case, they get a special treatment by the \foreach statement. When a list item starts with + a ( everything up to the next ) is made part of the item. Thus, we can write things like the + following: +

+
 

SVG-Viewer needed.

 
+
\tikz +
  \foreach \position in {(0,0), (1,1), (2,0), (3,1)} +
    \draw \position rectangle +(.25,.5);
+

Using the foreach-statement inside paths. TikZ allows you to use a \foreach statement inside a path + construction. In such a case, the <commands> must be path construction commands. Here are two + examples: +

+
 

SVG-Viewer needed.

 
+
\tikz +
  \draw (0,0) +
    \foreach \x in {1,...,3} +
      { -- (\x,1) -- (\x,0) } +
    ;
+ + +

+ +
 

SVG-Viewer needed.

 
+
\tikz \draw \foreach \p in {1,...,3} {(\p,1)--(\p,3) (1,\p)--(3,\p)};
+

Multiple variables. You will often wish to iterate over two variables at the same time. Since you can nest + \foreach loops, this is normally straight-forward. However, you sometimes wish variables to iterate + “simultaneously.” For example, we might be given a list of edges that connect two coordinates and might wish + to iterate over these edges. While doing so, we would like the source and target of the edges to be set to two + different variables. +

To achieve this, you can use the following syntax: The <variables> may not only be a single TEX-variable. + Instead, it can also be a list of variables separated by slashes (/). In this case the list items can also be lists of + values separated by slashes. +

Assuming that the <variables> and the list items are lists of values, each time the <commands> are executed, + each of the variables in <variables> is set to one part of the list making up the current list item. Here is an + example to clarify this: +

Example: \foreach \x / \y in {1/2,a/b} {``\x\ and \y''} yields “1 and 2”“a and b”. +

If some entry in the <list> does not have “enough” slashes, the last entry will be repeated. Here is an + example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \foreach \x/\xtext in {0,...,3,2.72 / e} +
    \draw (\x,0) node{$\xtext$}; +
\end{tikzpicture}
+

Here are more useful examples: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  % Define some coordinates: +
  \tikzstyle{every node}=[draw,fill] +
  \path[shape=circle,fill=examplefill] +
    (0,0)    node(a) {a} +
    (2,0.55) node(b) {b} +
    (1,1.5)  node(c) {c} +
    (2,1.75) node(d) {d}; +
+
  % Draw some connections: +
  \foreach \source/\target in {a/b, b/c, c/a, c/d} +
    \draw (\source) .. controls +(.75cm,0pt) and +(-.75cm,0pt)..(\target); +
\end{tikzpicture}
+ + +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  % Let's draw circles at interesting points: +
  \foreach \x / \y / \diameter in {0 / 0 / 2mm, 1 / 1 / 3mm, 2 / 0 / 1mm} +
    \draw (\x,\y) circle (\diameter); +
+
  % Same effect +
  \foreach \center/\diameter in {{(0,0)/2mm}, {(1,1)/3mm}, {(2,0)/1mm}} +
    \draw[yshift=2.5cm] \center circle (\diameter); +
\end{tikzpicture}
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[cap=round,line width=3pt] +
  \filldraw [fill=examplefill] (0,0) circle (2cm); +
+
  \foreach \angle / \label in +
    {0/3, 30/2, 60/1, 90/12, 120/11, 150/10, 180/9, +
     210/8, 240/7, 270/6, 300/5, 330/4} +
  { +
    \draw[line width=1pt] (\angle:1.8cm) -- (\angle:2cm); +
    \draw (\angle:1.4cm) node{\textsf{\label}}; +
  } +
+
  \foreach \angle in {0,90,180,270} +
    \draw[line width=2pt] (\angle:1.6cm) -- (\angle:2cm); +
+
  \draw (0,0) -- (120:0.8cm); % hour +
  \draw (0,0) -- (90:1cm);    % minute +
\end{tikzpicture}%
+

+ +
 

SVG-Viewer needed.

 
+
\tikz[shading=ball] +
  \foreach \x / \cola in {0/red,1/green,2/blue,3/yellow} +
    \foreach \y / \colb in {0/red,1/green,2/blue,3/yellow} +
      \shade[ball color=\cola!50!\colb] (\x,\y) circle (0.4cm);
+
+

+ + +

+\breakforeach
+ +

If this command is given inside a \foreach command, no further executions of the <commands> will + occur. However, the current execution of the <commands> is continued normally, so it is probably best + to use this command only at the end of a \foreach command. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \foreach \x in {1,...,4} +
    \foreach \y in {1,...,4} +
    { +
      \fill[red!50] (\x,\y) ellipse (3pt and 6pt); +
+
      \ifnum \x<\y +
        \breakforeach +
      \fi +
    } +
\end{tikzpicture}
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse16.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse16.html new file mode 100644 index 00000000000..1115680bb15 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse16.html @@ -0,0 +1,1631 @@ + + +16 Page Management + + + + + + + + +

+

16 Page Management

+

This section describes the pgfpages packages. Although this package is not concerned with creating pictures, its +implementation relies so heavily on PGF that it is documented here. Currently, pgfpages only works +with LATEX, but if you are adventurous, feel free to hack the code so that it also works with plain +TEX. +

The aim of pgfpages is to provide a flexible way of putting multiple pages on a single page inside TEX. Thus, +pgfpages is quite different from useful tools like psnup or pdfnup insofar as it creates its output in a single pass. +Furthermore, it works uniformly with both latex and pdflatex, making it easy to put multiple pages on a single +page without any fuss. +

A word of warning: using pgfpages will destroy hyperlinks. Actually, the hyperlinks are not destroyed, only they +will appear at totally wrong positions on the final output. This is due to a fundamental flaw in the +PDF specification: In PDF the bounding rectangle of a hyperlink is given in “absolute page coordinates” and +translations or rotations do not affect them. Thus, the transformations applied by pgfpages to put the pages where +you want them are (cannot, even) be applied to the coordinates of hyperlinks. It is unlikely that this will change in +the foreseeable future. +

+

16.1 Basic Usage

+

The internals of pgfpages are complex since the package can do all sorts of interesting tricks. For this reason, +so-called layouts are predefined that setup all option in appropriate ways. +

You use a layout as follows: +

+
+
\documentclass{article} +
+
\usepackage{pgfpages} +
\pgfpagesuselayout{2 on 1}[a4paper,landscape,border shrink=5mm] +
+
\begin{document} +
This text is shown on the left. +
\clearpage +
This text is shown on the right. +
\end{document}
+

The layout 2 on 1 puts two pages on a single page. The option a4paper tells pgfpages that the resulting page +(called the physical page in the following) should be a4paper and it should be landscape (which is quite logical since +putting two portrait pages next to each other gives a landscape page). Normally, the logical pages, that is, the pages +that TEX “thinks” that it is typesetting, will have the same sizes, but this need not be the case. pgfpages will +automatically scale down the logical pages such that two logical pages fit next to each other inside a DIN A4 +page. +

The border shrink tells pgfpages that it should add an additional 5mm to the shrinking such that a +5mm-wide border is shown around the resulting logical pages. +

As a second example, let us put two pages produced by the BEAMER class on a single page: +

+
+
\documentclass{beamer} +
+
\usepackage{pgfpages} +
\pgfpagesuselayout{2 on 1}[a4paper,border shrink=5mm] +
+
\begin{document} +
\begin{frame} +
  This text is shown at the top. +
\end{frame} +
\begin{frame} +
  This text is shown at the bottom. +
\end{frame} +
\end{document}
+ + +
+

Note that we do not use the landscape option since BEAMER’s logical pages are already in landscape mode and +putting two landscape pages on top of each other results in a portrait page. However, if you had used the 4 on 1 +layout, you would have had to add landscape once more, using the 8 on 1 you must not, using 16 on 1 you need +it yet again. And, no, there is no 32 on 1 layout. +

Another word of caution: using pgfpages will produce wrong page numbers in the .aux file. The reason is that +TEX instantiates the page numbers when writing an .aux file only when the physical page is shipped out. +Fortunately, this problem is easy to fix: First, typeset our file normally without using the \pgfpagesuselayout +command (just put the comment marker % before it) Then, rerun TEX with the \pgfpagesuselayout command +included and add the command \nofiles. This command ensures that the .aux file is not modified, which is +exactly what you want. So, to typeset the above example, you should actually first TEX the following +file: +

+
+
\documentclass{article} +
+
\usepackage{pgfpages} +
%%\pgfpagesuselayout{2 on 1}[a4paper,landscape,border shrink=5mm] +
%%\nofiles +
+
\begin{document} +
This text is shown on the left. +
\clearpage +
This text is shown on the right. +
\end{document}
+

and then typeset +

+
+
\documentclass{article} +
+
\usepackage{pgfpages} +
\pgfpagesuselayout{2 on 1}[a4paper,landscape,border shrink=5mm] +
\nofiles +
+
\begin{document} +
This text is shown on the left. +
\clearpage +
This text is shown on the right. +
\end{document}
+

The final basic example is the resize to layout (it works a bit like a hypothetical 1 on 1 layout). This layout +resizes the logical page such that is fits the specified physical size. Since this does not change the page numbering, +you need not worry about the .aux files with this layout. For example, adding the following lines will ensure that +the physical output will fit on DIN A4 paper: +

+
+
\usepackage{pgfpages} +
\pgfpagesuselayout{resize to}[a4paper]
+

This can be very useful when you have to handle lots of papers that are typeset for, say, letter paper and you +have an A4 printer or the other way round. For example, the following article will be fit for printing on letter +paper: +

+
+
\documentclass[a4paper]{article} +
%% a4 is currently the logical size and also the physical size +
+
\usepackage{pgfpages} +
\pgfpagesuselayout{resize to}[letterpaper] +
%% a4 is still the logical size, but letter is the physical one +
+
\begin{document} +
  \title{My Great Article} +
... +
\end{document}
+

+

16.2 The Predefined Layouts

+ + +

This section explains the predefined layouts in more detail. You select a layout using the following +command: +

+\pgfpagesuselayout{<layout>}[<options>]
+ +

Installs the specified <layout> with the given <options> set. The predefined layouts and their permissible + options are explained below. +

If this function is called multiple times, only the last call “wins.” You can thereby overwrite any + previous settings. In particular, layouts do not accumulate. +

Example: \pgfpagesuselayout{resize to}[a4paper]

+

+

+\pgfpagesuselayout{resize to}[<options>]
+ + +

This layout is used to resize every logical page to a specified physical size. To determine the target size, the + following options may be given: +

    +
  • physical paper height=<size> sets the height of the physical pape size to <size>. +
  • +
  • physical paper width=<size> sets the width of the physical pape size to <size>. +
  • +
  • a0paper sets the physical page size to DIN A0 paper. +
  • +
  • a1paper sets the physical page size to DIN A1 paper. +
  • +
  • a2paper sets the physical page size to DIN A2 paper. +
  • +
  • a3paper sets the physical page size to DIN A3 paper. +
  • +
  • a4paper sets the physical page size to DIN A4 paper. +
  • +
  • a5paper sets the physical page size to DIN A5 paper. +
  • +
  • a6paper sets the physical page size to DIN A6 paper. +
  • +
  • letterpaper sets the physical page size to the American letter paper size. +
  • +
  • legalpaper sets the physical page size to the American legal paper size. +
  • +
  • executivepaper sets the physical page size to the American executive paper size. +
  • +
  • landscape swaps the height and the width of the physical paper. +
  • +
  • border shrink=<size> additionally reduces the size of the logical page on the physical page by + <size>.
+
+

+ + +

+\pgfpagesuselayout{2 on 1}[<options>]
+ + +

Puts two logical pages alongside each other on each physical page if the logical height is larger than + the logical width (logical pages are in portrait mode). Otherwise, two logical pages are put on top of + each other (logical pages are in landscape mode). When using this layout, it is advisable to use the + \nofiles command, but this is not done automatically. +

The same <options> as for the resize to layout an be used, plus the following option: +

    +
  • odd numbered pages right places the first page on the right.
+
+

+

+\pgfpagesuselayout{4 on 1}[<options>]
+ + +

Puts four logical pages on a single physical page. The same <options> as for the resize to layout an + be used.

+

+

+\pgfpagesuselayout{8 on 1}[<options>]
+ + +

Puts eight logical pages on a single physical page. As for 2 on 1, the orientation depends on whether + the logical pages are in landscape mode or in portrait mode.

+

+

+\pgfpagesuselayout{16 on 1}[<options>]
+ + +

This is for the CEO.

+

+

+\pgfpagesuselayout{rounded corners}[<options>]
+ + +

This layout adds “rounded corners” to every page, which, supposedly, looks nicer during presentations + with projectors (personally, I doubt this). This is done by (possibly) resizing the page to the physical + page size. Then four black rectangles are drawn in each corner. Next, a clipping region is set up that + contains all of the logical page except for little rounded corners. Finally, the logical page is draw, + clipped against the clipping region. +

Note that every logical page should fill its background for this to work. +

In addition to the <options> that can be given to resize to the following options may be given. +

    +
  • corner width=<size> specifies the size of the corner.
+ + +

+
+
\documentclass{beamer} +
\usepackage{pgfpages} +
\pgfpagesuselayout{rounded corners}[corner width=5pt] +
\begin{document} +
... +
\end{document}
+
+

+

+\pgfpagesuselayout{two screens with lagging second}[<options>]
+ + +

This layout puts two logical pages alongside each other. The second page always shows what the main + page showed on the previous physical page. Thus, the second page “lags behind” the main page. This + can be useful when you have to projectors attached to your computer and can show different parts of + a physical page on different projectors. +

The following <options> may be given: +

    +
  • second right puts the second page right of the main page. This will make the physical pages + twice as wide as the logical pages, but it will retain the height. +
  • +
  • second left puts the second page left, otherwise it behave the same as second right. +
  • +
  • second bottom puts the second page below the main page. This make the physical pages twice + as high as the logical ones. +
  • +
  • second top works like second bottom.
+
+

+

+\pgfpagesuselayout{two screens with optional second}[<options>]
+ + +

This layout works similarly to two screens with lagging second. The difference is that the contents + of the second screen only changes when one of the commands \pgfshipoutlogicalpage{2}{<box>} or + \pgfcurrentpagewillbelogicalpage{2} is called. The first puts the given <box> on the second page. + The second specifies that the current page should be put there, once it is finished. +

The same options as for two screens with lagging second may be given.

+

You can define your own predefined layouts using the following command: +

+

+\pgfpagesdeclarelayout{<layout>}{<before actions>}{<after actions>}
+ +

This command predefines a <layout> that can later be installed using the \pgfpagesuselayout + command. +

When \pgfpagesuselayout{<layout>}[<options>] is called, the following happens: First, the <before + actions> are executed. They can be used, for example, to setup default values for keys. Next, + \setkeys{pgfpagesuselayoutoption}{<options>} is executed. Finally, the <after actions> are + executed. +

Here is an example: + + +

+
+
\pgfpagesdeclarelayout{resize to} +
{ +
  \def\pgfpageoptionborder{0pt} +
} +
{ +
  \pgfpagesphysicalpageoptions +
  {% +
    logical pages=1,% +
    physical height=\pgfpageoptionheight,% +
    physical width=\pgfpageoptionwidth% +
  } +
  \pgfpageslogicalpageoptions{1} +
  {% +
    resized width=\pgfphysicalwidth,% +
    resized height=\pgfphysicalheight,% +
    border shrink=\pgfpageoptionborder,% +
    center=\pgfpoint{.5\pgfphysicalwidth}{.5\pgfphysicalheight}% +
  }% +
}
+
+

+

16.3 Defining a Layout

+

If none of the predefined layouts meets your problem or if you wish to modify them, you can create layouts from +scratch. This section explains how this is done. +

Basically, pgfpages hooks into TEX’s \shipout function. This function is called whenever TEX has completed +typesetting a page and wishes to send this page to the .dvi or .pdf file. The pgfpages package redefines this +command. Instead of sending the page to the output file, pgfpages stores it in an internal box and then +acts as if the page had been output. When TEX tries to output the next page using \shipout, this +call is once more intercepted and the page is stored in another box. These boxes are called logical +pages. +

At some point, enough logical pages have been accumulated such that a physical page can be output. When this +happens, pgfpages possibly scales, rotates, and translates the logical pages (and possibly even does +further modifications) and then puts them at certain positions of the physical page. Once this page is +fully assembled, the “real” or “original” \shipout is called to send the physical page to the output +file. +

In reality, things are slightly more complicated. First, once a physical page has been shipped out, the logical +pages are usually voided, but this need not be the case. Instead, it is possible that certain logical page just retain +their contents after the physical page has been shipped out and these pages need not be filled once more before a +physical shipout can occur. However, the contents of these logical pages can still be changed using special +commands. It is also possible that after a shipout certain logical pages are filled with the contents of other logical +pages. +

A layout defines for each logical page where it will go on the physical page and which further modifications +should be done. The following two commands are used to define the layout: +

+

+\pgfpagesphysicalpageoptions{<options>}
+ +

This command sets the characteristic of the “physical” page. For example, it is used to specify how + many logical pages there are and how many logical pages must be accumulated before a physical + page is shipped out. How each individual logical page is typeset is specified using the command + \pgfpageslogicalpageoptions, described later. +

Example: A layout for putting two portrait pages on a single landscape page: + + +

+
+
\pgfpagesphysicalpageoptions +
{% +
  logical pages=2,% +
  physical height=\paperwidth,% +
  physical width=\paperheight,% +
} +
+
\pgfpageslogicalpageoptions{1} +
{% +
  resized width=.5\pgfphysicalwidth,% +
  resized height=\pgfphysicalheight,% +
  center=\pgfpoint{.25\pgfphysicalwidth}{.5\pgfphysicalheight}% +
}% +
\pgfpageslogicalpageoptions{2} +
{% +
  resized width=.5\pgfphysicalwidth,% +
  resized height=\pgfphysicalheight,% +
  center=\pgfpoint{.75\pgfphysicalwidth}{.5\pgfphysicalheight}% +
}%
+

The following <options> may be set: +

    +
  • logical pages=<logical pages> specified how many logical pages there are, in total. These are + numbered 1 to <logical pages>. +
  • +
  • first logical shipout=<first>. See the the next option. By default, <first> is 1. +
  • +
  • last logical shipout=<last>. Together with the previous option, these two options define an + interval of pages inside the range 1 to <logical pages>. Only this range is used to store the pages + that are shipped out by TEX. This means that after a physical shipout has just occured (or at + the beginning), the first time TEX wishes to perform a shipout, the page to be shipped out is + stored in logical page <first>. The next time TEX performs a shipout, the page is stored in logical + page <first>+1 and so on, until the logical page <last> is also filled. Once this happens, a physical + shipout occurs and the process starts once more. +

    Note that logical pages that lie outside the interval between <first> and <last> are filled only + indirectly or when special commands are used. +

    By default, <last> equals <logical pages>. +

  • +
  • current logical shipout=<current> changes an internal counter such that TEX’s next logical + shipout will be stored in logical page <current>. +

    This option can be used to “warp” the logical page filling mechanism to a certain page. You can + both skip logical pages and overwrite already filled logical pages. After the logical page <current> + has been filled, the internal counter is incremented normally as if the logical page <current> had + been “reached” normally. If you specify a <current> larger to <last>, a physical shipout will occur + after the logical page <current> has been filled. +

  • +
  • physical height=<height> specifies the height of the physical pages. This height is typically + different from the normal \paperheight, which is used by TEX for its typesetting and page + breaking purposes. +
  • +
  • physical width=<width> specifies the physical width.
+
+

+

+\pgfpageslogicalpageoptions{<logical page number>}{<options>}
+ + + +

This command is used to specify where the logical page number <logical page number> will be placed on + the physical page. In addition, this command can be used to install additional “code” to be executed + when this page is put on the physical page. +

The number <logical page number> should be between 1 and <logical pages>, which has previously been + installed using the \pgfpagesphysicalpageoptions command. +

The following <options> may be given: +

    +
  • center=<pgf point> specifies the center of the logical page inside the physical page as a PGF-point. + The origin of the coordinate system of the physical page is at the lower left corner. +

    +
    +
    \pgfpageslogicalpageoptions{1} +
    {% center logical page on middle of left side +
      center=\pgfpoint{.25\pgfphysicalwidth}{.5\pgfphysicalheight}% +
      resized width=.5\pgfphysicalwidth,% +
      resized height=\pgfphysicalheight,% +
    }
    +
  • +
  • resized width=<size> specifies the width that the logical page should have at most on the physical page. + To achieve this width, the pages is scaled down appropriately or more. The “or more” part can + happen if the resize height option is also used. In this case, the scaling is chosen such + that both the specified height and width are met. The aspect ratio of a logical page is not + modified. +
  • +
  • resized height=<height> specifies the maximum height of the logical page. +
  • +
  • original width=<width> specifies the width the TEX “thinks” that the logical page has. This width is + \paperwidth at the point of invocation, by default. Note that setting this width to something different + from \paperwidth does not change the \pagewidth during TEX’s typesetting. You have to do that + yourself. +

    You need this option only for special logical pages that have a height or width different from the normal + one and for which you will (later on) set these sizes yourself. +

  • +
  • original height=<height> works like original width. +
  • +
  • scale=<factor> scales the page by at least the given <factor>. A <factor> of 0.5 will half the size of the + page, a factor or 2 will double the size. “At least” means that if options like resize height are given + and if the scaling required to meet that option is less than <factor>, that other scaling is used + instead. +
  • +
  • xscale=<factor> scales the logical page along the x-axis by the given <factor>. This scaling is done + independently of any other scaling. Mostly, this option is useful for a factor of -1, which flips the page + along the y-axis. The aspect ratio is not kept. +
  • +
  • yscale=<factor> works like xscale, only for the y-axis. +
  • +
  • rotation=<degree> rotates the page by <degree> around its center. Use a degree of 90 or + -90 to go from portrait to landscape and back. The rotation need not be a multiple of + 90. +
  • +
  • copy from=<logical page number>. Normally, after a physical shipout has occured, all logical pages are + voided in a loop. However, if this option is given, the current logical page is filled with the contents of the + old logical page number <logical page number>. +

    Example: Have logical page 2 retain its contents: + + +

    +

    \pgfpageslogicalpageoptions{2}{copy from=2} +
    +
    +

    Example: Let logical page 2 show what logical page 1 showed on the just-shipped-out physical + page: +

    +

    \pgfpageslogicalpageoptions{2}{copy from=1} +
    +
    +
  • +
  • border shrink=<size> specifies an addition reduction of the size to which the page is page is scaled + down. +
  • +
  • border code=<code>. When this option is given, the <code> is executed before the page box is + inserted with a path preinstalled that is a rectangle around the current logical page. Thus, + setting <code> to \pgfstroke draws a rectangle around the logical page. Setting <code> to + \pgfsetlinewidth{3pt}\pgfstroke results in a thick (ugly) frame. Adding dashes and filling can result + in arbitrarily funky and distracting borders. +

    You can also call \pgfdiscardpath and add your own path construction code (for example to paint a + rectangle with rounded corners). The coordinate system is setup in such a way that a rectangle starting + at the origin and having the height and width of TEX-box 0 will result in a rectangle filling exactly the + logical page currently being put on the physical page. The logical page is inserted after these commands + have been executed. +

    Example: Add a rectangle around the page: +

    +

    \pgfpageslogicalpageoptions{1}{border code=\pgfstroke} +
    +
    +
  • +
  • corner width=<size> adds black “rounded corners” to the page. See the description of the predefined + layout rounded corners on page 211.
+
+

+

16.4 Creating Logical Pages

+

Logical pages are created whenever a TEX thinks that a page is full and performs a \shipout command. This will +cause pgfpages to store the box that was supposed to be shipped out internally until enough logical pages have +been collected such that a physical shipout can occur. +

Normally, whenever a logical shipout occurs that current page is stored in logical page number <current logical +page>. This counter is then incremented, until it is larger than <last logical shipout>. You can, however, directly +change the value of <current logical page> by calling \pgfpagesphysicalpageoptions. +

Another way to set the contents of a logical page is to use the following command: +

+

+\pgfpagesshipoutlogicalpage{<number>}<box>
+ +

This command sets to logical page <number> to <box>. The <box> should be the code of a TEX box + command. This command does not influence the counter <current logical page> and does not cause a + physical shipout. +

+
+
\pgfpagesshipoutlogicalpage{0}\vbox{Hi!}
+
+

This command can be used to set the contents of logical pages that are normally not filled.

+

The final way of setting a logical page is using the following command: +

+ + +

+\pgfpagescurrentpagewillbelogicalpage{<number>}
+ +

When the current TEX page has been typeset, it will be become the given logical page <number>. This + command “interrupts” the normal order of logical pages, that is, it behaves like the previous command + and does not update the <current logical page> counter. +

+
+
\pgfpagesuselayout{two screens with optional second} +
... +
Text for main page. +
\clearpage +
+
\pgfpagescurrentpagewillbelogicalpage{2} +
Text that goes to second page +
\clearpage +
+
Text for main page.
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse17.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse17.html new file mode 100644 index 00000000000..abf1958e0be --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse17.html @@ -0,0 +1,260 @@ + + +17 Extended Color Support + + + + + + + + +

+

17 Extended Color Support

+

This section documents the package xxcolor, which is currently distributed as part of PGF. This package +extends the xcolor package, written by Uwe Kern, which in turn extends the color package. I hope +that the commands in xxcolor will some day migrate to xcolor, such that this package becomes +superfluous. +

The main aim of the xxcolor package is to provide an environment inside which all colors are “washed out” or +“dimmed.” This is useful in numerous situations and must typically be achieved in a roundabout manner if such an +environment is not available. +

+

+\begin{colormixin}{<mix-in specification>}
+
+  <environment contents>
+
+\end{colormixin}
+ + +

The mix-in specification is applied to all colors inside the environment. At the beginning of the + environment, the mix-in is applied to the current color, i. e., the color that was in effect before the + environment started. A mix-in specification is a number between 0 and 100 followed by an exclamation + mark and a color name. When a \color command is encountered inside a mix-in environment, the + number states what percentage of the desired color should be used. The rest is “filled up” with the + color given in the mix-in specification. Thus, a mix-in specification like 90!blue will mix in 10% of + blue into everything, whereas 25!white will make everything nearly white. +

+
 
Red text,washed-out red +text, washed-out blue text, +dark washed-out blue +text, dark washed-out +green text, +back to washed-out blue +text, +and back to red.
 
+
\begin{minipage}{3.5cm}\raggedright +
\color{red}Red text,% +
\begin{colormixin}{25!white} +
  washed-out red text, +
  \color{blue} washed-out blue text, +
  \begin{colormixin}{25!black} +
    dark washed-out blue text, +
    \color{green} dark washed-out green text,% +
  \end{colormixin} +
  back to washed-out blue text,% +
\end{colormixin} +
and back to red. +
\end{minipage}%
+
+

Note that the environment only changes colors that have been installed using the standard LATEX \color +command. In particular, the colors in images are not changed. There is, however, some support offered by the +commands \pgfuseimage and \pgfuseshading. If the first command is invoked inside a colormixin environment +with the parameter, say, 50!black on an image with the name foo, the command will first check whether there is +also a defined image with the name foo.!50!black. If so, this image is used instead. This allows you to provide a +different image for this case. If you nest colormixin environments, the different mix-ins are all appended. For +example, inside the inner environment of the above example, \pgfuseimage{foo} would first check whether there +exists an image named foo.!50!white!25!black. + + +

+

+\colorcurrentmixin
+ +

Expands to the current accumulated mix-in. Each nesting of a colormixin adds a mix-in to this + list. +

!75!white should be “!75!white” +

!75!black!75!white should be “!75!black!75!white” +

!50!white!75!black!75!white should be “!50!white!75!black!75!white”

+
+
\begin{minipage}{\linewidth-6pt}\raggedright +
\begin{colormixin}{75!white} +
  \colorcurrentmixin\ should be ``!75!white''\par +
  \begin{colormixin}{75!black} +
    \colorcurrentmixin\ should be ``!75!black!75!white''\par +
    \begin{colormixin}{50!white} +
      \colorcurrentmixin\ should be ``!50!white!75!black!75!white''\par +
    \end{colormixin} +
  \end{colormixin} +
\end{colormixin} +
\end{minipage}
+
+
+ + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse18.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse18.html new file mode 100644 index 00000000000..fe0a36ad211 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse18.html @@ -0,0 +1,285 @@ + + +18 Design Principles + + + + + + + + +

+

18 Design Principles

+

This section describes the basic layer of PGF. This layer is build on top of the system layer. Whereas the system +layer just provides the absolute minimum for drawing graphics, the basic layer provides numerous commands that +make it possible to create sophisticated graphics easily and also quickly. +

The basic layer does not provide a convenient syntax for describing graphics, which is left to frontends like TikZ. +For this reason, the basic layer is typically used only by “other programs.” For example, the BEAMER package uses +the basic layer extensively, but does not need a convenient input syntax. Rather, speed and flexibility are needed +when BEAMER creates graphics. +

The following basic design principles underlie the basic layer: +

    +
  1. Structuring into a core and several optional packages. +
  2. +
  3. Consistently named TEX macros for all graphics commands. +
  4. +
  5. Path-centered description of graphics. +
  6. +
  7. Coordinate transformation system.
+

+

18.1 Core and Optional Packages

+

The basic layer consists of a core package, called pgfcore, which provides the most basic commands, and several +optional package like pgfbaseshade that offer more special-purpose commands. +

You can include the core by saying \usepackage{pgfcore} or, as a plain TEX user, \input pgfcore.tex. +

The following optional packages are provided by the basic layer: +

    +
  • pgfbaseplot provides commands for plotting functions. +
  • +
  • pgfbaseshapes provides commands for drawing shapes and nodes. +
  • +
  • pgfbaseimage provides commands for including external images. The graphicx package does a much + better job at this than the pgfbaseimage package does, so you should normally use \includegraphics + and not \pgfimage. However, in some situations (like when masking is needed or when plain TEX is + used) this package is needed. +
  • +
  • pgfbaselayers provides commands for creating layered graphics. Using layers you can later on say + that a certain path should be behind a path that was specified earlier. +
  • +
  • pgfbasesnakes provides commands for adding snaked lines to the path. Such lines are not straight + but rather wind in some specific fashion.
+

If you say \usepackage{pgf} or \input pgf.tex, all of the optional packages are loaded (as well as the core +and the system layer). + + +

+

18.2 Communicating with the Basic Layer via Macros

+

In order to “communicate” with the basic layer you use long sequences of commands that start with \pgf. You are +only allowed to give these commands inside a {pgfpicture} environment. (Note that {tikzpicture} opens a +{pgfpicture} internally, so you can freely mix PGF commands and TikZ commands inside a {tikzpicture}.) It +is possible to “do other things” between the commands. For example, you might use one command +to move to a certain point, then have a complicated computation of the next point, and then move +there. +

+
 

SVG-Viewer needed.

 
+
\newdimen\myypos +
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpoint{0cm}{\myypos}} +
  \pgfpathlineto{\pgfpoint{1cm}{\myypos}} +
  \advance \myypos by 1cm +
  \pgfpathlineto{\pgfpoint{1cm}{\myypos}} +
  \pgfpathclose +
  \pgfusepath{stroke} +
\end{pgfpicture}
+

The following naming conventions are used in the basic layer: +

+

    +
  1. All commands and environments start with pgf. +
  2. +
  3. All commands that specify a point (a coordinate) start with \pgfpoint. +
  4. +
  5. All commands that extend the current path start with \pgfpath. +
  6. +
  7. All commands that set/change a graphics parameter start with \pgfset. +
  8. +
  9. All commands that use a previously declared object (like a path, image or shading) start with \pgfuse. +
  10. +
  11. All commands having to do with coordinate transformations start with \pgftransform. +
  12. +
  13. All commands having to do with arrow tips start with \pgfarrows. +
  14. +
  15. All commands for “quickly” extending or drawing a path start with \pgfpathq or \pgfusepathq.
+

+

18.3 Path-Centered Approach

+

In PGF the most important entity is the path. All graphics are composed of numerous paths that can be stroked, +filled, shaded, or clipped against. Paths can be closed or open, they can self-intersect and consist of unconnected +parts. +

Paths are first constructed and then used. In order to construct a path, you can use commands +starting with \pgfpath. Each time such a command is called, the current path is extended in some +way. +

Once a path has been completely constructed, you can use it using the command \pgfusepath. Depending on +the parameters given to this command, the path will be stroked (drawn) or filled or subsequent drawings will be +clipped against this path. + + +

+

18.4 Coordinate Versus Canvas Transformations

+

PGF provides two transformation systems: PGF’s own coordinate transformation matrix and PDF’s or PostScript’s +canvas transformation matrix. These two systems are quite different. Whereas a scaling by a factor of, say, 2 of the +canvas causes everything to be scaled by this factor (including the thickness of lines and text), a scaling of +two in the coordinate system causes only the coordinates to be scaled, but not the line width nor +text. +

By default, all transformations only apply to the coordinate transformation system. However, using the +command \pgflowlevel it is possible to apply a transformation to the canvas. +

Coordinate transformations are often preferable over canvas transformations. Text and lines that are transformed +using canvas transformations suffer from differing sizes and lines whose thickness differs depending on whether the +line is horizontal or vertical. To appreciate the difference, consider the following two “circles” both of which +have been scaled in the x-direction by a factor of 3 and by a factor of 0.5 in the y-direction. The left +circle uses a canvas transformation, the right uses PGF’s coordinate transformation (some viewers will +render the left graphic incorrectly since they do no apply the low-level transformation the way they +should): +

SVG-Viewer needed.

+ + + + + + +

+

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse19.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse19.html new file mode 100644 index 00000000000..cfe297d1b52 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse19.html @@ -0,0 +1,1568 @@ + + +19 Hierarchical Structures: +Package, Environments, Scopes, and Text + + + + + + + + +

+

19 Hierarchical Structures: +
Package, Environments, Scopes, and Text

+

+

19.1 Overview

+

PGF uses two kinds of hierarchical structuring: First, the package itself is structured hierarchically, consisting of +different packages that are built on top of each other. Second, PGF allows you to structure your graphics +hierarchically using environments and scopes. +

+

19.1.1 The Hierarchical Structure of the Package
+

The PGF system consists of several layers: +

+

+System layer.
The lowest layer is called the system layer, though it might also be called “driver layer” + or perhaps “backend layer.” Its job is to provide an abstraction of the details of which driver is used + to transform the .dvi file. The system layer is implemented by the package pgfsys, which will load + appropriate driver files as needed. +

The system layer is documented in Part V. +

+Basic layer.
The basic layer is loaded by the package pgf. Some applications do not need all of the + functionality of the basic layer, so it is possible to load only the pgfcore and some other packages + starting with pgfbase. +

The basic layer is documented in the present part. +

+Frontend layer.
The frontend layer is not loaded by a single packages. Rather, different packages, like + TikZ or PGFPICT2E, are different frontends to the basic layer. +

The TikZ frontend is documented in Part II.

+

Each layer will automatically load the necessary files of the layers below it. +

In addition to the packages of these layers, there are also some library packages. These packages provide +additional definitions of things like new arrow tips or new plot handlers. +

The library packages are documented in Part III. +

+

19.1.2 The Hierarchical Structure of Graphics
+

Graphics in PGF are typically structured hierarchically. Hierarchical structuring can be used to identify groups of +graphical elements that are to be treated “in the same way.” For example, you might group together a number of +paths, all of which are to be drawn in red. Then, when you decide later on that you like them to be drawn in, say, +blue, all you have to do is to change the color once. +

The general mechanism underlying hierarchical structuring is known as scoping in computer science. The idea is +that all changes to the general “state” of the graphic that are done inside a scope are local to that +scope. So, if you change the color inside a scope, this does not affect the color used outside the scope. +Likewise, when you change the line width in a scope, the line width outside is not changed, and so +on. + + +

There are different ways of starting and ending scopes of graphic parameters. Unfortunately, these scopes are +sometimes “in conflict” with each other and it is sometimes not immediately clear which scopes apply. In essence, +the following scoping mechanisms are available: +

+

    +
  1. The “outermost” scope supported by PGF is the {pgfpicture} environment. All changes to the graphic + state done inside a {pgfpicture} are local to that picture. +

    In general, it is not possible to set graphic parameters globally outside any {pgfpicture} environments. + Thus, you can not say \pgfsetlinewidth{1pt} at the beginning of your document to have a default + line width of one point. Rather, you have to (re)set all graphic parameters inside each {pgfpicture}. + (If this is too bothersome, try defining some macro that does the job for you.) +

  2. +
  3. Inside a {pgfpicture} you can use a {pgfscope} environment to keep changes of the graphic state + local to that environment. +

    The effect of commands that change the graphic state are local to the current {pgfscope} but not + always to the current TEX group. Thus, if you open a TEX group (some text in curly braces) inside a + {pgfscope}, and if you change, for example, the dash pattern, the effect of this changed dash pattern + will persist till the end of the {pgfscope}. +

    Unfortunately, this is not always the case. Some graphic parameters only persist till the end of + the current TEX group. For example, when you use \pgfsetarrows to set the arrow tip inside a + TEX group, the effect lasts only till the end of the current TEX group. +

  4. +
  5. Some graphic parameters are not scoped by {pgfscope} but “already” by TEX groups. For example, + the effect of coordinate transformation commands is always local to the current TEX group. +

    Since every {pgfscope} automatically creates a TEX group, all graphic parameters that are local to + the current TEX group are also local to the current {pgfscope}. +

  6. +
  7. Some graphic parameters can only be scoped using TEX groups, since in some situations it is not + possible to introduce a {pgfscope}. For example, a path always has to be completely constructed and + used in the same {pgfscope}. However, we might wish to have different coordinate transformations + apply to different points on the path. In this case, we can use TEX groups to keep the effect local, but + we could not use {pgfscope}. +
  8. +
  9. The \pgftext command can be used to create a scope in which TEX “escapes back” to normal + TEX mode. The text passed to the \pgftext is “heavily guarded” against having any effect on the + scope in which it is used. For example, it is possibly to use another {pgfpicture} environment inside + the argument of \pgftext.
+

Most of the complications can be avoided if you stick to the following rules: +

    +
  • Give graphic commands only inside {pgfpicture} environments. +
  • +
  • Use {pgfscope} to structure graphics. +
  • +
  • Do not use TEX groups inside graphics, except for keeping the effect of coordinate transformations + local.
+

+

19.2 The Hierarchical Structure of the Package

+

Before we come to the structuring commands provided by PGF to structure your graphics, let us first have a look at +the structure of the package itself. + + +

+

19.2.1 The Main Package
+

To use PGF, include the following package: +

+

+\usepackage{pgf} % LATEX
+ + +
+\input pgf.tex % plain TEX
+
+\input pgf.tex % ConTEXt
+

This package loads the complete “basic layer” of PGF. That is, it will load all of the commands described + in the current part of this manual, but it will not load frontends like TikZ. +

In detail, this package will load the following packages, each of which can also be loaded individually: +

    +
  • pgfsys, which is the lowest layer of PGF and which is always needed. This file will read pgf.cfg + to discern which driver is to be used. See Section 32.1 for details. +
  • +
  • pgfcore, which is the central core of PGF and which is always needed unless you intend to write + a new basic layer from scratch. +
  • +
  • pgfbaseimage, which provides commands for declaring and using images. An example is + \pgfuseimage. +
  • +
  • pgfbaseshapes, which provides commands for declaring and using shapes. An example is + \pgfdeclareshape. +
  • +
  • pgfbaseplot, which provides commands for plotting functions.
+

Including any of the last three packages will automatically load the first two.

+

In LATEX, the package takes two options: +

+\usepackage[draft]{pgf}
+ + +

When this option is set, all images will be replaced by empty rectangles. This can speedup compilation. +

+

+

+\usepackage[version=<version>]{pgf}
+ + +

Indicates that the commands of version <version> need to be defined. If you set <version> to 0.65, + then a large bunch of “compatibility commands” are loaded. If you set <version> to 0.96, then these + compatibility commands will not be loaded. +

If this option is not given at all, then the commands of all versions are defined.

+ + +

+

19.2.2 The Core Package
+

+

+\usepackage{pgfcore} % LATEX
+ + +
+\input pgfcore.tex % plain TEX
+
+\input pgfcore.tex % ConTEXt
+

This package defines all of the basic layer’s commands, except for the commands defined in the + additional packages like pgfbaseplot. Typically commands defined by the core include \pgfusepath + or \pgfpoint. The core is internally structured into several subpackages, but the subpackages cannot + be loaded individually since they are all “interrelated.”

+

+

19.2.3 The Optional Basic Layer Packages
+

The pgf package automatically loads the following packages, but you can also load them individually (all of them +automatically include the core): +

    +
  • pgfbaseshapes This package provides commands for drawing nodes and shapes. These commands are + explained in Section 25. +
  • +
  • pgfbaseplot This package provides commands for plotting function. The commands are explained in + Section 29. +
  • +
  • pgfbaseimage This package provides commands for including (external) images. The commands are + explained in Section 27.
+

+

19.3 The Hierarchical Structure of the Graphics

+

+

19.3.1 The Main Environment
+

Most, but not all, commands of the PGF package must be given within a {pgfpicture} environment. The only +commands that (must) be given outside are commands having to do with including images (like \pgfuseimage) and +with inserting complete shadings (like \pgfuseshading). However, just to keep life entertaining, the \pgfshadepath +command must be given inside a {pgfpicture} environment. +

+

+\begin{pgfpicture}
+
+  <environment contents>
+ + +
+\end{pgfpicture}
+ + +

This environment will insert a TEX box containing the graphic drawn by the <environment contents> + at the current position. +

The size of the bounding box. The size of the box is determined in the following manner: While + PGF parses the <environment contents>, it keeps track of a bounding box for the graphic. Essentially, + this bounding box is the smallest box that contains all coordinates mentioned in the graphics. Some + coordinates may be “mentioned” by PGF itself; for example, when you add circle to the current path, + the support points of the curve making up the circle are also “mentioned” despite the fact that you + will not “see” them in your code. +

Once the <environment contents> has been parsed completely, a TEX box is created whose size is the + size of the computed bounding box and this box is inserted at the current position. +

+
 Hello

SVG-Viewer needed.

World! 
+
Hello \begin{pgfpicture} +
  \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{1ex}} +
  \pgfusepath{stroke} +
\end{pgfpicture} World!
+

Sometimes, you may need more fine-grained control over the size of the bounding box. For example, the + computed bounding box may be too large or you intensionally wish the box to be “too small.” In + these cases, you can use the command \pgfusepath{use as bounding box}, as described in + Section 23.5. +

The baseline of the bounding box. When the box containing the graphic is inserted into the normal text, + the baseline of the graphic is normally at the bottom of the graphic. For this reason, the following two sets of + code lines have the same effect, despite the fact that the second graphic uses “higher” coordinates than the + first: +

+
 Rectangles

SVG-Viewer needed.

and

SVG-Viewer needed.

.  
+
Rectangles \begin{pgfpicture} +
  \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{1ex}} +
  \pgfusepath{stroke} +
\end{pgfpicture} and \begin{pgfpicture} +
  \pgfpathrectangle{\pgfpoint{0ex}{1ex}}{\pgfpoint{2ex}{1ex}} +
  \pgfusepath{stroke} +
\end{pgfpicture}.
+

You can change the baseline using the \pgfsetbaseline command, see below. +

+
 Rectangles

SVG-Viewer needed.

and

SVG-Viewer needed.

.  
+
Rectangles \begin{pgfpicture} +
  \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{1ex}} +
  \pgfusepath{stroke} +
  \pgfsetbaseline{0pt} +
\end{pgfpicture} and \begin{pgfpicture} +
  \pgfpathrectangle{\pgfpoint{0ex}{1ex}}{\pgfpoint{2ex}{1ex}} +
  \pgfusepath{stroke} +
  \pgfsetbaseline{0pt} +
\end{pgfpicture}.
+

Including text and images in a picture. You cannot directly include text and images in a + picture. Thus, you should not simply write some text in a {pgfpicture} or use a command like + \includegraphics or even \pgfimage. In all these cases, you need to place the text inside a + \pgftext command. This will “escape back” to normal TEX mode, see Section 19.3.3 for details. +

+

+

+\pgfpicture
+ + +
+  <environment contents>
+
+\endpgfpicture
+ + +

The plain TEX version of the environment. Note that in this version, also, a TEX group is created + around the environment.

+

+

+\pgfsetbaseline{<dimension>}
+ +

This command specifies a y-coordinate of the picture that should be used as the baseline of the + whole picture. When a PGF picture has been typeset completely, PGF must decide at which height the + baseline of the picture should lie. Normally, the baseline is set to the y-coordinate of the bottom of the + picture, but it is often desirable to use another height. +

+
 Text

SVG-Viewer needed.

,

SVG-Viewer needed.

,

SVG-Viewer needed.

,

SVG-Viewer needed.

.  
+
Text \tikz{\pgfpathcircle{\pgfpointorigin}{1ex}\pgfusepath{stroke}}, +
     \tikz{\pgfsetbaseline{0pt} +
          \pgfpathcircle{\pgfpointorigin}{1ex}\pgfusepath{stroke}}, +
     \tikz{\pgfsetbaseline{.5ex} +
          \pgfpathcircle{\pgfpointorigin}{1ex}\pgfusepath{stroke}}, +
     \tikz{\pgfsetbaseline{-1ex} +
          \pgfpathcircle{\pgfpointorigin}{1ex}\pgfusepath{stroke}}.
+
+

+

19.3.2 Graphic Scope Environments
+

Inside a {pgfpicture} environment you can substructure your picture using the following environment: +

+

+\begin{pgfscope}
+
+  <environment contents>
+
+\end{pgfscope}
+ + +

All changes to the graphic state done inside this environment are local to the environment. The graphic state + includes the following: +

    +
  • The line width. +
  • +
  • The stroke and fill colors. +
  • +
  • The dash pattern. +
  • +
  • The line join and cap. +
  • +
  • The miter limit. + + +
  • +
  • The canvas transformation matrix. +
  • +
  • The clipping path.
+

Other parameters may also influence how graphics are rendered, but they are not part of the graphic state. + For example, the arrow tip kind is not part of the graphic state and the effect of commands setting the arrow + tip kind are local to the current TEX group, not to the current {pgfscope}. However, since {pgfscope} + starts and ends a TEX group automatically, a {pgfscope} can be used to limit the effect of, say, commands + that set the arrow tip kind. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \begin{pgfscope} +
    { +
      \pgfsetlinewidth{2pt} +
      \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{2ex}} +
      \pgfusepath{stroke} +
    } +
    \pgfpathrectangle{\pgfpoint{3ex}{0ex}}{\pgfpoint{2ex}{2ex}} +
    \pgfusepath{stroke} +
  \end{pgfscope} +
  \pgfpathrectangle{\pgfpoint{6ex}{0ex}}{\pgfpoint{2ex}{2ex}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \begin{pgfscope} +
    { +
      \pgfsetarrows{-to} +
      \pgfpathmoveto{\pgfpointorigin}\pgfpathlineto{\pgfpoint{2ex}{2ex}} +
      \pgfusepath{stroke} +
    } +
    \pgfpathmoveto{\pgfpoint{3ex}{0ex}}\pgfpathlineto{\pgfpoint{5ex}{2ex}} +
    \pgfusepath{stroke} +
  \end{pgfscope} +
  \pgfpathmoveto{\pgfpoint{6ex}{0ex}}\pgfpathlineto{\pgfpoint{8ex}{2ex}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+

At the start of the scope, the current path must be empty, that is, you cannot open a scope while constructing + a path. +

It is usually a good idea not to introduce TEX groups inside a {pgfscope} environment.

+

+

+\pgfscope
+
+  <environment contents>
+
+\endpgfscope
+ + +

Plain TEX version of the {pgfscope} environment.

+

The following scopes also encapsulate certain properties of the graphic state. However, they are typically not +used directly by the user. +

+

+\begin{pgfinterruptpath}
+ + +
+  <environment contents>
+
+\end{pgfinterruptpath}
+ + +

This environment can be used to temporarily interrupt the construction of the current path. The effect + will be that the path currently under construction will be “stored away” and restored at the end of + the environment. Inside the environment you can construct a new path and do something with it. +

An example application of this environment is the arrow tip caching. Suppose you ask PGF to use a + specific arrow tip kind. When the arrow tip needs to be rendered for the first time, PGF will “cache” + the path that makes up the arrow tip. To do so, it interrupts the current path construction and then + protocols the path of the arrow tip. The {pgfinterruptpath} environment is used to ensure that this + does not interfere with the path to which the arrow tips should be attached. +

This command does not install a {pgfscope}. In particular, it does not call any \pgfsys@ commands + at all, which would, indeed, be dangerous in the middle of a path construction.

+

+

+\begin{pgfinterruptpicture}
+
+  <environment contents>
+
+\end{pgfinterruptpicture}
+ + +

This environment can be used to temporarily interrupt a {pgfpicture}. However, the environment is + intended only to be used at the beginning and end of a box that is (later) inserted into a {pgfpicture} + using \pgfqbox. You cannot use this environment directly inside a {pgfpicture}. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpoint{0cm}{0cm}} % In the middle of path, now +
  \newbox\mybox +
  \setbox\mybox=\hbox{ +
    \begin{pgfinterruptpicture} +
      Sub-\begin{pgfpicture} % a subpicture +
        \pgfpathmoveto{\pgfpoint{1cm}{0cm}} +
        \pgfpathlineto{\pgfpoint{1cm}{1cm}} +
        \pgfusepath{stroke} +
      \end{pgfpicture}-picture. +
    \end{pgfinterruptpicture} +
  } +
  \pgfqbox{\mybox}% +
  \pgfpathlineto{\pgfpoint{0cm}{1cm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}\hskip3.9cm
+
+

+

19.3.3 Inserting Text and Images
+

Often, you may wish to add normal TEX text at a certain point inside a {pgfpicture}. You cannot do so +“directly,” that is, you cannot simply write this text inside the {pgfpicture} environment. Rather, you must pass +the text as an argument to the \pgftext command. + + +

You must also use the \pgftext command to insert an image or a shading into a {pgfpicture}. +

+

+\pgftext[<options>]{<text>}
+ +

This command will typeset <text> in normal TEX mode and insert the resulting box into the + {pgfpicture}. The bounding box of the graphic will be updated so that all of the text box is inside. + Be default, the text box is centered at the origin, but this can be changed either by giving appropriate + <options> or by applying an appropriate coordinate transformation beforehand. +

The <text> may contain verbatim text. (In other words, the <text> “argument” is not a normal argument, + but is put in a box and some \aftergroup hackery is used to find the end of the box.) +

PGF’s current (high-level) coordinate transformation is synchronized with the canvas transformation + matrix temporarily when the text box is inserted. The effect is that if there is currently a high-level + rotation of, say, 30 degrees, the <text> will also be rotated by thirty degrees. If you do not want this + effect, you have to (possibly temporarily) reset the high-level transformation matrix. +

The following <options> may be given as conveniences: +

    +
  • left causes the text box to be placed such that its left border is on the origin. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[left] {lovely}}
    +
  • +
  • right causes the text box to be placed such that its right border is on the origin. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[right] {lovely}}
    +
  • +
  • top causes the text box to be placed such that its top is on the origin. This option can be used together + with the left or right option. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[top] {lovely}}
    +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[top,right] {lovely}}
    +
  • +
  • bottom causes the text box to be placed such that its bottom is on the origin. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[bottom] {lovely}}
    +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[bottom,right] {lovely}}
    + + +
  • +
  • base causes the text box to be placed such that its baseline is on the origin. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[base] {lovely}}
    +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[base,right] {lovely}}
    +
  • +
  • at=<point> Translates the origin (that is, the point where the text is shown) to <point>. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[base,at={\pgfpoint{1cm}{0cm}}] {lovely}}
    +
  • +
  • x=<dimension> Translates the origin by <dimension> along the x-axis. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[base,x=1cm,y=-0.5cm] {lovely}}
    +
  • +
  • y=<dimension> works like the x option. +
  • +
  • rotate=<degree> Rotates the coordinate system by <degree>. This will also rotate the text + box. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz{\draw[help lines] (-1,-.5) grid (1,.5); +
         \pgftext[base,x=1cm,y=-0.5cm,rotate=30] {lovely}}
    +
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse2.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse2.html new file mode 100644 index 00000000000..51c58aa094e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse2.html @@ -0,0 +1,576 @@ + + +2 Installation + + + + + + + + +

+

2 Installation

+

There are different ways of installing PGF, depending on your system and needs, and you may need to install other +packages as well as, see below. Before installing, you may wish to review the GPL license under which the package is +distributed, see Section 2.5. +

Typically, the package will already be installed on your system. Naturally, in this case you do not need to worry +about the installation process at all and you can skip the rest of this section. +

+

2.1 Package and Driver Versions

+

This documentation is part of version 1.00 of the PGF package. In order to run PGF, you need a reasonably recent +TEX installation. When using LATEX, you need the following packages installed (newer versions should also +work): +

    +
  • xcolor version 2.00. +
  • +
  • xkeyval version 1.8, if you wish to use TikZ.
+

With plain TEX, xcolor is not needed, but you obviously do not get its (full) functionality. +

Currently, PGF supports the following backend drivers: +

    +
  • pdftex version 0.14 or higher. Earlier versions do not work. +
  • +
  • dvips version 5.94a or higher. Earlier versions may also work. +
  • +
  • dvipdfm version 0.13.2c or higher. Earlier versions may also work. +
  • +
  • tex4ht version 2003-05-05 or higher. Earlier versions may also work. +
  • +
  • vtex version 8.46a or higher. Earlier versions may also work.
+

Currently, PGF supports the following formats: +

    +
  • latex with complete functionality. +
  • +
  • plain with complete functionality, except for graphics inclusion, which works only for pdfTEX. +
  • +
  • context should work as plain, but I have not tried it.
+

For more details, see Section 5. + + +

+

2.2 Installing Prebundled Packages

+

I do not create or manage prebundled packages of PGF, but, fortunately, nice other people do. I cannot give detailed +instructions on how to install these packages, since I do not manage them, but I can tell you were to find them. If +you have a problem with installing, you might wish to have a look at the Debian page or the MikTEX page +first. +

+

2.2.1 Debian
+

The command “aptitude install pgf” should do the trick. Sit back and relax. In detail, the following packages +are installed: + + +
+http://packages.debian.org/pgf + 
http://packages.debian.org/latex-xcolor +
+
+

+

+

2.2.2 MiKTeX
+

For MiKTEX, use the update wizard to install the (latest versions of the) packages called pgf, xcolor, and +xkeyval. +

+

2.3 Installation in a texmf Tree

+

For a permanent installation, you place the files of the the PGF package in an appropriate texmf tree. +

When you ask TEX to use a certain class or package, it usually looks for the necessary files in so-called texmf +trees. These trees are simply huge directories that contain these files. By default, TEX looks for files in three +different texmf trees: +

    +
  • The root texmf tree, which is usually located at /usr/share/texmf/ or c:\texmf\ or somewhere + similar. +
  • +
  • The local texmf tree, which is usually located at /usr/local/share/texmf/ or c:\localtexmf\ or + somewhere similar. +
  • +
  • Your personal texmf tree, which is usually located in your home directory at ~/texmf/ or + ~/Library/texmf/.
+

You should install the packages either in the local tree or in your personal tree, depending on whether you have +write access to the local tree. Installation in the root tree can cause problems, since an update of the whole +TEX installation will replace this whole tree. +

+

2.3.1 Installation that Keeps Everything Together
+

Once you have located the right texmf tree, you must decide whether you want to install PGF in such a way that +“all its files are kept in one place” or whether you want to be “TDS-compliant,” where TDS means “TEX directory +structure.” +

If you want to keep “everything in one place,” inside the texmf tree that you have chosen create a +sub-sub-directory called texmf/tex/generic/pgf or texmf/tex/generic/pgf-1.00, if you prefer. Then place all +files of the pgf package in this directory. Finally, rebuild TEX’s filename database. This is done by running +the command texhash or mktexlsr (they are the same). In MikTEX, there is a menu option to do +this. +

+

2.3.2 Installation that is TDS-Compliant
+

While the above installation process is the most “natural” one and although I would like to recommend it since it +makes updating and managing the PGF package easy, it is not TDS-compliant. If you want to be TDS-compliant, +proceed as follows: (If you do not know what TDS-compliant means, you probably do not want to be +TDS-compliant.) + + +

The .tar file of the pgf package contains the following files and directories at its root: README, doc, generic, +plain, and latex. You should “merge” each of the four directories with the following directories texmf/doc, +texmf/tex/generic, texmf/tex/plain, and texmf/tex/latex. For example, in the .tar file the doc directory +contains just the directory pgf, and this directory has to be moved to texmf/doc/pgf. The root README file can be +ignored since it is reproduced in doc/pgf/README. +

You may also consider keeping everything in one place and using symbolic links to point from the TDS-compliant +directories to the central installation. +

For a more detailed explanation of the standard installation process of packages, you might wish to consult +http://www.ctan.org/installationadvice/. However, note that the PGF package does not come with a .ins file +(simply skip that part). +

+

2.4 Updating the Installation

+

To update your installation from a previous version, all you need to do is to replace everything in the directory +texmf/tex/generic/pgf with the files of the new version (or in all the directories where pgf was installed, if you +chose a TDS-compliant installation). The easiest way to do this is to first delete the old version and then proceed as +described above. Sometimes, there are changes in the syntax of certain command from version to version. If things +no longer work that used to work, you may wish to have a look at the release notes and at the change +log. +

+

2.5 License: The GNU Public License, Version 2

+

The PGF package is distributed under the GNU public license, version 2. In detail, this means the following (the +following text is copyrighted by the Free Software Foundation): +

+

2.5.1 Preamble
+

The licenses for most software are designed to take away your freedom to share and change it. By contrast, the GNU +General Public License is intended to guarantee your freedom to share and change free software--to make sure the +software is free for all its users. This General Public License applies to most of the Free Software Foundation’s +software and to any other program whose authors commit to using it. (Some other Free Software Foundation +software is covered by the GNU Library General Public License instead.) You can apply it to your programs, +too. +

When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are +designed to make sure that you have the freedom to distribute copies of free software (and charge +for this service if you wish), that you receive source code or can get it if you want it, that you can +change the software or use pieces of it in new free programs; and that you know you can do these +things. +

To protect your rights, we need to make restrictions that forbid anyone to deny you these rights or to ask you to +surrender the rights. These restrictions translate to certain responsibilities for you if you distribute copies of the +software, or if you modify it. +

For example, if you distribute copies of such a program, whether gratis or for a fee, you must give the recipients +all the rights that you have. You must make sure that they, too, receive or can get the source code. And you must +show them these terms so they know their rights. +

We protect your rights with two steps: (1) copyright the software, and (2) offer you this license which gives you +legal permission to copy, distribute and/or modify the software. +

Also, for each author’s protection and ours, we want to make certain that everyone understands that there is no +warranty for this free software. If the software is modified by someone else and passed on, we want its recipients to +know that what they have is not the original, so that any problems introduced by others will not reflect on the +original authors’ reputations. +

Finally, any free program is threatened constantly by software patents. We wish to avoid the danger that +redistributors of a free program will individually obtain patent licenses, in effect making the program proprietary. To +prevent this, we have made it clear that any patent must be licensed for everyone’s free use or not licensed at +all. + + +

The precise terms and conditions for copying, distribution and modification follow. +

+

2.5.2 Terms and Conditions For Copying, Distribution and Modification
+

+

    +
  1. This License applies to any program or other work which contains a notice placed by the copyright + holder saying it may be distributed under the terms of this General Public License. The “Program”, + below, refers to any such program or work, and a “work based on the Program” means either the + Program or any derivative work under copyright law: that is to say, a work containing the Program + or a portion of it, either verbatim or with modifications and/or translated into another language. + (Hereinafter, translation is included without limitation in the term “modification”.) Each licensee is + addressed as “you”. +

    Activities other than copying, distribution and modification are not covered by this License; they are + outside its scope. The act of running the Program is not restricted, and the output from the Program + is covered only if its contents constitute a work based on the Program (independent of having been + made by running the Program). Whether that is true depends on what the Program does. +

  2. +
  3. You may copy and distribute verbatim copies of the Program’s source code as you receive it, in any + medium, provided that you conspicuously and appropriately publish on each copy an appropriate + copyright notice and disclaimer of warranty; keep intact all the notices that refer to this License and + to the absence of any warranty; and give any other recipients of the Program a copy of this License + along with the Program. +

    You may charge a fee for the physical act of transferring a copy, and you may at your option offer + warranty protection in exchange for a fee. +

  4. +
  5. You may modify your copy or copies of the Program or any portion of it, thus forming a work based on + the Program, and copy and distribute such modifications or work under the terms of Section 1 above, + provided that you also meet all of these conditions: +

    +

      +
    1. You must cause the modified files to carry prominent notices stating that you changed the files + and the date of any change. +
    2. +
    3. You must cause any work that you distribute or publish, that in whole or in part contains or is + derived from the Program or any part thereof, to be licensed as a whole at no charge to all third + parties under the terms of this License. +
    4. +
    5. If the modified program normally reads commands interactively when run, you must cause it, + when started running for such interactive use in the most ordinary way, to print or display an + announcement including an appropriate copyright notice and a notice that there is no warranty (or + else, saying that you provide a warranty) and that users may redistribute the program under these + conditions, and telling the user how to view a copy of this License. (Exception: if the Program + itself is interactive but does not normally print such an announcement, your work based on the + Program is not required to print an announcement.) +
    +

    These requirements apply to the modified work as a whole. If identifiable sections of that work are not derived + from the Program, and can be reasonably considered independent and separate works in themselves, then this + License, and its terms, do not apply to those sections when you distribute them as separate works. But + when you distribute the same sections as part of a whole which is a work based on the Program, + the distribution of the whole must be on the terms of this License, whose permissions for other + licensees extend to the entire whole, and thus to each and every part regardless of who wrote + it. + + +

    Thus, it is not the intent of this section to claim rights or contest your rights to work written entirely by you; + rather, the intent is to exercise the right to control the distribution of derivative or collective works based on + the Program. +

    In addition, mere aggregation of another work not based on the Program with the Program (or with a work + based on the Program) on a volume of a storage or distribution medium does not bring the other work under + the scope of this License. +

  6. +
  7. You may copy and distribute the Program (or a work based on it, under Section 2) in object code or + executable form under the terms of Sections 1 and 2 above provided that you also do one of the + following: +

    +

      +
    1. Accompany it with the complete corresponding machine-readable source code, which must be + distributed under the terms of Sections 1 and 2 above on a medium customarily used for software + interchange; or, +
    2. +
    3. Accompany it with a written offer, valid for at least three years, to give any third party, for a charge + no more than your cost of physically performing source distribution, a complete machine-readable + copy of the corresponding source code, to be distributed under the terms of Sections 1 and 2 + above on a medium customarily used for software interchange; or, +
    4. +
    5. Accompany it with the information you received as to the offer to distribute corresponding source + code. (This alternative is allowed only for noncommercial distribution and only if you received + the program in object code or executable form with such an offer, in accord with Subsubsection + b above.) +
    +

    The source code for a work means the preferred form of the work for making modifications to it. For an + executable work, complete source code means all the source code for all modules it contains, plus any + associated interface definition files, plus the scripts used to control compilation and installation of the + executable. However, as a special exception, the source code distributed need not include anything that is + normally distributed (in either source or binary form) with the major components (compiler, kernel, and so + on) of the operating system on which the executable runs, unless that component itself accompanies the + executable. +

    If distribution of executable or object code is made by offering access to copy from a designated place, then + offering equivalent access to copy the source code from the same place counts as distribution of the + source code, even though third parties are not compelled to copy the source along with the object + code. +

  8. +
  9. You may not copy, modify, sublicense, or distribute the Program except as expressly provided under this + License. Any attempt otherwise to copy, modify, sublicense or distribute the Program is void, and will + automatically terminate your rights under this License. However, parties who have received copies, or rights, + from you under this License will not have their licenses terminated so long as such parties remain in full + compliance. +
  10. +
  11. You are not required to accept this License, since you have not signed it. However, nothing else grants you + permission to modify or distribute the Program or its derivative works. These actions are prohibited by law if + you do not accept this License. Therefore, by modifying or distributing the Program (or any + work based on the Program), you indicate your acceptance of this License to do so, and all its + terms and conditions for copying, distributing or modifying the Program or works based on + it. +
  12. +
  13. Each time you redistribute the Program (or any work based on the Program), the recipient automatically + receives a license from the original licensor to copy, distribute or modify the Program subject to these terms + + + and conditions. You may not impose any further restrictions on the recipients’ exercise of the + rights granted herein. You are not responsible for enforcing compliance by third parties to this + License. +
  14. +
  15. If, as a consequence of a court judgment or allegation of patent infringement or for any other reason (not + limited to patent issues), conditions are imposed on you (whether by court order, agreement or otherwise) + that contradict the conditions of this License, they do not excuse you from the conditions of + this License. If you cannot distribute so as to satisfy simultaneously your obligations under this + License and any other pertinent obligations, then as a consequence you may not distribute the + Program at all. For example, if a patent license would not permit royalty-free redistribution of the + Program by all those who receive copies directly or indirectly through you, then the only way + you could satisfy both it and this License would be to refrain entirely from distribution of the + Program. +

    If any portion of this section is held invalid or unenforceable under any particular circumstance, the + balance of the section is intended to apply and the section as a whole is intended to apply in other + circumstances. +

    It is not the purpose of this section to induce you to infringe any patents or other property right claims or to + contest validity of any such claims; this section has the sole purpose of protecting the integrity of the free + software distribution system, which is implemented by public license practices. Many people have + made generous contributions to the wide range of software distributed through that system in + reliance on consistent application of that system; it is up to the author/donor to decide if he or she + is willing to distribute software through any other system and a licensee cannot impose that + choice. +

    This section is intended to make thoroughly clear what is believed to be a consequence of the rest of this + License. +

  16. +
  17. If the distribution and/or use of the Program is restricted in certain countries either by patents or by + copyrighted interfaces, the original copyright holder who places the Program under this License may add an + explicit geographical distribution limitation excluding those countries, so that distribution is permitted only in + or among countries not thus excluded. In such case, this License incorporates the limitation as if written in the + body of this License. +
  18. +
  19. The Free Software Foundation may publish revised and/or new versions of the General Public License from + time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to + address new problems or concerns. +

    Each version is given a distinguishing version number. If the Program specifies a version number of this + License which applies to it and “any later version”, you have the option of following the terms and conditions + either of that version or of any later version published by the Free Software Foundation. If the Program does + not specify a version number of this License, you may choose any version ever published by the Free Software + Foundation. +

  20. +
  21. If you wish to incorporate parts of the Program into other free programs whose distribution conditions are + different, write to the author to ask for permission. For software which is copyrighted by the Free Software + Foundation, write to the Free Software Foundation; we sometimes make exceptions for this. Our decision will + be guided by the two goals of preserving the free status of all derivatives of our free software and of promoting + the sharing and reuse of software generally. +
+

+

2.5.3 No Warranty
+

+ + +

    +
  1. Because the program is licensed free of charge, there is no warranty for the program, to the extent + permitted by applicable law. Except when otherwise stated in writing the copyright holders and/or + other parties provide the program “as is” without warranty of any kind, either expressed or implied, + including, but not limited to, the implied warranties of merchantability and fitness for a particular + purpose. The entire risk as to the quality and performance of the program is with you. Should the + program prove defective, you assume the cost of all necessary servicing, repair or correction. +
  2. +
  3. In no event unless required by applicable law or agreed to in writing will any copyright holder, or + any other party who may modify and/or redistribute the program as permitted above, be liable to + you for damages, including any general, special, incidental or consequential damages arising out of the + use or inability to use the program (including but not limited to loss of data or data being rendered + inaccurate or losses sustained by you or third parties or a failure of the program to operate with any + other programs), even if such holder or other party has been advised of the possibility of such damages.
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse20.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse20.html new file mode 100644 index 00000000000..84f383572c1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse20.html @@ -0,0 +1,1605 @@ + + +20 Specifying Coordinates + + + + + + + + +

+

20 Specifying Coordinates

+

+

20.1 Overview

+

Most PGF commands expect you to provide the coordinates of a point (also called coordinate) inside your picture. +Points are always “local” to your picture, that is, they never refer to an absolute position on the page, but to a +position inside the current {pgfpicture} environment. To specify a coordinate you can use commands that start +with \pgfpoint. +

+

20.2 Basic Coordinate Commands

+

The following commands are the most basic for specifying a coordinate. +

+

+\pgfpoint{<x coordinate>}{<y coordinate>}
+ +

Yields a point location. The coordinates are given as TEX dimensions. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathcircle{\pgfpoint{1cm}{1cm}} {2pt} +
  \pgfpathcircle{\pgfpoint{2cm}{5pt}} {2pt} +
  \pgfpathcircle{\pgfpoint{0pt}{.5in}}{2pt} +
  \pgfusepath{fill} +
\end{tikzpicture}
+
+

+

+\pgfpointorigin
+ +

Yields the origin. Same as \pgfpoint{0pt}{0pt}.

+

+

+\pgfpointpolar{<degree>}{<radius>}
+ +

Yields a point location given in polar coordinates. You can specify the angle only in degrees, radians are not + supported, currently. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
+
  \foreach \angle in {0,10,...,90} +
    {\pgfpathcircle{\pgfpointpolar{\angle}{1cm}}{2pt}} +
  \pgfusepath{fill} +
\end{tikzpicture}
+
+

+

20.3 Coordinates in the Xy- and Xyz-Coordinate Systems

+

Coordinates can also be specified as multiples of an x-vector and a y-vector. Normally, the x-vector points one +centimeter in the x-direction and the y-vector points one centimeter in the y-direction, but using the commands +\pgfsetxvec and \pgfsetyvec they can be changed. Note that the x- and y-vector do not necessarily point +“horizontally” and “vertically.” +

It is also possible to specify a point as a multiple of three vectors, the x-, y-, and z-vector. This is useful for +creating simple three dimensional graphics. +

+

+\pgfpointxy{<sx>}{<sy>}
+ +

Yields a point that is situated at sx times the x-vector plus sy times the y-vector. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpointxy{1}{0}} +
  \pgfpathlineto{\pgfpointxy{2}{2}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfpointxyz{<sx>}{<sy>}{<sz>}
+ +

Yields a point that is situated at sx times the x-vector plus sy times the y-vector plus sz times the + z-vector. + + +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetarrowsend{to} +
+
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpointxyz{0}{0}{1}} +
  \pgfusepath{stroke} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpointxyz{0}{1}{0}} +
  \pgfusepath{stroke} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpointxyz{1}{0}{0}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

+

+\pgfsetxvec{<point>}
+ +

Sets that current x-vector for usage in the xyz-coordinate system. +

Example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
+
  \pgfpathmoveto{\pgfpointxy{1}{0}} +
  \pgfpathlineto{\pgfpointxy{2}{2}} +
  \pgfusepath{stroke} +
+
  \color{red} +
  \pgfsetxvec{\pgfpoint{0.75cm}{0cm}} +
  \pgfpathmoveto{\pgfpointxy{1}{0}} +
  \pgfpathlineto{\pgfpointxy{2}{2}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfsetyvec{<point>}
+ +

Works like \pgfsetyvec.

+

+

+\pgfsetzvec{<point>}
+ +

Works like \pgfsetzvec.

+ + +

+

20.4 Building Coordinates From Other Coordinates

+

Many commands allow you to construct a coordinate in terms of other coordinates. +

+

20.4.1 Basic Manipulations of Coordinates
+

+

+\pgfpointadd{<v1>}{<v2>}
+ +

Returns the sum vector <v1> + <v2>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathcircle{\pgfpointadd{\pgfpoint{1cm}{0cm}}{\pgfpoint{1cm}{1cm}}}{2pt} +
  \pgfusepath{fill} +
\end{tikzpicture}
+
+

+

+\pgfpointscale{<factor>}{<coordinate>}
+ +

Returns the vector <factor><coordinate>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathcircle{\pgfpointscale{1.5}{\pgfpoint{1cm}{0cm}}}{2pt} +
  \pgfusepath{fill} +
\end{tikzpicture}
+
+

+

+\pgfpointdiff{<start>}{<end>}
+ +

Returns the difference vector <end>-<start>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathcircle{\pgfpointdiff{\pgfpoint{1cm}{0cm}}{\pgfpoint{1cm}{1cm}}}{2pt} +
  \pgfusepath{fill} +
\end{tikzpicture}
+ + +
+

+

+\pgfpointnormalised{<point>}
+ +

This command returns a normalized version of <point>, that is, a vector of length 1pt pointing in + the direction of <point>. If <point> is the 0-vector or extremely short, a vector of length 1pt pointing + upwards is returned. +

This command is not implemented by calculating the length of the vector, but rather by calculating the angle + of the vector and then using (something equivalent to) the \pgfpointpolar command. This ensures that the + point will really have length 1pt, but it is not guaranteed that the vector will precisely point in the direction of + <point> due to the fact that the polar tables are accurate only up to one degree. Normally, this is not a + problem. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathcircle{\pgfpoint{2cm}{1cm}}{2pt} +
  \pgfpathcircle{\pgfpointscale{20} +
    {\pgfpointnormalised{\pgfpoint{2cm}{1cm}}}}{2pt} +
  \pgfusepath{fill} +
\end{tikzpicture}
+
+

+

20.4.2 Points Traveling along Lines and Curves
+

The commands in this section allow you to specify points on a line or a curve. Imaging a point “traveling” along a +curve from some point p to another point q. At time t = 0 the point is at p and at time t = 1 it is at q and at time, +say, t = 1/2 it is “somewhere in the middle.” The exact location at time t = 1/2 will not necessarily be the “halfway +point,” that is, the point whose distance on the curve from p and q is equal. Rather, the exact location will depend +on the “speed” at which the point is traveling, which in turn depends on the lengths of the support +vectors in a complicated manner. If you are interested in the details, please see a good book on Bézier +curves. +

+

+\pgfpointlineattime{<time t>}{<point p>}{<point q>}
+ +

Yields a point that is the tth fraction between p and q, that is, p + t(q - p). For t = 1/2 this is the + middle of p and q. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{2cm}{2cm}} +
  \pgfusepath{stroke} +
  \foreach \t in {0,0.25,...,1.25} +
    {\pgftext[at= +
      \pgfpointlineattime{\t}{\pgfpointorigin}{\pgfpoint{2cm}{2cm}}]{\t}} +
\end{tikzpicture}
+
+

+

+\pgfpointlineatdistance{<distance>}{<start point>}{<end point>}
+ +

Yields a point that is located <distance> many units removed from the start point in the direction of + the end point. In other words, this is the point that results if we travel <distance> steps from <start + point> towards <end point>. +

Example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3cm}{2cm}} +
  \pgfusepath{stroke} +
  \foreach \d in {0pt,20pt,40pt,70pt} +
    {\pgftext[at= +
      \pgfpointlineatdistance{\d}{\pgfpointorigin}{\pgfpoint{3cm}{2cm}}]{\d}} +
\end{tikzpicture}
+
+

+

+\pgfpointcurveattime{<time t>}{<point p>}{<point s1>}{<point s2>}{<point q>}
+ +

Yields a point that is on the Bézier curve from p to q with the support points s1 and s2. The time t is + used to determine the location, where t = 0 yields p and t = 1 yields q. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathcurveto +
    {\pgfpoint{0cm}{2cm}}{\pgfpoint{0cm}{2cm}}{\pgfpoint{3cm}{2cm}} +
  \pgfusepath{stroke} +
  \foreach \t in {0,0.25,0.5,0.75,1} +
    {\pgftext[at=\pgfpointcurveattime{\t}{\pgfpointorigin} +
                                         {\pgfpoint{0cm}{2cm}} +
                                         {\pgfpoint{0cm}{2cm}} +
                                         {\pgfpoint{3cm}{2cm}}]{\t}} +
\end{tikzpicture}
+
+

+

20.4.3 Points on Borders of Objects
+

The following commands are useful for specifying a point that lies on the border of special shapes. They are used, +for example, by the shape mechanism to determine border points of shapes. +

+

+\pgfpointborderrectangle{<direction point>}{<corner>}
+ +

This command returns a point that lies on the intersection of a line starting at the origin and going + towards the point <direction point> and a rectangle whose center is in the origin and whose upper right + corner is at <corner>. +

The <direction point> should have length “about 1pt,” but it will be normalized automatically. + Nevertheless, the “nearer” the length is to 1pt, the less rounding errors. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (2,1.5); +
  \pgfpathrectanglecorners{\pgfpoint{-1cm}{-1.25cm}}{\pgfpoint{1cm}{1.25cm}} +
  \pgfusepath{stroke} +
+
  \pgfpathcircle{\pgfpoint{5pt}{5pt}}{2pt} +
  \pgfpathcircle{\pgfpoint{-10pt}{5pt}}{2pt} +
  \pgfusepath{fill} +
  \color{red} +
  \pgfpathcircle{\pgfpointborderrectangle +
    {\pgfpoint{5pt}{5pt}}{\pgfpoint{1cm}{1.25cm}}}{2pt} +
  \pgfpathcircle{\pgfpointborderrectangle +
    {\pgfpoint{-10pt}{5pt}}{\pgfpoint{1cm}{1.25cm}}}{2pt} +
  \pgfusepath{fill} +
\end{tikzpicture}
+
+

+ + +

+\pgfpointborderellipse{<direction point>}{<corner>}
+ +

This command works like the corresponding command for rectangles, only this time the <corner> is + the corner of the bounding rectangle of an ellipse. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (2,1.5); +
  \pgfpathellipse{\pgfpointorigin}{\pgfpoint{1cm}{0cm}}{\pgfpoint{0cm}{1.25cm}} +
  \pgfusepath{stroke} +
+
  \pgfpathcircle{\pgfpoint{5pt}{5pt}}{2pt} +
  \pgfpathcircle{\pgfpoint{-10pt}{5pt}}{2pt} +
  \pgfusepath{fill} +
  \color{red} +
  \pgfpathcircle{\pgfpointborderellipse +
    {\pgfpoint{5pt}{5pt}}{\pgfpoint{1cm}{1.25cm}}}{2pt} +
  \pgfpathcircle{\pgfpointborderellipse +
    {\pgfpoint{-10pt}{5pt}}{\pgfpoint{1cm}{1.25cm}}}{2pt} +
  \pgfusepath{fill} +
\end{tikzpicture}
+
+

+

20.4.4 Points on the Intersection of Lines
+

+

+\pgfpointintersectionoflines{<p>}{<q>}{<s>}{<t>}
+ +

This command returns the intersection of a line going through p and q and a line going through s and + t. If the lines do not intersection, an arithmetic overflow will occur. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (2,2); +
  \draw (.5,0) -- (2,2); +
  \draw (1,2) -- (2,0); +
  \pgfpathcircle{% +
    \pgfpointintersectionoflines +
      {\pgfpointxy{.5}{0}}{\pgfpointxy{2}{2}} +
      {\pgfpointxy{1}{2}}{\pgfpointxy{2}{0}}} +
    {2pt} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+ + +

+

20.5 Extracting Coordinates

+

There are two commands that can be used to “extract” the x- or y-coordinate of a coordinate. +

+

+\pgfextractx{<dimension>}{<point>}
+ +

Sets the TEX-<dimension> to the x-coordinate of the point. +

+
+
\newdimen\mydim +
\pgfextractx{\mydim}{\pgfpoint{2cm}{4pt}} +
%% \mydim is now 2cm
+
+

+

+\pgfextracty{<dimension>}{<point>}
+ +

Like \pgfextractx, except for the y-coordinate.

+

+

20.6 Internals of How Point Commands Work

+

As a normal user of PGF you do not need to read this section. It is relevant only if you need to understand how the +point commands work internally. +

When a command like \pgfpoint{1cm}{2pt} is called, all that happens is that the two TEX-dimension +variables \pgf@x and \pgf@y are set to 1cm and 2pt, respectively. A command like \pgfpathmoveto that takes a +coordinate as parameter will just execute this parameter and then use the values of \pgf@x and \pgf@y as the +coordinates to which it will move the pen on the current path. +

since commands like \pgfpointnormalised modify other variables besides \pgf@x and \pgf@y during the +computation of the final values of \pgf@x and \pgf@y, it is a good idea to enclose a call of a command like +\pgfpoint in a TEX-scope and then make the changes of \pgf@x and \pgf@y global as in the following +example: +

+
+
... +
{ % open scope +
  \pgfpointnormalised{\pgfpoint{1cm}{1cm}} +
  \global\pgf@x=\pgf@x % make the change of \pgf@x persist past the scope +
  \global\pgf@y=\pgf@y % make the change of \pgf@y persist past the scope +
} +
% \pgf@x and \pgf@y are now set correctly, all other variables are +
% unchanged
+

Since this situation arises very often, the macro \pgf@process can be used to perform the above +code: +

+\pgf@process{<code>}
+ +

Executes the <code> in a scope and then makes \pgf@x and \pgf@y global.

+

Note that this macro is used often internally. For this reason, it is not a good idea to keep anything important in +the variables \pgf@x and \pgf@y since they will be overwritten and changed frequently. Instead, intermediate values +can ge stored in the TEX-dimensions \pgf@xa, \pgf@xb, \pgf@xc and their y-counterparts \pgf@ya, \pgf@yb, +pgf@yc. For example, here is the code of the command \pgfpointadd: + + +

+
+
\def\pgfpointadd#1#2{% +
  \pgf@process{#1}% +
  \pgf@xa=\pgf@x% +
  \pgf@ya=\pgf@y% +
  \pgf@process{#2}% +
  \advance\pgf@x by\pgf@xa% +
  \advance\pgf@y by\pgf@ya}
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse21.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse21.html new file mode 100644 index 00000000000..04dbefbef6e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse21.html @@ -0,0 +1,1761 @@ + + +21 Constructing Paths + + + + + + + + +

+

21 Constructing Paths

+

+

21.1 Overview

+

The “basic entity of drawing” in PGF is the path. A path consists of several parts, each of which is either a closed or +open curve. An open curve has a starting point and an end point and, in between, consists of several segments, each +of which is either a straight line or a Bézier curve. Here is an example of a path (in red) consisting of two parts, one +open, one closed: +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[scale=2] +
  \draw[thick,red] +
       (0,0) coordinate (a) +
    -- coordinate (ab) (1,.5) coordinate (b) +
    .. coordinate (bc) controls +(up:1cm) and +(left:1cm) .. (3,1)  coordinate (c) +
       (0,1) -- (2,1) -- coordinate (x) (1,2) -- cycle; +
+
  \draw (a)  node[below] {start part 1} +
        (ab) node[below right] {straight segment} +
        (b)  node[right] {end first segment} +
        (c)  node[right] {end part 1} +
        (x)  node[above right]  {part 2 (closed)}; +
\end{tikzpicture}
+
+

A path, by itself, has no “effect,” that is, it does not leave any marks on the page. It is just a set of +points on the plane. However, you can use a path in different ways. The most natural actions are +stroking (also known as drawing) and filling. Stroking can be imagined as picking up a pen of a certain +diameter and “moving it along the path.” Filling means that everything “inside” the path is filled +with a uniform color. Naturally, the open parts of a path must first be closed before a path can be +filled. +

In PGF, there are numerous commands for constructing paths, all of which start with \pgfpath. There are also +commands for using paths, though most operations can be performed by calling \pgfusepath with an appropriate +parameter. +

As a side-effect, the path construction commands keep track of two bounding boxes. One is the bounding box for +the current path, the other is a bounding box for all paths in the current picture. See Section 21.13 for more +details. +

Each path construction command extends the current path in some way. The “current path” is a global entity +that persists across TEX groups. Thus, between calls to the path construction commands you can +perform arbitrary computations and even open and closed TEX groups. The current path only gets +“flushed” when the \pgfusepath command is called (or when the soft-path subsystem is used directly, see +Section 34). +

+

21.2 The Move-To Path Operation

+

The most basic operation is the move-to operation. It must be given at the beginning of paths, though some path +construction command (like \pgfpathrectangle) generate move-tos implicitly. A move-to operation can also be +used to start a new part of a path. + + +

+

+\pgfpathmoveto{<coordinate>}
+ +

This command expects a PGF-coordinate like \pgfpointorigin as its parameter. When the current + path is empty, this operation will start the path at the given <coordinate>. If a path has already + been partly constructed, this command will end the current part of the path and start a new + one. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{1cm}{1cm}} +
  \pgfpathlineto{\pgfpoint{2cm}{1cm}} +
  \pgfpathlineto{\pgfpoint{3cm}{0.5cm}} +
  \pgfpathlineto{\pgfpoint{3cm}{0cm}} +
  \pgfsetfillcolor{examplefill} +
  \pgfusepath{fill,stroke} +
\end{pgfpicture}
+

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{1cm}{1cm}} +
  \pgfpathlineto{\pgfpoint{2cm}{1cm}} +
  \pgfpathmoveto{\pgfpoint{2cm}{1cm}} % New part +
  \pgfpathlineto{\pgfpoint{3cm}{0.5cm}} +
  \pgfpathlineto{\pgfpoint{3cm}{0cm}} +
  \pgfsetfillcolor{examplefill} +
  \pgfusepath{fill,stroke} +
\end{pgfpicture}
+

The command will apply the current coordinate transformation matrix to <coordinate> before using + it. +

The command will update the bounding box of the current path and picture, if necessary.

+

+

21.3 The Line-To Path Operation

+

+

+\pgfpathlineto{<coordinate>}
+ +

This command extends the current path in a straight line to the given <coordinate>. If this command is given + at the beginning of path without any other path construction command given before (in particular without a + move-to operation), the TEX file may compile without an error message, but a viewer application may display + an error message when trying to render the picture. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{1cm}{1cm}} +
  \pgfpathlineto{\pgfpoint{2cm}{1cm}} +
  \pgfsetfillcolor{examplefill} +
  \pgfusepath{fill,stroke} +
\end{pgfpicture}
+ + +

The command will apply the current coordinate transformation matrix to <coordinate> before using + it. +

The command will update the bounding box of the current path and picture, if necessary.

+

+

21.4 The Curve-To Path Operation

+

+

+\pgfpathcurveto{<support 1>}{<support 2>}{<coordinate>}
+ +

This command extends the current path with a Bézier curve from the last point of the path to + <coordinate>. The <support 1> and <support 2> are the first and second support point of the Bézier + curve. For more information on Bézier curve, please consult a standard textbook on computer graphics. +

Like the line-to command, this command may not be the first path construction command in a + path. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathcurveto +
    {\pgfpoint{1cm}{1cm}}{\pgfpoint{2cm}{1cm}}{\pgfpoint{3cm}{0cm}} +
  \pgfsetfillcolor{examplefill} +
  \pgfusepath{fill,stroke} +
\end{pgfpicture}
+

The command will apply the current coordinate transformation matrix to <coordinate> before using + it. +

The command will update the bounding box of the current path and picture, if necessary. However, the + bounding box is simply made large enough such that it encompasses all of the support points and + the <coordinate>. This will guarantee that the curve is completely inside the bounding box, but + the bounding box will typically be quite a bit too large. It is not clear (to me) how this can be + avoided without resorting to “some serious math” in order to calculate a precise bounding box. +

+

+

21.5 The Close Path Operation

+

+

+\pgfpathclose
+ +

This command closes the current part of the path by appending a straight line to the start point of the current + part. Note that there is a difference between closing a path and using the line-to operation to add a straight + line to the start of the current path. The difference is demonstrated by the upper corners of the triangles in + the following example: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfsetlinewidth{5pt} +
  \pgfpathmoveto{\pgfpoint{1cm}{1cm}} +
  \pgfpathlineto{\pgfpoint{0cm}{-1cm}} +
  \pgfpathlineto{\pgfpoint{1cm}{-1cm}} +
  \pgfpathclose +
  \pgfpathmoveto{\pgfpoint{2.5cm}{1cm}} +
  \pgfpathlineto{\pgfpoint{1.5cm}{-1cm}} +
  \pgfpathlineto{\pgfpoint{2.5cm}{-1cm}} +
  \pgfpathlineto{\pgfpoint{2.5cm}{1cm}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

21.6 Arc, Ellipse and Circle Path Operations

+

The path construction commands that we have discussed up to now are sufficient to create all paths that can be +created “at all.” However, it is useful to have special commands to create certain shapes, like circles, that arise often +in practice. +

In the following, the commands for adding (parts of) (transformed) circles to a path are described. +

+

+\pgfpatharc{<start angle>}{<end angle>}{<radius>}
+ +

This command appends a part of a circle (or an ellipse) to the current path. Imaging the curve between + <start angle> and <end angle> on a circle of radius <radius> (if <start angle> < <end angle>, the curve + goes around the circle counterclockwise, otherwise clockwise). This curve is now moved such that the + point where the curve starts is the previous last point of the path. Note that this command will not + start a new part of the path, which is important for example for filling purposes. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{0cm}{1cm}} +
  \pgfpatharc{180}{90}{.5cm} +
  \pgfpathlineto{\pgfpoint{3cm}{1.5cm}} +
  \pgfpatharc{90}{-45}{.5cm} +
  \pgfusepath{fill} +
\end{tikzpicture}
+

Saying \pgfpatharc{0}{360}{1cm} “nearly” gives you a full circle. The “nearly” refers to the fact that the + circle will not be closed. You can close it using \pgfpathclose. +

The <radius> need not always be a single TEX dimension. Instead, it can also contain a slash, + in which case it must consist of two dimensions separated by this slash. In this case the first + dimension is the x-radius and the second the y-radius of the ellipse from which the curve is + taken: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpatharc{180}{45}{2cm/1cm} +
  \pgfusepath{draw} +
\end{tikzpicture}
+

The axes of the circle or ellipse from which the arc is “taken” always point up and right. However, the current + coordinate transformation matrix will have an effect on the arc. This can be used to, say, rotate an + arc: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgftransformrotate{30} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpatharc{180}{45}{2cm/1cm} +
  \pgfusepath{draw} +
\end{tikzpicture}
+

The command will update the bounding box of the current path and picture, if necessary. Unless rotation or + shearing transformations are applied, the bounding box will be tight.

+

+

+\pgfpathellipse{<center>}{<first axis>}{<second axis>}
+ +

The effect of this command is to append an ellipse to the current path (if the path is not empty, a + new part is started). The ellipse’s center will be <center> and <first axis> and <second axis> are the + axis vectors. The same effect as this command can also be achieved using an appropriate sequence of + move-to, arc, and close operations, but this command is easier and faster. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathellipse{\pgfpoint{1cm}{0cm}} +
                 {\pgfpoint{1.5cm}{0cm}} +
                 {\pgfpoint{0cm}{1cm}} +
  \pgfusepath{draw} +
  \color{red} +
  \pgfpathellipse{\pgfpoint{1cm}{0cm}} +
                 {\pgfpoint{1cm}{1cm}} +
                 {\pgfpoint{-0.5cm}{0.5cm}} +
  \pgfusepath{draw} +
\end{tikzpicture}
+

The command will apply coordinate transformations to all coordinates of the ellipse. However, the coordinate + + + transformations are applied only after the ellipse is “finished conceptually.” Thus, a transformation of 1cm to + the right will simply shift the ellipse one centimeter to the right; it will not add 1cm to the x-coordinates of + the two axis vectors. +

The command will update the bounding box of the current path and picture, if necessary.

+

+

+\pgfpathcirlce{<center>}{<radius>}
+ +

A shorthand for \pgfpathellipse applied to <center> and the two axis vectors (<radius>,0) and + (0,<radius>).

+

+

21.7 Rectangle Path Operations

+

Another shape that arises frequently is the rectangle. Two commands can be used to add a rectangle to the current +path. Both commands will start a new part of the path. +

+

+\pgfpathrectangle{<corner>}{<diagonal vector>}
+ +

Adds a rectangle to the path whose one corner is <corner> and whose opposite corner is given by + <corner> + <diagonal vector>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathrectangle{\pgfpoint{1cm}{0cm}}{\pgfpoint{1.5cm}{1cm}} +
  \pgfpathrectangle{\pgfpoint{1.5cm}{0.25cm}}{\pgfpoint{1.5cm}{1cm}} +
  \pgfpathrectangle{\pgfpoint{2cm}{0.5cm}}{\pgfpoint{1.5cm}{1cm}} +
  \pgfusepath{draw} +
\end{tikzpicture}
+

The command will apply coordinate transformations and update the bounding boxes tightly. +

+

+

+\pgfpathrectanglecorners{<corner>}{<opposite corner>}
+ +

Adds a rectangle to the path whose two opposing corners are <corner> and <opposite corner>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathrectanglecorners{\pgfpoint{1cm}{0cm}}{\pgfpoint{1.5cm}{1cm}} +
  \pgfusepath{draw} +
\end{tikzpicture}
+

The command will apply coordinate transformations and update the bounding boxes tightly. +

+ + +

+

21.8 The Grid Path Operation

+

+

+\pgfpathgrid[<options>]{<lower left>}{<upper right>}
+ +

Appends a grid to the current path. That is, a (possibly large) number of parts are added to the path, + each part consisting of a single horizontal or vertical straight line segment. +

Conceptually, the origin is part of the grid and the grid is clipped to the rectangle specified by the + <lower left> and the <upper right> corner. However, no clipping occurs (this command just adds parts to + the current path). Rather, the points where the lines enter and leave the “clipping area” are computed + and used to add simple lines to the current path. +

Allowed <options> are: +

    +
  • stepx=<dimension> Sets the horizontal stepping to <dimension>. Default is 1cm. +
  • +
  • stepy=<dimension> Sets the vertical stepping to <dimension>. Default is 1cm. +
  • +
  • step=<vector> Sets the horizontal stepping to the x-coordinate of <vector> and the vertical stepping + to its y-coordinate.
+

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetlinewidth{0.8pt} +
  \pgfpathgrid[step={\pgfpoint{1cm}{1cm}}] +
    {\pgfpoint{-3mm}{-3mm}}{\pgfpoint{33mm}{23mm}} +
  \pgfusepath{stroke} +
  \pgfsetlinewidth{0.4pt} +
  \pgfpathgrid[stepx=1mm,stepy=1mm] +
    {\pgfpoint{-1.5mm}{-1.5mm}}{\pgfpoint{31.5mm}{21.5mm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+

The command will apply coordinate transformations and update the bounding boxes tightly. As for ellipses, + the transformations are applied to the “conceptually finished” grid. +

+ +
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgftransformrotate{10} +
  \pgfpathgrid[stepx=1mm,stepy=2mm]{\pgfpoint{0mm}{0mm}}{\pgfpoint{30mm}{30mm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+ + +

+

21.9 The Parabola Path Operation

+

+

+\pgfpathparabola{<bend vector>}{<end vector>}
+ +

This command appends two half-parabolas to the current path. The first starts at the current point + and ends at the current point plus <bend vector>. At his point, it has its bend. The second half parabola + starts at that bend point and end at point that is given by the bend plus <end vector>. +

If you set <end vector> to the null vector, you append only a half parabola that goes from the current + point to the bend; by setting <bend vector> to the null vector, you append only a half parabola that + goes to current point plus <end vector> and has its bend at the current point. +

It is not possible to use this command to draw a part of a parabola that does not contain the bend. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  % Half-parabola going ``up and right'' +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathparabola{\pgfpointorigin}{\pgfpoint{2cm}{4cm}} +
  \color{red} +
  \pgfusepath{stroke} +
+
  % Half-parabola going ``down and right'' +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathparabola{\pgfpoint{-2cm}{4cm}}{\pgfpointorigin} +
  \color{blue} +
  \pgfusepath{stroke} +
+
  % Full parabola +
  \pgfpathmoveto{\pgfpoint{-2cm}{2cm}} +
  \pgfpathparabola{\pgfpoint{1cm}{-1cm}}{\pgfpoint{2cm}{4cm}} +
  \color{orange} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+

The command will apply coordinate transformations and update the bounding boxes.

+

+

21.10 Sine and Cosine Path Operations

+

Sine and cosine curves often need to be drawn and the following commands may help with this. However, they only +allow you to append sine and cosine curves in intervals that are multiples of p/2. +

+

+\pgfpathsine{<vector>}
+ +

This command appends a sine curve in the interval [0,p/2] to the current path. The sine curve is squeezed or + stretched such that the curve starts at the current point and ends at the current point plus + <vector>. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,1); +
  \pgfpathmoveto{\pgfpoint{1cm}{0cm}} +
  \pgfpathsine{\pgfpoint{1cm}{1cm}} +
  \pgfusepath{stroke} +
+
  \color{red} +
  \pgfpathmoveto{\pgfpoint{1cm}{0cm}} +
  \pgfpathsine{\pgfpoint{-2cm}{-2cm}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+

The command will apply coordinate transformations and update the bounding boxes.

+

+

+\pgfpathcosine{<vector>}
+ +

This command appends a cosine curve in the interval [0,p/2] to the current path. The curve is squeezed or + stretched such that the curve starts at the current point and ends at the current point plus <vector>. Using + several sine and cosine operations in sequence allows you to produce a complete sine or cosine + curve +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpoint{0cm}{0cm}} +
  \pgfpathsine{\pgfpoint{1cm}{1cm}} +
  \pgfpathcosine{\pgfpoint{1cm}{-1cm}} +
  \pgfpathsine{\pgfpoint{1cm}{-1cm}} +
  \pgfpathcosine{\pgfpoint{1cm}{1cm}} +
  \pgfsetfillcolor{examplefill} +
  \pgfusepath{fill,stroke} +
\end{pgfpicture}
+

The command will apply coordinate transformations and update the bounding boxes.

+

+

21.11 Plot Path Operations

+

There exist several commands for appending plots to a path. These commands are available through the package +pgfbaseplot. They are documented in Section 29. +

+

21.12 Rounded Corners

+

Normally, when you connect two straight line segments or when you connect two curves that end and start “at +different angles” you get “sharp corners” between the lines or curves. In some cases it is desirable to produce +“rounded corners” instead. Thus, the lines or curves should be shortened a bit and then connected by +arcs. +

PGF offers an easy way to achieve this effect, by calling the following two commands. +

+ + +

+\pgfsetcornersarced{<point>}
+ +

This command causes all subsequent corners to be replaced by little arcs. The effect of this command + lasts till the end of the current TEX scope. +

The <point> dictates how large the corner arc will be. Consider a corner made by two lines l and r + and assume that the line l comes first on the path. The x-dimension of the <point> decides by how + much the line l will be shortened, the y-dimension of <point> decides by how much the line r will be + shortened. Then, the shortened lines are connected by an arc. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
+
  \pgfsetcornersarced{\pgfpoint{5mm}{5mm}} +
  \pgfpathrectanglecorners{\pgfpointorigin}{\pgfpoint{3cm}{2cm}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
+
  \pgfsetcornersarced{\pgfpoint{10mm}{5mm}} +
  % 10mm entering, +
  % 5mm leaving. +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{0cm}{2cm}} +
  \pgfpathlineto{\pgfpoint{3cm}{2cm}} +
  \pgfpathcurveto +
    {\pgfpoint{3cm}{0cm}} +
    {\pgfpoint{2cm}{0cm}} +
    {\pgfpoint{1cm}{0cm}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+

If the x- and y-coordinates of <point> are the same and the corner is a right angle, you will get a perfect + quarter circle (well, not quite perfect, but perfect up to six decimals). When the angle is not 90o, you only get + a fair approximation. +

More or less “all” corners will be rounded, even the corner generated by a \pgfpathclose command. (The + author is a bit proud of this feature.) +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetcornersarced{\pgfpoint{4pt}{4pt}} +
  \pgfpathmoveto{\pgfpointpolar{0}{1cm}} +
  \pgfpathlineto{\pgfpointpolar{72}{1cm}} +
  \pgfpathlineto{\pgfpointpolar{144}{1cm}} +
  \pgfpathlineto{\pgfpointpolar{216}{1cm}} +
  \pgfpathlineto{\pgfpointpolar{288}{1cm}} +
  \pgfpathclose +
  \pgfusepath{stroke} +
\end{pgfpicture}
+ + +

To return to normal (unrounded) corners, use \pgfsetcornersarced{\pgfpointorigin}. +

Note that the rounding will produce strange and undesirable effects if the lines at the corners are too short. In + this case the shortening may cause the lines to “suddenly extend over the other end” which is rarely desirable. +

+

+

21.13 Internal Tracking of Bounding Boxes for Paths and Pictures

+

The path construction commands keep track of two bounding boxes: One for the current path, which is reset +whenever the path is used and thereby flushed, and a bounding box for the current {pgfpicture}. +

The bounding boxes are not accessible by “normal” macros. Rather, two sets of four dimension variables are +used for this, all of which contain the letter @. +

+

+\pgf@pathminx
+ +

The minimum x-coordinate “mentioned” in the current path. Initially, this is set to 16000pt.

+

+

+\pgf@pathmaxx
+ +

The maximum x-coordinate “mentioned” in the current path. Initially, this is set to -16000pt.

+

+

+\pgf@pathminy
+ +

The minimum y-coordinate “mentioned” in the current path. Initially, this is set to 16000pt.

+

+

+\pgf@pathmaxy
+ +

The maximum y-coordinate “mentioned” in the current path. Initially, this is set to -16000pt.

+

+

+\pgf@picminx
+ +

The minimum x-coordinate “mentioned” in the current picture. Initially, this is set to 16000pt.

+

+

+\pgf@picmaxx
+ +

The maximum x-coordinate “mentioned” in the current picture. Initially, this is set to -16000pt.

+

+

+\pgf@picminy
+ +

The minimum y-coordinate “mentioned” in the current picture. Initially, this is set to 16000pt.

+ + +

+

+\pgf@picmaxy
+ +

The maximum y-coordinate “mentioned” in the current picture. Initially, this is set to -16000pt.

+

Each time a path construction command is called, the above variables are (globally) updated. To facilitate this, +you can use the following command: +

+

+\pgf@protocolsizes{<x-dimension>}{<y-dimension>}
+ +

Updates all of the above dimension in such a way that the point specified by the two arguments + is inside both bounding boxes. For the picture’s bounding box this updating occurs only if + \ifpgf@relevantforpicturesize is true, see below.

+

For the bounding box of the picture it is not always desirable that every path construction command affects this +bounding box. For example, if you have just used a clip command, you do not want anything outside the clipping +area to affect the bounding box. For this reason, there exists a special “TEX if” that (locally) decides whether +updating should be applied to the picture’s bounding box. Clipping will set this if to false, as will certain other +commands. +

+

+\pgf@relevantforpicturesizefalse
+ +

Suppresses updating of the picture’s bounding box.

+

+

+\pgf@relevantforpicturesizetrue
+ +

Causes updating of the picture’s bounding box.

+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse22.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse22.html new file mode 100644 index 00000000000..29028c18908 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse22.html @@ -0,0 +1,1087 @@ + + +22 Snakes + + + + + + + + +

+

22 Snakes

+

+

22.1 Overview

+

A snake is a “way of adding a winding line to a path.” To be a bit more precise, you use snakes to extend the path +and the commands for using snakes start with \pgfpath. However, snakes do not necessarily extend the path using +line-to and curve-to operations; rather, they can also contain move-to operations and, thereby, cause the path to be +split into many subpaths. +

As an example, let us consider a simple snake like the zigzag snake. It looks like this: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[snake=zigzag] (0,0)   -- (3,0); +
  \draw[snake=zigzag] (0,-.5) -- (3,-1); +
\end{tikzpicture}
+

The above example demonstrates the two key features of snakes: +

    +
  1. Snakes are made up from little segments that are repeated several times. For the zigzag snake these + segements look like this:

    SVG-Viewer needed.

    . +
  2. +
  3. Snakes “follow along a straight to the target point.” Thus, when the target point is not to the right of + the start point, the snake is rotated appropriately.
+

In order to use snakes, they first have to be declared. This declaration contains a detailed description of +how each segement of the snake looks like and in what ordering the different possible segments are +used. +

Once a snake has been declared, it can be used. For this you specify a target point and a snaked line will be +added from the last point current point to the target point. +

+

22.2 Declaring a Snake

+

+

22.2.1 Segments
+

When you declare a snake, you provide a description of how the different segments of the snake will be rendered. +The description of each segment should be given in a way as if the target of the snaked line where at (+ oo ,0) and as +if the segment’s start where at the origin. Thus, for example, the segment of the zigzag might be defined using the +following code: +

+
+
\pgfpathlineto{\pgfpoint{5pt}{5pt}} +
\pgfpathlineto{\pgfpoint{15pt}{-5pt}} +
\pgfpathlineto{\pgfpoint{20pt}{0pt}}
+

PGF will ensure that an appropriate coordinate transformation is in place when the snake segment is added to +the path such that the snake segment actually points in the right direction. Also subsequent snake segments will be +transformed such that they are “further along the line” toward the target. All transformations are setup +automatically. + + +

Note that we did not use a \pgfpathmoveto{\pgfpointorigin} at the beginning of the segment code. Doing so +would subdivide the path into numerous subpath. Rather, we assume that the previous segment caused the current +point to be at the origin. +

While we can now describe segments, we still need a way to “stop” the snake. Also, PGF needs to know the +width of the different snake segments such that it can translate the next segment correctly. Even though it would be +possible to compute all this information automatically, PGF does not do so and you have to provide the information +“by hand” for each segment. +

+

22.2.2 Snake Automata
+

Up to now our snakes only have one segment that is repeated again and again. However, we might also like to have +different segments and use rules to describe which segment should be used where. For example, we might have +special segments at the start and at the end. +

For snakes we use a mechanism known in computer science as finite automata to describe which segment is used +in each part of the snake. The idea is the following: For the first segment we start in a special state +called the initial state. In this state, and also in all other state later, PGF first computes how much +space is left on the snake. That is, PGF keeps track of the distance to the target. Attached to each +state there is a set of rules of the following form: “If the remaining distance is less than x, switch to +state q.” PGF checks for each of these rules whether it applies and, if so, immediately switches to +state q. +

Only if none of the rules tell us to switch to another state, PGF will execute the state’s code. This code will add +a segment to the path. In addition to the rules there is also width parameter attached to each state. PGF then +translates the coordinate system by this width and reduces the remaining distance. Then, PGF either stays in +the current state or switches to another state, depending on yet another property attached of the +state. +

The whole process stops when a special state called final is reached. The segment of this state is added to the +path immediately (it is often empty, though) and the process ends. +

+

22.2.3 The Snake Declaration Command
+

+

+\pgfdeclaresnake{<name>}{<initial state>}{<states>}
+ +

This command declares a new snake called <name>. The <states> argument contains a description of + the snake automaton’s states and the transitions between them. The <initial state> is the state in which + the automaton starts. +

The <states> argument should consist of \state commands, one for each state of the snake automaton. + The \state command is defined only when the <states> argument is executed. + + +

+
 

SVG-Viewer needed.

 
+
\pgfdeclaresnake{example snake}{initial} +
{ +
  \state{initial}[width=10pt] +
  { +
    \pgfpathlineto{\pgfpoint{0pt}{5pt}} +
    \pgfpathlineto{\pgfpoint{5pt}{5pt}} +
    \pgfpathlineto{\pgfpoint{5pt}{-5pt}} +
    \pgfpathlineto{\pgfpoint{10pt}{-5pt}} +
    \pgfpathlineto{\pgfpoint{10pt}{0pt}} +
  } +
  \state{final} +
  { +
    \pgfpathlineto{\pgfpoint{\pgfsnakeremainingdistance}{0pt}} +
  } +
} +
\tikz{\draw[snake=example snake] (0,0) -- (3,0); +
      \draw[snake=example snake] (0,-1) -- (3,-3);}
+

The \state command works as follows: +

+ \state{<name>}[<options>]{<code>}
+ +

This command declares a new state inside the current snake automaton. The state is names + <name>. +

When PGF is in state <name>, the following things happen: +

    +
  1. The <options> are parsed. This may lead, see below, to a state switch. When this happens, + the following steps are not executed. The <options> are executed one after the other in the + given order. If an option causes a state switch, the switch is immediate, even if later options + might cause a different state switch. +
  2. +
  3. The <code> is executed. When this happens, the coordinate transformation will be setup such + that the origin is at the start of the segment and such that the target lies in the direction + “east.” +
  4. +
  5. After the <code> has been executed, the state switches to whatever state has been specified + inside the <options> using the next state option. If no next state has been specified, the + state stays the same.
+

The following options are allowed inside the <options>: +

    +
  • switch if less than=<dimension> to <new state> When this option is encountered, + PGF checks whether the remaining distance to the target is less than <dimension>. If so, an + immediate state switch to <new state> occurs. +
  • +
  • width=<dimension> This option tells PGF the width of the segment if it is appended to the + path. The coordinate system will, afterward, be translated by <dimension> to ensure that the + next segment starts where the current one ended. +

    In addition, this option will cause an immediate switch to the state final if the + remaining distance is less than <dimension>. The effect is the same as if you had said + switch if less than=<dimension> to final just before the width option. +

  • +
  • next state=<new state> After the segment has been added to the path, a state switch to + + + <new state> is performed. If this option is not given, the next state is the same as the current + state.
+

There are two dimensions that are useful inside snake automata: +

+ \pgfsnakeremainingdistance
+ +

This TEX dimension holds the remaining distance to the target.

+

+

+ \pgfsnakecompleteddistance
+ +

This TEX dimension holds the distance already completed on the snake.

+
+

As a final example we present a more complicated snake that makes use of the different options: + + +

+
 

SVG-Viewer needed.

 
+
\pgfdeclaresnake{complicated example snake}{initial} +
{ +
  \state{initial}[width=5pt,next state=up] +
  { \pgfpathlineto{\pgfpoint{5pt}{0pt}} } +
+
  \state{up}[width=5pt,next state=down] +
  { +
    \ifdim\pgfsnakeremainingdistance>\pgfsnakecompleteddistance +
      % Growing +
      \pgfpathlineto{\pgfpoint{0pt}{\pgfsnakecompleteddistance}} +
      \pgfpathlineto{\pgfpoint{5pt}{\pgfsnakecompleteddistance}} +
      \pgfpathlineto{\pgfpoint{5pt}{0pt}} +
    \else +
      % Shrinking +
      \pgfpathlineto{\pgfpoint{0pt}{\pgfsnakeremainingdistance}} +
      \pgfpathlineto{\pgfpoint{5pt}{\pgfsnakeremainingdistance}} +
      \pgfpathlineto{\pgfpoint{5pt}{0pt}} +
    \fi% +
  } +
  \state{down}[width=5pt,next state=up] +
  { +
    \ifdim\pgfsnakeremainingdistance>\pgfsnakecompleteddistance +
      % Growing +
      \pgfpathlineto{\pgfpoint{0pt}{-\pgfsnakecompleteddistance}} +
      \pgfpathlineto{\pgfpoint{5pt}{-\pgfsnakecompleteddistance}} +
      \pgfpathlineto{\pgfpoint{5pt}{0pt}} +
    \else +
      % Shrinking +
      \pgfpathlineto{\pgfpoint{0pt}{-\pgfsnakeremainingdistance}} +
      \pgfpathlineto{\pgfpoint{5pt}{-\pgfsnakeremainingdistance}} +
      \pgfpathlineto{\pgfpoint{5pt}{0pt}} +
    \fi% +
  } +
  \state{final} +
  { +
    \pgfpathlineto{\pgfpoint{\pgfsnakeremainingdistance}{0pt}} +
  } +
} +
\begin{tikzpicture}[snake=complicated example snake] +
  \draw[snake] (0,0) -- (3,0); +
  \fill[red!50,snake,rounded corners=2pt] (.5,-2) -- ++(2.5,-2.5) +
                             [snake=none] -- ++(0,-.5) -| (0,-2) -- cycle; +
\end{tikzpicture}
+
+

+

22.2.4 Predefined Snakes
+

Only two very simple and basic snakes are predefined when you load PGF. For more interesting snakes you can use +the package pgflibrarysnakes. +

+ + +

+Snake lineto
+ + +

This most trivial of all snakes is simply a straight line. This snake is typically not used in a “stand + alone” fashion. Rather, it is useful as a “subsnake” of the \pgfsnakesto command.

+

+

+Snake moveto
+ + +

Arguably, this snake is even simpler than the previous snake. This snake consists of a simple move-to + operation. Like the lineto snake, it is useful as a “subsnake” of the \pgfsnakesto command.

+

+

22.3 Using Snakes

+

Three commands can be used to use a snake. +

+

+\pgfpathsnakealongvector{<snake>}{<length>}{<vector>}
+ +

This command will append the <snake> to the current path. The length of the snake is given by <length>. The + <vector> should be a normalizes vector (a vector having length 1pt) pointing in the direction in which the + snake should grow. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpoint{1cm}{1cm}} +
  \pgfpathsnakealongvector{zigzag}{2cm}{\pgfpointpolar{30}{1pt}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfpathsnakesto{<snake list>}{<target>}
+ +

This command will append the snakes in the <snake list> to the current path such that it ends at + <point>. This command calls the previous one (repeatedly, possibly) after having computed the distance + from the current point to <target> and normalized the vector connecting the current point to the target. +

The <snake list> is a comma-separated list of pairs consisting of a snake name in curly braces and a + distance in curly braces. For example, a snake list might be {lineto}{1cm},{moveto}{2cm}. This is + interpreted as follows: Use a lineto snake for the first centimeter of the way to the <target>, then use + the moveto snake for the next two centimeters. +

No attempt is made to check or ensure that the distances of the “subsnakes’ add up to the distnace + from the current point to the <target>. However, it is possible to refer to this distance inside the <snake + list>: While the snake list is processed, the two TEX-dimensions \pgfsnakeremainingdistance and + \pgfsnakecompleteddistance will be set to the correct values. For example, consider the example + + + from a above, consisting of a lineto and a moveto snake. Suppose the distance to <target> where 5cm. + Then, when the length of the first subsnake is computed, the remaining distance willbe set to 5cm and + the completed distance to 0cm. When the length of the second subsnake is computed, the remaining + distance wil be 4cm and the completed distance will be 1cm. +

Here are some useful examles: {zigzag}{\pgfsnakeremainingdistance} is a <snake list> that consists only of + a zigzag snake whose length is the total distance from the current point to the <target>. Next, to get a snake + that is a zigzag snake that is preceeded and succeeded by 3mm of lineto, you can use the + following: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines](0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathsnakesto{% +
    {lineto}{3mm},% +
    {zigzag}{\pgfsnakeremainingdistance-6mm},% +
    {lineto}{3mm}} +
  {\pgfpoint{3cm}{2cm}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+

Note that the computation of the distance may be imprecise. In general, the placement precision of the snakes + will not be perfect.

+

+

+\pgfpathsnaketo{<snake>}{<target>}
+ +

This command is just a shortcut for calling \pgfpathsnakesto for a single snake whose length is + \pgfsnakeremainingdistance. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathmoveto{\pgfpoint{1cm}{1cm}} +
  \pgfpathsnaketo{zigzag}{\pgfpoint{3cm}{2cm}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

As was already mentioned, when each segment of the snake is added to the path, an appropriate coordinate +transformation will be in force. It is sometimes useful to add an additional transformation locally. For +example, by reflecting everything around the x-axis right before each segment is added, the snake will +effectively be mirrored along the path. The following command allows you to install such a “last minute +transformation.” +

+

+\pgfsetsnakesegmenttransformation{<code>}
+ +

The <code> will be executed at the very beginning of each segment. Normally, this be a transformation + command that changes the y-axis in some way.

+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse23.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse23.html new file mode 100644 index 00000000000..fd486ceebcb --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse23.html @@ -0,0 +1,1123 @@ + + +23 Using Paths + + + + + + + + +

+

23 Using Paths

+

+

23.1 Overview

+

Once a path has been constructed, it can be used in different ways. For example, you can draw the path or fill it or +use it for clipping. +

Numerous graph parameters influence how a path will be rendered. For example, when you draw a path, +the line width is important as well as the dashing pattern. The options that govern how paths are +rendered can all be set with commands starting with \pgfset. All options that influence how a path is +rendered always influence the complete path. Thus, it is not possible to draw part of a path using, say, a +red color and drawing another part using a green color. To achieve such an effect, you must use two +paths. +

In detail, paths can be used in the following ways: +

+

    +
  1. You can stroke (also known as draw) a path. +
  2. +
  3. You can fill a path with a uniform color. +
  4. +
  5. You can clip subsequent renderings against the path. +
  6. +
  7. You can shade a path. +
  8. +
  9. You can use the path as bounding box for the whole picture.
+

You can also perform any combination of the above, though it makes no sense to fill and shade a path at the same +time. +

To perform (a combination of) the first three actions, you can use the following command: +

+\pgfusepath{<actions>}
+ +

Applies the given <actions> to the current path. Afterwards, the current path is (globally) empty. The + following actions are possible: +

    +
  • fill fills the path. See Section 23.3 for further details. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{pgfpicture} +
      \pgfpathmoveto{\pgfpointorigin} +
      \pgfpathlineto{\pgfpoint{1cm}{1cm}} +
      \pgfpathlineto{\pgfpoint{1cm}{0cm}} +
      \pgfusepath{fill} +
    \end{pgfpicture}
    + + +
  • +
  • stroke strokes the path. See Section 23.2 for further details. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{pgfpicture} +
      \pgfpathmoveto{\pgfpointorigin} +
      \pgfpathlineto{\pgfpoint{1cm}{1cm}} +
      \pgfpathlineto{\pgfpoint{1cm}{0cm}} +
      \pgfusepath{stroke} +
    \end{pgfpicture}
    +
  • +
  • clip clips all subsequent drawings against the path. See Section 23.4 for further details. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{pgfpicture} +
      \pgfpathmoveto{\pgfpointorigin} +
      \pgfpathlineto{\pgfpoint{1cm}{1cm}} +
      \pgfpathlineto{\pgfpoint{1cm}{0cm}} +
      \pgfusepath{stroke,clip} +
      \pgfpathcircle{\pgfpoint{1cm}{1cm}}{0.5cm} +
      \pgfusepath{fill} +
    \end{pgfpicture}
    +
  • +
  • discard discards the path, that is, it is not used at all. Giving this option (alone) has the same effect as + giving an empty options list.
+

When more than one of the first three actions are given, they are applied in the above ordering, regardless of + their ordering in <actions>. Thus, {stroke,fill} and {fill,stroke} have the same effect. +

+

To shade a path, use the \pgfshadepath command, which is explained in Section 28. +

+

23.2 Stroking a Path

+

When you use \pgfusepath{stroke} to stroke a path, several graphic parameters influence how the path is drawn. +The commands for setting these parameters are explained in the following. +

Note that all graphic parameters apply to the path as a whole, never only to a part of it. +

All graphic parameters are local to the current {pgfscope}, but they persists past TEX groups, except for +the interior rule (even-odd or nonzero) and the arrow tip kinds. The latter graphic parameters only +persist till the end of the current TEX group, but this may change in the future, so do not count on +this. +

+

23.2.1 Graphic Parameter: Line Width
+

+

+\pgfsetlinewidth{<line width>}
+ +

This command sets the line width for subsequent strokes (in the current pgfscope). The line width is + given as a normal TEX dimension like 0.4pt or 1mm. + + +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetlinewidth{1mm} +
  \pgfpathmoveto{\pgfpoint{0mm}{0mm}} +
  \pgfpathlineto{\pgfpoint{2cm}{0mm}} +
  \pgfusepath{stroke} +
  \pgfsetlinewidth{2\pgflinewidth} % double in size +
  \pgfpathmoveto{\pgfpoint{0mm}{5mm}} +
  \pgfpathlineto{\pgfpoint{2cm}{5mm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

+

+\pgflinewidth
+ +

You can access the current line width via the TEX dimension \pgflinewidth. It will be set to the + correct line width, that is, even when a TEX group closed, the value will be correct since it is set + globally, but when a {pgfscope} closes, the value is set to the correct value it had before the scope.

+

+

23.2.2 Graphic Parameter: Caps and Joins
+

+

+\pgfsetbuttcap
+ +

Sets the line cap to a butt cap. See Section 10.2.1 for an explanation of what this is.

+

+

+\pgfsetroundcap
+ +

Sets the line cap to a round cap. See again Section 10.2.1.

+

+

+\pgfsetrectcap
+ +

Sets the line cap to a square cap. See again Section 10.2.1.

+

+

+\pgfsetroundjoin
+ +

Sets the line join to a round join. See again Section 10.2.1.

+

+

+\pgfsetbeveljoin
+ +

Sets the line join to a bevel join. See again Section 10.2.1.

+

+ + +

+\pgfsetmiterjoin
+ +

Sets the line join to a miter join. See again Section 10.2.1.

+

+

+\pgfsetmiterlimit{<miter limit factor>}
+ +

Sets the miter limit to <miter limit factor>. See again Section 10.2.1.

+

+

23.2.3 Graphic Parameter: Dashing
+

+

+\pgfsetdash{<list of even length of dimensions>}{<phase>}
+ +

Sets the dashing of a line. The first entry in the list specifies the length of the first solid part of the + list. The second entry specifies the length of the following gap. Then comes the length of the second + solid part, following by the length of the second gap, and so on. The <phase> specifies where the first + solid part starts relative to the beginning of the line. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetdash{{0.5cm}{0.5cm}{0.1cm}{0.2cm}}{0cm} +
  \pgfpathmoveto{\pgfpoint{0mm}{0mm}} +
  \pgfpathlineto{\pgfpoint{2cm}{0mm}} +
  \pgfusepath{stroke} +
  \pgfsetdash{{0.5cm}{0.5cm}{0.1cm}{0.2cm}}{0.1cm} +
  \pgfpathmoveto{\pgfpoint{0mm}{1mm}} +
  \pgfpathlineto{\pgfpoint{2cm}{1mm}} +
  \pgfusepath{stroke} +
  \pgfsetdash{{0.5cm}{0.5cm}{0.1cm}{0.2cm}}{0.2cm} +
  \pgfpathmoveto{\pgfpoint{0mm}{2mm}} +
  \pgfpathlineto{\pgfpoint{2cm}{2mm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+

Use \pgfsetdash{}{0pt} to get a solid dashing.

+

+

23.2.4 Graphic Parameter: Stroke Color
+

+

+\pgfsetstrokecolor{<color>}
+ +

Sets the color used for stroking lines to <color>, where <color> is a LATEX color like red or + black!20!red. Unlike the \color command, the effect of this command lasts till the end of the current + {pgfscope} and not till the end of the current TEX group. +

The color used for stroking may be different from the color used for filling. However, a \color command + will always “immediately override” any special settings for the stroke and fill colors. +

In plain TEX, this command will also work, but the problem of defining a color arises. After all, plain + TEX does not provide LATEX colors. For this reason, PGF implements a minimalistic “emulation” of + the \definecolor, \colorlet, and \color commands. Only gray-scale and rgb colors are supported. + For most cases this turns out to be enough. + + +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetlinewidth{1pt} +
  \color{red} +
  \pgfpathcircle{\pgfpoint{0cm}{0cm}}{3mm} \pgfusepath{fill,stroke} +
  \pgfsetstrokecolor{black} +
  \pgfpathcircle{\pgfpoint{1cm}{0cm}}{3mm} \pgfusepath{fill,stroke} +
  \color{red} +
  \pgfpathcircle{\pgfpoint{2cm}{0cm}}{3mm} \pgfusepath{fill,stroke} +
\end{pgfpicture}
+
+

+

+\pgfsetcolor{<color>}
+ +

Sets both the stroke and fill color. The difference to the normal \color command is that the effect + lasts till the end of the current {pgfscope}, not only till the end of the current TEX group.

+

+

23.2.5 Graphic Parameter: Stroke Opacity
+

+

+\pgfsetstrokeopacity{<value>}
+ +

Sets the opacity of stroking operations. The <value> should be a number between 0 and 1, where 1 + means “fully opaque” and 0 means “fully transparent.” A value like 0.5 will cause paths to be stroked + in a semitransparent way. +

Note: For PostScript output, opacity is rendered correctly only with the most recent versions of + GhostScript. Printers and other programs will ignore the opacity setting. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetlinewidth{5mm} +
  \color{red} +
  \pgfpathcircle{\pgfpoint{0cm}{0cm}}{10mm} \pgfusepath{stroke} +
  \color{black} +
  \pgfsetstrokeopacity{0.5} +
  \pgfpathcircle{\pgfpoint{1cm}{0cm}}{10mm} \pgfusepath{stroke} +
\end{pgfpicture}
+
+

+

23.2.6 Graphic Parameter: Arrows
+

After a path has been drawn, PGF can add arrow tips at the ends. Currently, it will only add arrows correctly at the +end of paths that consist of a single open part. For other paths, like closed paths or path consisting of multiple +parts, the result is not defined. +

+ + +

+\pgfsetarrowsstart{<arrow kind>}
+ +

Sets the arrow tip kind used at the start of a (possibly curved) path. When this option is used, the + line will often be slightly shortened to ensure that the tip of the arrow will exactly “touch” the “real” + start of the line. +

To “clear” the start arrow, say \pgfsetarrowsstart{}. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetarrowsstart{latex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{1cm}{0cm}} +
  \pgfusepath{stroke} +
  \pgfsetarrowsstart{to} +
  \pgfpathmoveto{\pgfpoint{0cm}{2mm}} +
  \pgfpathlineto{\pgfpoint{1cm}{2mm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+

The effect of this command persists only till the end of the current TEX scope. +

The different possible arrow kinds are explained in Section 24.

+

+

+\pgfsetarrowsend{<arrow kind>}
+ +

Sets the arrow tip kind used at the end of a path. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetarrowsstart{latex} +
  \pgfsetarrowsend{to} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{1cm}{0cm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

+

+\pgfsetarrows{<start kind>-<end kind>}
+ +

Sets the start arrow kind to <start kind> and the end kind to <end kind>. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetarrows{latex-to} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{1cm}{0cm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

+

+\pgfsetshortenstart{<dimension>}
+ +

This command will shortened the start of every stroked path by the given dimension. This shortening + is done in addition to automatic shortening done by a start arrow, but it can be used even if no start + arrow is given. + + +

This command is useful if you wish arrows or lines to “stop shortly before” a given point. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathcircle{\pgfpointorigin}{5mm} +
  \pgfusepath{stroke} +
  \pgfsetarrows{latex-} +
  \pgfsetshortenstart{4pt} +
  \pgfpathmoveto{\pgfpoint{5mm}{0cm}} % would be on the circle +
  \pgfpathlineto{\pgfpoint{2cm}{0cm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

+

+\pgfsetshortenend{<dimension>}
+ +

Works like \pgfsetshortenstart.

+

+

23.3 Filling a Path

+

Filling a path means coloring every interior point of the path with the current fill color. It is not always obvious +whether a point is “inside” a path when the path is self-intersecting and/or consists or multiple parts. In this case +either the nonzero winding number rule or the even-odd crossing number rule is used to decide, which points lie +“inside.” These rules are explained in Section 10.3. +

+

23.3.1 Graphic Parameter: Interior Rule
+

You can set which rule is used using the following commands: +

+

+\pgfseteorule
+ +

Dictates that the even-odd rule is used in subsequent fillings in the current TEX scope. Thus, for once, + the effect of this command does not persist past the current TEX scope. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfseteorule +
  \pgfpathcircle{\pgfpoint{0mm}{0cm}}{7mm} +
  \pgfpathcircle{\pgfpoint{5mm}{0cm}}{7mm} +
  \pgfusepath{fill} +
\end{pgfpicture}
+
+

+

+\pgfsetnonzerorule
+ + + +

Dictates that the nonzero winding number rule is used in subsequent fillings in the current TEX scope. + This is the default. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfsetnonzerorule +
  \pgfpathcircle{\pgfpoint{0mm}{0cm}}{7mm} +
  \pgfpathcircle{\pgfpoint{5mm}{0cm}}{7mm} +
  \pgfusepath{fill} +
\end{pgfpicture}
+
+

+

23.3.2 Graphic Parameter: Filling Color
+

+

+\pgfsetfillcolor{<color>}
+ +

Sets the color used for filling paths to <color>. Like the stroke color, the effect lasts only till the next + use of \color.

+

+

23.3.3 Graphic Parameter: Fill Opacity
+

+

+\pgfsetfillopacity{<value>}
+ +

Sets the opacity of filling operations. As for stroking, the <value> should be a number between 0 and 1. +

The “filling transparency” will also be used for text and images. +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \pgfsetfillopacity{0.5} +
  \fill[red]   (90:1cm)  circle (11mm); +
  \fill[green] (210:1cm) circle (11mm); +
  \fill[blue]  (-30:1cm) circle (11mm); +
\end{tikzpicture}
+
+ + +

+

23.4 Clipping a Path

+

When you add the clip option, the current path is used for clipping subsequent drawings. The same rule as for +filling is used to decide whether a point is inside or outside the path, that is, either the even-odd rule or the nonzero +rule. +

Clipping never enlarges the clipping area. Thus, when you clip against a certain path and then clip again against +another path, you clip against the intersection of both. +

The only way to enlarge the clipping path is to end the {pgfscope} in which the clipping was +done. At the end of a {pgfscope} the clipping path that was in force at the beginning of the scope is +reinstalled. +

+

23.5 Using a Path as a Bounding Box

+

When you add the use as bounding box option, the bounding box of the picture will be enlarged such that the +path in encompassed, but any subsequent paths of the current TEX scope will not have any effect on the +size of the bounding box. Typically, you use this command at the very beginning of a {pgfpicture} +environment. +

+
 Left

SVG-Viewer needed.

right. 
+
Left +
\begin{pgfpicture} +
  \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{1ex}} +
  \pgfusepath{use as bounding box} % draws nothing +
+
  \pgfpathcircle{\pgfpointorigin}{2ex} +
  \pgfusepath{stroke} +
\end{pgfpicture} +
right.
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse24.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse24.html new file mode 100644 index 00000000000..122d94a296f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse24.html @@ -0,0 +1,1367 @@ + + +24 Arrow Tips + + + + + + + + +

+

24 Arrow Tips

+

+

24.1 Overview

+

+

24.1.1 When Does PGF Draw Arrow Tips?
+

PGF offers an interface for placing arrow tips at the end of lines. The interface works as follows: +

+

    +
  1. You (or someone else) assigns a name to a certain kind of arrow tips. For example, the arrow tip latex + is the arrow tip used by the standard LATEX picture environment; the arrow tip to looks like the tip + of the arrow in TEX’s \to command; and so on. +

    This is done once at the beginning of the document. +

  2. +
  3. Inside some picture, at some point you specify that in the current scope from now on you would like + tips of, say, kind to to be added at the end and/or beginning of all paths. +

    When an arrow kind has been installed and when PGF is about to stroke a path, the following things + happen: +

      +
    1. The beginning and/or end of the path is shortened appropriately. +
    2. +
    3. The path is stroked. +
    4. +
    5. The arrow tip is drawn at the beginning and/or end of the path, appropriately rotated and + appropriately resized.
    +
+

In the above description, there are a number of “appropriately.” The exact details are not quite trivial and +described later on. +

+

24.1.2 Meta-Arrow Tips
+

In PGF, arrows are “meta-arrows” in the same way that fonts in TEX are “meta-fonts.” When a meta-arrow is +resized, it is not simply scaled, but a possibly complicated transformation is applied to the size. +

A meta-font is not one particular font at a specific size with a specific stroke width (and with a large number of +other parameters being fixed). Rather, it is a “blueprint” (actually, more like a program) for generating such a font +at a particular size and width. This allows the designer of a meta-font to make sure that, say, the +font is somewhat thicker and wider at very small sizes. To appreciate the difference: Compare the +following texts: “Berlin” and “

SVG-Viewer needed.

”. The first is a “normal” text, the second is the tiny version scaled +by a factor of two. Obviously, the first look better. Now, compare “

SVG-Viewer needed.

” and “Berlin”. This time, the +normal text was scaled down, while the second text is a “normal” tiny text. The second text is easier to +read. + + +

PGF’s meta-arrows work in a similar fashion: The shape of an arrow tip can vary according to the line width of +the arrow tip is used. Thus, an arrow tip drawn at a line width of 5pt will typically not be five times as large as an +arrow tip of line width 1pt. Instead, the size of the arrow will get bigger only slowly as the line width +increases. +

To appreciate the difference, here are the latex and to arrows, as drawn by PGF at four different +sizes: +

SVG-Viewer needed.

+

Here, by comparison, is the same arrow when it is simply “resized” (as done by most programs): +

SVG-Viewer needed.

+

As can be seen, simple scaling produces arrow tips that are way too large at larger sizes and way too small at +smaller sizes. +

+

24.2 Declaring an Arrow Tip Kind

+

To declare an arrow kind “from scratch,” the following command is used: +

+

+\pgfarrowsdeclare{<start name>}{<end name>}{<extend code>}{<arrow tip code>}
+ +

This command declares a new arrow kind. An arrow kind has two names, which will typically be the + same. When the arrow tip needs to be drawn, the <arrow tip code> will be invoked, but the canvas + transformation is setup beforehand to a rotation such that when an arrow tip pointing right is specified, + the arrow tip that is actually drawn points in the direction of the line. +

Naming the arrow kind. The <start name> is the name used for the arrow tip when it is at the + start of a path, the <end name> is the name used at the end of a path. For example, the arrow + kind that looks like a parenthesis has the <start name>( and the <end name>) so that you can say + \pgfsetarrows{(-)} to specify that you want parenthesis arrows and both ends. +

The <end name> and <start name> can be quite arbitrary and may contain spaces. +

Basics of the arrow tip code. Let us next have a look at the <arrow tip code>. This code will be + used to draw the arrow tip when PGF thinks this is necessary. The code should draw an arrow that + “points right,” which means that is should draw an arrow at the end of a line coming from the left and + ending at the origin. +

As an example, suppose we wanted to declare an arrow tip consisting of two arcs, that is, we want the arrow + tip to look more or less like the red part of the following picture: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[line width=3pt] +
  \draw (-2,0) -- (0,0); +
  \draw[red,join=round,cap=round] +
        (-10pt,10pt) arc (180:270:10pt) arc (90:180:10pt); +
\end{tikzpicture}
+

We could use the following as <arrow tip code> for this: +

+
+
\pgfarrowsdeclare{arcs}{arcs}{...} +
{ +
  \pgfsetdash{}{0pt} % do not dash +
  \pgfsetroundjoin   % fix join +
  \pgfsetroundcap    % fix cap +
  \pgfpathmoveto{\pgfpoint{-10pt}{10pt}} +
  \pgfpatharc{180}{270}{10pt} +
  \pgfpatharc{90}{180}{10pt} +
  \pgfusepathqstroke +
}
+

Indeed, when the ... is set appropriately (in a moment), we can write the following: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[-arcs,line width=3pt] (-2,0)  -- (0,0); +
  \draw[arcs-arcs,line width=1pt] (-2,-1.5) -- (0,-1); +
  \useasboundingbox (-2,-2) rectangle (0,0.75); +
\end{tikzpicture}
+

As can be seen in the second example, the arrow tip is automatically rotated as needed when the arrow is + drawn. This is achieved by a canvas rotation. +

Special considerations about the arrow tip code. There are several things you need to be aware of when + designing arrow tip code: +

    +
  • Inside the code, you may not use the \pgfusepath command. The reason is that this command + internally calls arrow construction commands, which is something you obviously do not want to + happen. +

    Instead of \pgfusepath, use the quick versions. Typically, you will use \pgfusepathqstroke, + \pgfusepathqfill, or \pgfusepathqfillstroke. +

  • +
  • The code will be executed only once, namely the first time the arrow tip needs to be drawn. The + resulting low-level driver commands are protocoled and stored away. In all subsequent uses of the + arrow tip, the protocoled code is directly inserted. +
  • +
  • However, the code will be executed anew for each line width. Thus, an arrow of line width 2pt + may result in a different protocol than the same arrow for a line width of 0.4pt. +
  • +
  • If you stroke the path that you construct, you should first set the dashing to solid and setup fixed + joins and caps, as needed. This will ensure that the arrow tip will always look the same. +
  • +
  • When the arrow tip code is executed, it is automatically put inside a low-level scope, so nothing + will “leak out” from the scope. + + +
  • +
  • The high-level coordinate transformation matrix will be set to the identity matrix when the code + is executed for the first time.
+

Designing meta-arrows. The <arrow tip code> should adjust the size of the arrow in accordance with the + line width. For a small line width, the arrow tip should be small, for a large line width, it should be + larger. However, the size of the arrow typically should not grow in direct proportion to the line + width. On the other hand, the size of the arrow head typically should grow “a bit” with the line + width. +

For these reasons, PGF will not simply executed your arrow code within a scaled scope, where the scaling + depends on the line width. Instead, your <arrow tip code> is reexecuted again for each different line + width. +

In our example, we could use the following code for the new arrow tip kind arc' (note the prime): +

+
+
\newdimen\arrowsize +
\pgfarrowsdeclare{arcs'}{arcs'}{...} +
{ +
  \arrowsize=0.2pt +
  \advance\arrowsize by .5\pgflinewidth +
  \pgfsetdash{}{0pt} % do not dash +
  \pgfsetroundjoin   % fix join +
  \pgfsetroundcap    % fix cap +
  \pgfpathmoveto{\pgfpoint{-4\arrowsize}{4\arrowsize}} +
  \pgfpatharc{180}{270}{4\arrowsize} +
  \pgfpatharc{90}{180}{4\arrowsize} +
  \pgfusepathqstroke +
}
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[-arcs',line width=3pt] (-2,0)  -- (0,0); +
  \draw[arcs'-arcs',line width=1pt] (-2,-1.5) -- (0,-1); +
  \useasboundingbox (-2,-1.75) rectangle (0,0.5); +
\end{tikzpicture}
+

However, sometimes, it can also be useful to have arrows that do not resize at all when the line width changes. + This can be achieved by giving absolute size coordinates in the code, as done for arc. On the other hand, you + can also have the arrow resize linearly with the line width by specifying all coordinates as multiples of + \pgflinewidth. +

The left and right extend. Let us have another look at the exact left and right “ends” of our arrow tip. Let + us draw the arrow tip arc' at a very large size: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (-2,-1) grid (1,1); +
  \draw[line width=10pt,-arcs'] (-2,0) -- (0,0); +
  \draw[line width=2pt,white] (-2,0) -- (0,0); +
\end{tikzpicture}
+

As one can see, the arrow tip does not “touch” the origin as it should, but protrudes a little over the origin. + One remedy to this undesirable effect is to change the code of the arrow tip such that everything is + shifted half an \arrowsize to the left. While this will cause the arrow tip to touch the origin, the + line itself will then interfere with the arrow: The arrow tip will be partly “hidden” by the line + itself. + + +

PGF uses a different approach to solving the problem: The <extend code> argument can be used to “tell” + PGF how much the arrow protrudes over the origin. The argument is also used to tell PGF where the “left” + end of the arrow is. However, this number is important only when the arrow is being reversed or composed + with other arrow tips. +

Once PGF knows the right extend of an arrow kind, it can shorten lines by this amount when drawing + arrows. +

Here is a picture that shows what the visualizes the extends. The arrow tip itself is shown in red once + more: +

SVG-Viewer needed.

+

The <extend code> is normal TEX code that is executed whenever PGF wants to know how far the + arrow tip will protrude to the right and left. The code should call the following two commands: + \pgfarrowsrightextend and \pgfarrowsleftextend. Both arguments take one argument that specifies the + size. Here is the final code for the arc'' arrow tip: +

+
 

SVG-Viewer needed.

 
+
\pgfarrowsdeclare{arcs''}{arcs''} +
{ +
  \arrowsize=0.2pt +
  \advance\arrowsize by .5\pgflinewidth +
  \pgfarrowsleftextend{-4\arrowsize-.5\pgflinewidth} +
  \pgfarrowsrightextend{.5\pgflinewidth} +
} +
{ +
  \arrowsize=0.2pt +
  \advance\arrowsize by .5\pgflinewidth +
  \pgfsetdash{}{0pt} % do not dash +
  \pgfsetroundjoin   % fix join +
  \pgfsetroundcap    % fix cap +
  \pgfpathmoveto{\pgfpoint{-4\arrowsize}{4\arrowsize}} +
  \pgfpatharc{180}{270}{4\arrowsize} +
  \pgfusepathqstroke +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpatharc{90}{180}{4\arrowsize} +
  \pgfusepathqstroke +
} +
\begin{tikzpicture} +
  \draw[help lines] (-2,-1) grid (1,1); +
  \draw[line width=10pt,-arcs''] (-2,0) -- (0,0); +
  \draw[line width=2pt,white] (-2,0) -- (0,0); +
\end{tikzpicture}
+
+ + +

+

24.3 Declaring a Derived Arrow Tip Kind

+

It is possible to declare arrow kinds in terms of existing ones. For these command to work correctly, the left and +right extends must be set correctly. +

+

+\pgfarrowsdeclarealias{<start name>}{<end name>}{<old start name>}{<old end name>}
+ +

This command can be used to create an alias (another name) for an existing arrow kind. +

+
 

SVG-Viewer needed.

 
+
\pgfarrowsdeclarealias{<}{>}{arcs''}{arcs''}% +
\begin{tikzpicture} +
  \pgfsetarrows{<->} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+
+

+

+\pgfarrowsdeclarereversed{<start name>}{<end name>}{<old start name>}{<old end name>}
+ +

This command creates a new arrow kind that is the “reverse” of an existing arrow kind. The + (automatically cerated) code of the new arrow kind will contain a flip of the canvas and the meanings + of the left and right extend will be reversed. +

+
 

SVG-Viewer needed.

 
+
\pgfarrowsdeclarereversed{arcs reversed}{arcs reversed}{arcs''}{arcs''}% +
\begin{tikzpicture} +
  \pgfsetarrows{arcs reversed-arcs reversed} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+
+

+

+\pgfarrowsdeclarecombine*[<offset>]{<start name>}{<end name>}{<first start name>}{<first end name>}{<second start name>}{<second end name>}
+ +

This command creates a new arrow kind that combines two existing arrow kinds. The first arrow kind + is the “innermost” arrow kind, the second arrow kind is the “outermost.” + + +

The code for the combined arrow kind will install a canvas translation before the innermost arrow kind + in drawn. This translation is calculated such that the right tip of the innermost arrow touches the right + end of the outermost arrow. The optional <offset> can be used to increase (or decrease) the distance + between the inner and outermost arrow. +

+
 

SVG-Viewer needed.

 
+
\pgfarrowsdeclarecombine[\pgflinewidth] +
  {combined}{combined}{arcs''}{arcs''}{latex}{latex}% +
\begin{tikzpicture} +
  \pgfsetarrows{combined-combined} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+

In the star variant, the end of the line is not in the outermost arrow, but inside the innermost + arrow. +

+
 

SVG-Viewer needed.

 
+
\pgfarrowsdeclarecombine*[\pgflinewidth] +
  {combined'}{combined'}{arcs''}{arcs''}{latex}{latex}% +
\begin{tikzpicture} +
  \pgfsetarrows{combined'-combined'} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+
+

+

+\pgfarrowsdeclaredouble[<offset>]{<start name>}{<end name>}{<old start name>}{<old end name>}
+ +

This command is a shortcut for combining an arrow kind with itself. +

+
 

SVG-Viewer needed.

 
+
\pgfarrowsdeclaredouble{<<}{>>}{arcs''}{arcs''}% +
\begin{tikzpicture} +
  \pgfsetarrows{<<->>} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+ + +
+

+

+\pgfarrowsdeclaretriple[<offset>]{<start name>}{<end name>}{<old start name>}{<old end name>}
+ +

This command is a shortcut for combining an arrow kind with itself and then again. +

+
 

SVG-Viewer needed.

 
+
\pgfarrowsdeclaretriple{<<<}{>>>}{arcs''}{arcs''}% +
\begin{tikzpicture} +
  \pgfsetarrows{<<<->>>} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+
+

+

24.4 Using an Arrow Tip Kind

+

The following commands install the arrow kind that will be used when stroking is done. +

+

+\pgfsetarrowsstart{<start arrow kind>}
+ +

Installs the given <start arrow kind> for all subsequent strokes in the in the current TEX-group. + If <start arrow kind> is empty, no arrow tips will be drawn at the start of the last segment of + paths. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \pgfsetarrowsstart{latex} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+
+

+

+\pgfsetarrowsend{<start arrow kind>}
+ + + +

Like \pgfsetarrowsstart, only for the end of the arrow. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \pgfsetarrowsend{latex} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+
+

Warning: If the compatibility mode is active (which is the default), there also exist old commands called +\pgfsetstartarrow and \pgfsetendarrow, which are incompatible with the meta-arrow management. +

+

+\pgfsetarrows{<start kind>-<end kind>}
+ +

Calls \pgfsetarrowsstart for <start kind> and \pgfsetarrowsend for <end kind>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \pgfsetarrows{latex-to} +
  \pgfsetlinewidth{1ex} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} +
  \pgfusepath{stroke} +
  \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +
\end{tikzpicture}
+
+

+

24.5 Predefined Arrow Tip Kinds

+

The following arrow tip kinds are always defined: +

+ + + + + +
stealth-stealth yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

stealth reversed-stealth reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

to-to yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

to reversed-to reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

latex-latex yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

latex reversed-latex reversed yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

|-| yields thick

SVG-Viewer needed.

and thin

SVG-Viewer needed.

+
+

For further arrow tips, see page 176. + + + + + + +

+

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse25.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse25.html new file mode 100644 index 00000000000..832d5457051 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse25.html @@ -0,0 +1,2658 @@ + + +25 Nodes and Shapes + + + + + + + + +

+

25 Nodes and Shapes

+

This section describes the pgfbaseshapes package. +

+

+\usepackage{pgfbaseshapes} % LATEX
+ + +
+\input pgfbaseshapes.tex % plain TEX
+
+\input pgfbaseshapes.tex % ConTEXt
+

This package defines commands both for creating nodes and for creating shapes. The package is loaded + automatically by pgf, but you can load it manually if you have only included pgfcore.

+

+

25.1 Overview

+

PGF comes with a sophisticated set of commands for creating nodes and shapes. A node is a graphical object that +consists (typically) of (one or more) text labels and some additional stroked or filled paths. Each node has a certain +shape, which may be something simple like a rectangle or a circle, but it may also be something complicated like +a uml class diagram (this shape is currently not implemented, though). Different nodes that have the same shape +may look quite different, however, since shapes (need not) specify whether the shape path is stroked or +filled. +

+

25.1.1 Creating and Referencing Nodes
+

You create a node by calling the macro \pgfnode or the more general \pgfmultipartnode. These macro takes +several parameters and draws the requested shape at a certain position. In addition, it will “remember” the node’s +position within the current {pgfpicture}. You can then, later on, refer to the node’s position. Coordinate +transformations are “fully supported,” which means that if you used coordinate transformations to shift or rotate +the shape of a node, the node’s position will still be correctly determined by PGF. This is not the case if you use +canvas transformations, instead. +

+

25.1.2 Anchors
+

An important property of a node or a shape in general are its anchors. Anchors are “important” positions in a +shape. For example, the center anchor lies at the center of a shape, the north anchor is usually “at the top, in the +middle” of a shape, the text anchor is the lower left corner of the shape’s text label (if present), and so +on. +

Anchors are important both when you create a node and when you reference it. When you create a node, you +specify the node’s “position” by asking PGF to place the shape in such a way that a certain anchor lies at a certain +point. For example, you might ask that the node is placed such that the north anchor is at the origin. This will +effectively cause the node to be placed below the origin. + + +

When you reference a node, you always reference an anchor of the node. For example, when you request +the “north anchor of the node just placed” you will get the origin. However, you can also request +the “south anchor of this node,” which will give you a point somewhere below the origin. When a +coordinate transformation was in force at the time of creation of a node, all anchors are also transformed +accordingly. +

+

25.1.3 Layers of a Shape
+

The simplest shape, the coordinate, has just one anchor, namely the center, and a label (which is usually empty). +More complicated shapes like the rectangle shape also have a background path. This is a PGF-path that is defined +by the shape. The shape does not prescribe what should happen with the path: When a node is created this path +may be stroked (resulting in a frame around the label), filled (resulting in a background color for the text), or just +discarded. +

Although most shapes consist just of a background path plus some label text, when a shape is drawn, up to +seven different layers are drawn: +

+

    +
  1. The “behind the background layer.” Unlike the background path, which be used in different ways by + different nodes, the graphic commands given for this layer will always stroke or always fill the path + they construct. They might also insert some text that is “behind everything.” +
  2. +
  3. The background path layer. How this path is used depends on how the arguments of the \pgfnode + command. +
  4. +
  5. The “before the background path layer.” This layer works like the first one, only the commands of this + layer are executed after the background path has been used (in whatever way the creator of the node + chose). +
  6. +
  7. The label layer. This layer inserts the node’s text box(es). +
  8. +
  9. The “behind the foreground layer.” This layer, like the first layer, once more contains graphic commands + that are “simply executed.” +
  10. +
  11. The foreground path layer. This path is treated in the same way as the background path, only it is + drawn only after the label text has been drawn. +
  12. +
  13. The “before the foreground layer.”
+

Which of these layers are actually used depends on the shape. +

+

25.1.4 Node Parts
+

A shape typically does not consist only of different background and foreground paths, but it may also have text +labels. Indeed, for many shapes the text labels are the more important part of the shape. +

Most shapes will have only one text label. In this case, this text label is simply passed as a parameter to the +\pgfnode command. When the node is drawn, the text label is shifted around such that its lower left corner is at +the text anchor of the node. +

More complicated shapes may have more than one text label. Nodes of such shapes are called multipart nodes. +The different node parts are simply the different text labels. For example, a uml class shape might have a +class name part, a method part and an attributes part. Indeed, single part nodes are a special case of multipart +nodes: They only have one part named text. + + +

When a shape is declared, you must specify the node parts. There is a simple command called \nodeparts that +takes a list of the part names as input. When you create a node of a multipart shape, for each part of the node you +must have setup a TEX-box containing the text of the part. For a part named XYZ you must setup the box +\pgfnodepartXYZbox. The box will be placed at the anchor XYZ. See the description of \pgfmultipartnode for +more details. +

+

25.2 Creating Nodes

+

You create a node using on of the following commands: +

+

+\pgfnode{<shape>}{<anchor>}{<label text>}{<name>}{<path usage command>}
+ +

This command creates a new node. The <shape> of the node must have been declared previously using + \pgfdeclareshape. +

The shape is shifted such that the <anchor> is at the origin. In order to place the shape somewhere + else, use the coordinate transformation prior to calling this command. +

The <name> is a name for later reference. If no name is given, nothing will be “saved” for the node, it + will just be drawn. +

The <path usage command> is executed for the background and the foreground path (if the shape + defines them). +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (4,3); +
  { +
    \pgftransformshift{\pgfpoint{1cm}{1cm}} +
    \pgfnode{rectangle}{north}{Hello World}{hellonode}{\pgfusepath{stroke}} +
  } +
  { +
    \color{red!20} +
    \pgftransformrotate{10} +
    \pgftransformshift{\pgfpoint{3cm}{1cm}} +
    \pgfnode{rectangle}{center} +
      {\color{black}Hello World}{hellonode}{\pgfusepath{fill}} +
  } +
\end{tikzpicture}
+

As can be seen, all coordinate transformations are also applied to the text of the shape. Sometimes, it is + desirable that the transformations are applied to the point where the shape will be anchored, but you do not + wish the shape itself to the transformed. In this case, you should call \pgftransformresetnontranslations + prior to calling the \pgfnode command. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (4,3); +
  { +
    \color{red!20} +
    \pgftransformrotate{10} +
    \pgftransformshift{\pgfpoint{3cm}{1cm}} +
    \pgftransformresetnontranslations +
    \pgfnode{rectangle}{center} +
      {\color{black}Hello World}{hellonode}{\pgfusepath{fill}} +
  } +
\end{tikzpicture}
+

The <label text> is typeset inside the TEX-box \pgfnodeparttextbox. This box is shown at the text anchor + of the node, if the node has a text part. See the description of \pgfmultipartnode for details. +

+

+

+\pgfmultipartnode{<shape>}{<anchor>}{<name>}{<path usage command>}
+ +

This command is the more general (and less user-friendly) version of the \pgfnode command. While + the \pgfnode command can only be used for shapes that have a single part (which is the case for most + shapes), this command can also be used with multi-part nodes. +

When this command is called, for each node part of the node you must have setup one + TEX-box. Suppose the shape has two parts: The text part and the output part. Then, + prior to calling \pgfmultipartnode, you must have setup the boxes \pgfnodeparttextbox and + \pgfnodepartoutputbox. These boxes may contain any TEX-text. The shape code will then compute + the positions of the shape’s anchors based on the sizes of the these shapes. Finally, when the node is + drawn, the boxes are placed at the anchor positions text and output. +

+
 

SVG-Viewer needed.

 
+
\setbox\pgfnodeparttextbox=\hbox{$q_1$} +
\setbox\pgfnodepartoutputbox=\hbox{01} +
\begin{pgfpicture} +
  \pgfmultipartnode{state with output}{center}{my state}{\pgfusepath{stroke}} +
\end{pgfpicture}
+

Note: Be careful when using the \setbox command inside a {pgfpicture} command. You will have to use + \pgfinterruptpath at the beginning of the box and \endpgfinterruptpath at the end of the box to make + sure that the box is typeset correctly. In the above example this problem was sidestepped by moving the box + construction outside the environment. +

Note: It is not necessary to use \newbox for every node part name. Although you need a different box for each + part of a single shape, two different shapes may very well use the same box even when the names of the parts + are different. Suppose you have a state with output shape that has an output part and you have a + uml class shape that has a methods part. Then, in order to avoid exhausting TEX’s limited number of box + registers, you can say +

+
+
\newbox\pgfnodepartoutputbox +
\let\pgfnodepartmethodsbox=\pgfnodepartoutputbox
+

Also, when you have a node part name with spaces like class name, it may be useful to create an + alias: + + +

+
+
\newbox\mybox +
\expandafter\let\csname pgfnodepartclass namebox\endcsname=\mybox
+
+

There are a number of values that have an influence on the size of a node. These parameters can be changed +using the following commands: +

+

+\pgfsetshapeminwidth{<dimension>}
+ +

This command sets the macro \pgfshapeminwidth to <dimension>. This dimension is the recommended + minimum width of a shape. Thus, when a shape is drawn and when the shape’s width would be smaller + than <dimension>, the shape’s width is enlarged by adding some empty space. +

Note that this value is just a recommendation. A shape may choose to ignore the value of + \pgfshapeminwidth. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (-2,0) grid (2,1); +
+
  \pgfsetshapeminwidth{3cm} +
  \pgfnode{rectangle}{center}{Hello World}{}{\pgfusepath{stroke}} +
\end{tikzpicture}
+
+

+

+\pgfsetshapeminheight{<dimension>}
+ +

Works like \pgfsetshapeminwidth.

+

+

+\pgfsetshapeinnerxsep{<dimension>}
+ +

This command sets the macro \pgfshapeinnerxsep to <dimension>. This dimension is the + recommended horizontal inner separation between the label text and the background path. As + before, this value is just a recommendation and a shape may choose to ignore the value of + \pgfshapeinnerxsep. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (-2,0) grid (2,1); +
+
  \pgfsetshapeinnerxsep{1cm} +
  \pgfnode{rectangle}{center}{Hello World}{}{\pgfusepath{stroke}} +
\end{tikzpicture}
+
+

+ + +

+\pgfsetshapeinnerysep{<dimension>}
+ +

Works like \pgfsetshapeinnerysep.

+

+

+\pgfsetshapeouterxsep{<dimension>}
+ +

This command sets the macro \pgfshapeouterxsep to <dimension>. This dimension is the + recommended horizontal outer separation between the background path and the “outer anchors.” For + example, if <dimension> is 1cm then the east anchor will be 1cm to the right of the right border of the + background path. +

As before, this value is just a recommendation. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (-2,0) grid (2,1); +
+
  \pgfsetshapeouterxsep{.5cm} +
  \pgfnode{rectangle}{center}{Hello World}{x}{\pgfusepath{stroke}} +
+
  \pgfpathcircle{\pgfpointanchor{x}{north}}{2pt} +
  \pgfpathcircle{\pgfpointanchor{x}{south}}{2pt} +
  \pgfpathcircle{\pgfpointanchor{x}{east}}{2pt} +
  \pgfpathcircle{\pgfpointanchor{x}{west}}{2pt} +
  \pgfpathcircle{\pgfpointanchor{x}{north east}}{2pt} +
  \pgfusepath{fill} +
\end{tikzpicture}
+
+

+

+\pgfsetshapeouterysep{<dimension>}
+ +

Works like \pgfsetshapeouterysep.

+

+

25.3 Using Anchors

+

Each shape defines a set of anchors. We saw already that the anchors are used when the shape is drawn: the shape is +placed in such a way that the given anchor is at the origin (which in turn is typically translated somewhere +else). +

One has to look up the set of anchors of each shape, there is no “default” set of anchors, except for the center +anchor, which should always be present. Also, most shapes will declare anchors like north or east, but this is not +guaranteed. +

Once a node has been defined, you can refer to its anchors using the following commands: +

+

+\pgfpointanchor{<node>}{<anchor>}
+ +

This command is another “point command” like the commands described in Section 20. It returns the + coordinate of the given <anchor> in the given <node>. The command can be used in commands like + \pgfpathmoveto. + + +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgftransformrotate{30} +
  \pgfnode{rectangle}{center}{Hello World!}{x}{\pgfusepath{stroke}} +
+
  \pgfpathcircle{\pgfpointanchor{x}{north}}{2pt} +
  \pgfpathcircle{\pgfpointanchor{x}{south}}{2pt} +
  \pgfpathcircle{\pgfpointanchor{x}{east}}{2pt} +
  \pgfpathcircle{\pgfpointanchor{x}{west}}{2pt} +
  \pgfpathcircle{\pgfpointanchor{x}{north east}}{2pt} +
  \pgfusepath{fill} +
\end{pgfpicture}
+

In the above example, you may have noticed something curious: The rotation transformation is still in force + when the anchors are invoked, but it does not seem to have an effect. You might expect that the rotation + should apply to the already rotated points once more. +

However, \pgfpointanchor returns a point that takes the current transformation matrix into account: The + inverse transformation to the current coordinate transformation is applied to an anchor point before returning + it. +

This behavior may seem a bit strange, but you will find it very natural in most cases. If you really want to + apply a transformation to an anchor point (for example, to “shift it away” a little bit), you have to invoke + \pgfpointanchor without any transformations in force. Here is an example: +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgftransformrotate{30} +
  \pgfnode{rectangle}{center}{Hello World!}{x}{\pgfusepath{stroke}} +
+
  { +
    \pgftransformreset +
    \pgfpointanchor{x}{east} +
    \xdef\mycoordinate{\noexpand\pgfpoint{\the\pgf@x}{\the\pgf@y}} +
  } +
+
  \pgfpathcircle{\mycoordinate}{2pt} +
  \pgfusepath{fill} +
\end{pgfpicture}
+
+

+

+\pgfpointshapeborder{<node>}{<point>}
+ +

This command returns the point on the border of the shape that lies on a straight line from the center + of the node to <point>. For complex shapes it is not guaranteed that this point will actually lie on the + border, it may be on the border of a “simplified” version of the shape. + + +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \begin{pgfscope} +
    \pgftransformrotate{30} +
    \pgfnode{rectangle}{center}{Hello World!}{x}{\pgfusepath{stroke}} +
  \end{pgfscope} +
  \pgfpathcircle{\pgfpointshapeborder{x}{\pgfpoint{2cm}{1cm}}}{2pt} +
  \pgfpathcircle{\pgfpoint{2cm}{1cm}}{2pt} +
  \pgfpathcircle{\pgfpointshapeborder{x}{\pgfpoint{-1cm}{1cm}}}{2pt} +
  \pgfpathcircle{\pgfpoint{-1cm}{1cm}}{2pt} +
  \pgfusepath{fill} +
\end{pgfpicture}
+
+

+

25.4 Declaring New Shapes

+

Defining a shape is, unfortunately, a not-quite-trivial process. The reason is that shapes need to be both very +flexible (their size will vary greatly according to circumstances) and they need to be constructed reasonably “fast.” +PGF must be able to handle pictures with several hundreds of nodes and documents with thousands of nodes in +total. It would not do if PGF had to compute and store, say, dozens of anchor positions for every +node. +

+

25.4.1 What Must Be Defined For a Shape?
+

In order to define a new shape, you must provide: +

    +
  • a shape name, +
  • +
  • code for computing the saved anchors and saved dimensions, +
  • +
  • code for computing anchor positions in terms of the saved anchors, +
  • +
  • optionally code for the background path and foreground path, +
  • +
  • optionally code for things to be drawn before or behind the background and foreground paths. +
  • +
  • optionally a list of node parts.
+

+

25.4.2 Normal Anchors Versus Saved Anchors
+

Anchors are special places in shape. For example, the north east anchor, which is a normal anchor, lies at the +upper right corner of the rectangle shape, as does \northeast, which is a saved anchor. The difference is the +following: saved anchors are computed and stored for each node, anchors are only computed as needed. The user only +has access to the normal anchors, but a normal anchor can just “copy” or “pass through” the location of a saved +anchor. + + +

The idea behind all this is that a shape can declare a very large number of normal anchors, but when a node of +this shape is created, these anchors are not actually computed. However, this causes a problem: When we wish to +reference an anchor of a node at some later time, we must still able to compute the position of the anchor. For this, +we may need a lot of information: What was the transformation matrix that was in force when the node was +created? What was the size of the text box? What were the values of the different separation dimensions? And so +on. +

To solve this problem, PGF will always compute the locations of all saved anchors and store these positions. +Then, when an normal anchor position is requested later on, the anchor position can be given just from knowing +where the locations of the saved anchors. +

As an example, consider the rectangle shape. For this shape two anchors are saved: The \northeast corner +and the \southwest corner. A normal anchor like north west can now easily be expressed in terms of these +coordinates: Take the x-position of the \southwest point and the y-position of the \northeast point. The +rectangle shape currently defines 13 normal anchors, but needs only two saved anchors. Adding new anchors +like a south south east anchor would not increase the memory and computation requirements of +pictures. +

All anchors (both saved and normal) are specified in a local shape coordinate space. This is also true for the +background and foreground paths. The \pgfnode macro will automatically apply appropriate transformations to the +coordinates so that the shape is shifted to the right anchor or otherwise transformed. +

+

25.4.3 Command for Declaring New Shapes
+

The following command declares a new shape: +

+\pgfdeclareshape{<shape name>}{<shape specification>}
+ +

This command declares a new shape named <shape name>. The shape name can later be used in + commands like \pgfnode. +

The <shape specification> is some TEX code containing calls to special commands that are only defined + inside the <shape specification> (similarly to commands like \draw that are only available inside the + {tikzpicture} environment). +

Example: Here is the code of the coordinate shape: +

+
+
\pgfdeclareshape{coordinate} +
{ +
  \savedanchor\centerpoint{% +
    \pgf@x=.5\wd\pgfnodeparttextbox% +
    \pgf@y=.5\ht\pgfnodeparttextbox% +
    \advance\pgf@y by -.5\dp\pgfnodeparttextbox% +
  } +
  \anchor{center}{\centerpoint} +
  \anchorborder{\centerpoint} +
}
+

The special commands are explained next. In the examples given for the special commands a new shape will + be constructed, which we might call simple rectangle. It should behave like the normal rectangle shape, + only without bothering about the fine details like inner and outer separations. The skeleton for the shape is + the following. +

+
+
\pgfdeclareshape{simple rectangle}{ +
  ... +
}
+

+

+ \nodeparts{<list of node parts>}
+ + + +

This command declares which parts make up nodes of this shape. A node part is a (possibly + empty) text label that is drawn when a node of the shape is created. +

By default, a shape has just one node part called text. However, there can be several node parts. + For example, the state with output shape has two parts: the text part, which shows that + state’s name, and an output part, which shows the output produced when the state is reached. + For the state with output shape the \nodeparts command was called with the argument + {text,output}. +

When a multipart node is created, the text labels are drawn in the sequences listed in the <list + of node parts>. For each node part there you must have declared one anchor and the TEX-box of + the part is placed at this anchor. For a node part called XYZ the TEX-box \pgfnodepartXYZbox + is placed at anchor XYZ.

+

+

+ \savedanchor{<command>}{<code>}
+ +

This command declares a saved anchor. The argument <command> should be a TEX macro name + like \centerpoint. +

The <code> will be executed each time \pgfnode (or \pgfmultipartnode) is called to create a + node of the shape <shape name>. When the <code> is executed, the TEX-boxes of the node parts + will contain the text labels of the node. Possibly, these box are void. For example, if there is just + a text part, the node \pgfnodeparttextbox will be setup when the <code> is executed. +

The <code> can use the width, height, and depth of the box(es) to compute the location of + the saved anchor. In addition, the <code> can take into account the values of dimensions like + \pgfshapeminwidth or \pgfshapeinnerxsep. Furthermore, the <code> can take into consideration + the values of any further shape-specific variables that are set at the moment when \pgfnode is + called. +

The net effect of the <code> should be to set the two TEX dimensions \pgf@x and \pgf@y. One + way to achieve this is to say \pgfpoint{<x value>}{<y value>} at the end of the <code>, but you + can also just set these variables. The values that \pgf@x and \pgf@y have after the code has been + executed, let us call them x and y, will be recorded and stored together with the node that is + created by the command \pgfnode. +

The macro <command> is defined to be \pgfpoint{x}{y}. However, the <command> is only locally + defined while anchor positions are being computed. Thus, it is possible to use very simple names + for <command>, like \center or \a, without causing a name-clash. (To be precise, very simple + <command> names will clash with existing names, but only locally inside the computation of + anchor positions; and we do not need the normal \center command during these computations.) +

For our simple rectangle shape, we will need only one saved anchor: The upper right corner. The lower + left corner could either be the origin or the “mirrored” upper right corner, depending on whether we want + the text label to have its lower left corner at the origin or whether the text label should be centered on + the origin. Either will be fine, for the final shape this will make no difference since the shape will be + shifted anyway. So, let us assume that the text label is centered on the origin (this will be + specified later on using the text anchor). We get the following code for the upper right + corner: +

+
+
\savedanchor{\upperrightcorner}{ +
  \pgf@y=.5\ht\pgfnodeparttextbox % height of the box, ignoring the depth +
  \pgf@x=.5\wd\pgfnodeparttextbox % width of the box +
}
+

If we wanted to take, say, the \pgfshapeminwidth into account, we could use the following + code: + + +

+
+
\savedanchor{\upperrightcorner}{ +
  \pgf@y=.\ht\pgfnodeparttextbox % height of the box +
  \pgf@x=.\wd\pgfnodeparttextbox % width of the box +
  \setlength{\pgf@xa}{\pgfshapeminwidth} +
  \ifdim\pgf@x<.5\pgf@xa +
    \pgf@x=.5\pgf@xa +
  \fi +
}
+

Note that we could not have written .5\pgfshapeminwidth since the minium width is stored in a “plain + text macro,” not as a real dimension. So if \pgfshapeminwidth depth were 2cm, writing + .5\pgfshapeminwidth would yield the same as .52cm. +

In the “real” rectangle shape the code is somewhat more complex, but you get the basic idea. +

+

+

+ \saveddimen{<command>}{<code>}
+ +

This command is similar to \savedanchor, only instead of setting <command> to + \pgfpoint{x}{y}, the <command> is set just to (the value of) x. +

In the simple rectangle shape we might use a saved dimension to store the depth of the shape + box. +

+
+
\shapedimen{\depth}{ +
  \pgf@x=\dp\pgfnodeparttextbox +
}
+
+

+

+ \anchor{<name>}{<code>}
+ +

This command declares an anchor named <name>. Unlike for saved anchors, the <code> will not + be executed each time a node is declared. Rather, the <code> is only executed when the anchor + is specifically requested; either for anchoring the node during its creation or as a position in the + shape referenced later on. +

The <name> is a quite arbitrary string that is not “passed down” to the system level. Thus, names + like south or 1 or :: would all be fine. +

A saved anchor is not automatically also a normal anchor. If you wish to give the users access + to a saved anchor you must declare a normal anchor that just returns the position of the saved + anchor. +

When the <code> is executed, all saved anchor macros will be defined. Thus, you can reference + them in your <code>. The effect of the <code> should be to set the values of \pgf@x and \pgf@y + to the coordinates of the anchor. +

Let us consider some example for the simple rectangle shape. First, we would like to make the + upper right corner publicly available, for example as north east: +

+

\anchor{north east}{\upperrightcorner} +
+
+

The \upperrightcorner macro will set \pgf@x and \pgf@y to the coordinates of the upper right + corner. Thus, \pgf@x and \pgf@y will have exactly the right values at the end of the anchor’s + code. +

Next, let us define a north west anchor. For this anchor, we can negate the \pgf@x variable: +

+
+
\anchor{north west}{ +
  \upperrightcorner +
  \pgf@x=-\pgf@x +
}
+ + +

Finally, it is a good idea to always define a center anchor, which will be the default location for a + shape. +

+

\anchor{center}{\pgfpointorigin} +
+
+

You might wonder whether we should not take into consideration that the node is not placed at the + origin, but has been shifted somewhere. However, the anchor positions are always specified in the + shape’s “private” coordinate system. The “outer” transformation that has been applied to the + shape upon its creation is applied automatically to the coordinates returned by the anchor’s + <code>. +

Out simple rectangle only has one text label (node part) called text. This is the default situation, so + we need not do anything. For the text node part we must setup a text anchor. This anchor is used upon + creation of a node to determine the lower left corner of the text label (within the private coordinate + system of the shape). By default, the text anchor is at the origin, but you may change this. For example, + we would say +

+
+
\anchor{text}{% +
  \upperrightcorner% +
  \pgf@x=-\pgf@x% +
  \pgf@y=-\pgf@y% +
}
+

to center the text label on the origin in the shape coordinate space. Note that we could not have written + the following: +

+

\anchor{text}{\pgfpoint{-.5\wd\pgfnodeparttextbox}{-.5\ht\pgfnodeparttextbox}} +
+
+

Do you see why this is wrong? The problem is that the box \pgfnodeparttextbox will most likely not + have the correct size when the anchor is computed. After all, the anchor position might be recomputed at + a time when several other nodes have been created. +

If a shape has several node parts, we would have to define an anchor for each part.

+

+

+ \anchorborder{<code>}
+ +

A border anchor is an anchor point on the border of the shape. What exactly is considered as the + “border” of the shape depends on the shape. +

When the user request a point on the border of the shape using the \pgfpointshapeborder + command, the <code> will be executed to discern this point. When the execution of the <code> + starts, the dimensions \pgf@x and \pgf@y will have been set to a location p in the shape’s + coordinate system. It is now the job of the <code> to setup \pgf@x and \pgf@y such that they + specify the point on the shape’s border that lies on a straight line from the shape’s center to the + point p. Usually, this is a somewhat complicated computation, involving many case distinctions + and some basic math. +

For our simple rectangle we must compute a point on the border of a rectangle whose one corner is the + origin (ignoring the depth for simplicity) and whose other corner is \upperrightcorner. The following + code might be used: +

+
+
\anchorborder{% +
  % Call a function that computes a border point. Since this +
  % function will modify dimensions like \pgf@x, we must move them to +
  % other dimensions. +
  \@tempdima=\pgf@x +
  \@tempdimb=\pgf@y +
  \pgfpointborderrectangle{\pgfpoint{\@tempdima}{\@tempdimb}}{\upperrightcorner} +
}
+
+ + +

+

+ \backgroundpath{<code>}
+ +

This command specifies the path that “makes up” the background of the shape. Note that the + shape cannot prescribe what is going to happen with the path: It might be drawn, shaded, filled, + or even thrown away. If you want to specify that something should “always” happen when this + shape is drawn (for example, if the shape is a stop-sign, we always want it to be filled with a red + color), you can use commands like \beforebackgroundpath, explained below. +

When the <code> is executed, all saved anchors will be in effect. The <code> should contain path + construction commands. +

For our simple rectangle, the following code might be used: +

+
+
\backgroundpath{ +
  \pgfpathrectanglecorners +
    {\upperrightcorner} +
    {\pgfpointscale{-1}{\upperrightcorner}} +
}
+

As the name suggests, the background path is used “behind” the text labels. Thus, this path is used first, + then the text labels are drawn, possibly obscuring part of the path.

+

+

+ \foregroundpath{<code>}
+ +

This command works like \backgroundpath, only it is invoked after the text labels have been + drawn. This means that this path can possibly obscure (part of) the text labels.

+

+

+ \behindbackgroundpath{<code>}
+ +

Unlike the previous two commands, <code> should not only construct a path, it should also use + this path in whatever way is appropriate. For example, the <code> might fill some area with a + uniform color. +

Whatever the <code> does, it does it first. This means that any drawing done by <code> will be + even behind the background path. +

Note that the <code> is protected with a {pgfscope}.

+

+

+ \beforebackgroundpath{<code>}
+ +

This command works like \behindbackgroundpath, only the <code> is executed after the + background path has been used, but before the texts label are drawn.

+

+

+ \behindforegroundpath{<code>}
+ +

The <code> is executed after the text labels have been drawn, but before the foreground path is + used.

+

+ + +

+ \beforeforegroundpath{<code>}
+ +

This <code> is executed at the very end.

+

+

+ \inheritsavedanchors[from={<another shape name>}]
+ +

This command allows you to inherit the code for saved anchors from <another shape name>. The + idea is that if you wish to create a new shape that is just a small modification of a another shape, + you can recycle the code used for <another shape name>. +

The effect of this command is the same as if you had called \savedanchor and \saveddimen for + each saved anchor or saved dimension declared in <another shape name>. Thus, it is not possible + to “selectively” inherit only some saved anchors, you always have to inherit all saved anchors from + another shape. However, you can inherit the saved anchors of more than one shape by calling this + command several times.

+

+

+ \inheritbehindbackgroundpath[from={<another shape name>}]
+ +

This command can be used to inherit the code used for the drawings behind the background path + from <another shape name>.

+

+

+ \inheritbackgroundpath[from={<another shape name>}]
+ +

Inherits the background path code from <another shape name>.

+

+

+ \inheritbeforebackgroundpath[from={<another shape name>}]
+ +

Inherits the before background path code from <another shape name>.

+

+

+ \inheritbehindforegroundpath[from={<another shape name>}]
+ +

Inherits the behind foreground path code from <another shape name>.

+

+

+ \inheritforegroundpath[from={<another shape name>}]
+ +

Inherits the foreground path code from <another shape name>.

+

+

+ \inheritbeforeforegroundpath[from={<another shape name>}]
+ +

Inherits the before foreground path code from <another shape name>.

+ + +

+

+ \inheritanchor[from={<another shape name>}]{<name>}
+ +

Inherits the code of one specific anchor named <name> from <another shape name>. Thus, unlike + saved anchors, which must be inherited collectively, normal anchors can and must be inherited + individually.

+

+

+ \inheritanchorborder[from={<another shape name>}]
+ +

Inherits the border anchor code from <another shape name>.

+

The following example shows how a shape can be defined that relies heavily on inheritance: +

+
 

SVG-Viewer needed.

 
+
\pgfdeclareshape{document}{ +
  \inheritsavedanchors[from=rectangle] % this is nearly a rectangle +
  \inheritanchorborder[from=rectangle] +
  \inheritanchor[from=rectangle]{center} +
  \inheritanchor[from=rectangle]{north} +
  \inheritanchor[from=rectangle]{south} +
  \inheritanchor[from=rectangle]{west} +
  \inheritanchor[from=rectangle]{east} +
  % ... and possibly more +
  \backgroundpath{% this is new +
    % store lower right in xa/ya and upper right in xb/yb +
    \southwest \pgf@xa=\pgf@x \pgf@ya=\pgf@y +
    \northeast \pgf@xb=\pgf@x \pgf@yb=\pgf@y +
    % compute corner of ``flipped page'' +
    \pgf@xc=\pgf@xb \advance\pgf@xc by-5pt % this should be a parameter +
    \pgf@yc=\pgf@yb \advance\pgf@yc by-5pt +
    % construct main path +
    \pgfpathmoveto{\pgfpoint{\pgf@xa}{\pgf@ya}} +
    \pgfpathlineto{\pgfpoint{\pgf@xa}{\pgf@yb}} +
    \pgfpathlineto{\pgfpoint{\pgf@xc}{\pgf@yb}} +
    \pgfpathlineto{\pgfpoint{\pgf@xb}{\pgf@yc}} +
    \pgfpathlineto{\pgfpoint{\pgf@xb}{\pgf@ya}} +
    \pgfpathclose +
    % add little corner +
    \pgfpathmoveto{\pgfpoint{\pgf@xc}{\pgf@yb}} +
    \pgfpathlineto{\pgfpoint{\pgf@xc}{\pgf@yc}} +
    \pgfpathlineto{\pgfpoint{\pgf@xb}{\pgf@yc}} +
    \pgfpathlineto{\pgfpoint{\pgf@xc}{\pgf@yc}} +
 } +
}\hskip-1.2cm +
\begin{tikzpicture} +
  \node[shade,draw,shape=document,inner sep=2ex] (x) {Remark}; +
  \node[fill=examplefill,draw,ellipse,double] +
    at ([shift=(-80:3cm)]x) (y) {Use Case}; +
+
  \draw[dashed] (x) -- (y); +
\end{tikzpicture}
+
+ + +

+

25.5 Predefined Shapes

+

+

+Shape coordinate
+ + +

The coordinate is mainly intended to be used to store locations using the node mechanism. This + shape does not have any background path and options like draw have no effect on it. Also, it does not + have any node parts, so no text is drawn when this shape is used. +

TikZ handles this shape in a special way, see Section 11.8.

+

+

+Shape rectangle
+ + +

This shape is a rectangle tightly fitting the text box. Use inner or outer separation to increase the distance + between the text box and the border and the anchors. The following figure shows the anchors defined by this + shape; the anchors 10 and 130 are example of border anchors. +

SVG-Viewer needed.

+
+
\Huge +
\begin{tikzpicture} +
  \node[name=s,shape=rectangle,style=shape example] {Rectangle\vrule width 1pt height 2cm}; +
  \foreach \anchor/\placement in +
    {north west/above left, north/above, north east/above right, +
     west/left, center/above, east/right, +
     mid west/right, mid/above, mid east/left, +
     base west/left, base/below, base east/right, +
     south west/below left, south/below, south east/below right, +
     text/left, 10/right, 130/above} +
    \draw[shift=(s.\anchor)] plot[mark=x] coordinates {(0,0)} +
      node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +
\end{tikzpicture}
+
+
+

+

+Shape circle
+ + +

This shape is a circle tightly fitting the text box. + + +

SVG-Viewer needed.

+
+
\Huge +
\begin{tikzpicture} +
  \node[name=s,shape=circle,style=shape example] {Circle\vrule width 1pt height 2cm}; +
  \foreach \anchor/\placement in +
    {north west/above left, north/above, north east/above right, +
     west/left, center/above, east/right, +
     mid west/right, mid/above, mid east/left, +
     base west/left, base/below, base east/right, +
     south west/below left, south/below, south east/below right, +
     text/left, 10/right, 130/above} +
     \draw[shift=(s.\anchor)] plot[mark=x] coordinates {(0,0)} +
       node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +
\end{tikzpicture}
+
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse26.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse26.html new file mode 100644 index 00000000000..c3ebad4e1e2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse26.html @@ -0,0 +1,1706 @@ + + +26 Coordinate and Canvas Transformations + + + + + + + + +

+

26 Coordinate and Canvas Transformations

+

+

26.1 Overview

+

PGF offers two different ways of scaling, shifting, and rotating (these operations are generally known as +transformations) graphics: You can apply coordinate transformations to all coordinates and you can apply canvas +transformations to the canvas on which you draw. (The names “coordinate” and “canvas” transformations are not +standard, I introduce them only for the purposes of this manual.) +

The difference is the following: +

    +
  • As the name “coordinate transformation” suggests, coordinate transformations apply only to + coordinates. For example, when you specify a coordinate like \pgfpoint{1cm}{2cm} and you wish + to “use” this coordinate--for example as an argument to a \pgfpathmoveto command--then the + coordinate transformation matrix is applied to the coordinate, resulting in a new coordinate. Continuing + the example, if the current coordinate transformation is “scale by a factor of two,” the coordinate + \pgfpoint{1cm}{2cm} actually designates the point (2cm,4cm). +

    Note that coordinate transformations apply only to coordinates. They do not apply to, say, line width + or shadings or text. +

  • +
  • The effect of a “canvas transformation” like “scale by a factor of two” can be imagined as follows: You + first draw your picture on a “rubber canvas” normally. Then, once you are done, the whole canvas is + transformed, in this case stretched by a factor of two. In the resulting image everything will be larger: + Text, lines, coordinates, and shadings.
+

In many cases, it is preferable that you use coordinate transformations and not canvas transformations. When +canvas transformations are used, PGF looses track of the coordinates of nodes and shapes. Also, canvas +transformations often cause undesirable effects like changing text size. For these reasons, PGF makes it easy to setup +the coordinate transformation, but a bit harder to change the canvas transformation. +

+

26.2 Coordinate Transformations

+

+

26.2.1 How PGF Keeps Track of the Coordinate Transformation Matrix
+

PGF has an internal coordinate transformation matrix. This matrix is applied to coordinates “in certain situations.” +This means that the matrix is not always applied to every coordinate “no matter what.” Rather, +PGF tries to be reasonably smart at when and how this matrix should be applied. The most prominent +examples are the path construction commands, which apply the coordinate transformation matrix to their +inputs. +

The coordinate transformation matrix consists of four numbers a, b, c, and d, and two dimensions s and t. When +the coordinate transformation matrix is applied to a coordinate (x,y) the new coordinate (ax + by + s,cx + dy + t) +results. For more details on how transformation matrices work in general, please see, for example, the PDF or +PostScript reference or a textbook on computer graphics. +

The coordinate transformation matrix is equal to the identity matrix at the beginning. More precisely, a = 1, +b = 0, c = 0, d = 1, s = 0pt, and t = 0pt. + + +

The different coordinate transformation commands will modify the matrix by concatenating it with +another transformation matrix. This way the effect of applying several transformation commands will +accumulate. +

The coordinate transformation matrix is local to the current TEX group (unlike the canvas transformation +matrix, which is local to the current {pgfscope}). Thus, the effect of adding a coordinate transformation to the +coordinate transformation matrix will last only till the end of the current TEX group. +

+

26.2.2 Commands for Relative Coordinate Transformations
+

The following commands add a basic coordinate transformation to the current coordinate transformation matrix. +For all commands, the transformation is applied in addition to any previous coordinate transformations. +

+

+\pgftransformshift{<point>}
+ +

Shifts coordinates by <point>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformshift{\pgfpoint{1cm}{1cm}} +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

+\pgftransformxshift{<dimensions>}
+ +

Shifts coordinates by <dimension> along the x-axis. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformxshift{.5cm} +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

+\pgftransformyshift{<dimensions>}
+ +

Like \pgftransformxshift, only for the y-axis.

+

+ + +

+\pgftransformscale{<factor>}
+ +

Scales coordinates by <factor>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformscale{.75} +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

+\pgftransformxscale{<factor>}
+ +

Scales coordinates by <factor> in the x-direction. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformxscale{.75} +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

+\pgftransformyscale{<factor>}
+ +

Like \pgftransformxscale, only for the y-axis.

+

+

+\pgftransformxslant{<factor>}
+ +

Slants coordinates by <factor> in the x-direction. Here, a factor of 1 means 45o. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformxslant{.5} +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+ + +
+

+

+\pgftransformyslant{<factor>}
+ +

Slants coordinates by <factor> in the y-direction. +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformyslant{-1} +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

+\pgftransformrotate{<degrees>}
+ +

Rotates coordinates counterclockwise by <degrees>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformrotate{30} +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

+\pgftransformcm{<a>}{<b>}{<c>}{<d>}{<point>}
+ +

Applies the transformation matrix given by a, b, c, and d and the shift <point> to coordinates (in addition to + any previous transformations already in force). + + +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformcm{1}{1}{0}{1}{\pgfpoint{.25cm}{.25cm}} +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

+\pgftransformarrow{<start>}{<end>}
+ +

Shift coordinates to the end of the line going from <start> to <end> with the correct rotation. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (3,1); +
  \pgftransformarrow{\pgfpointorigin}{\pgfpoint{3cm}{1cm}} +
  \pgftext{tip} +
\end{tikzpicture}
+
+

+

+\pgftransformlineattime{<time>}{<start>}{<end>}
+ +

Shifts coordinates by a specific point on a line at a specific time. The point by which the coordinate is + shifted is calculated by calling \pgfpointlineattime, see Section 20.4.2. +

In addition to shifting the coordinate, a rotation may also be applied. Whether this is the case depends on + whether the TEX if \ifpgfslopedattime is set to true or not. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1); +
  \pgftransformlineattime{.25}{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} +
  \pgftext{Hi!} +
\end{tikzpicture}
+ + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (2,1); +
  \pgfslopedattimetrue +
  \pgftransformlineattime{.25}{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} +
  \pgftext{Hi!} +
\end{tikzpicture}
+

There is another TEX if that influences this command. If you set \ifpgfresetnontranslationattime to + true, then, between shifting the coordinate and (possibly) rotating/sloping the coordinate, the + command \pgftransformresetnontranslations is called. See the description of this command for + details. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgftransformscale{1.5} +
  \draw      (0,0) -- (2,1); +
  \pgfslopedattimetrue +
  \pgfresetnontranslationattimefalse +
  \pgftransformlineattime{.25}{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} +
  \pgftext{Hi!} +
\end{tikzpicture}
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgftransformscale{1.5} +
  \draw      (0,0) -- (2,1); +
  \pgfslopedattimetrue +
  \pgfresetnontranslationattimetrue +
  \pgftransformlineattime{.25}{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} +
  \pgftext{Hi!} +
\end{tikzpicture}
+
+

+

+\pgftransformcurveattime{<time>}{<start>}{<first support>}{<second support>}{<end>}
+ +

Shifts coordinates by a specific point on a curve at a specific time, see Section 20.4.2 once more. +

As for the line-at-time transformation command, \ifpgfslopedattime decides whether an additional rotation + should be applied. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) .. controls (0,2) and (1,2) .. (2,1); +
  \pgftransformcurveattime{.25}{\pgfpointorigin} +
    {\pgfpoint{0cm}{2cm}}{\pgfpoint{1cm}{2cm}}{\pgfpoint{2cm}{1cm}} +
  \pgftext{Hi!} +
\end{tikzpicture}
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw      (0,0) .. controls (0,2) and (1,2) .. (2,1); +
  \pgfslopedattimetrue +
  \pgftransformcurveattime{.25}{\pgfpointorigin} +
    {\pgfpoint{0cm}{2cm}}{\pgfpoint{1cm}{2cm}}{\pgfpoint{2cm}{1cm}} +
  \pgftext{Hi!} +
\end{tikzpicture}
+

The value of \ifpgfresetnontranslationsattime is also taken into account.

+

+

+\ifpgfslopedattime
+ +

Decides whether the “at time” transformation commands also rotate coordinates or not.

+

+

+\ifpgfresetnontranslationsattime
+ +

Decides whether the “at time” transformation commands should reset the non-translations between + shifting and rotating.

+

+

26.2.3 Commands for Absolute Coordinate Transformations
+

The coordinate transformation commands introduced up to now are always applied in addition to +any previous transformations. In contrast, the commands presented in the following can be used to +change the transformation matrix “absolutely.” Note that this is, in general, dangerous and will often +produce unexpected effects. You should use these commands only if you really know what you are +doing. +

+

+\pgftransformreset
+ +

Resets the coordinate transformation matrix to the identity matrix. Thus, once this command is given no + transformations are applied till the end of the scope. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgftransformrotate{30} +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransformreset +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

+\pgftransformresetnontranslations
+ +

This command sets the a, b, c, and d part of the coordinate transformation matrix to a = 1, b = 0, + c = 0, and d = 1. However, the current shifting of the matrix is not modified. +

The effect of this command is that any rotation/scaling/slanting is undone in the current TEX group, + but the origin is not “moved back.” +

This command is mostly useful directly before a \pgftext command to ensure that the text is not scaled or + rotated. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgftransformscale{2} +
  \pgftransformrotate{30} +
  \pgftransformxshift{1cm} +
  {\color{red}\pgftext{rotated}} +
  \pgftransformresetnontranslations +
  \pgftext{shifted only} +
\end{tikzpicture}
+
+

+

+\pgftransforminvert
+ +

Replaces the coordinate transformation matrix by a coordinate transformation matrix that “exactly + undoes the original transformation.” For example, if the original transformation was “scale by 2 and + then shift right by 1cm” the new one is “shift left by 1cm and then scale by 1/2.” +

This command will produce an error if the determinant of the matrix is too small, that is, if the matrix is + near-singular. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgftransformrotate{30} +
  \draw      (0,0) -- (2,1) -- (1,0); +
  \pgftransforminvert +
  \draw[red] (0,0) -- (2,1) -- (1,0); +
\end{tikzpicture}
+
+

+

26.2.4 Saving and Restoring the Coordinate Transformation Matrix
+

There are two commands for saving and restoring coordinate transformation matrices. +

+

+\pgfgettransform{<macro>}
+ +

This command will (locally) define <macro> to a representation of the current coordinate transformation + matrix. This matrix can later on be reinstalled using \pgfsettransform.

+

+

+\pgfsettransform{<macro>}
+ +

Reinstalls a coordinate transformation matrix that was previously saved using \pgfgettransform.

+

+

26.3 Canvas Transformations

+

The canvas transformation matrix is not managed by PGF, but by the output format like PDF or PostScript. All the +PGF does is to call appropriate low-level \pgfsys@ commands to change the canvas transformation +matrix. +

Unlike coordinate transformations, canvas transformations apply to “everything,” including images, text, +shadings, line thickness, and so on. The idea is that a canvas transformation really stretches and deforms the canvas +after the graphic is finished. +

Unlike coordinate transformations, canvas transformations are local to the current {pgfscope}, not to the +current TEX group. This is due to the fact that they are managed by the backend driver, not by TEX or +PGF. +

Unlike the coordinate transformation matrix, it is not possible to “reset” the canvas transformation matrix. The +only way to change it is to concatenate it with another canvas transformation matrix or to end the current +{pgfscope}. +

Unlike coordinate transformations, PGF does not “keep track” of canvas transformations. In particular, it +will not be able to correctly save the coordinates of shapes or nodes when a canvas transformation is +used. +

PGF does not offer a whole set of special commands for modifying the canvas transformation matrix. Instead, +different commands allow you to concatenate the canvas transformation matrix with a coordinate transformation +matrix (and there are numerous commands for specifying a coordinate transformation, see the previous +section). +

+ + +

+\pgflowlevelsynccm
+ +

This command concatenates the canvas transformation matrix with the current coordinate + transformation matrix. Afterward, the coordinate transformation matrix is reset. +

The effect of this command is to “synchronize” the coordinate transformation matrix and the + canvas transformation matrix. All transformations that were previously applied by the coordinate + transformations matrix are now applied by the canvas transformation matrix. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfsetlinewidth{1pt} +
  \pgftransformscale{5} +
  \draw      (0,0) -- (0.4,.2); +
  \pgftransformxshift{0.2cm} +
  \pgflowlevelsynccm +
  \draw[red] (0,0) -- (0.4,.2); +
\end{tikzpicture}
+
+

+

+\pgflowlevel{<transformation code>}
+ +

This command concatenates the canvas transformation matrix with the coordinate transformation + specified by <transformation code>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfsetlinewidth{1pt} +
  \pgflowlevel{\pgftransformscale{5}} +
  \draw      (0,0) -- (0.4,.2); +
\end{tikzpicture}
+
+

+

+\pgflowlevelobj{<transformation code>}{<code>}
+ +

This command creates a local {pgfscope}. Inside this scope, \pgflowlevel is first called with the + argument <transformation code>, then the <code> is inserted. + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfsetlinewidth{1pt} +
  \pgflowlevelobj{\pgftransformscale{5}}    {\draw (0,0) -- (0.4,.2);} +
  \pgflowlevelobj{\pgftransformxshift{-1cm}}{\draw (0,0) -- (0.4,.2);} +
\end{tikzpicture}
+
+

+

+\begin{pgflowlevelscope}{<transformation code>}
+
+  <environment contents>
+
+\end{pgflowlevelscope}
+ + +

This environment first surrounds the <environment contents> by a {pgfscope}. Then it calls + \pgflowlevel with the argument <transformation code>. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfsetlinewidth{1pt} +
  \begin{pgflowlevelscope}{\pgftransformscale{5}} +
    \draw (0,0) -- (0.4,.2); +
  \end{pgflowlevelscope} +
  \begin{pgflowlevelscope}{\pgftransformxshift{-1cm}} +
    \draw (0,0) -- (0.4,.2); +
  \end{pgflowlevelscope} +
\end{tikzpicture}
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse27.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse27.html new file mode 100644 index 00000000000..f991b5729cd --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse27.html @@ -0,0 +1,726 @@ + + +27 Declaring and Using Images + + + + + + + + +

+

27 Declaring and Using Images

+

This section describes the pgfbaseimage package. +

+

+\usepackage{pgfbaseimage} % LATEX
+ + +
+\input pgfbaseimage.tex % plain TEX
+
+\input pgfbaseimage.tex % ConTEXt
+

This package offers an abstraction of the image inclusion process. It is loaded automatically by pgf, + but you can load it manually if you have only included pgfcore.

+

+

27.1 Overview

+

To be quite frank, LATEX’s \includegraphics is designed better than pgfbaseimage. For this reason, I +recommend that you use the standard image inclusion mechanism of your format. Thus, LATEX users are +encouraged to use \includegraphics to include images. +

However, there are reasons why you might need to use the image inclusion facilities of PGF: +

    +
  • There is no standard image inclusion mechanism in your format. For example, plain TEX does not + have one, so PGF’s inclusion mechanism is “better than nothing.” +

    However, this applies only to the pdftex backend. For all other backends, PGF currently maps its + commands back to the graphicx package. Thus, in plain TEX, this does not really help. It might be a + good idea to fix this in the future such that PGF becomes independent of LATEX, thereby providing + a uniform image abstraction for all formats. +

  • +
  • You wish to use masking. This is a feature that is only supported by PGF, though I hope that someone + will implement this also for the graphics package in LATEX in the future.
+

Whatever your choice, you can still use the usual image inclusion facilities of the graphics package. +

The general approach taken by PGF to including an image is the following: First, \pgfdeclareimage declares +the image. This must be done prior to the first use of the image. Once you have declared an image, you can insert it +into the text using \pgfuseimage. The advantage of this two-phase approach is that, at least for PDF, the image +data will only be included once in the file. This can drastically reduce the file size if you use an image repeatedly, for +example in an overlay. However, there is also a command called \pgfimage that declares and then immediately uses +the image. +

To speedup the compilation, you may wish to use the following class option: +

+\usepackage[draft]{pgf}
+ + +

In draft mode boxes showing the image name replace the images. It is checked whether the image files + exist, but they are not read. If either height or width is not given, 1cm is used instead.

+ + +

+

27.2 Declaring an Image

+

+

+\pgfdeclareimage[<options>]{<image name>}{<filename>}
+ +

Declares an image, but does not paint anything. To draw the image, use \pgfuseimage{<image + name>}. The <filename> may not have an extension. For PDF, the extensions .pdf, .jpg, and .png will + automatically tried. For PostScript, the extensions .eps, .epsi, and .ps will be tried. +

The following options are possible: +

    +
  • height=<dimension> sets the height of the image. If the width is not specified simultaneously, the + aspect ratio of the image is kept. +
  • +
  • width=<dimension> sets the width of the image. If the height is not specified simultaneously, the + aspect ratio of the image is kept. +
  • +
  • page=<page number> selects a given page number from a multipage document. Specifying this option will + have the following effect: first, PGF tries to find a file named +
    +

    <filename>.page<page number>.<extension>

    +

    If such a file is found, it will be used instead of the originally specified filename. If not, PGF inserts the + image stored in <filename>.<extension> and if a recent version of pdflatex is used, only the selected page + is inserted. For older versions of pdflatex and for dvips the complete document is inserted and a + warning is printed. +

  • +
  • interpolate=<true or false> selects whether the image should “smoothed” when zoomed. False by + default. +
  • +
  • mask=<mask name> selects a transparency mask. The mask must previously be declared using + \pgfdeclaremask (see below). This option only has an effect for pdf. Not all viewers support + masking.
+

+
+
\pgfdeclareimage[interpolate=true,height=1cm]{image1}{pgf-tu-logo} +
\pgfdeclareimage[interpolate=true,width=1cm,height=1cm]{image2}{pgf-tu-logo} +
\pgfdeclareimage[interpolate=true,height=1cm]{image3}{pgf-tu-logo}
+
+

+

+\pgfaliasimage{<new image name>}{<existing image name>}
+ +

The {<existing image name>} is “cloned” and the {<new image name>} can now be used whenever + original image is used. This command is useful for creating aliases for alternate extensions and for + accessing the last image inserted using \pgfimage. +

Example: \pgfaliasimage{image.!30!white}{image.!25!white}

+ + +

+

27.3 Using an Image

+

+

+\pgfuseimage{<image name>}
+ +

Inserts a previously declared image into the normal text. If you wish to use it in a {pgfpicture} + environment, you must put a \pgftext around it. +

If the macro \pgfalternateextension expands to some nonempty <alternate extension>, PGF will + first try to use the image names <image name>.<alternate extension>. If this image is not defined, + PGF will next check whether <alternate extension> contains a ! character. If so, everything up to this + exclamation mark and including it is deleted from <alternate extension> and the PGF again tries to use + the image <image name>.<alternate extension>. This is repeated until <alternate extension> no longer + contains a !. Then the original image is used. +

The xxcolor package sets the alternate extension to the current color mixin. +

+
 

SVG-Viewer needed.

 
+
\pgfdeclareimage[interpolate=true,width=1cm,height=1cm]{image1}{pgf-tu-logo} +
\pgfdeclareimage[interpolate=true,width=1cm]{image2}{pgf-tu-logo} +
\pgfdeclareimage[interpolate=true,height=1cm]{image3}{pgf-tu-logo} +
\begin{pgfpicture} +
  \pgftext[at=\pgfpoint{1cm}{5cm},left,base]{\pgfuseimage{image1}} +
  \pgftext[at=\pgfpoint{1cm}{3cm},left,base]{\pgfuseimage{image2}} +
  \pgftext[at=\pgfpoint{1cm}{1cm},left,base]{\pgfuseimage{image3}} +
+
  \pgfpathrectangle{\pgfpoint{1cm}{5cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfpathrectangle{\pgfpoint{1cm}{3cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfpathrectangle{\pgfpoint{1cm}{1cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+

The following example demonstrates the effect of using \pgfuseimage inside a color mixin environment. + + +

+
 

SVG-Viewer needed.

 
+
\pgfdeclareimage[interpolate=true,width=1cm,height=1cm] +
  {image1.!25!white}{pgf-tu-logo.25} +
\pgfdeclareimage[interpolate=true,width=1cm] +
  {image2.25!white}{pgf-tu-logo.25} +
\pgfdeclareimage[interpolate=true,height=1cm] +
  {image3.white}{pgf-tu-logo.25} +
\begin{colormixin}{25!white} +
\begin{pgfpicture} +
  \pgftext[at=\pgfpoint{1cm}{5cm},left,base]{\pgfuseimage{image1}} +
  \pgftext[at=\pgfpoint{1cm}{3cm},left,base]{\pgfuseimage{image2}} +
  \pgftext[at=\pgfpoint{1cm}{1cm},left,base]{\pgfuseimage{image3}} +
+
  \pgfpathrectangle{\pgfpoint{1cm}{5cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfpathrectangle{\pgfpoint{1cm}{3cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfpathrectangle{\pgfpoint{1cm}{1cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfusepath{stroke} +
\end{pgfpicture} +
\end{colormixin}
+
+

+

+\pgfalternateextension
+ +

You should redefine this command to install a different alternate extension. +

Example: \def\pgfalternateextension{!25!white}

+

+

+\pgfimage[<options>]{<filename>}
+ +

Declares the image under the name pgflastimage and immediately uses it. You can “save” the image + for later usage by invoking \pgfaliasimage on pgflastimage. + + +

+
 

SVG-Viewer needed.

 
+
\begin{colormixin}{25!white} +
\begin{pgfpicture} +
  \pgftext[at=\pgfpoint{1cm}{5cm},left,base] +
    {\pgfimage[interpolate=true,width=1cm,height=1cm]{pgf-tu-logo}} +
  \pgftext[at=\pgfpoint{1cm}{3cm},left,base] +
    {\pgfimage[interpolate=true,width=1cm]{pgf-tu-logo}} +
  \pgftext[at=\pgfpoint{1cm}{1cm},left,base] +
    {\pgfimage[interpolate=true,height=1cm]{pgf-tu-logo}} +
+
  \pgfpathrectangle{\pgfpoint{1cm}{5cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfpathrectangle{\pgfpoint{1cm}{3cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfpathrectangle{\pgfpoint{1cm}{1cm}}{\pgfpoint{1cm}{1cm}} +
  \pgfusepath{stroke} +
\end{pgfpicture} +
\end{colormixin}
+
+

+

27.4 Masking an Image

+

+

+\pgfdeclaremask[<options>]{<mask name>}{<filename>}
+ +

Declares a transparency mask named <mask name> (called a soft mask in the PDF specification). This + mask is read from the file <filename>. This file should contain a grayscale image that is as large as + the actual image. A white pixel in the mask will correspond to “transparent,” a black pixel to “solid,” + and gray values correspond to intermediate values. The mask must have a single “color channel.” This + means that the mask must be a “real” grayscale image, not an RGB-image in which all RGB-triples + happen to have the same components. +

You can only mask images the are in a “pixel format.” These are .jpg and .png. You cannot mask + .pdf images in this way. Also, again, the mask file and the image file must have the same size. +

The following options may be given: +

    +
  • matte={<color components>} sets the so-called matte of the actual image (strangely, this has to be + specified together with the mask, not with the image itself). The matte is the color that has been + used to preblend the image. For example, if the image has been preblended with a red background, + then <color components> should be set to {1 0 0}. The default is {1 1 1}, which is white in the + rgb model. +

    The matte is specified in terms of the parent’s image color space. Thus, if the parent is a grayscale + image, the matte has to be set to {1}.

+

Example: + + +

SVG-Viewer needed.

pgflastimage + ____________pgflastimage + ____________pgflastimage +
+
+
%% Draw a large colorful background +
\pgfdeclarehorizontalshading{colorful}{5cm}{color(0cm)=(red); +
color(2cm)=(green); color(4cm)=(blue); color(6cm)=(red); +
color(8cm)=(green); color(10cm)=(blue); color(12cm)=(red); +
color(14cm)=(green)} +
\hbox{\pgfuseshading{colorful}\hskip-14cm\hskip1cm +
\pgfimage[height=4cm]{pgf-apple}\hskip1cm +
\pgfimage[height=4cm]{pgf-apple.mask}\hskip1cm +
\pgfdeclaremask{mymask}{pgf-apple.mask} +
\pgfimage[mask=mymask,height=4cm,interpolate=true]{pgf-apple}}
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse28.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse28.html new file mode 100644 index 00000000000..9052949910c --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse28.html @@ -0,0 +1,775 @@ + + +28 Declaring and Using Shadings + + + + + + + + +

+

28 Declaring and Using Shadings

+

+

28.1 Overview

+

A shading is an area in which the color changes smoothly between different colors. Similarly to an image, a +shading must first be declared before it can be used. Also similarly to an image, a shading is put into a +TEX-box. Hence, in order to include a shading in a {pgfpicture}, you have to use \pgftext around +it. +

There are three kinds of shadings: horizontal, vertical, and radial shadings. However, you can rotate and clip +shadings like any other graphics object, which allows you to create more complicated shadings. Horizontal shadings +could be created by rotating a vertical shading by 90 degrees, but explicit commands for creating both horizontal +and vertical shadings are included for convenience. +

Once you have declared a shading, you can insert it into text using the command \pgfuseshading. This +command cannot be used directly in a {pgfpicture}, you have to put a \pgftext around it. The second command +for using shadings, \pgfshadepath, on the other hand, can only be used inside {pgfpicture} environments. It will +“fill” the current path with the shading. +

A horizontal shading is a horizontal bar of a certain height whose color changes smoothly. You must at least +specify the colors at the left and at the right end of the bar, but you can also add color specifications for points in +between. For example, suppose you which to create a bar that is red at the left end, green in the +middle, and blue at the end. Suppose you would like the bar to be 4cm long. This could be specified as +follows: +

+

rgb(0cm)=(1,0,0); rgb(2cm)=(0,1,0); rgb(4cm)=(0,0,1) +
+
+

This line means that at 0cm (the left end) of the bar, the color should be red, which has red-green-blue (rgb) +components (1,0,0). At 2cm, the bar should be green, and at 4cm it should be blue. Instead of rgb, you can +currently also specify gray as color model, in which case only one value is needed, or color, in which case you must +provide the name of a color in parentheses. In a color specification the individual specifications must be separated +using a semicolon, which may be followed by a whitespace (like a space or a newline). Individual specifications must +be given in increasing order. +

+

28.2 Declaring Shadings

+

+

+\pgfdeclarehorizontalshading[<color list>]{<shading name>}{<shading height>}{<color specification>}
+ +

Declares a horizontal shading named <shading name> of the specified <height> with the specified colors. + The length of the bar is deduced automatically from the maximum dimension in the specification. +

+
 

SVG-Viewer needed.

 
+
\pgfdeclarehorizontalshading{myshadingA} +
  {1cm}{rgb(0cm)=(1,0,0); color(2cm)=(green); color(4cm)=(blue)} +
\pgfuseshading{myshadingA}
+

The effect of the <color list>, which is a comma-separated list of colors, is the following: Normally, when this + list is empty, once a shading has been declared, it becomes “frozen.” This means that even if you change a + color that was used in the declaration of the shading later on, the shading will not change. By specifying a + + + <color list> you can specify that the shading should be recalculated whenever one of the colors listed in + the list changes (this includes effects like color mixins). Thus, when you specify a <color list>, + whenever the shading is used, PGF first converts the colors in the list to RGB triples using the + current values of the colors and taking any mixins and blends into account. If the resulting RGB + triples have not yet been used, a new shading is internally created and used. Note that if the + option <color list> is used, then no shading is created until the first use of \pgfuseshading. + In particular, the colors mentioned in the shading need not be defined when the declaration is + given. +

When a shading is recalculated because of a change in the colors mentioned in <color list>, the complete + shading is recalculated. Thus even colors not mentioned in the list will be used with their current values, not + with the values they had upon declaration. +

+
 

SVG-Viewer needed.

SVG-Viewer needed.

 
+
\pgfdeclarehorizontalshading[mycolor]{myshadingB} +
  {1cm}{rgb(0cm)=(1,0,0); color(2cm)=(mycolor)} +
\colorlet{mycolor}{green} +
\pgfuseshading{myshadingB} +
\colorlet{mycolor}{blue} +
\pgfuseshading{myshadingB}
+
+

+

+\pgfdeclareverticalshading[<color list>]{<shading name>}{<shading width>}{<color specification>}
+ +

Declares a vertical shading named <shading name> of the specified <width>. The height of the bar is + deduced automatically. The effect of <color list> is the same as for horizontal shadings. +

+ +
 

SVG-Viewer needed.

 
+
\pgfdeclareverticalshading{myshadingC} +
  {4cm}{rgb(0cm)=(1,0,0); rgb(1.5cm)=(0,1,0); rgb(2cm)=(0,0,1)} +
\pgfuseshading{myshadingC}
+
+

+

+\pgfdeclareradialshading[<color list>]{<shading name>}{<center point>}{<color specification>}
+ +

Declares an radial shading. A radial shading is a circle whose inner color changes as specified by the + color specification. Assuming that the center of the shading is at the origin, the color of the center + will be the color specified for 0cm and the color of the border of the circle will be the color for the + maximum dimension given in the <color specified>. This maximum will also be the radius of the circle. + If the <center point> is not at the origin, the whole shading inside the circle (whose size remains exactly + the same) will be distorted such that the given center now has the color specified for 0cm. The effect + of <color list> is the same as for horizontal shadings. + + +

+
 

SVG-Viewer needed.

 

\pgfdeclareradialshading{sphere}{\pgfpoint{0.5cm}{0.5cm}}% +
  {rgb(0cm)=(0.9,0,0); +
   rgb(0.7cm)=(0.7,0,0); +
   rgb(1cm)=(0.5,0,0); +
   rgb(1.05cm)=(1,1,1)} +
\pgfuseshading{sphere}
+
+

+

28.3 Using Shadings

+

+

+\pgfuseshading{<shading name>}
+ +

Inserts a previously declared shading into the text. If you wish to use it in a pgfpicture environment, + you should put a \pgfbox around it. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfdeclareverticalshading{myshadingD} +
    {20pt}{color(0pt)=(red); color(20pt)=(blue)} +
  \pgftext[at=\pgfpoint{1cm}{0cm}]  {\pgfuseshading{myshadingD}} +
  \pgftext[at=\pgfpoint{2cm}{0.5cm}]{\pgfuseshading{myshadingD}} +
\end{pgfpicture}
+
+

+

+\pgfshadepath{<shading name>}{<angle>}
+ +

This command must be used inside a {pgfpicture} environment. The effect is a bit complex, so let + us go over it step by step. +

First, PGF will setup a local scope. +

Second, it uses the current path to clip everything inside this scope. However, the current path is once + more available after the scope, so it can be used, for example, to stroke it. +

Now, the <shading name> should be a shading whose width and height are 100 bp, that is, 100 big + points. PGF has a look at the bounding box of the current path. This bounding box is computed + automatically when a path is computed; however, it can sometimes be (quite a bit) too large, especially + when complicated curves are involved. +

Inside the scope, the low-level transformation matrix is modified. The center of the shading is translated + (moved) such that it lies on the center of the bounding box of the path. The low-level coordinate + system is also scaled such that the shading “covers” the shading (the details are a bit more complex, + see below). Finally, the coordinate system is rotated by <angle>. +

After everything has been set up, the shading is inserted. Due to the transformations and clippings, + the effect will be that the shading seems to “fill” the path. + + +

If both the path and the shadings were always rectangles and if rotation were never involved, it would + be easy to scale shadings such they always cover the path. However, when a vertical shading is rotated, + it must obviously be “magnified” so that it still covers the path. Things get worse when the path is + not a rectangle itself. +

For these reasons, things work slightly differently “in reality.” The shading is scaled and translated + such that the the point (50bp,50bp), which is the middle of the shading, is at the middle of the path + and such that the the point (25bp,25bp) is at the lower left corner of the path and that (75bp,75bp) + is at upper right corner. +

In other words, only the center quarter of the shading will actually “survive the clipping” if the path + is a rectangle. If the path is not a rectangle, but, say, a circle, even less is seen of the shading. Here is + an example that demonstrates this effect: +

SVG-Viewer needed.

SVG-Viewer needed.

+
+
\pgfdeclareverticalshading{myshadingE}{100bp} +
 {color(0bp)=(red); color(25bp)=(green);  color(75bp)=(blue);  color(100bp)=(black)} +
\pgfuseshading{myshadingE} +
\hskip 1cm +
\begin{pgfpicture} +
  \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} +
  \pgfshadepath{myshadingE}{0} +
  \pgfusepath{stroke} +
  \pgfpathrectangle{\pgfpoint{3cm}{0cm}}{\pgfpoint{1cm}{2cm}} +
  \pgfshadepath{myshadingE}{0} +
  \pgfusepath{stroke} +
  \pgfpathrectangle{\pgfpoint{5cm}{0cm}}{\pgfpoint{2cm}{2cm}} +
  \pgfshadepath{myshadingE}{45} +
  \pgfusepath{stroke} +
  \pgfpathcircle{\pgfpoint{9cm}{1cm}}{1cm} +
  \pgfshadepath{myshadingE}{45} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

As can be seen above in the last case, the “hidden” part of the shading actually can become visible if the + shading is rotated. The reason is that it is scaled as if no rotation took place, then the rotation is + done. +

The following graphics show which part of the shading are actually shown: +

SVG-Viewer needed.

+
+
\pgfdeclareverticalshading{myshadingF}{100bp} +
 {color(0bp)=(red); color(25bp)=(green);  color(75bp)=(blue);  color(100bp)=(black)} +
\begin{tikzpicture} +
  \draw (50bp,50bp) node {\pgfuseshading{myshadingF}}; +
  \draw[white,thick] (25bp,25bp) rectangle (75bp,75bp); +
  \draw (50bp,0bp) node[below] {first two applications}; +
+
  \begin{scope}[xshift=5cm] +
    \draw (50bp,50bp) node{\pgfuseshading{myshadingF}}; +
    \draw[rotate around={45:(50bp,50bp)},white,thick] (25bp,25bp) rectangle (75bp,75bp); +
    \draw (50bp,0bp) node[below] {third application}; +
  \end{scope} +
+
  \begin{scope}[xshift=10cm] +
    \draw (50bp,50bp) node{\pgfuseshading{myshadingF}}; +
    \draw[white,thick] (50bp,50bp) circle (25bp); +
    \draw (50bp,0bp) node[below] {fourth application}; +
  \end{scope} +
\end{tikzpicture}
+
+

An advantage of this approach is that when you rotate a radial shading, no distortion is introduced: + + +

SVG-Viewer needed.

SVG-Viewer needed.

+
+
\pgfdeclareradialshading{ballshading}{\pgfpoint{-10bp}{10bp}} +
 {color(0bp)=(red!15!white); color(9bp)=(red!75!white); +
 color(18bp)=(red!70!black); color(25bp)=(red!50!black); color(50bp)=(black)} +
\pgfuseshading{ballshading} +
\hskip 1cm +
\begin{pgfpicture} +
  \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{1cm}{1cm}} +
  \pgfshadepath{ballshading}{0} +
  \pgfusepath{} +
  \pgfpathcircle{\pgfpoint{3cm}{0cm}}{1cm} +
  \pgfshadepath{ballshading}{0} +
  \pgfusepath{} +
  \pgfpathcircle{\pgfpoint{6cm}{0cm}}{1cm} +
  \pgfshadepath{ballshading}{45} +
  \pgfusepath{} +
\end{pgfpicture}
+
+

If you specify a rotation of 90o and if the path is not a square, but an elongated rectangle, the “desired” effect + results: The shading will exactly vary between the colors at the 25bp and 75bp boundaries. Here is an + example: +

SVG-Viewer needed.

+
+
\pgfdeclareverticalshading{myshadingG}{100bp} +
 {color(0bp)=(red); color(25bp)=(green);  color(75bp)=(blue);  color(100bp)=(black)} +
\begin{pgfpicture} +
  \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} +
  \pgfshadepath{myshadingG}{0} +
  \pgfusepath{stroke} +
  \pgfpathrectangle{\pgfpoint{3cm}{0cm}}{\pgfpoint{2cm}{1cm}} +
  \pgfshadepath{myshadingG}{90} +
  \pgfusepath{stroke} +
  \pgfpathrectangle{\pgfpoint{6cm}{0cm}}{\pgfpoint{2cm}{1cm}} +
  \pgfshadepath{myshadingG}{45} +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

As a final example, let us define a “rainbow spectrum” shading for use with TikZ. +

+
 

SVG-Viewer needed.

 
+
\pgfdeclareverticalshading{rainbow}{100bp} +
 {color(0bp)=(red); color(25bp)=(red); color(35bp)=(yellow); +
  color(45bp)=(green); color(55bp)=(cyan); color(65bp)=(blue); +
  color(75bp)=(violet); color(100bp)=(violet)} +
\begin{tikzpicture}[shading=rainbow] +
  \shade (0,0) rectangle node[white] {\textsc{pride}} (2,1); +
  \shade[shading angle=90] (3,0) rectangle +(1,2); +
\end{tikzpicture}
+

Note that rainbow shadings are way to colorful in almost all applications.

+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse29.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse29.html new file mode 100644 index 00000000000..bf6dc546ff6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse29.html @@ -0,0 +1,839 @@ + + +29 Creating Plots + + + + + + + + +

+

29 Creating Plots

+

This section describes the pgfbaseplot package. +

+

+\usepackage{pgfbaseplot} % LATEX
+ + +
+\input pgfbaseplot.tex % plain TEX
+
+\input pgfbaseplot.tex % ConTEXt
+

This package provides a set of commands that are intended to make it reasonably easy to plot functions + using PGF. It is loaded automatically by pgf, but you can load it manually if you have only included + pgfcore.

+

+

29.1 Overview

+

+

29.1.1 When Should One Use PGF for Generating Plots?
+

There exist many powerful programs that produce plots, examples are GNUPLOT or MATHEMATICA. These programs +can produce two different kinds of output: First, they can output a complete plot picture in a certain format (like +PDF) that includes all low-level commands necessary for drawing the complete plot (including axes and +labels). Second, they can usually also produce “just plain data” in the form of a long list of coordinates. +Most of the powerful programs consider it a to be “a bit boring” to just output tabled data and very +much prefer to produce fancy pictures. Nevertheless, when coaxed, they can also provide the plain +data. +

The plotting mechanism described in the following deals only with plotting data given in the form of a list of +coordinates. Thus, this section is about using PGF to turn lists of coordinates into plots. +

Note that is often not necessary to use PGF for this. Programs like GNUPLOT can produce very +sophisticated plots and it is usually much easier to simply include these plots as a finished PDF or PostScript +graphics. +

However, there are a number of reasons why you may wish to invest time and energy into mastering the +PGF commands for creating plots: +

    +
  • Virtually all plots produced by “external programs” use different fonts from the one used in your + document. +
  • +
  • Even worse, formulas will look totally different, if they can be rendered at all. +
  • +
  • Line width will usually be too large or too small. +
  • +
  • Scaling effects upon inclusion can create a mismatch between sizes in the plot and sizes in the text. + + +
  • +
  • The automatic grid generated by most programs is mostly distracting. +
  • +
  • The automatic ticks generated by most programs are cryptic numerics. (Try adding a tick reading “p” + at the right point.) +
  • +
  • Most programs make it very easy to create “chart junk” in a most convenient fashion. All show, no + content. +
  • +
  • Arrows and plot marks will almost never match the arrows used in the rest of the document.
+

The above list is not exhaustive, unfortunately. +

+

29.1.2 How PGF Handles Plots
+

PGF (conceptually) uses a two-stage process for generating plots. First, a plot stream must be produced. This +stream consists (more or less) of a large number of coordinates. Second a plot handler is applied to the stream. A +plot handler “does something” with the stream. The standard handler will issue line-to operations to the +coordinates in the stream. However, a handler might also try to issue appropriate curve-to operations in order to +smooth the curve. A handler may even do something else entirely, like writing each coordinate to another stream, +thereby duplicating the original stream. +

Both for the creation of streams and the handling of streams different sets of commands exist. The commands +for creating streams start with \pgfplotstream, the commands for setting the handler start with +\pgfplothandler. +

+

29.2 Generating Plot Streams

+

+

29.2.1 Basic Building Blocks of Plot Streams
+

A plot stream is a (long) sequence of the following three commands: +

    +
  1. \pgfplotstreamstart, +
  2. +
  3. \pgfplotstreampoint, and +
  4. +
  5. \pgfplotstreamend.
+

Between calls of these commands arbitrary other code may be called. Obviously, the stream should start with the first +command and end with the last command. Here is an example of a plot stream: +

+
+
\pgfplotstreamstart +
\pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +
\newdimen\mydim +
\mydim=2cm +
\pgfplotstreampoint{\pgfpoint{\mydim}{2cm}} +
\advance \mydim by 3cm +
\pgfplotstreampoint{\pgfpoint{\mydim}{2cm}} +
\pgfplotstreamend
+

+ + +

+\pgfplotstreamstart
+ +

This command signals that a plot stream starts. The effect of this command is to call the internal + command \pgf@plotstreamstart, which is set by the current plot handler to do whatever needs to + be done at the beginning of the plot.

+

+

+\pgfplotstreampoint{<point>}
+ +

This command adds a <point> to the current plot stream. The effect of this command is to call the + internal command \pgf@plotstreampoint, which is also set by the current plot handler. This command + should now “handle” the point in some sensible way. For example, a line-to command might be issued + for the point.

+

+

+\pgfplotstreamend
+ +

This command signals that a plot stream ends. It calls \pgf@plotstreamend, which should now do + any necessary “cleanup.”

+

Note that plot streams are not buffered, that is, the different points are handled immediately. However, using the +recording handler, it is possible to record a stream. +

+

29.2.2 Commands That Generate Plot Streams
+

Plot streams can be created “by hand” as in the earlier example. However, most of the time the coordinates will be +produced internally by some command. For example, the \pgfplotxyfile reads a file and converts it into a plot +stream. +

+

+\pgfplotxyfile{<filename>}
+ +

This command will try to open the file <filename>. If this succeeds, it will convert the file contents + into a plot stream as follows: A \pgfplotstreamstart is issued. Then, each nonempty line of the file + should start with two numbers separated by a space, such as 0.1 1 or 100 -.3. Anything following + the numbers is ignored. +

Each pair <x> and <y> of numbers is converted into one plot stream point in the xy-coordinate system. Thus, a + line like +

+

2 -5 some text
+
+

is turned into +

+
+
\pgfplotstreampoint{\pgfpointxy{2}{-5}}
+
+

The two characters % and # are also allowed in a file and they are both treated as comment characters. Thus, a + line starting with either of them is empty and, hence, ignored. +

When the file has been read completely, \pgfplotstreamend is called.

+

+ + +

+\pgfplotxyzfile{<filename>}
+ +

This command works like \pgfplotxyfile, only three numbers are expected on each non-empty line. They are + converted into points in the xyz-coordinate system. Consider, the following file: +

+
+
% Some comments +
# more comments +
2 -5  1 first entry +
2 -.2 2 second entry +
2 -5  2 third entry
+

It is turned into the following stream: +

+
+
\pgfplotstreamstart +
\pgfplotstreampoint{\pgfpointxyz{2}{-5}{1}} +
\pgfplotstreampoint{\pgfpointxyz{2}{-.2}{2}} +
\pgfplotstreampoint{\pgfpointxyz{2}{-5}{2}} +
\pgfplotstreamend
+
+

Currently, there is no command that can decide automatically whether the xy-coordinate system should be used +or whether the xyz-system should be used. However, it would not be terribly difficult to write a “smart file reader” +that parses coordinate files a bit more intelligently. +

+

+\pgfplotgnuplot[<prefix>]{<function>}
+ +

This command will “try” to call the GNUPLOT program to generate the coordinates of the <function>. + In detail, the following happens: +

This command works with two files: <prefix>.gnuplot and <prefix>.table. If the optional argument + <prefix> is not given, it is set to \jobname. +

Let us start with the situation where none of these files exists. Then PGF will first generate the file + <prefix>.gnuplot. In this file it writes +

+
+
set terminal table; set output "#1.table"; set format "%.5f"
+
+

where #1 is replaced by <prefix>. Then, in a second line, it writes the text <function>. +

Next, PGF will try to invoke the program gnuplot with the argument <prefix>.gnuplot. This call may or may + not succeed, depending on whether the \write18 mechanism (also known as shell escape) is switched on and + whether the gnuplot program is available. +

Assuming that the call succeeded, the next step is to invoke \pgfplotxyfile on the file <prefix>.table; which + is exactly the file that has just been created by gnuplot. +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,-1) grid (4,1); +
  \pgfplothandlerlineto +
  \pgfplotgnuplot[plots/pgfplotgnuplot-example]{plot [x=0:3.5] x*sin(x)} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+ + +

The more difficult situation arises when the .gnuplot file exists, which will be the case on the second run of + TEX on the TEX file. In this case PGF will read this file and check whether it contains exactly what + PGF “would have written” into this file. If this is not the case, the file contents is overwritten with what + “should be there” and, as above, gnuplot is invoked to generate a new .table file. However, if the file + contents is “as expected,” the external gnuplot program is not called. Instead, the <prefix>.table file is + immediately read. +

As explained in Section 9.12.3, the net effect of the above mechanism is that gnuplot is called as little as + possible and that when you pass along the .gnuplot and .table files with your .tex file to someone else, that + person can TEX the .tex file without having gnuplot installed and without having the \write18 mechanism + switched on.

+

+

29.3 Plot Handlers

+

A plot handler prescribes what “should be done” with a plot stream. You must set the plot handler before the +stream starts. The following commands install the most basic plot handlers; more plot handlers are defined in the +file pgflibraryplothandlers, which is documented in Section 14.3. +

All plot handlers work by setting redefining the following three macros: \pgf@plotstreamstart, +\pgf@plotstreampoint, and \pgf@plotstreamend. +

+

+\pgfplothandlerlineto
+ +

This handler will issue a \pgfpathlineto command for each point of the plot, except possibly for the + first. What happens with the first point can be specified using the two commands described below. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfplothandlerlineto +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{1cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{3cm}{2cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{2cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

+

+\pgfsetmovetofirstplotpoint
+ +

Specifies that the line-to plot handler (and also some other plot handlers) should issue a move-to + command for the first point of the plot instead of a line-to. This will start a new part of the current + path, which is not always, but often, desirable. This is the default.

+

+

+\pgfsetlinetofirstplotpoint
+ +

Specifies that plot handlers should issue a line-to command for the first point of the plot. + + +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathmoveto{\pgfpointorigin} +
  \pgfsetlinetofirstplotpoint +
  \pgfplothandlerlineto +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{1cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{3cm}{2cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{2cm}} +
  \pgfplotstreamend +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+

+

+\pgfplothandlerdiscard
+ +

This handler will simply throw away the stream.

+

+

+\pgfplothandlerrecord{<macro>}
+ +

When this handler is installed, each time a plot stream command is called, this command will be + appended to <macros>. Thus, at the end of the stream, <macro> will contain all the commands that + were issued on the stream. You can then install another handler and invoke <macro> to “replay” the + stream (possibly many times). +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfplothandlerrecord{\mystream} +
  \pgfplotstreamstart +
  \pgfplotstreampoint{\pgfpoint{1cm}{0cm}} +
  \pgfplotstreampoint{\pgfpoint{2cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{3cm}{1cm}} +
  \pgfplotstreampoint{\pgfpoint{1cm}{2cm}} +
  \pgfplotstreamend +
  \pgfplothandlerlineto +
  \mystream +
  \pgfplothandlerclosedcurve +
  \mystream +
  \pgfusepath{stroke} +
\end{pgfpicture}
+
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse3.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse3.html new file mode 100644 index 00000000000..d3a305f8a11 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse3.html @@ -0,0 +1,4152 @@ + + +3 Tutorial: A Picture for Karl’s Students + + + + + + + + +

+

3 Tutorial: A Picture for Karl’s Students

+

This tutorial is intended for new users of PGF and TikZ. It does not give an exhaustive account of all the features of +TikZ or PGF, just of those that you are likely to use right away. +

Karl is a math and chemistry high-school teacher. He used to create the graphics in his worksheets and exams +using LATEX’s {picture} environment. While the results were acceptable, creating the graphics often turned out +to be a lengthy process. Also, there tended to be problems with lines having slightly wrong angles and circles also +seemed to be hard to get right. Naturally, his students could not care less whether the lines had the exact right +angles and they find Karl’s exams too difficult no matter how nicely they were drawn. But Karl was never entirely +satisfied with the result. +

Karl’s son, who was even less satisfied with the results (he did not have to take the exams, after all), told Karl +that he might wish to try out a new package for creating graphics. A bit confusingly, this package seems to have two +names: First, Karl had to download and install a package called PGF. Then it turns out that inside this package +there is another package called TikZ, which is supposed to stand for “TikZ ist kein Zeichenprogramm.” Karl +finds this all a bit strange and TikZ seems to indicate that the package does not do what he needs. +However, having used GNU software for quite some time and “GNU not being Unix,” there seems to +be hope yet. His son assures him that TikZ’s name is intended to warn people that TikZ is not a +program that you can use to draw graphics with your mouse or tablet. Rather, it is more like a “graphics +language.” +

+

3.1 Problem Statement

+

Karl wants to put a graphic on the next worksheet for his students. He is currently teaching his students about sine +and cosine. What he would like to have is something that looks like this (ideally): +

SVG-Viewer needed.

+ + +

+

3.2 Setting up the Environment

+

In TikZ, to draw a picture, at the start of the picture you need to tell TEX or LATEX that you want to start a +picture. In LATEX this is done using the environment {tikzpicture}, in plain TEX you just use \tikzpicture +to start the picture and \endtikzpicture to end it. +

+

3.2.1 Setting up the Environment in LATEX
+

Karl, being a LATEX user, thus sets up his file as follows: +

+
+
\documentclass{article} % say +
\usepackage{tikz} +
\begin{document} +
We are working on +
\begin{tikzpicture} +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
\end{tikzpicture}. +
\end{document}
+

When executed, that is, run via pdflatex or via latex followed by dvips, the resulting will contain something +that looks like this: +

+ +
 We are working on

SVG-Viewer needed.

+
We are working on +
\begin{tikzpicture} +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
\end{tikzpicture}.
+

Admittedly, not quite the whole picture, yet, but we do have the axes established. Well, not quite, but we have +the lines that make up the axes drawn. Karl suddenly has a sinking feeling that the picture is still some way +off. +

Let’s have a more detailed look at the code. First, the package tikz is loaded. This package is a so-called +“frontend” to the basic PGF system. The basic layer, which is also described in this manual, is somewhat +more, well, basic and thus harder to use. The frontend makes things easier by providing a simpler +syntax. +

Inside the environment there are two \draw commands. They mean: “The path, which is specified following the +command up to the semicolon, should be drawn.” The first path is specified as (-1.5,0) -- (0,1.5), +which means “a straight line from the point at position (-1.5,0) to the point at position (0,1.5).” +Here, the positions are specified within a special coordinate system in which, initially, one unit is +1cm. +

Karl is quite pleased to note that the environment automatically reserves enough space to encompass the +picture. +

+

3.2.2 Setting up the Environment in Plain TEX
+

Karl’s wife Gerda, who also happens to be a math teacher, is not a LATEX user, but uses plain TEX since she +prefers to do things “the old way.” She can also use TikZ. Instead of \usepackage{tikz} she has to +write \input tikz.tex and instead of \begin{tikzpicture} she writes \tikzpicture and instead of +\end{tikzpicture} she writes \endtikzpicture. +

Thus, she would use: + + +

+
+
%% Plain TeX file +
\input tikz.tex +
\baselineskip=12pt +
\hsize=6.3truein +
\vsize=8.7truein +
We are working on +
\tikzpicture +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
\endtikzpicture. +
\bye
+

Gerda can typeset this file using either pdftex or tex together with dvips. TikZ will automatically discern +which driver she is using. If she wishes to use dvipdfm together with tex, she either needs to modify the file +pgf.cfg or can write \def\pgfsysdriver{pgfsys-dvipdfm.def} somewhere before she inputs tikz.tex or +pgf.tex. +

+

3.3 Straight Path Construction

+

The basic building block of all pictures in TikZ is the path. A path is a series of straight lines and curves that are +connected (that is not the whole picture, but let us ignore the complications for the moment). You +start a path by specifying the coordinates of the start position as a point in round brackets, as in +(0,0). This is followed by a series of “path extension operations.” The simplest is --, which we used +already. It must be followed by another coordinate and it extends the path in a straight line to this new +position. For example, if we were to turn the two paths of the axes into one path, the following would +result: +

+ +
 

SVG-Viewer needed.

 
+
\tikz \draw (-1.5,0) -- (1.5,0) -- (0,-1.5) -- (0,1.5);
+

Karl is a bit confused by the fact that there is no {tikzpicture} environment, here. Instead, the little +command \tikz is used. This command either takes one argument (starting with an opening brace as in +\tikz{\draw (0,0) -- (1.5,0)}, which yields

SVG-Viewer needed.

) or collects everything up to the next semicolon and +puts it inside a {tikzpicture} environment. As a rule of thumb, all TikZ graphic drawing commands must occur +as an argument of \tikz or inside a {tikzpicture} environment. Fortunately, the command \draw will only be +defined inside this environment, so there is little chance that you will accidentally do something wrong +here. +

+

3.4 Curved Path Construction

+

The next thing Karl wants to do is to draw the circle. For this, straight lines obviously will not do. Instead, we need +some way to draw curves. For this, TikZ provides a special syntax. One or two “control points” are needed. The +math behind them is not quite trivial, but here is the basic idea: Suppose you are at point x and the first control +point is y. Then the curve will start “going in the direction of y at x,” that is, the tangent of the +curve at x will point toward y. Next, suppose the curve should end at z and the second support point +is w. Then the curve will, indeed, end at z and the tangent of the curve at point z will go through +w. +

Here is an example (the control points have been added for clarity): + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \filldraw [gray] (0,0) circle (2pt) +
                   (1,1) circle (2pt) +
                   (2,1) circle (2pt) +
                   (2,0) circle (2pt); +
  \draw (0,0) .. controls (1,1) and (2,1) .. (2,0); +
\end{tikzpicture}
+

The general syntax for extending a path in a “curved” way is .. controls <first control point>and <second +control point>.. <end point>. You can leave out the and <second control point>, which causes the first one to be used +twice. +

So, Karl can now add the first half circle to the picture: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (-1,0) .. controls (-1,0.555) and (-0.555,1) .. (0,1) +
               .. controls (0.555,1) and (1,0.555) .. (1,0); +
\end{tikzpicture}
+

Karl is happy with the result, but finds specifying circles in this way to be extremely awkward. Fortunately, +there is a much simpler way. +

+

3.5 Circle Path Construction

+

In order to draw a circle, the path construction operation circle can be used. This operation is followed by a radius +in round brackets as in the following example: (Note that the previous position is used as the center of the +circle.) +

+
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) circle (10pt);
+

You can also append an ellipse to the path using the ellipse operation. Instead of a single radius you can +specify two of them, one for the x-direction and one for the y-direction, separated by and: +

+
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) ellipse (20pt and 10pt);
+

To draw an ellipse whose axes are not horizontal and vertical, but point in an arbitrary direction (a “turned +ellipse” like

SVG-Viewer needed.

) you can use transformations, which are explained later. The code for the little ellipse is +\tikz \draw[rotate=30] (0,0) ellipse (6pt and 3pt);, by the way. +

So, returning to Karl’s problem, he can write \draw (0,0) circle (1cm); to draw the circle: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
\end{tikzpicture}
+ + +
+

At this point, Karl is a bit alarmed that the circle is so small when he wants the final picture to +be much bigger. He is pleased to learn that TikZ has powerful transformation options and scaling +everything by a factor of three is very easy. But let us leave the size as it is for the moment to save some +space. +

+

3.6 Rectangle Path Construction

+

The next things we would like to have is the grid in the background. There are several ways to produce it. For +example, one might draw lots of rectangles. Since rectangles are so common, there is a special syntax for them: To +add a rectangle to the current path, use the rectangle path construction operation. This operation should +be followed by another coordinate and will append a rectangle to the path such that the previous +coordinate and the next coordinates are corners of the rectangle. So, let us add two rectangles to the +picture: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \draw (0,0) rectangle (0.5,0.5); +
  \draw (-0.5,-0.5) rectangle (-1,-1); +
\end{tikzpicture}
+

While this may be nice in other situations, this is not really leading anywhere with Karl’s problem: First, we +would need an awful lot of these rectangles and then there is the border that is not “closed.” +

So, Karl is about to resort to simply drawing four vertical and four horizontal lines using the nice \draw +command, when he learns that there is a grid path construction operation. +

+

3.7 Grid Path Construction

+

The grid path operation adds a grid to the current path. It will add lines making up a grid that fills the rectangle +whose one corner is the current point and whose other corner is the point following the grid operation. For +example, the code \tikz \draw[step=2pt] (0,0) grid (10pt,10pt); produces

SVG-Viewer needed.

. Note how the optional +argument for \draw can be used to specify a grid width (there are also xstep and ystep to define the steppings +independently). As Karl will learn soon, there are lots of things that can be influenced using such +options. +

For Karl, the following code could be used: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \draw[step=.5cm] (-1.4,-1.4) grid (1.4,1.4); +
\end{tikzpicture}
+ + +

Having another look at the desired picture, Karl notices that it would be nice for the grid to be more subdued. +(His son told him that grids tend to be distracting if they are not subdued.) To subdue the grid, Karl adds two more +options to the \draw command that draws the grid. First, he uses the color gray for the grid lines. Second, he +reduces the line width to very thin. Finally, he swaps the ordering of the commands so that the grid is drawn first +and everything else on top. +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
\end{tikzpicture}
+

+

3.8 Adding a Touch of Style

+

Instead of the options gray,very thin Karl could also have said style=help lines. Styles are predefined sets of +options that can be used to organize how a graphic is drawn. By saying style=help lines you say +“use the style that I (or someone else) has set for drawing help lines.” If Karl decides, at some later +point, that grids should be drawn, say, using the color blue!50 instead of gray, he could say the +following: +

+

\tikzstyle help lines=[color=blue!50,very thin] +
+
+

Alternatively, he could have said the following: +

+

\tikzstyle help lines+=[color=blue!50] +
+
+

This would have added the color=blue!50 option. The help lines style would now contain two color options, +but the second would override the first. +

Using styles makes your graphics code more flexible. You can change the way things look easily in a consistent +manner. +

To build a hierarchy of styles you can have one style use another. So in order to define a style Karl's grid that +is based on the grid style Karl could say +

+
+
\tikzstyle Karl's grid=[style=help lines,color=blue!50] +
... +
\draw[style=Karl's grid] (0,0) grid (5,5);
+

You can also leave out the style=. Thus, whenever TikZ encounters an options that it does not know about, it +will check whether this option happens to be the name of a style. If so, the style is used. Thus, Karl could also have +written: +

+
+
\tikzstyle Karl's grid=[help lines,color=blue!50] +
... +
\draw[Karl's grid] (0,0) grid (5,5);
+

For some styles, like the very thin style, it is pretty clear what the style does and there is no need to say +style=very thin. For other styles, like help lines, it seems more natural to me to say style=help lines. But, +mainly, this is a matter of taste. +

+

3.9 Drawing Options

+ + +

Karl wonders what other options there are that influence how a path is drawn. He saw already that the +color=<color> option can be used to set the line’s color. The option draw=<color> does nearly the same, only it sets +the color for the lines only and a different color can be used for filling (Karl will need this when he fills the arc for +the angle). +

He saw that the style very thin yields very thin lines. Karl is not really surprised by this and neither is he +surprised to learn that thin yields thin lines, thick yields thick lines, very thick yields very thick lines, +ultra thick yields really, really thick lines and ultra thin yields lines that are so thin that low-resolution printers +and displays will have trouble showing them. He wonders what gives lines of “normal” thickness. It turns out that +thin is the correct choice. This seems strange to Karl, but his son explains him that LATEX has two commands +called \thinlines and \thicklines and that \thinlines gives the line width of “normal” lines, +more precisely, of the thickness that, say, the stem of a letter like “T” or “i” has. Nevertheless, Karl +would like to know whether there is anything “in the middle” between thin and thick. There is: +semithick. +

Another useful thing one can do with lines is to dash or dot them. For this, the two styles dashed and dotted +can be used, yielding

SVG-Viewer needed.

and

SVG-Viewer needed.

. Both options also exist in a loose and a dense version, called loosely dashed, +densely dashed, loosely dotted, and closely dotted. If he really, really needs to, Karl can also define much +more complex dashing patterns with the dash pattern option, but his son insists that dashing is to be used with +utmost care and mostly distracts. Karl’s son claims that complicated dashing patterns are evil. Karl’s students do +not care about dashing patterns. +

+

3.10 Arc Path Construction

+

Our next obstacle is to draw the arc for the angle. For this, the arc path construction operation is useful, +which draws part of a circle or ellipse. This arc operation must be followed by a triple in rounded +brackets, where the components of the triple are separated by colons. The first two components are +angles, the last one is a radius. An example would be (10:80:10pt), which means “an arc from 10 +degrees to 80 degrees on a circle of radius 10pt.” Karl obviously needs an arc from 0o to 30o. The +radius should be something relatively small, perhaps around one third of the circle’s radius. This gives: +(0:30:3mm). +

When one uses the arc path construction operation, the specified arc will be added with its starting point at the +current position. So, we first have to “get there.” +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \draw (3mm,0mm) arc (0:30:3mm); +
\end{tikzpicture}
+

Karl thinks this is really a bit small and he cannot continue unless he learns how to do scaling. For this, he can +add the [scale=3] option. He could add this option to each \draw command, but that would be +awkward. Instead, he adds it to the whole environment, which causes this option to apply to everything +within. + + +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[scale=3] +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \draw (3mm,0mm) arc (0:30:3mm); +
\end{tikzpicture}
+
+

As for circles, you can specify “two” radii in order to get an elliptical arc. +

+ +
 

SVG-Viewer needed.

 
+
  \tikz \draw (0,0) arc (0:315:1.75cm and 1cm);
+

+

3.11 Clipping a Path

+

In order to save space in this manual, it would be nice to clip Karl’s graphics a bit so that we can focus on the +“interesting” parts. Clipping is pretty easy in TikZ. You can use the \clip command clip all subsequent +drawing. It works like \draw, only it does not draw anything, but uses the given path to clip everything +subsequently. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.1,-0.2) rectangle (1.1,0.75); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \draw (3mm,0mm) arc (0:30:3mm); +
\end{tikzpicture}
+

You can also do both at the same time: Draw and clip a path. For this, use the \draw command and add the +clip option. (This is not the whole picture: You can also use the \clip command and add the draw +option. Well, that is also not the whole picture: In reality, \draw is just a shorthand for \path[draw] + + +and \clip is a shorthand for \path[clip] and you could also say \path[draw,clip].) Here is an +example: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip[draw] (0.5,0.5) circle (.6cm); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \draw (3mm,0mm) arc (0:30:3mm); +
\end{tikzpicture}
+

+

3.12 Parabola and Sine Path Construction

+

Although Karl does not need them for his picture, he is pleased to learn that there are parabola and sin and cos +path operations for adding parabolas and sine and cosine curves to the current path. For the parabola operation, +the current point will lie on the parabola as well as the point given after the parabola operation. Consider the +following example: +

+ +
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) rectangle (1,1)  (0,0) parabola (1,1);
+

It is also possible to place the bend somewhere else: +

+
 

SVG-Viewer needed.

 
+
\tikz \draw[x=1pt,y=1pt] (0,0) parabola bend (4,16) (6,12);
+

The operations sin and cos add a sine or cosine curve in the interval [0,p/2] such that the previous +current point is at the start of the curve and the curve ends at the given end point. Here are two +examples: +

+
 A sine

SVG-Viewer needed.

curve. 

A sine \tikz \draw[x=1ex,y=1ex] (0,0) sin (1.57,1); curve. +
+
+

+
 

SVG-Viewer needed.

 
+
\tikz \draw[x=1.57ex,y=1ex] (0,0) sin (1,1) cos (2,0) sin (3,-1) cos (4,0) +
                            (0,1) cos (1,0) sin (2,-1) cos (3,0) sin (4,1);
+

+

3.13 Filling and Drawing

+

Returning to the picture, Karl now wants the angle to be “filled” with a very light green. For this he uses \fill +instead of \draw. Here is what Karl does: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.1,-0.2) rectangle (1.1,0.75); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \fill[green!20!white] (0,0) -- (3mm,0mm) arc (0:30:3mm) -- (0,0); +
\end{tikzpicture}
+

The color green!20!white means 20% green and 80% white mixed together. Such color expression are possible +since PGF uses Uwe Kern’s xcolor package, see the documentation of that package for details on color +expressions. +

What would have happened, if Karl had not “closed” the path using --(0,0) at the end? In this case, the path +is closed automatically, so this could have been omitted. Indeed, it would even have been better to write the +following, instead: +

+

  \fill[green!20!white] (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +
+
+

The --cycle causes the current path to be closed (actually the current part of the current path) by smoothly +joining the first and last point. To appreciate the difference, consider the following example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[line width=5pt] +
  \draw (0,0) -- (1,0) -- (1,1) -- (0,0); +
  \draw (2,0) -- (3,0) -- (3,1) -- cycle; +
  \useasboundingbox (0,1.5); % make bounding box higher +
\end{tikzpicture}
+

You can also fill and draw a path at the same time using the \filldraw command. This will first draw the path, +then fill it. This may not seem too useful, but you can specify different colors to be used for filling and for stroking. +These are specified as optional arguments like this: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.1,-0.2) rectangle (1.1,0.75); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \filldraw[fill=green!20!white, draw=green!50!black] +
    (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +
\end{tikzpicture}
+

+

3.14 Shading

+

Karl briefly considers the possibility of making the angle “more fancy” by shading it. Instead of filling the with a +uniform color, a smooth transition between different colors is used. For this, \shade and \shadedraw, for shading +and drawing at the same time, can be used: + + +

+ +
 

SVG-Viewer needed.

 
+
  \tikz \shade (0,0) rectangle (2,1)  (3,0.5) circle (.5cm);
+

The default shading is a smooth transition from gray to white. To specify different colors, you can use +options: +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[rounded corners,ultra thick] +
  \shade[top color=yellow,bottom color=black] (0,0) rectangle +(2,1); +
  \shade[left color=yellow,right color=black] (3,0) rectangle +(2,1); +
  \shadedraw[inner color=yellow,outer color=black,draw=yellow] (6,0) rectangle +(2,1); +
  \shade[ball color=green] (9,.5) circle (.5cm); +
\end{tikzpicture}
+
+

For Karl, the following might be appropriate: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.1,-0.2) rectangle (1.1,0.75); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \shadedraw[left color=gray,right color=green, draw=green!50!black] +
    (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +
\end{tikzpicture}
+

However, he wisely decides that shadings usually only distract without adding anything to the +picture. +

+

3.15 Specifying Coordinates

+

Karl now wants to add the sine and cosine lines. He knows already that he can use the color= option to set the +lines’s colors. So, what is the best way to specify the coordinates? +

There are different ways of specifying coordinates. The easiest way is to say something like (10pt,2cm). This +means 10pt in x-direction and 2cm in y-directions. Alternatively, you can also leave out the units as in (1,2), which +means “one times the current x-vector plus twice the current y-vector.” These vectors default to 1cm in the +x-direction and 1cm in the y-direction, respectively. +

In order to specify points in polar coordinates, use the notation (30:1cm), which means 1cm in direction 30 +degree. This is obviously quite useful to “get to the point (cos30o,sin30o) on the circle.” +

You can add a single + sign in front of a coordinate or two of them as in +(1cm,0cm) or ++(0cm,2cm). Such +coordinates are interpreted differently: The first form means “1cm upwards from the previous specified position” +and the second means “2cm to the right of the previous specified position, making this the new specified position.” +For example, we can draw the sine line as follows: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.1,-0.2) rectangle (1.1,0.75); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \filldraw[fill=green!20,draw=green!50!black] +
    (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +
  \draw[red,very thick] (30:1cm) -- +(0,-0.5); +
\end{tikzpicture}
+

Karl used the fact sin30o = 1/2. However, he very much doubts that his students know this, so it +would be nice to have a way of specifying “the point straight down from (30:1cm) that lies on the +x-axis.” This is, indeed, possible using a special syntax: Karl can write (30:1cm |- 0,0). In general, the +meaning of (<p> |- <q>) is “the intersection of a vertical line through p and a horizontal line through +q.” +

Next, let us draw the cosine line. One way would be to say (30:1cm |- 0,0) -- (0,0). Another way is the +following: we “continue” from where the sine ends: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.1,-0.2) rectangle (1.1,0.75); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw (-1.5,0) -- (1.5,0); +
  \draw (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \filldraw[fill=green!20,draw=green!50!black] (0,0) -- (3mm,0mm) arc +
  (0:30:3mm) -- cycle; +
  \draw[red,very thick]  (30:1cm) -- +(0,-0.5); +
  \draw[blue,very thick] (30:1cm) ++(0,-0.5) -- (0,0); +
\end{tikzpicture}
+

Note the there is no -- between (30:1cm) and +(0,-0.5). In detail, this path is interpreted as follows: “First, +the (30:1cm) tells me to move by pen to (cos30o,1/2). Next, there comes another coordinate specification, so I +move my pen there without drawing anything. This new point is half a unit down from the last position, thus it is at +(cos30o,0). Finally, I move the pen to the origin, but this time drawing something (because of the +--).” +

To appreciate the difference between + and ++ consider the following example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \def\rectanglepath{-- ++(1cm,0cm)  -- ++(0cm,1cm)  -- ++(-1cm,0cm) -- cycle} +
  \draw (0,0) \rectanglepath; +
  \draw (1.5,0) \rectanglepath; +
\end{tikzpicture}
+

By comparison, when using a single +, the coordinates are different: + + +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \def\rectanglepath{-- +(1cm,0cm)  -- +(1cm,1cm)  -- +(0cm,1cm) -- cycle} +
  \draw (0,0) \rectanglepath; +
  \draw (1.5,0) \rectanglepath; +
\end{tikzpicture}
+

Naturally, all of this could have been written more clearly and more economically like this (either with a single of +a double +): +

+ +
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) rectangle +(1,1)  (1.5,0) rectangle +(1,1);
+

Karl is left with the line for tana, which seems difficult to specify using transformations and polar +coordinates. For this he needs another way of specifying coordinates: Karl can specify intersections of lines as +coordinates. The line for tana starts at (1,0) and goes upward to a point that is at the intersection of a +line going “up” and a line going from the origin through (30:1cm). The syntax for this point is the +following: +

+

\draw[very thick,orange] (1,0) -- (intersection of 1,0--1,1 and 0,0--30:1cm); +
+
+

In the following, two final examples of how to use relative positioning are presented. Note that +the transformation options, which are explained later, are often more useful for shifting than relative +positioning. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=0.5] +
  \draw (0,0) -- (90:1cm) arc (90:360:1cm) arc (0:30:1cm) -- cycle; +
  \draw (60:5pt) -- +(30:1cm) arc (30:90:1cm) -- cycle; +
+
  \draw (3,0)  +(0:1cm) -- +(72:1cm) -- +(144:1cm) -- +(216:1cm) -- +
               +(288:1cm) -- cycle; +
\end{tikzpicture}
+

+

3.16 Adding Arrow Tips

+

Karl now wants to add the little arrow tips at the end of the axes. He has noticed that in many plots, even in +scientific journals, these arrow tips seem to missing, presumably because the generating programs cannot produce +them. Karl thinks arrow tips belong at the end of axes. His son agrees. His students do not care about arrow +tips. +

It turns out that adding arrow tips is pretty easy: Karl adds the option -> to the drawing commands for the +axes: + + +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.1,-0.2) rectangle (1.1,1.51); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \draw[->] (-1.5,0) -- (1.5,0); +
  \draw[->] (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
  \filldraw[fill=green!20,draw=green!50!black] (0,0) -- (3mm,0mm) arc +
  (0:30:3mm) -- cycle; +
  \draw[red,very thick]    (30:1cm) -- +(0,-0.5); +
  \draw[blue,very thick]   (30:1cm) ++(0,-0.5) -- (0,0); +
  \draw[orange,very thick] (1,0) -- (intersection of 1,0--1,1 and 0,0--30:1cm); +
\end{tikzpicture}
+

If Karl had used the option <- instead of ->, arrow tips would have been put at the beginning of the path. The +option <-> puts arrow tips at both ends of the path. +

There are certain restrictions to the kind of paths to which arrow tips can be added. As a rule of thumb, you can +add arrow tips only to a single open “line.” For example, you should not try to add tips to, say, a rectangle or a +circle. (You can try, but no guarantees as to what will happen now or in future versions.) However, +you can add arrow tips to curved paths and to paths that have several segments, as in the following +examples: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw [<->] (0,0) arc (180:30:10pt); +
  \draw [<->] (1,0) -- (1.5cm,10pt) -- (2cm,0pt) -- (2.5cm,10pt); +
\end{tikzpicture}
+

Karl has a more detailed look at the arrow that TikZ puts at the end. It looks like this when he zooms it:

SVG-Viewer needed.

. +The shape seems vaguely familiar and, indeed, this is exactly the end of TEX’s standard arrow used in something +like f : A --> B. +

Karl likes the arrow, especially since it is not “as thick” as the arrows offered by many other packages. +However, he expects that, sometimes, he might need to use some other kinds of arrow. To do so, Karl +can say >=<right arrow tip kind>, where <right arrow tip kind> is a special arrow tip specification. For +example, if Karl says >=stealth, then he tells TikZ that he would like “stealth-fighter-like” arrow +tips: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[>=stealth] +
  \draw [->] (0,0) arc (180:30:10pt); +
  \draw [<<-,very thick] (1,0) -- (1.5cm,10pt) -- (2cm,0pt) -- (2.5cm,10pt); +
\end{tikzpicture}
+

Karl wonders whether such a military name for the arrow type is really necessary. He is not really mollified when +his son tells him that Microsoft’s PowerPoint uses the same name. He decides to have his students discuss this at +some point. +

In addition to stealth there are several other predefined arrow tip kinds Karl can choose from, see Section 14.1. +Furthermore, he can define arrows types himself, if he needs new ones. +

+

3.17 Scoping

+

Karl saw already that there are numerous graphic options that affect how paths are rendered. Often, he would like +to apply certain options to a whole set of graphic commands. For example, Karl might wish to draw three paths + + +using a thick pen, but would like everything else to be drawn “normally.” +

If Karl wishes to set a certain graphic option for the whole picture, he can simply pass this option to the \tikz +command or to the {tikzpicture} environment (Gerda would pass the options to \tikzpicture). +However, if Karl wants to apply graphic options to a local group, he put these commands inside a +{scope} environment (Gerda uses \scope and \endscope). This environment takes graphic options as +an optional argument and these options apply to everything inside the scope, but not to anything +outside. +

Here is an example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[ultra thick] +
  \draw (0,0) -- (0,1); +
  \begin{scope}[thin] +
    \draw (1,0) -- (1,1); +
    \draw (2,0) -- (2,1); +
  \end{scope} +
  \draw (3,0) -- (3,1); +
\end{tikzpicture}
+

Scoping has another interesting effect: Any changes to the clipping area are local to the scope. Thus, if you say +\clip somewhere inside a scope, the effect of the \clip command ends at the end of the scope. This is useful since +there is no other way of “enlarging” the clipping area. +

Karl has also already seen that giving options to commands like \draw apply only to that command. In turns +out that the situation is slightly more complex. First, options to a command like \draw are not really +options to the command, but they are “path options” and can be given anywhere on the path. So, +instead of \draw[thin] (0,0) -- (1,0); one can also write \draw (0,0) [thin] -- (1,0); or +\draw (0,0) -- (1,0) [thin];; all of these have the same effect. This might seem strange since in the last case, it +would appear that the thin should take effect only “after” the line from (0,0) to (1,0) has been draw. However, +most graphic options only apply to the whole path. Indeed, if you say both thin and thick on the same path, the +last option given will “win.” +

When reading the above, Karl notices that only “most” graphic options apply to the whole path. Indeed, all +transformation options do not apply to the whole path, but only to “everything following them on the path.” We +will have a more detailed look at this in a moment. Nevertheless, all options given during a path construction apply +only to this path. +

+

3.18 Transformations

+

When you specify a coordinate like (1cm,1cm), where is that coordinate placed on the page? To determine the +position, TikZ, TEX, and PDF or PostScript all apply certain transformations to the given coordinate in order to +determine the finally position on the page. +

TikZ provides numerous options that allow you to transform coordinates in PGF’s private coordinate system. For +example, the xshift option allows you to shift all subsequent points by a certain amount: +

+
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) -- (0,0.5) [xshift=2pt] (0,0) -- (0,0.5);
+

It is important to note that you can change transformation “in the middle of a path,” a feature that is +not supported by PDF or PostScript. The reason is that PGF keeps track of its own transformation +matrix. +

Here is a more complicated example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[even odd rule,rounded corners=2pt,x=10pt,y=10pt] +
  \filldraw[fill=examplefill] (0,0)   rectangle (1,1) +
    [xshift=5pt,yshift=5pt]   (0,0)   rectangle (1,1) +
                [rotate=30]   (-1,-1) rectangle (2,2); +
\end{tikzpicture}
+ + +

The most useful transformations are xshift and yshift for shifting, shift for shifting to a given point as in +shift={(1,0)} or shift={+(0,0)} (the braces are necessary so that TEX does not mistake the comma for +separating options), rotate for rotating by a certain angle (there is also a rotate around for rotating around a +given point), scale for scaling by a certain factor, xscale and yscale for scaling only in the x- or y-direction +(xscale=-1 is a flip), and xslant and yslant for slanting. If these transformation and those that I have not +mentioned are not sufficient, the cm option allows you to apply an arbitrary transformation matrix. Karl’s students, +by the way, do not know what a transformation matrix is. +

+

3.19 Repeating Things: For-Loops

+

Karl’s next aim is to add little ticks on the axes at positions -1, -1/2, 1/2, and 1. For this, it would be nice to +use some kind of “loop,” especially since he wishes to do the same thing at each of these positions. +There are different packages for doing this. LATEX has its own internal command for this, pstricks +comes along with the powerful \mulitdo command. All of these can be used together with PGF and +TikZ, so if you are familiar with them, feel free to use them. PGF introduces yet another command, +called \foreach, which I introduced since I could never remember the syntax of the other packages. +\foreach is defined in the package pgffor and can be used independently of PGF. TikZ includes it +automatically. +

In its basic form, the \foreach command is easy to use: +

+
 x = 1, x = 2, x = 3,  

+\foreach \x in {1,2,3} {$x =\x$, }
+
+

The general syntax is \foreach <variable> in {<list of values>} <commands>. Inside the <commands>, the +<variable> will be assigned to the different values. If the <commands> do not start with a brace, everything up to the +next semicolon is used as <commands>. +

For Karl and the ticks on the axes, he could use the following code: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.1,-0.2) rectangle (1.1,1.51); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \filldraw[fill=green!20,draw=green!50!black] (0,0) -- (3mm,0mm) arc +
  (0:30:3mm) -- cycle; +
  \draw[->] (-1.5,0) -- (1.5,0); +
  \draw[->] (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
+
  \foreach \x in {-1cm,-0.5cm,1cm} +
    \draw (\x,-1pt) -- (\x,1pt); +
  \foreach \y in {-1cm,-0.5cm,0.5cm,1cm} +
    \draw (-1pt,\y) -- (1pt,\y); +
\end{tikzpicture}
+

As a matter of fact, there are many different ways of creating the ticks. For example, Karl could have put the +\draw ...; inside curly braces. He could also have used, say, +

+
+
\foreach \x in {-1,-0.5,1} +
  \draw[xshift=\x cm] (0pt,-1pt) -- (0pt,1pt);
+

Karl is curious what would happen in a more complicated situation where there are, say, 20 ticks. It seems +bothersome to explicitly mention all these numbers in the set for \foreach. Indeed, it is possible to use ... inside + + +the \foreach statement to iterate over a large number of values (which must, however, be dimensionless real +numbers) as in the following example: +

SVG-Viewer needed.

+
+
\tikz \foreach \x in {1,...,10} +
        \draw (\x,0) circle (0.4cm);
+
+

If you provide two numbers before the ..., the \foreach statement will use their difference for the +stepping: +

+
 

SVG-Viewer needed.

 
+
\tikz \foreach \x in {-1,-0.5,...,1} +
       \draw (\x cm,-1pt) -- (\x cm,1pt);
+

We can also nest loops to create interesting effects: +

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \foreach \x in {1,2,...,5,7,8,...,12} +
    \foreach \y in {1,...,5} +
    { +
      \draw (\x,\y) +(-.5,-.5) rectangle ++(.5,.5); +
      \draw (\x,\y) node{\x,\y}; +
    } +
\end{tikzpicture}
+
+

The \foreach statement can do even trickier stuff, but the above gives the idea. +

+

3.20 Adding Text

+

Karl is, by now, quite satisfied with the picture. However, the most important parts, namely the labels, are still +missing! +

TikZ offers an easy-to-use and powerful system for adding text and, more generally, complex shapes to a +picture at specific positions. The basic idea is the following: When TikZ is constructing a path and +encounters the keyword node in the middle of a path, it reads a node specification. The keyword node is +typically followed by some options and then some text between curly braces. This text is put inside a +normal TEX box (if the node specification directly follows a coordinate, which is usually the case, +TikZ is able to perform some magic so that it is even possible to use verbatim text inside the boxes) +and then placed at the current position, that is, at the last specified position (possibly shifted a bit, +according to the given options). However, all nodes are drawn only after the path has been completely +drawn/filled/shaded/clipped/whatever. +

+
 

SVG-Viewer needed.

 

+\begin{tikzpicture} +
  \draw (0,0) rectangle (2,2); +
  \draw (0.5,0.5) node [fill=examplefill] +
                       {Text at \verb!node 1!} +
     -- (1.5,1.5) node {Text at \verb!node 2!}; +
\end{tikzpicture}
+ + +

Obviously, Karl would not only like to place nodes on the last specified position, but also to the left or the +right of these positions. For this, every node object that you put in your picture is equipped with +several anchors. For example, the north anchor is in the middle at the upper end of the shape, the +south anchor is at the bottom and the north east anchor is in the upper right corner. When you +given the option anchor=north, the text will be placed such that this northern anchor will lie on the +current position and the text is, thus, below the current position. Karl uses this to draw the ticks as +follows: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.6,-0.2) rectangle (0.6,1.51); +
  \draw[step=.5cm,style=help lines] (-1.4,-1.4) grid (1.4,1.4); +
  \filldraw[fill=green!20,draw=green!50!black] +
    (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +
  \draw[->] (-1.5,0) -- (1.5,0);   \draw[->] (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
+
  \foreach \x in {-1,-0.5,1} +
    \draw (\x cm,1pt) -- (\x cm,-1pt) node[anchor=north] {$\x$}; +
  \foreach \y in {-1,-0.5,0.5,1} +
    \draw (1pt,\y cm) -- (-1pt,\y cm) node[anchor=east] {$\y$}; +
\end{tikzpicture}
+

This is quite nice, already. Using these anchors, Karl can now add most of the other text elements. However, +Karl thinks that, though “correct,” it is quite counter-intuitive that in order to place something below a given point, +he has to use the north anchor. For this reason, there is an option called below, which does the same as +anchor=north. Similarly, above right does the same as anchor=south east. In addition, below takes an +optional dimension argument. If given, the shape will additionally be shifted downwards by the given +amount. So, below=1pt can be used to put a text label below some point and, additionally shift it 1pt +downwards. +

Karl is not quite satisfied with the ticks. He would like to have 1/2 or 12 shown instead of 0.5, partly +to show off the nice capabilities of TEX and TikZ, partly because for positions like 1/3 or p it is +certainly very much preferable to have the “mathematical” tick there instead of just the “numeric” +tick. His students, on the other hand, prefer 0.5 over 1/2 since they are not too fond of fractions in +general. +

Karl now faces a problem: For the \foreach statement, the position \x should still be given as 0.5 since +TikZ will not know where \frac{1}{2} is supposed to be. On the other hand, the typeset text should really be +\frac{1}{2}. To solve this problem, \foreach offers a special syntax: Instead of having one variable \x, Karl can +specify two (or even more) variables separated by a slash as in \x / \xtext. Then, the elements in the set over +which \foreach iterates must also be of the form <first>/<second>. In each iteration, \x will be set to <first> and +\xtext will be set to <second>. If no <second> is given, the <first> will be used again. So, here is the new code for the +ticks: + + +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[scale=3] +
  \clip (-0.6,-0.2) rectangle (0.6,1.51); +
  \draw[step=.5cm,style=help lines] (-1.4,-1.4) grid (1.4,1.4); +
  \filldraw[fill=green!20,draw=green!50!black] +
    (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +
  \draw[->] (-1.5,0) -- (1.5,0); \draw[->] (0,-1.5) -- (0,1.5); +
  \draw (0,0) circle (1cm); +
+
  \foreach \x/\xtext in {-1, -0.5/-\frac{1}{2}, 1} +
    \draw (\x cm,1pt) -- (\x cm,-1pt) node[anchor=north] {$\xtext$}; +
  \foreach \y/\ytext in {-1, -0.5/-\frac{1}{2}, 0.5/\frac{1}{2}, 1} +
    \draw (1pt,\y cm) -- (-1pt,\y cm) node[anchor=east] {$\ytext$}; +
\end{tikzpicture}
+

Karl is quite pleased with the result, but his son points out that this is still not perfectly satisfactory: The grid +and the circle interfere with the numbers and decrease their legibility. Karl is not very concerned by this (his +students do not even notice), but his son insists that there is an easy solution: Karl can add the [fill=white] +option to fill out the background of the text shape with a white color. +

The next thing Karl wants to do is to add the labels like sina. For this, he would like to place a label “in the +middle of line.” To do so, instead of specifying the label node {$\sin\alpha$} directly after one of the endpoints of +the line (which would place the label at that endpoint), Karl can give the label directly after the --, +before the coordinate. By default, this places the label in the middle of the line, but the pos= options +can be used to modify this. Also, options like near start and near end can be used to modify this +position: +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[scale=3] +
  \clip (-2,-0.2) rectangle (2,0.8); +
  \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); +
  \filldraw[fill=green!20,draw=green!50!black] (0,0) -- (3mm,0mm) arc +
  (0:30:3mm) -- cycle; +
  \draw[->] (-1.5,0) -- (1.5,0) coordinate (x axis); +
  \draw[->] (0,-1.5) -- (0,1.5) coordinate (y axis); +
  \draw (0,0) circle (1cm); +
+
  \draw[very thick,red] +
    (30:1cm) -- node[left=1pt,fill=white] {$\sin \alpha$} (30:1cm |- x axis); +
  \draw[very thick,blue] +
    (30:1cm |- x axis) -- node[below=2pt,fill=white] {$\cos \alpha$} (0,0); +
  \draw[very thick,orange] (1,0) -- node [right=1pt,fill=white] +
    {$\displaystyle \tan \alpha \color{black}= +
      \frac{{\color{red}\sin \alpha}}{\color{blue}\cos \alpha}$} +
    (intersection of 0,0--30:1cm and 1,0--1,1) coordinate (t); +
+
  \draw (0,0) -- (t); +
+
  \foreach \x/\xtext in {-1, -0.5/-\frac{1}{2}, 1} +
    \draw (\x cm,1pt) -- (\x cm,-1pt) node[anchor=north,fill=white] {$\xtext$}; +
  \foreach \y/\ytext in {-1, -0.5/-\frac{1}{2}, 0.5/\frac{1}{2}, 1} +
    \draw (1pt,\y cm) -- (-1pt,\y cm) node[anchor=east,fill=white] {$\ytext$}; +
\end{tikzpicture}
+
+

You can also position labels on curves and, by adding the sloped option, have them rotated such that they +match the line’s slope. Here is an example: + + +

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \draw (0,0) .. controls (6,1) and (9,1) .. +
    node[near start,sloped,above] {near start} +
    node {midway} +
    node[very near end,sloped,below] {very near end} (12,0); +
\end{tikzpicture}
+
+

It remains to draw the explanatory text at the right of the picture. The main difficulty here lies in limiting the +width of the text “label,” which is quite long, so that line breaking is used. Fortunately, Karl can use the option +text width=6cm to get the desired effect. So, here is the full code: +

+
+
\begin{tikzpicture}[scale=3,cap=round] +
  % Local definitions +
  \def\costhirty{0.8660256} +
+
  % Colors +
  \colorlet{anglecolor}{green!50!black} +
  \colorlet{sincolor}{red} +
  \colorlet{tancolor}{orange!80!black} +
  \colorlet{coscolor}{blue} +
+
  % Styles +
  \tikzstyle{axes}=[] +
  \tikzstyle{important line}=[very thick] +
  \tikzstyle{information text}=[rounded corners,fill=red!10,inner sep=1ex] +
+
  % The graphic +
  \draw[style=help lines,step=0.5cm] (-1.4,-1.4) grid (1.4,1.4); +
+
  \draw (0,0) circle (1cm); +
+
  \begin{scope}[style=axes] +
    \draw[->] (-1.5,0) -- (1.5,0) node[right] {$x$} coordinate(x axis); +
    \draw[->] (0,-1.5) -- (0,1.5) node[above] {$y$} coordinate(y axis); +
+
    \foreach \x/\xtext in {-1, -.5/-\frac{1}{2}, 1} +
      \draw[xshift=\x cm] (0pt,1pt) -- (0pt,-1pt) node[below,fill=white] {$\xtext$}; +
+
    \foreach \y/\ytext in {-1, -.5/-\frac{1}{2}, .5/\frac{1}{2}, 1} +
      \draw[yshift=\y cm] (1pt,0pt) -- (-1pt,0pt) node[left,fill=white] {$\ytext$}; +
  \end{scope} +
+
  \filldraw[fill=green!20,draw=anglecolor] (0,0) -- (3mm,0pt) arc(0:30:3mm); +
  \draw (15:2mm) node[anglecolor] {$\alpha$}; +
+
  \draw[style=important line,sincolor] +
    (30:1cm) -- node[left=1pt,fill=white] {$\sin \alpha$} (30:1cm |- x axis); +
+
  \draw[style=important line,coscolor] +
    (30:1cm |- x axis) -- node[below=2pt,fill=white] {$\cos \alpha$} (0,0); +
+
  \draw[style=important line,tancolor] (1,0) -- node[right=1pt,fill=white] { +
    $\displaystyle \tan \alpha \color{black}= +
    \frac{{\color{sincolor}\sin \alpha}}{\color{coscolor}\cos \alpha}$} +
    (intersection of 0,0--30:1cm and 1,0--1,1) coordinate (t); +
+
  \draw (0,0) -- (t); +
+
  \draw[xshift=1.85cm] +
    node[right,text width=6cm,style=information text] +
    { +
      The {\color{anglecolor} angle $\alpha$} is $30^\circ$ in the +
      example ($\pi/6$ in radians). The {\color{sincolor}sine of +
        $\alpha$}, which is the height of the red line, is +
      \[ +
      {\color{sincolor} \sin \alpha} = 1/2. +
      \] +
      By the Theorem of Pythagoras ... +
    }; +
\end{tikzpicture}
+ + +

+

3.21 Nodes

+

Placing text at a given position is just a special case of a more general underlying mechanism. When you say +\draw (0,0) node{text};, what actually happens is that a rectangular node, anchored at its center, is put at +position (0,0). On top of the rectangular node the text text is drawn. Since no action is specified for the rectangle +(like draw or fill), the rectangle is actually discarded and only the text is shown. However, by adding +fill or draw, we can make the underlying shape visible. Furthermore, we can change the shape using +for example shape=circle or just circle. If we include the package pgflibraryshapes we also get +ellipse: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \path (0,0)   node[ellipse,fill=examplefill,draw] +
                  (h1) {hello world} +
        (0.5,2) node[circle,shade,ball color=examplefill] +
                  (h2) {hello world}; +
  \draw [->,shorten >=2pt] (h1.north) -- (h2.south); +
\end{tikzpicture}
+

As the above example shows, we can add the a name to a node by putting it in parentheses between node and +the {<text>} (you can also use the name= option). This will make TikZ remember your node and all its anchors. You +can then refer to these anchors when specifying coordinates. The syntax is (<node name>.<anchor>). Currently, and +also in the near future, this will not work across pictures since TikZ looses track of the positions when it returns +control to TEX. Magic hackery is possible for certain drivers, but a portable implementation seems impossible (just +think of a possible SVG driver). +

The option shorten > causes lines to be shortened by 2pt at the end. Similarly, shorten < can be used to +shorten (or even lengthen) lines at the beginning. This is possible even if no arrow is drawn. +

It is not always necessary to specify the anchor. If you do not give an anchor, TikZ will try to determine a +reasonable border anchor by itself (if TikZ fails to find anything useful, it will use the center instead). Here is a +typical example: +

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \begin{scope}[shape=circle,minimum size=1cm,fill=examplefill] +
    \tikzstyle{every node}=[draw,fill] +
    \node (q_A) at (0,0) {$q_A$}; +
    \node (q_E) at (6,0) {$q_E$}; +
    \node (q_1) at (2,0) {$q_1$}; +
    \node (q_2) at (4,2) {$q_2$}; +
  \end{scope} +
  \draw (q_A) -- (q_1) -- (q_2) -| (q_E); +
  \draw[->,shorten >=2pt] (q_A) .. controls +(75:1.4cm) and +(105:1.4cm) .. node[above] {$x$} (q_A); +
\end{tikzpicture}
+

In the example, we used the \node command, which is an abbreviation for \path node. + + + + + + +

+

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse30.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse30.html new file mode 100644 index 00000000000..c968f89e43e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse30.html @@ -0,0 +1,382 @@ + + +30 Layered Graphics + + + + + + + + +

+

30 Layered Graphics

+

+

+\usepackage{pgfbaselayers} % LATEX
+ + +
+\input pgfbaselayers.tex % plain TEX
+
+\input pgfbaselayers.tex % ConTEXt
+

This package provides a commands and environments for composing a picture from multiple layers. + The package is loaded automatically by pgf, but you can load it manually if you have only included + pgfcore.

+

+

30.1 Overview

+

PGF provides a layering mechanism for composing graphics from multiple layers. (This mechanism is not be +confused with the conceptual “software layers” the PGF system is composed of.) Layers are often used in graphic +programs. The idea is that you can draw on the different layers in any order. So you might start drawing something +on the “background” layer, then something on the “foreground” layer, then something on the “middle” layer, and +then something on the background layer once more, and so on. At the end, no matter in which ordering you drew on +the different layers, the layers are “stacked on top of each other” in a fixed ordering to produce the final +picture. Thus, anything drawn on the middle layer would come on top of everything of the background +layer. +

Normally, you do not need to use different layers since you will have little trouble “ordering” your graphic +commands in such a way that layers are superfluous. However, in certain situations you only “know” what you +should draw behind something else after the “something else” has been drawn. +

For example, suppose you wish to draw a yellow background behind your picture. The background should be as +large as the bounding box of the picture, plus a little border. If you know the size of the bounding box of the picture +at its beginning, this is easy to accomplish. However, in general this is not the case and you need to +create a “background” layer in addition to the standard “main” layer. Then, at the end of the picture, +when the bounding box has been established, you can add a rectangle of the appropriate size to the +picture. +

+

30.2 Declaring Layers

+

In PGF layers are referenced using names. The standard layer, which is a bit special in certain ways, is called main. +If nothing else is specified, all graphic commands are added to the main layer. You can declare a new layer using the +following command: +

+

+\pgfdeclarelayer{<name>}
+ +

This command declares a layer named <name> for later use. Mainly, this will setup some internal + bookkeeping.

+ + +

The next step toward using a layer is to tell PGF which layers will be part of the actual picture +and which will be their ordering. Thus, it is possible to have more layers declared than are actually +used. +

+

+\pgfsetlayers{<layer list>}
+ +

This command, which should be used outside a {pgfpicture} environment, tells PGF which layers will be + used in pictures. They are stacked on top of each other in the order given. The layer main should always be + part of the list. Here is an example: +

+
+
\pgfdeclarelayer{background} +
\pgfdeclarelayer{foreground} +
\pgfsetlayers{background,main,foreground}
+
+

+

30.3 Using Layers

+

Once the layers of your picture have been declared, you can start to “fill” them. As said before, all graphics +commands are normally added to the main layer. Using the {pgfonlayer} environment, you can tell PGF that +certain commands should, instead, be added to the given layer. +

+

+\begin{pgfonlayer}{<layer name>}
+
+  <environment contents>
+
+\end{pgfonlayer}
+ + +

The whole <environment contents> is added to the layer with the name <layer name>. This environment + can be used anywhere inside a picture. Thus, even if it is used inside a {pgfscope} or a TEX group, + the contents will still be added to the “whole” picture. Using this environment multiple times inside + the same picture will cause the <environment contents> to accumulate. +

Note: You can not add anything to the main layer using this environment. The only way to add + anything to the main layer is to give graphic commands outside all {pgfonlayer} environments. + + +

+
 

SVG-Viewer needed.

 
+
\pgfdeclarelayer{background layer} +
\pgfdeclarelayer{foreground layer} +
\pgfsetlayers{background layer,main,foreground layer} +
\begin{tikzpicture} +
  % On main layer: +
  \fill[blue] (0,0) circle (1cm); +
+
  \begin{pgfonlayer}{background layer} +
    \fill[yellow] (-1,-1) rectangle (1,1); +
  \end{pgfonlayer} +
+
  \begin{pgfonlayer}{foreground layer} +
    \node[white] {foreground}; +
  \end{pgfonlayer} +
+
  \begin{pgfonlayer}{background layer} +
    \fill[black] (-.8,-.8) rectangle (.8,.8); +
  \end{pgfonlayer} +
+
  % On main layer again: +
  \fill[blue!50] (-.5,-1) rectangle (.5,1); +
\end{tikzpicture}
+
+

+

+\pgfonlayer{<layer name>}
+
+  <environment contents>
+
+\endpgfonlayer
+ + +

This is the plain TEX version of the environment.

+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse31.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse31.html new file mode 100644 index 00000000000..eab01d487ce --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse31.html @@ -0,0 +1,428 @@ + + +31 Quick Commands + + + + + + + + +

+

31 Quick Commands

+

This section explains the “quick” commands of PGF. These commands are executed more quickly than the normal +commands of PGF, but offer less functionality. You should use these commands only if you either have a very large +number of commands that need to be processed or if you expect your commands to be executed very +often. +

+

31.1 Quick Path Construction Commands

+

The difference between the quick and the normal path commands is that the quick path commands +

    +
  • do not keep track of the bounding boxes, +
  • +
  • do not allow you to arc corners, +
  • +
  • do not apply coordinate transformations.
+

However, they do use the soft-path subsystem (see Section 34 for details), which allows you to mix quick and +normal path commands arbitrarily. +

All quick path construction commands start with \pgfpathq. +

+

+\pgfpathqmoveto{<x dimension>}{<y dimension>}
+ +

Either starts a path or starts a new part of a path at the coordinate (<x dimension>,<y dimension>). + The coordinate is not transformed by the current coordinate transformation matrix. However, any + low-level transformations apply. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgftransformxshift{1cm} +
  \pgfpathqmoveto{0pt}{0pt} % not transformed +
  \pgfpathqlineto{1cm}{1cm} % not transformed +
  \pgfpathlineto{\pgfpoint{2cm}{0cm}} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfpathqlineto{<x dimension>}{<y dimension>}
+ +

The quick version of the line-to operation.

+

+ + +

+\pgfpathqcurveto{<sx1>}{<sy1>}{<sx2>}{<sy2>}{<tx>}{<ty>}
+ +

The quick version of the curve-to operation. The first support point is (sx1,sy1), the second support + point is (sx2,sy2), and the target is (tx,ty). +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \pgfpathqmoveto{0pt}{0pt} +
  \pgfpathqcurveto{1cm}{1cm}{2cm}{1cm}{3cm}{0cm} +
  \pgfusepath{stroke} +
\end{tikzpicture}
+
+

+

+\pgfpathqcircle{<radius>}
+ +

Adds a radius around the origin of the given <radius>. This command is orders of magnitude faster + than \pgfcircle{\pgfpointorigin}{<radius>}. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (1,1); +
  \pgfpathqcircle{10pt} +
  \pgfsetfillcolor{examplefill} +
  \pgfusepath{stroke,fill} +
\end{tikzpicture}
+
+

+

31.2 Quick Path Usage Commands

+

The quick path usage commands perform similar tasks as \pgfusepath, but they +

    +
  • do not add arrows, +
  • +
  • do not modify the path in any way, in particular, +
  • +
  • ends are not shortened, +
  • +
  • corners are not replaced by arcs.
+

Note that you have to use the quick versions in the code of arrow tip definitions since, inside these definition, you +obviously do not want arrows to be drawn. +

+ + +

+\pgfusepathqstroke
+ +

Strokes the path without further ado. No arrows are drawn, no corners are arced. +

+
 

SVG-Viewer needed.

 
+
\begin{pgfpicture} +
  \pgfpathqcircle{5pt} +
  \pgfusepathqstroke +
\end{pgfpicture}
+
+

+

+\pgfusepathqfill
+ +

Fills the path without further ado.

+

+

+\pgfusepathqfillstroke
+ +

Fills and then strokes the path without further ado.

+

+

+\pgfusepathqclip
+ +

Clips all subsequent drawings against the current path. The path is not processed.

+

+

31.3 Quick Text Box Commands

+

+

+\pgfqbox{<box number>}
+ +

This command inserts a TEX box into a {pgfpicture} by “escaping” to TEX, inserting the box + number <box number> at the origin, and then returning to the typesetting the picture.

+

+

+\pgfqboxsynced{<box number>}
+ +

This command works similarly to the \pgfqbox command. However, before inserting the text in <box + number>, the current coordinate transformation matrix is applied to the current canvas transformation + matrix (is it “synced” with this matrix, hence the name). +

Thus, this command basically has the same effect as if you first called \pgflowlevelsynccm followed by + \pgfqbox. However, this command will use \hskip and \raise commands for the “translational part” + of the coordinate transformation matrix, instead of adding the translational part to the current canvas + transformation matrix directly. Both methods have the same effect (box <box number> is translated + where it should), but the method used by \pgfqboxsynced ensures that hyperlinks are placed correctly. + Note that scaling and rotation will not (cannot, even) apply to hyperlinks.

+ + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse32.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse32.html new file mode 100644 index 00000000000..06fb878792a --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse32.html @@ -0,0 +1,183 @@ + + +32 Design of the System Layer + + + + + + + + +

+

32 Design of the System Layer

+

+

32.1 Driver Files

+

The PGF system layer mainly consists of a large number of commands starting with \pgfsys@. These commands +will be called system commands in the following. The higher layers “interface” with the system layer by +calling these commands. The higher layers should never use \special commands directly or even check +whether \pdfoutput is defined. Instead, all drawing requests should be “channeled” through the system +commands. +

The system layer is loaded and setup by the following package: +

+

+\usepackage{pgfsys} % LATEX
+ + +
+\input pgfsys.tex % plain TEX
+
+\input pgfsys.tex % ConTEXt
+

This file provides “default implementations” of all system commands, but most simply produce a + warning that they are not implemented. The actual implementations of the system commands for a + particular driver like, say, pdftex reside in files called pgfsys-xxxx.sty, where xxxx is the driver + name. These will be called driver files in the following. +

When pgfsys.sty is loaded, it will try to determine which driver is used by loading pgf.cfg. This + file should setup the macro \pgfsysdriver appropriately. The, pgfsys.sty will input the appropriate + pgfsys-<drivername>.sty.

+

+

+\pgfsysdriver
+ +

This macro should expand to the name of the driver to be used by pgfsys. The default from pgf.cfg + is pgfsys-\Gin@driver. This is very likely to be correct if you are using LATEX. For plain TEX, the + macro will be set to pgfsys-pdftex.def if pdftex is used and to pgfsys-dvips.def otherwise.

+

+

+File pgf.cfg
+ + +

This file should setup the command \pgfsysdriver correctly. If \pgfsysdriver is already set to some + value, the driver normally should not change it. Otherwise, it should make a “good guess” at which + driver will be appropriate.

+

The currently supported backend drivers are discussed in Section 5.2. + + +

+

32.2 Common Definition Files

+

Some drivers share many \pgfsys@ commands. For the reason, files defining these “common” commands are +available. These files are not usable alone. +

+

+File pgfsys-common-postscript
+ + +

This file defines some \pgfsys@ commands so that they produce appropriate PostScript code.

+

+

+File pgfsys-common-pdf
+ + +

This file defines some \pgfsys@ commands so that they produce appropriate PDF code.

+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse33.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse33.html new file mode 100644 index 00000000000..7840a7e1918 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse33.html @@ -0,0 +1,1811 @@ + + +33 Commands of the System Layer + + + + + + + + +

+

33 Commands of the System Layer

+

+

33.1 Beginning and Ending a Stream of System Commands

+

A “user” of the PGF system layer (like the basic layer or a frontend) will interface with the system layer by calling a +stream of commands starting with \pgfsys@. From the system layer’s point of view, these commands form a long +stream. Between calls to the system layer, control goes back to the user. +

The driver files implement system layer commands by inserting \special commands that implement the desired +operation. For example, \pgfsys@stroke will be mapped to \special{pdf: S} by the driver file for +pdftex. +

For many drivers, when such a stream of specials starts, it is necessary to install an appropriate transformation +and perhaps perform some more bureaucratic tasks. For this reason, every stream will start with a +\pgfsys@beginpicture and will end with a corresponding ending command. +

+

+\pgfsys@beginpicture
+ +

Called at the beginning of a {pgfpicture}. This command should “setup things.” +

Most drivers will need to implement this command.

+

+

+\pgfsys@endpicture
+ +

Called at the end of a pgfpicture. +

Most drivers will need to implement this command.

+

+

+\pgfsys@typesetpicturebox{<box>}
+ +

Called after a {pgfpicture} has been typeset. The picture will have been put in box <box>. This + command should insert the box into the normal text. The box <box> will still be a “raw” box that + contains only the \special’s that make up the description of the picture. The job of this command is + to resize and shift <box> according to the baseline shift and the size of the box. +

This command has a default implementation and need not be implemented by a driver file.

+

+

+\pgfsys@beginpurepicture
+ +

This version of the \pgfsys@beginpicture picture command can be used for pictures that are + guaranteed not to contain any escaped boxes (see below). In this case, a driver might provide a more + compact version of the command. +

This command has a default implementation and need not be implemented by a driver file.

+

+ + +

+\pgfsys@endpurepicture
+ +

Called at the end of a “pure” {pgfpicture}. +

This command has a default implementation and need not be implemented by a driver file.

+

Inside a stream it is sometimes necessary to “escape” back into normal typesetting mode; for example to insert +some normal text, but with all of the current transformations and clippings being in force. For this escaping, the +following command is used: +

+

+\pgfsys@hbox{<box number>}
+ +

Called to insert a (horizontal) TeX box inside a {pgfpicture}. +

Most drivers will need to (re-)implement this command.

+

+

+\pgfsys@hboxsynced{<box number>}
+ +

Called to insert a (horizontal) TeX box inside a {pgfpicture}, but with the current coordiante + transformation matrix synced with the canvas transformation matrix. +

This command should do the same as if you used \pgflowlevelsynccm followed by \pgfsys@hbox. + However, the default implementation of this command will use a “TeX-translation” for the translation + part of the transformation matrix. This will ensure that hyperlinks “survive” at least translations. On + the other hand, a driver may choose to revert to a simpler implementation. This is done, for example, + for the SVG implementation, where a TEX-translation makes no sense.

+

+

33.2 Path Construction System Commands

+

+

+\pgfsys@moveto{<x>}{<y>}
+ +

This command is used to start a path at a specific point (x,y) or to move the current point of the + current path to (x,y) without drawing anything upon stroking (the current path is “interrupted”). +

Both <x> and <y> are given as TEX dimensions. It is the driver’s job to transform these to the coordinate + system of the backend. Typically, this means converting the TEX dimension into a dimensionless + multiple of 1-
+72in. The function \pgf@sys@bp helps with this conversion. +

Example: Draw a line from (10pt,10pt) to the origin of the picture. +

+
+
\pgfsys@moveto{10pt}{10pt} +
\pgfsys@lineto{0pt}{0pt} +
\pgfsys@stroke
+

This command is protocoled, see Section 35.

+

+

+\pgfsys@lineto{<x>}{<y>}
+ +

Continue the current path to (x,y) with a straight line. +

This command is protocoled, see Section 35.

+ + +

+

+\pgfsys@curveto{<x1>}{<y1>}{<x2>}{<y2>}{<x3>}{<y3>}
+ +

Continue the current path to (x3,y3) with a Bézier curve that has the two control points (x1,y1) and + (x2,y2). +

Example: Draw a good approximation of a quarter circle: +

+
+
\pgfsys@moveto{10pt}{0pt} +
\pgfsys@curveto{10pt}{5.55pt}{5.55pt}{10pt}{0pt}{10pt} +
\pgfsys@stroke
+

This command is protocoled, see Section 35.

+

+

+\pgfsys@rect{<x>}{<y>}{<width>}{<height>}
+ +

Append a rectangle to the current path whose lower left corner is at (x,y) and whose width and height + in big points are given by <width> and <height>. +

This command can be “mapped back” to \pgfsys@moveto and \pgfsys@lineto commands, but it is + included since PDF has a special, quick version of this command. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@closepath
+ +

Close the current path. This results in joining the current point of the path with the point specified + by the last \pgfsys@moveto operation. Typically, this is preferable over using \pgfsys@lineto to the + last point specified by a \pgfsys@moveto, since the line starting at this point and the line ending at + this point will be smoothly joined by \pgfsys@closepath. +

Example: Consider +

+
+
\pgfsys@moveto{0pt}{0pt} +
\pgfsys@lineto{10bp}{10bp} +
\pgfsys@lineto{0bp}{10bp} +
\pgfsys@closepath +
\pgfsys@stroke
+

and +

+
+
\pgfsys@moveto{0bp}{0bp} +
\pgfsys@lineto{10bp}{10bp} +
\pgfsys@lineto{0bp}{10bp} +
\pgfsys@lineto{0bp}{0bp} +
\pgfsys@stroke
+

The difference between the above will be that in the second triangle the corner at the origin will be + wrong; it will just be the overlay of two lines going in different directions, not a sharp pointed + corner. +

This command is protocoled, see Section 35.

+ + +

+

33.3 Canvas Transformation System Commands

+

+

+\pgfsys@transformcm{<a>}{<b>}{<c>}{<d>}{<e>}{<f >}
+ +

Perform a concatenation of the canvas transformation matrix with the matrix given by the values <a> + to <f >, see the PDF or PostScript manual for details. The values <a> to <d> are dimensionless factors, + <e> and <f > are TEX dimensions +

Example: \pgfsys@transformcm{1}{0}{0}{1}{1cm}{1cm}. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@transformshift{<x displacement>}{<y displacement>}
+ +

This command will change the origin of the canvas to (x,y). +

This command has a default implementation and need not be implemented by a driver file. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@transformxyscale{<x scale>}{<y scale>}
+ +

This command will scale the canvas (and everything that is drawn) by a factor of <x scale> in the + x-direction and <y scale> in the y-direction. Note that this applies to everything, including lines. So a + scaled line will have a different width and may even have a different width when going along the x-axis + and when going along the y-axis, if the scaling is different in these directions. Usually, you do not want + this. +

This command has a default implementation and need not be implemented by a driver file. +

This command is protocoled, see Section 35.

+

+

33.4 Stroking, Filling, and Clipping System Commands

+

+

+\pgfsys@stroke
+ +

Stroke the current path (as if it were drawn with a pen). A number of graphic state parameters influence + this, which can be set using appropriate system commands described later. +

+

+ Line width
The “thickness” of the line. A width of 0 is the thinnest width renderable on the device. + On a high-resolution printer this may become invisible and should be avoided. A good choice is + 0.4pt, which is the default. +
+ Stroke color
This special color is used for stroking. If it is not set, the current color is used. + + +
+ Cap
The cap describes how the endings of lines are drawn. A round cap adds a little half circle to + these endings. A butt cap ends the lines exactly at the end (or start) point without anything + added. A rectangular cap ends the lines like the butt cap, but the lines protrude over the endpoint + by the line thickness. (See also the PDF manual.) If the path has been closed, no cap is drawn. +
+ Join
This describes how a bend (a join) in a path is rendered. A round join draws bends using small + arcs. A bevel join just draws the two lines and then fills the join minimally so that it becomes + convex. A miter join extends the lines so that they form a single sharp corner, but only up to a + certain miter limit. (See the PDF manual once more.) +
+ Dash
The line may be dashed according to a dashing pattern. +
+ Clipping area
If a clipping area is established, only those parts of the path that are inside the clipping + area will be drawn.
+

In addition to stroking a path, the path may also be used for clipping after it has been stroked. This will + happen if the \pgfsys@clipnext is used prior to this command, see there for details. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@closestroke
+ +

This command should have the same effect as first closing the path and then stroking it. +

This command has a default implementation and need not be implemented by a driver file. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@fill
+ +

This command fills the area surrounded by the current path. If the path has not yet been closed, it + is closed prior to filling. The path itself is not stroked. For self-intersecting paths or paths consisting + of multiple parts, the nonzero winding number rule is used to determine whether a point is inside or + outside the path, except if \ifpgfsys@eorule holds - in which case the even-odd rule should be used. + (See the PDF or PostScript manual for details.) +

The following graphic state parameters influence the filling: +

+

+ Interior rule
If \ifpgfsys@eorule is set, the even-odd rule is used, otherwise the non-zero winding + number rule. +
+ Fill color
If the fill color is not especially set, the current color is used. +
+ Clipping area
If a clipping area is established, only those parts of the filling area that are inside the + clipping area will be drawn.
+

In addition to filling the path, the path will also be used for clipping if \pgfsys@clipnext is used prior to this + command. +

This command is protocoled, see Section 35.

+

+ + +

+\pgfsys@fillstroke
+ +

First, the path is filled, then the path is stroked. If the fill and stroke colors are the same (or if they are + not specified and the current color is used), this yields almost the same as a \pgfsys@fill. However, + due to the line thickness of the stroked path, the fill-stroked area will be slightly larger. +

In addition to stroking and filling the path, the path will also be used for clipping if \pgfsys@clipnext + is used prior to this command. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@discardpath
+ +

Normally, this command should “throw away” the current path. However, after \pgfsys@clipnext + has been called, the current path should subsequently be used for clipping. See \pgfsys@clipnext for + details. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@clipnext
+ +

This command should be issued after a path has been constructed, but before it has been stroked and/or + filled or discarded. When the command is used, the next stroking/filling/discarding command will first + be executed normally. Then, afterwards, the just-used path will be used for subsequent clipping. If + there has already been a clipping region, this region is intersected with the new clipping path (the + clipping cannot get bigger). The nonzero winding number rule is used to determine whether a point + is inside or outside the clipping area or the even-odd rule, depending on whether \ifpgfsys@eorule + holds.

+

+

33.5 Graphic State Option System Commands

+

+

+\pgfsys@setlinewidth{<width>}
+ +

Sets the width of lines, when stroked, to <width>, which must be a TEX dimension. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@buttcap
+ +

Sets the cap to a butt cap. See \pgfsys@stroke. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@roundcap
+ +

Sets the cap to a round cap. See \pgfsys@stroke. +

This command is protocoled, see Section 35.

+ + +

+

+\pgfsys@rectcap
+ +

Sets the cap to a rectangular cap. See \pgfsys@stroke. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@miterjoin
+ +

Sets the join to a miter join. See \pgfsys@stroke. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@setmiterlimit{<factor>}
+ +

Sets the miter limit of lines to <factor>. See the PDF or PostScript for details on what the miter limit + is. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@roundjoin
+ +

Sets the join to a round join. See \pgfsys@stroke. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@beveljoin
+ +

Sets the join to a bevel join. See \pgfsys@stroke. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@setdash{<pattern>}{<phase>}
+ +

Sets the dashing patter. <pattern> should be a list of TEX dimensions lengths separated by commas. + <phase> should be a single dimension. +

Example: \pgfsys@setdash{3pt,3pt}{0pt} +

The list of values in <pattern> is used to determine the lengths of the “on” phases of the dashing and + of the “off” phases. For example, if <pattern> is 3bp,4bp, then the dashing pattern is “3bp on followed + by 4bp off, followed by 3bp on, followed by 4bp off, and so on.” A pattern of .5pt,4pt,3pt,1.5pt + means “.5pt on, 4pt off, 3pt on, 1.5pt off, .5pt on, ...” If the number of entries is odd, the last one is + used twice, so 3pt means “3pt on, 3pt off, 3pt on, 3pt off, ...” An empty list means “always on.” +

The second argument determines the “phase” of the pattern. For example, for a pattern of 3bp,4bp + and a phase of 1bp, the pattern would start: “2bp on, 4bp off, 3bp on, 4bp off, 3bp on, 4bp off, ...” +

This command is protocoled, see Section 35.

+ + +

+

+\ifpgfsys@eorule
+ +

Determines whether the even odd rule is used for filling and clipping or not.

+

+

+\pgfsys@stroke@opacity{<value>}
+ +

Sets the opacity of stroking operations.

+

+

+\pgfsys@fill@opacity{<value>}
+ +

Sets the opacity of filling operations.

+

+

33.6 Color System Commands

+

The PGF system layer provides a number of system commands for setting colors. These command coexist with +commands from the color and xcolor package, which perform similar functions. However, the color package does +not support having two different colors for stroking and filling, which is a useful feature that is supported by PGF. +For this reason, the PGF system layer offers commands for setting these colors separatedly. Also, plain TEX profits +from the fact that PGF can set colors. +

For PDF, implementing these color commands is easy since PDF supports different stroking and +filling colors directly. For PostScript, a more complicated approach is needed in which the colors need +to be stored in special PostScript variables that are set whenever a stroking or a filling operation is +done. +

+

+\pgfsys@color@rgb{<red>}{<green>}{<blue>}
+ +

Sets the color used for stroking and filling operations to the given red/green/blue tuple (numbers + between 0 and 1). +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@rgb@stroke{<red>}{<green>}{<blue>}
+ +

Sets the color used for stroking operations to the given red/green/blue tuple (numbers between 0 and + 1). +

Example: Make stroked text dark red: \pgfsys@color@rgb@stroke{0.5}{0}{0} +

The special stroking color is only used if the stroking color has been set since the last \color or + \pgfsys@color@xxx command. Thus, each \color command will reset both the stroking and filling + colors by calling \pgfsys@color@reset. +

This command is protocoled, see Section 35.

+

+ + +

+\pgfsys@color@rgb@fill{<red>}{<green>}{<blue>}
+ +

Sets the color used for filling operations to the given red/green/blue tuple (numbers between 0 and 1). + This color may be different from the stroking color. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@cmyk{<cyan>}{<magenta>}{<yellow>}{<black>}
+ +

Sets the color used for stroking and filling operations to the given cymk tuple (numbers between 0 and + 1). +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@cmyk@stroke{<cyan>}{<magenta>}{<yellow>}{<black>}
+ +

Sets the color used for stroking operations to the given cymk tuple (numbers between 0 and 1). +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@cmyk@fill{<cyan>}{<magenta>}{<yellow>}{<black>}
+ +

Sets the color used for filling operations to the given cymk tuple (numbers between 0 and 1). +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@cmy{<cyan>}{<magenta>}{<yellow>}
+ +

Sets the color used for stroking and filling operations to the given cym tuple (numbers between 0 and + 1). +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@cmy@stroke{<cyan>}{<magenta>}{<yellow>}
+ +

Sets the color used for stroking operations to the given cym tuple (numbers between 0 and 1). +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@cmy@fill{<cyan>}{<magenta>}{<yellow>}
+ +

Sets the color used for filling operations to the given cym tuple (numbers between 0 and 1). +

This command is protocoled, see Section 35.

+

+ + +

+\pgfsys@color@gray{<black>}
+ +

Sets the color used for stroking and filling operations to the given black value, where 0 means black + and 1 means white. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@gray@stroke{<black>}
+ +

Sets the color used for stroking operations to the given black value, where 0 means black and 1 means + white. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@gray@fill{<black>}
+ +

Sets the color used for filling operations to the given black value, where 0 means black and 1 means + white. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@color@reset
+ +

This command will be called when the \color command is used. It should purge any internal settings of + stroking and filling color. After this call, till the next use of a command like \pgfsys@color@rgb@fill, + the current color installed by the \color command should be used. +

If the TEX-if \pgfsys@color@reset@inorder is set to true, this command may “assume” that any + call to a color command that sets the fill or stroke color came “before” the call to this command and + may try to optimize the output accordingly. +

An example of an incorrect “out of order” call would be using \pgfsys@color@reset at the beginning + of a box that is constructed using \setbox. Then, when the box is constructed, no special fill or stroke + color might be in force. However, when the box is later on inserted at some point, a special fill color + might already have been set. In this case, this command is not guaranteed to reset the color correctly. +

+

+

+\pgfsys@color@reset@inordertrue
+ +

Sets the optimized “in order” version of the color resetting. This is the default.

+

+

+\pgfsys@color@reset@inorderfalse
+ +

Switches off the optimized color resetting.

+

+ + +

+\pgfsys@color@unstacked{<LATEX color>}
+ +

This slightly obscure command causes the color stack to be tricked. When called, this command should + set the current color to <LATEX color> without causing any change in the color stack. +

Example: \pgfsys@color@unstacked{red}

+

+

33.7 Scoping System Commands

+

The scoping commands are used to keep changes of the graphics state local. +

+

+\pgfsys@beginscope
+ +

Saves the current graphic state on a graphic state stack. All changes to the graphic state parameters + mentioned for \pgfsys@stroke and \pgfsys@fill will be local to the current graphic state and the + old values will be restored after \pgfsys@endscope is used. +

Warning: PDF and PostScript differ with respect to the question of whether the current path is part + of the graphic state or not. For this reason, you should never use this command unless the path is + currently empty. For example, it might be a good idea to use \pgfsys@discardpath prior to calling + this command. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@endscope
+ +

Restores the last saved graphic state. +

This command is protocoled, see Section 35.

+

+

33.8 Image System Commands

+

The system layer provides some commands for image inclusion. +

+

+\pgfsys@imagesuffixlist
+ +

This macro should expand to a list of suffixes, separated by ‘:’, that will be tried when searching for + an image. +

Example: \def\pgfsys@imagesuffixlist{eps:epsi:ps}

+

+

+\pgfsys@defineimage
+ +

Called, when an image should be defined. +

This command does not take any parameters. Instead, certain macros will be preinstalled with + appropriate values when this command is invoked. These are: + + +

    +
  • \pgf@filename File name of the image to be defined. +
  • +
  • \pgf@imagewidth Will be set to the desired (scaled) width of the image. +
  • +
  • \pgf@imageheight Will be set to the desired (scaled) height of the image. +

    If this macro and also the height macro are empty, the image should have its “natural” size. +

    If exactly only of them is specified, the undefined value the image is scaled so that the aspect + ratio is kept. +

    If both are set, the image is scaled in both directions independently, possibly changing the aspect + ratio.

+

The following macros presumable mostly make sense for drivers that can handle PDF: +

    +
  • \pgf@imagepage The desired page number to be extracted from a multi-page “image.” +
  • +
  • \pgf@imagemask If set, it will be set to /SMask x 0 R where x is the PDF object number of a + soft mask to be applied to the image. +
  • +
  • \pgf@imageinterpolate If set, it will be set to /Interpolate true or /Interpolate false, + indicating whether the image should be interpolated in PDF.
+

The command should now setup the macro \pgf@image such that calling this macro will result in typesetting + the image. Thus, \pgf@image is the “return value” of the command. +

This command has a default implementation and need not be implemented by a driver file.

+

+

+\pgfsys@definemask
+ +

This command declares a mask for usage with images. It works similar to \pgfsys@defineimage: + Certain macros are set when the command is called. The result should be to set the macro \pgf@mask + to a pdf object count that can subsequently be used as a soft mask. The following macros will be set + when this command is invoked: +

    +
  • \pgf@filename File name of the mask to be defined. +
  • +
  • \pgf@maskmatte The so-called matte of the mask (see the PDF documentation for details). The + matte is a color specification consisting of 1, 3 or 4 numbers between 0 and 1. The number of + numbers depends on the number of color channels in the image (not in the mask!). It will be + assumed that the image has been preblended with this color.
+
+

+

33.9 Shading System Commands

+

+

+\pgfsys@horishading{<name>}{<height>}{<specification>}
+ + + +

Declares a horizontal shading for later use. The effect of this command should be the definition of + a macro called \@pgfshading<name>! (or \csname @pdfshading<name>!\endcsname, to be precise). + When invoked, this new macro should insert a shading at the current position. +

<name> is the name of the shading, which is also used in the output macro name. <height> is the height + of the shading and must be given as a TeX dimension like 2cm or 10pt. <specification> is a shading + color specification as specified in Section 28. The shading specification implicitly fixes the width of the + shading. +

When \@pgfshading<name>! is invoked, it should insert a box of height <height> and the width implicit + in the shading declaration.

+

+

+\pgfsys@vertshading{<name>}{<width>}{<specification>}
+ +

Like the horizontal version, only for vertical shadings. This time, the height of the shading is implicit + in <specification> and the width is given as <width>.

+

+

+\pgfsys@radialshading{<name>}{<starting point>}{<specification>}
+ +

Declares a radial shading. Like the previous macros, this command should setup the macro + \@pgfshading<name>!, which upon invocation should insert a radial shading whose size is implicit in + <specification>. +

The parameter <starting point> is a PGF point specifying the inner starting point of the shading.

+

+

33.10 Reusable Objects System Commands

+

+

+\pgfsys@invoke{<literals>}
+ +

This command gets protocoled literals and should insert them into the .pdf or .dvi file using an + appropriate \special.

+

+

+\pgfsys@defobject{<name>}{<lower left>}{<upper right>}{<code>}
+ +

Declares an object for later use. The idea is that the object can be precached in some way and then + be rendered more quickly when used several times. For example, an arrow head might be defined and + prerendered in this way. +

The parameter <name> is the name for later use. <lower left> and <upper right> are PGF points specifying + a bounding box for the object. <code> is the code for the object. The code should not be too fancy. +

This command has a default implementation and need not be implemented by a driver file.

+

+

+\pgfsys@useobject{<name>}{<extra code>}
+ +

Renders a previously declared object. The first parameter is the name of the the object. The second + parameter is extra code that should be executed right before the object is rendered. Typically, this will + be some transformation code. +

This command has a default implementation and need not be implemented by a driver file.

+ + +

+

33.11 Invisibility System Commands

+

All drawing or stroking or text rendering between calls of the following commands should be suppressed. A similar +effect can be achieved by clipping against an empty region, but the following commands do not open a graphics +scope and can be opened and closed “orthogonally” to other scopes. +

+

+\pgfsys@begininvisible
+ +

Between this command and the closing \pgfsys@endinvisible all output should be suppressed. + Nothing should be drawn at all, which includes all paths, images and shadings. However, no groups + (neither TEX groups nor graphic state groups) should be opened by this command. +

This command has a default implementation and need not be implemented by a driver file. +

This command is protocoled, see Section 35.

+

+

+\pgfsys@endinvisible
+ +

Ends the invisibility section, unless invisibility blocks have been nested. In this case, only the “last” + one restores visibility. +

This command has a default implementation and need not be implemented by a driver file. +

This command is protocoled, see Section 35.

+

+

33.12 Internal Conversion Commands

+

The system commands take TEX dimensions as input, but the dimensions that have to be inserted into PDF and +PostScript files need to be dimensionless values that are interpreted as multiples of  1
+72in. For example, the +TEX dimension 2bp should be inserted as 2 into a PDF file and the TEX dimension 10pt as 9.9626401. To make +this conversion easier, the following command may be useful: +

+

+\pgf@sys@bp{<dimension>}
+ +

Inserts how many multiples of 1
+72in the <dimension> is into the current protocol stream (buffered). +

Example: \pgf@sys@bp{\pgf@x} or \pgf@sys@bp{1cm}.

+

Note that this command is not a system command that can/needs to be overwritten by a driver. + + + + + + +

+

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse34.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse34.html new file mode 100644 index 00000000000..5b81f981879 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse34.html @@ -0,0 +1,456 @@ + + +34 The Soft Path Subsystem + + + + + + + + +

+

34 The Soft Path Subsystem

+

This section describes a set of commands for creating soft paths as opposed to the commands of the previous +section, which created hard paths. A soft path is a path that can still be “changed” or “molded.” Once you (or the +PGF system) is satisfied with a soft path, it is turned into a hard path, which can be inserted into the resulting .pdf +or .ps file. +

Note that the commands described in this section are “high-level” in the sense that they are not +implemented in driver files, but rather directly by the PGF-system layer. For this reason, the commands for +creating soft paths do not start with \pgfsys@, but rather with \pgfsyssoftpath@. On the other hand, +as a user you will never use these commands directly, so they are described as part of the low-level +interface. +

+

34.1 Path Creation Process

+

When the user writes a command like \draw (0bp,0bp) -- (10bp,0bp); quite a lot happens behind the +scenes: +

    +
  1. The frontend command is translated by TikZ into commands of the basic layer. In essence, the command is + translated to something like +

    +
    +
    \pgfpathmoveto{\pgfpoint{0bp}{0bp}} +
    \pgfpathlineto{\pgfpoint{10bp}{0bp}} +
    \pgfusepath{stroke}
    +
  2. +
  3. The \pgfpathxxxx command do not directly call “hard” commands like \pgfsys@xxxx. Instead, the + command \pgfpathmoveto invokes a special command called \pgfsyssoftpath@moveto and \pgfpathlineto + invokes \pgfsyssoftpath@lineto. +

    The \pgfsyssoftpath@xxxx commands, which are described below, construct a soft path. Each time such a + command is used, special tokens are added to the end of an internal macro that stores the soft path currently + being constructed. +

  4. +
  5. When the \pgfusepath is encountered, the soft path stored in the internal macro is “invoked.” Only now does + a special macro iterate over the soft path. For each line-to or move-to operation on this path it calls an + appropriate \pgfsys@moveto or \pgfsys@lineto in order to, finally, create the desired hard path, namely, the + string of literals in the .pdf or .ps file. +
  6. +
  7. After the path has been invoked, \pgfsys@stroke is called to insert the literal for stroking the + path.
+

Why such a complicated process? Why not have \pgfpathlineto directly call \pgfsys@lineto and be done +with it? There are two reasons: +

    +
  1. The PDF specification requires that a path is not interrupted by any non-path-construction commands. Thus, + the following code will result in a corrupted .pdf: +

    +
    +
    \pgfsys@moveto{0}{0} +
    \pgfsys@setlinewidth{1} +
    \pgfsys@lineto{10}{0} +
    \pgfsys@stroke
    + + +

    Such corrupt code is tolerated by most viewers, but not always. It is much better to create only (reasonably) + legal code. +

  2. +
  3. A soft path can still be changed, while a hard path is fixed. For example, one can still change the starting and + end points of a soft path or do optimizations on it. Such transformations are not possible on hard + paths.
+

+

34.2 Starting and Ending a Soft Path

+

No special action must be taken in order to start the creation of a soft path. Rather, each time a command like +\pgfsyssoftpath@lineto is called, a special token is added to the (global) current soft path being +constructed. +

However, you can access and change the current soft path. In this way, it is possible to store a soft path, to +manipulate it, or to invoke it. +

+

+\pgfsyssoftpath@getcurrentpath{<macro name>}
+ +

This command will store the current soft path in <macro name>.

+

+

+\pgfsyssoftpath@setcurrentpath{<macro name>}
+ +

This command will set the current soft path to be the path stored in <macro name>. This macro + should store a path that has previously been extracted using the \pgfsyssoftpath@getcurrentpath + command and has possibly been modified subsequently.

+

+

+\pgfsyssoftpath@invokecurrentpath
+ +

This command will turn the current soft path in a “hard” path. To do so, it iterates over the soft path + and calls an appropriate \pgfsys@xxxx command for each element of the path. Note that the current + soft path is not changed by this command. Thus, in order to start a new soft path after the old one + has been invoked and is no longer needed, you need to set the current soft path to be empty. This may + seems strange, but it is often useful to immediately use the last soft path again.

+

+

+\pgfsyssoftpath@flushcurrentpath
+ +

This command will invoke the current soft path and then set it to be empty.

+

+

34.3 Soft Path Creation Commands

+

+

+\pgfsyssoftpath@moveto{<x>}{<y>}
+ + + +

This command appends a “move-to” segment to the current soft path. The coordinates <x> and <y> + are given as normal TEX dimensions. +

Example: One way to draw a line: +

+
+
\pgfsyssoftpath@moveto{0pt}{0pt} +
\pgfsyssoftpath@lineto{10pt}{10pt} +
\pgfsyssoftpath@flushcurrentpath +
\pgfsys@stroke
+
+

+

+\pgfsyssoftpath@lineto{<x>}{<y>}
+ +

Appends a “line-to” segment to the current soft path.

+

+

+\pgfsyssoftpath@curveto{<a>}{<b>}{<c>}{<d>}{<x>}{<y>}
+ +

Appends a “curve-to” segment to the current soft path with controls (a,b) and (c,d).

+

+

+\pgfsyssoftpath@rect{<lower left x>}{<lower left y>}{<width>}{<height>}
+ +

Appends a rectangle segment to the current soft path.

+

+

+\pgfsyssoftpath@closepath
+ +

Appends a “close-path” segment to the current soft path.

+

+

34.4 The Soft Path Data Structure

+

A soft path is stored in a standardized way, which makes it possible to modify it before it becomes “hard.” +Basically, a soft path is a long sequence of triples. Each triple starts with a token that identifies what is going on. +This token is followed by two dimensions in braces. For example, the following is a soft path that means “the path +starts at (0bp,0bp) and then continues in a straight line to (10bp,0bp).” +

+

\pgfsyssoftpath@movetotoken{0bp}{0bp}\pgfsyssoftpath@linetotoken{10bp}{0bp} +
+
+

A curve-to is hard to express in this way since we need six numbers to express it, not two. For this reasons, a +curve-to is expressed using three triples as follows: The command +

+

\pgfsyssoftpath@curveto{1bp}{2bp}{3bp}{4bp}{5bp}{6bp} +
+
+

results in the following three triples: +

+
+
\pgfsyssoftpath@curvetosupportatoken{1bp}{2bp} +
\pgfsyssoftpath@curvetosupportbtoken{3bp}{4bp} +
\pgfsyssoftpath@curvetotoken{5bp}{6bp}
+

These three triples must always “remain together.” Thus, a lonely supportbtoken is forbidden. +

In details, the following tokens exist: + + +

    +
  • \pgfsyssoftpath@movetotoken indicates a move-to operation. The two following numbers indicate + the position to which the current point should be moved. +
  • +
  • \pgfsyssoftpath@linetotoken indicates a line-to operation. +
  • +
  • \pgfsyssoftpath@curvetosupportatoken indicates the first control point of a curve-to operation. + The triple must be followed by a \pgfsyssoftpath@curvetosupportbtoken. +
  • +
  • \pgfsyssoftpath@curvetosupportbtoken indicates the second control point of a curve-to operation. + The triple must be followed by a \pgfsyssoftpath@curvetotoken. +
  • +
  • \pgfsyssoftpath@curvetotoken indicates the target of a curve-to operation. +
  • +
  • \pgfsyssoftpath@rectcornertoken indicates the corner of a rectangle on the soft path. The triple + must be followed by a \pgfsyssoftpath@rectsizetoken. +
  • +
  • \pgfsyssoftpath@rectsizetoken indicates the size of a rectangle on the soft path. +
  • +
  • \pgfsyssoftpath@closepath indicates that the subpath begun with the last move-to operation should + be closed. The parameter numbers are currently not important, but if set to anything different from + {0pt}{0pt}, they should be set to the coordinate of the original move-to operation to which the path + “returns” now.
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse35.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse35.html new file mode 100644 index 00000000000..9f84b3919ad --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse35.html @@ -0,0 +1,198 @@ + + +35 The Protocol Subsystem + + + + + + + + +

+

35 The Protocol Subsystem

+

This section describes commands for protocolling literal text created by PGF. The idea is that some literal text, like +the string of commands used to draw an arrow head, will be used over and over again in a picture. It is then +much more efficient to compute the necessary literal text just once and to quickly insert it “in a single +sweep.” +

When protocolling is “switched on,” there is a “current protocol” to which literal text gets appended. Once all +commands that needed to be protocoled have been issued, the protocol can be obtained and stored using +\pgfsysprotocol@getcurrentprotocol. At any point, the current protocol can be changed using a corresponding +setting command. Finally, \pgfsysprotocol@invokecurrentprotocol is used to insert the protocoled commands +into the .pdf or .dvi file. +

Only those \pgfsys@ commands can be protocolled that use the command \pgfsysprotocol@literal interally. +For example, the definition of \pgfsys@moveto in pgfsys-common-pdf.def is +

+

\def\pgfsys@moveto#1#2{\pgfsysprotocol@literal{#1 #2 m}} +
+
+

All “normal” system-level commands can be protocolled. However, commands for creating or invoking shadings, +images, or whole pictures require special \special’s and cannot be protocolled. +

+

+\pgfsysprotocol@literalbuffered{<literal text>}
+ +

Adds the <literal text> to the current protocol, after it has been “\edefed.” This command will always + protocol.

+

+

+\pgfsysprotocol@literal{<literal text>}
+ +

First calls \pgfsysprotocol@literalbuffered on <literal text>. Then, if protocolling is currently + switched off, the <literal text> is passed on to \pgfsys@invoke.

+

+

+\pgfsysprotocol@bufferedtrue
+ +

Turns on protocolling. All subsequent calls of \pgfsysprotocol@literal will append their argument + to the current protocol.

+

+

+\pgfsysprotocol@bufferedfalse
+ +

Turns off protocolling. Subsequent calls of \pgfsysprotocol@literal directly insert their argument + into the current .pdf or .ps. +

Note that if the current protocol is not empty when protocolling is switched off, the next call to + \pgfsysprotocol@literal will first flush the current protocol, that is, insert it into the file.

+

+ + +

+\pgfsysprotocol@getcurrentprotocol{<macro name>}
+ +

Stores the current protocol in <macro name> for later use.

+

+

+\pgfsysprotocol@setcurrentprotocol{<macro name>}
+ +

Sets the current protocol to <macro name>.

+

+

+\pgfsysprotocol@invokecurrentprotocol
+ +

Inserts the text stored in the current protocol into the .pdf or .dvi file. This does not change the + current protocol.

+

+

+\pgfsysprotocol@flushcurrentprotocol
+ +

First inserts the current protocol, then sets the current protocol to the empty string.

+ + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse36.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse36.html new file mode 100644 index 00000000000..57a8afaf50c --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse36.html @@ -0,0 +1,198 @@ + + +36 The Protocol Subsystem + + + + + + + + +

+

36 The Protocol Subsystem

+

This section describes commands for protocolling literal text created by PGF. The idea is that some literal text, like +the string of commands used to draw an arrow head, will be used over and over again in a picture. It is then +much more efficient to compute the necessary literal text just once and to quickly insert it “in a single +sweep.” +

When protocolling is “switched on,” there is a “current protocol” to which literal text gets appended. Once all +commands that needed to be protocoled have been issued, the protocol can be obtained and stored using +\pgfsysprotocol@getcurrentprotocol. At any point, the current protocol can be changed using a corresponding +setting command. Finally, \pgfsysprotocol@invokecurrentprotocol is used to insert the protocoled commands +into the .pdf or .dvi file. +

Only those \pgfsys@ commands can be protocolled that use the command \pgfsysprotocol@literal interally. +For example, the definition of \pgfsys@moveto in pgfsys-common-pdf.def is +

+

\def\pgfsys@moveto#1#2{\pgfsysprotocol@literal{#1 #2 m}} +
+
+

All “normal” system-level commands can be protocolled. However, commands for creating or invoking shadings, +images, or whole pictures require special \special’s and cannot be protocolled. +

+

+\pgfsysprotocol@literalbuffered{<literal text>}
+ +

Adds the <literal text> to the current protocol, after it has been “\edefed.” This command will always + protocol.

+

+

+\pgfsysprotocol@literal{<literal text>}
+ +

First calls \pgfsysprotocol@literalbuffered on <literal text>. Then, if protocolling is currently + switched off, the <literal text> is passed on to \pgfsys@invoke.

+

+

+\pgfsysprotocol@bufferedtrue
+ +

Turns on protocolling. All subsequent calls of \pgfsysprotocol@literal will append their argument + to the current protocol.

+

+

+\pgfsysprotocol@bufferedfalse
+ +

Turns off protocolling. Subsequent calls of \pgfsysprotocol@literal directly insert their argument + into the current .pdf or .ps. +

Note that if the current protocol is not empty when protocolling is switched off, the next call to + \pgfsysprotocol@literal will first flush the current protocol, that is, insert it into the file.

+

+ + +

+\pgfsysprotocol@getcurrentprotocol{<macro name>}
+ +

Stores the current protocol in <macro name> for later use.

+

+

+\pgfsysprotocol@setcurrentprotocol{<macro name>}
+ +

Sets the current protocol to <macro name>.

+

+

+\pgfsysprotocol@invokecurrentprotocol
+ +

Inserts the text stored in the current protocol into the .pdf or .dvi file. This does not change the + current protocol.

+

+

+\pgfsysprotocol@flushcurrentprotocol
+ +

First inserts the current protocol, then sets the current protocol to the empty string.

+ + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse4.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse4.html new file mode 100644 index 00000000000..522c4969374 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse4.html @@ -0,0 +1,591 @@ + + +4 Guidelines on Graphics + + + + + + + + +

+

4 Guidelines on Graphics

+

The present section is not about PGF or TikZ, but about general guidelines and principles concerning the creation +of graphics for scientific presentations, papers, and books. +

The guidelines in this section come from different sources. Many of them are just what I would like to claim is +“common sense,” some reflect my personal experience (though, hopefully, not my personal preferences), some come +from books (the bibliography is still missing, sorry) on graphic design and typography. The most influential +source are the brilliant books by Edward Tufte. While I do not agree with everything written in these +books, many of Tufte’s arguments are so convincing that I decided to repeat them in the following +guidelines. +

+

4.1 Should You Follow Guidelines?

+

The first thing you should ask yourself when someone presents a bunch of guidelines is: Should I really follow +these guidelines? This is an important questions, because there are good reasons not to follow general +guidelines. +

    +
  • The person who setup the guidelines may have had other objectives than you do. For example, a + guideline might say “use the color red for emphasis.” While this guideline makes perfect sense for, say, + a presentation using a projector, red “color” has the opposite effect of “emphasis” when printed using + a black-and-white printer. +

    Guidelines were almost always setup to address a specific situation. If you are not in this situation, + following a guideline can do more harm than good. +

  • +
  • The basic rule of typography is: “Every rule can be broken, as long as you are aware that you are + breaking a rule.” This rule also applies to graphics. Phrased differently, the basic rule states: “The only + mistakes in typography are things done is ignorance.” +

    When you are aware of a rule and when you decide that breaking the rule has a desirable effect, break + the rule. +

  • +
  • Some guidelines are simply wrong, but everyone follows them out of tradition or is forced to do so. + My favorite example is a guideline a software company I used to work for has set in a big project: + All programmers had to declare the parameters of functions in increasing order of size. So, one-byte + parameters should come first, then two-byte parameters, and so on. +

    This guideline is total nonsense. An (arguably) sensible guideline is “parameters must be declared + alphabetically” so that parameters are easier to find. Another (arguably) sensible guideline is + “parameters must be declared in decreasing order of size” so that less byte-alignment cache misses + occur when the stack is accessed. The guideline the company used maximized cache misses and resulted + in a more or less random ordering so that programmers constantly had to look up the parameter + ordering.

+

So, before you apply a guideline or choose not to apply it, ask yourself these questions: +

    +
  1. Does this guideline really address my situation? +
  2. +
  3. If you do the opposite a guideline says you should do, will the advantages outweigh the disadvantages + this guideline was supposed to prevent?
+ + +

+

4.2 Planning the Time Needed for the Creation of Graphics

+

When you create a paper with numerous graphics, the time needed to create these graphics becomes an important +factor. How much time should you calculate for the creation of graphics? +

As a general rule, assume that a graphic will need as much time to create as would a text of the same length. For +example, when I write a paper, I need about one hour per page for the first draft. Later, I need between two and +four hours per page for revisions. Thus, I expect to need about half an hour for the creation of a first +draft of a half page graphic. Later on, I expect another one to two hours before the final graphic is +finished. +

In many publications, even in good journals, the authors and editors have obviously invested a lot of time on the +text, but seem to have spend about five minutes to create all of the graphics. Graphics often seem to have been +added as an “afterthought” or look like a screen shot of whatever the authors’s statistical software shows them. As +will be argued later on, the graphics that programs like GNUPLOT produce by default are of poor +quality. +

Creating informative graphics that help the reader and that fit together with the main text is a difficult, lengthy +process. +

    +
  • Treat graphics as first-class citizens of your papers. They deserve as much time and energy as the text + does. +
  • +
  • Arguably, the creation of graphics deserves even more time than the writing of the main text since + more attention will be paid to the graphics and they will be looked at first. +
  • +
  • Plan as much time for the creation and revision of a graphic as you would plan for text of the same + size. +
  • +
  • Difficult graphics with a high information density may require even more time. +
  • +
  • Very simple graphics will require less time, but most likely you do not want to have “very simple + graphics” in your paper, anyway; just as you would not like to have a “very simple text” of the same + size.
+

+

4.3 Workflow for Creating a Graphic

+

When you write a (scientific) paper, you will most likely follow the following pattern: You have some +results/ideas that you would like to report about. The creation of the paper will typically start with +compiling a rough outline. Then, the different sections are filled with text to create a first draft. This +draft is then revised repeatedly until, often after substantial revision, a final paper results. In a good +journal paper there is typically not be a single sentence that has survived unmodified from the first +draft. +

Creating a graphics follows the same pattern: +

    +
  • Decide on what the graphic should communicate. Make this a conscious decision, that is, determine + “What is the graphic supposed to tell the reader?” +
  • +
  • Create an “outline,” that is, the rough overall “shape” of the graphic, containing the most crucial + elements. Often, it is useful to do this using pencil and paper. +
  • +
  • Fill out the finer details of the graphic to create a first draft. +
  • +
  • Revise the graphic repeatedly along with the rest of the paper.
+ + +

+

4.4 Linking Graphics With the Main Text

+

Graphics can be placed at different places in a text. Either, they can be inlined, meaning they are +somewhere “in the middle of the text” or they can be placed in standalone “figures.” Since printers +(the people) like to have their pages “filled,” (both for aesthetic and economic reasons) standalone +figures may traditionally be placed on pages in the document far removed from the main text that +refers to them. LATEX and TEX tend to encourage this “drifting away” of graphics for technical +reasons. +

When a graphic is inlined, it will more or less automatically be linked with the main text in the sense that the +labels of the graphic will be implicitly explained by the surrounding text. Also, the main text will typically make it +clear what the graphic is about and what is shown. +

Quite differently, a standalone figure will often be viewed at a time when the main text that this graphic belongs +to either has not yet been read or has been read some time ago. For this reason, you should follow the following +guidelines when creating standalone figures: +

    +
  • Standalone figures should have a caption than should make them “understandable by themselves.” +

    For example, suppose a graphic shows an example of the different stages of a quicksort algorithm. Then + the figure’s caption should, at the very least, inform the reader that “The figure shows the different + stages of the quicksort algorithm introduced on page xyz.” and not just “Quicksort algorithm.” +

  • +
  • A good caption adds as much context information as possible. For example, you could say: “The figure + shows the different stages of the quicksort algorithm introduced on page xyz. In the first line, the pivot + element 5 is chosen. This causes...” While this information can also be given in the main text, putting + it in the caption will ensure that the context is kept. Do not feel afraid of a 5-line caption. (Your editor + may hate you for this. Consider hating them back.) +
  • +
  • Reference the graphic in your main text as in “For an example of quicksort ‘in action,’ see Figure 2.1 + on page xyz.” +
  • +
  • Most books on style and typography recommend that you do not use abbreviations as in “Fig. 2.1” + but write “Figure 2.1.” +

    The main argument against abbreviations is that “a period is too valuable to waste it on an + abbreviation.” The idea is that a period will make the reader assume that the sentence ends after “Fig” + and it takes a “conscious backtracking” to realize that the sentence did not end after all. +

    The argument in favor of abbreviations is that they save space. +

    Personally, I am not really convinced by either argument. On the one hand, I have not yet seen any + hard evidence that abbreviations slow readers down. On the other hand, abbreviating all “Figure” by + “Fig.” is most unlikely to save even a single line in most documents. +

    I avoid abbreviations.

+

+

4.5 Consistency Between Graphics and Text

+

Perhaps the most common “mistake” people do when creating graphics (remember that a “mistake” in design is +always just “ignorance”) is to have a mismatch between the way their graphics look and the way their text +looks. +

It is quite common that authors use several different programs for creating the graphics of a paper. An author +might produce some plots using GNUPLOT, a diagram using XFIG, and include an .eps graphic a coauthor +contributed using some unknown program. All these graphics will, most likely, use different line widths, different +fonts, and have different sizes. In addition, authors often use options like [height=5cm] when including graphics to +scale them to some “nice size.” + + +

If the same approach were taken to writing the main text, every section would be written in a different font at a +different size. In some sections all theorems would be underlined, in another they would be printed +all in uppercase letters, and in another in red. In addition, the margins would be different on each +page. +

Readers and editors would not tolerate a text if it were written in this fashion, but with graphics they often have +to. +

To create consistency between graphics and text, stick to the following guidelines: +

    +
  • Do not scale graphics. +

    This means that when generating graphics using an external program, create them “at the right size.” +

  • +
  • Use the same font(s) both in graphics and the body text. +
  • +
  • Use the same line width in text and graphics. +

    The “line width” for normal text is the width of the stem of letters like T. For TEX, this is usually + 0.4pt. However, some journals will not accept graphics with a normal line width below 0.5pt. +

  • +
  • When using colors, use a consistent color coding in the text and in graphics. For example, if red is + supposed to alert the reader to something in the main text, use red also in graphics for important parts + of the graphic. If blue is used for structural elements like headlines and section titles, use blue also for + structural elements of your graphic. +

    However, graphics may also use a logical intrinsic color coding. For example, no matter what colors + you normally use, readers will generally assume, say, that the color green as “positive, go, ok” and red + as “alert, warning, action.”

+

Creating consistency when using different graphic programs is almost impossible. For this reason, you should +consider sticking to a single graphic program. +

+

4.6 Labels in Graphics

+

Almost all graphics will contain labels, that is, pieces of text that explain parts of the graphics. When placing labels, +stick to the following guidelines: +

    +
  • Follow the rule of consistency when placing labels. You should do so in two ways: First, be consistent + with the main text, that is, use the same font as the main text also for labels. Second, be consistent + between labels, that is, if you format some labels in some particular way, format all labels in this way. +
  • +
  • In addition to using the same fonts in text and graphics, you should also use the same notation. For + example, if you write 1/2 in your main text, also use “1/2” as labels in graphics, not “0.5”. A p is a + “p” and not “3.141”. Finally, e-ip is “e-ip”, not “-1”, let alone “-1”. +
  • +
  • Labels should be legible. They should not only have a reasonably large size, they also should not be + obscured by lines or other text. This also applies to of lines and text behind the labels. +
  • +
  • Labels should be “in place.” Whenever there is enough space, labels should be placed next to the + thing they label. Only if necessary, add a (subdued) line from the label to the labeled object. Try to + avoid labels that only reference explanations in external legends. Reader have to jump back and forth + between the explanation and the object that is described. +
  • +
  • Consider subduing “unimportant” labels using, for example, a gray color. This will keep the focus on + the actual graphic.
+ + +

+

4.7 Plots and Charts

+

One of the most frequent kind of graphics, especially in scientific papers, are plots. They come in a large +variety, including simple line plots, parametric plots, three dimensional plots, pie charts, and many +more. +

Unfortunately, plots are notoriously hard to get right. Partly, the default settings of programs like +GNUPLOT or Excel are to blame for this since these programs make it very convenient to create bad +plots. +

The first question you should ask yourself when creating a plot is the following: +

    +
  • Are there enough data points to merit a plot?
+

If the answer is “not really,” use a table. +

A typical situation where a plot is unnecessary is when people present a few numbers in a bar diagram. Here is a +real-life example: At the end of a seminar a lecturer asked the participants for feedback. Of the 50 participants, 30 +returned the feedback form. According to the feedback, three participants considered the seminar “very good,” +nine considered it “good,” ten “ok,” eight “bad,” and no one thought that the seminar was “very +bad.” +

A simple way of summing up this information is the following table: +

+ + + + + + +
Rating given

Participants + (out + of + 50) + who + gave + this + rating

Percentage
   
“very good”

3

6%
“good”

9

18%
“ok”

10

20%
“bad”

8

16%
“very bad”

0

0%
   
none

20

40%
+
+

What the lecturer did was to visualize the data using a 3D bar diagram. It looked like this: +

SVG-Viewer needed.

+

Both the table and the “plot” have about the same size. If your first thought is “the graphic looks nicer +than the table,” try to answer the following questions based on the information in the table or in the +graphic: + + +

    +
  1. How many participants where there? +
  2. +
  3. How many participants returned the feedback form? +
  4. +
  5. What percentage of the participants returned the feedback form? +
  6. +
  7. How many participants checked “very good”? +
  8. +
  9. What percentage out of all participants checked “very good”? +
  10. +
  11. Did more than a quarter of the participants check “bad” or “very bad”? +
  12. +
  13. What percentage of the participants that returned the form checked “very good”?
+

Sadly, the graphic does not allow us to answer a single one of these questions. The table answers all of them +directly, except for the last one. In essence, the information density of the graphic is very nearly zero. The table has +a much higher information density; despite the fact that it uses quite a lot of white space to present a few +numbers. +

Here is the list of things that went wrong with the 3D-bar diagram: +

    +
  • The whole graphic is dominated by irritating background lines. +
  • +
  • It is not clear what the numbers at the left mean; presumably percentages, but it might also be the + absolute number of participants. +
  • +
  • The labels at the bottom are rotated, making them hard to read. +

    (In the real presentation that I saw, the text was rendered at a very low resolution with about 10 by + 6 pixels per letter with wrong kerning, making the rotated text almost impossible to read.) +

  • +
  • The third dimension adds complexity to the graphic without adding information. +
  • +
  • The three dimensional setup makes it much harder to gauge the height of the bars correctly. Consider + the “bad” bar. It the number this bar stands for more than 20 or less? While the front of the bar is + below the 20 line, the back of the bar (which counts) is above. +
  • +
  • It is impossible to tell which numbers are represented by the bars. Thus, the bars needlessly hide the + information these bars are all about. +
  • +
  • What do the bar heights add up to? Is it 100% or 60%? +
  • +
  • Does the bar for “very bad” represent 0 or 1? +
  • +
  • Why are the bars blue?
+

You might argue that in the example the exact numbers are not important for the graphic. The important things +is the “message,” which is that there are more “very good” and “good” ratings than “bad” and “very bad.” +However, to convey this message either use a sentence that says so or use a graphic that conveys this message more +clearly: + + +

SVG-Viewer needed.

+

The above graphic has about the same information density as the table (about the same size and the same +numbers are shown). In addition, one can directly “see” that there are more good or very good ratings than bad +ones. One can also “see” that the number of people who gave no rating at all is not negligible, which is quite +common for feedback forms. +

Charts are not always a good idea. Let us look at an example that I redrew from a pie chart in Die Zeit, June +4th, 2005: +

SVG-Viewer needed.

+

This graphic has been redrawn in TikZ, but the original looks very similar. +

At first sight, the graphic looks “nice and informative,” but there are a lot of things that went +wrong: +

    +
  • The chart is three dimensional. However, the shadings add nothing “information-wise,” at best, they + distract. +
  • +
  • In a 3D-pie-chart the relative sizes are very strongly distorted. For example, the area taken up by the + gray color of “Braunkohle” is larger than the area taken up by the green color of “Kernenergie” despite + the fact that the percentage of Braunkohle is less than the percentage of Kernenergie. +
  • +
  • The 3D-distortion gets worse for small areas. The area of “Regenerative” somewhat larger than the + area of “Erdgas.” The area of “Wind” is slightly smaller than the area of “Mineralölprodukte” although + the percentage of Wind is nearly three times larger than the percentage of Mineralölprodukte. + + +

    In the last case, the different sizes are only partly due to distortion. The designer(s) of the original + graphic have also made the “Wind” slice too small, even taking distortion into account. (Just compare + the size of “Wind” to “Regenerative” in general.) +

  • +
  • According to its caption, this chart is supposed to inform us that coal was the most important energy + source in Germany in 2004. Ignoring the strong distortions caused by the superfluous and misleading + 3D-setup, it takes quite a while for this message to get across. +

    Coal as an energy source is split up into two slices: one for “Steinkohle” and one for “Braunkohle” (two + different kinds of coal). When you add them up, you see that the whole lower half of the pie chart is + taken up by coal. +

    The two areas for the different kinds of coal are not visually linked at all. Rather, two different colors + are used, the labels are on different sides of the graphic. By comparison, “Regenerative” and “Wind” + are very closely linked. +

  • +
  • The color coding of the graphic follows no logical pattern at all. Why is nuclear energy green? + Regenerative energy is light blue, “other sources” are blue. It seems more like a joke that the area for + “Braunkohle” (which literally translates to “brown coal”) is stone gray, while the area for “Steinkohle” + (which literally translates to “stone coal”) is brown. +
  • +
  • The area with the lightest color is used for “Erdgas.” This area stands out most because of the brighter + color. However, for this chart “Erdgas” is not really important at all.
+

Edward Tufte calls graphics like the above “chart junk.” +

Here are a few recommendations that may help you avoid producing chart junk: +

    +
  • Do not use 3D pie charts. They are evil. +
  • +
  • Consider using a table instead of a pie chart. +
  • +
  • Due not apply colors randomly; use them to direct the readers’s focus and to group things. +
  • +
  • Do not use background patterns, like a crosshatch or diagonal lines, instead of colors. They distract. + Background patterns in information graphics are evil.
+

+

4.8 Attention and Distraction

+

Pick up your favorite fiction novel and have a look at a typical page. You will notice that the page is very uniform. +Nothing is there to distract the reader while reading; no large headlines, no bold text, no large white areas. Indeed, +even when the author does wish to emphasize something, this is done using italic letters. Such letters blend nicely +with the main text--at a distance you will not be able to tell whether a page contains italic letters, but you would +notice a single bold word immediately. The reason novels are typeset this way is the following paradigm: Avoid +distractions. +

Good typography (like good organization) is something you do not notice. The job of typography is to make +reading the text, that is, “absorbing” its information content, as effortless as possible. For a novel, readers absorb +the content by reading the text line-by-line, as if they were listening to someone telling the story. In this situation +anything on the page that distracts the eye from going quickly and evenly from line to line will make the text harder +to read. +

Now, pick up your favorite weekly magazine or newspaper and have a look at a typical page. You will notice that +there is quite a lot “going on” on the page. Fonts are used at different sizes and in different arrangements, the text is +organized in narrow columns, typically interleaved with pictures. The reason magazines are typeset in this way is +another paradigm: Steer attention. + + +

Readers will not read a magazine like a novel. Instead of reading a magazine line-by-line, we use headlines and +short abstracts to check whether we want to read a certain article or not. The job of typography is to steer our +attention to these abstracts and headlines, first. Once we have decided that we want to read an article, however, we +no longer tolerate distractions, which is why the main text of articles is typeset exactly the same way as a +novel. +

The two principles “avoid distractions” and “steer attention” also apply to graphics. When you design a graphic, +you should eliminate everything that will “distract the eye.” At the same time, you should try to +actively help the reader “through the graphic” by using fonts/colors/line widths to highlight different +parts. +

Here is a non-exhaustive list of things that can distract readers: +

    +
  • Strong contrasts will always be registered first by the eye. For example, consider the following two + grids: +

    SVG-Viewer needed.

    +

    Even though the left grid comes first in our normal reading order, the right one is much more likely to be seen + first: The white-to-black contrast is higher than the gray-to-white contrast. In addition, there are more + “places” adding to the overall contrast in the right grid. +

    Things like grids and, more generally, help lines usually should not grab the attention of the readers and, + hence, should be typeset with a low contrast to the background. Also, a loosely-spaced grid is less distracting + than a very closely-spaced grid. +

  • +
  • Dashed lines create many points at which there is black-to-white contrast. Dashed or dotted lines can be very + distracting and, hence, should be avoided in general. +

    Do not use different dashing patterns to differentiate curves in plots. You loose data points this way and the + eye is not particularly good at “grouping things according to a dashing pattern.” The eye is much better at + grouping things according to colors. +

  • +
  • Background patterns filling an area using diagonal lines or horizontal and vertical lines or just dots are almost + always distracting and, usually, serve no real purpose. +
  • +
  • Background images and shadings distract and only seldom add anything of importance to a + graphic. +
  • +
  • Cute little cliparts can easily draw attention away from the data.
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse5.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse5.html new file mode 100644 index 00000000000..cf74e1988cf --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse5.html @@ -0,0 +1,630 @@ + + +5 Input and Output Formats + + + + + + + + +

+

5 Input and Output Formats

+

TEX was designed to be a flexible system. This is true both for the input for TEX as well as for the output. The +present section explains which input formats there are and how they are supported by PGF. It also explains which +different output formats can be produced. +

+

5.1 Supported Input Formats

+

TEX does not prescribe exactly how your input should be formatted. While it is customary that, +say, an opening brace starts a scope in TEX, this is by no means necessary. Likewise, it is customary +that environments start with \begin, but TEX could not really care less about the exact command +name. +

Even though TEX can be reconfigured, users can not. For this reason, certain input formats specify a set of +commands and conventions how input for TEX should be formatted. There are currently three “major” formats: +Donald Knuth’s original plain TEX format, Leslie Lamport’s popular LATEX format, and Hans Hangen’s +ConTEXt format. +

+

5.1.1 Using the LATEX Format
+

Using PGF and TikZ with the LATEX format is easy: You say \usepackage{pgf} or \usepackage{tikz}. +Usually, that is all you need to do, all configuration will be done automatically and (hopefully) correctly. +

The style files used for the LATEX format reside in the subdirectory latex/pgf/ of the PGF-system. Mainly, +what these files do is to include files in the directory generic/pgf. For example, here is the content of the file +latex/pgf/frontends/tikz.sty: +

+
+
% Copyright 2005 by Till Tantau <tantau@users.sourceforge.net>. +
% +
% This program can be redistributed and/or modified under the terms +
% of the GNU Public License, version 2. +
+
\RequirePackage{pgf,calc,pgffor,pgflibraryplothandlers,xkeyval} +
+
\input{tikz.code} +
+
\endinput
+

The files in the generic/pgf directory do the actual work. +

+

5.1.2 Using the Plain TEX Format
+

When using the plain TEX format, you say \input{pgf.tex} or \input{tikz.tex}. Instead of \begin{pgfpicture} +and \end{pgfpicture} you use \pgfpicture and \endpicture. +

Unlike for the LATEX format, PGF is not as good at discerning the appropriate configuration for the plain +TEX format. In particular, it can only automatically determine the correct output format if you use pdftex or tex +plus dvips. For all other output formats you need to set the macro \pgfsysdriver to the correct value. See the +description of using output formats later on. +

PGF was originally written for use with LATEX and this shows in a number of places. Nevertheless, the plain +TEX support is reasonably good. +

Like the LATEX style files, the plain TEX files like tikz.tex also just include the correct tikz.code.tex +file. + + +

+

5.1.3 Using the ConTEXt Format
+

Currently, there is no special support for the ConTEXt format. Rather, you have to use PGF and TikZ as if you +were using the plain TEX format when using ConTEXt. This may change in the future. +

+

5.2 Supported Output Formats

+

An output format is a format in which TEX outputs the text it has typeset. Producing the output is (conceptually) +a two-stage process: +

    +
  1. TEX typesets your text and graphics. The result of this typesetting is mainly a long list of + letter-coordinate pairs, plus (possibly) some “special” commands. This long list of pairs is written to + something called a .dvi-file. +
  2. +
  3. Some other program reads this .dvi-file and translates the letter-coordinate pairs into, say, PostScript + commands for placing the given letter at the given coordinate.
+

The classical example of this process is the combination of latex and dvips. The latex program (which is just +the tex program called with the LATEX-macros preinstalled) produces a .dvi-file as its output. The dvips +program takes this output and produces a .ps-file (a PostScript) file. Possibly, this file is further converted using, +say, ps2pdf, whose name is supposed to mean “PostScript to PDF.” Another example of programs using this +process is the combination of tex and dvipdfm. The dvipdfm program takes a .dvi-file as input and translates the +letter-coordinate pairs therein into PDF-commands, resulting in a .pdf file directly. Finally, the tex4ht is also a +program that takes a .dvi-file and produces an output, this time it is a .html file. The programs pdftex +and pdflatex are special: They directly produce a .pdf-file without the intermediate .dvi-stage. +However, from the programmer’s point of view they behave exactly as if there where an intermediate +stage. +

Normally, TEX only produces letter-coordinate pairs as its “output.” This obviously makes is difficult tho draw, +say, a curve. For this, “special” commands can be used. Unfortunately, these special commands are not the same for +the different programs that process the .dvi-file. Indeed, every program that takes a .dvi-file as input has a totally +different syntax for the special commands. +

One of the main jobs of PGF is to “abstract way” the difference in the syntax of the different programs. +However, this means that support for each program has to be “programmed,” which is a time-consuming and +complicated process. +

+

5.2.1 Selecting the Backend Driver
+

When TEX typesets your document, it does not know which program you are going to use to transform the +.dvi-file. If your .dvi-file does not contain any special commands, this would be fine; but these days almost all +.dvi-files contain lots of special commands. It is thus necessary to tell TEX which program you are going to use +later on. +

Unfortunately, there is no “standard” way of telling this to TEX. For the LATEX format a sophisticated +mechanism exists inside the graphics package and PGF plugs into this mechanism. For other formats and when this +plugging does not work as expected, it is necessary to tell PGF directly which program you are going to use. This is +done by redefining the macro \pgfsysdriver to an appropriate value before you load pgf. If you are going to use +the dvips program, you set this macro to the value pgfsys-dvips.def; if you use pdftex or pdflatex, you set it to +pgfsys-pdftex.def; and so on. In the following, details of the support of the different programs are +discussed. +

+

5.2.2 Producing PDF Output
+

PGF supports three programs that produce PDF output (PDF means “portable document format” and was invented +by the Adobe company): dvipdfm, pdftex, and vtex. The pdflatex program is the same as the pdftex program: it +uses a different input format, but the output is exactly the same. + + +

+

+File pgfsys-pdftex.def
+ + +

This is the driver file for use with pdfTEX, that is, with the pdftex or pdflatex command. It includes + pgfsys-common-pdf.def. +

This driver has the “complete” functionality. This means, everything PGF “can do at all” is + implemented in this driver.

+

+

+File pgfsys-dvipdfm.def
+ + +

This is a driver file for use with (la)tex followed by dvipdfm. It includes pgfsys-common-pdf.def. +

This driver supports most of PGF’s features, but there are some restrictions: +

    +
  1. In LATEX mode it uses graphicx for the graphics inclusion and does not support masking. +
  2. +
  3. In plain TEX mode it does not support image inclusion.
+
+

+

+File pgfsys-vtex.def
+ + +

This is the driver file for use with the commercial VTEX program. Even though is will produce PDF + output, it includes pgfsys-common-postscript.def. Note that the VTEX program can produce both + Postscript and PDF output, depending on the command line parameters. However, whether you produce + Postscript or PDF output does not change anything with respect to the driver. +

This driver supports most of PGF’s features, except for the following restrictions: +

    +
  1. In LATEX mode it uses graphicx for the graphics inclusion and does not support masking. +
  2. +
  3. In plain TEX mode it does not support image inclusion. +
  4. +
  5. Shading is fully implemented, but yields the same quality as the implementation for dvips. +
  6. +
  7. Opacity is not implemented at all.
+
+

It is also possible to produce a .pdf-file by first producing a PostScript file (see below) and then using a +PostScript-to-PDF conversion program like ps2pdf or the Acrobat Distiller. +

+

5.2.3 Producing PostScript Output
+

+ + +

+File pgfsys-dvips.def
+ + +

This is a driver file for use with (la)tex followed by dvips. It includes + pgfsys-common-postscript.def. +

This driver also supports most of PGF’s features, except for the following restrictions: +

    +
  1. In LATEX mode it uses graphicx for the graphics inclusion and does not support masking. +
  2. +
  3. In plain TEX mode it does not support image inclusion. +
  4. +
  5. Shading is fully implemented, but the results will not be as good as with a driver producing .pdf + as output. +
  6. +
  7. Opacity works only in conjunction with newer versions of GhostScript.
+
+

You can also use the vtex program together with pgfsys-vtex.def to produce Postscript output. +

+

5.2.4 Producing HTML / SVG Output
+

The tex4ht program converts .dvi-files to .html-files. While the HTML-format cannot be used to draw graphics, +the SVG-format can. Using the following driver, you can ask PGF to produce an SVG-picture for each PGF graphic in +your text. +

+

+File pgfsys-tex4ht.def
+ + +

This is a driver file for use with the tex4ht program. It includes pgfsys-common-svg.def. +

When using this driver you should be aware of the following restrictions: +

    +
  1. In LATEX mode it uses graphicx for the graphics inclusion. +
  2. +
  3. In plain TEX mode it does not support image inclusion. +
  4. +
  5. Text inside pgfpictures is not supported very well. The reason is that the SVG specification + currently does not support text very well and it is also not possible to correctly “escape back” to + HTML. All these problems will hopefully disappear in the future, but currently only two kinds of + text work reasonably well: First, plain text without math mode, special characters or anything + else special. Second, very simple mathematical text that contains subscripts or superscripts. Even + then, variables are not correctly set in italics and, in general, text simple does not look very nice. +
  6. +
  7. If you use text that contains anything special, even something as simple as $\alpha$, this may + corrupt the graphic since text4ht does not always produce valid XML code. So, once more, stick + to very simple node text inside graphics. Sorry. +
  8. +
  9. Unlike for other output formats, the bounding box of a picture “really crops” the picture.
+ + +

The driver basically works as follows: When a {pgfpicture} is started, appropriate \special commands are + used to directed the output of tex4ht to a new file called \jobname-xxx.svg, where xxx is a + number that is increased for each graphic. Then, till the end of the picture, each (system layer) + graphic command creates a specials that insert appropriate SVG literal text into the output file. + The exact details are a bit complicated since the imaging model and the processing model of + PostScript/PDF and SVG are not quite the same; but they are “close enough” for PGF’s purposes. +

+ + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse6.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse6.html new file mode 100644 index 00000000000..df454968210 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse6.html @@ -0,0 +1,713 @@ + + +6 Design Principles + + + + + + + + +

+

6 Design Principles

+

This section describes the design principles behind the TikZ frontend, where TikZ means “TikZ ist kein +Zeichenprogramm.” To use TikZ, as a LATEX user say \usepackage{tikz} somewhere in the preamble, as a plain +TEX user say \input tikz.tex. TikZ’s job is to make your life easier by providing an easy-to-learn and +easy-to-use syntax for describing graphics. +

The commands and syntax of TikZ were influenced by several sources. The basic command names and the +notion of path operations is taken from METAFONT, the option mechanism comes from PSTRICKS, the notion of +styles is reminiscent of SVG. To make it all work together, some compromises were necessary. I also added some +ideas of my own, like meta-arrows and coordinate transformations. +

The following basic design principles underlie TikZ: +

    +
  1. Special syntax for specifying points. +
  2. +
  3. Special syntax for path specifications. +
  4. +
  5. Actions on paths. +
  6. +
  7. Key-value syntax for graphic parameters. +
  8. +
  9. Special syntax for nodes. +
  10. +
  11. Special syntax for trees. +
  12. +
  13. Grouping of graphic parameters. +
  14. +
  15. Coordinate transformation system.
+

+

6.1 Special Syntax For Specifying Points

+

TikZ provides a special syntax for specifying points and coordinates. In the simplest case, you provide two +TEX dimensions, separated by commas, in round brackets as in (1cm,2pt). +

You can also specify a point in polar coordinates by using a colon instead of a comma as in (30:1cm), which +means “1cm in a 30 degrees direction.” +

If you do not provide a unit, as in (2,1), you specify a point in PGF’s xy-coordinate system. By default, the unit +x-vector goes 1cm to the right and the unit y-vector goes 1cm upward. +

By specifying three numbers as in (1,1,1) you specify a point in PGF’s xyz-coordinate system. +

It is also possible to use an anchor of a previously defined shape as in (first node.south). +

You can add two plus signs before a coordinate as in ++(1cm,0pt). This means “1cm to the right of the last +point used.” This allows you to easily specify relative movements. For example, (1,0) ++(1,0) ++(0,1) specifies +the three coordinates (1,0), then (2,0), and (2,1). +

Finally, instead of two plus signs, you can also add a single one. This also specifies a point in a relative +manner, but it does not “change” the current point used in subsequent relative commands. For example, +(1,0) +(1,0) +(0,1) specifies the three coordinates (1,0), then (2,0), and (1,1). + + +

+

6.2 Special Syntax For Path Specifications

+

When creating a picture using TikZ, your main job is the specification of paths. A path is a series of straight or +curved lines, which need not be connected. TikZ makes it easy to specify paths, partly using the syntax of +METAPOST. For example, to specify a triangular path you use +

+

(5pt,0pt) -- (0pt,0pt) -- (0pt,5pt) -- cycle +
+
+

and you get

SVG-Viewer needed.

when you draw this path. +

+

6.3 Actions on Paths

+

A path is just a series of straight and curved lines, but it is not yet specified what should happen with it. One +can draw a path, fill a path, shade it, clip it, or do any combination of these. Drawing (also known +as stroking) can be thought of as taking a pen of a certain thickness and moving it along the path, +thereby drawing on the canvas. Filling means that the interior of the path is filled with a uniform color. +Obviously, filling makes sense only for closed paths and a path is automatically closed prior to filling, if +necessary. +

Given a path as in \path (0,0) rectangle (2ex,1ex);, you can draw it by adding the draw option as in +\path[draw] (0,0) rectangle (2ex,1ex);, which yields

SVG-Viewer needed.

. The \draw command is just an abbreviation for +\path[draw]. To fill a path, use the fill option or the \fill command, which is an abbreviation for \path[fill]. +The \filldraw command is an abbreviation for \path[fill,draw]. Shading is caused by the shade option (there +are \shade and \shadedraw abbreviations) and clipping by the clip option. There is is also a \clip command, +which does the same as \path[clip], but not commands like \drawclip. Use, say, \draw[clip] or +\path[draw,clip] instead. +

All of these commands can only be used inside {tikzpicture} environments. +

TikZ allows you to use different colors for filling and stroking. +

+

6.4 Key-Value Syntax for Graphic Parameters

+

Whenever TikZ draws or fills a path, a large number of graphic parameters influenced the rendering. Examples +include the colors used, the dashing pattern, the clipping area, the line width, and many others. In TikZ, all these +options are specified as lists of so called key-value pairs, as in color=red, that are passed as optional parameters to +the path drawing and filling commands. This usage is similar to PSTRICKS. For example, the following will draw a +thick, red triangle; +

+
 

SVG-Viewer needed.

 

\tikz \draw[line width=2pt,color=red] (1,0) -- (0,0) -- (1,0) -- cycle; +
+
+

+

6.5 Special Syntax for Specifying Nodes

+

TikZ introduces a special syntax for adding text or, more generally, nodes to a graphic. When you specify a path, +add nodes as in the following example: +

+ +
 

SVG-Viewer needed.

 
+
\tikz \draw (1,1) node {text} -- (2,2);
+

Nodes are inserted at the current position of the path, but only after the path has been rendered. When special +options are given, as in \draw (1,1) node[circle,draw] {text};, the text is not just put at the current position. +Rather, it is surrounded by a circle and this circle is “drawn.” +

You can add a name to a node for later reference either by using the option name=<node name> or by stating the +node name in parentheses outside the text as in node[circle](name){text}. +

Predefined shapes include rectangle, circle, and ellipse, but it is possible (though a bit challenging) to +define new shapes. + + +

+

6.6 Special Syntax for Specifying Trees

+

In addition to the “node syntax,” TikZ also introduces a special syntax for drawing trees. The syntax is intergrated +with the special node syntax and only few new commands need to be remebered. In essence, a node can be followed +by any number of children, each introduced by the keyword child. The children are nodes themselves, each of which +may have children in turn. +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node {root} +
    child {node {left}} +
    child {node {right} +
      child {node {child}} +
      child {node {child}} +
    }; +
\end{tikzpicture}
+

Since trees are made up from nodes, it is possible to use options to modify the way trees are drawn. Here are two +examples of the above tree, redrawn with different options: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[edge from parent fork down] +
  \tikzstyle{every node}=[fill=red!30,rounded corners] +
  \tikzstyle{edge from parent}=[red,-o,thick,draw] +
  \node {root} +
      child {node {left}} +
      child {node {right} +
        child {node {child}} +
        child {node {child}} +
      }; +
\end{tikzpicture}
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
    [parent anchor=east,child anchor=west,grow=east] +
  \tikzstyle{every node}=[ball color=red,circle,text=white] +
  \tikzstyle{edge from parent}=[draw,dashed,thick,red] +
  \node {root} +
      child {node {left}} +
      child {node {right} +
        child {node {child}} +
        child {node {child}} +
      }; +
\end{tikzpicture}
+ + +

+

6.7 Grouping of Graphic Parameters

+

Graphic parameters should often apply to several path drawing or filling commands. For example, we may wish to +draw numerous lines all with the same line width of 1pt. For this, we put these commands in a {scope} +environment that takes the desired graphic options as an optional parameter. Naturally, the specified graphic +parameters apply only to the drawing and filling commands inside the environment. Furthermore, nested +{scope} environments or individual drawing commands can override the graphic parameters of outer +{scope} environments. In the following example, three red lines, two green lines, and one blue line are +drawn: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \begin{scope}[color=red] +
    \draw (0mm,10mm) -- (10mm,10mm); +
    \draw (0mm, 8mm) -- (10mm, 8mm); +
    \draw (0mm, 6mm) -- (10mm, 6mm); +
  \end{scope} +
  \begin{scope}[color=green] +
    \draw             (0mm, 4mm) -- (10mm, 4mm); +
    \draw             (0mm, 2mm) -- (10mm, 2mm); +
    \draw[color=blue] (0mm, 0mm) -- (10mm, 0mm); +
  \end{scope} +
\end{tikzpicture}
+

The {tikzpicture} environment itself also behaves like a {scope} environment, that is, you can +specify graphic parameters using an optional argument. These optional apply to all commands in the +picture. +

+

6.8 Coordinate Transformation System

+

TikZ relies entirely on PGF’s coordinate transformation system to perform transformations. PGF also supports +canvas transformations, a more low-level transformation system, but this system is not accessible from TikZ. There +are two reasons for this: First, the canvas transformation must be used with great care and often results in “bad” +graphics with changing line width and text in wrong sizes. Second, PGF looses track of where nodes and shapes are +positioned when canvas transformations are used. +

For more details on the difference between coordinate transformations and canvas transformations see +Section 18.4. + + + + + + +

+

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse7.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse7.html new file mode 100644 index 00000000000..3b80ff1c910 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse7.html @@ -0,0 +1,1061 @@ + + +7 Hierarchical Structures: +Package, Environments, Scopes, and Styles + + + + + + + + +

+

7 Hierarchical Structures: +
Package, Environments, Scopes, and Styles

+

The present section explains how your files should be structured when you use TikZ. On the top level, you need to +include the tikz package. In the main text, each graphic needs to be put in a {tikzpicture} environment. Inside +these environments, you can use {scope} environments to create internal groups. Inside the scopes you use \path +commands to actually draw something. On all levels (except for the package level), graphic options can be given +that apply to everything within the environment. +

+

7.1 Loading the Package

+

+

+\usepackage{tikz} % LATEX
+ + +
+\input tikz.tex % plain TEX
+
+\input tikz.tex % ConTEXt
+

This package does not have any options. +

This will automatically load the PGF package and several other stuff that TikZ needs (like the xkeyval + package). +

PGF needs to know what TEX driver you are intending to use. In most cases PGF is clever enough + to determine the correct driver for you; this is true in particular if you LATEX. Currently, the only + situation where PGF cannot know the driver “by itself” is when you use plain TEX or ConTEXt + together with dvipdfm. In this case, you have to write \def\pgfsysdriver{pgfsys-dvipdfm.def} + before you input tikz.tex.

+

+

7.2 Creating a Picture

+

+

7.2.1 Creating a Picture Using an Environment
+

The “outermost” scope of TikZ is the {tikzpicture} environment. You may give drawing commands only +inside this environment, giving them outside (as is possible in many other packages) will result in +chaos. +

In TikZ, the way graphics are rendered is strongly influenced by graphic options. For example, there is an option +for setting the color used for drawing, another for setting the color used for filling, and also more obscure ones like +the option for setting the prefix used in the filenames of temporary files written while plotting functions using an +external program. The graphic options are nearly always specified in a so-called key-value style. (The “nearly +always” refers to the name of nodes, which can also be specified differently.) All graphic options are local to the +{tikzpicture} to which they apply. +

+ + +

+\begin{tikzpicture}[<options>]
+
+  <environment contents>
+
+\end{tikzpicture}
+ + +

All TikZ commands should be given inside this environment, except for the \tikzstyle command. + Unlike other packages, it is not possible to use, say, \pgfpathmoveto outside this environment and + doing so will result in chaos. For TikZ, commands like \path are only defined inside this environment, + so there is little chance that you will do something wrong here. +

When this environment is encountered, the <options> are parsed. All options given here will apply to + the whole picture. +

Next, the contents of the environment is processed and the graphic commands therein are put into a box. + Non-graphic text is suppressed as well as possible, but non-PGF commands inside a {tikzpicture} + environment should not produce any “output” since this may totally scramble the positioning system + of the backend drivers. The suppressing of normal text, by the way, is done by temporarily switching + the font to \nullfont. You can, however, “escape back” to normal TEX typesetting. This happens, + for example, when you specify a node. +

At the end of the environment, PGF tries to make a good guess at a good guess at the bounding + box of the graphic and then resizes the box such that the box has this size. To “make its guess,” + everytime PGF encounters a coordinate, it updates the bound box’s size such that it encompasses all + these coordinates. This will usually give a good approximation at the bounding box, but will not always + be accurate. First, the line thickness is not taken into account. Second, controls points of a curve often + lie far “outside” the curve and make the bounding box too large. In this case, you should use the + [use as bounding box] option. +

The following option influences the baseline of the resulting picture: +

    +
  • baseline=<dimension> Normally, the lower end of the picture is put on the baseline of the + surrounding text. For example, when you give the code \tikz\draw(0,0)circle(.5ex);, + PGF will find out that the lower end of the picture is at -.5ex and that the upper end is at .5ex. + Then, the lower end will be put on the baseline, resulting in the following:

    SVG-Viewer needed.

    . +

    Using this option, you can specify that the picture should be raised or lowered such that the height + <dimension> is on the baseline. For example, tikz[baseline=0pt]\draw(0,0)circle(.5ex); + yields

    SVG-Viewer needed.

    since, now, the baseline is on the height of the x-axis. If you omit the <dimensions>, 0pt + is assumed as default. +

    This options is often useful for “inlined” graphics as in +

    +
     A

    SVG-Viewer needed.

    B  

    $A \mathbin{\tikz[baseline] \draw[->>] (0pt,.5ex) -- (3ex,.5ex);} B$ +
    +
    +
  • +
  • execute at begin picture=<code> This option can be used to install some code that will be executed at + the beginning of the picture. This option must be given in the argument of the {tikzpicture} + environment itself since this option will not have an effect otherwise. After all, the picture has already + “started” later on. +

    This option is mainly used in styles like the every picture style to execute certain code at the start of a + picture. +

  • +
  • execute at end picture=<code> This option installs some code that will be executed at the end of the + picture. Using this option multiple times will cause the code to accumulate. This option must also be + given in the optional argument of the {tikzpicture} environment. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[execute at end picture=% +
      { +
        \begin{pgfonlayer}{background} +
          \path[fill=yellow,rounded corners] +
            (current bounding box.south west) rectangle +
            (current bounding box.north east); +
        \end{pgfonlayer} +
      }] +
      \node at (0,0) {X}; +
      \node at (2,1) {Y}; +
    \end{tikzpicture}
    +
+

All options “end” at the end of the picture. To set an option “globally” you can use the following + style: +

    +
  • style=every picture This style is installed at the beginning of each picture. +

    +

    \tikzstyle{every picture}=[semithick] +
    +
    +
+
+

In plain TEX, you should use instead the following commands: +

+

+\tikzpicture[<options>]
+
+  <environment contents>
+
+\endtikzpicture
+ + +
+

+

7.2.2 Creating a Picture Using a Command
+

The following two commands are used for “small” graphics. +

+

+\tikz[<options>]{<commands>}
+ +

This command places the <commands> inside a {tikzpicture} environment and adds a semicolon at + the end. This is just a convenience. +

The <commands> may not contain a paragraph (an empty line). This is a precaution to ensure that + users really use this command only for small graphics. +

Example: \tikz{\draw (0,0) rectangle (2ex,1ex)} yields

SVG-Viewer needed.

+

+ + +

+\tikz[<options>]<text>;
+ +

If the <text> does not start with an opening brace, the end of the <text> is the next semicolon that is + encountered. +

Example: \tikz \draw (0,0) rectangle (2ex,1ex); yields

SVG-Viewer needed.

+

+

7.2.3 Adding a Background
+

By default, pictures do not have any background, that is, they are “transparent” on all parts on which you do not +draw anything. You may instead wish to have a colored background behind your picture or a black frame around it +or lines above and below it or some other kind of decoration. +

Since backgrounds are often not needed at all, the definition of styles for adding backgrounds has been put in the +library package pgflibrarytikzbackgrounds. This package is documented in Section 14.7. +

+

7.3 Using Scopes to Structure a Picture

+

Inside a {tikzpicture} environment you can create scopes using the {scope} environment. This environment is +available only inside the {tikzpicture} environment, so once more, there is little chance of doing anything +wrong. +

+

+\begin{scope}[<options>]
+
+  <environment contents>
+
+\end{scope}
+ + +

All <options> are local to the <environment contents>. Furthermore, the clipping path is also local to + the environment, that is, any clipping done inside the environment “ends” at its end. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \begin{scope}[red] +
    \draw (0mm,0mm) -- (10mm,0mm); +
    \draw (0mm,1mm) -- (10mm,1mm); +
  \end{scope} +
  \draw (0mm,2mm) -- (10mm,2mm); +
  \begin{scope}[green] +
    \draw (0mm,3mm) -- (10mm,3mm); +
    \draw (0mm,4mm) -- (10mm,4mm); +
    \draw[blue] (0mm,5mm) -- (10mm,5mm); +
  \end{scope} +
\end{tikzpicture}
+

The following style influences scopes: +

    +
  • style=every scope This style is installed at the beginning of every scope. I do not know really + know what this might be good for, but who knows?
+

The following options are useful for scopes: + + +

    +
  • execute at begin scope=<code> This option install some code that will be executed at the + beginning of the scope. This option must be given in the argument of the {scope} environment. +

    The effect applies only to the current scope, not to subscopes. +

  • +
  • execute at end scope=<code> This option installs some code that will be executed at the end + of the current scope. Using this option multiple times will cause the code to accumulate. This + option must also be given in the optional argument of the {scope} environment. +

    Again, the effect applies only to the current scope, not to subscopes.

+
+

In plain TEX, you use the following commands instead: +

+

+\scope[<options>]
+
+  <environment contents>
+
+\endscope
+ + +
+

+

7.4 Using Scopes Inside Paths

+

The \path command, which is described in much more detail in later sections, also takes graphic options. These +options are local to the path. Furthermore, it is possible to create local scopes within a path simply by using curly +braces as in +

+
 

SVG-Viewer needed.

 

+\tikz \draw (0,0) -- (1,1) +
           {[rounded corners] -- (2,0) -- (3,1)} +
           -- (3,0) -- (2,1);
+

Note that many options apply only to the path as a whole and cannot be scoped in this way. For example, it is +not possible to scope the color of the path. See the explanations in the section on paths for more +details. +

Finally, certain elements that you specify in the argument to the \path command also take local options. For +example, a node specification takes options. In this case, the options apply only to the node, not to the surrounding +path. +

+

7.5 Using Styles to Manage How Pictures Look

+

There is a way of organizing sets of graphic options “orthogonally” to the normal scoping mechanism. For example, +you might wish all your “help lines” to be drawn in a certain way like, say, gray and thin (do not dash them, that +distracts). For this, you can use styles. +

A style is simply a set of graphic options that is predefined at some point. Once a style has been defined, it can +be used anywhere using the style option: +

    +
  • style=<style name> invokes all options that are currently set in the <style name>. An example of a style is the + predefined help lines style, which you should use for lines in the background like grid lines or construction + lines. You can easily define new styles and modify existing ones. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw                   (0,0) grid +(2,2); +
      \draw[style=help lines] (2,0) grid +(2,2); +
    \end{tikzpicture}
    +
+

+

+\tikzstyle<style name>+=[<options>]
+ +

This command defines the style <style name>. Whenever it is used using the style=<style name> + command, the <options> will be invoked. It is permissible that a style invokes another style using the + style= command inside the <options>, which allows you to build hierarchies of styles. Naturally, you + should not create cyclic dependencies. +

If the style already has a predefined meaning, it will unceremoniously be redefined without a + warning. +

+
 

SVG-Viewer needed.

 
+
\tikzstyle{help lines}=[blue!50,very thin] +
\begin{tikzpicture} +
  \draw                   (0,0) grid +(2,2); +
  \draw[style=help lines] (2,0) grid +(2,2); +
\end{tikzpicture}
+

If the optional + is given, the options are added to the existing definition: +

+
 

SVG-Viewer needed.

 
+
\tikzstyle{help lines}+=[dashed]% aaarghhh!!! +
\begin{tikzpicture} +
  \draw                   (0,0) grid +(2,2); +
  \draw[style=help lines] (2,0) grid +(2,2); +
\end{tikzpicture}
+
+

It is also possible to set a style using an option: +

    +
  • set style={{<style name>}+=[<options>]} This option has the same effect as saying \tikzstyle before the + argument of the option. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[set style={{help lines}+=[dashed]}] +
      \draw                   (0,0) grid +(2,2); +
      \draw[style=help lines] (2,0) grid +(2,2); +
    \end{tikzpicture}
    + + +
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse8.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse8.html new file mode 100644 index 00000000000..8e0201cc182 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse8.html @@ -0,0 +1,1098 @@ + + +8 Specifying Coordinates + + + + + + + + +

+

8 Specifying Coordinates

+

+

8.1 Coordinates and Coordinate Options

+

A coordinate is a position in a picture. TikZ uses a special syntax for specifying coordinates. Coordinates are always +put in round brackets. The general syntax is ([<options>]<coordinate specification>). +

It is possible to give options that apply only to a single coordinate, although this makes sense for transformation +options only. To give transformation options for a single coordinate, give these options at the beginning in +brackets: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[style=help lines] (0,0) grid (3,2); +
  \draw      (0,0) -- (1,1); +
  \draw[red] (0,0) -- ([xshift=3pt] 1,1); +
  \draw      (1,0) -- +(30:2cm); +
  \draw[red] (1,0) -- +([shift=(135:5pt)] 30:2cm); +
\end{tikzpicture}
+

+

8.2 Simple Coordinates

+

The simplest way to specify coordinates is as a comma-separated pair of TEX dimensions as in (1cm,2pt) or +(2cm,\textheight). As can be seen, different units can be mixed. The coordinate specified in this way means “1cm +to the right and 2pt up from the origin of the picture.” You can also write things like (1cm+2pt,2pt) since the calc +package is used. +

+

8.3 Polar Coordinates

+

You can also specify coordinates in polar coordinates. In this case, you specify an angle and a distance, separated by +a colon as in (30:1cm). The angle must always be given in degrees and should be between -360 and +720. +

+
 

SVG-Viewer needed.

 
+
\tikz \draw    (0cm,0cm) -- (30:1cm) -- (60:1cm) -- (90:1cm) +
            -- (120:1cm) -- (150:1cm) -- (180:1cm);
+

Instead of an angle given as a number you can also use certain words. For example, up is the same as 90, so that +you can write \tikz \draw (0,0) -- (2ex,0pt) -- +(up:1ex); and get

SVG-Viewer needed.

. Apart from up you can use down, +left, right, north, south, west, east, north east, north west, south east, south west, all of which have their +natural meaning. + + +

+

8.4 Xy- and Xyz-Coordinates

+

You can specify coordinates in PGF’s xy-coordinate system. In this case, you provide two unit-free numbers, +separated by a comma as in (2,-3). This means “add twice the current PGF x-vector and subtract three times the +y-vector.” By default, the x-vector points 1cm to the right, the y-vector points 1cm upwards, but this can be +changed arbitrarily using the x and y graphic options. +

Similarly, you can specify coordinates in the xyz-coordinate system. The only difference to the xy-coordinates is +that you specify three numbers separated by commas as in (1,2,3). This is interpreted as “once the x-vector plus +twice the y-vector plus three times the z-vector.” The default z-vector points to (- 1
+ V~ 2cm,- 1
+ V~ 2cm). Consider the +following example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[->] +
  \draw (0,0,0) -- (1,0,0); +
  \draw (0,0,0) -- (0,1,0); +
  \draw (0,0,0) -- (0,0,1); +
\end{tikzpicture}
+

+

8.5 Node Coordinates

+

In PGF and in TikZ it is quite easy to define a node that you wish to reference at a later point. Once you have +defined a node, there are different ways of referencing points of the node. +

+

8.5.1 Named Anchor Coordinates
+

An anchor coordinate is a point in a node that you have previously defined using the node operation. +The syntax is (<node name>.<anchor>), where <node name> is the name that was previously used +to name the node using the name=<node name> option or the special node name syntax. Here is an +example: +

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \node (shape)   at (0,2)  [draw] {|class Shape|}; +
  \node (rect)    at (-2,0) [draw] {|class Rectangle|}; +
  \node (circle)  at (2,0)  [draw] {|class Circle|}; +
  \node (ellipse) at (6,0)  [draw] {|class Ellipse|}; +
+
  \draw (circle.north) |- (0,1); +
  \draw (ellipse.north) |- (0,1); +
  \draw[-open triangle 90] (rect.north) |- (0,1) -| (shape.south); +
\end{tikzpicture}
+
+

Section 11.8 explain which anchors are available for the basic shapes. +

+

8.5.2 Angle Anchor Coordinates
+

In addition to the named anchors, it is possible to use the syntax <node name>.<angle> to name a point of the +node’s border. This point is the coordinate where a ray shot from the center in the given angle hits the border. Here +is an example: + + +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \node (start) [draw,shape=ellipse] {start}; +
  \foreach \angle in {-90, -80, ..., 90} +
    \draw (start.\angle) .. controls +(\angle:1cm) and +(-1,0) .. (2.5,0); +
  \end{tikzpicture}
+

+

8.5.3 Anchor-Free Node Coordinates
+

It is also possible to just “leave out” the anchor and have TikZ calculate an appropriate border position for you. +Here is an example: +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[fill=blue!20] +
  \draw[style=help lines] (-1,-2) grid (6,3); +
  \path (0,0)  node(a) [ellipse,rotate=10,draw,fill]    {An ellipse} +
        (3,-1) node(b) [circle,draw,fill]               {A circle} +
        (2,2)  node(c) [rectangle,rotate=20,draw,fill]  {A rectangle} +
        (5,2)  node(d) [rectangle,rotate=-30,draw,fill] {Another rectangle}; +
  \draw[thick] (a) -- (b) -- (c) -- (d); +
  \draw[thick,red,->] (a) |- +(1,3) -| (c) |- (b); +
  \draw[thick,blue,<->] (b) .. controls +(right:2cm) and +(down:1cm) .. (d); +
\end{tikzpicture}
+
+

TikZ will be reasonably clever at determining the border points that you “mean,” but, naturally, this may fail +in some situations. If TikZ fails to determine an appropriate border point, the center will be used +instead. +

Automatic computation of anchors works only with the line-to operations --, the vertical/horizontal +versions |- and -|, and with the curve-to operation ... For other path commands, such as parabola +or plot, the center will be used. If this is not desired, you should give a named anchor or an angle +anchor. +

Note that if you use an automatic coordinate for both the start and the end of a line-to, as in --(b)--, then two +border coordinates are computed with a move-to between them. This is usually exactly what you +want. +

If you use relative coordinates together with automatic anchor coordinates, the relative coordinates are always +computed relative to the node’s center, not relative to the border point. Here is an example: +

+ +
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) node(x) [draw] {Text} +
            rectangle (1,1) +
            (x) -- +(1,1);
+

Similarly, in the following examples both control points are (1,1): + + +

+ +
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) node(x) [draw] {X} +
            (2,0) node(y) {Y} +
            (x) .. controls +(1,1) and +(-1,1) .. (y);
+

+

8.6 Intersection Coordinates

+

+

8.6.1 Intersection of Two Lines
+

Often you wish to specify a point that is on the intersection of two lines. The first way to specify such an +intersection is the following: You can use the special syntax (intersection of <p1>--<p2> and <q1>--<q2>). This +will yield the intersection point of the line going through p1 and p2 and the line through q1 and q2. If the lines do +not meet or if they are identical and arithmetical overflow error will result. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw[help lines] (0,0) grid (3,2); +
  \draw (0,0) coordinate (A) -- (3,2) coordinate (B) +
        (1,2)                -- (3,0); +
+
  \fill[red] (intersection of A--B and 1,2--3,0) circle (2pt); +
\end{tikzpicture}
+

+

8.6.2 Intersection of Horizontal and Vertical Lines
+

A frequent special case of intersections is the intersection of a vertical line going through a point p and a horizontal +line going through some other point q. For this situation there is a special, shorter, syntax: You can say either +(<p> |- <q>) or (<q> -| <p>). +

For example, (2,1 |- 3,4) and (3,4 -| 2,1) both yield the same as (2,4) (provided the xy-coordinate +system has not been modified). +

The most useful application of the syntax is to draw a line up to some point on a vertical or horizontal line. Here +is an example: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \path (30:1cm) node(p1) {$p_1$}   (75:1cm) node(p2) {$p_2$}; +
+
  \draw (-0.2,0) -- (1.2,0) node(xline)[right] {$q_1$}; +
  \draw (2,-0.2) -- (2,1.2) node(yline)[above] {$q_2$}; +
+
  \draw[->] (p1) -- (p1 |- xline); +
  \draw[->] (p2) -- (p2 |- xline); +
  \draw[->] (p1) -- (p1 -| yline); +
  \draw[->] (p2) -- (p2 -| yline); +
\end{tikzpicture}
+ + +

+

8.7 Relative and Incremental Coordinates

+

You can prefix coordinates by ++ to make them “relative.” A coordinate such as ++(1cm,0pt) means “1cm to the +right of the previous position.” Relative coordinates are often useful in “local” contexts: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (0,0)     -- ++(1,0) -- ++(0,1) -- ++(-1,0) -- cycle; +
  \draw (2,0)     -- ++(1,0) -- ++(0,1) -- ++(-1,0) -- cycle; +
  \draw (1.5,1.5) -- ++(1,0) -- ++(0,1) -- ++(-1,0) -- cycle; +
\end{tikzpicture}
+

Instead of ++ you can also use a single +. This also specifies a relative coordinate, but it does not “update” the +current point for subsequent usages of relative coordinates. Thus, you can use this notation to specify numerous +points, all relative to the same “initial” point: +

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (0,0)     -- +(1,0) -- +(1,1) -- +(0,1) -- cycle; +
  \draw (2,0)     -- +(1,0) -- +(1,1) -- +(0,1) -- cycle; +
  \draw (1.5,1.5) -- +(1,0) -- +(1,1) -- +(0,1) -- cycle; +
\end{tikzpicture}
+

There is one special situation, where relative coordinates are interpreted differently. If you use a relative +coordinate as a control point of a Bézier curve, the following rule applies: First, a relative first control point is +taken relative to the beginning of the curve. Second, a relative second control point is taken relative +to the end of the curve. Third, a relative end point of a curve is taken relative to the start of the +curve. +

This special behavior makes it easy to specify that a curve should “leave or arrives from a certain +direction” at the start or end. In the following example, the curve “leaves” at 30o and “arrives” at +60o: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (1,0) .. controls +(30:1cm) and +(60:1cm) .. (3,-1); +
  \draw[gray,->] (1,0) -- +(30:1cm); +
  \draw[gray,<-] (3,-1) -- +(60:1cm); +
\end{tikzpicture}
+ + + + + + + +

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse9.html b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse9.html new file mode 100644 index 00000000000..8d120dad446 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/en/pgfmanualse9.html @@ -0,0 +1,4719 @@ + + +9 Syntax for Path Specifications + + + + + + + + +

+

9 Syntax for Path Specifications

+

A path is a series of straight and curved line segments. It is specified following a \path command and +the specification must follow a special syntax, which is described in the subsections of the present +section. +

+

+\path<specification>;
+ +

This command is available only inside a {tikzpicture} environment. +

The <specification> is a long stream of path operations. Most of these path operations tell TikZ how + the path is build. For example, when you write --(0,0), you use a line-to operation and it means + “continue the path from wherever you are to the origin.” +

At any point where TikZ expects a path operation, you can also give some graphic options, which + is a list of options in brackets, such as [rounded corners]. These options can have different + effects: +

    +
  1. Some options take “immediate” effect and apply to all subsequent path operations on the path. + For example, the rounded corners option will round all following corners, but not the corners + “before” and if the sharp corners is given later on the path (in a new set of brackets), the + rounding effect will end. +

    +
     

    SVG-Viewer needed.

     

    \tikz \draw (0,0) -- (1,1) +
               [rounded corners] -- (2,0) -- (3,1) +
               [sharp corners] -- (3,0) -- (2,1);
    +

    Another example are the transformation options, which also apply only to subsequent coordinates. +

  2. +
  3. The options that have immediate effect can be “scoped” by putting part of a path in curly braces. For + example, the above example could also be written as follows: +

    +
     

    SVG-Viewer needed.

     

    \tikz \draw (0,0) -- (1,1) +
               {[rounded corners] -- (2,0) -- (3,1)} +
               -- (3,0) -- (2,1);
    +
  4. +
  5. Some options only apply to the path as a whole. For example, the color= option for determining the + color used for, say, drawing the path always applies to all parts of the path. If several different + colors are given for different parts of the path, only the last one (on the outermost scope) + “wins”: +

    +
     

    SVG-Viewer needed.

     

    \tikz \draw (0,0) -- (1,1) +
               [color=red] -- (2,0) -- (3,1) +
               [color=blue] -- (3,0) -- (2,1);
    +

    Most options are of this type. In the above example, we would have had to “split up” the path into + several \path commands: + + +

    +
     

    SVG-Viewer needed.

     

    \tikz{\draw (0,0) -- (1,1); +
          \draw [color=red] (2,0) -- (3,1); +
          \draw [color=blue] (3,0) -- (2,1);}
    +
+

By default, the \path command does “nothing” with the path, it just “throws it away.” Thus, if you write + \path(0,0)--(1,1);, nothing is drawn in your picture. The only effect is that the area occupied by the + picture is (possibly) enlarged so that the path fits inside the area. To actually “do” something with the path, + an option like draw or fill must be given somewhere on the path. Commands like \draw do this + implicitly. +

Finally, it is also possible to give node specifications on a path. Such specifications can come at + different locations, but they are always allowed when a normal path operation could follow. A + node specification starts with node. Basically, the effect is to typeset the node’s text as normal + TEX text and to place it at the “current location” on the path. The details are explained in + Section 11. +

Note, however, that the nodes are not part of the path in any way. Rather, after everything has been done + with the path what is specified by the path options (like filling and drawing the path due to a fill + and a draw option somewhere in the <specification>), the nodes are added in a post-processing + step. +

The following style influences scopes: +

    +
  • style=every path This style is installed at the beginning of every path. This can be useful for + (temporarily) adding, say, the draw option to everything in a scope. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[fill=examplefill] % only sets the color +
      \tikzstyle{every path}=[draw]           % all paths are drawn +
      \fill  (0,0) rectangle +(1,1); +
      \shade (2,0) rectangle +(1,1); +
    \end{tikzpicture}
    +
+
+

+

9.1 The Move-To Operation

+

The perhaps simplest operation is the move-to operation, which is specified by just giving a coordinate where a path +operation is expected. +

+

+\path  ... <coordinate> ...;
+ + +

The move-to operation normally starts a path at a certain point. This does not cause a line segment + to be created, but it specifies the starting point of the next segment. If a path is already under + construction, that is, if several segments have already been created, a move-to operation will start a + new part of the path that is not connected to any of the previous segments. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (0,0) --(2,0) (0,1) --(2,1); +
\end{tikzpicture}
+ + +

In the specification (0,0) --(2,0) (0,1) --(2,1) two move-to operations are specified: (0,0) and (0,1). + The other two operations, namely --(2,0) and --(2,1) are line-to operations, described next. +

+

+

9.2 The Line-To Operation

+

+

9.2.1 Straight Lines
+

+

+\path  ... --<coordinate> ...;
+ + +

The line-to operation extends the current path from the current point in a straight line to the given + coordinate. The “current point” is the endpoint of the previous drawing operation or the point specified + by a prior move-to operation. +

You use two minus signs followed by a coordinate in round brackets. You can add spaces before and + after the --. +

When a line-to operation is used and some path segment has just been constructed, for example by + another line-to operation, the two line segments become joined. This means that if they are drawn, the + point where they meet is “joined” smoothly. To appreciate the difference, consider the following two + examples: In the left example, the path consists of two path segments that are not joined, but that + happen to share a point, while in the right example a smooth join is shown. +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[line width=10pt] +
  \draw (0,0) --(1,1)  (1,1) --(2,0); +
  \draw (3,0) -- (4,1) -- (5,0); +
  \useasboundingbox (0,1.5); % make bounding box higher +
\end{tikzpicture}
+
+

+

9.2.2 Horizontal and Vertical Lines
+

Sometimes you want to connect two points via straight lines that are only horizontal and vertical. For this, you can +use two path construction operations. +

+

+\path  ... -|<coordinate> ...;
+ + +

This operation means “first horizontal, then vertical.” +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (0,0) node(a) [draw] {A}  (1,1) node(b) [draw] {B}; +
  \draw (a.north) |- (b.west); +
  \draw[color=red] (a.east) -| (2,1.5) -| (b.north); +
\end{tikzpicture}
+ + +
+

+

+\path  ... |-<coordinate> ...;
+ + +

This operations means “first vertical, then horizontal.”

+

+

9.2.3 Snaked Lines
+

The line-to operation can not only be used to append straight lines to the path, but also “snaked” lines (called thus +because they look a little bit like snakes seen from above). +

TikZ and PGF use a concept that I termed snakes for appending such “squiggly” lines. A snake specifies a way +of extending a path between two points in a “fancy manner.” +

Normally, a snake will just connect the start point to the end point without starting new subpaths. Thus, a path +containing a snaked line can, nevetheless, still be used for filling. However, this is not always the case. Some snakes +consist of numerous unconnected segments. “Lines” consisting of such snakes cannot be used as the borders of +enclosed areas. +

Here are some examples of snakes in action: +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture}[thick] +
  \draw                                        (0,3)   -- (3,3); +
  \draw[snake=zigzag]                          (0,2.5) -- (3,2.5); +
  \draw[snake=brace]                           (0,2)   -- (3,2); +
  \draw[snake=triangles]                       (0,1.5) -- (3,1.5); +
  \draw[snake=coil,segment length=4pt]         (0,1)   -- (3,1); +
  \draw[snake=coil,segment aspect=0]           (0,.5)  -- (3,.5); +
  \draw[snake=expanding waves,segment angle=7] (0,0)   -- (3,0); +
\end{tikzpicture}
+

+ +
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \filldraw[fill=red!20,snake=bumps] (0,0) rectangle (3,2); +
\end{tikzpicture}
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \filldraw[fill=blue!20]              (0,3) +
  [snake=saw]                       -- (3,3) +
  [snake=coil,segment aspect=0]     -- (2,1) +
  [snake=bumps]                     -| (0,3); +
\end{tikzpicture}
+ + +

No special path operation is needed to use a snake. Instead, you use the following option to “switch on” +snaking: +

    +
  • snake=<snake name> This option causes the snake <snake name> to be used for subsequent line-to + operations. So, whenever you use the -- syntax to specify that a straight line should be added to the + path, a snake to this path will be added instead. Snakes will also be used when you use the -| and + |- syntax and also when you use the rectangle operation. Snakes will not be used when you use the + curve-to operation nor when any other “curved” line is added to the path. +

    This option has to be given anew for each path. However, you can also leave out the <snake name>. In + this case, the enclosing scope’s <snake name> is used. Thus, you can specify a “standard” snake name + for scope and then just say \draw[snake] every time this snake should actually be used. +

    The <snake name>none is special. It can be used to switch off snaking after it has been switched on + on a path. +

    A bit strangely, no valid <snake names> are defined by TikZ by default. Instead, you have to include + the library package pgflibrarysnakes. This package defines numerous snakes, see Section 14.2 for + the complete list.

+

Most snakes can be configured. For example, for a snake that looks like a sine curve, you might wish to change +the amplitude or the frequency. There are numerous options that influence these parameters. Not all options apply +to all snakes, see Section 14.2 once more for details. +

    +
  • gap before snakes=<dimension> This option allows you to add a certain “gap” to the snake at its beginning. + The snake will not start at the current point; instead the start point of the snake is move be <dimension> in + the direction of the target. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[help lines] (0,0) grid (3,2); +
      \draw[snake=zigzag]                      (0,1) -- ++(3,1); +
      \draw[snake=zigzag,gap before snake=1cm] (0,0) -- ++(3,1); +
    \end{tikzpicture}
    +
  • +
  • gap after snake=<dimension> This option has the same effect as gap before snake, only it affects the end + of the snake, which will “end early.” +
  • +
  • gap around snake=<dimension> This option sets the gap before and after the gap to <dimension>. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[help lines] (0,0) grid (3,2); +
      \draw[snake=brace]                      (0,1) -- ++(3,1); +
      \draw[snake=brace,gap around snake=5mm] (0,0) -- ++(3,1); +
    \end{tikzpicture}
    +
  • +
  • line before snake=<dimension> This option works like gap before snake, only it will connect the current + point with a straight line to the start of the snake. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[help lines] (0,0) grid (3,2); +
      \draw[snake=zigzag]                       (0,1) -- ++(3,1); +
      \draw[snake=zigzag,line before snake=1cm] (0,0) -- ++(3,1); +
    \end{tikzpicture}
    +
  • +
  • line after snake=<dimension> Works line gap after snake, only it adds a straight line. +
  • +
  • line around snake=<dimension> Works line gap around snake, only it adds straight lines. +
  • +
  • raise snake=<dimension> This option can be used with all snakes. It will offset the snake by “raising” it by + <dimension>. A negative <dimension> will lower the snake. Raising and lowering is always relative to the line + along which the snake is drawn. Here is an example: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node (a) {A}; +
      \node (b) at (2,1) {B}; +
      \draw                                  (a) -- (b); +
      \draw[snake=brace]                     (a) -- (b); +
      \draw[snake=brace,raise snake=5pt,red] (a) -- (b); +
    \end{tikzpicture}
    +
  • +
  • mirror snake This option causes the snake to be “reflected along the path.” This is best understood by + looking at an example: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node (a) {A}; +
      \node (b) at (2,1) {B}; +
      \draw                                     (a) -- (b); +
      \draw[snake=brace]                        (a) -- (b); +
      \draw[snake=brace,mirror snake,red,thick] (a) -- (b); +
    \end{tikzpicture}
    +

    This option can be used with every snake and can be combined with the raise snake option. +

  • +
  • segment amplitude=<dimension> This option sets the “amplitude” of the snake. For a snake that + is a sine wave this would be the amplitude of this line. For other snakes this value typically + describes how far the snakes “rises above” or “falls below” the path. For some snakes, this value is + ignored. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node (a) {A}   node (b) at (2,1) {B}  node (c) at (2,-1) {C}; +
      \draw[snake=zigzag]                                 (a) -- (b); +
      \draw[snake=zigzag,segment amplitude=5pt,red,thick] (a) -- (c); +
    \end{tikzpicture}
    +
  • +
  • segment length=<dimension> This option sets the length of each “segment” of a snake. For a sine wave + this would be the wave length, for other snakes it is the length of each “repetitive part” of the + snake. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node (a) {A}   node (b) at (2,1) {B}  node (c) at (2,-1) {C}; +
      \draw[snake=zigzag]                               (a) -- (b); +
      \draw[snake=zigzag,segment length=20pt,red,thick] (a) -- (c); +
    \end{tikzpicture}
    +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node (a) {A}   node (b) at (2,1) {B}  node (c) at (2,-1) {C}; +
      \draw[snake=bumps]                               (a) -- (b); +
      \draw[snake=bumps,segment length=20pt,red,thick] (a) -- (c); +
    \end{tikzpicture}
    +
  • +
  • segment object length=<dimension> This option sets the length of the objects inside each segment of a + snake. This option is only used for snakes in which each segment contains an object like a triangle or a + star. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \node (a) {A}   node (b) at (2,1) {B}  node (c) at (2,-1) {C}; +
      \draw[snake=triangles]                                     (a) -- (b); +
      \draw[snake=triangles,segment object length=8pt,red,thick] (a) -- (c); +
    \end{tikzpicture}
    +
  • +
  • segment angle=<degrees> This option sets an angle that is interpreted in a snake-specific way. For example, + the waves and expanding waves snakes interpret this as (half the) opening angle of the wave. The border + snake uses this value for the angle of the little ticks. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[segment amplitude=10pt] +
      \node (a) {A}   node (b) at (2,0) {B}; +
      \draw[snake=border]                            (a) -- (b); +
      \draw[snake=border,segment angle=20,red,thick] (a) -- (b); +
    \end{tikzpicture}
    +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[segment amplitude=10pt] +
      \node (a)            {A}   node (b)  at (2,0)  {B}; +
      \node (a') at (0,-1) {A}   node (b') at (2,-1) {B}; +
      \draw[snake=expanding waves]                            (a)  -- (b); +
      \draw[snake=expanding waves,segment angle=20,red,thick] (a') -- (b'); +
    \end{tikzpicture}
    +
  • +
  • segment aspect=<ratio> This option sets an aspect ratio that is interpreted in a snake-specific way. For + example, for the coils snake this describes the “direction” from which the coil is viewed. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[segment amplitude=5pt,segment length=5pt] +
      \node (a) {A}   node (b) at (2,1) {B}  node (c) at (2,-1) {C}; +
      \draw[snake=coil]                            (a) -- (b); +
      \draw[snake=coil,segment aspect=0,red,thick] (a) -- (c); +
    \end{tikzpicture}
    +
+

It is possible to define new snakes, but this cannot be done inside TikZ. You need to use the command +\pgfdeclaresnake from the basic level directly, see Section 22. +

The following styles define combinations of segment settings that may be useful: +

    +
  • style=snake triangles 45 Installs a snake the consists of little triangles with an opening angle of + 45o. +
  • +
  • style=snake triangles 60 Installs a snake the consists of little triangles with an opening angle of + 60o. +
  • +
  • style=snake triangles 90 Installs a snake the consists of little triangles with an opening angle of + 90o.
+

+

9.3 The Curve-To Operation

+

The curve-to operation allows you to extend a path using a Bézier curve. +

+ + +

+\path  ... ..controls<c>and<d>..<y> ...;
+ + +

This operation extends the current path from the current point, let us call it x, via a curve to a the + current point y. The curve is a cubic Bézier curve. For such a curve, apart from y, you also specify + two control points c and d. The idea is that the curve starts at x, “heading” in the direction of c. + Mathematically spoken, the tangent of the curve at x goes through c. Similarly, the curve ends at y, + “coming from” the other control point, d. The larger the distance between x and c and between d + and y, the larger the curve will be. +

If the “and<d>” part is not given, d is assumed to be equal to c. +

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \draw[line width=10pt] (0,0) .. controls (1,1) .. (4,0) +
                               .. controls (5,0) and (5,1) .. (4,1); +
  \draw[color=gray] (0,0) -- (1,1) -- (4,0) -- (5,0) -- (5,1) -- (4,1); +
\end{tikzpicture}
+

As with the line-to operation, it makes a difference whether two curves are joined because they resulted + from consecutive curve-to or line-to operations, or whether they just happen to have the same + ending: +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[line width=10pt] +
  \draw (0,0) -- (1,1) (1,1) .. controls (1,0) and (2,0) .. (2,0); +
  \draw (3,0) -- (4,1) .. controls (4,0) and (5,0) .. (5,0); +
  \useasboundingbox (0,1.5); % make bounding box higher +
\end{tikzpicture}
+
+

+

9.4 The Cycle Operation

+

+

+\path  ... --cycle ...;
+ + +

This operation adds a straight line from the current point to the last point specified by a move-to + operation. Note that this need not be the beginning of the path. Furthermore, a smooth join is created + between the first segment created after the last move-to operation and the straight line appended by + the cycle operation. +

Consider the following example. In the left example, two triangles are created using three straight lines, + but they are not joined at the ends. In the second example cycle operations are used. +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[line width=10pt] +
  \draw (0,0) -- (1,1) -- (1,0) -- (0,0) (2,0) -- (3,1) -- (3,0) -- (2,0); +
  \draw (5,0) -- (6,1) -- (6,0) -- cycle (7,0) -- (8,1) -- (8,0) -- cycle; +
  \useasboundingbox (0,1.5); % make bounding box higher +
\end{tikzpicture}
+
+
+ + +

+

9.5 The Rectangle Operation

+

A rectangle can obviously be created using four straight lines and a cycle operation. However, since rectangles are +needed so often, a special syntax is available for them. +

+

+\path  ... rectangle<corner> ...;
+ + +

When this operation is used, one corner will be the current point, another corner is given by <corner>, + which becomes the new current point. +

+
 

SVG-Viewer needed.

 

+\begin{tikzpicture} +
  \draw (0,0) rectangle (1,1); +
  \draw (.5,1) rectangle (2,0.5) (3,0) rectangle (3.5,1.5) -- (2,0); +
\end{tikzpicture}
+
+

+

9.6 Rounding Corners

+

All of the path construction operations mentioned up to now are influenced by the following option: +

    +
  • rounded corners=<inset> When this option is in force, all corners (places where a line is continued + either via line-to or a curve-to operation) are replaced by little arcs so that the corner becomes smooth. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw [rounded corners] (0,0) -- (1,1) +
               -- (2,0) .. controls (3,1) .. (4,0);
    +

    The <inset> describes how big the corner is. Note that the <inset> is not scaled along if you use a scaling option + like scale=2. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[color=gray,very thin] (10pt,15pt) circle (10pt); +
      \draw[rounded corners=10pt] (0,0) -- (0pt,25pt) -- (40pt,25pt); +
    \end{tikzpicture}
    +

    You can switch the rounded corners on and off “in the middle of path” and different corners in the same path + can have different corner radii: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw (0,0) [rounded corners=10pt] -- (1,1) -- (2,1) +
                         [sharp corners] -- (2,0) +
                   [rounded corners=5pt] -- cycle; +
    \end{tikzpicture}
    +

    Here is a rectangle with rounded corners: + + +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[rounded corners=1ex] (0,0) rectangle (20pt,2ex);
    +
    +

    You should be aware, that there are several pitfalls when using this option. First, the rounded corner will only + be an arc (part of a circle) if the angle is 90o. In other cases, the rounded corner will still be round, but “not + as nice.” +

    Second, if there are very short line segments in a path, the “rounding” may cause inadverted effects. In such + case it may be necessary to temporarily switch off the rounding using sharp corners. +

  • +
  • sharp corners This options switches off any rounding on subsequent corners of the path.
+

+

9.7 The Circle and Ellipse Operations

+

A circle can be approximated well using four Bézier curves. However, it is difficult to do so correctly. For +this reason, a special syntax is available for adding such an approximation of a circle to the current +path. +

+

+\path  ... circle(<radius>) ...;
+ + +

The center of the circle is given by the current point. The new current point of the path will remain + to be the center of the circle.

+

+

+\path  ... ellipse(<half width> and <half height>) ...;
+ + +

Note that you can add spaces after ellipse, but you have to place spaces around and. +

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \draw (1,0) circle (.5cm); +
  \draw (3,0) ellipse (1cm and .5cm) -- ++(3,0) circle (.5cm) +
    -- ++(2,-.5) circle (.25cm); +
\end{tikzpicture}
+
+
+

+

9.8 The Arc Operation

+

The arc operation allows you to add an arc to the current path. +

+\path  ... arc(<start angle>:<end angle>:<radius>/<half height>) ...;
+ + +

The arc operation adds a part of a circle of the given radius between the given angles. The arc will + start at the current point and will end at the end of the arc. + + +

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \draw (0,0) arc (180:90:1cm) -- (2,.5) arc (90:0:1cm); +
  \draw (4,0) -- +(30:1cm) arc (30:60:1cm) -- cycle; +
  \draw (8,0) arc (0:270:1cm/.5cm) -- cycle; +
\end{tikzpicture}
+
+

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw (-1,0) -- +(3.5,0); +
  \draw (1,0) ++(210:2cm) -- +(30:4cm); +
  \draw (1,0) +(0:1cm) arc (0:30:1cm); +
  \draw (1,0) +(180:1cm) arc (180:210:1cm); +
  \path (1,0) ++(15:.75cm) node{$\alpha$}; +
  \path (1,0) ++(15:-.75cm) node{$\beta$}; +
\end{tikzpicture}
+
+

+

9.9 The Grid Operation

+

You can add a grid to the current path using the grid path operation. +

+

+\path  ... grid[<options>]<corner> ...;
+ + +

This operations adss a grid filling a rectangle whose two corners are given by <corner> and by the + previous coordinate. Thus, the typical way in which a grid is drawn is \draw (1,1) grid (3,3);, + which yields a grid filling the rectangle whose corners are at (1,1) and (3,3). All coordinate + transformations apply to the grid. +

+ +
 

SVG-Viewer needed.

 
+
\tikz[rotate=30] \draw[step=1mm] (0,0) grid (2,2);
+

The stepping of the grid is governed by the following options: +

    +
  • step=<dimension> sets the stepping in both the x and y-direction. +
  • +
  • xstep=<dimension> sets the stepping in the x-direction. +
  • +
  • ystep=<dimension> sets the stepping in the y-direction.
+ + +

It is important to note that the grid is always “phased” such that it contains the point (0,0) if that point + happens to be inside the rectangle. Thus, the grid does not always have an intersection at the corner points; + this occurs only if the corner points are multiples of the stepping. Note that due to rounding errors, the + “last” lines of a grid may be omitted. In this case, you have to add an epsilon to the corner + points. +

The following style is useful for drawing grids: +

    +
  • style=help lines This style makes lines “subdued” by using thin gray lines for them. However, this + style is not installed automatically and you have to say for example: +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[style=help lines] (0,0) grid (3,3);
    +
+
+

+

9.10 The Parabola Operation

+

The parabola path operation continues the current path with a parabola. A parabola is a (shifted and scaled) curve +defined by the equation f(x) = x2 and looks like this:

SVG-Viewer needed.

. +

+

+\path  ... parabola[<options>]bend<bend coordinate><coordinate> ...;
+ + +

This operation adds a parabola through the current point and the given <coordinate>. If the bend is + given, it specifies where the bend should go; the <options> can also be used to specify where the bend + is. By default, the bend is at the old current point. +

+
 

SVG-Viewer needed.

 
+
\begin{tikzpicture} +
  \draw               (0,0) rectangle                (1,1.5) +
                      (0,0) parabola                 (1,1.5); +
  \draw[xshift=1.5cm] (0,0) rectangle                (1,1.5) +
                      (0,0) parabola[bend at end]    (1,1.5); +
  \draw[xshift=3cm]   (0,0) rectangle                (1,1.5) +
                      (0,0) parabola bend (.75,1.75) (1,1.5); +
\end{tikzpicture}
+

The following options influence parabolas: +

    +
  • bend=<coordinate> Has the same effect as saying bend<coordinate> outside the <options>. The + option specifies that the bend of the parabola should be at the given <coordinate>. You have to + take care yourself that the bend position is a “valid” position; which means that if there is no + parabola of the form f(x) = ax2 +bx+c that goes through the old current point, the given bend, + and the new current point, the result will not be a parabola. + + +

    There is one special property of the <coordinate>: When a relative coordinate is given like +(0,0), + the position relative to which this coordinate is “flexible.” More precisely, this position lies + somewhere on a line from the old current point to the new current point. The exact position + depends on the next option. +

  • +
  • bend pos=<fraction> Specifies where the “previous” point is relative to which the bend is + calculated. The previous point will be at the <fraction>th part of the line from the old current + point to the new current point. +

    The idea is the following: If you say bend pos=0 and bend +(0,0), the bend will be at the old + current point. If you say bend pos=1 and bend +(0,0), the bend will be at the new current + point. If you say bend pos=0.5 and bend +(0,2cm) the bend will be 2cm above the middle + of the line between the start and end point. This is most useful in situations such as the + following: +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[help lines] (0,0) grid (3,2); +
      \draw (-1,0) parabola[bend pos=0.5] bend +(0,2) +(3,0); +
    \end{tikzpicture}
    +

    In the above example, the bend +(0,2) essentially means “a parabola that is 2cm high” and + +(3,0) means “and 3cm wide.” Since this situation arises often, there is a special shortcut + option: +

  • +
  • parabola height=<dimension> This option has the same effect as if you had written the following + instead: [bend pos=0.5,bend={+(0pt,<dimension>)}]. +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture} +
      \draw[help lines] (0,0) grid (3,2); +
      \draw (-1,0) parabola[parabola height=2cm] +(3,0); +
    \end{tikzpicture}
    +
+

The following styles are useful shortcuts: +

    +
  • style=bend at start This places the bend at the start of a parabola. It is a shortcut for the + following options: bend pos=0,bend={+(0,0)}. +
  • +
  • style=bend at end This places the bend at the end of a parabola.
+
+

+

9.11 The Sine and Cosine Operation

+

The sin and cos operations are similar to the parabola operation. They, too, can be used to draw (parts of) a sine +or cosine curve. +

+ + +

+\path  ... sin<coordinate> ...;
+ + +

The effect of sin is to draw a scaled and shifted version of a sine curve in the interval [0,p/2]. The + scaling and shifting is done in such a way that the start of the sine curve in the interval is at the old + current point and that the end of the curve in the interval is at <coordinate>. Here is an example that + should clarify this: +

+
 

SVG-Viewer needed.

 
+
\tikz \draw (0,0) rectangle (1,1)     (0,0) sin (1,1) +
            (2,0) rectangle +(1.57,1) (2,0) sin +(1.57,1);
+
+

+

+\path  ... cos<coordinate> ...;
+ + +

This operation works similarly, only a cosine in the interval [0,p/2] is drawn. By correctly alternating + sin and cos operations, you can create a complete sine or cosine curve: +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[xscale=1.57] +
  \draw (0,0) sin (1,1) cos (2,0) sin (3,-1) cos (4,0) sin (5,1); +
  \draw[color=red] (0,1.5) cos (1,0) sin (2,-1.5) cos (3,0) sin (4,1.5) cos (5,0); +
\end{tikzpicture}
+
+
+

Note that there is no way to (conveniently) draw an interval on a sine or cosine curve whose end points are not +multiples of p/2. +

+

9.12 The Plot Operation

+

The plot operation can be used to append a line or curve to the path that goes through a large number of +coordinates. These coordinates are either given in a simple list of coordinates or they are read from some +file. +

The syntax of the plot comes in different versions. +

+

+\path  ... --plot<further arguments> ...;
+ + +

This operation plots the curve through the coordinates specified in the <further arguments>. The current + (sub)path is simply continued, that is, a line-to operation to the first point of the curve is implicitly + added. The details of the <further arguments> will be explained in a moment.

+

+ + +

+\path  ... plot<further arguments> ...;
+ + +

This operation plots the curve through the coordinates specified in the <further arguments> by first + “moving” to the first coordinate of the curve.

+

The <further arguments> are used in three different ways to specifying the coordinates of the points to be +plotted: +

+

    +
  1. --plot[<local options>]coordinates{<coordinate 1><coordinate 2>...<coordinate n>} +
  2. +
  3. --plot[<local options>]file{<filename>} +
  4. +
  5. --plot[<local options>]function{<gnuplot formula>}
+

These different ways are explained in the following. +

+

9.12.1 Plotting Points Given Inline
+

In the first two cases, the points are given directly in the TEX-file as in the following example: +

+ +
 

SVG-Viewer needed.

 
+
\tikz \draw plot coordinates {(0,0) (1,1) (2,0) (3,1) (2,1) (10:2cm)};
+

Here is an example showing the difference between plot and --plot: +

SVG-Viewer needed.

+
+
\begin{tikzpicture} +
  \draw (0,0) -- (1,1) plot coordinates {(2,0)  (4,0)}; +
  \draw[color=red,xshift=5cm] +
        (0,0) -- (1,1) -- plot coordinates {(2,0)  (4,0)}; +
\end{tikzpicture}
+
+

+

9.12.2 Plotting Points Read From an External File
+

The second way of specifying points is to put them in an external file named <filename>. Currently, the only file +format that TikZ allows is the following: Each line of the <filename> should contain one line starting with two +numbers, separated by a space. Anything following the two numbers on the line is ignored. Also, lines starting with +a % or a # are ignored as well as empty lines. (This is exactly the format that GNUPLOT produces when you say +set terminal table.) If necessary, more formats will be supported in the future, but it is usually easy to produce a +file containing data in this form. +

SVG-Viewer needed.

+
\tikz \draw plot[mark=x,smooth] file {plots/pgfmanual-sine.table};
+
+

The file plots/pgfmanual-sine.table reads: + + +

+
+
#Curve 0, 20 points +
#x y type +
0.00000 0.00000  i +
0.52632 0.50235  i +
1.05263 0.86873  i +
1.57895 0.99997  i +
... +
9.47368 -0.04889  i +
10.00000 -0.54402  i
+

It was produced from the following source, using gnuplot: +

+
+
set terminal table +
set output "../plots/pgfmanual-sine.table" +
set format "%.5f" +
set samples 20 +
plot [x=0:10] sin(x)
+

The <local options> of the plot operation are local to each plot and do not affect other plots “on the same path.” +For example, plot[yshift=1cm] will locally shift the plot 1cm upward. Remember, however, that most +options can only be applied to paths as a whole. For example, plot[red] does not have the effect of +making the plot red. After all, you are trying to “locally” make part of the path red, which is not +possible. +

+

9.12.3 Plotting a Function
+

Often, you will want to plot points that are given via a function like f(x) = xsinx. Unfortunately, +TEX does not really have enough computational power to generate the points on such a function +efficiently (it is a text processing program, after all). However, if you allow it, TEX can try to call +external programs that can easily produce the necessary points. Currently, TikZ knows how to call +GNUPLOT. +

When TikZ encounters your operation plot[id=<id>] function{x*sin(x)} for the first time, it will create a +file called <prefix><id>.gnuplot, where <prefix> is \jobname. by default, that is, the name of you main .tex file. If +no <id> is given, it will be empty, which is alright, but it is better when each plot has a unique <id> for +reasons explained in a moment. Next, TikZ writes some initialization code into this file followed by +plot x*sin(x). The initialization code sets up things such that the plot operation will write the +coordinates into another file called <prefix><id>.table. Finally, this table file is read as if you had said +plot file{<prefix><id>.table}. +

For the plotting mechanism to work, two conditions must be met: +

    +
  1. You must have allowed TEX to call external programs. This is often switched off by default since this + is a security risk (you might, without knowing, run a TEX file that calls all sorts of “bad” commands). + To enable this “calling external programs” a command line option must be given to the TEX program. + Usually, it is called something like shell-escape or enable-write18. For example, for my pdflatex + the option --shell-escape can be given. +
  2. +
  3. You must have installed the gnuplot program and TEX must find it when compiling your file.
+

Unfortunately, these conditions will not always be met. Especially if you pass some source to a +coauthor and the coauthor does not have GNUPLOT installed, he or she will have trouble compiling your +files. +

For this reason, TikZ behaves differently when you compile your graphic for the second time: If upon reaching +plot[id=<id>] function{...} the file <prefix><id>.table already exists and if the <prefix><id>.gnuplot file +contains what TikZ thinks that it “should” contain, the .table file is immediately read without trying to call a +gnuplot program. This approach has the following advantages: +

    +
  1. If you pass a bundle of your .tex file and all .gnuplot and .table files to someone else, that person + can TEX the .tex file without having to have gnuplot installed. + + +
  2. +
  3. If the \write18 feature is switched off for security reasons (a good idea), then, upon the first compilation + of the .tex file, the .gnuplot will still be generated, but not the .table file. You can then simply call + gnuplot “by hand” for each .gnuplot file, which will produce all necessary .table files. +
  4. +
  5. If you change the function that you wish to plot or its domain, TikZ will automatically try to regenerate + the .table file. +
  6. +
  7. If, out of laziness, you do not provide an id, the same .gnuplot will be used for different plots, but this + is not a problem since the .table will automatically be regenerated for each plot on-the-fly. Note: If + you intend to share your files with someone else, always use an id, so that the file can by typeset without + having GNUPLOT installed. Also, having unique ids for each plot will improve compilation speed since + no external programs need to be called, unless it is really necessary.
+

When you use plot function{<gnuplot formula>}, the <gnuplot formula> must be given in the gnuplot syntax, +whose details are beyond the scope of this manual. Here is the ultra-condensed essence: Use x as the +variable and use the C-syntax for normal plots, use t as the variable for parametric plots. Here are some +examples: +

SVG-Viewer needed.

+
+
\begin{tikzpicture}[domain=0:4] +
  \draw[very thin,color=gray] (-0.1,-1.1) grid (3.9,3.9); +
+
  \draw[->] (-0.2,0) -- (4.2,0) node[right] {$x$}; +
  \draw[->] (0,-1.2) -- (0,4.2) node[above] {$f(x)$}; +
+
  \draw[color=red]    plot[id=x]   function{x}           node[right] {$f(x) =x$}; +
  \draw[color=blue]   plot[id=sin] function{sin(x)}      node[right] {$f(x) = \sin x$}; +
  \draw[color=orange] plot[id=exp] function{0.05*exp(x)} node[right] {$f(x) = \frac{1}{20} \mathrm e^x$}; +
\end{tikzpicture}
+

The following options influence the plot: +

    +
  • samples=<number> sets the number of samples used in the plot. The default is 25. +
  • +
  • domain=<start>:<end> sets the domain between which the samples are taken. The default is -5:5. +
  • +
  • parametric=<true or false> sets whether the plot is a parametric plot. If true, then t must be used instead of + x as the parameter and two comma-separated functions must be given in the <gnuplot formula>. An example is + the following: +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw[scale=0.5,domain=-3.141:3.141,smooth] +
      plot[parametric,id=parametric-example] function{t*sin(t),t*cos(t)};
    + + +
    +
  • +
  • id=<id> sets the identifier of the current plot. This should be a unique identifier for each plot (though things + will also work if it is not, but not as well, see the explanations above). The <id> will be part of a filename, so it + should not contain anything fancy like * or $. +
  • +
  • prefix=<prefix> is put before each plot file name. The default is \jobname., but if you have many plots, it + might be better to use, say plots/ and have all plots placed in a directory. You have to create the directory + yourself. +
  • +
  • raw gnuplot causes the <gnuplot formula> to be passed on to GNUPLOT without setting up the samples or the + plot operation. Thus, you could write +

    +
    +
    plot[raw gnuplot,id=raw-example] function{set samples 25; plot sin(x)}
    +
    +

    This can be useful for complicated things that need to be passed to GNUPLOT. However, for really complicated + situations you should create a special external generating GNUPLOT file and use the file-syntax to include the + table “by hand.”

+

The following styles influence the plot: +

    +
  • style=every plot This style is installed in each plot, that is, as if you always said +

    +
    +
      plot[style=every plot,...]
    +
    +

    This is most useful for globally setting a prefix for all plots by saying: +

    +
    +
    \tikzstyle{every plot}=[prefix=plots/]
    +
    +
+

+

9.12.4 Placing Marks on the Plot
+

As we saw already, it is possible to add marks to a plot using the mark option. When this option is used, a copy of +the plot mark is placed on each point of the plot. Note that the marks are placed after the whole path has been +drawn/filled/shaded. In this respect, they are handled like text nodes. +

In detail, the following options govern how marks are drawn: +

    +
  • mark=<mark mnemonic> Sets the mark to a mnemonic that has previously been defined using the + \pgfdeclareplotmark. By default, *, +, and x are available, which draw a filled circle, a plus, and a + cross as marks. Many more marks become available when the library pgflibraryplotmarks is loaded. + Section 14.3.3 lists the available plot marks. +

    One plot mark is special: the ball plot mark is available only it TikZ. The ball color determines the + balls’s color. Do not use this option with large number of marks since it will take very long to render + in PostScript. +

    + + +
    Option Effect


    mark=ball

    SVG-Viewer needed.

    + + +
  • +
  • mark size=<dimension> Sets the size of the plot marks. For circular plot marks, <dimension> is the radius, for + other plot marks <dimension> should be about half the width and height. +

    This option is not really necessary, since you achieve the same effect by specifying scale=<factor> as a local + option, where <factor> is the quotient of the desired size and the default size. However, using mark size is a + bit faster and more natural. +

  • +
  • mark options=<options> These options are applied to marks when they are drawn. For example, you can scale + (or otherwise transform) the plot mark or set its color. +

    SVG-Viewer needed.

    +
    +
    \tikz \fill[fill=blue!20] +
      plot[mark=triangle*,mark options={color=blue,rotate=180}] +
        file{plots/pgfmanual-sine.table} |- (0,0);
    +
    +
+

+

9.12.5 Smooth Plots, Sharp Plots, and Comb Plots
+

There are different things the plot operation can do with the points it reads from a file or from the inlined list of +points. By default, it will connect these points by straight lines. However, you can also use options to change the +behavior of plot. +

    +
  • sharp plot This is the default and causes the points to be connected by straight lines. This option is + included only so that you can “switch back” if you “globally” install, say, smooth. +
  • +
  • smooth This option causes the points on the path to be connected using a smooth curve: +

    SVG-Viewer needed.

    +
    +
    \tikz\draw plot[smooth] file{plots/pgfmanual-sine.table};
    +
    +

    Note that the smoothing algorithm is not very intelligent. You will get the best results if the bending angles + are small, that is, less than about 30o and, even more importantly, if the distances between points are about + the same all over the plotting path. +

  • +
  • tension=<value> This option influences how “tight” the smoothing is. A lower value will result in sharper + corners, a higher value in more “round” curves. A value of 1 results in a circle if four points at + quarter-positions on a circle are given. The default is 0.55. The “correct” value depends on the details of + plot. + + +

    + +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[smooth cycle] +
      \draw                 plot[tension=0.2] +
        coordinates{(0,0) (1,1) (2,0) (1,-1)}; +
      \draw[yshift=-2.25cm] plot[tension=0.5] +
        coordinates{(0,0) (1,1) (2,0) (1,-1)}; +
      \draw[yshift=-4.5cm]  plot[tension=1] +
        coordinates{(0,0) (1,1) (2,0) (1,-1)}; +
    \end{tikzpicture}
    +
  • +
  • smooth cycle This option causes the points on the path to be connected using a closed smooth + curve. +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz[scale=0.5] +
      \draw plot[smooth cycle] coordinates{(0,0) (1,0) (2,1) (1,2)} +
            plot               coordinates{(0,0) (1,0) (2,1) (1,2)} -- cycle;
    +
  • +
  • ycomb This option causes the plot operation to interpret the plotting points differently. Instead of connecting + them, for each point of the plot a straight line is added to the path from the x-axis to the point, resulting in a + sort of “comb” or “bar diagram.” +

    SVG-Viewer needed.

    +
    +
    \tikz\draw[ultra thick] plot[ycomb,thin,mark=*] file{plots/pgfmanual-sine.table};
    +
    +

    +
     

    SVG-Viewer needed.

     
    +
    \begin{tikzpicture}[ycomb] +
      \draw[color=red,line width=6pt] +
        plot coordinates{(0,1) (.5,1.2) (1,.6) (1.5,.7) (2,.9)}; +
      \draw[color=red!50,line width=4pt,xshift=3pt] +
        plot coordinates{(0,1.2) (.5,1.3) (1,.5) (1.5,.2) (2,.5)}; +
    \end{tikzpicture}
    +
  • +
  • xcomb This option works like ycomb except that the bars are horizontal. + + +

    +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw plot[xcomb,mark=x] coordinates{(1,0) (0.8,0.2) (0.6,0.4) (0.2,1)};
    +
  • +
  • polar comb This option causes a line from the origin to the point to be added to the path for each plot + point. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw plot[polar comb, +
         mark=pentagon*,mark options={fill=white,draw=red},mark size=4pt] +
       coordinates {(0:1cm) (30:1.5cm) (160:.5cm) (250:2cm) (-60:.8cm)};
    +
  • +
  • only marks This option causes only marks to be shown; no path segments are added to the actual path. This + can be useful for quickly adding some marks to a path. +

    + +
     

    SVG-Viewer needed.

     
    +
    \tikz \draw (0,0) sin (1,1) cos (2,0) +
      plot[only marks,mark=x] coordinates{(0,0) (1,1) (2,0) (3,-1)};
    +
+

+

9.13 The Scoping Operation

+

When TikZ encounters and opening or a closing brace ({ or }) at some point where a path operation should come, +it will open or close a scope. All options that can be applied “locally” will be scoped inside the scope. For example, +if you apply a transformation like [xshift=1cm] inside the scoped area, the shifting only applies to the scope. On +the other hand, an option like color=red does not have any effect inside a scope since it can only be applied to the +path as a whole. +

+

9.14 The Node Operation

+

You can add nodes to a path using the node operation. Since this operation is quite complex and since +the nodes are not really part of the path itself, there is a separate section dealing with nodes, see +Section 11. + + + + + + +

+

+ diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/pgfmanual-tex4ht.cfg b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/pgfmanual-tex4ht.cfg new file mode 100644 index 00000000000..02bf46fe90b --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-tex4ht/pgfmanual-tex4ht.cfg @@ -0,0 +1,122 @@ +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +% Make sure to use tex4ht (or htlatex, to be precise) to compile this. + +\usepackage{tex4ht} +\def\pgfsysdriver{pgfsys-tex4ht.def} + +\usepackage{xkeyval} +\usepackage{colortbl} + +\let\originalsetkeys=\setkeys + +\makeatletter + +\AtBeginDocument{ +\let\setkeys=\originalsetkeys +\CutAt{section,part} +\definecolor{graphicbackground}{rgb}{0.96,0.96,0.8} +\definecolor{codebackground}{rgb}{0.8,0.8,1} +\definecolor{declarebg}{rgb}{1,0.8,0.8} +\definecolor{gray}{gray}{.5} + +% Patches of macros... +\renewenvironment{pgfmanualentry}{\begin{description}}{\end{description}} +\renewcommand\pgfmanualentryheadline[1]{\item[\colorbox{declarebg}{\normalfont{#1}}]\par} +\renewcommand\pgfmanualbody{} + +\def\endofcodeexample#1{% + \endgroup% + \ifcode@execute% + \setbox\codeexamplebox=\hbox{% + {% + {% + \returntospace% + \commenthandler% + \xdef\code@temp{#1}% removes returns and comments + }% + \color{black}\ignorespaces% + \expandafter\scantokens\expandafter{\code@temp\ignorespaces}\ignorespaces% + }% + }% + \ifdim\wd\codeexamplebox>\codeexamplewidth% + \box\codeexamplebox + \begin{tabular}{>{\columncolor{codebackground}}l} + \begin{minipage}{\textwidth} + {% + \let\do\@makeother + \dospecials + \frenchspacing\@vobeyspaces + \normalfont\ttfamily\footnotesize + \typesetcomment% + \@tempswafalse + \def\par{% + \if@tempswa + \leavevmode \null \@@par\penalty\interlinepenalty + \else + \@tempswatrue + \ifhmode\@@par\penalty\interlinepenalty\fi + \fi}% + \obeylines + \everypar \expandafter{\the\everypar \unpenalty}% + #1} + \end{minipage} + \end{tabular}% + \else + \begin{tabular}{>{\columncolor{graphicbackground}}l>{\columncolor{codebackground}}l} + \ \box\codeexamplebox\ \par & + \begin{minipage}[t]{\textwidth} + {\let\do\@makeother + \dospecials + \frenchspacing\@vobeyspaces + \normalfont\ttfamily\footnotesize + \typesetcomment% + \@tempswafalse + \def\par{% + \if@tempswa + \leavevmode \null \@@par\penalty\interlinepenalty + \else + \@tempswatrue + \ifhmode\@@par\penalty\interlinepenalty\fi + \fi}% + \obeylines + \everypar \expandafter{\the\everypar \unpenalty}% + #1} + \end{minipage} + \end{tabular} + \fi + \else% + \begin{tabular}{>{\columncolor{codebackground}}l} + \begin{minipage}[t]{\textwidth} + {% + \let\do\@makeother + \dospecials + \frenchspacing\@vobeyspaces + \normalfont\ttfamily\footnotesize + \typesetcomment% + \@tempswafalse + \def\par{% + \if@tempswa + \leavevmode \null \@@par\penalty\interlinepenalty + \else + \@tempswatrue + \ifhmode\@@par\penalty\interlinepenalty\fi + \fi}% + \obeylines + \everypar \expandafter{\the\everypar \unpenalty}% + #1} + \end{minipage} + \end{tabular}% + \fi% + \par% + \end{codeexample} +} +} + + + +\makeatother diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/Makefile b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/Makefile new file mode 100644 index 00000000000..7fdb891cba0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/Makefile @@ -0,0 +1,18 @@ +rerun = "(There were undefined references|Rerun to get (cross-references|the bars) right)" +doc = pgfmanual +latex = vlatex + +all: $(doc).ps + +pgfmanual.idx: + touch pgfmanual.idx + +pgfmanual.ind: pgfmanual.idx + makeindex $(doc).idx + +pgfmanual.ps: $(doc).tex $(doc).ind + $(latex) $(doc).tex + (egrep -q $(rerun) $(doc).log && $(latex) $(doc).tex) || true + +clean: + rm -f *.aux *.log *.bbl *.blg *.ps *.dvi *.pdf *.toc *.out *.snm diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/pgfmanual.tex b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/pgfmanual.tex new file mode 100644 index 00000000000..746ed93a170 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/pgfmanual.tex @@ -0,0 +1,13 @@ +\documentclass[a4paper]{ltxdoc} + +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +% pgf version is defined in \pgfversion in file +% generic/pgf/utilities/pgfrcs.code.tex + +\input{../pgfmanual-vtex.cfg} +\input{../../text-en/pgfmanual-en-main.tex} diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-asymptotic-example.gnuplot b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-asymptotic-example.gnuplot new file mode 100644 index 00000000000..4c854afda9f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-asymptotic-example.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-asymptotic-example.table"; set format "%.5f" +set samples 200; set parametric; plot [t=0.4:1.5] (t*t*t)*sin(1/(t*t*t)),(t*t*t)*cos(1/(t*t*t)) diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-asymptotic-example.table b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-asymptotic-example.table new file mode 100644 index 00000000000..173ab5e9c77 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-asymptotic-example.table @@ -0,0 +1,204 @@ +#Curve 0, 200 points +#x y type +0.00530 -0.06378 i +0.04363 -0.05043 i +0.06711 -0.01790 i +0.06896 0.02170 i +0.05014 0.05606 i +0.01712 0.07631 i +-0.02110 0.07849 i +-0.05579 0.06337 i +-0.08032 0.03512 i +-0.09097 -0.00029 i +-0.08696 -0.03664 i +-0.06987 -0.06850 i +-0.04284 -0.09192 i +-0.00982 -0.10460 i +0.02515 -0.10585 i +0.05841 -0.09629 i +0.08703 -0.07749 i +0.10892 -0.05162 i +0.12282 -0.02111 i +0.12828 0.01163 i +0.12547 0.04436 i +0.11507 0.07518 i +0.09810 0.10255 i +0.07579 0.12534 i +0.04948 0.14280 i +0.02048 0.15454 i +-0.00995 0.16043 i +-0.04065 0.16063 i +-0.07063 0.15545 i +-0.09905 0.14536 i +-0.12521 0.13092 i +-0.14860 0.11273 i +-0.16882 0.09143 i +-0.18562 0.06764 i +-0.19885 0.04197 i +-0.20848 0.01500 i +-0.21454 -0.01276 i +-0.21712 -0.04083 i +-0.21637 -0.06879 i +-0.21247 -0.09627 i +-0.20565 -0.12295 i +-0.19613 -0.14858 i +-0.18415 -0.17294 i +-0.16996 -0.19585 i +-0.15379 -0.21718 i +-0.13589 -0.23682 i +-0.11647 -0.25471 i +-0.09576 -0.27080 i +-0.07396 -0.28508 i +-0.05126 -0.29753 i +-0.02783 -0.30819 i +-0.00384 -0.31707 i +0.02057 -0.32421 i +0.04526 -0.32967 i +0.07011 -0.33350 i +0.09502 -0.33576 i +0.11989 -0.33651 i +0.14463 -0.33582 i +0.16917 -0.33376 i +0.19345 -0.33040 i +0.21741 -0.32580 i +0.24100 -0.32003 i +0.26418 -0.31315 i +0.28691 -0.30524 i +0.30918 -0.29634 i +0.33096 -0.28653 i +0.35222 -0.27585 i +0.37297 -0.26437 i +0.39318 -0.25213 i +0.41285 -0.23918 i +0.43197 -0.22557 i +0.45056 -0.21134 i +0.46860 -0.19654 i +0.48611 -0.18119 i +0.50309 -0.16535 i +0.51954 -0.14904 i +0.53547 -0.13229 i +0.55090 -0.11514 i +0.56582 -0.09761 i +0.58026 -0.07972 i +0.59422 -0.06150 i +0.60772 -0.04298 i +0.62076 -0.02416 i +0.63336 -0.00508 i +0.64554 0.01425 i +0.65729 0.03382 i +0.66864 0.05361 i +0.67960 0.07361 i +0.69018 0.09381 i +0.70039 0.11420 i +0.71024 0.13475 i +0.71975 0.15548 i +0.72892 0.17636 i +0.73778 0.19739 i +0.74632 0.21857 i +0.75456 0.23989 i +0.76251 0.26134 i +0.77018 0.28291 i +0.77759 0.30461 i +0.78473 0.32643 i +0.79162 0.34837 i +0.79826 0.37042 i +0.80468 0.39258 i +0.81087 0.41485 i +0.81684 0.43723 i +0.82261 0.45972 i +0.82817 0.48232 i +0.83354 0.50502 i +0.83872 0.52782 i +0.84372 0.55073 i +0.84855 0.57374 i +0.85321 0.59686 i +0.85772 0.62009 i +0.86206 0.64342 i +0.86626 0.66685 i +0.87032 0.69040 i +0.87423 0.71405 i +0.87801 0.73781 i +0.88167 0.76169 i +0.88520 0.78567 i +0.88861 0.80977 i +0.89191 0.83398 i +0.89510 0.85831 i +0.89818 0.88276 i +0.90115 0.90733 i +0.90403 0.93202 i +0.90682 0.95683 i +0.90951 0.98177 i +0.91211 1.00683 i +0.91463 1.03202 i +0.91707 1.05735 i +0.91942 1.08280 i +0.92171 1.10839 i +0.92391 1.13411 i +0.92605 1.15998 i +0.92812 1.18598 i +0.93012 1.21213 i +0.93205 1.23842 i +0.93393 1.26485 i +0.93575 1.29143 i +0.93751 1.31817 i +0.93921 1.34505 i +0.94086 1.37209 i +0.94246 1.39929 i +0.94401 1.42664 i +0.94552 1.45415 i +0.94697 1.48183 i +0.94838 1.50967 i +0.94975 1.53767 i +0.95108 1.56584 i +0.95236 1.59418 i +0.95361 1.62270 i +0.95482 1.65138 i +0.95600 1.68025 i +0.95713 1.70928 i +0.95824 1.73850 i +0.95931 1.76790 i +0.96035 1.79748 i +0.96136 1.82725 i +0.96234 1.85720 i +0.96329 1.88735 i +0.96422 1.91768 i +0.96511 1.94820 i +0.96598 1.97892 i +0.96683 2.00983 i +0.96765 2.04094 i +0.96845 2.07225 i +0.96922 2.10376 i +0.96998 2.13547 i +0.97071 2.16739 i +0.97142 2.19952 i +0.97211 2.23185 i +0.97278 2.26439 i +0.97344 2.29714 i +0.97407 2.33010 i +0.97469 2.36328 i +0.97529 2.39667 i +0.97588 2.43028 i +0.97644 2.46411 i +0.97700 2.49817 i +0.97754 2.53244 i +0.97806 2.56694 i +0.97857 2.60166 i +0.97906 2.63661 i +0.97955 2.67179 i +0.98001 2.70720 i +0.98047 2.74284 i +0.98092 2.77871 i +0.98135 2.81482 i +0.98177 2.85117 i +0.98218 2.88775 i +0.98258 2.92457 i +0.98297 2.96163 i +0.98335 2.99894 i +0.98372 3.03649 i +0.98408 3.07428 i +0.98443 3.11232 i +0.98477 3.15061 i +0.98511 3.18914 i +0.98543 3.22793 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-exp.gnuplot b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-exp.gnuplot new file mode 100644 index 00000000000..1d34e313af8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-exp.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-exp.table"; set format "%.5f" +set samples 25; plot [x=0:4] 0.05*exp(x) diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-exp.table b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-exp.table new file mode 100644 index 00000000000..8e728570397 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-exp.table @@ -0,0 +1,29 @@ +#Curve 0, 25 points +#x y type +0.00000 0.05000 i +0.16667 0.05907 i +0.33333 0.06978 i +0.50000 0.08244 i +0.66667 0.09739 i +0.83333 0.11505 i +1.00000 0.13591 i +1.16667 0.16056 i +1.33333 0.18968 i +1.50000 0.22408 i +1.66667 0.26472 i +1.83333 0.31274 i +2.00000 0.36945 i +2.16667 0.43646 i +2.33333 0.51561 i +2.50000 0.60912 i +2.66667 0.71960 i +2.83333 0.85010 i +3.00000 1.00428 i +3.16667 1.18641 i +3.33333 1.40158 i +3.50000 1.65577 i +3.66667 1.95606 i +3.83333 2.31082 i +4.00000 2.72991 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-parametric-example.gnuplot b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-parametric-example.gnuplot new file mode 100644 index 00000000000..e1c3f3b52f2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-parametric-example.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-parametric-example.table"; set format "%.5f" +set samples 25; set parametric; plot [t=-3.141:3.141] t*sin(t),t*cos(t) diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-parametric-example.table b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-parametric-example.table new file mode 100644 index 00000000000..de0c383ddde --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-parametric-example.table @@ -0,0 +1,29 @@ +#Curve 0, 25 points +#x y type +0.00186 3.14100 i +0.74672 2.78074 i +1.30987 2.26617 i +1.66651 1.66503 i +1.81387 1.04628 i +1.76998 0.47361 i +1.57050 -0.00047 i +1.26407 -0.33904 i +0.90663 -0.52368 i +0.55517 -0.55534 i +0.26171 -0.45339 i +0.06773 -0.25283 i +0.00000 -0.00000 i +0.06773 0.25283 i +0.26171 0.45339 i +0.55517 0.55534 i +0.90663 0.52368 i +1.26407 0.33904 i +1.57050 0.00047 i +1.76998 -0.47361 i +1.81387 -1.04628 i +1.66651 -1.66503 i +1.30987 -2.26617 i +0.74672 -2.78074 i +0.00186 -3.14100 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-sin.gnuplot b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-sin.gnuplot new file mode 100644 index 00000000000..884d534bf4a --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-sin.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-sin.table"; set format "%.5f" +set samples 25; plot [x=0:4] sin(x) diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-sin.table b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-sin.table new file mode 100644 index 00000000000..9ab8f2c8d56 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-sin.table @@ -0,0 +1,29 @@ +#Curve 0, 25 points +#x y type +0.00000 0.00000 i +0.16667 0.16590 i +0.33333 0.32719 i +0.50000 0.47943 i +0.66667 0.61837 i +0.83333 0.74018 i +1.00000 0.84147 i +1.16667 0.91944 i +1.33333 0.97194 i +1.50000 0.99749 i +1.66667 0.99541 i +1.83333 0.96573 i +2.00000 0.90930 i +2.16667 0.82766 i +2.33333 0.72309 i +2.50000 0.59847 i +2.66667 0.45727 i +2.83333 0.30340 i +3.00000 0.14112 i +3.16667 -0.02507 i +3.33333 -0.19057 i +3.50000 -0.35078 i +3.66667 -0.50128 i +3.83333 -0.63788 i +4.00000 -0.75680 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-x.gnuplot b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-x.gnuplot new file mode 100644 index 00000000000..bb95994cd89 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-x.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-x.table"; set format "%.5f" +set samples 25; plot [x=0:4] x diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-x.table b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-x.table new file mode 100644 index 00000000000..329b9fa56b5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgf-x.table @@ -0,0 +1,29 @@ +#Curve 0, 25 points +#x y type +0.00000 0.00000 i +0.16667 0.16667 i +0.33333 0.33333 i +0.50000 0.50000 i +0.66667 0.66667 i +0.83333 0.83333 i +1.00000 1.00000 i +1.16667 1.16667 i +1.33333 1.33333 i +1.50000 1.50000 i +1.66667 1.66667 i +1.83333 1.83333 i +2.00000 2.00000 i +2.16667 2.16667 i +2.33333 2.33333 i +2.50000 2.50000 i +2.66667 2.66667 i +2.83333 2.83333 i +3.00000 3.00000 i +3.16667 3.16667 i +3.33333 3.33333 i +3.50000 3.50000 i +3.66667 3.66667 i +3.83333 3.83333 i +4.00000 4.00000 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfmanual-sine.gnuplot b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfmanual-sine.gnuplot new file mode 100644 index 00000000000..8e3f24b9172 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfmanual-sine.gnuplot @@ -0,0 +1,5 @@ +set terminal table +set output "pgfmanual-sine.table" +set format "%.5f" +set samples 20 +plot [x=0:10] sin(x) diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfmanual-sine.table b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfmanual-sine.table new file mode 100644 index 00000000000..9d5d248a561 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfmanual-sine.table @@ -0,0 +1,24 @@ +#Curve 0, 20 points +#x y type +0.00000 0.00000 i +0.52632 0.50235 i +1.05263 0.86873 i +1.57895 0.99997 i +2.10526 0.86054 i +2.63158 0.48819 i +3.15789 -0.01630 i +3.68421 -0.51638 i +4.21053 -0.87669 i +4.73684 -0.99970 i +5.26316 -0.85212 i +5.78947 -0.47390 i +6.31579 0.03260 i +6.84211 0.53027 i +7.36842 0.88441 i +7.89474 0.99917 i +8.42105 0.84348 i +8.94737 0.45948 i +9.47368 -0.04889 i +10.00000 -0.54402 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfplotgnuplot-example.gnuplot b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfplotgnuplot-example.gnuplot new file mode 100644 index 00000000000..3bd81ae92d1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfplotgnuplot-example.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgfplotgnuplot-example.table"; set format "%.5f" +plot [x=0:3.5] x*sin(x) diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfplotgnuplot-example.table b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfplotgnuplot-example.table new file mode 100644 index 00000000000..a4e517898a8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/en/plots/pgfplotgnuplot-example.table @@ -0,0 +1,104 @@ +#Curve 0, 100 points +#x y type +0.00000 0.00000 i +0.03535 0.00125 i +0.07071 0.00500 i +0.10606 0.01123 i +0.14141 0.01993 i +0.17677 0.03108 i +0.21212 0.04466 i +0.24747 0.06062 i +0.28283 0.07893 i +0.31818 0.09954 i +0.35354 0.12240 i +0.38889 0.14745 i +0.42424 0.17463 i +0.45960 0.20387 i +0.49495 0.23509 i +0.53030 0.26822 i +0.56566 0.30318 i +0.60101 0.33986 i +0.63636 0.37817 i +0.67172 0.41803 i +0.70707 0.45932 i +0.74242 0.50194 i +0.77778 0.54577 i +0.81313 0.59069 i +0.84848 0.63660 i +0.88384 0.68337 i +0.91919 0.73086 i +0.95455 0.77896 i +0.98990 0.82753 i +1.02525 0.87643 i +1.06061 0.92554 i +1.09596 0.97471 i +1.13131 1.02381 i +1.16667 1.07269 i +1.20202 1.12121 i +1.23737 1.16923 i +1.27273 1.21661 i +1.30808 1.26320 i +1.34343 1.30886 i +1.37879 1.35345 i +1.41414 1.39682 i +1.44949 1.43884 i +1.48485 1.47937 i +1.52020 1.51826 i +1.55556 1.55537 i +1.59091 1.59059 i +1.62626 1.62376 i +1.66162 1.65477 i +1.69697 1.68348 i +1.73232 1.70977 i +1.76768 1.73353 i +1.80303 1.75463 i +1.83838 1.77296 i +1.87374 1.78841 i +1.90909 1.80089 i +1.94444 1.81028 i +1.97980 1.81650 i +2.01515 1.81946 i +2.05051 1.81906 i +2.08586 1.81524 i +2.12121 1.80792 i +2.15657 1.79704 i +2.19192 1.78252 i +2.22727 1.76433 i +2.26263 1.74240 i +2.29798 1.71671 i +2.33333 1.68720 i +2.36869 1.65386 i +2.40404 1.61667 i +2.43939 1.57560 i +2.47475 1.53066 i +2.51010 1.48184 i +2.54545 1.42915 i +2.58081 1.37260 i +2.61616 1.31223 i +2.65152 1.24805 i +2.68687 1.18011 i +2.72222 1.10845 i +2.75758 1.03312 i +2.79293 0.95418 i +2.82828 0.87170 i +2.86364 0.78576 i +2.89899 0.69642 i +2.93434 0.60380 i +2.96970 0.50797 i +3.00505 0.40904 i +3.04040 0.30713 i +3.07576 0.20235 i +3.11111 0.09482 i +3.14646 -0.01533 i +3.18182 -0.12796 i +3.21717 -0.24292 i +3.25253 -0.36007 i +3.28788 -0.47926 i +3.32323 -0.60032 i +3.35859 -0.72308 i +3.39394 -0.84739 i +3.42929 -0.97305 i +3.46465 -1.09990 i +3.50000 -1.22774 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-vtex/pgfmanual-vtex.cfg b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/pgfmanual-vtex.cfg new file mode 100644 index 00000000000..0008952aa18 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-vtex/pgfmanual-vtex.cfg @@ -0,0 +1,13 @@ +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +\usepackage[vtex]{graphics} +\usepackage{hyperref} + +\let\command=\undefined +\let\endcommand=\undefined + +% Just make sure that you compile this using elatex + dvips diff --git a/Master/texmf-dist/doc/generic/pictex/00index b/Master/texmf-dist/doc/generic/pictex/00index new file mode 100644 index 00000000000..81b80d1a414 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pictex/00index @@ -0,0 +1,16 @@ +PICTEX.STY + Style zum Einladen von PiCTeX als LaTeX-option oder LaTeX-Package. + Incl. Einladen von PICCORR.STY und PICMORE.STY, falls vorhanden. + +PICCORR.STY + Korrektur zu PiCTeXs \betweenarrows-Befehl + +PICMORE.STY + Erweiterung zu PiCTeX f"ur Impulsdiagramme + +PICTEXWD.TEX + Gepatchtes PICTEX.TEX, das weniger Dimensionsregister benutzt. + Fehlermeldungen an Andreas.Schrell@RS.maus.de + +PICTEXWD.STY + Wie PICTEX.STY, aber es wird PICTEXWD.TEX eingeladen. diff --git a/Master/texmf-dist/doc/generic/pictex/pictexzusatz.txt b/Master/texmf-dist/doc/generic/pictex/pictexzusatz.txt new file mode 100644 index 00000000000..8aaa54b2e77 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pictex/pictexzusatz.txt @@ -0,0 +1,16 @@ +PICTEX.STY + Style zum Einladen von PiCTeX als LaTeX-option oder LaTeX-Package. + Incl. Einladen von PICCORR.STY und PICMORE.STY, falls vorhanden. + +PICCORR.STY + Korrektur zu PiCTeXs \betweenarrows-Befehl + +PICMORE.STY + Erweiterung zu PiCTeX f"ur Impulsdiagramme + +PICTEXWD.TEX + Gepatchtes PICTEX.TEX, das weniger Dimensionsregister benutzt. + Fehlermeldungen an Andreas.Schrell@RS.maus.de + +PICTEXWD.STY + Wie PICTEX.STY, aber es wird PICTEXWD.TEX eingeladen. diff --git a/Master/texmf-dist/doc/generic/pictex/readme b/Master/texmf-dist/doc/generic/pictex/readme new file mode 100644 index 00000000000..b9679f5f6f0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pictex/readme @@ -0,0 +1,7 @@ +NOTE. There is a detailed manual for PiCtex available from + Michael Wichura + Department of Statistics + University of Chicago. + + (312) 702-8329 + Wichura@Galton.Uchicago.EDU diff --git a/Master/texmf-dist/doc/generic/pictex/readme.errorbars b/Master/texmf-dist/doc/generic/pictex/readme.errorbars new file mode 100644 index 00000000000..a415f3349ef --- /dev/null +++ b/Master/texmf-dist/doc/generic/pictex/readme.errorbars @@ -0,0 +1,33 @@ + +Date: Wed, 29 Jun 88 09:50:04 cdt +Subject: PiCTeX macros +From: grunwald@m.cs.uiuc.edu (Dirk Grunwald) + +In TeXHaX V88 #59, David Huenemoerder asks about macros to plot error bars +in PiCTeX. + +Attached, find two macros files. The file, errorbars.tex implements plots +with and without error bars. Each point in the plot is ``marked'', e.g. +with a $\bullet$, or whatever. + +The second file, ``pointers.tex'', contains macros useful for pointing +at things in a PiCTeX graph. E.g., if you've got data like: + +\put {\pointLeft{\Full}} [l] at 0.520833 42.4616 +\plot +0 6. +0.0416667 6.36401 + .... +0.520833 42.4616 +/ + +you'll get an arrow pointing left with the tip of the arrow at the endpoint +of your data plot. + +The PiCTeX manual can be ordered for $15 from: + Michael J. Wichura + Department of Statistics + University of Chicago + 5734 University Avenue + Chicago, IL. 60637-4931 + diff --git a/Master/texmf-dist/doc/generic/psfig/README b/Master/texmf-dist/doc/generic/psfig/README new file mode 100644 index 00000000000..a847dad6e84 --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/README @@ -0,0 +1,88 @@ +psfig/tex -- TeX macros for the inclusion of postscript figures + +================================================================== + +COPYRIGHT NOTICE + +All software, documentation, and related files in this distribution of +psfig/tex are Copyright 1993 Trevor J. Darrell + +Permission is granted for use and non-profit distribution of psfig/tex +providing that this notice be clearly maintained, but the right to +distribute any portion of psfig/tex for profit or as part of any commercial +product is specifically reserved for the author. + +Thanks to Ned Batchelder, Greg Hager, J. Daniel Smith, Tom Rokicki, +Robert Russell, George V. Reilly, Ken McGlothlen, Dr. Baron Grey, +Gerhard Tobermann and all others who have contributed code and +comments to this project! + +================================================================== + +NEW IN VERSION 1.10 + +- Support for OzTeX (derived from Baron Grey's OzTeX version of psfig) + +- New searching path algorithm (from Gerhard Tobermann); looks in + multiple directories; looks for file.ps before file.ps.bb... + +- Many small bug fixes (underscore in draft mode, angle/clip interaction) + +- Improved documentation and man page + +================================================================== + +SYSTEM REQUIREMENTS + +Psfig/tex uses \special calls to manipulate the PostScript environment +within a document, and include figure files. To use psfig, you must +therefore be using a postscript device for your output. This version +of psfig/tex works with the unix "dvips" PostScript driver, which is +available from labrea.stanford.edu, and with OzTeX. + +It may also work with the ArborText "dvips" driver, and with the +"dvi2ps" written by Tony Li ; see the +"unsupported" directory. + +================================================================== + +INSTALLATION + +To install psfig, simply copy psfig.sty into a directory on your TeX +include path (e.g. /usr/lib/tex/macros). + +If you are using OzTeX, change the driver line at the top of +the psfig.sty file to read + \def\setDriver{\OzTeXDriver} +instead of + \def\setDriver{\DvipsDriver} + + +A users guide and manual page can be found in the "doc" directory. + +For tips on dealing with Macintosh postscript, see the directory +"unsupported/macdemo/README". + +================================================================== + +BUGS + +If you use the letter style, make sure you include the psfig style +first. + +If you have an old version of dvips, you may need to make a patch to +use the compressed figure option, and to handle magnification +correctly. The files "unsupported/dospecial.[patch,frag]" contain a +patch and a corresponding code fragment for dvips' dospecial.c file. +To apply the patch copy dospecial.patch into your dvips directory and +run "patch < dospecial.patch", and then recompile. "dospcial.frag" +contains the modified portion of the code as it should appear in the +patched file. To use magnification with psfig and dvips, you need to +change the line + /magscale false def +in special.pro to + /magscale true def +in order to have the figures scaled correctly. + + + diff --git a/Master/texmf-dist/doc/generic/psfig/figs/box.ps b/Master/texmf-dist/doc/generic/psfig/figs/box.ps new file mode 100644 index 00000000000..ca6807a1384 --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/figs/box.ps @@ -0,0 +1,11 @@ +%! +%%BoundingBox: 0 0 1 1 +newpath +0 0 moveto +1 0 lineto +1 1 lineto +0 1 lineto +closepath +.8 setgray +fill + diff --git a/Master/texmf-dist/doc/generic/psfig/figs/cm.ps b/Master/texmf-dist/doc/generic/psfig/figs/cm.ps new file mode 100644 index 00000000000..93b94b0a3bb --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/figs/cm.ps @@ -0,0 +1,26 @@ +%! +%%BoundingBox: 27.47 27.47 172.52 172.52 + +100 100 translate +newpath + 0 0 moveto + 0 0 72 0 90 arc + closepath + fill + + 0 0 moveto + 0 0 72 90 180 arc + closepath + stroke + + 0 0 moveto + 0 0 72 180 270 arc + closepath + fill + + 0 0 moveto + 0 0 72 270 360 arc + closepath + stroke + +showpage diff --git a/Master/texmf-dist/doc/generic/psfig/figs/piechart.ps b/Master/texmf-dist/doc/generic/psfig/figs/piechart.ps new file mode 100644 index 00000000000..164583e8d87 --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/figs/piechart.ps @@ -0,0 +1,154 @@ +%! +%%BoundingBox: 126 246 486 546 +% Cookbook Example Program from First Printing, Revised 7 Jan 1985 +% Program: Drawing a Pie Chart Number: 18 +%----------------------------------------------------------------------------- +% +/PieDict 24 dict def % Local storage for + % ``DrawPieChart'' and its related + % procedures. +PieDict begin + /DrawSlice % DrawSlice draws an outlined and + { /grayshade exch def % filled-in pie slice. It takes + /endangle exch def % four operands: the label for + /startangle exch def % this particular pie slice, the + /thelabel exch def % starting angle for the slice, + % the ending angle for the slice + % and the shade of gray the slice + % should be. + + newpath % Create a path which will draw a + % pie slice. + 0 0 moveto + 0 0 radius startangle endangle arc + closepath + + 1.415 setmiterlimit % This guarantees that when we + % outline the pie slices with a + % stroke that we will not get a + % spike on the interior angles. + gsave grayshade setgray fill grestore % Fill the pie slice path with the + stroke % appropriate gray color. By using + % gsave and grestore we don't lose + % the current path. Since + % PostScript paints color onto the + % page, it is very important that + % we fill the pie slice first and + % then outline it with a stroke. + gsave % Draw the tick mark and place the + % label: + startangle endangle add 2 div % Find the center of the pie slice + rotate % and rotate so that the x-axis + % coincides with this center. + radius 0 translate % Translate the origin out to the + % circumference. + newpath + 0 0 moveto labelps .8 mul 0 lineto% Draw the tick-mark. + stroke + labelps 0 translate % Move the origin out a little + % beyond the circumference. + 0 0 transform % Next we wish to place the label + grestore % at the current origin. If we + itransform % simply draw the text on the page + /y exch def /x exch def % now, it would come out rotated. + x y moveto % Since this is not desired we + % avoid it by returning to the + % previous unrotated coordinate + % system. Before returning, + % though, we would like to + x 0 lt % remember the position of the + { thelabel stringwidth pop neg % current origin on the printed + 0 rmoveto % page. We will accomplish this by + } if % using the transform and + % itransform operators. Performing + % a transform on the origin pushes + % the coordinates of the origin in + % device space onto the operand + % stack. Performing a grestore + % returns us to the previous + % unrotated coordinate system. + % Next we perform an itransform on + % the two device coordinates left + % on the stack to determine where + % we are in the current coordinate + % system. + y 0 lt { 0 labelps neg rmoveto } if % Make some adjustments so that + thelabel show % the label text won't collide + } def % with the pie slice. + /findgray % Procedure findgray calculates + { /i exch def /n exch def % the gray value for a slice. It + i 2 mod 0 eq % takes two arguments: the total + { i 2 div n 2 div round add n div } % number of slices and the current + { i 1 add 2 div n div } % slice number (Given that there + ifelse % are n pie slices, the slices are + } def % ``numbered'' from 1 to n). The +end % gray values for the pie slices + % range evenly from white to black + % (i.e. - the values provided to + % setgray range from (n/n, n-1/n, + % ..., 1/n)). Since we don't want + % similar values of gray next to + % each other, findgray + % ``shuffles'' the possible + % combinations of gray. + +/DrawPieChart % DrawPieChart takes seven + { PieDict begin % arguments: the title of the pie + /radius exch def % chart, the point size to print + /ycenter exch def /xcenter exch def % the title in, the point size to + /PieArray exch def % print the labels for each slice + /labelps exch def /titleps exch def % in, a special array (described + /title exch def % below where DrawPieChart is + % called), the (x,y) center of the + % pie chart and the radius of the + % pie chart. + + gsave + xcenter ycenter translate % Translate the coordinate system + % origin to center of pie chart. + /Helvetica findfont titleps % Print the title of the pie chart + scalefont setfont % in Helvetica. + title stringwidth pop 2 div neg % Center the title below the pie + % chart. + radius neg titleps 3 mul sub + moveto title show + /Helvetica findfont labelps % Print the individual pie slice + scalefont setfont % labels in Helvetica + /numslices PieArray length def + /slicecnt 0 def + /curangle 0 def % A ``loop'' variable that keeps + % track of the angle of arc to + % begin each pie slice at. + PieArray % Repeat the following for each + % element in the PieArray. + { /slicearray exch def + slicearray aload pop % Push the label and percentage + % onto the stack. + /percent exch def + /label exch def + /perangle percent 360 mul def % Convert the percentage into + % degrees of angle. + /slicecnt slicecnt 1 add def + label curangle + curangle perangle add + numslices slicecnt findgray + DrawSlice + /curangle curangle perangle add % Update the current starting + % angle. + def + } forall + grestore + end + } def + +() 18 9 + [ [(Blueberry) .12 ] % The pie array is an array of + [(Cherry) .30 ] % arrays. Each array in the pie + [(Apple) .26 ] % array contains a string denoting + [(Boston Cream) .16 ] % the label to be printed next to + [(Other) .04 ] % the pie slice followed by a real + [(Vanilla Cream) .12 ] % number indicating the percentage + ] 306 396 100 DrawPieChart % of the pie represented by this + % particular slice. +showpage + diff --git a/Master/texmf-dist/doc/generic/psfig/figs/pretzel.ps b/Master/texmf-dist/doc/generic/psfig/figs/pretzel.ps new file mode 100644 index 00000000000..e6bbf413b34 --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/figs/pretzel.ps @@ -0,0 +1,14 @@ +%! pretzel.ps -- an example for the psfig paper. +%%BoundingBox: 95 100 185 200 + +5 setlinewidth +1 setlinecap +110 100 moveto +120 120 140 160 160 160 curveto +170 160 180 150 180 140 curveto +180 120 160 100 140 100 curveto +120 100 100 120 100 140 curveto +100 150 110 160 120 160 curveto +140 160 160 120 170 100 curveto +stroke +showpage diff --git a/Master/texmf-dist/doc/generic/psfig/figs/rosette.ps b/Master/texmf-dist/doc/generic/psfig/figs/rosette.ps new file mode 100644 index 00000000000..2ab4424b556 --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/figs/rosette.ps @@ -0,0 +1,76 @@ +%! +%%BoundingBox: 124.38 124.38 487.61 487.61 +% Cookbook Example Program from First Printing, Revised 7 Jan 1985 +% Program: Repeated Shapes Number: 6 +%----------------------------------------------------------------------------- +% + % This program prints a rosette + % design by defining a section of + % that design and printing that + % section repeatedly. This program + % illustrates the ``for'' and + % "arc" operators, and it shows + % how coordinate transformations + % can be nested so as to use the + % most convenient coordinate + % system for each part of a + % design. +/inch {72 mul} def + +/wedge % Define an ``ice cream cone'' + { newpath % shape by means of the ``arc'' + 0 0 moveto % operator. This shape will have a + 1 0 translate % 30 degree angle topped off with + 15 rotate % a semicircle. Set the path's + 0 15 sin translate % first point at the current + 0 0 15 sin -90 90 arc % origin. Next, move the origin to + closepath % the center of the semicircle by + } def % translating to the right 1 unit, + % rotating counter-clockwise by 15 + % degrees, and translating ``up'' + % in the rotated system by the + % radius of the semicircle. The + % ``arc'' operator includes a + % straight line to the initial + % point of the arc and a curved + % section to the end of the arc. + % Note that the semicircle goes + % from -90 degrees to 90 degrees + % in the rotated coordinate + % system. + +gsave + 4.25 inch 4.25 inch translate % Move into position for the + % rosette. + 1.75 inch 1.75 inch scale % Make the edges of the rosette 1 + % 3/4 inches long. + 0.02 setlinewidth % Use a 7/200 inch thick line. + 2 1 13 % Set up the ``for'' operator to + % iterate 12 times, pushing 2 onto + % the stack the first time, 3 the + % next time, ... , and 13 the last + % time. + { % The last argument for ``for'' is + % the sequence of operations to be + % repeated. This sequence must be + % enclosed by braces. + 13 div setgray % Divide the loop index by 13 to + % set a gray value. + gsave % Enclose the ``wedge'' operation + wedge % in a ``gsave''-``grestore'' + % pair, as it will mess up the + % coordinate system. + gsave % Save the wedge path for use + % after the ``fill''. + fill + grestore + 0 setgray stroke % Draw a black border around the + % wedge. + grestore % Get out of the coordinate system + % left by wedge. + 30 rotate % Set up for the next section. + } for % Close the last argument and + % execute the ``for'' operator. +grestore +showpage + diff --git a/Master/texmf-dist/doc/generic/psfig/figs/starlines.ps b/Master/texmf-dist/doc/generic/psfig/figs/starlines.ps new file mode 100644 index 00000000000..a7cf877ea60 --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/figs/starlines.ps @@ -0,0 +1,40 @@ +%! +%%BoundingBox: 300 400 410 420 +/Times-Roman findfont +30 scalefont setfont +newpath +300 400 translate +.25 setlinewidth +0 0 moveto +(StarLines) true charpath clip + +/rays { + 0 1.5 179 + { gsave + rotate + 0 0 moveto + 108 0 lineto + stroke + grestore + } for +} def + + +newpath +54 -15 translate +rays +showpage + + + +% +% +% +% +% +% +% +% +% +% +% diff --git a/Master/texmf-dist/doc/generic/psfig/figs/trevor.ps b/Master/texmf-dist/doc/generic/psfig/figs/trevor.ps new file mode 100644 index 00000000000..b46453479aa --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/figs/trevor.ps @@ -0,0 +1,583 @@ +%!PS-Adobe-1.0 +%%Title: trevor +%%Creator: Ned Batchelder +%%CreationDate: Wed Mar 26 11:05:04 1986 +%%BoundingBox: 72 72 432 525 + +%%Pages: 1 +%%EndComments +/doimage { + /b exch def /m exch def /n exch def + /pix n string def + n m b [n 0 0 m neg 0 m] + { currentfile pix readhexstring pop } + image +} def +/spotsize { + /perinch exch def + currentscreen 3 -1 roll + pop perinch + 3 1 roll setscreen +} def +/invert { + /curtran currenttransfer cvlit def + /newtran curtran length 3 add array def + newtran 0 {1 exch sub} putinterval + newtran 3 curtran putinterval + newtran cvx settransfer +} def +72 72 translate +%%EndProlog +%%Page: ? 1 +360.000 453.600 scale +60 spotsize +112 176 8 doimage +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff +ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff 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00000000000..0aec9e81218 --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/psfig-doc.tex @@ -0,0 +1,292 @@ +%\documentstyle[psfig]{article} +\documentstyle{article} +\input ../psfig.sty +\begin{document} +\pssilent +\psfigurepath{figs} +\def\Ps{Post\-Script} +% +\title{Psfig/\TeX\ 1.10 Users Guide} +\author{Trevor Darrell \\ {\it trevor@media.mit.edu}} +\date{\ } +\maketitle + +\section{Introduction} +Psfig/\TeX\ is a macro package for \TeX\ that facilitates the +inclusion of \Ps\ figures into \TeX\ documents. With the +help of a compatible postprocessor, +\footnote{The {\tt dvips} program developed by T. Rokicki +has full psfig support; it is available via anonymous FTP from {\tt labrea.stanford.edu}. OzTeX also supports psfig and is available from various ftp sites. Psfig is available from {\tt whitechapel.media.mit.edu}.} +\Ps\ figures are automatically +scaled and positioned on the page, and the proper amount of space is +reserved. +Custom characters such as +`\psfig{figure=pretzel.ps,height=8pt,silent=}' and +`\psfig{figure=cm.ps,height=8pt,silent=}' +may be created and used freely throughout a document, or figures can +be presented as traditional broken-out displays: +\par +\hbox{ +\hspace{.3in} +\vbox{\psfig{figure=zip.ps}\vspace{.5in}} +\psfig{figure=piechart.ps,height=1.5in} +\vbox{\psfig{figure=starlines.ps}\vspace{.6in}} +} + +\section{Simple figures} +To include a \Ps\ figure with psfig, include the psfig style at the top +of your document: +\begin{quote} +{\tt\verb+\documentstyle[psfig,...]{article}+} +\end{quote} +and then, when you wish to include a figure, invoke the macro +\begin{quote} +{\tt\verb+\+psfig\{figure={\it input}\}} +\end{quote} +where {\it input} is the name of a \Ps\ file. Psfig will +automatically position the figure at the current point on the page, +and reserve the proper amount of space in \TeX\ so that it doesn't +block any other objects on the page. For example, if we have a file +called `piechart.ps' which contains the \Ps\ code to draw the chart in +the introduction, we could use the commands +\begin{quote} +\tt +\verb+\+par \\ +\verb+\+centerline\{\verb+\+psfig\{figure=piechart.ps\}\} \\ +\verb+\+par +\end{quote} +to include it as a centered paragraph. +Since no mention of size was made in the above example, psfig draws the figure +at its natural size (as if it was printed directly on +a \Ps\ printer.) The pie's natural size is several inches across, which +is a little large; the pie in the introduction was produced with: +\begin{quote} +\tt\verb+\+centerline\{\verb+\+psfig\{figure=piechart.ps,height=1.5in\}\} +\end{quote} +The {\tt height} option specifies how tall the figure should be on the +page. Since no {\tt width} was specified, the figure was scaled +equally in both dimensions. (This will also happen with a {\tt width} +but no {\tt height} option.) By listing both a {\tt height} and {\tt +width}, figures can be scaled disproportionately, with interesting +results: +\par +\centerline{\hbox{ +\psfig{figure=rosette.ps,height=.8in,width=.15in} +\psfig{figure=rosette.ps,height=.8in,width=.35in} +\psfig{figure=rosette.ps,height=.8in} +\psfig{figure=rosette.ps,height=.8in,width=1.2in} +\psfig{figure=rosette.ps,height=.8in,width=1.5in} +}} +\par +\noindent This figure was produced with: +\begin{quote} +\tt\verb+\+centerline\{\verb+\+hbox\{ \\ +\verb+\+psfig\{figure=rosette.ps,height=.8in,width=.15in\}\\ +\verb+\+psfig\{figure=rosette.ps,height=.8in,width=.35in\}\\ +\verb+\+psfig\{figure=rosette.ps,height=.8in\} \\ +\verb+\+psfig\{figure=rosette.ps,height=.8in,width=1.2in\}\\ +\verb+\+psfig\{figure=rosette.ps,height=.8in,width=1.5in\}\\ +\}\} +\end{quote} +The \verb+\psfig+ macro is (unfortunately) sensitive to whitespace, and will be +confused by any extra spaces or newlines in its argument. +\section{Sources of figures} +\hbox{ +\vbox{\psfig{figure=trevor.ps,height=1in}} +\hspace{.15in} +\vbox{\parbox{3.5in} {Any program that produces \Ps\ as output +can be used for psfig figures +as long as it adheres to the bounding box comment convention (see below). +For instance, the bitmap image +of the author was included as a figure at left.}\vspace{.2in}}} + +Since the Macintosh drawing applications produce \Ps, they can be used +to create figures. However, the \Ps produced by most Macintosh +applications is often not well suited to be included directly as +aBpsfig figure, unless it is saved as an ``EPSF compliant'' file. If +the file is not EPSF compliant then the postscript may have to be +edited before being used as an included figure. + +\section{Draft figures and Silent mode} +\begin{figure} +\centerline{ +\psfig{figure=rosette.ps,height=2in} +\psdraft +\psfig{figure=rosette.ps,height=2in} +\psfull +} +\vspace{.25in} +\centerline{Figure 2: The rosette.ps figure, in non-draft and draft mode} +\end{figure} +Normally, psfig will print advisory messages to remind you that it is +including figures as TeX processes a document. This behavior can +be disabled with {\tt \verb+\+pssilent}, and re-enabled with +{\tt \verb+\+psnoisy}. +\par +Some \Ps\ figures can take quite a long time to transmit and print; +for these figures a draft mode is available to speed printing of draft +versions of the document. A figure printed in draft mode will appear +as an outlined box (Figure 2). The macro {\tt +\verb+\+psdraft} will switch into draft mode, and all subsequent psfig +macros will produce draft figures until reaching the macro {\tt +\verb+\+psfull}, which switches out of draft mode. + +No {\tt +\verb+\+special} commands are used in draft mode, so a draft document +can be previewed using any Dvi viewer. Psfig uses the \LaTeX\ {\tt +\verb+\+fbox} command to produce the draft box; thus draft boxes will +not work in plain \TeX. The printing of boxes in draft mode can be +disabled/enabled with {\tt +\verb+\+psnodraftbox} and {\tt +\verb+\+psdraftbox}. + +\section{Bounding boxes} +To properly translate and scale a figure psfig must know its `natural' +position on the page; this information is present +in what is called the {\it bounding box} of a \Ps\ program. The +bounding box is an outer limit to the marks created by a program, +and is specified as four coordinates of a rectangle: the lower-left $x$ coordinate +(bbllx), the lower-left $y$ coordinate (bblly), the upper-right +$x$ coordinate (bburx), and the upper-right $y$ coordinate (bbury). +Adobe has defined a convention whereby the bounding box of a program +is contained in a `bounding box comment'. +\footnote{See `Appendix J: \Ps\ File Structuring Conventions' in +{\it The \Ps\ Language Reference Manual}} +This comment, which must be present in any file to be used as a psfig figure, +is a line of the form +\begin{quote} +\tt \verb+%%+BoundingBox: \it bbllx bblly bburx bbury +\end{quote} +All values are in \Ps\ points, relative to the {\it default} +transformation matrix. The only mandatory \Ps\ convention is +that the first line of the file should begin with the characters +`\verb+%+!' (a `\verb+%+' begins a comment in \Ps.) A good place for the +bounding box comment is as the second line of the file. +\par +If a bounding box comment is present in the figure file, psfig will +extract its values. The bounding box values may instead be specified +directly in the {\tt \verb+\+psfig} argument, using clauses of the +form {\tt bbllx=\it bbllx},{\tt bblly=\it bblly},..., in which case +the figure file is not searched for the bounding box. + +\section{Reserved size} +\par +\psfig{figure=box.ps,rheight=0bp,rwidth=0bp,height=1.25in,width=\textwidth,silent=} +\par +There are two sizes associated with each psfig figure: the size +at which it is to be printed on the page +and the size it reserves in \TeX. This latter size is appropriately +termed the {\it reserved size}, and is expressed as clauses of the form +``{\tt rheight={\it dimen}}'' +and ``{\tt rwidth={\it dimen}}''. If omitted, the reserved size defaults +to the real size. Some special effects need to be transparent +to \TeX\ and thus have a zero reserved size, such as the grey +box enclosing +this paragraph. + +\section{Clipping} +Normally a \Ps\ program can be expected to not mark the page +outside its bounding box. If this is not the case, or if you +want to specify a bounding box so as to isolate part of a larger figure, +there is an option that sets the \Ps\ clip path so that +no marks will show up outside the declared bounding box. Currently +this is invoked by adding a clause of the form ``{\tt clip=}''. +Here a slice has been taken out of the pie chart in the example by +specifying a smaller bounding box and adding the clip option. +\par +\centerline{\protect\fbox{\psfig{figure=piechart.ps,height=2in,bbllx=306bp,bblly=396bp,bburx=486bp,bbury=546bp,clip=}}} +\centerline{A piece of the pie.} +\vspace{.2in} +\par +Some \Ps\ programs use the clipping path to position their output on +the page; if a figure is being drawn at its natural size and position +despite psfig commands to the contrary, it may need the clip option. + +\newpage +\section{Rotating figures} +Figures can be rotated by psfig using the {\tt angle={\it degrees}} +clause. For example, here is the rosette and its 90 degree rotation: + +\centerline{\hbox{ +\psfig{figure=rosette.ps,height=1.0in} +\psfig{figure=rosette.ps,height=1.0in,angle=90} +}} + +By default psfig scales the figure so that its rotated bounding box +fits within the desired size. This can lead to counterintuitive results +when rotating to angles which are not multiples of 90 degrees. Here +is the rosette rotated to 0,20,40, and 60 degrees. + +\centerline{\hbox{ +\psfig{figure=rosette.ps,height=1.0in} +\psfig{figure=rosette.ps,height=1.0in,angle=20} +\psfig{figure=rosette.ps,height=1.0in,angle=40} +\psfig{figure=rosette.ps,height=1.0in,angle=60} +}} + +With autoscaling, some rotated figures come out smaller because the +diagonal of their bounding box is of course longer than their height +or width alone. This behavior can be disabled with {\tt +\verb+\+psscalefirst}, and re-enabled with {\tt +\verb+\+psrotatefirst}. With {\tt \verb+\+psscalefirst} a new +height and width is computed after the bounding box; +the previous figure would now look like: + +\psscalefirst +\centerline{\hbox{ +\psfig{figure=rosette.ps,height=1.0in} +\psfig{figure=rosette.ps,height=1.0in,angle=20} +\psfig{figure=rosette.ps,height=1.0in,angle=40} +\psfig{figure=rosette.ps,height=1.0in,angle=60} +}} + +While the rotated figures will all come out at the same +size their reserved sizes will be different, thus +they may not be aligned correctly. + +\section{Compressed Figures} +Psfig allows the inclusion of compressed \Ps files when using +the {\tt dvips} dvi processor. +The shell script {\tt pscompress} is used to compress figures, and +produces two files: {\it filename}{\tt .bb} and {\it filename}{\tt .Z}. +The first file contains the bounding box comment only, while the second +file contains the actual compressed PostScript file. Usage: +\begin{quote} +\tt \verb+%+ pscompress \it filename +\end{quote} +When psfig searches for a figure, if it fails to find +{\it filename}, it then searches for {\it filename}{\tt .bb}. +If that file exists, it is used for bounding box processing, +and a command to decompress and include the file {\it filename}{\tt .Z} +is issued to dvips. + +\section{Figure search path} + +Psfig first searches in the current directory for a figure (or +in the specified directory if given an absolute path). If it fails +to find the figure in the current directory, it optionally searches +a search path of figure directories to see if the figure is +present. To specify the figure search path, use +\begin{quote} +\tt \verb+\+psfigurepath\verb+{+\it dir1 \tt :\it dir2\tt :\it ...\tt :\it dirn\tt\verb+}+ +\end{quote} +where {\it dir1...dirn} are the directories figures are to be found in. +\newpage +\section{Acknowledgements} +\par +This work was done while the author was with the Department of +Computer and Information Science, University of Pennsylvania. Ned +Batchelder co-developed the original {\it troff} version of this +program with the author, and was responsible for much of the overall +design. For more detailed information on the original version of \Ps\ +see {\it Psfig -- A Ditroff Preprocessor for PostScript Figures} in +the USENIX 87 proceedings, or {\it Bringing troff up to speed} in the +July 1987 issue of Unix Review. + +Greg Hager provided the initial pure-\TeX\ implementation of psfig. +J. Daniel Smith of Schlumberger CAD/CAM implemented the rotation +feature and improved the file scanning routines, using certain code +fragments from Tom Rokicki's dvips program. +\par +\end{document} + diff --git a/Master/texmf-dist/doc/generic/psfig/psfig.man b/Master/texmf-dist/doc/generic/psfig/psfig.man new file mode 100644 index 00000000000..b6388528674 --- /dev/null +++ b/Master/texmf-dist/doc/generic/psfig/psfig.man @@ -0,0 +1,261 @@ +.TH Psfig/TeX 1 +.SH NAME +Psfig/TeX (1.10) \- PostScript figures in TeX +.SH SYNTAX +\\\fBinput psfig\fP +.SH DESCRIPTION +.B Psfig/TeX +is a macro package for TeX, as well as LaTeX, that facilitates the +inclusion of PostScript figures into (La)TeX documents. +With the help of a compatible postprocessor, PostScript figures are +automatically scaled and positioned on the page, and the proper amount +of space is reserved. +Figures can be presented as traditional broken-out displays, +and Custom characters may be created and used freely throughout a document. +.PP +The \fBdvips\fP program developed by Tomas Rokicki has full +\fBpsfig\fP support. The \fBOzTeX\fP package has support for +all \fBpsfig\fp functions except compressed figures. +.PP +.SH USAGE +To include a figure with \fBpsfig\fP, include the \fBpsfig\fP style at +the top of your document. +In LaTeX: ``\\\fBdocumentstyle\fP[psfig,...]{article}''; in TeX: +``\\\fBinput\fP psfig''. +Then invoke the macro ``\\\fBpsfig\fP{figure=\fIfilename\fP}'', where +\fIfilename\fP is the name of a PostScript file. +.B Psfig +will automatically position the figure at the current +point on the page, and reserve the proper amount of space. +.PP +.SH OPTIONS +Options may be specified in the form +``\\\fBpsfig\fP{figure=\fIfilename\fP,\fIoption\fP=\fIvalue\fP,\fIoption\fP=\fIvalue\fP,...}''; +recognized options include \fBheight\fP, \fBwidth\fP, \fBrheight\fP, +\fBrwidth\fP, \fBclip\fP, and \fBangle\fP. +.IP height 9 +The ``\fBheight\fP=\fIdimen\fP'' option specifies how tall the +figure should be on the page. +When no \fBwidth\fP is specified, the figure is scaled equally +in both dimensions. +.IP width +The ``\fBwidth\fP=\fIdimen\fP'' option specifies how wide the +figure should be on the page. +When no \fBheigth\fP is specified, the figure is scaled equally +in both dimensions. +.IP +If no \fBheight\fP or \fBwidth\fP option is given, the figure's +`natural' size will be used. +By listing both a \fBheight\fP and \fBwidth\fP, figures can be scaled +disproportionately. +.IP rheight +There are two sizes associated with each \fBpsfig\fP figure: the size +at which it is to be printed on the page and the size it reserves +in TeX. +This latter size is appropriately termed the reserved size, and is +expressed as an option of the form ``\fBrheight\fP=\fIdimen\fP'', +to reserve a vertical size of \fIdimen\fP. +If omitted, the reserved size defaults to the real size. +Some special effects need to be transparent to TeX and thus have a +zero reserved size, such as a grey box enclosing a paragraph. +.IP rwidth +To reserve a width in TeX, the ``\fBrwidth\fP=\fIdimen\fP'' +option is used. +.IP clip +The ``\fBclip\fP=t'' option sets the PostScript clipping path +so that no marks will show up outside the declared bounding box. +This option allows the user to isolate part of a larger figure, +by specifying a new bounding box: +``\\\fBpsfig\fP{figure=figs/piechart.ps,height=2in,bbllx=306bp,% +bblly=396bp,bburx=486bp,bbury=546bp,clip=}'' +.IP angle +Figures can be rotated by \fBpsfig\fP using the ``\fBangle\fP=\fIdegrees\fP'' +option. +Example: +``\\\fBpsfig\fP{figure=figs/rosette.ps,height=1.0in,angle=90}''. +.PP +.SH AUTOSCALING +With autoscaling, some rotated figures come out smaller because the +diagonal of their bounding box is longer than their \fBheight\fP +or \fBwidth\fP alone. +This behavior can be disabled with \\\fBpsscalefirst\fP, and re-enabled +with \\\fBpsrotatefirst\fP. +With \\\fBpsscalefirst\fP a new \fBheight\fP and \fBwidth\fP are +computed after the bounding box. +While the rotated figures will all come out at the same size, their +reserved sizes will be different, thus they may not be aligned +correctly. +.PP +.SH SOURCES OF FIGURES +Any PostScript program can be used as a +\fBpsfig\fP figure, as long as it adheres to the +Encapsulated PostScript Format (EPSF), which +dictates a set of forbidden operators and a comment +structuring convention. \fBPsfig\fP +is actually less restrictive than the EPSF requirements; it can handle +some of the "non-compliant" postscript operators, and the only +required comment is the Bounding Box comment (see below). +.PP +.SH BOUNDING BOXES +To properly translate and scale a figure \fBpsfig\fP must know +its `natural' position on the page; this information is present +in the `bounding box comment' of a PostScript program. +This is a line of the form +``%%BoundingBox: \fIbbllx bblly bburx bbury\fP'' in the header of +the file. +.PP +The bounding box specifies four coordinates of a rectangle that +defines the outermost edges of the PostScript figure: the lower-left +\fIx\fP coordinate (\fIbbllx\fP), the lower-left \fIy\fP coordinate +(\fIbblly\fP), the upper-right \fIx\fP coordinate (\fIbburx\fP), and +the upper-right \fIy\fP coordinate (\fIbbury\fP). +This rectangle must be present in any file to be used as a +\fBpsfig\fP figure. +Most modern graphics packages produce (encapsulated) PostScript +files which contain a ``%%BoundingBox:'' comment line in the header. +All \fIbb...\fP values are in points, relative to the default +transformation matrix. +.PP +.SH MISSING BOUNDING BOX +When no bounding box comment line is present in your PostScript file, +you can edit one in. +The only mandatory PostScript convention is that the first line of +the file should begin with the characters `%!'. +A good place for the bounding box comment is the second line of +the file. +.PP +The bounding box values may also be specified directly in the +\\\fBpsfig\fP argument, using clauses of the form +``bbllx=\fIbbllx\fP,bblly=\fIbblly\fP,...'', in which case +the figure file is not searched for the bounding box. +.PP +To control the amount of white space around a figure in a (La)TeX +document, it may be necessary to experiment with the bounding box +parameters \fIbb...\fP, also in cases where the bounding box is +provided by the plot or graphics package. +.PP +.SH DRAFT FIGURES +Some PostScript figures take quite a long time to transmit and print; +for these figures a draft mode is available to speed printing of draft +versions of the document. +A figure printed in draft mode will appear as an empty box. +The macro \\\fBpsdraft\fP will switch into draft mode, and all +subsequent \fBpsfig\fP macros will produce draft figures until reaching +the macro \\\fBpsfull\fP, which switches out of draft mode. +.PP +No \\\fBspecial\fP commands are used in draft mode, so a draft document +can be previewed using \fIany\fP DVI viewer. +The printing of boxes in draft mode can be disabled/enabled with +\\\fBpsnodraftbox\fP and \\\fBpsdraftbox\fP. +.PP +.SH SILENT MODE +Normally, \fBpsfig\fP will print advisory messages to remind you that it is +including figures as (La)TeX processes a document. This behavior can +be disabled with \\\fBpssilent\fP, and re-enabled with \\\fBpsnoisy\fP. +.PP +.SH COMPRESSED POSTSCRIPT FILES +As off version 1.9, \fBpsfig\fP allows the inclusion of compressed +PostScript files (when using \fBdvips\fP). +.PP +To compress PostScript files, the shell script \fBpscompress\fP is used. +\fBPscompress\fP produces two files: \fIfilename\fP.bb and \fIfilename\fP.Z. +The first file contains the bounding box comment only, while the second +file contains the actual compressed PostScript file. +Usage: ``% \fBpscompress\fP \fIfilename\fP''. +.PP +When (La)TeX is run on \fIyour_document\fP.tex, the file \fIfilename\fP.bb +is scanned for the bounding box comment, to allow (La)TeX to properly +reserve the right size for the figure. +Only when the file \fIyour_document\fP.dvi is printed by means of \fBdvips\fP, +the actual PostScript file \fIfilename\fP.Z is decompressed (\fBzcat\fP-ed) +and included in \fIyour_document\fP.ps. +.PP +.SH MACINTOSH FIGURES +Since the Macintosh drawing applications produce PostScript, they can +be used to create figures. +However, the PostScript produced by most Macintosh applications is often +not well +suited to be included directly as a \fBpsfig\fP figure, unless it is +saved as an "EPSF compliant" file. If the file is not "EPSF compliant" +then the postscript may have to be edited before being used +as an included figure. See the \fBpsfig\fP tool \fBcleanfig\fP +and the sample document \fBmacdemo.tex\fP for guidance. +.PP +Non-EPSF Macintosh PostScript files often +require a ``Laserprep'' prolog in order to +be properly printed. +A laserprep prolog can be included with the \fBdvips\fP special +header command at the top of your (La)TeX file: +``\\\fBspecial\fP{header=lprep70.procs}''. +\fBPsfig\fP provides `lprep68.procs', as well as `lprep70.procs', +to suit various versions of the Macintosh applications. +.PP +.SH FIGURE SEARCH PATH +Psfig first searches in the current directory for a figure (or +in the specified directory if given an absolute path). If it fails +to find the figure in the current directory, it optionally searches +a search path of figure directories to see if the figure is +present. To specify the figure search path, use +"\\psfigurepath{dir1:dir2:...:dirn}", +where dir1...dirn are the directories figures are to be found in. +.PP +.SH PROBLEMS +.IP Problem: 10 +The page with graphics is not printed. +.IP Solution: 10 +Remove lines containing `\fBshowpage\fP' and/or `\fBstop\fP' +from the PostScript graphics file. +Lines of this kind are usually found near the end of the file. +.IP Problem: 10 +The figure is positioned in weird places. +.IP +Generally, this is an indication that the PostScript ``%%BoundingBox:'' +comment is missing. +It may also be that a translation takes places \fIafter\fP the +bounding box was determined. +.RE +.IP Solution: 10 +Edit a bounding box comment into the PostScript file +and/or experiment with the \fIbb...\fP values (see: MISSING BOUNDING +BOX above). +.PP +.SH BUGS +The \\\fBpsfig\fP macro is (unfortunately) sensitive to whitespace, +and will be confused by any extra spaces or newlines in its argument. +.PP +The LaTeX \fBletter\fP style must be loaded after the +\\\fBpsfig\fP macros due to naming conflicts. This can be +forced by including psfig with an explicit \\\fBinput\fP +command before the \\\fBdocumentstyle\fP command. +.PP +.SH ACKNOWLEDGEMENTS +This work was done while the author was with the Department of +Computer and Information Science, University of Pennsylvania. Ned +Batchelder co-developed the original troff version of this +program with the author, and was responsible for much of the overall +design. For more detailed information on the original version of +see \fIPsfig \- A Ditroff Preprocessor for PostScript Figures\fP in +the USENIX 87 proceedings, or \fIBringing troff up to speed\fP in the +July 1987 issue of Unix Review. +.PP +Greg Hager provided the initial pure-TeX implementation of \fBpsfig\fP. +J. Daniel Smith of Schlumberger CAD/CAM implemented the rotation +feature and improved the file scanning routines, using certain code +fragments from Tom Rokicki's \fBdvips\fP program. +.PP +Thanks to Sake Hogeveen (hogeveen.fys.ruu.nl) for editing this man page. +.SH AUTHOR +Trevor Darrell +.PP +.SH SEE ALSO +tex(1), latex(1), dvips(1), psfig-troff(1) +.PP +A printed version of the psfig-tex manual may be obtained by typing +.br +``% \fBlatex\fP psfig-doc'', then ``% \fBdvips\fP psfig-doc'', +.br +and finally printing the resulting psfig-doc.ps file on your nearest +PostScript printer. +The manual provides many examples with real-life PostScript graphics, +see the text of psfig-doc.tex for more usage examples. + diff --git a/Master/texmf-dist/doc/generic/pst-3dplot/Changes b/Master/texmf-dist/doc/generic/pst-3dplot/Changes new file mode 100644 index 00000000000..2b62d2de1b3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-3dplot/Changes @@ -0,0 +1,32 @@ +pst-3dplot.pro -------- +0.20 2005-01-14 add rotPoint subroutine with RotSequenz option +0.11 2005-01-11 add rotPoint subroutine + + +pst-3dplot.tex -------- +1.63 2005-02-19 spurious blank +1.62 2005-02-16 some modifications to \pstThreeDEllipse +1.61 2005-02-08 spurious blanks in drawStyle +1.60 2005-02-03 whitespace and bug in parametric +1.59 2005-01-25 changes \variablesIIID +1.58 2005-01-18 more tests for the rotating option +1.57 2005-01-15 make showCoor run with the new rotate options +1.56 2005-01-14 option RotSequenz now available for all macros +1.55 2005-01-11 options RotX RotY RotZ now available for all macros +1.54 2005-01-03 pstRotPointIIID as a real TeX solution and fix a spurious blank + in ThreeDBox +1.53 2005-01-03 pstRotPointIIID returns the 3D coordinates of the rotated point. + pstRotPointIIID[RotX=..,RotY=..,RotZ=..](x,y,z)\xVal\yVal\zVal +1.52 2004-12-05 uncomment the moveto in psThreeDPlot, change all \edef to \def +1.51 2004-12-03 bugfix in parametricplotThreeD, use \pst@dima instead of \pst@cnta +1.50 2004-11-24 spurious blank in \pstThreeDBox +1.49 2004-11-18 mostly rewrite \parametricplot +1.48 2004-11-16 drawStyle was ignored +1.47 2004-11-16 change the subprocedure for specialplot +1.46 2004-11-16 change the subprocedure for quick plot +1.45 2004-11-15 some more tweaks to parametricplotThreeD +1.44 2004-11-15 bugfix in parametricplotThreeD +1.43 2004-11-07 bugfix in parametric plot +1.42 2004-11-04 added macro \psPlaneGrid +1.41 2004-10-31 modification to \psplane (Torsten Suhling) +1.40 2004-10-31 use pst-xkey diff --git a/Master/texmf-dist/doc/generic/pst-3dplot/README b/Master/texmf-dist/doc/generic/pst-3dplot/README new file mode 100644 index 00000000000..ddb20db1770 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-3dplot/README @@ -0,0 +1,48 @@ +%% Package `pst-3dplot.tex' +%% +%% Herbert Voss (Germany) +%% +%% 2004-12-04 +%% + +PSTricks offers excellent macros to insert more or less complex +graphics into a document. pstricks.tex itself is the base for several +other additional packages, which are mostly named pst-xxxx, +like pst-3dplot. There exists several packages for plotting three +dimensional graphical objects. pst-3dplot is similiar to the +pst-plot package for two dimensional objects and mathematical functions. + + +Save the files + +pst-3dplot.sty +pst-3dplot.tex +pst-3dplot.pro + +in any place, where latex or any other TeX program will find it. +The pro file should go into $TEXMF$/dvips/pstricks/. + +pst-3dplot uses the extended version of the keyval package. So +be sure that you +- have installed xkeyval with the special pst-xkey + (CTAN: tex-archive/macros/latex/contrib/xkeyval/) +- do not load another package after pst-3dplot, which loads + the old keyval.sty or pst-key.tex + + +If you like to get the documentation file in another format run + +latex pst-3dplot-doc.tex +bibtex pst-3dplot.doc +latex pst-3dplot-doc.tex +dvips pst-3dplot-doc.dvi + +to get a PostScript file. But pay attention, that the pst-3dplot +files are saved in the above mentioned way, before you run +latex on the documentation file. + +The intermediate DVI file works only with viewers which can +interprete the embedded PostScript code. + +For another PDF output read the Introduction from +the documentation. diff --git a/Master/texmf-dist/doc/generic/pst-3dplot/doc/data3D.Roessler b/Master/texmf-dist/doc/generic/pst-3dplot/doc/data3D.Roessler new file mode 100644 index 00000000000..2e24034944f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-3dplot/doc/data3D.Roessler @@ -0,0 +1,445 @@ +2.0, 0.0, 0.0 +1.9737089990827656, 0.31348417289942826, 0.024766924774833776 +1.8955421029937392, 0.6286215677998942, 0.040068360866723524 +1.7670706651447274, 0.9374105709682867, 0.04899535062052031 +1.590723362917843, 1.231909925153328, 0.053481257255618045 +1.3698988432765893, 1.5043858076910284, 0.05484157950815698 +1.1089929624834642, 1.7474740837870646, 0.05405054060802597 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b/Master/texmf-dist/doc/generic/pst-3dplot/doc/pst-3dplot-doc.pdf differ diff --git a/Master/texmf-dist/doc/generic/pst-3dplot/doc/pst-3dplot-doc.tex b/Master/texmf-dist/doc/generic/pst-3dplot/doc/pst-3dplot-doc.tex new file mode 100644 index 00000000000..dba7c9eab15 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-3dplot/doc/pst-3dplot-doc.tex @@ -0,0 +1,1751 @@ +\documentclass[11pt,a4paper]{article} +\usepackage[T1]{fontenc} +\usepackage[latin1]{inputenc} +\usepackage{amsmath} +\usepackage{graphicx} +\usepackage{geometry} +\usepackage{pstricks} +\usepackage{pst-grad} +\usepackage{pst-example} +\usepackage{showexpl} +\lstset{wide=true} +\usepackage{pst-3dplot} +\let\myFV\fileversion +\usepackage{url} +\usepackage[bottom]{footmisc} +\usepackage{fancyhdr} +\usepackage{abstract} +\usepackage{calc} +\usepackage{comment} +\usepackage{prettyref} +\pagestyle{fancy} +\usepackage{url} +\usepackage{longtable} +\def\UrlFont{\small\ttfamily} +\makeatletter +\def\verbatim@font{\small\normalfont\ttfamily} +\makeatother +\lfoot{\small\ttfamily\jobname.tex} +\cfoot{} +\rfoot{\thepage} +\renewcommand{\headrulewidth}{0pt} +\renewcommand{\footrulewidth}{0pt} +\let\myPart\part +\renewcommand{\part}[1]{\clearpage\myPart{#1}} +\newcommand{\PS}{PostScript} +\newcommand\CMD[1]{\texttt{\textbackslash#1}} +\newcommand\verbI[1]{\small\texttt{#1}} +\makeatletter +\def\verbatim@font{\small\normalfont\ttfamily} +\makeatother +\xdefinecolor{gray85}{gray}{0.85} +\xdefinecolor{gray90}{gray}{0.9} +\psset{subgriddiv=0,gridlabels=7pt,gridcolor=gray85} +\usepackage[pdfauthor={Herbert Voss},pdftitle={3D Plots},linktocpage]{hyperref} +% +\begin{document} +\author{Herbert Vo\thanks{voss@perce.de}} +\date{\today} +\title{3D plots: PST-3dplot v\myFV\\Documentation} + +\maketitle% +\begin{abstract} +The well known \verbI{pstricks} package offers excellent macros to insert more or less complex +graphics into a document. \verbI{pstricks} itself is the base for several other additional packages, +which are mostly named \verbI{pst-xxxx}, like \verbI{pst-3dplot}. + +There exist several packages for plotting three dimensional graphical objects. \verbI{pst-3dplot} +is similiar to the \verbI{pst-plot} package for two dimensional objects and mathematical functions. + +This version uses the extended keyval package \verb+xkeyval+, so be sure that you have installed +this package together with the spcecial one \verb+pst-xkey+ for PSTricks. The \verb+xkeyval+ +package is available at \href{ftp://ftp.dante.de/pub/tex/macros/latex/contrib/xkeyval/}{CTAN:/macros/latex/contrib/xkeyval/}. +It is also important that after \verb+pst-3dplot+ no package is loaded, which uses the old keyval interface. +\vspace*{2cm} +\end{abstract}% + +\tableofcontents + +\clearpage +\section{The Parallel projection} + +Figure \ref{Abb0-1} shows a point $P(x,y,z)$ in a three dimensional coordinate system ($x,y,z$) +with a transformation into $P^*(x^*,y^*)$, the Point in the two dimensional system ($x_E,y_E$). + +\begin{figure}[htb] +\centering +\unitlength1cm +\begin{picture}(10,9) +\thicklines +\put(0,8){\makebox(0,0)[l]{$\alpha$: horizontal rotating angle}} +\put(0,7.5){\makebox(0,0)[l]{$\beta$: vertikal rotating angle}} +% +\put(5.25,9){\makebox(0,0){z}} +\put(5,0){\vector(0,1){9}} +\put(6,5.5){\vector(-2,-1){5.5}} +\put(9.5,3){\makebox(0,0){y}} +\put(4,5.5){\vector(+2,-1){5.5}} +\put(0.5,3){\makebox(0,0){x}} +\thinlines +\put(0,5){\vector(+1,0){10}} +\put(5,5.02){\line(+1,0){1}} +\put(10,4.5){\makebox(0,0){$x_E$}} +\put(5.25,8.5){\makebox(0,0){$y_E$}} +\put(5.3,4.5){\makebox(0,0){$\alpha$}} +\put(2.6,3.6){\makebox(0,0){$\alpha$}} +% +\put(2,3.5){\line(+2,-1){5}} +\put(9,3){\line(-2,-1){3.5}} +\put(6,1.5){\line(0,1){5}} +\put(6,6.5){\circle*{0.2}} +\put(6.2,6.7){\makebox(0,0)[l]{$P(x,y,z)$}} +\put(6.2,6.3){\makebox(0,0)[l]{$P^*(x^*,y^*)$}} +\put(6.2,5.3){\makebox(0,0)[l]{$x^*$}} +% +\put(5,3){\line(+1,0){4}} +\put(7,2.7){\makebox(0,0){$y\cdot\sin\alpha$}} +\put(2,3.5){\line(+1,0){3}} +\put(3.5,3.2){\makebox(0,0){$x\cdot\cos\alpha$}} +\thicklines +\put(5,1.5){\line(+1,0){1}} +\put(5,1.52){\line(+1,0){1}} +\thinlines +\put(4.2,4.8){\makebox(0,0){$\alpha$}} +\thicklines +\put(5.03,5){\line(0,-1){2}} +\put(5.1,4){\makebox(0,0)[l]{$y\cdot\cos\alpha$}} +\put(4.97,5){\line(0,-1){1.5}} +\put(4.9,4.2){\makebox(0,0)[r]{$x\cdot\sin\alpha$}} +\thinlines +\put(5.5,0.5){\vector(0,+1){1}} +\put(5.5,0.5){\line(1,0){0.5}} +\put(6.2,0.5){\makebox(0,0)[l]{$y\cdot\sin\alpha-x\cdot\cos\alpha$}} +%\put(4.5,3.25){\vector(1,0){0.5}} +%\put(4.5,3.25){\line(-1,-2){1}} +%\put(3.5,1.25){\line(-1,0){0.5}} +\put(4.9,1.5){\makebox(0,0)[r]{$y\cdot\cos\alpha+x\cdot\sin\alpha$}} +\end{picture}% +\caption{Lengths in a three dimensional System} +\label{Abb0-1} +\end{figure} + + +The angle $\alpha$ is the horizontal rotation with positive values for anti clockwise rotations +of the 3D coordinates. The angle $\beta$ is the vertical rotation (orthogonal to the paper plane). +In figure \ref{Abb0-2} we have $\alpha=\beta=0$. The y-axis comes perpendicular out of the paper +plane. Figure \ref{Abb0-3} shows the same for another angle with a view from the side, where the +x-axis shows into the paper plane and the angle $\beta$ is greater than $0$ degrees. + +\begin{figure}[htb] +\centering +\unitlength1cm +\begin{picture}(2,2.5) +\thicklines +\put(2.2,2){\makebox(0,0){$z$}} +\put(2,0.5){\vector(0,1){2}} +\put(2,0.5){\vector(-1,0){2}} +\put(0.5,0.7){\makebox(0,0){$x$}} +\put(2,0.5){\circle*{0.2}} +\put(2,0.5){\circle{0.5}} +\put(2.3,0.7){\makebox(0,0)[l]{$y$}} +\end{picture} +\caption{Coordinate System for $\alpha=\beta=0$ ($y$-axis comes out of the paper plane)}\label{Abb0-2} +\end{figure} + + +The two dimensional x coordinate $x^*$ is the difference of the two horizontal lengths +$y\cdot\sin\alpha$ und $x\cdot\cos\alpha$ (figure \ref{Abb0-1}): +\begin{equation} +x^{*}=-x\cdot\cos\alpha+y\cdot\sin\alpha +\end{equation} + + +The z-coordinate is unimportant, because the rotation comes out of the paper plane, so we have +only a different $y^*$ value for the two dimensional coordinate but no other $x^*$ value. +The $\beta$ angle is well seen in figure \ref{Abb0-3} which derives from figure \ref{Abb0-2}, +if the coordinate system is rotated by $90$ horizontally to the left and vertically by $\beta$ +also to the left. + +\begin{figure}[htbp] +\unitlength1cm +\centering +\begin{picture}(1,3) +\thicklines +\put(1.5,2.9){\makebox(0,0){z}} +\put(2,1){\vector(-1,2){1}} +\put(2,1){\vector(-2,-1){2}} +\put(0,0.3){\makebox(0,0){y}} +\put(2,1){\circle{0.5}} +\put(1.8,0.8){\line(1,1){0.4}} +\put(1.8,1.2){\line(1,-1){0.4}} +\put(2.3,1.2){\makebox(0,0)[l]{x}} +\thinlines +\put(2,1){\line(-1,0){2}} +\put(2,1){\line(0,1){2}} +\put(1.7,2){\makebox(0,0){$\beta$}} +\put(1.3,0.8){\makebox(0,0){$\beta$}} +\put(2,2.5){\line(-1,0){0.75}} +\put(2.2,2.5){\makebox(0,0)[l]{$z*_1=z\cdot\cos\beta$}} +\put(1,1){\line(0,-1){0.5}} +\put(1.3,0.5){\makebox(0,0)[l]{$y\cdot\cos\alpha+x\cdot\sin\alpha$}} +\put(0.9,0.7){\makebox(0,0)[r]{$-(y\cdot\cos\alpha+x\cdot\sin\alpha)\cdot\sin\beta$}} +\end{picture} +\caption{Coordinate System for $\alpha=0$ and $\beta>0$ ($x$-axis goes into the paper plane)}\label{Abb0-3} +\end{figure} + + +The value of the perpendicular projected z coordinate is $z^{*}=z\cdot cos\beta$. With figure \ref{Abb0-3} we see, that the point $P(x,y,z)$ runs on an elliptical curve when $\beta$ is constant and $\alpha$ changes continues. The vertical alteration of $P$ id the difefrence of the two {}``perpendicular'' lines $y\cdot\cos\alpha$ and $x\cdot\sin\alpha$. +These lines are rotated by the angle $\beta$, so we have them to multiply with $\sin\beta$ to +get the vertical part. We get the following transformation equations: + +\begin{equation} +\begin{array}{lll} + x_{E} & = & -x\cos\alpha+y\sin\alpha\\ + y_{E} & = & -(x\sin\alpha+y\cos\alpha)\cdot\sin\beta+z\cos\beta +\end{array} +\end{equation} + +\noindent or written in matrix form: +{\footnotesize\addtolength{\arraycolsep}{-2pt} +\begin{equation} +\begin{pmatrix}x_E\\y_E\end{pmatrix}= + \begin{pmatrix} + -\cos\alpha & \sin\alpha & 0\\ + -\sin\alpha\sin\beta & -\cos\alpha\sin\beta & \cos\beta + \end{pmatrix}\cdot +\begin{pmatrix}x\\y\\z\end{pmatrix} +\end{equation}% +\addtolength{\arraycolsep}{2pt}% +} + +All following figures show a grid, which has only the sense to make things clearer. + +\section{Options} +All options which are set with \verb|psset| are global and all which are passed with the optional +argument of a macro are local for this macro. This is an important fact for setting the angles +\verb|Alpha| and \verb|Beta|. Mostly all macro need these values, this is the reason why they +should be set with \verb|psset| and not part of an optional argument. + +\section{Coordinates} +\verb+pst-3dplot+ accepts cartesian or spherical coordinates. In both cases there +must be three parameters: \verb+(x,y,z)+ or alternatively ($r$,$\phi$,$\theta$), +where $r$ is the radius, $phi$ the longitude angle and $\theta$ the lattitude angle. +For the spherical coordinates set the option \verb+SphericalCoor=true+. Spherical coordinates +are possible for all macros where three dimensional coordinates are expected, except +for the plotting functions (math functions and data records). Maybe that this is also interesting +for someone, then let me know. + + +\section{Coordinate axes} + +The syntax for drawing the coordinate axes is +{\footnotesize\begin{verbatim} +\pstThreeDCoor[] +\end{verbatim}} + +The only special option is \verb/drawing=true|false/, which enables the drawing of the +coordinate axes. The default is true. In nearly all cases the \verb|\pstThreeDCoor| macro +must be part of any drawing to initialize the 3d-system. If \verb+drawing+ is set to \verb+false+, then all ticklines options are also disabled. + +Without any options we get the default view with the in table~\ref{tab:coor} +listed options with the predefined values. + +{ +\ttfamily +\begin{longtable}{lll} +\caption{All new parameters for \texttt{pst-plot}\label{tab:coor}}\\[-5pt] +\textrm{Name} & \textrm{Type} & \textrm{Default}\\\hline +\endfirsthead +\textrm{Name} & \textrm{Type} & \textrm{Default}\\\hline +\endhead +Alpha & & 45\\ +Beta & & 30\\ +xMin & & -1\\ %ok +xMax & & 4\\ %ok +yMin & & -1\\ %ok +yMax & & 4\\ %ok +zMin & & -1\\ %ok +zMax & & 4\\ %ok +nameX & & \$x\$\\ +spotX & & 180\\ +nameY & & \$y\$\\ +spotY & & 0\\ +nameZ & & \$x\$\\ +spotZ & & 90\\ +IIIDticks & false|true & false\\ +Dx & & 1\\ +Dy & & 1\\ +Dz & & 1\\ +IIIDxTicksPlane & xy|xz|yz & xy\\ +IIIDyTicksPlane & xy|xz|yz & yz\\ +IIIDzTicksPlane & xy|xz|yz & yz\\ +IIIDticksize & & 0.1\\ +IIIDxticksep & & -0.4\\ +IIIDyticksep & & -0.2\\ +IIIDzticksep & & 0.2\\ +RotX & & 0\\ +RotY & & 0\\ +RotZ & & 0\\ +RotSequence & xyz|xzy|yxz|yzx|zxy|zyx & xyz\\ +\end{longtable} +} + + + +\begin{example}[width=6cm] +\begin{pspicture}(-3,-2.5)(3,4.25)\psgrid + \pstThreeDCoor +\end{pspicture} +\end{example} + +There are no restrictions for the angles and the max and min values for the axes; all \verb|pstricks| +options are possible as well. The following example changes the color and the width of the axes. + +\medskip +\noindent\fbox{\parbox{\columnwidth-2\fboxsep}{The angles \verbI{Alpha} and \verbI{Beta} are +important to all macros and should always be set with \verbI{psset} to make them global to all +other macros. Otherwise they are only local inside the macro to which they are passed.}} + +\medskip +\verb+Alpha+ ist the horizontal and \verb+Beta+ the vertical rotation angle of the +Cartesian coordinate system. + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-1.25)(1,2.25)\psgrid + \pstThreeDCoor[% + linewidth=1.5pt,linecolor=blue,% + xMin=-1,xMax=2, + yMin=-1,yMax=2,% + zMin=-1,zMax=2,% + Alpha=-60,Beta=30] +\end{pspicture} +\end{example} + + + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2)(2,2)\psgrid + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,% + zMin=-2,zMax=2] +\end{pspicture} +\end{example} + + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2)(2,2)\psgrid + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,zMin=-2,zMax=2,% + Alpha=30,Beta=60] +\end{pspicture} +\end{example} + + + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2)(2,2)\psgrid + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,zMin=-2,zMax=2,% + Alpha=30,Beta=-60] +\end{pspicture} +\end{example} + + + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2)(2,2)\psgrid + \pstThreeDCoor[ + xMin=-2,xMax=2,yMin=-2,yMax=2,% + zMin=-2,zMax=2,Alpha=90,Beta=60] +\end{pspicture} +\end{example} + + + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2)(2,2)\psgrid + \pstThreeDCoor[linewidth=1.5pt,% + xMin=-1,xMax=2,yMin=-1,yMax=2,% + zMin=-1,zMax=2,Alpha=40,Beta=0] +\end{pspicture} +\end{example} + + + +\subsection{Ticks} +With the option \verb+IIIDticks+ the axes get ticks and labels. There are several options to place the labels in right plane to get an optimal view. The view of the ticklabels can be changed by redefining the macro + +\begin{verbatim} +\def\psxyzlabel#1{\bgroup\footnotesize\textsf{#1}\egroup} +\end{verbatim} + + + +\psset{unit=1.25,gridlabels=0pt} +\begin{example}[width=7.25cm] +\begin{pspicture}(-3,-2.5)(3,4) + \psgrid + \pstThreeDCoor[IIIDticks]% + \pstThreeDPut(3,0,3){\Huge default} +\end{pspicture} +\end{example} + +\begin{example}[width=7.25cm] +\begin{pspicture}(-3,-2.5)(3,4)\psgrid + \pstThreeDCoor[linecolor=black,% + IIIDticks,xMin=-2,yMin=-2,zMin=-2]% +\end{pspicture} +\end{example} + +\begin{example}[width=7.25cm] +\begin{pspicture}(-3,-2.5)(3,4)\psgrid + \pstThreeDCoor[linecolor=black,% + IIIDticks,IIIDzTicksPlane=xz,IIIDzticksep=-0.2,% + IIIDxTicksPlane=xz,,IIIDxticksep=-0.2,% + IIIDyTicksPlane=xy,,IIIDyticksep=0.2,% + Dx=2,Dy=1,Dz=0.25,Alpha=-135,Beta=-30]% +\end{pspicture} +\end{example} + +The following example shows a wrong placing of the labels, the planes should be changed. + +\begin{example}[width=7.25cm] +\psset{Alpha=-60,Beta=60} +\begin{pspicture}(-4,-2.25)(1,3) + \psgrid + \pstThreeDCoor[linecolor=black,% + IIIDticks,Dx=2,Dy=1,Dz=0.25]% +\end{pspicture} +\end{example} + +\begin{example}[width=7.25cm] +\begin{pspicture}(-3,-2.25)(2,3) + \psgrid + \psset{Alpha=30,Beta=30} + \pstThreeDCoor[linecolor=black,IIIDticks] + \pstThreeDDot[linecolor=red,drawCoor=true](1,0.5,0.5)% the center + \psset{linecolor=blue, linewidth=1.5pt} + \pstThreeDEllipse(1,0.5,0.5)(-0.5,1,0.5)(1,-0.5,-1) + \psset{beginAngle=0,endAngle=270,linecolor=green} + \pstThreeDDot[linecolor=red,drawCoor=true](2,1,2.5)% the center + \pstThreeDEllipse(2,1,2.5)(-0.5,0.5,0.5)(0.5,0.5,-1) +\end{pspicture} +\end{example} + + + +\section{Rotation} + +The coordinate system can be rotated independent from the given Alpha and Beta values. This makes it possible to place +the axes in any direction and any order. There are the three options \verb+RotX+, \verb+RotY+, \verb+RotZ+ and an +additional one for the rotating sequence, which can be any combination of the three letters \verb+xyz+. + +\begin{example}[pos=a] +\begin{pspicture}(-6,-3)(6,5) + \multido{\iA=0+10}{18}{% + \pstThreeDCoor[RotZ=\iA,xMin=0,xMax=5,yMin=0,yMax=5,zMin=-1,zMax=5]% + } +\end{pspicture} +\end{example} + +\begin{example}[pos=a] +\psset{unit=2,linewidth=1.5pt} +\begin{pspicture}(-2,-1.5)(2,2.5)% + \pstThreeDCoor[xMin=0,xMax=2,yMin=0,yMax=2,zMin=0,zMax=2]% + \pstThreeDBox[RotX=90,RotY=90,RotZ=90,% + linecolor=red](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[RotSequence=xzy,RotX=90,RotY=90,RotZ=90,% + linecolor=yellow](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[RotSequence=zyx,RotX=90,RotY=90,RotZ=90,% + linecolor=green](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[RotSequence=zxy,RotX=90,RotY=90,RotZ=90,% + linecolor=blue](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[RotSequence=yxz,RotX=90,RotY=90,RotZ=90,% + linecolor=cyan](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[RotSequence=yzx,RotX=90,RotY=90,RotZ=90,% + linecolor=magenta](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[fillstyle=gradient,RotX=0](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDCoor[xMin=0,xMax=2,yMin=0,yMax=2,zMin=0,zMax=2]% +\end{pspicture}% +\end{example} + +\begin{example}[pos=a] +\begin{pspicture}(-2,-1.5)(2,2.5)% + \pstThreeDCoor[xMin=0,xMax=2,yMin=0,yMax=2,zMin=0,zMax=2]% + \pstThreeDBox(0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[RotX=90,linecolor=red](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[RotX=90,RotY=90,linecolor=green](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) + \pstThreeDBox[RotX=90,RotY=90,RotZ=90,linecolor=blue](0,0,0)(.5,0,0)(0,1,0)(0,0,1.5) +\end{pspicture}% +\end{example} + + + + +\psset{unit=1cm,gridlabels=7pt} + + +\section{Plane Grids} +\begin{verbatim} +\pstThreeDPlaneGrid[](xMin,yMin)(xMax,yMax) +\end{verbatim} + +There are three additional options +\begin{description} +\item[planeGrid] can be one of the following values: \verb+xy, xz, yz+. Default is \verb+xy+. +\item[subticks] Number of ticks. Default is \verb+10+.\footnote{This options is also defined +in the package \texttt{pstricks-add}, so it is nessecary to to set this option +locally or with the family option of \texttt{pst-xkey}} +\item[planeGridOffset] a length for the shift of the grid. Default is \verb+0+. +\end{description} + +This macro is a special one for the coordinate system to show the units, but can +be used in any way. \verb+subticks+ defines the number of ticklines for both axes and +\verb+xsubticks+ and \verb+ysubticks+ for each one. + +\begin{example}[pos=a] +\begin{pspicture}(-5,-5)(5,6.5) + \pstThreeDCoor[xMin=0,yMin=0,zMin=0,xMax=7,yMax=7,zMax=7,linewidth=2pt] + \psset{linewidth=0.1pt,linecolor=lightgray} + \pstThreeDPlaneGrid(0,0)(7,7) + \pstThreeDPlaneGrid[planeGrid=xz](0,0)(7,7) + \pstThreeDPlaneGrid[planeGrid=yz](0,0)(7,7) +\end{pspicture} +\end{example} + +\begin{example}[pos=a] +\begin{pspicture}(-1,-2)(10,10) + \psset{Beta=20,Alpha=160,subticks=7} + \pstThreeDCoor[xMin=0,yMin=0,zMin=0,xMax=7,yMax=7,zMax=7,linewidth=1pt] + \psset{linewidth=0.1pt,linecolor=gray} + \pstThreeDPlaneGrid(0,0)(7,7) + \pstThreeDPlaneGrid[planeGrid=xz,planeGridOffset=7](0,0)(7,7) + \pstThreeDPlaneGrid[planeGrid=yz](0,0)(7,7) + \pscustom[linewidth=0.1pt,fillstyle=gradient,gradbegin=gray,gradmidpoint=0.5,plotstyle=curve]{ + \psset{xPlotpoints=200,yPlotpoints=1} + \psplotThreeD(0,7)(0,0){% + x dup mul y dup mul 2 mul add x 6 mul sub y 4 mul sub 3 add 10 div } + \psset{xPlotpoints=1,yPlotpoints=200,drawStyle=yLines} + \psplotThreeD(7,7)(0,7){% + x dup mul y dup mul 2 mul add x 6 mul sub y 4 mul sub 3 add 10 div } + \psset{xPlotpoints=200,yPlotpoints=1,drawStyle=xLines} + \psplotThreeD(7,0)(7,7){% + x dup mul y dup mul 2 mul add x 6 mul sub y 4 mul sub 3 add 10 div } + \psset{xPlotpoints=1,yPlotpoints=200,drawStyle=yLines} + \psplotThreeD(0,0)(7,0){% + x dup mul y dup mul 2 mul add x 6 mul sub y 4 mul sub 3 add 10 div } + } + \pstThreeDPlaneGrid[planeGrid=yz,planeGridOffset=7](0,0)(7,7) +\end{pspicture} +\end{example} + + +\begin{example}[pos=a] +\begin{pspicture}(-6,-2)(4,7) + \psset{Beta=10,Alpha=30,subticks=7} + \pstThreeDCoor[xMin=0,yMin=0,zMin=0,xMax=7,yMax=7,zMax=7,linewidth=1.5pt] + \psset{linewidth=0.1pt,linecolor=gray} + \pstThreeDPlaneGrid(0,0)(7,7) + \pstThreeDPlaneGrid[planeGrid=xz](0,0)(7,7) + \pstThreeDPlaneGrid[planeGrid=yz](0,0)(7,7) + \pscustom[linewidth=0.1pt,fillstyle=gradient,gradbegin=gray,gradend=white,gradmidpoint=0.5,plotstyle=curve]{ + \psset{xPlotpoints=200,yPlotpoints=1} + \psplotThreeD(0,7)(0,0){% + x dup mul y dup mul 2 mul add x 6 mul sub y 4 mul sub 3 add 10 div } + \psset{xPlotpoints=1,yPlotpoints=200,drawStyle=yLines} + \psplotThreeD(7,7)(0,7){% + x dup mul y dup mul 2 mul add x 6 mul sub y 4 mul sub 3 add 10 div } + \psset{xPlotpoints=200,yPlotpoints=1,drawStyle=xLines} + \psplotThreeD(7,0)(7,7){% + x dup mul y dup mul 2 mul add x 6 mul sub y 4 mul sub 3 add 10 div } + \psset{xPlotpoints=1,yPlotpoints=200,drawStyle=yLines} + \psplotThreeD(0,0)(7,0){% + x dup mul y dup mul 2 mul add x 6 mul sub y 4 mul sub 3 add 10 div } + } + \pstThreeDPlaneGrid[planeGrid=xz,planeGridOffset=7](0,0)(7,7) + \pstThreeDPlaneGrid[planeGrid=yz,planeGridOffset=7](0,0)(7,7) +\end{pspicture} +\end{example} + +\medskip +The equation for the examples is +\[ +f(x,y)=\frac{x^2+2y^2-6x-4y+3}{10} +\] + +\section{Put} +There exists a special option for the put macros: +\begin{verbatim} +origin=lt|lB|lb|t|c|B|b|rt|rB|rb +\end{verbatim} +for the placing of the text or other objects. + +\fboxsep0pt +\newcommand\Gobble[1]{} +\newsavebox{\FrBox} +\savebox{\FrBox}{\Huge\fbox{Rotating}} +\unitlength1pt +\begin{center} +\newcommand{\Hoehe}{\ht\FrBox\Gobble} +\newcommand{\Breite}{\wd\FrBox\Gobble} +\newcommand{\Tiefe}{\dp\FrBox\Gobble} +\newlength{\totalHeight} +\setlength{\totalHeight}{\ht\FrBox} +\addtolength{\totalHeight}{\dp\FrBox} +\newcommand{\tHoehe}{\totalHeight\Gobble} +\begin{picture}(1.7\Breite,\Hoehe) + \put(,\Hoehe){\textcolor{red}{\circle*{3}}} +% \put(0.5\Breite ,\Hoehe){\textcolor{red}{\circle*{3}}} + \put(\Breite,\Hoehe){\textcolor{red}{\circle*{3}}} + % center +% \put(0,0.5\Hoehe){\textcolor{red}{\circle*{3}}}% + \put(0.5\Breite,0.5\Hoehe){\textcolor{red}{\circle*{3}}}% +% \put(\Breite,0.5\Hoehe){\textcolor{red}{\circle*{3}}}% + % Baseline + \put(0,0){\textcolor{red}{\circle*{3}}}% +% \put(0.5\Breite,0){\textcolor{red}{\circle*{3}}}% + \put(\Breite,0){\textcolor{red}{\circle*{3}}}% + % bottom + \put(0,-\Tiefe){\textcolor{red}{\circle*{3}}}% +% \put(0.5\Breite,-\Tiefe){\textcolor{red}{\circle*{3}}}% + \put(\Breite,-\Tiefe){\textcolor{red}{\circle*{3}}}% + % labels + \put(0,1.2\Hoehe){l} + \put(0.5\Breite,1.2\Hoehe){c} + \put(\Breite,1.2\Hoehe){r} + \put(1.05\Breite,0.9\Hoehe){t} + \put(1.05\Breite,0.4\Hoehe){c} + \put(1.15\Breite,-1){\textbf{B}aseline} + \put(1.05\Breite,-1.2\Tiefe){b} + \put(0,0){\usebox{\FrBox}}% +\end{picture} +\end{center} + + +This works only well for the \verb|\pstThreeDPut| macro. The default is \verb|c| and for the \verb|pstPlanePut| the left baseline \verb|lB|. + +\subsection{\texttt{pstThreeDPut}} +The syntax is similiar to the \verb|\rput| macro: +{\footnotesize\begin{verbatim} +\pstThreeDPut[options](x,y,z){} +\end{verbatim}} + +\begin{example}[width=3.25cm] +\begin{pspicture}(-2,-1.25)(1,2.25) + \psgrid + \psset{Alpha=-60,Beta=30} + \pstThreeDCoor[linecolor=blue,% + xMin=-1,xMax=2,yMin=-1,yMax=2,zMin=-1,zMax=2] + \pstThreeDPut(1,0.5,1.25){pst-3dplot} + \pstThreeDDot[drawCoor=true](1,0.5,1.25) +\end{pspicture} +\end{example} + + +\medskip +Internally the \verb|\pstThreeDPut| macro defines the two dimensional node \verb|temp@pstNode| and then uses the default \verb|\rput| macro from \verb|pstricks|. In fact of the perspective view od the coordinate system, the 3D dot must not be seen as the center of the printed stuff. + +\subsection[\texttt{pstPlanePut}]{\texttt{pstPlanePut}\protect\footnote{Thanks to Torsten Suhling}} +The syntax of the \verb|pstPlanePut| is +% ------------------------------------------- +% ### Aenderung +% - raus: ----------------------------------- +% \begin{verbatim} +% \pstPlanePut[plane=<2D plane>](x,y,z){Object} +% \end{verbatim} +% +% Possible values for the two dimensional plane are \verb| xy xz yz |. If this optional parameter is missing then \verb|plane=xy| is set. The first letter marks the positive direction for the width and the second for the height. +% - rein: ----------------------------------- +\begin{verbatim} +\pstPlanePut[plane=<2D plane>,planecorr=](x,y,z){Object} +\end{verbatim} + +We have two parameters, \verb|plane| and \verb|planecorr|; both are optional. Let's start with the first parameter, \verb|plane|. +Possible values for the two dimensional plane are \verb| xy xz yz |. If this parameter is missing then \verb|plane=xy| is set. The first letter marks the positive direction for the width and the second for the height. +% - ende ------------------------------------------------ + +The object can be of any type, in most cases it will be some kind of text. The reference point for the object is the left side and vertically centered, often abbreviated as \verb|lB|. The following examples show for all three planes the same textbox. + + +\begin{example}[width=7.25cm] +\begin{pspicture}(-4,-4)(3,4) + \psgrid + \psset{Alpha=30} + \pstThreeDCoor[xMin=-4,yMin=-4,zMin=-4] + \pstPlanePut[plane=xy](0,0,-3){\fbox{\Huge\red xy plane}} + \pstPlanePut[plane=xy](0,0,0){\fbox{\Huge\red xy plane}} + \pstPlanePut[plane=xy](0,0,3){\fbox{\Huge\red xy plane}} +\end{pspicture} +\end{example} + +\begin{example}[width=7.25cm] +\begin{pspicture}(-5,-3)(2,3) + \psgrid + \pstThreeDCoor[xMin=2,yMin=-4,zMin=-3,zMax=2] + \pstPlanePut[plane=xz](0,-3,0){\fbox{\Huge\green\textbf{xz plane}}} + \pstPlanePut[plane=xz](0,0,0){\fbox{\Huge\green\textbf{xz plane}}} + \pstPlanePut[plane=xz](0,3,0){\fbox{\Huge\green\textbf{xz plane}}} +\end{pspicture} +\end{example} + + +\begin{example}[width=7.25cm] +\begin{pspicture}(-2,-4)(6,2) + \psgrid + \pstThreeDCoor[xMin=-4,yMin=-4,zMin=-4,xMax=2,zMax=2] + \pstPlanePut[plane=yz](-3,0,0){\fbox{\Huge\blue\textbf{yz plane}}} + \pstPlanePut[plane=yz](0,0,0){\fbox{\Huge\blue\textbf{yz plane}}} + \pstPlanePut[plane=yz](3,0,0){\fbox{\Huge\blue\textbf{yz plane}}} +\end{pspicture} +\end{example} + + +\bigskip +The following examples use the \verb|origin| option to show that there are still some problems with the xy-plane. +% ---------------------------------------------------------------------- +% Einfuegung Erlaeuterug examplee und Abbildungen +% - raus: -------------------------------------------------------------- +% +% \begin{example}[width=6.25cm] +% \begin{pspicture}(-3,-2)(3,4)\psgrid +% \psset{origin=lb} +% \pstThreeDCoor +% \pstThreeDDot[drawCoor=true,linecolor=red](-1,-1,2) +% \pstPlanePut[plane=xy](-1,-1,2){\fbox{\Huge\red\textbf{XY}}} +% \pstThreeDDot[drawCoor=true,linecolor=green](1,3.5,1) +% \pstPlanePut[plane=xz](1,3.5,1){\fbox{\Huge\green\textbf{XZ}}} +% \pstThreeDDot[drawCoor=true,linecolor=blue](-2,1,3) +% \pstPlanePut[plane=yz](-2,1,3){\fbox{\Huge\blue\textbf{YZ}}} +% \end{pspicture} +% \end{example} +% % +% - rein: -------------------------------------------------------------- +The second parameter is \verb|planecorr|. As first the values: + +\begin{description} + \item[\texttt{off}]~Former and default behaviour; nothing will be changed. + This value is set, when parameter is missing. + \item[\texttt{normal}]~Default correction, planes will be rotated to be readable. + \item[\texttt{xyrot}]~Additionaly correction for $xy$ plane; bottom line of + letters will be set parallel to the $y$-axis. +\end{description} + +What kind off correction is ment? In the plots above labels for the $xy$ plane and the $xz$ plane are mirrored. This is not a bug, it's \dots mathematics. + +\verb|\pstPlanePut| puts the labels on the plane of it's value. That means, \verb|plane=xy| puts the label on the $xy$ plane, so that the $x$ marks the positive direction for the width, the $y$ for the height and the label {\small{XY plane}} on the top side of plane. If you see the label mirrored, you just look from the bottom side of plane. \dots{} + +If you want to keep the labels readable for every view, i.\,e.\ for every value of \verb|Alpha| and \verb|Beta|, you should set the value of the parameter \verb|planecorr| to \verb|normal|; just like in next example: + +\medskip +\begin{example}[width=6cm] +\begin{pspicture}(-3,-2)(3,4)\psgrid + \psset{origin=lb} + \pstThreeDCoor[xMax=3.2,yMax=3.2,zMax=4] + \pstThreeDDot[drawCoor=true,linecolor=red](1,-1,2) + \pstPlanePut[plane=xy,planecorr=normal](1,-1,2) + {\fbox{\Huge\red\textbf{XY}}} + \pstThreeDDot[drawCoor=true,linecolor=green](1,3,1) + \pstPlanePut[plane=xz,planecorr=normal](1,3,1) + {\fbox{\Huge\green\textbf{XZ}}} + \pstThreeDDot[drawCoor=true,linecolor=blue](-1.5,0.5,3) + \pstPlanePut[plane=yz,planecorr=normal](-1.5,0.5,3) + {\fbox{\Huge\blue\textbf{YZ}}} +\end{pspicture} +\end{example} + +\medskip +But, why we have a third value \verb|xyrot| of \verb|planecorr|? +If there isn't an symmetrical view, -- just like in this example -- it +could be usefull to rotate the label for $xy$-plane, so that body line of +letters is parallel to the $y$ axis. It's done by setting +\verb|planecorr=xyrot|\,: + + +\medskip +\begin{example}[width=6cm] +\begin{pspicture}(-2,-2)(4,4)\psgrid + \psset{origin=lb} + \psset{Alpha=69.3,Beta=19.43} + \pstThreeDCoor[xMax=4,yMax=4,zMax=4] + \pstThreeDDot[drawCoor=true,linecolor=red](1,-1,2) + \pstPlanePut[plane=xy,planecorr=xyrot](1,-1,2) + {\fbox{\Huge\red\textbf{XY}}} + \pstThreeDDot[drawCoor=true,linecolor=green](1,3.5,1) + \pstPlanePut[plane=xz,planecorr=xyrot](1,3.5,1) + {\fbox{\Huge\green\textbf{XZ}}} + \pstThreeDDot[drawCoor=true,linecolor=blue](-2,1,3) + \pstPlanePut[plane=yz,planecorr=xyrot](-2,1,3) + {\fbox{\Huge\blue\textbf{YZ}}} +\end{pspicture} +\end{example} +% --- ende ------------------------------------------------------------ + + + +\psset{Alpha=45,xunit=1cm,yunit=1cm,xMin=-1,yMin=-1,zMin=-1} + +\section{Nodes} +The syntax is +\begin{verbatim} +\pstThreeDNode(x,y,z){} +\end{verbatim} + +This node is internally a two dimensional node, so it cannot be used as a replacement for the parameters \verb|(x,y,z)| of a 3D dot, which is possible with the \verb|\psline| macro from \verb|pst-plot|: \verb|\psline{A}{B}|, where \verb|A| and \verb|B| are two nodes. It is still on the to do list, that it may also be possible with \verb|pst-3dplot|. On the other hand it is no problem to define two 3D nodes \verb|C| and \verb|D| and then drawing a two dimensional line from \verb|C| to \verb|D|. + +\section{Dots} +The syntax for a dot is +\begin{verbatim} +\pstThreeDDot[](x,y,z) +\end{verbatim} + +Dots can be drawn with dashed lines for the three coordinates, when the option \verb|drawCoor| is set to \verb|true|. It is also possible to draw an unseen dot +with the option \verb|dotstyle=none|.\index{dotstyle} In this case the macro draws only the coordinates\index{coordinates} +when the \verb|drawCoor| option is set to true. + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2)(2,2)\psgrid + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,zMin=-2,zMax=2] + \psset{dotstyle=*,dotscale=2,linecolor=red,drawCoor=true} + \pstThreeDDot(-1,1,1) + \pstThreeDDot(1.5,-1,-1) +\end{pspicture} +\end{example} + +In the following figure the coordinates of the dots are $(a,a,a)$ where a is $-2,-1,0,1,2$. + + +\begin{example}[width=5.25cm] +\begin{pspicture}(-3,-3.25)(2,3.25)\psgrid + \psset{Alpha=30,Beta=60,dotstyle=square*,dotsize=3pt,% + linecolor=blue,drawCoor=true} + \pstThreeDCoor[xMin=-3,xMax=3,yMin=-3,yMax=3,zMin=-3,zMax=3] + \multido{\n=-2+1}{5}{\pstThreeDDot(\n,\n,\n)} +\end{pspicture} +\end{example} + + +\section{Lines} +The syntax for a three dimensional line is just like the same from \verb+\psline+ +{\footnotesize\begin{verbatim} +\pstThreeDLine[]{}(x1,y1,z1)(...)(xn,yn,zn) +\end{verbatim}} + +The option and arrow part are both optional and the number of points is only limited +to the memory. +All options for lines from \verb|pstricks| are possible, there are no special ones for a 3D line. There is no difference in drawing a line or a vector; the first one has an arrow of type "'\verb|-|"` and the second of "'\verb|->|"`. + +There is no special \verb+polygon+ macro, because you can get nearlx the same with +\verb+\pstThreeDLine+. + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2.25)(2,2.25)\psgrid + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,zMin=-2,zMax=2] + \psset{dotstyle=*,linecolor=red,drawCoor=true} + \pstThreeDDot(-1,1,0.5) + \pstThreeDDot(1.5,-1,-1) + \pstThreeDLine[linewidth=3pt,linecolor=blue,arrows=->]% + (-1,1,0.5)(1.5,-1,-1) +\end{pspicture} +\end{example} + + + + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2.25)(2,2.25)\psgrid + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,zMin=-2,zMax=2] + \psset{dotstyle=*,linecolor=red,drawCoor=true} + \pstThreeDDot(-1,1,1) + \pstThreeDDot(1.5,-1,-1) + \pstThreeDLine[linewidth=3pt,linecolor=blue](-1,1,1)(1.5,-1,-1) +\end{pspicture} +\end{example} + + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2.25)(2,2.25)\psgrid + \psset{Alpha=30,Beta=60,dotstyle=pentagon*,dotsize=5pt,% + linecolor=red,drawCoor=true} + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,zMin=-2,zMax=2] + \pstThreeDDot(-1,1,1) + \pstThreeDDot(1.5,-1,-1) + \pstThreeDLine[linewidth=3pt,linecolor=blue](-1,1,1)(1.5,-1,-1) +\end{pspicture} +\end{example} + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2.25)(2,2.25)\psgrid + \psset{Alpha=30,Beta=-60} + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,zMin=-2,zMax=2] + \pstThreeDDot[dotstyle=square,linecolor=blue,drawCoor=true](-1,1,1) + \pstThreeDDot[drawCoor=true](1.5,-1,-1) + \pstThreeDLine[linewidth=3pt,linecolor=blue](-1,1,1)(1.5,-1,-1) +\end{pspicture} +\end{example} + + +\begin{example}[width=4.25cm] +\begin{pspicture}(-2,-2.25)(2,2.25)\psgrid + \psset{Alpha=30,Beta=-60} + \pstThreeDCoor[xMin=-2,xMax=2,yMin=-2,yMax=2,zMin=-2,zMax=2] + \pstThreeDDot[dotstyle=square,linecolor=blue,drawCoor=true](-1,1,1) + \pstThreeDDot[drawCoor=true](1.5,-1,-1) + \pstThreeDLine[linewidth=3pt,arrowscale=1.5,% + linecolor=magenta,linearc=0.5]{<->}(-1,1,1)(1.5,2,-1)(1.5,-1,-1) +\end{pspicture} +\end{example} + +\begin{example}[pos=a] +\begin{pspicture}(-3,-2)(4,5)\label{lines} + \pstThreeDCoor[xMin=-3,xMax=3,yMin=-1,yMax=4,zMin=-1,zMax=3] + \multido{\iA=1+1,\iB=60+-10}{5}{% + \ifcase\iA\or\psset{linecolor=red}\or\psset{linecolor=green} + \or\psset{linecolor=blue}\or\psset{linecolor=cyan} + \or\psset{linecolor=magenta} + \fi + \pstThreeDLine[SphericalCoor=true,linewidth=3pt]% + (\iA,0,\iB)(\iA,30,\iB)(\iA,60,\iB)(\iA,90,\iB)(\iA,120,\iB)(\iA,150,\iB)% + (\iA,180,\iB)(\iA,210,\iB)(\iA,240,\iB)(\iA,270,\iB)(\iA,300,\iB)% + (\iA,330,\iB)(\iA,360,\iB)% + } + \multido{\iA=0+30}{12}{% + \pstThreeDLine[SphericalCoor=true,linestyle=dashed]% + (0,0,0)(1,\iA,60)(2,\iA,50)(3,\iA,40)(4,\iA,30)(5,\iA,20)} +\end{pspicture} +\end{example} + + +\section{Triangles} +A triangle is given with its three points: +\begin{verbatim} +\pstThreeDTriangle[](P1)(P2)(P3) +\end{verbatim} + +When the option \verb|fillstyle| is set to another value than \verb|none| the triangle is filled with the active color or with the one which is set with the option \verb|fillcolor|. + +\begin{example}[width=6.25cm] +\begin{pspicture}(-3,-4.25)(3,3.25)\psgrid + \pstThreeDCoor[xMin=-4,xMax=4,yMin=-3,yMax=5,zMin=-4,zMax=3] + \pstThreeDTriangle[fillcolor=yellow,fillstyle=solid,% + linecolor=blue,linewidth=1.5pt](5,1,2)(3,4,-1)(-1,-2,2) + \pstThreeDTriangle[drawCoor=true,linecolor=black,% + linewidth=2pt](3,1,-2)(1,4,-1)(-2,2,0) +\end{pspicture} +\end{example} + +Especially for triangles the option \verb|linejoin| is important. The default value is $1$, which gives rounded edges. + +\begin{figure}[htb] +\centering +\psset{linewidth=0.2} +\begin{pspicture}(3,2.25)\psgrid + \psline(0,0)(1,2)(2,0)(3,2) +\end{pspicture}% +\hspace{0.4cm}% +\begin{pspicture}(4,2.25)\psgrid + \pscustom{\code{1 setlinejoin}\psline(0,0)(1,2)(2,0)(3,2)(4,0)} +\end{pspicture}% +\hspace{0.4cm}% +\begin{pspicture}(3,2.25)\psgrid + \pscustom{\code{2 setlinejoin}\psline(0,0)(1,2)(2,0)(3,2)} +\end{pspicture} +\caption{The meaning of the option \texttt{linejoin=0|1|2} for drawing lines} +\end{figure} + + +\section{Squares} +The syntax for a 3D square is: +\begin{verbatim} +\pstThreeDSquare()()() +\end{verbatim} + +\begin{example}[width=5cm] +\begin{pspicture}(-1,-1)(4,3)\psgrid + \pstThreeDCoor[xMin=-3,xMax=1,yMin=-1,yMax=2,zMin=-1,zMax=3] + \psset{arrows=->,arrowsize=0.2,linecolor=blue,linewidth=1.5pt} + \pstThreeDLine[linecolor=green](0,0,0)(-2,2,3)\uput[45](1.5,1){$\vec{o}$} + \pstThreeDLine(-2,2,3)(2,2,3)\uput[0](3,2){$\vec{u}$} + \pstThreeDLine(-2,2,3)(-2,3,3)\uput[180](1,2){$\vec{v}$} +\end{pspicture} +\end{example} + +\medskip +Squares are nothing else than a polygon with the starting point $P_o$ given with the origin vector $\vec{o}$ and the two direction vectors $\vec{u}$ and $\vec{v}$, which build the sides of the square. + + +\begin{example}[width=7.25cm] +\begin{pspicture}(-3,-2)(4,3)\psgrid + \pstThreeDCoor[xMin=-3,xMax=3,yMin=-1,yMax=4,zMin=-1,zMax=3] + {\psset{fillcolor=blue,fillstyle=solid,drawCoor=true,dotstyle=*} + \pstThreeDSquare(-2,2,3)(4,0,0)(0,1,0)} +\end{pspicture} +\end{example} + + +\section{Boxes} +A box is a special case of a square and has the syntax + +\begin{verbatim} +\pstThreeDBox[](()()() +\end{verbatim} + + +These are the origin vector $\vec{o}$ and three direction vectors $\vec{u}$, $\vec{v}$ and $\vec{w}$, which are for example shown in the following figure. + + +\begin{example}[width=5.25cm] +\begin{pspicture}(-2,-1.25)(3,4.25)\psgrid + \psset{Alpha=30,Beta=30} + \pstThreeDCoor[xMin=-3,xMax=1,yMin=-1,yMax=2,zMin=-1,zMax=4] + \pstThreeDDot[drawCoor=true](-1,1,2) + \psset{arrows=->,arrowsize=0.2} + \pstThreeDLine[linecolor=green](0,0,0)(-1,1,2) + \uput[0](0.5,0.5){$\vec{o}$} + \uput[0](0.9,2.25){$\vec{u}$} + \uput[90](0.5,1.25){$\vec{v}$} + \uput[45](2,1.){$\vec{w}$} + \pstThreeDLine[linecolor=blue](-1,1,2)(-1,1,4) + \pstThreeDLine[linecolor=blue](-1,1,2)(1,1,2) + \pstThreeDLine[linecolor=blue](-1,1,2)(-1,2,2) +\end{pspicture} +\end{example} + +\begin{example}[width=5.25cm] +\begin{pspicture}(-2,-1.25)(3,4.25)\psgrid + \psset{Alpha=30,Beta=30} + \pstThreeDCoor[xMin=-3,xMax=1,yMin=-1,yMax=2,zMin=-1,zMax=4] + \pstThreeDBox(-1,1,2)(0,0,2)(2,0,0)(0,1,0) + \pstThreeDDot[drawCoor=true](-1,1,2) +\end{pspicture} +\end{example} + + + +\section{Ellipses and circles} + +The equation for a two dimensional ellipse (figure \ref{fig:ellipse})is: +\begin{equation} +e:\frac{\left(x-x_{M}\right)^{2}}{a^{2}}+\frac{\left(y-y_{M}\right)^{2}}{b^{2}}=1 +\label{gl.600} +\end{equation} + +\begin{figure}[htb] +\centering +\begin{pspicture*}(-3,-1.5)(3,1.5) + \psset{unit=0.75cm} + \psline{->}(-3.5,0)(3.5,0) + \rput(3.3,-0.3){x}\psline{->}(0,-2.5)(0,2.5)\rput(-0.3,2.3){y} + \pscircle(-2,0){0.1}\pscircle(2,0){0.1} + \psline[linestyle=dotted,linewidth=0.5pt](-2,0)(0,2)(2,0) + \rput(-1.4,1){a}\rput(1.4,1){a} + \psline[linewidth=0.5pt,linearc=.25]% + (-3,0)(-3,-0.25)(-1.5,-0.25)% + (-1.5,-0.4)(-1.5,-0.25)(0,-0.25)(0,0) + \rput(-1.5,-0.7){a} + \psline[linewidth=0.5pt,linearc=.25]% + (0,2)(0.2,2)(0.2,1)(0.4,1)(0.2,1)(0.2,0)(0,0) + \rput(0.7,1){b} + \psellipse[linewidth=2pt](3,2) + \rput(-.4,-.4){M}\rput(2,-.4){$F_2$} + \rput(-2.2,0.4){$F_1$} + \rput(1,.2){e}\rput(-1,.2){e} + \rput(-1,-1){$r_1$}\rput(1.7,-1){$r_2$} + \psline[linestyle=dotted,linewidth=1pt]{->}(-2,0)(1,-1.8) + \psline[linestyle=dotted,linewidth=1pt]{<-}(1,-1.8)(2,0) +\end{pspicture*} +\caption{Definition of an Ellipse}\label{fig:ellipse} +\end{figure} + + + +$\left(x_m;y_m\right)$ is the center, $a$ +and $b$ the semi major and semi minor axes +respectively and $e$ the excentricity. For $a=b=1$ in equation \ref{gl.600} we get the one for the circle, which is nothing else than a special ellipse. The equation written in the parameterform is + +\begin{equation}\label{gl601} +\begin{split} + x = a\cdot\cos\alpha\\ + y = b\cdot\sin\alpha +\end{split} +\end{equation} + +or the same with vectors to get an ellipse in a 3D system: +\begin{align}\label{gl.6} + e:\vec{x} &=\vec{m}+\cos\alpha\cdot\vec{u}+\sin\alpha\cdot\vec{v}\qquad 0\leq\alpha\leq360 +\end{align} + +where $\vec{m}$ is the center, $\vec{u}$ and $\vec{v}$ the directions vectors which are perpendicular to each other. + + +\subsection{Options} +In addition to all possible options from \verb|pst-plot| there are two special options to allow drawing of an arc (with predefined values for a full ellipse/circle): +% +\begin{verbatim} +beginAngle=0 +endAngle=360 +\end{verbatim} + +Ellipses and circles are drawn with the in section \ref{subsec:parametricplotThreeD} described \verb|parametricplotThreeD| macro with a default setting of $50$ points for a full ellipse/circle. + +\subsection{Ellipse} +It is very difficult to see in a 3D coordinate system the difference of an ellipse and a circle. Depending to the view point an ellipse maybe seen as a circle and vice versa. The syntax of the ellipse macro is: +\begin{verbatim} +\pstThreeDEllipse[

+                 ---------------------------------------
+                 | pst-lens: PSTricks package for lens |
+                 |                                     |
+                 | Denis Girou   |
+                 | Manuel Luque    |
+                 ---------------------------------------
+
+  * Run "(la)tex" on pst-lens.ins to create pst-lens.sty|tex
+  * Copy pst-lens.tex and pst-lens.sty in one of your TeX input directories
+
+To generate the documentaion run:
+ 
+  * (la)tex pst-lens.dtx 
+  * makeindex -s gind.ist pst-lens.idx
+  * makeindex -s gglo.ist -o pst-lens.gls pst-lens.glo
+  * (la)tex pst-lens.dtx 
+
+--
+Denis Girou and Manuel Luque and hv
+
\ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/pst-lens/pst-lens.pdf b/Master/texmf-dist/doc/generic/pst-lens/pst-lens.pdf new file mode 100644 index 00000000000..a37059ed61a Binary files /dev/null and b/Master/texmf-dist/doc/generic/pst-lens/pst-lens.pdf differ diff --git a/Master/texmf-dist/doc/generic/pst-light3d/README b/Master/texmf-dist/doc/generic/pst-light3d/README new file mode 100644 index 00000000000..052428fa28e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-light3d/README @@ -0,0 +1,29 @@ +%% Package `pst-light3d.tex' +%% +This version of pst-light3d needs the xkeyval package. Get it +from CTAN if it is not part of your local TeX installation. + +Save the files + +pst-light3d.sty TEXMF/tex/latex/pstricks/ +pst-light3d.tex TEXMF/tex/generic/pstricks/ +pst-light3d.pro TEXMF/dvips/pstricks/ + +in any place, where latex or any other TeX program will find it. +If you like to get the documentation file in another format run + +latex pst-light3d-doc +latex pst-light3d-doc +dvips pst-light3d-doc + +to get a PostScript file. But pay attention, that the pst-light3d +files are saved in the above mentioned way, before you run +latex on the documentation file. + +The intermediate DVI file works only with viewers which can +interprete the embedded PostScript code. + +For another PDF output read the Introduction from +the documentation. + +hv, 2004-09-29 diff --git a/Master/texmf-dist/doc/generic/pst-light3d/Version-0.11 b/Master/texmf-dist/doc/generic/pst-light3d/Version-0.11 new file mode 100644 index 00000000000..e69de29bb2d diff --git a/Master/texmf-dist/doc/generic/pst-light3d/pst-light3d-doc.pdf b/Master/texmf-dist/doc/generic/pst-light3d/pst-light3d-doc.pdf new file mode 100644 index 00000000000..b2348267515 Binary files /dev/null and b/Master/texmf-dist/doc/generic/pst-light3d/pst-light3d-doc.pdf differ diff --git a/Master/texmf-dist/doc/generic/pst-light3d/pst-light3d-doc.tex b/Master/texmf-dist/doc/generic/pst-light3d/pst-light3d-doc.tex new file mode 100644 index 00000000000..2393f159be4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-light3d/pst-light3d-doc.tex @@ -0,0 +1,180 @@ +\documentclass[12pt,a4paper]{article} +\usepackage[T1]{fontenc} +\usepackage[latin1]{inputenc} +\usepackage{lmodern} +\usepackage{fancyvrb} +\usepackage{multido} +\usepackage{pstricks} +\usepackage{pst-grad} +\usepackage{pst-light3d} +\let\pstlightVersion\FileVersion +% +\usepackage{pst-plot} +\usepackage{pst-tree} +\usepackage{pst-example} +\usepackage{url} +\def\PstLightThreeDPackage{\texttt{pst-light3d}} +\definecolor{DarkGreen}{cmyk}{1,0,1,0.8} +\definecolor{LightGreen}{cmyk}{1,0,1,0.2} +\definecolor{Gold}{rgb}{1,0.84,0} +\definecolor{Violet}{cmyk}{0.79,0.88,0,0} +\hbadness=7000 % Over and under full box warnings +\hfuzz=3pt +\errorcontextlines100 + +\newenvironment{optlist}{\begin{description}% + \renewcommand\makelabel[1]{% + \descriptionlabel{\mdseries\textsf{##1}}}% + \itemsep0.25\itemsep}% + {\end{description}} +% +\def\cs#1{\texttt{#1}} + \title{The \PstLightThreeDPackage{} package\\ + {\footnotesize version \pstlightVersion}\\ + A PSTricks package for three dimensional\\ + lighten effect on characters and PSTricks graphics\thanks{% +Documentation revised by Herbert Vo}} + \author{Denis \textsc{Girou} + and Peter \textsc{Kleiweg} } + \date{\today} + +\begin{document} +% + \maketitle +% + \begin{abstract} + This package allow to add a three dimensional lighten + effect on characters (PostScript fonts), using the + \cs{PstLightThreeDText} macro, and curves (opened or closed), + using the \cs{PstLightThreeDGraphic} macro, with various customization parameters. + \end{abstract} +% +\tableofcontents + +\clearpage +\section{Examples} + +\begin{Beispiel}[colwidth=5.5cm] +\DeclareFixedFont{\Bf}{T1}{ptm}{b}{n}{3cm} +\PstLightThreeDText[fillstyle=solid,fillcolor=white]{\Bf Test} +\end{Beispiel} + + +\begin{Beispiel}[colwidth=5.5cm] +\DeclareFixedFont{\Bf}{T1}{ptm}{b}{n}{3cm} +\PstLightThreeDText[linestyle=none,fillstyle=solid, fillcolor=darkgray]{\Bf Test} +\end{Beispiel} + +\begin{Beispiel}[colwidth=5.5cm] +\psset{linestyle=none,fillstyle=solid,fillcolor=LightGreen}% +\PstLightThreeDText[LightThreeDAngle=0]{\Bf Test}\\[0.5cm] +\PstLightThreeDText[LightThreeDAngle=90]{\Bf Test} +\end{Beispiel} + +\begin{Beispiel}[colwidth=5.5cm] +\psset{linestyle=none,fillstyle=solid,fillcolor=magenta,}% +\PstLightThreeDText[LightThreeDXLength=0.5, LightThreeDYLength=-1]{\Bf Test}\\[1cm] +\PstLightThreeDText[LightThreeDXLength=-1, LightThreeDYLength=0.5]{\Bf Test} +\end{Beispiel} + +\begin{Beispiel}[colwidth=5.5cm] +\DeclareFixedFont{\Sf}{T1}{phv}{b}{n}{3cm} +\psset{linestyle=none,fillstyle=solid,fillcolor=cyan}% +\PstLightThreeDText[LightThreeDColorPsCommand=1.2 div setgray]{\Sf 123}\\[1cm] +\PstLightThreeDText[LightThreeDColorPsCommand=2.5 div setgray]{\Sf 123} +\end{Beispiel} + +\begin{Beispiel}[colwidth=5.5cm] +\DeclareFixedFont{\Rm}{T1}{ptm}{m}{n}{3cm} +\psset{linestyle=none,fillstyle=solid}% +\PstLightThreeDText[fillcolor=Violet, LightThreeDColorPsCommand=% + 2.5 div 0.7 exch 0.8 sethsbcolor]{\Rm 987}\\[1cm] +\PstLightThreeDText[fillcolor=DarkGreen, LightThreeDColorPsCommand=% + 2 div 0.5 exch 0.2 exch sethsbcolor]{\Rm 987} +\end{Beispiel} + +\begin{Beispiel} +\DeclareFixedFont{\Rmb}{T1}{ptm}{m}{n}{4cm} +\PstLightThreeDText[linestyle=none,fillstyle=solid,fillcolor=Gold, LightThreeDColorPsCommand=% + 1.2 div 0.15 exch 0.7 exch sethsbcolor]{\Rmb PSTricks} +\end{Beispiel} + +\begin{Beispiel}[colwidth=4cm] +\psset{unit=0.5cm,linestyle=solid,fillstyle=none}% +\pspicture(-0.1,-3.5)(7.2,3) +\PstLightThreeDGraphic[LightThreeDXLength=0.4, LightThreeDColorPsCommand=% + 1.2 div 0.15 exch 0.7 exch sethsbcolor]{% + \pscurve(0,2)(1,-3)(2,2)(4,3)(7,0)} +\endpspicture +\end{Beispiel} + + +\begin{Beispiel}[colwidth=4cm] +\psset{unit=0.5cm,linestyle=solid,fillstyle=none}% +\pspicture(0,-3.5)(7.7,3) +\PstLightThreeDGraphic[LightThreeDXLength=0.8, LightThreeDColorPsCommand=% + 2 div 0.35 exch 0.9 exch sethsbcolor]{\pspolygon(0,2)(1,-3)(2,0)(4,1)(6,1)(7,3)} +\endpspicture +\end{Beispiel} + +\begin{Beispiel}[colwidth=4cm] +\psset{unit=0.5cm,linestyle=solid,fillstyle=none}% +\pspicture(0.5,-3.6)(3.8,3) +\PstLightThreeDGraphic[LightThreeDColorPsCommand=% + 2.6 div 0.12 exch 0.7 exch sethsbcolor]{\psellipse(2,0)(1.5,3)} +\endpspicture +\end{Beispiel} + +\begin{Beispiel}[colwidth=4cm] +\SpecialCoor +\def\PstCoordinates{}% +\Multido{\nDistance=0.00+0.02,\iAngle=0+20}{200}{% + \edef\PstCoordinates{\PstCoordinates(\nDistance;\iAngle)}} +\psset{unit=0.5cm}% +\pspicture(-3.8,-4)(4.1,3.7) +\PstLightThreeDGraphic[LightThreeDLength=0.2, LightThreeDColorPsCommand=% + 1.2 div 0.3 exch 0.7 exch sethsbcolor]{\expandafter\pscurve\PstCoordinates} +\endpspicture +\end{Beispiel} + +\begin{Beispiel}[colwidth=4cm] +\SpecialCoor +\def\PstCoordinates{}% +\Multido{\nDistance=0.00+0.02,\iAngle=0+20}{200}{% + \edef\PstCoordinates{\PstCoordinates(\nDistance;\iAngle)}} +\psset{unit=0.5cm}% +\pspicture(-3.8,-4)(4.1,3.7) +\PstLightThreeDGraphic[LightThreeDLength=0.2, LightThreeDAngle=30,LightThreeDColorPsCommand=% + /Counter Counter 0.00005 add def 2 mul Counter exch 0.7 exch sethsbcolor]{% + \pstVerb{ /Counter 0 def }% + \expandafter\pscurve\PstCoordinates} +\endpspicture +\end{Beispiel} + +\begin{Beispiel} +\PstLightThreeDGraphic[LightThreeDXLength=0.2, LightThreeDYLength=-0.2, LightThreeDColorPsCommand=% + 1.2 div 0.65 exch 0.9 sethsbcolor]{% + \large \let\TovalORIG\Toval \def\Toval#1{\TovalORIG{\raise2mm\hbox{\hskip2mm#1}}}% + \let\TtriORIG\Ttri \def\Ttri#1{\TtriORIG{\raise3mm\hbox{#1}}}% + \psset{framesep=0.15,fillstyle=gradient,gradmidpoint=0, gradbegin=cyan,gradend=blue}% + \pstree[treesep=0.5]{\Ttri{Jane}} {\psset{framesep=0.25}% + \pstree{\Toval{Marc}} {\Toval{Bob}\Toval{Ann}\Toval{Peter}}}} +\end{Beispiel} + +\begin{Beispiel} +\psset{xunit=8cm,yunit=3cm}% +\pspicture(-0.45,-1.6)(1,1.3)% +\psaxes[Dx=0.2,Oy=-1.2,Dy=0.2,tickstyle=top, axesstyle=frame](0,-1.2)(1,1.2)% +\psset{plotpoints=500,LightThreeDXLength=0.3, LightThreeDYLength=-0.3}% +\PstLightThreeDGraphic[LightThreeDColorPsCommand=1.5 div 0.05 exch 0.8 sethsbcolor]{% + \psplot{0}{0.95}{x 10 mul 57.296 mul sin}}% +\PstLightThreeDGraphic[LightThreeDColorPsCommand=1.5 div 0.6 exch 0.8 sethsbcolor]{% + \psplot{0}{0.95}{x 40 mul 57.296 mul cos 2 div}}% +\rput(-0.3,0.1){\textcolor{red}{$\sin (10 \times x)$}}% +\rput(-0.3,-0.1){\textcolor{blue}{$\cos (40 \times x) / 2$}}% +\rput(0.5,-1.5){$x$}% +\endpspicture +\end{Beispiel} +% + +\end{document} diff --git a/Master/texmf-dist/doc/generic/pst-math/README b/Master/texmf-dist/doc/generic/pst-math/README new file mode 100644 index 00000000000..2ac88bb4551 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-math/README @@ -0,0 +1,2 @@ +Material in this directory is an enhancement of postscript math operators +to use with pstricks \ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/pst-math/pst-math-doc.tex b/Master/texmf-dist/doc/generic/pst-math/pst-math-doc.tex new file mode 100644 index 00000000000..aa40adde20e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-math/pst-math-doc.tex @@ -0,0 +1,415 @@ +\documentclass[fleqn,10pt]{article} + +\usepackage{multicol} +\usepackage[a4paper,margin=1.5cm,includeheadfoot]{geometry} +\usepackage{fancyhdr} +\usepackage[baw,pstricks]{fvrb-ex} +\usepackage{pst-infixplot,pst-math} +\usepackage{amsmath,amssymb} +\usepackage{pstcol} +\makeatletter + +\renewcommand{\Begin@Example}{% +\parindent=0pt +\multiply\topsep by 2 \VerbatimEnvironment +\begin{VerbatimOut}[codes={\catcode`\=12\catcode`\/=12\catcode`\&=12% + \catcode`\"=12}]{\jobname.tmp}} + +\renewcommand{\Below@Example}[1]{% +\VerbatimInput[gobble=0,commentchar=,commandchars=/&",numbersep=3pt]% + {\jobname.tmp} +\catcode`\=9\relax% +\NoHighlight@Attributes % To suppress possible highlighting +\ifFvrbEx@Grid\vspace{5pt}\fi +#1% +\ifFvrbEx@Grid\vspace{5pt}\fi +\par} + +\renewcommand{\SideBySide@Example}[1]{% +\@tempdimb=\FV@XRightMargin \advance\@tempdimb -5mm +\begin{minipage}[c]{\@tempdimb} + \fvset{xrightmargin=0pt} + \catcode`\=9\relax% + \NoHighlight@Attributes % To suppress possible highlighting + #1 +\end{minipage}% +\@tempdimb=\textwidth \advance\@tempdimb -\FV@XRightMargin \advance\@tempdimb 5mm +\begin{minipage}[c]{\@tempdimb} + \VerbatimInput[gobble=0,commentchar=,commandchars=/&",numbersep=3pt, + xleftmargin=5mm,xrightmargin=0pt]{\jobname.tmp} +\end{minipage}} + +% The \NoHighlight@Attributes from `hbaw' and `hcolors' packages +% must be modified too +\def\NoHighlight@Attributes{% +\catcode`\/=0\relax% +\catcode`\&=1\relax% +\catcode`\"=2\relax% +\def\HLa##1{##1}% +\def\HLb##1{##1}% +\def\HLc##1{##1}% +\def\HLd##1{##1}% +\def\HLe##1{##1}% +\def\HLf##1{##1}% +\def\HLBFa##1{##1}% +\def\HLBFb##1{##1}% +\def\HLBFc##1{##1}% +\def\HLBFd##1{##1}% +\def\HLBFe##1{##1}% +\def\HLBFf##1{##1}% +\def\HLITa##1{##1}% +\def\HLITb##1{##1}% +\def\HLITc##1{##1}% +\def\HLITd##1{##1}% +\def\HLITe##1{##1}% +\def\HLITf##1{##1}% +\def\HLCBBa##1{##1}% +\def\HLCBBb##1{##1}% +\def\HLCBBc##1{##1}% +\def\HLCBBd##1{##1}% +\def\HLCBBe##1{##1}% +\def\HLCBBf##1{##1}% +\def\HLCBBz##1{##1}% +\def\HLCBWa##1{##1}% +\def\HLCBWb##1{##1}% +\def\HLCBWc##1{##1}% +\def\HLCBWd##1{##1}% +\def\HLCBWe##1{##1}% +\def\HLCBWf##1{##1}% +\def\HLCBWz##1{##1}% +} + +\makeatother + +\fvset{numbers=none,frame=single,labelposition=topline,gobble=4} + +\DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} + +\newcommand{\MathPackage}{\textbf{`pst-math'}} + +\lhead{\MathPackage}\rhead{A PSTricks package for enhancing mathematical operators in PSTricks} +\pagestyle{fancy} + +\psset{subgriddiv=1,griddots=10}% +\showgrid + +\makeatletter + +\def\DefOfOperator{\@ifstar{\DefOfOperator@}{\DefOfOperator@@}} + +\def\DefOfOperator@#1#2#3#4{{\operator@font#1}:\left\{\begin{array}{ccc} #2&\to\\ +x&\mapsto\end{array}\right.} + +\def\DefOfOperator@@#1#2#3{{\operator@font#1}:\left\{\begin{array}{ccc} #2&\to\\ +x&\mapsto&{\operator@font#1}(x)\end{array}\right.} + +\makeatother + +\begin{document} + +\title{\MathPackage\\ A PSTricks package for enhancing mathematical operators in PSTricks\\ \normalsize ver. 0.2} +\author{Christophe \textsc{Jorssen} \texttt{}\\ \footnotesize `libre' is the french word for `free'} +\date{04/07/14} +\maketitle + +\setlength{\columnseprule}{0.6pt} +\begin{multicols}{2} +{\parskip 0pt \tableofcontents} +\end{multicols} + +\section{Trigonometry} + +\MathPackage{} introduces natural trigonometric postscript operators COS, SIN and TAN defined by +\[\DefOfOperator{cos}{\mathbb R}{[-1,1]}\] +\[\DefOfOperator{sin}{\mathbb R}{[-1,1]}\] +\[\DefOfOperator{tan}{\mathbb R\backslash\{k\frac{\pi}2,k\in\mathbb Z\}}{\mathbb R}\] +where $x$ is in \emph{radians}. TAN does \emph{not} produce PS error\footnote{TAN is defined with +Div PSTricks operator rather than with div PS operator.} when $x=k\frac{pi}{2}$. +\begin{center} +\begin{tabular}{c|c|c|c} + \textbf{Stack} & \textbf{Operator} & \textbf{Result} & \textbf{Description} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{COS}} & \textsf{\textsl{real}} & Return cosine of + \textsf{\textsl{num}} radians \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{SIN}} & \textsf{\textsl{real}} & Return sine of + \textsf{\textsl{num}} radians \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{TAN}} & \textsf{\textsl{real}} & Return tangent of + \textsf{\textsl{num}} radians +\end{tabular} +\end{center} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \begin{pspicture}*(-5,-2)(5,2) + \SpecialCoor % For label positionning + \psaxes[labels=y,Dx=/HLCBWz&\pstPI2"]{->}% + (0,0)(-5,-2)(5,2) + \uput[-90](!/HLCBWz&PI" 0){$\pi$} + \uput[-90](!/HLCBWz&PI" neg 0){$-\pi$} + \uput[-90](!/HLCBWz&PI" 2 div 0){$\frac{\pi}2$} + \uput[-90](!/HLCBWz&PI" 2 div neg 0)% + {$-\frac{\pi}2$} + \psplot[linecolor=blue]{-5}{5}{x /HLCBWz&COS"} + \psplot[linecolor=red]{-5}{5}{x /HLCBWz&SIN"} + \psplot[linecolor=green]{-5}{5}{x /HLCBWz&TAN"} + \end{pspicture} +\end{SideBySideExample} + +\MathPackage{} introduces natural trigonometric postscript operators ACOS, ASIN and ATAN defined by +\[\DefOfOperator{acos}{[-1,1]}{[0,\pi]}\] +\[\DefOfOperator{asin}{[-1,1]}{[-\frac{\pi}2,\frac{\pi}2]}\] +\[\DefOfOperator{atan}{\mathbb R}{]-\frac{\pi}2,\frac{\pi}2[}\] + +\begin{center} +\begin{tabular}{c|c|c|c} + \textbf{Stack} & \textbf{Operator} & \textbf{Result} & \textbf{Description} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{ACOS}} & \textsf{\textsl{angle}} & Return arccosine of + \textsf{\textsl{num}} in radians \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{ASIN}} & \textsf{\textsl{angle}} & Return arcsine of + \textsf{\textsl{num}} in radians \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{ATAN}} & \textsf{\textsl{angle}} & Return arctangent of + \textsf{\textsl{num}} in radians \\ +\end{tabular} +\end{center} + +\textbf{Important :} ATAN is \emph{not} defined as PS operator atan. ATAN needs only \emph{one} +argument on the stack. + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \begin{pspicture}(-5,-2)(5,4) + \SpecialCoor % For label positionning + \psaxes[labels=x,Dy=/HLCBWz&\pstPI2"]{->}% + (0,0)(-5,-2)(5,4) + \uput[0](!0 /HLCBWz&PI"){$\pi$} + \uput[0](!0 /HLCBWz&PI" 2 div){$\frac{\pi}2$} + \uput[0](!0 /HLCBWz&PI" 2 div neg)% + {$-\frac{\pi}2$} + \psplot[linecolor=blue]{-1}{1}% + {x /HLCBWz&ACOS"} + \psplot[linecolor=red]{-1}{1}% + {x /HLCBWz&ASIN"} + \psplot[linecolor=green]{-5}{5}% + {x /HLCBWz&ATAN"} + \end{pspicture} +\end{SideBySideExample} + +\section{Hyperbolic trigonometry} + +\MathPackage{} introduces hyperbolic trigonometric postscript operators COSH, SINH and TANH defined +by +\[\DefOfOperator{cosh}{\mathbb R}{[1,+\infty[}\] +\[\DefOfOperator{sinh}{\mathbb R}{\mathbb R}\] +\[\DefOfOperator{tanh}{\mathbb R}{]-1,1[}\] +\begin{center} +\begin{tabular}{c|c|c|c} + \textbf{Stack} & \textbf{Operator} & \textbf{Result} & \textbf{Description} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{COSH}} & \textsf{\textsl{real}} & Return hyperbolic cosine of + \textsf{\textsl{num}} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{SINH}} & \textsf{\textsl{real}} & Return hyperbolic sine of + \textsf{\textsl{num}} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{TANH}} & \textsf{\textsl{real}} & Return hyperbolic tangent of + \textsf{\textsl{num}} +\end{tabular} +\end{center} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \begin{pspicture}*(-5,-5)(5,5) + \psaxes{->}(0,0)(-5,-5)(5,5) + \psplot[linecolor=blue]{-5}{5}{x /HLCBWz&COSH"} + \psplot[linecolor=red]{-5}{5}{x /HLCBWz&SINH"} + \psplot[linecolor=green]{-5}{5}{x /HLCBWz&TANH"} + \end{pspicture} +\end{SideBySideExample} + +\MathPackage{} introduces reciprocal hyperbolic trigonometric postscript operators ACOSH, ASINH and +ATANH defined by +\[\DefOfOperator{acosh}{[1,+\infty[}{\mathbb R}\] +\[\DefOfOperator{asinh}{\mathbb R}{\mathbb R}\] +\[\DefOfOperator{atanh}{]-1,1[}{\mathbb R}\] +\begin{center} +\begin{tabular}{c|c|c|c} + \textbf{Stack} & \textbf{Operator} & \textbf{Result} & \textbf{Description} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{ACOSH}} & \textsf{\textsl{real}} & Return reciprocal hyperbolic cosine of + \textsf{\textsl{num}} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{ASINH}} & \textsf{\textsl{real}} & Return reciprocal hyperbolic sine of + \textsf{\textsl{num}} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{ATANH}} & \textsf{\textsl{real}} & Return reciprocal hyperbolic tangent of + \textsf{\textsl{num}} +\end{tabular} +\end{center} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \begin{pspicture}(-5,-4)(5,4) + \psaxes{->}(0,0)(-5,-4)(5,4) + \psplot[linecolor=blue]{1}{5}% + {x /HLCBWz&ACOSH"} + \psplot[linecolor=red]{-5}{5}% + {x /HLCBWz&ASINH"} + \psplot[linecolor=green]{-.999}{.999}% + {x /HLCBWz&ATANH"} + \end{pspicture} +\end{SideBySideExample} + +\section{Other operators} + +\MathPackage{} introduces postscript operator EXP defined by +\[\DefOfOperator{exp}{\mathbb R}{\mathbb R}\] +\begin{center} +\begin{tabular}{c|c|c|c} + \textbf{Stack} & \textbf{Operator} & \textbf{Result} & \textbf{Description} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{EXP}} & \textsf{\textsl{real}} & Return exponential of + \textsf{\textsl{num}} +\end{tabular} +\end{center} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \begin{pspicture}*(-5,-1)(5,5) + \psaxes{->}(0,0)(-5,-0.5)(5,5) + \psplot[linecolor=blue, + plotpoints=1000]{-5}{5}{x /HLCBWz&EXP"} + \end{pspicture} +\end{SideBySideExample} + +\MathPackage{} introduces postscript operator GAUSS defined by +\[\DefOfOperator*{gauss}{\mathbb R}{\mathbb R}{\displaystyle\frac{1}{\sqrt{2\pi\sigma^2}}\exp-\frac{(x-\overline x)^2}{2\sigma^2}}\] +\begin{center} +\begin{tabular}{c|c|c|c} + \textbf{Stack} & \textbf{Operator} & \textbf{Result} & \textbf{Description} \\ + \hline + \textsf{\textsl{num}${}_1$} \textsf{\textsl{num}${}_2$} \textsf{\textsl{num}${}_3$} & + \textsf{\textbf{GAUSS}} & \textsf{\textsl{real}} & \parbox{4cm}{Return gaussian + of \textsf{\textsl{num}${}_1$} with mean \textsf{\textsl{num}${}_2$} and standart deviation \textsf{\textsl{num}${}_3$}} +\end{tabular} +\end{center} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \psset{yunit=5} + \begin{pspicture}(-5,-.1)(5,1.1) + \psaxes{->}(0,0)(-5,-.1)(5,1.1) + \psplot[linecolor=blue, + plotpoints=1000]% + {-5}{5}{x 2 2 /HLCBWz&GAUSS"} + \psplot[linecolor=red, + plotpoints=1000]% + {-5}{5}{x 0 .5 /HLCBWz&GAUSS"} + \end{pspicture} +\end{SideBySideExample} + +\MathPackage{} introduces postscript operator SINC defined by +\[\DefOfOperator*{sinc}{\mathbb R}{\mathbb R}{\displaystyle\frac{\sin x}x}\] +\begin{center} +\begin{tabular}{c|c|c|c} + \textbf{Stack} & \textbf{Operator} & \textbf{Result} & \textbf{Description} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{SINC}} & \textsf{\textsl{real}} & Return cardinal sine of + \textsf{\textsl{num}} radians +\end{tabular} +\end{center} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \psset{xunit=.25,yunit=3} + \begin{pspicture}(-20,-.5)(20,1.5) + \SpecialCoor % For label positionning + \psaxes[labels=y,Dx=/HLCBWz&\pstPI1"]{->}% + (0,0)(-20,-.5)(20,1.5) + \uput[-90](!/HLCBWz&PI" 0){$\pi$} + \uput[-90](!/HLCBWz&PI" neg 0){$-\pi$} + \psplot[linecolor=blue, + plotpoints=1000]{-20}{20}{x /HLCBWz&SINC"} + \end{pspicture} +\end{SideBySideExample} + +\MathPackage{} introduces postscript operator GAMMALN defined by +\[\DefOfOperator*{\ln\Gamma}{]0,+\infty[}{\mathbb R}{\ln\displaystyle\int_0^t t^{x-1}\mathrm e^{-t}\,\mathrm d t}\] +\begin{center} +\begin{tabular}{c|c|c|c} + \textbf{Stack} & \textbf{Operator} & \textbf{Result} & \textbf{Description} \\ + \hline + \textsf{\textsl{num}} & \textsf{\textbf{GAMMALN}} & \textsf{\textsl{real}} & Return logarithm of + $\Gamma$ function of \textsf{\textsl{num}} +\end{tabular} +\end{center} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \begin{pspicture}(-.5,-.5)(6,6) + \psaxes{->}(0,0)(-.5,-.5)(6,6) + \psplot[linecolor=blue, + plotpoints=1000]{.1}{6}{x /HLCBWz&GAMMALN"} + \end{pspicture} +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \psset{xunit=.25,yunit=3} + \begin{pspicture}(-20,-.5)(20,1.5) + \psaxes[Dx=5,Dy=.5]{->}% + (0,0)(-20,-.5)(20,1.5) + \psplot[linecolor=blue, + plotpoints=1000]{-20}{20}% + {x /HLCBWz&BESSEL_J0"} + \psplot[linecolor=red, + plotpoints=1000]{-20}{20}% + {x /HLCBWz&BESSEL_J1"} + \end{pspicture} +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \psset{xunit=.5,yunit=3} + \begin{pspicture}*(-1.5,-.75)(19,1.5) + \psaxes[Dx=5,Dy=.5]{->}% + (0,0)(-1,-.75)(19,1.5) + \psplot[linecolor=blue, + plotpoints=1000]{0.0001}{20}% + {x /HLCBWz&BESSEL_Y0"} + \psplot[linecolor=red, + plotpoints=1000]{0.0001}{20}% + {x /HLCBWz&BESSEL_Y1"} + % \psplot[linecolor=green, + % plotpoints=1000]{0.0001}{20}% + % {x 2 /HLCBWz&BESSEL_Yn"} + \end{pspicture} +\end{SideBySideExample} + +\section{\texttt{Infix-RPN} and \texttt{pst-infixplot} support} + +You can now use the operators defined in \MathPackage{} with the infix notation, using the +\texttt{infix-RPN} package. The packages must be read in the fellowing order: + +\begin{Verbatim}[label={\LaTeX{} preamble}] + \usepackage{infix-RPN,pst-math} +\end{Verbatim} + +If you want to use \MathPackage{} with \texttt{pst-infixplot}, then read the packages in the +fellowing order: + +\begin{Verbatim}[label={\LaTeX{} preamble}] + \usepackage{pst-infixplot,pst-math} +\end{Verbatim} + +\begin{SideBySideExample}[xrightmargin=10.5cm] + \psset{xunit=.5,yunit=3} + \begin{pspicture}*(-1.5,-.75)(19,1.5) + \psaxes[Dx=5,Dy=.5]{->}% + (0,0)(-1,-.75)(19,1.5) + \psPlot[linecolor=red, + plotpoints=1000]{0.0001}{20}% + {BESSEL_Y0(x)-BESSEL_Y1(x)} + \end{pspicture} +\end{SideBySideExample} + +\section{Credits} + +Many thanks to Jacques L'helgoualc'h and Herbert Voss. + + +\end{document} diff --git a/Master/texmf-dist/doc/generic/pst-math/pst-math.pdf b/Master/texmf-dist/doc/generic/pst-math/pst-math.pdf new file mode 100644 index 00000000000..c05fee1491e Binary files /dev/null and b/Master/texmf-dist/doc/generic/pst-math/pst-math.pdf differ diff --git a/Master/texmf-dist/doc/generic/pst-osci/README b/Master/texmf-dist/doc/generic/pst-osci/README new file mode 100644 index 00000000000..bb291db47d4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-osci/README @@ -0,0 +1,21 @@ + ------------------------------------------------------ + | pst-osci: PSTricks package for oscilloscopes | + | | + | Version 2.7 (November 17, 1999) | + | Manuel Luque | + | Christophe Jorssen | + ------------------------------------------------------ + + + + * Copy pst-osci.tex and pst-osci.sty in one of your TeX input directories + + * Run "latex" on pst-osci.doc to generate the documentation + + * Web page is http://www.tug.org/applications/PSTricks/Physics/Oscilloscopes + + * The files of this package are hereby put into the public domain: + README pst-osci.doc pst-osci.sty pst-osci.tex + +-- +Manuel Luque and Christophe Jorssen (updated November 22, 1999) diff --git a/Master/texmf-dist/doc/generic/pst-osci/pst-osci.doc b/Master/texmf-dist/doc/generic/pst-osci/pst-osci.doc new file mode 100644 index 00000000000..549dbd95b4e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-osci/pst-osci.doc @@ -0,0 +1,539 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -*- Mode: Latex -*- %%%%%%%%%%%%%%%%%%%%%%%%%% +%% pst-osci.doc --- Documentation for `pst-osci' PSTricks package +%% +%% Authors : Manuel LUQUE +%% Christophe JORSSEN +%% Created : Thu 2 Sept 1999 +%% Last mod. by : Christophe JORSSEN +%% Last mod. the : Wed 17 Nov 1999 +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\documentclass{article} + +\usepackage{pstcol,pst-osci,multicol} % PSTricks package for Oscilloscope screen shots +\usepackage[baw,pstricks]{fvrb-ex} % Example environments with `fancyvrb' +\usepackage[a4paper,left=1.5cm,right=1.5cm,top=1.5cm,bottom=1.5cm]{geometry} +\usepackage{fancyhdr} + +% Modifications in `fvrb-ex' to use only 7 bits characters as escape ones +% * will be for comment in place of , and /() for commands in place of +% (this work here because these four characters are not used in the examples) + +\makeatletter + +\renewcommand{\Begin@Example}{% +\parindent=0pt +\multiply\topsep by 2 +\VerbatimEnvironment +\begin{VerbatimOut}[codes={\catcode`\*=12\catcode`\/=12\catcode`\(=12% + \catcode`\)=12}]{\jobname.tmp}} + +\renewcommand{\Below@Example}[1]{% +\VerbatimInput[gobble=0,commentchar=*,commandchars=/(),numbersep=3pt]% + {\jobname.tmp} +\catcode`\*=9\relax% +\NoHighlight@Attributes % To suppress possible highlighting +\ifFvrbEx@Grid\vspace{5pt}\fi +#1% +\ifFvrbEx@Grid\vspace{5pt}\fi +\par} + +\renewcommand{\SideBySide@Example}[1]{% +\@tempdimb=\FV@XRightMargin +\advance\@tempdimb -5mm +\begin{minipage}[c]{\@tempdimb} + \fvset{xrightmargin=0pt} + \catcode`\*=9\relax% + \NoHighlight@Attributes % To suppress possible highlighting + #1 +\end{minipage}% +\@tempdimb=\textwidth +\advance\@tempdimb -\FV@XRightMargin +\advance\@tempdimb 5mm +\begin{minipage}[c]{\@tempdimb} + \VerbatimInput[gobble=0,commentchar=*,commandchars=/(),numbersep=3pt, + xleftmargin=5mm,xrightmargin=0pt]{\jobname.tmp} +\end{minipage}} + +% The \NoHighlight@Attributes from `hbaw' and `hcolors' packages +% must be modified too +\def\NoHighlight@Attributes{% +\catcode`\/=0\relax% +\catcode`\(=1\relax% +\catcode`\)=2\relax% +\def\HLa##1{##1}% +\def\HLb##1{##1}% +\def\HLc##1{##1}% +\def\HLd##1{##1}% +\def\HLe##1{##1}% +\def\HLf##1{##1}% +\def\HLBFa##1{##1}% +\def\HLBFb##1{##1}% +\def\HLBFc##1{##1}% +\def\HLBFd##1{##1}% +\def\HLBFe##1{##1}% +\def\HLBFf##1{##1}% +\def\HLITa##1{##1}% +\def\HLITb##1{##1}% +\def\HLITc##1{##1}% +\def\HLITd##1{##1}% +\def\HLITe##1{##1}% +\def\HLITf##1{##1}% +\def\HLCBBa##1{##1}% +\def\HLCBBb##1{##1}% +\def\HLCBBc##1{##1}% +\def\HLCBBd##1{##1}% +\def\HLCBBe##1{##1}% +\def\HLCBBf##1{##1}% +\def\HLCBBz##1{##1}% +\def\HLCBWa##1{##1}% +\def\HLCBWb##1{##1}% +\def\HLCBWc##1{##1}% +\def\HLCBWd##1{##1}% +\def\HLCBWe##1{##1}% +\def\HLCBWf##1{##1}% +\def\HLCBWz##1{##1}% +} + +\makeatother + +% Example environments with numbers, single frame, label on top and margin +\fvset{numbers=none,frame=single,labelposition=topline} + +% For macro names +\DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} + +\newcommand{\OsciPackage}{\textbf{`pst-osci'}} +\let\phi\varphi + +\lhead{\OsciPackage}\rhead{A PSTricks package for oscilloscopes} \pagestyle{fancy} + +\begin{document} + +\title{\OsciPackage\thanks{Thanks to Denis \textsc{Girou} for his most valuable +help and his encouragements.}\\ A PSTricks package for oscilloscopes} +\author{\shortstack{\makeatletter Manuel \textsc{Luque} \texttt{}\\ +Christophe \textsc{Jorssen} \texttt{}\makeatother}} +\date{\shortstack{Version 2.7\\ \small Documentation revised November 17, 1999}} + +\maketitle + +\begin{center} +\psframebox[framearc=0.3,framesep=5mm,linewidth=0.7mm]{% +\parbox{15cm}{% +{\Large\textbf{Abstract}}: \OsciPackage{} is a PSTricks package to draw easily +oscilloscope screen shots. Three channels can be used to represent the most common +signals (damped or not): namely sinusoidal ($y=A\exp (-\lambda t)\sin +(\frac{2\pi}{T}t+m\cdot\sin(\frac{2\pi}{T_m}t)+\phi) + c$), rectangular, triangular, +dog's tooth (left and right oriented). The third channel allows you to add, to +subtract or to multiply the two other signals. \textsc{Lissajous} diagrams (XY-mode) +can also be obtained.}} +\end{center} + +\setlength{\columnseprule}{0.6pt} +\begin{multicols}{2} +{\parskip 0pt \tableofcontents} +\end{multicols} + +\section{Introduction} + +\OsciPackage{} offers a unique macro with few parameters to interact on it (it is +the same approach as in Denis \textsc{Girou}'s \textbf{`pst-poly'} package). +\par +The syntax is simply: \fbox{\cs{Oscillo}\texttt{[optional\_parameters]}}. +\par +\textbf{As for a real oscilloscope, it is important to choose the correct sensivity +for each channel in relation to the amplitude of the signal. If you did the wrong +choice, you will get bad-looking curves.} +\par +The style of the curves can be customized using the standard PSTricks parameters. + +\section{Usage} + +\subsection{Parameters} + +There are thirty specific parameters defined to change the way the screen shots are +drawn. +\par +Henceforth, the signals represented on channels A, B and C will be called `SignalA', +`SignalB' and `SignalC'. +\begin{description} + +\item[\HLTTc{period1} (real):] period $T_1$ (in ms) of SignalA (\emph{default:~20}). + +\item[\HLTTc{period2} (real):] period $T_2$ (in ms) of SignalB (\emph{default:~20}). + +\item[\HLTTc{amplitude1} (real):] amplitude $A_1$ (in V) of SignalA (\emph{default:~2}). + +\item[\HLTTc{amplitude2} (real):] amplitude $A_2$ (in V) of SignalB +(\emph{default:~0 -- no signal}). + +\item[\HLTTc{periodmodulation1} (real):] period $T_{m1}$ (in ms) of SignalA +(\emph{default:~100}). + +\item[\HLTTc{periodmodulation2} (real):] period $T_{m2}$ (in ms) of SignalB +(\emph{default:~100}). + +\item[\HLTTc{freqmod1} (real):] modulation factor $m_1$ of SignalA (\emph{default:~0}). + +\item[\HLTTc{freqmod2} (real):] modulation factor $m_2$ of SignalB (\emph{default:~0}). + +\item[\HLTTc{phase1} (real):] phase $\phi_1$ (in deg) of SignalA (\emph{default:~0}). + +\item[\HLTTc{phase2} (real):] phase $\phi_2$ (in deg) of SignalB (\emph{default:~0}). + +\item[\HLTTc{CC1} (real):] continuous component $c_1$ (in V) of SignalA (\emph{default:~0}). + +\item[\HLTTc{CC2} (real):] continuous component $c_2$ (in V) of SignalB (\emph{default:~0}). + +\item[\HLTTc{damping1} (real):] damping $\lambda_1$ of SignalA +(\emph{default:~0 -- no damping}). + +\item[\HLTTc{damping2} (real):] damping $\lambda_2$ of SignalB +(\emph{default:~0 -- no damping}). + +\item[\HLTTc{wave1}:] type of the SignalA chosen between \cs{SinusA}, \cs{RectangleA}, +\cs{TriangleA}, \cs{LDogToothA}, \cs{RDogToothA} (\emph{default: \cs{SinusA}}). + +\item[\HLTTc{wave2}:] type of the SignalB chosen between \cs{SinusB}, \cs{RectangleB}, +\cs{TriangleB}, \cs{LDogToothB}, \cs{RDogToothB} (\emph{default: \cs{SinusB}}). + +\item[\HLTTc{timediv} (real):] scale (in ms) of the time axis (\emph{default:~5}). + +\item[\HLTTc{Lissajous} (boolean):] switch to XY-mode (true) or not (false) +(\emph{default: false}). + +\item[\HLTTc{sensivity1} (real):] scale (in V) of the channel A vertical axis +(\emph{default:~1}). + +\item[\HLTTc{sensivity2} (real):] scale (in V) of the channel B vertical axis +(\emph{default:~1}). + +\item[\HLTTc{plotstyle1}:] determines what kind of plot you will get for +channel A (\emph{default: GreenContA}). Note that you can customize the plotstyle +using the \cs{newpsstyle} macro (see below for examples). + +\item[\HLTTc{plotstyle2}:] determines what kind of plot you will get for +channel B (\emph{default: BlueContB}). Same remark as above. + +\item[\HLTTc{plotstyle3}:] determines what kind of plot you will get for +XY-mode (\emph{default: RedContLissajous}). Same remark as above. + +\item[\HLTTc{plotstyle4}:] determines what kind of plot you will get for +add, sub or mul operation (third channel) (\emph{default: MagentaContAddSub}). Same +remark as above. + +\item[\HLTTc{combine} (boolean):] if true allows to draw combination of SignalA +and SignalB on channel C (namely addition, subtraction or multiplication) +(\emph{default: false -- no signal}). See next item. + +\item[\HLTTc{operation}:] determines what kind of operation will be applied to +SignalA and SignalB to get SignalC. The valid parameters are add, sub and mul +(\emph{default: \cs{relax} -- no operation}). + +\item[\HLTTc{Fourier} (integer):] see below (Section \ref{Rectangular}) +(\emph{default:~100}). + +\item[\HLTTc{offset1} (real):] offset $c'_1$ (in V) of SignalA (\emph{default:~0}). + +\item[\HLTTc{offset2} (real):] offset $c'_2$ (in V) of SignalB (\emph{default:~0}). + +\item[\HLTTc{offset3} (real):] offset $c'_2$ (in V) of SignalC (\emph{default:~0}). + + +\end{description} + +\subsection{Rectangular, triangular and dog's tooth signals\label{Rectangular}} + +The parameter \HLTTc{Fourier} controls the precision of the Fourier transform used to +draw rectangular, triangular and dog's tooth signals. The number of terms is fixed to +100 by default in order to minimize the computation time. But you can give +\HLTTc{Fourier} any value you want. +\par +Note that those signals can also be damped using the \HLTTc{damping1} and +\HLTTc{damping2} parameters. By default, there is no damping ($\lambda=1$). + +\subsection{\OsciPackage{} and \LaTeX} + +\OsciPackage{} defines colors that may interact with the \textbf{`color'} package. +You should then use the \textbf{`pst-col'} package and load \OsciPackage{} this way: +\begin{Verbatim} + \usepackage{pstcol,pst-osci} +\end{Verbatim} + +\subsection{Reducing the size of the Oscilloscope} + +The oscilloscope is put inside a 10\,cm square \HLTTc{pspicture} environment. There +are two ways to reduce the size of the box, depending on the fonts you use. + +\subsubsection{Using PostScript fonts} + +We recommend that solution because it allows you to treat fonts like any other +PostScript object. As a matter of fact, you can, for instance, put your \cs{Oscillo} +macro inside a PSTricks \cs{scalebox}. It is very simple and offers good results. +However, pay attention to the fact that, if you are using non-PS fonts, the result +will look ugly! + +\subsubsection{Using non-PostScript fonts} + +If you use non-PS fonts and if you want to reduce the size of the Oscilloscope, you +should type something like: +\begin{Verbatim} + {\psset{unit=0.5}\footnotesize\Oscillo} +\end{Verbatim} + +\section{Examples} + +\subsection{Basic examples} + +\begin{CenterExample}[label={The \cs{Oscillo} macro, default parameters}] + \Oscillo +\end{CenterExample} + +\textbf{In order to minimize the size of the file, all the oscilloscopes are drawn +scaled $\frac{1}{2}$. This reduced scale is not represented.} + +\makeatletter +\let\Oldpst@Oscillo\pst@Oscillo +\def\pst@Oscillo[#1]{\scalebox{0.5}{\Oldpst@Oscillo[#1]}} +\makeatother + +\par +If you only want to see SignalA then set \HLTTc{offset2} in order to have +$\HLTTc{offset2}\in ]-\infty,-4\times \HLTTc{sensivity2}[ \cup +]4\times\HLTTc{sensivity2},+\infty[$: + +\begin{SideBySideExample}[label=SignalB invisible, xrightmargin=5.5cm] + \Oscillo[offset2=/HLCBWz(5)] +\end{SideBySideExample} + +Let's have a look at Channel A: + +\begin{CenterExample}[label=The importance of sensivity] + % Extrema invisible + \Oscillo[offset2=5,/HLCBWz(amplitude1)=5] + % Good sensivity choice + \hfill + \Oscillo[offset2=5,amplitude1=5,/HLCBWz(sensivity1)=2] +\end{CenterExample} + +Now, let's have two signals on Channel A and B. By default, the two signals have the +same period and the same phase: + +\begin{CenterExample} + % Different amplitude + \Oscillo[amplitude1=3,/HLCBWz(amplitude2)=1.5] + % Different period + \hfill + \Oscillo[amplitude1=3,amplitude2=1.5,/HLCBWz(period2)=50] + % Different phase + \hfill + \Oscillo[amplitude1=3,amplitude2=1.5,/HLCBWz(phase1)=60,/HLCBWz(phase2)=-30] +\end{CenterExample} + +\begin{SideBySideExample}[label=Damping and amplification,xrightmargin=5.5cm] + \Oscillo[amplitude1=3,amplitude2=1.5, + /HLCBWz(damping2)=0.005,/HLCBWz(damping1)=-0.005] +\end{SideBySideExample} + +\begin{SideBySideExample}[label=Changing the time scale,xrightmargin=5.5cm] + \Oscillo[amplitude2=1.5,/HLCBWz(timediv)=10] +\end{SideBySideExample} + +\begin{SideBySideExample}[label=Vertical translations,xrightmargin=5.5cm] + \Oscillo[amplitude1=1.5,amplitude2=1.5, + /HLCBWz(offset1)=1.5,/HLCBWz(offset2)=-1.5] +\end{SideBySideExample} + +\begin{CenterExample}[label=Changing the plot style] + /HLCBWz(\newpsstyle){BlueDots}{plotstyle=dots, + linecolor=blue,linewidth=0.02,plotpoints=50} + \Oscillo[amplitude1=3,/HLCBWz(plotstyle2)=BlueDots,amplitude2=2] + /HLCBWz(\newpsstyle){GreenDash}{linestyle=dashed, + linecolor=green,linewidth=0.035,plotpoints=50} + \hfill + \Oscillo[amplitude1=2,phase1=90,amplitude2=3.8,period1=25, + period2=50,phase2=10,/HLCBWz(plotstyle1)=GreenDash] +\end{CenterExample} + +\subsection{Channel C: operations} + +Note that \HLTTc{offset1} and \HLTTc{offset2} are \textbf{not} taken into account in +the operations when the \HLTTc{combine} parameter is set to true. + +\begin{CenterExample}[label=Additions] + \Oscillo[amplitude2=1.5,period2=50,period1=10, + /HLCBWz(combine)=/HLCBWz(true),/HLCBWz(operation)=/HLCBWz(add)] + \hfill + \Oscillo[amplitude2=1.5,period2=50,period1=10, + /HLCBWz(combine)=/HLCBWz(true),/HLCBWz(operation)=/HLCBWz(add),offset1=2,offset2=2] + \hfill + % SignalA and SignalB are invisible + \Oscillo[amplitude2=1.5,period2=50,period1=10, + /HLCBWz(combine)=/HLCBWz(true),/HLCBWz(operation)=/HLCBWz(add),offset1=6,offset2=6] +\end{CenterExample} + +\begin{SideBySideExample}[label=Subtraction,xrightmargin=5.5cm] + \Oscillo[amplitude2=1.5,period2=50,period1=10, + /HLCBWz(combine)=/HLCBWz(true), + /HLCBWz(operation)=/HLCBWz(sub)] +\end{SideBySideExample} + +\begin{CenterExample}[label=Multiplications] + \Oscillo[amplitude2=1.5,period2=50,period1=10, + /HLCBWz(combine)=/HLCBWz(true),/HLCBWz(operation)=/HLCBWz(mul)] + \hfill + \Oscillo[amplitude1=1,amplitude2=2, + period2=50,period1=2,/HLCBWz(combine)=/HLCBWz(true),/HLCBWz(operation)=/HLCBWz(mul)] +\end{CenterExample} + +\subsection{Channel C: XY-mode} + +\begin{SideBySideExample}[label={Basic \textsc{Lissajous} curve},xrightmargin=5.5cm] + \Oscillo[/HLCBWz(Lissajous)=/HLCBWz(true),amplitude2=2] +\end{SideBySideExample} + +\begin{CenterExample} + \Oscillo[Lissajous=true,amplitude2=3,phase2=45] + \hfill + \Oscillo[Lissajous=true,amplitude2=2,phase2=90] +\end{CenterExample} + +\begin{CenterExample} + \Oscillo[amplitude1=3.5,phase1=90,amplitude2=3.5, + period1=20,period2=10,phase2=0,Lissajous=true] + \hfill + \Oscillo[amplitude1=3.5,phase1=90,amplitude2=3.5, + period1=25,period2=5,phase2=60,Lissajous=true] +\end{CenterExample} + +\begin{SideBySideExample}[label={A damped \textsc{Lissajous} diagram},xrightmargin=5.5cm] + \Oscillo[amplitude1=3.5,phase1=90, + amplitude2=3.5,period1=50,period2=50, + Lissajous=true,damping1=0.01,damping2=0.01] +\end{SideBySideExample} + +\subsection{Non sinusoidal signals} + +\begin{CenterExample}[label=Exponential signals] + \Oscillo[amplitude1=3.5,phase1=90, + period1=/HLCBWz(2E30),offset2=5,damping1=0.02] + \hfill + \Oscillo[amplitude1=3.5,phase1=90, + period1=/HLCBWz(2E30),offset2=3,amplitude2=-3,damping1=0.02, + period2=/HLCBWz(2E31),damping2=0.02,phase2=90] +\end{CenterExample} + +\textbf{Note:} the maximum value for \HLTTc{period1} and \HLTTc{period2} is $\pm$2E31. + +\begin{CenterExample}[label={Non-sinusoidal signals}] + \Oscillo[/HLCBWz(Wave1)=/HLCBWz(\TriangleA),amplitude2=2,period2=20,period1=25] + \hfill + \Oscillo[/HLCBWz(Wave1)=/HLCBWz(\RectangleA),amplitude2=2,period2=20,period1=25] +\end{CenterExample} + +\begin{CenterExample}[label=Combine examples] + \Oscillo[Wave2=\TriangleB,combine=true,operation=mul,amplitude2=2, + period2=50,period1=2,amplitude1=1] + \hfill + \Oscillo[combine=true,operation=add,amplitude2=1.5, + Wave1=\RectangleA,amplitude1=1.5,period2=15] + \hfill + \Oscillo[combine=true,operation=add,amplitude2=1.5, + Wave1=\RectangleA,amplitude1=1.5,period2=15,Wave2=\TriangleB] +\end{CenterExample} + +\begin{CenterExample}[label={Dog's tooth signal}] + \Oscillo[combine=true,operation=mul,amplitude2=1.5, + /HLCBWz(Wave1)=/HLCBWz(\RDogToothA),amplitude1=1.5,period2=15] + \hfill + \Oscillo[amplitude1=3.5,phase1=90,amplitude2=3.5, + period1=25,period2=6.25,phase2=0,Lissajous=true,Wave2=\RDogToothB] +\end{CenterExample} + +\subsection{Frequency modulation examples} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[/HLCBWz(periodmodulation1)=200,/HLCBWz(freqmod1)=5,period1=30, + timediv=50,plotpoints=1000,amplitude2=2,period2=200] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=1,amplitude2=1, + period2=25,period1=2,combine=true,operation=mul] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=1,amplitude2=1,/HLCBWz(CC2)=2, + period2=25,period1=2,combine=true,operation=mul,offset1=5] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=1,amplitude2=1,CC2=1.5,Wave2=\TriangleB, + period2=25,period1=2,combine=true,operation=mul,offset1=5] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=1,amplitude2=1,CC2=2,Wave2=\RDogToothB, + period2=25,period1=2,combine=true,operation=mul,offset1=5] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=1,amplitude2=1,CC2=-2,Wave2=\LDogToothB, + period2=20,period1=3,combine=true,operation=mul,offset1=5] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=1,amplitude2=1,CC2=2,Wave2=\RDogToothB, + period2=25,period1=2,combine=true,operation=mul, + offset1=5,offset3=-1] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=1,amplitude2=1,CC2=-2,Wave2=\LDogToothB, + period2=20,period1=3,combine=true,operation=mul, + offset1=5,offset3=1] +\end{SideBySideExample} + +\subsection{More examples} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=3.5,phase1=90,amplitude2=3.5,period1=50, + period2=50,phase2=0,Lissajous=true,damping1=0.01, + Wave2=\RectangleB] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=2,amplitude2=1.8,Wave1=\RectangleA, + Fourier=500,period1=25,period2=12.5,combine=true, + operation=add,Wave2=\RectangleB] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=4,amplitude2=3,period1=50, + period2=5,Lissajous=true,Wave1=\RectangleA] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=3,phase1=90,amplitude2=3,damping1=0.05, + period1=25,period2=12.5,phase2=0, + Lissajous=true,Wave2=\RDogToothB] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=4,amplitude2=3,period1=25, + period2=50,Lissajous=true,damping1=0.02, + Wave2=\TriangleB] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[Wave2=\LDogToothB,combine=true,operation=mul, + amplitude2=2,period2=50,period1=2,amplitude1=1] +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=5.5cm] + \Oscillo[amplitude1=3.5,phase1=90,amplitude2=3.5,period1=50, + period2=50,phase2=0,Lissajous=true,damping1=0.01, + Wave2=\RectangleB,damping2=0.01] +\end{SideBySideExample} + +\end{document} diff --git a/Master/texmf-dist/doc/generic/pst-slpe/README b/Master/texmf-dist/doc/generic/pst-slpe/README new file mode 100644 index 00000000000..8e3c7b22c1c --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-slpe/README @@ -0,0 +1,19 @@ +----------------------------------------------------- +| pst-slpe: PSTricks package for improved gradients | +| | +| Version 1.1 (October 05, 2005) | +| Martin Giese | +----------------------------------------------------- + + + * Run "tex" on pst-slpe.ins and copy pst-slpe.tex and pst-slpe.sty +in one of your TeX input directories + + * Install pst-slpe.pro in one of your DVI to PostScript converter input +directories + + * Run "latex" on pst-slpe.dtx to generate the documentation + +-- +Martin Giese (updated September 15, 1998) +Herbert Voss (using xkeyval -- 2005-10-05) \ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/pst-slpe/pst-slpe.pdf b/Master/texmf-dist/doc/generic/pst-slpe/pst-slpe.pdf new file mode 100644 index 00000000000..82daac67dde Binary files /dev/null and b/Master/texmf-dist/doc/generic/pst-slpe/pst-slpe.pdf differ diff --git a/Master/texmf-dist/doc/generic/pst-uml/README b/Master/texmf-dist/doc/generic/pst-uml/README new file mode 100644 index 00000000000..f9f67ac3a43 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-uml/README @@ -0,0 +1,76 @@ +Readme.txt file for the latex package "pst-uml" +----------------------------------------------- + +When-Who-Where? +-------------- + +who: Maurice DIAMANTINI diam@ensta.fr + +where: http://www.ensta.fr/~diam/latex/contrib/ + +when: Package "pst-uml": 27/04/98 + FRENCH doc "pst-uml": 27/04/98 + this readme: 18/12/98 :-) + +pst-uml is in Alpha version, and not yet cleanly packaged. +I hope to be able to continue it before juny 1999. +(27 oct 99 : sorry, pst-uml is unchanged!) + +********** (But any remarks are welcome :-) **************** + + + +What is pst-uml +--------------- + +pst-uml.sty is a latex package written for my need to draw some +UML diagramms using pstricks package. + +"pst-uml" rely on pstricks (pst-keys.sty) and some other standard +packages. In particular the following files : + + - pst-keys.sty : use by pst-uml.sty + but include in recent standard latex distribution. + + - fancyvrb.sty : NOT USE by pst-uml.sty, but requested for compiling + the documentations. + + - fvrb-ex.sty : idem above + + +How to use pst-uml? +------------------- + +Copy the file pst-uml.sty in your working directory (latex project) +or in the PATH of TEX input file. +Normaly, this is the only thing to do... + + +Documentation +------------- +All documentation is IN FRENCH. It is based on the two top files: + + - doc_pst-uml.tex: + reference doc for pst-uml.sty + (description of the differents commands provide by pst-keys.sty) + + - exemplesUml.tex: + some examples of UML diagramms using "pst-uml" + This file use secondary files such as : + - diagCase.tex + - diagClass.tex + - diagState.tex + - diagSeq.tex + +Compiling the documentations files require the packages fancyvrb.sty and +fvrb-ex.sty in addition to the pst-uml.sty package. +There is postscript version of the two documentation files above with +the "pst-uml" distribution. + + +Modifications +------------- +18/12/98 : modif Makefile and remove out-dated packages from pst-uml + distribution. +27/04/98 : last update of pst-uml and its documentation + diff --git a/Master/texmf-dist/doc/generic/pst-uml/diagCase.tex b/Master/texmf-dist/doc/generic/pst-uml/diagCase.tex new file mode 100644 index 00000000000..d203a99fd50 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-uml/diagCase.tex @@ -0,0 +1,56 @@ +% \documentclass[11pt,a4paper,twoside]{article} +% \usepackage[T1]{fontenc} +% \usepackage[applemac]{inputenc} +% % \usepackage[latin1]{inputenc} +% \usepackage{pst-uml} +% \begin{document} + +\begin{center} + % \scalebox{0.5}{%} Fonctionne egalement + \resizebox{0.9\linewidth}{!}{% + \begin{pspicture}(0,0.5)(15,13.5)%\psgrid + \psset{framesep=0} + % + \psframe[linewidth=0.5pt, linestyle=dashed](3,14)(12,0.5) + \rput(7.5,1){\Large Systme dvelopper} + % + \rput(1,12){\rnode{acCL}{\umlActor{Client}}} + \rput(1,6){\rnode{acSC}{\umlActor{Service\\Clientle}}} + \rput(14,4){\rnode{acST}{\umlActor{Service\\Technique}}} + \rput(14,11.5){\rnode{acSU}{\umlActor{Superviseur}}} + % + % + % \umlPutCase{5,13}{VISU}{\\[0mm]Visualiser\\[0mm]} + \umlPutCase{5,13}{VISU}{Visualiser} + \umlPutCase{5,5}{SR}{Saisir\\Risques} + \umlPutCase{5,3}{SD}{Saisir\\Demandes} + \umlPutCase{5,8}{RD}{Routage\\demandes} + \umlPutCase{10,10}{ICB}{% + Identifier\\ + contraintes\\ + bloquantes} + \umlPutCase{10,3}{MR}{Modifie\\Rseau} + \umlPutCase{5,11}{VAD}{Vrifier\\acceptation\\demande} + \umlPutCase{10,5}{IR}{Indiquer\\risques} + \umlPutCase{10,13}{PM}{Prparer\\modif.} + % + \ncline{acCL}{VAD} + \ncline{acCL}{VISU} + \ncline{acSC}{SR} + \ncline{acSC}{SD} + \ncline{acSC}{RD} + \ncline{acSU}{ICB} + \ncline{acSU}{PM} + \ncline{acST}{IR} + \ncline{acST}{MR} + % + \ncline{RD}{ICB}\naput[nrot=:U]{\umlStereoType{uses}} + \ncputicon{umlHerit} + \ncline{IR}{SR}\nbput[nrot=:D,npos=0.65]{\umlStereoType{uses}} + \ncputicon{umlHerit} + \end{pspicture} + }%end resizeORscalebox +\end{center} + + +% \end{document} diff --git a/Master/texmf-dist/doc/generic/pst-uml/diagClass.tex b/Master/texmf-dist/doc/generic/pst-uml/diagClass.tex new file mode 100644 index 00000000000..0048b5cb19e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-uml/diagClass.tex @@ -0,0 +1,130 @@ +% \documentclass[11pt,a4paper,twoside]{article} +% \usepackage[T1]{fontenc} +% \usepackage[applemac]{inputenc} +% % \usepackage[latin1]{inputenc} +% \usepackage{pst-uml} +% \begin{document} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Placement des objet} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\newcommand{\drawClassi}{% + \umlClass{Classe1}{% + umlClassWidth = 0 \\ + (par dfaut) \\\hline + Attribut2 Tres tres longue ligne \\ \hline + Attribut3 \\ \hline % + Mthode1% +}} + +\newcommand{\drawClassii}{% + \umlClass[umlClassWidth=4cm,umlParameter={\ T\ }]{Classe2}{% + largeur = 4cm \\ \hline + Attribut2 \\ \hline % + Methode1\\ + Methode2% +}} + +\newcommand{\drawClassiii}{% + \umlClass[umlClassWidth=2.7]{Classe3}{% + attribut 1 \\ + attribut 1\\ \hline + Methode1 \\ + Methode2% +}} + +\newcommand{\drawClassiv}{% + \umlClass{Classe4}{% + MonAttribut 1 \\ + MonAttribut 2 \\ \hline + Methode1% +}} + +% Classe5 : largeur automatique et titre seul +\newcommand{\drawClassv}{% + \umlClass[umlClassWidth=0]{Classe5}{}} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Placement des objets +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\begin{pspicture}(18,15)\psgrid + \rput(3,13){\rnode{Class1}{\drawClassi}} + \pnode(17.5,13){pnode1} + \rput(9,10){\rnode{Class2}{\drawClassii}} + \rput(2,5){\rnode{Class3}{\drawClassiii}} + \rput(12,5){\rnode{Class4}{\drawClassiv}} + \rput(5.5,5.5){\rnode{Class5}{\drawClassv}} + % + \rput(16,11){\rnode{Actor1}{\umlActor{Acteur() 1}}} +\end{pspicture} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Dessin des liens et labels +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% La grande boucle en deux tapes : +\ncline{Class1}{pnode1} +\ncputicon[npos=0.7,nrot=:U]{umlV} +\naput{ncline}\naput[npos=1,ref=r]{Node "P1"} +\ncSXE[armA=11.5]{pnode1}{Class3} +\nbput{SXE (armA=11.5)} +\ncputicon{umlV}% debut +\ncputicon[npos=1.9999,nrot=:U]{umlV} +\ncputicon[npos=2,nrot=:U]{umlV} +\ncputicon[npos=5,nrot=:U]{umlV}% fin ERREUR si nrot=4 ok pour 5!!!! +% +\ncSE{Class1}{Class2} +\naput[npos=1.5]{\{ncSE npos=1.5\}} +\ncSE[offset=-1]{Class1}{Class2} +\ncputicon{umlAgreg} % debut +\ncputicon[npos=2,nrot=:U]{umlCompos}% fin +\nbput[npos=0.3]{0..*} +\naput[npos=1.8]{0..2} +\naput[npos=1.4]{ncSE,offset=-1} +% +\ncSHS[armA=1.5]{Class2}{Class4}\naput{ncSHS} +\ncSHS[armA=1.5]{Class2}{Class3}\nbput{ncSHS} +\ncputicon{umlHerit}% hritage au debut +\ncputicon[npos=3,nrot=:U]{umlV}% V en fin +% +\ncSHN[arm=.7]{Class3}{Class4} +\naput{ncSHN (3 vers 4)} +\ncputicon[npos=1.8,nrot=:U]{umlV}% fleche au milieu vers destination ! +% +% \ncE[npos=0.4]{Class5}{Class4}\naput{ncE,npos=0.4} +\ncE{Class5}{Class4}\naput[npos=0.4]{ncE,npos=0.4} +\ncputicon{umlCompos} +% +% Essai de dfinition d'un style personnalis +\newpsstyle{umlDependance}{% + linestyle=dashed, + arrows=->, + arrowscale=3, + arrowinset=0.6 +} +\ncline[style=umlDependance,offset=-0.5]{Class3}{Class4} +\naput{ncline} +\ncputicon{umlV}% fleche au debut +\nbput[npos=0.15]{1..*} +% +% % % On peut coller n'importe quoi par rapport un node : +% % % Essai pour mettre un template sur une classe : prvoir +% % % une option du style [umlTemplate=myString] +% % \nput*[labelsep=-0.8,offset=1.4]% +% % {0}{Class2}{\psframebox% +% % [fillstyle=solid,fillcolor=white,linestyle=dashed]% +% % {\LARGE\textbf{\ T\ }}} +% % % +% Lien de Class2 et Class4 vers l'acteur : +\ncline[linestyle=dashed]{Class2}{Actor1} +\naput{ncline} +\ncputicon{umlAgreg} +\ncputicon[npos=0.7,nrot=:U]{umlAgreg} +\ncputicon[npos=1,nrot=:U]{umlCompos} % en fin +% +\nccurve[linestyle=dashed, angleA=75,offsetA=-1,angleB=-45]{Class4}{Actor1} +\ncputicon{umlHerit} % debut +\ncputicon[npos=0.7,nrot=:U]{umlHerit} +\ncputicon[npos=1,nrot=:U]{umlHerit}% en fin + +% \end{document} diff --git a/Master/texmf-dist/doc/generic/pst-uml/diagClass1.tex b/Master/texmf-dist/doc/generic/pst-uml/diagClass1.tex new file mode 100644 index 00000000000..4ab7410b7af --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-uml/diagClass1.tex @@ -0,0 +1,143 @@ +% \documentclass[11pt,a4paper,twoside]{article} +% \usepackage[T1]{fontenc} +% \usepackage[applemac]{inputenc} +% % \usepackage[latin1]{inputenc} +% \usepackage{pst-uml} +% \begin{document} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Placement des objets} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\newcommand{\drawCommand}{% + \umlClass{Command}{% + -dateReceived \\ + -isPrepaid \\ + -number : String \\ + -price : Money \\ + \hline + +dispatch() \\% + +close()% + } +} + +\newcommand{\drawCustomer}{% + \umlClass[{Customer}{% + name\\ + address\\ + \hline + creditRating() : String + } +} + +\newcommand{\drawCorpCust}{% + \umlClass{Corporate \\ Customer}{% + contactName\\ + creditRating\\ + creditLimit\\ + \hline + +remind() \\ + billForMonth(Integer) + } +} + +\newcommand{\drawPersCust}{% + \umlClass{Personal \\ Customer}{% + creditCard#\\ + \hline + } +} + +\newcommand{\drawOrderLine}{% + \umlClass{Order Line}{% + quantuty : Integer \\ + price : Money \\ + isSatisfied : Boolean \\ + \hline +}} +% les deux clases "Employee" et "Product" tant simple : elle sera +% dfinies l'utilisation. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Placement des objets +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\begin{pspicture}(0,0)(18,15)\psgrid + \rput(3,13){\rnode{Class1}{\drawClassi}} + \pnode(17.5,13){pnode1} + \rput(9,10){\rnode{Class2}{\drawClassii}} + \rput(2,5){\rnode{Class3}{\drawClassiii}} + \rput(12,5){\rnode{Class4}{\drawClassiv}} + \rput(5.5,5.5){\rnode{Class5}{\drawClassv}} + % + \rput(16,11){\rnode{Actor1}{\umlActor{Acteur() 1}}} +\end{pspicture} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Dessin des liens et labels +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% La grande boucle en deux tapes : +\ncline{Class1}{pnode1} +\ncputicon[npos=0.7,nrot=:U]{umlV} +\naput{ncline}\naput[npos=1,ref=r]{Node "P1"} +\ncSXE[armA=11.5]{pnode1}{Class3} +\nbput{SXE (armA=11.5)} +\ncputicon{umlV}% debut +\ncputicon[npos=1.9999,nrot=:U]{umlV} +\ncputicon[npos=2,nrot=:U]{umlV} +\ncputicon[npos=5,nrot=:U]{umlV}% fin ERREUR si nrot=4 ok pour 5!!!! +% +\ncSE{Class1}{Class2} +\naput[npos=1.5]{\{ncSE npos=1.5\}} +\ncSE[offset=-1]{Class1}{Class2} +\ncputicon{umlAgreg} % debut +\ncputicon[npos=2,nrot=:U]{umlCompos}% fin +\nbput[npos=0.3]{0..*} +\naput[npos=1.8]{0..2} +\naput[npos=1.4]{ncSE,offset=-1} +% +\ncSHS[armA=1.5]{Class2}{Class4}\naput{ncSHS} +\ncSHS[armA=1.5]{Class2}{Class3}\nbput{ncSHS} +\ncputicon{umlHerit}% hritage au debut +\ncputicon[npos=3,nrot=:U]{umlV}% V en fin +% +\ncSHN[arm=.7]{Class3}{Class4} +\naput{ncSHN (3 vers 4)} +\ncputicon[npos=1.8,nrot=:U]{umlV}% fleche au milieu vers destination ! +% +% \ncE[npos=0.4]{Class5}{Class4}\naput{ncE,npos=0.4} +\ncE{Class5}{Class4}\naput[npos=0.4]{ncE,npos=0.4} +\ncputicon{umlCompos} +% +% Essai de dfinition d'un style personnalis +\newpsstyle{umlDependance}{% + linestyle=dashed, + arrows=->, + arrowscale=3, + arrowinset=0.6 +} +\ncline[style=umlDependance,offset=-0.5]{Class3}{Class4} +\naput{ncline} +\ncputicon{umlV}% fleche au debut +\nbput[npos=0.15]{1..*} +% +% % % On peut coller n'importe quoi par rapport un node : +% % % Essai pour mettre un template sur une classe : prvoir +% % % une option du style [umlTemplate=myString] +% % \nput*[labelsep=-0.8,offset=1.4]% +% % {0}{Class2}{\psframebox% +% % [fillstyle=solid,fillcolor=white,linestyle=dashed]% +% % {\LARGE\textbf{\ T\ }}} +% % % +% Lien de Class2 et Class4 vers l'acteur : +\ncline[linestyle=dashed]{Class2}{Actor1} +\naput{ncline} +\ncputicon{umlAgreg} +\ncputicon[npos=0.7,nrot=:U]{umlAgreg} +\ncputicon[npos=1,nrot=:U]{umlCompos} % en fin +% +\nccurve[linestyle=dashed, angleA=75,offsetA=-1,angleB=-45]{Class4}{Actor1} +\ncputicon{umlHerit} % debut +\ncputicon[npos=0.7,nrot=:U]{umlHerit} +\ncputicon[npos=1,nrot=:U]{umlHerit}% en fin + +% \end{document} diff --git a/Master/texmf-dist/doc/generic/pst-uml/diagSeq.tex b/Master/texmf-dist/doc/generic/pst-uml/diagSeq.tex new file mode 100644 index 00000000000..433d5ecbb3d --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-uml/diagSeq.tex @@ -0,0 +1,109 @@ +% \documentclass[11pt,a4paper,twoside]{article} +% \usepackage[T1]{fontenc} +% \usepackage[applemac]{inputenc} +% % \usepackage[latin1]{inputenc} +% \usepackage{pst-uml} +% \begin{document} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Placement des objet} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\begin{center} +\resizebox{\linewidth}{!}{% + \begin{psmatrix}[colsep=0.2,rowsep=0.5] + % + % la ligne 1 contient le nom des objets + [name=client]\umlClass{\underline{:Client}}{} + & [name=reseau]\umlClass{\underline{:R\'eseau}}{} + & [name=demande]\umlClass{\underline{:Demande}}{} + & [name=route]\umlClass{\underline{:Route}}{} + & [name=arete]\umlClass{\underline{:Ar\^ete}}{} + & [name=noeud]\umlClass{\underline{:Noeud}}{} + & [name=fenetre]\umlClass{\underline{:Fen\^etre}}{} + \\[+0.5cm] %1 + % ATTENTION les lignes vides telle que : + % & & & & & & \\ + % sont inaccessible par (3,2) + % + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\ % 5 + % + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\[-0.5cm] + {} & {} & {} & {} & {} & {} & {} \\[-0.5cm] % 10 + % + {} & {} & {} & {} & {} & {} & {} \\[-0.5cm] + {} & {} & {} & {} & {} & {} & {} \\[-0.5cm] + {} & {} & {} & {} & {} & {} & {} \\[+0.5cm] + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\[+0.5cm] % 15 + % + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\[-0.5cm] + {} & {} & {} & {} & {} & {} & {} \\ + {} & {} & {} & {} & {} & {} & {} \\ % 20 + % + {} & {} & {} & {} & {} & {} & {} \\[0cm] % 21 ([0cm] ncessaire : bug ?) + % + % Les noms pour les fins d'objets (invariant si nouvelles lignes) + [name=clientEnd]{} + & [name=reseauEnd]{} + & [name=demandeEnd]{} + & [name=routeEnd]{} + & [name=areteEnd]{} + & [name=noeudEnd]{} + & [name=fenetreEnd]{} + & \\[-0.5cm] % Saut de ligne sans vertic pour corrig problme + % + % Le trait d'axe pour l'chelle des temps : + \ncline[linewidth=0.5pt,linestyle=solid,offset=-1.7,nodesep=0.0]% + {->}{client}{clientEnd} + \naput[npos=1]{\emph{t}} + % + % Les pointills verticaux + \ncline[linestyle=dashed]{client}{clientEnd} + \ncline[linestyle=dashed]{reseau}{reseauEnd} + \ncline[linestyle=dashed]{demande}{demandeEnd} + \ncline[linestyle=dashed]{route}{routeEnd} + \ncline[linestyle=dashed]{arete}{areteEnd} + \ncline[linestyle=dashed]{noeud}{noeudEnd} + \ncline[linestyle=dashed]{fenetre}{fenetreEnd} + % + % Les connexions horisontales ave leur commentaires associs + \small\ttfamily% Fonctionne + \psset{labelsep=1.5mm} + \ncline{->}{2,1}{2,3}\naput*{listerDemandes()} + \ncline{->}{3,3}{3,1}\nbput*{demandes} + \ncline{->}{4,1}{4,2}\naput*{* visualiser(demande)} + \ncline{->}{5,2}{5,1}\nbput*{[djRout(rseau) = false]} + \ncline{->}{6,2}{6,1}\nbput*{[accepte(demande) = false]} + \ncline{->}{7,2}{7,4}\naput*{[accepte(demande) = true] parcourir()} + \ncline{->}{8,4}{8,5}\naput*{lister()} + \ncline{->}{9,5}{9,6}\naput*{listerExtrmits()} + \ncline{->}{10,6}{10,5} + \ncline{->}{11,5}{11,4} + \ncline{->}{12,4}{12,2} + \ncline{->}{13,2}{13,1} + \ncline{->}{14,1}{14,7}\naput*{[accepte(demande) = true] % + afficher(demande)} + \ncline{->}{15,7}{15,1}\nbput*{dessinerSurTerminal()} + \ncline{->}{16,1}{16,7}\naput*{* zoomer(zone)} + \ncline{->}{17,7}{17,5}\nbput*{artesInZone} + \ncline{->}{18,5}{18,3}\nbput*{estConcerne(demande)} + \ncline{->}{19,3}{19,5} + \ncline{->}{20,5}{20,7}\naput*{artesConcernes} + \ncline{->}{21,7}{21,1}\nbput*{rafraichirEcran()} + % \ncEVW[armA=2]{->}{4,3}{10,3} % Est Vertical West + % + \end{psmatrix} +}%end resizeORscalebox +\end{center} + + +% \end{document} diff --git a/Master/texmf-dist/doc/generic/pst-uml/diagState.tex b/Master/texmf-dist/doc/generic/pst-uml/diagState.tex new file mode 100644 index 00000000000..a315288e0ca --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-uml/diagState.tex @@ -0,0 +1,149 @@ +% \documentclass[11pt,a4paper,twoside]{article} +% \usepackage[T1]{fontenc} +% \usepackage[applemac]{inputenc} +% % \usepackage[latin1]{inputenc} +% \usepackage{pst-uml} +% \begin{document} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% dfinition des objets +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\newcommand{\StateGlobal}{% + \umlState{tat global de l'objet \texttt{Graphe}}{\umlEmptyBox{13cm}{16cm}}% +} +\newcommand{\StateNRSA}{% + \umlState{non rout \\ sans artes}{\space}% +} +\newcommand{\StateNRI}{% + \umlState{non rout \\ incomplet}{\space}% +} +\newcommand{\StateNRC}{% + \umlState{non rout \\ complet}{\space}% +} +\newcommand{\StateROU}{% + \umlState{rout \\ \mbox{}}{\space}% +} +\newcommand{\StateVisu}{% + \umlState{Visualisable \\ \mbox{}}{do/superviser()}% +} +\newcommand{\StateAnu}{% + \umlState{GrapheAnnulable}{% + \hspace*{2.25cm} + \rmfamily% car normalement un corps d'tat est en ttfamily + \begin{psmatrix}[colsep=1,rowsep=1.5,mnode=r] + \\[-1.4cm] + [name=StateInAnu] \umlStateIn \\[-0.5cm] + [name=StateNRSA] \StateNRSA \\[0cm] + [name=StateNRI] \StateNRI \\[1cm] + [name=StateNRC] \StateNRC \\[0.5cm] + [name=StateROU] \StateROU + & \umlPutStateOut{0,0}{StateOutAnu} \\[-1.5cm] + {} % boite vide NECESSAIRE sur la dernire ligne si vide ! + \end{psmatrix}% + \hspace*{1.5cm} + % + % Connection propre chaque node + % + {\ttfamily\small + % + % \nput{75}{StateInAnu}{EntreAnnulable} + % \nput{-75}{StateOutAnu}{SortieAnnulable} + % + \ncEXS[offsetA=0.25,offsetB=0.5]{StateNRSA}{StateNRSA}% + \ncput*[npos=1.7]{ajouterSommet} + \ncWXS[offsetA=-0.25,offsetB=-0.5]{StateNRSA}{StateNRSA}% + \ncput*[npos=1.7]{retirerSommet} + % + \ncEXS[offsetA=0.25,offsetB=0.5]{StateNRI}{StateNRI}% + \ncput*[npos=1.7]{ajouterArte} + \ncWXS[offsetA=-0.25,offsetB=-0.5]{StateNRI}{StateNRI}% + \ncput*[npos=1.7]{retirerArte} + \ncEXN[offsetA=-0.0,offsetB=-0.5]{StateNRI}{StateNRI}% + \ncput*[npos=1.7]{ajouterSommet} + \ncWXN[offsetA=0.0,offsetB=0.5]{StateNRI}{StateNRI}% + \ncput*[npos=1.7]{retirerSommet} + % + \ncEXS[offsetA=0.25,offsetB=0.5]{StateNRC}{StateNRC}% + \ncput*[npos=1.7]{ajouterRoute} + \ncWXS[offsetA=-0.25,offsetB=-0.5]{StateNRC}{StateNRC}% + \ncput*[npos=1.7]{retirerRoute} + % + \ncWXS[offsetA=-0.25,offsetB=-0.5]{StateROU}{StateROU}% + \ncput*[npos=1.7]{roptimiser} + % + % Connections INTERNODE interne au macro-tat + % + \ncline{->}{StateInAnu}{StateNRSA}% + \naput[npos=0.3]{}% + % + \ncline{->}{StateNRSA}{StateNRI}% + \naput[npos=0.3]{ajouterArte}% + % + \ncline{->}{StateNRI}{StateNRC}% + % \naput[npos=0.3]{graphComplet}% + \naput{graphComplet}% + % + \ncline{->}{StateNRC}{StateROU}% + \ncput*[npos=0.3]{\umlStack{[ClientPrioritaireSatisfait] DemandeFin}} + % + \ncline{->}{StateROU}{StateOutAnu}% + % + }% + }% +} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Placement des objets +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\begin{center} + % \scalebox{0.5}{%} Fonctionne egalement + % \resizebox{0.9\linewidth}{!}{%} + \resizebox{!}{13cm}{% + \begin{pspicture}(-5,-9.5)(9.5,8)%\psgrid + % + \psset{% + linearc=0.3,% + % arm=1.2,% + armA=1.2,% + armB=0.8,% + arrows=->,% + arrowscale=2,% + ncurv=2,% instead of 0.67 + }% + \rput(2.4,-0.75){\rnode{StateGlobal}{\StateGlobal}}% + % + \umlPutStateIn{6,5}{StateIn}% + % + \rput(0,-1){\rnode{StateAnu}{\StateAnu}}% + % + \rput(6,-3){\rnode{StateVisu}{\StateVisu}}% + % + \rput(6,0){\rnode{StateOut}{\umlStateOut}}% + % + % LES CONNECTIONS INTERNODE + % + {\ttfamily\small + % + \ncEXN[offsetA=-0.25,offsetB=-0.5,armA=0.5]{StateVisu}{StateVisu}% + \ncput*[npos=1.7]{zoomer} + % + \ncSW[offsetB=-5]{->}{StateIn}{StateAnu}% + \naput[npos=1.3]{NewGraphAsked} + % + \ncEN{->}{StateOutAnu}{StateVisu}% + \nbput[npos=0.9]{/Sauvegarder} + \ncline{->}{StateVisu}{StateOut}% + % + \ncES[offsetA=3]{->}{StateAnu}{StateOut}% + % \naput[npos=0.6]{Annuler} + % on ajoute un espace en dbut de chaque ligne " Annuler".. + \naput[npos=0.99]{\umlStack[umlAlign=l]% + {\ Annuler\\\ /DemanderConfirmation}} + } + \end{pspicture}% + }%end resizeORscalebox +\end{center} + + +% \end{document} diff --git a/Master/texmf-dist/doc/generic/pst-uml/doc_pst-uml.pdf b/Master/texmf-dist/doc/generic/pst-uml/doc_pst-uml.pdf new file mode 100644 index 00000000000..ae5a608179f Binary files /dev/null and b/Master/texmf-dist/doc/generic/pst-uml/doc_pst-uml.pdf differ diff --git a/Master/texmf-dist/doc/generic/pst-uml/doc_pst-uml.tex b/Master/texmf-dist/doc/generic/pst-uml/doc_pst-uml.tex new file mode 100644 index 00000000000..8a6ad37c3f0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-uml/doc_pst-uml.tex @@ -0,0 +1,1558 @@ +\documentclass[11pt,a4paper,twoside]{article} +\usepackage[T1]{fontenc} + % \usepackage[applemac]{inputenc} +\usepackage[latin1]{inputenc} + + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + % Format de la mise en page + \setlength{\hoffset}{-1in} + \setlength{\voffset}{-1in} + \setlength{\oddsidemargin}{2cm} + \setlength{\evensidemargin}{2cm} + \setlength{\topmargin}{1.8cm} + % \setlength{\headheight}{0cm} + % \setlength{\headsep}{0cm} + \setlength{\textwidth}{16.5cm} + \setlength{\textheight}{24.0cm} + + % Pour que LaTeX n'essaie pas de justifier les pages verticalement + \raggedbottom + \usepackage{pst-uml} + + +% LA SUITE NE MARCHE PAS CAR "fvrb-ex" cherche "fancyvrb", meme +% si celui-ci est deja charg ! +% +% % on utilise le nouveau package "fancyvrb.sty" de TVZ et son extension +% % fvrb-ex.sty de Denis GIROU pour les exemples LATEX : +% +% \IfFileExists{fvrb-ex.sty}{% +% \RequirePackage{fvrb-ex}% +% }{% +% \PackageWarning{doc_pst-uml}{% +% *** You should install packages "fancyvrb" and "fvrb-ex" ***}% +% \RequirePackage{needed/fancyvrb}% +% \RequirePackage{needed/fvrb-ex}% +% } + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + % Utilisation de "fancyvrb.sty" : + % + % fournit l'environnement "Verbatim" (idem envir verbatim avec + % nombreuses options et la commande "\VerbatimInput" + % + % Exemple : + % + % \VerbatimInput{../SOURCES/iloveleda.cc} + % + % On peut aussi passer des options la pstricks (au hasard :-) + % ou par la commande "\fvset{key1,value1,key2,value2,...}" + % + % \VerbatimInput[% + % baselinestretch=0.9,% pour tasser les lignes (si long listing) + % fontsize=\small,% pour un fonte plus petite + % numbers=left,% pour numeroter les lignes a gauche + % frame=single,% pour encadrer + % gobble=0% nbr de caratere de debut a ignorer + % ]{../SOURCES/iloveleda.cc} + % + \usepackage{fancyvrb} + + % pour les environnement CenterExample... + \usepackage[pstricks]{fvrb-ex} + \fvset{frame=single,numbers=left} + % + \providecommand{\showgrid}{\psgrid[subgriddiv=0, griddots=10]} + \psset{subgriddiv=0, griddots=10} + + \DefineShortVerb{\|} + % \UndefineShortVerb{\|} % pour annuler + + \pagestyle{headings} + + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + % Quelques commandes locales + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + % \printtime + % + % commande d'impression de l'heure courante + % + % Exemple : "Fichier compil\'{e} le \today{} \`{a} \printtime." + \usepackage{calc} + \usepackage{ifthen} + \newcounter{hours}\newcounter{minutes} + \newcommand{\printtime}{% + \setcounter{hours}{\time/60}% + \setcounter{minutes}{\time-\value{hours}*60}% + \thehours h% + % on veut obtenir 15h03mn et non 15h3mn... + \ifthenelse{\theminutes<10}{0}{}\theminutes mn% + } + +% \Stabilo +% +% Permet de surligner en jaune (gris clair en NB) le parametre +% La version \fStabilo rajoute une frame rouge autour. +% +% Syntaxe : \Stabilo{textInportant} + +\newcommand{\Stabilo}[1]{\colorbox[rgb]{1,1,0.2}{#1}} +\newcommand{\fStabilo}[1]{\fcolorbox[rgb]{1,0,0}{1,1,0.2}{#1}} + + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + % Quelques abbreviations + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + % Conventions g\'{e}n\'{e}rales pour les formats de pr\'{e}sentation + \newcommand{\strong}[1]{\textbf{\emph{#1}}} % plus fort que \emph + \newcommand{\tech}[1]{\textsf{#1}} % terme technique + \newcommand{\file}[1]{\texttt{#1}} % noms de fichiers et de r\'{e}pertoires + \newcommand{\menu}[1]{\fbox{#1}} % nom d'un menu/sous-menu + \newcommand{\key}[1]{\fbox{\textbf{#1}}} % touche du clavier + + % abreviations locales a ce document : + \newcommand{\uml}{\textsc{uml}} + \newcommand{\pstricks}{\texttt{PSTricks}} + \newcommand{\postscript}{\texttt{PostScript}} + \newcommand{\pstuml}{\texttt{pst-uml}} + % \newcommand{\bs}{\backslash} + + % Pour les noms de commande TeX + % Exemple : \cs{fbox} => \fbox + \DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} + +\usepackage[colorlinks,linktocpage]{hyperref} +% \usepackage{french} +\usepackage[francais]{babel} % idem frenchb mais PAS french ! +% La suite evite que Babel impose un espace devant ":" mais n'est +% pas disponible sur les vielles versions de Babel (comme l'ENSTA). +\NoAutoSpaceBeforeFDP + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\begin{document} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\title{Interface utilisateur du package \pstuml} +\author{% + Maurice \textsc{Diamantini}% + \thanks{avec l'aide prcieuse de Denis \textsc{Girou}} % + (email : \texttt{diam@ensta.fr}) +} +\date{% + modif package : 27/04/98 \\ + modif doc\ \ \ : 27/04/98\\ + \pageref{verylast}~pages compiles le \today{} \printtime{}. +} + +\maketitle + +\tableofcontents + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Introduction} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{Prsentation} + +Ce document prsente l'utilisation d'un certain nombre de macro +destines faciliter le dessin de diagramme de type \uml{} (Unified +Modeling Langage) en utilisant le package \pstricks{} de +Van Zandt \textsc{Timothy}, dont l'usage est suppos connu. + +Ce package est en cours de dveloppement et n'est diffus pour +l'instant que titre d'information. En particulier, la +\strong{stabilit} des noms de commandes proposes, leurs paramtres +ainsi que leur comportement mme \strong{ne sont pas garantis}. Il en +est de mme que le nom et la fonction des options. + + +Dans le cas de diagrammes \uml{} complexes, on peut augmenter la +lisibilit du source, et donc faciliter les modifications du diagrammes +en cours d'laboration en divisant le travail en trois phases +spares~: + +\begin{enumerate} + \item dfinir graphiquement le dessin des diffrents lments du + schmas, en particulier pour les objets complexes (nombreux + paramtres ou text important, ...) ; + + \item placer% + \footnotemark{} % + ces boites grce \texttt{psmatrix} ou des + \cs{rput} dans un environnement \texttt{pspicture} + Les objets positionns sont alors associ un nom de node (au + sens \pstricks). On peut galement dans cette phase placer les labels + ou autres dessins complmentaires lis aux graphismes des objets + eux-mmes (et non des connecteurs entre objets) ; + + \item router% + \addtocounter{footnote}{-1}\footnotemark{} % + ces boites l'aide des diffrentes commandes de connexion et + coller les labels ou autres fleches \uml{}. +\end{enumerate} +% \footnotetext[1]{dsol : dformation professionnelle !} +\footnotetext{dsol : dformation professionnelle !} +% \stepcounter{footnote} + + +Les macro proposes tendent suivre les conventions \pstricks{} et +\texttt{graphicx} pour le passage des options : savoir l'utilisation +de couple de la forme \texttt{Key=value}. Cette fonctionnalit +ncessite l'utilisation du package \texttt{pst-key} qui est propose +dans la distribution de \pstuml{} (en attendant une diffusion plus +gnrale). Un des intrts du package \texttt{pst-key} est de pouvoir +rajouter des options sans changer la syntaxe de la commande de base. +D'une manire gnrales, le nombre d'options de toutes les commandes +complexes est appel croitre. + + +\noindent Voici la syntaxe gnrale des commandes proposes : + +\begin{verbatim} + \umlCommand[option1=value1,option2=value2,...]{param1}{param2}... +\end{verbatim} + +La valeur par dfaut de chacune de ces options peut tre redfinie par +la commande |\psset{...}| (comme toutes toutes les options de \pstricks). + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{Dpendances } + +Les packages suivants sont appels par \pstuml{} (par la +commande \cs{RequirePackage}): +\begin{itemize} + \item \texttt{pstcol} + + \item \texttt{pst-node} + + \item \texttt{pst-tree} + + \item \texttt{multido} + + \item \texttt{calc} + + \item \texttt{ifthenelse} + + \item \texttt{pst-key.tex} (par \cs{input} car en \TeX{}) +\end{itemize} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Les macros de cration d'objet} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{\cs{umlClass}} + + + +\begin{description} + +\item[Syntaxe] \mbox{} + + \begin{verbatim} + \umlClass[keyOptions]{title}{body} + \end{verbatim} + + Permet de dessiner une classe. + +\item[Paramtres] \mbox{} + +% % \subsubsection*{Paramtres} + + \begin{description} + + \item[\texttt{title} :] nom de la classe, celui-ci sera centr + et crit en gras. Il peut tenir sur plusieurs lignes. + + \item[\texttt{body} :] corps de la classe propremment dit. En + particulier contient les attributs et mthodes justifies gauche. + Les diffrentes lignes sont spares par |\\| et ventuellement + des |\hline|. + \end{description} + +\item[Options] \mbox{} + + + \begin{description} + + \item[\texttt{umlDoubleRuleSep} (dim : 2mm)] : distance% + \footnote{% protect car dans \item[xxx] + Comme pour toutes les dimensions passes \pstricks{}, la + spcification de l'unit utilise est facultative et vaut + \texttt{cm} par dfaut, contrairement \LaTeX{} ou il est + ncessaire de prciser une unit (mme pour 0pt !). + } % + entre deux |\hline| (dans la zone |title| ou |body|). + + \item[\texttt{umlShadow} (boolean : true)] : + si vrai, un cadre ombr de fond gris entoure la classe \\ + sinon, un cadre simple sur fond blanc est utilis. + + \item[\texttt{umlParameter} (string : "")] : + si non vide, dessine un rectangle en pointill + contenant la valeur sur le coin suprieur droit de la classe + (utilis pour les classes paramtriques ou "Templates" en C++). + + \end{description} + +\item[Exemples 1] \mbox{} + + Les illustations suivantes prsente une utilisation directe (i.e. + sans utilisation dans une boite ou par une commande) de la + commande de cration d'une classe. Ces classes sont entoures par + un tiret pour montrer le positionnement vertical par rapport la + ligne de base. + + \bigskip\noindent + Exemples de classes standards + \begin{SideBySideExample}[xrightmargin=6cm] + --\umlClass{standard 1}{% + attrib 1 \\ + attrib 2 \\ + attrib 3 \\ + \hline + meth 1 \\ + meth 2 + }-- + \end{SideBySideExample} + + \bigskip\noindent + \begin{SideBySideExample}[xrightmargin=6cm] + --\umlClass{standard 2}{% + attrib 1 \\ + attrib 2 \\ + attrib 3 \\ + \hline + \hline + }-- + \end{SideBySideExample} + + \bigskip\noindent + \begin{SideBySideExample}[xrightmargin=6cm] + --% + \umlClass[umlShadow=false,umlParameter=\ T\ ]{% + standard 3% + }{% + \hline + meth 1 \\ + meth 2 + }-- + \end{SideBySideExample} + + \bigskip\noindent + \begin{SideBySideExample}[xrightmargin=6cm] + --\umlClass{standard 4}{}-- + \end{SideBySideExample} + + \bigskip\noindent + \begin{SideBySideExample}[xrightmargin=6cm] + --\umlClass{standard 5}{% + \hline + \hline + }-- + \end{SideBySideExample} + + +\item[Exemples 2] \mbox{} + + \bigskip\noindent On peut mettre plusieurs sauts de ligne dans + chaque paramtre de la commande. Pour le premier paramtre : + toutes les lignes sont centres et en gras~: + \begin{SideBySideExample}[xrightmargin=7.5cm] + --% + \umlClass{Exemple 1 \\ avec \\ + plusieurs lignes}{% + Champs r\'eserv\'e aux attributs\\ + \hline + Champs r\'eserv\'e\\ aux m\'ethodes\\ + \hline\hline + Champs bidon% + }-- + \end{SideBySideExample} + +\item[Exemples 3] \mbox{} + + \bigskip\noindent On peut souhaiter imposer une largeur minimale + une classe, par exemple pour donner plusieurs classes une + apparance identique. On met alors le titre dans une \cs{makebox} + (s'il n'y a qu'une seule ligne). + + \begin{SideBySideExample}[xrightmargin=6cm] + --% + \umlClass{\makebox[3.5cm]{Voici la classe 1}}{% + Largeur mini 3.5cm \\ \hline + M\'ethode1\\ + M\'ethode2% + }-- + + \vspace{10mm} + --% + \umlClass{\makebox[3.5cm]{Classe 2}}{% + Les attributs \\ \hline + M\'ethode1\\ + M\'ethode2% + }-- + + \vspace{10mm} + --% + \umlClass{\makebox[3.5cm]{Classe 3}}{% + \hline \hline + }-- + + \vspace{10mm} + --% + \umlClass{\makebox[3.5cm]{Classe 4}}{% + Cela peut m\^eme d\'epasser ! \\ \hline + M\'ethode1\\ + M\'ethode2% + }-- + + \end{SideBySideExample} + + + \item[Bug] \mbox{} -- + + \item[\`A faire] \mbox{} -- +\end{description} + +% %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% \subsection{\cs{umlSaveClass} et \cs{umlUseBox}} +% +% \begin{description} +% +% \item[\`A faire] \mbox{} +% +% Utilisation des commandes de classes complmentaires : +% \cs{umlSaveClass} s'utilise comme \cs{umlClass}, mais au lieu de +% dessiner une classe, celle-ci est sauve dans une boite (au sens +% \LaTeX{}) et doit tre utilis ultrieurement. Le titre de la +% classe sert pour nommer la boite. Ce titre pouvant contenir des +% espaces, il n'est pas possible d'utiliser simplement un \cs{usebox} +% pour utiliser cette boite : d'o l'existance de la commande +% \cs{umlUseBox}. Les caractristiques de l'objet cr sont fixes +% lors de la \emph{cration} de la bote par \cs{umlSaveClass}. Ceci +% est trs important pour savoir quels sont les paramtres par dfaut +% qui seront pris en compte. +% +% \strong{Attention :} Ce nom contenant des espaces, il ne peut pas tre +% utilis comme nom de node (sous peine d'erreurs \postscript). +% +% \item[Exemples 1] \mbox{} +% +% +% \bigskip\noindent A vrifier : Les blocs ainsi dfinis en \LaTeX{} +% sont globales mme si elle sont dfinie l'intrieur d'un +% environnement ou d'un bloc |{}|. +% +% \begin{SideBySideExample}[xrightmargin=7cm] +% % On cree et m\'emorise la classe +% \umlSaveClass{Classe 1 bis}{% +% mes attributs \\\hline +% M\'ethode 2 \\ +% M\'ethode 2% +% } +% % On utilise la classe (en instanciant la boite +% \rnode{Classe1bis}{\umlUseBox{Classe 1 bis}} +% \end{SideBySideExample} +% +% +% \item[Bug] \mbox{} +% +% +% La bote porte toujours le nom |#| et non pas le contenu de |#2| ou +% |#1| suivant le cas. D'o l'criture des caractres |2| et |21| +% entourant les boites places. +% +% Pour les volontaires, voici le code de la commande +% \cs{umlSaveClass}: +% +% \begin{Verbatim} +% % CECI FONCTIONNE MAL (la boite cree s'appelle "#" ) +% % Je n'ai pas reussi en jonglant aves les \csname et autre \@nameuse +% \newcommand{\umlSaveClass}[3][]{% +% \newsavebox{\#2}% +% \savebox{\#2}{% +% \umlClass[#1]{#2}{#3}% +% }% +% } +% % Pas de \umlUseClass car sera aussi utilise pour les acteurs, ... +% \newcommand{\umlUseBox}[1]{\usebox{\#1}} +% \end{Verbatim} +% +% \end{description} +% +% +% +% %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% \subsection{\cs{umlDefClass} et \cs{umlRunCmd}} +% +% \begin{description} +% +% \item[\`A faire] \mbox{} +% +% Une autre faon de prdfinir les classes est de crer des +% commandes dont le nom correspond au titre de la classe (malgr les +% espaces et sauts de ligne). Contrairement l'utilisation de la +% commande \cs{umlSaveClass}, Les caractristiques de l'objet cr +% sont fixes au moment de l'utilisation de la commande par +% \cs{umlRunCmd}. +% +% \bigskip\noindent A vrifier : de plus, la commande dfinie est +% local son environnement ou son bloc |{}|. +% +% \item[Bug] \mbox{} +% +% A FAIRE (j'apprhende les mmes problmes que prcdement) +% +% \end{description} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{\cs{umlActor}} + +\begin{description} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Syntaxe] \mbox{} + + \begin{verbatim} + \umlClass[keyOptions]{title} + \end{verbatim} + Permet de dessiner un acteur reprsent par un bonhomme avec un + nom. Le titre du bonhomme est vu comme une bote vide par + \LaTeX{}, cela rend les liens dans les diagrammes des cas + d'utilisation (qui sont la principale utilisation des Acteurs) plus + agrable (les flches sont positionnes par rapport au bonhomme et + non pas au texte qui peut occuper plusieurs lignes. + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Paramtres (un seul)] \mbox{} + + \begin{description} + + \item[\texttt{title} :] nom de l'acteur. Il peut contenir + plusieurs lignes spares par |\\| et ventuellement des + \cs{hline} + + \end{description} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Options] \mbox{} + + \begin{description} + + \item[\texttt{umlActorLineWidth} (dimension : 0.6mm )] : + Epaisseur de ligne pour le dessin de l'acteur. + + \item[\texttt{unit} (dimension : 1 ou 1cm )] : option standard + de \pstricks{} permet de modifier la taille de l'Acteur. Les + options \texttt{xunit}, \texttt{yunit} sont galement + utilisable mais dconseills. + + \end{description} + + D'autres option standard \pstricks{} telle que \texttt{unit} + (ainsi que xunit et yunit) peuvent tre utilises. + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Bug] \mbox{} + + + Un agrandissement par un \texttt{yunit} $> 1$, a pour effet de + dcaler la tte vers le haut : il faut donc utiliser la commande + \cs{resizebox} pour assurer un agrandissement correct. + + L'utilisation de \texttt{unit} pour le changement de taille semble + ne pas modifier pas la taille de la boite cre : d'ou l'encombre + pour les petites taille (on compense par un |\resizebox{}[][]{}| + appropri). + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[\`A faire] \mbox{} + + Option : pour concerver la taille de la bote correspondant au + Titre de l'acteur. + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 1] \mbox{} + + Ces commandes tant courtes, on peut les crer au moment mme de + placement qui se fait ici dans le corps du texte dans cet exemple + (en mode LR au sens \LaTeX{}). + + \begin{CenterExample} + \umlActor{Client}--% + \umlActor[unit=0.5,umlActorLineWidth=1mm]{Minus 1}--% + \umlActor[unit=0.5,umlActorLineWidth=1mm]{Minus 2}--% + \umlActor[xunit=0.6,yunit=1.5, umlActorLineWidth=1pt]{Le Chef}--% + \umlActor{}--% + \psframebox{\umlActor{sur\\trois\\ligne}}--% + \end{CenterExample} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 2] \mbox{} + + On peut sparer la cration et le dessin du placement. Le + placement se fait galement dans le texte mme. + + \begin{CenterExample} + % Actor2 : + \newcommand{\drawActorii}{% + \umlActor[umlActorLineWidth=1pt]{Act2 (1pt)}} + % Actor3 : + \newcommand{\drawActoriii}{% + \umlActor{Act3 \\ (par defaut)}} + % Actor4 : + \newcommand{\drawActoriv}{% + \umlActor[umlActorLineWidth=1mm,unit=0.5]{Act4 (1mm)\\unit=0.5}} + % Actor5 : (changement local d'une valeur par defaut) + \newcommand{\drawActorv}{% + \umlActor[umlActorLineWidth=2mm]{% + N'importe quoi\\sur trois lignes\\Act5 (2mm)}} + % + % utilisation des acteurs precedements definis : + --\drawActorii% + --\drawActoriii% + --\drawActoriv% + --\drawActorv% + \end{CenterExample} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 3] \mbox{} + + + On peut composer les objets Class et Actor (illustation du + strotype de l'acteur). + + \begin{SideBySideExample}[xrightmargin=5cm] + +% + \umlClass{\umlStereoType{Actor} % + \umlActor[unit=0.5]{}}{% + }+% + \end{SideBySideExample} + + \begin{SideBySideExample}[xrightmargin=5cm] + +% + \umlClass{<> % + %\raisebox{}[][]{} + \raisebox{-0.3\height}[3ex][2ex]{% + \umlActor[unit=0.5]{}% + }% + }{% + }+% + \end{SideBySideExample} + + +\end{description} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{\cs{umlState}, \cs{umlPutStateIn} et \cs{umlPutStateOut} } + +\begin{description} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Syntaxe] \mbox{} + + Les commandes suivantes permettent de dessiner l'emplacement + courant respectivement un tat, ou les pseudo-tats d'entre et de + sortie : + + \begin{verbatim} + \umlState[keyOptions]{title}{body} + \umlStateIn + \umlStateOut + \end{verbatim} + + \`A l'usage, les commandes de dessin de pseudo-tat dcrites + ci-dessus sont avantageusement remplace par les deux commandes + suivantes : + + \begin{verbatim} + \umlPutStateIn{coord}{nodeName} + \umlPutStateOut{coord}{nodeName} + \end{verbatim} + + Elles permettent de dessiner et surtout de placer et connecter les + pseudo-tats d'entre et de sortie. Ces pseudo-tat sont mis dans + un \cs{cnode} au moment de leur cration, ce qui permet aux + connexions de toucher ces tats mme si le connecteur arrive 45 + degrs ; ce qui n'est pas le cas si on met la boite (donc de forme + carre) cre par \cs{umlStateIn} \emph{posteriori} dans un + \cs{cnode} ! + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Paramtres] \mbox{} + + \begin{description} + + \item[\texttt{title} :] nom de l'tat, peut-tre vide. + Celui-ci sera centr et crit en gras. Il peut tenir sur + plusieurs lignes (toutes seront en gras. + + \item[\texttt{body} :] corps de l'tat, peut-tre vide. + Il peut contenir plusieurs lignes spares par |\\| et + ventuellement des \cs{hline}. Il peut galement contenir des + environnements |pspicture| ou d'autres \cs{umlState}. + + \end{description} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[options] \mbox{} + + \begin{description} + + \item[\texttt{umlStateWidth} (dimension: 0 )]~: (NON + IMPL\'EMENT\'E) largeur de l'tat. La valeur 0 reprsente la + dimension naturelle de cette boite. + + \item[\texttt{umlStateHeight} (dimension: 0 )]~: (NON + IMPL\'EMENT\'E) hauteur du corps de l'tat l'tat. La valeur 0 + reprsente la dimension naturelle de cette boite. + + \end{description} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Bug] \mbox{} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[\`A faire] \mbox{} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 1] \mbox{} + + + + Les tats d'entre et de sortie + + \bigskip + \begin{SideBySideExample}[xrightmargin=6cm] + +\umlStateIn+ : Input State + + +\umlStateOut+ : Output State + \end{SideBySideExample} + + \bigskip + Exemples simples avec champs vides ou non + + \bigskip + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \umlState{}{Body only}+% + \umlState{}{}+% Vide + \umlState{Title only}{}+ + \end{SideBySideExample} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 2] \mbox{} + + On peut mettre titre ou corps sur plusieurs lignes. Toutes les + lignes du titre sont en gras : + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \umlState{Title A\\Title B}{}+% + \umlState{}{Body A \\ Body B}+% + \end{SideBySideExample} + + \begin{SideBySideExample}[xrightmargin=6cm] + +\umlState{Title A\\ Title B}{% + Voici le corps de l'tat \\ + avec les diff\'erentes\\ + lignes\\ + et d'autres...% + }+% + \end{SideBySideExample} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 3] \mbox{} + + Il y a diffrents moyens pour rserver une place blanche de taille + arbitraire (en attendant l'implantation d'options spcialises pour + ce besoin). + + \bigskip\noindent On peut rajouter un \texttt{strut} (rgle + invisible) pour agrandir un des champs, ainsi que pour crer un + champ vide. La \cs{fbox} n'est l que pour indiquer la place + qu'occupe les \texttt{struts}, de mme l'paisseur du \cs{strut} de + 1 cm (au lieu de 0 cm normalement) permet de le visualiser : + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \umlState{% + Utilis. de \cs{strut}\rule[-2ex]{1mm}{6ex}% + }{% + \fbox{\rule{0cm}{2cm}\rule{4cm}{0cm}}% + }+ + \end{SideBySideExample} + + \noindent Une commande \cs{umlEmptyBox} est propose pour crer + une boite vide (mais est-elle bien utiles ??) + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \umlState{Utilis. de \cs{umlEmptyBox}}{% + \fbox{\umlEmptyBox{4cm}{2cm}}% + }+ + \end{SideBySideExample} + + + \bigskip\noindent + On peut spcifier une boite "paragraphe" de largeur 4 cm et + optionnellement de hauteur 2 cm dans le corps. Il faut mettre + un espace forc pour que le paragraphe ne soit pas vide. + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \umlState{% + etat vide par \cs{parbox}% + }{% + \parbox[c][2cm]{4cm}{\ }% + }+ + \end{SideBySideExample} + + \bigskip\noindent + On peut utiliser \cs{hspace*} et \cs{vspace*}, c'est la solution la + plus prcise. + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \umlState{\cs{hspace*} et \cs{vspace*}}{% + \hspace*{4cm}\vspace*{2cm}% + }% + + + \end{SideBySideExample} + + On pourrait encore utiliser le saut de ligne paramtr |\\[2cm]| + (moins prcis, mais pratique dans les tableaux. + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 4] \mbox{} + + Un tat dans une pspicture. L'option |[0.5]| de pspicture permet de + positionner la ligne de base de la bote \texttt{pspicture} 50\% + de la hauteur total (si on met |[]|, la ligne de base passera par + l'origine (0,0)). + + \bigskip\noindent + \begin{CenterExample} + +\begin{pspicture}[0.5](-7,-5)(6,5)\psgrid + \rput(0,3.5){\textbf{pspicture 1}} + \rput(0,-0.5){\umlState{Etat interne vide}{% + \rule{0cm}{5cm}\rule{6cm}{0cm}% + }}% + \rput(-1,-1){\umlState{Etat 1}{% + Contenu 1\\contenu 2% + }}% + \rput(-1,1){\umlStateIn}% + \rput(1,1){\umlStateOut}% + \end{pspicture}+% + \end{CenterExample} + + +\end{description} + + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{\cs{umlCase} et \cs{umlCasePut}} + +\begin{description} + \item[Syntaxe] \mbox{} + + \begin{verbatim} + \umlCase[keyOptions]{body} + \end{verbatim} + + Permet un bloc de texte dans un oval. Cependant la boite \LaTeX{} + rsultante est forcment rectangulaire (comme toute boite \LaTeX{} + : il n'est plus possible alors de crer simplement un ovalnode par + la suite, d'o la quasi-inutilit de cette commande. + + \begin{verbatim} + \umlCasePut[keyOptions]{coord}{nodeName}{body} + \end{verbatim} + + Permet un bloc de texte dans un ovalnode. Personnellement je n'ai + utilis que cette commande pour crer (et surtout connect) des + \textsf{use-case)}. + + \item[Paramtres] \mbox{} + + \begin{description} + + \item[\texttt{coord} :] coordonnes du centre de la boite + positionner. + + \item[\texttt{nodeName} :] nom du node (au sens \pstricks{}). + Celui-ci sera utilsa pour les connexions ultrieures. + + \item[\texttt{body} :] texte ventuellement sur plusieurs + lignes spares par des |\\| (utilisation en interne de la + commande \cs{umlStack}). + + \end{description} + + \item[Options] \mbox{} : pas d'option spcifique pour l'instant + + + \item[Bug] \mbox{} + + \item[\`A faire] \mbox{} + + \item[Exemples 1] \mbox{} + + Voir fichier spar + +\end{description} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{\cs{umlNote}} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\begin{description} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Syntaxe] \mbox{} + + \begin{verbatim} + \umlNote[keyOptions]{noteBody} + \end{verbatim} + Permet de dessiner une note dans un ardre au coin corn. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Paramtres] \mbox{} + + \begin{description} + + \item[\texttt{noteBody} :] corps de la note. Il + peut contenir plusieurs lignes spares par |\\|. + + \end{description} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Options] \mbox{} + + \begin{description} + + \item[\texttt{umlNoteCoin} (dimension: 1.5ex )]~: (NON + IMPL\'EMENT\'E) coin du petit carr repli. + + \end{description} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Bug] \mbox{} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[\`A faire] \mbox{} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 1] \mbox{} + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \umlNote{Ceci est \\ un \\ exemple de note}% + + + \end{SideBySideExample} + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \umlNote[linewidth=2pt,umlAlign=c]{% + Ceci est \\ autre exemple \\ de note% + }% + + + \end{SideBySideExample} + + +\end{description} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Les commandes auxiliaires de \pstuml{}} + +Ces commandes ne permettent pas de crer des boites +au sens \uml{}, mais simplifient la vie lors du dessin des diffrents +type de diagrammes. + +\subsection{\cs{umlStack}} + +\begin{description} +\item[Syntaxe] \mbox{} + + \begin{verbatim} + \umlStack[keyOptions]{stackBody} + \end{verbatim} + + permet de mettre du texte sur plusieurs lignes dans un boite sans + avoir d'espace supplmentaire en utilisant un environnememt + \texttt{tabular}. Par rapport la commande \LaTeX{} \cs{shortstack}, + l'espacement entre ligne n'est pas nul et est rgulier. + +\item[Paramtres (un seul)] \mbox{} + + \begin{description} + + \item[\texttt{stackBody} :] corps de la boite. Il + peut contenir plusieurs lignes spares par |\\|. + + \end{description} + +\item[Options] \mbox{} + + \begin{description} + + \item[\texttt{umlStackSep} (dim : 0)] : distance de sparation + entre le contenu de la boite et le bord (pour une frame + ventuelle). + + Cette option utilise d'une part l'option \texttt{tabcolsep} de + \texttt{tabular} pour rgler l'espacement sur les bords + verticaux, et d'autre part des \texttt{strut} pour rajouter + des espacements horizontaux avant la premire ligne et aprs la + dernire ligne. + + \item[\texttt{umlStackWidth} (dim : 0)] : largeur de la boite. + La valeur 0 indique une largeur automatique en fonction du contenu. + + \item[\texttt{umlStackLinesStretch} (rel : 0.85)] : cart + relatif de l'espace interligne par rapport un tableau normal. + La valeur par dfaut de 0.85 permet de tasser suffisamment tout en + permettant une marge pour absorber les diffrences de profondeur ou + de hauteur des diffrentes + lettres (x, g, j, h, t, ...) + + \item[\texttt{umlAlign} (l, c, r : c)] : alignement horizontal + du texte l'intrieur de la boite. + + \item[\texttt{umlPos} (t, c, b : c)] : alignement vertical + de la boite par rapport la ligne de base. + + \end{description} + +\item[Bug] \mbox{} + +\item[\`A faire] \mbox{} + + +\item[Exemples 1 : comparaison de \cs{umlStack}, \cs{shortstack} + et \texttt{tabular}] \mbox{} + + Dans les exemples suivants, les \cs{umlStack} utilse sont + entoure d'une \cs{fbox} ayant une \cs{fboxsep} nulle de faon + bien visualiser les limites relles de la boite produite. + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \setlength{\fboxsep}{0pt}\fbox{% + \umlStack{Ceci est \\ un \\ exemple \\ + de stack}% + }+% + \end{SideBySideExample} + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \setlength{\fboxsep}{0pt}\fbox{% + \shortstack{Ceci est \\ un \\ exemple \\ + de stack}% + }+% + \end{SideBySideExample} + + \begin{SideBySideExample}[xrightmargin=6cm] + +% + \setlength{\fboxsep}{0pt}\fbox{% + \begin{tabular}{c} + Ceci est \\ un \\ exemple \\ + de stack + \end{tabular}% + }+% + + \end{SideBySideExample} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 2 : utilisation des options] \mbox{} + + \begin{SideBySideExample}[xrightmargin=6cm] + +\setlength{\fboxsep}{0pt}\fbox{% + \umlStack[ + umlStackSep=1.5ex, + umlAlign=r, + umlPos=t, + umlStackLinesStretch=.9, + ]% + {Ceci est \\ un \\ autre \\ + exemple \\ de stack}% + }+ + \end{SideBySideExample} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\item[Exemples 3 : bug avec alignement droite et + largeur impose] \mbox{} + + \begin{SideBySideExample}[xrightmargin=6cm] + +\setlength{\fboxsep}{0pt}\fbox{% + \umlStack[ + umlStackWidth=4, + umlStackSep=1.5ex, + umlAlign=r, + ]% + {Ceci est \\ un \\ autre \\ + exemple \\ de stack}% + }+ + \end{SideBySideExample} + +\end{description} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Positionnement des objets} + + +Le placement des diffrents objets peut se faire selon quatre mthodes : +\begin{itemize} + +\item soit en utilisant les positions absolues dans un environnememnt +|psgraphics| l'aide de la commande \cs{rput} pour placer les objets et +\cs{rnode} pour leur affecter un nom de noeud (en vue d'une future +rfrence pour les connexions) ; + +\item soit l'aide des commandes de haut niveau fournie par \pstricks{} + savoir l'environnement |psmatrix| et la commande \cs{pstree} ; + +\item soit l'aide de commandes de placement relatif fournies par +\pstuml{} (Merci Denis \textsc{Girou}) ; + + +\item soit tout simplement dans le texte comme dans certains exemples +montrs prcdement (en mode LR au sens \LaTeX{}). + +\end{itemize} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{Utilisation de \texttt{psgraphics} et \cs{rput}} + + +Il consiste plasser les botes (prcdemment crs ou non) dans un +environnement \texttt{pspicture} l'aide des commandes \cs{rput}. La +macro \cs{psgrid} (compte tenu des options prdfinies par le package +\pstuml{}) permet de visualiser une grille de 1cm de cot. Cette grille +pourra tre commente une fois la mise au point de la figure termine. +Dans cet exemple, les objets sont crs au moment du placement car il +sont simples. On remarque la cration (par \cs{psdot})d'un noeud +ponctuel "pnode1" invisible sur le graphique, mais qui pourra tre +utilis comme point de connexion intermdiaire (le petit cercle n'est +l que pour sa visualisation). + +\begin{CenterExample} + % positionnement des classes + \begin{pspicture}(17,5)\psgrid + \rput(3,3){\rnode{Objet1}{\umlClass{Objet 1}{}}} + \pnode(16.5,4.5){pnode1}\psdot(pnode1)% pour visu + \rput(9,4){\rnode{Objet2}{\umlClass{Objet 2}{}}} + \rput(2,1){\rnode{Objet3}{\umlClass{Objet 3}{}}} + \rput(12,1){\rnode{Objet4}{\umlClass{Objet 4}{}}} + \rput(5.5,1.5){\rnode{Objet5}{\umlClass{Objet 5}{}}} + % + \rput(15,2.5){\rnode{Objet6}{\umlActor{Objet6}}} + \end{pspicture} + % +\end{CenterExample} + +% \clearpage +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\subsection{Utilisation de \texttt{psmatrix}} + +% % Ceci est un paragraphe avant psmatrix. +% % +Les boites prcdemment dfinies peuvent tre positionnes l'aide +des macros de haut niveau de \pstricks{} telles que les environnements +\texttt{psmatrix} ou \texttt{psTree}. + +Ces macro sont plus simples utiliser, mais sont moins souple au +niveau du placement. Voici un exemple de placement utilisant +l'environnement \texttt{psmatrix}. On peut remarquer l'utilisation +d'une longueur ngative pour la sparation des colonnes, ainsi que le +changement possible de la longueur d'une seule colonne. De mme, un +changement d'espacement pour une ligne particulire peut se faire par +\verb:\\[2cm]: ou mme \verb:\\[-1cm]:. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\begin{CenterExample} + \psshadowbox[framesep=0]{ + \begin{psmatrix}[rowsep=0.3,colsep=-0.5,mnode=r] + % Dessin de classes predefinies + [name=Chose1] Chose 1 & & & [colsep=2,name=P1] \\ + & [name=Chose2] \pscirclebox{Chose 2} \\[2cm] + [name=Chose3] \umlClass{Chose 3}{} & & [name=Chose4] Chose 4 + \end{psmatrix} + % Visualisation d'un moeud ponctuel invisible par un X : + \ncput{pnode1}{$\times$} + } +\end{CenterExample} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Utilisation des commandes de placement relatif} + + +Les lettre E, N, W et S sont utiliss la place de Right, Left, ... +pour des raisons de cohrence avec les commandes de connexion du style +\cs{ncNE} vues plus loin. Les commandes de gestion du placement +relatif sont les suivantes : + +\begin{itemize} + \item affectation en absolu du point courant par rapport l'origine + (fixe (0,0) pour l'instant) : \cs{ResetXY}, \cs{SetX}, + \cs{SetY}, \cs{SetXY} en cours) ; + + \item accs au point courant par \cs{X} et \cs{Y} ; + + \item les commandes de base : \cs{incrX}, \cs{incrY} + (sont utilises par les quatre suivantes) ; + + \item les dplacements relatifs \cs{moveE}, + \cs{moveN}, \cs{moveW}, \cs{moveS} ; + + \item positionnement d'un objet au point courant \cs{rputXY}. + + \item A FAIRE \cs{SetXY} pour l'affectation absolue du + point courant partir d'une cordonne d'un nom de node mmoris. + Je n'ai pas trouv la commande interne \pstricks{} permettant de + convertir les coordonnes partir d'un nom d'un node en + coordonnes X ou Y pour le point courant : (help) ; + + \item A FAIRE \cs{setOri} pour changer la position de l'origine. Cela + affecte donc les commandes de positionnement absolues telles que + \cs{resetXY}. Le but est d'affecter l'origine un noeud prcdement + cr par un \cs{pnode} ou autre \cs{rnode} ; + + Note : vrifier si l'option \texttt{origin=\{coor\}} de \pstricks{} + ne conviendrait pas ! + + + \item A FAIRE \cs{move} (vers une direction incrmentale + arbitraire pouvant utiliser les coordonnes polaires ; +\end{itemize} + +\begin{SideBySideExample}[xrightmargin=7cm] + \begin{pspicture}(-3,-3)(3,3)\psgrid + \ResetXY % X and Y are rest at startup + \rputXY{\pscirclebox{1}} + \moveE{2} \rputXY{\pscirclebox{2}} + \moveN{2} \rputXY{\pscirclebox{3}} + \moveW{2} \rputXY{\pscirclebox{4}} + \moveW{2} \rputXY{\pscirclebox{5}} + \moveS{2} \rputXY{\pscirclebox{6}} + \moveS{2} \rputXY{\pscirclebox{7}} + \moveE{2} \rputXY{\pscirclebox{8}} + \moveE{2} \rputXY{\pscirclebox{9}} + \end{pspicture} +\end{SideBySideExample} + +\begin{SideBySideExample}[xrightmargin=7cm] + \begin{pspicture}(-3,-5)(3,5)\psgrid + % + \ResetXY % Don't forget ! + % + \rputXY{\psovalbox{1: start}} + % + % mixing absolute and relative coords + \SetX{2}\SetY{2}\moveN{2} + \rputXY{\psframebox[linewidth=2pt]{Pos2}} + % + % use of negative coord, and coord with + % explicit units (10mm) + \moveW{4}\moveS{4}\moveE{-10mm}\moveE{1} + \rputXY{\Large 3} + % use of current coord X and Y as params + % for not using "\rputXY" + % (or for calcul : to be tested) : + \pscircle(\X,\Y){0.5} + % + % memorisation par un node + \moveE{4}\moveN{2} + \rputXY{\pnode{P4}} + \rputXY{P4} + \rputXY{\pscircle{0.5}} + % + % mixing absolute (SetX) and relative (moveN) + \SetX{-1.5}\moveN{1.5} + \rputXY{\pscirclebox{UN CERCLE}} + % + % use of current coord X and Y in calcul + % (doesn't work yet) : + \SetX{-2}\SetY{-2.5} + % \pssetlength allows \X+2 insteed of \X+2cm + \newlength{\tmpX}\setlength{\tmpX}{\X} + \newlength{\tmpY}\setlength{\tmpY}{\Y} + \psaddtolength{\tmpX}{5} + \psaddtolength{\tmpY}{1} + \rputXY{\pscircle{0.1}} % at curent point + \rputXY{% + \psframe(0,0)(\tmpX,\tmpY)% + } + % + % acces direct to a memorised point + % NOT YET DONE + % \SetXY{P4} + % \rputXY{\pscirclebox{UN CERCLE}} + % + \end{pspicture} +\end{SideBySideExample} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Les connecteurs orthogonaux} + + +En plus des divers connecteurs proposs par \pstricks{} tels que +\cs{ncline}, \cs{ncbar}, \cs{ncdiag}, \cs{ncdiagg}, \cs{ncangle}, +\cs{ncangles} et \cs{nccurve} ; \pstuml{} propose un certain nombre de +connecteurs bass sur les prcdents (par \cs{newpsobject}). + +Le but est de simplifier le trac des liens en se restreingnant aux +directions horizontales et verticales. Le principe est d'indiquer +dans le nom mme de la commande le nombre de segments tracer et +leur direction.\\ +Par exemple, la premire lettre (\texttt{E} dans \cs{ncEVW}) indique +que le segment part vers l'Est, tourne verticalement (\texttt{V} : vers +le haut ou vers le bas) puis tourne vers l'Ouest \texttt{W} pour se +connecter. + +\begin{itemize} + +\item E, W, N, S pour Est, West, North, Sud, +\item H, V pour Horizontal et Vertical, +\item D pour diagonal, +\item X pour indiffrent. + +\end{itemize} + +\bigskip\noindent +Les commandes suivantes sont proposes : + +\begin{itemize} + +\item un seul segment : \cs{ncE} \cs{ncW} \cs{ncN} \cs{ncS} + +\item deux segments : \cs{ncEN} \cs{ncES} \cs{ncWN} \cs{ncWS} \cs{ncNE} + \cs{ncNW} \cs{ncSE} \cs{ncSW} + +\item trois segment en U : \cs{ncEVW} \cs{ncWVE} \cs{ncSHN} \cs{ncNHS} + +\item trois segments en Z : \cs{ncEVE} \cs{ncWVW} \cs{ncNHN} \cs{ncSHS} + +\item trois segments en diagonale : \cs{ncEDE} \cs{ncWDW} \cs{ncNDN} + \cs{ncSDS} + +\item quatre segments (voir trois) : \cs{ncSXE} \cs{ncSXW} \cs{ncEXS} + \cs{ncEXN} \cs{ncWXS} \cs{ncWXN} \cs{ncNXE} \cs{ncNXW} + +\end{itemize} + +\subsubsection*{Bug} + +La position par dfaut des labels (utilise par des \cs{naput}...) +peut tre affecte : dans ce cas imposer le positionnement explicitement +par : + + |\ncE{nodeA}{nodeB}\naput[npos=0.5]{myLabel}| + + +De mme, dans les commandes trois segments, quatre segments sont +rellement dessins : en cas de problme de positionnement des labels, +il peut tre utile d'imposer |armB=0| (en attendant un raffinement de +ces commandes orthogonales). + +\subsection*{Exemples 1} + +A FAIRE (voir listing de dessin de classe ci-aprs) + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Essais d'icones "flches" sur des courbes} + +Aprs des tentatives infructueuses (pour l'instant) de dfinir de +nouvelle vraie flche au sens \pstricks{} (sans passer par postscript : +en n'utilisant que des commande \TeX{}), je propose une commande +\cs{ncputicon} base sur la command \cs{ncput}. Par dfaut, l'icone est +positionne en dbut de connecteur (cf. Bug ci-dessous) + +\subsection*{Bug} + +\subsection*{\`A faire} + +Je souhairais que par dfaut l'icone soit positionne en fin de +connecteur en mettant par exemple |\psset{npos=5}|. Cela ne marche pas +pour tous les connecteurs (les \cs{ncline} et les \cs{nccurve}). C'est +pour cette raison que la position par dfaut est en dbut de connecteur +(peut-tre existe-t-il une variable \pstricks\ qui indique le nombre +total de segments prsents dans le dernier connecteur utilis ??). + +\subsection*{Exemples 1} + +\begin{SideBySideExample}[xrightmargin=6cm] + \begin{pspicture}(0,0)(5,5)\psgrid + \rput[bl]{30}(0.5,0){\rnode{Node1}{% + \psframebox{\Large Node1}}} + \rput[tr]{45}(4.5,4){\rnode{Node2}{% + \psframebox{\Large Node2}}} + + \nccurve[angleA=-45,angleB=135]{Node1}{Node2} + \ncput[nrot=:U,npos=0.8]{mylabel} + \ncputicon{umlHerit} + + \nccurve[angleA=-30,angleB=-90]{Node2}{Node1} + \ncputicon{umlAgreg} + + \nccurve[angleA=135,angleB=-135]{Node1}{Node2} + \ncputicon{umlCompos} + \ncputicon[nrot=:U,npos=0.7]{umlV} + + \end{pspicture} +\end{SideBySideExample} + +% \subsection*{Exemples 2} +% A FAIRE (voir listing de dessin de classe ci-aprs) +% +% + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Principales commandes \pstricks{} utilises (A FAIRE)} + +\cleardoublepage + +\appendix +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Exemple de diagramme de classe} + +\input{diagClass.tex} +\VerbatimInput[gobble=0]{diagClass.tex} + +% % % % % % % % % \end{document} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\clearpage +\section{Exemple de diagramme des cas d'utilisation} + + +\input{diagCase.tex} +\VerbatimInput[gobble=0]{diagCase.tex} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\clearpage +\section{Exemple de diagramme de squences} + + +\input{diagSeq.tex} +\VerbatimInput[gobble=0]{diagSeq.tex} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\clearpage +\section{Exemple de diagramme d'tats} + + +\input{diagState.tex} +\VerbatimInput[gobble=0]{diagState.tex} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\clearpage +\section{Listing du package \texttt{pst-uml.sty}} + +\VerbatimInput[% + baselinestretch=0.9,% + fontsize=\small,% + gobble=0% nbr de caratere de debut a ignorer +]{pst-uml.sty} +pour connaitre le numero de la derniere page +\label{verylast}\mbox{} + +\end{document} + +% PRESSE-PAPIER : +% +% \begin{SideBySideExample}[xrightmargin=6cm] +% \begin{pspicture}(0,0)(5,5)\psgrid +% +% \end{pspicture} +% \end{SideBySideExample} +% \begin{CenterExample} +% \begin{pspicture}(0,0)(5,5)\psgrid +% +% \end{pspicture} +% \end{CenterExample} + +%%%% EXEMPLE DE DESCRIPTION DE COMMANDE : +% +% \begin{description} +% \item[Syntaxe] \mbox{} +% +% \begin{verbatim} +% \umlClass[keyOptions]{title}{body} +% \end{verbatim} +% +% Permet de dessiner une classe. +% +% \item[Paramtres (un seul)] \mbox{} +% +% \begin{description} +% +% \item[\texttt{title} :] nom de la classe, celui-ci sera centr +% et crit en gras. Il peut tenir sur plusieurs lignes. +% +% \item[\texttt{body} :] corps de la classe propremment dit. En +% particulier contient les attributs et mthodes justifies gauche. +% Les diffrentes lignes sont spares par |\\| et ventuellement +% des |\hline|. +% \end{description} +% +% \item[Options] \mbox{} +% +% \begin{description} +% +% \item[\texttt{umlShadow} (boolean : true)] : +% si vrai, un cadre ombr de fond gris entoure la classe \\ +% sinon, un cadre simple sur fond blanc est utilis. +% +% \end{description} +% +% \item[Bug] \mbox{} +% +% \item[\`A faire] \mbox{} +% +% \item[Exemples 1] \mbox{} +% +% \end{description} + diff --git a/Master/texmf-dist/doc/generic/pst-uml/exemplesUml.pdf b/Master/texmf-dist/doc/generic/pst-uml/exemplesUml.pdf new file mode 100644 index 00000000000..c0a38a9bbc5 Binary files /dev/null and b/Master/texmf-dist/doc/generic/pst-uml/exemplesUml.pdf differ diff --git a/Master/texmf-dist/doc/generic/pst-uml/exemplesUml.tex b/Master/texmf-dist/doc/generic/pst-uml/exemplesUml.tex new file mode 100644 index 00000000000..e53b64a5221 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pst-uml/exemplesUml.tex @@ -0,0 +1,160 @@ +\documentclass[11pt,a4paper,twoside]{article} + \usepackage[T1]{fontenc} + % \usepackage[applemac]{inputenc} + \usepackage[latin1]{inputenc} + + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + % Format de la mise en page + \setlength{\hoffset}{-1in} + \setlength{\voffset}{-1in} + \setlength{\oddsidemargin}{2cm} + \setlength{\evensidemargin}{2cm} + \setlength{\topmargin}{1.8cm} + % \setlength{\headheight}{0cm} + % \setlength{\headsep}{0cm} + \setlength{\textwidth}{16.5cm} + \setlength{\textheight}{24.0cm} + + + \usepackage{pst-uml} + + + % pour les environnement d'exemple Latex... + \usepackage{fancyvrb} + \usepackage[pstricks]{fvrb-ex} + % option pour le package fancyverb (pour \VerbatimInput) + \fvset{% + frame=single,% + numbers=left,% + baselinestretch=0.9,% + gobble=0,% nbr de caratere de debut a ignorer + fontsize=\footnotesize% + } + + % \providecommand{\showgrid}{\psgrid[subgriddiv=0, griddots=10]} + + \DefineShortVerb{\|} + % \UndefineShortVerb{\|} % pour annuler + + \pagestyle{headings} + + + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + % Quelques commandes locales + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + % \printtime + % + % commande d'impression de l'heure courante + % + % Exemple : "Fichier compil\'{e} le \today{} \`{a} \printtime." + \usepackage{calc} + \usepackage{ifthen} + \newcounter{hours}\newcounter{minutes} + \newcommand{\printtime}{% + \setcounter{hours}{\time/60}% + \setcounter{minutes}{\time-\value{hours}*60}% + \thehours h% + % on veut obtenir 15h03mn et non 15h3mn... + \ifthenelse{\theminutes<10}{0}{}\theminutes mn% + } + + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + % Quelques abbreviations + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + % Conventions g\'{e}n\'{e}rales pour les formats de pr\'{e}sentation + \newcommand{\strong}[1]{\textbf{\emph{#1}}} % plus fort que \emph + \newcommand{\tech}[1]{\textsf{#1}} % terme technique + \newcommand{\file}[1]{\texttt{#1}} % noms de fichiers et de r\'{e}pertoires + \newcommand{\menu}[1]{\fbox{#1}} % nom d'un menu/sous-menu + \newcommand{\key}[1]{\fbox{\textbf{#1}}} % touche du clavier + + % abreviations locales a ce document : + \newcommand{\uml}{\textsc{uml}} + \newcommand{\pstricks}{\texttt{PSTricks}} + \newcommand{\postscript}{\texttt{PostScript}} + \newcommand{\pstuml}{\texttt{pst-uml}} + % \newcommand{\bs}{\backslash} + % \newcommand{\bs}{\backslash} + + % Pour les noms de commande TeX + % Exemple : \cs{fbox} => \fbox + \DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} + +\usepackage[colorlinks,linktocpage]{hyperref} +%\usepackage{french} +\usepackage[francais]{babel} % idem frenchb mais PAS french ! + % La suite evite que Babel impose un espace devant ":" mais n'est + % pas disponible sur les vielles versions de Babel (comme l'ENSTA). +\NoAutoSpaceBeforeFDP + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\begin{document} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\title{Exemple de diagrammes utilisant \pstuml} +\author{% + Maurice \textsc{Diamantini}% + \thanks{avec l'aide prcieuse de Denis \textsc{Girou}} % + (email : \texttt{diam@ensta.fr}) +} +\date{% + Compil le \today{} \printtime{}.% +} +\maketitle + +\tableofcontents +\clearpage + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\clearpage +\section{Exemple de diagramme de classe} + +\input{diagClass.tex} +\VerbatimInput{diagClass.tex} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\clearpage +\section{Exemple de diagramme des cas d'utilisation} + + +\input{diagCase.tex} +\VerbatimInput{diagCase.tex} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\clearpage +\section{Exemple de diagramme de squences} + + +\input{diagSeq.tex} +\VerbatimInput{diagSeq.tex} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\clearpage +\section{Exemple de diagramme d'tats} + + +\input{diagState.tex} +\VerbatimInput{diagState.tex} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +% pour connaitre le numero de la derniere page +\label{verylast}\mbox{} + +\end{document} + + diff --git a/Master/texmf-dist/doc/generic/pstricks-add/Changes b/Master/texmf-dist/doc/generic/pstricks-add/Changes new file mode 100644 index 00000000000..73ef5a8beeb --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/Changes @@ -0,0 +1,79 @@ +pstricks-add.pro ----------- (Dominik Rodriguez/hv) + v 0.04 2005-10-06 added subroutines for calculating wavelength to rgb color(hv) + changing name of pst-eqdf.pro to pstricks-add.pro + v 2005.03 2005/05/16 (hv) small changes to the code + v 2005.02 2005/03/05 (dr) white space removal from expression + v 2004.02 2004/11/14 (dr) correction of a priority problem ^ before unary - (new rule FS) + v 2004.01 2004/09/14 (dr) initial version + +pstricks-add ----------- + v 2.70 2005-10-20 - use \def instead of \edef for X|YAxisLabel + - make psgraph correct use of the origin values + - added a new macro \psLNode and \nlput for a + node label with absolute position + v 2.69 2005-10-12 moving the basic arrows into pstricks )-(,]-[ + bugfix for hook arrow + v 2.68 2005-10-09 fix a bug with trigLabels and showorigin + v 2.67 2005-10-08 rewrote \psrotate macro + added three predefined hatchstyles for simulating transparent colors + TRed, TGreen,TBlue + v 2.66 2005-10-06 add more support for Gouraud-shading, emulate the PS subroutines + if not present in the PS level + v 2.65 2005-10-03 add support for Gouraud-shading + v 2.64 2005-09-25 fix a bug in reading ticksize values (\pst@getdimdim} + v 2.63 2005-09-18 fix another bug with option names + v 2.62 2005-09-08 fix new introduced bug in \psbrace + v 2.61 2005-09-08 fix bug in \psbrace + v 2.60 2005-08-28 added some more line fill styles + v 2.59 2005-08-06 bugfix for option intSeparator + add macro \psrotate + v 2.58 2005-07-25 ArrowInside=- for \psbrace + v 2.57 2005-07-07 some improvements to psgraph + v 2.56 2005-06-25 fix bug with \pscustom and poynom + fix introduced trailing space in \readdata + v 2.55 2005-05-26 some tweeks to the code, updating the documentation + v 2.54 2005-05-25 added option ChangeOrder + v 2.53 2005-05-23 dito + v 2.52 2005-05-22 fix bug in psplotTangent + v 2.51 2005-05-21 drop support of option varStep + v 2.50 2005-05-20 first try with psplotDiffEqn, plotting differential equation, + needs _newest_ pst-eqdf.pro and pstricks.pro + v 2.49 2005-05-19 fix bug in psplotTangent and make option showpointa available + v 2.48 2005-05-18 fix some new introduced bugs and make psplotTangent for all + plot macros working + v 2.47 2005-05-17 make psplotTangens also available for the parametric plot + together with the algebraic option + v 2.46 2005-05-16 make psplotTangens also available for the polarplot and + algebraic option + v 2.45 2005-05-16 small changes to the code + v 2.44 2005-05-15 added macro psplotTangent + v 2.43 2005-04-20 some more tweeks to triglabels + v 2.42 2005-04-17 small bugfix with the options + v 2.41 2005-04-17 new option ignoreLines for \readdata + v 2.40 2005-04-13 new option trigLabels + v 2.39 2005-03-17 modify the Rhook subroutine (abs) + v 2.38 2005-03-03 move the loading of a config file into pstricks-add.sty + v 2.37 2005-02-20 drop support of tickstyle (pst-plot), + fix several bugs in connection with the ticksize option + minor code changes + v 2.36 2005-02-20 added missing LabelFactor + v 2.35 2005-02-19 small improvements + v 2.34 2005-02-10 fix bug with comma + v 2.33 2005-01-18 add a config file + v 2.32 2005-01-16 added hook arrow (for bond lines) + v 2.31 2004-12-11 activate \pslinestyle for the axes + v 2.30 2004-12-07 make xyAxes run + v 2.29 2004-12-04 spurious blank in ArrowInside + v 2.28 2004-11-23 small changes to the code + v 2.27 2004-11-19 tickstyle now a pstricks-add key + v 2.26 2004-11-17 spurious blank in \psbrace + v 2.25 2004-11-13 fixed a new introduced bug + v 2.24 2004-11-12 added the psRandom macro for random dots + v 2.23 2004-11-11 added the star option for psgraph + v 2.22 2004-11-04 fixed bug with \psset + v 2.21 2004-10-24 added \psParallelLine for lines parallel to another one + added \psIntersectionPoint(#1)(#2)(#3)(#4){nodeName} + v 2.20 2004-10-24 added \psRelLine for lines relative to another one + v 2.19 2004-10-20 small changes + v 2.18 2004-10-20 add \ncbarr + v 2.17 2004-10-14 new multiple arrows diff --git a/Master/texmf-dist/doc/generic/pstricks-add/README b/Master/texmf-dist/doc/generic/pstricks-add/README new file mode 100644 index 00000000000..0b2dc753ee5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/README @@ -0,0 +1,50 @@ +pstricks-add redefines a lot of the pstricks macros and uses the extended +version of the keyval package. So be sure that you +- pstricks-add depends on the pstricks.pro Version 1.00, 2005/09/18 + you can get it from http://perce.de/LaTeX/pstricks/ or CTAN +- load pstricks-add at last pstricks related package +- have installed xkeyval with the special pst-xkey + (CTAN: tex-archive/macros/latex/contrib/xkeyval/) +- do not load another package after pstricks-add, which loads + the old keyval.sty or pst-key.tex + +pstricks-add collects a lot of the code which was posted +to the pstricks mailing list and has some more new features: + +- pstricks + o define and calculate colors on PS side + o Gouraud shading + o braces as node connection/linestyle + o line style bar + o arrows, arrows, arrows, ... + +- pst-plot + o new environment psgraph + o new macro pstScalePoints + o new option for logarithmic axes + o new macro and options for ticklines + o new plot option bar and option barwidth + o new options step, start end for plotting data files + o new options xLabel, yLabel + o new option plotNo for multiple data files x y1 y2 y3 ... + o new macro psplotTangent + o new macro psplotDiffEqn + o new option algebraic for infix notation + o new option changeOrder + +- pst-node + o new macro nclineII for a two-colored line + o new option lineAngle for ncdiag + o new macros for interpolation nodes + and linear combination of two vectors + o new macro ncbarr (line with 5 segments) + + +pstricks-add.pro : the prolog file for pstricks-add +pstricks-add-doc.ltx: the main doc file +pstricks-add-doc.tex: the included doc file + +Save the files pstricks-add.sty|tex|pro in the TeX tree, +where the pstricks-add.pro file should go in texmf/dvips/pstricks/, then +run texhash or mktexlsr to update the TeX file base. +The document needs the data files in example/. diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/12-1.txt b/Master/texmf-dist/doc/generic/pstricks-add/examples/12-1.txt new file mode 100644 index 00000000000..5e375916fc6 --- /dev/null +++ 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+1000000.0 0.007746 diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/HookArrow.pdf b/Master/texmf-dist/doc/generic/pstricks-add/examples/HookArrow.pdf new file mode 100644 index 00000000000..2f9964afb45 Binary files /dev/null and b/Master/texmf-dist/doc/generic/pstricks-add/examples/HookArrow.pdf differ diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/HookArrow.tex b/Master/texmf-dist/doc/generic/pstricks-add/examples/HookArrow.tex new file mode 100644 index 00000000000..dd51aba9492 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/examples/HookArrow.tex @@ -0,0 +1,41 @@ +\documentclass[12pt]{article} + +\usepackage{pst-node} +\usepackage{pstricks-add} + +\begin{document} + +\[ +\begin{psmatrix} +E&W_i(X)&&Y\\ +&&W_j(X) +\psset{arrows=->,nodesep=3pt,linewidth=5pt} +\everypsbox{\scriptstyle} +\ncline[linecolor=red,arrows=H->,hooklength=5mm,hookwidth=4mm]{1,1}{1,2} +%% This should be \hookrightarrow +\ncline{1,2}{1,4}^{\tilde{t}} +\ncline{1,2}{2,3}<{W_{ij}} +\ncline{2,3}{1,4}>{\tilde{s}} +\end{psmatrix} +\] + +\[ +\begin{psmatrix} +&&C(K)\\ +&M_i&&M_j\\ +W_i(K)&&&&W_j(K) +\psset{arrows=->,nodesep=3pt} +\everypsbox{\scriptstyle} +\ncline[arrows=->>]{1,3}{2,2} +\ncline[arrows=->>]{1,3}{2,4} +\ncline[arrows=<<-,linestyle=dashed]{2,2}{2,4}_{m_{ij}} +\ncline[linecolor=red,arrows=H->,hooklength=5mm,hookwidth=-2mm]{2,2}{3,1}<{m_i} +%% \hookrightarrow with the +%% "litle tail" directed to the left; the same for the next arrow. +\ncline{2,4}{3,5}>{m_j} +\ncline{3,5}{3,1}_{W_{ji}} +\end{psmatrix} +\] +\end{document} + + diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/data.dat b/Master/texmf-dist/doc/generic/pstricks-add/examples/data.dat new file mode 100644 index 00000000000..ef26a271f2d --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/examples/data.dat @@ -0,0 +1,1000 @@ +0 0 +1 1 +2 3 +3 6 +4 6 +5 11 +6 15 +7 18 +8 25 +9 26 +10 32 +11 37 +12 37 +13 44 +14 52 +15 65 +16 67 +17 82 +18 89 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-2.57 \ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/dataI.dat b/Master/texmf-dist/doc/generic/pstricks-add/examples/dataI.dat new file mode 100755 index 00000000000..7651357cacc --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/examples/dataI.dat @@ -0,0 +1,6 @@ +1 891560 +2 534050 +3 525876 +4 552269 +5 411130 +6 436733 diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/dataII.dat b/Master/texmf-dist/doc/generic/pstricks-add/examples/dataII.dat new file mode 100755 index 00000000000..d5492e4f569 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/examples/dataII.dat @@ -0,0 +1,6 @@ +1 1355 +2 432 +3 390 +4 301 +5 194 +6 193 diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/dataMul.dat b/Master/texmf-dist/doc/generic/pstricks-add/examples/dataMul.dat new file mode 100644 index 00000000000..92ba51f9353 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/examples/dataMul.dat @@ -0,0 +1,15 @@ +[% file dataMul.dat +0 0 3.375 0.0625 +10 5.375 7.1875 4.5 +20 7.1875 8.375 6.25 +30 5.75 7.75 6.6875 +40 2.1875 5.75 5.9375 +50 -1.9375 2.1875 4.3125 +60 -5.125 -1.8125 0.875 +70 -6.4375 -5.3125 -2.6875 +80 -4.875 -7.1875 -4.875 +90 0 -7.625 -5.625 +100 5.5 -6.3125 -5.8125 +110 6.8125 -2.75 -4.75 +120 5.25 2.875 -0.75 +]% diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/doppellog.pdf b/Master/texmf-dist/doc/generic/pstricks-add/examples/doppellog.pdf new file mode 100644 index 00000000000..bfe87f63665 Binary files /dev/null and b/Master/texmf-dist/doc/generic/pstricks-add/examples/doppellog.pdf differ diff --git a/Master/texmf-dist/doc/generic/pstricks-add/examples/doppellog.tex b/Master/texmf-dist/doc/generic/pstricks-add/examples/doppellog.tex new file mode 100644 index 00000000000..249e5fcf5a0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/examples/doppellog.tex @@ -0,0 +1,31 @@ +\documentclass[a4paper]{article}% Lars Kotthoff + +\usepackage{pstricks,pst-plot,pstricks-add} + +\begin{document} + +\pstScalePoints(1,1){ log }{ ln } % log e y scale + +\psset{xunit=3.5cm,yunit=2cm} +\begin{pspicture}(2.5,-.5)(7,-6) + \psaxes[axesstyle=frame,xticksize=0 -4.5,yticksize=0 3,% + logLines=all,subticks=10,xsubticksize=0 -4.5,ysubticksize=0 3,% + Ox=3,Oy=-1,ylogBase=e,xlogBase=10]{->}(3,-1)(6,-5.5) + \readdata{\one}{12-1.txt} + \listplot[linewidth=2pt,linecolor=red]{\one} + \readdata{\two}{12-2.txt} + \listplot[linestyle=dashed,linewidth=2pt,linecolor=blue]{\two} + \readdata{\three}{12-3.txt} + \listplot[linestyle=dotted,linewidth=2pt,linecolor=magenta]{\three} + \psframe[fillcolor=white,fillstyle=solid,framearc=.2](4.65,-2.9)(5.7,-4) + \uput[0](6,-1){$x$} + \uput[-90](3,-5.5){$f(x)$} + \psline[linecolor=red,linewidth=2pt](4.7,-3.15)(5.1,-3.15) + \rput[lc](5.4,-3.15){$f(x)=\frac{\pi(x)}{x}$} + \psline[linecolor=blue,linestyle=dashed,linewidth=2pt](4.7,-3.45)(5.1,-3.45) + \rput[lc](5.4,-3.45){$f(x)=\frac{t(x)}{x}$} + \psline[linecolor=magenta,linestyle=dotted,linewidth=2pt](4.7,-3.75)(5.1,-3.75) + \rput[lc](5.4,-3.75){$f(x)=\frac{g(x)}{x}$} +\end{pspicture} + +\end{document} diff --git a/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.ltx b/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.ltx new file mode 100644 index 00000000000..4e41c58017e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.ltx @@ -0,0 +1,155 @@ +\documentclass[12pt]{article} +\listfiles +\usepackage{filecontents} +\begin{filecontents*}{demo0.dat} + 0.1414 0.0052 + 0.2828 0.0217 + 0.4243 0.0480 + 0.5657 0.0890 + 0.7071 0.1375 + 0.8485 0.1906 + 0.9899 0.2663 + 1.1314 0.3580 + 1.2728 0.4644 + 1.4142 0.5801 + 1.5556 0.7033 + 1.6971 0.8899 + 1.8385 1.1143 + 1.9799 1.2593 + 2.1213 1.5692 + 2.2627 3.2331 + 2.4042 4.4097 + 2.5456 5.8186 + 2.6870 7.4441 + 2.8284 8.2287 +\end{filecontents*} + +\begin{filecontents*}{demo1.dat} +1 99447169 +2 110351058 +3 123557238 +4 138346129 +5 145050826 +6 160363212 +7 174000394 +8 183856559 +9 189128691 +10 197634845 +11 213257357 +12 216899512 +13 230152738 +14 224144907 +15 247410024 +16 261168438 +17 252920343 +18 326153799 +19 319442110 +20 310351522 +21 381919943 +22 438043888 +23 357527766 +24 603304997 +\end{filecontents*} + +\begin{filecontents*}{demo2.dat} + 1989 3.08 + 1990 3.84 + 1991 4.08 + 1992 3.21 + 1993 5.23 + 1994 2.97 + 1995 2.53 + 1996 2.8 + 1997 2.78 + 1998 3.15 + 1999 2.32 + 2000 2.4 + 2001 2.46 +\end{filecontents*} +\begin{filecontents*}{demo3.dat} + 1989 3.08 + 1990 3.1 + 1991 3.08 + 1992 3.21 + 1993 5.0 + 1994 2.27 + 1995 3.53 + 1996 3.8 + 1997 2.8 + 1998 4.15 + 1999 3.32 + 2000 1.4 + 2001 2.46 +\end{filecontents*} + + +\usepackage[T1]{fontenc} +\usepackage[latin1]{inputenc} +\usepackage{lmodern} +%\usepackage[scaled]{luximono} +\usepackage[lmargin=2.5cm]{geometry} +\usepackage{tabularx} +\usepackage{url} +\usepackage{graphicx} +\usepackage[dvipsnames]{pstricks} +\usepackage{framed} +\usepackage{pst-eucl} +\usepackage{pstricks-add} +\let\pstricksaddFV\fileversion +\def\PST{\texttt{PSTricks}} +% +\usepackage{showexpl} +\lstset{preset=\raggedright} +% +\usepackage{longtable} +\usepackage{pifont} +\usepackage{amsmath} +\def\textat{\protect\makeatletter\texttt{@}\protect\makeatother} +\makeatletter +\renewcommand*\l@section{\@dottedtocline{1}{1.5em}{2.5em}} +\renewcommand*\l@subsection{\@dottedtocline{2}{3.8em}{3.2em}} +\renewcommand*\l@subsubsection{\@dottedtocline{3}{7.0em}{4.1em}} +\renewcommand*\l@paragraph{\@dottedtocline{4}{10em}{5em}} +\renewcommand*\l@subparagraph{\@dottedtocline{5}{12em}{6em}} +\makeatother +\let\psEllipticArc\psellipticarc +\let\psEllipticArcN\psellipticarcn +\let\psWedgeEllipse\psellipticwedge +\usepackage[colorlinks,linktocpage]{hyperref} +%\def\UrlFont{\small\ttfamily} +\makeatletter +\def\verbatim@font{\small\normalfont\ttfamily} +\makeatother +%\parindent=0pt +\newcommand\verbI[1]{{\small\texttt{#1}}} +\newcommand\CMD[1]{{\texttt{\textbackslash#1}}} +\let\param\texttt +% +\newcommand{\pstEllipse}[5][]{% + \psset{#1} + \parametricplot{#4}{#5}{#2\space t cos mul #3\space t sin mul}% +} +% +\newcommand{\pstEllipseWedge}[5][]{% + \psset{#1} + \pscustom{% + \parametricplot{#4}{#5}{#2\space t cos mul #3\space t sin mul}% + \psline(! #2\space #5\space cos mul #3\space #5\space sin mul)% + (0,0)% + (! #2\space #4\space cos mul #3\space #4\space sin mul)% + }% +} +% +\psset{subgriddiv=0,griddots=5,gridlabels=7pt} +% +\DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} +\def\PS{PostScript} +% +%\renewcommand{\ttdefault}{ul9}% Luxi Mono + +\parindent=0pt +\parskip=1ex plus 5pt +\begin{document} +\input{pstricks-add-doc} +\end{document} + diff --git a/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.pdf b/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.pdf new file mode 100644 index 00000000000..549cb053d4f Binary files /dev/null and b/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.pdf differ diff --git a/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.tex b/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.tex new file mode 100644 index 00000000000..ccd7eacda14 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pstricks-add/pstricks-add-doc.tex @@ -0,0 +1,4933 @@ +\title{\texttt{pstricks-add}\\additionals Macros for \texttt{pstricks}% +%\thanks{% +% This document was written with \texttt{Kile: 1.7 (Qt: 3.1.1; KDE: 3.3;} +% \url{http://sourceforge.net/projects/kile/}) and the PDF output +% was build with VTeX/Free (\url{http://www.micropress-inc.com/linux})} +\\ + \small v.\pstricksaddFV} +\author{Herbert Vo\ss} +\date{\today} + +\maketitle + +\begin{abstract} +This version of \verb+pstricks-add+ needs \verb+pstricks.tex+ version >1.04 from June 2004, +otherwise the additional macros may not work as espected. The ellipsis +material and the option \verb+asolid+ (renamed to \verb+eofill+) are +now part of the new \verb+pstricks.tex+ package, available at CTAN or at +\url{http://perce.de/LaTeX/}. \verb+pstricks-add+ will for ever be an experimental and +dynamical package, try it at your own risk. + +\begin{itemize} +\item It is important to load \verb+pstricks-add+ as \textbf{last} PSTricks related package, otherwise +a lot of the macros won't work in the expected way. +\item \verb+pstricks-add+ uses the extended version of the keyval package. So be sure, that +you have installed \verb+pst-xkey+ which is part of the \verb+xkeyval+-package and that all +packages, that uses the old keyval interface are loaded \textbf{before} the \verb+xkeyval+.\cite{xkeyval} +\item the option \verb+tickstyle+ from \verb+pst-plot+is no more supported, use \verb+ticksize+ instead. +\item the option \verb+xyLabel+ is no more supported, use the macros \verb+\def\pshlabel#1{...}+ and + \verb+\def\psvlabel#1{...}+ instead. +\end{itemize} + +\end{abstract} + +\clearpage +\tableofcontents + +\clearpage +%-------------------------------------------------------------------------------------- +\part{\texttt{pstricks}} +%-------------------------------------------------------------------------------------- + + + + +%-------------------------------------------------------------------------------------- +\section{Numeric functions} +%-------------------------------------------------------------------------------------- + +All macronames contain a \textat{} in their name, because they are only for internal use, +but it is no problem to use it as the other macros. One can define another name without +a \textat{}: +\begin{verbatim} +\makeatletter +\let\pstdivide\pst@divide +\makeatother +\end{verbatim} + +or put the macro inside of the \verb+\makeatletter+ -- \verb+\makeatother+ sequence. + +%-------------------------------------------------------------------------------------- +\subsection{\CMD{pst\textat{}divide}} +%-------------------------------------------------------------------------------------- + +\verb+pstricks+ itself has its own divide macro, called \verb+\pst@divide+ which can divide two lengthes and saves the quotient as a floating point number: + +\begin{verbatim} +\pst@divide{}{}{} +\end{verbatim} + +\begin{LTXexample}[width=2cm] +\makeatletter +\pst@divide{34pt}{6pt}\quotient \quotient\\ +\pst@divide{-6pt}{34pt}\quotient \quotient +\makeatother +\end{LTXexample} + +\noindent this gives the output $5.66666$. The result is not a length! + +%-------------------------------------------------------------------------------------- +\subsection{\CMD{pst\textat{}mod}} +%-------------------------------------------------------------------------------------- +\verb+pstricks-add+ defines an additional numeric function for the modulus: + +\begin{verbatim} +\pst@mod{}{}{} +\end{verbatim} + +\begin{LTXexample}[width=2cm] +\makeatletter +\pst@mod{34}{6}\modulo \modulo\\ +\pst@mod{25}{-6}\modulo \modulo +\makeatother +\end{LTXexample} + +\noindent this gives the output $4$. Using this internal numeric functions in documents +requires a setting inside the \verb+makeatletter+ and \verb+makeatother+ environment. +It makes some sense to define a new macroname in the preamble to use it throughou, e.g. +\verb+\let\modulo\pst@mod+. + +%-------------------------------------------------------------------------------------- +\subsection{\CMD{pst\textat{}max}} +%-------------------------------------------------------------------------------------- + +\begin{verbatim} +\pst@max{}{}{} +\end{verbatim} + +\begin{LTXexample}[width=2cm] +\newcount\maxNo +\makeatletter +\pst@max{-34}{-6}\maxNo \the\maxNo\\ +\pst@max{0}{11}\maxNo \the\maxNo +\makeatother +\end{LTXexample} + + +%-------------------------------------------------------------------------------------- +\subsection{\CMD{pst\textat{}maxdim}} +%-------------------------------------------------------------------------------------- + +\begin{verbatim} +\pst@maxdim{}{}{} +\end{verbatim} + +\begin{LTXexample}[width=2cm] +\newdimen\maxDim +\makeatletter +\pst@maxdim{34cm}{1234pt}\maxDim \the\maxDim\\ +\pst@maxdim{34cm}{123pt}\maxDim \the\maxDim +\makeatother +\end{LTXexample} + +%-------------------------------------------------------------------------------------- +\subsection{\CMD{pst\textat{}abs}} +%-------------------------------------------------------------------------------------- + +\begin{verbatim} +\pst@abs{}{} +\end{verbatim} + +\begin{LTXexample}[width=2cm] +\newcount\absNo +\makeatletter +\pst@abs{-34}\absNo \the\absNo\\ +\pst@abs{4}\absNo \the\absNo +\makeatother +\end{LTXexample} + +%-------------------------------------------------------------------------------------- +\subsection{\CMD{pst\textat{}absdim}} +%-------------------------------------------------------------------------------------- + +\begin{verbatim} +\pst@absdim{}{} +\end{verbatim} + +\begin{LTXexample}[width=2cm] +\newdimen\absDim +\makeatletter +\pst@absdim{-34cm}\absDim \the\absDim\\ +\pst@absdim{4sp}\absDim \the\absDim +\makeatother +\end{LTXexample} + +%-------------------------------------------------------------------------------------- +\section{Dashed Lines} +%-------------------------------------------------------------------------------------- +Tobias N�ring implemented an enhanced feature for dashed lines. The number +of arguments is no more limited. + +\begin{verbatim} +dash=value1[unit] value2[unit] ... +\end{verbatim} + +\begin{LTXexample}[width=0.4\linewidth] +\psset{linewidth=2.5pt,unit=0.6} +\begin{pspicture}(-5,-4)(5,4) + \psgrid[subgriddiv=0,griddots=10,gridlabels=0pt] + \psset{linestyle=dashed} + \pscurve[dash=5mm 1mm 1mm 1mm,linewidth=0.1](-5,4)(-4,3)(-3,4)(-2,3) + \psline[dash=5mm 1mm 1mm 1mm 1mm 1mm 1mm 1mm 1mm 1mm](-5,0.9)(5,0.9) + \psccurve[linestyle=solid](0,0)(1,0)(1,1)(0,1) + \psccurve[linestyle=dashed,dash=5mm 2mm 0.1 0.2,linetype=0](0,0)(-2.5,0)(-2.5,-2.5)(0,-2.5) + \pscurve[dash=3mm 3mm 1mm 1mm,linecolor=red,linewidth=2pt](5,-4)(5,2)(4.5,3.5)(3,4)(-5,4) +\end{pspicture} +\end{LTXexample} + +%-------------------------------------------------------------------------------------- +\section{\CMD{rmultiput}: a multiple \CMD{rput}} +%-------------------------------------------------------------------------------------- +\verb+PSTricks+ already knows a \verb+multirput+, which puts a box n times with +a difference of $dx$ and $dy$ relativ to each other. It is not possible to put +it with a different distance from one point to the next one. This is possible +with \verb+rmultiput+: +\begin{verbatim} +\rmultiput[]{}(x1,y1)(x2,y2) ... (xn,yn) +\rmultiput*[]{}(x1,y1)(x2,y2) ... (xn,yn) +\end{verbatim} + +\begin{LTXexample}[width=6.2cm] +\psset{unit=0.75} +\begin{pspicture}(-4,-4)(4,4) +\rmultiput[rot=45]{\red\psscalebox{3}{\ding{250}}}% + (-2,-4)(-2,-3)(-3,-3)(-2,-1)(0,0)(1,2)(1.5,3)(3,3) +\rmultiput[rot=90,ref=lC]{\blue\psscalebox{2}{\ding{253}}}% + (-2,2.5)(-2,2.5)(-3,2.5)(-2,1)(1,-2)(1.5,-3)(3,-3) +\psgrid[subgriddiv=0,gridcolor=lightgray] +\end{pspicture} +\end{LTXexample} + +%-------------------------------------------------------------------------------------- +\section{\CMD{psrotate}: Rotating objects} +%-------------------------------------------------------------------------------------- +\CMD{rput} also has an optional argument for rotating objects, but always +depending to the \CMD{rput} coordinates. With \CMD{psrotate} the rotating +center can be placed anywhere. The rotation is done with \verb+\pscustom+, +all optional arguments are only valid if they are part of the \verb+\pscustom+ +macro. +\begin{verbatim} +\psrotate[options](x,y){rot angle}{} +\end{verbatim} + +\begin{LTXexample}[width=0.4\linewidth] +\psset{unit=0.75} +\begin{pspicture}(-0.5,-3.5)(8.5,4.5) + \psaxes{->}(0,0)(-0.5,-3)(8.5,4.5) + \psdots[linecolor=red,dotscale=1.5](2,1) + \psarc[linecolor=red,linewidth=0.4pt,showpoints=true] + {->}(2,1){3}{0}{60} + \pspolygon[linecolor=green](2,1)(5,1.1)(6,-1)(2,-2) + \psrotate[linecolor=blue](2,1){60}{ + \pspolygon(2,1)(5,1.1)(6,-1)(2,-2)} +\end{pspicture} +\end{LTXexample} + + +%-------------------------------------------------------------------------------------- +\section{\CMD{pslineII}: Colored lines} +%-------------------------------------------------------------------------------------- +The dashed lines are by default black and white lines. The new macro \verb|\pslineII| +offers two-color lines and has the same syntax as \verb|\psline|. + +\begin{LTXexample}[width=8cm] +\begin{pspicture}(0,-0.5)(7,0.5) +\pslineII[linewidth=5pt,arrowscale=2]{o-o}(0,0)(7,0) +\end{pspicture} +\end{LTXexample} + + +%-------------------------------------------------------------------------------------- +\subsection{The options} +%-------------------------------------------------------------------------------------- + +\begin{center} +\begin{tabular}{l|p{6cm}} +name & meaning\\\hline +\verb|dashColorI| & first color, default is \verb|black|\tabularnewline +\verb|dashColorII| & second color, default is \verb|red|\tabularnewline +\verb|dashNo| & the difference in per cent of the colored lines, default is $0.2$\tabularnewline +\verb|linecap| & \parbox[t]{6cm}{how two lines are connected.\\ + 0: no modification\\ + 1: rounded edges\\ + 2: an additional half square at both ends} +\end{tabular} +\end{center} + +\verb|dashNo| can have values greater than $1$. In this case the value will be taken as an absolute width in the pt unit. Only this unit is possible! + +\subsection{Examples} + +\begin{LTXexample}[width=3.5cm] +\psset{linewidth=2pt} +\begin{pspicture}(3,3) + \pslineII{->}(0,0)(3,3) +\end{pspicture} +\end{LTXexample} + +\begin{LTXexample}[width=3.5cm] +\psset{linewidth=2pt} +\begin{pspicture}(3,3) + \pslineII[dashColorI=blue]{->}(0,0)(3,3) +\end{pspicture} +\end{LTXexample} + +\begin{LTXexample}[width=3.5cm] +\psset{linewidth=2pt} +\begin{pspicture}(3,3) + \pslineII[dashColorI=blue,dashNo=15]{->}(0,0)(3,3) +\end{pspicture} +\end{LTXexample} + +\begin{LTXexample}[width=3.5cm] +\psset{linewidth=2pt} +\begin{pspicture}(3,3) + \pslineII[dashColorI=blue,linecap=1,% + dashNo=0.3,linewidth=0.5](0,0)(2,3) +\end{pspicture} +\end{LTXexample} + +\begin{LTXexample} +\psset{linecolor=red,arrowscale=3} +\psset{dashColorI=red,dashColorII=blue,dashNo=20,linewidth=2pt} +\begin{pspicture}(0,0)(7,-5) +\pslineII{<->}(0,0)(7,0)(7,-5)(0,-5) +\pslineII[linewidth=5pt,% + dashNo=0.1,arrowscale=2]{o-o}(0,-2.5)(7,-2.5) +\end{pspicture} +\end{LTXexample} + + +\begin{LTXexample}[pos=t] +\psset{linewidth=15pt,dashNo=10} +\begin{pspicture}(0,1)(10,-6) + \pslineII[linecap=2](0,0)(5,0)(5,-5)(0,-5)(0,0) + \rput{45}(7,-2.5){% + \pslineII[linecap=1,dashColorI=yellow,% + dashColorII=cyan](0,0)(5,0)(5,-5)(0,-5)(0,0)% +} +\end{pspicture} +\end{LTXexample} + + +%-------------------------------------------------------------------------------------- +\section{\CMD{pslineIII} Variable linewidth} +%-------------------------------------------------------------------------------------- +By default all lines have a fixed width. \verb|\pslineIII| allows to +define the start and the end width of a line. It has the same syntax as \verb|\psline|. + +\begin{center} +\begin{pspicture}(0,-0.5)(12,0.5) +\pslineIII[wBegin=1cm,wEnd=0.3cm,linecolor=cyan](0,0)(12,0) +\end{pspicture} +\end{center} + +\begin{lstlisting}[basicstyle=\ttfamily\footnotesize] +\pslineIII[wBegin=1cm,wEnd=0.3cm,linecolor=cyan](0,0)(12,0) +\end{lstlisting} + + + +%-------------------------------------------------------------------------------------- +\subsection{The options} +%-------------------------------------------------------------------------------------- + +\begin{center} +\begin{tabular}{l|p{8cm}} +name & meaning\\\hline +\verb|wBegin| & first width, default is \verb|\pslinewidth|\tabularnewline +\verb|wEnd| & last width, default is \verb|\pslinewidth|\tabularnewline +\end{tabular} +\end{center} + +It is also possible to use \verb|pslineIII| with more than two coordinates, like + +\begin{center} +\begin{pspicture}(0,-0.5)(12,2) +\pslineIII[wBegin=1cm,wEnd=0.1cm,linecolor=red](0,0)(3,1.5)(9,1.5)(12,0) +\end{pspicture} + +\end{center} +\begin{lstlisting}[basicstyle=\ttfamily\footnotesize] +\pslineIII[wBegin=1cm,wEnd=0.1cm,linecolor=cyan](0,0)(0,1.5)(12,1.5)(12,0) +\end{lstlisting} + +\iffalse +%-------------------------------------------------------------------------------------- +\subsection{Examples} +%-------------------------------------------------------------------------------------- + +\begin{LTXexample} +\begin{pspicture}(-5,-5)(5,5) + \psgrid[griddots=10, gridlabels=7pt, subgriddiv=0] +% + \pslineIII[wBegin=1cm,wEnd=0.2cm,linecolor=cyan]% + (-4,4)(3,4)(5,2)(2,-5)(-5,-2)(-5,0) + \pslineIII[wBegin=0.5cm](-5,-3)(5,3) + \pslineIII[wBegin=0.5cm,wEnd=0.1cm,linecolor=red](0,-5)(0,0)(0,5) + \pslineIII[wBegin=1cm,wEnd=0.3cm,linecolor=blue](-4,4)(5,-4) +% +\end{pspicture} +\end{LTXexample} + +\clearpage + +\fi + + +%-------------------------------------------------------------------------------------- +\section{\CMD{psbrace}} +%-------------------------------------------------------------------------------------- +\subsection{Syntax} +\begin{verbatim} +\psbrace[]()(){} +\end{verbatim} + +\begin{LTXexample}[width=4.5cm] +\begin{pspicture}(4,4) +\psgrid[subgriddiv=0,griddots=10] +\pnode(0,0){A} +\pnode(4,4){B} +\psbrace[linecolor=red,ref=lC](A)(B){Text I} +\psbrace[linecolor=blue,ref=lC](3,4)(0,1){Text II} +\end{pspicture} +\end{LTXexample} + +\bigskip +The option \verb|\specialCoor| is enabled, so that all types of coordinates are possible, (nodename), ($x,y$), ($nodeA|nodeB$), ... + +%-------------------------------------------------------------------------------------- +\subsection{Options} +%-------------------------------------------------------------------------------------- + +Additional to all other available options from \verb|pstricks| or the other related packages, there are two new option, named \verb|braceWidth| and \verb|bracePos|. All important ones are shown in the following table. + +\begin{center} +\begin{tabular}{l|l} +name & meaning\\\hline +\verb|braceWidth| & default is $0.35$\\ +\verb|bracePos| & relative position (default is $0.5$)\\ +\verb|linearc| & absolute value for the arcs (default is $2$mm)\\ +\verb|nodesepA| & x-separation (default is $0pt$)\\ +\verb|nodesepB| & y-separation (default is $0pt$)\\ +\verb|rot| & additional rotating for the text (default is $0$)\\ +\verb|ref| & reference point for the text (default is c) +\end{tabular} +\end{center} + +By default the text is written perpedicular to the brace line and can be changed with +the \verb|pstricks| option \verb|rot=...|. The text parameter can take any object and +may also be empty. The reference point can be any value of the combination of \verb|l| (left) +or \verb|r| (right) and \verb|b| (bottom) or \verb|B| (Baseline) or \verb|C| (center) +or \verb|t| (top), where the default is \verb|c|, the center of the object. + +%-------------------------------------------------------------------------------------- +\subsection{Examples} +%-------------------------------------------------------------------------------------- + +\begin{LTXexample} +\begin{pspicture}(8,2.5) +\psbrace(0,0)(0,2){\fbox{Text}}% +\psbrace[nodesepA=20pt](2,0)(2,2){\fbox{Text}} +\psbrace[ref=lC](4,0)(4,2){\fbox{Text}} +\psbrace[ref=lt,rot=90,nodesepB=-15pt](6,0)(6,2){\fbox{Text}} +\psbrace[ref=lt,rot=90,nodesepA=-5pt,nodesepB=15pt](8,2)(8,0){\fbox{Text}} +\end{pspicture} +\end{LTXexample} + + +\begin{LTXexample} +\def\someMath{$\int\limits_1^{\infty}\frac{1}{x^2}\,dx=1$} +\begin{pspicture}(8,2.5) +\psbrace(0,0)(0,2){\someMath}% +\psbrace[nodesepA=30pt](2,0)(2,2){\someMath} +\psbrace[ref=lC](4,0)(4,2){\someMath} +\psbrace[ref=lt,rot=90,nodesepB=-30pt](6,0)(6,2){\someMath} +\psbrace[ref=lt,rot=90,nodesepB=30pt](8,2)(8,0){\someMath} +\end{pspicture} +\end{LTXexample} + +%$ + +\begin{LTXexample} +\begin{pspicture}(\linewidth,5) +\psbrace(0,0.5)(\linewidth,0.5){\fbox{Text}}% +\psbrace[bracePos=0.25,nodesepB=-10pt,rot=90](0,2)(\linewidth,2){\fbox{Text}} +\psbrace[ref=lC,nodesepA=-3.5cm,nodesepB=-15pt,rot=90](0,4)(\linewidth,4){% + \fbox{some very, very long wonderful Text}} +\end{pspicture} +\end{LTXexample} + + +\begin{LTXexample} +\def\someMath{$\int\limits_1^{\infty}\frac{1}{x^2}\,dx=1$} +\begin{pspicture}(12,11) +\psgrid[subgriddiv=0,griddots=10] +\pnode(0,0){A} +\pnode(4,6){B} +\psbrace[ref=lC](A)(B){One} +\psbrace[rot=180,nodesepA=-5pt,ref=rb](B)(A){Two} +\psbrace[linecolor=blue,bracePos=0.25,braceWidth=1,ref=lB](8,1)(1,7){Three} +\psbrace[braceWidth=-1,rot=180,ref=rB](8,1)(1,7){Four} +\psbrace[linearc=0.5,linecolor=red,linewidth=3pt,braceWidth=1.5,% + bracePos=0.25,ref=lC](8,1)(8,9){\someMath} +\psbrace(4,9)(6,9){} +\psbrace(6,9)(6,7){} +\psbrace(6,7)(4,7){} +\psbrace(4,7)(4,9){} +\psset{linecolor=red} +\psbrace[ref=lb](7,10)(3,10){I} +\psbrace[ref=lb,bracePos=0.75](3,10)(3,6){II} +\psbrace[ref=lb](3,6)(7,6){III} +\psbrace[ref=lb](7,6)(7,10){IV} +\end{pspicture} +\end{LTXexample} + +%$ + +\begin{LTXexample}[width=5cm] +\[ +\begin{pmatrix} + \Rnode[vref=2ex]{A}{~1} \\ + & \ddots \\ + && \Rnode[href=2]{B}{1} \\ + &&& \Rnode[vref=2ex]{C}{0} \\ + &&&& \ddots \\ + &&&&& \Rnode[href=2]{D}{0}~ \\ +\end{pmatrix} +\] +\psbrace[linewidth=0.1pt,rot=-90,nodesep=0.2](B)(A){\small n times} +\psbrace[linewidth=0.1pt,rot=-90,nodesep=0.2](D)(C){\small n times} +\end{LTXexample} + + +It is also possible to put a vertical brace around a default paragraph. This works +with setting two invisible nodes at the beginning and the end of the paragraph. +Inentation is possible with a minipage. + +\begin{framed} +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. + +\noindent\rnode{A}{} + +\vspace*{-1ex} +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. + +\vspace*{-2ex} +\noindent\rnode{B}{}\psbrace[linecolor=red](A)(B){} + +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. + +\medskip +\hfill\begin{minipage}{0.95\linewidth} +\noindent\rnode{A}{} + +\vspace*{-1ex} +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. + +\vspace*{-2ex} +\noindent\rnode{B}{}\psbrace[linecolor=red](A)(B){} +\end{minipage} +\end{framed} + +\begin{lstlisting} +\begin{framed} +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. + +\noindent\rnode{A}{} + +\vspace*{-1ex} +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. + +\vspace*{-2ex} +\noindent\rnode{B}{}\psbrace[linecolor=red](A)(B){} + +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. + +\medskip +\hfill\begin{minipage}{0.95\linewidth} +\noindent\rnode{A}{} + +\vspace*{-1ex} +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. +Some nonsense text, which is nothing more than nonsense. + +\vspace*{-2ex} +\noindent\rnode{B}{}\psbrace[linecolor=red](A)(B){} +\end{minipage} +\end{framed} +\end{lstlisting} + + +%-------------------------------------------------------------------------------------- +\section{Random dots} +%-------------------------------------------------------------------------------------- +The syntax of the new macro \verb+\psRandom+ is: + +\begin{verbatim} +\psRandom[

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+gcrat8&Y=*`B6f4]N<)-=iO]V`ggJWggA)AB?'jla#n.X]Q_EOH,s6CaIIh&gjdEcLWKCYaZ7'X+9~> + +grestore +showpage diff --git a/Master/texmf-dist/doc/generic/tex-ps/poligraf/README b/Master/texmf-dist/doc/generic/tex-ps/poligraf/README new file mode 100644 index 00000000000..7fcc57d2a25 --- /dev/null +++ b/Master/texmf-dist/doc/generic/tex-ps/poligraf/README @@ -0,0 +1,121 @@ +poligraf.sty generic macros, crops.pro and separate.pro dvips header files +Copyright (C) 1996, 2001 Janusz Marian Nowacki. Public domain. +ver. 1.0, May 1996 +ver. 1.2, April 1997 +ver. 2.0, April 2001 +------ + [Polish:] | [English:] +,,Mi/edzy \TeX-em a drukarni/a'' | ``Between \TeX{} and the printing house'' +wersja 2.0, kwiecie/n 2001 r. | version 2.0, April 2001 +------ +Cel: obs/luga strony dokumentu | Purpose: preparation of pages for +dla cel/ow drukarskich, separacje | prepress, color separation, cropmarks, +barwne, pasery, ,,lustro''. | color and gray scale bars, mirror print. +-- +Pakiet makr zaprezentowany po raz | Macro package presented for the first +pierwszy na IV konferecji polskiej | time on the Polish TeX Users Group +Grupy U/zytkownik/ow Systemu TeX | (GUST) IV-th Conference ``BachoTeX'96''. +(GUST) ,,Bacho\TeX'96''. | +Niniejsza wersja r/o/zni si/e | This package was completely rewritten, +*znacznie* od poprzedniej. | so it is *not* compatible with the + | previous version. +------ +UWAGA: Korzystanie z pakietu | In order to use the package (with +i programu GhostScript do podgl/adu| GhostScript for previewing) needs +wymaga zaistalowania fontu | Helvetica font to be installed. +Helvetica. U/zycie opcji \labeloff | If you do not have the font, use +nie wymaga posiadania tego fontu. | \labeloff toggle. +-- +Instalacja: | Installation: +- plik poligraf.sty nale/zy | - poligraf.sty should be copied to the + skopiowa/c do katalogu | directory searched by TeX, e.g. + przeszukiwanego przez TeX-a, np. | + texmf/tex/generic/tex-ps/ +- pliki crops.pro i separate.pro | - crops.pro and separate.pro should be + nale/zy skopiowa/c do katalogu | copied to the directory searched by + przeszukiwanego przez dvips, np. | dvips, e.g. + texmf/dvips/tex-ps/ +------- +Zastosowanie: | Usage: +W pliku \TeX-owym nale/zy u/zy/c | The source file should contain +polecenia (dla Plain): | for Plain: + \input poligraf.sty | \input poligraf.sty +lub (dla LaTeX): | or for LaTeX: + \usepackage{poligraf} | \usepackage{poligraf} +Polecenia powy/zsze koniecznie | The above commands should be preceded +nale/zy poprzedzi/c zdefiniowaniem | by the definition of the paper size, +rozmiar/ow papieru np: | e.g. +\special{papersize=x mm,y mm} | \special{papersize=x mm,y mm} +Inaczej przyj/ete b/ed/a warto/sci | If not specified, default parameters +domy/slne. | will be used. +------- +Separacje barwne uzyskujemy poprzez| Color separation toggle: +\NoOverPrintBlack | \NoOverPrintBlack + wy/l/aczenie naddruku obiekt/ow | turn off black overprint + czarnych (domy/slnie w/l/aczone)| (default: black overprint) +\Separate\BLACK | \Separate\BLACK + (lub \CYAN \MAGENTA \YELLOW) | (or \CYAN \MAGENTA \YELLOW) +Polecenia powy/zsze wymagaj/a | To use them, you need cmyk-hax.tex +zainstalowania pakietu cmyk-hax.tex| macros have installed: + CTAN:/macros/generic/TeX-PS/cmyk-hax/cmyk-hax.tex +------- +Dost/epne polecenia: | Available options: +(podano warto/sci domy/slne) | (default values given) +\cropmarkdistance{3} + odst/ep linii obci/ecia od | cutting distance from the sheet + arkusza (0--5 mm) | body (0--5 mm) +\cropmarksize{10} + rozmiar paser/ow (mm) | cropmarks size (in mm) +\barsize{5} + rozmiar pask/ow barwnych (mm) | color bar size (in mm) +\nocolorbars + tylko pasery i linie obci/ecia | cropmarks and registration marks only +\onlycolorbars + tylko brudziki | color bars only +\onlycolorsteps + tylko skale barwne | color steps only +\mirror + lustro | mirror +\labeloff + bez opisu na marginesie | turn off marginal label +\xoffset{?mm} +\yoffset{?mm} + przesuni/ecie uk/ladu | additional x an y offsets for + dla druku na drukarkach | printing on laser and ink printers + (nie stosowa/c dla na/swietle/n!) | (do not use it for typesetters!) +----- +Z plik/ow separate.pro i crops.pro | separate.pro and crops.pro header files +mo/zna korzysta/c pomijaj/ac | can be used without poligraf.sty. +poligraf.sty. Wystarczy wywo/la/c: | Just run: + dvips -h separate.pro -h crops.pro foo.dvi +uzyskuj/ac efekty zgodne | and you can have the results, as +z warto/sciami domy/slnymi, | default values from those files. +zawartymi w wymienionych plikach. | To use effectivelly separate.pro, +Efektywne u/zycie separate.pro | you need to copy it to the working +wymaga skopiowania tego pliku do | directory and to change the value +katalogu roboczego i odpowiedniego | of the variable color_sep +ustawienia zmiennej color_sep | +------ +Zawarto/s/c pakietu: | Contents of the package: +README ten plik | this file +poligraf.sty plik makr | the main macro file +crops.pro pliki dla dvips | header files for dvips +separate.pro | +sample.tex przyk/lad Plain | example for Plain +samplelx.tex przyk/lad LaTeX | example for LaTeX +kol-cmyk.eps prosta grafika | simple graphics file + +------ +Wszelkie uwagi s/a mile widziane | Please report any comments +przez autora. | and corrections to the author. + +Author: Janusz Marian Nowacki + 86-300 Grudziadz + ul. Sniadeckich 82/46 + tel. +48 +56 46-218-37 + Poland + e-mail: j.nowacki@gust.org.pl +------ +(distribution prepared by Staszek Wawrykiewicz ) +========================================================================== + diff --git a/Master/texmf-dist/doc/generic/tex-ps/poligraf/kol-cmyk.eps b/Master/texmf-dist/doc/generic/tex-ps/poligraf/kol-cmyk.eps new file mode 100644 index 00000000000..6feb55da4e6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/tex-ps/poligraf/kol-cmyk.eps @@ -0,0 +1,208 @@ +%!PS-Adobe-2.0 EPSF-2.0 +%%Creator: GhostScript rev. 550 +%%BoundingBox: 68.0315 463.846 280.63 677.481 +%%EndComments +%%BeginProlog +/GSexport 100 dict def GSexport begin +/h {closepath} def +/m {moveto} def +/c {curveto} def +/l {lineto} def +/k {setcmykcolor} def +/K {setcmykcolor} def +/*u {/oper_kind -1 def} def +/*U {*U*f *U*d *U*c} def +/f {/oper_kind 0 def} def +/*U*f {0 oper_kind eq {eofill} if} def +/s {closepath /oper_kind 1 def} def +/S {/oper_kind 1 def} def +/*U*d {1 oper_kind 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+%\Separate\YELLOW % or +%\Separate\BLACK + +%\xoffset{5} % additional x an y offsets for printing on standard +%\yoffset{5} % printer (do not use it for typesetters!) +%\cropmarkdistance{5} % 1--5 (default 3mm) +%\cropmarksize{10} % default 10mm +%\barsize{6} % default 6mm +%\nocolorbars % no color bars and scales +%\onlycolorsteps % color steps only +%\onlycolorbars % color bars only +%\mirror % mirror switch +%\labeloff % no page label + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\text{ +\Black{This is example of test page. This is example of test page. +This is example of test page. This is example of test page. +This is example of test page. This is example of test page.}\par +\Red{This is example of test page. This is example of test page. +This is example of test page. This is example of test page. +This is example of test page. This is example of test page.}\par +\Blue{This is example of test page. This is example of test page. +This is example of test page. This is example of test page. +This is example of test page. This is example of test page.}\par +\Green{This is example of test page. This is example of test page. +This is example of test page. This is example of test page. +This is example of test page. This is example of test page.} +} + +\text +\bigskip + +\centerline{\epsffile{kol-cmyk.eps}} +\vskip -10mm +\centerline{\bf THIS TEXT IS BLACK} + +\bye diff --git a/Master/texmf-dist/doc/generic/tex-ps/poligraf/samplelx.tex b/Master/texmf-dist/doc/generic/tex-ps/poligraf/samplelx.tex new file mode 100644 index 00000000000..38a25b51b06 --- /dev/null +++ b/Master/texmf-dist/doc/generic/tex-ps/poligraf/samplelx.tex @@ -0,0 +1,64 @@ +%% LaTeX example of poligraf.sty +\documentclass{article} +\usepackage[dvips]{color} +\usepackage[dvips]{graphicx} +\usepackage{poligraf} +%% -- +\special{papersize=190mm,277mm} +%\special{papersize=180mm,267mm} +%% -- change some options ------ +%\NoOverPrintBlack % default overprint black +%\Separate\CYAN % or +%\Separate\MAGENTA % or +%\Separate\YELLOW % or +%\Separate\BLACK + +%\xoffset{5} % additional x an y offsets for printing on standard +%\yoffset{5} % printer (do not use it for typesetters!) +%\cropmarkdistance{3} % 1--5 (default 3mm) +%\cropmarksize{10} % default 10mm +%\barsize{6} % default 6mm +%\nocolorbars % no color bars and scales +%\onlycolorsteps % color steps only +%\onlycolorbars % color bars only +%\mirror % mirror switch +%\labeloff % no page label + +\begin{document} + +\def\text{ +\textcolor{red}{This is example of test page. This is example of test page. +This is example of test page. This is example of test page. +This is example of test page. This is example of test page.}\par +{\color{blue} This is example of test page. This is example of test page. +This is example of test page. This is example of test page. +This is example of test page. This is example of test page.}\par +\textcolor{green}{This is example of test page. This is example of test page. +This is example of test page. This is example of test page. +This is example of test page. This is example of test page.}\par +\textcolor{black}{This is example of test page. This is example of test page. +This is example of test page. This is example of test page. +This is example of test page. This is example of test page.} +} + +% ----------------------------------------------------------- +\text + +\begin{figure} + \begin{center} + \includegraphics[width=0.5\hsize]{kol-cmyk} + \caption{Vector graphics. CMYK model} + \end{center} +\end{figure} + +%% ----------------------------------------------------------- +%%% put here your favourite colour photo +%%% then uncomment the following lines and test colour separations +%\eject +%\begin{figure} +%\includegraphics[width=\hsize]{my-photo.eps} +%\caption{My photo} +%\end{figure} +% ----------------------------------------------------------- + +\end{document} diff --git a/Master/texmf-dist/doc/generic/tex4ht/bugfixes.css b/Master/texmf-dist/doc/generic/tex4ht/bugfixes.css new file mode 100644 index 00000000000..b535e75e168 --- /dev/null +++ b/Master/texmf-dist/doc/generic/tex4ht/bugfixes.css @@ -0,0 +1,42 @@ + +/* start css.sty */ +.cmtt-10{font-family: monospace;} +p.noindent { text-indent: 0em } +p.nopar { text-indent: 0em; } +p.indent{ text-indent: 1.5em } +@media print {div.crosslinks {visibility:hidden;}} +a img { border-top: 0; border-left: 0; border-right: 0; } +center { margin-top:1em; margin-bottom:1em; } +td center { margin-top:0em; margin-bottom:0em; } +.Canvas { position:relative; } +img.math{vertical-align:middle;} +.obeylines-h,.obeylines-v {white-space: nowrap; } +div.obeylines-v p { margin-top:0; margin-bottom:0; } +.overline{ text-decoration:overline; } +.overline img{ border-top: 1px solid black; } +td.displaylines {text-align:center; white-space:nowrap;} +.centerline {text-align:center;} +.rightline {text-align:right;} +span.TEX {letter-spacing: -0.125em; } +span.TEX span.E{ position:relative;top:0.5ex;left:-0.0417em;} +a span.TEX span.E {text-decoration: none; } +.underline{ text-decoration:underline; } +.underline img{ border-bottom: 1px solid black; margin-bottom:1pt; } +div.proclaim { margin-top: 1em; margin-bottom: 1em; } +p.item {text-indent:-2em; margin-left:2em;} +p.itemitem {text-indent:-2em; margin-left:4em;} +span.item, span.itemitem {width:2em; margin-right:0.4em;} +td.eqalign3 { text-align:right; margin-left:10em;} +.eqalign td { white-space: nowrap; } +div.eqalign {text-align:center;} +td.eqalignno3, td.leqalignno3 { text-align:right; margin-left:10em;} +.leqalignno td, .eqalignno td { white-space: nowrap; } +.leqalignno td.noalign, .eqalignno td.noalign { width:5%; white-space: normal; } +table.leqalignno, table.eqalignno {width:100%;} +img.cdots{vertical-align:middle;} +div.pmatrix {text-align:center;} +div.Verbatim { font-family: monospace; white-space: nowrap; } +body .Verbatim { margin: 1em; } +h2 {color:white; background:black; font-style:italic; } +dt {font-weight:bold} +/* end css.sty */ diff --git a/Master/texmf-dist/doc/generic/tex4ht/bugfixes.html b/Master/texmf-dist/doc/generic/tex4ht/bugfixes.html new file mode 100644 index 00000000000..70b29f27e74 --- /dev/null +++ b/Master/texmf-dist/doc/generic/tex4ht/bugfixes.html @@ -0,0 +1,135 @@ + + + + + + + bugfixes.html + + + + + + + + +

Contents

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WЮr6oy"(,;m6@ -JrHkFoڔm~\̖Ͷ:5.xW>R!u dEazE`D>\Prt Q2R$ޖ;=u}hฑ%uu9Rr,QRJL'HWCFV2[yԟ7$֫>)!r# NqIt׎'CΕq an"6FlD;I\lQ^.H=F[,G8`G(LxxԯN')^ 8xFǜy0dw2gڦ {2vja/V?v[ π 鶏 aptDkKDV?tlBqqX +ZWXbE,9S Z|Ӥ ,ZCxd Wt6Ʈ 23"0cI#N7.OI;~ܻ󢽷`S̄,4@l+ZER rTU#@T=D&:E[B hԞ{OOWng=RbiqXdf ͈N~ZowZ]OA m~[muRrbkND3!|q8_ *UkzSvawcA@'Qnz5t>OthEsJ D 󃡄ma1{X/8tr5 a\y&(kJcBӅVZ3QoW)='z<Fҕ?Ku2y~g]<ը%{/"WB=ޗw#EF3^ΊJ*\ %|SAvoS"Y7 F$wؗbh{\5Fd l-lZL$ݟj>(EIh|*"e2ZI 5Ɏa[IߘZڴ_[9B aڳS ˆ2d1l-Nb䱗 ! L6e,#ժL +y'7xOLe/^ܢQ}'`Kb2wv[פq{G{) T|gu0f>|F_=ƩEb +XEPB#xg j>6׼s"*-Es dBЫR>wvm2ΉOx֞ck1~܆Qtڝ>AԒV¬{&iV/&OTin~j.J7:1ZF^Zc#e W ƶfH'ag|!w?N3\2J2|:!o.*)f[I8eR)W>wxsje>"MU Mlߓ.,wr/#DW +%I>w:=w%5S.ha;^akRVCa+7,: kEvF!xsr: +Ѹ33mgN_2u:w\%B_ +aZe80qa.E'2);E J =p")x?5XW86iUBC-(\H\XJ*F+hXP+E2^::pz`DLO3h,9z]9Kj7$] .vXf^}d ߸SV`Rgg0W + +2v9ذD8sO(/Pg!,UٟY돗'6Ǖ=Iّ-5]dM1}R6HY܈T3!W̴T8h-,^D1|tNxޅw~&X'ɫ!,؞<;y!zT-R%Ÿ6I!DG/Fy~@U +"xƅijek(3m?4iɏci0}ZԝuFR2\8nϦI"ѷn9&1>mҗ?_)EFWzaC+%|f8NOy1F3a;pcؒ/(4RP};D (@":FU*쬴^pK+VM d 2`9ao)^w鶬id/}*VZizⴚc4;ELK`[ky:h~%H9 Aܛ듔YWt.Q$3oYm, g 5N08{|5#BPg R@w{>j]gm;X<@N3SL&ļX(Xg~7}"^֑fT 3v1hUW0J8S_$/}l*Kq"=@T}j75>_XD +PhJbNw邓9?k=hPYwZmP1 5u!R66Yphk Uoj(BPp"j;1)E YLLdHh(n|䘟tzi҃?ڗf-XqV +{ nC R}y] *S|`V*aJmiHd#[%pqNW.Gc @}zpouoZ~ X;L{yYi{f/[U-n""-jCg[{׹(`]nAky>y3/R(OD4ꝤCH_E}O?aՖ^-)w&I_8UQޣ.XKDa&f8xs቉A\ӓ?ߐ˜&{jog&OT|޴+{<_w֣g s]ʈM0 éBJ[]>mdֻs +2ت{+M[ķSϔW=T1nYŭijt2+,'de\ǣ>OQzMYt-8*ϴm*6>߷γ>qvD*8_Up⎍o~m z}ܺdi̻߱=g1+bsz߬Ya)L9+)K&neʔCbJOHE&ۯ4_qmgޢ9ՎU뵪 '0-5[n4Siwm|GñI9I";BߴXI/J)[sy)O"O)<.kԞG_lj[P2_ss:->Zfͻya47{#AskԀaa@rNjbQI~nbQ6)Fendstream +endobj +386 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 1161 0 R +/FirstChar 35 +/LastChar 125 +/Widths 1167 0 R +/BaseFont /TIJINK+NimbusMonL-Regu-Extend_850 +/FontDescriptor 384 0 R +>> endobj +384 0 obj << +/Ascent 625 +/CapHeight 557 +/Descent -150 +/FontName /TIJINK+NimbusMonL-Regu-Extend_850 +/ItalicAngle 0 +/StemV 41 +/XHeight 0 +/FontBBox [-12 -237 650 811] +/Flags 4 +/CharSet (/numbersign/percent/quoteright/parenleft/parenright/asterisk/plus/comma/hyphen/period/slash/zero/one/two/three/four/five/six/seven/eight/nine/colon/semicolon/less/equal/greater/at/A/B/C/D/E/F/G/M/N/O/P/R/S/T/X/bracketleft/backslash/bracketright/underscore/a/b/c/d/e/f/g/h/i/j/k/l/m/n/o/p/q/r/s/t/u/v/w/x/y/z/braceleft/braceright) +/FontFile 385 0 R +>> endobj +1167 0 obj +[510 0 510 0 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 0 510 510 510 510 510 510 510 510 0 0 0 0 0 510 510 510 510 0 510 510 510 0 0 0 510 0 0 510 510 510 0 510 0 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 510 0 510 ] +endobj +383 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 1161 0 R +/BaseFont /Helvetica +>> endobj +373 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 1161 0 R +/BaseFont /Times-Bold +>> endobj +370 0 obj << +/Length1 916 +/Length2 1345 +/Length3 532 +/Length 1991 +/Filter /FlateDecode +>> +stream +xRkXgE[DPD1"A)IH5Q@ xkI2Lb2DV`$,EJUpQk* "w䢱+bA,V"7qkڧ3}9 7؉Qo1N84p@;;L{A@77`,gJ8bRY6Ir"TC3`Ha %4-A'd@*C(B `0| '<1%HT*#Ee)B%< +=@LޅJ>- + )C"L!I**?o&}8_N +ÅdޘE $S}G>B7%ݲ\@.S5&]b +``$|}8,F083WT +)) GP*Ht.&#iM K)2T2+18i!8T$z.4LA*x? 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+\documentclass[letterpaper]{article} + +\usepackage{pslatex} + +\usepackage{mfpdoc} +\pagestyle{mfpdoc} +\usepackage{verbatim} +\usepackage{makeidx} +\makeindex + +\ifpdf +\usepackage[pdftex,colorlinks,pdfpagemode=none,pdfstartview=FitH,% +plainpages=false,hypertexnames=true]{hyperref} +\pdfstringdefDisableCommands{\def\cs#1{\otherbackslash#1}% + \def\opt#1{#1}\def\prog#1{#1}} +\fi + +\title{\Mfp: Pictures in \TeX\\ with Metafont and MetaPost} +\author{Dr Thomas E. Leathrum +\and Geoffrey Tobin\thanks{\email{G.Tobin@latrobe.edu.au}} +\and Daniel H. Luecking\thanks{\email {luecking@uark.edu}}} +\date{\mfpdate} + +\begin{document} + +\pagenumbering{roman} +\maketitle +\tableofcontents + +\clearpage +\pagenumbering{arabic} + +\section{Introduction}\label{introduction} + +\subsection{Why?}\label{why} + +Tom got the idea for \mfp% + \footnote{If you're wondering how to pronounce `\mfp': I always say + `em-eff-\textbf{pick}', speaking the first two letters. ---DHL.} % +mostly out of a feeling of frustration. Different output mechanisms for +printing or viewing \TeX{} DVI files each have their own ways to include +pictures. More often than not, there are provisions for including +graphic objects into a \prog{DVI} file using \TeX{} \cs{special}'s. +However, this technique seemed far from \TeX's ideal of +device independence because different \TeX{} output drivers recognize +different \cs{special's}, and handle them in different ways. + +\LaTeX's \env{picture} environment has a hopelessly limited supply of +available objects to draw---if you want to draw a graph of a polynomial +curve, you're out of luck. + +There was, of course, \PiCTeX, which is wonderfully flexible and general, +but its most obvious feature was its speed---or rather lack of it. +Processing a single picture in \PiCTeX{} could often take several seconds. + +It occurred to Tom that it might be possible to take advantage of the +fact that \MF{} is \emph{designed} for drawing things. The result of +pursuing this idea is \mfp, a set of macros for \TeX{} and +\MF{} which incorporate \MF-drawn pictures into a \TeX{} file. + +With the creation of \MP{} by John Hobby, and the almost universal +availability of free \PS{} interpreters like \GS, some \mfp{} users +wanted to run their \mfp{} output through \MP, to produce \PS{} +pictures. Moreover, users wanted to be able to use \pdfTeX, which does +not get along well with PK fonts, but is quite happy with \MP{} +pictures. Unfortunately \file{grafbase.mf}, which contained the \MF{} +macros responsible for processing \mfp's output, was far too +pixel-oriented for \MP. A new file, \file{grafbase.mp} was created, +based very heavily on \file{grafbase.mf} but compatible with \MP. Now +when an \mfp{} output file says \mfc{input grafbase}, either \MF{} or +\MP{} may be run on it, and each program will select its own macros, and +produce (nearly) the same picture. This gets us away from device +independence, but many users were not so much concerned with that as +with having a convenient way to have text and pictures described in the +same document. + +With the extra capabilities of \PS{} (e.g., color) and the corresponding +abilities of \MP, there was a demand for some \mfp{} interface to +access them. Consequently, switches (options) have been added to access +some of them. When these are used, output files may no longer be +compatible with \MF. + +\subsection{Who?}\label{author} + +\Mfp{} was written primarily by Tom Leathrum during the late +(northern hemisphere) spring and summer of 1992, while at Dartmouth +College. Different versions were being written and tested for nearly two +years after that, during which time Tom finished his Ph.D. and took a +job at Berry College, in Rome, GA. Between fall of 1992 and fall of +1993, much of the development was carried out by others. Those who +helped most in this process are credited in the Acknowledgements. + +Somewhere in the mid 1990's the development passed to Geoffrey Tobin who +kept things going for several years. + +The addition of \MP{} support was carried out by Dan Luecking around +1997--99. He is also responsible for all other additions and changes +since then, with help from Geoffrey and a few others mentioned in the +Acknowledgements. + +\subsection{What?}\label{manifest} + +See \file{README.txt} for a list and a brief explanation of each of +the files. Only five are actually needed for full access to +\mfp's capabilities: \file{mfpic.tex}, \file{mfpic.sty} (the +latter needed only for \LaTeX's \cs{usepackage}), \file{grafbase.mf} +(needed only if \MF{} will be processing the figures), +\file{grafbase.mp} and \file{dvipsnam.mp} (needed only if \MP{} will be +the processor). + +The readme file that accompanies \mfp{} gives some guidence on the +proper location for the installation of these files. + +\subsection{How?}\label{process} + +Setting up \TeX{} and \MF{} to process these files will, to an extent, +depend on your local installation. The biggest problem you are likely to +have, regardless of your installation, will be convincing \TeX{} and its +output drivers to find \MF's output files. You should do whatever is +necessary (perhaps nothing!) to insure that \TeX{} looks in the current +directory for \file{.tfm} files, and that your dvi driver/viewer looks +in the current directory for \file{.pk} files. If you process your +pictures with \MP{} there is nothing to do in this regard. + +Here is an example of the process: for the sample file +\file{pictures.tex}% + \footnote{Read \file{mfpguide.pdf} for examples of minimal \mfp{} + input files.}, % +first run \TeX{} on it (or run \LaTeX{} on \file{lapictures.tex}). You +may see a message from \mfp{} that there is no file \file{pics.tfm}, but +\TeX{} will continue processing the file anyway. When \TeX{} is +finished, you will now have a file called \file{pics.mf}. This is the +\MF{} file containing the descriptions of the pictures for +\file{pictures.tex}. You need to run \MF{} on \file{pics.mf}, with +\cs{mode:=localfont} set up. (Read your \MF{} manual to see how to do +this.% + \footnote{If you are new to running \MF, the document + \textit{Metafont for Beginners}, by \hbox{Geoffrey Tobin}, is a good + start. Fetch \file{CTAN/info/metafont-for-beginners.tex}. + `\file{CTAN}' means the Comprehensive \TeX{} Archive Network. You + can find the mirror nearest you by pointing your browser at + \file{http://www.ctan.org/}.}) % +Typically, you just type +\begin{verbatim} + mf pics.mf +\end{verbatim} +or, to use a particular printer mode such as \texttt{ljfour}, possibly +something like +\begin{verbatim} + mf '\mode:=ljfour; input pics.mf' +\end{verbatim} +This produces a \file{pics.tfm} file and a GF file with a name something +like \file{pics.600gf}. The actual number may be different and the +extension may get truncated on some file systems. Then you run +\prog{gftopk} on the GF file to produce a PK font file. (Read your +\prog{gftopk} manual on how to do this.) Typically, you just run +\begin{verbatim} + gftopk pics.600gf +\end{verbatim} +(or possibly \ \verb$gftopk pics.600gf pics.600pk$ \ or \ +\verb$gftopk pics.600gf pics.pk$ ). + +Now you have the font (the \file{.pk} file) and font metric file (the +\file{.tfm}) generated by \MF, reprocess the file \file{pictures.tex} +with \TeX. The resulting DVI file should now be complete, and you should +be able to print and view it at your computer (assuming your viewer and +print driver have been set up to be able to find the PK font generated +from \file{pics.mf}). You can delete \file{pics.600gf} and +\file{pics.log}. + +If you use \mfp{} with the \opt{metapost} option (this would require you +to edit \file{pictures.tex} or \file{lapictures.tex}. See +chapter~\ref{options} for how to do this), then \file{pics.mp} is +produced, and you need to replace the \MF/\prog{gftopk} steps with the +single step of running \MP. (Read your \MP{} documentation on how to do +this.% + \footnote{The document \textit{Some experiences on running Metafont + and MetaPost}, by Peter Wilson, can be useful for beginners. Fetch + \file{CTAN/info/metafp.pdf}.}) % +Typically just +\begin{verbatim} + mpost pics.mp +\end{verbatim} +or possibly \ \verb$mp pics.mp$ . + +After reprocessing \file{pictures.tex} with \TeX{} you should then be +able to run dvips on the resulting DVI file and print or view its \PS{} +output. It \pdfTeX{} is used instead of \TeX{} on the second run, you +should be able to view the resulting PDF file with the pictures +included. + +It is not advisable to rely on automatic font generation to create the +\file{.tfm} and \file{.pk} files. (Different systems do this in +different ways, so here I will try to give a generic explanation.) The +reason: later editing of a figure will require new files to be built, +and most automatic systems will \emph{not} remake the files once they +have been created. This is not so much a problem with the \file{.tfm}, +as \mfp{} never tries to load the font if the \file{.tfm} is absent and +therefore no automatic \file{.tfm}-making should ever be triggered. +However, if you forget to run \prog{gftopk}, then try to view your +resulting file, you may have to search your system and delete some +automatically generated \file{.pk} file (they can turn up in +unpredictable places) before you can see any later changes. It might +be wise to write a shell script (batch file) that (1)~runs \MF, (2)~runs +\prog{gftopk} if step~1 returns no error, (3)~deletes the \file{.tfm} if +the \file{.pk} file does not exist. That way, if anything goes wrong, +the \file{.dvi} will not contain the font (\mfp{} will draw a rectangle +and the figure number in place of the figure). + +These processing steps---processing with \TeX, processing with +\MF/\prog{gftopk}, and reprocessing with \TeX---may not always be +necessary. In particular, if you change the \TeX{} document without +making any changes at all to the pictures, then there will be no need to +repeat the \MF{} or \MP{} steps. + +There are also somewhat subtle circumstance under which you can skip the +second \TeX{} step after editing a file that has gone through the above +process. Listing the exact cirumstances is rather involved, so it is +recommended that you always repeat the \TeX{} step if changes have been +made. + +What makes \mfp{} work? When you run \TeX{} on the file +\file{pictures.tex}, the \mfp{} macros issue \TeX{} \cs{write +commands}, writing \MF{} (or \MP) commands to a file \file{pics.mf} (or +\file{pics.mp}). The user should never have to read or change the +file \file{pics.mf} directly---the \mfp{} macros take care of it. + +The enterprising user can determine by examining the \mfp{} source and +the resulting \MF{} file, that \mfp{} drawing macros translate almost +directly into similar \MF/\MP{} commands, defined in one of the files +\file{grafbase.mf} or \file{grafbase.mp}. The labels and +captions, however, are placed on the graph by \TeX{} using box +placement techniques similar to those used in \LaTeX's \env{picture} +environment (except when option \opt{mplabels} is in effect, in which +case \MP{} places the labels). + + +\clearpage +\section{Options.}\label{options} + +There are now several options to the \mfp{} package. These can be listed +in the standard \LaTeX{} \cs{usepackage} optional argument, or can be +turned on with certain provided commands (the only possibility for plain +\TeX). Some options can be switched off and on throughout the document. +Here we merely list them and provide a general description of their +purpose. More details may be found later in the discussion of the +features affected. The headings below give the option name, the +alternative macro and, if available, the command for turning off the +option. Any option not among those given below will be passed on to the +\prog{graphics} package, provided the \opt{metapost} option has been +used. + +If the file \file{mfpic.cfg} exists, it will be input just before all +options are processed. You can create such a file containing an +\cs{ExecuteOptions} command to execute any options you would like to +have as default. Actual options to \cs{usepackage} will override these +defaults, of course. And so will any of the commands below. + +If the file \file{mfpic.usr} exists, it will be input at the end of the +loading of \mfp. The user can create such a file containing any of the +commands of this section that he would like to have as default. + +\subsection{\opt{metapost}, \cs{usemetapost}}\label{metapost} +\index{metapost@\opt{metapost}}\index{usemetapost@\cs{usemetapost}} + +Selects \MP{} as the figure processor and makes specific features +available. It changes the extension used on the output file to +\file{.mp} to signal that it can no longer be processed with \MF. There +is also a \opt{metafont} option (command \cs{usemetafont}), but it is +redundant, as \MF{} is the default. Either command must come before the +\cs{opengraphsfile} command (see section~\ref{files}). They should not +be used together in the same document. (Actually, they can but one needs +to close one output file and open another. Moreover, it hasn't ever been +seriously tested, and it wasn't taken into consideration in writing most +of the macros.) If the command form \cs{usemetapost} is used in a +\LaTeXe{} document, it must come in the preamble. Because of the timing +of actions by the \prog{babel} package and by older versions of +\file{supp-pdf.tex} (input by \file{pdftex.def} in the \prog{graphics} +package), when \pdfLaTeX{} is used \mfp{} should be loaded and +\cs{usemetapost} (if used) declared before \prog{babel} is loaded. + + +\subsection{\opt{mplabels}, \cs{usemplabels}, +\cs{nomplabels}}\label{mplabels} +\index{mplabels@\opt{mplabels}}\index{usemplabels@\cs{usemplabels}}% +\index{nomplabels@\cs{nomplabels}} + +Causes all label creation commands to write their contents to the output +file. It has no effect on the \cs{tcaption} command. In this case labels +are handled by \MP{} and can be rotated. It requires \MP, and will be be +ignored without it (\MF{} cannot handle labels). It may also produce an +error either from \TeX{} or \MF. Otherwise the commands can come +anywhere and affect subsequent \cs{tlabel} commands. When this is in +effect, the labels become part of the figure and, in the default +handling, they may be clipped off or covered up by later drawing +elements. But see the next section on the \opt{overlaylabels} option. +Labels added to a picture contribute to the bounding box even if +\opt{truebbox} is not in effect. + +The user is responsible for adding the appropriate \mfc{verbatimtex} +header to the output file if necessary. For this purpose, there is the +\cs{mfpverbtex} command, see section~\ref{labels}. If +the label text contains only valid plain \TeX{} macros, there is +generally no need for a \mfc{verbatimtex} preamble at all. If you add a +\mfc{verbatimtex} preamble of \LaTeX{} code take care to make sure \MP{} +calls \LaTeX{} (for example, by setting the environmental variable +\texttt{TEX} to \texttt{latex} in the command shell of your operating +system.). + + +\subsection{\opt{overlaylabels}, \cs{overlaylabels}, \cs{nooverlaylabels}} +\label{overlaylabels} +\index{overlaylabels@\opt{overlaylabels}}% +\index{overlaylabels@\cs{overlaylabels}}% +\index{nooverlaylabels@\cs{nooverlaylabels}} + +In the past, under \opt{mplabels} all text labels created by \cs{tlabel} +and its relatives were added to the picture by \MP{} \emph{as they +occurred}. This made them subject to later drawing commands: they could +be covered up, erased, or clipped. With this option (or after the +command \cs{overlaylabels}) text labels are saved in a separate place +from the rest of a picture. When a picture is completed, the labels that +were saved are added on top of it. This is the way labels always behave +under the \opt{metafont} option, because then \TeX{} must add the labels +and there is no possibility for special effects involving clipping or +erasing (at the \MF{} level). + +With the \opt{metapost} option, but without \opt{mplabels} it has been +decided to keep the same behavior (and the same code) as under the +\opt{metafont} option. However, when \opt{mplabels} is used, there is +the possibility for special effects with text, and it has always been +the behavior before this version to simply place the labels as they +occurred. It turns out that placing the labels at the end is cleaner and +simpler to code, so I experimented with it and rejected it as a default, +but now offer it as an option. With this option, \mfp{} labels have +almost the same behavior with or without \opt{mplabels}. + + +\subsection{\opt{truebbox}, \cs{usetruebbox}, +\cs{notruebbox}}\label{truebbox} +\index{truebbox@\opt{truebbox}}\index{usetruebbox@\cs{usetruebbox}}% +\index{notruebbox@\cs{notruebbox}} + +Normally \MP{} outputs an EPS file with the actual bounding box of the +figure. By default, \mfp{} \emph{overrides} this and sets the bounding +box to the dimensions specified by the \cs{mfpic} command that produced +it. (This used to be needed for \TeX{} is to handle \cs{tlabel} commands +correctly. Now, it is just for backward compatability, and for +compatability with \MF's behavior.) It is reasonable to let \MP{} have +its way, and that is what this option does. If one of the command forms +is used in an \env{mfpic} environment, it affects only that environment, +otherwise it affects all subsequent figures. This option currently has +no effect with \MF, but should cause no errors. + + +\subsection{\opt{clip}, \cs{clipmfpic}, \cs{noclipmfpic}}\label{clip} +\index{clip@\opt{clip}}\index{clipmfpic@\cs{clipmfpic}}% +\index{noclipmfpic@\cs{noclipmfpic}} + +Causes all parts of the figure outside the rectangle specified by the +\cs{mfpic} command to be removed. The commands can come anywhere. If +issued inside an \env{mfpic} environment they affect the current figure +only. Otherwise all subsequent figures are affected. Note: this is a +rather rudimentary option. It has an often unexpected interaction with +truebbox. When both are in effect, \MP{} will produce a bounding box +that is the intersection of two rectangles: the true one \emph{without +clipping}, and the box specified in the \cs{mfpic} command. It is +possible that the actual figure will be much smaller (even empty!). This +is a property of the \MP{} \gbc{clip} command and we know of no way to +avoid it. + + +\subsection{\opt{centeredcaptions}, \cs{usecenteredcaptions}, +\cs{nocenteredcaptions}}\label{centeredcaptions} +\index{centeredcaptions@\opt{centeredcaptions}}% +\index{usecenteredcaptions@\cs{usecenteredcaptions}}% +\index{nocenteredcaptions@\cs{nocenteredcaptions}} + +Causes multiline captions created by \cs{tcaption} to have all lines +centered. This has no effect on the normal \LaTeX{} \cs{caption} +command.% + \footnote{This writer [DHL] feels that \cs{tcaption} is too limited + and users ought to apply the caption by other means, such as + \LaTeX's \cs{caption} command, outside the \env{mfpic} + environment.} % +The commands can be issued anywhere. If inside an \env{mfpic} +environment they should come before the \cs{tcaption} command and affect +only it, otherwise they affect all subsequent figures. + +\subsection{\opt{debug}, \cs{mfpicdebugtrue}, +\cs{mfpicdebugfalse}}\label{debug} +\index{debug@\opt{debug}}\index{mfpicdebugtrue@\cs{mfpicdebugtrue}}% +\index{mfpicdebugfalse@\cs{mfpicdebugfalse}} + +Causes \mfp{} to write a rather large amount of information to the +\file{.log} file and sometimes to the terminal. Debug information +generated by \file{mfpic.tex} \emph{while loading} is probably of +interest only to developers, but can be turned on by giving a definition +to the command \cs{mfpicdebug} prior to loading. + +\subsection{\opt{clearsymbols}, \cs{clearsymbols}, \cs{noclearsymbols}} +\index{clearsymbols@\opt{clearsymbols}} +\index{clearsymbols@\cs{clearsymbols}} +\index{noclearsymbols@\cs{noclearsymbols}} + +\Mfp{} has two commands, \cs{point} and \cs{plotsymbol} that place a +small symbol at each of a list of points. The first can place either a +small filled disk or an open disk, the choice being dictated by the +setting of the boolean \cs{pointfilltrue} or \cs{pointfillfalse}. The +behavior of \cs{point} in the case of \cs{pointfillfalse} is to erase the +interior of the disk in addition to drawing its circumference. + +The second command \cs{plotsymbol} can place a variety of shapes, some +open, some not. Its behavior until now was always simply to draw the +shape without erasing the interior. Two other commands that placed these +symbols, \cs{plotnodes} and \cs{plot}, had the same behavior. With this +option, two of these, \cs{plotsymbol} and \cs{plotnodes}, will erase the +interior of the open symbols before drawing them. Thus +\cs{plotsymbol}\marg{SolidCircle} still works just like +\cs{pointfilltrue}\cs{point}, and now with this option +\cs{plotsymbol}\marg{Circle} behaves the same as +\cs{pointfillfalse}\cs{point}. The \cs{plot} command is unaffected by +this option. + + +\subsection{\opt{draft}, \opt{final}, \opt{nowrite}, \cs{mfpicdraft}, + \cs{mfpicfinal}, \cs{mfpicnowrite}}\label{draft} +\index{draft@\opt{draft}}\index{final@\opt{final}}% +\index{nowrite@\opt{nowrite}}\index{mfpicdraft@\cs{mfpicdraft}}% +\index{mfpicfinal@\cs{mfpicfinal}}\index{mfpicnowrite@\cs{mfpicnowrite}} + +Under the \opt{metapost} option, the various macros that include the +\EPS{} files emit rather large amounts of confusing error messages when +the files don't exist (especially in \LaTeX). For this reason, before +each picture is placed, \mfp{} checks for the existence of the +graphic before trying to include it. However, on some systems checking +for the existence of a nonexistent file can be very slow because the +entire \TeX{} search path will need to be checked. Therefore, \mfp{} +doesn't even attempt any inclusion on the first run. The first run is +detected by the non-existence of \file{\meta{file}.1}, where \meta{file} +is the name given in the \cs{opengraphsfile} command (but see also +section~\ref{files}). These options can be used to override this +automatic detection. All the command versions should come \emph{before} +the \cs{opengraphsfile} command. The \cs{mfpicnowrite} command +\emph{must} come before it. + +These options might be used if, for example, the first figure has an +error and is not created by \MP, but you would like \mfp{} to go +ahead and include the remaining figures. Then use \opt{final}. It can +also be used to override a \LaTeX{} global \opt{draft} option. Or if +\file{\meta{file}.1} exists, but other figures still have errors and you +would like several runs to be treated as first runs until \MP{} has +stopped issuing error messages, then use \opt{draft}. These commands +also work under the \opt{metafont} option, but time and error messages +are less of an issue then. If all the figures have been created and +debugged, some time might be saved (with either \opt{metafont} or +\opt{metapost}) by not writing the output file again, then \opt{nowrite} +can be used. + + +\subsection{Option Scoping Rules}\label{scoping} + +Some of these options merely change \TeX{} behavior, others write +information to the output file for \MF{} or \MP. Changes in \TeX{} +behavior obey the normal \TeX{} grouping rules, the information written +to the output file obeys \MF{} grouping rules. Since each \env{mfpic} +environment is both a \TeX{} group and (corresponds to) a \MF{} group, +the following always holds: use of one of the command forms inside of an +\env{mfpic} environment makes the change local to that environment. + +An effort has been made (as of version 0.7) to make this universal. That +is, any of the commands listed above for turning options on and off will +be global when issued outside an \env{mfpic} environment. The debug +commands are exceptions; they obey all \TeX{} scoping rules. + +We have also tried to make all other \mfp{} commands for changing the +various parameters follow this rule: local inside \env{mfpic} +environment, global outside. However, as of this writing I don't +claim to have caught every one. + +The following are special: +\cs{usemetapost}\index{usemetapost@\cs{usemetapost}}, +\cs{usemetafont}\index{usemetafont@\cs{usemetafont}}, +\cs{mfpicdraft}\index{mfpicdraft@\cs{mfpicdraft}}, +\cs{mfpicfinal}\index{mfpicfinal@\cs{mfpicfinal}}, +and +\cs{mfpicnowrite}\index{mfpicnowrite@\cs{mfpicnowrite}}. +Their effects are always global, partly because they should occur prior +to the initialization command \cs{opengraphsfile} (described in +section~\ref{files}). Note that \cs{usemetapost} may cause a file of +graphic inclusion macros to be input. If this command is issued inside a +group, some definitions in that file may be lost, breaking the graphic +inclusion code. + +\clearpage +\section{The Macros.}\label{macros} + +In these descriptions we will often refer to `\MF{}' when we really mean +`\MF{} or \MP{}'. This will especially be the case whenever we need to +refer to commands in the two languages which are substantially the same, +but occasionally we will even talk about running `\MF{}' when we mean +running one or the other to process the figures. If we need to +discriminate between the two processors, (for example when they have +different behavior) we will make the difference explicit. + +A similar shorthand is used when referring to \TeX{}. It should not be +taken to mean plain\TeX, but rather whatever version of \TeX{} is used +to process the source file: \LaTeX, \pdfTeX, \pdfLaTeX, etc. + +Many of the commands of \mfp{} have optional arguments. These are +denoted just as in \LaTeX, with square brackets. Thus, the command for +drawing a circle can be given +\begin{ex} + \cs{circle}\marg{(0,0),1} +\end{ex} +having only the mandatory argument, or +\begin{ex} + \cs{circle}\oarg{p}\marg{(0,0),1} +\end{ex} +Whenever an optional argument is omitted, the behavior is equivalent to +some choice of the optional argument. In this example, the two forms +have exactly the same behavior, drawing a circle centered at $(0,0)$ +with radius $1$. In this case we will say that \oarg{p} is the +\emph{default}. Another example is \cs{point}\marg{(1,0)} versus +\cs{point}\oarg{3pt}\marg{(1,0)}. They both place a dot at the point +$(1,0)$. The second one explicitly request that it have diameter +\dim{3pt}; the first will examine the length command \cs{pointsize}, +which the user can change, but it is initialized to \dim{2pt}. In this +case we will say the default is the value of \cs{pointsize}, +\emph{initially \dim{2pt}}. + +Optional arguments for \mfp{} commands may consist of empty brackets +(completely empty, no spaces) and the default will be used. This is +useful only for commands that have two optional arguments and one only +wants to change from the defaults in the second one. An optional +argument should normally not contain any spaces. Even when the argument +contains more than one piece of data, spaces should not separate the +parts. In many cases (perhaps most) this will cause no harm, but it +would be better to avoid doing it altogether. + + +\subsection{Files and Environments.}\label{files} + +\begin{cd} +\cs{opengraphsfile}\marg{\meta{file}}\\ + \ $\ldots$\\ +\cs{closegraphsfile}% +\index{opengraphsfile@\cs{opengraphsfile}}% +\index{closegraphsfile@\cs{closegraphsfile}} +\end{cd} + +These macros open and close the \MF{} or \MP{} file which will contain +the pictures to be included in this document. The name of the file will +be \file{\meta{file}.mf} (or \file{\meta{file}.mp}). Do \emph{not} +specify the extension, which is added automatically. + +\emph{Note}: This command will cause \file{\meta{file}.mf} or +\file{\meta{file}.mp} to be overwritten if it already exists, so be sure +to consider that when selecting the name. Repeating the running of +\TeX{} will overwrite the file created on previous runs, but that should +be harmless. For if no changes are made to \env{mfpic} environments, the +identical file will be recreated, and if changes have been made, then +you want the file to be replaced with the new version. + +It is possible (but \emph{has not} been seriously tested) to close one +file and open another, and even to change between \opt{metapost} and +\opt{metafont} in between. If anything goes wrong with this, contact the +maintainer and it might be fixed in some later version. + +\begin{cd} +\cs{mfpic}\oarg{\meta{xscale}}\oarg{\meta{yscale}}% + \marg{\meta{xmin}}\marg{\meta{xmax}}\marg{\meta{ymin}}\marg{\meta{ymax}}\\ + \ $\ldots$\\ +\cs{endmfpic}% +\index{mfpic@\cs{mfpic}}\index{endmfpic@\cs{endmfpic}} +\end{cd} + +These macros open and close the \env{mfpic} environment in which most of +the rest of the macros make sense. The \cs{mfpic} macro also sets up the +local coordinate system for the picture. The \meta{xscale} and +\meta{yscale} parameters establish the length of a coordinate system +unit, as a multiple of the \TeX{} dimension \cs{mfpicunit}. If neither +is specified, both are taken to be 1 (i.e., each coordinate system unit +is 1 \cs{mfpicunit}). If only one is specified, then they are assumed to +be equal. The \meta{xmin} and \meta{xmax} parameters establish the lower +and upper bounds for the $x$-axis coordinates; similarly, \meta{ymin} +and \meta{ymax} establish the bounds for the $y$-axis. These bounds are +expressed in local units---in other words, the actual width of the +picture will be $(\meta{xmax}-\meta{xmin})\cdot\meta{xscale}$ times +\cs{mfpicunit}, its height $(\meta{ymax}-\meta{ymin})\cdot\meta{yscale}$ +times \cs{mfpicunit}, and its depth zero. One can scale all pictures +uniformly by changing \cs{mfpicunit}, and scale an individual picture by +changing \meta{xscale} and \meta{yscale}. After loading \mfp, +\cs{mfpicunit} has the value \dim{1pt}. One \texttt{pt} is a +\emph{printer's point}, which equals 1/72.27 inches or 0.35146 +millimeters. + +\emph{Note}: Changing \cs{mfpicunit} or the optional parameters will +scale the coordinate system, but not the values of certain parameters +that are defined in absolute units. Examples of these are the default +width of the drawing pen, the default lengths of arrowheads, the default +sizes of dashes and dots, etc. If you wish, you can set these to +multiples of \cs{mfpicunit}, but it is difficult (and probably unwise) +to get them to scale along with the scale parameters. + +In addition to establishing the coordinate system, these scales and +bounds are used to establish the metric for the \MF{} character or +bounding box for the \MP{} figure described within the environment. If +any of these parameters are changed, the \file{.tfm} file (\MF) or the +bounding box (\MP) will be affected, so you will have to be sure to +reprocess the \TeX{} file after processing the \file{.mf} or \file{.mp} +file, even if no other changes are made in the figure. + +\begin{cd} +\cs{mfpicnumber}\marg{\meta{num}}% +\index{mfpicnumber@\cs{mfpicnumber}} +\end{cd} + +Normally, \cs{mfpic} assigns the number 1 to the first \env{mfpic} +environment, after which the number is increased by one for each new +\env{mfpic} environment. This number is used internally to include the +picture. It is also transmitted to the output file where it is used as +the argument to a \gbc{beginmfpic} command. In \MF{} this number becomes +the position of the character in the font file, while in \MP{} it is the +extension on the graphic file that is output. The above command tells +\mfp{} to ignore this sequence and number the next \env{mfpic} +figure with \meta{num} (and the one after that $\meta{num}+1$, etc.). It +is up to the user to make sure no number is repeated, as no checking is +done. Numbers greater than 255 may cause errors, as \TeX{} assumes that +characters are represented by 8-bit numbers. If the first figure is to +be numbered something other than $1$, then, under the \opt{metapost} +option, this command should come before \cs{opengraphsfile}, as that +command checks for the existence of the first numbered figure to +determine if there are figures to be included. + +\begin{cd} +\cs{begin}\marg{mfpic}\texttt{...}\cs{end}\marg{mfpic}% +\index{begin@\cs{begin}\marg{mfpic}} +\end{cd} + +In \LaTeX, instead of \cs{mfpic} and \cs{endmfpic}, you may prefer to +use \cs{begin}\marg{mfpic} and \cs{end}\marg{mfpic}. This is by no means +required: in \LaTeX{} \cs{begin}\marg{command} invokes \cs{command}, and +\cs{end}\marg{command} invokes \cs{endcommand}, for any environment +\env{command}. + +The sample file \file{lapictures.tex} provided with \mfp{} +illustrates this use of an \env{mfpic} environment in \LaTeX. + +\medskip +The rest of the \mfp{} macros do not affect the font metric file +(\file{\meta{file}.tfm}), and so if these commands are changed or added +in your document, you will not have to repeat the third step of +processing (reprocessing with \TeX) to complete your \TeX{} document. +The same is true when option \opt{metapost} is selected without the +\opt{truebbox} option, except under \pdfTeX{} or \pdfLaTeX. Those \TeX{} +programs will embed the figures right in the \file{.pdf} output. For +normal \LaTeX{} + \prog{dvips}, the figures are embedded by +\prog{dvips}, which must always be repeated. + +\medskip +For the remainder of the macros, the numerical parameters are expressed +in the units of the local coordinate system specified by \cs{mfpic}, +unless otherwise indicated. + + +\subsection{Figures.}\label{figures} + +\subsubsection{\CMF{} Pairs.}\label{pairs} + +Since many of the arguments of the \mfp{} drawing commands are +sent to \MF{} to be interpreted, it's useful to know something about +\MF{} concepts. + +In particular, \MF{} has \mfc{pair} objects, which may be constants or +variables. Pair constants have the form \mfc{($x$,$y$)}. Pairs are +two-dimensional rectangular (cartesian) quantities, and are clearly +useful for representing both points and vectors on the plane. + +Moreover, we herein often represent each pair by a brief name, such as +$p$, $v$ or $c$, the meanings of which are usually obvious in the +context of the macro. The succinctness of this notation also helps us to +think geometrically rather than only of coordinates. + +\CMP{} has these same concepts, but also has color objects, which may +also be constants or variables. Color constants have the form +\mfc{($r$,$g$,$b$)} where $r$, $g$, and $b$ are numbers between $0$ and +$1$ determining the relative proportions of red, green and blue in the +color (rgb model). A color variable is a name, like \mfc{magenta} or +\mfc{RoyalBlue} (predefined). There are also color functions like +\mfc{cmyk($x$,$y$,$z$,$w$)} which is defined to convert cmyk values into +\MP's native rgb model. + +Some commands depend on the value of separately defined parameters. All +these parameters are initialized when \mfp{} is loaded. In the following +descriptions we give the initial value of all the relevant parameters. +When \MP{} output is selected, figures can be drawn in any color. +Several of the above mentioned parameters are colors. \Mfp{} provides +commands to change any of these parameters. + + +\subsubsection{Points, Lines, and Rectangles.}\label{points} + +\begin{cd} +\cs{pointdef}\marg{\meta{name}}\texttt{($x$,$y$)}% +\index{pointdef@\cs{pointdef}} +\end{cd} + +Defines a symbolic name for points and their coordinates. \meta{name} is +any legal \TeX{} command name \emph{without} the backslash; $x$ and $y$ +are any numbers. For example, after the command +\cs{pointdef}\marg{A}\texttt{(1,3)}, \cs{A} expands to \texttt{(1,3)}, while +\cs{Ax} and \cs{Ay} expand to \texttt{1} and \texttt{3}, respectively. Because +of the way \cs{tlabel} is defined (see section~\ref{labels} below), one +cannot use \cs{A} to specify where to place a label (unless +\opt{mplabels} is in effect), but must use \texttt{ (\cs{Ax},\cs{Ay})}. In +most other commands, one can use \cs{A} where a pair or point is +required. + +\begin{cd} +\cs{point}\oarg{\meta{ptsize}}\marg{\meta{$p_0$},\meta{$p_1$},$\ldots$}% +\index{point@\cs{point}} +\end{cd} + +Draws small disks centered at the points \meta{$p_0$}, \meta{$p_1$}, and +so on. If the optional argument \meta{ptsize} is present, it determines +the diameter of the disks, which otherwise equals the \TeX{} dimension +\cs{pointsize}, initially \dim{2pt}. The disks have a filled interior if +the command \cs{pointfilltrue} has been issued (the initial value), +\cs{pointfillfalse} causes the interior to be erased and an outline +drawn. The color of the circles is the value of the predefined variable +\gbc{pointcolor}, and the inside of the open circles is the value of +\mfc{background}. + +\begin{cd} +\cs{plotsymbol}\oarg{\meta{size}}\marg{\meta{symbol}}% +\marg{\meta{$p_0$},\meta{$p_1$},$\ldots$}% +\index{plotsymbol@\cs{plotsymbol}} +\end{cd} + +Draws small symbols centered at the points \meta{$p_0$}, \meta{$p_1$}, +and so on. The symbols must be given by name, and the available symbols +are +\gbc{Asterisk}\index{Asterisk@\gbc{Asterisk}}, +\gbc{Circle}\index{Circle@\gbc{Circle}}, +\gbc{Diamond}\index{Diamond@\gbc{Diamond}}, +\gbc{Square}\index{Square@\gbc{Square}}, +\gbc{Triangle}\index{Triangle@\gbc{Triangle}}, +\gbc{Star}\index{Star@\gbc{Star}}, +\gbc{SolidCircle}\index{SolidCircle@\gbc{SolidCircle}}, +\gbc{SolidDiamond}\index{SolidDiamond@\gbc{SolidDiamond}}, +\gbc{SolidSquare}\index{SolidSquare@\gbc{SolidSquare}}, +\gbc{SolidTriangle}\index{SolidTriangle@\gbc{SolidTriangle}}, +\gbc{SolidStar}\index{SolidStar@\gbc{SolidStar}}, +\gbc{Cross}\index{Cross@\gbc{Cross}} and +\gbc{Plus}\index{Plus@\gbc{Plus}}. +The names should be self-explanatory. Under \opt{metapost}, symbols are +drawn in \gbc{pointcolor}. The \meta{size} defaults to \cs{pointsize} as +in \cs{point} above. \gbc{Asterisk} consists of six +line segments while \gbc{Star} is the standard closed, ten-sided +polygon. The name `\cs{plotsymbol}' comes from the fact that the \cs{plot} +command, which was written first, utilizes these same symbols. The command +\cs{symbol} was already taken (standard \LaTeX). + +The difference between \cs{pointfillfalse}\cs{point}$\ldots$ and +\cs{plotsymbol}\marg{Circle}$\ldots$ is that the inside of the circle +will not be erased in the second version (i.e., whatever else has already +been drawn in that area will remain visible). This is the default (for +backward compatibility), but that can be changed with the commands +below. + +\begin{cd} +\cs{clearsymbols}\\ +\cs{noclearsymbols}% +\index{clearsymbols@\cs{clearsymbols}}% +\index{noclearsymbols@\cs{noclearsymbols}} +\end{cd} + +After the first of these two commands, subsequent \cs{plotsymbol} +commands will draw the open symbols with their interiors erased. After +the second, the default behavior (described above) will be restored. +These commands have no effect on \cs{point}. \cs{plotnodes} (see +subsection~\ref{drawing}) also responds to the settings made by these +commands. The \cs{plot} command (also in subsection~\ref{drawing}) does +not. + +\begin{cd} +\cs{polyline}\marg{\meta{$p_0$},\meta{$p_1$},$\ldots$}\\ +\cs{lines}\marg{\meta{$p_0$},\meta{$p_1$},$\ldots$}% +\index{polyline@\cs{polyline}}\index{lines@\cs{lines}} +\end{cd} + +Draws the line segment with endpoints at \meta{$p_0$} and \meta{$p_1$}, +then the line segment with endpoints at \meta{$p_1$} and \meta{$p_2$}, +etc. The result is an open polygonal path through the specified points, +in the specified order. \cs{polyline} and \cs{lines} mean the same +thing. + +\begin{cd} +\cs{polygon}\marg{\meta{$p_0$},\meta{$p_1$},$\ldots$}% +\index{polygon@\cs{polygon}} +\end{cd} + +Draws a closed polygon with vertices at the specified points in the +specified order. + +\begin{cd} +\cs{rect}\marg{\meta{$p_0$},\meta{$p_1$}}% +\index{rect@\cs{rect}} +\end{cd} + +Draws the rectangle specified by the points \meta{$p_0$} and +\meta{$p_1$}, these being either pair of opposite corners of the +rectangle in any order. + +It is occasionally helpful to know that connected paths like those +produced by \cs{polyline} or \cs{rect} have a \emph{sense} (a +direction). The sense of \cs{polyline} is the direction determined by +the order of the points. For \cs{rect} the sense may be clockwise or +anticlockwise depending on the corners used: it begins at the first of +the two points and goes horizontally from there. + +\begin{cd} +\cs{regpolygon}\marg{\meta{num}}\marg{\meta{name}}% +\marg{\meta{eqn$_1$}}\marg{\meta{eqn$_2$}}% +\index{regpolygon@\cs{regpolygon}} +\end{cd} + +This produces a regular polygon with \meta{num} sides. The second +argument, \meta{name} is a symbolic name. It can be used to refer to the +vertices later. The last two arguments should be equations that position +two of the vertices or one vertex and the center. The center is refered +to by \meta{name}\gbc{0} and the vertices by \meta{name}\gbc{1} +\meta{name}\gbc{2}, etc., going anticlockwise around the polygon. The +\meta{name} itself (without a number) will be a \MF{} variable assigned +the value of \meta{num}. For example, +\begin{ex} +\cs{regpolygon}\marg{5}\marg{Meg}\marg{Meg0=(0,1)}\marg{Meg1=(2,0)} +\end{ex} +will produce a regular pentagon with its center at $(0,1)$ and its first +vertex at $(2,0)$. One could later draw a star inside it with +\begin{ex} +\cs{polygon}\marg{Meg1,Meg3,Meg5,Meg2,Meg4} +\end{ex} +Moreover, \gbc{Meg} will equal $5$. +The name given becomes a \MF{} variable and care should be taken to make +the name distinctive so as not to redefine some internal variable. + +\subsubsection{A Word on List Arguments}\label{list} + +We have seen already four \mfp{} macros that take a mandatory argument +consisting of a list of coordinate pairs. There are many more, and some +that take a comma-separated lists of other types of items. If the lists +are long, especially if they are generated by a program, it might be +more convenient if one could simply refer to an external file for the +data. This is possible, and one does it the following way: instead of +\cs{lines}\marg{\meta{list}}, one can write\index{datafile@\cs{datafile}} +\begin{ex} +\cs{lines}\cs{datafile}\marg{\meta{filename}} +\end{ex} +where \meta{filename} is the full name of the file containing the data. +The required format of this file and the details of this usage can be +found in subsection~\ref{external}. This method is available for any +command that takes a comma-separated list of data as its last argument, +\emph{with the exception of those commands that adds text to the +picture}. Examples of the latter are \cs{plottext} and \cs{axislabels} +(subsection~\ref{text}). + +\subsubsection{Axes, Axis Marks, and Grids.}\label{axes} + +\begin{cd} +\cs{axes}\oarg{\meta{hlen}}\\ +\cs{xaxis}\oarg{\meta{hlen}}\\ +\cs{yaxis}\oarg{\meta{hlen}}% +\index{axes@\cs{axes}}% +\index{xaxis@\cs{xaxis}}% +\index{yaxis@\cs{yaxis}} +\end{cd} + +These are retained for backward compatibility, but there are more +flexible alternatives below. They draw $x$- and $y$-axes for the +coordinate system. The command \cs{axes} is equivalent to \cs{xaxis} +followed by \cs{yaxis} which produce the obvious. The $x$- and $y$-axes +extend the full width and height of the \env{mfpic} environment. The +optional \meta{hlen} sets the length of the arrowhead on each axis. The +default is the value of the \TeX{} dimension \cs{axisheadlen}, initially +\dim{5pt}. The shape of the arrowhead is determined as in the \cs{arrow} +macro (section~\ref{modifier}). The color of the head is the value of +\gbc{headcolor}, the shaft is \gbc{drawcolor}. + +Unlike other commands that produce lines or curves, these do not respond +to the prefix macros of sections \ref{modifier}~and \ref{rendering}. +They always draw a solid line (with an arrowhead unless \cs{axisheadlen} +is \dim{0pt}). They \emph{do} respond to changes in the pen thickness +(see \cs{penwd} in section~\ref{parameters}) but that is pretty much the +only possibility for variation. + +\begin{cd} +\cs{axis}\oarg{\meta{hlen}}\marg{\meta{one-axis}}\\ +\cs{doaxes}\oarg{\meta{hlen}}\marg{\meta{axis-list}}% +\index{axis@\cs{axis}} +\index{doaxes@\cs{doaxes}} +\end{cd} + +These produce any of 6 different axes. The parameter \meta{one-axis} can +be \texttt{x} or \texttt{y}, to produce (almost) the equivalent of \cs{xaxis} +and \cs{yaxis}; or it can be \texttt{l}, \texttt{b}, \texttt{r}, or \texttt{t} to +produce an axis on the border of the picture (left, bottom, right or +top, respectively). \cs{doaxes} takes a list of any or all of the six +letters (with either spaces or nothing in between) and produces the +appropriate axes. Example: \cs{doaxes}\marg{lbrt}. The optional argument +sets the length of the arrowhead. In the case of axes on the edges, the +default is the value of \cs{sideheadlen}, which \mfp{} +initializes to \dim{0pt}. For the $x$- and $y$-axis the default is +\cs{axisheadlen} as in \cs{xaxis} and \cs{yaxis} above. + +The commands \cs{axis}\marg{x}, \cs{axis}\marg{y}, and +\cs{doaxes}\marg{xy} differ from the old \cs{xaxis}, \cs{yaxis} and +\cs{axes} in that these new versions respond to changes made by +\cs{setrender} (see subsection~\ref{default}). Moreover, prefix macros +may be applied to \cs{axis} without error (see sections +\ref{modifier}~and \ref{rendering}): \cs{dotted}\cs{axis}\marg{x} draws +a dotted $x$-axis, but \cs{dotted}\cs{xaxis} produces a \MF{} error. A +prefix macro applied to \cs{doaxes} generates no error, but only the +first axis in the list will be affected. + +The side axes are drawn by default with a pen stroke along the very edge +of the picture (as determined by the parameters to \cs{mfpic}). This can +be changed with the command \cs{axismargin} described below. + +Axes on the edges are drawn so that they don't cross each other. +\cs{doaxes}\marg{lbrt}, for example, produces a perfect rectangle. If the +$x$- and $y$-axis are drawn with \cs{axis} or \cs{doaxis}, then they +will not cross the side axes. For this to work properly, all the +following margin settings have to be done before the axes are drawn. + +\begin{cd} +\cs{axismargin}\marg{\meta{axis}}\marg{\meta{num}}\\ +\cs{setaxismargins}\marg{\meta{num}}\marg{\meta{num}}\marg{\meta{num}}\marg{\meta{num}}\\ +\cs{setallaxismargins}\marg{\meta{num}}% +\index{axismargin@\cs{axismargin}}% +\index{setaxismargins@\cs{setaxismargins}}% +\index{setallaxismargins@\cs{setallaxismargins}} +\end{cd} + +The \meta{axis} is one of the letters \texttt{l}, \texttt{b}, \texttt{r}, or \texttt{ +t}. \cs{axismargin} causes the given axis to be shifted \emph{inward} by +the \meta{num} specified (in \emph{graph} coordinates). The second +command \cs{setaxismargins} takes 4 arguments, using them to set the +margins starting with the left and proceeding anticlockwise. The last +command sets all the axis margins to the same value. + +A change to an axis margin affects not only the axis at that edge but +also the three axes perpendicular to it. For example, if the margins are +$M_{\mathrm{lft}}$, $M_{\mathrm{bot}}$, $M_{\mathrm{rt}}$ and +$M_{\mathrm{top}}$, then +\cs{axis b} draws a line starting $M_{\mathrm{lft}}$ graph units from the +left edge and ending $M_{\mathrm{rt}}$ units from the right edge. Of course, +the entire line is $M_{\mathrm{bot}}$ units above the bottom edge. The +margins are also respected by the $x$- and $y$-axis, but only when drawn +with \cs{axis}. The old \cs{xaxis}, \cs{yaxis} and \cs{axes} ignore +them. + +Special effects can be achieved by lying to one axis about the other +margins. + +\begin{cd} +\cs{xmarks}\oarg{\meta{len}}\marg{\meta{numberlist}}\\ +\cs{tmarks}\oarg{\meta{len}}\marg{\meta{numberlist}}\\ +\cs{bmarks}\oarg{\meta{len}}\marg{\meta{numberlist}}\\ +\cs{ymarks}\oarg{\meta{len}}\marg{\meta{numberlist}}\\ +\cs{lmarks}\oarg{\meta{len}}\marg{\meta{numberlist}}\\ +\cs{rmarks}\oarg{\meta{len}}\marg{\meta{numberlist}}\\ +\cs{axismarks}\marg{\meta{axis}}\oarg{\meta{len}}\marg{\meta{numberlist}}% +\index{xmarks@\cs{xmarks}}% +\index{tmarks@\cs{tmarks}}% +\index{bmarks@\cs{bmarks}}% +\index{ymarks@\cs{ymarks}}% +\index{lmarks@\cs{lmarks}}% +\index{rmarks@\cs{rmarks}}% +\index{axismarks@\cs{axismarks}} +\end{cd} + +These macros place hash marks on the appropriate axes at the places +indicated by the values in the list. The optional \meta{len} gives the +length of the hash marks. If \meta{len} is not specified, the \TeX{} +dimension \cs{hashlen}, initially \dim{4pt}, is used. The marks on the +$x$- and $y$-axes are centered on the respective axis; the marks on the +border axes are drawn to the inside. Both these behaviors can be +changed (see below). The commands may be repeated as often as desired. +(The timing of drawing commands can make a difference as outlined in +appendix~\ref{mpconsiderations}.) The command \cs{axismarks}\marg{x} is +equivalent to \cs{xmarks} and so on for each of the six axes. (I would +have used \cs{marks}, but e\kern-.16em\TeX{} makes that a primitive.) + +The \meta{numberlist} is normally a comma-separated list of numbers. In +place of this, one can give a starting number, an increment and an +ending number as in the following example: +\begin{ex} + \cs{xmarks}\marg{-2 step 1 until 2} +\end{ex} +is the equivalent of +\begin{ex} + \cs{xmarks}\marg{-2,-1,0,1,2} +\end{ex} + +One must use exactly the words \mfc{step} and \mfc{until}. There must be +spaces between, but the number of spaces is not +significant.% + \footnote{Experienced \MF{} programmers may recognize that anything + can be used that is permitted in \MF's \meta{forloop} syntax. Thus + the given example can also be reworded \cs{xmarks}\marg{-2 upto 2}, + or even \cs{xmarks}\marg{2 downto -2}} % +Users should be aware that if any of the numbers are non-integral then +due to natural round-off effects, the last value might be overshot and a +mark not printed there. + +\begin{cd} +\cs{setaxismarks}\marg{\meta{axis}}\marg{\meta{pos}}\\ +\cs{setbordermarks}\marg{\meta{lpos}}\marg{\meta{bpos}}\marg{\meta{rpos}}\marg{\meta{tpos}}\\ +\cs{setallbordermarks}\marg{\meta{pos}}\\ +\cs{setxmarks}\marg{\meta{pos}}\\ +\cs{setymarks}\marg{\meta{pos}}% +\index{setaxismarks@\cs{setaxismarks}}% +\index{setbordermarks@\cs{setbordermarks}}% +\index{setallbordermarks@\cs{setallbordermarks}}% +\index{setxmarks@\cs{setxmarks}}% +\index{setymarks@\cs{setymarks}}% +\end{cd} + +These set the placement of the hash marks relative to the axis. The +parameter \meta{axis} is one of the letters \texttt{x}, \texttt{y}, \texttt{l}, +\texttt{b}, \texttt{r}, or \texttt{t}, and \meta{pos} must be one of the literal +words \gbc{inside}, \gbc{outside}, \gbc{centered}, \gbc{onleft}, +\gbc{onright}, \gbc{ontop} or \gbc{onbottom}. The second command takes +four arguments and sets the position of the marks on each border. The +third command sets the position on all four border axis to the same +value. The last two commands are abbreviations for +\cs{setaxismarks}\marg{x}\marg{\meta{pos}} and +\cs{setaxismarks}\marg{y}\marg{\meta{pos}}, respectively. + +Not all combinations make sense (for example, +\cs{setaxismarks}\marg{r}\marg{ontop}). In these cases, no error message +is produced: \gbc{ontop} and \gbc{onleft} are considered to be +equivalent, as are \gbc{onbottom} and \gbc{onright}. The parameters +\gbc{inside} and \gbc{outside} make no sense for the $x$- and $y$-axes, +but if they are used then \gbc{inside} means \gbc{ontop} for the +$x$-axis and \gbc{onright} for the $y$-axis. These words are actually +\MF{} numeric variables defined in the file \file{grafbase.mf}, and the +variables \gbc{ontop} and \gbc{onleft}, for example, are given the same +value. + +\begin{cd} +\cs{grid}\oarg{\meta{ptsize}}\marg{\meta{xsep},\meta{ysep}}\\ +\cs{gridpoints}\oarg{\meta{ptsize}}\marg{\meta{xsep},\meta{ysep}}\\ +\cs{lattice}\oarg{\meta{ptsize}}\marg{\meta{xsep},\meta{ysep}}\\ +\cs{hgridlines}\marg{\meta{ysep}}\\ +\cs{vgridlines}\marg{\meta{xsep}}\\ +\cs{gridlines}\marg{\meta{xsep},\meta{ysep}} +\index{grid@\cs{grid}}% +\index{gridpoints@\cs{gridpoints}}% +\index{lattice@\cs{lattice}}% +\index{vgridlines@\cs{vgridlines}}% +\index{hgridlines@\cs{hgridlines}}% +\index{gridlines@\cs{gridlines}}% +\end{cd} + +\cs{grid} draws a dot at every point for which the first coordinate is +an integer multiple of the \meta{xsep} and the second coordinate is an +integer multiple of \meta{ysep}. The diameter of the dot is determined +by \meta{ptsize}. The default is \dim{.5bp} and is hard coded in the +\MF{} macros that ultimately do the drawing. Under the \opt{metapost} +option, the color of the dot is \gbc{pointcolor}. The commands +\cs{gridpoints and \cs{lattice}} are synonyms for \cs{grid}. + +\cs{hgridlines} draws the horizontal and \cs{vgridlines} the vertical +lines through these same points. \cs{gridlines} draws both sets of +lines. The thickness of the lines is set by \cs{penwd}. Authors are +recommended to either reduce the pen width or change \gbc{drawcolor} to +a lighter color for grids. Or omit them entirely: well-designed graphs +usually don't need them and almost never should both horizontals and +verticals be used. + +\begin{cd} +\cs{plrgrid}\marg{\meta{rsep},\meta{anglesep}}\\ +\cs{gridarcs}\marg{\meta{rsep}}\\ +\cs{gridrays}\marg{\meta{anglesep}}\\ +\cs{plrpatch}\marg{\meta{rmin},\meta{rmax},\meta{rsep},% + \meta{tmin},\meta{tmax},\meta{tsep}}\\ +\cs{plrgridpoints}\marg{\meta{rsep},\meta{anglesep}}% +\index{plrgrid@\cs{plrgrid}}% +\index{plrpatch@\cs{plrpatch}}% +\index{gridarcs@\cs{gridarcs}}% +\index{gridrays@\cs{gridrays}}% +\index{plrgridpoints@\cs{plrgridpoints}}% +\end{cd} + +\cs{plrgrid} fills the graph with circular arcs and radial lines. +\cs{gridarcs} draws only the arcs, \cs{gridrays} only the radial lines. +\cs{plrgridpoints} places a dot at all the places the rays and arcs +would intersect. + +The arcs are centered at $(0,0)$ and the lines emanate from $(0,0)$ +(even if $(0,0)$ is not in the graph space). The corresponding \MF{} +commands actually draw enough to cover the graph area and then clip them +to the graph boundaries. If you don't want them clipped, use +\cs{plrpatch}. + +\cs{plrpatch} draws arcs with radii starting at \meta{rmin}, stepping by +\meta{rsep} and ending with \meta{rmax}. Each arc goes from angle +\meta{tmin} to \meta{tmax}. It also draws radial lines with angles +starting at \meta{tmin}, stepping by \meta{tsep} and ending with +\meta{tmax}. Each line goes from radius \meta{rmin} to \meta{rmax}. If +$\meta{rmax}-\meta{rmin}$ doesn't happen to be a multiple of +\meta{rsep}, the arc with radius \meta{rmax} is drawn anyway. The same +is true of the line at angle \meta{tmax}, so that the entire boundary is +always drawn. + +If \meta{tsep} is larger than \meta{tmax}${}-{}$\meta{tmin}, then only +the boundary rays will be drawn. If \meta{rsep} is larger than +\meta{rmax}${}-{}$\meta{rmin}, then only the boundary arcs will be +drawn. + +The color used for rays and arcs is \gbc{drawcolor}, and for dots +\gbc{pointcolor}. The advice about \cs{gridlines} holds for \cs{plrgrid} +as well. + + +\subsubsection{Circles and Ellipses.}\label{circles} + +\begin{cd} +\cs{circle}\oarg{\meta{format}}\marg{\meta{specification}}% +\index{circle@\cs{circle}}% +\end{cd} + +Draws a circle. Starting with \mfp{} version 0.7, there are 4 +different ways to specify a circle, so \cs{circle} can be given an +optional argument that determines what data is specified in the +mandatory argument. + +\begin{cd} +\cs{circle}\oarg{p}\marg{\meta{$c$},\meta{$r$}}\\ +\cs{circle}\oarg{c}\marg{\meta{$c$},\meta{$p$}}\\ +\cs{circle}\oarg{t}\marg{\meta{$p_1$},\meta{$p_2$},\meta{$p_3$}}\\ +\cs{circle}\oarg{s}\marg{\meta{$p_1$},\meta{$p_2$},\meta{$\theta$}}% +\index{circle@\cs{circle}}% +\end{cd} + +The optional arguments produce circles according to the following +descriptions. + +\begin{description} +\item[\oarg{p}] The \textit{Polar form} is the default. The data in the +mandatory argument should then be the center $c$ and radius $r$ of the +circle. + +\item[\oarg{c}] The \textit{Center-point form}. In this case the data +should be the center and one point on the circumference. + +\item[\oarg{t}] The \textit{Three-point form}. The data are three points +that do not lie in a straight line. + +\item[\oarg{s}] The \textit{point-sweep}. The data are two points on the +circle, followed by the angle of arc between them. +\end{description} +These optional arguments are also used in the \cs{arc} command (see +subsection~\ref{arcs}). The \cs{circle} command draws the whole circle +which the equivalent \cs{arc} command draws only part of. The sense of +the circle produced is anticlockwise except in the case \texttt{[t]}, +where it is the direction determined by the order of the three points, +and the case \texttt{[s]}, where it is determined by \meta{$\theta$}: +clockwise if negative, anticlockwise if positive. + + +\begin{cd} +\cs{ellipse}\oarg{\meta{$\theta$}}\marg{\meta{$c$},\meta{$r_x$},\meta{$r_y$}}% +\index{ellipse@\cs{ellipse}}% +\end{cd} + +Draws an ellipse with the $x$ radius \meta{$r_x$} and $y$ radius +\meta{$r_y$}, centered at the point \meta{$c$}. The optional parameter +\meta{$\theta$} provides a way of rotating the ellipse by +\meta{$\theta$} degrees anticlockwise around its center. + + +\subsubsection{Curves.}\label{curves} + +\begin{cd} +\cs{curve}\oarg{\meta{tension}}\marg{\meta{$p_0$},\meta{$p_1$},$\ldots$}% +\index{curve@\cs{curve}}% +\end{cd} + +Draws a smooth path through the specified points, in the specified +order. It is `smooth' in two ways: it never changes direction abruptly +(no `corners' or `cusps' on the curve), and it tries to make turns that are +not too sharp. This latter property is acheived by specifying (to \MF) that +the tangent to the curve at each listed point is to be parallel to the +line from that point's predecessor to its successor. + +The optional \meta{tension} influences \emph{how} smooth the curve is. +The special value \mfc{infinity} (in fact, usually anything greater than +about $10$), makes the curve not visibly different from a polyline. The +higher the value of tension, the sharper the corners on the curve and +the flatter the portions in between. \CMF{} requires the tension to be +larger than 0.75. The default value of the tension is $1$ when \mfp{} is +loaded, but that can be changed with the following command. + +\begin{cd} +\cs{settension}\marg{\meta{num}}% +\index{settension@\cs{settension}} +\end{cd} + +This sets the default tension for all commands that take an optional +tension parameter. + +\begin{cd} +\cs{cyclic}\oarg{\meta{tension}}\marg{\meta{$p_0$},\meta{$p_1$},$\ldots$}% +\index{cyclic@\cs{cyclic}}% +\end{cd} + +Draws a cyclic (i.e., closed) \MF{} B\'ezier curve through the specified +points, in the specified order. It uses the same procedure as +\cs{curve}, but treats the first listed point as having the last as its +predecessor and the last point has the first as its successor. The +\meta{tension} is as in the \cs{curve} command. + +\medskip +Occasionally it is necessary to specify a sequence of points with +\emph{increasing} $x$ coordinates and draw a curve through them. One +would then like the resulting curve both to be smooth \textit{and} to +represent a function (that is, the curve always has increasing $x$ +coordinate, never turning leftward). This cannot be guaranteed with the +\cs{curve} command unless the tension is \texttt{infinity}. + +\begin{cd} +\cs{fcncurve}\oarg{\meta{tension}}\marg{($x_0$,$y_0$),($x_1$,$y_1$),$\ldots$}% +\index{fcncurve@\cs{fcncurve}}% +\end{cd} + +Draws a curve through the points specified. If the points are listed +with increasing (or decreasing) $x$ coordinates, the curve will also +have increasing (resp., decreasing) $x$ coordinates. The \meta{tension} +is a number equal to or greater than $1.0$ which controls how tightly +the curve is drawn. Generally, the larger it is, the closer the curve is +to the polyline through the points. The default tension is typically $1.2$ +(actually $1.2$ times the value set with \cs{settension}). For those who +know something about \MF, this `tension' is not the same as the \MF{} +notion of tension, the tension in the \cs{curve} command, but it +functions in a similar fashion. In this case it can be any positive +number, but only values greater than or equal to $1$ guarantee the +property of never doubling back. + + +\subsubsection{Circular Arcs.}\label{arcs} + +\begin{cd} +\cs{arc}\oarg{\meta{format}}\marg{\meta{specification}}% +\index{arc@\cs{arc}}% +\end{cd} + +Draws a circular arc specified as determined by the \meta{format} +optional parameter. This macro and \cs{circle} are unusual in that the +optional \meta{format} parameter determines the format of the other +parameter, as indicated below. The user is responsible for ensuring that +the parameter values make geometric sense. + +\begin{cd} +\cs{arc}\oarg{s}\marg{\meta{$p_0$},\meta{$p_1$},\meta{sweep}}\\ +\cs{arc}\oarg{t}\marg{\meta{$p_0$},\meta{$p_1$},\meta{$p_2$}}\\ +\cs{arc}\oarg{p}\marg{\meta{$c$},\meta{$\theta_1$},\meta{$\theta_2$},\meta{$r$}}\\ +\cs{arc}\oarg{a}\marg{\meta{$c$},\meta{$r$},\meta{$\theta_1$},\meta{$\theta_2$}}\\ +\cs{arc}\oarg{c}\marg{\meta{$c$},\meta{$p_1$},\meta{$\theta$}}% +\index{arc@\cs{arc}}% +\end{cd} + +The optional arguments produce arcs according to the following +descriptions. +\begin{description} +\item[\oarg{s}] The \textit{point-Sweep form} is the default format. It +draws the circular arc starting from the point \meta{$p_0$}, ending at +the point \meta{$p_1$}, and covering an arc angle of \meta{sweep} +degrees, measured anticlockwise around the center of the circle. If, +for example, the points \meta{$p_0$} and \meta{$p_1$} lie on a +horizontal line with \meta{$p_0$} to the \emph{left}, and \meta{sweep} +is between 0~and 360 (degrees), then the arc will sweep \emph{below} the +horizontal line (in order for the arc to be anticlockwise). A +negative value of \meta{sweep} gives a clockwise arc from \meta{$p_0$} +to \meta{$p_1$}. + +\item[\oarg{t}] The \textit{Three-point form} draws the circular arc +which passes through all three points given, in the order given. +Internally, this is converted to two applications of the point-sweep +form. + +\item[\oarg{p}] The \textit{Polar form} draws the arc of a circle with +center \meta{$c$} starting at the angle \meta{$\theta_1$} and ending at +the angle \meta{$\theta_2$}, with radius \meta{$r$}. Both angles are +measured anticlockwise from the positive $x$ axis. + +\item[\oarg{a}] The \textit{Alternate polar form} draws the arc of a +circle with center \meta{$c$} and radius \meta{$r$}, starting at the +angle \meta{$\theta_1$} and ending at the angle \meta{$\theta_2$}. Both +angles are measured anticlockwise from the positive $x$ axis. This is +provided because it seems a more reasonable order of arguments, and +matches the order \cs{sector} requires (see subsection~\ref{other} +below). The \texttt{p} option is retained for backward compatibility. + +\item[\oarg{c}] The \textit{Center-point form} draws the circular arc with +center \meta{$c$}, starting at the point \meta{$p_1$}, and sweeping an +angle of \meta{$\theta$} around the center from that point. (This and +the point sweep form are the basic methods of handling arcs---the +previous three formats are translated to one of these two before drawing.) +\end{description} + + +\subsubsection{Other Figures.}\label{other} + +\begin{cd} +\cs{turtle}\marg{\meta{$p_0$},\meta{$v_1$},\meta{$v_2$},$\ldots$}% +\index{turtle@\cs{turtle}}% +\end{cd} + +Draws a line segment, starting from the point \meta{$p_0$}, and +extending along the (2-dimen\-sional vector) displacement \meta{$v_1$}. +It then draws a line segment from the previous segment's endpoint, along +displacement \meta{$v_2$}. This continues for all listed displacements, +a process similar to `turtle graphics'. + +\begin{cd} +\cs{sector}\marg{\meta{$c$},\meta{$r$},\meta{$\theta_1$},\meta{$\theta_2$}}% +\index{sector@\cs{sector}}% +\end{cd} + +Draws the sector, from the angle \meta{$\theta_1$} to the angle +\meta{$\theta_2$} inside the circle with center at the point \meta{$c$} +and radius \meta{$r$}, where both angles are measured in degrees +anticlockwise from the direction parallel to the $x$ axis. The sector +forms a closed path. \emph{Note}: \cs{sector} and \cs{arc}\oarg{p} have +the same parameters, but \emph{in a different +order}.% + \footnote{This apparently was unintended, but we now have to live + with it so as not to break existing \file{.tex} files.} + +\begin{cd} +\cs{makesector} +\index{makesector@\cs{makesector}} +\end{cd} +The \cs{sector} command requires the center of the arc as one of its +arguments. But if one doesn't know that center (say one only knows three +points the arc connects) then even though the arc can be drawn, +\cs{sector} cannot. The \cs{makesector} command, when followed by any +\cs{arc} command, will find the center and connect it to the two ends of +the arc. It will actually attempt to do the same with any path that +follows, but the `center' it finds (if it finds one) will usually be +meaningless. + + +\subsubsection{Bar Charts and Pie Charts.}\label{charts} + +\begin{cd} +\cs{barchart}\oarg{\meta{start},\meta{sep},\meta{r}}\marg{\meta{h-or-v}}\marg{\meta{list}}\\ +\cs{bargraph}$\ldots$\\ +\cs{gantt}$\ldots$\\ +\cs{histogram}$\ldots$\\ +\cs{chartbar}\marg{\meta{num}}\\ +\cs{graphbar}\marg{\meta{num}}\\ +\cs{histobar}\marg{\meta{num}}% +\index{barchart@\cs{barchart}}% +\index{bargraph@\cs{bargraph}}% +\index{histogram@\cs{histogram}}% +\index{chartbar@\cs{chartbar}}% +\index{graphbar@\cs{graphbar}}% +\index{histobar@\cs{histobar}}% +\end{cd} + +The macro \cs{barchart} computes a bar chart or a Gantt chart. It does +not draw the bars, but only defines their rectangular paths which the +user may then draw or fill or both using the \cs{chartbar} macros (see +below). Since bar charts have many names, \cs{bargraph} and +\cs{histogram} are provided as synonyms. The macro \cs{gantt} is also a +synonym; whether a Gantt chart or bar chart is created depends on the +data. + +\meta{h-or-v} should be \texttt{v} if you want the ends of the bars to +be measured vertically from the $x$-axis, or \texttt{h} if they should +be measured horizontally from the $y$-axis. \meta{list} should be a +comma-separated list of numbers and/or pairs giving the coordinates of +the end(s) of each bar. A number $c$ is interpreted as the pair $(0,c)$; +a pair $(a,b)$ is interpreted as an interval giving the ends of the bar +(for Gantt diagrams). The rest of this description refers to the +\texttt{h} case; the \texttt{v} case is analogous. + +By default the bars are 1 graph unit high (thickness), from $y = n-1$ to +$y = n$. Their width and location are determined by the data. The +optional parameter consists of three numeric parameters separated by +commas. \meta{start} is the $y$-coordinate of the bottom edge of the +first bar, \meta{sep} is the distance between the bottom edges of +successive bars, and \meta{r} is the fraction of \meta{sep} occupied by +each bar. The default behavior corresponds to \texttt{[0,1,1]}. In +general, bar number $n$ will be from $y = \meta{start} + +(n-1)*\meta{sep}$ to $y = \meta{start} + (n-1 + \meta{r})*\meta{sep}$ + +Notice the bars are numbered in order from bottom to top. You can +reverse them by making \meta{sep} negative, and making \meta{start} the +top edge of the first bar. + +The fraction \meta{r} should be between -1 and 1. A negative value +reverses the direction from the `leading edge' of the bar to the +`trailing edge'. For example, if one bar chart is created with +\begin{ex} + \cs{barchart}\oarg{1,1,-.4}\marg{h}\marg{..} +\end{ex} +and another with +\begin{ex} + \cs{barchart}\oarg{1,1,.4}\marg{h}\marg{..} +\end{ex} +both having the same number of bars, then the first will have its first +bar from $y = 1$ to $y = 1 -.4 = .6$, while the second will have its +first bar adjacent to that one, from $1$ to $1 + .4$. Similarly the next +bars will be above and below $y=2$, etc. This makes it easy to draw bars +next to one another for comparison. + +The macro \cs{chartbar} (synonyms \cs{graphbar}, \cs{ganttbar}, and +\cs{histobar}) takes a number from $1$ to the number of elements in the +\meta{list} and draws the rectangular path. This behaves just like any +other figure macro, and the prefix macros from section~\ref{rendering} +may be used to give adjacent bars contrasting colors, fills, etc. + + +\begin{cd} +\cs{piechart}\oarg{\meta{dir}\meta{angle}}\marg{\meta{$c$},\meta{$r$}}% + \marg{\meta{list}}\\ +\cs{piewedge}\oarg{\meta{spec}\meta{trans}}\marg{\meta{num}}% +\index{piechart@\cs{piechart}}% +\index{piewedge@\cs{piewedge}}% +\end{cd} + +The macro \cs{piechart} also does not draw anything, but computes the +\cs{piewedge} regions described below. The first part of the optional +parameter, \meta{dir}, is a single letter which may be either \texttt{c} or +\texttt{a} which stand for \emph{clockwise} or \emph{anticlockwise}, +respectively. It is common to draw piecharts with the largest wedge +starting at 12 o'clock (angle 90 degrees) and successive wedges +clockwise from there. This is the default. You can change the starting +angle from 90 with the \meta{angle} parameter, and the change the +direction to counter-clockwise by specifying \texttt{a} for \meta{dir}. It +is also traditional to arrange the wedges from largest to smallest, +except there is often a miscellaneous category which is usually last and +may be larger than some others. Therefore \cs{piechart} makes no attempt +to sort the data. The data is entered as a comma separated \meta{list} +of positive numbers in the second required parameter. These are only +used to determine the relative sizes of the wedges and are not printed +anywhere. The first required parameter should contain a pair \meta{c} +for the center and a positive number \meta{r} for the radius, separated +by a comma. + +After a \cs{piechart} command has been issued, the individual wedges may +be drawn, filled, etc., using \cs{piewedge}\marg{1}, +\cs{piewedge}\marg{2}, etc. Without the optional argument, the wedges +are located according to the arguments of the last \cs{piechart} +command. The optional argument to \cs{piewedge} can override this. The +parameter \meta{spec} is a single letter, which can be \texttt{x}, \texttt{s} +or \texttt{m}. The \texttt{x} stands for \emph{exploded} and it means the +wedge is moved directly out from the center of the pie a distance +\meta{trans}. \meta{trans} should then be a pure number and is +interpreted as a distance in graph units. The \texttt{s} stands for +\emph{shifted} and in this case \meta{trans} should be a pair of the +form \texttt{(\meta{dx},\meta{dy})} indicating the wedge should be shifted +\meta{dx} horizontally and \meta{dy} vertically (in graph units). The +\texttt{m} stands for \emph{move to}, and \meta{trans} is then the absolute +coordinates \texttt{(\meta{x},\meta{y})} in the graph where the point of +the wedge should be placed. + +\subsubsection{Polar Coordinates to Rectangular.}\label{polar} + +\begin{cd} +\cs{plr}\marg{(\meta{$r_0$},\meta{$\theta_0$}), +(\meta{$r_1$},\meta{$\theta_1$}), $\ldots$}% +\index{plr@\cs{plr}}% +\end{cd} + +Replaces the specified list of polar coordinate pairs by the equivalent +list of rectangular (cartesian) coordinate pairs. Through \cs{plr}, +commands designed for rectangular coordinates can be applied to data +represented in polar coordinates---and to data containing both +rectangular and polar coordinate pairs. + + +\subsection{Colors}\label{colors} + +\subsubsection{Setting the Default Colors.}\label{defaultcolors} + +\begin{cd} +\cs{drawcolor}\oarg{\meta{model}}\marg{\meta{colorspec}}\\ +\cs{fillcolor}$\ldots$\\ +\cs{hatchcolor}$\ldots$\\ +\cs{pointcolor}$\ldots$\\ +\cs{headcolor}$\ldots$\\ +\cs{tlabelcolor}$\ldots$\\ +\cs{backgroundcolor}$\ldots$% +\index{drawcolor@\cs{drawcolor}}% +\index{fillcolor@\cs{fillcolor}}% +\index{hatchcolor@\cs{hatchcolor}}% +\index{pointcolor@\cs{pointcolor}}% +\index{headcolor@\cs{headcolor}}% +\index{tlabelcolor@\cs{tlabelcolor}}% +\index{backgroundcolor@\cs{backgroundcolor}}% +\end{cd} + +These macros set the default color for various drawing +elements. Any curve (with one exception, those drawn by \cs{plotdata}), +whether solid, dashed, dotted, or plotted in symbols, will be in the +color set by \cs{drawcolor}. Set the color used by \cs{gfill} with +\cs{fillcolor}. For all the hatching commands use \cs{hatchcolor}. For +the \cs{point}, \cs{plotsymbol} and \cs{grid} commands use +\cs{pointcolor}, and for arrowheads, \cs{headcolor}. When \opt{mplabels} +is in effect, the color of labels can be set with \cs{tlabelcolor}, and +one can set the color used by \cs{gclear} with \cs{backgroundcolor} (the +same color is used in the interior of unfilled points drawn with +\cs{point}). The optional \meta{model} may be one of \opt{rgb}, +\opt{RGB}, \opt{cmyk}, \opt{gray}, and \opt{named}. The \meta{colorspec} +depends on the model, as outlined below. Each of these commands sets a +corresponding \MP{} color variable with the same name (except +\cs{backgroundcolor} sets the color \mfc{background}). Thus one can set +the filling color to the drawing color with +\cs{fillcolor}\marg{drawcolor}. + +\subsubsection{\CMP{} Colors.}\label{mpcolors} + +If the optional \meta{model} specification is omitted, the color +specification may be any expression recognized as a color by \MP. In +\MP, a color is a triple of numbers like \mfc{(1,.5,.5)}, with the +coordinates between 0 and 1, representing red, green and blue levels, +respectively. White is given by \mfc{(1,1,1)} and black by +\mfc{(0,0,0)}. \CMP{} also has color variables and several have been +predefined: \mfc{red}, \mfc{green}, \mfc{blue}, \mfc{yellow}, +\mfc{cyan}, \mfc{magenta}, \mfc{white}, and \mfc{black}. All the names +in the \LaTeX{} \prog{color} package's \file{dvipsnam.def} are +predefined color variable names. Since \MP{} allows color expressions, +colors may be added and multiplied by numerics. Moreover, several \MP{} +color functions have been defined in \file{grafbase.mp}: + +\begin{cd} +\mfc{cmyk($c$,$m$,$y$,$k$)}% +\index{cmyk@\mfc{cmyk($c$,$m$,$y$,$k$)}} +\end{cd} + +Converts a \opt{cmyk} color specification to \MP's native \opt{rgb}. For +example, the command \mfc{cmyk(1,0,0,0)} yields \mfc{(0,1,1)}, which is +the definition of \mfc{cyan}. + +\begin{cd} +\mfc{RGB($R$,$G$,$B$)}% +\index{RGB@\mfc{RGB($R$,$G$,$B$)}} +\end{cd} + +Converts an \opt{RGB} color specification to \opt{rgb}. It essentially +just divides each component by 255. + +\begin{cd} +\mfc{gray($g$)}% +\index{gray@\mfc{gray($g$)}} +\end{cd} + +Converts a numeric $g$ (a gray level) to the corresponding multiple of +\mfc{(1,1,1)}. + +\begin{cd} +\mfc{named(\meta{name})}, +\mfc{rgb($r$,$g$,$b$)}% +\index{named@\mfc{named(\meta{name})}}% +\index{rgb@rgb($r$,$g$,$b$)} +\end{cd} + +These are essentially no-ops. However; \mfc{rgb} will truncate the +arguments to the 0--1 range, an unknown \meta{name} is converted to +\mfc{black}, and an unknown numeric argument is set to 0. + +\medskip +As an example of the use of these functions, one could conceivable +write: +\begin{ex} + \cs{drawcolor}\marg{0.5*RGB(255,0,0)+0.5*cmyk(1,0,0,0)} +\end{ex} +to have all curves drawn in a color halfway between red and cyan (which +turns out to be the same as \gbc{gray(0.5)}). + +\subsubsection{Color Models.}\label{colormodels} + +When the optional \meta{model} is specified in the color setting +commands, it determines the format of the color specification: + +\medskip +\halign{\quad#\hfil\quad&#\hfil\cr +{\sl Model:}& {\sl Specification:}\cr +\opt{rgb}& Three numbers in the range 0 to 1 separated by commas.\cr +\opt{RGB}& Three numbers in the range 0 to 255 separated by commas.\cr +\opt{cmyk}& Four numbers in the range 0 to 1 separated by commas.\cr +\opt{gray}& One number in the range 0 to 1, with 1 indicating + white, 0 black.\cr +\opt{named}& A \MP{} color variable name either predefined by + \mfp{} or by the user.\cr} + +\medskip +\Mfp{} translates +\begin{ex} + \cs{fillcolor}\oarg{cmyk}\marg{1,.3,0,.2} +\end{ex} +into the equivalent of +\begin{ex} + \cs{fillcolor}\marg{cmyk(1,.3,0,.2)}. +\end{ex} +Note that when the optional model is specified, the color +specification must not be enclosed in parentheses. Note also that each +model name is the name of a color function described in the previous +subsection. That is how the models are implemented internally. + + +\subsubsection{Defining a Color Name.}\label{colorname} + +\begin{cd} +\cs{mfpdefinecolor}\marg{\meta{name}}\marg{\meta{model}}\marg{\meta{colorspec}}% +\index{mfpdefinecolor@\cs{mfpdefinecolor}} +\end{cd} + +This defines a color variable \meta{name} for later use, either in the +commands \cs{drawcolor}, etc., or in the optional parameters to +\cs{draw}, etc. The name can be used alone or in the \opt{named} model. +The mandatory \meta{model} and \meta{colorspec} are as above. + +\medskip +A final caution, the colors of an \mfp{} figure are stored in the +\file{.mp} output file, and are not related to colors used or defined by +the \LaTeX{} \prog{color} package. In particular a color defined only by +\LaTeX's \cs{definecolor} command will remain unknown to \mfp. +Conversely, \LaTeX{} commands will not recognize any color defined only +by \cs{mfpdefinecolor}. + +\subsubsection{Color in \MF} + +\CMF{} was never meant to understand colors, but it certainly can be +taught the difference between black and white and, to a limited extent, +various grays. Starting with version 0.7, \mfp{} will no longer generate +an error when a color-changing command is used under the \opt{metafont} +option. Instead, when possible, the variables that represent colors in +\MP{} will be converted to a numeric value between 0 and 1 in \MF. When +possible (for example, when a region is filled) the numeric will be +interpreted as a gray level and shading (see subsection~\ref{filling}) +will be used to approximate the gray. In other cases (drawing or dashing +of curves, placing of points or symbols, filling with a pattern of hatch +lines) the number will be interpreted as black or white: a value less +than 1 will cause the figure to be rendered (in black), while a value +equal to 1 (white) will cause pixels corresponding to the figure to be +erased. + +This is still somewhat experimental and depends on adhering to certain +restrictions. \CMF's syntax does not recognize a triple of numbers as +any sort of data structure, but it does allow \emph{commands} to have +any number of parameters in parentheses. So colors must be specified +using the color commands such as \gbc{rgb(1,1,0)} or color names such as +\gbc{yellow}, and never as a bare triple. Also, as currently written, +the color names defined in \file{dvipsnam.mp} are not defined in \MF. +With these provisions the same \mfp{} code can often produce either gray +scale \MF{} pictures or \MP{} color pictures depending only on the +\opt{metapost} option. + +The commands \cs{shade} and \cs{gfill}\oarg{gray(.75)} (see +subsection~\ref{filling} for their meaning) will produce a similar shade +of gray, but there is a difference. The first simply adds small dots on +top of whatever is already drawn. The second, however, tries to simulate +the \MP{} effect, which is to cover up whatever is previously drawn. +Therefore, it first zeros all affected pixels before adding the dots to +simulate gray. In particular, \cs{gfill}\oarg{white} should have the +same effect as \cs{gclear}. + + +\subsection{Shape-Modifier Macros.}\label{modifier} + +Some \mfp{} macros operate as \emph{shape-modifier} macros---for +example, if you want to put an arrowhead on a line segment, you could +write: \cs{arrow}\cs{lines}\marg{(0,0),(1,0)}. These are always prefixed +to some figure drawing command, and apply only to the next following +figure macro (which can be rather far removed) provided that only other +prefix commands intervene. This is a rather long section, but even more +modification prefixes are documented in subsection~\ref{transformation}. + +For the purposes of these macros, a distinction must be made in the +figure macros between `open' and `closed' paths. A path that merely +returns to its starting point is \emph{not} automatically closed; such a +path is open, and must be explicitly closed, for example by \cs{lclosed} +(see below). The (already) closed paths are those that have +`\texttt{closed}' in their name plus: \cs{rect}, \cs{circle}, +\cs{ellipse}, \cs{sector}, \cs{cyclic}, \cs{polygon}, \cs{plrregion}, +\cs{chartbar}, \cs{piewedge}, \cs{tlabelrect}, \cs{tlabeloval}, +\cs{tlabelellipse}, \cs{tlabelcircle} and \cs{btwnfcn} (below). + +\subsubsection{Closure of Paths.}\label{closure} + +\begin{cd} +\cs{lclosed}$\ldots$% +\index{lclosed@\cs{lclosed}} +\end{cd} + +Makes each open path into a closed path by adding a line segment between +the endpoints of the path. + +\begin{cd} +\cs{bclosed}\oarg{\meta{tens}}$\ldots$ +\index{bclosed@\cs{bclosed}}% +\end{cd} + +This macro is similar to \cs{lclosed}, except that it closes an open +path smoothly by drawing a B\'ezier curve. A B\'ezier is \MF's natural +way of connecting points into a curve, and \cs{bclosed} is the simplest +and most efficient closure next to \cs{lclosed}. Moreover it usually +gives a reasonably aesthetic result. Sometimes, however, one might wish +a tighter connection. If that is the case, use the optional argument +with a value of the tension \meta{tens} greater than $1$, the default. +The command \cs{settension} (see subsection~\ref{curves}) can be used to +change the default. + +\begin{cd} +\cs{sclosed}\oarg{\meta{tens}}$\ldots$% +\index{sclosed@\cs{sclosed}} +\end{cd} + +This closes the curve by mimicking the definition of the \cs{curve} +command. That command tries to force the curve to pass through the $n$th +point in a direction parallel to the line from point $(n-1)$ to point +$(n+1)$. In order to close a curve in this way, the direction at the two +endpoints often has to be changed, and this changes the shape of the +first and last segments of the curve. Use \cs{bclosed} if you don't wish +this to happen. However, \cs{sclosed}\cs{curve} produces the same result +as \cs{cyclic} given the same points and tension valuse. The optional +tension argument is as in the \cs{bclosed} command. + + +\subsubsection{Reversal, Connection and Subpaths.}\label{reversal} + +\begin{cd} +\cs{reverse}$\ldots$% +\index{reverse@\cs{reverse}} +\end{cd} + +Turns a path around, reversing its sense. This will affect both +the direction of arrows (e.g. bi-directional arrows can be coded with +\cs{arrow}\cs{reverse}\cs{arrow}$\ldots$, where the first \cs{arrow} +modifier applies to the \emph{reversed} path), and the order of +endpoints for a \cs{connect}$\ldots$\cs{endconnect} environment (below). + + +\begin{cd} +\cs{connect} $\ldots$ +\cs{endconnect}% +\index{connect@\cs{connect}} +\index{endconnect@\cs{endconnect}} +\end{cd} + +This pair of macros, acting as an environment, adds line segments from +the trailing endpoint of one path to the leading endpoint of the +next path, in the given order. The result is a connected, \emph{open} +path. + +\emph{Note}: In \LaTeX, this pair of macros can be used in the form of a +\LaTeX-style environment called \env{connect} ---as in +\cs{begin}\marg{connect}$\ldots$\cs{end}\marg{connect}. + +\begin{cd} +\cs{partpath}\marg{\meta{frac1},\meta{frac2}}\dots\\ +\cs{subpath}\marg{\meta{num1},\meta{num2}}\dots% +\index{partpath@\cs{partpath}}% +\index{subpath@\cs{subpath}} +\end{cd} + +Both produce a part of the following path. In \cs{partpath} the +parameters \meta{frac1} and \meta{frac2} should be numbers between 0 and +1. The path produced travels the same course as the path that follows, +but starts at the point that is \meta{frac1} of the original length +along it, and ends at the point \meta{frac2} of its original length. If +\meta{frac1} is greater than \meta{frac2}, the sense of the path is +reversed. In \cs{subpath}, the two numbers should be between 0 and the +number of B\'ezier segments in the path. This is mainly for experienced +\MF ers and provides an \mfp{} interface to \MF's +`\mfc{subpath}' operation. + +As an example of \cs{partpath}, one can put an arrowhead (see next +subsection) in the middle of a path with something like the following. + +\begin{ex} +\cs{arrow}\cs{partpath}\marg{0,.5}\cs{draw}\dots +\end{ex} + + +\subsubsection{Arrows.}\label{arrows} + +\begin{cd} +\cs{arrow}\oarg{l\meta{headlen}}\oarg{r\meta{rotate}}% + \oarg{b\meta{backset}}\oarg{c\meta{color}}$\ldots$% +\index{arrow@\cs{arrow}} +\end{cd} + +Draws an arrowhead at the endpoint of the open path (or at the last key +point of the closed path) that follows. The optional parameter +\meta{headlen} determines the length of the arrowhead. The default is +the value of the \TeX{} dimension \cs{headlen}, initially \dim{3pt}. The +optional parameter \meta{rotate} allows the arrowhead to be rotated +anticlockwise around its point an angle of \meta{rotate} degrees. The +default is 0. The optional parameter \meta{backset} allows the arrowhead +to be `set back' from its original point, thus allowing e.g. double +arrowheads. This parameter is in the form of a \TeX{} dimension---its +default value is \dim{0pt}. If an arrowhead is both rotated and set +back, the rotation affects the direction in which the arrowhead is set +back. The optional \meta{color} defaults to \gbc{headcolor}. The +optional parameters may appear in any order, but the indicated key +character for each parameter must always appear. + + +\subsection{Rendering macros}\label{rendering} + +\subsubsection{Drawing.}\label{drawing} + +When \mfp{} is loaded, the initial way in which figures are drawn +is with a solid outline. That is, \cs{lines}\marg{(1,0),(1,1),(0,0)} +will draw two solid lines connecting the points. When the macros in this +section are used, any previously established default (see +subsection~\ref{default} below) is overridden. + +\begin{cd} +\cs{draw}\oarg{\meta{color}}$\ldots$% +\index{draw@\cs{draw}} +\end{cd} + +Draws the subsequent path using a solid outline. For an example: to both +draw a curve and hatch its interior, \cs{draw}\cs{hatch} must be used. +The default for \meta{color} is \gbc{drawcolor}. + +To save repetition, the color used for the following commands is also +\gbc{drawcolor}: \cs{dashed}, \cs{dotted}, \cs{plot}, \cs{plotnodes}, +and \cs{gendashed}, + +\begin{cd} +\cs{dashed}\oarg{\meta{length},\meta{space}}$\ldots$% +\index{dashed@\cs{dashed}} +\end{cd} + +Draws dashed segments along the path specified in the next command. The +default length of the dashes is the value of the \TeX{} dimension +\cs{dashlen}, initially \dim{4pt}. The default space between the dashes +is the value of the \TeX{} dimension \cs{dashspace}, initially +\dim{4pt}. The dashes and the spaces between may be increased or +decreased by as much as ${1\over n}$ of their value, where $n$ is the +number of spaces appearing in the curve, in order to have the proper +dashes at the ends. The dashes at the ends are half of \cs{dashlen} +long. + +\begin{cd} +\cs{dotted}\oarg{\meta{size},\meta{space}}$\ldots$% +\index{dotted@\cs{dotted}} +\end{cd} + +Draws dots along the specified path. The default size of the dots is the +value of the \TeX{} dimension \cs{dotsize}, initially \dim{0.5pt}. The +default space between the dots is the value of the \TeX{} dimension +\cs{dotspace}, initially \dim{3pt}. The size of the spaces may be +adjusted as in \cs{dashed}. + +\begin{cd} +\cs{plot}\oarg{\meta{size},\meta{space}}\marg{\meta{symbol}}$\ldots$% +\index{plot@\cs{plot}} +\end{cd} + +Similar to \cs{dotted} except copies of \meta{symbol} are drawn along +the path. Possible symbols are those listed under \cs{plotsymbol} in +subsection~\ref{points}. The default \meta{size} is \cs{pointsize} and +the default \meta{space} is \cs{symbolspace}, initially \dim{5pt}. + +\begin{cd} +\cs{plotnodes}\oarg{\meta{size}}\marg{\meta{symbol}}$\ldots$% +\index{plotnodes@\cs{plotnodes}} +\end{cd} + +This places a symbol (same possibilities as in \cs{plotsymbol}, see +subsection~\ref{points}) at each node of the path that follows. A node +is one of the points through which \MF{} draws its curve. If one of the +macros \cs{polyline}\marg{$\ldots$} or \cs{curve}\marg{$\ldots$} +follows, each of the points listed is a node. In the \cs{datafile} +command (below), each of the data points in the file is. In the function +macros (below) the points corresponding to \meta{min}, \meta{max} and +each step in between are nodes. The optional \meta{size} defaults to +\cs{pointsize}. If the command \cs{clearsymbols} has been issued then +the interiors of the open symbols are erased. The effect of something +like the following is rather nice: + +\begin{verbatim} + \clearsymbols + \plotnodes{Circle}\draw\polyline{...} +\end{verbatim} +This will first draw the polyline with solid lines, and then the points +listed will be plotted as open circles with the portion of the lines +inside the circles erased. One sees a series of open circles connected +one to the next by line segments + + +\begin{cd} +\cs{dashpattern}\marg{\meta{name}}% + \marg{\meta{len1},\meta{len2},$\ldots$,\meta{len2k}}% +\index{dashpattern@\cs{dashpattern}} +\end{cd} + +For more general dash patterns than \cs{dashed} and \cs{dotted} provide, +there is a generalized dashing command. One must first establish a named +dashing pattern with this command. \meta{name} can be any sequence of +letters and underscores. Try to make it distinctive to avoid undoing +some internal variable. \meta{len1} through \meta{len2k} are an even +number of lengths. The odd ones determine the lengths of dashes, the +even ones the lengths of spaces. A dash of length \texttt{0pt} means a +dot. An alternating dot-dash pattern can be specified with + +\begin{ex} + \cs{dashpattern}\marg{dotdash}\marg{0pt,4pt,3pt,4pt}. +\end{ex} +\emph{Note}: Since pens have some thickness, dashes look a little +longer, and spaces a little shorter, than the numbers suggest. If one +wants dashes and space with the same length, one needs to take the size +desired and increase the spaces by the thickness of the drawing pen +(normally \dim{0.5pt}) and decrease the dashes by the same amount. + +If \cs{dashpattern} is used with an odd number of entries, a space of +length \dim{0pt} is appended. This makes the last dash in one copy of +the pattern abut the first dash in the next copy. + +\begin{cd} +\cs{gendashed}\marg{\meta{name}}$\ldots$% +\index{gendashed@\cs{gendashed}} +\end{cd} + +Once a dashing pattern name has been defined, it can be used in this +command to draw the curve that follows it. Using a name not previously +defined will cause the curve to be drawn with a solid line, and generate +a \MF{} warning, but \TeX{} will not complain. If all the dimensions in +a dash pattern are 0, \cs{gendashed} responds by drawing a solid curve. +The same is true if the pattern has only one entry. + + +\subsubsection{Shading, Filling, Erasing, Clipping, +Hatching.}\label{filling} + +These macros can all be used to fill (or unfill) the interior of closed +paths, even if the paths cross themselves. Filling an open curve is +technically an error, but the \MF{} code responds by drawing the path +and not doing any filling. These macros replace the default rendering: +when they are used the outline will not be drawn unless an explicit +prefix to do so is present. + +\begin{cd} +\cs{gfill}\oarg{\meta{color}}$\ldots$% +\index{gfill@\cs{gfill}} +\end{cd} + +Fills in the subsequent closed path. Under \MP{} it fills with +\meta{color}, which defaults to +\index{fillcolor@\gbc{fillcolor}}\gbc{fillcolor}. Under \MF{} it +approximates the color with a shade of gray, clears the interior, and +then fills with a pattern of black and white pixels simulating gray. + +\begin{cd} +\cs{gclear}$\ldots$% +\index{gclear@\cs{gclear}} +\end{cd} + +Erases everything \emph{inside} the subsequent closed path (except text +labels under some circumstances, see section~\ref{mplabels} and +\ref{overlaylabels}). Under \MP{} it actually fills with the +predefined color named \mfc{background}. Since \mfc{background} is normally +white, and so are most actual backgrounds, this is usually +indistinguishable from clearing. + +\begin{cd} +\cs{gclip}$\ldots$% +\index{gclip@\cs{gclip}} +\end{cd} + +Erases everything \emph{outside} the subsequent closed path from the +picture (except text labels under some circumstances, see +section~\ref{mplabels} and \ref{overlaylabels}). + +\begin{cd} +\cs{shade}\oarg{\meta{shadesp}}$\ldots$% +\index{shade@\cs{shade}} +\end{cd} + +Shades the interior of the subsequent closed path with dots. The +diameter of the dots is the \MF{} variable \mfc{shadewd}, set by the +macro \cs{shadewd}\marg{\meta{size}}. Normally this is \dim{0.5pt}. The +optional argument specifies the spacing between (the centers of) the +dots, which defaults to the \TeX{} dimension \cs{shadespace}, initially +\dim{1pt}. If \cs{shadespace} is less than \mfc{shadewd}, the closed +path is filled with black, as if with \cs{gfill}. Under \MP{} this macro +actually fills the path's interior with a shade of gray. The shade to +use is computed based on \cs{shadespace} and \mfc{shadewd}. The default +values of these parameters correspond to a gray level of 75\% of white.% + \footnote{If \cs{shadewd} is $w$ and \cs{shadespace} is $s$, then + the level of gray is $1 - (w/s)^2$, where $0$ denotes black and $1$ + white.} % +The \MF{} version attempts to optimize the dots to the pixel grid +corresponding to the printers resolution (to avoid generating dither +lines). Because this involves rounding, it will happen that values of +\cs{shadespace} that are relatively close and at the same time close to +\mfc{shadewd} produce exactly the same shade. Most of the time, however, +values of \cs{shadespace} that differ by at least 20\% will produce +different patterns. The actual behavior for particular values of the +parameters and particular printer resolutions cannot be predicted, and +we even make no guarantee it will not change from one version of \mfp{} +to another. + +\begin{cd} +\cs{polkadot}\oarg{\meta{space}}$\ldots$% +\index{polkadot@\cs{polkadot}} +\end{cd} + +Fills the interior of a closed path with large dots. This is almost what +\cs{shade} does, but there are several differences. \cs{shade} is +intended solely to simulate a gray fill in \MF{} where the only color is +black. So it is optimized for small dots aligned to the pixel grid (in +\MF). In \MP{} all it does is fill with gray and is intended merely for +compatibility. The macro \cs{polkadot} is intended for large dots in any +color, and so it optimizes spacing (a nice hexagonal array) and makes no +attempt to align at the pixel level. The \meta{space} defaults to the +\TeX{} dimension \cs{polkadotspace}, initially \dim{10pt}. The diameter +of the dots is the value of the \MF{} variable \mfc{polkadotwd}, which +can be set with \cs{polkadotwd}\marg{\meta{size}}, and is initially +\dim{5pt}. The dots are colored with +\index{fillcolor@\gbc{fillcolor}}\gbc{fillcolor}. In \MF, nonblack +values of \gbc{fillcolor} will produce shaded dots. + +\begin{cd} +\cs{thatch}\oarg{\meta{hatchsp},\meta{angle}}\oarg{\meta{color}}$\ldots$% +\index{thatch@\cs{thatch}} +\end{cd} + +Fills a closed path with equally spaced parallel lines at the specified +angle. The thickness of the lines is set by the macro \cs{hatchwd}. In +the optional argument, \meta{hatchsp} specifies the space between lines, +which defaults to the \TeX{} dimension \cs{hatchspace}, initially +\dim{3pt}. The \meta{angle} defaults to 0. The \meta{color} defaults to +\gbc{hatchcolor}. If \cs{hatchspace} is less than the line thickness, +the closed path is filled with \meta{color}, as if with \cs{gfill}. If +the first optional argument appears, both parts must be present, +separated by a comma. For the color argument to be present, the other +optional argument must also be present. However, if one wishes only to +override the default color one can use an empty first optional argument +(completely empty, no spaces). + +\begin{cd} +\cs{lhatch}\oarg{\meta{hatchsp}}\oarg{\meta{color}}$\ldots$% +\index{lhatch@\cs{lhatch}} +\end{cd} + +Draws lines shading in the subsequent closed path in a left-oblique +hatched (upper left to lower right) pattern. It is exactly the same as +\cs{thatch}\oarg{\meta{hatchsp},-45}\oarg{\meta{color}}$\ldots$ + +\begin{cd} +\cs{rhatch}\oarg{\meta{hatchsp}}\oarg{\meta{color}}$\ldots$% +\index{rhatch@\cs{rhatch}} +\end{cd} + +Draws lines shading in the subsequent closed path in a right-oblique +hatched (lower left to upper right) pattern. It is exactly the same as +\cs{thatch}\oarg{\meta{hatchsp},45}\oarg{\meta{color}}$\ldots$ + +\begin{cd} +\cs{hatch}\oarg{\meta{hatchsp}}\oarg{\meta{color}}$\ldots$\\ +\cs{xhatch}\oarg{\meta{hatchsp}}\oarg{\meta{color}}$\ldots$% +\index{hatch@\cs{hatch}}% +\index{xhatch@\cs{xhatch}} +\end{cd} + +Draws lines shading in the subsequent closed path in a cross-hatched +pattern. It is exactly the same as \cs{rhatch} followed by \cs{lhatch} +using the same \meta{hatchsp} and \meta{color}. + +Hatching should normally be used very sparingly, or never if +alternatives are available (color, shading). Hatching at two different +angles is, however, almost the only way to fill in two regions that +\emph{automatically} shows the overlapping region. + + +\subsubsection{Changing the Default Rendering.}\label{default} + +\emph{Rendering} is the process of converting a geometric description +into a drawing. In \MF, this means producing a bitmap (\MF{} stores +these in \mfc{picture} variables), either by stroking (drawing) a path +using a particular pen), or by filling a closed path. In \MP{} it means +producing a \PS{} description of strokes with pens, and fills + +\begin{cd} +\cs{setrender}\marg{\meta{\TeX{} commands}}% +\index{setrender@\cs{setrender}} +\end{cd} + +Initially, \mfp{} uses the \cs{draw} command (stroking) as the default +operation when a figure is to be rendered. However, this can be changed +to any combination of \mfp{} rendering commands and/or other \TeX{} +commands, by using the \cs{setrender} command. This redefinition is +local inside an \env{mfpic} environment, so it can be enclosed in braces +to restrict its range. Outside an \env{mfpic} environment it is a global +redefinition. + +For example, after \cs{setrender}\marg{\cs{dashed}\cs{shade}} the +command \cs{circle}\marg{(0,0),1} produces a shaded circle with a dashed +outline. Any explicit rendering prefix overrides this default. + +\subsubsection{Examples.}\label{examples} + +It may be instructive, for the purpose of understanding the syntax of +\emph{shape-modifier and rendering prefixes}, to consider two examples: +\begin{ex} + \cs{draw}\cs{shade}\cs{lclosed}\cs{lines}\marg{...} +\end{ex} +which shades inside a polygon and draws its outline; and +\begin{ex} + \cs{shade}\cs{lclosed}\cs{draw}\cs{lines}\marg{...} +\end{ex} +which draws all of the outline \emph{except} the line segment supplied +by \cs{lclosed}, then shades the interior. Thus, in the first case the +path is defined (by \cs{lines}) then closed, then the resulting closed +path is shaded, then drawn; while in the second case the order is: +defined, drawn, closed, shaded. In particular, what is drawn is the path +not yet closed. + + +\subsection{Functions and Plotting.}\label{functions} + +In the following macros, expressions like $f(\mathtt{x})$, $g(\mathtt{t})$ +stand for any legal \MF{} expression, in which the only unknown +variables are those indicated (\texttt{x} in the first case, and \texttt{t} in +the second). + +\subsubsection{Defining Functions}\label{defining} + +\begin{cd} +\cs{fdef}\marg{\meta{fcn}}\marg{\meta{param1},\meta{param2},$\ldots$}% + \marg{\meta{mf-expr}}% +\index{fdef@\cs{fdef}} +\end{cd} + +Defines a \MF{} function \meta{fcn} of the parameters \meta{param1}, +\meta{param2}, $\ldots$, by the \MF{} expression \meta{mf-expr} in which +the only free parameters are those named. The return type of the +function is the same as the type of the expression. What is allowed for +the function name \meta{fcn} is more restrictive than \MF's rule for +variable names. Roughly speaking, it should consist of letters and +underscore characters only. (In particular, for those that know what +this means, the name should have no suffixes.) Try to make the names +distinctive to avoid redefining internal \MF{} commands. + +The expression \meta{mf-expr} is passed directly into the corresponding +\MF{} macro and interpreted there, so \MF's rules for algebraic +expressions apply. If \cs{fdef} occurs inside an \env{mfpic} +environment, it is local to that environment, otherwise it is available +to all subsequent \env{mfpic} environments. + +As an example, after \cs{fdef}\marg{myfcn}\marg{s,t}\marg{s*t-t}, any +place below where a \MF{} expression is required, you can use +\mfc{myfcn(2,3)} to mean \mfc{2*3-3} and \mfc{myfcn(x,x)} to mean +\mfc{x*x-x}. + +Operations available include \mfc{+}, \mfc{-}, \mfc{*}, \mfc{/}, and +\mfc{**} (\mfc{x**y}$=x^y$), with \mfc{(} and \mfc{)} for grouping. +Functions already available include the standard \MF{} functions +\mfc{round}, \mfc{floor}, \mfc{ceiling}, \mfc{abs}, \mfc{sqrt}, +\mfc{sind}, \mfc{cosd}, \mfc{mlog}, and \mfc{mexp}. Note that in \MF{} +the operations \mfc{*} and \mfc{**} have the same level of precedence, +so \mfc{x*y**z} means $(xy)^z$. Use parentheses liberally! + +(\textit{Notes:} The \MF{} trigonometric functions \mfc{sind} and +\mfc{cosd} take arguments in degrees; \mfc{mlog(x)}$=256\ln x$, and +\mfc{mexp} is its inverse.) You can also define the function \meta{fcn} +by cases, using the \MF{} conditional expression +\begin{ex} + \mfc{if~\meta{boolean}:~\meta{expr}~elseif + \meta{boolean}:~$\ldots$~else:~\meta{expr}~fi}. +\end{ex} +Relations available for the \meta{boolean} part of the expression +include \mfc{=}, \mfc{<}, \mfc{>}, \mfc{<=}, \mfc{<>} and \mfc{>=}. + +Complicated functions can be defined by a compound expression, which is +a series of \MF{} statements, followed by an expression, all enclosed in +the commands \mfc{begingroup} and \mfc{endgroup}. The \cs{fdef} +command automatically supplies the grouping around the definition so +the user need not type them if the entire \meta{mf-expr} is one such +compound expression. \CMF{} functions can call \MF{} functions, +even recursively. + +Many common functions have been predefined in \file{grafbase}. These +include all the usual trig functions \mfc{tand}, \mfc{cotd}, \mfc{secd}, +\mfc{cscd}, which take angles in degrees, plus variants \mfc{sin}, +\mfc{cos}, \mfc{tan}, \mfc{cot}, \mfc{sec}, and \mfc{csc}, which take +angles in radians. Some inverse trig functions are also available, the +following produce angles in degrees: \mfc{asin}, \mfc{acos}, and +\mfc{atan}, and the following in radians: \mfc{invsin}, \mfc{invcos}, +\mfc{invtan}. The exponential and hyperbolic functions: \mfc{exp}, +\mfc{sinh}, \mfc{cosh}, \mfc{tanh}, and their inverses \mfc{ln} (or +\mfc{log}), \mfc{asinh}, \mfc{acosh}, and \mfc{atanh} are also defined. + +\subsubsection{Plotting Functions}\label{plotting} + +The plotting macros take two or more arguments. They have an optional +first argument, \meta{spec}, which determines whether a function is +drawn smooth (as a \MF{} B\'ezier curve), or polygonal (as line +segments)---if \meta{spec} is \texttt{p}, the function will be +polygonal. Otherwise the \meta{spec} should be \texttt{s}, followed by +an optional positive number no smaller than 0.75. In this case the +function will be smooth with a tension equal to the number. See the +\cs{curve} command (subsection~\ref{curves}) for an explanation of +tension. The default \meta{spec} depends on the purpose of the macro. + +One compulsory argument contains three values \meta{min}, \meta{max} and +\meta{step} separated by commas. The independent variable of a function +starts at the value \meta{min} and steps by \meta{step} until reaching +\meta{max}. If \meta{max}${}-{}$\meta{min} is not a whole number of +steps, then round$((\meta{max}-\meta{min})/\meta{step})$ equal steps are +used. One may have to experiment with the size of \meta{step}, since +\MF{} merely connects the points corresponding to these steps with what +\emph{it} considers to be a smooth curve. Smaller \meta{step} gives +better accuracy, but too small may cause the curve to exceed \MF's +capacity or slow down its processing. Increasing the tension may help +keep the curve in line, but at the expense of reduced smoothness. + +There are one or more subsequent arguments, each of which is a \MF{} +function or expression as described above. + +\begin{cd} +\cs{function}\oarg{\meta{spec}}\marg{\meta{$x_{\mathrm{min}}$},% + \meta{$x_{\mathrm{max}}$},\meta{$\Delta x$}}% + \marg{$f(\mathtt{x})$}% +\index{function@\cs{function}} +\end{cd} + +Plots $f(\mathtt{x})$, a \MF{} numeric function or expression of one +numeric argument, which must be denoted by a literal \texttt{x}. The +default \meta{spec} is \texttt{s}. For example +\begin{ex} +\cs{function}\marg{0,pi,pi/10}\marg{sin x} +\end{ex} +draws the graph of $\sin x$ between 0 and $\pi$. + +\begin{cd} +\cs{parafcn}\oarg{\meta{spec}}\marg{\meta{$t_{\mathrm{min}}$},% + \meta{$t_{\mathrm{max}}$},\meta{$\Delta t$}}% + \marg{\meta{pfcn}}% +\index{parafcn@\cs{parafcn}} +\end{cd} + +Plots the parametric path determined by \meta{pfcn}, where \meta{pfcn} +is a \MF{} function or expression of one numeric argument \texttt{t}, +returning a \MF{} \emph{pair}. Or a pair of numeric expressions +$(x(\mathtt{t}),y(\mathtt{t}))$ enclosed in parentheses and separated by +a comma. The default \meta{spec} is \texttt{s}. For example +\begin{ex} +\cs{parafcn}\marg{0,1,.1}\marg{(2t, t + t*t)} +\end{ex} +plots a smooth parabola from $(0,0)$ to $(2,2)$. + +\begin{cd} +\cs{plrfcn}\oarg{\meta{spec}}\marg{\meta{$\theta_{\mathrm{min}}$},% + \meta{$\theta_{\mathrm{max}}$},\meta{$\Delta\theta$}}% + \marg{$f(\mathtt{t})$}% +\index{plrfcn@\cs{plrfcn}} +\end{cd} + +Plots the polar function determined by $r=f(\theta)$, where $f$ is a +\MF{} numeric function or expression of one numeric argument, and +$\theta$ varies from \meta{$\theta_{\mathrm{min}}$} to +\meta{$\theta_{\mathrm{max}}$} in steps of \meta{$\Delta\theta$}. Each +$\theta$ value is interpreted as an angle measured in \emph{degrees}. In +the expression $f(\mathtt{t})$, the unknown \texttt{t} stands for +$\theta$. The default \meta{spec} is \texttt{s}. For example +\begin{ex} +\cs{plrfcn}\marg{0,90,5}\marg{sind (2t)} +\end{ex} +draws one loop of a 4-petal rosette. If one needs radian measures, use +something like the following. +\begin{ex} +\cs{plrfcn}\marg{0,pi*radian,pi*radian/18}\marg{sin (2t/radian)} +\end{ex} + + +\begin{cd} +\cs{btwnfcn}\oarg{\meta{spec}}\marg{\meta{$x_{\mathrm{min}}$},\meta{$x_{\mathrm{max}}$},\meta{$\Delta x$}}% + \marg{$f(\mathtt{x})$}\marg{$g(\mathtt{x})$}% +\index{btwnfcn@\cs{btwnfcn}} +\end{cd} + +Draws the region between the two functions $f(x)$ and $g(x)$, these +being numeric functions of one numeric argument \texttt{x}. The region is +bounded also by the vertical lines at \meta{$x_{\mathrm{min}}$} and \meta{$x_{\mathrm{max}}$}. +Unlike the previous function macros, the default \meta{spec} is +\texttt{p}---this macro is intended to be used for shading between drawn +functions, a task for which smoothness is usually unnecessary. +For example +\begin{ex} +\cs{shade}\cs{btwnfcn}\marg{0,180,5}\marg{0}\marg{sind x} +\end{ex} +shades the area between first crest of a sine wave and the x-axis. + +Note: the effect of \cs{btwnfcn} could also be accomplished with +\begin{ex} + \cs{lclosed}\cs{connect}\\ + \cs{function}\marg{\meta{$x_{\mathrm{min}}$},% + \meta{$x_{\mathrm{max}}$},\meta{$\Delta x$}}\marg{$f(\mathtt{x})$}\\ + \cs{reverse}\cs{function}\marg{\meta{$x_{\mathrm{min}}$},% + \meta{$x_{\mathrm{max}}$},\meta{$\Delta x$}}\marg{$g(\mathtt{x})$}\\ + \cs{endconnect} +\end{ex} + +\begin{cd} +\cs{plrregion}\oarg{\meta{spec}}% + \marg{\meta{$\theta_{\mathrm{min}}$},\meta{$\theta_{\mathrm{max}}$},% + \meta{$\Delta\theta$}}\marg{$f(\mathtt{t})$}% +\index{plrregion@\cs{plrregion}} +\end{cd} + +Plots the polar region determined by $r=f(\theta)$, where $f$ is a \MF{} +numeric function of one numeric argument \texttt{t}. The $\theta$ +values are angles (measured in \emph{degrees}), varying from +\meta{$\theta_{\mathrm{min}}$} to \meta{$\theta_{\mathrm{max}}$} in +steps of \meta{$\Delta\theta$}. In the expression $f(\mathtt{t})$, the +\texttt{t} stands for $\theta$. The region is also bounded by the angles +\meta{$\theta_{\mathrm{min}}$} and \meta{$\theta_{\mathrm{max}}$}, i.e. +by the line segments joining the origin to the endpoints of the +function. The default \meta{spec} is \texttt{p} ---this macro is +intended to be used for shading a region with the boundary drawn, a task +for which smoothness is usually unnecessary. For example +\begin{ex} +\cs{shade}\cs{plrregion}\marg{0,90,5}\marg{sind (2t)} +\end{ex} +shades one loop of the 4-petal rosette. + + +\subsubsection{Plotting external data files}\label{external} + +\begin{cd} +\cs{datafile}\oarg{\meta{spec}}\marg{\meta{file}}\\ +\cs{smoothdata}\oarg{\meta{tension}}\\ +\cs{unsmoothdata}% +\index{datafile@\cs{datafile}}% +\index{smoothdata@\cs{smoothdata}}% +\index{unsmoothdata@\cs{unsmoothdata}} +\end{cd} + +\cs{datafile} defines a curve connecting the points listed in the file +\meta{file}. (The context makes it clear whether this meaning of +\cs{datafile} or that of subsection~\ref{list} is meant.) The +\meta{spec} may be \texttt{p} to produce a polygonal path, or \texttt{s} +followed by a tension value (as in \cs{curve}) to produce a smooth path. +If no \meta{spec} is given, the default is initially \texttt{p}, but +\cs{smoothdata} may be used to change this. Thus, after the command +\cs{smoothdata}\oarg{\meta{tension}} the default \meta{spec} is changed +to \texttt{s\meta{tension}}. If the tension parameter is not supplied it +defaults to \mfc{1.0} (or the value set by the \cs{settension} command +if one has been used). + +The command \cs{unsmoothdata} restores the default \meta{spec} to +\texttt{p}. + +By default, each non-blank line in the file is assumed to contain at +least two numbers, separated by whitespace (blanks or tabs). The first +two numbers on each line are assumed to represent the $x$- and +$y$-coordinates of a point. Initial blank lines in the file are ignored, +as are comments. The comment character in the data file is assumed to be +\texttt{\%}, but it can be reset using \cs{mfpdatacomment} (below). Any +blank line other than at the start of the file causes the curve to +terminate. The \cs{datafile} command may be preceded by any of the +prefix commands, so that, for example, a closed curve could be formed +with \cs{lclosed}\cs{datafile}\marg{data.dat}. + +The \index{datafile@\cs{datafile}}\cs{datafile} command has another use, +independent of the above description. We saw in subsection~\ref{list} +that any \mfp{} command (other than one that prints text labels) that +takes as its last argument a list of points (or numerical values) +separated by commas, can have that list replaced with a reference to an +external data file. For example, if a file \file{ptlist.dat} contains +two or more numerical values per line separated by whitespace, then one +can draw a dot at each of the points corresponding to the first pair of +numbers on each line with the following. +\begin{ex} + \cs{point}\cs{datafile}\marg{ptlist.dat} +\end{ex} +In fact there is no essential difference between `\cs{datafile}\oarg{p}' +and `\cs{polyline}\cs{datafile}', and no difference between +`\cs{datafile}\oarg{s}' and `\cs{curve}\cs{datafile}'. + +Here is the full list of \mfp{} macros that allow this usage of +\cs{datafile}\index{datafile@\cs{datafile}}: + + \begin{raggedright} +\begin{itemize} +\item Numeric data: \cs{piechart}, \cs{barchart}, \cs{numericarray}, and + all the axis marks commands. +\item Point or vector data: \cs{point}, \cs{plotsymbol}, \cs{polyline}, + \cs{polygon}, \cs{fcncurve}, \cs{curve}, \cs{cyclic}, \cs{turtle}, + \cs{qspline}, \cs{closedqspline}, \cs{cspline}, \cs{closedcspline}, + \cs{mfbezier}, \cs{closedmfbezier}, \cs{qbeziers}, + \cs{closedqbeziers}, and \cs{pairarray}. +\end{itemize} + + \end{raggedright} + +\begin{cd} +\cs{mfpdatacomment}\cs{}\meta{char}% +\index{mfpdatacomment@\cs{mfpdatacomment}} +\end{cd} + +Changes \meta{char} to a comment character and changes the usual \TeX{} +comment character \texttt{\%} to an ordinary character \emph{while reading a +datafile for drawing}. + +\begin{cd} +\cs{using}\marg{\meta{in-pattern}}\marg{\meta{out-pattern}}% +\index{using@\cs{using}} +\end{cd} + +Used to change the assumptions about the format of the data file. For +example, if there are four numbers on each line separated by commas, to +plot the third against the second (in that order) you can say +\cs{using}\marg{\#1,\#2,\#3,\#4}\marg{(\#3,\#2)}. This means the +following: Everything on a line up to the first comma is assigned to +parameter \texttt{\#1}, everything from there up to the second comma is +assigned to parameter \texttt{\#2}, etc. Everything from the third comma +to the end of line is assigned to \texttt{\#4}. When the line is +processed by \TeX{} a \MF{} pair is produced representing a point on the +curve. \CMF{} pair expressions can be used in the output portion of +\cs{using}. For example \cs{using}\marg{\#1,\#2,\#3}\marg{(\#2,\#1)/10} +or even \cs{using}\marg{\#1 \#2 \#3}\marg{polar(\#1,\#2)} if the data +are polar coordinates. The default assumptions of the \cs{datafile} +command (i.e., space separated numbers, the first two determining each +point) correspond to the setting +\begin{ex} +\cs{using}\marg{\#1 \#2 \#3}\marg{(\#1,\#2)} +\end{ex} +The \cs{using} command cannot normally be used in the replacement text +of another command. Or rather, it can be so used, but then each +\texttt{\#} has to be doubled. If a \cs{using} declaration occurs in an +\env{mfpic} environment it is local to that environment. Otherwise it +affects all subsequent ones. + +\begin{cd} +\cs{sequence}\index{sequence@\cs{sequence}} +\index{sequence@\cs{sequence}} +\end{cd} + +As a special case, you can plot any number against its sequence +position, with something like +\cs{using}\marg{\#1 \#2}\marg{(\cs{sequence},\#1)}. Here, the macro +\cs{sequence} will take on the values \texttt{1}, \texttt{2}, etc. as +lines are read from the file. + +\begin{cd} +\cs{usingpairdefault}\\ +\cs{usingnumericdefault}% +\index{usingpairdefault@\cs{usingpairdefault}}% +\index{usingnumericdefault@\cs{usingnumericdefault}} +\end{cd} + +The command \cs{usingpairdefault} restores the above default for pair +data. The command \cs{usingnumericdefault} is the equivalent of +\cs{using}\marg{\#1 \#2}\marg{\#1}. + +Note that the default value of \cs{using} appears to reference three +arguments. If there are only two numbers on a line separated by +whitespace, this will still work because of \TeX's argument matching +rules. \TeX's file reading mechanism normally converts the EOL to a +space, but there are exceptions so \mfp{} internally adds a space at +the end of each line read in to be on the safe side. Then the default +definition of \cs{using} reads everything up to the first space as +\texttt{\#1} (whitespace is normally compressed to a single space by +\TeX's reading mechanism), then everything to the second space (the one +added at the end of the line, perhaps) is \texttt{\#2}, then everything +to the EOL is \texttt{\#3}. This might assign an empty argument to +\texttt{\#3}, but it is discarded anyway. + +If the numerical data contain percentages with explicit \texttt{\%} signs, +then choose another comment character with \cs{mfpdatacomment}. This +will change \texttt{\%} to an ordinary character \emph{in the data file}. +However, in your \cs{using} command it would still be read as a comment. +The following example shows how to overcome this: +\begin{verbatim} + \makepercentother + \using{#1% #2 #3}{(#1/100,#2)} + \makepercentcomment +\end{verbatim} + + +Here\index{makepercentother@\cs{makepercentother}}% +\index{makepercentcomment@\cs{makepercentcomment}} +is an analysis of the meaning of this example: everything in a line, up +to the first percent followed by a space is assigned to parameter +\texttt{\#1}, everything from there to the next space is assigned to +\texttt{\#2} and the rest of the line (which may be empty) is +\texttt{\#3}. On the output side in the above example, the percentage is +divided by 100 to convert it to a fraction, and plotted against the +second parameter. Note: normal comments should not be used between +\cs{makepercentother} and \cs{makepercentcomment}, for obvious reasons. + +\begin{cd} + \cs{plotdata}\oarg{\meta{spec}}\marg{\meta{file}}% + \index{plotdata@\cs{plotdata}} +\end{cd} + +This plots several curves from a single file. The \meta{spec} and the +command \cs{smoothdata} have the same effect on each curve as in the +\cs{datafile} command. The data for each curve is a succession of +nonblank lines separated from the data for the next curve by a single +blank line. A \emph{pair} of successive blank lines is treated as the +end of the data. No prefix macros are permitted in front of +\cs{plotdata}. + +Each successive curve in the data file is drawn differently. By default, +the first is drawn as a solid line the next dashed, the third dotted, +etc., through a total of six different line types. A \cs{gendashed} +command is used with predefined dash patterns named \mfc{dashtype0} +through \mfc{dashtype5}. This behavior can be changed with: + +\begin{cd} +\cs{coloredlines}\\ +\cs{pointedlines}\\ +\cs{datapointsonly}\\ +\cs{dashedlines}% +\index{coloredlines@\cs{coloredlines}}% +\index{pointedlines@\cs{pointedlines}}% +\index{datapointsonly@\cs{datapointsonly}}% +\index{dashedlines@\cs{dashedlines}} +\end{cd} + +The command \cs{coloredlines} changes to cycling through eight different +colors starting with black (hey, black is a color too). This has an +effect only for \MP. The sole exception to the general rule that all +curves are drawn in \gbc{drawcolor} is the \cs{plotdata} command after +\cs{coloredlines} has been issued. The command \cs{pointedlines} causes +\cs{plotdata} to use \cs{plot} commands, cycling through nine symbols. +The command \cs{datapointsonly} causes \cs{plotdata} to use +\cs{plotnodes}\marg{\meta{symbol}} commands to plot the data points +only. (See the Appendix for more details.) The command \cs{dashedlines} +restores the default. If, for some reason, you do not like the default +starting line style (say you want to start with a color other than +black), you can use one of the following commands. + +\begin{cd} +\cs{mfplinetype}\marg{\meta{num}}, or\\ +\cs{mfplinestyle}\marg{\meta{num}}% +\index{mfplinetype@\cs{mfplinetype}}% +\index{mfplinestyle@\cs{mfplinestyle}} +\end{cd} + +Here \meta{num} is a non-negative number, less than the number of +different drawing types available. The four previous commands reset the +number to 0, so if you use one of them, issue \cs{mfplinetype} +\emph{after} it. The different line styles are numbered starting from +$0$. If two or more \cs{plotdata} commands are used in the same +\env{mfpic} environment, the numbering in each continues where the one +before left off (unless you issue one of the commands above in between). +\cs{mfplinestyle} means the same as \cs{mfplinetype}, and is included +for compatibility. See the Appendix to find out what dash pattern, +color or symbol corresponds to each number by default. The commands +below can be used to change the default dashess, colors, or symbols. + +\begin{cd} +\cs{reconfigureplot}\marg{dashes}\marg{\meta{pat$_1$},\dots,\meta{pat$_n$}}\\ +\cs{reconfigureplot}\marg{colors}\marg{\meta{clr$_1$},\dots,\meta{clr$_n$}}\\ +\cs{reconfigureplot}\marg{symbols}\marg{\meta{symb$_1$},\dots,\meta{symb$_n$}}% +\index{reconfigureplot@\cs{reconfigureplot}} +\end{cd} + +The first argument of \cs{reconfigureplot} is the rendering method to +change: \texttt{dashes}, \texttt{colors}, or \texttt{symbols}. The +second argument is a list of dash patterns, colors, or symbols. The dash +patterns should be names of patterns defined through the use of +\cs{dashpattern}. The colors can be any color names already known to +\MP, or defined through \cs{mfpdefinecolor}. The symbols can be any of +those listed with the \cs{plotsymbol} command (see +subsection~\ref{points}), or any known \MF{} path variable. The colors +can also be \MP{} expressions of type color, and the symbols can be +expressions of type path. Within a \env{mfpic} environment, the changes +made are local to that environment. Outside, they affect all subsequent +environments. + +\begin{cd} +\cs{defaultplot}\marg{dashes}\\ +\cs{defaultplot}\marg{colors}\\ +\cs{defaultplot}\marg{symbols} +\index{defaultplot@\cs{defaultplot}} +\end{cd} + +The command \cs{defaultplot} restores the built-in defaults for the +indicated method of rendering in \cs{plotdata}. + +The commands \cs{using}, \cs{mfpdatacomment} and \cs{sequence} have the +same meaning here (for \cs{plotdata}) as they do for \cs{datafile} +(above). The sequence numbering for \cs{sequence} starts over with each +new curve. + +\subsection{Labels and Captions.}\label{labels} + +\subsubsection{Setting Text.}\label{text} + +If option \opt{metafont} is in effect macros \cs{tlabel}, \cs{tlabels}, +\cs{axislabels} and \cs{tcaption} do not affect the \MF{} file +(\file{\meta{file}.mf}) at all, but are added to the picture by \TeX. If +\opt{metapost} is in effect but \opt{mplabels} is not, they do not +affect the \MP{} file. In these cases, if these macros are the only +changes or additions to your document, there is no need to repeat the +processing with \MF{} or \MP{} nor the reprocessing with \TeX{} in order +to complete your \TeX{} document. + +\begin{cd} +\cs{tlabel}\oarg{\meta{just}}\parg{\meta{x},\meta{y}}\marg{\meta{labeltext}}\\ +\cs{tlabel}\oarg{\meta{just}}\marg{\meta{pair-list}}\marg{\meta{label text}}\\ +\cs{tlabels}\marg{\meta{params$_1$} \meta{params$_2$} $\ldots$}% +\index{tlabel@\cs{tlabel}}\index{tlabels@\cs{tlabels}} +\end{cd} + +Places \TeX{} labels on the graph. (Not to be confused with \LaTeX's +\cs{label} command.) The special form \cs{tlabels} (note the plural) +essentially just applies \cs{tlabel} to each set of parameters listed in +its argument. That is, each \meta{params$_k$} is a valid set of +parameters for a \cs{tlabel} command. These can be separated by spaces, +newlines, or nothing at all. They should \emph{not} be separated by +blank lines. + +The last required parameter is ordinary \TeX{} text. The pair +\parg{\meta{x},\meta{y}} gives the coordinates of a point in the graph +where the text will be placed. It may optionally be enclosed in braces. +In fact, the second syntax may be used if \opt{mplabels} is in effect, +where \meta{pair-list} is any expression recognized as a pair by \MP, or +a comma-separated list of such pairs. + +The optional parameter \oarg{\meta{just}} specifies the +\emph{justification}, the relative placement of the label with respect +to the point \parg{\meta{x},\meta{y}}. It is a two-character sequence +where the first character is one of \texttt{t} (top), \texttt{c} (center), +\texttt{b} (bottom), or \texttt{B} (Baseline), to specify vertical placement, +and the second character is one of \texttt{l} (left), \texttt{c} (center), or +\texttt{r} (right), to specify horizontal placement. These letters specify +what part of the \emph{text} is to be placed at the given point, so +\texttt{r} puts the right end of the text there---which means the text will be +left of the point. The default justification is \oarg{Bl}. + +When \opt{mplabels} is in effect, the two characters may optionally be +followed by a number, specifying an angle in degrees to rotate the text +about the point \parg{\meta{x},\meta{y}}. If the angle is supplied +without \opt{mplabels} it is ignored after a warning. If the angle is +absent, there is no rotation. Note that the rotation takes place after +the placement and uses the given point as the center of rotation. For +example, \oarg{cr} will place the text left of the point, while +\oarg{cr180} will rotate it around to the right side of the point (and +upsidedown, of course). + +There should be no spaces before, between, or after the first two +characters. However the number, if present, is only required to be a +valid \MP{} numerical expression containing no bracket characters; as +such, it may contain some spaces (e.g., around operations as in +\texttt{45 + 30}). + +A multiline \cs{tlabel} may be specified by explicit line breaks, which +are indicated by the \bbsl{} command or the \cs{cr} command. This is a +very rudimentary feature. By default it left justifies the lines and +causes \cs{tlabel} to redefine \bbsl. One can center a line by putting +\cs{hfil} as the first thing in the line, and right justify by putting +\cs{hfill} there (these are \TeX{} primitives). Redefining \bbsl{} can +interfere with \LaTeX's definition. For better control in \LaTeX{} use +\cs{shortstack} inside the label (or a \env{tabular} environment or some +other environment which always initializes \bbsl{} with its own +definition). + +If the label goes beyond the bounds of the graph in any direction, the +space reserved for the graph is expanded to make room for it. (Note: +this behavior is very much different from that of the \LaTeX{} +\env{picture} environment.) + +If the \opt{mplabels} option is in effect, \cs{tlabel} will write a +\mfc{btex $\ldots$ etex} group to the output file, allowing \MP{} to +arrange for typesetting the label. Normally, the label becomes part of +the picture, rather than being laid on top of it, and can be covered up +by any filling macros that follow, or clipped off by \cs{gclear} or +\cs{gclip}. However, under the \opt{overlaylabels} option (or after the +command \cs{overlaylabels}), labels are saved and added to the picture +at the very end. This may prevent some special effects, but it makes the +behavior of labels much more consistent through all the 12 permissable +settings of the options \opt{metapost}, \opt{mplabels}, \opt{clip}, and +\opt{truebbox}. + +\begin{cd} +\cs{everytlabel}\marg{\meta{\TeX-code}}% +\index{everytlabel@\cs{everytlabel}} +\end{cd} + +One problem with multi-line \cs{tlabel}s is that each line of their +contents constitutes a separate group. This makes it difficult to change +the \cs{baselineskip} (for example) inside a label. The command +\cs{everytlabel} saves it's contents in a token register and the code is +issued in each \cs{tlabel}, as the last thing before the actual line(s) +of text. Any switch you want to apply to every line can be supplied. For +example +\begin{ex} + \cs{everytlabel}\marg{\cs{bf}\cs{baselineskip} 10pt} +\end{ex} +will make every line of every \cs{tlabel}'s text come out bold with 10 +point baselines. The effect of \cs{everytlabel} is local to the +\env{mfpic} environment, if it is issued inside one. Note that the lines +of a tlabel are wrapped in a box, but the commands of \cs{everytlabel} +are outside all of them, so no actual text should be produced by these +commands. + +Using \cs{tlabel} without an optional argument is equivalent to +specifying \oarg{Bl}. Use the following command to change this +behavior. + +\begin{cd} +\cs{tlabeljustify}\marg{\meta{just}}% +\index{tlabeljustify@\cs{tlabeljustify}} +\end{cd} + +After this command the placement of all subsequent labels without +optional argument will be as specified in this command. For example, +\cs{tlabeljustify}\marg{cr45} would cause all subsequent \cs{tlabel} +commands lacking an optional argument to be placed as if the argument +\oarg{cr45} were used in each. If \opt{mplabels} is not in effect at the +time of this command, the rotation part will be saved in case that +option is turned on later, but a warning message will be issued. Without +\opt{mplabels}, the rotation is ignored by \cs{tlabel} . + +\begin{cd} +\cs{tlabeloffset}\marg{\meta{hlen}}\marg{\meta{vlen}}\\ +\cs{tlabelsep}\marg{\meta{len}}% +\index{tlabeloffset@\cs{tlabeloffset}}% +\index{tlabelsep@\cs{tlabelsep}} +\end{cd} + +The first command causes all subsequent \cs{tlabel} commands to shift +the label right by \meta{hlen} and up by \meta{vlen} (negative lengths +cause it to be shifted left and down, respectively). + +The \cs{tlabelsep} command causes labels to be shifted by the given +amount in a direction that depends on the optional positioning +parameter. For example, if the first letter is \texttt{t} the label is +shifted down by the amount \meta{len} and if the second letter is +\texttt{l} it is also shifted right. In all cases it is shifted \emph{away} from +the point of placement (unless the dimension is negative). If \texttt{c} or +\texttt{B} is the first parameter, no vertical shift takes place, and if +\texttt{c} is the second, there is no horizontal shift. This is intended to +be used in cases where something has been drawn at that particular +point, in order to separate the text from the drawing, but the value is +also written to the output file for use by \cs{tlabelrect} +(subsection~\ref{surrounding}) and related +commands. + +\begin{cd} +\cs{axislabels}\marg{\meta{axis}}\oarg{\meta{just}}% + \marg{\marg{\meta{text$_1$}}\meta{$n_1$},% + \marg{\meta{text$_2$}}\meta{$n_2$},$\ldots$}% +\index{axislabels@\cs{axislabels}} +\end{cd} + +This command places the given \TeX{} text (\meta{text$_k$}) at the given +positions (\meta{$n_k$}) on the given axis, \meta{axis}, which must be a +single letter and one of \texttt{l}, \texttt{b}, \texttt{r}, \texttt{t}, +\texttt{x}, or \texttt{y}. The text is placed as in \cs{tlabels} +(including the taking into account of \cs{tlabelsep} and +\cs{tlableoffset}), except that the default justification depends on the +axis (the settings of \cs{tlabeljustify} are ignored). In the case of +the border axes, the default is to place the label outside the axis and +centered. So, for example, for the bottom axis it is \oarg{tc}. The +defaults for the $x$- and $y$-axis are below and left, respectively. The +optional \meta{just} can be used to change this. For example, to place +the labels \emph{inside} the left border axis, use \oarg{cl}. If +\opt{mplabels} is in effect, rotations can be included in the +justification parameter. For example, to place the text strings +`first', `second' and `third' just below the positions 1, 2 and 3 +on the $x$-axis, rotated so they read upwards at a 90 degree angle, one +can use \cs{axislabels}\marg{x}\oarg{cr90}\marg{\marg{first}1, +\marg{second}2, \marg{third}3} + +\begin{cd} +\cs{plottext}\oarg{\meta{just}}\marg{\meta{text}}\marg{($x_0$,$y_0$), + ($x_1$,$y_1$), $\ldots$}% +\index{plottext@\cs{plottext}} +\end{cd} + +Similar in effect to \cs{point} and \cs{plotsymbol} (but without +requiring \MF), \cs{plottext} places a copy of \meta{text} at each of +the listed points. It simply issues multiple \cs{tlabel} commands with +the same text and optional parameter, but at the different points +listed. This is intended to plot a set of points with a single letter or +font symbol (instead of a \MF{} generated shape). Like \cs{axislabels}, +this does not respond to the setting of \cs{tlabeljustify}. It has a +default setting of \oarg{cc} if the optional argument is omitted. The +points may be MetaPost pair expressions under \opt{mplabels}, but they +must \emph{not} be individually enclosed in braces. (This requirement is +new with version 0.7; prior to that pairs in braces didn't work reliably +anyway.) This command is actually unnecessary under \opt{mplabels} as +the plain \cs{tlabel} command can then be given a list of points. The +\cs{tlabel} command is more efficient, and \cs{plottext} is converted to +it internally. + +\begin{cd} +\cs{mfpverbtex}\marg{\meta{\TeX-cmds}}% +\index{mfpverbtex@\cs{mfpverbtex}} +\end{cd} + +This writes a \mfc{verbatimtex} block to the \file{.mp} file. It makes +sense only if the \opt{mplabels} option is used and so only for \MP. The +\meta{\TeX-cmds} in the argument are written to the \file{.mp} file, +preceded by the \MP{} command \mfc{verbatimtex} and followed by +\mfc{etex}. Line breaks within the \meta{\TeX-cmd} are preserved. The +\cs{mfpverbtex} command must come before any \cs{tlabel} that is to be +affected by it. Any settings common to all \env{mfpic} environments +should be in a \cs{mfpverbtex} command preceding all such environments. +It may be issued at any point after \mfp{} is loaded, and any number of +times. If it issued before \cs{opengraphsfile}, its contents are saved +and written by that command. Because of the way \MP{} handles +\mfc{verbatimtex} material, the effects cannot be constrained by any +grouping unless one places \TeX{} grouping commands within +\meta{\TeX-cmds}. + +\begin{cd} +\cs{tcaption}\oarg{\meta{maxwd},\meta{linewd}}\marg{\meta{caption text}}% +\index{tcaption@\cs{tcaption}} +\end{cd} + +Places a \TeX{} caption at the bottom of the graph. (Not to be confused +with \LaTeX's similar \cs{caption} command.) The macro will +automatically break lines which are too much wider than the graph---if +the \cs{tcaption} line exceeds \meta{maxwd} times the width of the +graph, then lines will be broken to form lines at most \meta{linewd} +times the width of the graph. The default settings for \meta{maxwd} and +\meta{linewd} are 1.2 and 1.0, respectively. \cs{tcaption} typesets its +argument twice (as does \LaTeX's \cs{caption}), the first time to test +its width, the second time for real. Therefore, the user is advised +\emph{not} to include any global assignments in the caption text. + +If the \cs{tcaption} and graph have different widths, the two are +centered relative to each other. If the \cs{tcaption} takes multiple +lines, then the lines are both left- and right-justified (except for the +last line), but the first line is not indented. If the option +\opt{centeredcaptions} is in effect, each line of the caption will be +centered. + +In a \cs{tcaption}, Explicit line breaks may be specified by using the +\bbsl{} command. The separation between the bottom of the picture and +the caption can be changed by increasing or decreasing the skip +\cs{mfpiccaptionskip}\index{mfpiccaptionskip@\cs{mfpiccaptionskip}} +(a `rubber' length in Lamport's terminology). + +Many \mfp{} users find the \cs{tcaption} command too limiting (one +cannot, for example, place the caption to the side of the figure). It is +common to use some other method (such as \LaTeX's \cs{caption} command +in a \env{figure} environment). The dimensions \cs{mfpicheight} and +\cs{mfpicwidth} (see section~\ref{parameters}) might be a convenience +for plain \TeX{} users who want to roll their own caption macros. + +\subsubsection{Curves surrounding text}\label{surrounding} + + +\begin{cd} +\cs{tlabelrect}\oarg{\meta{rad}}\oarg{\meta{just}}% + \meta{pair}\marg{\meta{text}}\\ +\cs{tlabelrect*...}% +\index{tlabelrect@\cs{tlabelrect}} +\end{cd} + +This and the following two methods of surounding a bit of text with a +curve share some common characteristics which will be described here. +The commands all take an optional argument that can modify the shape of +the curve. After that come arguments exactly as for the \cs{tlabel} +command except that only a single point is permitted, not a list. (So +\meta{pair} is either of the form \parg{\meta{x},\meta{y}} or the same +enclosed in braces, or for \opt{mplabels} a pair expression in braces.) +After processing the surrounding curve, a \cs{tlabel} is applied to +those arguments unless a \texttt{*} is present. In order for the second +optional argument to be recognized as the second, the first optional +argument must also be present. An empty first optional argument is +permitted, causing the default value to be used. The default for the +justification parameter is \texttt{cc}, for compatibility with past +\mfp{} versions in which these commands all centered the figure around +the point and no justification parameter existed. This default can be +changed with the \cs{tlpathjustify} command below. + +The plain rectangle version produces a frame separated from the text on +all sides by the amount defined with \cs{tlabelsep}. All other versions +produce the smallest described curve that contains this rectangle. + +These commands may be preceded by prefix macros (see the sections +\ref{modifier}~and \ref{rendering}, above). They all have a +`\texttt{*}-form' which produces the curve but omits placing the text. +All have the effect of rendering the path \emph{before} placing any +text. For example, \cs{gclear}\cs{tlabelrect}\dots\ will clear the +rectangle and then place the following text in the cleared space. + +The optional argument of \cs{tlabelrect}, \meta{rad}, is a dimension, +defaulting to \dim{0pt}, that produces rounded corners made from +quarter-circles of the given radius. If the corners are rounded, the +sides are expanded slightly so the resulting shape still encompasses the +rectangle mentioned above. There is one special case for the optional +argument \meta{rad}: if the keyword `\texttt{roundends}' is used instead +of a dimension, the radius will be chosen to make the nearest quarter +circles just meet, so the narrow side of the rectangle is a half circle. + +\begin{cd} +\cs{tlabeloval}\oarg{\meta{mult}}\oarg{\meta{just}}% + \meta{pair}\marg{\meta{text}}\\ +\cs{tlabeloval*...}% +\index{tlabeloval@\cs{tlabeloval}} +\end{cd} + +This is similar to \cs{tlabelrect}, except it draws an ellipse. The +ellipse is calculated to have the same ratio of width to height as the +rectangle mentioned above. The optional \meta{mult} is a multiplier that +increases or decreases this ratio. Values of \meta{mult} larger than 1 +increase the width and decrease the height. + +\begin{cd} +\cs{tlabelellipse}\oarg{\meta{ratio}}\oarg{\meta{just}}% + \meta{pair}\marg{\meta{text}}\\ +\cs{tlabelellipse*...}\\ +\cs{tlabelcircle}\oarg{\meta{just}}\meta{pair}\marg{\meta{text}}\\ +\cs{tlabelcircle*...}% +\index{tlabelellipse@\cs{tlabelellipse}}\index{tlabelcircle@\cs{tlabelcircle}} +\end{cd} + +Draws the smallest ellipse centered at the point that encompasses the +rectangle defined above, and that has a ratio of width to height equal +to \meta{ratio} then places the text. The default ratio is $1$, which +produces a circle. We also provide the command \cs{tlabelcircle}, which +take only the \oarg{\meta{just}} optional argument. Internally, it just +processes any \texttt{*} and calls \cs{tlabelellipse} with parameter 1. + +In the above \cs{tlabel...} curves, the optional parameter should be +positive. If it is zero, all the curves silently revert to +\cs{tlabelrect}. If it is negative, it is silently accepted. In the case +of \cs{tlabelrect} this causes the quarter-circles at the corners to be +indented rather than convex. In the other cases, there is no visible +effect, but in all cases the sense of the curve is reversed. + +\begin{cd} +\cs{tlpathjustify}\marg{\meta{just}} +\index{tlpathjustify@\cs{tlpathjustify}} +\end{cd} + +This can be used to change the default justification for \cs{tlabelrect} +and friends. The \meta{just} parameter is exactly as in +\cs{tlabeljustify} in subsection~\ref{text}. + + +\subsection{Saving and Reusing an \mfp{} Picture.}\label{saving} + +These commands have been changed from versions prior to 0.3.14 in order +to behave more like the \LaTeX's \cs{savebox}, and also to allow the +reuse of an allocated box. Past files that use \cs{savepic} will have to +be edited to add \cs{newsavepic} commands that allocate the \TeX{} +boxes. + +\begin{cd} +\cs{newsavepic}\marg{\meta{picname}}\\ +\cs{savepic}\marg{\meta{picname}}\\ +\cs{usepic}\marg{\meta{picname}}% +\index{newsavepic@\cs{newsavepic}}% +\index{savepic@\cs{savepic}}% +\index{usepic@\cs{usepic}} +\end{cd} + +\cs{newsavepic} allocates a box (like \LaTeX's \cs{newsavebox}) in which +to save a picture. As in \cs{newsavebox}, \meta{picname} is a control +sequence. Example: \cs{newsavepic}\marg{\cs{foo}}. + +\cs{savepic} saves the \emph{next} \cs{mfpic} picture in the named box, +which should have been previously allocated with \cs{newsavepic}. (This +command should not be used \emph{inside} an \env{mfpic} environment.) +The next picture will not be placed, but saved in the box for later use. +This is primarily intended as a convenience. One \emph{could} use +\begin{ex} + \cs{savebox}\marg{\meta{picname}}\marg{\meta{entire \env{mfpic} environment}}, +\end{ex} +but \cs{savepic} avoids having to place the \env{mfpic} environment in +braces, and avoids one extra level of \TeX{} grouping. It also avoids +reading the entire \env{mfpic} environment as a parameter, which would +nullify \mfp's efforts to preserve line breaks in parameters +written to the \MF{} output file. If you repeat \cs{savepic} with the +same \meta{picname}, the old contents are replaced with the next +picture. + +\cs{usepic} copies the picture that had been saved in the named box. +This may be repeated as often as liked to create multiple copies of one +picture. + + +\subsection{Picture frames.}\label{frames} + +When \TeX{} is run but before \MF{} or \MP{} has been run on the output +file, \mfp{} detects that the \file{.tfm} file is missing or that +the first \MP{} figure file \file{\meta{file}.1} is missing. In these +cases, the \env{mfpic} environment draws only a rectangular frame with +dimensions equal to the nominal size of the picture, containing the +figure name and number (and any \TeX{} labels). The command(s) used +internally to do this are made available to the user. + +\begin{cd} +\cs{mfpframe}\oarg{\meta{fsep}}% + \meta{ material-to-be-framed }% +\cs{endmfpframe}\\ +\cs{mfpframed}\oarg{\meta{fsep}}\marg{\meta{material-to-be-framed}}% +\index{mfpframed@\cs{mfpframed}}% +\index{endmfpframe@\cs{endmfpframe}}% +\index{mfpframe@\cs{mfpframe}} +\end{cd} + +These surround their contents with a rectangular frame consisting of +lines with thickness \cs{mfpframethickness} separated from the contents +by the \meta{fsep} if specified, otherwise by the value of the dimension +\cs{mfpframesep}. The default value of the \TeX{} dimensions +\cs{mfpframesep} and \cs{mfpframethickness} are \dim{2pt} and +\dim{0.4pt}, respectively. The \cs{mfpframe} $\ldots$ \cs{endmfpframe} +version is preferred around \env{mfpic} environments or verbatim +material since it avoids reading the enclosed material before +appropriate \cs{catcode} changes go into effect. In \LaTeX, one can also +use the \cs{begin}\marg{mfpframe} $\ldots$ \cs{end}\marg{mfpframe} +syntax. + +An alternative way to frame \env{mfpic} pictures is to save them with +\cs{savepic} (see previous section) and issue a corresponding +\cs{usepic} command inside any framing environment/command of the user's +choice or devising. + + +\subsection{Affine Transforms.}\label{transforms} + +Coordinate transformations that keep parallel lines in parallel are +called \emph{affine transforms}. These include translation, rotation, +reflection, scaling and skewing (slanting). For the \MF{} coordinate +system only---that is, for paths, but not for \cs{tlabel}'s (let alone +\cs{tcaption}'s)---\mfp{} provides the ability to apply \MF{} +affine transforms. + + +\subsubsection{Affine Transforms of the \MF{} Coordinate +System.}\label{affine} + +\begin{cd} +\cs{coords} $\ldots$ +\cs{endcoords}% +\index{coords@\cs{coords}}% +\index{endcoords@\cs{endcoords}} +\end{cd} + +All affine transforms are restricted to the innermost enclosing +\cs{coords}$\ldots$\cs{endcoords} pair. If there is \emph{no} such +enclosure, then the transforms will apply to the rest of the \env{mfpic} +environment + +\emph{Note}: In \LaTeX, a \env{coords} environment may be used. + +\medskip +Transforms provided by \mfp. + +\medskip +\halign +{#\hfil&\quad#\hfil\cr + \cs{rotate}\marg{\meta{$\theta$}}% + \index{rotate@\cs{rotate}}% + & Rotates around origin by \meta{$\theta$} degrees \cr + \cs{rotatearound}\marg{\meta{point}}\marg{\meta{$\theta$}}% + \index{rotatearound@\cs{rotatearound}}% + & Rotates around point \meta{point} by \meta{$\theta$} degrees \cr + \cs{turn}\oarg{\meta{point}}\marg{\meta{$\theta$}}% + \index{turn@\cs{turn}}% + & Rotates around point \meta{point} (origin is default) by + \meta{$\theta$} \cr + \cs{mirror}\marg{\meta{$p_1$}}\marg{\meta{$p_2$}}% + \index{mirror@\cs{mirror}}% + & Same as \cs{reflectabout}\cr + \cs{reflectabout}\marg{\meta{$p_1$}}\marg{\meta{$p_1$}}% + \index{reflectabout@\cs{reflectabout}}% + & Reflect about the line \meta{$p_1$}\texttt{--}\meta{$p_2$} \cr + \cs{shift}\marg{\meta{pair}}% + \index{shift@\cs{shift}}% + & Shifts origin by the vector \meta{pair} \cr + \cs{scale}\marg{\meta{s}}% + \index{scale@\cs{scale}}% + & Scales uniformly by a factor of \meta{s} \cr + \cs{xscale}\marg{\meta{s}}% + \index{xscale@\cs{xscale}}% + & Scales only the X coordinates by a factor of \meta{s} \cr + \cs{yscale}\marg{\meta{s}}% + \index{yscale@\cs{yscale}}% + & Scales only the Y coordinates by a factor of \meta{s} \cr + \cs{zscale}\marg{\meta{pair}}% + \index{zscale@\cs{zscale}}% + & Scales uniformly by magnitude of \meta{pair}, and rotates by angle + of \meta{pair} \cr + \cs{xslant}\marg{\meta{s}}% + \index{xslant@\cs{xslant}}% + & Skew in $X$ direction by the multiple \meta{s} of $Y$ \cr + \cs{yslant}\marg{\meta{s}}% + \index{yslant@\cs{yslant}}% + & Skew in $Y$ direction by the multiple \meta{s} of $X$ \cr + \cs{zslant}\marg{\meta{pair}}% + \index{zslant@\cs{zslant}}% + & See \mfc{zslanted} in \file{grafdoc.tex} \cr + \cs{boost}\marg{\meta{$\chi$}}% + \index{boost@\cs{boost}}% + & Special relativity boost by $\chi$, see \mfc{boost} in + \file{grafdoc.tex} \cr + \cs{xyswap}% + \index{xyswap@\cs{xyswap}}% + & Exchanges the values of $x$ and $y$. \cr}% + +An arbitrary \MF{} transformation can be implemented with + +\begin{cd} +\cs{applyT}\marg{\meta{transformer}}% +\index{applyT@\cs{applyT}} +\end{cd} + +This is mainly for \MF{} hackers. This applies the \MF{} +\meta{transformer} to the current coordinate system. For example, the +\mfp{} \TeX{} macro \cs{zslant\#1} is implemented as +\cs{applyT}\marg{zslanted \#1} where the argument \mfc{\#1} is a \MF{} +pair, such as $(x,y)$. Any code that satisfies \MF's syntax for a +\meta{transformer} (see D.~E.~Knuth, ``The \MF book'') is permitted, +although no effort is made to correctly write \TeX{} special characters +nor to preserve linebreaks in the code. + +When any of these commands is issued, the effect is to transform all +subsequent figures (within the enclosing \env{coords} or \env{mfpic} +environment). In particular, attention may need to be paid to whether +these transformations move (part of) the figure outside the space +allotted by the \cs{mfpic} command parameters. + +A not-so-obvious point is that if several of these transformations are +applied in succession, then the most recent is applied first, so that +figures are transformed as if the transformations were applied in the +reverse order of their occurrence. This is similar to the application of +prefix macros (as well as application of transformations in mathematics: +$T_1 T_2 z$ usually means to apply $T_1$ to the result of $T_2 z$). + + +\subsubsection{Transformation of Paths.}\label{transformation} + +In the previous section we discussed transformations of the \MF{} +coordinate system. Those macros affect the \emph{drawing} of paths and +other figures, but do not change the actual paths. We will explain the +distinction after introducing two macros for storing and reusing +figures. + +\begin{cd} +\cs{store}\marg{\meta{path variable}}\marg{\meta{path}}\\ +\cs{store}\marg{\meta{path variable}}\meta{path}% +\index{store@\cs{store}} +\end{cd} + +This stores the following \meta{path} in the specified \MF{} \meta{path +variable}. Any valid \MF{} symbolic token will do, in particular, any +sequence of letters or underscores. You should be careful to make the +name distinctive to avoid overwriting the definition of some internal +variable. The stored path may later be used as a figure macro +using \cs{mfobj} (below). The \meta{path} may be any of the figure +macros (such as \cs{curve}\marg{(0,0),(1,0),(1,1)}) or the result of +modifying it. For example. + +\begin{ex} +\cs{store}\marg{pth}\cs{lclosed}\cs{reverse}% + \cs{curve}\marg{(0,0),(1,0),(1,1)}) +\end{ex} + +In fact, \cs{store} is a prefix macro that does nothing to the following +curve except store it. It acts as a rendering macro with a null +rendering, so the curve is not made visible unless other rendering +macros appear before or after it. It is special in that it is the only +prefix macro that allows the following path to be an argument, that is, +enclosed in braces. This is solely to support past \mfp{} versions in +which \cs{store} was \emph{not} defined as a prefix macro. + +\begin{cd} +\cs{mfobj}\marg{\meta{path expression}}\\ +\cs{mpobj}\marg{\meta{path expression}}% +\index{mfobj@\cs{mfobj}}\index{mpobj@\cs{mpobj}} +\end{cd} + +The \meta{path expression} is a previously stored path variable, or a +valid \MF{} (or \MP) expression combining such variables and/or constant +paths. This allows the use of path variables or expressions as figure +macros, permitting all prefix operations, etc.. Here's some +oversimplified uses of \cs{store} and \cs{mfobj}: + +\nobreak +\begin{verbatim} +\store{my_f}{\circle{...}} % Store a circle. +\dotted\mfobj{my_f} % Now draw it dotted, +\hatch\mfobj{my_f} % and hatch its interior +% Store two curves: +\store{my_f}{\curve{...}} +\store{my_g}{\curve{...}} +% Store two combinations of them: +\store{my_h}{\mfobj{my_f--my_g--cycle}} % a MF path expression +\store{my_k}{% + \lclosed\connect % a combination path created from + \mfobj{my_f}\mfobj{my_g} % mfpic commands. + \endconnect} +\dotted\mfobj{my_f} % Draw the first dotted, +\dotted\mfobj{my_g} % then the second. +\shade\mfobj{my_h} % Now shade one combination. +\hatch\mfobj{my_k} % and hatch the other +\end{verbatim} +The two forms \cs{mfobj} and \cs{mpobj} are absolutely equivalent. + +It should be noted that every \mfp{} figure is implicitly stored in the +object \gbc{curpath}. So you can use \cs{mfobj}\marg{curpath} and get +the path defined by the most recent sequence of prefix macros and +figure. + +Getting back to coordinate transforms, if one changes the coordinate +system and then stores and draws a curve, say by +\begin{verbatim} + \coords + \rotate{45 deg} + \store{xx}{\rect{(0,0),(1,1)}} + \dashed\mfobj{xx} + \endcoords +\end{verbatim} +one will get a transformed picture, but the object \cs{mfobj}\marg{xx} +will contain the simple, unrotated rectangular path and drawing it later +(outside the \env{coords} environment) will prove that. This is because +the \texttt{coords} environment works at the drawing level, not at the +definition level. In oversimplified terms, \cs{dashed} invokes the +transformation, but not \cs{store}. More precisely, \mfp{} prefix macros +have an input and an output and a side effect. The input is the output +of whatever follows it, the output can be the same as the input (the +case for rendering prefixes) or modified version of that (the closure +prefixes). The side effect is the drawing (dashing, filling) of the path, +appending of an arrowhead, etc.. These side effects have to know where +to place their marks, so a computation is invoked that converts the +user's graph coordinates into \MF's drawing coordinates. The previous +transformation macros work by modifying the parameters used in this +computation. + +The following transformation prefixes provide a means of actually +creating and storing a transformed path. In the terms just discussed, +their input is a path, their output is the transformed path, and they +have no side effects (other than invoking the default rendering if no +rendering prefix was previously provided). + +\begin{cd} +\cs{rotatepath}\marg{(\meta{x},\meta{y}),\meta{$\theta$}}$\ldots$\\ +\cs{shiftpath}\marg{(\meta{dx},\meta{dy})}$\ldots$\\ +\cs{scalepath}\marg{(\meta{x},\meta{y}),\meta{s}}$\ldots$\\ +\cs{xscalepath}\marg{\meta{x},\meta{s}}$\ldots$\\ +\cs{yscalepath}\marg{\meta{y},\meta{s}}$\ldots$\\ +\cs{slantpath}\marg{\meta{y},\meta{s}}$\ldots$\\ +\cs{xslantpath}\marg{\meta{y},\meta{s}}$\ldots$\\ +\cs{yslantpath}\marg{\meta{x},\meta{s}}$\ldots$\\ +\cs{reflectpath}\marg{\meta{$p_1$},\meta{$p_2$}}$\ldots$\\ +\cs{xyswappath}$\ldots$\\ +\cs{transformpath}\marg{\meta{transformer}}$\ldots$ +\index{rotatepath@\cs{rotatepath}}\index{shiftpath@\cs{shiftpath}}% +\index{scalepath@\cs{scalepath}}\index{xscalepath@\cs{xscalepath}}% +\index{yscalepath@\cs{yscalepath}}\index{slantpath@\cs{slantpath}}% +\index{xslantpath@\cs{xslantpath}}\index{yslantpath@\cs{yslantpath}}% +\index{reflectpath@\cs{reflectpath}}\index{xyswappath@\cs{xyswappath}}% +\index{transformpath@\cs{transformpath}} +\end{cd} + +\cs{rotatepath} rotates the following path by \meta{$\theta$} degrees +about point \mfc{(\meta{x},\meta{y})}. After the commands: +\begin{ex} + \cs{store}\marg{xx}\marg{\cs{rotatepath}\marg{(0,0), 45}% + \cs{rect}\marg{(0,0),(1,1)}} +\end{ex} +the object \cs{mfobj}\marg{xx} contains an actual rotated rectangle, as +drawing it will prove. The above macro, and the five that follow are +extremely useful (and better than \env{coords} environments) if one +needs to draw a figure, together with many slightly different versions +of it. + +\cs{shiftpath} shifts the following path by the horizontal amount +\meta{dx} and the vertical amount \meta{dy}. + +\cs{scalepath} scales (magnifies or shrinks) the following path by the +factor \meta{s}, in such a way that the point \parg{\meta{x},\meta{y}} +is kept fixed. That is +\begin{ex} + \cs{scalepath}\marg{(0,0),2}\cs{rect}\marg{(0,0),(1,1)} +\end{ex} +is essentially the same as \cs{rect}\marg{(0,0),(2,2)}, while +\begin{ex} + \cs{scalepath}\marg{(1,1),2}\cs{rect}\marg{(0,0),(1,1)} +\end{ex} +is the same as \cs{rect}\marg{(-1,-1),(1,1)}. In both cases the +rectangle is doubled in size. In the first case the lower left corner +stays the same, while in the second case the the upper right corner +stays the same. + +\cs{xscalepath} is similar to \cs{scalepath}, but only the $x$-direction +is scaled, and all points with first coordinate equal to \meta{x} remain +fixed. \cs{yscalepath} is similar, except the $y$-direction is affected. + +\cs{slantpath} applies a slant transformation to the following path, +keeping points with second coordinate equal to \meta{y} fixed. That is, +a point $p$ on the path is moved right by an amount proportional to the +height of $p$ above the line $y={}$\meta{y}, with $s$ being the +proportionality factor. Vertical lines in the path will acquire a slope +of $1/s$, while horizontal lines stay horizontal. + +\cs{xslantpath} is an alias for \cs{slantpath} + +\cs{yslantpath} is similar to \cs{xslantpath}, but exchanges the roles +of $x$ and $y$ coordinates. + +\cs{reflectpath} returns the mirror image of the following path, where +the line determined by the points \meta{$p_1$} and \meta{$p_2$} is the +mirror. + +\cs{xyswappath} returns the path with the roles of $x$ and $y$ +exchanged. This is similar in some respects to +\cs{reflectpath}\marg{(0,0),(1,1)}, and produces the same result if the +$x$ and $y$ scales of the picture are the same. However, +\cs{reflectpath} compensates for such different scales (so the path +shape remains the same), while \cs{xyswappath} does not (so that after a +swap, verticals become horizontal and horizontals become vertical). One +cannot have both when the scales are different. + +For \MF{} or \MP{} power users, \cs{transformpath} can take any +`transformer' and transform the following path with it. Here, a +\emph{transformer} is anything that can follow a path and create a new +path. Examples are \mfc{scaled}, \mfc{shifted (1,1)}, and \mfc{rotatedabout +(0,1)}. + +All these prefixes change only the path that follows, not any rendering +of it that follows. For example: +\begin{ex} + \cs{gfill}\cs{rotatepath}\marg{(0,0),90}\cs{dashed}% + \cs{rect}\marg{(0,0),(1,1)} +\end{ex} +will not produce a rotated dashed rectangle. Rather the original +rectangle will be dashed, and the rotated rectangle will be filled. + + +\subsection{Parameters.}\label{parameters} + +There are many parameters in \mfp{} which the user can modify to +obtain different effects, such as different arrowhead size or shape. +Most of these parameters have been described already in the context of +macros they modify, but they are all described together here. + +Many of the parameters are stored by \TeX{} as dimensions, and so are +available even if there is no \MF{} file open; changes to them are not +subject to the usual \TeX{} rules of scope however: they are local to +\TeX{} groups only if set inside an \env{mfpic} environment otherwise +they are global. This is for consistency: other parameters are stored by +\MF{} (so the macros to change them will have no effect unless a \MF{} +file is open) and the changes are subject to \MF's rules of scope---to +the \mfp{} user, this means that changes inside the \cs{mfpic} $\ldots$ +\cs{endmfpic} environment are local to that environment, but other +\TeX{} groupings have no effect on scope. Some commands (notably those +that set the axismargins and \cs{tlabel} parameters) change both \TeX{} +parameters and \MF{} parameters, and it is important to keep then +consistent. + +\begin{cd} +\cs{mfpicunit}% +\index{mfpicunit@\cs{mfpicunit}} +\end{cd} + +This \TeX{} dimension stores the basic unit length for \mfp{} +pictures---the $x$ and $y$ scales in the \cs{mfpic} macro are multiples +of this unit. The default value is \dim{1pt}. + +\begin{cd} +\cs{pointsize}% +\index{pointsize@\cs{pointsize}} +\end{cd} + +This \TeX{} dimension stores the diameter of the circle drawn by the +\cs{point} macro and the diameter of the symbols drawn by +\cs{plotsymbol} and by \cs{plot}. The default value is \dim{2pt}. + +\begin{cd} +\cs{pointfilltrue} and \cs{pointfillfalse}% +\index{pointfilltrue@\cs{pointfilltrue}}% +\index{pointfillfalse@\cs{pointfillfalse}} +\end{cd} + +This \TeX{} boolean switch determines whether the circle drawn by +\cs{point} will be filled or open (outline drawn, inside erased). +The default is \texttt{true}: filled. This value is local to any \TeX{} +group inside an \env{mfpic} environment. Outside such it is global. + +\begin{cd} +\cs{pen}\marg{\meta{drawpensize}}\\ +\cs{drawpen}\marg{\meta{drawpensize}}\\ +\cs{penwd}\marg{\meta{drawpensize}}% +\index{pen@\cs{pen}}% +\index{drawpen@\cs{drawpen}}% +\index{penwd@\cs{penwd}} +\end{cd} + +Establishes the width of the normal drawing pen. The default is +\dim{0.5pt}. This width is stored by \MF. The shading dots and hatching +pen are unaffected by this. There exist three aliases for this command, +the first two to maintain backward compatibility, the last one for +consistency with other dimension changing commands. Publishers generally +recommended authors to use at least a width of one-half point for +drawings submitted for publication. + +\begin{cd} +\cs{shadewd}\marg{\meta{dotdiam}}% +\index{shadewd@\cs{shadewd}} +\end{cd} + +Sets the diameter of the dots used in the shading macro. The drawing and +hatching pens are unaffected by this. The default is \dim{0.5pt}, and +the value is stored by \MF. + +\begin{cd} +\cs{hatchwd}\marg{\meta{hatchpensize}}% +\index{hatchwd@\cs{hatchwd}} +\end{cd} + +Sets the line thickness used in the hatching macros. The drawing pen and +shading dots are unaffected by this. The default is \dim{0.5pt}, and the +value is stored by \MF. + +\begin{cd} +\cs{polkadotwd}\marg{\meta{polkadotdiam}}% +\index{polkadotwd@\cs{polkadotwd}} +\end{cd} + +Sets the diameter of the dots used in the \cs{polkadot} macro. The +default is \dim{5pt}, and the value is stored by \MF. + +\begin{cd} +\cs{headlen}% +\index{headlen@\cs{headlen}} +\end{cd} + +This \TeX{} dimension stores the length of the arrowhead drawn by +the \cs{arrow} macro. The default value is \dim{3pt}. + +\begin{cd} +\cs{axisheadlen}% +\index{axisheadlen@\cs{axisheadlen}} +\end{cd} + +This \TeX{} dimension stores the length of the arrowhead drawn by the +\cs{axes}, \cs{xaxis} and \cs{yaxis} macros, and by the macros \cs{axis} +and \cs{doaxes} when applied to the parameters \texttt{x} and \texttt{y}. + +\begin{cd} +\cs{sideheadlen}% +\index{sideheadlen@\cs{sideheadlen}} +\end{cd} + +This \TeX{} dimension stores the length of the arrowhead drawn by the +\cs{axis} and \cs{doaxes} macros when applied to \texttt{l}, \texttt{b}, +\texttt{r} or \texttt{t}. The default value is \dim{0pt}. + +\begin{cd} +\cs{headshape}\marg{\meta{hdwdr}}\marg{\meta{hdten}}\marg{\meta{hfilled}}% +\index{headshape@\cs{headshape}} +\end{cd} + +Establishes the shape of the arrowhead drawn by the \cs{arrow} and +\cs{axes} macros. The value of \meta{hdwdr} is the ratio of the width of +the arrowhead to its length; \meta{hdten} is the tension of the B\'ezier +curves; and \meta{hfilled} is a \MF{} boolean value indicating whether +the arrowheads are to be filled (if \mfc{true}) or open. The default +values are $1$, $1$, \mfc{false}, respectively. The \meta{hdwdr}, +\meta{hdten} and \meta{hfilled} values are stored by \MF. Setting +\meta{hdten} to `\mfc{infinity}' will make the sides of the arrowheads +straight lines. These values are all stored by \MF. + +\begin{cd} +\cs{dashlen}, \cs{dashspace}% +\index{dashlen@\cs{dashlen}} +\end{cd} + +These \TeX{} dimensions store, respectively, the length of dashes and +the length of spaces between dashes, for lines drawn by the \cs{dashed} +macro. The \cs{dashed} macro may adjust the dashes and the spaces +between by as much as $1\over{n}$ of their value, where $n$ is the +number of spaces appearing in the curve, in order not to have partial +dashes at the ends. The default values are both \dim{4pt}. The dashes +will actually be longer (and the spaces shorter) by the thickness of the +pen used when they are drawn. + +\begin{cd} +\cs{dashlineset}, +\cs{dotlineset}% +\index{dashlineset@\cs{dashlineset}}% +\index{dotlineset@\cs{dotlineset}} +\end{cd} + +These macros provide convenient standard settings for the \cs{dashlen} +and \cs{dashspace} dimensions. The macro \cs{dashlineset} sets both +values to \dim{4pt}; the macro \cs{dotlineset} sets \cs{dashlen} to +\dim{1pt} and \cs{dashspace} to \dim{2pt}. + +\begin{cd} +\cs{hashlen}% +\index{hashlen@\cs{hashlen}} +\end{cd} + +This \TeX{} dimension stores the length of the axis hash marks drawn by +the \cs{xmarks} and \cs{ymarks} macros. The default value is \dim{4pt}. + +\begin{cd} +\cs{shadespace}% +\index{shadespace@\cs{shadespace}} +\end{cd} + +This \TeX{} dimension establishes the spacing between dots drawn by the +\cs{shade} macro. The default value is \dim{1pt}. + +\begin{cd} +\cs{darkershade}, +\cs{lightershade}% +\index{darkershade@\cs{darkershade}}% +\index{lightershade@\cs{lightershade}} +\end{cd} + +These macros both multiply the \cs{shadespace} dimension by constant +factors, $5/6=.833333$ and $6/5=1.2$ respectively, to provide convenient +standard settings for several levels of shading. + +\begin{cd} +\cs{polkadotspace}% +\index{polkadotspace@\cs{polkadotspace}} +\end{cd} + +This \TeX{} dimension establishes the spacing between the centers of the +dots used in the macro \cs{polkadot}. The default is \dim{10pt}. + +\begin{cd} +\cs{dotsize}, \index{dotspace@\cs{dotspace}}\cs{dotspace}% +\index{dotsize@\cs{dotsize}} +\end{cd} + +These \TeX{} dimensions establishes the size and spacing between the +centers of the dots used in the \cs{dotted} macro. The defaults are +\dim{0.5pt} and \dim{3pt}. + +\begin{cd} +\cs{symbolspace}% +\index{symbolspace@\cs{symbolspace}} +\end{cd} + +Similar to \cs{dotspace}, this \TeX{} dimension establishes the space +between symbols placed by the macro +\cs{plot}\marg{\meta{symbol}}$\ldots\,$. Its default is \dim{5pt}. + +\begin{cd} +\cs{hatchspace}% +\index{hatchspace@\cs{hatchspace}} +\end{cd} + +This \TeX{} dimension establishes the spacing between lines drawn by the +\cs{hatch} macro. The default value is \dim{3pt}. + +\begin{cd} +\cs{tlabelsep}\marg{\meta{separation}}% +\index{tlabelsep@\cs{tlabelsep}} +\end{cd} + +This macro establishes the separation between a label and its nominal +position. It affects text written with any of the commands \cs{tlabel}, +\cs{tlabels}, \cs{axislabels} or \cs{plottext}. It also sets the +separation between the text and the curve defined by the commands +\cs{tlabelrect}, \cs{tlabeloval} or \cs{tlabelellipse}. The default is +\dim{0pt}. The value is stored by both \TeX{} and \MF. + +\begin{cd} +\cs{tlabeloffset}\marg{\meta{hlen}}\marg{\meta{vlen}}% +\index{tlabeloffset@\cs{tlabeloffset}} +\end{cd} + +This macro establishes a uniform offset that applies to all labels. It +affects text written with any of the commands \cs{tlabel}, \cs{tlabels}, +\cs{axislabels} or \cs{plottext}. The default is to have both horizontal +and vertical offsets of \dim{0pt}. The values are stored by both \TeX{} +and \MF. + +\begin{cd} +\cs{mfpdataperline}% +\index{mfpdataperline@\cs{mfpdataperline}} +\end{cd} + +When \mfp{} is reading data from files and writing it to the +output file, this macro stores the maximum number of points that will be +written on a single line in the output file. Its default is defined by +\cs{def}\cs{mfpdataperline}\marg{5}. + +\begin{cd} +\cs{mfpicheight}, +\cs{mfpicwidth}% +\index{mfpicheight@\cs{mfpicheight}}% +\index{mfpicwidth@\cs{mfpicwidth}} +\end{cd} + +These \TeX{} dimensions store the height and width of the figure created +by the most recently completed \env{mfpic} environment. This might +perhaps be of interest to hackers or to aid in precise positioning of +the graphics. They are meant to be read-only: the \cs{endmfpic} command +globally sets them equal to the height and width of the picture. But +\mfp{} does not otherwise make any use of them. + + +\subsection{For Advanced Users.}\label{advanced} + +\subsubsection{Power Users.}\label{power} + + +\begin{cd} +\cs{qspline}\marg{\meta{list}}\\ +\cs{closedqspline}\marg{\meta{list}}\\ +\cs{cspline}\marg{\meta{list}}\\ +\cs{closedcspline}\marg{\meta{list}}\\ +\index{qspline@\cs{qspline}}% +\index{closedqspline@\cs{closedqspline}}% +\index{cspline@\cs{cspline}}% +\index{closedcspline@\cs{closedcspline}}% +\end{cd} + +These are alternate ways of defining curves. In each case, \meta{list} +is a comma separated list of points. These represent not the points the +curve passes through, but the \emph{control points}. The first two +produce quadratic B-splines and the last two produce cubic B-splines. If +you don't know what B-splines are, or don't know what control points +are, it is recommended you not use these commands. + +\begin{cd} +\cs{cbclosed}$\ldots$\\ +\cs{qbclosed}$\ldots$% +\index{cbclosed@\cs{cbclosed}}% +\index{qbclosed@\cs{qbclosed}} +\end{cd} + +These are prefix macros for closing curves. The first closes with a +cubic B-spline, the second with a quadratic B-spline. They will close +any given curve, but the command \cs{cbclosed} is meant to close a cubic +B-spline (see above). That is, \cs{cbclosed}\cs{cspline} should produce +the same result as \cs{closedcspline} with the same argument. The +corresponding statements are true of \cs{qbclosed}: it is meant to close +a quadratic B-spline and \cs{qbclosed}\cs{qspline} should produce the +same result as \cs{closedqspline} with the same argument. + +The power user, having noticed that \cs{curve} and \cs{cyclic} insert +some direction modifiers into the path created, may have decided that +there is no \mfp{} command to create a simple \MF{} default style path, +for example \mfc{(1,1)..(0,1)..(0,0)..cycle}. If so, he or she has forgotten +about \cs{mfobj}: the command +\begin{verbatim} + \mfobj{(1,1)..(0,1)..(0,0)..cycle} +\end{verbatim} +will produce, in the \file{.mf} file, exactly this path, but surround it +with the \TeX{} wrapping needed to make \mfp's prefix macro system work. +However, the syntax of more complicated paths can be extremely lengthy, +so we offer this interface: + +\begin{cd} + \cs{mfbezier}\oarg{\meta{tens}}\marg{\meta{list}}\\ + \cs{closedmfbezier}\oarg{\meta{tens}}\marg{\meta{list}}% +\index{mfbezier@\cs{mfbezier}} +\index{closedmfbezier@\cs{closedmfbezier}} +\end{cd} + +This connects the points in the list with the path join operator +\mfc{..tension \meta{tens}..}. If the tension option \oarg{\meta{tens}} +is omitted, the value set by \cs{settension} (initially 1) is used. One +can get a cyclic path by prepending \cs{bclosed} (with matching tension +option), but it will not produce the same result as \cs{closedmfbezier}. +These are cubic B\'ezier's (but you know that if you are a power user). +Quadratic B\'eziers (as in \LaTeX's picture environment) can be +obtained with the following: + +\begin{cd} + \cs{qbeziers}\oarg{\meta{tens}}\marg{\meta{list}}\\ + \cs{closedqbeziers}\oarg{\meta{tens}}\marg{\meta{list}}% +\index{qbeziers@\cs{qbeziers}} +\index{closedqbeziers@\cs{closedqbeziers}} +\end{cd} + +Note the plural, to indicate that they will draw a series of quadratic +B\'eziers. In the \meta{list}, the first, third, fifth, etc., are the +points to connect, while the second, fourth, etc., are the control +points. The open version requires an ending point, and so needs an odd +number of points in the list. The closed version assumes the first point +is the ending, and so requires an even number in the list. The curve +will not automatically be smooth. That depends on the choice of the +control points. + + +\begin{cd} +\cs{mfsrc}\marg{\meta{metafont code}}\\ +\cs{mfcmd}\marg{\meta{metafont code}}\\ +\cs{mflist}\marg{\meta{metafont code}}% +\index{mfsrc@\cs{mfsrc}}% +\index{mfcmd@\cs{mfcmd}}% +\index{mflist@\cs{mflist}}% +\end{cd} + +These all write the \meta{metafont code} directly to the \MF{} file, +using a \TeX{} \cs{write} command. Line breaks within \meta{metafont +code} are preserved.% + \footnote{Under most circumstances, but not if the command (plus its + argument) is part of another macro} % +Almost all the \mfp{} drawing macros invoke one of these. Because of the +way \TeX{} reads and processes macro arguments, not all drawing macros +preserve line breaks (nor do they all need to). However, the ones that +operate on long lists of pair or numeric data (for example, \cs{point}, +\cs{curve}, etc.), do preserve line breaks in that data. The difference +in these is minor: \cs{mfsrc} writes its argument without change, +\cs{mfcmd} appends a semicolon (`\mfc{;}') to the code, while +\cs{mflist} surrounds its argument with parentheses and then appends a +semicolon. + +Using these can have some rather bizarre consequences, though, so +it is not recommended to the unwary. It is, however, currently the +only way to make use of \MF's equation solving ability. Here's an +oversimplified example: + +\begin{verbatim} +\mfpic[20]{-0.5}{1.5}{0}{1.5} +\mfsrc{z1=(0,0); + z2-z3=(1,2); + z2+2z3=(1,-1);} % z2=(1,1), z3=(0,-1) +\arc[t]{z1,z2,z3} +\endmfpic +\end{verbatim} + +Check out the sample \file{forfun.tex} for a more realistic example. + +\begin{cd} +\cs{setmfvariable}\marg{\meta{type}}\marg{\meta{name}}\marg{\meta{value}}\\ +\cs{setmpvariable}\marg{\meta{type}}\marg{\meta{name}}\marg{\meta{value}}% +\index{setmfvariable@\cs{setmfvariable}} +\index{setmpvariable@\cs{setmpvariable}} +\end{cd} + +These formerly internal \mfp{} macros can be use to define symbolic +names for any \MF{} or \MP{} variable type. They are interchangeable; +you can use either one with or without the \opt{metapost} option. +As an example of their use, since dimensions are numeric data types in +\MF, the command +\begin{ex} + \cs{setmfvariable}\marg{numeric}\verb${my_dim}$\marg{7pt} +\end{ex} +would set the \MF{} variable \verb$my_dim$ to the value \texttt{7pt}. +After that, \verb$my_dim$ can be used in any \emph{drawing} command +where a dimension is required: +\begin{ex} + \cs{plotsymbol}\verb$[my_dim]$\marg{Triangle}\cs{rect}\marg{(0,0),(1,1)} +\end{ex} +will plot the rectangle with small triangles spaced \dim{7pt} apart. + +You can define paths this way +(\cs{setmfvariable}\marg{path}\marg{X}\marg{(0,0)..(1,1)..(0,1)}), but +the \meta{value} has to be valid \MF{} path construction syntax, +\emph{not} something like \cs{rect}\marg{$\ldots$}. You need \cs{store} +if you want to set a variable to an \mfp{} path. However, defined either +way, they can be used in \cs{mfobj}. + +A variable defined this way is local to the \env{mfpic} environment it +is contained in. It is in fact local to any \MF{} group. In \mfp, only +\cs{connect} {\dots} \cs{endconnect} and \cs{mfpic} {\dots} +\cs{endmfpic} create \MF{} groups in the graph file. + +\begin{cd} +\cs{noship}\\% +\cs{stopshipping}\\% +\cs{resumeshipping}\\% +\index{noship@\cs{noship}} +\index{stopshipping@\cs{stopshipping}} +\index{resumeshipping@\cs{resumeshipping}} +\end{cd} + +\cs{stopshipping} turns off character shipping (by \MF{} to the TFM and +GF files, or by \MP{} to appropriate \EPS{} output file) until +\cs{resumeshipping} occurs. If you want just one character not shipped, +just use \cs{noship} inside the mfpic environment. This is useful if all +one wishes to do in the current \env{mfpic} environment is to make +\emph{tiles} (see below). + +\begin{cd} +\cs{patharr}\marg{\meta{pv}}$\ldots$\cs{endpatharr}% +\index{patharr@\cs{patharr}}\index{endpatharr@\cs{endpatharr}} +\end{cd} + +This pair of macros, acting as an environment, accumulate all enclosing +paths, in order, into a path array named \meta{pv}. A path array is a +collection of paths with a common base name indexed by integers from 1 +to the number of paths. Any path in the array can be accessed by means +of \cs{mfobj}. For example, after +\begin{verbatim} +\patharr{pa} + \rect{(0,0),(1,1)} \circle{(.5,.5), .5} +\endpatharr +\end{verbatim} +then \cs{mfobj}\marg{pa[1]} refers to the rectangle and +\cs{mfobj}\marg{pa[2]} refers to the circle. In case explicit numbers +are used, \MF{} allows \gbc{pa1} as an abbreviation for \gbc{pa[1]}. +However, if a numeric variable or some expression is used (e.g., +\gbc{pa[n+1]}) the square brackets are required. + +This command can only be used in an \env{mfpic} environment. The +definitions it makes are, however, global. + +\emph{Note}: In \LaTeX, this pair of macros can be used in the form of a +\LaTeX-style environment called \env{patharr}---as in +\cs{begin}\marg{patharr}$\ldots$\cs{end}\marg{patharr}. + +\begin{cd} +\cs{pairarray}\marg{\meta{var}}{\meta{list-of-points}}\\ +\cs{numericarray}\marg{\meta{var}}{\meta{list-of-numbers}}% +\index{pairarray@\cs{pairarray}}% +\index{numericarray@\cs{numericarray}} +\end{cd} + +These enable the simultaneous definition of pair and numeric variables. +For example, after +\begin{verbatim} + \pairarray{X}{(0,1),(1,1),(0,0),(1,0)} +\end{verbatim} +the variables \mfc{X1}, \mfc{X2}, \mfc{X3}, and \mfc{X4} are equal to +the given points in that order. And then +\begin{verbatim} + \polyline{X1,X2,X3,X4} +\end{verbatim} +will draw the lines connecting these four points. The index may +optionally be put in square brackets and may be separated from the name +by any number of spaces. If a numeric expression is used instead of an +explicit number, square brackets \emph{must} surround it: \gbc{X[1+1]}, +\gbc{X[2]}, \gbc{X2} and \gbc{X 2} are all the same. The arrays are +defined locally if these commands occur in an \env{mfpic} environment, +global otherwise. In all arrays, the variable \gbc{X} itself (not +followed by any digit or brackets) is a number equal to the number of +elements in the array. + +Array variables may be used only where the values are processed only by +\MF{} or \MP, they are unknown to \TeX. In particular, they cannot be +used in commands that position text unless \opt{mplabels} is in effect. + +Several commands in \mfp{} define arrays of objects that can be used in +other commands. The main ones are \cs{piechart} and \cs{barchart}. These +arrays are always global. Using \cs{piechart} causes the following +arrays to become defined: +\begin{itemize} + \item \gbc{piewedge}, a path array describing the wedges of the chart. + The command \cs{piewdge}\marg{\meta{num}} (without optional + argument) is almost exactly the same as + \cs{mfobj}\marg{piewedge[\meta{num}]}. + \item \gbc{pieangle}, a numeric array, the starting angle of each wedge. + \item \gbc{piedirection}, a pair array, the unit vectors pointing in + the directions of the centers of the wedges. If \cs{pieangle1} + is 0 and \gbc{pieangle2} is 90 degrees, then \gbc{piedirection1} + is $(\cos 45,\sin 45)$. +\end{itemize} + +Using \cs{barchart} causes the following arrays to become defined. The +exact meaning depends on whether bars are horizontal or vertical. The +following describes horizontal bars; interchange the roles of $x$ and +$y$ if they are vertical: +\begin{itemize} + \item \gbc{barstart}, the position on the $y$-axis of the leading edge + of the bars. + \item \gbc{barbegin}, the $x$-coordinate of the leftmost end of the + bars. + \item \gbc{barend}, the $x$-coordinate of the rightmost end of the + bars. + \item \gbc{chartbar}, the rectangular path of the bar; \gbc{chartbar1} + is the rectangle with corners at \gbc{(barbegin1,barstart1)} and + \gbc{(barend1,barstart+barwd)}, where \gbc{barwd} is the + width (thickness) of the bar. + \item \gbc{barlength}, the same as \gbc{barend}. This is for backward + compatibility; the was name chosen at a time when all the bars + had one side on an axis (i.e., \gbc{barbegin[n] = 0}). +\end{itemize} + +\begin{cd} +\cs{tile}\marg{\meta{tilename},\meta{unit},\meta{wd},\meta{ht},\meta{clip}}\\ + \ $\ldots$\\ +\cs{endtile}% +\index{tile@\cs{tile}}\index{endtile@\cs{endtile}} +\end{cd} + +In this environment, all drawing commands contribute to a \emph{tile}. A +\emph{tile} is a rectangular picture which may be used to fill the +interior of closed paths. The units of drawing are given by +\meta{unit}, which should be a dimension (like \dim{1pt} or \dim{2in}). +The tile's horizontal dimensions are $0$ to $\meta{wd}\cdot\meta{unit}$ +and its vertical dimensions $0$ to $\meta{ht}\cdot\meta{unit}$, so +\meta{wd} and \meta{ht} should be pure numbers. If \meta{clip} is +\mfc{true} then all drawing is clipped to be within the tile's boundary. + +By using this macro, you can design your own fill patterns (to use them, +see the \cs{tess} macro below), but please take some care with the +\ae sthetics! The \meta{tilename} is globally defined by this command. + +\begin{cd} +\cs{tess}\marg{\meta{tilename}}$\ldots$% +\index{tess@\cs{tess}} +\end{cd} + +Tile the interior of a closed path with a tessellation comprised of +copies of the \emph{tile} specified by \meta{tilename}. There is no +default \meta{tilename}; you must make all your own tiles. Tiling an +open curve is technically an error, but the \MF{} code responds by +drawing the path and not doing any tiling. + +Tiling large regions with complicated tiles can exceed the capacity of +some versions of \MP. There is less of a problem with \MF. This is not +because \MF{} has greater capacity, but because of the natural +difference between bitmaps and vector graphics. + +In \MP, the tiles are copied with whatever color they are given when +they are defined. They can be multicolored. + +\begin{cd} +\cs{cutoffafter}\marg{\meta{obj}}\dots\\ +\cs{cutoffbefore}\marg{\meta{obj}}\dots\\ +\cs{trimpath}\marg{\meta{dim$_1$},\meta{dim$_2$}}\dots\\ +\cs{trimpath}\marg{\meta{dim$_1$}}\dots\\ +\index{cutoffafter@\cs{cutoffafter}}% +\index{cutoffbefore@\cs{cutoffbefore}}% +\index{trimpath@\cs{trimpath}}% +\end{cd} + +These are prefix macros. The first two take an `object' (a variable in +which a path was previously stored using \cs{store}) and uses it to trim +one end off the following path. \cs{cutoffbefore} cuts off the part of +the path before its first intersection with the object, while +\cs{cutoffafter} cuts off the part after the last intersection. If the +path does not intersect the object, nothing is cut off. If the object +and the path intersect in more than one point, as little as possible +(usually% + \footnote{\MF's methods for finding the `first' point of + intersection do not always find the actual first one.}) % +is cut off. This is completely reliably only when there is only one +point of intersection. + +The \cs{trimpath} macro takes two dimensions separated by commas and +trims those lengths off the initial and terminal ends of the path. If +only one dimension is given, that is used at both ends. This macro is +essentially equivalent to applying \cs{cutoffafter} and then +\cs{cutoffbefore} where the objects are circles which have radii equal +to the given dimensions and which are centered at the endpoints of the +path. Consequently, if the path is shorter than either dimension, it +will not intersect either circle and nothing will be trimmed. Similarly, +if the result of \cs{cutoffafter} is shorter than the first dimension, +then \cs{cutoffbefore} will not trim any more off. The first two macros +can be used to create a curve that starts or ends right at another +figure without having to find the point where the two curves intersect. +The third one can be used on the result to produce a curve that stops +just short of the point of intersection. + +\begin{cd} +\cs{mftitle}\marg{\meta{title}}% +\index{mftitle@\cs{mftitle}} +\end{cd} + +Write the string \meta{title} to the \MF{} file, and use it as a \MF{} +message. (See \textit{The \MF{}book}, chapter 22, page 187, for two uses of +this.) + +\begin{cd} +\cs{tmtitle}\marg{\meta{title}}% +\index{tmtitle@\cs{tmtitle}} +\end{cd} + +Write the text \meta{title} to the \TeX{} document, and to the log file, +and use it implicitly in \cs{mftitle}. This macro forms a local group +around its argument. + +\medskip + +Since \TeX{} is limited to 256 dimension registers, and since dimensions +are so important to typesetting and drawing, it is common to use up all +256 when drawing packages are loaded. Therefore \mfp{} uses font +dimensions to store dimension values. The following is the command that +handles the allocation of these dimensions. + +\begin{cd} +\cs{newfdim}\marg{\meta{fdim}}% +\index{newfdim@\cs{newfdim}} +\end{cd} + +This create a new global font dimension named \meta{fdim}, which is a +\TeX{} control sequence (with backslash). It can be used almost like +an ordinary \TeX{} dimension. One exception is that the \TeX{} commands +\cs{advance}, \cs{multiply} and \cs{divide} cannot be applied directly +to font dimensions (nor \LaTeX's \cs{addtolength}); however, the font +dimension can be copied to a temporary \TeX{} dimension register, which +can then be manipulated and copied back (using \cs{setlength} in \LaTeX, +if desired). Another exception is that all changes to a font dimension +are global in scope. Also beware that \cs{newfdim} uses font dimensions +from a single font, the \file{dummy} font, which most \TeX{} systems +ought to have. (You'll know if yours doesn't, because \mfp{} will fail +upon loading!) Also, implementations of \TeX{} differ in the number of +font dimensions allowed per font. Hopefully, \mfp{} won't exceed your +local \TeX's limit. + +All of \mfp's basic dimension parameters are font dimensions. We have +lied slightly when we called them `\TeX{} dimensions'. We arrange for +them to be local to \env{mfpic} environments by saving their values at +the start and restoring them at the end. + +\begin{cd} +\cs{setmfpicgraphic}\marg{\meta{filename}}% +\index{setmfpicgraphic@\cs{setmfpicgraphic}} +\end{cd} + +This is the command that is invoked to place the graphic created. See +appendix~\ref{graphics} for a discussion of its use and its default +definition. It is a user-level macro so that it can be redefined in +unusual cases. It operates on the output of the following macro: + +\begin{cd} +\cs{setfilename}\marg{\meta{file}}\marg{\meta{num}}% +\index{setfilename@\cs{setfilename}} +\end{cd} + +\Mfp's figure inclusion code ultimately executes +\cs{setmfpicgraphic} on the result of applying \cs{setfilename} to two +arguments: the file name specified in the \cs{opengraphsfile} command +and the number of the current picture. Normally \cs{setfilename} just +puts them together with the `\texttt{.}' separator (because that is +usually the way \MP{} names its output), but this can be redefined if +the \MP{} output undergoes further processing or conversion to another +format in which the name is changed. Any redefinition of +\cs{setfilename} must come before \cs{opengraphsfile} because that +command tests for the existence of the first figure. After any +redefinition, \cs{setfilename} must be a macro with two arguments that +creates the actual filename from the above two parts. It should also be +completely expandable. See the appendices, subsection~\ref{graphics} for +further dicussion. + +\begin{cd} +\cs{preparemfpicgraphic}\marg{\meta{filename}}% +\index{preparemfpicgraphic@\cs{preparemfpicgraphic}} +\end{cd} + +This command is automatically invoked before \cs{setmfpicgraphic} to +make any preparations needed. The default definition is to do nothing +except when the \prog{graphics} package is used. That package provides +no clean way to determine the bounding box of the graphic after it is +included. Since \mfp{} needs this information, this command +redefines an internal command of the graphics package to make the data +available. If \cs{setmfpicgraphic} is redefined then this may also have +to be redefined. + +\begin{cd} +\cs{getmfpicoffset}\marg{\meta{filename}}% +\index{getmfpicoffset@\cs{getmfpicoffset}} +\end{cd} + +This command is automatically invoked after \cs{setmfpicgraphic} to +store the offset of the lower left corner of the figure in the macros +\cs{mfpicllx} and \cs{mfpiclly}. If \cs{setmfpicgraphic} is redefined +then this may also have to be redefined. + +\begin{cd} +\cs{ifmfpmpost}% +\index{ifmfpmpost@\cs{ifmfpmpost}} +\end{cd} + +Users wishing to write code that adjusts its behavior to the graph file +processor can use this to test which option is in effect. The macro +\cs{usemetapost} sets it true and \cs{usemetafont} sets it false. There +are no commands \cs{mfpmposttrue} nor \cs{mfpmpostfalse}, since the user +should not be changing the setting once it is set: a great deal of +\mfp{} internal code depends on them, and on keeping them consistent +with the \cs{opengraphsfile} commands reading of these booleans. + +\begin{cd} +\cs{mfpicversion} +\index{mfpicversion@\cs{mfpicversion}} +\end{cd} + +This expands to the current \mfp{} version multiplied by 100. At this +writing, it produces `\texttt{70}' because the version is 0.7. It +can be used to test for the current version: +\begin{verbatim} + \ifx\mfpicversion\undefined \def\mfpicversion{0}\fi + \ifnum\mfpicversion>70 ... \else ... \fi +\end{verbatim} +\cs{mfpicversion} was added in version 0.7. + +\subsubsection{Hackers.}\label{hackers} + +\Mfp{} employs a modified version of \LaTeX's \cs{@ifnextchar} +that not only skips over spaces when seeking the next character, but +also skips over \cs{relax} or tokens that have been \cs{let} equal to +it. This is because, in contexts where we try to preserve lines, we make +the end-of-line character active and set it equal to \cs{relax}. Since +it is hard to predict in what context a macro will be used, this gives +code like +\begin{ex} + \cs{function}\\ + \oarg{s1.2}\marg{0,2,.1}\marg{ x**2 } +\end{ex} +the same behavior in both.% + \footnote{Actually, because of a bug in previous versions, this was + not true, but it is now. I hope.} +One consequence is that putting \cs{relax} to stop a command from seeing +a `\texttt{[}' as the start of an optional argument will not work for +\mfp{} commands. The same holds for the `\texttt{*}' in those few +commands that have a star-form, and also for other commands that look +ahead (\cs{tlabel} looks for a `\texttt{(}' starting off the location, +and macros that operate on lists of data look ahead for +`\cs{datafile}'). This is not a serious problem, because there is only +one command (\cs{smoothdata}) that takes an optional arguments but +doesn't have mandatory arguments after that. If a `\cs{relax}' appeared +after any other \mfp{} command, it would be taken as an argument and an +error would result. In any case, \cs{empty} will stop the looking ahead +if it should ever be necessary. + +Most of \mfp's commands have arguments with parts delimited by commas +and parentheses. In most cases this is no problem because they are +written unchanged to the \file{.mf} and there they are parsed just fine. +Some commands' arguments, however, have to be parsed by both \TeX{} and +\MF. Examples are \cs{tlabel} (sometimes, under \opt{mplabels}), and +\cs{pointdef}. One might be tempted to use \MP{} expressions there and +that works fine as long as they do not contain commas or parentheses. In +such cases, they can sometimes be enclosed in braces to prevent \TeX{} +seeing these elements as delimiters, but sometimes these braces might +get written to the \file{.mf} (or \file{.mp}) output and cause a \MF{} +(\MP) error. In such cases the following work-around might be possible: + +\begin{verbatim} + \def\identity#1{#1} + \pointdef{A}(\identity{angle (1,2)},3) + \rect{(0,0),\A} +\end{verbatim} + +The braces prevent \TeX's argument parsing from seeing the first comma +as a delimiter, but upon writing to the \file{.mf}, the \cs{identity} +commands are expanded and only the contents appear in the output. (\TeX{} +parses the argument to assign meanings to \cs{Ax} and \cs{Ay}.) + + +\clearpage + +\def\sectionmark#1{\markright {\thesection\quad#1}}% +\def\subsectionmark#1{} +\def\subsubsectionmark#1{} +\thispagestyle{plain} +\section{Appendices}\label{appendices} + +\subsection{Acknowledgements.}\label{acknowledgements} + +Tom would like to thank all of the people at Dartmouth as well as out in +the network world for testing \mfp{} and sending him back +comments. He would particularly like to thank: + +\medskip +Geoffrey Tobin %(G.Tobin@latrobe.edu.au) +for his many suggestions, especially about cleaning up the \MF{} code, +enforcing dimensions, fixing the dotted line computations, and speeding +up the shading routines (through this process, Geoffrey and Tom managed +to teach each other many of the subtleties of \MF), and for keeping +track of \mfp{} for nearly a year while Tom finished his thesis; + +\medskip +Bryan Green %(bgreen@sanjuan.uvic.ca) +for his many suggestions, some of which (including his rewriting the +\cs{tcaption} macro) ultimately led to the current version's ability to +put graphs in-line or side-by-side; and + +\medskip +Uwe Bonnes %(bon@lte.e-technik.uni-erlangen.de) +and Jarom\'\i r Kuben, % (vabo@muni.cz) +who worked out rewrites of \mfp{} during Tom's +working hiatus and who each contributed several valuable ideas. + +\medskip +Some credit also belongs to Anthony Stark, % (ajs@merck.com) +whose work on a FIG to \MF{} converter has had a serious impact on the +development of many of \mfp's capabilities. + +\medskip +Finally, Tom would like to thank Alan Vlach, the other \TeX{}nician at +Berry College, for helping him decide on the format of many of the +macros, and for helping with testing. + +\medskip +Dan Luecking would like to echo Tom's thanks to all of the above, +especially Geoffrey Tobin and Jarom\'\i r Kuben. And to add the names +Taco Hoekwater, for comments, advice and suggestions, and Zaimi +Sami~Alex for suggestions. + +But mostly, he'd like to thank Tom Leathrum for starting it all. + +\subsection{Changes History.}\label{changes} + +See the file \file{changes.txt} for a somewhat sporadic and rambling +history of changes to \mfp. See the file \file{readme.txt} for a +list of any known problems. + +%\clearpage +\subsection{Summary of Options}\label{summary} + +Unless otherwise stated, any of the command forms will be local to the +current \env{mfpic} environment if used inside. Otherwise it will affect +all later environments. + +\medskip +\def\stack#1{\everycr{}\def\\{\cr}\halign{\strut##\hfil\cr#1\crcr}} +{\everycr{\noalign{\medskip}} +\halign to \hsize{\opt{#}\hfil\quad\tabskip0pt plus 1fil& + \vtop{\stack{#}}\hfil\quad& + \vtop{\parindent0pt \hsize.45\hsize \rightskip0pt plus1fil\relax + \strut\ignorespaces#\strut}\tabskip0pt\cr +{\rmfamily\scshape Option}:& \textsc{Command form(s)}:& \omit\textsc{Restrictions}: \hfil\cr +\noalign{\smallskip\hrule\smallskip} +metapost&\cs{usemetapost}& Command must come before + \cs{opengraphsfile}. Incompatible with \opt{metafont} option. \cr +metafont&\cs{usemetafont}& The default. Command must come before + \cs{opengraphsfile}. Incompatible with \opt{metapost} option. \cr +mplabels&\cs{usemplabels},\\ \cs{nomplabels}& Requires + \opt{metapost}. If command is used inside an \env{mfpic} + environment, it should come before \cs{tlabel} commands to be + affected. \cr +overlaylabels&\cs{overlaylabels},\\ \cs{nooverlaylabels}& Has no effect + without \opt{metapost}. \cr +truebbox& \cs{usetruebbox},\\ \cs{notruebbox}& Has no effect + without \opt{metapost}. \cr +clip& \cs{clipmfpic},\\ \cs{noclipmfpic}& No restrictions. \cr +clearsymbols& \cs{clearsymbols},\\ \cs{noclearsymbols}& No restrictions. \cr +centeredcaptions& \cs{usecenteredcaptions},\\ \cs{nocenteredcaptions}& + No restrictions. \cr +debug&\cs{mfpicdebugtrue},\\\cs{mfpicdebugfalse}& To turn on + debugging while \file{mfpic.tex} is loading, issue + \cs{def}\cs{mfpicdebug}\marg{true}. \cr +\vtop{\hbox{draft\strut} + \hbox{final\strut} + \hbox{nowrite\strut}}&\cs{mfpicdraft}\\ + \cs{mfpicfinal}\\ + \cs{mfpicnowrite}& Should not be used + together. Command forms should come before + \cs{opengraphsfile}\cr +}} + +%\clearpage +\subsection{Plotting styles for \cs{plotdata}}\label{styles} + +When \cs{plotdata} passes from one curve to the next, it increments a +counter and uses that counter to select a dash pattern, color, or symbol. +It uses predefined dash pattern names \mfc{dashtype0} through +\mfc{dashtype5}, or predefined color names \mfc{colortype0} through +\mfc{colortype7}, or predefined symbols \mfc{pointtype0} through +\mfc{pointtype8}. Here follows a description of each of these variables. +These variables must not be used in the second argument of +\cs{reconfigureplot}, whose purpose is to redefine these variables. + +\medskip +Under \cs{dashedlines}, we have the following dash patterns: + +\medskip +\indent\vbox{% +\halign{#\hfil\qquad&#\hfil\quad&#\hfil\strut\cr +\textsc{Name}&\textsc{Pattern}&\textsc{Meaning}\cr +\noalign{\smallskip\hrule\smallskip} +\mfc{dashtype0}& \dim{0bp} & solid line \cr +\mfc{dashtype1}& \dim{3bp,4bp} & dashes \cr +\mfc{dashtype2}& \dim{0bp,4bp} & dots \cr +\mfc{dashtype3}& \dim{0bp,4bp,3bp,4bp} & dot-dash \cr +\mfc{dashtype4}& \dim{0bp,4bp,3bp,4bp,0bp,4bp} & dot-dash-dot \cr +\mfc{dashtype5}& \dim{0bp,4bp,3bp,4bp,3bp,4bp} & dot-dash-dash\cr +}} + +\medskip +Under \cs{coloredlines}, we have the following colors. Except for +\mfc{black} and \mfc{red}, each color is altered as indicated. This is +an attempt to make the colors more equal in visibility against a white +background. (The success of this attempt varies greatly with the output +or display device.) + +\medskip +\indent\vbox{% +\halign{#\hfil\qquad&#\hfil\quad&#\hfil\strut\cr +\textsc{Name}&\textsc{Color}&\textsc{(r,g,b)}\cr +\noalign{\smallskip\hrule\smallskip} +\mfc{colortype0}& black & $( 0, 0, 0)$\cr +\mfc{colortype1}& red & $( 1, 0, 0)$\cr +\mfc{colortype2}& blue & $( .2, .2, 1)$\cr +\mfc{colortype3}& orange & $(.66,.34, 0)$\cr +\mfc{colortype4}& green & $( 0, .8, 0)$\cr +\mfc{colortype5}& magenta& $(.85, 0,.85)$\cr +\mfc{colortype6}& cyan & $( 0,.85,.85)$\cr +\mfc{colortype7}& yellow & $(.85,.85, 0)$\cr +}} + +\medskip + +Under \cs{pointedlines} and \cs{datapointsonly}, the following symbols +are used. Internally each is referred to by the numeric name, but they +are identical to the more descriptive name. Syntactically, all are \MF{} +path variables. (The order changed between versions 0.6 and 0.7.) + +\medskip +\indent\vbox{% +\halign{#\hfil\qquad&#\hfil\strut\cr +\textsc{Name}&\textsc{Description}\cr +\noalign{\smallskip\hrule\smallskip} +\mfc{pointtype0}& \mfc{Circle} \cr +\mfc{pointtype1}& \mfc{Cross} \cr +\mfc{pointtype2}& \mfc{SolidDiamond} \cr +\mfc{pointtype3}& \mfc{Square} \cr +\mfc{pointtype4}& \mfc{Plus} \cr +\mfc{pointtype5}& \mfc{Triangle} \cr +\mfc{pointtype6}& \mfc{SolidCircle} \cr +\mfc{pointtype7}& \mfc{Star} \cr +\mfc{pointtype8}& \mfc{SolidTriangle}\cr +}} + +\subsection{Special considerations when using \MF}\label{mfconsiderations} + +The most important restriction in \MF{} is on the size of a picture. +Coordinates in \MF{} ultimately refer to pixel units in the font that is +output. These are required to be less than 4096, so an absolute limit on +the size of a picture is whatever length a row of 4096 pixels is. In +fonts prepared for a LaserJet4 (600 DPI), this means about 6.8 inches. +For a 1200 DPI pronter, the limit is about 3.4 inches. + +A similar limit holds for numbers input, and the values of variables: +\MF{} will return an error for \mfc{sin 4096}. Intermediate values can +be greater (\mfc{sin (2*2048)} will cause no error), but final, stored +results are subject to the limit. An \mfp{} example that generated an +error recently was: +\begin{verbatim} + \mfpicunit 1mm + \mfpic[10]{-3}{7}{-3.5}{5} + \function{-4.5,4,.1}{x*x} + \endmfpic +\end{verbatim} +The problem was the value of $(-4.5)^2=20.25$ in pixel units (after +multiplying by the \cs{mfpic} scaling factor the \cs{mfpicunit} in +inches and the DPI value): $20.25\times10\times0.03937\times600 > 4783$. +The error did not occur at the point of creating the font, but merely at +the point of storing the path in an internal variable for manipulation +and drawing. + + +\subsection{Special considerations when using \MP}\label{mpconsiderations} + +\subsubsection{Required support} + +To use \mfp{} with \MP, the following support is needed (besides a +working \MP{} installation): + +\medskip +\halign{#\hfil\quad&\vtop{\hsize 4.4 truein \raggedright \noindent + \strut#\strut}\hfil\cr +Under plain\TeX &The file \file{epsf.tex}\cr +Under \LaTeX209 &The file \file{epsf.tex} or \file{epsf.sty}\cr +Under \LaTeXe &The package \prog{graphics} or \prog{graphicx}\cr +Under \pdfLaTeX{} &The package \prog{graphics} or + \prog{graphicx} with option \opt{pdftex}\cr +Under plain \pdfTeX{} &The files \file{supp-pdf.tex} and + \file{supp-mis.tex}\cr +In all cases &The files \file{grafbase.mp} and + \file{dvipsnam.mp} plus, of course, + \file{mfpic.tex} (and \file{mfpic.sty} for + \LaTeX)\cr +} + +\medskip +The files \file{grafbase.mp} and \file{dvipsnam.mp} should be in a +directory searched by \MP. The remaining files should be in directories +searched by the appropriate \TeX{} variant. If \MP{} cannot find the +file \file{grafbase.mp}, then by default it will try to input +\file{grafbase.mf}, which is generally futile (or fatal). + +In case \pdfLaTeX{} is used, the graphics package is given the +\opt{pdftex} option. This option requires the file \file{pdftex.def} +which currently inputs the files \file{supp-pdf.tex} and +\file{supp-mis.tex}. The file \file{pdftex.def} is supplied with the +\prog{graphics} package. The other two are usually supplied with a +\pdfTeX{} distribution, and are definitely part of the \ConTeXt{} +distribution. Older versions had some bugs in connection with the +\prog{babel} package. One workaround was to load the \prog{graphics} +package and \mfp{} before \prog{babel}. + +If the user loads one of the above required files or packages before the +\mfp{} macros are loaded then \mfp{} will not reload them. +If they have not been input, \mfp{} will load whichever one it +decides is required. In the \LaTeXe{} case, \mfp{} will load the +\prog{graphics} package. If the user wishes \prog{graphicx}, then that +package must be loaded before \mfp. + +\subsubsection{\CMP{} is not \MF} + +\PS{} is not a pixel oriented language and so neither is \MP. The model +for drawing objects is completely different between \MF{} and \MP, and +so one cannot always expect the same results. \CMP{} support in +\mfp{} was carefully written so that files successfully printed +with \mfp{} using \MF{} would be just as successfully printed +using \MP. Nevertheless, it frequently choke on files that make use of +the \cs{mfsrc} command for writing code directly to the \file{.mf} file. +While \file{grafbase.mp} is closely based on \file{grafbase.mf}, much of +the code had to be completely rewritten. + +Pictures in \MP{} are stored as (possibly nested) sequences of objects, +where objects are things like points, paths, contours, other pictures, +etc. In \MF, pictures are stored as a grid of pixels. Pictures that are +relatively simple in one program might be very complex in the other and +even exceed memory allocated for their storage. Two examples are the +\cs{polkadot} and \cs{hatch} commands. When the polkadot space and size +are both too small, a \cs{polkadot}-ed region has been known to exceed +\MP{} capacity, while being well within \MF{} capacity. In \MP{} the +memory consumed by \cs{hatch} goes up in direct proportion to the linear +dimensions of the figure being hatched, while in \MF{} it goes up in +proportion to the area, and then the reverse can happen, with \MF's +capacity exeeded far sooner that \MP's. + +In \MP{} it is important to note that each +prefix modifies the result of the entire following sequence. In essence +prefixes can be viewed as being applied in the opposite order to their +occurrence. Example: + +\begin{ex} + \cs{dashed}\cs{gfill}\cs{rect}\marg{(0,0),(1,1)} +\end{ex} +This adds the dashed outline to the filled rectangle. That is, first the +rectangle is defined, then it is filled, then the outline is drawn in +dashed lines. This makes a difference when colors other than black are +used. Drawing is done with the center of the virtual pen stroked down +the middle of the boundary, so half of its width falls inside the +rectangle. On the other hand, filling is done right up to the boundary. +In this example, the dashed lines are drawn on top of part of the fill. +In the reverse order, the fill would cover part of the outline. + +\subsubsection{Graphic inclusion}\label{graphics} + +It may be impossible to completely cater to all possible methods of +graphic inclusions with automatic tests. The macro that is invoked +to include the \PS{} graphic is \cs{setmfpicgraphic} and the user +may (carefully!) redefine this to suit special circumstances. Actually, +\mfp{} runs the following sequence: + +\begin{cd} +\cs{preparemfpicgraphic}\marg{\meta{filename}}\\ +\cs{setmfpicgraphic}\marg{\meta{filename}}\\ +\cs{getmfpicoffset}\marg{\meta{filename}}% +\index{preparemfpicgraphic@\cs{preparemfpicgraphic}}% +\index{setmfpicgraphic@\cs{setmfpicgraphic}}% +\index{getmfpicoffset@\cs{getmfpicoffset}} +\end{cd} + +The following are the default definitions for \cs{setmfpicgraphic}: + +\medskip +\halign{#:\hfil&\quad#\hfil\cr +In plain \TeX& +\cs{def}\cs{setmfpicgraphic}\texttt{\#1}\marg{\cs{epsfbox}\marg{\#1}}\cr +In \LaTeX209& +\cs{def}\cs{setmfpicgraphic}\texttt{\#1}\marg{\cs{epsfbox}\marg{\#1}}\cr +In \LaTeXe& +\cs{def}\cs{setmfpicgraphic}\texttt{\#1}\marg{\cs{includegraphics}\marg{\#1}}\cr +In \pdfLaTeX& +\cs{def}\cs{setmfpicgraphic}\texttt{\#1}\marg{\cs{includegraphics}\marg{\#1}}\cr +In \pdfTeX& +\cs{def}\cs{setmfpicgraphic}\texttt{\#1}\marg{\cs{convertMPtoPDF}\marg{\#1}% + \marg{1}\marg{1}}\cr +} +\medskip +Moreover, since \MP{} by default writes files with numeric extensions, +we add code to each figure, so that these graphics are correctly +recognized as \EPS{} or \prog{MPS}. For example, to the figure with +extension \file{.1}, we add the equivalent of one of the following +\begin{itemize} +\item[] \cs{DeclareGraphicsRule}\marg{.1}\marg{eps}\marg{.1}\marg{} in \LaTeXe. +\item[] \cs{DeclareGraphicsRule}\marg{.1}\marg{mps}\marg{.1}\marg{} in \pdfLaTeX. +\end{itemize} + +After running the command \cs{setmfpicgraphic}, \mfp{} runs +\cs{getmfpicoffset} to store the lower left corner of the bounding box +of the figure in two macros \cs{mfpicllx} and \cs{mfpiclly}. All the +above versions of \cs{setmfpicgraphic} (except \cs{includegraphics}) +make this information available; the definition of \cs{getmfpicoffset} +merely copies it into these two macros. What \mfp{} does in the +case of \cs{includegraphics} is to modify (locally) the definition of an +internal command of the graphics package so that it copies the +information to those macros, and then \cs{getmfpicoffset} does nothing. +This internal modification is accomplished by the macro +\cs{preparemfpicgraphic}. Changes to \cs{setmfpicgraphic} might require +changing either or both of \cs{preparemfpicgraphic} and +\cs{getmfpicoffset}. All three of these commands are fed the graphic's +file name as the only argument, although only \cs{setmfpicgraphic} +currently does anything with it. + +One possible reason for wanting to redefine \cs{setmfpicgraphic} might +be to rescale all pictures. This is \emph{definitely not} a good idea +without the option \opt{mplabels} since the \mfp{} code for +placing labels and captions and reserving space for the picture relies +on the picture having the dimensions given by the arguments to the +\cs{mfpic} command. With \opt{mplabels} plus \opt{truebbox} it will +probably work, but (i)~it has \emph{not} been considered in writing the +\mfp{} code, (ii)~it will then scale all the text as well as the +figure, and (iii)~it will scale all line thickness, which should +normally be a design choice independent of the size of a picture. To +rescale all pictures, one need only change \cs{mfpicunit} and rerun +\TeX{} and \MP. + +A better reason might be to allow the conversion of your \MP{} figures +to some other format. Then redefining \cs{setmfpicgraphic} +could enable including the appropriate file in the appropriate format. + +The filename argument mentioned above is actually the result obtained by +running the macro \cs{setfilename}\index{setfilename@\cs{setfilename}}. +The command \cs{setfilename} gets two arguments: the name of the \MP{} +output file (set in the \cs{opengraphsfile} command) without extension, +and the number of the picture. The default definition of +\cs{setfilename} merely inserts a dot between the two arguments. That is +\cs{setfilename}\marg{fig}\marg{1} produces \file{fig.1}. You can +redefine this behavior also. Any changes to \cs{setfilename} must come +after the \mfp{} macros are input and before the +\cs{opengraphsfile} command. Any changes to \cs{setmfpicgraphic} must +come after the \mfp{} macros are input and before any \cs{mfpic} +commands, but it is best to place it before the \cs{opengraphsfile} +command. + +As \mfp{} is currently written, \cs{setfilename} must be +\emph{completely expandable}, which means it should contain no +definitions, no assignments such as \cs{setcounter}, and no +calculations. To test whether a proposed definition is completely +expandable, put +\begin{ex} +\cs{message}\marg{\texttt{***}% +\cs{setfilename}\marg{file}\marg{1}\texttt{***}} +\end{ex} +after the definition in a \file{.tex} file and view the result on the +terminal or in the \file{.log} file. You should see only your expected +filename between the asterisks. + + +\subsection{\prog{Mfpic} and the rest of the world} + +\subsubsection{The literature} + +There are at least two places where \mfp{} has garnered more than a +cursory mention. The most up-to-date is a section in \textit{The +\LaTeX{} Graphics Companion} by Michel Goossens, Sebastian Rahtz and +Frank Mittelbach. It describes a version prior to the introduction of +\MP{} support, but it correctly describes a subset of its current +commands and abilities. + +The other is \textit{\TeX{} Unbound} by Alan Hoenig, which contains a +chapter on \mfp. Unfortunately, it describes a version that was +replaced in 1996 with version 0.2.10.9. The following summarizes the +differences between the description% + \footnote{While I'm at it: \textit{\TeX{} Unbound} occasionally + refers to \mfp{} using a logo-like formatting in which the `MF' is + in a special font and the `I' is lowered. This `logo' may suggest + a relationship between \mfp{} and \PiCTeX. There is no such + relationship, and there is no official logo-like designation for + \mfp.} % +found in Chapter 15 and \mfp{} versions 0.2.10.9 through the +current one: + +\cs{wedge} is now renamed \cs{sector} to avoid conflict with the \TeX{} +command of the same name. The syntax is slightly different from that +given for \cs{wedge}: +\begin{ex} + \cs{sector}\marg{(\meta{x},\meta{y}), \meta{radius}, \meta{angle1}, \meta{angle2}} +\end{ex} + +The macro \cs{plr}\marg{(\meta{$r_0$},\meta{$\theta_0$}),% +(\meta{$r_1$},\meta{$\theta_1$}),$\ldots$} is used to convert polar +coordinate pairs to rectangular coordinates, so the commands +\cs{plrcurve}, \cs{plrcyclic}, \cs{plrlines} and \cs{plrpoint} were +dropped from \mfp. Now use +\begin{ex} + \cs{curve}\marg{\cs{plr}\marg{(\meta{$r_0$},\meta{$\theta_0$}),% + (\meta{$r_1$},\meta{$\theta_1$}),$\ldots$}} +\end{ex} +instead of +\begin{ex} + \cs{plrcurve}\marg{(\meta{$r_0$},\meta{$\theta_0$}),% + (\meta{$r_1$},\meta{$\theta_1$}),$\ldots$} +\end{ex} +and similarly for \cs{cyclic}, \cs{lines} and \cs{point} with respect to +\cs{plrcyclic}, \cs{plrlines} and \cs{plrpoint}. + +\cs{fill} is now renamed \cs{gfill} to avoid conflict with the \LaTeX{} +command of the same name. + +\cs{rotate}, which rotates a following figure about a point, is now +renamed \cs{rotatepath} to avoid confusion with a similar name for a +transformation (see below). + +\cs{white} is now renamed \cs{gclear} because \cs{white} is too likely +to be chosen for, or confused with, a color command. + +\smallskip +The following affine transform commands were changed from a third person +indicative form (which could be confused with a plural noun) to an +imperative form: + +\medskip +\moveright\parindent +\vbox{% + \halign{#\qquad\hfil&#\hfil\cr + Old name: & New name:\cr + \cs{boosts} & \cs{boost}\cr + \cs{reflectsabout} & \cs{reflectabout}\cr + \cs{rotatesaround} & \cs{rotatearound}\cr + \cs{rotates} & \cs{rotate}\cr + \cs{scales} & \cs{scale}\cr + \cs{shifts} & \cs{shift}\cr + \cs{xscales} & \cs{xscale}\cr + \cs{xslants} & \cs{xslant}\cr + \cs{xyswaps} & \cs{xyswap}\cr + \cs{yscales} & \cs{yscale}\cr + \cs{yslants} & \cs{yslant}\cr + \cs{zscales} & \cs{zscale}\cr + \cs{zslants} & \cs{zslant}\cr + }% +} + +\medskip +\cs{caption} and \cs{label} are now renamed \cs{tcaption} and +\cs{tlabel} to avoid conflict with the \LaTeX{} commands. + +\cs{mfcmd} was renamed \cs{mfsrc} for clarity, and (in version 0.7) a +new \cs{mfcmd} was defined, which is pretty much the same except it appends +a semicolon to its argument. + +\smallskip +There is a misprint: \cs{axisheadlin} should be \cs{axisheadlen}. + +Finally, in the \LaTeX{} template on page 496: \mfp{} now supports +the \cs{usepackage} method of loading. + +\subsubsection{Other programs} + +There exists a program, \prog{fig2mfpic} that produces \mfp{} code as +output. The code produced (as of this writing) is somewhat old and +mostly incompatible with the description in this manual. Fortunately, it +is accompanied by the appropriate versions of files \file{mfpic.tex} and +\file{grafbase.mf}. Unfortunately, the names conflict with the current +filenames and so they should only be used in circumstances where no +substitution will occur, say in a local directory with the other sources +for the document being produced. Moreover, the documentation in this +manual may not apply to the code produced. However the information in +\textit{\TeX{} Unbound} may apply. + +There exist a package, \prog{circuit\_macros}, that can produce a +variety of output formats, one of which is \mfp{} code. One writes a +file (don't ask me what it consists of) and apparently processes it with +\prog{m4} and then \prog{dpic} to produce the output. The \mfp{} code +produced appears to be compatible with the current \mfp. + +\renewcommand\mfpindexheading{% + \subsection{Index of commands, options and parameters by page}} +\let\oldcs\cs +\renewcommand{\cs}[1]{\leavevmode\mytt{\llap{\char`\\}#1}} + +\InputIfFileExists{mfpman.ind}{}{\mfpindexheading} + +\let\cs\oldcs + +\columnseprule 0pt +\columnsep 35pt +\twocolumn[\subsection{List of commands by type}] +\parindent0pt +\parskip0pt plus .3pt\relax +\makeatletter +\let\item\@idxitem +\makeatother + +\subsubsection{Figures} + + \item \cs{arc} + \item \cs{axis} + \item \cs{btwnfcn} + \item \cs{chartbar} + \item \cs{circle} + \item \cs{closedcspline} + \item \cs{closedmfbezier} + \item \cs{closedqbeziers} + \item \cs{closedqspline} + \item \cs{cspline} + \item \cs{curve} + \item \cs{cyclic} + \item \cs{datafile} + \item \cs{ellipse} + \item \cs{fcncurve} + \item \cs{function} + \item \cs{graphbar} + \item \cs{histobar} + \item \cs{lines} + \item \cs{mfbezier} + \item \cs{mfobj} + \item \cs{parafcn} + \item \cs{piewedge} + \item \cs{plrfcn} + \item \cs{plrregion} + \item \cs{polygon} + \item \cs{polyline} + \item \cs{qbeziers} + \item \cs{qspline} + \item \cs{rect} + \item \cs{regpolygon} + \item \cs{sector} + \item \cs{tlabelcircle} + \item \cs{tlabelellipse} + \item \cs{tlabeloval} + \item \cs{tlabelrect} + \item \cs{turtle} + + +\subsubsection{Figure modifiers} + + \item \cs{arrow} + \item \cs{bclosed} + \item \cs{cbclosed} + \item \cs{connect}, \cs{endconnect} + \item \cs{cutoffafter} + \item \cs{cutoffbefore} + \item \cs{lclosed} + \item \cs{makesector} + \item \cs{partpath} + \item \cs{qbclosed} + \item \cs{reflectpath} + \item \cs{reverse} + \item \cs{rotatepath} + \item \cs{scalepath} + \item \cs{sclosed} + \item \cs{shiftpath} + \item \cs{slantpath} + \item \cs{subpath} + \item \cs{transformpath} + \item \cs{trimpath} + \item \cs{xscalepath} + \item \cs{xslantpath} + \item \cs{xyswappath} + \item \cs{yscalepath} + \item \cs{yslantpath} + + +\subsubsection{Figure renderers} + + \item \cs{dashed} + \item \cs{dotted} + \item \cs{draw} + \item \cs{gclear} + \item \cs{gclip} + \item \cs{gendashed} + \item \cs{gfill} + \item \cs{hatch} + \item \cs{lhatch} + \item \cs{plot} + \item \cs{plotdata} (sort of) + \item \cs{plotnodes} + \item \cs{polkadot} + \item \cs{rhatch} + \item \cs{shade} + \item \cs{tess} + \item \cs{thatch} + \item \cs{xhatch} + +\subsubsection{Lengths} + + + \item \cs{axisheadlen} + \item \cs{dashlen} + \item \cs{dotsize} + \item \cs{dotspace} + \item \cs{hashlen} + \item \cs{hatchspace} + \item \cs{headlen} + \item \cs{mfpiccaptionskip} + \item \cs{mfpicheight} + \item \cs{mfpicunit} + \item \cs{mfpicwidth} + \item \cs{pointsize} + \item \cs{polkadotspace} + \item \cs{shadespace} + \item \cs{sideheadlen} + \item \cs{symbolspace} + +\subsubsection{Coordinate transformation} + + \item \cs{applyT} + \item \cs{boost} + \item \cs{coords}, \cs{endcoords} + \item \cs{mirror} + \item \cs{reflectabout} + \item \cs{rotate} + \item \cs{rotatearound} + \item \cs{scale} + \item \cs{shift} + \item \cs{turn} + \item \cs{xscale} + \item \cs{xslant} + \item \cs{xyswap} + \item \cs{yscale} + \item \cs{yslant} + \item \cs{zscale} + \item \cs{zslant} + +\subsubsection{Axes, grids, and marks} + + \item \cs{axes} + \item \cs{axis} + \item \cs{axismarks} + \item \cs{bmarks} + \item \cs{doaxes} + \item \cs{grid} + \item \cs{gridarcs} + \item \cs{gridlines} + \item \cs{gridpoints} + \item \cs{gridrays} + \item \cs{hgridlines} + \item \cs{lattice} + \item \cs{lmarks} + \item \cs{plotsymbol} + \item \cs{plrgrid} + \item \cs{plrgridpoints} + \item \cs{plrpatch} + \item \cs{point} + \item \cs{rmarks} + \item \cs{tmarks} + \item \cs{vgridlines} + \item \cs{xaxis} + \item \cs{xmarks} + \item \cs{yaxis} + \item \cs{ymarks} + +\subsubsection{Setting options} + + \item \cs{clearsymbols} + \item \cs{clipmfpic} + \item \cs{mfpicdebugfalse} + \item \cs{mfpicdebugtrue} + \item \cs{mfpicdraft} + \item \cs{mfpicfinal} + \item \cs{mfpicnowrite} + \item \cs{nocenteredcaptions} + \item \cs{noclearsymbols} + \item \cs{noclipmfpic} + \item \cs{nomplabels} + \item \cs{nooverlaylabels} + \item \cs{noship} + \item \cs{notruebbox} + \item \cs{overlaylabels} + \item \cs{resumeshipping} + \item \cs{stopshipping} + \item \cs{usecenteredcaptions} + \item \cs{usemetafont} + \item \cs{usemetapost} + \item \cs{usemplabels} + \item \cs{usetruebbox} + +\subsubsection{Changing values} + + \item \cs{axismargin} + \item \cs{darkershade} + \item \cs{dashlineset} + \item \cs{dashpattern} + \item \cs{dotlineset} + \item \cs{drawpen} + \item \cs{hatchwd} + \item \cs{headshape} + \item \cs{lightershade} + \item \cs{mfpicnumber} + \item \cs{mfplinestyle} + \item \cs{mfplinetype} + \item \cs{pen} + \item \cs{penwd} + \item \cs{polkadotwd} + \item \cs{setallaxismargins} + \item \cs{setallbordermarks} + \item \cs{setaxismargins} + \item \cs{setaxismarks} + \item \cs{setbordermarks} + \item \cs{setmfvariable} + \item \cs{setmpvariable} + \item \cs{settension} + \item \cs{setxmarks} + \item \cs{setymarks} + \item \cs{shadewd} + +\subsubsection{Changing colors} + + \item \cs{backgroundcolor} + \item \cs{drawcolor} + \item \cs{fillcolor} + \item \cs{hatchcolor} + \item \cs{headcolor} + \item \cs{mfpdefinecolor} + \item \cs{pointcolor} + \item \cs{tlabelcolor} + +\subsubsection{Defining arrays} + + \item \cs{barchart} + \item \cs{bargraph} + \item \cs{histogram} + \item \cs{numericarray} + \item \cs{pairarray} + \item \cs{patharr}, \cs{endpatharr} + \item \cs{piechart} + +\subsubsection{Changing behavior} + + \item \cs{clearsymbols} + \item \cs{coloredlines} + \item \cs{dashedlines} + \item \cs{datapointsonly} + \item \cs{defaultplot} + \item \cs{everytlabel} + \item \cs{makepercentcomment} + \item \cs{makepercentother} + \item \cs{mfpdatacomment} + \item \cs{mfpdataperline} + \item \cs{mfpverbtex} + \item \cs{noclearsymbols} + \item \cs{pointedlines} + \item \cs{pointfillfalse} + \item \cs{pointfilltrue} + \item \cs{reconfigureplot} + \item \cs{setrender} + \item \cs{smoothdata} + \item \cs{tlabeljustify} + \item \cs{tlabeloffset} + \item \cs{tlabelsep} + \item \cs{tlpathjustify} + \item \cs{unsmoothdata} + \item \cs{using} + \item \cs{usingnumericdefault} + \item \cs{usingpairdefault} + +\subsubsection{Files and environments} + + \item \cs{closegraphsfile} + \item \cs{mfpframe}, \cs{endmfpframe} + \item \cs{mfpic}, \cs{endmfpic} + \item \cs{opengraphsfile} + +\subsubsection{Text} + + \item \cs{axislabels} + \item \cs{plottext} + \item \cs{tcaption} + \item \cs{tlabels} + \item \cs{tlabel} + +\subsubsection{Misc} \widowpenalty10000 + + \item \cs{fdef} + \item \cs{getmfpicoffset} + \item \cs{ifmfpmpost} + \item \cs{mfcmd} + \item \cs{mflist} + \item \cs{mfpframed} + \item \cs{mfpicversion} + \item \cs{mfpverbtex} + \item \cs{mfsrc} + \item \cs{mftitle} + \item \cs{newfdim} + \item \cs{newsavepic} + \item \cs{plr} + \item \cs{pointdef} + \item \cs{preparemfpicgraphic} + \item \cs{savepic} + \item \cs{setmfpicgraphic} + \item \cs{setfilename} + \item \cs{sequence} + \item \cs{store} + \item \cs{tile}, \cs{endtile} + \item \cs{tmtitle} + \item \cs{usepic} + + +\end{document} + diff --git a/Master/texmf-dist/doc/generic/mfpic/pictures.tex b/Master/texmf-dist/doc/generic/mfpic/pictures.tex new file mode 100644 index 00000000000..76be74689aa --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/pictures.tex @@ -0,0 +1,204 @@ +%%% File: pictures.tex +%%% A part of mfpic 0.7a beta 2004/04/16 +%%% +\magnification=\magstep1 + +\newdimen\paperheight +\newdimen\paperwidth +%%!!!!!!!!!!!!!!!!!!!!!!!!!!! +% adjust these to your liking: +\paperheight 11truein +\paperwidth 8.5truein + +% Default plainTeX margins +\hsize \paperwidth +\advance\hsize -2 truein +\hoffset 0 truein +% +\vsize\paperheight +\advance\vsize -2.1 truein +\voffset 0 truein + +\input mfpic +%% Uncomment this if you prefer metapost... +%\usemetapost + +\ifx\pdfoutput\UndEfInEd +\else + \pdfpageheight=\paperheight + \pdfpagewidth=\paperwidth +\fi + +\opengraphsfile{pics} + +\mfpframesep0pt +\headshape{1}{1}{true} + +\def\vs{\bigskip\filbreak} + +\mftitle{Commutative Diagram example.} + +% A-----D +% |\ /| +% | C-F | +% |/ \| +% B- - -E + +\noindent +\mfpframe +\mfpic[12]{0}{10}{0}{10} +\tlabeljustify{cc} +\tcaption[2.0,1.0]{\raggedright{\it Figure 1:} Commutative diagram example.} +\tlabels{(1,9){A} + (1,1){B} + (3,5){C} + (9,9){D} + (9,1){E} + (7,5){F}} +\setrender{\draw\arrow\trimpath{6pt}} +\lines{(1,9), (1,1)} % A -> B. +\lines{(1,9), (3,5)} % A -> C. +\lines{(3,5), (1,1)} % C -> B. +\lines{(1,9), (9,9)} % A -> D. +\lines{(9,9), (9,1)} % D -> E. +\lines{(9,9), (7,5)} % D -> F. +\lines{(7,5), (9,1)} % F -> E. +\lines{(3,5), (7,5)} % C -> F. +% B- - ->E : +%\dotted\arrow[r90][b-12pt]\arrow[b15pt]\reverse\arrow\lines{(1.5,1), (8.5,1)} +\dotted\arrow\arrow[b10pt]\reverse\arrow\trimpath{6pt}\lines{(1,1), (9,1)} +\endmfpic +\endmfpframe + +\vs + +\mftitle{Function Plot with Cartesian Axes.} + +\noindent +\mfpframe +\mfpic[20]{-3}{3}{-3}{3} +\axes +\function{-2,2,0.1}{((x**3)-x)/3} +\tcaption{\raggedright{\it Figure 2:} Function Plot with Cartesian Axes.} +\endmfpic +\endmfpframe + +\vs + +\mftitle{Parametric Function Plot, and Filled Circle.} + +\noindent +\mfpframe +\mfpic[30]{-1.5}{1.5}{-1}{1} +\parafcn{0,6,0.1}{cosd(150t)*dir(90t)} +\gfill\circle{(0,0),0.25} +\tcaption{\raggedright{\it Figure 3:} Parametric Function Plot, and +Filled Circle.} +\endmfpic +\endmfpframe + +\vs + +\mftitle{Bar Graph.} + +\noindent +\mfpframe +\mfpic[20]{-0.5}{4}{-0.5}{4} +\axes +\shade\draw\rect{(0,0),(1,0.5)} +\darkershade +\shade\draw\rect{(1,0),(2,1)} +\hatch\draw\rect{(2,0),(3,2)} +\tcaption{{\it Figure 4:} Bar Graph.} +\endmfpic +\endmfpframe + +\vs + +\mftitle{Pie Chart.} + +\noindent +\mfpframe +\mfpic[30]{-1.3}{1.7}{-1}{1.1} +\gfill\sector{(0.3,0.2), 1, 0,60} +\shade\sector{(0,0), 1, 60,105} +\turtle{(0,0), \plr{(1,105)}} +\sector{(0,0), 1, 60,360} +\tcaption{\raggedright{\it Figure 5:} Pie Chart.} +\endmfpic +\endmfpframe + +\noindent Unindented text here. + +\vs + +\mftitle{Circle with Arrow.} + +\noindent +\mfpframe +\mfpic[20]{-2}{2}{-1}{1} +\arrow\circle{(0,0),1} +\tcaption{\raggedright{\it Figure 6:} Circle with Arrow.} +\endmfpic +\endmfpframe + +\vs + +\mftitle{Use of hatch, draw, lclosed, connect, curve, point, lines, + dotted, reverse.} + +\noindent +\mfpframe +\mfpic[20]{-3}{3}{-3}{3} +\hatch\draw\lclosed\connect +\curve{(1,0), (1,0.5), (1,1), (0,1.5)} +\point{(0,0)} +\endconnect +\lines{(-1,1), (-1,-1), (1,-1.5)} +\point{(0,0)} +\dotted\reverse\lines{(-2,2), (-2,-2), (2,-3)} +\tcaption{\rightskip= 0pt plus 3em {\it Figure 7:} Use of hatch, draw, lclosed, connect, + curve, point, lines, dotted, reverse.} +\endmfpic +\endmfpframe + +\vs + +\mftitle{Simpler variant of the previous figure.} + +\noindent +\mfpframe +\mfpic[40]{-1}{1}{-1}{1} % Was `[20]'. +\tcaption{\raggedright{\it Figure 8:} Simpler variant of the previous figure.} +\hatch\draw\lclosed\connect +\curve{(1,0), (0.5,0.25), (0.5,0.5), (0,0.75)} +\point{(0,0)} +\endconnect +\reverse\lines{(-0.5,0.5), (-0.5,-0.5), (0.5,-0.75)} +\tcaption{\raggedright{\it Figure 8:} Simpler variant of the previous figure.} +\endmfpic +\endmfpframe + +\vs + +\mftitle{Graph of data from file.} + +\noindent +\mfpframe +\mfpic[6]{-10}{10}{-2}{12} + \makepercentother + \using{#1% #2 #3}{(#1,#2)} + \makepercentcomment + \mfpdatacomment\# + \fcncurve\datafile{data.dat} + \axes +\endmfpic +\endmfpframe + +\closegraphsfile + +\end + +%%% +%%% EOF pictures.tex +%%% diff --git a/Master/texmf-dist/doc/generic/mfpic/refcard.tex b/Master/texmf-dist/doc/generic/mfpic/refcard.tex new file mode 100644 index 00000000000..7078e262e48 --- /dev/null +++ b/Master/texmf-dist/doc/generic/mfpic/refcard.tex @@ -0,0 +1,651 @@ +%%% File: refcard.tex +%%% A part of mfpic 0.7a beta 2004/04/16 +%%% +% (Ask your driver to print so that longer dimension is horizontal) +\newdimen\paperlongside + \paperlongside 11 truein +\newdimen\papershortside + \papershortside 8.5 truein + +\ifx\pdfoutput\undefined +\else\ifx\pdfoutput\relax +\else\ifnum\pdfoutput>0 + \pdfpagewidth\paperlongside + \pdfpageheight\papershortside +\fi\fi\fi + +\font\manual=cmcsc8 +\def\MF{{\manual meta}\-{\manual font}} +\def\MP{{\manual meta}\-{\manual post}} +\def\TeX{{\rm T\kern-.1667em\lower.5ex\hbox{E}\kern-.125emX\null}} +\def\plainTeX{{\rm plain\kern -.15em\TeX}} +\def\LaTeX{{\rm L\raise.42ex\hbox{\kern-.36em \manual a}\kern-.15em\TeX}} +%\def\LaTeXe{\LaTeX$2_{\textstyle\varepsilon}$} +\def\gobble#1{} +\def\dooptparam[#1]{{\tt[#1]}\futurelet\nchr\domacro} +\def\dofixparam[#1]{{\tt\string{#1\string}}\futurelet\nchr\domacro} +\def\doparamswap{\if?\nchr\dooptparam[\expandafter\gobble + \else\dofixparam[\fi} +\def\doparam{\futurelet\nchr\doparamswap} +\def\ddoparam{\expandafter\doparam\gobble} +\def\domacro{\if[\nchr\expandafter\ddoparam\fi} +\def\bsl{{\tt\char\escapechar}} +\def\mac#1{\bsl{\tt#1}\futurelet\nchr\domacro} + +% logical markup to typeset filenames, program names, MF code, +% grafbase identifiers, environment names, email addresses, and +% emphasis. +\def\file#1{{\tt #1}} +\def\prog#1{{\sf #1}} % didn't want everything in \tt +\def\mfc#1{{\tt #1}} +\def\opt#1{{\tt #1}} % LaTeX2e option names +\def\gbc#1{{\tt #1}} +\def\env#1{{\tt #1}} +\def\mail#1{{\tt #1}} +\def\emph#1{{\it #1\/}} + +% Forced, Clean, Linebreak. + +\def\brk{\nobreak\hfil\break} + +\newcount\columnsperpage + +% Entries are too wide for 3 columns. Print 2 columns landscape +\columnsperpage=2 + +% The rest of this header is nicked from gnuplot (which took it from +% Emacs) but was drastically adapted for mfpic. +% +% This file is intended to be processed by plainTeX. +% +% You will need to inform your dvi driver to print it in landscape +% and, optionally, double sided. +% Author of GNU Emacs Refcard: +% Stephen Gildea +% UUCP: mit-erl!gildea +% Internet: gildea@erl.mit.edu +% +% Person who ripped off the formatter for gnuplot: +% Alex Woo +% NASA Ames Research Center +% Internet: woo@ames.arc.nasa.gov +% +% Modified on 9 Dec 1992 by: +% Daniel S. Lewart +% University of Illinois +% Internet: d-lewart@uiuc.edu +% +% Modified on 29 Sep 1999, 11 Jul 2002, 29 Sep 2003 %(for mfpic) by: +% Daniel H. Luecking +% University of Arkansas +% luecking@uark.edu + +\newdimen\intercolumnskip +\newbox\columna +\newbox\columnb + +\hsize4.75truein +\vsize 7.25truein + +% Equal left right, right and middle margins, about .5in on USletter +\intercolumnskip=\paperlongside +\advance\intercolumnskip -2\hsize +\intercolumnskip .33333\intercolumnskip +\hoffset\intercolumnskip +\advance\hoffset -1truein + +% Equal top and bottom margins, about .4in on A4 paper +\voffset\papershortside +\advance\voffset-\vsize +\voffset .5\voffset +\advance\voffset -1truein + +\topskip8truept + +\font\manual=cmcsc10 at 8pt +\font\titlefont=cmbx10 scaled \magstep1 +\font\headingfont=cmbx10 +\font\smallfont=cmr6 +\font\smallsy=cmsy6 +\font\eighti=cmmi8 +\font\sixi=cmmi6 +\font\eightex=cmex10 at 8pt +\font\eightrm=cmr8 +\font\eightbf=cmbx8 +\let\subheadingfont\eightbf +\font\sixbf=cmbx6 +\font\eightit=cmti8 +\font\eighttt=cmtt8 +\font\eightsy=cmsy8 +\font\sixsy=cmsy6 +\font\eightsf=cmss10 at 8pt +\font\eightsl=cmsl8 +\font\tensf=cmss10 +\textfont0=\eightrm \scriptfont0=\smallfont +\textfont1=\eighti \scriptfont1=\sixi +\textfont2=\eightsy \scriptfont2=\sixsy +\textfont3=\eightex \scriptfont3=\eightex \scriptscriptfont3=\eightex +\textfont\bffam\eightbf \scriptfont\bffam\sixbf +\def\rm{\fam0\eightrm} +\def\bf{\fam\bffam\eightbf} +\def\it{\eightit} +\def\tt{\eighttt} +\def\sf{\eightsf} +\def\sl{\eightsl} +\smallskipamount 2pt plus 1pt minus 0pt +\medskipamount 5pt plus 2pt minus 2pt +\bigskipamount 10pt plus 3pt minus 3pt +\normalbaselineskip=10pt +\normalbaselines +\rm +\setbox\strutbox=\hbox{\vrule height6.8pt depth3.2pt width0pt} + +\def\abc{a} +\output={% + \if b\abc \multicolumnformat \global\def\abc{a} + \else\if a\abc + \global\setbox\columna\columnbox \global\def\abc{b} + \global\setbox\columnb\hbox to -\intercolumnskip{} + \fi\fi} +\def\multicolumnformat{\shipout\vbox{% + \hbox{\box\columna\hskip\intercolumnskip + \box\columnb\hskip\intercolumnskip\columnbox}}\advancepageno} +\def\columnbox{\leftline{\pagebody}} + +\def\bye{\par\vfill\supereject + \if a\abc \else\null\vfill\eject\fi + \if a\abc \else\null\vfill\eject\fi + \end} + +% Typewriter type braces (redefinitions of escaped braces) : +\def\{{{\tt \char`\{}} +\def\}{{\tt\char`\}}} + + +\parindent 0pt + +\def\title#1{{\titlefont\centerline{#1}}\vskip 1ex plus .5ex} + +\def\section#1{\par\filbreak + \vskip 2.25ex plus 2ex minus 2ex {\headingfont #1}% + \vskip 1.25ex plus 1ex minus 1.5ex} + +\def\subsection#1{\ifhmode\par\fi + \ifdim\lastskip<1.5ex + \vskip -\lastskip + \vskip 1.5ex plus 1ex minus 1ex + \fi + \filbreak + {\subheadingfont #1}% + \vskip .75ex plus .5ex minus .5ex} + +\newdimen\describeindent +\describeindent=0em + +\def\var#1{$\langle${\it #1\/}$\rangle$} +\def\alt{\unskip$\;|\;$\hfilbreak} +\def\hfilbreak{\hfil\allowbreak\hfilneg} + +\newdimen\secondkeyindent + +\def\describe#1#2{\leavevmode\vtop + {\hsize=\firstkeyfrac\hsize\rightskip=1em plus 1 fill\relax + \secondkeyindent\describeindent \advance\secondkeyindent 1em + \hangindent\secondkeyindent \hangafter1 + \hskip\describeindent\relax\strut#1\nobreak\hskip0pt\strut}% + \vtop + {\hsize=\secondkeyfrac\hsize\rightskip=0pt plus 1 fill\relax + \leavevmode\strut#2\unskip\strut}\par} +\def\code#1{{\sf #1}} + +\title{MFPIC Quick Reference} + +\centerline{(Copyright 2000--2003 by Daniel Luecking)} +\medskip +This information was prepared for version 0.7 of \prog{mfpic}. + +\section{Preamble commands} + +\def\firstkeyfrac{.4} +\def\secondkeyfrac{.6} + +\describe{Load \prog{mfpic} package:} + {\mac{input} \file{mfpic}, or \mac{usepackage}[?\var{options}][mfpic]} +\describe{Options}{\opt{metafont} \alt \opt{metapost}, \opt{mplabels}, + overlaylabels \opt{centeredcaptions}, \opt{clip}, + \opt{truebbox}, \opt{draft}, \opt{final}, \opt{nowrite}} +\describe{Activate options (\plainTeX)} + {\mac{usemetafont} \alt \mac{usemetapost}, \mac{usemplabels}, + \mac{overlaylabels} \mac{usecenteredcaptions}, \mac{clipmfpic}, + \mac{usetruebbox}, \mac{mfpicdraft}, \mac{mfpicfinal}, + \mac{mfpicnowrite}} +\describe{Turn off some options} + {\mac{nomplabels}, \mac{nooverlaylabels} + \mac{nocenteredcaptions}, \mac{noclipmfpic}, \mac{notruebbox}} +\describe{Set up/close the output file} + {\mac{opengraphsfile}[\var{base name}]$\ldots$\mac{closegraphsfile}} + +\section{The {\tensf mfpic} environment} + +\def\firstkeyfrac{.30} +\def\secondkeyfrac{.70} + +\describe{Start an \prog{mfpic} figure} + {\mac{mfpic}[?\var{xscale}][?\var{yscale}]% + \{\var{$x_{\min}$}\}\allowbreak\{\var{$x_{ max}$}\}\allowbreak + \{\var{$y_{min}$}\}\allowbreak\{\var{$y_{max}$}\}\brk + \ \ \ \ \var{MFpic commands}\brk + \mac{endmfpic}} +\describe{\quad\LaTeX{} (optional)} + {\mac{begin}[mfpic]${}\equiv{}$\mac{mfpic}, + \mac{end}[mfpic]${}\equiv{}$\mac{endmfpic}} + +\smallskip +The default \var{xscale} is $1$ (\mac{mfpicunit}), default \var{yscale} +is \var{xscale}. + +\section{Dimensions (lengths)} + +\def\firstkeyfrac{.58} +\def\secondkeyfrac{.42} + +\describe{\sl Purpose; where used:} {\sl Name and default value:} +\vskip1pt +\describe{Unit of length; \mac{mfpic}} {\mac{mfpicunit}, \tt 1pt} +\describe{Size of a symbol; \mac{point}, \mac{plot}, and \mac{plotsymbol}} + {\mac{pointsize}, \tt 2pt} +\describe{Darkness of shading; \mac{shade}} {\mac{shadespace}, \tt 1pt } +\describe{Space between dots; \mac{polkadot}} + {\mac{polkadotspace}, \tt 10pt} +\describe{Space between hatch lines; hatching macros} + {\mac{hatchspace}, \tt 3pt} +\describe{Size of arrowhead; \mac{arrow}} {\mac{headlen}, \tt 3pt} +\describe{Size of x-, y-axis arrowhead; xy-axes macros} + {\mac{axisheadlen}, \tt 5pt} +\describe{Size of border axis arrowhead; side axis macros} + {\mac{sideheadlen}, \tt 0pt} +\describe{Size of marks on axes; axis marks} {\mac{hashlen}, \tt 4pt} +\describe{Size of dashes; \mac{dashed}} {\mac{dashlen}, \tt 4pt} +\describe{Space between dashes; \mac{dashed}} {\mac{dashspace}, \tt 4pt} +\describe{Size of dots; \mac{dotted}} {\mac{dotsize}, \tt 0.5pt} +\describe{Space between dots; \mac{dotted}} {\mac{dotspace}, 3pt} +\describe{Space between symbols; \mac{plot}} {\mac{symbolspace}, \tt 5pt} + +\medskip +The following commands are used to change the size of some dimension +parameters: + +\smallskip +\describe{{\sl Purpose} ({\sl default\/}):} {\sl Command:} +\vskip1pt +\describe{Set diameter of drawing pen ({\tt 0.5pt})} + {\mac{penwd}[\var{dimen}]} +\describe{Set diameter of shading dots ({\tt 0.5pt})} + {\mac{shadewd}[\var{dimen}]} +\describe{Set diameter of polkadot ({\tt 5pt})} + {\mac{polkadotwd}[\var{dimen}]} +\describe{Set diameter of hatching pen ({\tt 0.5pt})} + {\mac{hatchwd}[\var{dimen}]} +\describe{Multiply \mac{shadespace} by 1.2} {\mac{lightershade}} +\describe{Divide \mac{shadespace} by 1.2} {\mac{darkershade}} + + +\section{Colors} + +\def\firstkeyfrac{.45} +\def\secondkeyfrac{.55} + +\smallskip +\describe{Set color for curves} {\mac{drawcolor}[\var{color}]} +\describe{Set color for fills} {\mac{fillcolor}[\var{color}]} +\describe{Set color for points, symbols} {\mac{pointcolor}[\var{color}]} +\describe{Set color for hatching} {\mac{hatchcolor}[\var{color}]} +\describe{Set color for arrowheads} {\mac{headcolor}[\var{color}]} +\describe{Set color for tlabels} {\mac{tlabelcolor}[\var{color}]} +\describe{Set color used by \mac{gclear}} {\mac{backgroundcolor}[\var{color}]} +\describe{\quad \LaTeX{} syntax} + {\mac{drawcolor}[?\var{model}][\var{clrspec}], etc.} +\describe{Define a color name} {\mac{mfpdefinecolor}[\var{name}][\var{model}][\var{clrspec}]} + + +\section{Common geometric figures} + +Drawing commands that operate on a variable length list in braces may +be followed by \mac{datafile}[\var{filename}] instead of the list. + +\subsection{Points} + +\def\firstkeyfrac{.42} +\def\secondkeyfrac{.58} + +\describe{Place a symbol at given point(s)} + {\mac{plotsymbol}[?\var{size}][\var{name}]% + [($x_0,y_0$),($x_1,y_1$),$\ldots$]} +\describe{\quad Available symbol names} {{\tt Triangle}, {\tt Square}, {\tt Circle}, {\tt + Diamond}, {\tt Star}, {\tt SolidTriangle}, {\tt SolidSquare}, {\tt SolidCircle}, + {\tt SolidDiamond}, \tt{SolidStar}, {\tt Plus}, {\tt Cross}, + {\tt Asterisk}} +\describe{Points (filled or unfilled circles)} + {\mac{point}[?\var{size}][($x_0,y_0$),($x_1,y_1$),$\ldots$]} +\describe{Force filled/open circles in \mac{point}:} + {\mac{pointfilltrue}/\mac{pointfillfalse}} + +\subsection{Lines} + +\def\firstkeyfrac{.45} +\def\secondkeyfrac{.55} + +\describe{Connect points with lines} + {\mac{polyline}[($x_0,y_0$),($x_1,y_1$),$\ldots$], + or (\mac{lines})} +\describe{Closed polygon} + {\mac{polygon}[($x_0,y_0$),($x_1,y_1$),$\ldots$]} +\describe{Concatenate vectors} + {\mac{turtle}[\var{initialpoint},\var{$v_1$},\var{$v_2$},$\ldots$]} +\describe{Rectangle (upright) with given corners} + {\mac{rect}[($x_0,y_0$),($x_1,y_1$)]} + +\subsection{Circles, arcs and ellipses} + +\def\firstkeyfrac{.55} +\def\secondkeyfrac{.45} + +\describe{Circles} {} +\describe{\qquad polar form (default):} + {\mac{circle}[?p][\var{center},\var{radius}]} +\describe{\qquad three-point form:} + {\mac{circle}[?t][($x_0,y_0$),($x_1,y_1$),($x_2,y_2$)]} +\describe{\qquad center-point form:} + {\mac{circle}[?c][\var{center},\var{point}]} +\describe{\qquad point-sweep form:} + {\mac{circle}[?s][($x_0,y_0$),($x_1,y_1$),\var{angle}]} +\describe{Arcs} {} +\describe{\qquad polar form:} + {\mac{arc}[?p][\var{center},\var{$\theta_1$},\var{$\theta_2$},% + \var{radius}]} +\describe{\qquad three-point form:} + {\mac{arc}[?t][($x_0,y_0$),($x_1,y_1$),($x_2,y_2$)]} +\describe{\qquad center-point-angle form:} + {\mac{arc}[?c][\var{center},\var{point},\var{angle}]} +\describe{\qquad point-sweep form (default):} + {\mac{arc}[?s][($x_0,y_0$),($x_1,y_1$),\var{angle}]} +\describe{Ellipse, center $(x_0,y_0)$, radii \var{$r_x$}, \var{$r_y$}, angle +\var{$\theta$}} + {\mac{ellipse}[?\var{$\theta$}]% + \tt\{($x_0,y_0$),\var{$r_x$},\var{$r_y$}\}} + +\section{General curves} + +\def\firstkeyfrac{.45} +\def\secondkeyfrac{.55} + +A \var{spec} can be {\tt p} (for polyline) or {\tt s} (for smooth) +followed by a number for the tension. + +\smallskip +\describe{Smooth curve through points} + {\mac{curve}[?\var{tension}][($x_0,y_0$),($x_1,y_1$),$\ldots$]} +\describe{Graph of $y=f(x)$} + {\mac{function}[?\var{spec}][$x_{\min}$,$x_{\max}$,% + $\Delta x$][$f(\hbox{\tt x})$]} +\describe{Graph of parametric curve $(x(t),y(t))$} + {\mac{parafcn}[?\var{spec}][$t_{\min}$,$t_{\max}$,$\Delta t$]% + [($x(\hbox{\tt t})$, $y(\hbox{\tt t})$)]} +\describe{Graph of $r = f(\theta)$} + {\mac{plrfcn}[?\var{spec}]% + [$\theta_{\min}$,$\theta_{\max}$,$\Delta\theta$][$f(\hbox{\tt t})$]} +\describe{Interpolate with a smooth {\it function}} + {\mac{fcncurve}[?\var{tension}][($x_0,y_0$),($x_1,y_1$),$\ldots$]} +\describe{Curve from data in a file*} + {\mac{datafile}[?\var{spec}][\var{file}]} +\describe{\quad Set how \mac{datafile} processes a line} + {\mac{using}[\var{read\_pattern}][\var{write\_pattern}]\brk + Default is \mac{using}[\#1 \#2 \#3][(\#1,\#2)]} + + +\section{Regions} + +\def\firstkeyfrac{.45} +\def\secondkeyfrac{.55} + +Curves are not necessarily `closed' even if the start and end are the +same. The following are closed (may be filled), as are \mac{rect}, +\mac{polygon}, \mac{circle}, and \mac{ellipse}. + +\smallskip +\describe{Closed curve through given points} + {\mac{cyclic}[?\var{tension}][$(x_1,y_1),(x_2,y_2),\ldots$]} +\describe{Circular sector (pie slice)} + {\mac{sector}[\var{center},\var{radius},\var{$\theta_1$},% + \var{$\theta_2$}]} +\describe{Region between two functions} {\mac{btwnfcn}[?\var{spec}][$x_{\min}$,% + $x_{\max}$,$\Delta x$][$f(\hbox{\tt x})$][$g(\hbox{\tt x})$]} +\describe{Region in polar coordinates} + {\mac{plrregion}[?\var{spec}][$\theta_{\min}$,$\theta_{\max}$,% + $\Delta \theta$][$f(\hbox{\tt t})$]} +\describe{Curves surrounding text} + {\mac{tlabelrect}[?\var{radius}]{\tt(\var{x},\var{y})\{\var{text}\}}\brk + \mac{tlabeloval}[?\var{mult}]{\tt(\var{x},\var{y})\{\var{text}\}}\brk + \mac{tlabelellipse}[?\var{ratio}]{\tt(\var{x},\var{y})\{\var{text}\}}\brk + \var{radius}: round corners. \var{mult}: stretch horizontally. + \var{ratio}: width/height of ellipse} + + +\section{Prefix macros} + +\subsection{Drawing curves} + +\def\firstkeyfrac{.4} +\def\secondkeyfrac{.6} + +\describe{Dashed path}{\mac{dashed}[?\var{length},\var{gap}]$\ldots$} +\describe{Dotted path}{\mac{dotted}[?\var{size},\var{gap}]$\ldots$} +\describe{Trace a path with symbols} + {\mac{plot}[?\var{size},\var{gap}][\var{symbol}]$\ldots$} +\describe{Generalized dashes}{\mac{gendashed}[\var{patname}]$\ldots$} +\describe{\quad Define a named dash pattern} + {\mac{dashpattern}[\var{patname}][\var{len$_1$},\var{len$_2$},$\ldots$,% + \var{len$_{2n}$}]} +\describe{Place a symbol at all nodes} + {\mac{plotnodes}[?\var{size}][\var{symbol}]$\ldots$} +\describe{Solid curve*}{\mac{draw}[?\var{color}]$\ldots$} + + +\subsection{Closing a curve} + +\def\firstkeyfrac{.45} +\def\secondkeyfrac{.55} + +These turn any path into a `closed' path (result may be filled). + +\smallskip +\describe{Close with a straight line,}{\mac{lclosed}$\ldots$} +\describe{Close with a smooth join, like \mac{cycle},}{\mac{sclosed}$\ldots$} +\describe{Close letting \MF{} choose}{\mac{bclosed}$\ldots$} + +\subsection{Filling closed curves} + +\def\firstkeyfrac{.4} +\def\secondkeyfrac{.6} + +These filling prefixes turn off drawing of the curve. + +\smallskip +\describe{Solid fill} {\mac{gfill}[?\var{color}]$\ldots$} +\describe{Unfill} {\mac{gclear}$\ldots$} +\describe{Hatched fills} + {\mac{thatch}[?\var{space},\var{angle}][?\var{color}]$\ldots$} +\describe{\qquad \var{angle}${}=45\,$deg} + {\mac{rhatch}[?\var{space}][?\var{color}]$\ldots$} +\describe{\qquad \var{angle}${}=-45\,$deg} + {\mac{lhatch}[?\var{space}][?\var{color}]$\ldots$} +\describe{\qquad crosshatching} + {\mac{xhatch}[?\var{space}][?\var{color}]$\ldots$} +\describe{} {\mac{hatch} $=$ \mac{xhatch}} +\describe{Shading} + {\mac{shade}[?\var{space}]$\ldots$} +\describe{Polkadot fill}{\mac{polkadot}[?\var{space}]$\ldots$} +\describe{Fill with copies of a tile} {\mac{tess}[\var{tile}]$\ldots$} +\describe{\quad Define a tile*} + {\mac{tile}[\var{name},\var{unit},\var{width},\var{height},\var{clip}] + \var{drawing commands} \mac{endtile}} + +\smallskip +* Creates a mini-mfpic, clipped if \var{clip}${}={}${\tt true}. + +\subsection{Storing and reusing a path} + +\describe{Store a path} {\mac{store}[\var{name}]$\ldots$} +\describe{\quad reusing a stored path} {\mac{mfobj}[\var{name}]} + +\subsection{Subpaths} + +\describe{Subpath by fraction of length} + {\mac{partpath}[\var{frac1},\var{frac2}]$\ldots$} +\describe{Subpath by node number} {\mac{subpath}[\var{m},\var{n}]$\ldots$} +\describe{Cutting by another path} + {\mac{cutoffafter}[\var{obj}]$\ldots$, + \mac{cutoffbefore}[\var{obj}]$\ldots$.\brk + \var{obj} is a name created with \mac{store}} +\describe{Trim the ends of a path} + {\mac{trimpath}[\var{dim1},\var{dim2}]$\ldots$} + + +\subsection{Modifying a curve} + +\def\firstkeyfrac{.4} +\def\secondkeyfrac{.6} + +\describe{Add arrowhead to the end} + {\mac{arrow}[?l\var{length}][?r\var{angle}]% + [?b\var{backset}][?c\var{color}]$\ldots$} +\describe{\quad Define arrowhead shape} + {\mac{headshape}[\var{ratio}][\var{tension}][\var{filled}]} +\describe{Reverse a curve} {\mac{reverse}$\ldots$} +\describe{Double arrow} {\mac{arrow}\mac{reverse}\mac{arrow}$\ldots$} +\describe{Rotate around a point} {\mac{rotatepath}[($x_0$,$y_0$),\var{angle}]$\ldots$} +\describe{Reflect about a line} {\mac{reflectpath}[($x_0$,$y_0$),($x_1$,$y_1$)]$\ldots$} +\describe{Shift} {\mac{shiftpath}[($dx$,$dy$)]$\ldots$} +\describe{Scale around a point} {\mac{scalepath}[($x_0$,$y_0$),\var{scale}]$\ldots$} +\describe{xscale about line $x=x_0$} {\mac{xscalepath}[$x_0$,\var{scale}]$\ldots$} +\describe{yscale about line $y=y_0$} {\mac{yscalepath}[$y_0$,\var{scale}]$\ldots$} +\describe{slant, pivoting on line $y=y_0$} {\mac{slantpath}[$y_0$,\var{slant}]$\ldots$} +\describe{yslant, pivoting on line $x=x_0$} {\mac{yslantpath}[$x_0$,\var{slant}]$\ldots$} +\describe{Swap x and y} {\mac{xyswappath}$\ldots$} + + +\section{Axes} + +\def\firstkeyfrac{.30} +\def\secondkeyfrac{.70} + +\describe{Draw x- and/or y-axes} {\mac{axes}[?\var{headlen}], + \mac{xaxis}[?\var{headlen}], \mac{yaxis}[?\var{headlen}]} +\describe{Draw various axes} + {\mac{axis}[?\var{headlen}][\var{axis}], \ \var{axis} is one of + {\tt x}, {\tt y}, {\tt l}, {\tt b}, {\tt r}, or {\tt t}.} +\describe{Draw many axes} {\mac{doaxes}[?\var{headlen}][\var{list}], \ + \var{list} of letters, no commas.} +\describe{Shift border axis inward} + {\mac{axismargin}[\var{axis}][\var{amt}], \ \var{amt} is + in graph units.} +\describe{Add hashmarks to axes}{% + \mac{axismarks}[\var{axis}][?\var{len}][$c_1$,$c_2$,$\ldots$], \ + $c_j$ are positions.\brk Abbrev. by + \mac{xmarks} for \mac{axismarks}[x], etc.} +\describe{Change position of hash marks} + {\mac{setaxismarks}[\var{axis}][\var{pos}] \ \var{pos} is one of + {\tt inside}, {\tt outside}, {\tt centered}, {\tt ontop}, + {\tt onbottom}, {\tt onleft}, or {\tt onright}.} + +\section{Miscellaneous} + +\def\firstkeyfrac{.30} +\def\secondkeyfrac{.70} + +\describe{Text labels} + {\mac{tlabel}[?\var{pos}\var{$\theta$}]% + {\tt($x$,$y$)\{\var{\TeX{} text}\}}\brk + \mac{tlabels}[\var{args$_1$}\var{args$_2$}$\ldots$]\brk + \mac{axislabels}[\var{axis}][?\var{pos}\var{$\theta$}]% + [\{\var{txt$_1$}\}\var{$n_1$},% + \{\var{txt$_2$}\}\var{$n_2$},$\ldots$]\brk + \var{pos} is a two-letter sequence, \var{$\theta$}* the + angle of rotation in degrees; + \var{args$_j$} is an entire set of arguments as in + \mac{tlabel}; + \var{axis} is a letter, \var{txt$_j$} is label, \var{$n_j$} + is coordinate on axis} +\describe{Clipping to a path} {\mac{gclip}$\ldots$} +\describe{Polar conversion} + {\mac{plr}[($r_0$,$\theta_0$),($r_1$,$\theta_1$),$\ldots$]} +\describe{Connect paths} {\mac{connect} \var{path1} \var{path2} $\ldots$ + \mac{endconnect}} +\describe{Draw many curves from one datafile} + {\mac{plotdata}[?\var{spec}][\var{file}], \ \var{spec} is {\tt + p} or {\tt s\var{num}} where \var{num} is the (optional) tension + in the smooth curve} +\describe{Set how \mac{plotdata} draws curves$\dag$}{\mac{dashedlines} + \ (different dash patterns)\brk + \mac{coloredlines} \ (different colors, \MP{} only)\brk + \mac{pointedlines} \ (different symbols, like \mac{plot})\brk + \mac{datapointsonly} \ (different symbols, like \mac{plotnodes})} + +\smallskip +* The angle is optional, and ignored unless option \opt{mplabels} is +in effect.\brk +$\dag$ \mac{plotdata} also respects the \mac{using} setting (see +\mac{datafile} in section {\bf General curves}). + +\bye + +% Other commands: +\mac{setrender}[\<\TeX{} commands\>] + +\mac{coords}$\ldots$\mac{endcoords} +\mac{applyT}[\] +\mac{rotate}[$\theta$] +\mac{rotatearound}[$p$][$\theta$] +\mac{turn}[?$p$][$\theta$] +\mac{mirror}[$p_1$][$p_2$] +\mac{reflectabout}[$p_1$][$p_2$] +\mac{shift}[$p$] +\mac{scale}[$s$] +\mac{xscale}[$s$] +\mac{yscale}[$s$] +\mac{zscale}[$p$] +\mac{xslant}[$s$] +\mac{yslant}[$s$] +\mac{zslant}[$s$] +\mac{boost}[$\chi$] +\mac{xyswap} + +\mac{fdef}[\]% + (\,\,$\ldots$)% + [\] + +\mac{tcaption}[?\,\][\] + +\mac{savepic}\bsl\ +\mac{newsavepic} +\mac{usepic} + +\mac{dashlineset}, \mac{dotlineset} + +\mac{mfsrc}[\] +\mac{noship} + +\mac{store}[\][\] +\mac{mfobj}[\] +\mac{patharr}[\]$\ldots$\mac{endpatharr} + +\mac{mftitle}[\] +\mac{tmtitle}[\] + +\mac{newfdim}[\] + +\mac{setmfpicgraphic} +\mac{getmfpicoffset} +\mac{setfilename} + +\bye diff --git a/Master/texmf-dist/doc/generic/midnight/border.doc b/Master/texmf-dist/doc/generic/midnight/border.doc new file mode 100644 index 00000000000..a1ff21f1845 --- /dev/null +++ b/Master/texmf-dist/doc/generic/midnight/border.doc @@ -0,0 +1,372 @@ +% border.doc --- version 1.0 (21 October 1991) +% This is the documentation for border.tex. +% To read this file, process it with (plain) TeX: tex border.doc +% (To do that, you need both border.tex and manmac.tex. The latter has +% the macros for typesetting the TeXbook, as explained in appendix E. +% It comes free with the standard distribution of TeX.) +% +% NOTE: Processing this file with TeX will create empty files +% index.tex and answers.tex in your directory. And if you +% have a file pages.tex in your directory, TeX will probably +% get very confused. +% The manmac format will try to load a font called cmman; if +% TeX complains that it cannot find that font you can savely +% ignore that, since the font is not actually used. +% +% This file: copyright (c) 1991 Marcel van der Goot. +% You may redistribute this file and printed versions of it. +% +% original: csvax.cs.caltech.edu [131.215.131.131] in pub/tex +% (use anonymous ftp). Also in various archives. +% +% Marcel van der Goot +% marcel@cs.caltech.edu +% Caltech 256--80 +% Pasadena, CA 91125 +% (818) 356--4603 + +% ------ definitions for manual pages: +% The documentation is typeset using Knuth's ``manmac'' macros, with a +% few additional things defined here. You are free to use or adapt these +% extra definitions. + +\input manmac % the macros used for typesetting The TeXbook (appendix E) +\catcode`^=7 % manmac makes ^ active for creating an index + % we don't make an index, and we need ^ to be non-active + +{\catcode`\^^M=12 \endlinechar=-1 % 12 = other +\long\gdef\manpagehead#1^^M#2^^M#3^^M^^M% tex-file, description, version + {\egroup % matches \bgroup in \manpage + \par\vfill\eject + \edef\rhead{\manualname: #1\unskip}% + \setbox1=\hbox{\titlefont #1\quad}% + \setbox3=\vtop{\advance\hsize by-\wd1 \parindent=0pt \raggedright + #2\par + #3\par + \cnotice + }% + \line{\box1\box3}% + \bigskip\bigskip\bigskip\noindent + }% +} % restore \catcode`\^^M + +\outer\def\manpage + {\bgroup\catcode`\^^M=12 + \manpagehead + } + +\hsize=6.5in\vsize=8.9in % default plain TeX values +\pagewidth=\hsize \pageheight=\vsize + +\def\cnotice{Copyright \copyright\ 1991 Marcel R. van der Goot} +\def\manualname{Midnight Macros} + +% LaTeX logo, from latex.tex (except for the capital `A': manmac +% doesn't have a real smallcaps font) +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc A}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\tenpoint + +% (end of extra definitions) + +% -------------------- border.doc: + +\input border % change this to refer to border.tex on your system + +\def\boxelm#1% + {\hbox{\vrule width .2mm + \vbox to 10mm{\hrule height.2mm + \hbox to9.8mm{}\vfil + \hrule height.2mm}% + \vrule width .2mm + }} + +\def\bulletelm#1% + {\ifcase#1% + \roundcorners0% + \or\hbox to1cm{\hss$\bullet$\hss}% + \or\roundcorners2% + \fi + } + +\def\cloudelm#1% + {\hbox{\roundcorners0\roundcorners2}} + +\def\numberelm#1% + {\vbox to12pt{\vss + \hbox to12pt{\hss\number#1\hss} + \vss + }} + +\pageno=17 % follows styledef.doc + +\manpage border.tex +Macros to typeset borders. +Version: 1.0 (21 October 1991) (doc: 23 Oct 1991) + +\setborder[\hsize,1em,\smallskipamount]\border{\noindent +The macros described in this manual section are used to typeset borders, +such as the border around this paragraph. These borders are built from +different ``characters'': in this example from quarter circles for the corners +and straight line segments for the edges, but, given an appropriate font, +other borders can also be typeset. (Below we explain how a border +font must be designed in order to be useful with these macros.) Before +any of the macros described below can be used, you must |\input| +border.tex.* +} + +There\footnote{}{* Border.tex also works with \LaTeX.} +% if the \footnote is done within \setborder, it gets lost +are several ways of typesetting borders, depending on the characters +that form the border. Macros such as |\border| +create a vbox of specified height and width (the depth is always zero), +containing only the border. Typesetting text within a border is done by +creating a box with the text and superimposing it on the box with the border, +as explained later. The types of border we will now describe differ in the +way they compose characters to build a border; the choice of the characters +is determined by another macro (|\borderelm|). The border around the +previous paragraph was typeset with |\border|. It is built from eight +different characters: `\roundcorners0', `\roundcorners1', and +`\roundcorners2' for the top; `\roundcorners3' and `\roundcorners4' for the +center; and `\roundcorners5', `\roundcorners6', and `\roundcorners7' for the +bottom. |\border| takes two arguments, the height and the width of the border. +\begintt +\border{2cm}{10cm} +\endtt +creates a border like this: +$$\border{2cm}{10cm}$$ +It is a vbox with height $2$ cm, depth $0$, and width $10$ cm. + +In order to create a border of the exact specified dimensions, some characters +may need to overlap. Suppose we built a border from the following character, +a $1$ cm by $1$ cm box: +$$\boxelm0$$ +The following is the +border created by |\border{4.8cm}{10.5cm}|: +$$ +\let\borderelm=\boxelm +\border{4.8cm}{10.5cm} +$$ +As you see, some of the boxes overlap, in order to get the specified +dimensions. This overlap is always between the edge elements, there is never +overlap with the corner elements (unless the size is too small). +In fact, the overlap is always with +the edge elements that are closest to the corners. (|\border| always sets +at least one edge element for each edge.) + +|\border| works fine if the edge elements can overlap, which basically +restricts them to be ``rule like.'' There is an alternative to |\border|, +called |\xborder|. It is used in the same way as |\border|, but the exact +size is obtained by putting extra space +between the elements, rather than overlapping them. Suppose we build a +border with the +same corner elements as before, but with the edge built from ``bullets'' +rather than straight line segments. The top element consists of a bullet +centered in a $1$ cm wide box. Here are the top lines obtained from +|\border{...}{4.5cm}| and |\xborder{...}{4.5cm}|, respectively. +\let\borderelm=\bulletelm +$$ +\line{\hss\hborder{4.5cm}012\qquad\qquad\hxborder{4.5cm}012\hss} +$$ +In case of |\xborder|, the proper vertical size is also obtained by spacing. + +Some border characters, however, need to abut in order to form +a border. For instance, suppose we want to make a ``cloud like'' border, +where the top corners and top edge elements are all `\cloudelm0' +In this case, |\border{...}{1.6cm}| and |\xborder{...}{1.8cm}| give +\let\borderelm=\cloudelm +$$\line{\hss +\hborder{1.6cm}012\qquad and\qquad\hxborder{1.8cm}012% +\hss}$$ +Clearly, neither solution works very well. +For this case there are two other macros, |\minusborder| and |\plusborder|. +They take the same arguments as |\border|, but produce a box of rounded +dimensions rather than of the exact size. The border is built by abutting +the elements. |\minusborder| rounds the size down, whereas |\plusborder| rounds +the size up. |\minusborder{...}{1.8cm}| and |\plusborder{...}{1.8cm}| give +$$\line{\hss +\hminusborder{1.8cm}012\qquad and\qquad\hplusborder{1.8cm}012% +\hss}$$ + +\setbox0=\hbox{\it width}\setbox2=\hbox{\it hspace}\setbox4=\hbox{\it vspace} + +The above macros all generate empty borders. Typically, one wants to put some +text in the border. There is one macro to make that easy, |\setborder|. It +is called as follows: +\begintt +\setborder[|copy0, |copy2, |copy4]\border{ ... } +\endtt +where the |...| stands for the text that must be boxed. In this case, |\border| +will be used to create the border, but you can also use |\xborder| etc. +The border will be \copy0\ wide (or a rounded value); the height of the +border is determined by the amount of text. The text itself is first +broken in paragraphs and lines, as usual in \TeX. The width of the lines +is $\copy0 - 2\cdot\copy2$. The text is than put in the border with +\copy4\ space at the top and at the bottom, and \copy2\ space at the left and +at the right hand sides. +For instance, the first paragraph of this manual section was set with +\begintt +\setborder[\hsize,1em,\smallskipamount]\border +{\noindent The macros described ... + .... +} +\endtt +The \copy0\ and \copy2\ must be dimensions; \copy4\ can be a dimension or +a glue amount (without |\vskip|). + +\danger With |\setborder|, the text between braces, |{...}|, is read +in the same way as when you write |\vbox {...}|. (You can use |\bgroup| and +|\egroup| instead of the braces.) The text is {\it not\/} an argument of +|\setborder|, which is important if it contains catcode changes. You can +change the paragraph shape, or have more than one paragraph of text. +\let\borderelm=\roundcorners +$$\setborder[10cm, 1cm, 4mm]\border{ +\parindent=0pt \parfillskip=0pt +\leftskip=0pt plus 1cm minus 5mm +\rightskip=0pt plus 1cm minus 5mm +For instance, the text in this paragraph is set with some extra |\leftskip| +and |\rightskip| glue, which takes care of centering every line. This +was done as follows: +} +$$ +\beginlines +|\setborder[10cm, 1cm, 4mm]\border{| +|\parindent=0pt \parfillskip=0pt| +|\leftskip=0pt plus 1cm minus 5mm \rightskip=0pt plus 1cm minus 5mm| +\goodbreak +|For instance, the text in this paragraph ...| +|...| +\nobreak +|}| +\endlines + +\danger If |\setborder| does not suit your purpose, you can write your +own equivalent. Generally, to put text in a border, you first generate +a box containing the border of the appropriate size. Then you make a box +containing this border box plus the text superimposed on it. Superimposing +is done by either ``backspacing'' using negative kerns, or by making a +zero width or height border box, in a similar way as |\llap| makes a zero +width box. Usually, you have to use several nested levels of boxing to +get the desired result. + +We have described the different ways of composing border characters, but not +yet how to specify which characters are used. Whenever a border is typeset, +it is assumed that a macro |\borderelm#1| exists. This macro is called with +as argument a number in the range $0,\dots,7$; it should return the appropriate +border element, where the elements are numbered as follows: +\let\borderelm=\numberelm +$$\minusborder{2cm}{5cm}$$ +|\borderelm| is called within an hbox; it should typeset a character, a +box, or an vrule. (Since the macro is expanded within an hbox, you should be +careful not to put extra spaces in it; doing that may cause strange +gaps in the border.) + +A convenient way of writing |\borderelm| is with +an |\ifcase| construction. For instance, assume that in font |\qc| the +characters |a|, |b|, |c|, etc. correspond to `\roundcorners0', +`\roundcorners1', `\roundcorners2', etc. Then you could write |\borderelm| +as follows: +\beginlines +|\def\borderelm#1%| +\nobreak +| {{\qc \ifcase#1| +| a\or b\or c\or d\or e\or f\or g\or h% no extra space| +| \fi| +| }}| +\endlines +In fact, a macro like this is already defined in border.tex. It is called +|\roundcorners|, so that you can say |\let\borderelm=\roundcorners| to +get the borders with rounded corners. The corner elements come from +font |\manfnt|, which corresponds to the external font `manfnt.' (The +corner elements are described on page 389 of The \TeX book.) |\roundcorners| +scales, which means that you can say, for instance, +\begintt +\font\manfnt=manfnt scaled 2074 +\endtt +to get larger corners --- provided you have the appropriately scaled +font file (2074 corresponds to |\magstep4|). +If you do not want to load the manfnt font (e.g., because your installation +does not have it), you should define |\let\manfnt=\relax| before you +|\input| border.tex. + +Hopefully a variety of border fonts will come available in the future. But even +with just the quarter circles you can already vary your borders quite a bit. +We already saw a border with half circles before, it is an easy exercise +to define a complete border that way. The following definition defines +a fancier corner: +\beginlines +|\setbox0=\hbox{\roundcorners2}| +|\vbox{\offinterlineskip| +| \hbox{\copy0\roundcorners0\copy0}| +| \hbox to 3\wd0{\hfil\roundcorners7}| +| \hbox to 3\wd0{\hfil\copy0}| +\nobreak +| }%| +\endlines +It defines the ``number 2'' (or number 5) corner: +\setbox0=\hbox{\roundcorners2} +\vbox{\offinterlineskip + \hbox{\copy0\roundcorners0\copy0} + \hbox to 3\wd0{\hfil\roundcorners7} + \hbox to 3\wd0{\hfil\copy0} + } ; +the other corners can be defined similarly. + +\danger If you want, you can omit the corners from |\borderelm| (i.e., write +|\borderelm| to return nothing for arguments $0$, $2$, $5$, and $7$). +But if you do not want any edge elements, you should still put something +with width (or height) for the top/bottom (or left/right) edges; for instance, +|\hbox to10pt{}| is a valid top element. Border.tex uses several box and +dimen registers. Rather than reserving private registers, which would +make them unavailable for other purposes, border.tex uses |\box0|, |\box2|, +|\box4|, |\dimen0|, |\dimen2|, and |\count2|. Normally, this does not cause +problems, since they are always restored to their old value. The only time +you should take this into account, is in |\borderelm|: this macro should +not depend on any global values of these registers, nor should it make +any lasting changes to them. + +\danger If you are a font designer, and want to define a font that can be +used with border.tex, you should understand something of how |\border| etc. +build the borders. A border is built from three horizontal strips. The top +and bottom strips consist of a corner element, a number of edge elements, +and another corner element. These elements are aligned by their baselines, +and the width of the border(-strip) is determined by the width of the +bounding boxes. Therefore, the ``ink'' in the border elements +should be close to the outside edges of the bounding boxes; otherwise there +will not be a proper relation between the actual size of the border and +the size of the visible border. The center strip is built from an edge, +white space (glue), and another edge. The amount of white space is chosen +so that the width of the center strip is the width of the top strip. +The whole border is built by vertically aligning the top strip, a +number of center strips, and the bottom strip. This is done by aligning +the left hand edges of the horizontal strips. The vertical size of the +border is again determined by the vertical size of the bounding boxes. +You may notice that the quarter circle elements described on p. 389 of The +\TeX book (used in |\roundcorners|), do not fit properly in their bounding +boxes for the purpose of setting borders. In fact, |\roundcorners| must go +to considerable effort to reposition the bounding boxes. If you can, avoid +such problems with any new fonts you design. + +There are two more variants of borders. First, to set only one horizontal +strip of a border generated by |\border|, you can use |\hborder|. It takes +four argument: the width, and the numbers of the left element, middle +element, and right element. E.g., |\border{4cm}012| generates the top +of the border, whereas |\border{4cm}567| generates the bottom. There +are also |\hxborder|, |\hminusborder|, and |\hplusborder|. However, there +are no vertical equivalents. + +Finally, there are macros |\minusgray| and |\plusgray|. They behave +like their border counterparts, except that the center of the border +is filled with an extra character (|\borderelm8|) rather than with white space. +For use with these macros, |\borderelm| must return characters as follows: +\let\borderelm=\numberelm +$$\minusgray{2cm}{5cm}$$ +This is useful if you have characters that contain a ``gray'' pattern +(a ``stipple'' or ``Ben Day'' pattern). Although a font with a gray pattern +should not be hard to define, to the author's knowledge there is currently +no such font in the public domain. These gray macros can also be used with +|\setborder|. + +\bye + diff --git a/Master/texmf-dist/doc/generic/midnight/dolines.doc b/Master/texmf-dist/doc/generic/midnight/dolines.doc new file mode 100644 index 00000000000..782b981de2d --- /dev/null +++ b/Master/texmf-dist/doc/generic/midnight/dolines.doc @@ -0,0 +1,306 @@ +% dolines.doc --- version 1.0 (15 April 1991) +% This is the documentation for dolines.tex. +% To read this file, process it with (plain) TeX: tex dolines.doc +% (To do that, you need manmac.tex, which has +% the macros for typesetting the TeXbook, as explained in appendix E. +% It comes free with the standard distribution of TeX.) +% +% NOTE: Processing this file with TeX will create empty files +% index.tex and answers.tex in your directory. And if you +% have a file pages.tex in your directory, TeX will probably +% get very confused. +% The manmac format will try to load a font called cmman; if +% TeX complains that it cannot find that font you can savely +% ignore that, since the font is not actually used. +% +% This file: copyright (c) 1991 Marcel van der Goot. +% You may redistribute this file and printed versions of it. +% +% original: csvax.cs.caltech.edu [131.215.131.131] in pub/tex +% (use anonymous ftp). Also in various archives. +% +% Marcel van der Goot +% marcel@cs.caltech.edu +% Caltech 256--80 +% Pasadena, CA 91125 +% (818) 356--4603 + +% ------ definitions for manual pages: +% The documentation is typeset using Knuth's ``manmac'' macros, with a +% few additional things defined here. You are free to use or adapt these +% extra definitions. + +\input manmac % the macros used for typesetting The TeXbook (appendix E) +\catcode`^=7 % manmac makes ^ active for creating an index + % we don't make an index, and we need ^ to be non-active + +{\catcode`\^^M=12 \endlinechar=-1 % 12 = other +\long\gdef\manpagehead#1^^M#2^^M#3^^M^^M% tex-file, description, version + {\egroup % matches \bgroup in \manpage + \par\vfill\eject + \edef\rhead{\manualname: #1\unskip}% + \setbox1=\hbox{\titlefont #1\quad}% + \setbox3=\vtop{\advance\hsize by-\wd1 \parindent=0pt \raggedright + #2\par + #3\par + \cnotice + }% + \line{\box1\box3}% + \bigskip\bigskip\bigskip\noindent + }% +} % restore \catcode`\^^M + +\outer\def\manpage + {\bgroup\catcode`\^^M=12 + \manpagehead + } + +\hsize=6.5in\vsize=8.9in % default plain TeX values +\pagewidth=\hsize \pageheight=\vsize + +\def\cnotice{Copyright \copyright\ 1991 Marcel R. van der Goot} +\def\manualname{Midnight Macros} + +% LaTeX logo, from latex.tex (except for the capital `A': manmac +% doesn't have a real smallcaps font) +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc A}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\tenpoint + +% (end of extra definitions) + +% -------------------- dolines.doc: + +\pageno=9 % follows loop.doc + +\manpage dolines.tex +Meta-macros to separate arguments by newlines and by empty lines. +Version: 1.0 (15 April 1991) (doc: 15 Apr 1991) + +The macros in dolines.tex are intended to help you write your own +macros, rather than to typeset text directly. Consequently, it is +assumed that you have some experience writing macros; in other words, +assume that this whole section is preceded by a ``dangerous bend'' symbol. + +Dolines.tex\footnote*{To use dolines.tex you also need Midnight/loop.tex, +which will be |\input| when you |\input dolines|.} +helps to write macros for which line breaks inserted +by the user are important. When the definitions from dolines.tex +are in effect, text consists of paragraphs separated by one +or more empty lines (as usual). Each paragraph consist of one +or more lines, where a line is terminated by a normal newline character, +`|^^M|' (normally, \TeX\ treats newlines as if they are spaces). Note that, +as far as dolines.tex is concerned, a paragraph can only be +terminated by an empty line, not by, e.g., |\par| or |\vskip|. +To use dolines.tex, you have to define three macros, |\beforelines|, +|\everyline#1|, and |\afterlines|. When dolines.tex detects the beginning +of a paragraph, |\beforelines| is called. Next, for every line, +|\everyline| is called with as argument a single macro. That macro +has as its expansion the line that was read. (Usually, this is almost +the same as saying that |\everyline| is called with the line as argument.) +After the last line of the paragraph, |\afterlines| is called. +No output is generated, other than what is produced by your own macros. + +{\def\fnm{\<\rm file name>} +There are two ways of using dolines.tex. One is to read lines from +a file, the other is to take the lines from the current input file. +If you say +\begintt +\filedolines{|fnm} +\endtt +dolines.tex will attempt to read the file, calling |\beforelines|, +|\everyline|, and |\afterlines| as described above. The file is read +inside a group, so you may need to use |\global| if you do assignments +within, e.g., |\everyline|. +}% \fnm + +As an example, we define a ``poetry environment'' which reads a poem +from a file, preserving the poet's line breaks. We draw horizontal +lines around the poem, and put every stanza in a vbox to prevent +page breaks. (It is certainly possible to write better poetry environments, +we are just illustrating dolines.tex.) +\beginlines +|\input dolines| +\nobreak\smallskip\nobreak +|\def\readpoem#1{\medskip \hrule \filedolines{#1}\hrule \medskip}| +\smallbreak +|\def\beforelines{\medskip \vbox\bgroup}| +|\def\everyline#1{\hbox{\kern\parindent \it #1}}| +|\def\afterlines{\egroup \medskip} % end of the vbox| +\endlines +If file ``epic.tex'' contains a poem, we can typeset it with +|\readpoem{epic}|. + +However, if you are typesetting several short rhymes, it is somewhat +inconvenient to have each of them in a separate file. This is where +the second method of using dolines.tex is useful. You have to define +a macro |\enddolines|, the expansion of which should be +the text you want to use to terminate +dolines.tex's effect. You also have to define a macro |\finishdolines|. +When you say |\begindolines|, dolines.tex starts reading lines, +calling |\everyline| etc. This continues until dolines.tex reads a +line equal to the (top level) expansion of |\enddolines|. Then your +macro |\finishdolines| is called, and \TeX\ resumes normal processing. +|\begindolines| and the line equal to |\enddolines| form a group +(as with |\filedolines|); |\finishdolines| is called {\sl outside} +this group. + +Here is how we can extend the poetry environment with two control +sequences |\beginpoem| and |\endpoem|. We keep the above definitions +of |\beforelines| etc. +\beginlines +|\def\beginpoem{\medskip \hrule \begindolines}| +|\def\enddolines{\endpoem}| +|\def\finishdolines{\hrule \medskip}| +\endlines +Now we can typeset a poem as follows (the English stanza is from The +\TeX book): +\beginlines +|\beginpoem| +\nobreak\medskip\nobreak +|Roses are red,| +|\quad Violets are blue;| +|Rhymes can be typeset| +|\quad With boxes and glue.| +\nobreak\medskip\nobreak +|Blauw de viooltjes,| +|\quad Rood zijn de rozen;| +|Een rijm kan gezet| +|\quad Met plaksel en dozen.| +\nobreak +|\endpoem| +\endlines +Note that we never defined |\endpoem|, as it is never expanded. In fact, +there is no reason to terminate the poem with a control sequence. If we +define |\def\enddolines{***}|, three stars on a single line will play +the r\^ole of |\endpoem| above. + +\danger There are a few things to be careful about. First, a line +must have properly nested |{...}| groups. (Because a line is read as +an argument delimited by a \ character.) You should not use +this to fold long lines, because that will insert an explicit \ +character with catcode 12 in the line. Second, spaces at the beginning +of a line are skipped, unless you change the catcode of `\]'. This means +that, for instance, there can be spaces in front of |\endpoem|. +(Spaces are skipped at the beginning +of a line because at that point \TeX\ is in ``state N'' --- see Chapter +8 of The \TeX book.) Third, when |\everyline| is called, the line +that is its argument is already tokenized. This means that a catcode +change within |\everyline| cannot effect this line. Furthermore, +when |\beforelines| is called, the first line is already read and +tokenized. + +\danger |\filedolines| and |\begindolines| treat lines in pretty much +the same way. There is however a significant difference in the way +comments are treated. If a line has a comment (i.e., it ends with +`|%...|'), |\begindolines| will miss the \ at the end of the +line. This is normal for \TeX, it can be used to fold long lines. +However, if you are using |\filedolines|, comments will be skipped, +but lines are not concatenated: |\filedolines| will not miss the +\! (This is because |\filedolines| uses \TeX's |\read| primitive.) +A rather obscure difference +is that a line consisting of just `|\par|' is read as an empty line +by |\filedolines|, whereas it is read as a non-empty line by |\begindolines|. +If you want to use |\begindolines| to read from a file, you can say +|\expandafter\begindolines\input ...|. + +It is possible for |\finishdolines| to take arguments, but they have to appear +on the line following the line with the expansion of |\enddolines|. Suppose +we change the poem environment by defining |\finishdolines| as +\begintt +\def\finishdolines#1% + {\line{\strut \hss --- #1\hss\hss}\hrule \medskip} +\endtt +Hence, |\finishdolines| will print the author's name under the poem. +The argument should be written on the line following |\endpoem|: +\begintt +\beginpoem + ... +\endpoem +{A.U. Thor} +\endtt + +Sometimes we want to use dolines.tex to read just one paragraph by making +|\enddolines| equal to an empty line. For instance, a macro |\address| which +reads an address terminated by an empty line. The problem with defining +|\def\enddolines{}| is that if there is an empty line before the address +(or even if the rest of the line after |\address| is empty), no lines +will be read at all. To ensure that at least one paragraph is read, we use +|\beforelines| to define |\enddolines|: +\begintt +\def\beforelines{\normalbeforelines\def\enddolines{}} +\let\enddolines=\relax +\endtt +Here, |\normalbeforelines| denotes whatever must be done at the beginning +of the address. Initially |\enddolines| is equal to |\relax|, but as soon +as the first non-empty line is found, |\enddolines| +is redefined as an empty line. Following that, an empty line causes calls +of |\afterlines| and |\finishdolines|. (A way to include an empty line in +the address is to write a tie (`|~|') on a line of its own.) + +\danger As a more complicated example, we design a simple verbatim +environment. The verbatim environment treats horizontal tabs as spaces, +and considers multiple empty lines equal to a single empty line. +We first write macros |\setupverbatim| and |\finishverbatim|. The first +sets up the character codes for verbatim printing, the second resets +those character codes. + +\beginlines +|\def\setupverbatim| +\nobreak +| {\medskip \hrule \bgroup| +| \def\do##1{\catcode`##1=12 }\dospecials| +| \obeyspaces \tt| +| }| +\medskip +|\def\finishverbatim{\egroup \hrule \medskip}| +\medskip +|{\obeyspaces\global\let|\]|=\|\]|}| +\endlines +Grouping is used to keep the catcode changes local. Plain \TeX's |\dospecials| +macro applies the macro |\do| to all special characters (`|\|', `|$|', etc.), +which, in this case, gives them all catcode 12 (``other''). But we don't want +catcode 12 for spaces, because the |\tt| font has a visible space character +`\]'. Therefore, spaces are made active with |\obeyspaces|, and in the +last line we make an active space equal to \hbox{|\|\]}. + +To start setting verbatim text, we use |\beginverbatim|; |\readverbatim| +is used to typeset a whole file in verbatim mode. +The macros for typesetting lines and paragraphs are very straightforward. +\beginlines +|\def\beginverbatim{\setupverbatim\begindolines}| +|\let\finishdolines=\finishverbatim| +\medbreak +|\def\readverbatim#1{\setupverbatim\filedolines{#1}\finishverbatim}| +\medbreak +|\def\beforelines{\smallskip}| +|\def\everyline#1{\hbox{\strut #1}}| +\nobreak +|\def\afterlines{\smallskip}| +\endlines + +Finally, we have to define |\enddolines|. We want to match |\beginverbatim| +with |\endverbatim|, so we would like to do +\begintt +\def\enddolines{\endverbatim} +\endtt +The problem is that this makes |\enddolines| expand to the {\sl control +sequence} |\endverbatim|. But while we are in verbatim mode, no control +sequences are recognized, because `|\|' is not an escape character. +What we really want is to make the expansion of |\enddolines| equal +to the {\sl string} ``$\backslash$endverbatim''. This is done by +temporarily making `|\|' a normal character and `|/|' an escape +character: +\beginlines +|{\catcode`\/=0 /catcode`/\=12| +| /gdef/enddolines{\endverbatim}| +\nobreak +|}| +\endlines +This completes the verbatim environment. Note that |\endverbatim| is +only recognized if it appears on a line by its own and is not preceded +by spaces. If you are not afraid of confusion, you can change the +name |\finishverbatim| to |\endverbatim|. + +\bye diff --git a/Master/texmf-dist/doc/generic/midnight/gloss.doc b/Master/texmf-dist/doc/generic/midnight/gloss.doc new file mode 100644 index 00000000000..602d46aa7c2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/midnight/gloss.doc @@ -0,0 +1,283 @@ +% gloss.doc --- version 1.0 (26 November 1990) +% This is the documentation for gloss.tex. +% To read this file, process it with (plain) TeX: tex gloss.doc +% (To do that, you need both gloss.tex and manmac.tex. The latter has +% the macros for typesetting the TeXbook, as explained in appendix E. +% It comes free with the standard distribution of TeX.) +% +% NOTE: Processing this file with TeX will create empty files +% index.tex and answers.tex in your directory. And if you +% have a file pages.tex in your directory, TeX will probably +% get very confused. +% The manmac format will try to load a font called cmman; if +% TeX complains that it cannot find that font you can savely +% ignore that, since the font is not actually used. +% +% This file: copyright (c) 1990 Marcel van der Goot. +% You may redistribute this file and printed versions of it. +% +% original: csvax.cs.caltech.edu [131.215.131.131] in pub/tex +% (use anonymous ftp). Also in various archives. +% +% Marcel van der Goot +% marcel@cs.caltech.edu +% Caltech 256--80 +% Pasadena, CA 91125 +% (818) 356--4603 + +% ------ definitions for manual pages: +% The documentation is typeset using Knuth's ``manmac'' macros, with a +% few additional things defined here. You are free to use or adapt these +% extra definitions. + +\input manmac % the macros used for typesetting The TeXbook (appendix E) +\catcode`^=7 % manmac makes ^ active for creating an index + % we don't make an index, and we need ^ to be non-active + +{\catcode`\^^M=12 \endlinechar=-1 % 12 = other +\long\gdef\manpagehead#1^^M#2^^M#3^^M^^M% tex-file, description, version + {\egroup % matches \bgroup in \manpage + \par\vfill\eject + \edef\rhead{\manualname: #1\unskip}% + \setbox1=\hbox{\titlefont #1\quad}% + \setbox3=\vtop{\advance\hsize by-\wd1 \parindent=0pt \raggedright + #2\par + #3\par + \cnotice + }% + \line{\box1\box3}% + \bigskip\bigskip\bigskip\noindent + }% +} % restore \catcode`\^^M + +\outer\def\manpage + {\bgroup\catcode`\^^M=12 + \manpagehead + } + +\hsize=6.5in\vsize=8.9in % default plain TeX values +\pagewidth=\hsize \pageheight=\vsize + +\def\cnotice{Copyright \copyright\ 1991 Marcel R. van der Goot} +\def\manualname{Midnight Macros} + +% LaTeX logo, from latex.tex (except for the capital `A': manmac +% doesn't have a real smallcaps font) +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc A}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\tenpoint + +% (end of extra definitions) + +% -------------------- gloss.doc: + +\input gloss % change this to refer to gloss.tex on your system + +\pageno=5 % follows quire.doc + +\manpage gloss.tex +Macros for vertically aligning words in consecutive sentences. +Version: 1.0 (26 November 1990) (doc: 10 November 1990) + +To gloss means to insert explanations or translations of words +between the lines of a text. For ease of reading, one generally +wants the explained word and the explanation to line up, as in +\gloss Dit is een Nederlands voorbeeld. +This is a Dutch example. +\begindisplay +\box\gline +\enddisplay +The macros defined in gloss.tex make it convenient to typeset +such glossed sentences. To use the macros, you first have to +|\input gloss|\footnote*{We have made no attempt to \LaTeX ify gloss.tex, +but you can use the macros in \LaTeX\ just as in plain \TeX.}. +The main macro for typesetting glossed sentences +is |\gloss|. It should be followed by the two sentences, each +terminated by a \. The previous example was typeset with +\begintt +\gloss Dit is een Nederlands voorbeeld. +This is a Dutch example. +\endtt +But instead of printing the glossed sentence, |\gloss| puts the +whole construction in an hbox, called |\gline|. To actually insert +that box in your text, you use |\box\gline| or |\unhbox\gline|. +The text is put in a box to make it easier to handle. For instance, +it makes it easy to put extra indentation or an example number +in front of the sentence. (The baseline of the hbox is the baseline +of the second line in the box.) The difference between |\box\gline| +and |\unhbox\gline| is that the latter allows line breaks in the +glossed sentence. That is obviously only useful if the glossed +sentence is quite long; we will see an example later on. + +The |\gloss| macro splits each sentence into words, and then aligns +the words. In this context, a word is a sequence of characters separated +by spaces. The number of spaces between words is irrelevant, so that +you can line up the words in your input as well. Using +\begintt +\gloss Dit is een Nederlands voorbeeld. + This is a Dutch example. +\endtt +gives exactly the same output as the input given before. However, +you should not insert extra \ symbols. The sentences +can have a different number of words. +Sometimes one of the two sentences has a word without equivalent +in the other sentence. In such cases you can insert an empty word +with |{}|. You can also combine several words into a single word, +by using grouping. The following example illustrates both. +\begintt +\gloss Dit is een voorbeeldje in het Nederlands. + This is a {little example} in {} Dutch. +\endtt +gives +\gloss Dit is een voorbeeldje in het Nederlands. + This is a {little example} in {} Dutch. +\begindisplay +\box\gline +\enddisplay +Without the grouping ``example'' would have been lined up +with ``{\it in\/}.'' + +By default the first sentence of a glossed pair is set in italic font +(|\it|), the second in roman font (|\rm|). You can change this by, +for instance, setting |\let\eachwordone=\rm|, which will set +each word in the first sentence in roman font. The font of the second +sentence is governed by |\eachwordtwo|. This use of the |\eachword| +macros is an instance of a more general mechanism that is explained +later. You can insert font changes in the middle +of a sentence, but they only apply to the next word. +\begintt +\gloss Dit is een Nederlands voorbeeld. + This is a \sl Dutch example. +\endtt +will set ``Dutch'' in slanted font, but ``example'' in the default +font. The |\gloss| macro considers |\sl Dutch| to be a single word, +and sets this word in an hbox so that the effect of the font change +is limited. |\sl| is not considered a word by itself, because +spaces following a macro are always skipped. + +{ +\let\eachwordone=\rm +\def\sixstrut{\vrule height5pt depth1.5pt width0pt } +\def\eachwordtwo{\let\strut=\sixstrut\sixrm} +\baselineskip=22.5pt +\setbox0=\hbox{ }\advance\rightskip by-\wd0 +\let\s=\string + +\gloss You may want to gloss more than a single sentence, maybe + {} verb verb {} verb {} {} {} {} noun +\gloss a whole paragraph. + {} {} noun +\gloss It would however be quite inconvenient if you had to + {} verb {} verb +\gloss follow |\s\gloss| by a whole paragraph on a single line (by + verb macro {} {} {} noun {} {} {} noun +\gloss terminating each line with a {|\%|-sign}), followed by a line + verb {} noun {} {} noun verb {} {} noun +\gloss containing all the glosses. Especially if there are a lot of + verb {} {} noun {} {} {} verb {} noun +\gloss unglossed (empty) words, it would be hard to get the sentences + verb? {} noun {} verb verb {} {} verb {} noun +\gloss lined up properly. Fortunately, a paragraph like the current + verb {} {} {} {} noun +\gloss one can be set quite easily. |\s\gloss| puts the created sentence + noun verb verb verb {} {} macro verb {} verb noun +\gloss in |\s\gline|, and |\s\gline| is emptied by using |\s\box| or + {} box {} box verb verb {} verb +\gloss |\s\unhbox|. But if you don't empty |\s\gline|, the next + {} {} {} {} verb verb box +\gloss usage of |\s\gloss| will append the new sentence to the older + noun {} macro verb verb {} {} noun +\gloss one. Hence, this paragraph was typeset with + noun {} {} noun verb verb +\unhbox\gline + +} +\beginlines +|\gloss You may want to gloss more than a single sentence, maybe| +\nobreak +| {} verb verb {} verb {} {} {} {} noun| +|\gloss a whole paragraph.| +\nobreak +| {} {} noun| +\quad\vdots\ {\sevenrm(10 more)}\smallskip +|\gloss one. Hence, this paragraph was typeset with| +\nobreak +| noun {} {} noun verb verb| +\nobreak\smallskip\nobreak +|\unhbox\gline| +\endlines +Of course, a few more things, like the fonts, had to be changed. We +discuss that next. Also notice that it takes \TeX\ quite some time +to typeset such a paragraph. + +\medskip +\def\word{{\rm\}} +\danger Each word from the first line following |\gloss| is set in +an hbox as follows +\begintt +\hbox{\eachwordone\strut|word|]} +\endtt +The macro |\eachwordone| is by default |\let| equal to |\it|, but +can be redefined. The previous paragraph was made with +\begintt +\let\eachwordone=\rm +\def\sixstrut{\vrule height5pt depth1.5pt width0pt } +\def\eachwordtwo{\let\strut=\sixstrut\sixrm} +\endtt +(If |\strut| were not redefined, there would be too much space between +the first and the second line.) Furthermore, to obtain a larger separation +between the pairs of lines, the |\baselineskip| was set to 22.5 pt +(|\baselineskip| governs the spacing between the glossed pairs, the +spacing within the pair is governed by the |\strut|s.) Since a word +does not contain spaces, and each word is followed by a space, +the |\eachword| macros can easily be made to take the word (and the +|\strut|) as argument. For instance, the following definition will +underline every word in the first line. +\begintt +\def\eachwordone#1|]{\rm\underbar{#1}|]} +\endtt +The space following the word does not disappear at a line break, because +it is hidden within an hbox. To hide this extra space between the last +word and the right margin, the final thing needed to typeset the +previous paragraph was +\begintt +\setbox0=\hbox{|]}\advance\rightskip by-\wd0 +\endtt +This is not perfect, because the size of the space depends on the font: +there is a {\sixrm verb} sticking out slightly. + +\danger The word boxes are paired together in a single vbox, and +|\gline| consists of a sequence of these vboxes. The vboxes are separated +by some glue, equal to |\glossglue|. Without this glue no line breaks +would be possible, nor would the spaces between the words be stretchable. +|gloss.tex| says |\glossglue=0pt plus2pt minus1pt|. The stretch and +shrink components are only relevant if |\unhbox\gline| is used. + +Sometimes you would rather not have extra space following a word, +for instance when parts of a word are glossed separately: In +\gloss Dit is een voorbeeld- je in het Nederlands. +This is an example (``little'') in {} Dutch. +\begindisplay +\box\gline +\enddisplay +it is preferable to have no space following ``{\it voorbeeld-}'' if it +is not necessary. This can easily be achieved with a macro like +\begintt +\def\+#1|]{#1} +\endtt +which is inserted just before the word that should not have a space: +|\+voorbeeld- je|. +It can also be done by making the hyphen gobble up the space, as in +\begintt +\let\hyphen=- +\catcode`-=\active +\def-#1|]{\hyphen#1} +\endtt +However, this does not work if there is a word with a hyphen in the +middle. To handle that situation, a more sophisticated definition +of |-| can check what the next character is, using +|\futurelet|. We will not do that here, as it has little to do with +glossed sentences. + +\bye diff --git a/Master/texmf-dist/doc/generic/midnight/labels.doc b/Master/texmf-dist/doc/generic/midnight/labels.doc new file mode 100644 index 00000000000..1cfa44d6ea6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/midnight/labels.doc @@ -0,0 +1,234 @@ +% labels.doc --- version 1.0 (24 October 1991) +% This is the documentation for labels.tex. +% To read this file, process it with (plain) TeX: tex labels.doc +% (To do that, you need manmac.tex, which has +% the macros for typesetting the TeXbook, as explained in appendix E. +% It comes free with the standard distribution of TeX.) +% +% NOTE: Processing this file with TeX will create empty files +% index.tex and answers.tex in your directory. And if you +% have a file pages.tex in your directory, TeX will probably +% get very confused. +% The manmac format will try to load a font called cmman; if +% TeX complains that it cannot find that font you can savely +% ignore that, since the font is not actually used. +% +% This file: copyright (c) 1991 Marcel van der Goot. +% You may redistribute this file and printed versions of it. +% +% original: csvax.cs.caltech.edu [131.215.131.131] in pub/tex +% (use anonymous ftp). Also in various archives. +% +% Marcel van der Goot +% marcel@cs.caltech.edu +% Caltech 256--80 +% Pasadena, CA 91125 +% (818) 356--4603 + +% Doc history: +% 10 Sep 1991: Added paragraph about centering labels. +% 22 Apr 1991: First version + +% ------ definitions for manual pages: +% The documentation is typeset using Knuth's ``manmac'' macros, with a +% few additional things defined here. You are free to use or adapt these +% extra definitions. + +\input manmac % the macros used for typesetting The TeXbook (appendix E) +\catcode`^=7 % manmac makes ^ active for creating an index + % we don't make an index, and we need ^ to be non-active + +{\catcode`\^^M=12 \endlinechar=-1 % 12 = other +\long\gdef\manpagehead#1^^M#2^^M#3^^M^^M% tex-file, description, version + {\egroup % matches \bgroup in \manpage + \par\vfill\eject + \edef\rhead{\manualname: #1\unskip}% + \setbox1=\hbox{\titlefont #1\quad}% + \setbox3=\vtop{\advance\hsize by-\wd1 \parindent=0pt \raggedright + #2\par + #3\par + \cnotice + }% + \line{\box1\box3}% + \bigskip\bigskip\bigskip\noindent + }% +} % restore \catcode`\^^M + +\outer\def\manpage + {\bgroup\catcode`\^^M=12 + \manpagehead + } + +\hsize=6.5in\vsize=8.9in % default plain TeX values +\pagewidth=\hsize \pageheight=\vsize + +\def\cnotice{Copyright \copyright\ 1991 Marcel R. van der Goot} +\def\manualname{Midnight Macros} + +% LaTeX logo, from latex.tex (except for the capital `A': manmac +% doesn't have a real smallcaps font) +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc A}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\tenpoint + +% (end of extra definitions) + +% -------------------- labels.doc: + +\pageno=12 % follows dolines.doc + +\manpage labels.tex +Macros to print address labels and bulk letters. +Version: 1.0 (24 October 1991) (doc: 10 Sep 1991) + +The macros defined in labels.tex can be used to print address labels. Such +labels can be printed on normal paper, if you want to cut them yourself, +or on peel-off labels. (Peel-off labels are available in various sizes for +most types of printers and photo-copiers.) +In order to use the macros +you always have to start with |\input labels|, which reads +labels.tex\footnote*{To use labels.tex you also need Midnight/dolines.tex and +Midnight/loop.tex, which are input automatically.}. +We will first explain how to +typeset labels, then how to print bulk letters. + +There are two slightly different ways to print labels. The first one is to say +\begintt +\beginlabels +... +\endlabels +\endtt +where in place of `|...|' you type the labels separated by empty lines. +The second is to simply say +\begintt +\labelfile{...} +\endtt +where `|...|' is the name of a file that contains the labels. In either case +a label consists of several lines, and labels are separated by one +or more empty lines. You end your file as usual, with |\bye|. +Labels.tex does not specify which font to use, which +in plain \TeX\ means that by default a 10 points Roman font is used. +However, for legibility +it is usually better to use a sans-serif font, for instance by writing +\begintt +\font\sf=cmss12 +\sf \baselineskip=14pt +\endtt +In order to typeset labels, you must define the size and other attributes +of labels. (There are default values, but they are +unlikely to suit your needs, especially if you want to print on +peel-off labels.) These attributes must be set before you call +|\beginlabels| or |\labelfile|; therefore, a typical input file has the form +\beginlines +|\input labels| +\nobreak +|\vlbls=5 \hlbls=2| +\goodbreak +|\vlblsize=5cm| +|\labelfile{customers.lbl}| +\nobreak +|\bye| +\endlines +where file `customers.lbl' has the addresses that must be typeset. The +assignments to |\vlbls|, |\hlbls|, and |\vlblsize| define certain attributes. +Next we describe which attributes there are. + +First you have to tell \TeX\ how labels must appear on a page. |\vlbls| +must denote the vertical number of labels per page, |\hlbls| the horizontal +number. |\vfirst| specifies the amount of white space between the top of the +page and the top of the first label; |\hfirst| is the amount of white space +to the left of the first label. Dimensions |\vinter| and |\hinter| specify +the white space between labels. + +Then you have to specify the size of each label. |\vlblsize| and |\hlblsize| +specify the vertical and horizontal sizes of a single label. |\vindent| is +the white space between the top of the label and the baseline of the first +line. (|\vindent| is similar to \TeX's |\topskip| parameter.) |\hindent| +is the amount of white space between the left edge of a label and the +text of the label. + +The parameters mentioned above are sufficient to typeset labels. There +are however a few special parameters that are sometimes useful. +By default, there is no outline around the labels. That is suitable for +printing on peel-off labels, but inconvenient for use with previewers or +plain paper. You can set |\lbloutline| to the thickness of the lines +you want around your labels, e.g., |\lbloutline=0.5pt|. The outlines +are drawn at the outside of the label (i.e., in the space between the +labels). + +If there is too much text on a label, an error message is given; for reference, +the message contains the input text corresponding to the label. A label +with an error is not typeset. +When you typeset labels, by default a file `lblerror.tex' is created, which +has the text of all the labels that did not fit. This makes it convenient to +process those labels again, e.g., with |\labelfile|. +However, if you set |\erroraction=0| before you start typesetting labels, +file `lblerror.tex' is not created. Setting |\erroraction=1| does not only +suppress generation of the error file, it also forces printing of the labels +that have errors. Any other value of |\erroraction| causes the default +behavior. + +\danger The error messages refer to the natural size of a label. If +|\vindent| and |\hindent|, which are glue parameters, have shrink components, +it is possible that the text will actually fit on the label. However, usually +these indentations have no stretch or shrink components. + +\danger There are two token registers, |\beforelbl| and |\afterlbl|, that +can be used to put additional text on each label. +They contain \ that is inserted just before and after +the text of the label, respectively. By default, these sequences are empty. +One can for instance specify +\begintt +\beforelbl={\line{---Confidential---\hfil}\smallskip} +\endtt +to put ``---Confidential---'' at the beginning of each address. {\sl Note:\/} +Since addresses are normally read from bottom to top, the post office +prefers it if you don't put text after the address, unless it is part +of the address. E.g., using |\afterlbl={\noindent USA}| is ok, but use +|\beforelbl| if you want to add an ``attention:\dots'' line to each label. + +\danger If you want to use the labels for something else than addresses, you +may want to center the text on the label. Horizontal centering can be obtained +with |\hindent=0pt plus1fil|. Note that this centers the text according to +the widest line; it does not center each line separately. +Vertical centering is a bit more complicated, because of the way \TeX\ stacks +boxes vertically. The following centers the label text vertically: +\begintt +\count255=\baselineskip +\vindent=\count255sp plus1fil +\endtt +This works because the actual vertical indentation is |\vindent| minus +|\baselineskip|, since \TeX\ automatically inserts |\baselineskip| glue. + +Within a label, you can type `|&|' and `|#|' for +`\&' and `\#'. (In \TeX, you usually have to type `|\&|' and `|\#|' to get +these symbols.) You can use macros in a label, for instance for font changes. +A line of a label must contain balanced braces; a `|%|' sign +will concatenate the next line. (Usually, labels do not contain macros, nor +braces, nor percentage-signs.) +If for some reason you want an empty line in the middle of a label, +write a `tie' (`|~|') on that line. (The |~| is replaced by a space in the +output.) + +Address labels are often used to send an identical letter to each addressee. +The command |\bulk| makes it easy to print the address on each letter. You +need two files, one with all the addresses, and one with the standard letter. +Say that they are called `addr.tex' and `letter.tex', respectively. The command +\begintt +\bulk{addr}{letter} +\endtt +will typeset a copy of the letter for each address. In the letter you can +use the control sequence |\bulkaddress|. This stands for a vbox that contains +the address to which the letter corresponds. (The vbox contains an hbox for +each line of the address; parameters like |\vindent| and |\hlblsize| are not +important when |\bulk| is used.) Since `letter.tex' is processed many times, +it is best to put any definitions that apply to all letters in the file +that contains the |\bulk| command, rather than in the letter itself. +Each letter is read within a group, so all non-global definitions and +assignments in the letter are local to the letter. Also note that the +vbox containing the address is typeset before the letter is read. +The |\bulk| command does not generate address labels; for that you have +to use |\labelfile{addr}|. + +\bye diff --git a/Master/texmf-dist/doc/generic/midnight/loop.doc b/Master/texmf-dist/doc/generic/midnight/loop.doc new file mode 100644 index 00000000000..ecd37bcd6a7 --- /dev/null +++ b/Master/texmf-dist/doc/generic/midnight/loop.doc @@ -0,0 +1,144 @@ +% loop.doc --- version 1.0 (15 April 1991) +% This is the documentation for loop.tex. +% To read this file, process it with (plain) TeX: tex loop.doc +% (To do that, you need manmac.tex, which has +% the macros for typesetting the TeXbook, as explained in appendix E. +% It comes free with the standard distribution of TeX.) +% +% NOTE: Processing this file with TeX will create empty files +% index.tex and answers.tex in your directory. And if you +% have a file pages.tex in your directory, TeX will probably +% get very confused. +% The manmac format will try to load a font called cmman; if +% TeX complains that it cannot find that font you can savely +% ignore that, since the font is not actually used. +% +% This file: copyright (c) 1991 Marcel van der Goot. +% You may redistribute this file and printed versions of it. +% +% original: csvax.cs.caltech.edu [131.215.131.131] in pub/tex +% (use anonymous ftp). Also in various archives. +% +% Marcel van der Goot +% marcel@cs.caltech.edu +% Caltech 256--80 +% Pasadena, CA 91125 +% (818) 356--4603 + +% ------ definitions for manual pages: +% The documentation is typeset using Knuth's ``manmac'' macros, with a +% few additional things defined here. You are free to use or adapt these +% extra definitions. + +\input manmac % the macros used for typesetting The TeXbook (appendix E) +\catcode`^=7 % manmac makes ^ active for creating an index + % we don't make an index, and we need ^ to be non-active + +{\catcode`\^^M=12 \endlinechar=-1 % 12 = other +\long\gdef\manpagehead#1^^M#2^^M#3^^M^^M% tex-file, description, version + {\egroup % matches \bgroup in \manpage + \par\vfill\eject + \edef\rhead{\manualname: #1\unskip}% + \setbox1=\hbox{\titlefont #1\quad}% + \setbox3=\vtop{\advance\hsize by-\wd1 \parindent=0pt \raggedright + #2\par + #3\par + \cnotice + }% + \line{\box1\box3}% + \bigskip\bigskip\bigskip\noindent + }% +} % restore \catcode`\^^M + +\outer\def\manpage + {\bgroup\catcode`\^^M=12 + \manpagehead + } + +\hsize=6.5in\vsize=8.9in % default plain TeX values +\pagewidth=\hsize \pageheight=\vsize + +\def\cnotice{Copyright \copyright\ 1991 Marcel R. van der Goot} +\def\manualname{Midnight Macros} + +% LaTeX logo, from latex.tex (except for the capital `A': manmac +% doesn't have a real smallcaps font) +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc A}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\tenpoint + +% (end of extra definitions) + +% -------------------- loop.doc: + +\pageno=8 % follows gloss.doc + +\manpage loop.tex +A simple looping construct (meta-macros). +Version: 1.0 (15 April 1991) (doc: 15 Apr 1991) + +The macros in loop.tex are intended to help you write your own +macros, rather than to typeset text directly. Consequently, it is +assumed that you have some experience writing macros; In other words, +assume that this whole section is preceded by a ``dangerous bend'' symbol. +These macros are kept +simple and are not very robust: if you decide +to use them in a different way than described below you are +entirely responsible for what happens\footnote{$^1$}{Not that the +author assumes any responsibility even if you {\sl do\/} +obey the rules.}. + +Loop.tex defines an alternative to plain \TeX's |\loop| construct. +(It can also be used with, e.g., \LaTeX.) +Plain \TeX's |\loop| is often awkward to use because of the +limited form of tests in \TeX. The new construct tries to alleviate +this problem by allowing a more flexible use of tests in the loop. +To execute a loop, you say |\Loop ... \Pool|\footnote{$^2$}{We use +initial capital letters to prevent confusion with plain \TeX's |\loop|. +Although you don't need |\loop| anymore, there may still be macros +that depend on it (e.g., plain \TeX's tabbing macros).}. +This will normally +execute the loop `body', i.e., the commands corresponding to the dots, +infinitely many times. +There are two special commands you can use within the loop, +|\Break| and |\Continue|. When a |\Break| command is +executed, the rest of the body is ignored, and the loop is terminated. +Execution of a |\Continue| command also causes the rest of the body +to be ignored, but then the loop is started again from the beginning. + +Both |\Break| and |\Continue| must be followed by a number. This +number should be the number of |\if...| constructs that are terminated +by the command. In other words, it is the number of |\fi|'s that +has to be `executed' to get proper balancing of all |\if...| tests. +It is somewhat unfortunate that this number has to be supplied, +but there seems to be no way to close all |\if...| tests automatically. +Here is an example similar to one from the \TeX book. +\begintt +\def\yes{Yes } \def\no{No } +\Loop\message{Are you happy? } + \read-1 to\answer + \ifx\answer\yes \Break1 + \else\ifx\answer\no \Continue2 + \fi \fi + \message{(Please type Yes or No.)} +\Pool +\endtt +At the position of |\Break| the nesting level of |\if...| tests +is 1, at the position of |\Continue| the level is 2. +If you forget the number you will (usually) get a `|missing number|' error +message, but possibly at an unexpected point in the program. The +wrong number typically results in either an `|Extra \fi|' or +an `|\if... was incomplete|' message. + +There can be any number of |\Break| and |\Continue| commands in +a loop, although it is wise to have at least one |\Break| command. +The text following any of these commands up till the |\Pool| at the +end of the loop must have balanced braces, and the loop body itself +must also have balanced braces. If this causes a problem, you +can use |\bgroup| and |\egroup| instead of |{| and |}|. If you +want to nest two loops, you will have to enclose the inner loop within +a group. (Incidentally, these restrictions on balancing braces and +nesting loops also apply to plain \TeX's |\loop| construct.) + +\bye diff --git a/Master/texmf-dist/doc/generic/midnight/quire.doc b/Master/texmf-dist/doc/generic/midnight/quire.doc new file mode 100644 index 00000000000..4360f2ecaaf --- /dev/null +++ b/Master/texmf-dist/doc/generic/midnight/quire.doc @@ -0,0 +1,448 @@ +% quire.doc --- version 1.0 (19 January 1991) +% This is the documentation for quire.tex. +% To read this file, process it with (plain) TeX: tex quire.doc +% (To do that, you need manmac.tex, which has +% the macros for typesetting the TeXbook, as explained in appendix E. +% It comes free with the standard distribution of TeX.) +% +% NOTE: Processing this file with TeX will create empty files +% index.tex and answers.tex in your directory. And if you +% have a file pages.tex in your directory, TeX will probably +% get very confused. +% The manmac format will try to load a font called cmman; if +% TeX complains that it cannot find that font you can savely +% ignore that, since the font is not actually used. +% +% This file: copyright (c) 1991 Marcel van der Goot. +% You may redistribute this file and printed versions of it. +% +% original: csvax.cs.caltech.edu [131.215.131.131] in pub/tex +% (use anonymous ftp). Also in various archives. +% +% Marcel van der Goot +% marcel@cs.caltech.edu +% Caltech 256--80 +% Pasadena, CA 91125 +% (818) 356--4603 + +% Doc history: +% 10 Sep 1991: Added note about using \nofiles in LaTeX. +% 10 Jan 1991: First public version + +% ------ definitions for manual pages: +% The documentation is typeset using Knuth's ``manmac'' macros, with a +% few additional things defined here. You are free to use or adapt these +% extra definitions. + +\input manmac % the macros used for typesetting The TeXbook (appendix E) +\catcode`^=7 % manmac makes ^ active for creating an index + % we don't make an index, and we need ^ to be non-active + +{\catcode`\^^M=12 \endlinechar=-1 % 12 = other +\long\gdef\manpagehead#1^^M#2^^M#3^^M^^M% tex-file, description, version + {\egroup % matches \bgroup in \manpage + \par\vfill\eject + \edef\rhead{\manualname: #1\unskip}% + \setbox1=\hbox{\titlefont #1\quad}% + \setbox3=\vtop{\advance\hsize by-\wd1 \parindent=0pt \raggedright + #2\par + #3\par + \cnotice + }% + \line{\box1\box3}% + \bigskip\bigskip\bigskip\noindent + }% +} % restore \catcode`\^^M + +\outer\def\manpage + {\bgroup\catcode`\^^M=12 + \manpagehead + } + +\hsize=6.5in\vsize=8.9in % default plain TeX values +\pagewidth=\hsize \pageheight=\vsize + +\def\cnotice{Copyright \copyright\ 1991 Marcel R. van der Goot} +\def\manualname{Midnight Macros} + +% LaTeX logo, from latex.tex (except for the capital `A': manmac +% doesn't have a real smallcaps font) +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc A}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\tenpoint + +% (end of extra definitions) + +% -------------------- quire.doc: + + +\def\picpage#1% single white page with page number + {\vbox to 2.7cm{\vskip 0pt plus 5fil + \hbox to 2.2cm{\hss #1\hss}% + \vskip 0pt plus 1fil + }% + } + +\def\fold + {\hbox to 0pt{\hss + \vbox to 2.7cm{\vss + \hrule height3mm depth0pt width0.5pt + \vss\vss + \hrule height3mm depth0pt width0.5pt + \vss + }% + \hss + }} + +\def\picdblpage#1#2% two pages with outlines and fold + {\vbox{\hrule + \hbox{\vrule + \picpage{#1}\fold\picpage{#2}% + \vrule + }% + \hrule + }% + } + +\pageno=1 % first set of the ``Midnight Macros'' + +\manpage quire.tex +Macros for making booklets, printing double pages, and printing outlines % +and crop marks. +Version: 1.0 (19 January 1990) (doc: 10 Sep 1991) + +A quire is a ``set of folded sheets (as of a book) +fitting one within another'' [Webster's]. +Such a set of sheets forms a little booklet. Larger books usually consist +of a number of quires, with 20 to 40 pages each. The macros +in quire.tex help you to turn your own texts into such booklets. (The +macros can also be used for some other things, such as printing crop +marks.) Quire.tex is designed to minimize the interference with other +macro packages, so that, for instance, it can be used with plain \TeX\ +as well as with \LaTeX. You do not need any special programs or special +equipment to print quires, but it is convenient if you can print pages +in ``landscape mode.'' Whether you can print in landscape mode depends +on your device driver and printer (most printers support this), it is +outside the control of \TeX. The reason for using landscape mode is that, +because sheets are folded, two pages have to be printed next to each other +on the same sheet. In ``portrait mode'' this allows only very narrow pages. +Making quires is +easier if you have a large version of \TeX\ (i.e., one with lots of memory). + +Before we explain what the macros do, let us emphasize what they do not do. +Quire.tex does {\sl not} change the layout of your pages, look at page numbers, +print odd and even pages differently, or print small pages. These are all +things that you have to take care of with other macros or style files. +What quire.tex does is to take your pages, reorder them, print two per +sheet, and draw outlines around them. As an example, assume we want +to make a booklet consisting of five sheets folded together. With two +pages next to each other, and with double sided printing, this gives +us a booklet consisting of 20 pages. The first page of the five folded +sheets is page 1. When we open the booklet we get page 2, +printed on the back of the same sheet as page 1. Page 2 occupies the +left-hand side of that sheet. The page on the right-hand side is +not page 3, which is printed on the next sheet, but page 19. This reordering +of pages is the main task of quire.tex. For this example, the following +figure depicts two of the sheets generated by quire.tex (these +are the last two sheets that are generated). + +\goodbreak\midinsert +\line{\hss\picdblpage{20}{1}\hss\picdblpage{2}{19}\hss}% +\endinsert + +Once again, quire.tex does not look at the page numbers you print. +What we call here ``page 1'' is simply what the first page of output +would be if you were not using quire.tex. To make a booklet, the two double +pages in the figure should be printed on the opposite sides of the same sheet +of paper. There are two ways of doing that. One is to print all the +sheets and then use a photocopier to make double sided prints. The second +is to print all even sheets, walk to your printer and reinsert the +stack of printed sheets upside down, then print all the odd sheets. +Many device drivers can be instructed to print only even or odd sheets. +But in case your installation does not support this, you can say +|\shonly1| at the beginning of your file to instruct quire.tex to only +generate odd sheets; |\shonly2| generates only even sheets; and |\shonly0|, +which is the default, generates both. + +Before you can use any of the macros, you have to +|\input quire|\footnote*{Although quire.tex can be used with \LaTeX, +we have made no attempts to \LaTeX ify the macros. So yes, in \LaTeX\ you +use the macros exactly as described here.}. Then +you give values to some of the parameters (which are discussed later), +and you can call, for instance, |\quire|. All of this should be done +preceding the actual text of your file; in \LaTeX\ all of this should +be put in the preamble. If you are using \LaTeX, you must say +|\latexquire| somewhere in the preamble, regardless of +what other macros you are using. +The macro |\quire| is used to start typesetting +of a quire. It takes one argument, the number of pages in the quire. +Hence you have to \TeX\ your document at least once before you use +|\quire|, to determine the number of pages. That also helps to separate +errors in your input from problems caused by quire.tex. Say your document +consists of 19 pages, numbered 1\dots19. When you say +\begintt +\quire{19} +\endtt +\TeX\ will produce 10 sheets. The first one is sheet 10 with pages 10 and 11, +the second is sheet 9 with pages 12 and 9, etc. The last sheet has pages +20 and 1, where page 20 is blank. + +This example illustrates that if there are not enough pages for a complete +quire, \TeX\ will insert empty pages at the end of your text. +If, on the other hand, there are more pages than fit in a quire, +\TeX\ will just generate more than one quire. For instance, +a 250-page book can be printed in 13 quires with |\quire{20}|. +The mechanism through which \TeX\ supplies extra blank pages at the end +of your text is called \TeX's ``endgame.'' These extra pages +are passed to \TeX's output routine, which usually means +that they will have headlines and footlines. You can bypass the output routine +by saying |\endquire| at the end of your text, in which case the blank +pages will really be blank pages (you can say |\endquire| even if you are +not using |\quire|). In \LaTeX\ you should {\sl not} use +|\endquire|, it is implied by the |\end{document}| that terminates your file. +Sometimes you may want to start your text with an empty page. Here are +two simple ways of generating an empty starting page (in plain \TeX). +\begintt +\line{}\vfill\eject % or: +\shipout\vbox{} +\endtt +The method with |\shipout| bypasses the output routine. + +Let us turn to the parameters that determine the output of quire.tex. +You have to take care that you indeed generate small pages. +The page size is normally determined by |\hsize| and |\vsize|, but +depending on the macro package you are using, other parameters may +also be important. However, quire.tex does not look at the values of these +parameters, they only serve to determine the size of the text area (i.e., +the printed part of the page). In the following, ``page'' refers to +the small pages you print, ``sheet'' refers to the actual sheets of +paper. We start with the parameters related to pages, which are all +dimen parameters. +First there are |\htotal| and |\vtotal|, which should be +equal to the horizontal and vertical size of the small pages you want. +For instance, a pocket book has +$|\htotal| \approx$ 10.5 cm, $|\vtotal| \approx$ 17 cm. Then there are +|\horigin| and |\vorigin| which describe the ``natural'' offset of the +text area from the top left corner of the page. These offsets are added +to the \TeX\ offsets |\hoffset| and |\voffset|. You may wonder why +there are four parameters to describe the offsets, \TeX\ itself only +has the latter two. The reason is that, unfortunately, \TeX\ has built in +extra offsets of 1 inch. That may be right for American ``letter'' size +paper, but on smaller pages it is generally too +much. To make scaling of these offsets possible we had to introduce +two extra parameters for them. + +The names of parameters related to sheets all start with \hbox{``|sh|''}; +all but one are dimen parameters. +Quire.tex draws a number of lines to denote where the actual pages +are on the sheet. As in the previous figure, lines are drawn around +pairs of pages. The width is |\shoutline|, so you can make them disappear +with |\shoutline=0pt|. The two pages are separated by two ``staples,'' +with width |\shstaplewidth| and length |\shstaplelength|. You can make +them disappear by making the width |0pt|; setting the length to +|0.5\vtotal| will give you a solid line instead of two staples. +The outlines are drawn exactly around the pages, the staples on top +of the two pages. The widths of these lines does not influence the +width of the pages. Finally, quire.tex draws ``crop marks'' of width +|\shcrop|. Crop marks are lines that indicate the outlines and center +of the pages, without actually touching the pages. When you are cutting +the paper, crop marks are sometimes more convenient than outlines. +The crop marks are drawn so that, if they were extended, they would +just be on the page. So they fall within the outlines that are drawn, +which is easily observable if you make the widths excessive, say 1 cm. + +The distance of the top of the sheet to the top of the pages is +|\shvoffset| plus 1 inch. The pages are centered horizontally, +therefore there is no parameter for horizontal offset. +Under the pages, a footline is printed. The footline is determined +by token register |\shfootline|. By default the sheet number and the +numbers of the two pages are printed (more about page numbers later), +as well as the filename. +The next paragraph explains the remaining four parameters, +but if you are lucky you don't have to +set them yourself: They describe the printer you are using, so they +need only be determined once. Your local installation may have +macros that set these parameters automatically. Local macros are +described at the end of this manual section. + +\danger In order to center the pages, |\shhtotal| must be set to the +horizontal size of the sheets. The size is usually not a nice number, +like 8.5 inch (216 mm), but more likely +something like 220.1 mm. It is important to get this size right, since +double sided printing requires properly centered pages. You probably +have to experiment a bit with double sided pages to get this right, +because often the printer introduces small inaccuracies. +If a photocopier is used to turn single sided print into double sided print, +you may need the parameters |\shhcorrection| and |\shvcorrection|. +These denote extra offsets which are applied to odd numbered sheets only, +to compensate for shifts introduced by ``smart'' copiers. +|\shhcorrection| can sometimes be used to compensate for a wrong value +of |\shhtotal|, but the author recommends that |\shhtotal| is set +properly for the printer, and that the correction offsets are only used +for copiers. If you take a stack of sheets and fold them, the +outer sheets will have a longer way to go around the bend than the +inner ones. In an attempt to compensate for that, the pages on each +sheet are shifted +outwards with respect to the pages on the next inner sheet, by an +amount equal to |\shthickness|. Naturally, this parameter should have a +rather small value. + +Consider printing a quire of 20 pages. The first sheet that can be +printed is sheet number 10 with pages 10 and 11. That means that +\TeX\ has to store 10 complete pages in memory. If your \TeX\ version +is small, there may not be enough memory for this, resulting in +an error message +\begintt +TeX capacity exceeded, sorry. +\endtt +Luckily, there are some ways to reduce the number of pages that have to +be stored. We already mentioned the use of |\shonly| to restrict +output to odd or even sheets only. Doing that halves the number of +pages that have to be stored. If that is not enough, you +can use the macro |\makequire| instead of |\quire|. |\makequire| +takes three arguments. The first argument is the same as for |\quire|, +namely the number of pages per quire. Let $s$ and $r$ be the second +and third arguments, respectively. Let $n$ be the number of a sheet +in the first quire. Then that sheet is only printed if +$s \leq n < s+r$ (and similarly for following quires). +This means that at most $r$ pages need to be stored +(or about half that if you also use |\shonly|). As an example, our +20 page quire can be printed in three runs with, respectively, +\begintt +\makequire{20}{1}{4} +\makequire{20}{5}{4} +\makequire{20}{9}{4} +\endtt +The runs result in sheets 4\dots 1, 8\dots 5, and 10\dots 9. In the +last run, the range $r$ is larger than the actual number of sheets, +but that causes no problems. Also, sheet $s$ need not exist. In fact, +|\quire{20}| is just an abbreviation for |\makequire{20}{0}{1000}|. + +For previewing it is often inconvenient to use |\quire|, because of +the reordering of pages. But you may still want to see how your +text fits on the smaller pages. There are two macros which you +can use instead of |\quire|. |\qtwopages| prints two pages per sheet, +just like quire, but does not reorder the pages. All parameters mentioned +before remain valid, except for |\shthickness|. Of course, you can also +use this if you are not previewing a quire. +For instance, if you have appropriately scaled +fonts and you print in landscape mode, the following preamble +will print your file two pages per sheet. +\begintt +\input quire +\mag=500 % works in LaTeX too +\qtwopages +\endtt +Finally, there is |\qonepage|, which prints just one page per +sheet as usual. It does however draw outlines (no staples) and crop marks, +and |\shonly| can also be used. + +We claimed that quire.tex would work together with most other +macro packages. But there is one type of macro that doesn't go well +with quires, and usually you will have to switch them off when you +are typesetting a quire. \TeX's primitives for file handling, such +as |\write|, are only performed when a page is actually shipped out. +That is often used for the creation of an index or a contents page, +in order to get the page numbers right. But quire.tex prints two pages +per sheet, and a sheet has only one ``page number,'' so that such +methods will most likely get all the page numbers wrong. Worse, +the pages are shipped out in an unusual order, so that for instance +a |\write| may take place before the file has been opened. Therefore, +you should avoid generation of an index or contents page when you are using +|\quire|. In \LaTeX\ this is done by inserting |\nofiles| in the preamble. +(For all but the final run you can use |\qonepage|, which +does not change the page numbers.) Of course, if you want your booklet +to start with a contents page, then that page has to be generated before +the final \TeX\ run, since you cannot just rearrange the printed pages. + +In |\shfootline|, |\pageno| refers to the sheet number (if you are +using plain \TeX's definitions); |\firstpageno| is the number +of the first of the two pages (i.e., the page that was finished first, +that can be either the left-hand or the right-hand page), and |\secondpageno| +is the number of the other page. These three numbers are also shipped +to the |dvi| file, as |\count0|, |\count1|, and |\count2|, respectively. +When a page is finished but not yet printed on a sheet, the page number +is displayed on your terminal between parentheses, as in |[(1)]|. +When sheet number 7 with pages 11 and 14 is finished, |[7.11.14]| is +displayed. + +\ddanger Quire.tex does its job by redefining |\shipout|. Since |\shipout| +is a \TeX\ primitive, such redefinition is not recommended; normally one +would redefine the output routine instead. However, +important parts of the typesetting of a text are often done in the +output routine, which may well be different for different pages of +a book. Since quire.tex is supposed to handle the whole book, and since +it only handles complete pages without changing +their layout, it seemed that in this particular case redefinition of +|\shipout| was justified. The new |\shipout| can be used in the same +way as the original one, except that you should not try to ship out a +void box (which is a pretty meaningless thing to do anyway). +Doing that will most likely result in a, seemingly unrelated, +error message somewhere later in the text. The dangers of using +|\openout|, |\closeout| and |\write|, without |\immediate|, were +already explained. Like these file operations, |\special| works +with ``whatsits'' which are handled when the page is shipped out. +But as the argument of |\special| +is expanded immediately, rather than when the page is shipped out, this +is less likely to cause problems. + +\ddanger Quire.tex uses mostly \TeX's primitives, but also a few +macros defined in plain.tex. The latter are |\newbox|, |\newcount|, +|\newdimen|, |\newif|, |\newtoks|, |\nointerlineskip|, and +|\offinterlineskip|, none of which are likely to be redefined by +other macros. As mentioned before, quire.tex relies on \TeX's endgame +to generate complete quires. Although the endgame is built in, +a really devious macro package may disable it. +This is in fact exactly what happens in \LaTeX's |\end| command, +which is why we need |\latexquire| (which inserts an implicit +|\endquire| at the end of the text). + +% Note: The next subsection serves as example only. Do NOT change it, even +% if you have different local definitions. Change the local definitions +% in the file quire.tex, and see below. +\subsection Printer definitions. It is convenient if the parameters +that depend (only) on the +printer are predefined. As an example, here are some of the +local definitions for the author's installation. When someone +wants to use the printer called ``maser,'' all he or she has to +do to set up those parameters is to say |\Pmaser| or +|\Pmaserlandscape|. Note that this does not put any information in the +|dvi| file, the user is still responsible for printing on the correct +output device. There are similar definitions for other available printers. +The next subsection lists the local definitions for your installation, +if any. + +\beginlines +|\def\Pmaser| +| {\shhtotal=220.02true mm| +| \shthickness=0.21true mm| +\goodbreak +| \message{maser: flip paper so that short sides remain in place, %| +| align closest right-hand corner in tray.}%| +| }| +\medskip +|\def\Pmaserlandscape| +| {\shhtotal=281true mm| +\goodbreak +| \shthickness=0.21true mm| +| \message{maser landscape: ...}| +| }| +\endlines + +% Note: If you have your own local definitions, change the following +% subsection. +\subsection Local Caltech definitions. The following macros will set +the appropriate printer parameters: |\Pmaser|, |\Pmaserlandscape|, +|\Plaser|, |\Plaserlandscape|, |\Phaser|, |\Phaserlandscape|, +|\canon| (for the copier). For double-sided printing on maser, flip +the pages so that the short edges remain in place. Align the closest +right-hand corner in the tray. But for printing in landscape mode, +flip the pages so that the long edges remain in place. On haser, you +should rotate the pages 180$^\circ$, but keep the text side up. You +have to reorder the pages (or print the second time with |gtex -t|). Haser +seems to have problems keeping the paper straight, which makes +double-sided printing hard. + + +\bye diff --git a/Master/texmf-dist/doc/generic/midnight/styledef.doc b/Master/texmf-dist/doc/generic/midnight/styledef.doc new file mode 100644 index 00000000000..c2991cbc598 --- /dev/null +++ b/Master/texmf-dist/doc/generic/midnight/styledef.doc @@ -0,0 +1,309 @@ +% styledef.doc --- version 1.0 (16 April 1991) +% This is the documentation for styledef.tex. +% To read this file, process it with (plain) TeX: tex styledef.doc +% (To do that, you need manmac.tex, which has +% the macros for typesetting the TeXbook, as explained in appendix E. +% It comes free with the standard distribution of TeX.) +% +% NOTE: Processing this file with TeX will create empty files +% index.tex and answers.tex in your directory. And if you +% have a file pages.tex in your directory, TeX will probably +% get very confused. +% The manmac format will try to load a font called cmman; if +% TeX complains that it cannot find that font you can savely +% ignore that, since the font is not actually used. +% +% This file: copyright (c) 1991 Marcel van der Goot. +% You may redistribute this file and printed versions of it. +% +% original: csvax.cs.caltech.edu [131.215.131.131] in pub/tex +% (use anonymous ftp). Also in various archives. +% +% Marcel van der Goot +% marcel@cs.caltech.edu +% Caltech 256--80 +% Pasadena, CA 91125 +% (818) 356--4603 + +% ------ definitions for manual pages: +% The documentation is typeset using Knuth's ``manmac'' macros, with a +% few additional things defined here. You are free to use or adapt these +% extra definitions. + +\input manmac % the macros used for typesetting The TeXbook (appendix E) +\catcode`^=7 % manmac makes ^ active for creating an index + % we don't make an index, and we need ^ to be non-active + +{\catcode`\^^M=12 \endlinechar=-1 % 12 = other +\long\gdef\manpagehead#1^^M#2^^M#3^^M^^M% tex-file, description, version + {\egroup % matches \bgroup in \manpage + \par\vfill\eject + \edef\rhead{\manualname: #1\unskip}% + \setbox1=\hbox{\titlefont #1\quad}% + \setbox3=\vtop{\advance\hsize by-\wd1 \parindent=0pt \raggedright + #2\par + #3\par + \cnotice + }% + \line{\box1\box3}% + \bigskip\bigskip\bigskip\noindent + }% +} % restore \catcode`\^^M + +\outer\def\manpage + {\bgroup\catcode`\^^M=12 + \manpagehead + } + +\hsize=6.5in\vsize=8.9in % default plain TeX values +\pagewidth=\hsize \pageheight=\vsize + +\def\cnotice{Copyright \copyright\ 1991 Marcel R. van der Goot} +\def\manualname{Midnight Macros} + +% LaTeX logo, from latex.tex (except for the capital `A': manmac +% doesn't have a real smallcaps font) +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc A}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\tenpoint + +% (end of extra definitions) + +% -------------------- styledef.doc: + +\pageno=14 % follows labels.doc + +\manpage styledef.tex +styledef.tex: Macros to selectively input parts of a file. +Version: 1.0 (16 April 1991) (doc: 19 Sep 1991) + +Consider the following situation: You write a set of \TeX\ macros +to typeset letters. These macros must set fonts, margins, offsets, etc. +However, you want to use different styles for different types of letters. +For instance, a short letter may need extra white space at the top to +get a full page, whereas this is not needed for a letter several pages +long. And a business letter has a standard header, with subject and +references, whereas a small note to a friend only has a date. Probably +the macros for the different styles have a lot in common, a reason to put +them all in one file. But the different styles may have some conflicting +definitions, of which you only want to include one. +Styledef.tex\footnote*{You also need Midnight/dolines.tex and +Midnight/loop.tex, which will be |\input| automatically.} +provides +some macros to |\input| from a file only parts belonging to a particular +``style.'' (Partial inclusion can also be useful for other things than +styles; see the end of this manual section for an example.) + +Before we explain the macros from styledef.tex, let us look at two other +solutions. First, say the only difference between styles ``wide'' and +``narrow'' is the width of the text. Then we can write macros |\widestyle| +and |\narrowstyle| that set the appropriate width. As long as the differences +between styles are small and easily parametrized, this method works fine. +If there are many differences, however, the macros for setting the style +soon get very large. Furthermore, it is hard too share parts of styles. + +A second method is the one used by \LaTeX. One makes one file ``letter.sty'' +with all the common definitions for letters; an additional file is made +for each style. \LaTeX's |\documentstyle| macro is then used to include +the proper files. E.g., one could write +\begintt +\documentstyle[business,narrow]{letter} +\endtt +to write a letter with the ``business'' and ``narrow'' style options. +This method allows sharing of common definitions, and also allows the +combination of different style options. The disadvantage is that it soon +leads to a very large number of files, many of them with only a few +definitions. + +With the macros in styledef.tex, you would use only one or two files. +Typical would be to have one file, ``letter.tex,'' with all the common +definitions for letters, and one file, ``letter.style,'' with all the +different styles. Only some parts of the latter file are included, +through the macros below. Alternatively, everything can be put in a single +file. (Using two files has the advantage that ``letter.tex'' can be shared +by several users, who each have there own personalized ``letter.style.'') +Styledef.tex is of course especially useful with plain \TeX, since that does +not have an equivalent mechanism. However, the macros can also be used +with \LaTeX; later on we describe how to +make the |\documentstyle| command interact with the styledef macros. + +First we describe how to |\input| only parts of a file. In order to use +any of these macros, you first have to |\input styledef|. Then you have to +allocate one or more ``style registers'': a style register called +``|\myst|'' is allocated with the command +\begintt +\newstyle\myst +\endtt + +You can give a new value to a style register through the |\setstyle| command. +It takes a style register and a list of styles as arguments. E.g., +\begintt +\setstyle\myst{business, narrow} +\endtt +For this command, as for all others, a style list is a list of style names +separated by spaces and/or commas; the whole list must be enclosed in braces. +The style names +themselves can be any names that are meaningful to the macro package you are +using. The |\addstyle| command is used in the same way as |\setstyle|, but +it adds one or more styles to the style register without removing the old +contents. You can use |\the\myst| to get the contents of the style register, +and style registers can be assigned to each other using `|=|'. +The last operation involving style registers is |\readstyle|. It takes +a style register and a file name: The command +\begintt +\readstyle\myst{letter.style} +\endtt +will |\input| file letter.style, but includes only those parts of it that +belong to one of the styles in register |\myst|. That is all that is needed +to selectively |\input| a file. The other macros from styledef.tex and the +remainder of this manual section describe how to indicate in a file like +letter.style which parts belong to which styles. If you don't intend to +create such files yourself, there is no need to read on. + +There are only three commands that govern which parts of a file belong +to a particular style: |\styledef|, |\negstyledef|, and |\endstyle|. +The first two are followed by a brace-enclosed list of styles (but not +by a style register). When a file is read with |\readstyle|, the file +is just |\input| by \TeX. However, when in that file a command +\begintt +\styledef{business, long} +\endtt +is encountered, \TeX\ checks whether the style register that is used +with |\readstyle| contains style ``business'' or style ``long.'' If at +least one of them is contained in the register, \TeX\ continues to input +the file. But if none of the styles match, \TeX\ skips lines of the file until +an |\endstyle| command is encountered. |\negstyledef| has exactly the +opposite effect: if any style matches, the file is skipped till the next +|\endstyle| command; only if no style matches is this part of the file +included. The |\endstyle| command must occur on a line by itself, with nothing, +not even a comment, following it. The |\endstyle| command stops \TeX\ from +skipping text; if it is encountered when \TeX\ is not skipping text, it +is equivalent to |\relax|. + +Text that is not enclosed by a |\styledef| \dots |\endstyle| (or |\negstyledef| +equivalent) is always included. |\styledef| commands can be used within +each other's range, but they do not actually nest: when part of the text is +skipped, skipping always stops at the first |\endstyle|; any intervening +|\styledef| commands are also skipped. E.g., +\begintt +\styledef{business} +\negstyledef{narrow} + ... +\endstyle +\endtt +The text corresponding to `|...|' (which does not include any |\endstyle|) +is only included if the style register contains style ``business'' and does +not contain ``narrow.'' If style ``business'' is not contained in the +register, the |\negstyledef| command as well as the `|...|' are skipped. +As a catch-all you may want to put an |\endstyle| at the end of the included +file: if you missed an |\endstyle| somewhere, this catch-all will at +least restrict the effects to this file. + +\danger The |\readstyle| command uses an internal style register to store +which styles must be included. Therefore, if a file which is being read with +|\readstyle|, uses |\readstyle| to read yet another file, the original list +of styles will be lost. Although this situation seldomly occurs, there +is a command |\savereadstyle| which takes a style register as argument and +saves the internal style list in this register. Of course, if the second +file should be read with exactly the same style list, you should just use +|\input| instead of |\readstyle|. To restore the original style list, you +use |\setreadstyle|, which also takes a style register as argument. +|\setreadstyle| can also be used instead of |\readstyle|, if you want to +select certain parts of the current file rather than |\input| a different +file. + +\danger Style names can be built from any characters, except for spaces, +commas, dots, and some characters with a special meaning to \TeX\ (e.g., +braces, hash signs (|#|), and percentage signs). +Also, characters in a style name must have the same catcode in the +|\styledef| command as in the |\setstyle| command. +When a |\styledef| or +|\negstyledef| command is encountered, the following conditions must hold: +The only escape character (catcode 0) is `|\|'; the only grouping characters +(catcodes 1 and 2) are `|{|' and `|}|'; the only parameter character (catcode +6) is `|#|'; and the only comment character (catcode 14) is `|%|'. After the +|\styledef| command these catcodes may be changed, as long as the conditions +hold again when the next |\styledef| is encountered. These particular +catcode assignments are so standard that this rule is unlikely to ever cause +problems. + +Suppose you have written a file letter.tex, which is to be used by several +people. You also have a file letter.style with some standard styles; people +can copy and change this file to suit their own needs. To make life +easier for those who only want to use your standard styles, you may not want +to force them to learn about styledef.tex. Instead, you can define a macro +|\style| which always reads a file with name letter.style. Its usage would +be: +\begintt +\input letter +\style business, long, narrow. + ... +\endtt +so that users need not be concerned about style registers etc. Here is +part of an appropriate letter.tex: +\beginlines +|\input styledef| +\nobreak +|\newstyle\letterstyle| +\medskip +|\def\style#1.% terminate the argument with a dot| +\nobreak +| {\setstyle\letterstyle{#1}| +| \readstyle\letterstyle{letter.style}| +\nobreak +| }| +\endlines + +\ddanger Something similar can be done with \LaTeX's |\documentstyle|, provided +you know which styles can appear in letter.style. This is done as follows: +first, rename letter.tex to letter.sty, so that \LaTeX\ can read it. Then +add the following to the end of that file: +\begintt +\newstyle\lst +\def\ds@business{\addstyle\lst{business}} +\def\ds@narrow{\addstyle\lst{narrow}} + ... % same for every style +\@options +\readstyle\lst{letter.style} +\endtt +You can then write |\documentstyle[narrow]{letter}|. \LaTeX\ takes this +as a command to read letter.sty. The |\@options| command causes \LaTeX\ to +execute, for every option `xyz,' the command |\ds@xyz|, if it exists. All +options for which this command does not exist lead to the input of a file +xyz.sty, so that standard \LaTeX\ options can still be used. Note that +letter.sty is here the main style file (only there can |\@options| be used); +be warned that it is not easy to write a main style file that satisfies all +of \LaTeX's assumptions. + +Although we have suggested that these macros are suitable to handle different +``styles,'' selective inclusion can also be useful in contexts unrelated +to styles. For instance, you may write a paper which has some details and +speculations which are not relevant for every reader. +You can write the paper like this: +\beginlines +| ... % relevant thoughts| +\goodbreak +|\styledef{details}| +| ... % messy details| +|\endstyle| +\goodbreak +|\negstyledef{details}| +|Details are left as an exercise for the reader.| +|\endstyle| +\goodbreak +| ... % important stuff| +|\styledef{speculations}| +| ... % wild fantasies| +|\endstyle| +\endlines +If you want to print a version with speculations but without details, you +can start the file with +\begintt +\newstyle\print +\setstyle\print{speculations} +\setreadstyle\print + ... +\endtt + +\bye diff --git a/Master/texmf-dist/doc/generic/multido/multido-test.tex b/Master/texmf-dist/doc/generic/multido/multido-test.tex new file mode 100644 index 00000000000..7cf8c1de267 --- /dev/null +++ b/Master/texmf-dist/doc/generic/multido/multido-test.tex @@ -0,0 +1,27 @@ + +\listfiles\errorcontextlines=100 +\documentclass{article} + +%\usepackage{fp} +%\input{multido} +\usepackage{multido}[2004/05/15] +\usepackage{fp} + +\begin{document} + +\typeout{\meaning\FPadd} +\typeout{\meaning\FPsub} +\typeout{\meaning\fpAdd} +\typeout{\meaning\fpSub} + +\setlength{\unitlength}{1cm} + +\begin{picture}(8,1)(0,-.5) + \small + \put(0,0){\vector(1,0){8}} + \multido{\i=0+1,\n=0+0.25}{8}{% + \put(\i,-.1){\line(0,1){.2}} + \put(\i,-.2){\makebox(0,0)[t]{\n}}} +\end{picture} + +\end{document} diff --git a/Master/texmf-dist/doc/generic/multido/multido.doc b/Master/texmf-dist/doc/generic/multido/multido.doc new file mode 100644 index 00000000000..a1c419175c7 --- /dev/null +++ b/Master/texmf-dist/doc/generic/multido/multido.doc @@ -0,0 +1,277 @@ +%% BEGIN multido.doc +%% +%% Documentation for multido.tex/multido.sty. +%% Run through LaTeX, with or without the NFSS. +%% + +\documentclass[12pt]{article} +\usepackage{multido} +\usepackage{url} + +\makeatletter + +%% PAGE PARAMETERS: +\setlength{\parindent}{0pt} % paragraph indent +\setlength{\parskip}{4pt plus 1pt minus 1pt} +\setlength{\topmargin}{-2.5pc} +\setlength{\headheight}{12pt} % height of running head +\setlength{\headsep}{30pt} % distance between header and text +\setlength{\textheight}{54pc} % height of text on page +%% +%% DATES, VERSIONS AND TITLES: +%% +\def\expanddate#1/#2/#3/{\year=#1 \month=#2 \day=#3} +\begingroup + \expandafter\expanddate\filedate/ + \xdef\thefiledate{\today} +\endgroup +\date{Version \fileversion\\ \thefiledate} +\def\@maketitle{% + \begin{center} + {\Large\bf \@title \par} + \vskip 1.2em {\lineskip .5em + \begin{tabular}[t]{c}\@author\end{tabular}\par} + \vskip .8em {\@date}% + \end{center} + \par + \vskip .5em} +%% +%% PAGE STYLE: +%% +\pagestyle{myheadings} +\markright{Documentation for multido.tex \hfill + v.\fileversion\hskip 1em \thefiledate\hfill}% +%% +%% VERBATIM: +%% +\begingroup + \catcode`\{=12 \catcode`\}=12 + \catcode`\(=1 \catcode`\)=2 + \catcode`\+=0 \catcode`\\=12 + +gdef+|(\) % \| = character \ + +gdef+{({) % \{ = character { + +gdef+}(}) % \} = character } ++endgroup +\def\Backslash{\protect\|} +%% +%% Define some functional font commands: +%% +\def\MainFont{\tt} % For macro definitions. +\def\UsageFont{\tt} % For in-line macro names. +\def\InlineFont{\tt} % For other in-line snipets of code. +\def\MetaFont{\rm\it} % For meta arguments. +%% +%% Short-cuts for font commands: +%% +\def\s#1{\string#1} +\def\t#1{{\InlineFont\string#1}} % For other in-line code. +\def\m#1{{\MetaFont #1\/}} % For just putting things in italics +\def\M#1{{\InlineFont\{\m{#1}\}}} % Arg is in italic, enclosed in tt braces. +\let\N\t % For in-line macro names. +\catcode`\<=13 \def<#1>{\m{#1}} % +%% +%% This is for listing macro definitions in a quote-like environment. +%% +\begingroup + \catcode`\[=1 \catcode`\]=2 + \catcode`\{=13 \catcode`\}=12 + \gdef\@MD[% + \catcode`\{=13 \catcode`\}=12 + \def{##1}[\{[\MetaFont ##1]\}]] +\endgroup +\def\MD{% + \quote + \begingroup + \@MD + \def\end{\endgroup\end}% + \def\\{\@centercr\s}% + \MainFont + \s} +\def\endMD{\endquote} +%% +%% END PREAMBLE: +%% +\catcode`\"=13 +\def"{\verb"} +\catcode`\@=12 +\begin{document} +%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\title{Documentation for multido.tex:\\[2pt] + A loop macro for Generic \protect\TeX} +\author{Timothy Van Zandt% + \thanks{Author's address: Department of Economics, Princeton University, + Princeton, NJ 08544-1021, USA. Internet: \protect\url{tvz@Princeton.EDU}. + This document was edited by Rolf Niepraschk \protect\url{Rolf.Niepraschk@ptb.de} and + Herbert Voss \protect\url{voss@perce.de} to get it run with LaTeX2e (2004-05-21)}} +\maketitle + +"multido.tex"/"multido.sty" contains the \N\multido\ macro, which is a loop +facility for Generic TeX. This macro happens to be useful for drawing +pictures, and was originally developed for the PSTricks +package,\footnote{PSTricks is an extensive collection of PostScript-based +macros for Generic TeX. It is available from \url{CTAN://graphics/pstricks/}.} +but you can use it for other purposes as well. + +A special feature is support of fixed-point addition. For example, PSTricks +uses the \N\multido\ to put numbers on axes, much like in the following +\LaTeX\ example: +\begin{verbatim} + \setlength{\unitlength}{1cm} + \small + \begin{picture}(8,1)(0,-.5) + \put(0,0){\vector(1,0){8}} + \multido{\i=0+1,\n=0+0.25}{8}{% + \put(\i,-.1){\line(0,1){.2}} + \put(\i,-.2){\makebox(0,0)[t]{\n}}} + \end{picture} +\end{verbatim} +\begin{center} + \setlength{\unitlength}{1cm} + \small + \begin{picture}(8,1)(0,-.5) + \put(0,0){\vector(1,0){8}} + \multido{\i=0+1,\n=0+0.25}{8}{% + \put(\i,-.1){\line(0,1){.2}} + \put(\i,-.2){\makebox(0,0)[t]{\n}}} + \end{picture} +\end{center} + +The general syntax for \N\multido\ is: +\begin{MD} + \multido{variables}{repetitions}{stuff} +\end{MD} + is whatever you want repeated; it can be any balanced \TeX\ input. + is the number times is repeated. + +The first argument is the interesting one. is a comma-separated +list of variable declarations.\footnote{Don't use commas to mark the decimal +point within the \protect argument, as they will be confused for +delimiters.} Each variable declaration is of the form: +\begin{center}\tt + = + +\end{center} + is a command sequence that can be used in . It is initially +set to , and is then incremented by with each +repetition. + +The first letter of the variable name determines the variable type. There are +four variable types: +\begin{description} +\item[Dimension (d or D)] The initial value and the increment should be +dimensions (lengths, in \LaTeX\ parlance). The substitution text is a +dimension, with "sp" units. E.g., "\dx=4cm+5pt".\footnote{For PSTricks users, +the unit is optional.} + +\item[Number (n or N)] The initial value and increment should be integers or +numbers with the same number of digits to the right of the decimal. The one +exception is that it is always OK for the initial value to be an integer. +There can be at most 8 digits on each side of the decimal. The substitution +text is a number, with fixed-point addition. E.g., "\n=3+7.05", +"\Nx=5.30+-1.25". + +\item[Integer (i or I)] The initial value and increment should be integers. +This gives the same result as using a number variable, but it is faster. E.g., +"\I=2+-1". + +\item[Real (r or R)] The initial value and increment should be integers or +numbers with at most 4 digits on each side of the decimal. The substitution +text is a number, but with floating point addition and occasional small +errors. This gives a less satisfactory result than using a number variable, +but it is faster. E.g., "\ry=4.2+1.05". +\end{description} + +Here are some examples that illustrate how the substitution text is +determined: +\begin{quote} + "\multido{}{10}{\TeX\ }"\\[3pt] + \hbox to 2em{}\multido{}{10}{\TeX\ }{}\\[8pt] + "\multido{\d=2pt+3pt}{5}{\d, }"\\[3pt] + \hbox to 2em{}\multido{\d=2pt+3pt}{5}{\d, }{}\\[8pt] + "\multido{\n=2+3}{10}{\n, }"\\[3pt] + \hbox to 2em{}\multido{\n=2+3}{10}{\n, }{}\\[8pt] + "\multido{\i=2+-3}{10}{\i, }"\\[3pt] + \hbox to 2em{}\multido{\i=2+-3}{10}{\i, }{}\\[8pt] + "\multido{\r=2+3.05}{6}{\r, }"\\[3pt] + \hbox to 2em{}\multido{\r=2+3.05}{6}{\r, }{}\\[8pt] + "\multido{\n=2.00+-3.05}{8}{\n, }"\\[3pt] + \hbox to 2em{}\multido{\n=2.00+-3.05}{8}{\n, }{} +\end{quote} + +Here are some details about the choice of names: +\begin{itemize} +\item Your computer won't explode if you use names that conflict with \TeX\ +internal commands, but you might want to check name conflicts if you get +inexplicable errors. The command \N\MultidoCheckNames\ can be useful in this +case. It causes \N\multido\ to report an error whenever you use a variable +name that is already defined. But see the next item. +\item The whole \N\multido\ loop is grouped. This means, e.g., that although +"\i" is a Plain \TeX\ command sequence (giving a dotless ``\i''), you can use +the variable "\i" if you do not use any dotless i's in (and if you do +not use \N\MultidoCheckNames). +\end{itemize} + +Here are a few more details: +\begin{itemize} +\item \N\Multido\ commands can be nested. +\item Spaces after a \N\multido\ command are ignored. This makes \N\multido\ +more hospitable for pictures. +\item Spaces between the various parts of the argument are +ignored. +\end{itemize} + +And finally here a few special features, some of which are of interest mainly +macro writers and other \TeX nicians: +\begin{itemize} +\item The material that is repeated is not grouped, so that you can insert +your own recursive routines. +\item There is a variant, "\mmultido", which works just like "\multido" except +that the variables are all incremented once before starting. +\item If you use "\Multido" or "\MMultido" instead of "\multido" or +"\mmultido", resp., then the whole loop is not grouped. This can be useful, +e.g., for making entries in an alignment environment. However, these cannot be +nested within any "\multido" macro. +\item If the number of repetitions is a negative number, the variables are +incremented backwards. +\item The count register "\multidocount" keeps track of the number of current +iteration. +\item The command "\multidostop" causes the "\multido" loop to quit at the end +of the current iteration. +\item Fixed point addition is performed by \N\FPadd\ and \N\FPsub: +\begin{MD} + \FPadd{num1}{num2}{command}\\ + \FPsub{num1}{num2}{command} +\end{MD} + is added to or subtracted from , and the answers is stored in the +command sequence given as the third argument. The rules about decimals and so +on that apply to number variables apply here as well. E.g., after +\begin{verbatim} + \FPsub{1.75}{-0.15}{\answer} +\end{verbatim} +the definition of "\answer" is 1.90. +\end{itemize} + +\subsection*{Changes:} + +\begin{description} +\item[V1.1] Fixed bug in \N\FPadd\ that gave wrong answer for, e.g., $3.4 + +-0.2.$ + +\item[V1.2] Made unit optional for dimension variables when using PSTricks. + +\item[V1.3] Now 0 repetitions really gets 0 repetitions. "\def\multido@" +changed to "\long\def\multido@". + +% RN modification begin +%\end{description} +% RN modification end + +\item[V1.4] Small change to make it compatible with PSTricks v0.93 and later. + +\item[V1.41] Fix bug when using the fp-package (same macroname) and small +changes to this documentation (RN/HV) +\end{description} + +\end{document} +%% END multido.doc diff --git a/Master/texmf-dist/doc/generic/multido/multido.pdf b/Master/texmf-dist/doc/generic/multido/multido.pdf new file mode 100644 index 00000000000..668b503f6c2 Binary files /dev/null and b/Master/texmf-dist/doc/generic/multido/multido.pdf differ diff --git a/Master/texmf-dist/doc/generic/musictex/aa_readm.tex b/Master/texmf-dist/doc/generic/musictex/aa_readm.tex new file mode 100644 index 00000000000..e983d73d7b5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/aa_readm.tex @@ -0,0 +1,43 @@ +Dear music lover: + +Here are the tools to write music with MusicTeX under TeX. +The useful macros are MUSIC*.TEX and the *.STY for LaTeX. +The MUSICTEX.ZIP contains a complete distribution to be un`zipped' +on a PC (with pkunzip). + +Starting from November 1st, 1992, examples are stored in a distinct ZIP file, +namely MUSICEXA.ZIP. Therefore, if you only need the new release, you can take +only MUSICTEX.ZIP, but trying the examples is still strongly recommended to +MusicTeX beginners... + +The MUSICTEX.BCK file is a VMS saveset. + +Fonts are readily given in 300 dpi as *.PK and *.TFM. The MUSICPK.ZIP +file contains other dpi implementations. + +If you have problems printing or viewing the MUSICDOC.DVI file, think of: + --- transferring all the given *.TFM in the right directory, whose name + depends on your installation of TeX, + --- transferring all the given *.PK in the "pk" right directory, whose name + depends on your installation of TeX, + --- check whether your installation does not need *.PK files named *.300pk + rather than *.pk (often in unix systems...) + +Other *.TEX files are examples. + +IMPORTANT: use the ftp "ASCII" command to transfer the *.TEX, +the *.STY, the *.PS and the *.MF files. But use the ftp "BINARY" command +to transfer the *.ZIP, *.DVI, *.TFM and *.PK files. If you have a VMS, +use "IMAGE" to transfer the *.BCK file. Transferring the *.ZIP +or the *.BCK provides you with all the needed files, then you +do not need to transfer other files (unless some error happens). + +My suggestion is that you tranfer all MUSI*.* files and +the needed fonts (the *.PK and the *.TFM), and +then try to run TeX upon HADAGIO.TEX and to LaTeX MUSICDOC.TEX + +MUSICDOC gives a supposedly (LaTeX) complete notice about how to use MusicTeX. + Daniel TAUPIN + 33 (1) 69 41 60 79 + Physique des Solides + F-91405 ORSAY diff --git a/Master/texmf-dist/doc/generic/musictex/adagio.tex b/Master/texmf-dist/doc/generic/musictex/adagio.tex new file mode 100644 index 00000000000..462d5ee2477 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/adagio.tex @@ -0,0 +1,438 @@ +\title{Adagio} +\subtitle{(pour orgue)} +\headtitle{I. Adagio} +\csname titremorceautoc\endcsname +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN\\organiste Gif-sur-Yvette} +\othermention{Compos en 1989} +% +% +\vsize=264mm +\hsize=18.5cm + +\maketitle +\parindent 18mm +% +% calcul de \elemskip en fonction de la largeur de page pour eviter les glues +% +\def\znotes{\vnotes 0\elemskip}% + + +\tracingstats=1\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-1}\relax % un bemol a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{16', 8'} + \def\instrumentii{\vbox{\hsize=\parindent\centerline{cornet}\vskip \interportee +\vskip -10pt\centerline{fl\^ute 8'}}}% +%\check +\elemskip=10pt\relax +\normal +\def\gluemaxskip{7pt}% +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qu0{#3}}% +\def\doubler{\multiply\noteskip by 2\relax}% +% +\debutmorceau +\hyphenpenalty -50\relax +\global\cleftoksii={{0}{0}{0}{0}}% +\changeclefs\zglu +\notes&|\uptext{\raise 1.5\Interligne\hbox{\kern -14mm\moyen Adagio \bf \metron{\qu}{60}}}\enotes +% mesure 1 +\zglu\notes\itenl1K\wh K&\zq f\zqu h\itenl2d\wh d|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenu0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu i\enotes +% mesure 2 +\barre\NOTes\tten1\hu K&\zq e\zqu g\qsk\tten2\wh d|\hu g\enotes +\temps\NOTes&\zq e\qu g\enotes +\temps\NOTes\soupir&\zq e\qu g|\soupir\enotes +\temps\Notes\qu K&\zq e\qu g|\ibu0h3\qh0g\enotes +\notes&|\nbbu0\qh0h\enotes +\notes&|\tbu0\qh0i\enotes +% mesure 3 +\barre\Notes\wh{^J}&\rlap{\wh{^c}}\zq e\qu g|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes +\temps\Notes &\zq e\qu g|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes +\temps\Notes &\zq e\qu g|\ibu0g{-3}\qh0g\tbu0\qh0f\enotes +\temps\Notes &\zq e\qu h|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes +% mesure 4 +\etroit +\alaligne\NOTes\hup K&\zw d\zq f\zqu h|\qup f\enotes +\temps\Notes&\zq f\qu h|\sk\cu e\enotes +\temps\NOTes&\zq f\qu h|\qup d\enotes +\temps\Notes\soupir&\zq f\qu h|\sk\demisoupir\enotes +% mesure 5 +\barre\notes\wh K&\itenl1d\zq f\zqu h\wh d|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenl0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu j\enotes +% mesure 6 +\barre\nspace\NOTes\wh{=I}&\tten1\lsh g\zw d\zq f\rq g\qu{=i}|\itenl2i\hu{=i}\enotes +\temps\NOTes&\zq f\rq g\qu i\enotes +\temps\Notes&\zq f\rq g\qu i|\tten2\ibl0i3\qb0i\enotes +\notes&|\nbbl0\qb0j\tbl0\qb0k\enotes +\temps\NOTes&\zq{eg}\qu i|\qu{^g}\enotes +% mesure 7 +\barre\NOTes\wh{^J}&\itenl1c\zq e\zqu h\wh{^c}|\itenl0h\hu h\enotes +\temps\NOTes&\zq e\qu h|\enotes +\temps\Notes&\zq e\qu h|\tten0\ibu0h{-3}\qh0h\tbu0\qh0{=g}\enotes +\temps\Notes&\zq e\qu h|\ibu0h{-4}\qh0h\tbu0\qh0f\enotes +% mesure 8 +\barre\NOTes\wh H&\tten1\zq e\zqu g\wh{^c}|\itenl0g\hu g\enotes +\temps\NOTes&\zq e\qu g|\enotes +\temps\Notes&\zq e\qu g|\tten0\ibu0g{-3}\qh0g\tbu0\qh0f\enotes +\temps\Notes&\zq e\qu g|\ibu0g{-4}\qh0g\tbu0\qh0e\enotes +% mesure 9 +\barre\NOTes\hup K&\rlap{\wh a}\zq d\qu f|\qup f\enotes +\temps\Notes&\zq d\qu f|\sk\cu e\enotes +\temps\NOTes&\zq d\qu f|\qup d\enotes +\temps\Notes\soupir&\zq d\qu f|\sk\demisoupir\enotes +% mesure 10 +\barre\notes\wh K&\rlap{\wh d}\zq f\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenl0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu i\enotes +%\check +% mesure 11 +\barre\NOTes \wh J&\zw c\zq{^f}\qu h|\hu j\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\soupir\enotes +\temps\Notes&\zq f\qu h|\ibl0i3\qb0j\enotes +\notes &|\nbbl0\qb0k\tbl0\qb0{_l}\enotes +%\check +% mesure 12 +\alaligne\Notes\wh K&\itenl0d\zq{^f}\zqu h\wh d|\ibl0l{-3}\qb0{_l}\tbl0\qb0k\enotes +\temps\Notes &\zq f\qu h|\ibl0k{-3}\qb0k\tbl0\qb0j\enotes +\temps\Notes &\zq f\qu h|\ibl0j{-3}\qb0j\tbl0\qb0i\enotes +\temps\Notes&\zq f\qu h|\ibl0i{-3}\qb0i\tbl0\qb0h\enotes +%\check +% mesure 13 +\barre\NOTes\wh N&\tten0\zw d\zq g\qu i|\qlp i\enotes +\temps\Notes&\zq g\qu i|\sk\cu h\enotes +\temps\NOTes&\zq g\qu i|\qup g\enotes +\temps\Notes&\zq g\qu i|\sk\ds \enotes +%\check +% mesure 14 +\barre\nspace\NOTes\wh L&\lna e\zw{^c}\zq e\qu h|\rlap{\hl{^j}}\zcharnote + n{\Trille{2\noteskip}}\relax +\zcharnote q{\ \ (*)}\enotes +\footnote{}{(*) Trilles commenc\'es sur la note et finissant sans +terminaison sur la note suivante.}\relax + \temps\NOTes&\zq e\qu h\enotes +\temps\NOTes&\zq e\qu h|\ql j\enotes +\temps\Notes&\zq e\qu h|\ibl0i3\qb0{=i}\tbl0\qb0j\enotes +%\check +% mesure 15 +\barre\NOTes\wh K&\rlap{\wh d}\zq f\qu h|\rlap{\hl k}\zcharnote n{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\ql k\enotes +\temps\Notes&\zq f\qu h|\ibl0j3\qb0{^j}\tbl0\qb0k\enotes +%\check +% mesure 16 +\alapage\NOTes\wh{^J}&\rlap{\wh e}\zq g\qu i|\rlap{\hl l}\zcharnote n{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq g\qu i\enotes +\temps\Notes&\zq g\qu i|\ibl0l0\qb0l\enotes +\notes&|\nbbl0\qb0m\tbl0\qb0l\enotes +\temps\Notes&\zq g\qu i|\ibl0k3\qb0k\tbl0\qb0l\enotes +%\check +% mesure 17 +\barre\NOTes\wh K&\zw d\zq f\qu h|\hlp m\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\soupir\enotes +%\check +% mesure 18 +\barre\NOTes\wh J&\zw{=c}\zq{^f}\qu h|\rlap{\hl{^m}}% +\zcharnote p{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\ql m\enotes +\temps\Notes&\zq f\qu h|\ibl0l3\qb0l\tbl0\qb0m\enotes +%\check +% mesure 19 +\barre\NOTes\wh I&\rlap{\wh d}\zq g\qu i|\rlap{\hl n}\zcharnote p{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq g\qu i\enotes +\temps\NOTes&\zq g\qu i|\ql n\enotes +\temps\Notes&\zq g\qu i|\ibl0m3\qb0{^m}\tbl0\qb0n\enotes +%\check +% mesure 20 +\alaligne\NOTes\wh H&\rlap{\wh c}\zq{^f}\qu h|\rlap{\hl o}\zcharnote q{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\Notes&\zq f\qu h|\ibl0o0\qb0o\enotes +\notes&|\nbbl0\qb0p\tbl0\qb0o\enotes +\temps\Notes&\zq f\qu h|\ibl0n3\qb0n\tbl0\qb0o\enotes +%\check +% mesure 21 +\barre\NOTes\wh G&\zw d\zq g\qu i|\qlp p\enotes +\temps\Notes&\zq g\qu i|\sk\cl o\enotes +\temps\Notes&\zq g\qu i|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes +\temps\Notes&\zq g\qu i|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes +%\check +% mesure 22 +\barre\Notes\hup H&\zw{^c}\zq e\qu g|\ibl0j{-4}\qb0{^j}\tbl0\qb0h\enotes +\temps\Notes&\zq e\qu g|\ibl0i3\qb0{=i}\tbl0\qb0 j\enotes +\temps\Notes&\zq e\qu g|\ibl0k3\qb0k\tbl0\qb0l\enotes +\temps\Notes\qu G&\zq e\qu g|\ibl0m3\qb0m\tbl0\qb0n\enotes +%\check +% mesure 23 +\barre\NOTes\hu F&\zw d\zq f\qu h|\qlp o\enotes +\temps\Notes&\zq f\qu h|\sk\cl k\enotes +\temps\Notes\qu G&\zq b\qu g|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes +\temps\NOTes\itenl0H\qu H&\zq a\qu f|\ql m\enotes +%\check +% mesure 24 +\barre\NOTes\tten0\wh H&\zw a\zq{^c}\qu e|\zcharnote o{\Trille{3\noteskip}}\wh l\enotes +\temps\NOTes&\zq c\qu e|\enotes +\temps\NOTes&\zq c\qu e|\enotes +\temps\Notes&\zq {ce}\qu g|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes +%\check +% mesure 25 +\barre\NOTes\hup K&\zw d\zq f\qu h|\hlp k\enotes +\temps\NOTes&\zq f\qu h|\enotes +\temps\NOTes&\zq f\qu h|\enotes +\temps\NOtes\soupir&\zq f\qu h|\soupir\enotes +% mesure 26 +\barre\notes\hup K&\rlap{\hlp d}\zq f\qu h|\ibbl0k0\qb0k\tbbl0\qb0{=j}\enotes +\Notes&|\tbl0\itenl0k\qb0k\enotes +\NOTes&\zq f\qu h|\tten0\hl k\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOtes\qu J&\rlap{\ql c}\zq{_e}\qu h|\ql{_l}\enotes +% mesure 27 +\barre\NOtes\wh{=I}&\rlap{\zw d}\zq f\rqu g|\hl m\enotes +\temps\NOtes&\zq f\rqu g\enotes +\temps\NOtes&\zq f\rqu g|\soupir\enotes +\temps\Notes&\zq f\rqu g|\ibl0m3\qb0m\enotes +\notes&|\nbbl0\qb0n\tbl0\qb0{_o}\enotes +% mesure 28 +\alaligne\nspace\Notes\wh G&\rlap{\wh{=b}}\zq d\qu f|\ibl0o{-3}\qb0{_o}\tbl0\qb0n\enotes +\temps\Notes &\zq d\qu f|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes +\temps\Notes &\zq d\qu f|\ibl0m{-3}\qb0m\tbl0\qb0{_l}\enotes +\temps\Notes &\zq d\zq f\qu{=i}|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes +% mesure 29 +\barre\NOTes\wh J&\zw c\zq{_e}\qu g|\qlp{_l}\enotes +\temps\Notes&\zq e\qu g|\sk\cl k\enotes +\temps\NOTes&\zq e\qu g|\qlp j\enotes +\temps\Notes&\zq e\qu g|\sk\ds \enotes +%\check +% mesure 30 +\barre\NOTes\wh H&\zw c\zq{^f}\qu h|\itenu0o\hl o\enotes +\temps\NOTes&\zq f\qu h&\enotes +\temps\Notes&\zq f\qu h|\tten0\ibl0o3\qb0o\enotes +\notes&|\nbbl0\qb0p\tbl0\qb0q\enotes +\NOTes&\zq f\qu h|\ql{^m}\enotes +% mesure 31 +\barre\NOTes\wh I&\zw b\zq d\qu g|\itenu0n\hl n\enotes +\temps\NOTes&\zq d\qu g|\enotes +\temps\Notes&\zq d\qu g|\tten0\ibl0n{-3}\qb0n\tbl0\qb0{=m}\enotes +\Notes&\zq d\qu g|\ibl0n{-4}\qb0n\tbl0\qb0{_l}\enotes +%\check +% mesure 32 +\barre\NOTes\wh{=I}&\zw d\zq f\qu{=i}|\itenu0m\hl m\enotes +\temps\NOTes&\zq f\qu i|\enotes +\temps\Notes&\zq f\qu i|\tten0\ibl0m{-3}\qb0m\tbl0\qb0{_l}\enotes +\temps\Notes&\zq f\qu{_h}|\ibl0m{-4}\qb0m\tbl0\qb0k\enotes +%\check +% mesure 33 +\barre\NOTes\wh J&\zw c\zq{_e}\qu g|\fl l\qlp l\enotes +\temps\Notes&\zq e\qu g|\sk\cl k\enotes +\temps\NOTes&\zq e\qu g|\qlp j\enotes +\temps\Notes&\zq e\qu g|\sk\ds \enotes +%\check +% mesure 34 +\barre\nspace +\NOTes\wh K&\zw d\lsh f\zq f\qu{=h}|\itenu0k\hl k\enotes +\temps\NOTes&\zq f\qu h|\enotes +\temps\Notes&\zq f\qu h|\tten0\dqb3k{_l}\enotes +\temps\Notes&\zq f\qu h|\dqb{-3}kj\enotes +% mesure 35 +\barre +\Notes\wh J&\zw c\sh f\zq f\qu h|\dqb3k{=l}\enotes +\temps\Notes&\zq f\qu h|\dqb3{^m}n\enotes +\temps\Notes&\zq f\qu h|\dqb3op\enotes +\temps\Notes&\zq f\qu h|\dqb{-4}qo\enotes +% mesure 36 +\alapage% +\Notes\wh I&\zw b\zq d\qu g|\dqb{-3}rq\enotes +\temps\Notes&\zq d\qu g|\dqb{-3}po\enotes +\temps\Notes&\zq d\qu g|\dqb{-3}nm\enotes +\temps\Notes&\zq d\qu g|\dqb{-4}nl\enotes +% mesure 37 +\barre +\Notes\wh H&\zw c\zq{^f}\qu h|\sh m\dqb{-3}ml\enotes +\temps\Notes&\zq f\qu h|\dqb3mn\enotes +\temps\Notes&\zq f\qu h|\dqb3op\enotes +\temps\Notes&\zq f\qu h|\dqb{-4}qo\enotes +% mesure 38 +\barre +\Notes\wh G&\itenl0d\zw d\zq g\qu i|\dqb{-3}po\enotes +\temps\Notes&\zq g\qu i|\dqb{-3}n{=m}\enotes +\temps\Notes&\zq g\qu i|\fl l\dqb{-3}lk\enotes +\temps\Notes&\zq g\qu i|\dqb{-3}ji\enotes +% mesure 39 +%\check +\barre +\NOTes\wh F&\tten0\zw d\na i\zq f\qu i|\rlap{\hl{=i}}\zcharnote n{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq f\qu i|\enotes +\temps\Notes&\zq f\qu i|\ibl0i0\qb0i\enotes +\notes&|\nbbl0\qb0j\tbl0\qb0i\enotes +\temps\Notes&\zq f\qu i|\dqb3hi\enotes +%\check +% mesure 40 +\barre\NOTes\wh E&\zw c\zq e\qu g|\zcharnote o{\Trille{2\noteskip}}\hl j\enotes +\temps\NOTes&\zq e\qu g|\enotes +\temps\Notes&\zq e\qu g|\ibl0j0\qb0j\enotes +\notes&|\nbbl0\qb0k\tbl0\qb0j\enotes +\temps\Notes&\zq e\qu g|\dqb3{=i}j\enotes +% mesure 41 +\barre\NOTes\wh H&\zw{^c}\zq e\qu g|\zcharnote o{\Trille{2\noteskip}}\hl{^j}\enotes +\temps\NOTes&\zq e\qu g|\enotes +\temps\Notes&\rlap{\midtwotext{\it rit.}}\zq e\qu g|\ibl0j0\qb0j\enotes +\notes&|\nbbl0\qb0k\tbl0\qb0j\enotes +\temps\Notes&\zq e\qu g|\dqb3{=i}j\enotes +% mesure 42 +\barre\NOTes\hup D&\rlap{\midtwotext{\it a tempo}}\zw d\zq{^f}\qu h|\hlp k\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes\soupir&\zq f\qu h|\soupir\enotes +%\check +% mesure 43 +\barre\notes\wh K&\rlap{\wh d}\zq{=f}\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenl0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu i\enotes +%\check +% mesure 44 +\alaligne\NOTes\wh G&\zw b\zq d\qu g|\hu g\enotes +\temps\NOTes&\zq d\qu g\enotes +\temps\NOTes&\zq d\qu g|\soupir\enotes +\temps\Notes&\zq d\qu g|\ibu0h3\qh0g\enotes +\notes&|\nbbu0\qh0h\tbu0\qh0i\enotes +% mesure 45 +\barre\Notes\wh J&\rlap{\rhl b}\zq c\qu e|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes +\temps\Notes &\zq c\qu e|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes +\temps\Notes &\rlap{\hl c}\zq e\qu i|\ibu0g{-3}\qh0g\tbu0\qh0f\enotes +\temps\Notes &\zq e\qu i|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes +%\check +% mesure 46 +\barre \NOTes\wh F&\zw a\zq c\qu f|\qup f\enotes +\temps\Notes&\zq c\qu f|\sk\cu g\enotes +\temps\NOTes&\zq c\qu f|\qup h\enotes +\temps\Notes&\zq c\qu f|\sk\ds\enotes +% mesure 47 +%\check +\large +\alaligne\notes\hl K&\rlap{\hl d}\zq g\qu i|\ibbu0i0\qh0{iji}\tbu0\qh0h\enotes +\temps\notes&\zq g\qu i|\ibbu0i0\qh0{igh}\tbu0\qh0{=i}\enotes +\temps\notes\hl L&\rlap{\hl{^c}}\zq e\qu g|\ibbl0j3\qb0{^jkl}\tbl0\qb0m\enotes +\temps\notes&\zq e\qu g|\ibbl0n3\qb0{no=p}\tbl0\qb0{^q}\enotes +% mesure 48 +%\check +\barre\notes\hl M&\rlap{\hl a}\zq d\qu f|\ibbl0r{-3}\qb0{r=q_p}\tbl0\qb0o\enotes +\temps\notes&\zq d\qu f|\ibbl0n{-3}\qb0{nml}\tbl0\qb0 k\enotes +\temps\notes\hl G&\rlap{\hl b}\zq e\qu g|\ibbl0n{-3}\qb0{nml}\tbl0\qb0k\enotes +\temps\notes&\zq e\qu g|\ibbl0j{-3}\qb0{^j=ih}\tbl0\qb0g\enotes +% mesure 49 +%\check +\alaligne\notes\hu H&\rlap{\hl a}\zq d\qu f|\ibbl0f3\qb0{fhk}\tbl0\qb0h\enotes +\temps\notes&\zq d\qu f|\ibbl0k3\qb0{mko}\tbl0\qb0m\enotes +\temps\notes\hu I&\rlap{\hl b}\zq d\qu g|\ibbl0g3\qb0{g_il}\tbl0\qb0i\enotes +\temps\notes&\zq d\qu g|\ibbl0l3\qb0{nl_p}\tbl0\qb0n\enotes +% mesure 50 +%\check +\barre\notes\hu H&\rlap{\hl d}\zq f\qu h|\ibbl0h3\qb0{hkm}\tbl0\qb0k\enotes +\temps\notes&\zq f\qu h|\ibbl0m3\qb0{omr}\tbl0\qb0o\enotes +\temps\notes\hu G&\rlap{\hl d}\zq g\qu i|\ibbl0i3\qb0{ikn}\tbl0\qb0k\enotes +\temps\notes&\zq g\qu i|\ibbl0m3\qb0{pnr}\tbl0\qb0 p\enotes +% mesure 51 +%\check +\normal +\alapage\NOTes\hup F&\rlap{\hlp d}\zq f\qu h|\qlp o\enotes +\temps\Notes&\zq f\qu h|\sk\cl n\enotes +\temps\notes&\zq f\qu h|\ibl0m{-3}\qb0m\zcharnote o{\sl 3}\qb0l\tbl0\qb0k\enotes +\temps\Notes\qu G&\rlap{\ql b}\zq e\qu g|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes +% mesure 52 +%\check +\barre\NOTes\wh H&\itenl0a\zw a\zq d\qu f|\ql m\enotes +\temps\NOTes&\zq{^c}\qu e|\zcharnote n{\Trille{2\noteskip}}\hl l\enotes +\temps\NOTes&\zq c\qu e|\enotes +\temps\NOtes&\zq c\qu e|\ibl0l{-3}\pt l\qb0l\enotes +\notes&|\tbbl0\tbl0\qb0k\enotes +% mesure 53 +%\check +\barre\NOTes\hup D&\tten0\zw a\zq d\qu f|\hlp k\enotes +\temps\NOTes&\zq d\qu f|\enotes +\temps\NOTes&\zq d\qu f|\enotes +\temps\NOTes\soupir&\zq d\qu f|\soupir\enotes +% mesure 54 +\cleftoksii={{3}{0}{0}{0}}\changeclefs +\alaligne\notes\itenu1K\wh K&\itenl2d\zw d\zq f\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenl0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu i\enotes +% mesure 55 +\barre\NOTes\tten1\hu K&\zq e\zqu g\qsk\tten2\wh d|\hu g\enotes +\temps\NOTes&\zq e\qu g\enotes +\temps\NOTes\soupir&\zq e\qu g|\soupir\enotes +\temps\Notes\qu K&\zq e\qu g|\ibu0h3\qh0g\enotes +\notes&|\nbbu0\qh0h\enotes +\notes&|\tbu0\qh0i\enotes +% mesure 56 +\barre\Notes\wh{^J}&\rlap{\wh{^c}}\zq e\qu g|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes +\temps\Notes &\zq e\qu g|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes +\temps\Notes &\zq e\qu g|\ibu0g{-3}\qh0g\tbu0\qh0{^f}\enotes +\temps\Notes &\zq e\qu h|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes +% mesure 57 +\barre\NOTes\wh K&\rlap{\wh d}\zq{^f}\qu h|\qup f\enotes +\temps\Notes&\zq f\qu h|\sk\cu g\enotes +\temps\NOTes&\zq f\qu h|\qup h\enotes +\temps\Notes&\zq f\qu h|\sk\ds \enotes +% mesure 58 +\barre\NOTes\qu J&\zq{=c}\rq d\qu g|\qu d\enotes +\temps\NOTes\hup I&\rlap{\hlp b}\zq d\qu g|\itenl0g\qu g\enotes +\temps\notes&\zq d\qu g|\tten0\ibbu0g{-3}\qh0{g=fe}\tbu0\qh0d\enotes +\temps\notes&\zq d\qu g|\ibbu0g{-3}\qh0{gfe}\tbu0\qh0d\enotes +% mesure 59 +%\check +\barre\notes\wh H&\doubler\itenl0a\zw a\zq{^c}\qu e|\ibbu0c0\qh0{^c=bc}\tbu0\qh0a\enotes +\temps\notes&\zq c\qu e|\ibbu0b3\qh0{bcd}\tbu0\qh0e\enotes +\temps\NOTes&\zq d\qu f|\qu f\enotes +\temps\Notes&\zq d\qu f|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes +% mesure 60 +%\check +\barre\NOTes\wh H&\tten0\zw a\zq{^c}\qu e|\zcharnote n{\Trille{3\noteskip}}\hup e\enotes +\temps\NOTes&\zq c\qu e\rlap{\midtwotext{\sl rall.\ \ \ }}\enotes +\temps\NOTes&\zq c\qu e|\enotes +\temps\Notes&\zq c\qu e|\ibu0e{-3}\qh0e\tbu0\qh0d\enotes +% mesure 61 +%\check +\cleftoksii={{6}{0}{0}{0}}% +\zchangeclefs +\barre +\elemskip=1.1\elemskip +\NOTes\itenl1D\wh D&\itenu2d\zw d\zq M\ql a|\itenl0d\zw d\enotes +\temps\NOTes&\zq M\ql a|\enotes +\temps\NOTes&\zq N\ql b|\enotes +\temps\NOTes&\zq L\ql N|\enotes +% mesure 62 +\barre\nspace +\NOTEs\tten1\pointdorgue a\hu D&\tten2\zh{Ma}\pointdorgue d\hl d|\tten0\pointdorgue o\hu d\enotes +\temps\NOTEs\hpause&\hpause|\hpause\enotes +\finmorceau +\bigskip +\rightline{\it \aujourdhui} +\vfil +\eject diff --git a/Master/texmf-dist/doc/generic/musictex/aria.tex b/Master/texmf-dist/doc/generic/musictex/aria.tex new file mode 100644 index 00000000000..fedcb23c40b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/aria.tex @@ -0,0 +1,563 @@ +\title{Aria} +\fulltitle{ VII. \titremorceau} +\othermention{Compos\'e en 1992} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\csname titremorceautoc\endcsname +\maketitle +% +\parindent 13mm +% +\tracingstats=2\relax +% +\def\nbinstruments{3} +\def\interfacteur{9} +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksiii={{0}{0}{0}{0}}% +\nbporteesi=1\relax% +\nbporteesii=1\relax% +\nbporteesiii=1\relax% +\signaturegenerale{1}\relax +%\check +\def\instrumenti{P\'ed. 16'}% +\def\instrumentii{Fl\^ute 8'}% +\def\instrumentiii{\vbox{\hsize=\parindent + \centerline{Nasard}\smallskip\centerline{Tremblant}}}% +%\check +% +% formes frequentes +\def\doubler{\multiply\noteskip by 2\relax}% +\def\halfskip{\divide\noteskip by 2\relax}% +\def\Pause{\sk\sk\qsk\pause}% +\def\deuxc#1#2{\ibu0#20\zq#1\qh0#2\zq#1\tqh0#2} +\def\troisc#1#2{\ibu0#20\zq#1\qh0#2\zq#1\qh0#2\zq#1\tqh0#2} +\def\quatrec#1#2{\ibu0#20\zq#1\qh0#2\zq#1\qh0#2\zq#1\qh0#2\zq#1\tqh0#2} +\def\cpdcl#1#2{\Ibl1{#1}{#2}{3}\qbp1{#1}\sk\sk\tbbl1\tqb1{#2}} +% +%\check +% +\generalmeter{\meterfrac 44}% +% +\debutmorceau +\linesinpage=0\relax +\def\barperline{4}\ifnum\musicsize<17\relax\def\barperline{5}\fi +\autolines{18}{\barperline}5\relax +%\check +% +\hyphenpenalty -50\relax +\notes&&\zcharnote{w}{\kern -20mm\moyen Andante +\bf(\metron{\qu}{55})}\enotes +% +%\check +% +\ifnum\musicsize>16\relax\advance\linesinpage by 1\relax\fi +% mesure 1 +\NOtes\wh G&\zw b\raise\Interligne\ds \troisc dg&\hu g\enotes +\temps\NOtes &\quatrec dg&\ql i\sk\ql k\enotes +% mesure 2 +\barre\NOtes\wh K&\zw d\raise\Interligne\ds \troisc fh&\qlpp k\sk\sk +\halfskip\sk\ccl j\enotes +\temps\NOtes &\quatrec fh&\qup h\sk\sk\ds\enotes +% mesure 3 +\barre\NOtes\wh I&\zwh d\raise\Interligne\ds \troisc gi&\qu g\sk\qu i\enotes +\temps\NOtes &\quatrec gi&\ql k\sk\ql n\enotes +% mesure 4 +\barre\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc gj&\qlp n\sk\sk\sk\sk\sk\Ibbl1{^m}l2\qb1m\tqb1l\enotes +\temps\NOtes\hu I&\zhl d\raise\Interligne\ds + \troisc gi&\qlp k\sk\sk\ds\enotes +%\check +% mesure 5 +\barre\autolines{16}{\barperline}5\relax +\NOtes\hu{^G}&\zw e\raise\Interligne\ds \bigsh g\troisc gi&\hl l\enotes +\temps\NOtes\hu H&\raise\Interligne\ds + \troisc hj&\hl j\sk\sk\cbreath\enotes +% mesure 6 +\barre\NOtes\hu F&\zw d\raise\Interligne\ds \troisc fh&\hl k\enotes +\temps\NOtes\hu{=G}&\raise\Interligne\ds + \bigna g\troisc gi&\hl i\sk\sk\cbreath\enotes +% mesure 7 +\barre\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc hj&\cpdcl hi\cpdcl jl\enotes +\temps\notes\hu K&\doubler\zhl d\raise\Interligne\ds + \troisc gi&\qup i\sk\sk\sk\sk\sk\Ibbl0j{_i}1\qb0j\tqb0i\enotes +% mesure 8 +%\check +\barre\NOtes\hu D&\zhl d\raise\Interligne\ds + \troisc fh&\hup h\enotes +\temps\NOtes\hpause&\rlap{\raise -4\Interligne\ds + \Ibl2dc2\qb2{d^c}\tqb2{=c}}\zq f\qu h\sk\raise\Interligne\soupir\sk +&\sk\sk\soupir\enotes +% mesure 9 +\barre\NOtes\wh N&\zw b\raise\Interligne\ds \troisc dg&\hu g\enotes +\temps\NOtes &\quatrec dg&\ql i\sk\ql k\enotes +% mesure 10 +\barre\NOtes\wh M&\zw d\raise\Interligne\ds \troisc fh&\qlpp k\sk\sk + \halfskip\sk\ccl j\enotes +\temps\NOtes &\quatrec fh&\qup h\sk\sk\ds\enotes +% mesure 11 +\barre\NOtes\wh N&\zhl d\raise\Interligne\ds \troisc gi&\qu g\sk\qu i\enotes +\temps\NOtes &\quatrec gi&\ql k\sk\ql n\enotes +% mesure 12 +\barre\notes\qsk\doubler\hu{^J}&\qsk\doubler\zhl e\raise\Interligne\ds + \fl i\troisc gi&\qsk\bigfl p\qlp p\sk\sk\sk\sk\sk\Ibbl2on1\qb2o\tqb2n\enotes +\temps\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\hl{m}\enotes +% mesure 13 +\barre\NOtes\hu I&\zhl d\raise\Interligne\ds\na i\troisc gi&\hl n\enotes +\temps\NOtes\hu J&\zhl e\raise\Interligne\ds \troisc gj&\hl l\enotes +% mesure 14 +\barre\NOtes\hu H&\zhl c\raise\Interligne\ds\troisc fh&\hl m\enotes +\temps\NOtes\hu I&\zhl d\raise\Interligne\ds \troisc gi&\hl k\enotes +% mesure 15 +\barre\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc gj&\Ibl2jk3\qbp2j\sk\sk\tbbl2\tqb2k\relax + \Ibl2ln3\qbp2l\sk\sk\tbbl2\tqb2n\enotes +\temps\notes\hu K&\doubler\zhl d\raise\Interligne\ds + \troisc gi&\qup i\sk\sk\sk\sk\sk\Ibbl0ji1\qb0j\tqb0i\enotes +% mesure 16 +%\check +\barre\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\hup h\enotes +\temps\NOtes\hpause&\rlap{\raise -4\Interligne\ds + \Ibl2dc2\qb2{d^c}\tqb2{=c}}\zq f\qu h\sk\raise\Interligne\soupir\sk +&\sk\sk\soupir\enotes +% mesure 17 +\barre\NOtes\wh N&\zw b\raise\Interligne\ds \troisc dg&\hu g\enotes +\temps\NOtes &\quatrec gi&\ql i\sk\ql k\enotes +% mesure 18 +\barre\NOtes\wh M&\zw d\raise\Interligne\ds \troisc fh&\qlpp k\sk\sk + \halfskip\sk\ccl j\enotes +\temps\NOtes &\quatrec fh&\qup h\sk\sk\ds\enotes +% mesure 19 +\barre\NOtes\wh N&\zhl d\raise\Interligne\ds \troisc gi&\qu g\sk\qu i\enotes +\temps\NOtes &\quatrec gi&\ql k\sk\ql n\enotes +% mesure 20 +\barre\notes\qsk\doubler\hu{^J}&\qsk\doubler\zhl e\raise\Interligne\ds + \fl i\troisc gi&\qsk\bigfl p\qlp p\sk\sk\sk\sk\sk\Ibbl2on1\qb2o\tqb2n\enotes +\temps\NOtes\qsk\hu K&\qsk\zhl a\raise\Interligne\ds + \na f\troisc df&\qsk\bigna m\qlp{m}\sk\sk\ds\enotes +% mesure 21 +\barre\NOtes\hu{_I}&\zhl e\raise\Interligne\ds\fl i\troisc gi&\hl n\enotes +\temps\NOtes\hu H&\zhl{^c}\raise\Interligne\ds + \troisc eh&\hl l\sk\sk\cbreath\enotes +% mesure 22 +\barre\NOtes\wh K&\zw d\raise\Interligne\ds + \troisc fh&\bigna m\hl m\enotes +\temps\notes&\doubler\fl i\deuxc fi\deuxc fh&\Ibl2kl3\qbp2k\sk\sk\tbbl2\tqb2l\relax + \Ibl2mo3\qbp2m\sk\sk\tbbl2\tqb2o\enotes +%\check +% mesure 23 +\barre\notes\doubler\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc hj&\qlp l\sk\sk\sk\sk\sk\bigna m\Ibbl2ml1\qb2m\tqb2l\enotes +\temps\NOtes\hu G&\zhl d\raise\Interligne\ds +\Ibu0ji2\zq g\qh0j\zq g\qh0{=i}\zq g\tqh0i&\qlp k\sk\sk\ds\enotes +% mesure 24 +\barre\NOtes\wh J&\zwh c\raise\Interligne\ds + \troisc eg&\hl j\enotes +\temps\NOtes&\quatrec eg&\ql l\sk\ql n\enotes +% mesure 25 +\barre\NOtes\wh I&\zhl d\raise\Interligne\ds + \troisc gi&\qlpp n\sk\sk\halfskip\sk\bigna m\ccl m\enotes +\temps\NOtes&\na f\Ibu0ih3\zq f\qh0i\zq f\qh0i\zq f\qh0h\zq f\tqh0h\relax + &\hl k\sk\sk\cbreath\enotes +%\check +% mesure 26 +\barre\NOtes\wh J&\zw c\raise\Interligne\ds + \troisc eg&\ql j\sk\ql l\enotes +\temps\NOtes&\quatrec eg&\ql n\sk\ql{_p}\enotes +% mesure 27 +\barre\notes\qsk\doubler\hu{^J}&\qsk\doubler\zhl e\raise\Interligne\ds + \fl i\troisc gi&\qsk\bigfl p\qlp p\sk\sk\sk\sk\sk\Ibbl2on1\qb2o\tqb2n\enotes +\temps\NOtes\qsk\hu K&\qsk\zhl d\raise\Interligne\ds + \sh f\troisc fh&\qsk\qlp{^m}\sk\sk\ds\enotes +% mesure 28 +\barre\NOtes\hu I&\zhl d\raise\Interligne\ds\na i\troisc gi&\hl n\enotes +\temps\NOtes\hu J&\zhl e\raise\Interligne\ds + \troisc gj&\hl l\sk\sk\cbreath\enotes +% mesure 29 +\barre\NOtes\hu H&\zhl c\raise\Interligne\ds\troisc fh&\hl m\enotes +\temps\NOtes\hu I&\zhl d\raise\Interligne\ds + \troisc gi&\hl k\sk\sk\cbreath\enotes +% mesure 30 +\barre\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc gj&\Ibl2jk3\qbp2j\sk\sk\tbbl2\tqb2k\relax + \Ibl2ln3\qbp2l\sk\sk\tbbl2\tqb2n\enotes +\temps\notes\hu K&\doubler\zhl d\raise\Interligne\ds + \troisc gi&\qup i\sk\sk\sk\sk\sk\Ibbl0ji1\qb0j\tqb0i\enotes +% mesure 31 +%\check +\barre\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\hup h\enotes +\temps\NOtes\hpause&\rlap{\raise -4\Interligne\ds + \Ibl2dc2\qb2{d^c}\tqb2{=c}}\zq f\qu h\sk\raise\Interligne\soupir\sk +&\sk\sk\soupir\enotes +% mesure 32 +\barre\NOtes\wh I&\zhl b\raise\Interligne\ds + \bigsh d\troisc df&\hl i\enotes +\temps\notes&\doubler\zhl d\raise\Interligne\ds + \troisc fi&\Ibl2ik3\qbp2i\sk\sk\bigsh k\tbbl2\tqb2{k}\relax + \Ibl2mo3\qbp2m\sk\sk\tbbl2\tqb2o\enotes +% mesure 33 +\barre \notes\hu L&\doubler\zhl e\raise\Interligne\ds + \troisc gi&\Ibl2nm3\qbp2n\sk\sk\tbbl2\tqb2m\relax + \ql l\enotes +\temps\notes\hu H&\doubler\bigsh c\zhl c\raise\Interligne\ds + \troisc eh&\Ibl2hj3\qbp2h\sk\sk\bigsh j\tbbl2\tqb2j\relax + \Ibl2ln3\qbp2l\sk\sk\tbbl2\tqb2n\enotes +% mesure 34 +\barre \notes\hup K&\doubler\zwh{=d}\raise\Interligne\ds + \troisc fh&\cpdcl ml\hl k\enotes +\temps\NOtes\sk\sk\soupir&\deuxc fh\zql c\raise\Interligne\ds +\zq f\cu h&\sk\sk\soupir\enotes +%\check +% mesure 35 +\barre\NOtes\wh I&\zwh d\raise\Interligne\ds + \troisc gi&\hl n\enotes +\temps\NOtes&\quatrec gi&\ql m\sk\ql{=m}\enotes +% mesure 36 +\barre\notes\wh J&\doubler\zwh c\raise\Interligne\ds + \troisc eg&\Ibl2ln3\qbp2l\sk\sk\bigsh n\tbbl2\tqb2n\relax + \cpdcl op\enotes +\temps\notes&\doubler + \quatrec eg&\Ibl2qr3\qbp2q\sk\sk\bigsh r\tbbl2\tqb2r\relax + \cpdcl sq\enotes +% mesure 37 +\barre\notes\wh K&\doubler\zhl b\raise\Interligne\ds + \troisc dg&\qlp p\sk\sk\sk\sk\sk\Ibbl0qp1\qb0q\tqb0p\enotes +\temps\NOtes&\zhl d\raise\Interligne\ds + \troisc fh&\qlp o\sk\sk\ds\enotes +% mesure 38 +\barre\NOtes\wh I&\zwh d\raise\Interligne\ds + \troisc gi&\hl n\enotes +\temps\notes&\doubler\ibu3h0\zq g\qh3i\zq g\qh3i&\cpdcl kl\enotes +\notes&\qsk\doubler\zq g\qh3i\zq g\tqh3i&\qsk\bigna m\cpdcl mk\enotes +% mesure 39 +\barre\NOtes\wh J&\zwh c\raise\Interligne\ds + \troisc eg&\hl l\enotes +\temps\NOtes&\zq e\Ibu0gh2\qh0g\zq e\qh0g\zq e\qh0h\zq e\tqh0h\relax + &\soupir\sk\ql o\enotes +% mesure 40 +\barre\notes\bigsh J\hu J&\doubler\zhl{^c}\raise\Interligne\ds + \troisc eg&\cpdcl lm\cpdcl nl\enotes +\temps\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\itenu0m\hl m\enotes +% mesure 41 +\barre\notes\hu J&\doubler\zwh d\raise\Interligne\ds + \troisc fh&\tten0\ql m\sk\sk\sk\Ibbl0nk3\qb0{nml}\tqb0k\enotes +\temps\NOtes\hu I&\quatrec gi&\ql n\sk\qu g\enotes +% mesure 42 +\barre\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc gj&\cpdcl hi\cpdcl jl\enotes +\temps\notes\hu K&\doubler\zhl d\raise\Interligne\ds + \troisc gi&\qup i\sk\sk\sk\sk\sk\Ibbl0ji1\qb0j\tqb0i\enotes +% mesure 43 +\barre\NOtes\hup K&\zhlp d\raise\Interligne\ds + \troisc fh&\hup h\enotes +\temps\NOtes\sk\sk\soupir&\deuxc fh\zql c\raise\Interligne\ds + \zq f\cu h&\sk\sk\soupir\enotes +%\check +% mesure 44 +\barre\NOtes\wh I&\zwh d\raise\Interligne\ds + \troisc gi&\hl n\enotes +\temps\NOtes&\quatrec gi&\ql m\sk\ql{=m}\enotes +% mesure 45 +\barre\notes\wh J&\doubler\zwh c\raise\Interligne\ds + \troisc eg&\Ibl2ln3\qbp2l\sk\sk\bigsh n\tbbl2\tqb2n\relax + \cpdcl op\enotes +\temps\notes&\doubler + \quatrec eg&\Ibl2qr3\qbp2q\sk\sk\bigsh r\tbbl2\tqb2r\relax + \cpdcl sq\enotes +% mesure 46 +\barre\NOtes\wh K&\zwh d\raise\Interligne\ds + \troisc gi&\qlp p\sk\sk\cl q\enotes +\temps\notes&\doubler + \quatrec gi&\cpdcl po\cpdcl np\enotes +% mesure 47 +\barre\NOtes\hup K&\zhl d\raise\Interligne\ds\troisc fh&\zcharnote + q{\Trille{6\noteskip}}\relax\hl o\enotes +\temps\NOtes\sk\sk\soupir&\zhl c\raise\Interligne\ds + \troisc fh&\sk\sk\sk\noteskip=0.6\noteskip + \Ibbl1no1\qb1n\tqb1o\enotes +% mesure 48 +\barre\notes\wh I&\doubler\zhl{^d}\raise\Interligne\ds + \troisc fi&\qlpp p\sk\sk\sk\sk\sk\sk\ccl q\enotes +\temps\notes&\doubler + \quatrec fi&\cpdcl po\cpdcl nm\enotes +%\check +% mesure 49 +\barre\notes\wh L&\doubler\zhlp e\raise\Interligne\ds + \troisc gi&\qlpp n\sk\sk\sk\sk\sk\sk\ccl m\enotes +\temps\notes&\doubler + \deuxc gi\zql c\raise\Interligne\ds + \zq g\cu i&\cpdcl nl\cpdcl mn\enotes +%\check +% mesure 50 +\barre\notes\wh H&\doubler\zwh{^c}\raise\Interligne\ds + \troisc eh&\cpdcl on\cpdcl op\enotes +\temps\notes&\doubler\quatrec eh&\cpdcl on\cpdcl ml\enotes +% mesure 51 +\barre\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\hlp m\enotes +\temps\notes\hu J&\doubler\zhl d\raise\Interligne\ds + \troisc fh&\sk\sk\sk\sk\Ibbl0nk3\qb0{nml}\tqb0k\enotes +% mesure 52 +\barre\NOtes\hu I&\zhl d\raise\Interligne\ds + \troisc gi&\ql n\sk\qu g\enotes +\temps\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc gj&\cpdcl hi\cpdcl jl\enotes +% mesure 53 +\barre\kern -0.6\Interligne +\NOtes\itenu0K\wh K&\zhl d\raise\Interligne\ds + \troisc gi&\hu g\sk\sk + \noteskip=0.3\noteskip + \tinynotesize\Ibbbu0hi4\qh0{hgfg}\tqh0i\enotes +\temps\NOtes&\itenl3d\zhl d\raise\Interligne\ds + \troisc fh&\zcharnote + q{\Trille{8\noteskip}}\itenl1h\hu h\sk\enotes +% mesure 54 +\barre\NOtes\tten0\hl K&\tten3\zql d\deuxc fh\zql c\raise\Interligne\ds + \zq f\cu h&\tten1\qup h\sk\sk + \divide \noteskip by 2\relax + \Ibbu2hg1\qh2h\tqh2g\enotes +\temps\NOtes\hu G&\zhl b\raise\Interligne\ds + \troisc dg&\qlp g\sk\sk\ds\enotes +% mesure 55 +\barre\NOtes\wh I&\zwh d\raise\Interligne\ds + \troisc gi&\hl n\enotes +\temps\notes&\doubler\ibu3h0\zq g\qh3i\zq g\qh3i&\cpdcl kl\enotes +\notes&\qsk\doubler\zq g\qh3i\zq g\tqh3i&\qsk\bigna m\cpdcl mk\enotes +% mesure 56 +\barre\NOtes\wh J&\zwh c\raise\Interligne\ds + \troisc eg&\hl l\enotes +\temps\NOtes&\zq e\Ibu0gh2\qh0g\zq e\qh0g\zq e\qh0h\zq e\tqh0h\relax + &\soupir\sk\ql o\enotes +% mesure 57 +\barre\notes\bigsh J\hu J&\doubler\zhl{e}\raise\Interligne\ds + \bigsh j\troisc gj&\cpdcl lm\cpdcl nl\enotes +\temps\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\itenu0m\hl m\enotes +% mesure 58 +\barre\notes\hu J&\doubler\zhl d\raise\Interligne\ds + \troisc fh&\tten0\ql m\sk\sk\sk\Ibbl0nk3\qb0{nml}\tqb0k\enotes +\temps\NOtes\hl I&\zhl{^d}\raise\Interligne\ds + \troisc fi&\qlpp p\sk\sk\divide\noteskip by 2\relax\sk\ccl q\enotes +% mesure 59 +\barre\notes\hl L&\doubler\zhl e\raise\Interligne\ds + \troisc gi&\cpdcl po\cpdcl nl\enotes +\temps\notes\doubler\hl{^J}&\doubler\zhl{e}\raise\Interligne\ds + \sh j\troisc hj&\cpdcl op\cpdcl on\enotes +% mesure 60 +\barre\notes\doubler\hl K&\doubler\zhl{=c}\raise\Interligne\ds + \troisc fh&\cpdcl ml\cpdcl mk\enotes +\temps\NOtes\hl I&\zqlp d\raise\Interligne\ds + \deuxc gi\rlap{\clp c}\zq e\cu h&\qlp n\sk\sk\cl q\enotes +% mesure 61 +\barre\autolines{16}55\bigaccid +\NOtes\hl K&\zhl d\raise\Interligne\ds + \troisc fh&\zcharnote q{\Trille{3\noteskip}}\qlp o\sk\sk\cl n\enotes +\temps\NOtes\hu G&\zhl d\raise\Interligne\ds + \troisc gi&\qlp n\sk\sk\ds\enotes +% mesure 62 +\barre\NOtes\wh G&\zw{_b}\raise\Interligne\ds \troisc dg&\hu g\enotes +\temps\NOtes &\quatrec dg&\ql{_i}\sk\ql k\enotes +% mesure 63 +\barre\NOtes\wh K&\zw d\raise\Interligne\ds \troisc fh&\qlpp k\sk\sk +\halfskip\sk\ccl j\enotes +\temps\NOtes &\quatrec fh&\qup h\sk\sk\ds\enotes +% mesure 64 +\barre\NOtes\wh{_I}&\zhl d\raise\Interligne\ds + \fl i\troisc gi&\qu g\sk\qu{_i}\enotes +\temps\NOtes &\quatrec gi&\ql k\sk\ql n\enotes +% mesure 65 +\barre\notes\hu J&\doubler\zhl{_e}\raise\Interligne\ds + \troisc gj&\qlp n\sk\sk\sk\sk\sk + \noteskip=1.5\noteskip\bigna m\varaccid\Ibbl1ml2\qb1m\fl l\tqb1l\enotes +\temps\NOtes\hu{_I}&\zhl d\raise\Interligne\ds + \fl i\troisc gi&\qlp k\sk\sk\ds\enotes +%\check +% mesure 66 +\barre\autolines{16}{\barperline}5\varaccid +\NOtes\hu{G}&\zw{_e}\raise\Interligne\ds + \fl i\troisc gi&\hl{_l}\enotes +\temps\NOtes\hu H&\raise\Interligne\ds + \troisc hj&\hl j\sk\sk\cbreath\enotes +% mesure 67 +\barre\NOtes\hu F&\zw d\raise\Interligne\ds \troisc fh&\hl k\enotes +\temps\NOtes\hu{G}&\raise\Interligne\ds + \fl i\troisc gi&\fl i\hl i\sk\sk\cbreath\enotes +% mesure 68 +\barre\notes\hu J&\doubler\fl e\zhl e\raise\Interligne\ds + \troisc hj&\bigaccid\cpdcl h{_i}\cpdcl j{_l}\enotes +\temps\notes\hu K&\doubler\zhl d\raise\Interligne\ds + \fl i\troisc gi&\qup g\sk\sk\sk\sk\sk\Ibbu0hg1\qh0h\tqh0g\enotes +% mesure 69 +%\check +\barre\NOtes\hu D&\zhl d\raise\Interligne\ds + \troisc fh&\hup f\enotes +\temps\NOtes\hpause&\rlap{\raise -4\Interligne\ds + \Ibl2dc2\qb2{d^c}\tqb2{=c}}\zq f\qu h\sk\raise\Interligne\soupir\sk +&\sk\sk\soupir\enotes +% mesure 70 +\barre\NOtes\wh N&\zw{_b}\raise\Interligne\ds \troisc dg&\hu g\enotes +\temps\NOtes &\quatrec dg&\fl i\ql i\sk\ql k\enotes +% mesure 71 +\barre\NOtes\wh M&\zw d\raise\Interligne\ds \troisc fh&\qlpp k\sk\sk + \halfskip\sk\ccl j\enotes +\temps\NOtes &\quatrec fh&\qup h\sk\sk\ds\enotes +% mesure 72 +\barre\NOtes\wh N&\zwh d\raise\Interligne\ds + \fl i\troisc gi&\qu g\sk\qu{_i}\enotes +\temps\NOtes &\quatrec gi&\ql k\sk\ql n\enotes +% mesure 73 +\barre\NOtes\hu{^J}&\zhl{^c}\raise\Interligne\ds + \troisc eh&\itenu0o\ql o\sk\tten0\noteskip=0.5\noteskip + \Ibbl1ok3\qb1{onm}\tqb1l\enotes +\temps\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\qlp m\sk\sk\ds\enotes +% mesure 74 +\elemskip=0.98\elemskip +\barre\NOtes\hu I&\zhl b\raise\Interligne\ds\troisc dg&\hl n\enotes +\temps\NOtes\hu J&\zhl c\raise\Interligne\ds + \troisc eg&\hl l\sk\sk\cbreath\enotes +% mesure 75 +\barre\NOtes\hu H&\zhl a\raise\Interligne\ds\troisc cf&\hl m\enotes +\temps\NOtes\hu I&\zhl b\raise\Interligne\ds + \troisc dg&\hl k\sk\sk\cbreath\enotes +% mesure 76 +\barre\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc gj&\Ibl2jk3\qbp2j\sk\sk\tbbl2\tqb2k\relax + \Ibl2ln3\qbp2l\sk\sk\tbbl2\tqb2n\enotes +\temps\NOtes\hl K&\zhl d\raise\Interligne\ds + \troisc gi&\hu g\sk\sk + \noteskip=0.3\noteskip\tinynotesize + \Ibbbu0hi4\qh0{hgfg}\tqh0i\enotes +% mesure 77 +\autolines{16}{\barperline}5\relax +\barre\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\zcharnote + q{\Trille{3\noteskip}}\qup h\sk\sk\noteskip=0.5\noteskip + \Ibbu2gh1\qh2g\tqh2h\enotes +\temps\NOtes\hu I&\zhl{^d}\raise\Interligne\ds + \troisc fi&\hu i\enotes +% mesure 78 +\barre\NOtes\hu H&\sh d\zhl d\raise\Interligne\ds + \troisc fi&\ds\ibl0i0\qb0i\qb0i\tqb0i\enotes +\temps\notes\hu G&\doubler\zhl b\raise\Interligne\ds + \troisc eg&\cpdcl ij\cpdcl ij\enotes +% mesure 79 +\barre\NOtes\hu F&\zhl{^d}\raise\Interligne\ds + \troisc fh&\ibl0i0\qb0i\qb0m\qb0{^k}\tqb0i\enotes +\temps\NOtes\hu E&\zhl{e}\raise\Interligne\ds + \troisc gi&\ql n\sk\Ibl0ml1\qb0m\tqb0l\enotes +% mesure 80 +\barre\NOtes\hu F&\zhl f\raise\Interligne\ds + \na k\troisc hk&\bigna k\ql k\noteskip=0.25\noteskip + \sk{\tinynotesize\Ibbl0lj2\qb0l\qb0k\tqb0{^j}}\doubler\doubler + \Ibl0km1\qb0k\tqb0m\enotes +\temps\NOtes\hu H&\zhl e\raise\Interligne\ds + \sh j\troisc gj&\Ibl0mj3\qb0{mlk}\tqb0{^j}\enotes +% mesure 81 +\autolines{16}{\barperline}5\relax +\barre\NOtes\hu D&\zhl d\raise\Interligne\ds + \troisc fh&\hlpp k\enotes +\temps\NOtes\hu I&\zhl{d}\raise\Interligne\ds + \fl i\troisc fi&\sk\sk\sk\noteskip=0.6\noteskip\qs\ccl k\enotes +% mesure 82 +\barre\NOtes\hu H&\zhl e\raise\Interligne\ds + \sh j\troisc gj&\sh j\Ibl1jm3\qb1{j=m}\qbp1l\noteskip=0.5\noteskip + \sk\tbbl1\tqb1m\enotes +\temps\NOtes\hu I&\zhl d\raise\Interligne\ds + \bigna f\Ibu0hj2\zq f\qh0h\zq f\qh0{=i}\zq f\tqh0{=j}\relax + &\Ibl1km3\qb1{ko^n}\nbbl1\noteskip=0.6\noteskip\qb1o\tqb1{=n}\enotes +% mesure 83 +\barre\NOtes\hl J&\zhl{_e}\raise\Interligne\ds + \sh f\troisc fh&\Ibl1ml3\qb1{^m=ml}\tqb1{_l}\enotes +\temps\NOtes\hl{_I}&\zhl d\raise\Interligne\ds + \fl i\troisc gi&\Ibl1ko3\qb1{k^m}\qbp1n\noteskip=0.5\noteskip + \sk\tbbl1\tqb1o\enotes +% mesure 84 +\barre\NOtes\hl K&\zhl d\raise\Interligne\ds + \troisc fh&\hl{m}\sk\sk\cbreath\qsk\enotes +\temps\NOtes\hu{_I}&\zhl d\raise\Interligne\ds + \fl i\troisc gi&\ql n\sk\qu g\enotes +% mesure 85 +\barre\notes\hu J&\doubler\fl e\zhl e\raise\Interligne\ds + \troisc hj&\bigaccid\cpdcl h{_i}\cpdcl j{_l}\enotes +\temps\NOtes\hu K&\zhl d\raise\Interligne\ds + \fl i\troisc gi&\hu g\sk\sk + \noteskip=0.3\noteskip\tinynotesize + \Ibbbu0hi4\qh0{hgfg}\tqh0i\enotes +% mesure 86 +\barre\autolines{17}55\bigaccid +\NOtes\hl K&\zhl d\raise\Interligne\ds\troisc fh\relax + &\upperfl p\zcharnote o{\Trille{3\noteskip}}\qup h\sk\sk\cu g\enotes +\temps\NOtes\qup G\sk\sk\ds&\zqlp d\raise\Interligne\ds + \rlap{\sk\sk\raise -3\Interligne\ds}\na i\troisc gi&\qup g\sk\sk\ds\enotes +% mesure 87 +\barre\NOtes\wh G&\zw b\raise\Interligne\ds \troisc dg&\hu g\enotes +\temps\NOtes &\quatrec dg&\ql i\sk\ql k\enotes +% mesure 88 +\barre\NOtes\wh K&\zw d\raise\Interligne\ds \troisc fh&\qlpp k\sk\sk +\halfskip\sk\ccl j\enotes +\temps\NOtes &\quatrec fh&\qup h\sk\sk\ds\enotes +% mesure 89 +\barre\NOtes\wh I&\zwh d\raise\Interligne\ds \troisc gi&\qu g\sk\qu i\enotes +\temps\NOtes &\quatrec gi&\ql k\sk\ql n\enotes +% mesure 90 +\barre\autolines{14}55\bigaccid +\NOtes\hu H&\zhl{^c}\raise\Interligne\ds + \troisc eh&\itenu0o\ql o\sk\tten0\noteskip=0.5\noteskip + \Ibbl1ok3\qb1{onm}\tqb1l\enotes +\temps\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\qlp m\sk\sk\ds\enotes +% mesure 91 +\barre\autolines{16}45\bigaccid +\NOtes\hu I&\zhl d\raise\Interligne\ds\na i\troisc gi&\hl n\enotes +\temps\NOtes\hu J&\zhl e\raise\Interligne\ds + \troisc gj&\hl l\sk\sk\cbreath\enotes +% mesure 92 +\barre\NOtes\hu H&\zhl c\raise\Interligne\ds\troisc fh&\hl m\enotes +\temps\NOtes\hu I&\zhl d\raise\Interligne\ds + \troisc gi&\hl k\sk\sk\cbreath\enotes +% mesure 93 +\barre\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc gj&\Ibl2jk3\qbp2j\sk\sk\tbbl2\tqb2k\relax + \Ibl2ln3\qbp2l\sk\sk\tbbl2\tqb2n\enotes +\temps\NOtes\hl K&\zhl d\raise\Interligne\ds + \troisc gi&\hu g\sk\sk + \noteskip=0.3\noteskip\tinynotesize + \Ibbbu0hi4\qh0{hgfg}\tqh0i\enotes +% mesure 94 +\barre\NOtes\wh K&\zhl d\raise\Interligne\ds + \troisc fh&\zcharnote + q{\Trille{7\noteskip}}\hupp h\enotes +\temps\NOtes&\zhl d\raise\Interligne\ds + \troisc fh&\sk\sk\sk\noteskip=0.5\noteskip + \Ibbu2gh1\qh2g\tqh2h\enotes +% mesure 95 +\barre\NOtes\hu I&\zhl{^d}\raise\Interligne\ds + \troisc fi&\qup i\sk\sk\enotes +\temps\notes\hu J&\doubler\zhl e\raise\Interligne\ds + \troisc gj&\Ibl2jk3\qbp2j\sk\sk\tbbl2\tqb2k\relax + \Ibl2ln3\qbp2l\sk\sk\tbbl2\tqb2n\enotes +% mesure 96 +\barre\NOtes\hl K&\zhl d\raise\Interligne\ds + \troisc gi&\hu g\sk\sk + \noteskip=0.3\noteskip\tinynotesize + \Ibbbu0hi4\qh0{hgfg}\tqh0i\enotes +\temps\NOtes\hu K&\zhl d\raise\Interligne\ds + \troisc fh&\zcharnote + q{\Trille{7\noteskip}}\itenl0h\hu h\enotes +% mesure 97 +\barre\NOtes\hu D&\zhl d\raise\Interligne\ds + \troisc fh&\tten0\qup h\sk\sk\cu g\enotes +\temps\NOtes\itenl0G\hu G&\itenl3d\zhl d\raise\Interligne\ds + \troisc gi&\itenl2g\hu g\enotes +% mesure 98 +\barre\NOtes\tten0\wh G&\tten3\zwh d\ibu0i0\zq g\qh0i\zq e\qh0j\zq f\qh0h\relax + \itenl0g\zq g\itenu1i\tqh0i&\tten2\wh g\enotes +\temps\NOtes&\tten0\tten1\zh g\hu i\enotes +\finmorceau +\rightline{\sl\aujourdhui}\eject diff --git a/Master/texmf-dist/doc/generic/musictex/avemario.tex b/Master/texmf-dist/doc/generic/musictex/avemario.tex new file mode 100644 index 00000000000..55305aec630 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/avemario.tex @@ -0,0 +1,1007 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\fulltitle{M\'editation -- Ave Maria} + \author{Charles Gounod \& J.-S. Bach\\Transcription Orgue+soliste Daniel +Taupin\\\& Markus Veittes} + \shortauthor{C. Gounod, J.-S. Bach, D. Taupin} + \othermention{G.O.: fl\^ute 8' [+4']\\R\'ecit : fl\^utes 8'+4' [+nasard ou +chalumeau {\it ad lib.}]\\Positif : cornet ou cromorne\\P\'edale : 16', acc. +G.O.} + \title{Ave Maria} +\maketitle + +\staffbotmarg\Interligne +% +\parindent 13mm +\musicsize=20 +\normal +\relativeaccidentals +\def\oct{\advance\transpose by 7\relax} +\def\nbinstruments{3} +\def\instrumenti{P\'edale} +\def\instrumentii{G.O.} +%\def\interinstrumenti{-2\Interligne} +%\def\interinstrumentii{-2\Interligne} +\def\instrumentiii{Positif} +\nbporteesi=1\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax + +\generalmeter{\meterC}% +\cleftoksi{{6}{0}{0}{0}} +\cleftoksii{{0}{0}{0}{0}} +\cleftoksiii{{0}{0}{0}{0}} +%\raggedlinestrue % uncomment for ragged right lines + + +\debutmorceau +\def\OrgNotes#1\enotes{\Notes#1&\relax#5\enotes}% +\autolines{25}{3}{5}% + %\check +%Takt 1 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes +\barre + %\check +%Takt 2 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\barre + %\check +%Takt 3 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\barre + %\check +%Takt 4 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes +\barre + %\check +%Takt 5 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\wh l&A\rlap{---}&\wh e&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes +\barre + %\check +%Takt 6 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\wh m&ve&\hupp f&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h&&&&\enotes +\OrgNotes&\qb2k\tqb2m&&Ma-&\cu f&&&&\enotes +\barre + %\check +%Takt 7 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hlp n&ri\rlap{---}&\hup g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\ql k&\rlap{---}&\qu d&&&&\enotes +\barre + %\check +%Takt 8 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hlp l&a,&\hup e&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 9 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct + \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&\enotes +\OrgNotes&\ibbl0j3\qb0h\tqb0l&&&&\enotes +\OrgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct + \tten5\ibl4c0\qb4h&&\tten4\cu h&&&&\enotes +\OrgNotes&\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\rlap{---}&\Ibu5ac4\qh5a&&&&\enotes +\OrgNotes&\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\qh5b&&&&\enotes +\OrgNotes&\qb1l\tqb1o&\oct\tqb4c&a&\tqh5c&&&&\enotes +\barre + %\check +%Takt 10 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \qlp d&ple\rlap{---}&\qup d&&&&\enotes +\OrgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2f&&&&\enotes +\OrgNotes&\qh2h\tqh2k&\oct \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \ql d&na,&\qu d&&&&\enotes +\OrgNotes&\ibbu1g3\qh1f\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 11 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \tten5\ibl4b0\qb4g&&\tten4\cu g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&\oct + \qb4N&\rlap{---}&\Ibu5Nb4\qh5N&&&&\enotes +\OrgNotes&\ibbl2k0\qb2n\qb2g&\oct + \qb4a&mi-&\qh5a&&&&\enotes +\OrgNotes&\qb2k\tqb2n&\oct + \tqb4b&nus&\tqh5b&&&&\enotes +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 12 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct + \qlp c&te\rlap{---}&\qup c&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \cl d&&\cu d&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct + \ql c&cum,&\qu c&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp&&\qp&&&&\enotes +% +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 13 +\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct + \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct + \tten5\ibl4c0\qb4j&&\tten4\cu j&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct + \qb4c&\rlap{---}&\Ibu5ce4\qh5c&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct + \qb4d&ne\rlap{---}&\qh5d&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \tqb4e&&\tqh5e&&&&\enotes +\barre + %\check +%Takt 14 +\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct\bigaccid + \qlp{^f}&\rlap{dic---}&\bigaccid\qup {^f}&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2d&&&&\enotes +\OrgNotes&\qh2f\tqh2j&\oct + \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct + \ql d&\rlap{---}&\qu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct + \ql a&ta&\qu a&&&&\enotes +\barre + %\check +%Takt 15 +\def\atnextline{\staffbotmarg3\Interligne}% +\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct + \hl b&tu&\hu b&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&\enotes +\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\qp&&\qp&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct + \ql d&in&\qu d&&&&\enotes +\barre + %\check +%Takt 16 +\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\oct + \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct + \tten5\ibl5e1\qb5e&&\tten4\cu e&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct + \qb5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct + \qb5f&&\qh4f&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \tqb5g&&\tqh4g&&&&\enotes +\barre + %\check +%Takt 17 +\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \hl h&e\rlap{---}&\ppt h\qu h&&&&\enotes +\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&\enotes +\OrgNotes&\tqh2k&&ri-&\ccu a&&&&\enotes +\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \ql a&bus&\qu a&&&&\enotes +\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 18 +\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\oct + \itenu5d\hl d&et\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&\enotes +\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \tten5\ibl4d1\qb4d&&\tten4\cu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&\oct + \qb4d&be\rlap{---}&\Ibu5df4\qh5d&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d&\oct + \qb4e&&\qh5e&&&&\enotes +\OrgNotes&\qh2f\tqh2i&\oct + \tqb4f&ne-&\tqh5f&&&&\enotes +\barre + %\check +%Takt 19 +\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct + \hl g&\rlap{dic---}&\hu g&&&&\enotes +\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct + \qu N&tus&\qu N&&&&\enotes +\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 20 +\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4c1\qb4c&&\tten4\cu c&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct + \qb4c&tus&\Ibu5ce4\qh5c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4d&&\qh5d&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4e&&\tqh5e&&&&\enotes +\barre + %\check +%Takt 21 +\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4f1\qb4f&&\tten4\cu f&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct + \qb4f&ris&\Ibu5fh4\qh5f&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4g&&\qh5g&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4h&&\tqh5h&&&&\enotes +\barre + %\check +%Takt 22 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \qlp i&tu--&\qlp i&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \cl h&i,&\cl h&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ql g&\rlap{Je---}&\qu g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \ql d&&\qu d&&&&\enotes +\barre + %\check +%Takt 23 +\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \hlp e&sus.&\hup e&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + &&&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + &&&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \pt a\ds\sk\sk\cl e&&\qp&&&&\enotes +\barre + %\check +%Takt 24 +\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct + \hl g&\rlap{Sanc---}&\hu g&&&&\enotes +\OrgNotes&\bigaccid\ibbu1b3\qh1{_b}\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct + \ql e&ta&\qu e&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds&&\pt h\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e&&&&\enotes +\barre + %\check +%Takt 25 +\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \hl h&ri\rlap{---}&\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \ql a&a,&\qu a&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 26 +\OrgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct + \hl h&\rlap{sanc---}&\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct + \ql c&ta&\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c&\oct\qsk + \pt a\ds&&\qsk\pt h\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&\enotes +\barre + %\check +%Takt 27 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}&\ds&\oct + \hl j&ri\rlap{---}&\hl j&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \bigaccid\ql{_e}&a,&\bigaccid\qu{_e}&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds&&\pt j\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&\enotes +\barre + %\check +%Takt 28 +\OrgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \hl j&ri\rlap{---}&\hl j&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&\enotes +\temps\OrgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \ql d&a!&\qu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct + \pt a\ds\sk\sk\ccl d&&\qp&&&&\enotes +\barre + %\check +%Takt 29 +\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&\enotes +\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4d{-1}\qb4d&&\tten4\cu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct + \qb4d&ra&\Ibu5db4\qh5d&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2N&\oct + \qb4c&&\qh5c&&&&\enotes +\OrgNotes&\qh2b\tqh2d&\oct + \tqb4b&pro&\tqh5 b&&&&\enotes +\barre + %\check +%Takt 30 +\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \qlp g&no\rlap{---}&\qup g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N&&&&\enotes +\OrgNotes&\qh2c\tqh2e&\oct + \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \ql c&bis,&\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 31 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \tten5\ibl4f{-1}\qb4f&&\tten4\cu f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4f&bis&\Ibu5fd4\qh5f&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \qb4e&pec-&\qh5e&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4d&ca-&\tqh5d&&&&\enotes +\barre + %\check +%Takt 32 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \qlp k&to\rlap{---}&\qlp k&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \cl i&ri-&\cl i&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ql g&bus,&\qu g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 33 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\oct + \itenu5h\hl h&nunc&\itenl4h\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \tten5\ibl4h1\qb4h&&\tten4\cu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&\oct + \qb4h&et\rlap{---}&\Ibu5hj4\qh5h&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4i&&\qh5i&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4j&in&\tqh5j&&&&\enotes +\barre + %\check +%Takt 34 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}&\ds&\oct + \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \tten5\ibl4j{-4}\qb4l&&\tten4\cl l&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4j&--&\Ibu5je4\qh5j&&&&\enotes +\OrgNotes&\ibbu2e0\qh2g\qh2N&\oct + \qb4g&ra,&\qh5g&&&&\enotes +\OrgNotes&\qh2c\tqh2g&\oct + \tqb4e&in&\tqh5e&&&&\enotes +\barre + %\check +%Takt 35 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4h&&\tqh5h&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \qb4i&ra&\ibu5i{-1}\qh5i&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4h&&\tqh5h&&&&\enotes +\barre + %\check +%Takt 36 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct + \usf g\qb4g&&\tqh5k&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \usf f\qb4f&tis&\ibu5i{-2}\qh5i&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \usf d\tqb4d&&\tqh5g&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\relax + \lsf i\ibu4i{-3}\qh4i&nos-&\ibu5f{-2}\qh5f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\relax + \lsf h\qh4h&&\tqh5d&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\relax + \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\relax + \lsf d\tqh4d&&\tqh5N&&&&\enotes +\barre + %\check +%Takt 37 +\OrgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds&\relax + \hup c&A\rlap{---}&\itenl4c\hu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&&\rlap{men.}&\tten4\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&\uptext{R\'ecit (doux)}&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 38 +\def\orgNotes#1\enotes{\Notes#1&\relax#4\enotes}% +\def\orgNOTes#1\enotes{\NOTes#1&\relax#4\enotes}% +\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\wh l&A\rlap{---}&&&&&\enotes +\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&\raise -2\Interligne\hpause&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\hl e&&&&&&\enotes +\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes +\barre + %\check +%Takt 39 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\wh m&ve&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&\raise -2\Interligne\hpause&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp d&\ds&&\hl h&&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2h&&&&&&&\enotes +\orgNotes&\qb2k\tqb2m&&&\rlap{\kern -\Interligne Ma-}&\cu f&&&&&&\enotes +\barre + %\check +%Takt 40 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu3g\wh g&\zhl g\hup n&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne\qs\qupp d&\ds&&\hl f&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&\qu k&&&&&&\enotes +\barre + %\check +%Takt 41 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten3\zw e\wh + g&\zhlp g\hup l&&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&&&&&\enotes +\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&&&&&\enotes +\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&\qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 42 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu h&\relax + {\roffset{0.3}{\zhu h}}\oct + \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0h\tqb0l&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp +e&\ds&&{\roffset {0.3}{\zhu l}}\oct + \tten5\ibl4a0\qb4h&&\tten4\ibu5g{-3}\qh5h&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0h\tqb0l&&\oct\qb4a&\rlap{---}&\tqh5a&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1o\qb1h&&\oct\qb4b&ti-&\cu b&&&&&&&&\enotes +\orgNotes&\qb1l\tqb1o&&\oct\tqb4c&a&\cu c&&&&&&&&\enotes +\barre + %\check +%Takt 43 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\bigaccid\zw{^f}&\itenu5o{\zhu o}\oct + \qlp d&ple\rlap{---}&\Ilegu4k\qup d&&&&&&&&\enotes +\orgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2f&&&&&&&&\enotes +\orgNotes&\qh2h\tqh2k&&\oct \cl e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\tten5{\ibu3m{-2}\zqh3o}\oct + \ql d&na,&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1f\tqh1h&&{\qh3h}&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&&\raise -2\Interligne\rlap{\qp}{\qh3i\sk\tqh3j}&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 44 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zw g&\relax + \rlap{\roffset{0.3}{\qupp k}}\oct + \normalnotesize\itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&\sk\sk\sk\ccu l&&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\roffset {0.5}{\zhu k}\oct + \normalnotesize\tten5\ibl4N0\qb4g&&\tten4\ibu5f{-3}\qh5g&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&\oct + \qb4N&\rlap{---}&\tqh5N&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2n\qb2g&&\oct + \qb4a&mi-&\cu a&&&&&&&&\enotes +\orgNotes&\qb2k\tqb2n&&\oct + \tqb4b&nus&\cu b&&&&&&&&\enotes +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 45 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\itenl4e\zw e&{\itenu3n\zhu n}\oct + \qlp c&te\rlap{---}&\Ilegu2j\qup c&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \cl d&&\tleg2\cu d&&&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&&{\tten3\ibu3l{-3}\zqh3n}\oct + \ql c&cum,&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\qh3g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&\raise -2.5\Interligne\rlap{\qp}\qh3h\sk\tqh3i&\qp&\qp&&&&&&&&\enotes +% +\barre + %\check +%Takt 46 +\orgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\zw e&\relax + {\roffset{0.3}{\zhl j}}\oct + \itenu5j\hu j&be\rlap{---}&\itenu4j\hu j&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl a\raise 5\Interligne\qs\qupp c&\ds&&{\zql h}\oct + \tten5\cu j&&\tten4\cl j&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct + \Ibu4ce4\qh4c&\rlap{---}&\Ibl5ce4\qh5c&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&{\zql g}\oct + \qh4d&ne\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \tqh4e&&\tqh5e&&&&&&&&\enotes +\barre + %\check +%Takt 47 +\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds + &&\bigaccid\zw{^f}\oct + \qup{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\qup {^f}&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2d&&&&&&&&\enotes +\orgNotes&\qh2f\tqh2j&&\oct + \cu e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&&\oct + \qu d&\rlap{---}&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&&\oct + \qu a&ta&\qu a&&&&&&&&\enotes +\barre + %\check +%Takt 48 +\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\relax + {\zw g}\oct \hu b&tu&\hu b&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&&&&&\enotes +\temps\orgNotes\zhl N\raise 4.2\Interligne\qs\qupp b&\ds&&\relax + \raise\Interligne\qp&&\qp&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&\oct + \qu d&in&\qu d&&&&&&&&\enotes +\barre + %\check +%Takt 49 +\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&&{\zw{^j}}\oct + \itenu5e\hu e&mu\rlap{---}&\itenl4e\hu e&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\oct + \tten5\cu e&&\tten4\cu e&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct + \Ibu5eg4\qh5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&\oct + \qh5f&&\qh4f&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \tqh5g&&\tqh4g&&&&&&&&\enotes +\barre + %\check +%Takt 50 +\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\itenu3o\hu o&\relax + \rlap{\hlp k}\oct \itenu4h\hu h&e\rlap{---}&\ppt h\qu h&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1d\tqh1h&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&&&&&\enotes +\orgNotes&\tqh2k&&&ri-&\ccu a&&&&&&&&\enotes +\temps\orgNotes\zhl M\raise 3.8\Interligne\qs\qupp a&\ds&\tten3&\tten4\relax + \oct \cu h&bus&\qu a&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1d\tqh1h&&{\Ibu3hj4\qh3h}&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&&\qh3i\sk\tqh3j&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 51 +\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid + \hu r&\bigaccid\zw {=i}\oct\itenu5d\hu d&et\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&&&&&\enotes +\temps\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\hu k&\oct + \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&\oct + \Ibu4df4\qh4d&be\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d&&\oct + \qh4e&&\tqh5e&&&&&&&&\enotes +\orgNotes&\qh2f\tqh2i&&\oct + \tqh4f&ne-&\cu f&&&&&&&&\enotes +\barre + %\check +%Takt 52 +\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\itenu3n\hu +n&{\zhlp j}\oct + \itenu4g\hu g&\rlap{dic---}&\hu g&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1c\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\tten3\ibl3n{3}\qb3n&\oct + \tten4\cu g&tus&\qu N&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1c\tqh1g&\qb3n&\Ibu4gi4\qh4g&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qb3o\sk\tqb3p&\qh4h\sk\tqh4i&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 53 +\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\zw h\hu +q&{\zw h}\oct + \itenu5c\hu c&fruc\rlap{---}&\itenl4c\hu c&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenu3j\hu j&\oct + \tten5\cu c&&\tten4\cu c&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&\oct + \Ibu4ce4\qh4c&tus&\ibu5d1\qh5c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qh4d&&\qh5d&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4e&&\tqh5e&&&&&&&&\enotes +\barre + %\check +%Takt 54 +\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten3\zw c\hu j&\relax + {\zw j}\oct + \itenu5f\hu f&vent\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&&\oct + \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&\hu h&\oct + \Ibu4fh4\qh4f&ris&\ibu5g1\qh5f&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qh4g&&\qh5g&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4h&&\tqh5h&&&&&&&&\enotes +\barre + %\check +%Takt 55 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\hu +g&{\zqlp n}\oct + \qup i&tu--&\Ilegu4k\qlp i&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \cu h&i,&\tleg4\cl h&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp K&\ds&&\relax + \rlap{\roff{\hl m}}\oct \qu g&\rlap{Je---}&\Ilegu5l\qu g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct + \qu d&&\tleg5\qu d&&&&&&&&\enotes +\barre + %\check +%Takt 56 +\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&&{\zhlp j}\oct + \hup e&sus.&\hup e&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hu g&\oct + &&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + &&&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct + \pt a\ds\sk\sk\ccl e&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 57 +\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\zw e\relax + &{\bigfl i\zhlp i}\oct \hu g&&&&&&&\enotes +\orgNotes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu l&\oct + \qu e&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct + \pt a\ds&&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl e&&&&&&\enotes +\barre + %\check +%Takt 58 +\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl c\itenl3e\itenu4h\zh e\hu +h&\itenu2j\zh j\hl o&ri\rlap{---}&\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten3\tten4\zh e\zhl h\hu +j&\tten2\zq j\ql h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&\oct + \qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 59 +\orgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\bigaccid + \zw h\hu{_l}&{\bigfl l\zh l}\oct + \hl h&\rlap{sanc---}&\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu +o&{\zq h}\oct + \ql c&ta&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c&&\oct + \pt a\ds&&\pt h\ds&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&&&&&\enotes +\barre + %\check +%Takt 60 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\zw g\zw j\hu +n&\itenl2j\zh j\oct \hl j&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp L&\ds&\bigaccid\hu{_l}&\bigaccid + \tten2\zq j\ql{_l}&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct + \pt a\ds&&\pt j\ds&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&&&&&\enotes +\barre + %\check +%Takt 61 +\orgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu +k&{\zhp j}\oct + \hl j&ri\rlap{---}&\hl j&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&&&&&\enotes +\temps\orgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu j&\oct + \ql d&a!&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&\oct + \pt a\ds\sk\sk\ccl d&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 62 +\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu +i&{\zhl f}\oct + \itenu5d\hu d&O\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp M&\ds&&{\zql i}\oct + \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct + \Ibu4db4\qh4d&ra&\ibu5d{-1}\qh5d&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2N&&{\itenl4g\zql g}\oct + \qh4c&&\tqh5c&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2d&&\oct + \tqh4b&pro&\cu b&&&&&&&&\enotes +\barre + %\check +%Takt 63 +\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\zw e\hu +g&{\tten4\zw g}\oct + \qup g&no\rlap{---}&\Ilegu4l\qup g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2e&&\oct + \cu e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp L&\ds&\itenu3j\zhl g\hu j&\oct + \qu c&bis,&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct + \raise\Interligne\qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 64 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\itenl3f\zw +f&{\zhl j}\oct + \itenu5f\hu f&no\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl c&{\zhl h}\oct + \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4fd4\qh4f&bis&\cu f&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4e&pec-&\cu e&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4d&ca-&\cu d&&&&&&&&\enotes +\barre + %\check +%Takt 65 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\zw f\zhl d\hu +i&{\zh m}\oct + \qlp k&\raise\Interligne\hbox{to---}&\Ilegu4k\qlp k&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \cl i&ri-&\tleg4\cl i&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl b\hu +k&{\zhl i}\oct + \ql g&bus,&\qu g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct + \raise2\Interligne\qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 66 +\def\atnextline{\autolines{25}25}\relax +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid + \qupp {_L}&\ds&\bigaccid\zhl{^f}&{\bigaccid\zw j\zhl{_l}}\oct + \itenu5h\hu h&nunc&\itenl4h\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\zhl h&{\bigaccid\zhl{^m}}\oct + \tten5\cu h&&\tten4\cu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&\oct + \Ibl4hj4\qb4h&et\rlap{---}&\ibu5i1\qh5h&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qb4i&&\tqh5i&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqb4j&in&\cl j&&&&&&&&\enotes +\barre + %\check +%Takt 67 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds&\zw g\zh j&{\zhl n}\oct + \itenu5l\hu l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{=l}&{\zql{=l}}\oct + \tten5\cu l&&\tten4\ibu5j{-2}\qh5l&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4je4\qh4j&---&\tqh5j&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2g\qh2N&&{\zql j}\oct + \qh4g&ra,&\cu g&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2g&&\oct + \tqh4e&in&\cu e&&&&&&&&\enotes +\barre + %\check +%Takt 68 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw f\hu +k&{\zhl f}\oct + \itenu5d\hu d&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu +h&{\zhl h}\oct + \tten5\cu d&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4hh4\qh4h&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4i&&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4h&&&&&&&&\enotes +\alaligne + %\check +%Takt 69 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\zw d\rh f\zhu +g&\zhl i\oct \Ibu4fc6\qh4h&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct \qh4g&&&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4f&tis&\ibu5i{-2}\qh5i&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \tqh4d&&&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu N&\relax + {\zhl d}\ibu4i{-3}\qh4i&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\relax + \qh4h&&\tqh5d&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\relax + \qh4f&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\relax + \tqh4d&&&&&&\enotes +\barre +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + %\check +%Takt 70 +\orgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds + &\bigaccid\zw{_b}\roff{\itenu3c\zw c}&\roff{\itenu4c\zw c}\bigaccid\wh{_b}\relax + &&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhu C\raise\Interligne\qs\qupp J&\ds&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes +\def\atnextline{\autolines{20}35}\relax +\alaligne + %\check +%Takt 71 +\orgNotes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh +c&\tten4\wh c&&&&&&&&&\enotes +\orgNotes&\oct\ibbu1a3\qh1M\tqh1a&&&&&&&&\enotes +\orgNotes&\oct\ibbu2e0\qh2c\qh2f\qh2c\tqh2a&&&&&&&&\enotes +\temps\orgNotes\tten2\hu J&\oct\ibbu2b0\qh2c\qh2a\qh2M\tqh2a&&&&&&&&\enotes +\orgNotes&\oct\ibbu3M0\qh3M\qh3K\qh3M\tqh3K&&&&&&&&\enotes +\barre + %\check +%Takt 72 +\orgNotes\zw C\qs\itenl3I\qupp I&\ds&&\bigaccid\wh{=b}&&&&&&&&&\enotes +\orgNotes&\ibbl1h3\qb1g\tqb1i&&&&&&&&\enotes +\orgNotes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i&&&&&&&&\enotes +\temps\orgNotes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i&&&&&&&&&&\enotes +\orgNotes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d&&&&&&&&\enotes +\barre + %\check +%Takt 73 +\orgNOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax + &&\pointdorgue f\wh c&&&&&&&&\enotes +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musictex/carillon.tex b/Master/texmf-dist/doc/generic/musictex/carillon.tex new file mode 100644 index 00000000000..548231278ee --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/carillon.tex @@ -0,0 +1,1296 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\shortauthor{D. Taupin} +\title{Carillon triste} +\fullauthor{Daniel TAUPIN} +\othermention{Improvis\'e vers 1960\\Compos\'e en 1991} +\maketitle +\vsize 275mm + +\def\testpgs{5}% +% +\parindent 12mm +% +\tracingstats=2\relax +% +\nbporteesi=2\relax +\def\nbinstruments{1}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-3}\relax % trois bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{2}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{2}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{2}}}% +%\check +\def\instrumenti{Piano} +%\check +\deuxtemps +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\ff{{f}\kern -1pt{f}}% +\def\gluemaxskip{6pt}% +% +% formes frequentes +% +%\check +% au moins deux croches basses et hautes +\def\dqbl#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqbh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +% +% trois doubles croches hautes +\def\tqbbl#1#2#3#4{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\tqb0{#4}}% +\def\tqbbu#1#2#3{\Ibbu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% +\def\Tqbbh{\Tqbbu}% +\def\Tqbh{\Tqbu}% +\def\tqbbL#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#3#4}\tqb0{#5}}% +\def\tqbbH#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#3#4}\tqh0{#5}}% +\def\tqbL#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#3#4}\tqb0{#5}}% +\def\tqbH#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#3#4}\tqh0{#5}}% +%au moins quatre croches basses et hautes +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2#3#4}\tqb0{#5}}% +\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3#4#5}\tqb0{#6}}% +\def\qqbu{\qqbh}\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2#3#4}\tqh0{#5}}% +\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3#4#5}\tqh0{#6}}% +% +% quatre doubles croches +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5#6{\ibbu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbbL#1#2#3#4#5#6{\ibbl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% octave basse en blanche +\def\bohl#1{\zh{`#1}\hl{'#1}}% +\def\bohu#1{\zh{`#1}\hu{'#1}}% +\def\sohl#1{\zh{'#1}\hl{`#1}}% +\def\sohu#1{\zh{'#1}\hu{`#1}}% +% +\def\bozh#1{\zh{`#1'#1}}% +\def\bozq#1{\zq{`#1'#1}}% +\def\boql#1{\zq{`#1}\ql{'#1}}% +\def\boqu#1{\zq{`#1}\qu{'#1}}% +% octave sup. en croches u +\def\soqh#1{\zq{'#1}\qh0{`#1}}% +\def\soqb#1{\zq{'#1}\qb0{`#1}}% +\def\soqu#1{\zq{'#1}\qu{`#1}}% +\def\soql#1{\zq{'#1}\ql{`#1}}% +%\check +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne % +\def\sfhu#1{\lsf #1\hu #1}% +\def\sfwu#1{\lsf #1\wh #1}% +\def\sfhl#1{\usf #1\hl #1}% +\def\sfwl#1{\usf #1\wh #1}% +\def\Sfwu#1{\zw{'#1}\usf{#1}\wh{!#1}}% +\def\Sfwp#1{\pt{'#1}\zw{#1}\pt{!#1}\usf{#1}\wh{#1}}% +\def\LPED{\kern -\internote\PED\kern \internote}% +\def\lPED{\zcharnote{-5}{\hbox to 2.4\internote{\hss\Ped\kern -2pt}}}% +\def\PEDDEP{\PED\sk\sk\sk\DEP\pause}% +\def\PEDpDEP{\PED\sk\sk\sk\DEP\sk}% +% +\debutmorceau\autolines {10}56\global\advance\linesinpage by 1\relax +\hyphenpenalty -50\relax +\notes|\Uptext{\moyen\kern -20pt Largo \rm(\metron{\qu}{60})}\enotes +\vnotes 0.2\elemskip\zmidtwotext{\kern -5mm\ppff\fff}\enotes +\zglu\notes\PEDDEP|\sfhu N\enotes +\temps\notes\PEDpDEP|\sfhu a\enotes +% mesure 2 +\barre\notes\PEDDEP|\sfhu c\enotes +\temps\notes\PEDpDEP|\sfhu d\enotes +% mesure 3 +\barre\NOtes\PED\sk\sk\pointdorgue b\pause\DEP|\pointdorgue m\lsf N\hup N\sk\sk\soupir\enotes +% mesure 4 +\barre\notes\PEDDEP|\sfhu N\enotes +\temps\notes\PEDpDEP|\sfhu a\enotes +% mesure 5 +\barre\notes\PEDDEP|\sfhu c\enotes +\temps\notes\PEDpDEP|\sfhu d\enotes +% mesure 6 +\barre\NOtes\PED\sk\sk\pointdorgue b\pause\DEP|\pointdorgue m\lsf N\hup N\sk\sk\soupir\enotes +% mesure 7 +\barre\notes\PEDDEP|\sfhu N\enotes +\temps\notes\PEDpDEP|\sfhu a\enotes +% mesure 8 +\barre\notes\PEDDEP|\sfhu c\enotes +\temps\notes\PEDpDEP|\sfhu d\enotes +% mesure 9 +\barre\NOtes\PED\sk\sk\pause\sk\DEP\sk|\sfwu e\enotes +% mesure 10 +\troistemps\changecontext\notes\PEDDEP|\sfhu d\enotes +\temps\notes\PEDpDEP|\sfhu e\enotes +\temps\notes\PEDpDEP|\sfhu c\enotes +% mesure 11 +\deuxtemps\changecontext\Notes\PED\sk\sk\pause\sk\DEP\sk|\sfwu N\enotes +% mesure 12 +\barre\Notes\PED\sk\sk\pause\sk\DEP\sk|\sfwu N\enotes +% mesure 13 +\def\bassC{\kern -\internote\PED\kern \internote\soupir\sk\boqu C\DEP\sk}% +\def\bassG{\kern -\internote\PED\kern \internote\soupir\sk\boqu G\DEP\sk}% +\def\BassC{\bohu C\sk\DEP}% +\def\BassG{\bohu G\sk\DEP}% +% +\barre\notes\kern -\internote\PED\kern \internote\soupir\uptext{\ppff pp \it il basso}|\pointdorgue m\sfwu N\enotes +\temps\notes\BassC\enotes +\temps\notes\pointdorgue d\soupir|\enotes +% mesure 14 +\autolines 856\relax +\barre\notes\bassC|\uptext{\ppff\fff}\sfhu N\enotes +\temps\notes\bassC|\sfhu a\enotes +% mesure 15 +\barre\notes\bassC|\sfhu c\enotes +\temps\notes\bassC|\sfhu d\enotes +% mesure 16 +\troistemps\changecontext\notes\kern -\internote\PED\kern \internote\soupir|\sfwu N\enotes +\temps\notes\BassC\sk\soupir\enotes +\temps\notes\hpause\sk|\hpause\enotes +% mesure 17 +\deuxtemps\changecontext\notes\uptext{\ppff pp}\bassC|\uptext{\ppff\fff}\sfhu N\enotes +\temps\notes\bassC|\sfhu a\enotes +% mesure 18 +\barre\notes\bassC|\sfhu c\enotes +\temps\notes\bassC|\sfhu d\enotes +% mesure 19 +\barre\notes\LPED\soupir|\sfwu e\enotes +\temps\notes\BassC\enotes +\temps\notes\soupir\enotes +\advance\barsinline by 1\relax +% mesure 20 +\troistemps\changecontext\notes\bassC|\sfhu d\enotes +\temps\notes\bassC|\sfhu e\enotes +\temps\notes\bassC|\sfhu c\enotes +% mesure 21 +\deuxtemps\changecontext\notes\LPED\soupir|\sfwu N\enotes +\temps\notes\BassG\enotes +\temps\notes\soupir|\enotes +% mesure 22 +\barre\notes\LPED\soupir|\sfwu N\enotes +\temps\notes\BassG\enotes +\temps\notes\soupir|\enotes +% mesure 23 +\troistemps\changecontext\notes\LPED\soupir|\pointdorgue m\sfwu N\enotes +\temps\notes\pointdorgue a\BassC\enotes +\temps\notes\soupir\hpause|\sk\hpause\enotes +\advance\barsinline by 1\relax +% mesure 24 +\deuxtemps\changecontext\autolines{14}36\relax +\notes\PED\zcharnote H{\ppff fff}\sfwl N|\dsoupir +\uptext{\ppff p}\ibu0c5\qh0N\tqh0e\enotes +\temps\notes|\tqbH5fcge\enotes +\temps\notes|\tqbL5hjgn\enotes +\temps\notes\sk\DEP|\tqbL{-9}jljg\enotes +% mesure 25 +\barre\notes\PED\sfwl a|\dsoupir\ibu0c5\qh0M\tqh0c\enotes +\temps\notes|\tqbH5eafc\enotes +\temps\notes|\tqbL5ehfj\enotes +\temps\notes\sk\DEP|\tqbL{-9}lomj\enotes +% mesure 26 +\barre\notes\PED\sfwl c|\dsoupir\ibu0d5\qh0a\tqh0f\enotes +\temps\notes|\tqbH5gchf\enotes +\temps\notes|\tqbL5ijhm\enotes +\temps\notes\sk\DEP|\tqbL{-9}hjhf\enotes +% mesure 27 +\barre\notes\PED\sfwl d|\dsoupir\ibu0d5\qh0a\tqh0f\enotes +\temps\notes|\tqbH5gchf\enotes +\temps\notes|\tqbL5ikhm\enotes +\temps\notes\sk\DEP|\tqbL{-9}hkhf\enotes +% mesure 28 +\barre\notes\PED\itenu0N\sfwl N|\dsoupir\ibu0a5\qh0L\tqh0c\enotes +\temps\notes|\tqbH5eNec\enotes +\temps\notes|\Tqbh gej\enotes +\temps\notes\sk\DEP|\Tqbl glj\enotes +% mesure 29 +\barre\notes\PED\tten0\wh N|\Tqbl nsq\enotes +\temps\notes|\tqbL{-9}mnlj\enotes +\temps\notes|\Tqbl gjg\enotes +\temps\notes\sk\DEP|\tqbH{-5}fegc\enotes +% mesure 30 +\barre\notes\PED\sfwl N|\dsoupir\ibu0c5\qh0N\tqh0e\enotes +\temps\notes|\tqbH5fcge\enotes +\temps\notes|\tqbL5gjgn\enotes +\temps\notes\sk\DEP|\tqbL{-9}jljg\enotes +% mesure 31 +\barre\notes\PED\sfwl a|\dsoupir\ibu0c5\qh0M\tqh0c\enotes +\temps\notes|\tqbH5eafc\enotes +\temps\notes|\tqbL5ehfj\enotes +\temps\notes\sk\DEP|\tqbL{-9}lomj\enotes +% mesure 32 +\barre\notes\PED\sfwl c|\dsoupir\ibu0d5\qh0a\tqh0f\enotes +\temps\notes|\tqbH5gchf\enotes +\temps\notes|\tqbL5hjhm\enotes +\temps\notes\sk\DEP|\tqbL{-9}hjhf\enotes +% mesure 33 +\barre\notes\PED\sfwl d|\dsoupir\ibu0d5\qh0a\tqh0f\enotes +\temps\notes|\tqbH5gchf\enotes +\temps\notes|\tqbL5hkhm\enotes +\temps\notes\sk\DEP|\tqbL{-9}hkhf\enotes +% mesure 34 +\barre\notes\PED\itenu0e\sfwl e|\dsoupir\ibu0e9\qh0c\tqh0g\enotes +\temps\notes|\tqbH5iejg\enotes +\temps\notes|\tqbH5kljn\enotes +\temps\notes\sk\DEP|\Tqbl lqn\enotes +% mesure 35 +\barre\notes\tten0\wh e|\Tqbl sus\enotes +\temps\notes|\Tqbl qsq\enotes +\temps\notes|\tqbL{-3}mnlq\enotes +\temps\notes|\tqbL{-9}lnlj\enotes +% mesure 36 +\troistemps\autolines{17}26\relax +\changecontext\notes\PED\usf d\hl d|\dsoupir\qsk\ibu0h{-5}\qh0h\tqh0f\enotes +\temps\notes\sk\DEP|\Tqbh khf\enotes +\temps\notes\PED\usf e\hl e|\dsoupir\qsk\na i\ibu0i{-5}\qh0i\tqh0g\enotes +\temps\notes\sk\DEP|\Tqbh lig\enotes +\temps\notes\PED\usf c\hl c|\dsoupir\qsk\ibu0h{-5}\qh0g\tqh0e\enotes +\temps\notes\sk\DEP|\Tqbh jge\enotes +% mesure 37 +\deuxtemps +\changecontext +\notes\PED\sfwl N|\dsoupir\ibu0c5\qh0N\tqh0e\enotes +\temps\notes|\tqbH5fcge\enotes +\temps\notes|\tqbL5gjgn\enotes +\temps\notes\sk\DEP|\tqbL{-9}jljg\enotes +% mesure 38 +\barre\autolines{14}36\relax +\notes\PED\sfwl N|\dsoupir\ibu0c5\qh0N\tqh0d\enotes +\temps\notes|\bigna b\tqbH5fbgd\enotes +\temps\notes|\bigna i\tqbL5gign\enotes +\temps\notes\sk\DEP|\tqbL{-9}jkig\enotes +% mesure 39 +\barre\notes\PED\itenu0N\sfwl N|\dsoupir\ibu0c5\qh0N\tqh0e\enotes +\temps\notes|\tqbH5gcge\enotes +\temps\notes|\tqbH5jjgl\enotes +\temps\notes|\tqbL5jjnl\enotes +% mesure 40 +\barre\notes\tten0\pointdorgue c\wh N|\Tqbl qsq\enotes +\temps\notes|\tqbL{-9}mnlj\enotes +\temps\notes|\Tqbl gjg\enotes +\temps\notes\sk\DEP|\rlap{\sk\sk\pointdurgue b}\tqbH{-4}gegc\qsk\enotes +% mesure 41 +% +\def\motif#1#2#3#4{\zbarre\notes|\lsf{#1}\qqbbu{-9}{#1}{#2}{#3}{#4}\enotes +\temps\notes\rlap{\sk\sk\sk\DEP}\qqbbu{-9}{!`#1}{#2}{#3}{#4}\enotes}% +\def\cinqx#1{\rlap{\sk\zcharnote{#1}{\it 5}}}% +% +\alapage\autolines{9}66\relax +\notes\uptext{\ppff pp}\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJLN}|\uptext{\ppff\fff}\sfwu N\enotes +\temps\notes\qqbbl9JLNc\enotes +\motif gecN\relax +% mesure 42 +\barre\notes\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJMa}|\sfwu a\enotes +\temps\notes\qqbbl9JMac\enotes +\motif hfca\relax +% mesure 43 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 44 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\sfwu d\enotes +\temps\notes\qqbbl9JMac\enotes +\motif khfd\relax +% mesure 45 +\barre\notes\LPED\qsoupir +{\transpose=-7\tqbbH9JCJL}|\itenl0N\sfwu N\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\ccl e\tqbbu gjl\enotes +% mesure 46 +\barre\notes|\tten0\zhl N\Qqbbl nljg\enotes +\temps\notes|\qqbbu{-9}gecN\enotes +\zbarre\notes|\qqbbu{-9}gecN\enotes +\temps\notes\rlap{\sk\sk\DEP}\qqbbu{-9}{!`g}ecN\enotes +% mesure 47 +\barre\notes\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJLN}|\uptext{\ppff\fff}\sfwu N\enotes +\temps\notes\qqbbl9JLNc\enotes +\motif gecN\relax +% mesure 48 +\barre\notes\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJMa}|\sfwu a\enotes +\temps\notes\qqbbl9JMac\enotes +\motif hfca\relax +% mesure 49 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 50 + \def\atnextline{\autolines{8}76}\relax +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\sfwu d\enotes +\temps\notes\qqbbl9JMac\enotes +\motif khfd\relax +% mesure 51 +\barre\notes\LPED\qsoupir{\transpose=-7\tqbbH9JCJL}|\itenl0e\sfwu e\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\qqbbl{4}lnus\enotes +% mesure 52 +\barre\notes|\tten0\zhl e\qqbbl{-9}qnlj\enotes +\temps\notes|\qqbbH0ngnlj\enotes +\zbarre\notes|\raise \Interligne\rlap{\hpause}\qqbbl{-9}gecN\enotes +\temps\notes\sk\sk\DEP|\qqbbl{-4}gedc\enotes +% mesure 53 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\sfwu d\enotes +\temps\notes\qqbbl9JMac\enotes +\motif khfd\relax +% mesure 54 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJLN}|\sfwu e\enotes +\temps\notes\qqbbl9{=I}LN{=b}\enotes +\zbarre\notes|\lsf l\qqbbu{-9}l{=i}ge\enotes +\temps\notes\rlap{\sk\sk\sk\DEP}\qqbbu{-9}{!`l}ige\enotes +% mesure 55 +\def\atnextline{\autolines966}% +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 56 +\barre\notes\LPED\qsoupir +{\transpose=-7\tqbbH9JG{=I}K}|\sfwu N\enotes +\temps\notes\qqbbl9G{=I}KN\enotes +\zbarre\notes|\lsf g\qqbbu{-9}gd{=b}N\enotes +\temps\notes\rlap{\sk\sk\sk\DEP}\qqbbu{-9}{!`g}dbN\enotes +% mesure 57 +\barre\notes\LPED\qsoupir +{\transpose=-7\tqbbH9JG{=I}L}|\sfwu N\enotes +\temps\notes\qqbbl9G{=I}LN\enotes +\zbarre\notes|\lsf g\qqbbu{-9}ge{=b}N\enotes +\temps\notes\qqbbu{-9}{!`g}ebN\enotes +% mesure 58 +\barre\notes\LPED\qsoupir{\transpose=-7\tqbbH9JCJL}|\itenl0N\sfwu N\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\qqbbl{4}lnus\enotes +% mesure 59 +\troistemps\changecontext\notes|\tten0\zw N\qqbbl{-9}qnlj\enotes +\temps\notes|\qqbbH0ngnlj\enotes +\temps\notes|\qqbbu{-9}gecN\enotes +\zbarre\notes\transpose=-7\relax\qqbbu{-9}gecN\enotes +\temps\Notes\BassC\sk|\qsk\hpause\enotes +% +% mesure 60 +\def\motif#1#2#3#4{\zbarre\notes|\usf{!'#1}\qqbbl{-9}{#1}{#2}{#3}{#4}\enotes +\temps\notes\sk\sk\sk\DEP|\qqbbu{-9}{!#1}{#2}{#3}{#4}\enotes}% +% +\alapage\autolines{9}66\relax +\notes\uptext{\ppff mf}\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJLN}|\uptext{\ppff\fff}\Sfwu N\enotes +\temps\notes\qqbbl9JLNc\enotes +\motif gecN\relax +% mesure 61 +\barre\notes\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJMa}|\Sfwu a\enotes +\temps\notes\qqbbl9JMac\enotes +\motif hfca\relax +% mesure 62 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 63 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu d\enotes +\temps\notes\qqbbl9KMad\enotes +\motif khfd\relax +% mesure 64 +\barre\notes\LPED\qsoupir +{\transpose=-7\tqbbH9JCJL}|\itenu1g\itenl0N\Sfwu N\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\ccl e\tqbbu gjl\enotes +% mesure 65 +\barre\notes|\tten0\tten1\zh g\zhl N\qqbbh{-9}nljg\enotes +\temps\notes|\qqbbu{-9}gecN\enotes +\zbarre\notes|\qqbbu{-9}gecN\enotes +\temps\notes\rlap{\sk\sk\DEP}\qqbbu{-9}{!`g}ecN\enotes +% mesure 66 +\barre\notes\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJLN}|\uptext{\ppff\fff}\Sfwu N\enotes +\temps\notes\qqbbl9JLNc\enotes +\motif gecN\relax +% mesure 67 +\barre\notes\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJMa}|\Sfwu a\enotes +\temps\notes\qqbbl9JMac\enotes +\motif hfca\relax +% mesure 68 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 69 + \def\atnextline{\autolines{8}76}\relax +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu d\enotes +\temps\notes\qqbbl9KMad\enotes +\motif khfd\relax +% mesure 70 +\barre\notes\LPED\qsoupir{\transpose=-7\tqbbH9JCJL}|\itenl0e\itenu1l\Sfwu e\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\qqbbl{4}lnus\enotes +% mesure 71 +\barre\notes|\tten0\tten1\zh l\zhl e\qqbbH{-9}oqnlj\enotes +\temps\notes|\qqbbH0ngnlj\enotes +\zbarre\notes|\raise \Interligne\rlap{\hpause}\qqbbl{-9}gecN\enotes +\temps\notes\sk\sk\sk\DEP|\qqbbl{-4}gedc\enotes +% mesure 72 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu d\enotes +\temps\notes\qqbbl9KMad\enotes +\motif khfd\relax +% mesure 73 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJLN}|\Sfwu e\enotes +\temps\notes\qqbbl9{=I}LN{=b}\enotes +\def\motif#1#2#3#4{\zbarre\notes|\usf{!'#1}\qqbbl{-9}{#1}{#2}{#3}{#4}\enotes +\temps\notes\sk\sk\sk\DEP|\qqbbu{-9}{!#1}{#2}{#3}{#4}\enotes}% +\motif l{=i}ge\relax +% mesure 74 +\def\atnextline{\autolines966}% +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 75 +\barre\notes\LPED\qsoupir +{\transpose=-7\tqbbH9JG{=I}K}|\Sfwu N\enotes +\temps\notes\qqbbl9G{=I}KN\enotes +\zbarre\notes|\usf{!'g}\qqbbl{-9}gd{=b}N\enotes +\temps\notes\sk\sk\sk\DEP|\qqbbu{-9}{g}d{=b}N\enotes +% mesure 76 +\barre\advance\elemskip 1pt\notes\LPED\qsoupir +{\transpose=-7\tqbbH9JG{=I}L}|\Sfwu N\enotes +\temps\notes\qqbbl9G{=I}LN\enotes +\zbarre\notes|\lsf{!'g}\qqbbu{-9}ge{=b}N\enotes +\temps\notes\sk\sk\sk\DEP|\qqbbu{-9}{g}ebN\enotes +% mesure 77 +\barre\notes\LPED\qsoupir{\transpose=-7\tqbbH9JCJL}|\itenl0N\itenu1g\Sfwu N\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\qqbbl{4}lnus\enotes +% mesure 78 +\troistemps\changecontext\notes|\tten0\tten1\zw g\zw N\qqbbH{-9}oqnlj\enotes +\temps\notes|\qqbbH0ngnlj\enotes +\zbarre\notes|\qqbbu{-9}gecN\enotes +\temps\notes\transpose=-7\relax\qqbbu{-9}gecN\enotes +\temps\notes\BassC\qsk|\qsk\hpause\enotes +% +% mesure 79 +\alapage +\autolines{25}2{\testpgs}\relax +\znotes\zmidtwotext{\kern -3.5mm\ppff ff}|\raise 9\Interligne +\llap{\moyen appassionato\kern -1.5cm}\uptext{\kern -\internote\rm(\metron{\qu}{80})}\enotes +% +%\check +\newif\ifsupa\supafalse +\def\accord#1#2#3#4#5#6#7{\normalnotesize +\notes\rlap{\qsk\whp{!`#1}}\smallnotesize +\raise -2\Interligne\llap{\LPED\sk}\ibbu0{#1}9\qh0{`#1!#1#2}\tqh0{#3}\relax +|\normalnotesize\zwp{#5}\zwp{#6}\zwp{#7}\relax +\usf{!'#5}\whp{!'#5}\smallnotesize\ibbu0{!#5}9\qh0{#5#6}\tqh0{#7}\enotes + %\check 1 +\temps\smallnotesize\notes +\Qqbbu{!#4}{!'#2}{!'#3}{!'#4}|\Qqbbu{!'#5}{!'#5}{!'#6}{!'#7}\enotes +%\check 1 +\temps\notes +|\rlap{\ibbl0{!''#2}8\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{!'''#2}}\relax +\ibbu0{!''#5}7\qh0{!''#5}\qh0{#5}\qh0{#6}\tbu0\qh0{#7}\enotes +%\check 1 +\temps\notes|\rlap{\ibbl0{!'''#3}{-9}\qb0{!'''#3#2`#4}\tqb0{!''#3}}\relax +\ibbu0{!'''#5}{-9}\qh0{!'''#5`#7#6}\tqh0{#5}\enotes +%\check 1 +\temps\notes +\ifsupa|\rlap{\ibbl0{!'#4}{-9}\qb0{!''#2`#4#3}\tqb0{#2}}\relax +\else\ibbu0{!''#3}{-9}\qh0{!''#3#2`#4}\tqh0{#3}|\fi +\ibbu0{!''#5}{-9}\qh0{!''#5`#7#6}\tqh0{#5}\enotes +%\check 1 +\temps\notes\raise -2\Interligne +\rlap{\sk\sk\DEP}\ibbu0{#4}{-9}\qh0{#4#3#2}\tqh0{!`#4}\relax +|\ibbu0{!'#5}{-9}\qh0{!'#5`#7#6}\tqh0{#5}\enotes +}% +% +%\check +\accord CEGJNce\relax +% mesure 80 +\barre\accord CFHJacf\relax +% mesure 81 +\barre\supatrue\accord CFHJcfh\relax +% mesure 82 +\barre\accord CFHJdfh\relax +% mesure 83 +\def\Accord#1#2#3#4#5#6#7{\normalnotesize +\notes\rlap{\qsk\whp{!`#1}}\smallnotesize +\raise -2\Interligne\llap{\LPED\sk}\ibbu0{#1}9\qh0{!`#1!#1#2}\tqh0{#3}\relax +|\zwp{#5#6#7}\relax +\usf{!'#5}\whp{!'#5}\smallnotesize\ibbu0{!#5}9\qh0{#5#6}\tqh0{#7}\enotes +%\check 1 +\smallnotesize\temps\notes\ibbu0{'#2}9\qh0{!#4'#2#3}\tqh0{!'#4}\relax +|\ibbu0{!'#5}8\qh0{!'#5#5#6}\tqh0{#7}\enotes +%\check 1 +\temps\notes|\rlap{\ibbl0{!''#2}8\qb0{#2#3#4}\tqb0{!'''#2}}\relax +\ibbu0{!''#5}7\qh0{!''#5#5#6}\tqh0{#7}\enotes}\relax +% +\barre\Accord CEGJNce\relax +\temps\notes|\qsk\octfin{22}{12}\rlap{\qqbbl9gjln}\qqbbu8nnqs\enotes +\temps\notes|\rlap{\qqbbl{-9}qnlj}\qqbbu{-9}usqn\enotes +\temps\notes|\rlap{\qqbbl{-9}gecN}\qqbbu{-9}nljg\enotes +% mesure 84 +\barre\notes\qqbbu{-9}ecNL|\qqbbu{-9}nljg\enotes +\temps\notes\qqbbu{-9}cNLJ|\qqbbu{-9}ljge\enotes +\temps\notes\qqbbu{-9}NLJG|\zcharnote{a}{\DIMin}\qqbbu{-9}jgec\enotes +\temps\notes\qqbbu{-9}LJGE|\qqbbu{-9}gecN\enotes +\temps\notes\qqbbu{-9}JGEC|\qqbbu{-9}ecNL\enotes +\normalnotesize\temps\notes\boqu C\DEP\qsk|\qu J\enotes +% mesure 85 +\barre\supafalse\notes\zmidtwotext{\ppff ff}\enotes +\accord CEGJNce\relax +% mesure 86 +\barre\accord CFHJacf\relax +% mesure 87 +\barre\supatrue\accord CFHJcfh\relax +% mesure 88 +\barre\accord CFHJdfh\relax +% mesure 89 +\barre\Accord CEGJegj\relax +\temps\notes|\qsk\octfin {20}{8}\rlap{\qqbbl0gljg}\qqbbH0qsnsq\enotes +\temps\notes|\rlap{\qqbbl{-9}ecNL}\qqbbu{-9}nljg\enotes +\temps\notes|\rlap{\qqbbl{-9}{!'c}NLJ}\qqbbu{-9}{!'l}jge\enotes +% mesure 90 +\barre\notes\qqbbu{-9}gecN|\qqbbu{-9}qnlj\enotes +\temps\notes\qqbbu{-9}ecNL|\qqbbu{-9}nljg\enotes +\temps\notes\qqbbu{-9}cNLJ|\zcharnote{c}{\DIMin}\qqbbu{-9}ljge\enotes +\temps\notes\qqbbu{-9}NLJG|\qqbbu{-9}jgec\enotes +\temps\notes\qqbbu{-9}LJGE|\qqbbu{-9}gecN\enotes +\normalnotesize\temps\notes\rlap{\qu J}\boqu C\DEP\sk|\enotes +% mesure 91 +\barre\normalnotesize +\addspace{ -0.25\elemskip}\notes\rlap{\qsk\whp{!`C}}\smallnotesize +\raise -2\Interligne\llap{\LPED\sk}\ibbu0{C}9\qh0{`C!CF}\tqh0{H}\relax +|\zwp{d}\zwp{f}\zwp{h}\relax +\usf{!'d}\whp{!'d}\smallnotesize\ibbu0{!d}9\qh0{df}\tqh0{h}\enotes +%\check +\temps\smallnotesize\notes +\ibbu0{K}9\qh0{!K'FH}\tqh0{!'K}\relax +|\ibbu0{!'d}8\qh0{!'d}\qh0{d}\qh0{f}\tqh0{h}\enotes +%\check +\temps\notes +|\qsk\octfin{20}8\rlap{\ibbl0{!'F}8\qb0{F}\qb0{H}\qb0{K}\tqb0{!''F}}\relax +\ibbu0{!'d}7\qh0{!'d}\qh0{d}\qh0{f}\tbu0\qh0{h}\enotes +%\check +\temps\notes|\rlap{\ibbl0{!''H}{-9}\qb0{!''HF`K}\tqb0{!'H}}\relax +\ibbu0{!''d}{-9}\qh0{!''d`hf}\tqh0{d}\qsk\enotes +%\check +\temps\notes +\ifsupa|\rlap{\ibbl0{!'K}{-9}\qb0{!''F`KH}\tqb0{F}}\relax +\else\ibbu0{!''H}{-9}\qh0{!''HF`K}\tqh0{H}|\fi +\ibbu0{!''d}{-9}\qh0{!''d`hf}\tqh0{d}\enotes +%\check +\temps\notes\raise -2\Interligne +\rlap{\sk\sk\DEP}\ibbu0{K}{-9}\qh0{KHF}\tqh0{!`K}\relax +|\ibbu0{!'d}{-9}\qh0{!'d`hf}\tqh0{d}\enotes +% mesure 92 +\barre\normalnotesize\notes\rlap{\qsk\whp{!`C}}\smallnotesize +\raise -2\Interligne\llap{\LPED\sk}\ibbu0{C}9\qh0{!`C!CG}\tqh0{=I}\relax +|\bigna i\zwp{e}\zwp{g}\zwp{i}\relax +\usf l\whp l\smallnotesize\Ibbu0{!e}{!i}3\qh0{eg}\tqh0{=i}\enotes +%\check +\temps\smallnotesize\notes +\ibbu0{!'G}9\qh0{!L'G=I}\tqh0{!'L}\relax +|\ibbu0{!'e}8\qh0{!'e}\qh0{e}\qh0{g}\tqh0{=i}\enotes +%\check +\temps\notes +|\qsk\octfin{!'s}8\rlap +{\ibbl0{!'G}8\qb0{G}\qb0{I}\qb0{L}\tqb0{!''G}}\relax +\ibbu0{!'e}7\qh0{!'e}\qh0{e}\qh0{g}\tbu0\qh0{=i}\enotes +%\check +\notes|\rlap{\ibbl0{!''I}{-9}\qb0{!''IG`L}\tqb0{!'I}}\relax +\ibbu0{!''e}{-9}\qh0{!''e`ig}\tqh0{e}\qsk\enotes +%\check +\temps\notes +\ifsupa|\rlap{\ibbl0{!'L}{-9}\qb0{!''G`LI}\tqb0{G}}\relax +\else\ibbu0{!''I}{-9}\qh0{!''IG`L}\tqh0{I}|\fi +\ibbu0{!''e}{-9}\qh0{!''e`ig}\tqh0{e}\enotes +%\check +\temps\notes\raise -2\Interligne +\rlap{\sk\sk\DEP}\ibbu0{L}{-9}\qh0{LIG}\tqh0{!`L}\relax +|\ibbu0{!'e}{-9}\qh0{!'e`ig}\tqh0{e}\enotes +% mesure 93 +\barre\accord CFHJcfh\relax +% mesure 94 +\barre\normalnotesize\supafalse +\notes\rlap{\qsk\whp{!`G}}\smallnotesize +\raise -2\Interligne\llap{\LPED\sk}\ibbu0B9\qh0{!`G!=BD}\tqh0{G}\relax +|\normalnotesize\bigna b\zwp{N}\zwp{b}\zwp{d}\relax +\usf{!'N}\whp{!'N}\smallnotesize\ibbu0{!N}9\qh0{Nb}\tqh0{d}\enotes +%\check +\smallnotesize\temps\notes +\ibbu0{!'D}9\qh0{!'=BDG}\tqh0{!''=B}\relax +|\ibbu0{!'N}8\qh0{!'N}\qh0{N}\qh0{=b}\tqh0{d}\enotes +%\check +\temps\notes +|\rlap{\ibbl0{!''D}8\qb0{D}\qb0{G}\qb0{!'''=B}\tqb0{D}}\relax +\ibbu0{!''N}7\qh0{!''N}\qh0{N}\qh0{=b}\tbu0\qh0{d}\enotes +%\check +\temps\notes|\rlap{\ibbl0{!'''G}{-9}\qb0{!'''GDB}\tqb0{!''G}}\relax +\ibbu0{!'''N}{-9}\qh0{!'''N`db}\tqh0{N}\enotes +%\check +\temps\notes\ibbu0{!''D}{-9}\qh0{!''DB`G}\tqh0{D}\relax +|\ibbu0{!''N}{-9}\qh0{!''N`db}\tqh0{N}\enotes +%\check +\temps\notes\raise -1.5\Interligne\rlap +{\sk\sk\DEP}\ibbu0{!'B}{-9}\qh0{!'B`GD}\tqh0{B}\relax +|\ibbu0{!'N}{-9}\qh0{!'N`db}\tqh0{N}\enotes +% mesure 95 +\def\atnextline{\autolines{25}1{\testpgs}}\relax +\barre\supafalse\normalnotesize +\notes\rlap{\qsk\whp{!`G}}\llap{\LPED\off{0.5\noteskip}}\smallnotesize +\Ibbu0{!`G}{!G}3\qh0{!`G!=BE}\tqh0{G}\relax +|\zwp{N}\bigna b\zwp{b}\zwp{e}\relax +\usf{!'N}\whp{!'N}\smallnotesize\Ibbu0{!N}{!e}2\qh0{!Nb}\tqh0{e}\enotes +%\check +\smallnotesize\temps\notes +\Ibbu0{!'B}{!''B}3\qh0{!'=BEG}\tqh0{!''=B}\relax +|\Ibbu0{!'N}{!'e}3\qh0{!'N}\qh0{N}\qh0{=b}\tqh0{e}\enotes +%\check +\temps\notes +|\rlap{\Ibbl0{!''E}{!'''E}3\qb0{!''EG}\qb0{!'''=B}\tqb0{E}}\relax +\Ibbu0{!''N}{!''e}3\qh0{!''NN=b}\tbu0\qh0{e}\enotes +%\check +\temps\notes|\rlap{\Ibbl0{!'''G}{!''G}3\qb0{!'''GEB}\tqb0{!''G}}\relax +\Ibbu0{!'''N}{!''N}3\qh0{!'''N`eb}\tqh0{N}\enotes +%\check +\temps\notes\Ibbu0{!''E}{!'E}3\qh0{!''EB`G}\tqh0{E}|\relax +\Ibbu0{!''N}{!'N}3\qh0{!''N`eb}\tqh0{N}\enotes +%\check +\temps\notes\raise -1.5\Interligne\rlap +{\sk\sk\DEP}\Ibbu0{!'B}{!B}3\qh0{!'B`GE}\tqh0{B}\relax +|\Ibbu0{!'N}{!N}3\qh0{!'N`eb}\tqh0{N}\enotes +% mesure 96 +\def\atnextline{\autolines{23}2{\testpgs}}\relax +\barre\znotes\zcharnote{e}{\rlap{\DIMin}\kern 12\elemskip\DIMin}\enotes\relax +\Accord CEGJNce\relax +\temps\notes|\qsk\octfin{22}{12}\rlap{\qqbbl9gjln}\qqbbu8nnqs\enotes +\temps\notes|\rlap{\qqbbl{-9}qnlj}\qqbbu{-9}usqn\enotes +\temps\notes|\rlap{\qqbbl{-9}gecN}\qqbbu{-9}nljg\enotes +% mesure 97 +\barre\notes\qqbbu{-9}ecNL|\qqbbu{-9}nljg\enotes +\temps\notes\qqbbu{-9}cNLJ|\qqbbu{-9}ljge\enotes +\temps\notes\qqbbu{-9}NLJG|\zcharnote{a}{\DIMin}\qqbbu{-9}jgec\enotes +\temps\notes\qqbbu{-9}LJGE|\qqbbu{-9}gecN\enotes +\temps\notes\qqbbu{-9}JGEC|\qqbbu{-9}ecNL\enotes +\normalnotesize +\temps\notes\pointdorgue N\itenu0{!`C}\transpose=0\relax\boqu C\DEP\qsk + |\pointdorgue m\qu J\enotes +\suspmorceau +% mesure 98 +\def\interfacteur{9}\computewidths +\preprmorceau\normalnotesize\autolines{18}36\relax +\Notes\tten0\zmidtwotext{\ppff mf}\qqbH9C{!`C}{!C}GJ|\uptext{\it + espressivo}\enotes +\temps\Notes\qqbH9MLNce\enotes +\temps\Notes|\ibu0j5\qh0g\lsf j\qh0j\lsf l\qh0l\lsf m\tqh0m\enotes +% mesure 99 +\barre\Notes\qqbH9E{!`E}{!E}IL|\Ilegu2q\usf n\whp n\enotes +\temps\Notes|\qqbl9Nbeg\enotes +\temps\Notes|\qqbl7ilmn\enotes +% mesure 100 +\deuxtemps +\changecontext\Notes\qqbH9I{!`I}{!I}KM|\hl m\enotes +\temps\Notes\qqbl8N{=b}df|\hl n\enotes +% mesure 101 +\barre\autolines{14}46\relax +\Notes\qqbl{-9}gecN|\zcharnote s{\vrule width 0pt height 7pt}\hl l\enotes +\temps\Notes\qqbl6a{_b}df|\hl m\enotes +% mesure 102 +\barre\Notes\qqbl{-7}ecba|\wh n\enotes +\temps\Notes\qqbL{8}LNLef|\sk\sk\sk\tleg2\enotes +% mesure 103 +\barre\Notes\qqbL{-9}egdbN|\Ilegu2r\hl p\enotes +\temps\Notes\bigna a\qqbl6aceg|\hl q\enotes +% mesure 104 +\troistemps\changecontext\Notes\bigaccid\sh f\qqbl{-9}fd{=a}{^M}\relax +|\tleg2\bigna o\wh o\enotes +\temps\Notes\qqbu3KJKM\enotes +\temps\Notes\qqbl6acd{f}|\hpause\enotes +% mesure 105 +\deuxtemps\changecontext\Notes\qqbu{-9}ebNK|\Ilegu2p\wh n\enotes +\temps\Notes\qqbH9NLNbe\enotes +% mesure 106 +\barre\Notes\bigaccid\qqbl{-9}fd{=b}a|\hl m\enotes +\temps\Notes\bigaccid\qqbl{-9}NK{=I}G|\hl n\enotes +% mesure 107 +\barre\autolines{13}46\Notes\qqbl9HLac|\hl l\enotes +\temps\Notes\qqbl9KM{_b}d|\hl m\enotes +% mesure 108 +\barre\Notes\qqbl{-7}ecbN|\tleg2\wh n\enotes +\temps\Notes\qqbl{9}KN{=b}h\enotes +% mesure 109 +\barre\autolines{13}56\relax +\Notes\qqbl{-8}fd{=b}a|\Ilegu2q\hl m\enotes +\temps\Notes\qqbl8Ndfg|\hl n\enotes +% mesure 110 +\barre\Notes\Qqbl ecaL|\tleg2\wh j\enotes +\temps\Notes\usf e\Qqbl ecNL\enotes +% mesure 111 +\barre\Notes\usf f\Qqbl fdaM|\sk\sk\sk\pause\enotes +\temps\Notes\usf g\Qqbl gd{=b}N\enotes +% mesure 112 +\barre\Notes\sk\sk\sk\pause|\lsf h\Qqbu hfca\enotes +\temps\Notes|\lsf f\Qqbu fdaM\enotes +% mesure 113 +\barre\Notes\zcharnote{c}{\CREsc}\sk\sk\sk\pause|\lsf g\Qqbu ge{=b}N\enotes +\temps\Notes\zmidtwotext{\it rit.}|\lsf g\Qqbu gdbN\enotes +% mesure 114 +\troistemps\alaligne\autolines{25}26\relax +\znotes\zmidtwotext{\kern -7mm\ppff ff}|\raise 8\Interligne +\llap{\moyen appassionato\kern -2cm}\uptext{\kern -7mm\rm +(\metron{\qu}{75--80})}\enotes +% +\supafalse +%\check +\accord CEGJNce\relax +% mesure 115 +\barre\accord CFHJacf\relax +% mesure 116 +\barre\supatrue\accord CFHJcfh\relax +% mesure 117 +\barre\accord CFHJdfh\relax +\suspmorceau +% mesure 118 +\def\interfacteur{11}\computewidths +\preprmorceau\normalnotesize\notes\rlap{\qsk\whp{!`E}}\smallnotesize +\raise -3\Interligne\llap{\LPED\sk}\ibbu0{F}9\qh0{!`E!EI}\tqh0{L}\relax +|\zwp{g}\zwp{i}\zwp{l}\relax +\usf{!'g}\whp{!'g}\smallnotesize\ibbu0{!g}9\qh0{gi}\tqh0{l}\enotes +%\check +\temps\smallnotesize\notes +\ibbu0{!'I}9\qh0{!'GI'E}\tqh0{!''G}\relax +|\ibbu0{!'g}8\qh0{!'g}\qh0{g}\qh0{i}\tqh0{l}\enotes +%\check +\temps\notes|\qsk +\octfin{!'r}{8}\rlap{\ibbl0{!'I}8\qb0{I}\qb0{L}\qb0{!''G}\tqb0{I}}\relax +\ibbu0{!'g}7\qh0{!'g}\qh0{g}\qh0{i}\tbu0\qh0{l}\enotes +%\check +\notes|\rlap{\ibbl0{!''L}{-9}\qb0{!''LIG}\tqb0{!'L}}\relax +\ibbu0{!''g}{-9}\qh0{!''g`li}\tqh0{g}\enotes +%\check +\temps\notes\qsk +\ifsupa|\qsk\rlap{\ibbl0{!''G}{-9}\qb0{!''IG`L}\tqb0{I}}\relax +\else\ibbu0{!''G}{-9}\qh0{!''GE`I}\tqh0{G}|\fi +\ibbu0{!''g}{-9}\qh0{!''g`li}\tqh0{g}\enotes +%\check +\temps\notes\raise -2\Interligne +\rlap{\sk\sk\DEP}\ibbu0{!'G}{-9}\qh0{!'G`LI}\tqh0{G}\relax +|\ibbu0{!'g}{-9}\qh0{!'g`li}\tqh0{g}\enotes +% +% mesure 119 +\normalnotesize\deuxtemps\changecontext\notes\smallnotesize\qqbbH9FBF{=I}K\relax +|\llap{\zq f\zql m\kern 1.5pt}\smallnotesize\smallnotesize\qqbbH0kk{=i}ki\enotes +\temps\notes\smallnotesize + \qqbbl4M{=b}db|\llap{\zq g\zql n\kern 1.5pt}\smallnotesize\qqbbH0kkiki\enotes +\temps\notes\smallnotesize + \qqbbl{-9}caLJ|\llap{\zq e\zql l\kern 1.5pt}\smallnotesize\qqbbH0jjhjh\enotes +\temps\notes\smallnotesize + \qqbbu{-9}MK{_I}F|\llap{\zq f\zql m\kern 1.5pt}\smallnotesize\qqbbH0kk{_i}ki\enotes +% +% mesure 120 +\autolines{20}2{\testpgs}\relax +\normalnotesize\troistemps\changecontext\notes\rlap{\qsk\whp{!`E}}\smallnotesize +\raise -3\Interligne\llap{\LPED\sk}\ibbu0{E}9\qh0{`E!EG}\tqh0{I}\relax +|\zwp{g}\zwp{i}\zwp{l}\relax +\usf{!'g}\whp{!'g}\smallnotesize\ibbu0{!g}9\qh0{gi}\tqh0{l}\enotes +%\check +\smallnotesize\temps\notes +\ibbu0{!'G}9\qh0{!'EGI}\tqh0{!''E}\relax +|\ibbu0{!'g}8\qh0{!'g}\qh0{g}\qh0{i}\tqh0{l}\enotes +%\check +\temps\notes|\qsk +\octfin{!'r}{8}\rlap{\ibbl0{!'G}8\qb0{G}\qb0{I}\qb0{!''E}\tqb0{G}}\relax +\ibbu0{!'g}7\qh0{!'g}\qh0{g}\qh0{i}\tbu0\qh0{l}\enotes +%\check +\notes|\rlap{\ibbl0{!''I}{-9}\qb0{!''IGE}\tqb0{!'I}}\relax +\ibbu0{!''g}{-9}\qh0{!''g`li}\tqh0{g}\enotes +%\check +\temps\notes\qsk +\ifsupa|\qsk\rlap{\ibbl0{!''E}{-9}\qb0{!''GE`I}\tqb0{G}}\relax +\else\ibbu0{!''G}{-9}\qh0{!''GE`I}\tqh0{G}|\fi +\ibbu0{!''g}{-9}\qh0{!''g`li}\tqh0{g}\enotes +%\check +\temps\notes\raise -3\Interligne +\rlap{\sk\sk\DEP}\ibbu0{!'E}{-9}\qh0{!'E`IG}\tqh0{E}\relax +|\ibbu0{!'g}{-9}\qh0{!'g`li}\tqh0{g}\enotes +% +% mesure 121 +\normalnotesize\generalmeter{\meterfrac{1}{2}}\changecontext +\notes\smallnotesize\qqbbH9C{!`G}{!D}GI|\llap{\zq i\zql p\kern 1.5pt}\smallnotesize\qqbbH0nnknk\enotes +\temps\notes\smallnotesize\qqbbl9JLNc|\llap{\zq j\zql q\kern 1.5pt}\smallnotesize\qqbbH0nnlnl\enotes +% +% mesure 122 +\normalnotesize\troistemps\changecontext\autolines{27}2{\testpgs}\relax +\notes\rlap{\qsk\whp{!`D}}\smallnotesize +\llap{\LPED\sk}\ibbu0{D}9\qh0{`D!D^F}\tqh0{H}\relax +|\normalnotesize\bigsh m\zwp{h}\zwp{k}\zwp{m}\relax +\usf{!'h}\whp{!'h}\smallnotesize\ibbu0{!h}9\qh0{hk}\tqh0{m}\enotes +%\check +\smallnotesize\temps\notes +\ibbu0{!'F}9\qh0{!'D^FH}\tqh0{!''D}\relax +|\ibbu0{!'h}8\qh0{!'h}\qh0{h}\qh0{k}\tqh0{^m}\enotes +%\check +\temps\notes +|\qsk\octfin{22}8\rlap{\ibbl0{!'F}8\qb0{^F}\qb0{H}\qb0{!''D}\tqb0{^F}}\relax +\ibbu0{!'h}7\qh0{!'h}\qh0{h}\qh0{k}\tbu0\qh0{^m}\enotes +%\check +\notes|\rlap{\ibbl0{!''H}{-9}\qb0{!''HFD}\tqb0{!'H}}\relax +\ibbu0{!''h}{-9}\qh0{!''h`mk}\tqh0{h}\qsk\enotes +%\check +\temps\notes +\ifsupa|\rlap{\ibbl0{!''D}{-9}\qb0{!''FD`H}\tqb0{F}}\relax +\else\ibbu0{!''F}{-9}\qh0{!''FD`H}\tqh0{F}|\fi +\ibbu0{!''h}{-9}\qh0{!''h`mk}\tqh0{h}\enotes +%\check +\temps\notes\rlap{\sk\sk\DEP}\ibbu0{!'D}{-9}\qh0{!'D`HF}\tqh0{D}\relax +|\ibbu0{!'h}{-9}\qh0{!'h`mk}\tqh0{h}\enotes +% +% mesure 123 +\barre\notes\rlap{\qsk\whp{!`E}}\smallnotesize +\raise -2\Interligne\llap{\LPED\sk}\ibbu0{E}9\qh0{!`E!EG}\tqh0{I}\relax +|\normalnotesize\zwp{g}\zwp{i}\zwp{l}\relax +\usf{!'g}\whp{!'g}\smallnotesize\ibbu0{!g}9\qh0{gi}\tqh0{l}\enotes +%\check +\smallnotesize\temps\notes +\ibbu0{!'G}9\qh0{!'EGI}\tqh0{!''E}\relax +|\ibbu0{!'g}8\qh0{!'g}\qh0{g}\qh0{i}\tqh0{l}\enotes +%\check +\temps\notes|\qsk +\octfin{!'s}{8}\rlap{\ibbl0{!'G}8\qb0{G}\qb0{I}\qb0{!''E}\tqb0{G}}\relax +\ibbu0{!'g}7\qh0{!'g}\qh0{g}\qh0{i}\tbu0\qh0{l}\enotes +%\check +\notes|\rlap{\ibbl0{!''I}{-9}\qb0{!''IGE}\tqb0{!'I}}\relax +\ibbu0{!''g}{-9}\qh0{!''g`li}\tqh0{g}\enotes +%\check +\temps\notes\qsk +\ifsupa|\qsk\rlap{\ibbl0{!''E}{-9}\qb0{!''GE`I}\tqb0{G}}\relax +\else\ibbu0{!''G}{-9}\qh0{!''GE`I}\tqh0{G}|\fi +\ibbu0{!''g}{-9}\qh0{!''g`li}\tqh0{g}\enotes +%\check +\temps\notes\raise -3\Interligne +\rlap{\sk\sk\DEP}\ibbu0{!'E}{-9}\qh0{!'E`IG}\tqh0{E}\relax +|\ibbu0{!'g}{-9}\qh0{!'g`li}\tqh0{g}\enotes +% +% mesure 124 +\deuxtemps\changecontext +\autolines{20}3{\testpgs}\relax +\notes\smallnotesize\qqbbH9FBF{=I}K\relax +|\normalnotesize\llap{\zq f\zql m\kern 1.5pt}\smallnotesize\qqbbH0kk{=i}ki\enotes +\temps\notes\smallnotesize\qqbbl4M{=b}db|\normalnotesize + \llap{\zq g\zql n\kern 1.5pt}\smallnotesize\qqbbH0kkiki\enotes +\temps\notes\smallnotesize\qqbbl{-9}caLJ|\normalnotesize + \llap{\zq e\zql l\kern 1.5pt}\smallnotesize\qqbbH0jjhjh\enotes +\temps\notes\smallnotesize\qqbbu{-9}MK{_I}F|\normalnotesize + \llap{\zq f\zql m\kern 1.5pt}\smallnotesize\qqbbH0kk{_i}ki\enotes +% +% mesure 125 +\normalnotesize\xbarre\notes\rlap{\qsk\whp{!`E}}\smallnotesize +\raise -2\Interligne\llap{\LPED\sk}\ibbu0{E}9\qh0{!`E!EG}\tqh0{I}\relax +|\zwp{g}\zwp{i}\zwp{l}\relax +\usf{!'g}\whp{!'g}\smallnotesize\ibbu0{!g}9\qh0{gi}\tqh0{l}\enotes +%\check +\smallnotesize\temps\notes +\ibbu0{!'G}9\qh0{!L'GI}\tqh0{!'L}\relax +|\ibbu0{!'g}8\qh0{!'g}\qh0{g}\qh0{i}\tqh0{l}\enotes +%\check +\temps\notes +|\qsk\octfin{!'s}8\rlap{\ibbl0{!'G}8\qb0{G}\qb0{I}\qb0{L}\tqb0{!''G}}\relax +\ibbu0{!'g}7\qh0{!'g}\qh0{g}\qh0{i}\tbu0\qh0{l}\enotes +%\check +\notes|\rlap{\ibbl0{!''I}{-9}\qb0{!''IG`L}\tqb0{!'I}}\relax +\ibbu0{!''g}{-9}\qh0{!''g`li}\tqh0{g}\qsk\enotes +%\check +% mesure 126 +\xbarre\notes +\ifsupa|\rlap{\ibbl0{!'L}{-9}\qb0{!''G`LI}\tqb0{G}}\relax +\else\ibbu0{!''I}{-9}\qh0{!''IG`L}\tqh0{I}|\fi +\ibbu0{!''g}{-9}\qh0{!''g`li}\tqh0{g}\enotes +%\check +\temps\notes\raise -2\Interligne +\rlap{\sk\sk\DEP}\ibbu0{L}{-9}\qh0{LIG}\tqh0{!`L}\relax +|\ibbu0{!'g}{-9}\qh0{!'g`li}\tqh0{g}\enotes +% +\temps\notes\qqbbH9HDHKM|\normalnotesize + \llap{\zq f\zql m\kern 1.5pt}\smallnotesize\qqbbH0kkhkh\enotes +\temps\notes\qqbbl{-9}{=b}NLI|\normalnotesize + \llap{\zq g\zql n\kern 1.5pt}\smallnotesize\qqbbH0kk{=i}ki\enotes +% +% mesure 127 +\troistemps\changecontext\autolines{25}2{\testpgs}\relax +\Accord CGJLceg\relax +\temps\notes|\qsk\octfin{22}{12}\rlap{\qqbbl9gjln}\Qqbbu qnqs\enotes +\temps\notes|\rlap{\qqbbl{-9}qnlj}\qqbbu{-9}usqn\enotes +\temps\notes|\rlap{\qqbbl{-9}gecN}\qqbbu{-9}nljg\enotes +% mesure 128 +\barre\notes\qqbbu{-9}ecNL|\qqbbu{-9}nljg\enotes +\temps\notes\qqbbu{-9}cNLJ|\qqbbu{-9}ljge\enotes +\temps\notes\qqbbu{-9}NLJG|\zcharnote{a}{\DIMin}\qqbbu{-9}jgec\enotes +\temps\notes\qqbbu{-9}LJGE|\qqbbu{-9}gecN\enotes +\temps\notes\qqbbu{-9}JGEC|\qqbbu{-9}ecNL\enotes +\normalnotesize +\temps\notes\boqu C\DEP\qsk|\qu J\enotes +% +% mesure 129 +\deuxtemps\pchangecontext\autolines876\relax\addspace{-0.25\elemskip}% +\notes +\uptext{\kern -6mm\ppff mf}\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJLN}|\uptext{\ppff f}\Sfwu N\enotes +\temps\notes\qqbbl9JLNc\zmidtwotext{\it diminuendo}\enotes +\motif gecN\relax +% mesure 130 +\xbarre\addspace{ -0.3\elemskip}\relax +\notes\LPED\qsoupir\zmidtwotext{\it poco\ \ a\ \ poco}\relax +\cinqx N{\transpose=-7\qqbbH9JCJMa}|\Sfwu a\enotes +\temps\notes\qqbbl9JMac\enotes +\motif hfca\relax +% mesure 131 +\xbarre\addspace{-0.3\elemskip}\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 132 +\xbarre\addspace{-0.3\elemskip}\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu d\enotes +\temps\notes\qqbbl9KMad\enotes +\motif khfd\relax +% mesure 133 +\barre\notes\LPED\qsoupir +{\transpose=-7\Tqbbu CJL}|\itenu1g\itenl0N\Sfwu N\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\ccl e\Tqbbu gjl\enotes +% mesure 134 +\barre\notes|\tten0\tten1\zh g\zhl N\qqbbh{-9}nljg\enotes +\temps\notes|\qqbbu{-9}gecN\enotes +\zbarre\notes|\qqbbu{-9}gecN\enotes +\temps\notes\rlap{\sk\sk\DEP}\qqbbu{-9}{!`g}ecN\enotes +% mesure 135 +\barre\notes\LPED\qsoupir\uptext{\ppff mp}\relax +\cinqx N{\transpose=-7\qqbbH9JCJLN}|\uptext{\ppff mf}\Sfwu N\enotes +\temps\notes\qqbbl9JLNc\enotes +\motif gecN\relax +% mesure 136 +\alaligne\autolines966\notes\LPED\qsoupir +\cinqx N{\transpose=-7\qqbbH9JCJMa}|\Sfwu a\enotes +\temps\notes\qqbbl9JMac\enotes +\motif hfca\relax +% mesure 137 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 138 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu d\enotes +\temps\notes\qqbbl9KMad\enotes +\motif khfd\relax +% mesure 139 +\barre\notes\LPED\qsoupir{\transpose=-7\tqbbH9JCJL}|\itenl0e\itenu1l\Sfwu e\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\qqbbl{4}lnus\enotes +% mesure 140 +\barre\notes|\tten0\tten1\zh l\zhl e\qqbbH{-9}oqnlj\enotes +\temps\notes|\qqbbH0ngnlj\enotes +\zbarre\notes|\raise \Interligne\rlap{\hpause}\qqbbl{-9}gecN\enotes +\temps\notes\sk\sk\sk\DEP|\qqbbl{-4}gedc\enotes +% mesure 141 +\barre\notes\LPED\zmidtwotext{\ppff mp}\qsk\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu d\enotes +\temps\notes\qqbbl9KMad\enotes +\motif khfd\relax +% mesure 142 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJLN}|\Sfwu e\enotes +\temps\notes\qqbbl9{=I}LN{=b}\enotes +\motif l{=i}ge\relax +% mesure 143 +\barre\notes\LPED\qsoupir +\cinqx a{\transpose=-7\qqbbH9JCJMa}|\Sfwu c\enotes +\temps\notes\qqbbl9JMac\enotes +\motif jhfc\relax +% mesure 144 +\barre\notes\LPED\qsoupir +{\transpose=-7\tqbbH9JG{=I}K}|\Sfwu N\enotes +\temps\notes\qqbbl9G{=I}KN\enotes +\motif gd{=b}N\relax +% mesure 145 +\barre\notes\LPED\qsoupir +{\transpose=-7\tqbbH9JG{=I}L}|\Sfwu N\enotes +\temps\notes\qqbbl9G{=I}LN\enotes +\motif ge{=b}N\relax +% mesure 146 +\barre\notes\LPED\qsoupir{\transpose=-7\tqbbH9JCJL}|\itenl0N\itenu1g\Sfwu N\enotes +\temps\notes\qqbbl9GJLN\enotes +\zbarre\notes|\qqbbl9cegj\enotes +\temps\notes|\qqbbl{4}lnus\enotes +% mesure 147 +\troistemps\changecontext\notes|\tten0\tten1\zw g\zw N\qqbbH{-9}oqnlj\enotes +\temps\notes|\qqbbH0ngnlj\enotes +\temps\notes|\qqbbu{-9}gecN\enotes +\zbarre\notes\transpose=-7\relax\qqbbu{-9}gecN\enotes +\temps\notes\qu C\DEP\soupir\qsk|\qsk\hpause\enotes +% +% mesure 148 +\deuxtemps\pchangecontext\autolines{16}36\notes\LPED\qsoupir +\zmidtwotext{\ppff p}\Tqbbh CJL|\qsk\wh g\enotes +\temps\notes\cu N|\sk\transpose=7\Tqbbh JLN\enotes +\temps\notes|\transpose=7\Qqbbu cNLJ\enotes +\temps\Notes\sk\DEP|\transpose=7\cu G\dsoupir\enotes +% +% mesure 149 +\barre\notes\LPED\qsoupir\Tqbbh CJM|\qsk\wh h\enotes +\temps\notes\cu a|\sk\transpose=7\Tqbbu JMa\enotes +\temps\notes|\transpose=7\Qqbbu caMJ\enotes +\temps\Notes\sk\DEP|\transpose=7\cu H\dsoupir\enotes +% +% mesure 150 +\barre\notes\LPED\qsoupir\Tqbbh CJM|\qsk\wh j\enotes +\temps\notes\cu a|\sk\transpose=7\Tqbbu JMa\enotes +\temps\notes|\transpose=7\Qqbbu caMJ\enotes +\temps\Notes\sk\DEP|\transpose=7\cu H\dsoupir\enotes +% +% mesure 151 +\barre\notes\LPED\qsoupir\Tqbbh CJM|\qsk\wh k\enotes +\temps\notes\cu a|\sk\transpose=7\Tqbbu KMa\enotes +\temps\notes|\transpose=7\Qqbbu daMK\enotes +\temps\Notes\sk\DEP|\transpose=7\cu H\dsoupir\enotes +% +% mesure 152 +\barre\notes\LPED\qsoupir\Tqbbh{!`C}{!C}E|\qsk\itenu1g\wh g\enotes +\temps\notes\Qqbbu GJLN\enotes +\temps\notes|\Qqbbu cegj\enotes +\temps\notes|\Qqbbu ljge\enotes +% +% mesure 153 +\barre\notes|\tten1\pt g\zhl g\Qqbbu jgec\enotes +\temps\notes|\Qqbbu gecN\enotes +\temps\notes\Qqbbu ecNL\enotes +\temps\notes\cu J\DEP\dsoupir|\soupir\enotes +% +% mesure 154 +\barre\notes\LPED\qsoupir\Tqbbh CJL|\qsk\wh g\enotes +\temps\notes\cu N|\sk\transpose=7\Tqbbu JLN\enotes +\temps\notes|\transpose=7\Qqbbu cNLJ\enotes +\temps\Notes\sk\DEP|\transpose=7\cu G\dsoupir\enotes +% +% mesure 155 +\barre\notes\LPED\qsoupir\Tqbbh CJM|\qsk\wh h\enotes +\temps\notes\cu a|\sk\transpose=7\Tqbbu JMa\enotes +\temps\notes|\transpose=7\Qqbbu caMJ\enotes +\temps\Notes\sk\DEP|\transpose=7\cu H\dsoupir\enotes +% +% mesure 156 +\barre\notes\LPED\qsoupir\Tqbbh CJM|\qsk\wh j\enotes +\temps\notes\cu a|\sk\transpose=7\Tqbbu JMa\enotes +\temps\notes|\transpose=7\Qqbbu caMJ\enotes +\temps\Notes\sk\DEP|\transpose=7\cu H\dsoupir\enotes +% +% mesure 157 +\barre\notes\LPED\qsoupir\Tqbbh CJM|\qsk\wh k\enotes +\temps\notes\cu a|\sk\transpose=7\Tqbbu KMa\enotes +\temps\notes|\transpose=7\Qqbbu daMK\enotes +\temps\Notes\sk\DEP|\transpose=7\cu H\dsoupir\enotes +% +% mesure 158 +\barre\notes\LPED\qsoupir\Tqbbh{!`C}{!C}E|\qsk\itenu1l\wh l\enotes +\temps\notes\Qqbbu GJLN\enotes +\temps\notes|\Qqbbu cegj\enotes +\temps\notes|\Qqbbu ljge\enotes +% +% mesure 159 +\barre\notes|\tten1\pt l\zhl l\Qqbbu jgec\enotes +\temps\notes|\Qqbbu gecN\enotes +\temps\notes\Qqbbu ecNL\enotes +\temps\notes\cu J\DEP\dsoupir|\soupir\enotes +% +% mesure 160 +\troistemps\changecontext\autolines{22}26\relax +\notes\LPED\qsoupir\Tqbbh CJM|\qsk\hl k\enotes +\temps\notes\cu a\sk\DEP|\sk\transpose=7\Tqbbu JMa\enotes +\temps\notes\LPED\qsoupir\Tqbbh CJN|\qsk\hl l\enotes +\temps\notes\bigna b\cu b\sk\DEP|\sk\transpose=7\bigaccid\Tqbbu LN{=b}\enotes +\temps\notes\LPED\qsoupir\Tqbbh CJL|\qsk\hl j\enotes +\temps\notes\bigsh M\cu M\sk\DEP|\sk\Tqbbu ace\enotes +% +% mesure 161 +\deuxtemps\changecontext +\notes\LPED\qsoupir\Tqbbh CJL|\qsk\wh g\enotes +\temps\notes\cu N|\sk\transpose=7\Tqbbh JLN\enotes +\temps\notes|\transpose=7\qqbbh{-9}cNLJ\enotes +\temps\Notes\sk\DEP|\transpose=7\cu G\dsoupir\enotes +% mesure 162 +\barre\autolines{16}36\notes\LPED\qsoupir\Tqbbh CJL|\qsk\wh g\enotes +\temps\notes\cu N|\sk\transpose=7\bigna I\Tqbbh {I}LN\enotes +\temps\notes|\transpose=7\bigaccid\qqbbh{-9}{=b}NLI\enotes +\temps\Notes\sk\DEP|\transpose=7\cu G\dsoupir\enotes +% +% mesure 163 +\barre\notes\LPED\qsoupir\cinqx b\qqbbH9C{!`C}{!C}EG|\qsk\itenu1g\wh g\enotes +\temps\notes\qqbbH9LJLNc\enotes +\temps\notes\qqbbh{-9}ecNL\enotes +\temps\notes\qqbbh{-9}cNLJ\enotes +% +% mesure 164 +\barre\notes\qqbbh{-9}NLJG|\tten1\hup g\enotes +\temps\notes\qqbbh{-9}LJGE\enotes +\temps\Notes\qu C\DEP\enotes +\temps\Notes\soupir|\soupir\enotes +% +% mesure 165 +\suspmorceau +\def\interfacteur{10}\computewidths +\preprmorceau\autolines{14}46\relax +\notes\LPED\uptext{\it pi\`u dolce}\wh N|\dsoupir\dqbh Ne\enotes +\temps\notes|\tqbH6ecge\enotes +\temps\notes|\Tqbh jgl\enotes +\temps\notes\sk\DEP|\tqbH6ljnl\enotes +% mesure 166 +\barre\notes\LPED\wh a|\dsoupir\dqbh af\enotes +\temps\notes|\tqbH6echf\enotes +\temps\notes|\Tqbh jhm\enotes +\temps\notes\sk\DEP|\tqbH6ljom\enotes +% mesure 167 +\barre\notes\LPED\wh c|\dsoupir\dqbh ch\enotes +\temps\notes|\tqbH6gfjh\enotes +\temps\notes|\Tqbh mjo\enotes +\temps\notes\sk\DEP|\tqbH6pmqo\enotes +% mesure 168 +\barre\notes\LPED\wh d|\dsoupir\dqbh dh\enotes +\temps\notes|\tqbH6gfkh\enotes +\temps\notes|\Tqbh mko\enotes +\temps\notes\sk\DEP|\tqbH6pmro\enotes +% mesure 169 +\barre\notes\LPED\itenu0N\wh N|\dsoupir\dqbh Ne\enotes +\temps\notes|\tqbH6ecge\enotes +\temps\notes|\Tqbh jgl\enotes +\temps\notes|\Tqbh jnl\enotes +% mesure 170 +\barre\notes\tten0\hlp N|\tqbL6nqns\enotes +\temps\notes|\Tqbl qus\enotes +\temps\notes\sk\DEP|\Tqbl qsq\enotes +\temps\notes\soupir|\Tqbl nlj\enotes +% mesure 171 +\barre\notes\LPED\wh N|\dsoupir\dqbh Ne\enotes +\temps\notes|\tqbH6ecge\enotes +\temps\notes|\Tqbh jgl\enotes +\temps\notes\sk\DEP|\tqbH6ljnl\enotes +% mesure 172 +\barre\notes\LPED\wh a|\dsoupir\dqbh af\enotes +\temps\notes|\tqbH6echf\enotes +\temps\notes|\Tqbh jhm\enotes +\temps\notes\sk\DEP|\tqbH6ljom\enotes +% mesure 173 +\barre\notes\LPED\wh c|\dsoupir\dqbh ch\enotes +\temps\notes|\tqbH6gfjh\enotes +\temps\notes|\Tqbh mjo\enotes +\temps\notes\sk\DEP|\tqbH6pmqo\enotes +% mesure 174 +\barre\notes\LPED\wh d|\dsoupir\dqbh dh\enotes +\temps\notes|\tqbH6gfkh\enotes +\temps\notes|\Tqbh mko\enotes +\temps\notes\sk\DEP|\tqbH6pmro\enotes +% mesure 175 +\barre\notes\LPED\itenl0e\wh e|\dsoupir\dqbh Ne\enotes +\temps\notes|\tqbH6ecge\enotes +\temps\notes|\Tqbh jgl\enotes +\temps\notes|\tqbH6ljnl\enotes +% mesure 176 +\barre\notes\tten0\wh e|\tqbL5nqns\enotes +\temps\notes|\Tqbl qus\enotes +\temps\notes|\Tqbl qsq\enotes +\temps\notes\sk\DEP|\Tqbl nlj\enotes +% mesure 177 +\troistemps\changecontext\autolines{15}36\relax +\addspace{-0.3\elemskip}\relax +\notes\LPED\hl d|\dsoupir\dqbh dh\enotes +\temps\notes\sk\DEP|\tqbH5ifkh\enotes +\temps\notes\LPED\hl e|\dsoupir\dqbh cg\enotes +\temps\notes\sk\DEP|\tqbH5ie{=i}g\enotes +\temps\notes\LPED\hl c|\dsoupir\dqbh ch\enotes +\temps\notes\sk\DEP|\tqbH5h{^f}jh\enotes +% mesure 178 +\deuxtemps\changecontext \addspace{-0.5\elemskip}\relax +\notes\LPED\wh N|\dsoupir\dqbh Ne\enotes +\temps\notes|\tqbH6ecge\enotes +\temps\notes|\Tqbh jgl\enotes +\temps\notes\sk\DEP|\tqbH6ljnl\enotes +% mesure 179 +\barre\notes\LPED\wh N|\dsoupir\dqbh Nd\enotes +\temps\notes|\tqbH6e{=b}gd\enotes +\temps\notes|\Tqbh {=i}gk\enotes +\temps\notes\sk\DEP|\tqbH6link\enotes +% mesure 180 +\alaligne\autolines{15}46\relax +\notes\LPED\itenu0N\wh N|\dsoupir\dqbh Ne\enotes +\temps\notes|\tqbH6ecge\enotes +\temps\notes|\Tqbh jgl\enotes +\temps\notes|\tqbH6ljnl\enotes +% mesure 181 +\barre\notes\pointdorgue b\tten0\wh N|\tqbL6nqns\enotes +\temps\notes|\Tqbl qsq\enotes +\temps\notes|\tqbL0lnln\enotes +\temps\notes\sk\DEP|\pointdorgue m\ql j\sk\enotes +% mesure 182 +\barre\autolines{12}66\relax +\notes\zcharnote c{\ppff pp}\bassC|\hu N\enotes +\temps\notes\bassC|\hu a\enotes +% mesure 183 +\barre\notes\bassC|\hu c\enotes +\temps\notes\bassC|\hu d\enotes +% mesure 184 +\troistemps\changecontext +\notes\LPED\soupir|\wh N\enotes +\temps\notes\BassC\sk\soupir\enotes +\temps\notes\hpause\sk|\hpause\enotes +% mesure 185 +\deuxtemps\changecontext\notes\bassC|\hu N\enotes +\temps\notes\bassC|\hu a\enotes +% mesure 186 +\alaligne\autolines{11}66\relax +\notes\bassC|\hu c\enotes +\temps\notes\bassC|\hu d\enotes +% mesure 187 +\barre\notes\LPED\soupir|\wh E\enotes +\temps\notes\BassC\enotes +\temps\notes\soupir\enotes +% mesure 188 +\troistemps\changecontext\notes\bassC|\hu d\enotes +\temps\notes\bassC|\hu e\enotes +\temps\notes\bassC|\hu c\enotes +% mesure 189 +\deuxtemps\changecontext \addspace{-0.3\elemskip}\relax +\notes\LPED\soupir|\Uptext{\it senza rallentare}\wh N\enotes +\temps\notes\BassG|\enotes +\temps\notes\soupir|\enotes +% mesure 190 +\barre\notes\LPED\soupir|\wh N\enotes +\temps\notes\zmidtwotext{\DImin}\BassG\enotes +\temps\notes\soupir|\enotes +% mesure 191 +\barre\notes\LPED\soupir|\wh N\enotes +\temps\notes\BassC\enotes +\temps\notes\soupir|\enotes +% +\finmorceau \rightline{\sl \aujourdhui}\eject +\endinput + + + + + + diff --git a/Master/texmf-dist/doc/generic/musictex/choral.tex b/Master/texmf-dist/doc/generic/musictex/choral.tex new file mode 100644 index 00000000000..7ebb61f5f07 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/choral.tex @@ -0,0 +1,900 @@ +\title{Choral vari\'e} +\fulltitle{IV. \titremorceau} +\csname titremorceautoc\endcsname +\subtitle{(pour orgue)} +\othermention{Compos\'e en 1990} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\maketitle + +\parindent 18mm +% +\bigskip +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{1}\relax % un dieze a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.--Pos}% +%\check +\def\gluemaxskip{7pt}% +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +% +\medskip\noindent{\rm G.O.: fonds 8' ou 8'+4' doux}% +\par\noindent{\rm Pos.: 8'+4' ou 8'+4'+2' doux}% +\par\noindent{\rm R\'ec.: cornet ou cromorne}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O., acc. Pos./G.O.}% +\smallskip +% +\troistemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{{\advance\transpose by 1\relax + \ibbu0{#2}{#1}}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +% +\catcodesmusic\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +% +\debutmorceau +% +\autolines 775\relax +%\check +% +\hyphenpenalty -50\relax +\znotes&|\uptext{\raise 1.5\Interligne + \hbox{\kern -10mm\moyen Andante \bf(\metron{\qu}{65})}}\enotes +% +%\advance\barsinline by 1\relax +\advance\linesinpage by 1\relax +% +% mesure 1 +\nspace +\NOtes\hu G&\zh N\hl b|\rlap{\qsk\itenl0c\hlp d}\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\ql a|\zql c\qu f\enotes +%\check +% mesure 2 +\barre\NOtes\qu I&\qlp b|\tten0\pt d\zhl d\qup g\enotes +\temps\notes\qu H&\sk\cl a|\sk\cu h\enotes +\temps\Notes\qu G&\ql N|\zql g\qu i\enotes +\resp +%\check +% mesure 3 +\barre\NOtes\qu E&\ql N|\zq e\zql g\qu j\enotes +\temps\NOtes\qu F&\hl a|\zh f\zhl h\qu j\enotes +\temps\NOtes\qu D&|\qu k\enotes +%\check +% mesure 4 +\barre\NOtes\qu G&\hlp b|\rlap{\hlp d}\zqp g\qup i\enotes +\temps\notes\qu H&|\sk\cu h\enotes +\temps\Notes\qu I&|\qu g\enotes +\def\atnextline{\autolines775}\resp +% mesure 5 +\barre\NOtes\qu J&\zql c\qu e|\qu g\enotes +\temps\NOtes\qu I&\zql b\hu d|\zq g\qu i\enotes +\temps\NOtes\qu H&\ql a|\zq f\qu j\enotes +% mesure 6 +\barre\NOtes\hu G&\hlp b|\zqu k\zhp g\hlp i\enotes +\temps\NOtes&|\qu k\enotes +\temps\NOtes\qu{=F}&|\qu k\enotes +%\check +% mesure 7 +\barre\NOtes\qu E&\hlp b|\zhp{^g}\zhl i\qup l\enotes +\temps\notes\qu{^G}&|\enotes +\temps\notes&|\cu k\enotes +\temps\notes\qu E&|\dqh{-2}ji\enotes +%\check +% mesure 8 +\barre\NOtes\qu H&\hlp a|\zhu j\zh c\hl e\enotes +\temps\NOtes\qu{^G}&|\enotes +\temps\NOtes\qu{=G}&|\soupir\enotes +% mesure 9 +\barre\NOtes\qu F&\itenu0d\hlp d|\zqu j\zhp f\hlp h\enotes +\temps\NOtes\qu E&|\qu j\enotes +\temps\NOtes\qu F&|\qu k\enotes +% mesure 10 +\barre\NOtes\qu G&\tten0\zhp b\hlp d|\zqp g\qup i\enotes +\temps\notes\qu H&|\sk\cu h\enotes +\temps\Notes\qu I&|\qu g\enotes +\resp +% mesure 11 +\barre\NOtes\qu J&\hlp N|\zq c\zql e\qu g\enotes +\temps\notes\qu I&\zq b\qu d|\trioskip\ibu0g{-2}\qhp0g\sk\tbbu0\tqh0f\enotes +\temps\notes\qu J&\zq c\qu e|\trioskip\ibu0g5\qhp0g\sk\tbbu0\tqh0j\enotes +\advance\barsinline by -1\relax +\def\atnextline{\autolines675}% +% mesure 12 +\barre\NOTes\hu K&\zhp a\hlp d|\zhp f\hup h\enotes +\temps\NOtes\qu D&|\enotes +% mesure 13 +\barre\NOTes\hu G&\hl b|\zhl d\hu g\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +% +% mesure 14 +\barre\NOtes\qu I&\itenu0b\hlp b|\zqu k\zhp g\hlp i\enotes +\temps\NOtes\qu G&|\qu k\enotes +\temps\NOtes\qu{=F}&|\qu k\enotes +%\check +% mesure 15 +\barre\NOtes\qu E&\tten0\hlp b|\zhp{^g}\zhl i\qup l\enotes +\temps\notes\qu{^G}&|\enotes +\temps\notes&|\cu k\enotes +\temps\notes\qu E&|\dqh{-2}ji\enotes +%\check +% mesure 16 +\barre\NOtes\qu H&\itenu1a\hlp a|\zhp e\itenl0h\rlap{\hlp h}\qu j\enotes +\temps\NOtes\qu G&|\qu j\enotes +\temps\NOtes\qu{^F}&|\qu j\enotes +%\check +% mesure 17 +\barre\NOtes\qu D&\tten1\hlp a|\tten0\zhp f\zhl h\qup k\enotes +\temps\notes\qu E&|\enotes +\temps\notes&|\cu j\enotes +\temps\notes\qu F&|\dqh{-2}ih\enotes +%\check +% mesure 18 +\barre\NOtes\qu G&\zh b\hl d|\zhl g\hu i\enotes +\temps\NOtes\qu K&|\enotes +\temps\NOtes\qu J&\soupir|\soupir\enotes +% mesure 19 +\barre\NOtes\hu I&\itenl0N\zhp N\hlp b|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu G&|\qu f\enotes +% mesure 20 +\barre\NOtes\qu J&\tten0\zhp N\hlp c|\hu e\enotes +\temps\notes\qu I&|\sk\sk\enotes +\temps\NOtes\qu J&|\qu e\enotes +% mesure 21 +\barre\NOtes\qu H&\itenl0a\zhp a\hlp c|\qu e\enotes +\temps\NOtes\qu I&|\qu h\enotes +\temps\NOtes\qu J&|\qu g\enotes +% mesure 22 +\barre\NOtes\qu K&\tten0\itenl0a\zhp a\hlp d|\hu f\enotes +\temps\NOtes\qu J&|\enotes +\temps\NOtes\qu K&|\qu f\enotes +% mesure 23 +\barre\NOtes\qu H&\tten0\zqu c\hlp a|\qu f\enotes +\temps\NOtes\qu K&\qu d|\qu i\enotes +\temps\NOtes\qu J&\ql M|\qu h\enotes +% mesure 24 +\barre\NOtes\qu I&\ql b|\zhl e\qup g\enotes +\temps\notes\qu J&\zhl a\qu c|\sk\cu h\enotes +\temps\NOtes\qu K&\qu d|\qu f\enotes +% mesure 25 +\barre\NOTes\hu G&\zhl b\hl d|\hu g\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +% +% mesure 26 +\barre\NOtes\hu L&\zhp b\itenu0e\hlp e|\itenl1g\zqu i\hlp g\enotes +\temps\NOtes&|\qu i\enotes +\temps\NOtes\qu K&|\qu i\enotes +% mesure 27 +\barre\NOtes\qu J&\zhp c\tten0\hlp e|\tten1\zhl g\qup l\enotes +\temps\notes\qu E&|\sk\cu k\enotes +\temps\notes\qu{^G}&|\zql{^g}\dqh{-2}ji\enotes +% mesure 28 +\barre\NOtes\hu H&\itenu0a\hlp a|\zqu j\zhp e\hlp h\enotes +\temps\NOtes&|\qu j\enotes +\temps\NOtes\qu G&|\qu j\enotes +% mesure 29 +\barre\notes\qu F&\tten0\zhp a|\rlap{\zhp d\hlp f}\dqh{-2}kj\enotes +\temps\notes\qu D&|\dqh{2}kl\enotes +\temps\notes\qu F&|\dqh2jk\enotes +% mesure 30 +\barre\NOtes\qu G&\zhp b|\zhp d\rlap{\hlp g}\hu i\enotes +\temps\NOtes\qu H&|\enotes +\temps\NOtes\qu I&|\raise 2\Interligne\soupir\enotes +% mesure 31 +\barre\NOtes\hu J&\itenu0c\hl c|\zhl e\qu g\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\tten0\zq a\ql c|\qu f\enotes +% mesure 32 +\barre\NOtes\hu K&\itenu0a\hl a|\zhl d\qup f\enotes +\temps\notes&|\sk\cu e\enotes +\temps\NOtes\qu J&\tten0\zq M\ql a|\itenl0d\qu d\enotes +% mesure 33 +\barre\NOtes\qu I&\zhl N\qu b|\tten0\qu d\enotes +\temps\NOtes\qu J&\hu c|\qu e\enotes +\temps\NOtes\qu H&\ql a|\qu f\enotes +% mesure 34 +\barre\NOtes\qu I&\zqu b\hlp N|\zql d\qu g\enotes +\temps\notes\qu J&\zq e\ql c|\trioskip\ibu0g{-2}\qhp0g\sk\tbbu0\tqh0f\enotes +\temps\notes\qu I&\zq d\ql b|\trioskip\ibu0g5\qhp0g\sk\tbbu0\tqh0j\enotes +% mesure 35 +\barre\NOtes\qu H&\zq e\zqu c\hlp a|\zcharnote q{\Trille + {5\elemskip}}\hu h\enotes +\temps\NOtes\qu K&\zh d\hu f\enotes +\temps\NOtes\qu D&|\qu h\enotes +% mesure 36 +\barre\NOTes\hu G&\hl b|\zhl d\hu g\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +\Suspmorceau +% +% +\csname ORchoralb\endcsname +\troistemps \autolines 755\relax +\cleftoksii={{0}{0}{0}{0}}% +\def\instrumenti{P\'ed. 8'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{Positif}}}% +\debutmorceau\notes&\zmidtwotext{claviers s\'epar\'es}|\Uptext{\moyen Stesso tempo}\enotes +% mesure 37 +\def\atnextline{\autolines655}% +\notes\hu G&\dqh3bc|\qu d\enotes +\temps\notes&\dqh5dg|\qu g\enotes +\temps\notes\qu H&\dqh{-3}fe|\qu f\enotes +%\check +% mesure 38 +\barre\notes\qu I&\dqh7dg|\qup g\enotes +\temps\notes\qu H&\dqh3ef|\sk\cu h\enotes +\temps\notes\qu G&\dqh3gi|\qu i\enotes +%\check +% mesure 39 +\barre\notes\qu E&\dqh{-5}he|\qu j\enotes +\temps\notes\qu F&\dqh3fg|\qu j\enotes +\temps\notes\qu D&\dqh3hi|\qu k\enotes +%\check +% mesure 40 +\barre\notes\qu G&\dqh3gh|\qup i\enotes +\temps\notes\qu H&\dqh3ij|\sk\cu h\enotes +\temps\notes\qu I&\dqh3kl|\qu g\enotes +% mesure 41 +\barre\notes\qu J&\dqh{-3}jh|\qu g\enotes +\temps\notes\qu I&\dqh{-3}gf|\qu i\enotes +\temps\notes\qu H&\dqh{-5}ec|\qu j\enotes +% mesure 42 +\bigaccid +\barre\notes\qu G&\dqh5bd|\qu k\enotes +\temps\notes\qu I&\dqh3gh|\qu k\enotes +\temps\notes\qu{=F}&\dqh{-3}ih|\qu k\enotes +%\check +% mesure 43 +\barre\notes\qu E&\dqh5{^g}i|\qup l\enotes +\temps\notes\qu{^G}&\dqh5k{=m}|\sk\cu k\enotes +\temps\notes\qu E&\dqh{-3}lk|\dqh{-2}ji\enotes +%\check +% mesure 44 +\barre\notes\qu H&\dqh{-3}ji|\hu h\enotes +\temps\notes\qu J&\dqh{-3}h{=g}|\enotes +\temps\notes\qu H&\dqh3fg|\soupir\enotes +% mesure 45 +\barre\notes\qu F&\dqh{-3}hg|\qu j\enotes +\temps\notes\qu D&\dqh5fh|\qu j\enotes +\temps\notes\qu F&\dqh3ij|\qu k\enotes +%\check +% mesure 46 +\barre\notes\qu G&\dqh3kl|\qup i\enotes +\temps\notes\qu H&\dqh{-3}kj|\sk\cu h\enotes +\temps\notes\qu I&\dqh{-5}ig|\qu g\enotes +% mesure 47 +\barre\notes\qu J&\dqh3ef|\qu g\enotes +\temps\notes\qu I&\dqh{-5}db|\trioskip\ibu0g{-2}\qhp0g\sk\tbbu0\tqh0f\enotes +\temps\notes\qu J&\dqh5ce|\trioskip\ibu0g5\qhp0g\sk\tbbu0\tqh0j\enotes +% mesure 48 +\barre\notes\hu K&\dqh3fg|\hup h\enotes +\temps\notes&\dqh{-5}hf|\enotes +\temps\notes\qu D&\dqh{-3}dc|\enotes +% mesure 49 +\barre\notes\hu G&\dqh5bd|\hu g\enotes +\temps\notes&\dqh3ef|\enotes +\temps\notes\soupir&\dqh3gh|\soupir\enotes +% +% mesure 50 +\barre\notes\qu G&\dqh3ij|\qu k\enotes +\temps\notes\qu I&\dqh{-3}kj|\qu k\enotes +\temps\notes\qu{=F}&\dqh{-3}ih|\qu k\enotes +%\check +% mesure 51 +\barre\notes\qu E&\dqh5{^g}i|\qup l\enotes +\temps\notes\qu{^G}&\dqh5k{=m}|\sk\cu k\enotes +\temps\notes\qu E&\dqh{-3}lk|\dqh{-2}ji\enotes +%\check +% mesure 52 +\barre\notes\qu H&\dqh3jk|\qu j\enotes +\temps\notes\qu G&\dqh{-3}lk|\qu j\enotes +\temps\notes\qu{^F}&\dqh{-5}jh|\qu j\enotes +%\check +% mesure 53 +\barre\notes\qu D&\dqh{-3}ih|\qup k\enotes +\temps\notes\qu E&\dqh{-5}{=g}e|\sk\cu j\enotes +\temps\notes\qu F&\dqh{-3}dc|\dqh{-2}ih\enotes +%\check +% mesure 54 +\barre\notes\qu G&\dqh3bc|\hu i\enotes +\temps\notes\qu K&\dqh5de|\enotes +\temps\notes\qu J&\dqh{-5}fd|\soupir\enotes +%\check +% mesure 55 +\barre\notes\qu I&\dqh5gi|\qu d\enotes +\temps\notes\qu G&\dqh{-3}kj|\qu g\enotes +\temps\notes\qu I&\dqh{-3}ih|\qu f\enotes +% mesure 56 +\barre\notes\qu J&\dqh7gj|\hu e\enotes +\temps\notes\qu I&\dqh{-3}lk|\enotes +\temps\notes\qu J&\dqh{-3}ji|\qu e\enotes +% mesure 57 +\barre\notes\qu H&\dqh{-5}hf|\qu e\enotes +\temps\notes\qu J&\dqh{-3}ed|\qu h\enotes +\temps\notes\qu L&\dqh5ce|\qu g\enotes +% mesure 58 +\barre\notes\qu K&\dqh5fh|\hu f\enotes +\temps\notes\qu J&\dqh{-3}fe|\enotes +\temps\notes\qu K&\dqh{-3}dc|\qu f\enotes +% mesure 59 +\barre\notes\qu{^K}&\dqh5b{^d}|\qu f\enotes +\temps\notes\qu{^J}&\dqh5fh|\qu i\enotes +\temps\notes\qu K&\dqh{-3}gf|\qu h\enotes +% mesure 60 +\barre\notes\qu L&\dqh{-3}ed|\qup g\enotes +\temps\notes\qu{=J}&\dqh{-5}ca|\sk\cu h\enotes +\temps\notes\qu{=K}&\dqh3bc|\qu f\enotes +% mesure 61 +\barre\notes\hu G&\qup b\sk|\hu g\enotes +\temps\notes&\sk\cl j|\enotes +\temps\notes\soupir&\dqb{-3}ih|\soupir\enotes +% +% mesure 62 +\barre\notes\hu L&\dqh{-3}gf|\qu i\enotes +\temps\notes&\dqh3gh|\qu i\enotes +\temps\notes\qu K&\dqh{-3}g{=f}|\qu i\enotes +% mesure 63 +\barre\notes\qu J&\dqh5eg|\qup l\enotes +\temps\notes\qu E&\dqh{-6}i{=f}|\sk\cu k\enotes +\temps\notes\qu{^G}&\dqh{-3}ed|\dqh{-2}ji\enotes +% mesure 64 +\barre\notes\hu H&\dqh3e{^f}|\qu j\enotes +\temps\notes&\dqh7eh|\qu j\enotes +\temps\notes\qu G&\dqh{-3}ji|\qu j\enotes +%\check +% mesure 65 +\barre\notes\qu F&\dqh{-2}hg|\dqh{-2}kj\enotes +\temps\notes\qu D&\dqh{-2}fe|\dqh3kl\enotes +\temps\notes\qu F&\dqh5fh|\dqh2jk\enotes +% mesure 66 +\barre\notes\qu G&\dqh3de|\hu i\enotes +\temps\notes\qu H&\dqh5fh|\enotes +\temps\notes\qu I&\dqh{-3}g{=f}|\soupir\enotes +\def\atnextline{\autolines665\elemskip=1.03\elemskip}% +% mesure 67 +%\check +\barre\notes\hu J&\dqh5eg|\qu g\enotes +\temps\notes&\dqh{-3}ji|\qu g\enotes +\temps\notes\qu H&\dqh{-3}hg|\qu f\enotes +% mesure 68 +\barre\notes\hu K&\dqh{-7}he|\qup f\enotes +\temps\notes&\dqh{-3}dc|\sk\cu e\enotes +\temps\notes\qu J&\dqh{-3}ba|\qu d\enotes +%\check +% mesure 69 +\barre\notes\qu I&\dqh{-3}NM|\qu d\enotes +\temps\notes\qu J&\dqh5Nb|\qu e\enotes +\temps\notes\qu H&\dqh3cd|\qu f\enotes +% mesure 70 +\barre\notes\qu I&\dqh5bd|\qu g\enotes +\temps\notes\hu J&\dqh{-5}ec|\trioskip\ibu0g{-2}\qhp0g\sk\tbbu0\tqh0f\enotes +\temps\notes&\dqh3de|\trioskip\ibu0g7\qhp0g\sk\tbbu0\tqh0j\enotes +%\check +% mesure 71 +% +\barre\notes\hu K&\dqh3fg|\zcharnote q{\Trille {6\elemskip}}\hup h\enotes +\temps\notes&\dqh{-5}hf|\enotes +\temps\notes\qu D&\dqh{-3}dc|\enotes +% mesure 72 +\barre\NOTes\hu G&\hu b|\hu g\enotes +\temps\Notes\soupir&\soupir|\soupir\enotes +\Suspmorceau +% +%\check +\csname ORchoralc\endcsname +\def\instrumentii{G.O.-Pos.} +\cleftoksii={{6}{0}{0}{0}} +\def\instrumenti{\vbox{\hsize=\parindent + \centerline{P\'ed. 16'}\smallskip\centerline{/G.O./Pos.}}} +\debutmorceau +\autolines 795\relax +% +% mesure 1 +\znotes&|\Uptext{\moyen Stesso tempo}\enotes +\relax\NOtes\hu G&\zh N\hl b\relax + |\zqu d\qsk\itenl0c\hlp d\enotes +\def\atnextline{\autolines 695}\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\ql a|\zql c\qu f\enotes +%\check +% mesure 2 +\barre\NOtes\qu I&\qlp b|\tten0\pt d\zhl d\qup g\enotes +\temps\notes\qu H&\sk\cl a|\sk\cu h\enotes +\temps\Notes\qu G&\ql N|\zql g\qu i\enotes +\resp +%\check +% mesure 3 +\barre\NOtes\qu E&\ql N|\zq e\zql g\qu j\enotes +\temps\NOtes\qu F&\hl a|\zh f\zhl h\qu j\enotes +\temps\NOtes\qu D&|\qu k\enotes +%\check +% mesure 4 +\barre\NOtes\qu G&\hlp b|\rlap{\hlp d}\zqp g\qup i\enotes +\temps\notes\qu H&|\sk\cu h\enotes +\temps\Notes\qu I&|\qu g\enotes +\resp +% mesure 5 +\barre\NOtes\qu J&\ql c|\zql e\qu g\enotes +\temps\NOtes\qu I&\ql b|\zhl d\zq g\qu i\enotes +\temps\NOtes\qu H&\ql a|\zq f\qu j\enotes +% mesure 6 +\barre\NOtes\qu G&\itenu0b\hlp b|\zqu k\zhp g\hlp i\enotes +\temps\NOtes\qu{^F}&|\qu k\enotes +\temps\NOtes\qu{=F}&|\qu k\enotes +%\check +% mesure 7 +\barre\NOtes\qu E&\tten0\hlp b|\zhp{^g}\zhl i\qup l\enotes +\temps\notes\qu{^F}&|\enotes +\temps\notes&|\cu k\enotes +\temps\notes\qu{^G}&|\dqh{-2}ji\enotes +%\check +% mesure 8 +\barre\NOtes\qu{H}&\hlp{a}|\zhu h\zhp{^c}\hlp e\enotes +\temps\NOtes\qu{^G}&|\enotes +\temps\NOtes\qu{=G}&|\soupir\enotes +% mesure 9 +\barre\NOtes\qu F&\itenu0d\hlp d|\zqu j\zhp f\hlp h\enotes +\temps\NOtes\qu E&|\qu j\enotes +\temps\NOtes\qu F&|\qu k\enotes +% mesure 10 +\barre\NOtes\qu G&\tten0\zhp b\hlp d|\zqp g\qup i\enotes +\temps\notes\qu H&|\sk\cu h\enotes +\temps\Notes\qu I&|\qu g\enotes +\resp +% mesure 11 +\barre\NOtes\qu J&\hlp N|\zq c\zql e\qu g\enotes +\temps\notes\qu I&|\trioskip\zq b\zql d\ibu0g{-2}\qhp0g\sk\tbbu0\tqh0f\enotes +\temps\notes\qu J&|\trioskip\zq c\zql e\ibu0g2\qhp0g\sk\tbbu0\tqh0h\enotes +% mesure 12 +\barre\NOtes\qu K&\hl a|\rlap{\hlp d}\hu f\enotes +\temps\NOtes\qu J&|\enotes +\temps\NOtes\qu I&\ql b|\qu g\enotes +% mesure 13 +\barre\NOtes\hu H&\zh a\hl c|\zhl e\qu h\enotes +\temps\NOtes&|\qu h\enotes +\temps\NOtes\qu {^G}&\zq b\ql d|\zql{^g}\qu i\enotes +%\check +% mesure 14 +\barre\NOtes\qu H&\hlp a|\zh e\zhl h\qup j\enotes +\temps\notes\qu G&|\sk\cu i\enotes +\temps\notes\qu F&|\trioskip\zq d\zql f\ibu0j2\qhp0j\sk\tbbu0\tqh0k\enotes +% mesure 15 +\barre\NOtes\qu G&\hlp b|\rlap{\hlp d}\zqp g\qup i\enotes +\temps\notes\qu H&|\sk\cu h\enotes +\temps\Notes\qu I&|\qu g\enotes +\resp +% mesure 16 +\barre\NOtes\qu L&\ql c|\zql e\qu g\enotes +\temps\notes\qu K&\ql b|\trioskip\zql d\ibu0g{-2}\qhp0g\sk\tbbu0\tqh0f\enotes +\temps\notes\qu J&\ql c|\trioskip\zql e\ibu0g5\qhp0g\sk\tbbu0\tqh0j\enotes +% mesure 17 +\barre\Notes\qu K&\itenu0d\hlp d|\zhp f\hup h\enotes +\temps\Notes\qu J&|\enotes +\temps\Notes\qu K&|\enotes +% mesure 18 +\barre\NOtes\hu G&\tten0\zhl b\hl d|\hu g\enotes +\temps\Notes\soupir&\soupir|\soupir\enotes +\Suspmorceau +% +% mesure 1 +%\check +\csname ORchorald\endcsname +\troistemps +\cleftoksii={{0}{0}{0}{0}} +\def\instrumenti{P\'ed. 8'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{Positif}}}% +\autolines 755\relax +\debutmorceau +\notes\qu E&\zmidtwotext{claviers s\'epar\'es}\dqh6be\relax + |\Uptext{\moyen Un poco pi\`u lento \bf(\metron{\qu}{60})}\qu e\enotes +\temps\notes\qu I&\dqh{-5}ge|\qu g\enotes +\temps\notes\qu {^K}&\dqh{-3}{^d}{^c}|\qu f\enotes +% mesure 2 +\barre\notes\qu L&\dqh5b{^d}|\qup g\enotes +\temps\notes\qu J&\dqh3ef|\sk\cu h\enotes +\temps\notes\qu I&\dqh5gi|\qu i\enotes +% mesure 3 +\barre\notes\qu H&\dqh{-5}hf|\qu j\enotes +\temps\notes\qu G&\dqh5eg|\qu j\enotes +\temps\notes\qu F&\dqh{-5}jh|\qu l\enotes +% mesure 4 +\barre\notes\qu G&\dqh{-3}ih|\qup k\enotes +\temps\notes\qu I&\dqh3gh|\sk\cu j\enotes +\temps\notes\qu{^K}&\dqh{-3}gf|\dqh{-3}ih\enotes +% mesure 5 +\barre\notes\qu L&\dqh{-5}ge|\hu i\enotes +\temps\notes\qu {=K}&\dqh{-5}{=f}d|\enotes +\temps\notes\qu J&\dqh3e{^f}|\qu g\enotes +% mesure 6 +\barre\autolines 665\notes\qu I&\dqh{-5}ge|\qu i\enotes +\temps\notes\qu H&\dqh5{=f}h|\qu k\enotes +\temps\notes\qu G&\dqh{-3}gf|\qu{=m}\enotes +% mesure 7 +\barre\notes\qu{^G}&\dqh5e{^g}|\qup l\enotes +\temps\notes\qu E&\dqh{-7}i{=f}|\sk\cu k\enotes +\temps\notes\qu G&\dqh{-3}ed|\dqh{-3}ji\enotes +% mesure 8 +\barre\notes\qu H&\dqh{-3}ed|\qu j\enotes +\temps\notes\qu J&\dqh3cd|\qu h\enotes +\temps\notes\qu H&\dqh5e{=g}|\dqh5jl\enotes +% mesure 9 +\barre\notes\qu K&\dqh{-5}h{^f}|\qup{^m}\enotes +\temps\notes\qu J&\dqh3ef|\sk\cu k\enotes +\temps\notes\qu I&\dqh3gh|\dqh{-3}lm\enotes +% mesure 10 +\barre\notes\qu L&\dqh{-3}ih|\dqb{-2}nm\enotes +\temps\notes\qu K&\dqh3ij|\dqb2no\enotes +\temps\notes\qu I&\dqh{-5}ki|\dqb{-5}pn\enotes +% mesure 11 +\barre\notes\qu H&\dqh{-3}hg|\dqb{-3}qp\enotes +\temps\notes\qu K&\dqh{-3}fe|\hl o\sk\enotes +\temps\notes\qu D&\dqh{-3}dc|\sk\sk\enotes +% mesure 12 +\barre\autolines675\elemskip=1.03\elemskip +\notes\hu E&\qup b|\qlp n\sk\enotes +\temps\notes&\dsoupir|\sk\cl p\enotes +\temps\notes\qu F&\qu{^c}|\dqb{-3}on\enotes +% mesure 13 +\barre\notes\qu I&\qu{^d}|\dqb{-3}ml\enotes +\temps\notes\qu J&\qu h|\dqb3mn\enotes +\temps\notes\qu I&\qu f|\dqb3op\enotes +%\check +% mesure 14 +\barre\notes\qu J&\qu g|\dqb3lm\enotes +\temps\notes\qu I&\dqh{-2}ed|\dqb3no\enotes +\temps\notes\qu G&\qu e|\dqb{-5}pn\enotes +%\check +% mesure 15 +\barre\notes\qu H&\qu c|\dqb{-3}qp\enotes +\temps\notes\qu J&\qu e|\dqb{-3}on\enotes +\temps\notes\qu{^K}&\qu h|\dqb{-3}ml\enotes +%\check +% mesure 16 +\barre\notes\hu I&\qu f|\dqb{-3}{^k}{^j}\enotes +\temps\notes&\qu g|\dqb{-5}ki\enotes +\temps\notes\qu J&\qu e|\dqb3no\enotes +%\check +% mesure 17 +\barre\NOtes\qu I&\qu{^d}|\nTrille p3\hl m\enotes +\temps\NOtes\qu J&\qu b|\sk\enotes +\temps\notes\qu I&\qu d|\dqb{-3}ml\enotes +%\check +% mesure 18 +\def\atnextline{\autolines665}% +\barre\Notes\hu E&\hu e|\hl l\sk \enotes +\temps\Notes\soupir&\soupir|\soupir\enotes +%\check +% mesure 19 +\barre\notes\hu E&\dqh3Na|\qu b\enotes +\temps\notes&\dqh7be|\qu e\enotes +\temps\notes\qu F&\dqh5fh|\qu{^d}\enotes +%\check +% mesure 20 +\barre\notes\qu G&\dqh5gi|\qup e\enotes +\temps\notes\qu F&\dqh{-5}hf|\sk\cu f\enotes +\temps\notes\qu E&\dqh5eg|\qu g\enotes +%\check +% mesure 21 +\barre\notes\qu{^D}&\dqh{-3}fe|\qu h\enotes +\temps\notes\qu F&\dqh{-3}{^d}b|\qu h\enotes +\temps\notes\qu G&\dqh3{^c}d|\qu i\enotes +%\check +% mesure 22 +\barre\notes\qu E&\dqh5eg|\qup g\enotes +\temps\notes\qu F&\dqh5fh|\sk\cu f\enotes +\temps\notes\qu G&\dqh{-3}gf|\qu e\enotes +%\check +% mesure 23 +\barre\notes\qu J&\dqh3gh|\qu e\enotes +\temps\notes\qu I&\dqh{-5}ig|\qu g\enotes +\temps\notes\qu H&\dqh{-3}fe|\qu h\enotes +%\check +% mesure 24 +\barre\notes\qu G&\dqh{-3}db|\qu i\enotes +\temps\notes\qu I&\dqh3ef|\qu i\enotes +\temps\notes\qu G&\dqh{-5}ge|\qu i\enotes +%\check +% mesure 25 +\barre\notes\qu F&\dqh{-3}hg|\qup j\enotes +\temps\notes\qu H&\dqh{-3}fe|\sk\cu i\enotes +\temps\notes\qu J&\dqh{-3}fe|\dqh{-3}hg\enotes +%\check +% mesure 26 +\barre\notes\hup K&\dqh3de|\hu f\enotes +\temps\notes&\dqh3fg|\enotes +\temps\notes&\dqh3hi|\soupir\enotes +% mesure 27 +\barre\notes\qu F&\dqh{-5}jh|\qu h\enotes +\temps\notes\qu H&\dqh{-3}fe|\qu h\enotes +\temps\notes\qu{^K}&\dqh3fg|\qu i\enotes +%\check +% mesure 28 +\barre\notes\qu L&\dqh3cd|\qup g\enotes +\temps\notes\qu I&\dqh3ef|\sk\cu f\enotes +\temps\notes\qu G&\dqh5gi|\qu e\enotes +%\check +% mesure 29 +\barre\notes\qu H&\dqh{-5}jh|\qu e\enotes +\temps\notes\qu I&\dqh{-3}gf|\trioskip\ibu0e{-2}\qhp0e\sk\tbbu0\tqh0{^d}\enotes +\temps\notes\qu J&\dqh{-5}ge|\trioskip\ibu0e5\qhp0e\sk\tbbu0\tqh0h\enotes +% mesure 30 +\barre\NOTes\hu I&\hu{^d}|\hu f\enotes +\temps\NOTes\soupir&\soupir|\soupir\enotes +\Suspmorceau +% +\csname ORchorale\endcsname +\cleftoksii={{6}{0}{0}{0}} +\def\instrumentii{G.O.-Pos.} +\cleftoksii={{6}{0}{0}{0}} +\def\instrumenti{\vbox{\hsize=\parindent + \centerline{P\'ed. 16'}\smallskip\centerline{/G.O./Pos.}}} +\troistemps +\autolines 755\relax +\debutmorceau +% mesure 1 +%\check +\NOtes\hu G&\zh N\hl b|\Uptext{\moyen Tempo primo (andante) +\bf(\metron{\qu}{65})}\rlap{\qsk\itenl0c\hlp d}\qu d\enotes +\def\atnextline{\elemskip=1.12\elemskip}% +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\ql a|\zql c\qu f\enotes +%\check +% mesure 2 +\barre\NOtes\qu I&\qlp b|\tten0\pt d\zhl d\qup g\enotes +\temps\notes\qu H&\sk\cl a|\sk\cu h\enotes +\temps\NOtes\qu G&\ql N|\zql g\qu i\enotes +\resp +%\check +% mesure 3 +\barre\NOtes\qu E&\ql N|\zq e\zql g\qu j\enotes +\temps\NOtes\qu F&\hl a|\zh f\zhl h\qu j\enotes +\temps\NOtes\qu D&|\qu k\enotes +%\check +% mesure 4 +\barre\NOtes\qu G&\hlp b|\rlap{\hlp d}\zqp g\qup i\enotes +\temps\notes\qu H&|\sk\cu h\enotes +\temps\NOtes\qu I&|\qu g\enotes +\resp +% mesure 5 +\barre\NOtes\qu I&\itenu0b\hlp b|\zqu k\zhp g\hlp i\enotes +\temps\NOtes\qu G&|\qu k\enotes +\temps\NOtes\qu{=F}&|\qu k\enotes +%\check +% mesure 6 +\barre\NOtes\qu E&\tten0\hlp b|\zhp{^g}\zhl i\qup l\enotes +\temps\notes\qu{^G}&|\enotes +\temps\notes&|\cu k\enotes +\temps\notes\qu E&|\dqh{-2}ji\enotes +%\check +% mesure 7 +\barre\NOtes\qu H&\hlp a|\zhu j\zhp c\hlp e\enotes +\temps\NOtes\qu G&|\enotes +\temps\NOtes\qu H&|\soupir\enotes +% mesure 8 +\barre\NOtes\qu F&\itenu0d\hlp d|\zqu j\zhp f\hlp h\enotes +\temps\NOtes\qu E&|\qu j\enotes +\temps\NOtes\qu F&|\qu k\enotes +% mesure 9 +\barre\NOtes\qu G&\tten0\zhp b\hlp d|\zqp g\qup i\enotes +\temps\notes\qu H&|\sk\cu h\enotes +\temps\NOtes\qu I&|\qu g\enotes +\resp +% mesure 10 +\barre\NOtes\hu J&\itenu0c\hl c|\zhl e\qu g\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\tten0\zq a\ql c|\qu f\enotes +% mesure 11 +\barre\NOtes\hu K&\itenu0a\hl a|\zhl d\qup f\enotes +\temps\notes&|\sk\cu e\enotes +\temps\NOtes\qu J&\tten0\zq M\ql a|\itenl0d\qu d\enotes +% mesure 12 +\barre\NOtes\qu I&\zhl N\qu b|\tten0\qu d\enotes +\temps\NOtes\qu J&\hu c|\qu e\enotes +\temps\NOtes\qu H&\ql a|\qu f\enotes +% mesure 13 +\barre\NOtes\qu I&\zqu b\hlp N|\zql d\qu g\enotes +\temps\notes\qu J&\ql c|\trioskip\zql e\ibu0g{-2}\qhp0g\sk\tbbu0\tqh0f\enotes +\temps\notes\qu I&\ql b|\trioskip\zql d\ibu0g5\qhp0g\sk\tbbu0\tqh0j\enotes +% mesure 14 +\barre\NOtes\qu J&\zq e\zqu c\hlp a|\zcharnote q{\Trille {6\elemskip}}\hup h\enotes +\temps\NOtes\qu K&\zh f\hl d|\enotes +\temps\NOtes\qu D&|\enotes +% mesure 15 +\barre\NOTEs\hu G&\hl b|\zhl d\hu g\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +\Suspmorceau \varaccid +\eject +% +\csname ORchoralf\endcsname +% mesure 1 +\def\instrumentii{\vbox{\hsize=\parindent\centerline{Cornet ou} +\centerline{G.O.(mix.)}\vskip 20pt + \centerline{Positif}\centerline{(mixtures)}}}% +\cleftoksii={{0}{0}{0}{0}}\linesinpage=0\relax\barsinline=0\relax +\def\instrumenti{\vbox{\hsize=\parindent + \centerline{P\'ed. 16'}\centerline{/G.O./Pos.}}} +\autolines {14}35\relax +%\check +\troistemps % \vskip -5mm +\debutmorceau\notes\hu G&\zh b\hu d|\Uptext{\moyen\kern -16mm + Allegro moderato \rm\metron{\qu}{80}}\qqbbh0gdef\enotes +\temps\notes&\qu g|\qqbbh4ghij\enotes +\temps\notes\qu H&\zq a\zq c\qu f|\qqbbl0klmk\enotes +%\check +% mesure 2 +\barre\notes\qu I&\zqp b\zqp d\pt g\qu g|\qqbbl{-5}nlkj\enotes +\temps\notes\qu H&\sk\sk\zq c\zq f\cu h|\qqbbh0ijhi\enotes +\temps\notes\qu G&\zq d\zq g\qu i|\qqbbH0ghig\enotes +%\check +% mesure 3 +\barre\notes\qu E&\zq e\zq h\qu j|\qqbbh0jihi\enotes +\temps\notes\qu F&\zh f\zhl h\qu j|\qqbbh4jklm\enotes +\temps\notes\qu D&\qu k|\qqbbH0kmkj\enotes +%\check +% mesure 4 +\autolines {12}35\relax +\barre\notes\qu G&\itenl2d\zhl d\zqp g\qup i|\ibbu0l0\qh0{inm}\tqh0l\enotes +\temps\notes\qu H&\sk\sk\cu h|\qqbbh{-4}kjih\enotes +\temps\notes\qu I&\tten2\zq b\zq d\qu g|\qqbbH0ghig\enotes +% mesure 5 +\barre\notes\qu J&\zq c\zq e\qu g|\qqbbH0jlkj\enotes +\temps\notes\qu I&\zhl d\zq g\qu i|\qqbbh3ijkl\enotes +\temps\notes\qu H&\zq f\qu j|\qqbbl0mnom\enotes +% mesure 6 +\barre\notes\qu G&\zhl g\zq i\qu k|\qqbbH0knml\enotes +\temps\notes\qu F&\zq i\qu k|\qqbbH0klkj\enotes +\temps\notes\qu{=F}&\na f\zq{fik}\rqu g|\qqbbh6ikl{=m}\enotes +%\check +% mesure 7 +\barre\notes\qu E&\zh {^g}\zhl i\qup l|\qqbbh{-2}l{=m}kl\enotes +\temps\notes\qu{^G}&\sk\sk\cu k|\qqbbh{-2}jkij\enotes +\temps\notes\qu H&\zq{eh}\qu j|\qqbbh{-2}high\enotes +%\check +% mesure 8 +\barre\notes\qu D&\zq f\zq h\qu j|\qqbbh3fghi\enotes +\temps\notes\qu E&\zq e\zq g\qu j|\qqbbh{-1}jghi\enotes +\temps\notes\qu{^F}&\zq d\zq f\qu k|\qqbbH0jlkj\enotes +% mesure 9 +\barre\notes\qu G&\itenl2g\zhl g\zqp i\qup k|\qqbbh4ijkl\enotes +\temps\notes\qu H&\sk\sk\cu j|\qqbbh{-4}kjih\enotes +\temps\NOTes\qu I&\tten2\zq d\zq g\qu i|\qu g\enotes +%\check +% mesure 10 +\barre\notes\qu J&\itenl2c\zq e\zqu g\zhl c|\qqbbh0jihi\enotes +\temps\notes\qu I&\zq e\qu g|\qqbbl6jkln\enotes +\temps\notes\qu H&\tten2\itenl1a\zq{ac}\qu f|\qqbbl{-6}qoml\enotes +%\check +% mesure 11 +\barre\notes\qu D&\itenl2a\zhl a\tten1\zqp d\qup f|\qqbbH0konm\enotes +\temps\notes\qu E&\sk\sk\cu e|\qqbbh{-4}lkji\enotes +\temps\notes\qu F&\tten2\zq{Ma}\qu d|\qqbbH0hjih\enotes +%\check +% mesure 12 +\barre\notes\qu G&\zhl N\zq b\qu d|\qqbbh4gijk\enotes +\temps\notes\qu J&\zq c\qu e|\qqbbl4lmno\enotes +\temps\notes\qu H&\zq{ac}\qu f|\qqbbl0mnom\enotes +% mesure 13 +\barre\notes\qu I&\zq d\zq b\qu g|\qqbbh{-4}kjih\enotes +\temps\notes\qu J&\zq c\zql e\ibu1g{-2}\qh1g\sk\tqh1f|\qqbbh0ghfg\enotes +\temps\notes\qu I&\zq b\zql d\ibu1g6\qh1g\sk\tqh1j|\qqbbH5dghi\enotes +% mesure 14 +\barre\notes\qu H&\zhl c\zhp f\hup h|\qqbbl0jklk\enotes +\temps\notes\qu I&|\qqbbh{-4}jihg\enotes +\temps\notes\qu J&\ql d|\qqbbh{-4}hg{^f}e\enotes +% mesure 15 +\barre\notes\qu I&\zq i\zqu k\hlp g|\qqbbH3dfgh\enotes +\temps\notes\qu G&\zq i\qu k|\qqbbh0ihij\enotes +\temps\notes\qu{=F}&\zq i\qu k|\qqbbh0kijk\enotes +% mesure 16 +\barre\notes\qu E&\bigaccid\zh{^g}\zhl i\qup l|\qqbbl0lklm\enotes +\temps\notes\bigaccid\qu{^G}&\sk\sk\cu k|\qqbbl{-2}lkji\enotes +\temps\notes\qu E&\bigaccid\zq e\zq{^g}\qu j|\qqbbH{-2}jihi\enotes +% mesure 17 +\barre\notes\qu H&\zhl e\pt e\zq h\qu j|\qqbbh{-3}jih{=g}\enotes +\temps\notes\bigna G\qu{G}&\zq h\qu j|\qqbbh{-3}jihg\enotes +\temps\notes\qu F&\zq h\qu j|\qqbbh0jhij\enotes +% mesure 18 +\barre\notes\qu D&\zh f\zhl h\qup k|\qqbbh{-2}khij\enotes +\temps\notes\qu E&\sk\sk\cu j|\qqbbl0kljk\enotes +\temps\notes\qu F&\zql d\ibu1i{-2}\zq g\qh1i\sk\zq f\tqh1h|\qqbbl3ijkl\enotes +% mesure 19 +\barre\notes\hu G&\zh d\zh g\hu i|\qqbbh{-4}kjih\enotes +\temps\notes&|\qqbbh0gdef\enotes +\temps\notes\soupir&\soupir|\qqbbh2gfgh\enotes +% +% mesure 20 +\barre\notes\hu G&\zh N\zhl b\qu d|\qqbbh0ifgh\enotes +\temps\notes&\qu g|\qqbbh3ijkl\enotes +\temps\notes\qu H&\zq{ac}\qu f|\qqbbl2mnon\enotes +% mesure 21 +\barre\notes\hu K&\itenl2a\zhl a\zqp d\qup f|\qqbbl{-3}mlkj\enotes +\temps\notes&\sk\sk\cu e|\qqbbh{-4}ihgf\enotes +\temps\notes\qu J&\tten2\zq M\zq a\qu d|\qqbbh{-4}gfed\enotes +% mesure 22 +\barre\elemskip=0.85\elemskip\notes\qu I&\zhl N\zq b\qu d|\qqbbh3defg\enotes +\temps\notes\qu J&\zhl c\qu e|\qqbbh4hijk\enotes +\temps\notes\qu H&\zq a\qu f|\qqbbh4l{^m}no\enotes +% mesure 23 +\advance\barsinline by -1\relax +\barre\notes\qu I&\zq b\zq d\qu g|\qqbbl3klmn\enotes +\temps\notes\qu J&\zq c\zql e\ibu0g{-2}\qh0g\sk\tqh0f|\qqbbh{-2}lmkj\enotes +\temps\notes\qu I&\zq b\zql d\ibu0g6\qh0g\sk\tqh0j|\qqbbH7imnq\enotes +% mesure 24 +\barre\notes\qu H&\zq c\zql e\hup h|\qqbbl{-6}onml\enotes +\temps\notes\qu K&\zh d\zhl f|\qqbbh{-2}khij\enotes +\temps\notes\qu D&|\qqbbH0kljk\enotes +% mesure 25 +\barre\NOTes\hu G&\zh b\zh d\hu g|\hu i\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +\finmorceau +% mesure 161 +\def\instrumentii{Mix. \ppff ff} +\cleftoksii={{6}{0}{0}{0}} +\def\instrumenti{\vbox{\hsize=\parindent + \centerline{P\'ed. 16'}\smallskip\centerline{/G.O./Pos.}}} +\debutmorceau +\autolines 755\relax +\NOtes\hu G&\zh N\hl b|\Uptext{\moyen Maestoso \bf(\metron{\qu}{60})}\rlap{\qsk\itenl0c\hlp d}\qu d\enotes +\temps\NOtes&|\qu g\enotes +\def\atnextline{\autolines655}% +\temps\NOtes\qu H&\ql a|\zql c\qu f\enotes +%\check +% mesure 162 +\barre\NOtes\qu I&\qlp b|\tten0\pt d\zhl d\qup g\enotes +\temps\notes\qu H&\sk\cl a|\sk\cu h\enotes +\temps\NOtes\qu G&\ql N|\zql g\qu i\enotes +\resp +%\check +% mesure 163 +\barre\NOtes\qu E&\ql N|\zq e\zql g\qu j\enotes +\temps\NOtes\qu F&\hl a|\zh f\zhl h\qu j\enotes +\temps\NOtes\qu D&|\qu k\enotes +%\check +% mesure 164 +\barre\NOtes\qu G&\hlp b|\rlap{\hlp d}\zqp g\qup i\enotes +\temps\notes\qu H&|\sk\cu h\enotes +\temps\NOtes\qu I&|\qu g\enotes +% mesure 165 +\barre\NOtes\hu J&\itenu0c\hl c|\zhl e\qu g\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\tten0\zq a\ql c|\qu f\enotes +% mesure 166 +\barre\NOtes\hu K&\itenu0a\hl a|\zhl d\qup f\enotes +\temps\notes&|\sk\cu e\enotes +\temps\NOtes\qu J&\tten0\zq M\ql a|\itenl0d\qu d\enotes +% mesure 167 +\barre\NOtes\qu I&\zhl N\qu b|\tten0\qu d\enotes +\temps\NOtes\qu J&\hu c|\qu e\enotes +\temps\NOtes\qu H&\ql a|\qu f\enotes +% mesure 168 +\barre\NOtes\qu I&\zqu b\hlp N|\zql d\qu g\enotes +\temps\notes\qu J&\ql c|\zql e\ibu0g{-2}\qhp0g\sk\tbbu0\tqh0f\enotes +\temps\notes\qu I&\ql b|\zql d\ibu0g5\qhp0g\sk\tbbu0\tqh0j\enotes +% mesure 169 +\barre\NOtes\qu J&\zq e\zqu c\hlp a|\zcharnote q{\Trille {5\elemskip}}\hup h\enotes +\temps\NOtes\qu K&|\zh d\hl f\enotes +\temps\NOtes\qu D&|\enotes +% mesure 170 +\barre\NOTes\hu G&\hl b|\zhl d\hu g\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +\finmorceau +% +\medskip\rightline{\it \aujourdhui} +\vfil +\eject diff --git a/Master/texmf-dist/doc/generic/musictex/euromtex.tex b/Master/texmf-dist/doc/generic/musictex/euromtex.tex new file mode 100644 index 00000000000..380c845340f --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/euromtex.tex @@ -0,0 +1,814 @@ +% +\def\text#1{\hbox{\rm #1}}% +%\check +\def\ital#1{{\sl #1\/}}% +\def\mutex{M\raise 2pt\hbox{\kern -1pt u\kern -1pt}\TeX} +\def\bslash{{\tt\char'134}}% +\def\|{{\tt\char'174}}% +\def\#{{\tt\char'043}}% +\def\{{{\char'173}}% +\def\}{{\char'175}}% +\def\@{{\char'100}}% +\def\musictex{Music\TeX}% +\def\musicxx{\musictwenty} +\def\keyindex#1{{\tt\bslash #1}\index{#1 \&\&\protect\tt\protect\bslash #1}} +\def\zkeyindex#1{\index{#1 \&\&\protect\tt\protect\bslash #1}} +\def\ixem#1{#1\index{#1}} +\def\itxem#1{\ital{#1}\index{#1}} +\def\aujourdhui{\today} +\def\vboxit#1{\vbox{\hrule\hbox{\vrule\kern3pt + \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} +\def\hboxit#1{\hbox{\vrule\vbox{\hrule\kern3pt + \hbox{\kern3pt\small\it #1\kern3pt}\kern3pt\hrule}\vrule}} +% +%\check +\tracingstats=1 +% +\input musicext +\documentstyle[musictex,musictrp,euro92]{article} +%% local commands +\tolerance 10000 +\font\mf=logo10 \hyphenchar\mf=-1 \newcommand{\METAFONT}{{\mf METAFONT}} +\begin{document} + +\title{\musictex : using \TeX\ to write\\polyphonic or +instrumental music} +\titlehead{\musictex -- Euro\TeX{}~92} + +\author{Daniel {\sc Taupin}$^{\dag}$} +\authorhead{Taupin} + +\affiliation{$\dag$ Universit\'e de Paris-Sud\\ +Laboratoire de Physique des Solides\\ +b\^atiment 510\\ +F-91405 ORSAY Cedex, France} + +\maketitle + +\begin{abstract} \musictex\ is a set of \TeX\ or La\TeX\ macros which are +fit to typeset polyphonic, instrumental or orchestral music. It is able to +handle an important number of instruments or voices (up to nine) and staffs +(up to four for each instrument). Many usual ornaments have been provided, including +several note sizes which can handle grace notes or extra music like cadenzas. + +Except the risk of typing errors due to a sophisticated set of macros, +the major difficulty still resides in glue and line breaking in the case of +irregular music and slurs. + \end{abstract} + +\begin{resume}{R\'esum\'e} +\musictex\ est un jeu de macro-instructions \TeX\ ou La\TeX\ adapt\'ees \`a +l'\'ecriture de partitions polyphoniques, instrumentales ou orchestrales. +\musictex\ est capable de g\'erer un nombre important d'instruments ou de voix +(jusqu'\`a neuf) et de port\'ees (jusqu'\`a quatre par instrument). +En outre, beaucoup d'ornements sont maintenant disponibles, notamment les notes +de petite taille our indiquer les ornements explicites ou les cadences. + +\`A part les risques d'erreurs li\'ees \`a la difficult\'e d'usage de +certaines proc\'edures, la principale difficult\'e est celle des coupures de +lignes dans le cas o\`u d'une musique irr\'eguli\`ere et la r\'alisation de +liaisons ou de phras\'es esth\'etiques. \end{resume} + +\begin{keywords} +music typesetting, orchestral music, polyphonic music. +\end{keywords} + +\section{What is \musictex\ ?} + \musictex\ is a set of \TeX\ macros to typeset polyphonic, orchestral or +polyphonic music. Therefore, it is mainly supposed to be used to type wide +scores -- just because true musicians seldom like to have to frequently turn +pages -- and this is not really compatible with La\TeX's standard page +formats, even the {\tt A4.sty} whose {\tt\bslash textheight} and {\tt\bslash +textwidth} are too small for musician needs. + + However, a La\TeX\ style has been also provided (and it is used for the +typing of the present paper) but this {\tt musictex} style is fit for +musicographic books rather than for normal scores to be actually played. + + It is to be emphasized that \musictex\ is not intended to be a +compiler which would translate into \TeX\ some \ixem{standard musical +notation}s, nor to decide by itself about aesthetic problems in music typing. +\musictex\ only typesets staves, notes, chords, beams, slurs and ornaments as +requested by the composer. Since it makes very few typesetting decisions, +\musictex\ appears to be a versatile and rather powerful tool. However, due +to the important amount of informations to be provided to the typesetting +process, coding \musictex\ might appear to be awfully complicated, just as +the real keyboard or orchestral music. It should be interfaced therefore by +some pre-compiler in the case of the composer/typesetter wanting aesthetic +decisions to be automatically made by somebody (or something) else. + +\section{\musictex\ pricipal features} +\subsection{Music typesetting is two-dimensional} + + Most of the people who just learnt a bit of music at college probably think +that music is a linear sequence of symbols, just as literary texts to be +\TeX-ed. In fact, with the exception of strictly monodic instruments like +most orchestral wind instruments and solo voices, one should be aware that +reading music actually is a matricial operation~: the non-soloist musician +successively reads \ital{columns} of simultaneous notes which he actually plays +if he is a pianist, clavichordist or organist, which he actually reads and +watches if he conducts an orchertra, and which he is supposed to check and +partially play when he is a soloist who wants to play in time with the +accompanying instrument or choir. + + In fact, our personal experience of playing piano and organ as well as +sometimes helping as an alternate Kapellmeister leads us to think that actual +music reading and composing is a slightly more complicated intellectual +process~: music reading, music composing and music thinking seems to be a +three layer process. The musician usually reads or thinks several consecutive +notes (typically a long \ital{beat} or a group of logically connected notes), then +he goes down to the next instrument or voice and finally assembles the whole +to build a part of music lasting roughly a few seconds. Then he handles the +next \ital{beat} or \ital{bar} of his score. + + Thus, it appears that the humanly logical way of coding music consists +in horizontaly accumulating a set of \ital{vertical combs} with +\ital{horizontal teeth} as described in Table \ref{readtable}. + + \begin{table} + \begin{center} + \begin{tabular}{|ll|ll|}\hboxit{note sequence one} + &\hboxit{note seq.\ four} + &\hboxit{note seq.\ seven} + &\hboxit{note seq.\ ten}\\\hboxit{note sequence two} + &\hboxit{note seq.\ five} + &\hboxit{note seq.\ eight} + &\hboxit{note seq.\ eleven}\\\hboxit{note seqence three} + &\hboxit{note seq.\ six} + &\hboxit{note seq.\ nine} + &\hboxit{note seq.\ twelve}\\ + \end{tabular} + \end{center} + \caption{The order in which a musician reads music}\label{readtable} + \end{table} + +This is the reason +why, in {\bf \musictex} the fundamental \ital{macro} is of the form + +\begin{center} +{\tt \bslash notes \dots\ \& \dots\ \& \dots\ \bslash enotes} +\end{center} + +\noindent where the character {\tt\&} is used to separate the notes to be +typeset on respective staffs of the various instruments, starting from the +bottom. + +In the case of an instrument whose score has to be written with +several staffs, these staffs are separated by the +character \|. Thus, a score written for a keyboard instrument and +a monodic instrument (for example piano and violin) +will be coded as follows~: + +\begin{center} +{\tt \bslash notes \dots\ \| \dots\ \& \dots\ \bslash enotes} +\end{center} +\noindent for each column of simultaneous \ital{groups of notes}. +It is worth emphasizing that we actually said \ital{``groups of notes''}: +this means that in each section of the previous macro, the music typesetter is +welcome to insert, not only chord notes to be played at once, but small +sequences of consecutive notes which build something he understands as a +musical phrase. This is why note typing macros are of two kinds in \musictex, +namely the note macros which are not followed by spacing afterwards, and those +which induce horizontal spacing afterwards. + +\subsection{The spacing of the notes} + +It seems that many books have dealt with this problem. +Although it can lead to interesting algorithms, we think it is +in practice a rather minor one. + +In fact, each column of notes has not necessarily the same spacing +and, in principle, this \itxem{spacing} should depend on the shortest +duration of the simultaneous notes. But this cannot be established as a rule, +for at least two reasons~: + +\begin{enumerate} + \item spacing does not depend only of the local notes, +but also on the context, at least in the same bar. +\item in the case of polyphonic music, exceptions can easily be found. +Here is an example~: + + + \begin{music} +\computewidths +\def\nbinstruments{1}\relax +\generalmeter{\meterfrac{4}{4}}\relax +\debutextrait +\normal\elemskip=0.110\hsize +\temps\Notes\qsk\qsk\rlap{\hu j}\ql h\enotes +\temps\Notes\hl g\enotes +\temps\Notes\hu k\enotes +\temps\Notes\ql f\enotes +\finextrait + \end{music} + +%\check + +\noindent where it can be clearly seen that the half notes at beats 2 and 3 +must be spaced as if they were quarter notes since they overlap, which is +obvious only because of the presence of the indication of the \itxem{meter} 4/4. +\end{enumerate} +% + +Therefore, we prefered to provide the composer/typesetter with a +set of macros, the spacing of which increases by a factor of $\sqrt 2$ +(incidentally, this can be adjusted)~: + +\begin{center} +{\tt \bslash notes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 1 spatial unit\hss}} +\\ +{\tt \bslash Notes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 1.4 spacial unit\hss}} +\\ +{\tt \bslash NOtes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 2 spatial units\hss}} +\\{\tt \bslash NOTes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 2.8 spatial units\hss}} +\\{\tt \bslash NOTEs \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 4 spatial units\hss}} +\\{\tt \bslash NOTES \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 5.6 spatial units\hss}} +\end{center} + +%\check + The size of the spatial unit (\keyindex{elemskip}) can be freely adjusted. +In addition, \musictex\ provides a means of adjusting the note spacing +according to an average number of elementary spaces within a line (macro +\keyindex{autolines}). + +\subsection{Music tokens, rather than a readymade generator} +%\check + +The tokens provided by \musictex\ are~: + +\begin{itemize} +\item the note symbols \ital{without stem}~; +\item the note symbols \ital{with stems, and hooks for eighth notes and +beyond}~; +\item the indications of beam beginnings and beam ends~; +\item the indications of beginnings and ends of ties and slurs~; +\item the indications of accidentals~; +\item the ornaments~: arpeggios, trills, mordents, pinc\'es, turns, staccatos +and pizzicatos, fermatas~; +\item the bars, the meter and signature changes, etc. +\end{itemize} + + Thus, {\tt\bslash wh g} produces an \ital{A (445~Hz)} whose +duration is a \ital{whole note}. In the same way, {\tt\bslash qu~c} produces +a \ital{C (250~Hz approx.)} whose value is a \ital{quarter note with stem +up}, {\tt \bslash cl J} produces a \ital{C (125~Hz approx.)} whose duration +is an \ital{eighth note with stem down}, etc. + + To generate quarter, eighth, sixteenth, etc. chords, the macro +\keyindex{zq} can be used~: it produces a quarter note head whose position is +memorized and recalled when another stemmed note (possibly with a hook) is +coded~; then the stem is adjusted to link all simultaneous notes. Thus, the +perfect C-major chord, i.e. + +%\check +{\def\nbinstruments{1}\relax +\cleftoksi={{0}{0}{0}{0}}\generalmeter{}\relax +\debutextrait +\normal +\NOTes\qsk\zq c\zq e\zq g\qu j\enotes +\finextrait} + +%\check +\noindent is coded + \hbox{\tt\bslash zq~c\bslash zq~e\bslash zq~g\bslash qu~j} +or, in a more concise way, \hbox{\tt\bslash zq\{ceg\}\bslash qu~j} (stem up)~: +in fact, single notes are treated\dots\ like one-note chords. + +\subsection{Beams} + \ital{Beams}\index{beams} are generated using macros which define their +beginning (at the current horizontal position), together with their altitude, +their sense (upper of lower), their multiplicity, their slope and their +reference number. This latter feature -- the reference number -- appears to +be necessary, since one may want to write beams whose horizontal extents +overlap~: therefore, it is necessary to specify which beam the notes hang on +and which beam is terminated at a given position. + +%\check +\subsection{Setting anything on the score} + +A general macro (\keyindex{zcharnote}) provides a means of +putting any sequence of symbols (in fact, some {\tt \bslash hbox\{...\}}) at any +pitch of any staff of any instrument. Thus, any symbol defined in a font +(letters, math symbols, etc.) can be used to typeset music. + +\subsection{A simple example} + + Before entering other details, we give below an example of the two first +bars of the sonata in C-major K545 by {\sc\ixem{Mozart}}~: + +\begin{music} +\parindent 1cm +\def\nbinstruments{1}\relax +\def\instrumenti{Piano}% +\nbporteesi=2\relax +\generalmeter{\meterfrac{4}{4}}\relax +\debutextrait +\normal +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes +\barre +\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes +\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes +\finextrait +\end{music} +%\check + + The \ital{coding} is set as follows~: + +\begin{quote}\begin{verbatim} +\begin{music} +\parindent 1cm +\def\nbinstruments{1}\relax % a single instrument +\def\instrumenti{Piano}% % whose name is Piano +\nbporteesi=2\relax % with two staffs +\generalmeter{\meterfrac{4}{4}}\relax % 4/4 meter choosen +\debutextrait % starting real score +\normal % normal 12 pt note spacing +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes +\barre % bar +\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes +\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes +\finextrait % terminate excerpt +\end{music} + \end{verbatim}\end{quote} + +\begin{itemize} +\item {\tt\bslash ibu0f0} begins an upper beam, aligned on the +\ital{f}, reference number 0, slope 0 +\item {\tt\bslash tbu0} terminates this beam before writing +the second \ital{g} by means of {\tt\bslash qh0g} +\item {\tt\bslash qh..} indicates a note hanging on a beam. + \item {\tt\bslash sk } sets a space between the two quarters at the right +hand, so that the second is aligned with the third eighth of the left hand. + \item{\tt\bslash qlp} is a quarter with a point. + \item{\tt\bslash ibbl1j3} begins +a double beam, aligned on the \ital{C} ({\tt j} at this pitch) +of slope 0.15. +\end{itemize} + +\subsection{Signatures} + +Signatures are stated either for all instruments, such as~: +\keyindex{generalsignature}{\tt=-2} which sets two flats on each staff, but +this can be partly overrided by \keyindex{signatureii}{\tt=1} which puts one +sharp on the staffs of \itxem{instrument number} 2 (ii). Of course, the +current signature may change at any time as well as meters and clefs. + +\subsection{Transposition} + + An important question is~: \ital{``can \musictex\ transpose a score~?''}. +The answer is now 99.5~\% \ital{yes}. If fact, there is an internal register +named \keyindex{transpose} the default value of which is zero, but it may be +set to any positive of negative reasonable value. Then, it offsets all +symbols pitched with letter symbols by that number of pitch steps. However, +it will neither change the signature nor the local accidentals, and if -- for +example -- you transpose by 1 pitch a piece written in $C$, \musictex\ will +not know whether you want it in $D\flat$, in $D$ or in $D\sharp$. This might +become tricky if accidentals occur within the piece, which might have to be +converted into flats, naturals, sharps or double sharps, depending on the new +choosen signature. To circumvent this trouble, \ital{relative} accidentals +have been implemented, the actual output of which depends of the pitch of +this accidental and of the current signature.\index{relative accidentals} + +\subsection{Grace notes and cadenzas} + +In addition to its facility of generating either sixteen point or twenty point +staffs with note heads of corresponding size, \musictex\ also allows the user +to type smaller notes, in order to represent either \ital{grace notes}, +\ital{cadenzas} or a proposed realization of a \ital{figured bass}. This may +give something like~: + +\begin{music} +\def\DS{\hbox{\ds}} +\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip} +\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}% +\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}% +\def\nbinstruments{2}% +\generalmeter{\meterfrac{4}{4}}% +\signaturegenerale{0}% +\nbporteesii=1\relax +\nbporteesii=2\relax +\cleftoksi={{6}{0}{0}{0}} +\cleftoksii={{6}{0}{0}{0}} +\etroit +\debutextrait +\NOTes\soupir&\soupir|\qu g\enotes +% mesure 1 +\advance\barno by -1\relax +\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\enotes +\notes&\qbl0c0|\noteskip=0.6\elemskip\tinynotesize +\Ibbu1ki2\qh1{kj}\tqh1i\qsk\enotes +\Notes&\qb0e\tbl0\qb0c|\qu j\enotes +\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes +% mesure 2 +\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax + \zq c\qb1e\zq c\qb1e\relax + \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes +\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax + \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes +\finextrait +\end{music} + +\subsection{Selecting special instrument scores} + +Another question is~: \ital{``can I write an orchestral score and extract the +separate scores for individual instruments~?''} The answer is 95~\% +\ital{yes}~: in fact, you can define your own macros {\tt \bslash +mynotes...\bslash enotes}, {\tt \bslash myNotes...\bslash enotes} with as +many arguments as there are in the orchestral score (hope this is less or +equal to 9, but \TeX perts know how to work around) and change its definition +depending on the selected instrument (or insert a test on the value of some +selection register). But the limitation is that the numbering of instruments +may change, so that {\tt \bslash signatureiii} may have to become {\tt +\bslash signaturei} if instrument $iii$ is alone. But, in turn, this is not a +serious problem for average \TeX\ wizard apprentices. + + \section{How to get it} + + The whole \itxem{distribution} fits into a single 1.2Mbyte or +1.44Mbyte diskette. It can also be obtained through an \ital{anonymous ftp} +at {\tt rsovax.ups.circe.fr} (130.84.128.100), after selecting the +subdirectory {\tt [.musictex]}. All sources (including fonts) are provided, +either separately or ``zipped'' or as VMS `savesets''. + +%\check +\section{Implementation, restrictions and enhancement possibilities} + +The macroinstruction file \musictex\ contains approximately 2500 lines of +code, that is 80~000 bytes approximately. This requires your score to be +compiled by the most extended versions of \TeX\ (65~000 words of working +memory). In desperate situations, we recommend using the +``Big\TeX''\index{Big\protect\TeX} processors which, unfortunately, perform +a great deal of disk input/outputs (on PCs) which make them awfully slow. + +In particular, the number of registers it uses can hinder its compatibility +with some La\TeX\ styles or with La\TeX\ itself in case of restricted memory +availability\index{La\protect\TeX}. + +\subsection{Recent easy enhancements} + +Many enhancements have been asked for, and this is a proof thet \musictex\ is +considered as useful by many people. Some of these enhancements which seemed +hard were in fact rather easy to implement, for example small notes to represent +grace notes and cadenzas. But others may induce heavy problems, for example +the need of having \ital{nice} slurs and ties. + +\subsection{The tie/slur problem} + +While typesetting notes and even beams is a rather simple problem because is +is a \ital{local typesetting}, ties and slurs are much more difficult to handle. + +Or course there is little problem in case of a typesetter wanting a slur or a +tie binding two consecutive notes, not separated by a bar. In practice this +\ital{very restricted} use of slurs or ties can easily be solved by putting +some symbols extracted from the {\tt slur16} or {\tt slurn16}/{\tt slurn20} +fonts somewhere on the staffs using the general use \keyindex{zcharnote} +macro. + + But serious music typesetters or composers know that many ties are supposed +to link notes which are on both sides of a bar, which is a likely place to +insert line breakings, so that the \itxem{tie} coding must have various +versions and sizes to resist that possible line breaking. What has been said +about ties is still more serious in the case of \itxem{phrasing slurs} which +may extend over several bars, lines and sometimes pages. In this case, their +shape is not only a question of producing a long curved symbol of nice +looking shape, it also has to cope with \itxem{glue}. An then the worst is +that music way of typing does not accept \itxem{ragged lines} but equal +length lines, even for the last line of a music piece. Thus, long distance +slurs and ties need to be cut into separate parts (beginning, continuing(s), +endings) which \TeX\ can only link using \ital{horizontal line overlaps} +or \keyindex{leaders} to insure slur continuity over this unavoidable glue. + + + +Therefore and up to now, ties and slurs have been implemented in a way which +may look rather ugly, but we think it is the only way of implementing +\ital{in one pass} ties and slurs which run \ital{across glue}. The principle +is to have tie/slur symbols with a rather long part of horizontal stuff. +Then, at each time a glue occurs and at each time a group of notes is coded +while a slur or tie is pending, an \keyindex{hrule} is issued which overlaps +the preceeding tie/slur symbol so that the final output seems to contain a +continuous line. Unfortunately, this is possible only in the glue expansion +direction, namely in the horizontal direction. + + It could be requested -- and this is thought of -- to have variable size +initial and final curved slur symbols which the user would choose according +to his intention to have short or long range slur symbols. This has not been +\ital{yet} implemented for several reasons~: + + \begin{itemize} + + \item The author's natural lazyness (!) + + \item More seriously~: this would require using some more registers (at +least a dozen) to record the initial sizes (horizontal and vertical) of this +symbol \ital{for each slur/tie} in order to make adequate links over glue and +to close it with the symmetrical symbol. Unfortunately, \TeX\ registers are +not numerous (256 of each kind) and we are afraid such a feature would make +\TeX\ stupidly crash even when typesetting reasonable scores. + + \item We do not think it wise to introduce in \musictex\ itself a great +number of macros which would be pooly used by most users~: the reason is that +\TeX\ memory is hardly limited and that unused macros may occupy some \TeX\ +storage which could make things crash because of {\tt TeX capacity +exceeded}... + + \end{itemize} + +\section{Acknowledgements} + +The idea of implementing the present package is due to the previous work +(\mutex)\index{mutex\&\%\protect\mutex} of Andrea {\sc Steinbach} and Angelika +{\sc Schofer}[1]. This work +provided the basis of the Metafont codes and some line breaking procedures, +which both are still used here... with 99\% corrections and +updates.\index{Schofer, A.}\index{Steinbach, A.} + + +\section{Some examples} + +Many examples can be typeset from the \musictex\ distribution, but they are +not included here because of their need to be compiled with \TeX\ rather than +La\TeX\ and because they need output paper of the extended +291$\times$297~mm$^2$ european size. However we chose to produce a small type +size version of {\sc Haydn}'s \ital{aria} from the Creation and a piece of a +personal composition heavily using beams. + +\vspace{.5cm} +\begin{thebibliography}{Taupin 92} +\bibitem[1]{} Andrea {\sc Steinbach} and Angelika +{\sc Schofer}, {\em Theses} (1987, 1988), +Rheinische Friedrich-Wilhelms Universit\"at, Bonn, Germany. + +\end{thebibliography} + +\newpage + +\begin{center} +{\Large\bf Aria No. 24} +\\{\large\bf (The Creation)} +\\{\large Joseph {\sc Haydn}} +\\Transcription for organ and tenor, D. {\sc Taupin} (1990) +\end{center} + +\begin{music} +\musicsize=16\relax +\def\nbinstruments{2}% +\generalmeter{\meterfrac{4}{4}}% +\signaturegenerale{0}% +\nbporteesii=2\relax +\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}% +\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}% +\def\DS{\hbox{\ds}}\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip} +\cleftoksi={{6}{0}{0}{0}} +\cleftoksii={{6}{0}{0}{0}} +\debutmorceau +\autolines {16}24\relax +\NOTes\soupir&\rlap{\rmidtwotext{\bf II}}\relax +\soupir\relax|\qu g\enotes +% mesure 1 +\advance\barno by -1\relax +\advance\barsinline by -1\relax +\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\itenl0j\ibu1l0\qh1j\enotes +\notes&\qbl0c0|\nbbu1\nbbbu1\tten0\qh1{jkj}\tbu1\qh1i\enotes +\Notes&\qb0e\tbl0\qb0c|\qu j\enotes +\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes +% mesure 2 +\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax + \zq c\qb1e\zq c\qb1e\relax + \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes +\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax + \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes +% mesure 3 +\autolines {14}24\relax +\barre\NOtes\itenl2G\wh G&\zw N\raise 3.5\Interligne\ds +|\rlap{\cl f}\itenl0k\ibu1m0\qh1k\enotes +\notes&\qbl0b0|\nbbu1\nbbbu1\tten0\qh1{klk}\tbu1\qh1{^j}\enotes +\Notes&\zq d\qb0f\tbl0\qb0b|\qu k\enotes +\temps\Notes&\ibl0d0\zq d\qb0{fb}\zq d\qb0f|\qu m\sk\pt k\qbu1k{-4}\enotes +\notes&\tbl0\qb0b|\sk\tbbu1\tbu1\qh1i\enotes +% mesure 4 +\barre\Notes\tten2\wh G&\ql G\sk\ql I|\rlap{\qupp g}\ibl1c0\qb1g\relax + \zq{bd}\qb1f\zq{bd}\qb1f\relax + \zq{bd}\tbl1\rlap{\qb1f}\ \ \ccu h\enotes +\temps\Notes&\ql K\sk\pt I\qbl0I{-4}|\ibl1d0\rlap{\qb1b}\cu g\relax + \zq{bd}\rlap{\qb1f}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes +\notes&\sk\tbbl0\tbl0\qb0G|\tbl1\zq{bd}\qb1f\enotes +% mesure 5 +\barre\Notes\hu J&\rlap{\lhu J}\ibl0M0\qb0J\zq N\qb0c\zq N\qb0c\tbl0\zq N\qb0c\relax + |\rlap{\hl e}\qu j\sk\qbu1l{-4}\tbu1\qh1j\enotes +\temps\Notes\hu K&\rlap{\lhu K}\ibl0M0\qb0K\zq N\qb0b\zq N\qb0b\tbl0\zq N\qb0b\relax + |\rlap{\hl f}\ibu1k0\qh1{ikm}\tbu1\qh1k\enotes +%\check +% mesure 6 +\barre\Notes\wh L&\zw N\raise 3.5\Interligne\ds\qbl0c0\qb0e\relax + |\rlap{\hl g}\ppt j\qu j\enotes +\notes&\tbl0\qb0c|\sk\ccu l\enotes +\temps\Notes&\ibl0c0\qb0{ece}|\rlap{\hl g}\qu n\sk\raise 2\Interligne\DS\enotes +\notes&\tbl0\qb0c|\ibbu1m{-3}\qh1m\tbu1\qh1l\enotes +%\check +% mesure 7 +\barre\Notes\wh M&\zw a\raise 3.5\Interligne\ds\qbl0d0\qb0f\tbl0\qb0d\relax + |\rlap{\hlp h}\qu k\sk\qu m\enotes +\temps\Notes&\ibl0d0\qb0f|\pt o\qbu1o{-3}\enotes +\notes&\zq d\qb0f\sk +\zq d\qb0f\sk\tbl0\zq d\qb0f|\sk\tbbu1\tbu1\qh1n\relax + \ibbu1m{-3}\rlap{\raise -\Interligne\qp}\qh1{mlk}\tbu1\qh1j\enotes +%\check +% mesure 8 +\barre\Notes\hu G&\lcharnote c{\bf I}\relax +\pz b\ibl0M3\qb0N\pz d\qb0b\pz f\qb0d\pz d\tqb0b|\ql i\rlap{\uptext{\bf I}}\sk\ds\ppz p\zq{km}\cl p\enotes +\temps\Notes\hu G&\ibl0M3\pz b\qb0N\pz e\qb0c\pz g\qb0e\pz e\tqb0c\relax + |\zq{jl}\ql q\sk\ds\ppz l\zq{gj}\cl l\enotes +%\check +% mesure 9 +\barre\Notes\hu G&\pz b\ibl0M3\qb0N|\zq{gi}\ql k\enotes +\notes&\nbbl0\qb0b\tqb0c\enotes +\zglu\Notes&\pz f\ibl0d{-4}\qb0d\pz d\tqb0b|\ds\ppz p\zq{km}\cl p\enotes +\temps\Notes\hu G&\pz b\ibl0M3\qb0N|\ppz q\ibl1m3\zq l\qb1q\enotes +\notes&\nbbl0\qb0c\tqb0d|\nbbl1\qb1q\tqb1p\enotes +\temps\notes&\pz g\ibl0e{-4}\qb0e\sk\pz e\tqb0c|\ibbl1p0\qb1{qpq}\tqb1s\enotes +%\check +% mesure 10 +\barre\Notes\hu G&\zq{Nb}\ql d|\pz t\ibl1o{-3}\qb1r\enotes +\notes&|\nbbl1\qb1n\tqb1{^m}\enotes +\zglu\notes&\soupir|\ibbl1m0\qb1{nmn}\tqb1m\enotes +\temps\Notes\hpause&\ibl0I6\pz J\qb0G|\pz p\cl n\enotes +\notes&\nbbl0\qb0N\tqb0{^M}|\ibbu1g{-3}\qh1g\tqh1{^f}\enotes +\notes&\ibbl0N0\qb0{NMN}\tqb0M|\ibbu1g0\qh1{gfg}\tqh1f\enotes +%\check +\suspmorceau +\def\nbinstruments{4}% +\nbporteesiii=0\relax +% mesure 11 +\reprmorceau +\autolines {11}23\relax +\NOtes\qu G&\ql N|\st n\qu g&&\hpause\enotes +\zglu\NOtes\soupir&\rlap{\rmidtwotext{\bf II}}\soupir|\zq d\qu{=f}&&\enotes +\temps\NOtes\hpause&\hpause|\zq c\qu e&&\soupir\enotes +\zglu\NOtes&|\zq b\qu d&Mit~&\ilegu0p\qu g\enotes +% mesure 12 +\barre\Notes&\qu J|\zw N\zq c\ibu0e0\qh0e\zq c\qh0e&W\"urd~&\ql j\enotes +\Notes&\soupir|\zq c\qh0e\zq c\tqh0e&und~&\ql j\enotes +\temps\Notes\pause&\hpause|\zq c\ibu0e0\qh0e\zq c\qh0e&Ho-&\ql l\enotes +\Notes&\zcharnote C{\bf I}|\zq c\qh0e\zq c\tqh0e&heit~&\ql j\enotes +% mesure 13 +\autolines {12}23\relax +\barre\Notes&\qu C|\zw N\zq c\ibu0e0\qh0e\zq c\qh0e&an-&\qup g\enotes +\Notes&\qu E|\zq c\qh0e\zq c\tqh0e&\sk ge-&\sk\cu h\enotes +\temps\Notes\pause&\qu G|\zq c\ibu0e0\qh0e\zq c\qh0e&tan,~&\tleg0\qu g\enotes +\Notes&\ibu1E{-3}\qhp1E|\zq c\qh0e&mit~&\ilegu0p\qu g\enotes +\notes&\sk\tbbu1\tqh1C|\zq c\tqh0e&&\enotes +% mesure 14 +\barre\Notes&\qu G|\zw N\ibu0e0\zq{bd}\qh0f\zq{bd}\qh0f\relax + &Sch\"on-&\ql k\enotes +\Notes&\soupir|\zq{bd}\qh0f\zq{bd}\tqh0f&heit,~&\ql k\enotes +\temps\Notes\pause&\hpause|\ibu0e0\zq{bd}\qh0f\zq{bd}\qh0f&St\"ark~&\ql m\enotes +\Notes&|\zq{bd}\qh0f\zq{bd}\tqh0f&und~&\ibu2k{-4}\qh2k\tqh2i\enotes +\suspmorceau +\end{music} +%\removelastskip\rightline{\sl\aujourdhui} +\newpage + +\def\testpgs{4}% +\begin{music} +% +\resettens +\musicsize=16\relax +\nbporteesi=2\relax +\def\nbinstruments{1}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-3}\relax % trois bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{2}}}% +%\check +\def\instrumenti{Piano} +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\ff{{f}\kern -1pt{f}}% +% formes frequentes +% +%\check +% +\def\Tqbbh{\Tqbbu}% +\def\Tqbh{\Tqbu}% +% +%\check +% octave basse en blanche +\def\bohl#1{\zh{`#1}\hl{'#1}}% +\def\bohu#1{\zh{`#1}\hu{'#1}}% +\def\sohl#1{\zh{'#1}\hl{`#1}}% +\def\sohu#1{\zh{'#1}\hu{`#1}}% +% +\def\bozh#1{\zh{`#1'#1}}% +\def\bozq#1{\zq{`#1'#1}}% +\def\boql#1{\zq{`#1}\ql{'#1}}% +\def\boqu#1{\zq{`#1}\qu{'#1}}% +% octave sup. en croches u +\def\soqh#1{\zq{'#1}\qh0{`#1}}% +\def\soqb#1{\zq{'#1}\qb0{`#1}}% +\def\soqu#1{\zq{'#1}\qu{`#1}}% +\def\soql#1{\zq{'#1}\ql{`#1}}% +%\check +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne % +\def\sfhu#1{\lsf #1\hu #1}% +\def\sfwu#1{\lsf #1\wh #1}% +\def\sfhl#1{\usf #1\hl #1}% +\def\sfwl#1{\usf #1\wh #1}% +\def\Sfwu#1{\zw{'#1}\usf{#1}\wh{!#1}}% +\def\Sfwp#1{\pt{'#1}\zw{#1}\pt{!#1}\usf{#1}\wh{#1}}% +% +\parindent 1cm\debutmorceau +% +\autolines{28}14\relax +\znotes\zmidtwotext{\kern -3.5mm\ppff ff}|\raise 9\Interligne +\llap{\moyen + appassionnato\kern -1.5cm}\uptext{\kern -1mm\rm(\metron{\qu}{80})}\enotes +% +%\check +\newif\ifsupa +\supafalse +\def\accord#1#2#3#4#5#6#7{\notes +\raise -2\Interligne\llap{\PED\sk}\Ibbu0{#1}{#3}3\qh0{!`#1!#1#2}\tqh0{#3}\relax +|\pt{#5}\pt{#6}\pt{#7}\zw{#5}\zw{#6}\zw{#7}\relax +\usf{!'#5}\pt{!'#5}\wh{!'#5}\Ibbu0{!#5}{!#7}3\qh0{!#5#6}\tqh0{#7}\enotes +%\check 1 +\temps\notes +\Qqbbu{!#4}{!'#2}{!'#3}{!'#4}|\Qqbbu{!'#5}{!'#5}{!'#6}{!'#7}\enotes +%\check 1 +\temps\notes +|\rlap{\Qqbbl{!''#2}{!''#3}{!''#4}{!'''#2}}\relax +\Qqbbu{!''#5}{!''#5}{!''#6}{!''#7}\enotes +%\check 1 +\temps\notes|\rlap{\Qqbbl{!'''#3}{!'''#2}{!''#4}{!''#3}}\relax +\Qqbbu{!'''#5}{!''#7}{!''#6}{!''#5}\enotes +%\check 1 +\temps\notes +\ifsupa|\rlap{\Qqbbl{!'#4}{!'#4}{!'#3}{!'#2}}\relax +\else\ibbu0{!''#3}{-9}\qh0{!''#3#2`#4}\tqh0{#3}|\fi +\Qqbbu{!''#5}{!'#7}{!'#6}{!'#5}\enotes +%\check 1 +\temps\notes\raise -2\Interligne +\rlap{\sk\sk\DEP}\Ibbu0{!#4}{!`#4}3\qh0{!#4#3#2}\tqh0{!`#4}\relax +|\Ibbu0{!'#5}{!#5}3\qh0{!'#5`#7#6}\tqh0{#5}\enotes +}% +% +%\check +\accord CEGJNce\relax +% mesure 2 +\autolines{25}1{\testpgs}\relax +\barre\accord CFHJacf\relax +% mesure 3 +\barre\supatrue\accord CFHJcfh\relax +% mesure 4 +\barre +\accord CFHJdfh\relax +% mesure 5 +\def\Accord#1#2#3#4#5#6#7{\notes +\raise -2\Interligne\llap{\PED\sk}\Ibbu0{#1}{#3}3\qh0{`#1!#1#2}\tqh0{#3}\relax +|\pt{#5}\pt{#6}\pt{#7}\zw{#5#6#7}\relax +\usf{!'#5}\whp{!'#5}\Tqbbu{!#5}{!#6}{!#7}\enotes +%\check 1 +\temps\notes\Qqbbu{!#4}{!'#2}{!'#3}{!'#4}\relax +|\Qqbbu{!'#5}{!'#5}{!'#6}{!'#7}\enotes +%\check 1 +\temps\notes|\rlap{\Qqbbl{!''#2}{!''#3}{!''#4}{!'''#2}}\relax +\Qqbbu{!''#5}{!''#5}{!''#6}{!''#7}\enotes}\relax +% +%\check +\barre\Accord CEGJNce\relax +\temps\notes|\qsk\octfin{22}{12}\rlap{\Qqbbl gjln}\Qqbbu nnqs\enotes +\temps\notes|\rlap{\Qqbbl qnlj}\Qqbbu usqn\enotes +\temps\notes|\rlap{\Qqbbl gecN}\Qqbbu nljg\enotes +% mesure 6 +\barre\notes\Qqbbu ecNL|\Qqbbu nljg\enotes +\temps\notes\Qqbbu cNLJ|\Qqbbu ljge\enotes +\temps\notes\Qqbbu NLJG|\zcharnote{a}{\DIMin}\Qqbbu jgec\enotes +\temps\notes\Qqbbu LJGE|\Qqbbu gecN\enotes +\temps\notes\Qqbbu JGEC|\Qqbbu ecNL\enotes +\temps\notes\boqu C\DEP\qsk|\qu J\enotes +% mesure 7 +\barre\supafalse\znotes\zmidtwotext{\llap{\ppff ff}}\enotes +\accord CEGJNce\relax +% mesure 8 +\barre\accord CFHJacf\relax +\suspmorceau + + + +\end{music} +\end{document} + diff --git a/Master/texmf-dist/doc/generic/musictex/extras.tex b/Master/texmf-dist/doc/generic/musictex/extras.tex new file mode 100644 index 00000000000..7091f6ff76d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/extras.tex @@ -0,0 +1,302 @@ +% A logo +\def\musictex{\leavevmode\hbox{Music\TeX}} + +% Here I define an extra font for the dynamics, at 10pt. +\font\ppffx=\fonthdg mbxti10 + +% I like the size of the bold italic to depend on the size of the music, so +% I define this. It would be better for this to be defined in +% \computespecifics however. +\def\ppffs{\ifnum\musicsize=20\ppff\else\ppffx\fi} + +% \dyn {pitch}{text} inserts a dynamic +\def\dyn#1#2{\zcharnote{#1}{{\ppffs #2}}} + +% \nobarnumbers prevents bar numbering +\def\nobarnumbers{\def\wbarno{\relax}} + +% \barnumbers restores bar numbering +\def\barnumbers{\def\wbarno{\w@barno}} + +% \tab is defined as a tab character, so that I can still use tabs. +\catcode`\@=4 +\let\tab=@ +\catcode`\@=11 + +% The next few sections define some extra macros to produce notes. +% They are sometimes useful, but you may not want to use them. + +\def\nqu#1{\rlap{\qu{#1}}} +\def\nql#1{\rlap{\ql{#1}}} +\def\nhu#1{\rlap{\hu{#1}}} +\def\nhl#1{\rlap{\hl{#1}}} +\def\nw#1{\rlap{\wh{#1}}} +\def\nwh#1{\rlap{\wh{#1}}} +\def\nqup#1{\rlap{\qup{#1}}} +\def\nqlp#1{\rlap{\qlp{#1}}} +\def\nhup#1{\rlap{\hup{#1}}} +\def\nhlp#1{\rlap{\hlp{#1}}} +\def\ncl#1{\rlap{\cl{#1}}} +\def\ncu#1{\rlap{\cu{#1}}} + +% shifted dotted whole notes +\def\rwp#1{\kern \wd@skip\zwp{#1}\kern -\wd@skip} +\def\lwp#1{\kern -\wd@skip\zwp{#1}\kern \wd@skip} + +% Half-shifted notes. I sometimes use these for close intervals: for instance +% \zlqu g\zrql f + +\def\zrwh{\zrw} +\def\zlwh{\zlw} +\def\zrw#1{\kern .52\wd@skip\nw{#1}\kern -.52\wd@skip} +\def\zlw#1{\kern -.52\wd@skip\nw{#1}\kern .52\wd@skip} +\def\zrhu#1{\kern .45\hn@width\nhu{#1}\kern -.45\hn@width} +\def\zlhu#1{\kern -.45\hn@width\nhu{#1}\kern .45\hn@width} +\def\zrhl#1{\kern .45\hn@width\nhl{#1}\kern -.45\hn@width} +\def\zlhl#1{\kern -.45\hn@width\nhl{#1}\kern .45\hn@width} +\def\zrhup#1{\kern .45\hn@width\nhup{#1}\kern -.45\hn@width} +\def\zlhup#1{\kern -.45\hn@width\nhup{#1}\kern .45\hn@width} +\def\zrhlp#1{\kern .45\hn@width\nhlp{#1}\kern -.45\hn@width} +\def\zlhlp#1{\kern -.45\hn@width\nhlp{#1}\kern .45\hn@width} +\def\zrqu#1{\kern .45\qd@skip\nqu{#1}\kern -.45\qd@skip} +\def\zlqu#1{\kern -.45\qd@skip\nqu{#1}\kern .45\qd@skip} +\def\zrql#1{\kern .45\qd@skip\nql{#1}\kern -.45\qd@skip} +\def\zlql#1{\kern -.45\qd@skip\nql{#1}\kern .45\qd@skip} +\def\zrqup#1{\kern .45\qd@skip\nqup{#1}\kern -.45\qd@skip} +\def\zlqup#1{\kern -.45\qd@skip\nqup{#1}\kern .45\qd@skip} +\def\zrqlp#1{\kern .45\qd@skip\nqlp{#1}\kern -.45\qd@skip} +\def\zlqlp#1{\kern -.45\qd@skip\nqlp{#1}\kern .45\qd@skip} +\def\zrcu#1{\kern .45\qd@skip\zcu{#1}\kern -.45\qd@skip} +\def\zlcu#1{\kern -.45\qd@skip\zcu{#1}\kern .45\qd@skip} +\def\zrcl#1{\kern .45\qd@skip\zcl{#1}\kern -.45\qd@skip} +\def\zlcl#1{\kern -.45\qd@skip\zcl{#1}\kern .45\qd@skip} +% +% half left shifted accidentals - for putting before half shifted notes +% +\def\hlfl#1{\getn@i{#1}\global\n@raise=\fl@raise + \pl@llap{\f@lat\kern 0.45\qd@skip}% +}% +\def\hldfl#1{\getn@i{#1}\global\n@raise=\fl@raise + \pl@llap{\df@lat\hskip 0.45\qd@skip}% +}% +\def\hlsh#1{\getn@i{#1}\global\n@raise=\sh@raise + \pl@llap{\s@harp\hskip 0.45\qd@skip}% +}% +\def\hldsh#1{\getn@i{#1}\global\n@raise=\z@ + \pl@llap{\ds@harp\hskip 0.45\qd@skip}}% +\def\hlna#1{\getn@i{#1}\global\n@raise=\na@raise + \pl@llap{\n@at\hskip 0.45\qd@skip}}% +% +% cautionary accidentals +% A cautionary accidental is a small one surrounded by parentheses, used for +% reminders. Type the usual accidental name preceded by "c" +% +\def\caution#1#2{\kern -.4\qd@skip\zcharnote{#2}{\raise +-.45\Interligne\hbox{\ttyeight\kern -1.4\qd@skip + \rlap{(}\kern1.2\qd@skip)}}#1#2\kern .4\qd@skip} + +\def\cfl{\caution{\smallfl}} +\def\csh{\caution{\smallsh}} +\def\cna{\caution{\smallna}} +\def\cdfl{\caution{\smalldfl}} +\def\cdsh{\caution{\smalldsh}} +\def\cFl{\caution{\smallFl}} +\def\cSh{\caution{\smallSh}} +\def\cNa{\caution{\smallNa}} +\def\cdFl{\caution{\smalldFl}} +\def\cdSh{\caution{\smalldSh}} + +% The following macros can be used to surround a note by parentheses. They +% are also used as ornaments by J.P. Rameau. +% \lpar p produces a left parenthesis, or "port de voix" at pitch p +% \rpar p produces a right parenthesis, or "pinc\'e" + +\def\lpar#1{\zcharnote #1{\raise -2.5pt\hbox{\tentt\kern -.9\Interligne (}}} +\def\rpar#1{\zcharnote #1{\raise -2.5pt\hbox{\tentt\kern 1.1\Interligne )}}} + +\newdimen\tmp@dimen +\def\bracketshrink{0.17\Interligne} + +% \bracket pn draws a square bracket ( [ ) to bracket an interval of an n-th +% whose lowest note is p. + +\def\bracket#1#2{\tmp@dimen #2\Interligne\advance\tmp@dimen by\Interligne + \divide\tmp@dimen by2\relax + \advance\tmp@dimen by-\bracketshrink\advance\tmp@dimen by-\bracketshrink + \advance\tmp@dimen by-\lthick + \zcharnote#1{\kern-.75\Interligne\raise-.5\Interligne + \hbox{\raise\bracketshrink\hbox{\rlap{\vrule height\tmp@dimen}\relax + \rlap{\vbox{\hrule width .5\Interligne}}\relax + \raise\tmp@dimen\vbox{\hrule width .5\Interligne}}}}} + +\newdimen\tmp@dimenc +\newdimen\z@iii\newdimen\z@iv\newdimen\z@v + +% \oblique {l}{s}{h} draws an oblique line of length l, slope s percent, and +% height h. This will cause an unrecorded space so it should be used within +% \rlap. Note that this macro is a hack and probably gobbles up resources! +% This macro is used by some of the others which follow. + +\def\oblique#1#2#3{\relax % length slope height +\ifnum #2=0\relax\raise #3\vbox{\hrule width #1 height\lthick depth\z@}\relax +\else\q@antum=25\lthick\divide\q@antum by #2\relax +\ifdim\q@antum<0pt\relax\multiply\q@antum by -1\fi +\global\z@iv=0pt\relax +\loop\ifdim\z@iv<#1\relax + {\z@v=#1\relax\advance\z@v by -\z@iv\relax\advance\z@v by -\q@antum\relax + \tmp@dimenc\z@iv\multiply\tmp@dimenc by#2\relax + \z@iii=#3\relax\advance\z@iii by .01\tmp@dimenc\relax\advance\z@iii by + -0.5\internote + \ifnum #2<0\relax\advance\z@iii by \lthick\relax\fi + \tmp@dimenc\z@v\multiply\tmp@dimenc by#2\relax + \ifdim\z@v<0pt\relax\advance\z@iii by .01\tmp@dimenc\relax\hskip\z@v\fi + \advance\z@iii by 0.6\internote\relax + \raise\z@iii\hbox to \q@antum{\vrule width\q@antum height .5\lthick depth + .5\lthick}\relax + \global\advance\z@iv by \q@antum\relax +}\repeat +\fi +} + +\newdimen\tmp@dimenb\newcount\tmp@ct +\def\crescwidth{1.8\Interligne} + +% These macros produce variable size crescendo and diminuendo marks. +% \varcresc{p}{l} produces a crescendo at pitch p, and of length l, causing +% no space. +\def\varcresc#1#2{\relax% height (note), length (dimen) + \tmp@dimenb \crescwidth\tmp@dimen #2\multiply + \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb + \ifnum 0=\tmp@ct\relax + \tmp@ct 1\fi + \getn@i{#1}\tmp@dimen\n@i\internote + \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}\relax + \advance\tmp@dimen by-\lthick + \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}} + +% \vardim{p}{l} draws a diminuendo at pitch p, and of length l, causing +% no space. +\def\vardim#1#2{\tmp@dimenb 1.6\Interligne\tmp@dimen #2\multiply + \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb + \ifnum 0=\tmp@ct\relax + \tmp@ct 1\fi + \getn@i{#1}\tmp@dimen\n@i\internote + \tmp@dimenb\crescwidth\divide\tmp@dimenb by2\relax + \advance\tmp@dimen by\tmp@dimenb + \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}\relax + \advance\tmp@dimen by \lthick + \tmp@dimenb #2\multiply\tmp@dimenb by\tmp@ct\advance\tmp@dimen + by-.02\tmp@dimenb + \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}} + +% \overbracket{p}{l}{s} draws a bracket over the music starting at the +% current position at pitch p, width l and slope s percent, causing no space. +\def\overbracket#1#2#3{\relax % height (note), length (dimen) slope (%) + \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax + \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax + \raise\n@i\internote\rlap{\vrule width\lthick height \lthick + depth .8\Interligne}\oblique{#2}{#3}{\n@i\internote}\relax + \advance\tmp@dimenb by.5\lthick\relax + \raise\tmp@dimenb\hbox{\vrule width\lthick height \lthick + depth.8\Interligne}}} + +% \ovbkt{p}{n}{s} is the same as \overbracket, except that it draws the +% bracket to cover n notes (note however that glue inserted by \temps +% commands will expand the space between the notes but will not affect the +% bracket). +% I use this macro to indicate triplets, for instance. + +\def\ovbkt#1#2#3{\relax % height (note), length (number of notes) slope (%) + \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen + by -\noteskip\advance\tmp@dimen by\lthick \overbracket{#1}{\tmp@dimen}{#3}} + +% \underbracket and \unbkt are similar to the above, but produce +% brackets under the music. +\def\underbracket#1#2#3{\relax % height (note), length (dimen) slope (%) + \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax + \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax + \raise\n@i\internote\rlap{\vrule width\lthick depth -\lthick + height \Interligne}\oblique{#2}{#3}{\n@i\internote}\relax + \advance\tmp@dimenb by.5\lthick\relax + \raise\tmp@dimenb\hbox{\vrule width\lthick depth -\lthick + height\Interligne}}} +\def\unbkt#1#2#3{\relax % height (note), length (number of notes) slope (%) + \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen + by -\noteskip\advance\tmp@dimen by\lthick + \kern-2\lthick\underbracket{#1}{\tmp@dimen}{#3}\kern2\lthick} + +% Here are several macros to make use of the alternative note graphics found +% in the font files. I copied the idea from the usual note macros in +% MusicTeX. + +% \gu produces grace notes (acciacaturas), stems up +% \gl produces grace notes, stems down +% \smqu,\smql,\smhu,\smhl,\smwh produce small versions of \qu,\ql,\hu,\hl,\wh +% respectively. + +\def\gu@raise{\lthick}\def\gl@raise{\lthick}\def\br@raise{\lthick}% +\def\g@u{{\musicxx\char"45}}% +\def\g@l{{\musicxx\char"46}}% +\def\gu#1{\getn@i{#1}\def\n@fon{\gu}\global\n@raise=\gu@raise\def\n@sym{\g@u}\g@ +gr}% +\def\gl#1{\getn@i{#1}\def\n@fon{\gl}\global\n@raise=\gl@raise\def\n@sym{\g@l}\g@ +gr}% +\def\g@all#1{\ifnum\n@i<100\relax + \h@lines{#1}\global\stem@skip=\hd@skip + \def\s@tem{\relax}\pl@note\raise@note{\n@sym\hss}\ss@uite\fi}% +\def\g@gr{\g@all{1.15\interligne}}% +\def\sm@qu{{\musicxx\char"25\vrule height 2\Interligne depth\z@}} +\def\sm@ql{{\vrule depth 2\Interligne height\z@\kern-.5pt\musicxx\char"25}} +\def\sm@hu{{\musicxx\char"26\vrule height 2\Interligne depth\z@}} +\def\sm@hl{{\vrule depth 2\Interligne height\z@\kern-.5pt\musicxx\char"26}} +\def\sm@wh{{\musicxx\char"27}} +\let\sm@raise\lthick +\def\g@sm{\g@all{1.1\interligne}}% +\def\g@smw{\g@all{1.3\interligne}}% +\def\smqu#1{\getn@i{#1}\def\n@fon{\smqu}\global\n@raise=\sm@raise\def\n@sym{\sm@ +qu}\g@sm}% +\def\smql#1{\getn@i{#1}\def\n@fon{\smql}\global\n@raise=\sm@raise\def\n@sym{\sm@ +ql}\g@sm}% +\def\smhu#1{\getn@i{#1}\def\n@fon{\smhu}\global\n@raise=\sm@raise\def\n@sym{\sm@ +hu}\g@sm}% +\def\smhl#1{\getn@i{#1}\def\n@fon{\smhl}\global\n@raise=\sm@raise\def\n@sym{\sm@ +hl}\g@sm}% +\def\smwh#1{\getn@i{#1}\def\n@fon{\smwh}\global\n@raise=\sm@raise\def\n@sym{\sm@ +wh}\g@smw}% +% +% This skip aligns some ornaments which appear not to be centred precisely +% on the notes +\def\o@skp{\hskip-.5\hd@skip} + +% \turn p makes a turn symbol at pitch p, causing no space +% \backturn p makes a backward turn symbol at pitch p, causing no space +% \ttrill p makes a terminated trill ... +% \coda p makes a coda ... +% \segno p makes the special "S" ... +\def\turn#1{\zcharnote{#1}{\o@skp\musicxx\char"44}} +\def\backturn#1{\zcharnote{#1}{\o@skp\musicxx\char"43}} +\def\ttrill#1{\zcharnote{#1}{\o@skp\musicxx\char"58\dimen@4.6pt% + \advance\dimen@-1.5\internote\tenrm\lower\dimen@\hbox{'}}} +\def\coda#1{\zcharnote{#1}{\o@skp\musicxx\char"55}} +\def\segno#1{\zcharnote{#1}{\o@skp\musicxx\char"56}} + +% J.P. Rameau indicated "arpegements" by drawing oblique strokes through the +% note stems. +% \downarpeg p is written just before the note at pitch p with its stem +% pointing up in order to indicate a descending arpeggio +% \uparpeg p is written just before the note at pitch p with its stem +% pointing down in order to indicate an ascending arpeggio + +\font\linew=linew10 %would be nice to have slightly shorter lines... +\def\downarpeg#1{\getn@i{#1}\advance\n@i by3\raise\n@i\internote + \rlap{\linew\char"61}} +\def\uparpeg#1{\getn@i{#1}\advance\n@i by-3\raise\n@i\internote + \rlap{\linew\char"21}} + +% \qqs is a demi-semiquaver rest +\def\qqs{\charnote0{{\musicxx\char"41}}} + +% These macros change context while forbidding line breaks +\def\xchangecontext{{\def\updatecontext{\x@updatecon}\changecontext}} +\def\xChangecontext{{\def\updatecontext{\x@updatecon}\Changecontext}} + diff --git a/Master/texmf-dist/doc/generic/musictex/fantaisc.tex b/Master/texmf-dist/doc/generic/musictex/fantaisc.tex new file mode 100644 index 00000000000..7a965a73507 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/fantaisc.tex @@ -0,0 +1,4 @@ +\def\ftranspose{-1} +\def\fsignature{-3} +\input fantaisi +\bye diff --git a/Master/texmf-dist/doc/generic/musictex/fantaisd.tex b/Master/texmf-dist/doc/generic/musictex/fantaisd.tex new file mode 100644 index 00000000000..7bb931e0917 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/fantaisd.tex @@ -0,0 +1,2 @@ +\input fantaisi +\bye diff --git a/Master/texmf-dist/doc/generic/musictex/fantaisi.tex b/Master/texmf-dist/doc/generic/musictex/fantaisi.tex new file mode 100644 index 00000000000..0ab988e5cc1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/fantaisi.tex @@ -0,0 +1,1183 @@ +\fullauthor{Daniel TAUPIN} +\shortauthor{D. Taupin} +\shorttitle{Fantaisie en style romantique} +\title{Fantaisie en style romantique} +\subtitle{(pour orgue)} +\othermention{Compos\'e en 1992\\r\'evis\'e en 1995} +\maketitle + +\ifx\ftranspose\undefined\def\ftranspose{0}\fi +\ifx\fsignature\undefined\def\fsignature{-1}\fi + +\parindent 18mm +\tracingstats=2\relax +% +% formes fr\'equentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins deux doubles croches basses et hautes +\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins trois doubles croches basses et hautes +\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}% +\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}% +\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +%au moins quatre doubles croches basses et hautes +\def\qqbb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqbb#1#2#3#4{\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sQqbb#1#2#3#4{{\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}% +\def\qqBB#1#2#3#4{\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqBB#1#2#3#4{{\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}% +\def\qqhh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqhh#1#2#3#4{\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqHH#1#2#3#4{\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +\def\sqqHH#1#2#3#4{{\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}% +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{\fsignature}\relax % r\'e mineur +\transpose=\ftranspose\relax +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Quatretemps{\generalmeter{\meterfrac{4}{2}}}% +\def\Troistemps{\generalmeter{\meterfrac{3}{2}}}% +\def\Deuxtemps{\generalmeter{\meterfrac{2}{2}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.}% +%\check +\medskip\noindent{\rm G.O.: Plein jeu, fonds 16' {\sl ad libitum.}}% +\par\noindent{\rm Pos.: Plein jeu, acc. G.O.}% +\par\noindent{\rm P\'ed.: fonds et anches 16', tirasses G.O. \& pos.}% +\smallskip +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\doubler{\multiply\noteskip by 2\relax}% +\quatretemps +\staffbotmarg=10pt +\debutmorceau +\relativeaccidentals +\bigaccid +\autolines{9}55\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Allegro maestoso + \bf(\metron{\qu}{55})}}\enotes +\advance\linesinpage by 1\relax +\kern -\Interligne +%\check +% mesure 1 +\temps\notes\sk\soupir&\sk\soupir|\qqhh de{^c}d\enotes +%\check +% mesure 2 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\NOtes&|\soupir\enotes +\temps\notes\hpause&\hpause|\qqhh de{^c}d\enotes +%\check +% mesure 3 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\NOtes&|\soupir\enotes +\temps\notes\hpause&\hpause|\qqhh de{^c}d\enotes +%\check +% mesure 4 +%\check +\deuxtemps\changecontext +\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax + |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes +\temps\Notes\dqh{J}J&\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax + |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes +%\check +% mesure 5 +%\check +\quatretemps\changecontext +\NOTEs\pointdurgue G\hu K&\pointdorgue a\zh{M}\hl a\relax + |\pointdorgue l\zh{df}\hu h\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 6 +%\check +\barre\NOTes\hu K&\zh{LN}\hl b|\zh{d}\lh e\hl g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 7 +%\check +\barre\NOTes\hu K&\zh{M}\hl a|\zh{d}\hu f\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh HI{^G}H|\qqhh ab{^N}a\enotes +%\check +% mesure 8 +%\check +\deuxtemps\changecontext +\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax + |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes +\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax + |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes +%\check +% mesure 9 +%\check +\quatretemps\changecontext +\NOTEs\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax + |\pointdorgue l\zh{a}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 10 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 11 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 12 +%\check +\deuxtemps\changecontext +\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +%\check +% mesure 13 +%\check +\quatretemps\changecontext +\NOTEs\pointdurgue G\hu{=J}&\pointdorgue a\Sh M\zh{M}\hl a\relax + |\pointdorgue l\lsh f\zh{=cf}\hu h\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes +%\check +% mesure 14 +%\check +\barre\NOTes\hu J&\zh{=M}\hl a|\zh{c=f}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes +%\check +% mesure 15 +%\check +\barre\NOTes\hu{^I}&\zh{K}\hl N|\zh{d}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh {=I}JHI|\qqhh {=b}cab\enotes +%\check +% mesure 16 +%\check +\barre\NOTes\hu{=I}&\zh{L}\hl N|\zh{be}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh HI{^G}H|\qqhh ab{^N}a\enotes +%\check +% mesure 17 +%\check +\deuxtemps\changecontext +\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax + |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes +\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax + |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes +%\check +% mesure 18 +%\check +\quatretemps\changecontext +\NOTEs\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax + |\pointdorgue l\zh{a}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 19 +\advance\barsinline by 1\relax +\barre\notes\hup K&\bigSh M\Qqbb Mcac|\doubler\bigSh f\zh{f}\zhl h\qu{_l}\enotes +\temps\notes&\Qqbb Mcac|\doubler\qu k\enotes +\temps\notes&\Qqbb Mcac|\doubler\zh{f}\zhl h\qu k\enotes +\temps\notes\soupir&\Qqbb Mcac|\doubler\qu j\enotes +%\check +% mesure 20 +\barre\autolines{16}45\relax +\notes\hup G&\Qqbb KbNb|\doubler\zh{d}\zhl g\hu i\enotes +\temps\notes&\Qqbb KbNb\enotes +\temps\notes&\Qqbb KbNb|\doubler\dqh gh\enotes +\temps\notes\soupir&\Qqbb KbNb|\doubler\dqh{^f}g\enotes +%\check +% mesure 21 +\barre\notes\hup J&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu k\enotes +\temps\notes&\Qqbb LcNc|\doubler\qu j\enotes +\temps\notes&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu j\enotes +\temps\notes\soupir&\Qqbb LcNc|\doubler\qu i\enotes +%\check +% mesure 22 +\barre\notes\hup F&\Qqbb JaLa|\doubler\zh{cf}\hu h\enotes +\temps\notes&\Qqbb JaLa\enotes +\temps\notes&\Qqbb JaMa|\doubler\cNa f\dqh fg\enotes +\temps\notes\soupir&\Qqbb JaMa|\doubler\dqh ef\enotes +%\check +% mesure 23 +\barre\notes\hup I&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu j\enotes +\temps\notes&\Qqbb KbMb|\doubler\qu i\enotes +\temps\notes&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu i\enotes +\temps\notes\soupir&\Qqbb KbMb|\doubler\qu h\enotes +%\check +% mesure 24 +\barre\autolines{16}35\relax +\notes\hup H&\Qqbb LbNb|\doubler\zh{^ce}\hu g\enotes +\temps\notes&\Qqbb LbNb\enotes +\temps\notes&\bigaccid\Qqbb L{^c}Nc|\doubler\dqh ef\enotes +\temps\notes\soupir&\Qqbb LcNc|\doubler\dqh de\enotes +%\check +% mesure 25 +\barre\notes\hu G&\Qqbb LbNb|\doubler\zh{^c}\zhl e\qu i\enotes +\temps\notes&\Qqbb LbNb|\doubler\qu h\enotes +\temps\notes\hu H&\Qqbb LbNb|\doubler\zh{c}\zhl e\qu h\enotes +\temps\notes&\Qqbb LbNb|\doubler\qu g\enotes +%\check +% mesure 26 +\barre\notes\hu K&\Qqbb KaMa|\doubler\zhl{d}\qu f\enotes +\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes +\nspace +\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zhl{d}\qu{^f}\enotes +\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes +%\check +% mesure 27 +\barre\notes\hu K&\Qqbb KbNb|\doubler\zhl{d}\qu g\enotes +\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes +\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zh d\zhl{f}\qu h\enotes +\temps\notes&\Qqbb KaMa|\qqhh ihgh\enotes +%\check +% mesure 28 +\barre\notes\hl K&\Qqbb KbNb|\doubler\zh d\zhl{g}\qu i\enotes +\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes +\nspace +\temps\notes\hl L&\bigaccid\Qqbb L{^c}Nc|\doubler\zh e\zhl{g}\qu{^j}\enotes +\temps\notes&\Qqbb LcNc|\qqhh kj{^i}j\enotes +%\check +% mesure 29 +\barre\bigaccid +\notes\wh M&\Qqbb Mdad|\bigaccid\zh{=fh}\hu k\enotes +\temps\notes&\Qqbb Mdad|\enotes +\temps\notes&\Qqbb Mdad|\zh{f}\hu h\enotes +\temps\notes&\Qqbb Mdad|\enotes +% +% mesure 30 +\barre\autolines{10}55\relax +\notes\hu G&\Qqbb INKN|\doubler\zh{b}\zhl d\qu g\enotes +\temps\notes&\zmidtwotext{\it rit.}\Qqbb INKN|\qu f\enotes +\temps\notes\hu H&\Qqbb {^J}NLN|\doubler\zhl{a^c}\qu e\enotes +\temps\notes&\Qqbb {J}NLN|\qu d\enotes +%\check +% mesure 31 +%\check +\barre\NOTEs\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax + |\pointdorgue l\zh{a}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\varaccid +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 32 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 33 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 34 +%\check +\deuxtemps\changecontext\autolines{9}55\relax +\addspace{-\afterruleskip}% +\Notes\qsk\cNa J\dqh{J}J&\qsk\zmidtwotext{\it rit.} + \ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\qsk\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +%\check +% mesure 35 +%\check +\quatretemps\changecontext +\NOTEs\cNa F\hu{F}&\zh{JL}\hl a|\zh{ce}\hu h\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes +%\check +% mesure 36 +%\check +\barre\NOTes\hu H&\zh{J=M}\hl a|\zh{c=f}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\bigaccid +\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes +%\check +% mesure 37 +%\check +\barre\NOTes\hu{=I}&\zh{L}\hl{N}|\zh{=be}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh {=I}JHI|\qqhh bcab\enotes +%\check +% mesure 38 +%\check +\deuxtemps\changecontext +\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax + |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes +\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq J\tqb0L\relax + |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes +%\check +% mesure 39 +\quatretemps\changecontext +\notes\hu D&\Qqbb HMKM|\uptext{\it\kern -1em un +poco pi\`u vivo}\zqp a\qup d\enotes +\temps\notes&\Qqbb HMKM|\sk\sk\ds\enotes +\zalaligne\autolines{15}45\relax +%\check +\notes\sk\sk\hpause&\Qqbb KaMa|\Ilegu0r\ql o\enotes +\temps\notes&\Qqbb KaMa|\ql o\enotes +%\check +% mesure 40 +\def\atnextline{\autolines{17}35}\relax +\barre\notes\wh K&\Qqbb Mdad|\zhl h\qu o\enotes +\temps\notes&\Qqbb Mdad|\doubler\dqh nm\enotes +\temps\notes&\Qqbb Mdad|\zhl g\qu l\enotes +\temps\notes&\Qqbb Mdad|\qu k\enotes +%\check +% mesure 41 +\barre\notes\wh H&\bigaccid\Qqbb L{^c}Nc|\doubler\zhl h\hu{^j}\tleg0\enotes +\temps\notes&\Qqbb LcNc|\enotes +\temps\notes&\Qqbb LcNc|\Ilegu0r\zql h\qu h\enotes +\temps\notes&\Qqbb LcNc|\zqu h\qsk\zql g\enotes +%\check +% mesure 42 +\barre\notes\qu K&\Qqbb Mdad|\zql f\qu k\enotes +\temps\notes\bigSh J\qu J&\Qqbb L{^c}Nc|\zql i\qu l\enotes +\temps\notes\qu K&\Qqbb Mdad|\zql h\qu m\enotes +\temps\notes\qu I&\Qqbb KbNb|\zql i\qu n\enotes +%\check +% mesure 43 +\barre\notes\hu H&\Qqbb L{^c}Nc|\bigSh j\zqlp j\qup l\tleg0\enotes +\temps\notes&\Qqbb LcNc|\sk\sk\ds\enotes +\temps\notes\sk\sk\sk\hpause&\Qqbb KaMa|\zhl h\Ilegu0r\qu o\enotes +\temps\notes&\Qqbb KaMa|\qu o\enotes +%\check +% mesure 44 +\barre\notes\hu K&\Qqbb Mdad|\zhl h\qu o\enotes +\temps\notes&\Qqbb Mdad|\doubler\dqh nm\enotes +\temps\notes\hu K&\Qqbb Mdad|\zhl g\qu l\enotes +\temps\notes&\Qqbb Mdad|\qu k\enotes +%\check +% mesure 45 +\barre\notes\zwh G&\Qqbb KbNb|\zhlp i\hu p\enotes +\temps\notes&\Qqbb KbNb|\enotes +\temps\notes&\Qqbb KbNb|\qu n\enotes +\temps\notes&\Qqbb KbNb|\zqu p\raise -2\Interligne\soupir\enotes +%\check +% mesure 46 +\barre\notes\qu H&\Qqbb Mdad|\zql m\qu o\enotes +\temps\notes\qu I&\Qqbb KbNb|\zql l\qu n\enotes +\temps\notes\hu H&\Qqbb Mdad|\zql k\qu m\enotes +\temps\notes&\bigaccid\Qqbb L{^c}Nc|\bigSh j\zql j\qu l\enotes +%\check +% mesure 47 +\barre\notes\hup D&\Qqbb KaMa|\zqlp f\qup k\tleg0\enotes +\temps\notes&\Qqbb KaMa|\sk\sk\dsoupir\enotes +\temps\notes&\Qqbb KbNb|\Ilegu0s\ql r\enotes +\temps\notes\soupir&\Qqbb KbNb|\ql r\enotes +\def\atnextline{}% +%\check +% mesure 48 +\barre\notes\hu G&\Qqbb LcNc|\ql r\enotes +\temps\notes&\Qqbb LcNc|\doubler\dqb qp\enotes +\temps\notes\hu J&\Qqbb LcNc|\ql o\enotes +\temps\notes&\Qqbb LcNc|\ql n\enotes +%\check +% mesure 49 +\barre\notes\hu H&\Qqbb Mcac|\hl q\enotes +\temps\notes&\Qqbb Mcac\enotes +\temps\notes\hu F&\Qqbb Mcac|\zhl m\qu o\enotes +\temps\notes&\Qqbb Mcac|\qu o\enotes +%\check +% mesure 50 +\barre\notes\hu G&\Qqbb KbNb|\zhl n\qu p\enotes +\temps\notes&\Qqbb KbNb|\qu r\enotes +\temps\notes\hu J&\Qqbb LcNc|\zhl l\qu q\enotes +\temps\notes&\Qqbb LcNc|\qu p\enotes +%\check +%\check +% mesure 51 +\barre\def\atnextline{\autolines{14}45}\relax +\notes\hu F&\Qqbb Mcac|\zqlp m\qup o\tleg0\enotes +\temps\notes&\Qqbb Mcac|\sk\sk\ds\enotes +\temps\notes\hu I&\Qqbb KbMb|\Ilegu0s\zhl k\qu p\enotes +\temps\notes&\Qqbb KbNb|\qu p\enotes +%\check +% mesure 52 +\barre\notes\hu L&\Qqbb LbNb|\zhl n\qu p\enotes +\temps\notes&\Qqbb LbNb|\doubler\dqh qp\enotes +\temps\notes\bigSh J\hu J&\bigaccid\Qqbb L{^c}Nc|\zhl l\qu o\enotes +\temps\notes&\Qqbb LcNc|\qu n\enotes +%\check +% mesure 53 +\barre\notes\hup K&\Qqbb Mdad|\zhl m\hu r\enotes +\temps\notes&\Qqbb Mdad\enotes +\temps\notes&\Qqbb Mdad|\zhl h\qu m\enotes +\temps\notes\sk\soupir&\Qqbb Mdad|\qu m\enotes +%\check +% mesure 54 +\barre\notes\hu H&\bigaccid\Qqbb L{^c}Nc|\bigSh j\zql j\qu l\enotes +\temps\notes&\Qqbb Mdad|\zql k\qu m\enotes +\temps\notes\soupir&\Qqbb LcNc|\zhl l\qu n\enotes +\temps\notes\qu H&\Qqbb LcNc|\qu o\enotes +%\check +% mesure 55 +\barre\notes\hu D&\Qqbb Mdad|\wh k\tleg0\enotes +\temps\notes&\Qqbb Mdad|\raise -\Interligne\hpause\enotes +\temps\zalaligne +\notes\Ilegu0a\ql a&\sQqbb Mdad|\uptext{\it Positif ad lib.}\qs\sTqbb fhf\enotes +\temps\notes\ql a&\smallnotesize\Qqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 56 +\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes\doubler\dqb NM&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes\ql L&\sQqbb Mdad|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes\ql K&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +%\check +% mesure 57 +\barre\notes\tleg0\bigSh J\hu J&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\zw l\raise -\Interligne\qs + \bigaccid\Tqbb h{^j}h\enotes +\temps\notes&\sQqbb L{c}Nc|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\Ilegu0N\qu H&\sQqbb L{c}Nc|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\qu H&\sQqbb L{c}Nc|\smallnotesize\Qqbb jgjg\enotes +%\check +% mesure 58 +\barre\def\atnextline{\autolines{17}35}\relax +\notes\ql K&\sQqbb Mdad|\smallnotesize\zw m\raise -\Interligne\qs + \Tqbb hkh\enotes +\temps\notes\ql L&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\bigSh j\Qqbb jhjh\enotes +\temps\notes\ql M&\sQqbb Mdad|\smallnotesize\Qqbb khkh\enotes +\temps\notes\ql N&\sQqbb Ndbd|\smallnotesize\Qqbb kiki\enotes +%\check +% mesure 59 +\barre\notes\hl L\tleg0&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\zw o\raise -\Interligne\qs + \bigSh j\Tqbb jlj\enotes +\temps\notes&\sQqbb L{c}Nc|\smallnotesize\Qqbb ljlj\enotes +\temps\notes\Ilegu0a\ql a&\sQqbb L{c}Nc|\smallnotesize\Qqbb ljlj\enotes +\temps\notes\ql a&\sQqbb L{c}Nc|\smallnotesize\Qqbb ljlj\enotes +%\check +% mesure 60 +\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zw o\raise -\Interligne\qs\Tqbb lml\enotes +\temps\notes\doubler\dqb NM&\sQqbb Mdad|\smallnotesize\Qqbb mlml\enotes +\temps\notes\ql L&\sQqbb Mdad|\smallnotesize\Qqbb mlml\enotes +\temps\notes\ql K&\sQqbb Mdad|\smallnotesize\Qqbb mlml\enotes +%\check +% mesure 61 +\barre\notes\hl b\tleg0&\sQqbb Ndbd|\smallnotesize\zw n\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes&\sQqbb Ndbd|\smallnotesize\Qqbb kiki\enotes +\temps\notes\Ilegu0a\ql N&\sQqbb Ndbd|\smallnotesize\Qqbb kiki\enotes +\temps\notes\ql b&\sQqbb Ndbd|\smallnotesize\Qqbb kiki\enotes +%\check +% mesure 62 +\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zhup m\raise -\Interligne\qs\Tqbb hkh\enotes +\temps\notes\ql N&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\bigSh j\Qqbb jljl\enotes +\temps\notes\ql M&\sQqbb Mdad|\smallnotesize\Qqbb hkhk\enotes +\temps\notes\ql L&\sQqbb LcNc|\smallnotesize\zqu l\Qqbb hjhj\enotes +%\check +% mesure 63 +\barre\notes\hl K\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes\Ilegu0d\ql d&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes\ql d&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +%\check +% mesure 64 +\barre\notes\ql d&\sQqbb Mdbd|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb gig\enotes +\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\smallnotesize\Qqbb igig\enotes +\temps\notes\ql a&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb gig\enotes +\temps\notes\ql N&\sQqbb LcNc|\smallnotesize\Qqbb igig\enotes +%\check +% mesure 65 +\barre\notes\hl c\tleg0&\sQqbb Mcac|\smallnotesize\zw m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes&\sQqbb Mcac|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\Ilegu0b\ql a&\sQqbb Mcac|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\ql a&\sQqbb Mcac|\smallnotesize\Qqbb jhjh\enotes +%\check +% mesure 66 +\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes\ql d&\sQqbb Mdbd|\smallnotesize\Qqbb kiki\enotes +\temps\notes\ql c&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb jgj\enotes +\temps\notes\ql b&\sQqbb LcNc|\smallnotesize\Qqbb gjgj\enotes +%\check +% mesure 67 +\barre\notes\hl a\tleg0&\sQqbb Mcac|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes&\sQqbb Mcac|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\Ilegu0c\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes\ql b&\sQqbb Mdbd|\smallnotesize\Qqbb kiki\enotes +%\check +% mesure 68 +\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\smallnotesize\Qqbb kiki\enotes +\temps\notes\ql a&\sQqbb Mdbd|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb gig\enotes +\temps\notes\ql N&\sQqbb Mdbd|\smallnotesize\Qqbb igig\enotes +%\check +% mesure 69 +\barre\notes\hl d\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes\Ilegu0N\ql M&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes\ql M&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +%\check +% mesure 70 +\barre\notes\ql L&\bigaccid\sQqbb L{^c}ac|\smallnotesize\bigaccid + \zwh l\raise -\Interligne\qs\Tqbb h{^j}h\enotes +\temps\notes\ql M&\sQqbb L{c}ac|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\ql N&\sQqbb LcNc|\smallnotesize\Qqbb jgjg\enotes +\temps\notes\ql a&\sQqbb LcNc|\smallnotesize\Qqbb jgjg\enotes +%\check +% mesure 71 +\def\uppzql#1{\uppz #1\ql #1}% +\barre\notes\hu K\tleg0&\sk\hpause + |\smallnotesize\varaccid\Ibbl0hk3\qb0h\zq k\qb0m\zq{^j}\qb0l\zq{^i}\tqb0k\enotes +\temps\notes&\zq M\uppzql a\relax + |\smallnotesize\Ibbl0hk3\qb0h\zq k\qb0m\zq j\qb0l\zq i\tqb0k\enotes +\temps\notes\bigaccid\hu{^J}&\zq L\uppzql N\relax + |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes +\temps\notes&\zq L\uppzql N\relax + |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes +%\check +% mesure 72 +\barre\notes\hu K&\zq M\uppzql a\relax + |\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes +\temps\notes&\zq M\uppzql a\relax +|\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes +\temps\notes\hu I&\zq N\uppzql b\relax + |\smallnotesize\Ibbl0in3\qb0i\zq n\qb0p\zq m\qb0o\zq l\tqb0n\enotes +\temps\notes&\zq N\uppzql b\relax + |\smallnotesize\Ibbl0in3\qb0i\zq n\qb0p\zq m\qb0o\zq l\tqb0n\enotes +%\check +% mesure 73 +\barre\notes\qu H&\zq M\uppzql a\relax + |\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes +\temps\notes\qu H&\zq L\uppzql N\relax + |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes +\temps\notes\qu H&\zq K\uppzql M\relax + |\smallnotesize\varaccid\Ibbl0hk3\qb0h\zq k\qb0m\zq{^j}\qb0l\zq{^i}\tqb0k\enotes +\temps\notes\qu H&\zq{^J}\uppzql L\relax + |\smallnotesize\Ibbl0hj3\qb0h\zq j\qb0l\zq i\qb0k\zq h\tqb0j\enotes +%\check +% mesure 74 +\barre\notes\Ilegl2G\qu K&\sQqbb Mdad|\smallnotesize\itenu1k\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes\doubler\dqh ML&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes\qu K&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes\doubler\bigSh J\dqh JK&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +%\check +% mesure 75 +\barre\notes\qu L&\sQqbb Mdad|\smallnotesize\tten1\zwh k\Qqbb hfhf\enotes +\temps\notes\qu M&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes\hu K\tleg2&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +\temps\notes&\sQqbb Mdad|\smallnotesize\Qqbb hfhf\enotes +%\check +% mesure 76 +\barre\notes\Ilegu2a\ql M&\sQqbb afcf|\smallnotesize\itenu1m\zwh m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes\doubler\dqb aN&\sQqbb afcf|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\ql M&\sQqbb afcf|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\doubler\dqb LM&\sQqbb afcf|\smallnotesize\Qqbb jhjh\enotes +%\check +% mesure 77 +\barre\notes\ql N&\sQqbb afcf|\smallnotesize\tten1\zwh m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes\ql a&\sQqbb afcf|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\hl M\tleg2&\sQqbb afcf|\smallnotesize\Qqbb jhjh\enotes +\temps\notes&\sQqbb afcf|\smallnotesize\Qqbb jhjh\enotes +\cleftoksii={0000}\changeclefs +%\check +% mesure 78 +\barre\notes\Ilegu2b\ql a&\sqqHH cheh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb jlj\enotes +\temps\notes\doubler\dqb c{^b}&\sqqHH cheh|\smallnotesize\Qqbb ljlj\enotes +\temps\notes\ql a&\sqqHH cheh|\smallnotesize\Qqbb ljlj\enotes +\temps\notes\doubler\dqb {^N}a&\sqqHH cheh|\smallnotesize\Qqbb ljlj\enotes +%\check +% mesure 79 +\barre\notes\bigaccid\ql {^b}&\sqqHH ei{^g}i\relax + |\smallnotesize\zhu p\raise -\Interligne\qs\Tqbb l{^n}l\enotes +\temps\notes\ql c&\sqqHH eigi|\smallnotesize\Qqbb nlnl\enotes +\temps\notes\ql a\tleg2&\sqqHH ejhj\relax + |\smallnotesize\zhu q\raise -\Interligne\qs\Tqbb lol\enotes +\temps\notes\ql e&\sqqHH ejhj|\smallnotesize\Qqbb olol\enotes +%\check +% mesure 80 +%\cleftoksii={6000}\changeclefs +\barre\notes\hlp f&\sqqHH dhfh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb kmk\enotes +\temps\notes&\sqqHH dhfh|\smallnotesize\Qqbb mkmk\enotes +\temps\notes&\sqqHH dhfh|\smallnotesize\Qqbb mkmk\enotes +\temps\notes\doubler\dqb ed&\sqqHH dhfh|\smallnotesize\Qqbb mkmk\enotes +%\check +% mesure 81 +\barre\notes\hlp e&\sqqHH cheh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb jlj\enotes +\temps\notes&\sqqHH cheh|\smallnotesize\Qqbb ljlj\enotes +\temps\notes&\sqqHH cheh|\smallnotesize\Qqbb ljlj\enotes +\temps\notes\ql a&\sqqHH cheh|\smallnotesize\Qqbb ljlj\enotes +%\check +% mesure 82 +\barre\notes\hlp d&\sqqHH bfdf|\smallnotesize\zwh m\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes&\sqqHH bfdf|\smallnotesize\Qqbb kiki\enotes +\temps\notes&\sqqHH bfdf|\smallnotesize\Qqbb kiki\enotes +\temps\notes\doubler \dqb cb&\sqqHH bfdf|\smallnotesize\Qqbb kiki\enotes +%\check +% mesure 83 +\barre\notes\hlp c&\sqqHH afcf|\smallnotesize\zw m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes&\sqqHH afcf|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\uptext{\it non legato}&\sqqHH afcf|\smallnotesize\Qqbb jhjh\enotes +\temps\notes\ql M&\sqqHH afcf|\smallnotesize\Qqbb jhjh\enotes +% mesure 84 +\barre\notes\ql b&\sqqHH bgdg|\smallnotesize\qqBB niki\enotes +\temps\notes\ql a&\sqqHH bfdf|\smallnotesize\qqBB miki\enotes +\temps\notes\ql N&\sqqHH bede|\smallnotesize\qqBB liki\enotes +\temps\notes\ql M&\sqqHH bdbd|\smallnotesize\qqBB kiki\enotes +%\check +% mesure 85 +\barre\notes\ql b&\sqqHH bgdg|\sqqBB niki\enotes +\temps\notes\ql a&\sqqHH bfdf|\sqqBB miki\enotes +\temps\notes\ql N&\sqqHH bede|\sqqBB liki\enotes +\temps\notes\ql M&\sqqHH bdbd|\sqqBB kiki\enotes +%\check +% mesure 86 +\cleftoksii={6000}\changeclefs +\barre\notes\ql L&\sQqbb Ne{^c}e|\bigaccid\sqqBB o{^j}lj\enotes +\temps\notes\ql a&\sQqbb Ne{c}e|\sqqBB ojlj\enotes +\temps\notes\ql L&\sQqbb Ne{c}e|\sqqBB ojlj\enotes +\temps\notes\ql a&\sQqbb Ne{c}e|\sqqBB ojlj\enotes +%\check +% mesure 87 +\barre\notes\ql M&\sQqbb Mdad|\bigaccid\sqqBB okmk\enotes +\temps\notes\ql K&\sQqbb Mdad|\sqqBB okmk\enotes +\temps\notes\ql M&\sQqbb Mdad|\sqqBB okmk\enotes +\temps\notes\ql K&\sQqbb Mdad|\sqqBB okmk\enotes +%\check +% mesure 88 +\barre\notes\ql L&\sQqbb Ne{^c}e|\bigaccid\sqqBB o{^j}lj\enotes +\temps\notes\ql a&\sQqbb Nece|\sqqBB ojlj\enotes +\temps\notes\ql L&\sQqbb Nece|\sqqBB ojlj\enotes +\temps\notes\ql a&\sQqbb Nece|\sqqBB ojlj\enotes +%\check +% mesure 89 +\barre\notes\ql M&\sQqbb Ndbd|\bigaccid\sqqBB okmk\enotes +\temps\notes\ql a&\sQqbb Ndbd|\sqqBB okmk\enotes +\temps\notes\ql L&\bigaccid\sQqbb L{^c}Nc|\bigaccid\sqqBB o{^j}lj\enotes +\temps\notes\ql a&\sQqbb LcNc|\sqqBB ojlj\enotes +% +% mesure 90 +\def\octp{\advance\transpose by 7\relax}% +\barre\notes\hup K&\sQqbb Mdad|\sQqbb komo\enotes +\temps\notes&\sQqbb Mdad|\sQqbb komo\enotes +\cleftoksii={0000}\changeclefs +\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes\soupir&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 91 +\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\advance\linesinpage by 1\relax +\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes +%\check +% mesure 92 +\barre\notes\wh H&\qsk\Sh c\sqqHH cgeg|\zh{^j}\zhu{^q}\qsk\qqbb jolo\enotes +\temps\notes&\sqqHH cgeg|\qqbb lolo\enotes +\temps\notes&\sqqHH cgeg|\zq h\zqu o\qqbb hljl\enotes +\temps\notes&\sqqHH cgeg|\zq h\zqu o\qqbb hljl\enotes +%\check +% mesure 93 +\barre\notes\qu K&\sqqHH dhfh|\zq k\zqu r\qqbb komo\enotes +\temps\notes\qu{^J}&\sqqHH{^c}heh|\zq l\zqu s\qqbb lono\enotes +\temps\notes\qu K&\sqqHH dhfh|\zq m\zqu t\qqbb mror\enotes +\temps\notes\qu I&\sqqHH digi|\zq n\zqu u\qqbb nrpr\enotes +%\check +% mesure 94 +\barre\notes\wh H&\qsk\sqqHH{^c}heh|\zh l\zhu s\qsk\qqbb l{^q}oq\enotes +\temps\notes&\sqqHH cheh|\qqbb oqoq\enotes +\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 95 +\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 96 +\barre\notes\wh G&\qsk\sqqHH digi|\octp\zh i\zhu p\qsk\qqbb inkn\enotes +\temps\notes&\sqqHH digi|\octp\qqbb knkn\enotes +\temps\notes&\sqqHH digi|\octp\zq g\zqu n\qqbb gkik\enotes +\temps\notes&\sqqHH eigi|\octp\zq i\zqu p\qqbb inln\enotes +%\check +% mesure 97 +\barre\notes\wh H&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\sqqHH{^c}heh|\octp\zq g\zqu n\qqbb gl{^j}l\enotes +\temps\notes&\sqqHH dhfh|\octp\zq f\zqu m\qqbb fkhk\enotes +\temps\notes&\sqqHH cheh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes +%\check +% mesure 98 +\barre\notes\hu D&\qsk\sqqHH afdf|\zh k\zhu r\qsk\qqbb komo\enotes +\temps\notes&\sqqHH dfdf|\qqbb komo\enotes +\temps\notes\hu K&\sqqHH afdf|\zq k\zqu r\qqbb komo\enotes +\temps\notes&\sqqHH afdf|\zq k\zqu r\qqbb komo\enotes +%\check +% mesure 99 +\barre\notes\wh G&\sqqHH digi|\zq k\zqu r\qqbb kpnp\enotes +\temps\notes&\sqqHH bgdg|\rlap{\doubler\zq j\Ibu0qp1\qh0 q\zq i\tqh0p}\relax + \Ibbl1ji2\qb1{jni}\tqb1n\enotes +\temps\notes&\sqqHH bgdg|\zq h\zqu o\qqbb hkik\enotes +\temps\notes&\sqqHH bgdg|\zq g\zqu n\qqbb gkik\enotes +% +% mesure 100 +\barre\notes\wh H&\qsk\sqqHH afcf|\zh j\zhu q\qsk\qqbb jomo\enotes +\temps\notes&\sqqHH afcf|\qqbb momo\enotes +\temps\notes&\sqqHH afcf|\zq h\zqu o\qqbb hmjm\enotes +\temps\notes&\sqqHH afcf|\zq h\zqu o\qqbb hmjm\enotes +%\check +% mesure 101 +\cleftoksii={6000}\changeclefs +\barre\notes\hu G&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes +\temps\notes&\sQqbb Ndbd|\zq k\zqu r\qqbb kpnp\enotes +\temps\notes\hu J&\sQqbb LcNc|\zq j\zqu q\qqbb jnln\enotes +\temps\notes&\sQqbb LcNc|\zq i\zqu p\qqbb inln\enotes +% +% mesure 102 +\advance\linesinpage by 1\relax +\barre\notes\hu F&\qsk\sQqbb Mcac|\zh h\zhu o\qsk\qqbb hmjm\enotes +\temps\notes&\sQqbb Mcac|\qqbb jmjm\enotes +\temps\notes\hu G&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes +\temps\notes&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes +%\check +% mesure 103 +\barre\notes\wh L&\sQqbb Ne{^c}e|\zq i\zqu p\qqbb inln\enotes +\temps\notes&\sQqbb Nece|\cNa j\rlap{\doubler\zq j\Ibu0qp1\qh0 q\zq i\tqh0p}\relax + \Ibbl1ji2\qb1{jni}\tqb1n\enotes +\cleftoksii={0000}\changeclefs +\temps\notes&\sqqHH af{=c}f|\zq h\zqu o\qqbb hmjm\enotes +\temps\notes&\sqqHH Nece|\zq g\zqu n\qqbb gljl\enotes +% +% mesure 104 +\barre\notes\wh K&\qsk\sqqHH afdf|\zh k\zhu r\qsk\qqbb komo\enotes +\temps\notes&\sqqHH afdf|\qqbb momo\enotes +\temps\notes&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes +\temps\notes&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes +% +% mesure 105 +\barre\notes\qu H&\sqqHH Ne{^c}e|\octp\zq e\zqu l\qqbb e{^j}hj\enotes +\temps\notes\qu I&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes +\temps\notes\qu G&\sqqHH Nece|\octp\zq g\zqu n\qqbb gl{^j}l\enotes +\temps\notes\qu H&\sqqHH Nece|\octp\zq h\zqu o\qqbb hljl\enotes +%\check +% mesure 106 +\barre\notes\hup D&\qsk\sqqHH afdf|\octp\zh d\zhu k\qsk\Qqbb dhfh\enotes +\temps\notes&\sqqHH afdf|\octp\Qqbb fhfh\enotes +\temps\notes&\sqqHH afdf|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes\soupir&\sqqHH afdf|\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 107 +\barre\notes\wh K&\sqqHH Mdad|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH Mdad|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sqqHH Mdad|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sqqHH Mdad|\varaccid\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 108 +\barre\notes\wh G&\qsk\sqqHH Ndbd|\zh i\zhu p\qsk\qqbb inkn\enotes +\temps\notes&\sqqHH Ndbd|\qqbb knkn\enotes +\temps\notes&\sqqHH Ndbd|\zq g\zqu n\qqbb gkik\enotes +\temps\notes&\sqqHH Ndbd|\zq i\zqu p\qqbb inln\enotes +%\check +% mesure 109 +\barre\notes\wh H&\sqqHH afdf|\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\sqqHH ae{^c}e|\zq g\zqu n\qqbb gl{^j}l\enotes +\temps\notes&\sqqHH afdf|\zq f\zqu m\qqbb fkhk\enotes +\temps\notes&\sqqHH aece|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +% mesure 110 +%\check +\barre\autolines{9}55\relax +\NOtes&\pointdorgue l\hpause + |\pointdorgue l\hpause\enotes +\temps\NOtes\pointdorgue a\pause + &\soupir|\soupir\enotes +\cleftoksii={6000}\changeclefs +\varaccid +\temps\notes&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 111 +%\check +\barre\NOtes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 112 +%\check +\barre +\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 113 +%\check +\deuxtemps\changecontext +\def\atnextline{\autolines{9}55\relax}\relax +\Notes\qsk\cNa J\dqh{J}J&\qsk\zmidtwotext{\it rit.} + \ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\qsk\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +%\check +% mesure 114 +%\check +\quatretemps\changecontext +\NOTEs\cNa F\hu{F}&\zh{JL}\hl a|\zh{ce}\hu h\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes +%\check +% mesure 115 +%\check +\barre\NOTes\hu H&\zh{J=M}\hl a|\zh{c=f}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\bigaccid +\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes +% mesure 116 +%\check +\barre\NOTes\hup{=I}&\zh{L}\hl{N}|\zh{=be}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh {=I}JHI|\qqhh {=b}cab\enotes +% mesure 117 +%\check +\barre\NOTes\hup{I}&\zh{K}\hl{N}|\zh{bd}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh HIGH|\qqhh abNa\enotes +% mesure 118 +\def\atnextline{\autolines{16}45\relax}\relax +%\check +\deuxtemps\changecontext +\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax + |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes +\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax + |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes +%\check +% mesure 119 +%\check +\quatretemps\changecontext +\NOTEs\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax + |\pointdorgue l\zh{a}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 120 +\advance\barsinline by 1\relax +\barre\notes\hup K&\bigSh M\Qqbb Mcac|\doubler + \bigSh f\zh{f}\zhl h\qu{_l}\enotes +\temps\notes&\Qqbb Mcac|\doubler\qu k\enotes +\temps\notes&\Qqbb Mcac|\doubler\zh{f}\zhl h\qu k\enotes +\temps\notes\soupir&\Qqbb Mcac|\doubler\qu j\enotes +%\check +% mesure 121 +\barre\notes\hup G&\Qqbb KbNb|\doubler\zh{d}\zhl g\hu i\enotes +\temps\notes&\Qqbb KbNb\enotes +\temps\notes&\Qqbb KbNb|\doubler\dqh gh\enotes +\temps\notes\soupir&\Qqbb KbNb|\doubler\dqh{^f}g\enotes +%\check +% mesure 122 +\barre\notes\hup J&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu k\enotes +\temps\notes&\Qqbb LcNc|\doubler\qu j\enotes +\temps\notes&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu j\enotes +\temps\notes\soupir&\Qqbb LcNc|\doubler\qu i\enotes +%\check +% mesure 123 +\barre\notes\hup F&\Qqbb JaLa|\doubler\zh{cf}\hu h\enotes +\temps\notes&\Qqbb JaLa\enotes +\temps\notes&\Qqbb JaMa|\doubler\cNa f\dqh fg\enotes +\temps\notes\soupir&\Qqbb JaMa|\doubler\dqh ef\enotes +%\check +% mesure 124 +\barre\notes\hup I&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu j\enotes +\temps\notes&\Qqbb KbMb|\doubler\qu i\enotes +\temps\notes&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu i\enotes +\temps\notes\soupir&\Qqbb KbMb|\doubler\qu h\enotes +%\check +% mesure 125 +\barre\autolines{16}35\relax +\notes\hup H&\Qqbb LbNb|\doubler\zh{^ce}\hu g\enotes +\temps\notes&\Qqbb LbNb\enotes +\temps\notes&\bigaccid\Qqbb L{^c}Nc|\doubler\dqh ef\enotes +\temps\notes\soupir&\Qqbb LcNc|\doubler\dqh de\enotes +%\check +% mesure 126 +\barre\notes\hu G&\Qqbb LbNb|\doubler\zh{^c}\zhl e\qu i\enotes +\temps\notes&\Qqbb LbNb|\doubler\qu h\enotes +\temps\notes\hu H&\Qqbb LbNb|\doubler\zh{c}\zhl e\qu h\enotes +\temps\notes&\Qqbb LbNb|\doubler\qu g\enotes +%\check +% mesure 127 +\barre\notes\hu K&\Qqbb KaMa|\doubler\zhl{d}\qu f\enotes +\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes +\nspace +\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zhl{d}\qu{^f}\enotes +\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes +%\check +% mesure 128 +\barre\notes\hu K&\Qqbb KbNb|\doubler\zhl{d}\qu g\enotes +\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes +\nspace +\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zh d\zhl{f}\qu h\enotes +\temps\notes&\Qqbb KaMa|\qqhh ihgh\enotes +%\check +% mesure 129 +\barre\notes\hl K&\Qqbb KbNb|\doubler\zh d\zhl{g}\qu i\enotes +\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes +\nspace +\temps\notes\hl L&\bigaccid\Qqbb L{^c}Nc|\doubler\zh e\zhl{g}\qu{^j}\enotes +\temps\notes&\Qqbb LcNc|\qqhh kj{^i}j\enotes +%\check +% mesure 130 +\barre\autolines{17}35\relax +\bigaccid +\notes\hl M&\Qqbb Mdad|\bigaccid\zh{=fh}\hu k\enotes +\temps\notes&\Qqbb Mdad|\enotes +\temps\notes\hu K&\Qqbb Mdad|\zh{f}\hu h\enotes +\temps\notes&\Qqbb Mdad|\enotes +% +% mesure 131 +\barre\notes\hu G&\Qqbb INKN|\doubler\zh{b}\zhl d\qu g\enotes +\temps\notes&\zmidtwotext{\it rit.}\Qqbb INKN|\qu f\enotes +\temps\notes\hu H&\Qqbb {^J}NLN|\doubler\zhl{a^c}\qu e\enotes +\temps\notes&\Qqbb {J}NLN|\qu d\enotes +% +% mesure 132 +\barre \notes\hu D&\Qqbb HMKM|\doubler\zh{a}\hu d\enotes +\temps\notes&\Qqbb HMKM|\enotes +\temps\notes\uptext{\it a tempo}\sk\hpause + &\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes +%\check +% +% mesure 133 +\barre\notes\wh F&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sQqbb KaMa|\normalnotesize\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sQqbb {^J}NLN|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sQqbb INKN|\varaccid\zq d\zqu k\qqbb digi\enotes +% +% mesure 134 +\def\octm{\advance\transpose by -7\relax}% +\barre\notes\hu H&\qsk\Sh J\sQqbb JNLN|\zh{^c}\zhu{^j}\qsk\qqbb cheh\enotes +\temps\notes&\sQqbb JNLN|\qqbb eheh\enotes +\temps\notes\hu G&\sQqbb JNLN|\zq a\zqu h\qqBB aece\enotes +\temps\notes&\sQqbb JNLN|\zq a\zqu h\qqBB aece\enotes +%\check +% mesure 135 +\barre\notes\qu F&\sQqbb HMKM|\octm\zq k\zqu r\qqbb komo\enotes +\temps\notes\qu G&\sQqbb{^J}aLa|\octm\zq l\zqu s\qqbb lono\enotes +\temps\notes\qu H&\sQqbb KaMa|\octm\zq m\zqu t\qqbb mror\enotes +\temps\notes\qu I&\sQqbb KbNb|\octm\zq n\zqu u\qqbb nrpr\enotes +%\check +% mesure 136 +\barre\notes\wh H&\qsk\octm\sQqbb{^c}heh|\octm\zh l\zhu s\qsk\qqbb l{^q}oq\enotes +\temps\notes&\octm\sQqbb cheh|\octm\qqbb oqoq\enotes +\temps\notes&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 137 +\barre\notes\wh K&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\octm\sQqbb dhfh|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\octm\sQqbb dhfh|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\octm\sQqbb dhfh|\varaccid\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 138 +\barre\notes\wh G&\qsk\sQqbb KbNb|\zh i\zhu p\qsk\qqbb inkn\enotes +\temps\notes&\sQqbb KbNb|\qqbb knkn\enotes +\temps\notes&\octm\sQqbb bgdg|\zq g\zqu n\qqbb gkik\enotes +\temps\notes&\octm\sQqbb bgdg|\zq i\zqu p\qqbb inln\enotes +%\check +% mesure 139 +\barre\notes\wh H&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\octm\sQqbb{^c}heh|\zq g\zqu o\qqbb gl{^j}l\enotes +\temps\notes&\octm\sQqbb afdf|\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\sQqbb JaLa|\zq g\zqu o\qqbb gljl\enotes +%\check +% mesure 140 +\barre\notes\hl K&\sQqbb Mdad|\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes&\sQqbb Mdad|\Qqbb hfhf\enotes +\temps\notes\Ilegu0d\ql d&\sQqbb KaMa|\uptext{\it positif}\sQqbb hfhf\enotes +\temps\notes\ql d&\sQqbb KaMa|\raise\Interligne\rlap{\hpause}\sQqbb hfhf\enotes +%\check +% mesure 141 +\barre\notes\ql d&\sQqbb KbNb|\smallnotesize\zhu k\raise -\Interligne\qs\sTqbb gig\enotes +\temps\notes\doubler\dqb cb&\sQqbb KbNb|\sQqbb igig\enotes +\temps\notes\ql a&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb gig\enotes +\temps\notes\ql N&\sQqbb LcNc|\sQqbb igig\enotes +%\check +% mesure 142 +\barre\notes\hl c\tleg0&\sQqbb JaMa|\smallnotesize\zw m\raise -\Interligne\qs\sTqbb hjh\enotes +\temps\notes&\sQqbb JaMa|\sQqbb jhjh\enotes +\temps\notes\Ilegu0c\ql a&\sQqbb JaMa|\sQqbb jhjh\enotes +\temps\notes\ql a&\sQqbb JaMa|\sQqbb jhjh\enotes +%\check +% mesure 143 +\barre\notes\ql b&\sQqbb IMKM|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes +\temps\notes\ql d&\sQqbb IMKM|\sQqbb kiki\enotes +\temps\notes\ql c&\sQqbb JNLN|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb jgj\enotes +\temps\notes\ql b&\sQqbb JNLN|\sQqbb gjgj\enotes +%\check +% mesure 144 +\barre\notes\tleg0\hl a&\sQqbb Mcac|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb hjh\enotes +\temps\notes&\sQqbb Mcac|\sQqbb jhjh\enotes +\temps\notes\Ilegu0c\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes +\temps\notes\ql b&\sQqbb Mdbd|\sQqbb kiki\enotes +%\check +% mesure 145 +\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes +\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\sQqbb kiki\enotes +\temps\notes\ql a&\sQqbb Mdbd|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb gig\enotes +\temps\notes\ql N&\sQqbb Mdbd|\sQqbb igig\enotes +%\check +% mesure 146 +\barre\notes\hl d\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\sTqbb fhf\enotes +\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\Ilegu0a\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 147 +\barre\notes\ql L&\bigaccid\sQqbb L{^c}ac|\smallnotesize\bigaccid + \zwh l\raise -\Interligne\qs\sTqbb h{^j}h\enotes +\temps\notes\ql M&\sQqbb L{c}ac|\sQqbb jhjh\enotes +\temps\notes\ql N&\sQqbb LcNc|\sQqbb jgjg\enotes +\temps\notes\ql a&\sQqbb LcNc|\sQqbb jgjg\enotes +%\check +% mesure 148 +\barre\autolines{8}65\relax +\NOTes\pointdurgue H\hu K\tleg0&\pointdurgue H\smallnotesize\zh{Ma}\hl d\relax + |\pointdorgue m\smallnotesize\zh{fh}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 149 +\barre\NOtes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 150 +%\check +\barre\NOtes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +% mesure 151 +%\check +\deuxtemps\changecontext +\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax + |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes +\temps\Notes\dqh{J}J&\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax + |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes +%\advancebottom{-2\Interligne}% +%\check +% mesure 152 +\quatretemps\changecontext\varaccid +\NOTes\pointdurgue H\hu K&\pointdorgue a\zh{M}\hl a\relax + |\pointdorgue l\zh{df}\hu h\enotes +\temps\Notes&\soupir|\uptext{\it\kern -1em a tempo}\soupir\enotes +\temps\notes\hpause&\qqhh K{_L}{^J}K|\qqhh d{_e}{^c}d\enotes +% mesure 153 +\barre\NOtes\hu K&\zh{^Ma}\hl c|\zh{^fhj}\hl{_l}\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh K{_L}{^J}K|\qqhh d{_e}{^c}d\enotes +% mesure 154 +\barre\NOtes\hu J&\zh{^Ma}\hl c|\zh{hj}\hl{^m}\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh K{_L}{=J}K|\qqhh d{_e}{=c}d\enotes +% mesure 155 +\barre\NOtes\hu I&\zh{LN}\hl{^c}|\lSh j\zh{j=l}\hl n\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh K{_L}{=J}K|\qqhh d{_e}{=c}d\enotes +% mesure 156 +\barre\NOtes\hu G&\zh{KN}\hl{b}|\zh{ik}\hl n\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh HIGH|\qqhh abNa\enotes +%\check +% mesure 157 +\barre\NOtes\qu D&\zq{^Ma}\ql{d}|\zq{^fh}\ql k\enotes +\temps\NOtes\pointdorgue a\soupir&\pointdorgue a\soupir|\pointdorgue l\soupir\enotes +\temps\notes\hu H&\sQqbb Mdad|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sQqbb Mdad|\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 158 +\barre\autolines{16}35\relax +\notes\wh H&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sQqbb KaMa|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sQqbb KaMa|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sQqbb KaMa|\varaccid\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 159 +\staffbotmarg=2pt +\barre\notes\qu H&\sQqbb L{^c}ac|\zq h\zqu o\qqbb hl{^j}l\enotes +\temps\NOtes\pointdorgue a\soupir&\pointdorgue a\soupir|\pointdorgue l\soupir\enotes +\cleftoksii={0000}\changeclefs +\temps\notes\sk\hpause&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 160 +\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 161 +\barre\notes\wh G&\qsk\sqqHH digi|\octp\zh i\zhu p\qsk\qqbb inkn\enotes +\temps\notes&\sqqHH digi|\octp\qqbb knkn\enotes +\temps\notes&\sqqHH digi|\octp\zq g\zqu n\qqbb gkik\enotes +\temps\notes&\sqqHH eigi|\octp\zq i\zqu p\qqbb inln\enotes +%\check +% mesure 162 +\barre\autolines{8}65\relax +\notes\wh H&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\sqqHH{^c}heh|\octp\zq g\zqu n\qqbb gl{^j}l\enotes +\temps\notes&\sqqHH dhfh|\octp\zq f\zqu m\qqbb fkhk\enotes +\temps\notes&\sqqHH aece|\varaccid\octp\zq e\zqu l\qqbb e{j}gj\enotes +%\check +% mesure 163 +\barre\NOtes\pointdorgue N\hpause + &\zmidtwotext{\ppff {f}{f}{f}}\pointdurgue f\hpause|\pointdorgue l\hpause\enotes +\temps\NOtes\lppz G\qu G&\lppz b\zq{bd}\qu g|\Uptext{\moyen Maestoso}\octp\uppz g\zq{bd}\ql g\enotes +\temps\NOtes\lppz G\qu I&\lppz d\zq{dg}\qu i|\octp\uppz i\zq{dg}\ql i\enotes +% mesure 164 +\barre +\NOtes\lppz H\qu H&\octp\lppz K\zq{KM}\qu a|\octp\uppz h\zq{df}\ql h\enotes +\temps\NOtes\lppz H\qu H&\octp\lppz I\zq{IK}\qu N|\octp + \uppz g\zq{bd}\ql g\enotes +\temps\NOtes\lppz H\qu H&\octp\lppz H\zq{HK}\qu M|\octp + \uppz f\zq{ad}\ql f\enotes +\temps\NOtes\lppz H\qu H&\octp\lppz H\zq{H^J}\qu L|\octp + \uppz e\zq{a^c}\ql e\enotes +% mesure 165 +\barre\NOtes\qu I&\zq{bd}\qu{h}|\zq{ik}\ql o\enotes +\temps\NOtes\pointdorgue a\soupir&\pointdorgue l\soupir|\pointdorgue l\soupir\enotes +\temps\NOtes\lppz G\qu G&\octp\uppz N\zq{IK}\ql N|\octp\uppz g\zq{bd}\ql g\enotes +\temps\notes\lppz G\qu I&\octp\uppz N\zq{IK}\ql N|\octp\uppz i\zq{bdg}\ql i\enotes +\cleftoksii={6000}\changeclefs +% mesure 166 +\barre\NOtes\lppz G\qu H&\octp\uppz M\zq{HK}\ql M|\octp\uppz h\zq{adf}\ql h\enotes +\temps\NOtes\lppz G\qu G&\octp\uppz K\zq{GI}\ql K|\octp\uppz g\zq{Nbd}\ql g\enotes +\temps\NOtes\lppz F\qu F&\octp\uppz K\zq{FH}\ql K|\octp\uppz f\zq{Mad}\ql f\enotes +\temps\NOtes\lppz E\qu E&\octp\uppz J\zq{EH}\ql{^J}|\octp\uppz e\zq{La^c}\ql e\enotes +% mesure 167 +\barre\NOTes\wh D&\octp\zw{DF}\wh{H}|\octp\zw{KMa}\wh d\enotes +\finmorceau +\staffbotmarg=0pt +\rightline{\sl\aujourdhui}\vfil\eject + +\endinput diff --git a/Master/texmf-dist/doc/generic/musictex/fugue.tex b/Master/texmf-dist/doc/generic/musictex/fugue.tex new file mode 100644 index 00000000000..7c1c7f77c2c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/fugue.tex @@ -0,0 +1,677 @@ +\parindent 18mm +% +\centerline{\moyen FUGUE}\bigskip +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{1}\relax % sol majeur +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.}% +%\check +\def\gluemaxskip{7pt}% +\medskip\noindent{\rm G.O.: mixtures, fonds 8'}% +\par\noindent{\rm P\'ed.: fonds 16', tirasse G.O.}% +\smallskip +% +\generalmeter{\meterfrac 68}% +% +\debutmorceau +% calcul de \elemskip en fonction de la largeur de page pour eviter les glues +% +\autolines {12}45\relax +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Giocoso \bf(\metron{\cu}{120})}}\enotes +\advance\linesinpage by 1\relax +% +% formes frequentes +\def\ptsoupir{\pt 5\soupir}% soupir pointe +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% formes frequentes +% trois croches hautes +\def\trql#1#2#3#4{\ibl0{#2}{#1}\qb0{#2#3}\tbl0\qb0{#4}}% +\def\trqL#1#2#3#4{\ibl0{#3}{#1}\qb0{#2#3}\tbl0\qb0{#4}}% +%\check +\def\trqu#1#2#3#4{\ibu0{#2}{#1}\qh0{#2#3}\tbu0\qh0{#4}}% +\def\trqU#1#2#3#4{\ibu0{#3}{#1}\qh0{#2#3}\tbu0\qh0{#4}}% +%\check +% +% formes frequentes +% trois croches hautes pizzicato +\def\pztql#1#2#3#4{\ibl0{#2}{#1}\blpz0\qb0{#2}\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}% +\def\pztqL#1#2#3#4{\ibl0{#3}{#1}\blpz0\qb0{#2}\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}% +% +\def\pztqu#1#2#3#4{\ibu0{#2}{#1}\bupz0\qh0{#2}\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}% +\def\pztqU#1#2#3#4{\ibu0{#3}{#1}\bupz0\qh0{#2}\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}% +% +\def\lpztqu#1#2#3#4{\ilegl0{#3}\ibu0{#2}{#1}\qh0{#2}\tleg0\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}% +\def\lpztqL#1#2#3#4{\ilegu0{#2}\ibl0{#3}{#1}\qb0{#2}\tleg0\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}% +\def\lpztql#1#2#3#4{\ilegu0{#3}\ibl0{#2}{#1}\qb0{#2}\tleg0\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}% +% +\def\lPztqL#1#2#3#4{\ilegu0{#2}\ibl0{#3}{#1}\qb0{#2}\tleg0\upzqb{#3}\tbl0\upzqb{#4}}% +\def\lPztql#1#2#3#4{\ilegu0{#3}\ibl0{#2}{#1}\qb0{#2}\tleg0\upzqb{#3}\tbl0\upzqb{#4}}% +\def\lPztqU#1#2#3#4{\ilegl0{#2}\ibu0{#3}{#1}\qh0{#2}\tleg0\lpzqh{#3}\tbu0\lpzqh{#4}}% +% +\def\upzqb#1{\upz{#1}\qb0{#1}}% +\def\lpzqh#1{\lpz{#1}\qh0{#1}}% +% +\def\Pztql#1#2#3#4{\ibl0{#2}{#1}\upzqb{#2}\upzqb{#3}\tbl0\upzqb{#4}}% +\def\PztqL#1#2#3#4{\ibl0{#3}{#1}\upzqb{#2}\upzqb{#3}\tbl0\upzqb{#4}}% +\def\Pztqu#1#2#3#4{\ibu0{#2}{#1}\lpzqh{#2}\lpzqh{#3}\tbu0\lpzqh{#4}}% +\def\PztqU#1#2#3#4{\ibu0{#3}{#1}\lpzqh{#2}\lpzqh{#3}\tbu0\lpzqh{#4}}% +\def\Pztqh{\Pztqu}\def\Pztqb{\Pztql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqbbh{\dqbbu}\def\dqbbb{\dqbbl}% +% +% quatre doubles croches +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5#6{\ibbu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbbL#1#2#3#4#5#6{\ibbl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% quatre croches +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% croche pointee et 3 doubles croches +\def\cpdddu#1#2#3#4{\ibu0{#1}{-2}\qhp0{#1}\sk\sk\nbbu0\qh0{#2}\qh0{#3}\tqh0{#4}}% +\def\cpdddl#1#2#3#4{\ibl0{#2}{-2}\qbp0{#1}\sk\sk\nbbl0\qb0{#2}\qb0{#3}\tqb0{#4}}% +%\check +% croche et 4 doubles croches +\def\cddddu#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#2}\sk\nbbu0\qh0{#3#4#5}\tqh0{#6}}% +\def\cddddl#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#2}\sk\nbbl0\qb0{#3#4#5}\tqb0{#6}}% +% +\def\doubler{\multiply\noteskip by 2\relax}% +% +% mesure 1 +\Notes&|\pztql0iki\enotes +\temps\notes\pause&\pause|\cpdddl lkji\enotes +%\check +% mesure 2 +\barre\Notes&|\pztqU0hjh\enotes +\temps\Notes\pause&\pause|\qu k\sk\dsoupir\enotes +%\check +% mesure 3 +\barre\Notes&|\pztqU0gig\enotes +\temps\Notes\pause&\pause|\pztqu0jhj\enotes +% +% mesure 4 +\barre\Notes&|\lpztqu0khk\enotes +\temps\notes\pause&\pause|\cddddu2ighij\enotes +%\check +% mesure 5 +\barre\autolines {10}55\relax +\Notes&\Pztql0bdb|\pztql0kmk\enotes +\temps\notes\pause&\doubler\ql L\sk\cu{^J}|\cpdddl nmlk\enotes +%\check +% mesure 6 +\barre\Notes&\sh a\Pztql0a{^c}a|\sh j\pztql0jlj\enotes +\temps\Notes\pause&\ql K\sk\cl M|\ql m\sk\dsoupir\enotes +%\check +% mesure 7 +\barre\Notes&\ql N\sk\cl b|\pztql0iki\enotes +\temps\Notes\pause&\ql c\sk\na a\cl a|\pztqL0l{=j}l\enotes +% mesure 8 +\barre\Notes&\ql M\sk\cl K|\pztqL0khk\enotes +\temps\notes\pause&\ql N\sk\dsoupir|\cddddu1gefgh\enotes +% mesure 9 +\barre\Notes&\pztql0LNL|\rlap{\qlp i}\qup n\enotes +\temps\notes\pause&\cpdddl aNML|\rlap{\qlp j}\qup l\enotes +%\check +% mesure 10 +\barre\Notes&\pztql0KMK|\rlap{\qlp h}\qup m\enotes +\temps\notes\pause&\cpdddl baNM|\rlap{\qlp g}\qup k\enotes +% mesure 11 +\barre\Notes&\pztql0LNL|\rlap{\qup l}\pztql2ghi\enotes +\temps\Notes\pause&\pztqu{-2}JIH|\itenu0m\rlap{\qup m}\pztql2hi{^j}\enotes +% mesure 12 +\barre\Notes\ptsoupir&\pztqu0I{^K}I|\tten0\sh k\rlap{\qlp k}\qup m\enotes +\temps\Notes\PztqU0EGE&\qu L\sk\dsoupir|\zql i\qu n\sk\dsoupir\enotes +%\check +\cleftoksii={{0}{0}{0}{0}}\changeclefs % +% mesure 13 +\barre\Notes\qu I\sk\dsoupir&\PztqU0{^d}fd|\pztql0i{^k}i\enotes +\temps\notes\doubler\pztqU0EGE&\doubler\pztqu0geg|\cpdddu l{=k}ji\enotes +%\check +% mesure 14 +\barre\Notes\qu J\sk\dsoupir&\PztqU0cec|\pztql0hjh\enotes +\temps\notes\doubler\pztqU0FHF&\doubler\PztqU0{^d}fd|\cpdddl ml{^k}j\enotes +%\check +\def\atnextline{\autolines{10}45}\relax +% mesure 15 +\barre\Notes\qup{^K}&\pztqU0fhf|\pztql0i{^k}i\enotes +\temps\Notes\qlp L&\pztqu0igi|\pztqL0nln\enotes +%\check +% mesure 16 +\barre\Notes\qup I&\qup{^d}|\rlap{\qup m}\pztql0i{^k}i\enotes +\temps\notes\qup J&\doubler\pztqU0ege|\bigaccid + \rlap{\qup n}\cpdddl l{=k}ji\enotes +%\check +% mesure 17 +\barre\notes\qup H&\cpdddu fe{=d}c|\doubler\rlap{\qup m}\pztql0hjh\enotes +\temps\Notes\qup I&\PztqU0bdb|\zql i\qu n\sk\dsoupir\enotes +%\check +% mesure 18 +\barre\notes\qup G&\cpdddu edcb|\doubler\zhup l\pztql0gig\enotes +\temps\Notes\qup H&\PztqU0aca|\pztqL0jhj\enotes +% +% mesure 19 +\barre\Notes\qup F&\Pztqu0dcd|\rlap{\qup m}\lpztqL0khk\enotes +\temps\notes\qup G&\qu b\sk\sk\sk\dsoupir|\rlap{\doubler + \qu n\sk\raise 2\Interligne\dsoupir}\cl i\sk\qqbbl2ghij\off{-\elemskip}\enotes +%\check +% mesure 20 +\cleftoksii={{6}{0}{0}{0}}\changeclefs % +\barre\Notes\qup I&\Pztql0bdb|\rlap{\qlp g}\pztqU0kmk\enotes +\temps\notes\qup E&\doubler\PztqL0ebe|\rlap{\qlp i}\cpdddu nmlk\enotes +%\check +% mesure 21 +\barre\notes\qup H&\bigsh c\cpdddl cbaN|\itenl0h\rlap{\qlp h}\doubler\sh j\pztqU0jlj\enotes +\temps\Notes\qup D&\pztql0MaM|\tten0\zql h\qu m\sk\dsoupir\enotes +%\check +\def\atnextline{\autolines{10}55}\relax +% mesure 22 +\barre\notes\qup G&\cpdddl baNM|\rlap{\hlp g}\doubler\pztqU0iki\enotes +\temps\Notes\qup C&\pztql0LNL|\pztqu0ljl\enotes +% mesure 23 +\barre\Notes\qup D&\pztql0MKM|\rlap{\qlp f}\pztqu0khk\enotes +\temps\notes\qup G&\ql b\sk\sk\sk\dsoupir|\rlap{\doubler + \ql d\sk\raise-2\Interligne\dsoupir}\cu i\sk\qqbbu2ghij\enotes +%\check +% mesure 24 +\cleftoksii={{6}{0}{0}{0}}\changeclefs % +\barre\Notes\qup I&\Pztql0bdb|\rlap{\qlp g}\pztqU0kmk\enotes +\temps\notes\qup E&\doubler\PztqL0ebe|\rlap{\qlp i}\cpdddu nmlk\enotes +%\check +% mesure 25 +\barre\notes\qup H&\cpdddl cbaN|\itenl0h\rlap{\qlp h}\doubler\pztqU0jlj\enotes +\temps\Notes\qup D&\pztql0MaM|\tten0\zql h\qu m\sk\dsoupir\enotes +%\check +% mesure 26 +\barre\notes\qup G&\cpdddl baN{=M}|\rlap{\hlp g}\doubler\pztqU0iki\enotes +\temps\Notes\qup C&\qlp L|\pztqu0ljl\enotes +% mesure 27 +\barre\Notes\qup {=F}&\qlp a|\rlap{\hlp{=f}}\pztqu0khk\enotes +\temps\Notes\qup G&\qlp N|\pztqu0igi\enotes +\signaturegenerale{0}% +% mesure 28 +\changecontext\Notes\pztql0JLJ&\ql N\sk\dsoupir|\zql c\qu j\sk\dsoupir\enotes +\transpose=1\relax % pour eviter de monter d'un cran ce qui ecrit en si bemol +\temps\notes\cpdddl MLKJ&\ptsoupir|\ptsoupir\enotes +% mesure 29 +\barre\Notes\pztql0IKI\enotes +\temps\notes\cpdddl NMLK&\pause|\pause\enotes +% mesure 30 +\barre\Notes\pztql0JLJ\enotes +\temps\Notes\lpztqL0aMa&\pause|\pause\enotes +% mesure 31 +\barre\Notes\lpztqL0bab\enotes +\temps\Notes\ql M\sk\dsoupir&\pause|\pause\enotes +% mesure 32 +\barre\Notes\qup I&\Pztql0bdb|\rlap{\kern -1pt\qlp i}\pztqU0dfd\enotes +\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\zql e\cpdddu gfed\enotes +% mesure 33 +\barre\Notes\qup H&\pztql0aca|\rlap{\kern -1pt\qlp h}\PztqU0cec\enotes +\temps\notes\qup K&\doubler\pztql0MaM|\rlap{\qlp d}\cpdddu fedc\enotes +% mesure 34 +\barre\Notes\qup G&\pztql0NbN|\rlap{\kern -1pt\hlp g}\PztqU0bdb\enotes +\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes +% mesure 35 +\barre\Notes\qup H&\pztql1JML|\rlap{\kern -1pt\qlp h}\pztqu0fcf\enotes +\transpose=0\relax % retour a la normale +\temps\Notes\qu J&\zql L\qu N\sk\dsoupir|\rlap{\kern -1pt\qlp j}\Pztqu{-3}ecb\enotes +\signaturegenerale{-3}% +% mesure 36 +\changecontext\Notes\PztqU0CEC&|\qu c\sk\dsoupir\enotes +\temps\Notes\qu G\sk\dsoupir&\pause|\Pztqu0{=b}db\enotes +% mesure 37 +\barre\notes\doubler\PztqU0CEC&|\cpdddu gfed\enotes +\temps\Notes\qu H\sk\dsoupir&\pause|\Pztqu0cec\enotes +% mesure 38 +\barre\notes\doubler\PztqU0DFD&|\cpdddu hgfe\enotes +\temps\Notes\qu {=I}\sk\dsoupir&\pause|\Pztqu0dfd\enotes +% mesure 39 +\barre\notes\doubler\PztqU0G{=I}G&|\bigaccid\cpdddu {=i}{=h}gf\enotes +\temps\Notes\qu J\sk\dsoupir&\pause|\pztqU0ege\enotes +% mesure 40 +\barre\notes\qup E&\rlap{\qlp L}\cpdddu cbaN|\doubler\pztqu0jgj\enotes +\temps\Notes\qup F&\rlap{\qlp M}\pztqU0cac|\bigna h\pztqu0hfh\enotes +% mesure 41 +\barre\notes\qup I&\rlap{\qlp M}\cpdddu dcba|\doubler\pztqu0khk\enotes +\temps\Notes\qup L&\rlap{\qlp N}\pztqu0beb|\pztqu0igi\enotes +% mesure 42 +\barre\notes\qup J&\rlap{\qlp N}\cpdddu edcb|\doubler\pztqu0lil\enotes +\temps\Notes\qup H&\rlap{\qlp a}\qup c|\pztqu0jhj\enotes +% mesure 43 +\barre\notes\doubler\qup{=H}&\rlap{\bigna a\qlp a}\cpdddu fedc|\doubler\pztqu0mjm\enotes +\temps\Notes\qup I&\rlap{\qlp b}\itenu0d\qup d|\pztqu0kik\enotes +% mesure 44 +\barre\Notes\qup G&\tten0\rlap{\qlp{=b}}\qup d|\pztqL0nkn\enotes +\temps\Notes\qup J&\itenu0c\itenu1e\rlap{\zqp c\qlp N}\qup e|\pztql0ljl\enotes +% mesure 45 +\barre\Notes\qup{=H}&\tten0\tten1\itenu0a\rlap{\zqp c\qlp{=a}}\qup e|\na o\pztqL0olo\enotes +\temps\Notes\qup J&\tten0\itenu0d\rlap{\zqp a\qup{^M}}\qup d|\pztqu0{^m}km\enotes +% mesure 46 +\signaturegenerale{-2}% +\changecontext\Notes\qup G&\tten0\zqp {Nb}\qlp d|\pztql{-4}nkj\enotes +\temps\Notes\ptsoupir&\ptsoupir|\pztql2ijk\enotes +% mesure 47 +\barre\Notes\qup G&\Pztql0bdb|\qu g\sk\dsoupir\enotes +\temps\notes\qup J&\cpdddl edcb|\ptsoupir\enotes +% mesure 48 +\barre\Notes\qup F&\Pztql0aca|\enotes +\temps\notes\qup I&\cpdddl dcba|\pause\enotes +% mesure 49 +\barre\Notes\qup E&\Pztql0NbN|\enotes +\temps\Notes\qup H&\lPztqL0cac|\pause\enotes +% mesure 50 +\barre\Notes\sh F\qup F&\PztqL0dad\enotes +\temps\notes\qup G&\cl b\sk\qqbbl3Nabc|\pause\enotes +% mesure 51 +\barre\Notes\qup I&\PztqL0dbd|\pztql0iki\enotes +\temps\notes\qup J&\doubler\PztqL0geg|\cpdddl lkji\enotes +%\check +% mesure 52 +\barre\Notes\qup L&\Pztql0cec|\pztqU0hjh\enotes +\temps\Notes\qup K&\PztqL0{^f}df|\qu k\sk\dsoupir\enotes +%\check +% mesure 53 +\barre\Notes\qup E&\Pztql0bdb|\pztqU0gig\enotes +\temps\notes\qup H&\cpdddl edcb|\doubler\pztqu0jhj\enotes +% +% mesure 54 +\barre\Notes\qup{^F}&\lpztql0ada|\Pztqu0khk\enotes +\temps\notes\qup G&\itenl0N\rlap{\qlp N}\qup d|\cddddu2ighij\enotes +%\check +% mesure 55 +\barre\Notes\qup I&\tten0\rlap{\kern 1pt\qup N}\Pztql0bdb|\pztql0kmk\enotes +\temps\notes\qup G&\doubler\rlap{\kern 1pt\qup a}\Pztql0ege|\bigaccid + \cpdddl n{=m}lk\enotes +%\check +% mesure 56 +\barre\Notes\qup H&\sh M\rlap{\kern 1pt\hup M}\Pztql0aca|\pztql0jlj\enotes +\temps\Notes\qup K&\Pztql0d{^f}d|\ql{^m}\sk\dsoupir\enotes +%\check +% mesure 57 +\barre\Notes\qup G&\rlap{\kern 1pt\qup N}\PztqL0dbd|\pztql0iki\enotes +\temps\Notes\qup H&\rlap{\kern 1pt\qup L}\PztqL0cac|\pztqL0ljl\enotes +% mesure 58 +\barre\Notes\qup{^F}&\sh M\rlap{\kern 1pt\qup M}\Pztql0aca|\pztqL0khk\enotes +\temps\Notes\itenl0G\qup G&\rlap{\qup d}\Pztql0NbN|\qu g\sk\dsoupir\enotes +% mesure 59 +\barre\notes\tten0\qup G&\bigfl e\cpdddl edcb|\enotes +\temps\Notes\qup{=F}&\Pztql0aca|\pause\enotes +%\check +% mesure 60 +\barre\Notes\qu I\sk\dsoupir&\ql d\sk\dsoupir|\ptsoupir\enotes +\temps\Notes\qup E&\Pztql2Nab|\qup i\enotes +% mesure 61 +\barre\notes\qup H&\doubler\Pztql0cec|\cpdddl lkji\enotes +\temps\Notes\qup D&\Pztql2MNa|\qup h\enotes +% mesure 62 +\barre\Notes\qup G&\Pztql0bdb|\qup k\enotes +\temps\Notes\qup C&\pztql2LMN|\qup g\enotes +% mesure 63 +\barre\Notes\hup H&\Pztql0aca|\pztql0jlj\enotes +\temps\Notes&\pztqL0MLM|\pztqu0hfh\enotes +%\check +% mesure 64 +\barre\Notes\pztql0IKI&\ql b\sk\dsoupir|\ql i\sk\dsoupir\enotes +\temps\notes\cpdddl MLKJ&\ptsoupir|\ptsoupir\enotes +% mesure 65 +\barre\Notes\pztql0IKI\enotes +\temps\notes\cpdddl NMLK&\pause|\pause\enotes +% mesure 66 +\barre\Notes\pztql0JLJ\enotes +\temps\Notes\lpztqL0aMa&\pause|\pause\enotes +% mesure 67 +\barre\Notes\lpztqL0bab\enotes +\temps\Notes\ql M\sk\dsoupir&\pause|\pause\enotes +% mesure 68 +\barre\Notes\qup I&\Pztql0bdb|\pztqU0dfd\enotes +\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\cpdddu gfed\enotes +% mesure 69 +\barre\Notes\qup H&\pztql0aca|\PztqU0cec\enotes +\temps\notes\qup K&\doubler\pztql0MaM|\cpdddu fedc\enotes +% mesure 70 +\barre\Notes\qup G&\pztql0NbN|\PztqU0bdb\enotes +\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes +% mesure 71 +\barre\Notes\qup H&\pztql1JML|\pztqu0fcf\enotes +\temps\Notes\qup I&\itenl0M\rlap{\qlp K}\qup M|\pztqu0dbd\enotes +% mesure 72 +\barre\Notes\qup{=I}&\tten0\pt a\rlap{\qu N}\qsk\qlp M|\pztqu0gdg\enotes +\temps\Notes\qup J&\itenl0L\rlap{\qlp L}\qup N|\pztqu0ece\enotes +% mesure 73 +\barre\Notes\qup H&\tten0\rlap{\qlp L}\hup a|\pztqu0heh\enotes +\temps\Notes\itenl0K\qup K&\itenl1M\qlp M|\pztqu0fdf\enotes +% mesure 74 +\barre\Notes\tten0\qup K&\tten1\rlap{\qlp M}\hup b|\pztqu0ifi\enotes +\temps\Notes\qlp L&\itenl0N\qlp N|\pztqu0geg\enotes +% mesure 75 +\barre\Notes\qup J&\tten0\rlap{\qlp N}\zhp c\hup e|\pztqu0jgj\enotes +\temps\Notes\qlp M&\itenu0a\qlp a|\pztqu0hfh\enotes +% mesure 76 +\barre\Notes\qup K&\tten0\itenu0d\zqp{^Ma}\qlp d|\pztqu0khk\enotes +\temps\Notes\qup G&\tten0\itenl0N\itenu1b\zqp{dN}\qlp b|\pztqu0igi\enotes +% mesure 77 +\barre\Notes\qup J&\tten0\tten1\zqp{N}\rlap{\qlp b}\hup e|\pztqu0lil\enotes +\temps\Notes\qup H&\itenl2a\itenu3c\zqp{a}\qlp c\relax +|\pztqu0jhj\enotes +% mesure 78 +\barre\Notes\qup K&\tten2\tten3\rlap{\kern 1pt\qup c}\zhp a\hlp{^f}|\pztqL0{^m}km\enotes +\temps\Notes\qup J&\qlp d|\pztqL0{m}km\enotes +% mesure 79 +\signaturegenerale{1}% +\changecontext\Notes\qup G&\zqp {Nb}\qlp d|\pztql{-4}nkj\enotes +\temps\Notes\ptsoupir&\ptsoupir|\lpztql2{=i}jk\enotes +% mesure 80 +\barre\Notes\qup G&\Pztql0bdb|\qup g\enotes +\temps\notes\qup J&\cpdddl edcb|\ptsoupir\enotes +% mesure 81 +\barre\Notes\qup F&\Pztql0aca|\enotes +\temps\notes\qup I&\cpdddl dcba|\pause\enotes +% mesure 82 +\barre\Notes\qup E&\Pztql0NbN|\enotes +\temps\Notes\qup H&\lPztqL0cac|\pause\enotes +% mesure 83 +\barre\Notes\qup F&\PztqL0dad\enotes +\temps\notes\qup G&\cl b\sk\qqbbl2Nabc|\pause\enotes +\cleftoksii={{0}{0}{0}{0}}\changeclefs +% mesure 84 +\barre\Notes\qup I&\PztqU0dfd|\pztql0iki\enotes +\temps\notes\qup E&\doubler\pztqu0geg|\cpdddl lkji\enotes +%\check +% mesure 85 +\barre\Notes\qup F&\PztqU0{^c}ec|\pztqU0{^h}{^j}h\enotes +\temps\Notes\qup I&\Pztqu0fdf|\qu k\sk\dsoupir\enotes +%\check +% mesure 86 +\barre\Notes\qup E&\PztqU0bdb|\pztqU0gig\enotes +\temps\notes\qup H&\cpdddu ed{=c}b|\doubler\pztqu0j{=h}{=j}\enotes +% +% mesure 87 +\barre\Notes\qup{=F}&\lPztqU0ada|\lpztqu0khk\enotes +\temps\Notes\qup G&\Pztqu0d{_b}d|\pztqu0{_i}gi\enotes +% mesure 88 +\barre\Notes\qup J&\PztqU0cec|\pztqL0l{_i}l\enotes +\cleftoksii={{6}{0}{0}{0}}\changeclefs +\temps\Notes\qup{=F}&\pztqL0a{_L}a|\pztqu0h{=f}h\enotes +%\check +\signaturegenerale{-2}% +% mesure 89 +\changecontext\Notes\qup I&\Pztql0bdb|\rlap{\kern -1pt\hlp i}\pztqU0dfd\enotes +\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\cpdddu gfed\enotes +% mesure 90 +\barre\Notes\qup H&\pztql0aca|\rlap{\kern -1pt\hlp h}\PztqU0cec\enotes +\temps\notes\qup K&\doubler\pztql0MaM|\cpdddu fedc\enotes +% mesure 91 +\barre\Notes\qup G&\pztql0NbN|\rlap{\kern -1pt\hlp g}\PztqU0bdb\enotes +\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes +% mesure 92 +\barre\Notes\qup H&\pztql1JML|\rlap{\kern -1pt\qlp h}\pztqu0fcf\enotes +\temps\Notes\qup I&\ql K\sk\dsoupir|\zql d\qu i\sk\dsoupir\enotes +% mesure 93 +\barre\Notes&\Pztql0bdb\enotes +\temps\notes\pause&\bigaccid\cpdddl edcb|\pause\enotes +% mesure 94 +\barre\Notes&\fl a\Pztql0aca|\enotes +\temps\Notes\pause&\ql d\sk\dsoupir|\pause\enotes +% mesure 95 +\barre\Notes&\Pztql2N{_a}b\enotes +\temps\Notes\pause&\lpztqL{-2}cba|\pause\enotes +% mesure 96 +\barre\Notes&\Pztql0b{_a}b|\ptsoupir\enotes +\temps\Notes\pause&\qlp L|\Pztqu0ege|\enotes +% mesure 97 +\barre\notes&\qlp K|\bigaccid\cpdddu i{_h}gf\enotes +\temps\Notes\pause&\qlp J|\Pztqu0ege\enotes +\def\atnextline{\autolines{9}65}\relax +% mesure 98 +\barre\Notes&\qup{_H}|\ql j\sk\dsoupir\enotes +\temps\Notes\pause&\qlp I|\Pztqu0f{_h}f\enotes +% mesure 99 +\barre\Notes&\qup K|\lpztqL0kik\enotes +\temps\Notes\pause&\qup L|\Pztqu{-3}li{_h}\enotes +% mesure 100 +\def\atnextline{\autolines{10}55}\relax +\barre\Notes&\Pztql0N{=b}N|\qu g\sk\dsoupir\enotes +\temps\notes\pause&\cpdddl edcb|\ptsoupir\enotes +%\check +% mesure 101 +\barre\Notes&\cna a\Pztql0aca\enotes +\temps\Notes\pause&\qu K\sk\dsoupir|\pause\enotes +% mesure 102 +\barre\Notes&\lPztql2Nab\enotes +\temps\Notes\pause&\Pztql0cec|\pause\enotes +%\check +% mesure 103 +\barre\Notes&\lPztql2MNa\enotes +\temps\Notes\pause&\Pztql0bdb|\pause\enotes +% mesure 104 +\barre\Notes&\lPztql2LMN\enotes +\temps\Notes\pause&\Pztql0aca|\pause\enotes +% mesure 105 +\barre\Notes&\lPztql2K{=L}{^M}\enotes +\temps\Notes\pause&\Pztql0NbN|\pause\enotes +%\check +% mesure 106 +\barre +\Notes&\ql d\sk\dsoupir|\ptsoupir\enotes +\temps\Notes\pause&\Pztql0N{=b}N|\rlap{\qlp{=i}}\qup k\enotes +% mesure 107 +\barre\notes&\cpdddl edcb|\doubler\rlap{\qlp g}\pztqu0ljl\enotes +\temps\Notes\pause&\Pztql0aca|\rlap{\qlp f}\qup h\enotes +% mesure 108 +\barre\Notes&\qu K\sk\dsoupir|\rlap{\qlp{^f}}\pztqu0khk\enotes +\temps\Notes\pause&\lPztql2Nab|\itenl0g\rlap{\qlp g}\qup i\enotes +%\check +% mesure 109 +\barre\notes&\doubler\Pztql0cec|\tten0\rlap{\qlp g}\cpdddu lkji\enotes +\temps\Notes\pause&\lPztql2MNa|\itenl0f\rlap{\qlp {=f}}\qup h\enotes +% mesure 110 +\barre\Notes&\Pztql0bdb|\tten0\rlap{\qlp f}\qup k\enotes +\temps\Notes\pause&\lPztql2LMN|\itenl0e\rlap{\qlp e}\qup g\enotes +% mesure 111 +\barre\notes&\doubler\Pztql0aca|\tten0\rlap{\qlp e}\cpdddu jihg\enotes +\temps\Notes\pause&\lPztql2K{=L}{^M}|\rlap{\qlp d}\qup{^f}\enotes +%\check +% mesure 112 +\barre\Notes&\Pztql0NbN|\itenl1g\rlap{\hlp g}\qup i\enotes +\temps\Notes\pause&\lPztql2JK{_L}|\qup l\enotes +% mesure 113 +\barre\Notes&\Pztql0{=M}N{_a}|\rlap{\qsk\tten1\qlp g}\pt i\hu{_h}\enotes +\temps\Notes\pause&\lpztql2KLM|\zqp {=f}\qlp k\enotes +\def\atnextline{\autolines {13}45}\relax +% mesure 114 +\barre\Notes\ptsoupir&\pztqL0NMN|\rlap{\qlp g}\qup{=i}\enotes +\temps\Notes\PztqU0CEC&\qu J\sk\dsoupir|\ptsoupir\enotes +%\check +% mesure 115 +\barre\NOtes\qu G\sk\dsoupir&|\PztqU0cec\enotes +\temps\notes\doubler\Pztqu0CEC&\pause|\cpdddu gfed\enotes +% mesure 116 +\barre\NOtes\qu{_H}\sk\dsoupir&|\PztqU0cec\enotes +\temps\notes\doubler\PztqU0DFD&\pause|\bigfl h\cpdddu hgfe\enotes +% mesure 117 +\barre\NOtes\qu{=I}\sk\dsoupir&|\PztqU0dfd\enotes +\temps\notes\doubler\pztqU0GIG&\pause|\bigaccid\na i\cpdddu i{=h}gf\enotes +%\check +% mesure 118 +\barre\NOtes\qup J&\trql{-3}cN{^M}|\uptext + {\it legato}\rlap{\qlp e\itenl0g\ql g}\trqu6egj\enotes +\temps\NOtes\pointdorgue N\qu G\sk\dsoupir + &\pointdurgue H\ql N\sk\dsoupir|\tten0\zq d\zql g\pointdorgue o\qu{=i}\sk\dsoupir\enotes +\signaturegenerale{-3}% +% mesure 119 +\setdoublebar +\changecontext\NOtes\qup J&\rlap{\qup e}\trqL0cNc|\rlap{\zqp g\qlp j}\trqU0lnl\enotes +\temps\notes\qup F&\doubler + \rlap{\qlp L}\trqu0cac|\rlap{\zqp h\qlp j}\cpdddu onml\enotes +%\check +% mesure 120 +\barre\NOtes\qup I&\rlap{\qup d}\trqL0aMa|\rlap{\zqp f\qlp h}\trqU0kmk\enotes +\temps\notes\qup E&\doubler + \rlap{\qlp K}\trqu0bNb|\rlap{\zqp g\qlp i}\cpdddu nmlk\enotes +% mesure 121 +\barre\NOtes\qup H&\rlap{\qup c}\trqL0aLa|\rlap{\zqp e\qlp h}\trqU0jlj\enotes +\temps\NOtes\qup F&\rlap{\qlp M}\trqu0dad|\rlap{\zqp f\qlp h}\trqu0mkm\enotes +% mesure 122 +\barre\NOtes\qup G&\rlap{\qup {=b}}\trqL0NMN|\rlap{\zqp d\qlp f}\na i\trqU0igi\enotes +\temps\NOtes\qup E&\rlap{\qlp L}\trqu0cNc|\rlap{\zqp e\qlp g}\trqu0jlj\enotes +%\check +% mesure 123 +\barre\NOtes\qu G\sk\dsoupir&\zq{KN=b}\ql d\sk\dsoupir + |\zq{=ik}\ql n\sk\dsoupir\enotes +\temps\NOtes\qup J&\rlap{\qup e}\trqL0cNc|\rlap{\zqp g\qlp j}\trqU0lnl\enotes +% mesure 124 +\barre\notes\qup F&\doubler + \rlap{\qlp L}\trqu0cac|\rlap{\zqp h\qlp j}\cpdddu onml\enotes +\temps\NOtes\qup I&\rlap{\qup d}\trqL0aMa|\rlap{\zqp f\qlp h}\trqU0kmk\enotes +%\check +% mesure 125 +\def\atnextline{\autolines {12}45}\relax +\signaturegenerale{-2}\relax +\changecontext\notes\qup E&\doubler + \rlap{\qlp K}\trqu0bNb|\rlap{\zqp g\qlp i}\cpdddu nmlk\enotes +\temps\NOtes\qup H&\rlap{\qup c}\trqL0N{^M}N|\relax + \rlap{\zqp{^f}\qlp h}\trqU0jlj\enotes +% mesure 126 +\barre\NOtes\qup{^F}&\rlap{\qlp{^M}}\trqu0dad|\rlap{\zqp{^f}\qlp h}\trqu0{^m}km\enotes +\temps\NOtes\qup G&\rlap{\qup d}\trqL0bNb|\rlap{\zqp g\qlp i}\trqu{-5}nkj\enotes +% mesure 127 +\barre\NOtes\qup D&\itenl0K\rlap{\qlp K}\trqU{-2}cba|\rlap{\zqp d\qlp{^f}}\trqu2ijk\enotes +\temps\NOtes\qu G\sk\dsoupir&\tten0\zq{KN}\ql b\sk\dsoupir + |\qu g\sk\dsoupir\enotes +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% reprise prelude +%\check +% mesure 128 +\barre\def\atnextline{\autolines{12}35}\relax +\notes\qup G&\zqu N\qqbbl0N{dbd}Nb|\doubler\rlap{\trqL0igi}\trqu0kik\enotes +\temps\notes\qup J&\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0jej}\trqu0lgl\enotes +%\check +% mesure 129 +\barre +\notes\qup F&\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\trqL0hfh}\trqu0jhj\enotes +\temps\notes\qup I&\zqu K\qqbbl0K{bMb}KM|\doubler\rlap{\trqL0idi}\trqu0kfk\enotes +%\check +% mesure 130 +\barre\notes\qup E&\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\trqL0geg}\relax + \trqu0igi\enotes +\temps\notes\qup H&\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0hch}\trqu0jej\enotes +% mesure 131 +\barre\notes\qup D&\zqu K\qqbbl0K{a^Ma}KM|\doubler\rlap{\trqL0{^f}df}\relax + \trqu0hfh\enotes +\temps\notes\qup G&\zqu N\qqbbl0N{dad}bd|\doubler\rlap{\trqL0ghi}\trqu0ijk\enotes +%\check +% mesure 132 +\barre\notes\doubler\qup{=I}&\zqu N\qqbbl0N{d=bd}Nb|\doubler\rlap{\trqL0{=i}{=f}i}\trqu0nkn\enotes +\temps\notes\qup J&\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0geg}\trqu0ljl\enotes +%\check +% mesure 133 +\barre\notes\qup F&\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\qlp h}\trqu0mjm\enotes +\temps\notes\qup I&\zqu K\qqbbl0K{_bMb}KM|\doubler\rlap{\trql0fef}\trqu0kjk\enotes +%\check +% mesure 134 +\barre\notes\qup E&\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\trql0geg}\trqu0lgl\enotes +\temps\notes\qup H&\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0heh}\trqu0jhj\enotes +% mesure 135 +\barre\notes\qup D&\zqu K\qqbbl0K{a^Ma}KM|\doubler\rlap{\qlp {^f}}\trqu0khk\enotes +\temps\notes\qup G&\zqu N\qqbbl0N{dad}bd|\doubler\rlap{\trqL0gfg}\trqu{-2}ihg\enotes +%\check +% mesure 136 +\barre\notes\doubler\qu G\sk\dsoupir + &\zqu N\qqbbl0N{d=bd}Nb|\doubler\rlap{\trqL0{=i}{=f}i}\trqu0nkm\enotes +\temps\notes\doubler\qu J\sk\dsoupir + &\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0gfg}\trqu0lkl\enotes +%\check +% mesure 137 +\barre\notes\doubler\qu F\sk\dsoupir + &\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\qlp h}\trqu0mjl\enotes +\temps\notes\doubler\qu I\sk\dsoupir + &\zqu K\qqbbl0K{_bMb}KM|\doubler\rlap{\trql0fef}\trqu0kjk\enotes +%\check +% mesure 138 +\barre\notes\doubler\qu E\sk\dsoupir + &\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\qlp g}\trqu0lik\enotes +\temps\notes\doubler\qu H\sk\dsoupir + &\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0hgh}\trqu{-2}jih\enotes +% mesure 139 +\barre\Notes\qu K\sk\dsoupir&\zq{Nb}\ql K\sk\dsoupir|\zq{gi}\ql k\sk\dsoupir\enotes +\temps\Notes\qu G\sk\dsoupir&\zq{LN}\ql c\sk\dsoupir|\zq{gj}\ql l\sk\dsoupir\enotes +% mesure 140 +\barre% \advance\barsinline by -1\relax +\Notes\qu H\sk\dsoupir&\zq{La}\ql c\sk\dsoupir|\zq{eh}\ql j\sk\dsoupir\enotes +\temps\Notes\pointdurgue K\qup K&\pointdorgue d\zqp{^Ma}\qlp d|\pointdorgue l\zqp{^fh}\qlp k\enotes +\temps\Notes&|\Uptext{\moyen Maestoso\ \bf(\metron{\cu}{90})}\enotes +%\check +% mesure 141 +\def\motif#1#2#3#4{\doubler{\advance\transpose by 2\relax + \ibl0{#1}0\advance\transpose by-3\relax + \ibu1{#4}0}\zq{#1}\rlap{\qb0{#2}}\buppz1\qh1{#3}\relax + \zq{#2}\rlap{\qb0{#3}}\buppz1\qh1{#4}\relax + \zq{#1}\rlap{\tqb0{#2}}\buppz1\tqh1{#3}}% +\setdoublebar\signaturegenerale{1}\changecontext +\notes\qup G&\qqbbl{-2}b{cba}NM|\motif dgik\enotes +\temps\notes\qup J&\qqbbl1LM{Nba}N|\relax + \rlap{\doubler\zq g\ql j\sk\zq e\cl g}\cpdddu lkji\enotes +% mesure 142 +\barre\notes\qup K&\qqbbl1MN{acb}a|\motif cfhj\enotes +\temps\notes\qup I&\qqbbl{-1}N{aba}NM|\relax + \rlap{\doubler\zq g\ql i\sk\zq d\cl g}\cpdddu kjih\enotes +% mesure 143 % +\barre\notes\qup L&\qqbbl1L{MNa}bN|\motif begi\enotes +\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax + \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes +% mesure 144 % +\barre\notes\qup I&\bigaccid\sh K\qqbbl1K{LMa}NM|\bigsh d\motif bdfh\enotes +\temps\notes\qup E&\qqbbl2L{MNa}bc|\relax + \doubler\zq{gi}\ql e\sk\dsoupir\enotes +% mesure 145 +\barre\notes\qup G&\qqbbl{-2}b{cba}NM|\motif dgik\enotes +\temps\notes\qup J&\qqbbl1LM{Nba}N|\relax + \rlap{\doubler\zq g\ql j\sk\zq e\cl g}\cpdddu lkji\enotes +% mesure 146 +\barre\notes\qup K&\qqbbl1MN{acb}a|\motif cfhj\enotes +\temps\notes\qup I&\qqbbl{-1}N{aba}NM|\relax + \rlap{\doubler\zq g\ql i\sk\zq d\cl g}\cpdddu kjih\enotes +% mesure 147 +\barre\notes\qup L&\qqbbl1L{MNa}bN|\motif begi\enotes +\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax + \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes +% mesure 148 % +\barre\notes\qup J&\qqbbl1K{LMN}aN|\motif adfh\enotes +\temps\notes\doubler\qup I&\qqbbl1M{LMa}bc|\relax + \rlap{\doubler\zq f\ql h\sk\zq d\cl f}\cpdddu kjih\enotes +% mesure 149 % +\barre\notes\qup L&\qqbbl1L{MNa}bN|\Uptext{\it rit.}\motif begi\enotes +\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax + \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes +% mesure 150 % +\barre\notes\qup K&\qqbbl1K{LMa}NM|\Uptext{\it rall. molto}\doubler + \itenl5c\rlap{\pt b\lh d\hlp c}\trqU0fhf\enotes +\temps\NOtes\itenl0G\qup G&\itenl1K\itenu3N\zqp {K}\qlp N|\relax +\itenu2d\rlap{\qsk\tten5\qlp c}\itenu4g\itenu5i\zq d\pt e\zqp g\qup i\enotes +% mesure 151 +\advance\barsinline by -1\relax + \barre\NOtes\tten0\hup G&\tten1\zhp {KN}\hlp +b|\tten2\tten3\tten4\tten5\zhp{dg}\hup i\enotes + \finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% diff --git a/Master/texmf-dist/doc/generic/musictex/gymnoman.tex b/Master/texmf-dist/doc/generic/musictex/gymnoman.tex new file mode 100644 index 00000000000..ef6c30e9be4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/gymnoman.tex @@ -0,0 +1,568 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\title{Gymnomanie} +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN} +% +\othermention{Compos\'e en 1994} +\maketitle + +\parindent 12mm +\tracingstats=2\relax +% +\nbporteesi=2\relax +\def\nbinstruments{1}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{0}\relax % un bemol a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +%\check +\def\instrumenti{Piano} +%\check +\troistemps +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\ff{{f}\kern -1pt{f}}% +\def\gluemaxskip{6pt}% +% +% formes frequentes +% +%\check +% au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +% +% trois doubles croches hautes +\def\tqbbl#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}% +\def\tqbbu#1#2#3{\Ibbu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% +\def\tqbbh{\tqbbu}% +\def\tqbbb{\tqbbl}% +% quatre doubles croches +\def\qqbbh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1}\qh0{#2}\qh0{#3}\tqh0{#4}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4{\Ibbl0{#1}{#2}3\qb0{#1}\qb0{#2}\qb0{#3}\tqb0{#4}}\relax +%\check +% octave basse en blanche +\def\bohl#1{\zh{!`#1}\hl{!#1}}% +\def\bohu#1{\zh{!`#1}\hu{!#1}}% +\def\sohl#1{\zh{!'#1}\hl{!#1}}% +\def\sohu#1{\zh{!'#1}\hu{!#1}}% +% octave basse en blanche pointee +\def\bohlp#1{\zhp{!`#1}\hlp{!#1}}% +\def\bohup#1{\zhp{!`#1}\hup{!#1}}% +\def\sohlp#1{\zhp{!'#1}\hlp{!#1}}% +\def\sohup#1{\zhp{!'#1}\hup{!#1}}% +% +\def\bozh#1{\zh{!`#1!#1}}% +\def\bozq#1{\zq{!`#1!#1}}% +\def\boql#1{\zq{!`#1}\ql{!#1}}% +\def\boqu#1{\zq{!`#1}\qu{!#1}}% +% octave sup. en croches u +\def\soqh#1{\zq{!'#1}\qh0{!#1}}% +\def\soqb#1{\zq{!'#1}\qb0{!#1}}% +\def\soqu#1{\zq{!'#1}\qu{!#1}}% +\def\soql#1{\zq{!'#1}\ql{!#1}}% +%\check +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne % +\def\lPED{\zcharnote{-5}{\hbox to 2.4\internote{\hss\Ped\kern -2pt}}}% +\def\PEDDEP{\PED\sk\sk\sk\DEP\pause}% +\def\PEDpDEP{\PED\sk\sk\sk\DEP\sk}% +\def\upsoupir#1{\raise#1\Interligne\rlap{\soupir}} +% +\debutmorceau +% call \autolines with musiCtex, not with musiXtex !!! +\ifx\mxversion\undefined\autolines {6}55\relax\fi +\advance\barsinline by 1\relax +\notes|\Uptext{\moyen\kern -20pt Lento \rm(\metron{\qu}{65})}\enotes +\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff + p}|\zcharnote a{\kern -5mm\ppff mp}\enotes + % +\temps\NOtes \upsoupir2\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\qu m\enotes + % mesure 2 +\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hup l\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes + %\check + % mesure 3 +\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{ad}|\zql f\qu m\enotes + % mesure 4 +\barre\NOtes \upsoupir2\bohlp{=J}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{LN}\qu{=c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq g\qu e\enotes + % mesure 5 +\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes +\temps\NOtes\zq{Ma}\qu c|\qu f\enotes +\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes + % mesure 6 +\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes +\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes +\temps\NOtes\zq{Mad}|\zql f\qu m\enotes + % mesure 7 + %\check +\barre\NOtes \upsoupir2\bohlp J|\upsoupir{-2}\hu n\enotes +\temps\NOtes\zq L\qu N|\zq c\qu e\enotes +\temps\NOtes\zq L\qu N|\upsoupir3\zq {ce}\qu g\enotes + % mesure 8 +\barre\NOtes \upsoupir2\bohlp K|\hu o\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\qu o\enotes + % mesure 9 +\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{L}\qu{c}|\zq g\qu e\enotes + % mesure 10 +\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hu o\enotes +\temps\NOtes\zq{a^c}\qu e|\qu g\enotes +\temps\NOtes\zq{ae}\qu g|\zql h\qu o\enotes + % mesure 11 +\barre\NOtes \upsoupir2\bohup{D}|\upsoupir{-2}\hup m\enotes +\temps\NOtes\zq{KMa}\qu{d}|\upsoupir{-2}\enotes +\temps\NOtes\zq{Ka}\qu{d}|\qu f\enotes + %\check + % mesure 12 +\barre\NOtes \upsoupir2\bohup F|\hu o\enotes +\temps\NOtes\zq{Mad}|\zql f\enotes +\temps\NOtes\zq{ad}|\zq f\zql h\qu o\enotes + %\check + % mesure 13 +\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{L}\qu{c}|\zq h\ql e\enotes + %\check + % mesure 14 +\barre\NOtes \upsoupir2\bohup{F}|\qu o\enotes +\temps\NOtes\zq{Mad}|\zql{f}\qu n\enotes +\temps\NOtes\zq{ad}|\zq f\zql{h}\qu m\enotes + %\check + % mesure 15 +\barre\NOtes \upsoupir2\bohup{C}|\hu n\enotes +\temps\NOtes\zq{LNc}\qu{e}|\enotes +\temps\NOtes\zq{Nce}|\upsoupir2\ql g\enotes + %\check + % mesure 16 +\barre\NOtes \upsoupir2\bohup D|\hu m\enotes +\temps\NOtes\zq{KMa}\qu d\enotes +\temps\NOtes\zq{Mad}\qu f|\qu m\enotes + %\check + % mesure 17 +\barre\NOtes \upsoupir2\bohlp G|\hup l\enotes +\temps\NOtes\zq{LN_b}\qu e\enotes +\temps\NOtes\zq{Nbe}\qu g|\enotes + %\check + % mesure 18 +\barre\NOtes \upsoupir2\bohup D|\zcharnote b{\CREsc}\hu {^m}\enotes +\temps\NOtes\zq{K^Ma}\qu d\enotes +\temps\NOtes\zq{Mad}\qu{^f}|\qu m\enotes + %\check + % mesure 19 +\barre\NOtes \upsoupir2\bohup E|\hu{^n}\enotes +\temps\NOtes\zq{L^Nb}\qu e\enotes +\temps\NOtes\zq{Nbe}|\zql{^g}\qu n\enotes + %\check + % mesure 20 +\barre\NOtes \upsoupir2\bohup{^F}|\hu{^o}\enotes +\temps\NOtes\lsh a\zq{^Ma^c}|\ql{^f}\enotes +\temps\NOtes\zq{ac}|\zq f\zql{^h}\qu o\enotes + %\check + % mesure 21 +\barre\NOtes \upsoupir2\bohlp{^G}|\hup{^p}\enotes +\temps\NOtes\lsh b\zq{^Nb^d}|\ql{^g}\enotes +\temps\NOtes\zq{^Mdb}|\zq g\zql{^i}\enotes + %\check + % mesure 22 +\barre\NOtes \upsoupir2\bohlp{=H}|\hup{^q}\enotes +\temps\NOtes\lna a\zq{a^c}|\zq e\ql{=h}\enotes +\temps\NOtes\zq{Lc}|\zq {eg}\ql{^j}\enotes + %\check + % mesure 23 +\barre\NOtes \upsoupir2\bohup{^F}|\qu{^q}\enotes +\temps\NOtes\zq{^Ma^c}|\zql{^f}\qu p\enotes +\temps\NOtes\zq{ac}|\zq f\zql{h}\qu o\enotes + %\check + % mesure 24 +\barre\NOtes \upsoupir2\bohup{^C}|\hup{^n}\enotes +\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes +\temps\NOtes\zq{Nb}|\zq e\ql {^g}\enotes + %\check + % mesure 25 +\barre\NOtes \upsoupir2\bohlp{K}|\hu{^m}\enotes +\temps\NOtes\zq{^Mad}|\ql{^f}\enotes +\temps\NOtes\zq{ad}|\zq f\zql {h}\qu m\enotes + %\check + % mesure 26 +\barre\NOtes \upsoupir2\bohlp{^J}|\hup{l}\enotes +\temps\NOtes\lsh N\zq{LN^c}|\ql{e}\enotes +\temps\NOtes\zq{Nc}|\zq e\ql {^g}\enotes + %\check + % mesure 27 +\barre\NOtes \upsoupir2\bohlp{K}\zmidtwotext{\DIMin}|\qu k\enotes +\temps\NOtes\zq{^Ma}\ql d|\qu l\enotes +\temps\NOtes\zq{ad}|\zql {^f}\qu{^m}\enotes + %\check + % mesure 28 +\barre\NOtes \upsoupir2\bohlp{^J}|\hu{^j}\enotes +\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes +\temps\NOtes\zq{Nb}|\zq e\zql {^g}\upsoupir2\enotes + %\check + % mesure 29 +\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes +\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes +\temps\NOtes\zq{Mac}\ql {^f}|\boqu o\enotes + %\check + % mesure 30 +\barre\NOtes \upsoupir2\bohlp{^J}|\bohup{^n}\enotes +\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes +\temps\NOtes\zq{Nb}|\zq e\ql {^g}\enotes + %\check + % mesure 31 +\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes +\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes +\temps\NOtes\zq{Mac}\qu {^f}|\boqu o\enotes + %\check + % mesure 32 +\barre\NOtes \upsoupir2\bohup{E}|\bohup{p}\enotes +\temps\NOtes\zq{L^Nb}|\ql{e}\enotes +\temps\NOtes\zq{Nb}|\zq d\ql {g}\enotes + %\check + % mesure 33 +\barre\NOtes \upsoupir2\bohlp{H}|\bohu{^q}\enotes +\temps\NOtes\zq{a^ce}|\ql{h}\enotes +\temps\NOtes\zq{Lc}\ql {e}|\boqu q\enotes + %\check + % mesure 34 +\barre\NOtes \upsoupir2\bohlp{^J}|\boqu{s}\enotes +\temps\NOtes\zq{a^c}|\zq{^f}\zql{h}\boqu{^q}\enotes +\temps\NOtes\zq{^Mac}|\zql f\boqu o\enotes + %\check + % mesure 35 +\barre\NOtes \upsoupir2\bohlp{^J}|\bohu{^n}\enotes +\temps\NOtes\lsh e\lsh N\zq{^LN^c}\ql{e}\enotes +\temps\NOtes\zq{LN}\lq b\zql c|\soupir\enotes + %\check + % mesure 36 +\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes +\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes +\temps\NOtes\zq{Mac}\ql {^f}|\boqu o\enotes + %\check + % mesure 37 +\barre\NOtes \upsoupir2\bohup{H}|\bohu{=n}\enotes +\temps\NOtes\lna a\zq{=La^c}|\ql{=e}|\enotes +\temps\NOtes\zq{ac}|\zql e\boqu n\enotes + %\check + % mesure 38 +\barre\NOtes \upsoupir3\bohup K|\boqu {^m}\enotes +\temps\NOtes\zq{K^Ma}\qu d|\boqu l\enotes +\temps\NOtes\zq{Ma}\qu{^f}|\boqu k\enotes + %\check + % mesure 39 +\barre\NOtes \upsoupir2\bohup{H}|\bohu{^j}\enotes +\temps\NOtes\zq{La^c}\ql{e}|\enotes +\temps\NOtes\zq{ace}|\zql h\upsoupir2\enotes + %\check + % mesure 40 +\barre\NOtes \upsoupir2\bohup{G}|\bohup{p}\enotes +\temps\NOtes\zq{KNb}\ql{d}|\enotes +\temps\NOtes\zq{Nbd}|\zql g\enotes + %\check + % mesure 41 +\barre\NOtes \upsoupir2\bohup{H}|\bohup{^q}\enotes +\temps\NOtes\zq{La^c}\ql{e}|\enotes +\temps\NOtes\zq{ace}|\ql h\enotes + %\check + % mesure 42 +\barre\NOtes \upsoupir2\bohup{I}|\boqu{^r}\enotes +\temps\NOtes\zq{^Mb^d}|\zql{^f}\boqu{^q}\enotes +\temps\NOtes\zq{bd}|\zq h\zql {f}\qsk\boqu p\enotes + %\check + % mesure 43 +\barre\NOtes \upsoupir2\bohup{E}|\bohup{s}\enotes +\temps\NOtes\zq{LN}\ql{c}|\enotes +\temps\NOtes\zq{Nc}\ql e\enotes + %\check + % mesure 44 +\barre\NOtes \upsoupir2\bohup{G}|\boqu{t}\enotes +\temps\NOtes\zq{KNb}\ql d|\boqu{s}\enotes +\temps\NOtes\zq{Nbd}\zql {f}|\boqu r\enotes + %\check + % mesure 45 +\barre\NOtes \upsoupir2\bohup{C}|\bohu{s}\enotes +\temps\NOtes\zq{LNc}|\ql{e}\enotes +\temps\NOtes\zq{Nc}|\zq e\zql g\boqu s\enotes + %\check + % mesure 46 +\barre\NOtes \upsoupir2\bohup{G}|\bohup{r}\enotes +\temps\NOtes\zq{Nb}\ql e|\enotes +\temps\NOtes\zq{Nb}\ql d|\enotes + %\check + % mesure 47 +\barre\NOtes \upsoupir2\bohup{H}|\boqu{q}\enotes +\temps\NOtes\zq{Lac}\zql{e}|\boqu p\enotes +\temps\NOtes\zq{Lac}\zql e|\boqu o\enotes + %\check + % mesure 48 +\barre\NOtes \qsk\upsoupir2\bohup{G}|\qsk\bohup{_p}\enotes +\temps\NOtes\zq{KN_b}\ql d|\enotes +\temps\NOtes\zq{Nbd}|\ql g|\enotes + %\check + % mesure 49 +\barre\NOtes \zmidtwotext{\it rit.}\upsoupir2\bohup{H}|\bohu{o}\enotes +\temps\NOtes\zq{La^c}\ql e|\enotes +\temps\NOtes\zq{ac}\ql e|\boqu n\enotes + %\check + % mesure 50 +\barre\NOtes \zmidtwotext{\it a tempo}\upsoupir2\bohlp K|\bohu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\boqu m\enotes + % mesure 51 +\barre\NOtes \upsoupir2\bohlp{^J}|\bohup l\enotes +\temps\NOtes\zq{LN^c}\ql e\enotes +\temps\NOtes\zq{LNc}|\zq h\ql e\enotes + %\check + % mesure 52 +\barre\NOtes \upsoupir2\bohlp K|\bohu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{M_b}\qu d|\boqu m\enotes + % mesure 53 +\barre\NOtes \upsoupir2\bohlp{=J}|\bohup n\enotes +\temps\NOtes\zq{LN=c}|\ql e\enotes +\temps\NOtes\zq{LNc}|\zq g\ql e\enotes + % mesure 54 +\barre\NOtes \upsoupir2\bohup F|\bohu o\enotes +\temps\NOtes\zq{Mac}|\zql f\enotes +\temps\NOtes\zq{Mac}|\zql f\boqu o\enotes + % mesure 55 +\barre\NOtes \upsoupir2\bohlp{H}|\boqu q\enotes +\temps\NOtes\zq{Ma}\qu{c}|\boqu o\enotes +\temps\NOtes\zq{Ma}\zql d|\boqu m\enotes + % mesure 56 + %\check +\barre\NOtes \upsoupir2\bohlp{^J}|\bohu n\enotes +\temps\NOtes\zq {LN}|\zq{^c}\ql e\enotes +\temps\NOtes\zq L\zq N|\upsoupir3\zq {ce}\ql g\enotes + % mesure 57 +\barre\NOtes \upsoupir2\bohlp K|\bohu o\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\boqu o\enotes + % mesure 58 +\barre\NOtes \upsoupir2\bohlp{G}|\bohup n\enotes +\temps\NOtes\zq{KN_b}\qu{d}|\enotes +\temps\NOtes\zq{Nbd}|\ql g\enotes + % mesure 59 + %\check +\barre\NOtes \upsoupir2\bohlp{H}|\boqu o\enotes +\temps\NOtes\zq {KMa}\qu d|\boqu n\enotes +\temps\NOtes\zq {Ma}\zql d|\boqu m\enotes + % mesure 60 + %\check +\barre\NOtes \upsoupir2\bohlp{J}|\bohup {_l}\enotes +\temps\NOtes\zq {_LNc}\zql{_e}\enotes +\temps\NOtes\zq {Nce}|\ql g\enotes + % mesure 61 + %\check +\barre\NOtes \upsoupir2\bohlp{K}|\bohu k\enotes +\temps\NOtes\zq {K^Ma}\zql d|\enotes +\temps\NOtes\zq {Mad}\zql{^f}|\soupir\enotes + %\check + % mesure 62 +\barre\NOtes \qsk\upsoupir2\bohup{G}|\bohu{n}\enotes +\temps\NOtes\zq{KN_b}\ql d|\enotes +\temps\NOtes\zq{Nb}\ql d|\boqu n\enotes + % mesure 63 + %\check +\barre\NOtes \upsoupir2\bohlp{F}|\bohup {_o}\enotes +\temps\NOtes\lfl a\zq {=Mac}\zql{=f}|\enotes +\temps\NOtes\zq {acf}|\zql h\enotes + % mesure 64 + %\check +\barre\NOtes \upsoupir2\bohlp{J}|\boqu n\enotes +\temps\NOtes\zq {_LNc}\zql{_e}|\boqu m\enotes +\temps\NOtes\zq {Nc}\zql{g}|\boqu{_l}\enotes + % mesure 65 + %\check +\barre\NOtes \upsoupir2\bohlp{F}|\bohup {_k}\enotes +\temps\NOtes\lfl a\zq {Ma_d}\zql{f}|\enotes +\temps\NOtes\zq {adf}\zql{_h}|\enotes + % mesure 66 + %\check +\barre\NOtes \upsoupir2\bohlp{G}|\cna b\cna i\bohu {i}\enotes +\temps\NOtes\zq {Nb}\zql{=d}|\enotes +\temps\NOtes\zq {bd}\zql{f}|\soupir\enotes + % mesure 67 + %\check +\barre\NOtes \upsoupir2\bohlp{_H}|\zcharnote a{\ppff mf}\bohup {q}\enotes +\temps\NOtes\zq {_ac}|\zq{_e}\zql{_h}\enotes +\temps\NOtes|\zq {ceh}\ql{j}|\enotes + % mesure 68 + %\check +\barre\NOtes \upsoupir2\bohlp{J}|\boqu {_s}\enotes +\temps\NOtes\zq {_ac}|\zq{_e}\zql{_h}\boqu q\enotes +\temps\NOtes|\zq {ceh}\zql{j}\qsk\fl o\boqu {o}\enotes + % mesure 69 + %\check +\barre\NOtes \upsoupir3\bohlp{_L}|\bohup {n}\enotes +\temps\NOtes\zq {_LN_b}\zql{_e}\enotes +\temps\NOtes\zq {Nbe}|\ql{g}\enotes + % mesure 70 + %\check +\barre\NOtes \upsoupir2\bohlp{_H}|\boqu {q}\enotes +\temps\NOtes\zq {_ac}\zql{_e}|\zq{j_l}\boqu {_o}\enotes +\temps\NOtes\zq {ce}|\zql h\zq{lo}\boqu {q}\enotes + % mesure 71 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\boqu {_p}\enotes +\temps\NOtes\zq {N_b}\zql{_e}|\zq{_i_l}\boqu {n}\enotes +\temps\NOtes\zq {be}|\zql g\zq{ln}\boqu {p}\enotes + % mesure 72 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{M}|\qsk\boqu {_o}\enotes +\temps\NOtes\zq {_ac}\zql{f}|\zq{_hj}\boqu {m}\enotes +\temps\NOtes\zq {c}\zql f|\zq{jm}\boqu {o}\enotes + % mesure 73 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\bohup {_p}\enotes +\temps\NOtes\zq {_LN_b}\zql{_e}|\enotes +\temps\NOtes\zq {Nbe}|\zql g\enotes + % mesure 74 + %\check +\barre\NOtes \upsoupir2\bohlp{_H}|\boqu {q}\enotes +\temps\NOtes\zq {_ac}\zql{_e}|\zq{j_l}\boqu {_o}\enotes +\temps\NOtes\zq {ce}|\zql h\zq{lo}\boqu {q}\enotes + % mesure 75 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\boqu {_p}\enotes +\temps\NOtes\zq {N_b}\zql{_e}|\zq{_i_l}\boqu {n}\enotes +\temps\NOtes\zq {be}|\zql g\zq{ln}\boqu {p}\enotes + % mesure 76 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{M}|\qsk\boqu {_o}\enotes +\temps\NOtes\zq {_ac}\zql{f}|\zq{_hj}\boqu {m}\enotes +\temps\NOtes\zq {c}\zql f|\zq{jm}\boqu {o}\enotes + % mesure 77 + %\check +\barre\NOtes \upsoupir3\bohlp{J}|\bohup {n}\enotes +\temps\NOtes\zq {=LNc}\zql{=e}|\enotes +\temps\NOtes\zq {Nce}|\zql g\enotes + % mesure 78 + %\check +\barre\NOtes \upsoupir3\bohlp{_K}|\bohu {m}\enotes +\temps\NOtes\zq {M_a_d}\ql{f}|\enotes +\temps\NOtes\zq {KMa}\ql d|\boqu m\enotes + % mesure 79 + %\check +\barre\NOtes \upsoupir3\bohlp{J}|\qsk\bohup {_l}\enotes +\temps\NOtes\zq {_LNc}\ql{_e}|\enotes +\temps\NOtes\zq {Nce}|\ql g\enotes + % mesure 80 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{_K}|\qsk\zq{f_h}\boqu {_k}\enotes +\temps\NOtes\fl N\fl d\zq {KN_b}\ql{d}|\zq{_g_i}\boqu{_l}\enotes +\temps\NOtes\zq {KM_a}\ql d|\zq{hk}\boqu m\enotes + % mesure 81 + %\check +\barre\NOtes \qsk\upsoupir2\bohlp{J}|\qsk\lna g\zh{=eg}\bohu {j}\enotes +\temps\NOtes\lna L\zq {L=N}\ql{c}|\enotes +\temps\NOtes\zq {Nc}\ql{=e}|\soupir\enotes + %\check + % mesure 82 +\barre\NOtes \upsoupir2\zmidtwotext{\DIMin}\bohup{G}|\bohu{n}\enotes +\temps\NOtes\zq{KN_b}\ql d|\enotes +\temps\NOtes\zq{Nb}\ql d|\boqu n\enotes + %\check + % mesure 83 +\barre\NOtes \upsoupir3\bohlp K|\bohup m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\enotes + %\check + % mesure 84 +\barre\NOtes \upsoupir2\bohlp J|\zq{gj}\boqu{_l}\enotes +\temps\NOtes\zq{_LN}\ql c|\boqu{k}\enotes +\temps\NOtes\zq{LN}\qu {_e}|\boqu j\enotes + % mesure 85 + %\check +\barre\NOtes \upsoupir2\bohlp{K}|\bohu k\enotes +\temps\NOtes\zq {K^Ma}\zql d|\enotes +\temps\NOtes\zq {Mad}\zql{^f}|\soupir\enotes + % mesure 86 +\barre\NOtes\uptext{\kern -\Interligne\ppff + p} \upsoupir2\bohlp K|\zcharnote a{\kern -\Interligne\ppff mp}\cna m\hu m\enotes +\temps\NOtes\zq{=Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\qu m\enotes + % mesure 87 +\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hup l\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes + %\check + % mesure 88 +\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{ad}|\zql f\qu m\enotes + % mesure 89 +\barre\NOtes \upsoupir2\bohlp{=J}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{LN}\qu{=c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq g\qu e\enotes + % mesure 90 +\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes +\temps\NOtes\zq{Ma}\qu c|\qu f\enotes +\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes + % mesure 91 +\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes +\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes +\temps\NOtes\zq{Mad}|\zql f\qu m\enotes + % mesure 92 + %\check +\barre\NOtes \upsoupir2\bohlp J|\upsoupir{-2}\hu n\enotes +\temps\NOtes\zq L\qu N|\zq c\qu e\enotes +\temps\NOtes\zq L\qu N|\upsoupir3\zq {ce}\qu g\enotes + % mesure 93 +\ifx\mxversion\undefined\def\atnextline{\autolines665}\fi % only with musiCtex +\barre\NOtes\upsoupir2\zmidtwotext{\it diminuendo}\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\qu m\enotes + % mesure 94 +\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup l\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes + %\check + % mesure 95 +\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{ad}|\zql f\qu m\enotes + % mesure 96 +\barre\NOtes \upsoupir2\bohlp{G}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{KN}\qu{_b}|\zq d\qu g\enotes +\temps\NOtes\zq{N}\qu{b}|\zq d\zq g\qu{_i}\enotes + % mesure 97 +\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes +\temps\NOtes\zq{Ma}\qu c|\qu f\enotes +\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes + % mesure 98 +\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes +\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes +\temps\NOtes\zq{Mad}|\zql f\qu m\enotes + % mesure 99 +\barre\NOtes \upsoupir2\bohlp{H}|\hup l\enotes +\temps\NOtes\zq{Lae}\qu{^c}\enotes +\temps\NOtes\zq{ace}|\ql g\enotes + % mesure 100 +\barre\NOtes \pointdurgue{!`D}\upsoupir2\bohup{D}\zmidtwotext{\it rall.}\relax + |\pointdorgue n\hup k\enotes +\temps\NOtes\zq{Mad}|\ql f\enotes +\temps\NOtes\pointdorgue d\zq{Ma}\ql d\enotes +\finmorceau + \rightline{\sl \aujourdhui}\eject +\bye + + + + + + diff --git a/Master/texmf-dist/doc/generic/musictex/howtoget.tex b/Master/texmf-dist/doc/generic/musictex/howtoget.tex new file mode 100644 index 00000000000..476cb790f5e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/howtoget.tex @@ -0,0 +1,45 @@ +%\input genpctex +\def\musictex{Music\TeX}% +\font\gros=cmssbx10 scaled \magstep 4 +\font\enorme= cmssbx10 scaled \magstep 6 +\font \moyen=cmssbx10 scaled \magstep 3 +\font\tt=cmtt10 scaled \magstep 3 +\advance\baselineskip by 4pt +\ \vfil +\centerline{\gros How to get} +\bigskip +\centerline{\enorme\musictex} +\bigskip +\bigskip +\moyen +A PC diskette is sufficient (5'1/4, 1.2Mb) or (3'1/2, MSDos, 1.44Mb). +Send it (formatted) to~: + +\centerline{\gros Daniel TAUPIN,} +\centerline{\gros btiment 510,} +\centerline{\gros Centre Universitaire,} +\centerline{\gros 91405-ORSAY, France.} + +\bigskip +Or, better : +\bigskip +{\tt ftp 193.55.39.100} \quad {\tt(rsovax.lps.u-psud.fr)} + +user : {\tt anonymous} + +{\tt cwd musictex} +\bigskip + + The whole distribution is available as a ``.ZIP'' file but also +all individual files, including notices. +\bigskip + Now, be PATIENT : the line is limited to 9600~bauds, and the path is awfully +complicated, so that it works only 80~\% of the time on the average, with +m.t.b.f. of a few hours and faults lasting minutes, hours and even days. +This will change in the (hopefully) next future. +\bigskip +E-mail : {\tt TAUPIN{\char 64}rsovax.lps.u-psud.fr}\vfil +\eject +\bye + + diff --git a/Master/texmf-dist/doc/generic/musictex/lines.tex b/Master/texmf-dist/doc/generic/musictex/lines.tex new file mode 100644 index 00000000000..e331dc9e060 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/lines.tex @@ -0,0 +1,75 @@ +% Cut Here - line.tex + +% These macros maintain the box of lines used for the leaders + +\newbox\@linbox +\global\setbox\@linbox\hbox{} +\def\@uplinbox{\global\setbox\@linbox\hbox{}\global\n@l=0\relax +\@uplinboxes} +\def\@uplinboxes{\ifnum\n@l<4\relax\selectligne{\n@l}\ifnum +\l@s=0\relax\else\up@linbox\fi +\global\advance\n@l by 1\relax\@uplinboxes\else\fi}% +\def\up@linbox{\y@ii\l@z\advance\y@ii by-\linthick\relax +\global\setbox\@linbox\hbox{\unhbox\@linbox +\kern-\tenboxwidth\vrule width\tenboxwidth height\l@z depth-\y@ii\relax}} + +% This macro makes the leaders +\def\@tenleader#1{\@tenuskip=#1\advance\@tenuskip by2\tenboxwidth\relax +\nobreak\kern-\tenboxwidth\nobreak\cleaders\hbox{\unhcopy\@linbox +\unhcopy\@tenubox}\hskip\@tenuskip\kern-\tenboxwidth\nobreak} + +% Everything that follows is similar to the tie macros, except that there is +% no need to place a special character at each end of a line. + +% positions x et z de debut des lignes +\newdimen\l@xi\newdimen\l@zi +\newdimen\l@xii\newdimen\l@zii +\newdimen\l@xiii\newdimen\l@ziii +\newdimen\l@xiv\newdimen\l@ziv +% etat des lignes (0= inactive, 1= actif) +% +\newcount\l@si +\newcount\l@sii +\newcount\l@siii +\newcount\l@siv +\newdimen\linthick\linthick0.2pt +% +\def\selectligne#1{{\n@i=#1\relax +\ifnum\n@i<1\relax\n@i=4\fi +\xdef\l@x{\csname l@x\romannumeral\n@i\endcsname}% +\xdef\l@z{\csname l@z\romannumeral\n@i\endcsname}% +\xdef\l@s{\csname l@s\romannumeral\n@i\endcsname}}% +}% +% +% continuation des lignes +\def\clignes{\locx@skip=\x@skip\advance\locx@skip by \n@skip\global\n@l +=0\relax\c@lignes}% +\def\c@lignes{\ifnum\n@l<5\relax\selectligne{\n@l}\ifnum +\l@s=0\relax\else\c@ligne\fi +\global\advance\n@l by 1\relax\c@lignes\fi}% +% +\def\ilin#1#2#3{\selectligne{#1}\global\l@s=1\relax + \global\l@x=\locx@skip\global\advance\l@x by#2\relax + \global\l@z=#3\global\advance\l@z by\altportee\relax\up@linbox} +\def\tlin#1{\selectligne{#1}\t@ligne\global\l@s=0\@uplinbox\relax} +% +\def\c@ligne{\y@ii=\x@skip\advance\y@ii by -\l@x +\ifnum\l@s=1\relax + \raise\l@z\llap{\hbox to\y@ii{\leaders + \hrule height\z@ depth\linthick\hss}}\relax + \global\l@x=-1pt +\fi} +% +\def\t@ligne{\y@i=\l@z\relax +\advance\y@i by -\altportee\relax +\y@ii=\locx@skip\advance\y@ii by-\wd@skip\relax +\advance\y@ii by -\l@x\relax + \ifnum\l@s=1\relax + \raise\y@i\llap{\vrule height\z@ depth\linthick width\y@ii\hskip\wd@skip}% +\fi} + +% The lines are activated by adding \clignes to the \ctenuti macro. + +\let\ctenuti@=\ctenuti\def\ctenuti{\ctenuti@\clignes} + + diff --git a/Master/texmf-dist/doc/generic/musictex/magnific.tex b/Master/texmf-dist/doc/generic/musictex/magnific.tex new file mode 100644 index 00000000000..2d067dd6184 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/magnific.tex @@ -0,0 +1,654 @@ +\title{Magnificat} +\fulltitle{X. \titremorceau} +\subtitle{(pour orgue)} +\othermention{Compos\'e en 1992--1994} +\fullauthor{Daniel TAUPIN} +\shortauthor{D. Taupin} +\maketitle + +\csname titremorceautoc\endcsname + +\parindent 18mm +% +\tracingstats=2\relax +% +\def\nbinstruments{3} +%\signaturegenerale{-1}\relax % un bemol a la clef +\generalsignature{-1}\relax % un bemol a la clef +\def\nbinstruments{2} +\nbporteesii=2\relax +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\qqtemps{\generalmeter{\meterfrac{3:4}{4}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{Manuel}% +%\check +\def\gluemaxskip{7pt}% +% +\def\doubler{\noteskip=2\noteskip}% +\def\tripler{\noteskip=3\noteskip}% +% formes frequentes +% deux croches hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +\def\Tqb#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}% +\def\Tqh#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% + %au moins quatre doubles croches basses et hautes +\def\qqbb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqbb#1#2#3#4{\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqBB#1#2#3#4{\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqhh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqhh#1#2#3#4{\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqHH#1#2#3#4{\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% + %au moins six doubles croches basses +\def\sqbb#1#2#3#4#5#6{\smallnotesize\Ibbl0{#1}{#6}5\qb0{#1#2#3#4#5}\tqb0{#6}}% +\def\Sqbb#1#2#3#4#5#6{\smallnotesize\Ibbl0{#1}{#6}5\qb0{#1}\off \internote + \qb0{#2#3#4#5}\tqb0{#6}}% +% +\medskip\noindent{\rm {\bf I} G.O.: fonds 8' ou 8'+4' doux}% +\par\noindent{\rm {\bf II} Pos.: 8'+4' ou 8'+4'+2' doux}% +\par\noindent{\rm {\bf III} R\'ec.: cornet ou cromorne}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O., acc. Pos./G.O.}% +\smallskip +% +\qqtemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\resp{\ifx\mxversion\undefined + \vnotes 0.2\elemskip\nextinstrument\nextstaff\cbreath\enotes + \else + \vnotes 0.66\elemskip\nextinstrument\nextstaff\cbreath\enotes + \fi }% +\def\mpause{\divide\noteskip by 2\relax\sk\pause}% +% +\debutmorceau +\autolines755\relax +\advance\linesinpage by 1\relax +\NOtes\soupir&\zmidtwotext{\kern -\interligne\bf II}\ql M|\uptext{\moyen + Andante}\zq{cf}\qu h\enotes +%\check +% mesure 2 +\barre\NOtes&\ql M|\zhlp c\zq{f}\qu h\enotes +\temps\NOtes\mpause&\ql J|\zq{e}\qu g\enotes +\temps\NOtes&\ql M|\zq{f}\qu h\enotes +%\check +% mesure 3 +\barre\NOtes&\ql K|\zq{ad}\qu f\enotes +\temps\NOtes\mpause&\ql J|\zhl c\zq{e}\qu g\enotes +\temps\NOtes&\ql M|\zq{f}\qu h\enotes +%\check +% mesure 4 +\barre\NOtes&\ql a|\itenl0f\zq{fh}\qu j\enotes +\temps\NOtes&\ql M|\zhl c\tten0\zq{f}\qu h\enotes +\temps\NOtes\pause&\ql J|\zql e\qup g\enotes +\temps\notes&\ql K|\zq b\ql d\cu f\enotes +%\check +% mesure 5 +\barre\NOtes\sk\mpause&\hl M|\zh{ac}\hu f\enotes +\resp +\temps\NOtes&\ql a|\itenl0f\zq{fh}\ql j\enotes +%\check +% mesure 6 +\barre\autolines665\relax +\NOtes&\ql M|\tten0\itenu0h\zq{fh}\ql j\enotes +\temps\NOtes\pause&\ql{^M}|\tten0\zq{^fh}\ql k\enotes +%\check +% mesure 7 +\barre\NOtes&\ql N|\zhlp d\zq{g}\qu i\enotes +\temps\NOtes\mpause&\ql a|\zq{=f}\qu h\enotes +\temps\NOtes&\ql N|\zq{g}\qu i\enotes +%\check +% mesure 8 +\barre\NOtes&\ql J|\zq{f}\lq g\ql j\enotes +\temps\Notes\sk\pause&\hl L|\zh{eg}\hl j\enotes +\resp +\temps\NOtes&\ql M|\zq{cf}\qu h\enotes +%\check +% mesure 9 +\barre\NOtes&\ql M|\zhlp c\zq{f}\qu h\enotes +\temps\NOtes\mpause&\ql J|\zq{e}\qu g\enotes +\temps\NOtes&\ql M|\zq{f}\qu h\enotes +%\check +% mesure 10 +\barre\NOtes&\ql K|\zq{ad}\qu f\enotes +\temps\NOtes\mpause&\ql J|\zhl c\zq{e}\qu g\enotes +\temps\NOtes&\ql M|\zq{f}\qu h\enotes +%\check +% mesure 11 +\barre\NOtes&\ql a|\itenl0f\zq{fh}\qu j\enotes +\temps\NOtes&\ql M|\tten0\itenu0f\zq{cf}\qu h\enotes +\temps\NOtes\pause&\ql{^J}|\tten0\itenu0c\zq{^c}\zql f\qsk\qup g\enotes +\temps\notes&\qu H|\tten0\zq a\ql c\cu f\enotes +%\check +% mesure 12 +\barre\Notes\sk\mpause&\hl K|\zh{ad}\hu f\enotes +\temps\NOtes&\soupir|\soupir\enotes +%\check +% mesure 13 +\barre\NOtes&\hl{^M}|\zhlp{^f}\zq h\qu k\enotes +\temps\NOtes\mpause&|\zq h\qu k\enotes +\temps\NOtes&\ql K|\zq h\qu j\enotes +%\check +% mesure 14 +\barre\NOtes&\ql L|\zhlp d\zq{dg}\qu i\enotes +\temps\NOtes\mpause&\ql{=M}|\zq{=f}\qu h\enotes +\temps\NOtes&\ql K|\zq{df}\qu i\enotes +%\check +% mesure 15 +\barre\NOtes&\ql L|\zhp e\zhlp g\qu j\enotes +\temps\NOtes\pause&\hu J|\hu j\enotes +\resp +%\check +% mesure 16 +\barre\NOtes&\ql M|\zhl c\zq{f}\qu h\enotes +\temps\NOtes\mpause&\ql M|\zq{e}\qu h\enotes +\temps\NOtes&\qu I|\zq{bd}\qu g\enotes +%\check +% mesure 17 +\barre\NOtes&\qsk\hu G|\zql a\qsk\zhl b\qup d\enotes +\temps\notes&|\ql N\itenl0f\cu f\enotes +\temps\NOtes\pause&\hu F|\zh{ac}\tten0\hu f\enotes +\cleftoksii={0000}\resp\changeclefs +\def\atnextline{\def\nbinstruments{3}% +\nbporteesii=1\relax}% +%\check +% mesure 18 +\barre\autolines{11}45\relax +\notes\ql M&\uptext{\kern -\interligne\bf II}\Tqh hgh&\uptext{\kern + -\interligne\bf III}\ql h\enotes +\temps\notes\ql K&\Tqh fgh&\ql h\enotes +\temps\notes\ql J&\Tqh ihg&\qu g\enotes +\temps\notes\ql M&\Tqh hgf&\qu h\enotes +%\check +% mesure 19 +\barre\notes\ql K&\Tqh efg&\qu f\enotes +\temps\notes\ql J&\Tqh ihg&\qu g\enotes +\temps\notes\ql M&\Tqh fed&\qu h\enotes +%\check +% mesure 20 +\barre\notes\ql a&\Tqh cba&\qu j\enotes +\temps\notes\ql M&\Tqh Nab&\qu h\enotes +\temps\notes\ql J&\Tqh cde&\qup g\enotes +\temps\notes\ql K&\Tqh fgi&\noteskip=1.5\noteskip\sk\cu f\enotes +%\check +% mesure 21 +\barre\notes\hl M&\Tqh hgf&\hu f\enotes +\temps\notes&\Tqh edc&\sk\cbreath\enotes +\temps\notes\soupir&\Tqh ace&\ql j\enotes +%\check +% mesure 22 +\barre\notes\ql M&\Tqh hgh&\ql j\enotes +\temps\notes\ql J&\bigaccid\Tqh {^f}gh&\ql k\enotes +%\check +% mesure 23 +\barre\notes\ql N&\Tqh ige&\ql i\enotes +\temps\notes\ql a&\bigna f\Tqh fgh&\ql h\enotes +\temps\notes\ql N&\Tqh gef&\ql i\enotes +%\check +% mesure 24 +\barre\notes\ql L&\Tqh ged&\ql j\enotes +\temps\notes\hl J&\Tqh efg&\hl j\enotes +\temps\Notes&\qu c\enotes +\resp +\temps\notes\itenu0M\ql M&\Tqh fef&\qu h\enotes +%\check +% mesure 25 +\barre\notes\tten0\ql M&\Tqh def&\qu h\enotes +\temps\notes\ql J&\Tqh ghi&\qu g\enotes +\temps\notes\ql M&\Tqh hgf&\qu h\enotes +%\check +% mesure 26 +\barre\notes\ql K&\Tqh efg&\qu f\enotes +\temps\notes\ql J&\Tqh ihg&\qu g\enotes +\temps\notes\ql M&\Tqh fde&\qu h\enotes +%\check +% mesure 27 +\barre\notes\ql a&\Tqh cba&\qu j\enotes +\temps\notes\ql M&\Tqh Na{=b}&\qu h\enotes +\temps\notes\bigsh J\ql J&\bigaccid\Tqh{^c}de&\qup g\enotes +\temps\notes\qu H&\Tqh fde&\sk\cu f\enotes +%\check +% mesure 28 +\barre\notes\hl K&\Tqh fed&\hu f\enotes +\temps\notes&\Tqh cbc\enotes +\temps\NOtes\soupir&\qu a&\soupir\enotes +%\check +% mesure 29 +\barre\notes\bigaccid\hl{^M}&\Tqh jh{^f}&\ql k\enotes +\temps\notes&\Tqh def&\ql k\enotes +\temps\notes\ql K&\Tqh hgf&\ql j\enotes +%\check +% mesure 30 +\barre\notes\ql L&\Tqh ghi&\qu i\enotes +\temps\notes\bigaccid\ql{=M}&\Tqh hg{=f}&\qu h\enotes +\temps\notes\ql K&\Tqh ghi&\qu i\enotes +%\check +% mesure 31 +\barre\notes\ql L&\Tqh gih&\ql j\enotes +\temps\notes\hu J&\Tqh ghi&\hl j\enotes +\temps\NOtes&\qu g\enotes +\resp +%\check +% mesure 32 +\barre\notes\ql M&\Tqh hgf&\qu h\enotes +\temps\notes\ql M&\Tqh edc&\qu h\enotes +\temps\notes\qu I&\Tqh bdg&\qu g\enotes +%\check +% mesure 33 +\barre\notes\qu G&\Tqh ihg&\qup d\enotes +\temps\notes\qu J&\Tqh def&\noteskip=1.5\noteskip\sk\itenl0f\cu f\enotes +\temps\notes\hu F&\Tqh ihg&\tten0\hu f\enotes +\temps\NOtes&\qu h&\enotes +\resp +\cleftoksii={6000}\changeclefs +% +\def\atnextline{\def\nbinstruments{2}\nbporteesii=2\relax}% +% mesure 34 +\barre\autolines665\relax +\NOtes\hl M&\zmidtwotext{\kern -\interligne\bf I}\zw c\hl a|\zq{f}\qu h\enotes +\temps\NOtes&|\zq{f}\qu h\enotes +\temps\NOtes \ql J&\ql N|\zq{e}\qu g\enotes +\temps\NOtes \ql M&\ql a|\zq{f}\qu h\enotes +%\check +% mesure 35 +\barre\NOtes \ql K&\ql M|\zq{ad}\qu f\enotes +\temps\NOtes \ql J&\ql L|\zhl c\zq{e}\qu g\enotes +\temps\NOtes \ql M&\ql a|\zq{f}\qu h\enotes +%\check +% mesure 36 +\barre\NOtes \ql L&\ql N|\zq{eg}\qu j\enotes +\temps\NOtes \ql M&\ql a|\zhl c\zq{f}\qu h\enotes +\temps\NOtes \ql J&\ql N|\zql e\qup g\enotes +\temps\notes \ql K&\ql M|\zq b\ql d\cu f\enotes +%\check +% mesure 37 +\barre\NOtes \hl M&\hl M|\zh{ac}\hu f\enotes +\resp +\temps\NOtes \ql M&\ql a|\itenl0f\zq{fh}\ql j\enotes +%\check +% mesure 38 +\barre\autolines665\relax +\NOtes \ql J&\ql M|\tten0\itenu0h\zq{fh}\ql j\enotes +\temps\NOtes\ql K&\ql{^M}|\tten0\zq{^fh}\ql k\enotes +%\check +% mesure 39 +\def\atnextline{\autolines655}\relax +\barre\NOtes \ql N&\ql b|\zhlp d\zq{g}\qu i\enotes +\temps\NOtes \ql K&\ql a|\zq{=f}\qu h\enotes +\temps\NOtes \ql I&\ql N|\zq{g}\qu i\enotes +%\check +% mesure 40 +\barre\NOtes \ql J&\ql M|\zq{f}\lq g\ql j\enotes +\temps\NOtes \hl L&\hl N|\zh{eg}\hl j\enotes +\resp +\temps\NOtes \ql M&\zq{c}\ql a|\zq{f}\qu h\enotes +%\check +% mesure 41 +\barre\NOtes \ql M&\zhup c\ql a|\zq{f}\qu h\enotes +\temps\NOtes \ql J&\ql N|\zq{e}\qu g\enotes +\temps\NOtes \ql M&\ql a|\zq{f}\qu h\enotes +%\check +% mesure 42 +\barre\NOtes \ql K&\zq a\ql M|\zq{d}\qu f\enotes +\temps\NOtes \ql J&\zhu c\ql L|\zq{e}\qu g\enotes +\temps\NOtes \ql M&\itenu2a\ql a|\zq{f}\qu h\enotes +%\check +% mesure 43 +\barre\NOtes \ql a&\tten2\hl a|\itenl0f\zq{fh}\qu j\enotes +\temps\NOtes \ql M&\qu c|\tten0\zq{f}\qu h\enotes +\temps\NOtes \ql{^J}&\zh{^c}\hl N|\zql e\qup g\enotes +\temps\notes \qu H&\qu a|\sk\cu f\enotes +%\check +% mesure 44 +\barre\NOTes \hl K&\zh a\hl M|\zh{d}\hu f\enotes +\temps\NOtes \soupir&\soupir|\soupir\enotes +%\check +% mesure 45 +\barre\NOtes \hl{^M}&\hlp a|\zhlp{^f}\zq h\qu k\enotes +\temps\NOtes &|\zq h\qu k\enotes +\temps\NOtes \ql K&|\zq h\qu j\enotes +%\check +% mesure 46 +\barre\NOtes \ql L&\ql N|\zhlp d\zq{g}\qu i\enotes +\temps\NOtes \ql{=M}&\ql a|\zq{=f}\qu h\enotes +\temps\NOtes \ql K&\ql M|\zq{f}\qu i\enotes +%\check +% mesure 47 +\barre\NOtes \ql L&\hlp N|\zhp e\zhlp g\qu j\enotes +\temps\NOTes \hu J&|\hu j\enotes +\resp +%\check +% mesure 48 +\barre\NOtes \ql M&\zh c\hl a|\zq{f}\qu h\enotes +\temps\NOtes \ql M&|\zq{f}\qu h\enotes +\temps\NOtes \qu I&\zq b\ql N|\zq{d}\qu g\enotes +%\check +% mesure 49 +\barre\NOtes \hu G&\zw M\qu a|\zhl b\qup d\enotes +\temps\notes &\qu N|\sk\itenl0f\cu f\enotes +\temps\NOTes \hu F&\hu a|\zh{c}\tten0\hu f\enotes + % +\def\atnextline{\def\nbinstruments{3}\nbporteesii=1\relax +\nbporteesiii=1\relax\autolines{14}45}% +% mesure 50 +\barre\notes\hu K&\zmidtwotext{\kern -\interligne\bf II}\Qqbb afdf&\relax + \zmidtwotext{\kern -\interligne\bf III}\qu h\enotes +\temps\notes &\Qqbb afdf&\qu h\enotes +\temps\notes\bigaccid \qu {^J}&\Qqbb Ne{^c}e&\qu g\enotes +\temps\notes \qu K&\Qqbb afdf&\qu h\enotes +%\check +% mesure 51 +\barre\notes\bigaccid \qu {=I}&\Qqbb Nd{=b}d&\qu f\enotes +\temps\notes\bigaccid \qu{^J}&\Qqbb Ne{^c}e&\qu g\enotes +\temps\notes \qu K&\Qqbb afdf&\qu h\enotes +%\check +% mesure 52 +\barre\notes\bigaccid \qu {=J}&\Qqbb af{=c}f&\qu j\enotes +\temps\notes \qu K&\Qqbb Mdad&\qu h\enotes +\temps\notes \hu H&\Qqbb L{^c}Nc&\qup g\enotes +\temps\notes &\Qqbb LcNc&\sk\sk\cu f\enotes +%\check +% mesure 53 +\barre\notes \hu K&\Qqbb Mdad&\qup f\enotes +\temps\notes &\Qqbb Mdad&\sk\sk\ds\enotes +\temps\notes \qu H&\Qqbb L{=c}ac&\ql j\enotes +%\check +% mesure 54 +\barre\notes \qu J&\Qqbb Mcac&\ql j\enotes +\temps\notes \qu K&\Qqbb{^M}dad&\ql k\enotes +%\check +% mesure 55 +\barre\notes \qu G&\Qqbb Ndbd&\qu i\enotes +\temps\notes \qu K&\Qqbb {=M}dad&\qu h\enotes +\temps\notes \qu G&\Qqbb KbNb&\qu i\enotes +%\check +% mesure 56 +\barre\notes \hlp J&\Qqbb LcNc&\ql j\enotes +\temps\notes &\Qqbb Lcac&\qlp j\enotes +\temps\notes &\Qqbb LcNc&\sk\sk\ds\enotes +\temps\notes \qu K&\Qqbb Mdad&\qu h\enotes +%\check +% mesure 57 +\barre\notes \qu J&\Qqbb Mcac&\qu h\enotes +\temps\notes \qu H&\Qqbb L{^c}ac&\qu g\enotes +\temps\notes \doubler\dqh {=I}{^J}&\Qqbb LcNc&\qu h\enotes +%\check +% mesure 58 +\barre\notes \qu K&\Qqbb Mdad&\qu f\enotes +\temps\notes\bigaccid \qu{^J}&\Qqbb L{^c}Nc&\qu g\enotes +\temps\notes \qu K&\Qqbb Mdad&\qu h\enotes +%\check +% mesure 59 +\barre\notes\bigaccid \qu{=J}&\Qqbb M{=c}ac&\cna j\qu j\enotes +\temps\notes \qu H&\Qqbb Lcac&\qu h\enotes +\temps\notes\doubler \qu {=I}&\Qqbb L{^c}Nc&\qup g\enotes +\temps\notes \qu H&\Qqbb Lcac&\sk\sk\cu f\enotes +%\check +% mesure 60 +\barre\notes \hu K&\Qqbb Mdad&\hu f\enotes +\temps\notes &\Qqbb Mdad&\enotes +\temps\notes \soupir&\Qqbb Mdad&\soupir\enotes +%\check +% mesure 61 +\barre\notes \hu K&\bigaccid\Qqbb {^M}dad&\ql k\enotes +\temps\notes &\Qqbb Mdad&\ql k\enotes +\temps\notes\bigaccid \ql{^M}&\Qqbb Mcac&\ql j\enotes +%\check +% mesure 62 +\barre\notes \ql N&\Qqbb Ndbd&\qu i\enotes +\temps\notes \ql L&\Qqbb LcNc&\qu h\enotes +\temps\notes \ql K&\Qqbb Kb{=M}b&\qu i\enotes +%\check +% mesure 63 +\barre\notes \qu J&\Qqbb LcNc&\qu j\enotes +\temps\notes \hu H&\Qqbb Mcac&\qup j\enotes +\temps\notes &\Qqbb Lcbc&\sk\sk\ds\enotes +%\check +% mesure 64 +\barre\notes \qu K&\Qqbb Mdad&\qu h\enotes +\temps\notes \qu J&\Qqbb Lcac&\qu h\enotes +\temps\notes \qu I&\Qqbb KbNb&\qu g\enotes +%\check +% mesure 65 +\barre\notes \hu G&\Qqbb KbNb&\qup d\enotes +\temps\notes &\Qqbb KbNb&\sk\sk\itenl0f\cu f\enotes +\temps\notes \hu D&\Qqbb Mdad&\tten0\qup f\enotes +\temps\notes &\Qqbb Mdad&\sk\sk\ds\enotes +\def\atnextline{\autolines{22}35}% +% mesure 66 +\barre\notes\hu K&\uptext{\kern -\interligne\bf I}\zqu +M\rlap{\sk\sk\zcharnote D{\sl 6}}\sqbb + Madfda&\uptext{\kern -\interligne\bf III}\qu h\enotes +\temps\notes &\zqu M\rlap{\sk\sk\zcharnote D{\sl 6}}\sqbb Madfda&\qu h\enotes +\temps\notes \qu H&\zqu N\rlap{\sk\sk\zcharnote D{\sl 6}}\sqbb Na{^c}eca&\qu g\enotes +\temps\notes \qu K&\zqu M\rlap{\sk\sk\zcharnote D{\sl 6}}\sqbb Madfda&\qu h\enotes +%\check +% mesure 67 +\barre\notes\bigaccid \qu {=I}&\zqu M\rlap{\sk\sk\zcharnote D{\sl 6}}\Sqbb M{=b}dfdb&\qu f\enotes +\temps\notes\bigaccid \qu{^J}&\zqu N\sqbb Na{^c}eca&\qu g\enotes +\temps\notes \qu K&\zqu M\sqbb Madfda&\qu h\enotes +%\check +% mesure 68 +\barre\notes \qu H&\zqu M\sqbb Macfca&\qu j\enotes +\temps\notes \qu K&\zqu M\sqbb Madfda&\qu h\enotes +\temps\notes\bigaccid \qu {^J}&\zqu L\sqbb La{^c}eca&\qup g\enotes +\temps\notes \qu H&\zqu L\sqbb La{^c}eca&\sk\sk\sk\cu f\enotes +%\check +% mesure 69 +\barre\notes \hu K&\zqu M\sqbb Madfda&\hu f\enotes +\temps\notes &\zqu M\sqbb Madfda&\enotes +\temps\notes \qu H&\zqu M\sqbb Madfda&\ds\sk\sk\cu h\enotes +%\check +% mesure 70 +\barre\notes \hu K&\bigsh M\zqu M\sqbb Mad{^f}da&\ql k\enotes +\temps\notes &\zqu M\sqbb Ma{=c}fca&\cna j\ql j\enotes +\temps\notes \qu G&\zqu N\sqbb Nbdgdb&\qu i\enotes +\temps\notes \qu I&\zqu N\sqbb Nbdgdb&\tripler\dqh hg\enotes +% mesure 71 +\barre\notes \hu H&\bigna M\zqu M\sqbb Mad{=f}ca&\qup h\enotes +\temps\notes &\zqu M\sqbb Madfca&\tripler\sk\cu h\enotes +\temps\notes \qu I&\zqu N\sqbb Nbdedb&\qu f\enotes +\temps\notes \qu G&\zqu N\sqbb Nbdgdb&\tripler\dqh ge\enotes +% mesure 72 +\barre\notes \hu H&\zqu a\sqbb adfhfd&\hu d\enotes +\temps\notes &\zqu a\sqbb adfhfd&\enotes +\temps\notes &\zqu a\Sqbb a{^c}egec&\bigaccid\qu {^c}\enotes +% mesure 73 +\barre\notes \hu D&\zqu M\sqbb Madfda&\qup d\enotes +\temps\notes &\zqu M\sqbb Madfdb&\tripler\sk\cu d\enotes +\temps\notes \hu K&\zqu a\sqbb acd{^f}dc&\tripler\qu{^f}\enotes +\temps\notes &\zqu a\sqbb acdfdc&\tripler\dqh ff\enotes +% mesure 74 +\barre\notes \hu I&\zqu N\sqbb Nbdgdb&\tripler\dqh gh\enotes +\temps\notes &\zqu N\sqbb Nbdedb&\tripler\dqh ig\enotes +\temps\notes \hu J&\zqu N\sqbb Nbcecb&\tripler\qu e\enotes +\temps\notes &\zqu N\sqbb Nbcecb&\tripler\dqh ee\enotes +\def\atnextline{\autolines{20}35}% +% mesure 75 +\barre\notes \hu K&\na M\zqu M\sqbb Madfda&\tripler\na f\dqh fg\enotes +\temps\notes &\zqu M\sqbb Madfdb&\tripler\dqh hf\enotes +\temps\notes \hu I&\zqu K\sqbb KNbdbN&\tripler\qu d\enotes +\temps\notes &\zqu K\sqbb KNbdbN&\tripler\dqh dd\enotes +% mesure 76 +\barre\notes \hu H&\zqu N\sqbb Na{^c}eca&\tripler\qu g\enotes +\temps\notes &\zqu N\sqbb Naceca&\uptext{\moyen rit.}\tripler\dqh gg\enotes +% mesure 77 +\barre\notes\hu K&\zqu M\sqbb Madfda&\uptext{\moyen a tempo}\qu h\enotes +\temps\notes &\zqu M\sqbb Madfda&\qu h\enotes +\temps\notes\bigaccid \qu {^J}&\zqu L\sqbb La{^c}eca&\qu g\enotes +\temps\notes \qu K&\zqu M\sqbb Madfda&\qu h\enotes +%\check +% mesure 78 +\barre\notes\bigaccid \qu {=I}&\zqu K\sqbb KM{=b}dbM&\qu f\enotes +\temps\notes\bigaccid \qu{^J}&\zqu L\sqbb LN{^c}ecN&\qu g\enotes +\temps\notes \qu K&\zqu M\sqbb Madfda&\qu h\enotes +%\check +% mesure 79 +\barre\notes\bigaccid \qu {=J}&\zqu M\sqbb Ma{=c}fca&\qu j\enotes +\temps\notes \qu K&\zqu K\sqbb KMadaM&\qu h\enotes +\temps\notes \qu H&\zqu L\sqbb LN{^c}ecN&\tripler\dqh gf\enotes +%\check +% mesure 80 +\barre\notes \hu K&\zqu K\sqbb KMadaM&\qup f\enotes +\temps\notes &\zqu K\sqbb KMadaM&\sk\sk\ds\enotes +\temps\notes \qu H&\zqu L\sqbb La{=c}eca&\ql j\enotes +%\check +% mesure 81 +\barre\notes \qu J&\zqu L\sqbb Laceca&\ql j\enotes +\temps\notes \qu K&\zqu K\Sqbb K{^M}adaM&\ql k\enotes +%\check +% mesure 82 +\barre\notes \qu G&\zqu K\sqbb KNbdbN&\qu i\enotes +\temps\notes \qu K&\zqu K\Sqbb K{=M}adaM&\qu h\enotes +\temps\notes \qu G&\zqu K\sqbb KNbdbN&\qu i\enotes +%\check +% mesure 83 +\barre\notes \hlp J&\zqu M\sqbb MNcecN&\ql j\enotes +\temps\notes &\zqu L\sqbb LNcecN&\qlp j\enotes +\temps\notes &\zqu L\sqbb LNcecN&\sk\sk\ds\enotes +\temps\notes \qu K&\zqu K\sqbb KMadaM&\qu h\enotes +%\check +% mesure 84 +\barre\notes \qu J&\zqu M\sqbb Macfca&\qu h\enotes +\temps\notes \qu H&\zqu L\sqbb La{^c}eca&\qu g\enotes +\temps\notes \tripler\dqh {=I}{^J}&\zqu L\sqbb LNcecN&\qu h\enotes +%\check +% mesure 85 +\barre\notes \qu K&\zqu K\sqbb KMadaM&\qu f\enotes +\temps\notes\bigaccid \qu{^J}&\zqu L\sqbb LN{^c}ecN&\qu g\enotes +\temps\notes \qu K&\zqu K\sqbb KMadaM&\qu h\enotes +%\check +% mesure 86 +\barre\notes\bigaccid \qu{=J}&\zqu M\sqbb Ma{=c}fca&\cna j\qu j\enotes +\temps\notes \qu H&\zqu L\sqbb Laceca&\qu h\enotes +\temps\notes\tripler \dqh {=I}{^J}&\zqu L\sqbb LN{^c}ecN&\tripler\dqh gf\enotes +%\check +% mesure 87 +\barre\notes \hu K&\zqu K\sqbb KMadaM&\hu f\enotes +\temps\notes &\zqu K\sqbb KMadaM&\enotes +\temps\notes \soupir&\zqu K\sqbb KMadaM&\soupir\enotes +%\check +% mesure 88 +\barre\notes \hu K&\zqu K\Sqbb K{^M}adaM&\ql k\enotes +\temps\notes &\zqu K\sqbb KMadaM&\ql k\enotes +\temps\notes\bigaccid \ql{^M}&\zqu M\sqbb Macfca&\ql j\enotes +%\check +% mesure 89 +\barre\notes \ql N&\zqu K\sqbb KNbdbN&\qu i\enotes +\temps\notes \ql L&\zqu L\sqbb LNbebN&\qu h\enotes +\temps\notes \ql K&\zqu K\Sqbb K{=M}bdbM&\qu i\enotes +%\check +% mesure 90 +\barre\notes \qu J&\zqu L\sqbb LNcecN&\qu j\enotes +\temps\notes \hu H&\zqu M\sqbb Macfca&\qup j\enotes +\temps\notes &\zqu L\sqbb Laceca&\sk\sk\ds\enotes +%\check +% mesure 91 +\barre\notes \qu K&\zqu K\sqbb KMadaM&\qu h\enotes +\temps\notes \qu J&\zqu L\sqbb Laceca&\qu h\enotes +\temps\notes \qu I&\zqu K\sqbb KNbdbN&\qu g\enotes +%\check +% mesure 92 +\barre\notes \hu G&\zqu K\sqbb KNbdbN&\qup d\enotes +\temps\notes &\zqu K\sqbb KNbdbN&\sk\sk\sk\cu f\enotes +\temps\notes \hu F&\zqu M\sqbb Macfca&\pointdorgue l\hu f\enotes +\temps\notes &\zqu M\ibbl0M1\qb0M\zqu a\qb0a\zqu c\tqb0c\pointdurgue F\cl f&\enotes +\advance\linesinpage by 1\relax +%\check +\def\atnextline{\def\nbinstruments{2}\nbporteesii=2\relax + \def\interfacteur{11}\autolines{14}45}% +% mesure 93 +\def\ddb#1#2#3{\Ibl0{#1}{#3}3\qb0{#1}\sk\nbbl0\qb0{#2}\tqb0{#3}}% +\def\ddh#1#2#3{\Ibu0{#1}{#3}3\qh0{#1}\sk\nbbu0\qh0{#2}\tqh0{#3}}% +\barre\notes\hl M&\zmidtwotext{\kern -2\interligne\bf I}\ql c|\relax + \Uptext{\moyen Maestoso}\zqu h\ddb fed\enotes +\temps\NOtes&\ql a|\zqu h\dqb cd\enotes +\temps\NOtes \ql J&\ql N|\zqu g\dqb ec\enotes +\temps\notes \ql M&\ql a|\zqu h\qqbb fedc\enotes +%\check +% mesure 94 +\barre\notes \ql K&\ql M|\zqu f\ddb dcb\enotes +\temps\NOtes \ql J&\ql L|\zqu g\dqb ce\enotes +\temps\notes \ql M&\ql a|\zqu h\ddb fed\enotes +%\check +% mesure 95 +\barre\NOtes \ql L&\zql N\dqh ce|\zq{g}\qu j\enotes +\temps\notes \ql M&\ql a|\zqu h\ddb fed\enotes +\temps\NOtes \ql J&\ql N|\zqup g\dqb ec\enotes +\temps\notes \qu G&\zql M\ddh bab|\sk\sk\cu f\enotes +%\check +% mesure 96 +\barre\notes \hu F&\zhl M\ddh aab|\zhu f\enotes +\temps\notes &\ddh cde\enotes +%\check +% mesure 97 +\barre\notes \ql M&\zql a\ddh fed|\zq{h}\qu j\enotes +\temps\notes \ql J&\zql M\qqhh cbab|\zq{h}\qu j\enotes +\temps\notes\ql K&\bigaccid\zql{^M}\ddh abc|\zq{h}\qu k\enotes +%\check +% mesure 98 +\barre\NOtes \ql N&\zql b\dqh de|\zq{g}\qu i\enotes +\temps\notes \ql K&\ql a|\bigna f\zqu h\ddb fed\enotes +\temps\notes \ql I&\ql N|\zqu i\qqbb edef\enotes +%\check +% mesure 99 +\barre\NOtes \ql J&\ql M|\zqu j\dqb gf\enotes +\temps\notes \hl L&\hl N|\zh{g}\zhu j\ddb ede\enotes +\temps\Notes&|\ql c\cbreath\enotes +%\check +% mesure 100 +\barre\notes \hl M&\qqbb abcb|\zcl{c}\zq{f}\qu h\enotes +\temps\notes &\qqbb aNaM|\zhlp c\zq{f}\qu h\enotes +\temps\notes \ql J&\qqbb NLMN|\zq{e}\qu g\enotes +\temps\notes \ql M&\qqbb abaN|\zq{f}\qu h\enotes +\def\atnextline{\autolines{12}45}\relax +%\check +% mesure 101 +\barre\notes \ql K&\zqu a\ddb MNM|\zq{d}\qu f\enotes +\temps\notes \ql J&\ddb LMN|\zq{ce}\qu g\enotes +\temps\notes \ql M&\qqbb abcd|\zq{f}\qu h\enotes +%\check +% mesure 102 +\barre\notes \ql a&\ddb cbc|\zq{fh}\qu j\enotes +\temps\notes \ql M&\qqbb abca|\zcl c\zq{f}\qu h\enotes +\temps\notes \bigaccid\qu{^J}&\qqbb NbaN|\bigaccid\zhl{^c}\zql e\qup g\enotes +\temps\notes \qu H&\ddb MNL|\sk\cu f\enotes +%\check +% mesure 103 +\barre\notes \ddh KJI&\zqp a\qlp M|\zqp{d}\qup f\enotes +\temps\notes \qqhh HGFE&\sk\sk\ds|\sk\sk\ds\enotes +%\check +% mesure 104 +\barre\notes \qup D&\hl a|\bigaccid\zhl{^f}\zq h\ddh kji\enotes +\temps\notes &|\zql h\qqhh kjih\enotes +%\check +% mesure 105 +\barre\notes \qu G&\ddb Nab|\zhlp d\zq{dg}\qu i\enotes +\temps\notes \qu J&\qqbb cabc|\bigaccid\zq{_e}\qu h\enotes +\temps\notes \ddh KJK&\ql M|\zql d\zq{=f}\qu i\enotes +%\check +% mesure 106 +\barre\notes \bigfl L\ddh LKL&\ql N|\bigfl e\zq e\zq g\qu j\enotes +\temps\notes \ddh JJI&\hl M|\zqp {fh}\qup j\enotes +\temps\notes \ddh HGH&\sk\sk\ds|\sk\sk\ds\enotes +%\check +% mesure 107 +\barre\notes \qu F&\zhl a\qu d|\zqu h\ddb ff{=e}\enotes +\temps\notes \qu K&\ddh dcd|\zq{f}\qu h\enotes +\temps\notes \ddh IHI&\zqu b\ql N\zmidtwotext{\it rall.}|\zq{d}\qu g\enotes +%\check +% mesure 108 +\advance\barsinline -1\relax +\barre\NOtes \qu G&\zhlp N\qu b|\qu d\enotes +\temps\NOtes \hu J&\qu c|\qup e\enotes +\temps\notes &\qu b|\sk\cu f\enotes +% mesure 109 +\barre\NOTes \wh F&\zw M\wh a|\zw{c}\wh f\enotes +\finmorceau +\medskip\rightline{\it \aujourdhui} +\vfil +\eject diff --git a/Master/texmf-dist/doc/generic/musictex/marcellx.tex b/Master/texmf-dist/doc/generic/musictex/marcellx.tex new file mode 100644 index 00000000000..98c563df159 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/marcellx.tex @@ -0,0 +1,314 @@ +\title{Adagio} +\fulltitle{Adagio} +\csname titremorceautoc\endcsname +\subtitle{(extrait du Concerto pour Hautbois)} +\othermention{R\'ecit: cornet ou cromorne\\G.O. + bourdon 8'\\P\'ed.: bourdon 16'+tirasse G.O.} +\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN} +\shortauthor{B. Marcello, D. Taupin} +\maketitle +% +\parindent 13mm +% +\tracingstats=2\relax +% +\def\nbinstruments{3} +\def\interfacteur{9} +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksiii={{0}{0}{0}{0}}% +\nbporteesi=1\relax% +\nbporteesii=1\relax% +\nbporteesiii=1\relax% +\signaturegenerale{-3}\relax +%\check +\def\instrumenti{P\'ed}% +\def\instrumentii{G.O.}% +\def\instrumentiii{R\'ecit}% +%\check +\def\gluemaxskip{7pt}% +% +\def\doubler{\multiply\noteskip by 2\relax}% +% formes frequentes +\def\Pause{\sk\sk\qsk\pause}% +% +%\check +% +\generalmeter{\meterfrac 34}% +% +\debutmorceau +\linesinpage=0\relax +\autolines{19}35\relax +%\check +% +\hyphenpenalty -50\relax +\notes&&\zcharnote{w}{\kern -20mm\moyen Adagio +\bf(\metron{\cu}{84})}\enotes +% +%\check +% +% mesure 1 +%\NOTes\Pause&\ibl0j0\qb0{jjjjj}\tqb0&\qb0j&\Pause\enotes +\NOTes\Pause&\ibl0j0\qb0{jjjjj}\tqb0j&\Pause&\Pause\enotes +\advance\linesinpage by 1 +% mesure 2 +\barre\NOTes\Pause +&\ibl0j0\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\tqb0k&\Pause\enotes +% mesure 3 +\def\motif{\zq i\qh0k}% +\barre\NOTes\hup G&\rlap{\pt g\lh f\hlp g}\bigna i\ibu0k0\motif +\motif\motif\motif\motif\tbu0\motif&\Pause\enotes +% mesure 4 +\def\motif{\zq j\qh0 l}% +\barre\NOTes\Ibu2CJ1\qh2C\itenl0J\tqh2J\relax +&\ibu0l0\itenl1e\rlap{\zhp g\hlp e}\motif\motif\relax +&\Ibl1jl1\qb1j\tqb1l\enotes +\NOTes\tten0\hu J&\motif\motif&\Ibl1ln1\qb1l\tqb1n\enotes +\NOTes&\motif&\ibl1n0\qb1n\enotes +\NOtes&\tbu0\motif&\nbbl1\qb1o\tqb1n\enotes +% mesure 5 +\def\motif{\zq h\qh0j}% +\barre\NOTes\qsk\hup F&\qsk\tten1\zql e\relax +\ibu0j0\motif\motif&\qsk\mordant q\zhl o\enotes +\NOTes&\zql d\motif\motif\enotes +\NOTes&\zql c\motif\tbu0\motif&\soupir\enotes +% mesure 6 +\def\motif{\zq h\qh0k}% +\barre\temps\NOTes\hup I&\zhl f\ibu0k0\motif\motif&\Ibl1ik1\qb1i\tqb1k\enotes +\NOTes&\motif&\Ibl1kl2\qb1k\enotes +\NOtes&\motif&\nbbl1\qb1m\tqb1l\enotes +\NOtes&\itenl1d\zql d\motif\sk\tbu0\motif&\Ibbl1mn3\qb1{mno}\tqb1n\enotes +% mesure 7 +\def\motif{\zq g\qh0i}% +\barre\autolines{20}35\relax +\NOTes\qsk\hup E&\qsk\tten1\zql d\ibu0i0\motif +\motif&\qsk\mordant p\zhl n\enotes +\NOTes&\zql c\motif\motif\enotes +\NOTes&\zql b\motif\tbu0\motif&\soupir\enotes +% mesure 8 +\def\motif{\zq h\qh0j}% +\barre\NOtes\hup H&\ibu0j0\zhl e\motif\sk\motif +&\Ibbl1hi3\qb1{hij}\tqb1i\enotes +\NOtes&\motif\sk\motif +&\Ibbl1jk3\qb1{jkl}\tqb1k\enotes +\NOtes&\itenl1c\zql c\motif\sk\tbu0\motif +&\Ibbl1lm3\qb1{lmn}\tqb1m\enotes +% mesure 9 +\def\motif{\zq f\qh0h}% +\barre\NOTes\qsk\hup K&\qsk\tten1\zql c\ibu0h0\motif +\tbu0\motif&\qsk\mordant o\zhl m\enotes +\def\motif{\zq f\qh0i}% +\temps\NOTes&\zql b\ibu0i0\motif\motif\enotes +\NOTes&\zql a\motif\tbu0\motif&\soupir\enotes +% mesure 10 +\def\motif{\zq i\qh0k}% +\barre\autolines{28}25\relax +\Notes\Ibu2NG4\qh2N\sk\sk\sk\itenl0G\tqh2G&\bigna i\zhlp f\relax +\ibu0k0\motif\sk\sk\sk\motif&\Ibbbu1gk7\qh1{g^fgh=ihi}\tqh1j\enotes +\Notes\tten0\hu G&\motif\sk\sk\sk\motif&\Ibbbl1jj7\qb1{kijkn=ml}\tqb1k\enotes +\NOtes&\motif\sk\tbu0\motif&\Ibbl1kl3\qb1{klm}\tqb1l\enotes +% mesure 11 +%\check +\def\motif{\zq g\qh0 j}% +\barre\notes\Ibu2CJ5\qh2C&\zhlp e\ibu0j0\motif +&\ibbbbl1l0\qb1{lkl}\tbbbbl1\tbbbl1\tbbl1\qb1m\enotes +\NOtes&&\tbl1\qbp1l\enotes +\NOTes\itenl0J\tqh2J&\motif&\enotes +\NOtes\tten0\itenl0J\hu J&\motif\sk\motif&\qsoupir\Ibbl1ln2\qb1{lo}\tqb1n\enotes +\NOtes&\motif\sk\tbu0\motif&\Ibbl1ol3\qb1{omm}\tqb1l\enotes +% mesure 12 +%\check +\barre +\NOTes\tten0\qu J&\ibu0h0\zhl d\zq f\qh0h\zq f\tqh0h\relax +&\mordant q\ql k\sk\enotes +\NOtes\itenl2I\hu I&\ibu0i0\zq g\qh0i\sk\zq g\tqh0i&\qsoupir +\Ibbl1km2\qb1{kn}\tqb1m\enotes +\NOtes&\ibu0j0\zq g\qh0j\sk&\ibbl1k0\qb1n\qbp1l\enotes +\Notes&\zq g\tqh0j&\sk\nbbbl1\qb1{kj}\tqb1k\enotes +% mesure 13 +\barre +\notes\tten2\qu I&\zhl c\ibu0g0\zq e\qh0g&\ibbbbl1j0\qb1{j=ij}\relax +\tbbbbl1\tbbbl1\tbbl1\qb1k\enotes +\NOtes&&\tbl1\qbp1j\enotes +\NOTes&\zq e\tqh0g&\enotes +\temps\Notes\hu H&\ibu0h0\zq f\qh0h\sk\sk\sk\zq f\tqh0h\relax +&\qsoupir\sk\ibbbl1j0\qb1j\tbbl1\qb1l\nbbbl1\qb1{kjk}\tqb1l\enotes +\temps\Notes&\zql d\ibu0h0\zq f\qh0h\sk\sk\sk\zq f\tqh0h&\ibbbl1k0\qb1{mnlmkl}\relax +\triolet M\qb1{jk}\tqb1j\enotes +% mesure 14 +%\check +\def\motif{\zq g\qh0 i}% +\barre\autolines{21}35\relax +\NOTes\hup G&\rlap{\qsk\hlp d}\bigna b\ibu0i0\qh0b\rq +f\rlap{\qsk\itenl0f}\bigna i\motif +&\bigna i\hl i\enotes +\NOTes&\rlap{\qsk\tten0\hl f}\motif\motif\motif\tbu0\motif&\sk\sk\soupir\enotes +% mesure 15 +\barre\NOTes\hup J&\bigna e\zhlp c\Ibu0jg1\zq e\qh0j\tqh0g\relax +&\ibl1l0\bigna l\qb1l\qb1n\enotes +\NOTes&\ibu0g0\zq e\qh0g\zq e\tqh0g&\qb1n\tqb1l\enotes +\temps\NOtes&\ibu0j0\zq e\qh0j\sk\zq e\tqh0j&\fl i\ibbl1i0\qb1{inl}\tqb1i\enotes +% mesure 16 +\barre\NOTes\hlp M&\zql c\ibu0j0\zq g\qh0j&\ibu1k0\itenl1i\qh1i\enotes +\Notes&\zq g\tqh0j&\tten1\nbbbu1\qh1{ihj}\tqh1i\enotes +\temps\NOTes&\ibu0j0\zhl f\zq h\qh0j\zq h\relax +\qh0j\zq h\qh0j\zq h\tqh0j&\qu h\sk\soupir\enotes +% mesure 17 +\def\motif{\zq h\qh0 k}% +\barre\autolines{24}35\relax +\NOtes\hup K&\lsh f\zhlp f\na h\ibu0k0\motif\sk\motif +&\ibbl1m0\sh m\qb1{m=om}\tqb1n\enotes +\Notes&\motif\sk\sk\sk\motif\sk\sk\sk&\Ibbbl1oh7\qb1{onm=lkji}\tqb1{=h}\enotes +\Notes&\motif\sk\sk\sk\sk\tbu0\motif\sk\sk\sk +&\Ibbbu1dl9\qh1{d=e^fghij}\qhp1k\qsk\tbbbbu1\tqh1j\enotes +% mesure 18 +\barre +\NOTes\hup G&\zql d\zq g\ibu0k0\qh0k\zq g\tqh0k&\Ibl1ji1\qb1j\tqb1i\enotes +\temps\NOTes&\itenl0e\zhl e\zq g\ibu0i0\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0i\relax +&\Ibl1lk1\bigfl l\qb1l\tqb1k\mordant n\itenu1l\ql l\enotes +% mesure 19 +\barre\NOTes\hl M&\tten0\zql e\zq{_h}\ibu0j0\qh0j\relax +&\tten1\ibl1l0\qb1l\enotes +\NOtes&\zq h\tqh0j&\nbbl1\qb1m\tqb1l\enotes +\temps\NOTes&\zhl d\zq f\ibu0h0\qh0h&\ibl1k0\qb1k\enotes +\NOtes&\zq f\qh0h&\nbbl1\qb1l\tqb1j\enotes +\NOTes\qu F&\zq f\qh0h\zq f\tqh0h&\itenu1k\mordant m\ql k\enotes +% mesure 20 +\barre\autolines{28}35\relax +\NOtes\hu E&\zql d\ibu0i0\zq g\qh0i\sk\zq g\tqh0 i\relax +&\tten1\ibbl1k0\qb1{knl}\tqb1k\enotes +\temps\NOtes&\zhl c\ibu0g0\zq e\qh0g\sk\zq e\qh0g&\ibbl1i0\qb1{jih}\tqb1i\enotes +\NOTes\ql L&\zq e\qh0g\zq e\tqh0g&\upperna j\mordant o\itenu1j\ql j\enotes +% mesure 21 +\barre +\NOtes\hup K&\zhl b\zq f\ibu0h0\qh0h\sk\zq f\tqh0h\relax +&\ibbl1j0\tten1\qb1j\qb1{_i}\qb1k\enotes +\Notes&&\nbbbl1\qb1m\tqb1l\enotes +\temps\Notes&\zq d\ibu0f0\qh0f\sk\sk\sk\zq d\qh0f\relax +&\ibbbl1i0\qb1{kjihijk}\tqb1l\enotes +\NOtes&\zql a\zq d\qh0f\sk\zq d\tqh0f&\Ibbl1mi3\qb1{mk}\relax +\pince l\qb1j\enotes +\NOtes&&\itenu0i\tqb1i\enotes +% mesure 22 +\barre\Notes\hup J&\zql N\ibu0g0\zq e\qh0g\sk\sk\sk\zq e\tqh0g\relax +&\tten0\ibbbl1i0\qb1{ijj}\tqb1i\Ibbbu1ig3\qh1{ihh}\tqh1g\enotes +\temps\Notes&\ibu0j0\zql e\zq g\qh0j\sk\sk\sk\zq g\tqh0j\relax +&\ibbbu1g0\qh1{ghh}\tqh1g\Ibbbu1ge3\qh1{gff}\tqh1e\enotes +\temps\NOtes&\zql e\rq f\ibu0h0\qh0h\sk\zq f\tqh0h\relax +&\ibbu1k0\qh1{flk}\tqh1j\enotes +% mesure 23 +\barre\autolines{21}35\relax +\Notes\hu I&\doubler +\zhl d\zq f\ibu0h0\qh0h\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax +&\itenu1k\ql k\sk\sk\sk\tten1\Ibl1ki3\qbp1k\sk\sk\tbbl1\tqb1i\enotes +\NOTes\qu J&\zql c\zq e\ibu0g0\qh0g\zq e\tqh0g&\itenu1l\ql l\enotes +% mesure 24 +\barre +\NOTes\qu{H}&\zqu j\ibl0e0\zq e\qb0h&\tten1\ibl1i0\itenu1l\qb1l\enotes +\Notes&\zq e\tqb0 h&\tten1\nbbbl1\qb1{ljk}\tqb1l\enotes +\temps\NOTes\hu I&\zhu i\ibl0d0\zq d\qb0f\zq d\qb0f\zq d\qb0f\zq e\tqb0g\relax +&\qlp m\sk\sk\cl l\enotes +% mesure 25 +\barre\NOTes\hlp M&\zhlp f\ibu0k0\qh0h\zq h\qh0{_k}&\bigfl k\qlp k\enotes +\NOtes&\zq h\qh0k\sk\zq h\qh0k\sk\zq h\qh0k\sk\zq h\tqh0k\sk +&\sk\sk\ibbl1m0\qb1{mnonm}\tqb1l\enotes +% mesure 26 +\barre\autolines{23}35\relax +\NOTes\hlp N&\zhlp e\ibu0i0\zq g\qh0i\zq g\qh0i&\itenu1k\ql{_k}\enotes +\NOtes&\zq i\qh0g\sk\zq i\qh0g\sk\zq i\qh0g\sk\zq i\tqh0g\sk +&\tten1\Ibbl1ko3\qb1{kln}\tqb1{o}\Ibbl1pk3\qb1{pnl}\tqb1k\enotes +% mesure 27 +\barre +\NOTes\hl a&\zhl e\zq h\ibu0j0\qh0j\relax +&\bigfl k\ibl1j0\itenu1k\qb1k\enotes +\Notes&\zq h\qh0j&\tten1\nbbbl1\qb1{kjl}\tqb1k\enotes +\NOtes&\zq h\qh0j\sk\zq h\tqh0j&\Ibbl1jn3\qb1{jlm}\tqb1n\enotes +\temps\NOtes\qu H&\zql f\ibu0j0\zq h\qh0j\sk\zq h\tqh0j\relax +&\Ibbl1ol3\qb1{onm}\tqb1l\enotes +% mesure 28 +\barre\NOTes\hu G&\rlap{\qsk\zhl f}\ibu0i0\bigna i\zq g\qh0i\zq g\qh0i\relax +&\itenu1m\ql m\enotes +\NOtes&\zq g\qh0i\sk\zq g\tqh0i&\tten1\ibbl1h0\qb1{mgh}\tqb1{=i}\enotes +\temps\NOtes\qu{H}&\itenl0f\zql f\zq h\itenu2h\itenu1j\qu j\relax +&\Ibbl1jk3\qb1{j=kl}\tqb1k\enotes +% mesure 29 +\barre\autolines{23}35\relax +\NOtes\qu F&\tten2\tten1\tten0\zq f\zql h\Ibu0jk2\qh0j\sk\tqh0k\relax +&\ibbl1l0\qb1{lom}\tqb1k\enotes +\temps\NOTes\hu G&\zqlp d\na i\Ibu0ij3\zq g\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0j\relax +&\qlp{=i}\sk\sk\cl j\enotes +% mesure 30 +%\check +\barre +\NOTes\hup{H}&\zhlp c\ibu0h0\zq f\qh0h\zq f\qh0h\zq f\qh0h\zq f\qh0h\relax +&\itenl1f\hu f\enotes +\NOtes&\zq f\qh0h\sk\zq f\tqh0h&\tten1\Ibbu1fe3\qh1{fcd}\tqh1e\enotes +% mesure 31 +%\check +\barre +\NOtes\hu G&\zhl d\bigna i\zq g\qh0i\sk\zq g\qh0i\sk +&\Ibbu1fe3\qh1{fed}\tqh1e\enotes +\NOtes&\zq g\qh0i\sk\zq g\tqh0i&\Ibbu1fg3\qh1{fgh}\tqh1g\enotes +\temps\Notes\ql L&\ibu0j0\zql c\zq g\qh0j\sk\sk\sk\zq g\tqh0j\relax +&\Ibbbu1gi7\qh1{gfefghi}\tqh1{=i}\enotes +% mesure 32 +%\check +\barre\autolines{21}35\relax +\NOtes\bigaccid\zql{a}&\zql c\ibu0h0\zq f\qh0h\sk\zq f\tqh0h\relax +&\Ibl1jk3\qbp1j\sk\sk\tbbl1\tqb1k\enotes +\temps\NOTes\hl N&\ibl0d0\rlap{\qup{=i}}\zq d\qb0f\zq d\qb0f\zq d\qb0f\zcu j\zq e\tqb0g\relax +&\qlp k\sk\sk\cl j\enotes +% mesure 33 +%\check +\def\motif{\zq h\qh0 j}% +\barre\NOTes\hu K&\bigaccid\lsh f\na h\zhl f\ibu0j0\motif\motif +\motif\tbu0\motif +&\bigsh m\itenu1m\hl m\enotes +\temps\NOTes\qu G&\zql d\bigna i\zq g\ibu0i0\qh0i\zq g\tqh0i\relax +&\tten1\Ibl1nk1\qb1n\tqb1k\enotes +% mesure 34 +%\check +\barre\NOTes\Ibl2JG5\qb2J&\zql e\zq g\ibu0j0\qh0j&\Ibl1lj2\qb1l\enotes +\NOtes\qb2L&\zq g\tqh0j&\nbbl1\qb1k\tqb1j\enotes +\NOTes\qb2{NMN}\tqb2G&\zh d\zhl g\na i\qup i\sk\sk\cu j&\zcharnote +n{\Trille{2\noteskip}}\na i\qlp i\sk\sk\cl j\enotes +% mesure 35 +%\check +\barre\autolines{17}35\relax +\NOTes\hup J&\Ibu0je1\zq e\zq g\qh0j&\hlp j\enotes +\NOTes&\itenl0N\zq N\zq c\tqh0e\enotes +\temps\NOTes&\tten0\zhl N\ibu0e0\zq c\qh0e\zq c\qh0e\zq c\qh0e\zq c\tqh0e\enotes +% mesure 36 +%\check +\barre\NOTes\hup G&\ibu0e0\zhlp N\zq c\qh0e\rq d\qh0c\rq d\qh0c\rq d\qh0c\zq +{_b}\qh0d\zq b\tqh0d&\sk\sk\qsk\pause\enotes +% mesure 37 +%\check +\barre\NOTes\hup J&\na e\zhlp N\ibu0e0\relax +\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\tqh0 e\relax +&\sk\sk\qsk\pause\enotes +% mesure 38 +%\check +\barre\autolines{16}45\relax +\NOTes\hlp M&\rlap{\qsk\zql b}\ibu0f0\zq c\qh0f\zq c\qh0f\enotes +\NOTes&\itenl1a\zql a\zq c\qh0 f\zq c\tqh0f&\sk\pause\enotes +\temps\NOTes&\tten1\zq {ac}\rq f\qu e\enotes +% mesure 39 +%\check +\barre\NOTes\hl N&\rlap{\qup f}\na b\ibl0b0\zq b\qb0d\zq b\qb0d\zq b\qb0d\relax +\Ibu1gc2\zq b\rlap{\tqb0d}\qh1g\relax +&\sk\sk\qsk\pause\enotes +\NOTes\ql a&\zq c\qh1e\rq d\tqh1c\enotes +% mesure 40 +%\check +\barre\NOTes\ql M&\zq a\zql c\Ibu1ef1\qh1e\tqh1f\enotes +\temps\NOTes\ibu2N0\qh2{NMN}\tqh2G&\na b\zh b\hu d&\qsk\pause\enotes +% mesure 41 +%\check +\cleftoksii={{6}{0}{0}{0}}\changeclefs\barre +\NOTES\hlp J&\zhp{LN}\hup c&\sk\pause\enotes +\finmorceau +\rightline{\sl\aujourdhui}\eject + + + diff --git a/Master/texmf-dist/doc/generic/musictex/musicdoc.bat b/Master/texmf-dist/doc/generic/musictex/musicdoc.bat new file mode 100644 index 00000000000..4a471efec92 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/musicdoc.bat @@ -0,0 +1,10 @@ +rem cm-ltx2e = latex2e based on cm* fonts +call cm-ltx2e musicdoc +call cm-ltx2e musicdoc +makeindx -s musicdoc.ist musicdoc.idx +call cm-ltx2e musicdoc +makeindx -s musicdoc.ist musicdoc.idx +call cm-ltx2e musicdoc +c:\emtex\bin\dvips386 musicdoc -o musicdoc.ps -P386 +prthplj musicdoc musicdoc.lj + diff --git a/Master/texmf-dist/doc/generic/musictex/musicdoc.inx b/Master/texmf-dist/doc/generic/musictex/musicdoc.inx new file mode 100644 index 00000000000..7913308cea9 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/musicdoc.inx @@ -0,0 +1,547 @@ +\indexentry{*}{21} +\indexentry{a4wide}{50} +\indexentry{\tty \bslash absoluteaccidentals}{23} +\indexentry{\tty \bslash active}{9} +\indexentry{acute accent}{23} +\indexentry{\tty \bslash advancebottom}{43} +\indexentry{\tty \bslash alaligne}{27, 28, 30, 31, 34} +\indexentry{\tty \bslash alapage}{28, 30, 34} +\indexentry{\tty \bslash allabreve}{12} +\indexentry{\tty \bslash altitude}{42} +\indexentry{alto clef}{12, 29, 45} +\indexentry{\tty \bslash altportee}{42} +\indexentry{anonymous ftp}{51} +\indexentry{\tty \bslash arpeggio}{33} +\indexentry{\tty \bslash atnextline}{34, 43} +\indexentry{\tty \bslash autolines}{6, 14, 26, 27, 28, 34, 35} +\indexentry{\tty \bslash backturn}{33} +\indexentry{bar numbering}{27} +\indexentry{\tty \bslash barno}{27} +\indexentry{baroque}{45} +\indexentry{\tty \bslash barre}{26, 28, 30, 31, 35} +\indexentry{basic files}{51} +\indexentry{bass clef}{12, 29} +\indexentry{beams}{7, 11, 29, 35} +\indexentry{\tty \bslash begin{\char '173}music{\char '175}}{13} +\indexentry{\tty \bslash bigaccid}{22} +\indexentry{\tty \bslash bigdFl}{23} +\indexentry{\tty \bslash bigdSh}{23} +\indexentry{\tty \bslash bigfl}{22} +\indexentry{\tty \bslash bigFl}{23} +\indexentry{Big\LaTeX}{49, 50} +\indexentry{\tty \bslash bigNa}{23} +\indexentry{\tty \bslash bigsh}{22} +\indexentry{\tty \bslash bigSh}{23} +\indexentry{Big\protect\TeX}{27, 50} +\indexentry{\tty \bslash bottomfacteur}{42, 43} +\indexentry{Brahms}{29, 35} +\indexentry{\tty \bslash break}{27} +\indexentry{Brouard, N.}{49} +\indexentry{cadenzas}{36} +\indexentry{\tty \bslash carpg}{38} +\indexentry{\tty \bslash carqg}{38} +\indexentry{\tty \bslash carrg}{38} +\indexentry{\tty \bslash catcode}{11, 49, 50} +\indexentry{\tty \bslash catcodes}{49} +\indexentry{\tty \bslash catcodesmusic}{50} +\indexentry{cautionary accidental}{22, 23} +\indexentry{\tty \bslash ccccl}{15, 21} +\indexentry{\tty \bslash ccccu}{15} +\indexentry{\tty \bslash cccl}{15} +\indexentry{\tty \bslash cccu}{15} +\indexentry{\tty \bslash ccl}{15} +\indexentry{\tty \bslash ccu}{15} +\indexentry{\tty \bslash cdfl}{22} +\indexentry{\tty \bslash cdFl}{23} +\indexentry{\tty \bslash cdsh}{22} +\indexentry{\tty \bslash cdSh}{23} +\indexentry{\tty \bslash cfl}{22} +\indexentry{\tty \bslash cFl}{23} +\indexentry{\tty \bslash changeclefs}{29} +\indexentry{\tty \bslash changecontext}{28, 30} +\indexentry{\tty \bslash Changecontext}{28, 30} +\indexentry{\tty \bslash changesignature}{28} +\indexentry{\tty \bslash charnote}{32} +\indexentry{chords}{11, 16} +\indexentry{\tty \bslash cl}{15, 37} +\indexentry{clef d'ut}{12, 29} +\indexentry{clef de fa}{12, 29} +\indexentry{clef de sol}{12, 29} +\indexentry{\tty \bslash clefdefa}{46} +\indexentry{\tty \bslash clefdefasymbol}{46} +\indexentry{\tty \bslash clefdesol}{46} +\indexentry{\tty \bslash clefdesolsymbol}{46} +\indexentry{\tty \bslash clefdut}{45, 46} +\indexentry{\tty \bslash clefdutsymbol}{46} +\indexentry{clefs (empty)}{46} +\indexentry{\tty \bslash cleftoks$r$}{12, 28, 29, 34} +\indexentry{\tty \bslash cleftoksi}{12} +\indexentry{\tty \bslash cna}{22} +\indexentry{\tty \bslash cNa}{23} +\indexentry{\tty \bslash coda}{32} +\indexentry{\tty \bslash computespecifics}{39, 43} +\indexentry{\tty \bslash computewidths}{43} +\indexentry{\tty \bslash csh}{22} +\indexentry{\tty \bslash cSh}{23} +\indexentry{\tty \bslash cu}{15, 37} +\indexentry{\tty \bslash dccu}{39} +\indexentry{\tty \bslash dcl}{39} +\indexentry{\tty \bslash dcu}{39} +\indexentry{\tty \bslash dcup}{39} +\indexentry{\tty \bslash debutextrait}{44, 50} +\indexentry{\tty \bslash debutmorceau}{13, 28, 31, 43, 44, 50} +\indexentry{\tty \bslash DEP}{34} +\indexentry{\tty \bslash dfl}{22, 23} +\indexentry{\tty \bslash dFl}{23} +\indexentry{\tty \bslash diamg}{38} +\indexentry{\tty \bslash diamw}{38} +\indexentry{\tty \bslash dimen}{10} +\indexentry{distribution}{9} +\indexentry{\tty \bslash documentstyle}{49} +\indexentry{dpi}{51} +\indexentry{drum clef}{46} +\indexentry{\tty \bslash drumclefsymbol}{46} +\indexentry{\tty \bslash ds}{20} +\indexentry{\tty \bslash dsh}{22, 23} +\indexentry{\tty \bslash dSh}{23} +\indexentry{\tty \bslash dsoupir}{20} +\indexentry{Egler, A.}{10, 33} +\indexentry{\tty \bslash eject}{28} +\indexentry{\tty \bslash elemskip}{6, 13, 14, 26} +\indexentry{em\TeX}{50} +\indexentry{\tty \bslash endcatcodesmusic}{50} +\indexentry{\tty \bslash etroit}{13} +\indexentry{\tty \bslash everystaff}{24, 34} +\indexentry{\tty \bslash exhpause}{21} +\indexentry{\tty \bslash expause}{21} +\indexentry{Faur\'e, G.}{59} +\indexentry{fermata}{33} +\indexentry{\tty \bslash finextrait}{44, 50} +\indexentry{\tty \bslash finmorceau}{28, 30, 43, 50} +\indexentry{\tty \bslash finrightrepeat}{30} +\indexentry{\tty \bslash fl}{22, 23} +\indexentry{\tty \bslash Fl}{23} +\indexentry{flats}{12} +\indexentry{fonts}{51} +\indexentry{format}{51} +\indexentry{french.sty}{49, 50} +\indexentry{\tty \bslash freqbarno}{27} +\indexentry{full rest}{20} +\indexentry{Gaulle, B.}{50} +\indexentry{general staff size}{39} +\indexentry{\tty \bslash generalmeter}{12} +\indexentry{\tty \bslash generalsignature}{8, 12, 23, 28} +\indexentry{glue}{9, 26} +\indexentry{Gounod, C.}{40, 59} +\indexentry{grave accent}{23} +\indexentry{\tty \bslash grcl}{37} +\indexentry{\tty \bslash grcu}{37} +\indexentry{gregorian music}{38, 44, 45} +\indexentry{guillemets}{50} +\indexentry{GUTenberg}{50} +\indexentry{half rest}{20} +\indexentry{harmonic notes}{47} +\indexentry{Haydn, J.}{36} +\indexentry{\tty \bslash hb}{19} +\indexentry{\tty \bslash hbox}{26} +\indexentry{\tty \bslash hfil}{26} +\indexentry{\tty \bslash hh}{19} +\indexentry{\tty \bslash hl}{14, 15, 16, 21} +\indexentry{\tty \bslash hoffset}{59} +\indexentry{\tty \bslash hpause}{20} +\indexentry{\tty \bslash hrule}{10, 26} +\indexentry{\tty \bslash hs}{20} +\indexentry{\tty \bslash hsize}{14} +\indexentry{\tty \bslash hskip}{21} +\indexentry{\tty \bslash hu}{15, 21} +\indexentry{\tty \bslash huitsoupir}{20} +\indexentry{\tty \bslash hup}{16} +\indexentry{\tty \bslash ibbbbbl}{17} +\indexentry{\tty \bslash Ibbbbbl}{20} +\indexentry{\tty \bslash ibbbbbu}{17} +\indexentry{\tty \bslash Ibbbbbu}{20} +\indexentry{\tty \bslash ibbbbl}{17} +\indexentry{\tty \bslash Ibbbbl}{20} +\indexentry{\tty \bslash ibbbbu}{17} +\indexentry{\tty \bslash Ibbbbu}{20} +\indexentry{\tty \bslash ibbbl}{17} +\indexentry{\tty \bslash Ibbbl}{20} +\indexentry{\tty \bslash ibbbu}{17, 18} +\indexentry{\tty \bslash Ibbbu}{20} +\indexentry{\tty \bslash ibbl}{17} +\indexentry{\tty \bslash Ibbl}{20} +\indexentry{\tty \bslash ibbu}{17} +\indexentry{\tty \bslash Ibbu}{20} +\indexentry{\tty \bslash ibl}{17, 18} +\indexentry{\tty \bslash Ibl}{20} +\indexentry{\tty \bslash ibu}{17} +\indexentry{\tty \bslash Ibu}{20} +\indexentry{\tty \bslash ilegl}{24} +\indexentry{\tty \bslash Ilegl}{24, 25} +\indexentry{\tty \bslash ilegu}{24} +\indexentry{\tty \bslash Ilegu}{24, 25} +\indexentry{INITEX}{51} +\indexentry{\tty \bslash input}{59} +\indexentry{instrument}{12} +\indexentry{instrument number}{8} +\indexentry{\tty \bslash instrument$r$}{13} +\indexentry{\tty \bslash interbeam}{42} +\indexentry{\tty \bslash interfacteur}{42, 43, 44} +\indexentry{\tty \bslash interinstrument}{42, 44, 45} +\indexentry{\tty \bslash interligne}{41} +\indexentry{\tty \bslash Interligne}{41, 42, 43} +\indexentry{\tty \bslash internote}{41} +\indexentry{\tty \bslash Internote}{41} +\indexentry{\tty \bslash interportee}{42, 44} +\indexentry{\tty \bslash Interportee}{42} +\indexentry{\tty \bslash Invertslur}{25} +\indexentry{\tty \bslash Itenl}{25} +\indexentry{\tty \bslash ITenl}{25} +\indexentry{\tty \bslash itenl}{24, 25} +\indexentry{\tty \bslash itenu}{24, 25} +\indexentry{\tty \bslash Itenu}{25} +\indexentry{\tty \bslash ITenu}{25} +\indexentry{\tty \bslash kb}{48} +\indexentry{\tty \bslash kccccl}{48} +\indexentry{\tty \bslash kccccu}{48} +\indexentry{\tty \bslash kcccl}{48} +\indexentry{\tty \bslash kcccu}{48} +\indexentry{\tty \bslash kccl}{48} +\indexentry{\tty \bslash kccu}{39, 48} +\indexentry{\tty \bslash kcl}{39, 48} +\indexentry{\tty \bslash kclp}{48} +\indexentry{\tty \bslash kclpp}{48} +\indexentry{\tty \bslash kcu}{39, 48} +\indexentry{\tty \bslash kcup}{39, 48} +\indexentry{\tty \bslash kcupp}{48} +\indexentry{\tty \bslash kern}{21} +\indexentry{\tty \bslash kh}{48} +\indexentry{\tty \bslash kl}{48} +\indexentry{\tty \bslash klp}{48} +\indexentry{\tty \bslash klpp}{48} +\indexentry{\tty \bslash ku}{48} +\indexentry{\tty \bslash kup}{48} +\indexentry{\tty \bslash kupp}{48} +\indexentry{\tty \bslash large}{13} +\indexentry{largemusic}{49} +\indexentry{\tty \bslash larpeggio}{33} +\indexentry{\LaTeX }{13, 49} +\indexentry{\tty \bslash lcharnote}{32} +\indexentry{\tty \bslash ldfl}{22} +\indexentry{\tty \bslash ldsh}{22} +\indexentry{\tty \bslash leaders}{9} +\indexentry{\tty \bslash leftrepeat}{31} +\indexentry{\tty \bslash leftrepeatsymbol}{30, 31} +\indexentry{\tty \bslash leftrightrepeat}{31} +\indexentry{\tty \bslash leftrightrepeatsymbol}{30} +\indexentry{\tty \bslash lfl}{22} +\indexentry{\tty \bslash lh}{16} +\indexentry{\tty \bslash lhl}{16} +\indexentry{\tty \bslash lhu}{16} +\indexentry{\tty \bslash liftslur}{25} +\indexentry{\tty \bslash lna}{22} +\indexentry{\tty \bslash lowersonginstrum}{13} +\indexentry{\tty \bslash Lpince}{33} +\indexentry{\tty \bslash lppz}{33} +\indexentry{\tty \bslash lpz}{33} +\indexentry{\tty \bslash lq}{16} +\indexentry{\tty \bslash lql}{16} +\indexentry{\tty \bslash lqu}{16} +\indexentry{\tty \bslash lsf}{33} +\indexentry{\tty \bslash lsh}{22} +\indexentry{\tty \bslash lst}{33} +\indexentry{\tty \bslash lthick}{41} +\indexentry{\tty \bslash lw}{16} +\indexentry{lyrics}{12, 42, 44, 50} +\indexentry{\tty \bslash maxbarsinline}{28} +\indexentry{\tty \bslash maxlinesinpage}{28} +\indexentry{meter}{6, 12} +\indexentry{\tty \bslash meterC}{12} +\indexentry{\tty \bslash metertoks$i$}{12} +\indexentry{\tty \bslash metron}{32} +\indexentry{\tty \bslash midtwotext}{32} +\indexentry{\tty \bslash mordant}{33} +\indexentry{Mozart}{7} +\indexentry{MS-DOS}{51} +\indexentry{musicadd.tex}{11} +\indexentry{musicnft.tex}{11} +\indexentry{musicper}{48} +\indexentry{musicper.sty}{48} +\indexentry{musicper.tex}{48} +\indexentry{\tty \bslash musicsize}{11, 39, 41, 44} +\indexentry{musictex.bck}{51} +\indexentry{musictex.sty}{49} +\indexentry{musictex.tex}{11} +\indexentry{musictex.zip}{51} +\indexentry{musictrp}{49} +\indexentry{\protect\mutex}{10} +\indexentry{\tty \bslash na}{22, 23} +\indexentry{\tty \bslash Na}{23} +\indexentry{name of the instrument}{13} +\indexentry{name of the voice}{13} +\indexentry{\tty \bslash nbbbbbl}{18} +\indexentry{\tty \bslash nbbbbbu}{18} +\indexentry{\tty \bslash nbbbbu}{18} +\indexentry{\tty \bslash nbbbu}{18} +\indexentry{\tty \bslash nbbl}{18} +\indexentry{\tty \bslash nbbu}{18} +\indexentry{\tty \bslash nbinstruments}{11} +\indexentry{\tty \bslash nbportees$r$}{12, 44} +\indexentry{\tty \bslash nbporteesiii}{12} +\indexentry{neumes}{38, 45} +\indexentry{\tty \bslash nextinstrument}{50} +\indexentry{\tty \bslash nextstaff}{50} +\indexentry{\tty \bslash normal}{13, 14} +\indexentry{\tty \bslash normalnotesize}{36} +\indexentry{\tty \bslash normalstems}{42} +\indexentry{\tty \bslash normaltranspose}{23} +\indexentry{\tty \bslash noteskip}{13, 14, 17, 20, 21, 24, 32} +\indexentry{\tty \bslash nspace}{21} +\indexentry{\tty \bslash ntrille}{33} +\indexentry{\tty \bslash nTrille}{33} +\indexentry{\tty \bslash nullthick}{41} +\indexentry{octaviation}{23} +\indexentry{\tty \bslash octfin}{23, 24} +\indexentry{\tty \bslash octline}{24} +\indexentry{\tty \bslash octsup}{24} +\indexentry{\tty \bslash off}{21} +\indexentry{ornament codings}{45} +\indexentry{ornaments}{36} +\indexentry{\tty \bslash oxb}{48} +\indexentry{\tty \bslash oxccccl}{48} +\indexentry{\tty \bslash oxccccu}{48} +\indexentry{\tty \bslash oxcccl}{48} +\indexentry{\tty \bslash oxcccu}{48} +\indexentry{\tty \bslash oxccl}{48} +\indexentry{\tty \bslash oxccu}{39, 48} +\indexentry{\tty \bslash oxcl}{39, 48} +\indexentry{\tty \bslash oxclp}{48} +\indexentry{\tty \bslash oxclpp}{48} +\indexentry{\tty \bslash oxcu}{39, 48} +\indexentry{\tty \bslash oxcup}{39, 48} +\indexentry{\tty \bslash oxcupp}{48} +\indexentry{\tty \bslash oxh}{48} +\indexentry{\tty \bslash oxl}{48} +\indexentry{\tty \bslash oxlp}{48} +\indexentry{\tty \bslash oxlpp}{48} +\indexentry{\tty \bslash oxu}{48} +\indexentry{\tty \bslash oxup}{48} +\indexentry{\tty \bslash oxupp}{48} +\indexentry{\tty \bslash parindent}{13} +\indexentry{\tty \bslash pause}{20} +\indexentry{\tty \bslash PAUSe}{20} +\indexentry{\tty \bslash PAuse}{20} +\indexentry{\tty \bslash PED}{34} +\indexentry{percussion music}{38, 39, 44, 46} +\indexentry{phrasing slurs}{9} +\indexentry{\tty \bslash Pince}{33} +\indexentry{\tty \bslash pince}{33} +\indexentry{\tty \bslash Pincene}{33} +\indexentry{\tty \bslash Pincenw}{33} +\indexentry{\tty \bslash Pincesw}{33} +\indexentry{pizzicato}{33} +\indexentry{\tty \bslash pointdorgue}{33} +\indexentry{\tty \bslash pointdurgue}{34} +\indexentry{portato}{33} +\indexentry{port\relax \'{e}es}{12} +\indexentry{\tty \bslash pt $p$}{16} +\indexentry{punctum}{38} +\indexentry{\tty \bslash qb}{18, 21} +\indexentry{\tty \bslash qh}{14, 18, 21} +\indexentry{\tty \bslash qhp}{16} +\indexentry{\tty \bslash qhpp}{16} +\indexentry{\tty \bslash ql}{15} +\indexentry{\tty \bslash qlp}{16} +\indexentry{\tty \bslash qlpp}{16} +\indexentry{\tty \bslash qqs}{20} +\indexentry{\tty \bslash qs}{20} +\indexentry{\tty \bslash qsk}{21, 33} +\indexentry{\tty \bslash qu}{14, 15} +\indexentry{\tty \bslash quartsoupir}{20} +\indexentry{\tty \bslash qup}{16} +\indexentry{\tty \bslash qupp}{16} +\indexentry{\tty \bslash quppp}{16} +\indexentry{ragged lines}{9} +\indexentry{\tty \bslash raggedlinestrue}{26} +\indexentry{\tty \bslash raise}{20} +\indexentry{relative accidentals}{8} +\indexentry{\tty \bslash relativeaccidentals}{23} +\indexentry{\tty \bslash relax}{50} +\indexentry{repeated patterns}{19} +\indexentry{\tty \bslash reprmorceau}{28, 31, 43} +\indexentry{\tty \bslash resetfacteurs}{44} +\indexentry{\tty \bslash rh}{16} +\indexentry{\tty \bslash rhu}{16} +\indexentry{\tty \bslash rightrepeat}{31} +\indexentry{\tty \bslash rightrepeatsymbol}{30} +\indexentry{rimshot}{38} +\indexentry{\tty \bslash rq}{16} +\indexentry{\tty \bslash rqu}{16} +\indexentry{\tty \bslash rw}{16} +\indexentry{\tty \bslash saveclefs}{29} +\indexentry{savesets}{9} +\indexentry{Schofer, A.}{10} +\indexentry{\tty \bslash segno}{32} +\indexentry{\tty \bslash seizsoupir}{20} +\indexentry{\tty \bslash sepbarrules}{27} +\indexentry{\tty \bslash setdoublebar}{28} +\indexentry{\tty \bslash setleftrepeat}{30} +\indexentry{\tty \bslash setleftrightrepeat}{30} +\indexentry{\tty \bslash Setprimavolta}{31} +\indexentry{\tty \bslash setprimavolta}{31} +\indexentry{\tty \bslash setrightrepeat}{30, 31} +\indexentry{\tty \bslash setsecondavolta}{31} +\indexentry{\tty \bslash Setsecondavolta}{31} +\indexentry{sforzando}{33} +\indexentry{\tty \bslash sh}{22, 23} +\indexentry{\tty \bslash Sh}{23} +\indexentry{shaker}{38} +\indexentry{\tty \bslash shaker}{38} +\indexentry{sharps}{12} +\indexentry{\tty \bslash sign$n$}{23} +\indexentry{signatures}{11} +\indexentry{\tty \bslash signii}{8} +\indexentry{sizes}{11} +\indexentry{\tty \bslash sk}{15, 21, 22} +\indexentry{\tty \bslash smallaccid}{22} +\indexentry{\tty \bslash smalldFl}{23} +\indexentry{\tty \bslash smalldSh}{23} +\indexentry{\tty \bslash smallFl}{23} +\indexentry{\tty \bslash smallfl}{22} +\indexentry{\tty \bslash smallNa}{23} +\indexentry{\tty \bslash smallnotesize}{36} +\indexentry{\tty \bslash smallsh}{22} +\indexentry{\tty \bslash smallSh}{23} +\indexentry{\tty \bslash soupir}{20} +\indexentry{spacing}{5} +\indexentry{spacing note}{14} +\indexentry{staccato}{33} +\indexentry{staff size}{39} +\indexentry{\tty \bslash staffbotmarg}{42, 43, 44, 45} +\indexentry{\tty \bslash stafflinesnb}{44} +\indexentry{\tty \bslash staffspacing$r$}{39, 40, 41} +\indexentry{\tty \bslash stafftopmarg}{42, 43, 44} +\indexentry{standard musical notation}{4} +\indexentry{\tty \bslash stdbarrules}{27} +\indexentry{Steinbach, A.}{10} +\indexentry{\tty \bslash stemfactor}{42} +\indexentry{stems}{11} +\indexentry{style}{49} +\indexentry{\tty \bslash suspmorceau}{28, 30, 31, 43, 50} +\indexentry{\tty \bslash systemheight}{42} +\indexentry{tabulation}{50} +\indexentry{\tty \bslash tbbbbbl}{19} +\indexentry{\tty \bslash tbbbbbu}{19} +\indexentry{\tty \bslash tbbbbl}{19} +\indexentry{\tty \bslash tbbbbu}{19} +\indexentry{\tty \bslash tbbbl}{18, 19} +\indexentry{\tty \bslash tbbbu}{18, 19} +\indexentry{\tty \bslash tbbl}{18} +\indexentry{\tty \bslash tbbu}{18} +\indexentry{\tty \bslash tbl}{18} +\indexentry{\tty \bslash tbu}{17, 18} +\indexentry{\tty \bslash temps}{22, 26, 27} +\indexentry{tenor violin clef}{34} +\indexentry{ties}{9, 25} +\indexentry{\tty \bslash tinynotesize}{36} +\indexentry{\tty \bslash tleg}{24, 25} +\indexentry{\tty \bslash transpose}{8, 22, 23} +\indexentry{\tty \bslash tremolord}{38} +\indexentry{\tty \bslash Trille}{33} +\indexentry{\tty \bslash trille}{33} +\indexentry{\tty \bslash tten}{24} +\indexentry{\tty \bslash turn}{33} +\indexentry{\tty \bslash upperfl}{22} +\indexentry{\tty \bslash upperna}{22} +\indexentry{\tty \bslash uppersh}{22} +\indexentry{\tty \bslash uppersonginstrum}{13} +\indexentry{\tty \bslash uppz}{33} +\indexentry{\tty \bslash Uptext}{32} +\indexentry{\tty \bslash uptext}{32} +\indexentry{\tty \bslash upz}{33} +\indexentry{\tty \bslash usf}{33} +\indexentry{\tty \bslash ust}{33} +\indexentry{\tty \bslash vadjust}{34} +\indexentry{\tty \bslash varaccid}{22} +\indexentry{\tty \bslash vbox}{45} +\indexentry{violin clef}{12, 29} +\indexentry{violin harmonic notes}{39} +\indexentry{virga}{38} +\indexentry{VMS}{51} +\indexentry{\tty \bslash vnotes}{14} +\indexentry{\tty \bslash voffset}{59} +\indexentry{voices}{42} +\indexentry{\tty \bslash wh}{15, 21} +\indexentry{\tty \bslash whp}{16} +\indexentry{Widor, C.-M.}{24, 59} +\indexentry{\tty \bslash xb}{48} +\indexentry{\tty \bslash xbarre}{28} +\indexentry{\tty \bslash xbeambarre}{35} +\indexentry{\tty \bslash xccccl}{48} +\indexentry{\tty \bslash xccccu}{48} +\indexentry{\tty \bslash xcccl}{48} +\indexentry{\tty \bslash xcccu}{48} +\indexentry{\tty \bslash xccl}{48} +\indexentry{\tty \bslash xccu}{39, 48} +\indexentry{\tty \bslash xcl}{39, 48} +\indexentry{\tty \bslash xclp}{48} +\indexentry{\tty \bslash xclpp}{48} +\indexentry{\tty \bslash xcu}{39, 48} +\indexentry{\tty \bslash xcup}{39, 48} +\indexentry{\tty \bslash xcupp}{48} +\indexentry{\tty \bslash xh}{48} +\indexentry{\tty \bslash xl}{48} +\indexentry{\tty \bslash xlp}{48} +\indexentry{\tty \bslash xlpp}{48} +\indexentry{\tty \bslash xtrille}{33} +\indexentry{\tty \bslash xTrille}{33} +\indexentry{\tty \bslash xu}{48} +\indexentry{\tty \bslash xup}{48} +\indexentry{\tty \bslash xupp}{48} +\indexentry{\tty \bslash yccu}{39} +\indexentry{\tty \bslash ycl}{39} +\indexentry{\tty \bslash ycu}{39} +\indexentry{\tty \bslash ycup}{39} +\indexentry{\tty \bslash zalapage}{28} +\indexentry{\tty \bslash zbarre}{24, 28} +\indexentry{\tty \bslash zbv}{16} +\indexentry{\tty \bslash zcarpg}{38} +\indexentry{\tty \bslash zcarqg}{38} +\indexentry{\tty \bslash zcarrg}{38} +\indexentry{\tty \bslash zcharnote}{7, 9, 32, 34, 45} +\indexentry{\tty \bslash zcl}{16} +\indexentry{\tty \bslash zclp}{17} +\indexentry{\tty \bslash zcu}{16} +\indexentry{\tty \bslash zcup}{17} +\indexentry{\tty \bslash zdiamg}{38} +\indexentry{\tty \bslash zdiamw}{38} +\indexentry{\tty \bslash zexhpause}{21} +\indexentry{\tty \bslash zexpause}{21} +\indexentry{\tty \bslash zfinextrait}{44} +\indexentry{\tty \bslash zh}{15} +\indexentry{\tty \bslash zhl}{16} +\indexentry{\tty \bslash zhlp}{17} +\indexentry{\tty \bslash zhp}{16} +\indexentry{\tty \bslash zhu}{16} +\indexentry{\tty \bslash zhup}{17} +\indexentry{\tty \bslash zk}{48} +\indexentry{\tty \bslash zmidtwotext}{32} +\indexentry{\tty \bslash zox}{48} +\indexentry{\tty \bslash zq}{6, 15} +\indexentry{\tty \bslash zqb}{16} +\indexentry{\tty \bslash zqh}{16} +\indexentry{\tty \bslash zql}{16} +\indexentry{\tty \bslash zqlp}{17} +\indexentry{\tty \bslash zqp}{16} +\indexentry{\tty \bslash zqu}{16} +\indexentry{\tty \bslash zqup}{17} +\indexentry{\tty \bslash zsb}{16} +\indexentry{\tty \bslash zshaker}{38} +\indexentry{\tty \bslash zsuspmorceau}{28} +\indexentry{\tty \bslash ztremolord}{38} +\indexentry{\tty \bslash zw}{16} +\indexentry{\tty \bslash zwp}{16} +\indexentry{\tty \bslash zwq}{16} +\indexentry{\tty \bslash zx}{48} +\indexentry{\&}{50} +\indexentry{\|}{50} diff --git a/Master/texmf-dist/doc/generic/musictex/musicdoc.ist b/Master/texmf-dist/doc/generic/musictex/musicdoc.ist new file mode 100644 index 00000000000..e194963fa22 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/musicdoc.ist @@ -0,0 +1,65 @@ +%% +%% This is file `gind.ist', generated +%% on <1994/8/14> with the docstrip utility (2.2h). +%% +%% The original source files were: +%% +%% doc.dtx (with options: `gind') +%% +%% This file is part of LaTeX2e. +%% ----------------------------- +%% +%% Copyright (C) 1992-1994 Frank Mittelbach. All rights reserved. +%% +%% \CharacterTable +%% {Upper-case \A\B\C\D\E\F\G\H\I\J\K\L\M\N\O\P\Q\R\S\T\U\V\W\X\Y\Z +%% Lower-case \a\b\c\d\e\f\g\h\i\j\k\l\m\n\o\p\q\r\s\t\u\v\w\x\y\z +%% Digits \0\1\2\3\4\5\6\7\8\9 +%% Exclamation \! Double quote \" Hash (number) \# +%% Dollar \$ Percent \% Ampersand \& +%% Acute accent \' Left paren \( Right paren \) +%% Asterisk \* Plus \+ Comma \, +%% Minus \- Point \. Solidus \/ +%% Colon \: Semicolon \; Less than \< +%% Equals \= Greater than \> Question mark \? +%% Commercial at \@ Left bracket \[ Backslash \\ +%% Right bracket \] Circumflex \^ Underscore \_ +%% Grave accent \` Left brace \{ Vertical bar \| +%% Right brace \} Tilde \~} +%% +%% Package `doc' to use with LaTeX 2e +%% Copyright (C) 1989-1994 Frank Mittelbach, all rights reserved. +%% This is a MAKEINDEX style file which should be used to +%% generate the formatted index for use with the doc +%% package. The TeX commands used below are defined in +%% doc.sty. The commands for MAKEINDEX like `level' +%% `item_x1' are described in `` Makeindex, A General +%% Purpose, Formatter-Independent Index Processor'' by +%% Pehong Chen. + +actual '=' +quote '!' +level '>' +encap '#' +preamble +"\n \\begin{theindex} \n \\makeatletter\n" +postamble +"\n\n \\end{theindex}\n \\makeatother\n" +item_x1 "\\efill \n \\subitem " +item_x2 "\\efill \n \\subsubitem " +delim_0 "\\rm~: " +delim_1 "\\rm~: " +delim_2 "\\rm~: " +symhead_positive "Symbols" +symhead_negative "Symbols" +% The next lines will produce some warnings when +% running Makeindex as they try to cover two different +% versions of the program: +lethead_prefix "{\\bfseries\\hfil " +lethead_suffix "\\hfil}\\nopagebreak\n" +lethead_flag 1 +heading_prefix "{\\bfseries\\hfil " +heading_suffix "\\hfil}\\nopagebreak\n" +headings_flag 1 +%% +%% End of file `gind.ist'. diff --git a/Master/texmf-dist/doc/generic/musictex/musictex.ins b/Master/texmf-dist/doc/generic/musictex/musictex.ins new file mode 100644 index 00000000000..1a0a0e8435c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/musictex.ins @@ -0,0 +1,9 @@ +\input musicnft +\input musictex +\input musicvbm +\input musictrp +\input musicsty +\tracingstats=2\relax +\dump + + diff --git a/Master/texmf-dist/doc/generic/musictex/ostinato.tex b/Master/texmf-dist/doc/generic/musictex/ostinato.tex new file mode 100644 index 00000000000..46feebddc1c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/ostinato.tex @@ -0,0 +1,450 @@ +\title{Adagio con basso ostinato} +\fulltitle{VIII. \titremorceau} +\csname titremorceautoc\endcsname +\subtitle{(pour orgue)} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} + +\othermention{Compos\'e en 1992\vrule width 0pt depth 3mm\\G.O.: fonds 8' ou +8'+4' doux\\R\'ec.: cornet ou cromorne\\P\'ed.: 16', tirasse G.O.}% + +\maketitle + +% formes frequentes +% deux croches hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}} +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}} +\def\pzqu#1{\lpz{#1}\qu{#1}}% +\def\pzql#1{\upz{#1}\ql{#1}}% +% +\parindent 18mm +% +\tracingstats=2\relax +% +\nbporteesii=1\relax +\def\nbinstruments{3} +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-1}\relax % un bemol a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O. fonds}% +\def\instrumentiii{R\'ecit}% +%\check +\def\gluemaxskip{7pt}% +% +% +\troistemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\resp{\vnotes 0.2\elemskip&&\cbreath\enotes}% +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{{\advance\transpose by 1\relax + \ibbu0{#2}{#1}}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +% +\debutmorceau +% +\autolines 765\relax +%\check +% +\notes&&\Uptext{\hbox{\kern -16mm\moyen Andante + \bf(\metron{\qu}{65})}}\enotes +\advance\linesinpage by 1\relax +% mesure 1 +\nspace\NOtes\pzql M&&\enotes +\temps \NOtes\pzql M&\pause&\pause\enotes +\temps \NOtes\pzql M&\enotes +%\check +% mesure 2 +\barre\NOtes\pzql M&\zhp c\itenl0f\itenu1h\zhp f\hup h&\hup f\enotes +\temps\NOtes\pzql M&&\enotes +\temps\NOtes\pzql L&&\enotes +%\check +% mesure 3 +\barre\NOtes\pzqu K&\zhlp d\tten0\tten1\itenl0d\itenl1f\zhp f\hup h\relax + &\hup h\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\notes\pzqu J&&\enotes +%\check +% mesure 4 +\barre\NOtes\pzqu I&\tten0\tten1\zhp i\zhlp d\hup f\relax + &\itenl2i\mordant o\hu i\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\notes\pzqu I&\itenu3g\qu g&\tten2\trioskip\Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes +\def\atnextline{\autolines765}% +% mesure 5 +\barre\NOtes\pzqu J&\tten3\zhp e\zhup j\hl g&\hu j\enotes +\temps\NOtes\pzqu J&&\enotes +\temps\NOtes\pzqu J&\itenu0h\ql h&\soupir\enotes +% mesure 6 +\barre\NOtes\pzqu K&\tten0\zh d\zhl{^f}\hup h&\qlp k\enotes +\temps\notes\pzqu K&&\bigaccid\sk\cl{_l}\enotes +\temps\notes\pzqu J&\bigaccid\zq c\ql{_e}&\Ibl0jk1\qb0j\tqb0k\enotes +%\check +% mesure 7 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes +\temps\NOtes\pzqu G&&\enotes +\temps\NOtes\pzqu I&\itenl0e\ql {=e}&\ql j\enotes +%\check +% mesure 8 +\barre\NOtes\pzqu J&\tten0\zhlp c\itenl0c\zh e\hu h&\qlp j\enotes +\temps\notes\pzqu J&&\sk\cl{k}\enotes +\temps\notes\pzqu I&\zq g\qu d&\Ibl0ij1\qb0i\tqb0j\enotes +% mesure 9 +\barre\NOtes\pzqu H&\tten0\itenu1h\zhp f\zhp c\hup h&\hu h\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu H&&\soupir\enotes +% mesure 10 +\barre\NOtes\pzqu H&\tten1\zhl e\zhp{^c}\itenu0h\hup h&\qup h\enotes +\temps\notes\pzqu H&&\sk\bigsh j\cl j\enotes +\temps\notes\pzqu H&\ql g&\dqb kl\enotes +% mesure 11 +\barre\NOtes\pzqu K&\tten0\zhp d\zhp f\hup h&\hl m\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&&\itenu0m\ql m\enotes +% mesure 12 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\tten0\ql m\enotes +\temps\notes\pzqu I&&\dqb lk\enotes +\temps\notes\pzqu I&\itenl0e\ql e&\bigaccid\dqb{^j}k\enotes +% mesure 13 +\barre\NOtes\pzqu H&\tten0\zhp{^c}\zhlp e\hu h&\hl{^j}\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu H&\qu g&\soupir\enotes +% mesure 14 +\barre\NOtes\pzqu I&\itenl0b\itenl1d\zhp b\zhp d\hup f&\hlp k\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\NOtes\pzqu H&&\enotes +% mesure 15 +\barre\NOtes\pzqu G&\tten0\tten1\zhp b\zhp d\itenu0g\hup g&\qlp i\enotes +\temps\notes\pzqu G&&\sk\cl j\enotes +\temps\notes\pzqu I&&\dqb hi\enotes +% mesure 16 +\barre\NOtes\pzqu J&\tten0\itenl0c\zhp c\zhup g\hl e&\qlp j\enotes +\temps\notes\pzqu J&&\sk\cl k\enotes +\temps\notes\pzqu I&\ql d&\dqb ij\enotes +% mesure 17 +\barre\NOtes\pzqu H&\tten0\zhl e\zhp c\hup h&\hu h\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu H&\ql f&\soupir\enotes +%\check +% mesure 18 +\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes +\temps\notes\pzqu G&\ql f&\sk\cl j\enotes +\temps\notes\pzqu I&\ql e&\dqb hi\enotes +%\check +% mesure 19 +\barre\NOtes\pzqu J&\pt b\itenl0c\zh c\zhu g\qsk\ql d&\hu g\enotes +\temps\NOtes\pzqu J&\hl e&\enotes +\temps\NOtes\pzqu J&\qu i&\qu f\enotes +%\check +% mesure 20 +\barre\NOtes\pzqu F&\tten0\zh c\zhu h\qsk\zql d&\hu f\enotes +\temps\NOtes\pzql M&\ql e&\enotes +\temps\NOtes\pzql M&\itenl2f\zql f\raise \Interligne\soupir&\soupir\enotes +%\check +% mesure 21 +\barre\NOtes\pzql M&\tten2\zhp c\itenl0f\itenu1h\zhp f\hup h\relax + &\hup f\enotes +\temps\NOtes\pzql M&&\enotes +\temps\NOtes\pzql L&&\enotes +%\check +% mesure 22 +\barre\NOtes\pzqu K&\zhlp d\tten0\tten1\itenl0d\itenl1f\zhp f\hup h\relax + &\hup h\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\notes\pzqu J&&\enotes +%\check +% mesure 23 +\barre\NOtes\pzqu I&\tten0\tten1\zhp i\zhlp d\hu f\relax + &\itenl2i\mordant o\hu i\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\notes\pzqu I&\itenu3g\qu g&\tten2\trioskip\Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes +% mesure 24 +\barre\NOtes\pzqu J&\tten3\zhl e\zhp g\hup j&\hu j\enotes +\temps\NOtes\pzqu J&&\enotes +\temps\NOtes\pzqu J&\ql{_e}&\soupir\enotes +% mesure 25 +\barre\NOtes\pzqu J&\zql d\zhp{^f}\hup h&\hl{_l}\enotes +\temps\NOtes\pzqu H&\hl c&\enotes +\temps\NOtes\pzqu{^F}&&\ql k\enotes +% mesure 26 +\barre\NOtes\pzqu G&\zhl b\zh d\hu g&\hl i\enotes +\temps\NOtes\pzqu G&&\enotes +\temps\NOtes\pzqu I&\soupir&\soupir\enotes +% mesure 27 +\barre\NOtes\pzqu L&\zhl b\zhp e\hup g&\hl{_k}\enotes +\temps\NOtes\pzqu L&&\enotes +\temps\NOtes\pzqu J&\itenl0c\ql c&\ql j\enotes +% mesure 28 +\barre\NOtes\pzqu H&\tten0\itenu1h\zqu e\zhp c\hlp h&\hu h\enotes +\temps\NOtes\pzqu H&\hu f&\enotes +\temps\NOtes\pzqu F&&\soupir\enotes +% mesure 29 +\barre\NOtes\pzqu H&\tten1\zhl{^c}\zhp e\hup h&\qup h\enotes +\temps\notes\pzqu G&&\sk\cu i\enotes +\temps\notes\pzqu F&\bigaccid\ql{=c}&\dqh hg\enotes +%\check +% mesure 30 +\barre\NOtes\pzqu I&\itenl0b\itenl1d\zhu f\zhp b\hlp d&\qu f\enotes +\temps\NOtes\pzqu H&&\qu h\enotes +\temps\NOtes\pzqu H&\itenu2g\qu g&\qu k\enotes +% mesure 31 +\barre\NOtes\pzqu I&\tten1\tten2\tten0\itenu1g\zhu d\zhp b\hlp g&\qlp n\enotes +\temps\notes\pzqu H&&\sk\cl m\enotes +\temps\notes\pzqu G&\itenl0e\qu e&\dqb lk\enotes +%\check +% mesure 32 +\barre\NOtes\pzqu H&\tten0\tten1\itenl1c\zhu g\zhp{^c}\hlp e&\ql{^j}\enotes +\temps\NOtes\pzqu H&&\ql l\enotes +\temps\NOtes\pzqu I&\qu h&\ql h\enotes +%\check +% mesure 33 +\barre\notes\pzqu G&\tten1\itenu1g\zql c\zhup g\qsk\hu d&\dqh ih\enotes +\temps\notes\pzqu G&\hl b&\dqh gf\enotes +\temps\notes\pzqu I&\itenl0e\qu e&\dqh ed\enotes +%\check +% mesure 34 +\barre\NOtes\pzqu H&\tten0\tten1\zhp{^ce}\hup g&\qu{^c}\enotes +\temps\NOtes\pzqu G&&\qu e\enotes +\temps\NOtes\pzqu F&&\qu h\enotes +% mesure 35 +\barre\NOtes\pzqu G&\itenl0b\itenl1d\zhu f\zhp b\hlp d&\qup f\enotes +\temps\notes\pzqu I&&\sk\cu g\enotes +\temps\notes\pzqu H&\qu e&\dqh ef\enotes +% mesure 36 +\barre\NOtes\pzqu K&\tten0\tten1\zq b\zqu g\hlp d&\hu d\enotes +\temps\NOtes\pzqu K&\zh a\hu f&\enotes +\temps\NOtes\pzqu K&&\soupir\enotes +% mesure 37 +%\check +\barre\NOtes\pzqu K&\itenl0d\zhp {ad}\hup f&\hup f\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&&\enotes +% mesure 38 +%\check +\barre\NOtes\pzqu I&\tten0\zhp {bd}\hup g&\hup g\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu J&&\enotes +% mesure 39 +%\check +\barre\NOtes\pzqu G&\zhl b\zhp e\hup g&\hu i\enotes +\temps\NOtes\pzqu G\enotes +\temps\NOtes\pzqu I&\ql{^c}&\qu h\enotes +% mesure 40 +%\check +\barre\NOtes\pzqu H&\zh {df}\hu h&\hu h\enotes +\temps\NOtes\pzqu H\enotes +\temps\NOtes\pzqu H&\soupir&\soupir\enotes +% mesure 41 +%\check +\barre\NOtes\pzqu J&\zhl{^f}\zhp d\hup h&\qlp k\enotes +\temps\notes\pzqu J&&\sk\cna l\cl l\enotes +\temps\notes\pzqu J&\bigfl e\ql e&\dqb jk\enotes +%\check +% mesure 42 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes +\temps\notes\pzqu G&&\sk\cl j\enotes +\temps\notes\pzqu I&\itenl0e\bigna e\ql e&\dqb hi\enotes +%\check +% mesure 43 +\barre\NOtes\pzqu J&\tten0\zhl c\zhp e\hup g&\qlp j\enotes +\temps\notes\pzqu J&&\sk\cl{k}\enotes +\temps\notes\pzqu I&\itenl0c\bigsh c\ql c&\Ibl0ij1\qb0i\tqb0j\enotes +% mesure 44 +\barre\NOtes\pzqu H&\tten0\sh c\zhp c\zhup h\qsk\zql g&\hu h\enotes +\temps\NOtes\pzqu H&\ql f&\enotes +\temps\NOtes\pzqu H&\ql e&\soupir\enotes +%\check +% mesure 45 +\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes +\temps\notes\pzqu G&\ql f&\sk\cl j\enotes +\temps\notes\pzqu I&\ql e&\dqb hi\enotes +%\check +% mesure 46 +\barre\NOtes\pzqu J&\zhp c\zhu g\qsk\ql d&\hu g\enotes +\temps\NOtes\pzqu J&\itenl0e\hl e&\enotes +\temps\NOtes\pzqu J&\qu i&\qu h\enotes +% mesure 47 +\barre\NOtes\pzqu H&\tten0\zhl e\zhp c\hup h&\hu h\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu H&\ql f&\soupir\enotes +% mesure 48 +%\check +\barre\NOtes\pzqu J&\zhl{^f}\zhp d\hup h&\qlp k\enotes +\temps\notes\pzqu J&&\sk\cna l\cl l\enotes +\temps\notes\pzqu J&\bigfl e\ql e&\dqb jk\enotes +%\check +% mesure 49 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes +\temps\notes\pzqu G&&\sk\cl j\enotes +\temps\notes\pzqu I&\itenl0e\bigna e\ql e&\dqb hi\enotes +%\check +% mesure 50 +\barre\NOtes\pzqu J&\tten0\zhl c\zhp e\hup g&\qlp j\enotes +\temps\notes\pzqu J&&\sk\cl{k}\enotes +\temps\notes\pzqu I&\itenl0c\bigsh c\ql c&\Ibl0ij1\qb0i\tqb0j\enotes +% mesure 51 +\barre\NOtes\pzqu H&\tten0\sh c\zhp c\zhup h\qsk\zql g&\hu h\enotes +\temps\NOtes\pzqu H&\ql f&\enotes +\temps\NOtes\pzqu H&\ql e&\soupir\enotes +%\check +% mesure 52 +\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes +\temps\notes\pzqu G&\ql f&\sk\cl j\enotes +\temps\notes\pzqu I&\ql e&\dqb hi\enotes +%\check +% mesure 53 +\barre\NOtes\pzqu J&\zhp c\zhu g\qsk\ql d&\hu g\enotes +\temps\NOtes\pzqu J&\hl e&\enotes +\temps\NOtes\pzqu J&\qu i&\qu f\enotes +%\check +% mesure 54 +\barre\NOtes\pzqu F&\zh c\zhu h\qsk\zql d&\hu f\enotes +\temps\NOtes\pzql M&\ql e&\enotes +\temps\NOtes\pzql M&\raise\Interligne\rlap{\soupir}\ql f&\soupir\enotes +%\check +% mesure 55 +\barre\NOtes\pzqu M&\zql e\zhp{^c}\itenu0h\hup h&\qup h\enotes +\temps\notes\pzqu M&\ql f&\sk\bigsh j\cl j\enotes +\temps\notes\pzqu L&\ql g&\dqb kl\enotes +% mesure 56 +\barre\NOtes\pzqu K&\tten0\itenl2d\itenl1f\zhp d\zhp f\hup h&\hl m\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&&\itenu0m\ql m\enotes +% mesure 57 +\barre\NOtes\pzqu{=I}&\tten2\tten1\itenu1d\zhp d\zhp f\hup{_h}&\tten0\ql m\enotes +\temps\notes\pzqu I&&\dqb lk\enotes +\temps\notes\pzqu I&&\bigaccid\dqb nm\enotes +%\check +% mesure 58 +\barre\NOtes\pzqu H&\zh{^c}\zhu{=h}\qsk\tten1\zql d&\hl l\enotes +\temps\NOtes\pzqu H&\ql e&\enotes +\temps\NOtes\pzqu{_I}&\raise\Interligne\rlap{\soupir}\ql f&\soupir\enotes +%\check +% mesure 59 +\bigaccid +\barre\NOtes\pzqu{=I}&\itenl0d\zq d\zql f\hup{_h}&\qlp m\enotes +\temps\notes\pzqu I&\tten0\zql d\qsk\itenu0e\zhu e&\sk\cl n\enotes +\temps\notes\pzqu{=J}&\zql{=c}&\dqb lm\enotes +% mesure 60 +\barre\NOtes\pzqu{^J}&\tten0\itenl0c\zq{^c}\zql e\hup{=h}&\qlp n\enotes +\temps\notes\pzqu J&\tten0\itenu0f\zql c\hu f&\sk\cl o\enotes +\temps\notes\pzqu{=J}&\itenl1d\ql d&\dqb mn\enotes +%\check +% mesure 61 +\barre\NOtes\pzqu{=I}&\tten0\tten1\itenl1d\zhp d\zhlp f\hu{_h}&\qlp o\enotes +\temps\notes\pzqu I&&\sk\cl n\enotes +\temps\notes\pzqu I&\qu g&\dqb mn\enotes +%\check +% mesure 62 +\barre\NOtes\pzqu{_I}&\zhp e\zhup g\qsk\tten1\zhl d&\itenu0l\hl l\enotes +\temps\NOtes\pzqu I\enotes +\temps\notes\pzqu I&\bigaccid\ql{^c}&\tten0\dqb lm\enotes +%\check +% mesure 63 +\barre\NOtes\pzqu{=I}&\itenl0d\zhlp d\zhu{_h}\qsk\qu f&\hl k\enotes +\temps\NOtes\pzqu I&\qu e\enotes +\temps\NOtes\pzqu I&\zq f\qu{=h}&\soupir\enotes +% mesure 64 +\barre\NOtes\pzqu H&\tten0\zh f\zhl d\itenu1h\hup h&\qlp m\enotes +\temps\notes\pzqu H&&\sk\cl n\enotes +\temps\notes\pzqu H&\zq e\ql{^c}&\dqb lm\enotes +% mesure 65 +\barre\NOtes\pzqu K&\tten1\zhlp d\zhp f\hup h&\hl k\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu K&&\soupir\enotes +% mesure 66 +\barre\NOtes\pzqu K&\itenu1f\itenl0d\zhp f\zhlp d\hup h&\hup f\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&&\enotes +% mesure 67 +\barre\NOtes\pzqu I&\tten1\tten0\zhlp d\zhp f\zhu i&\hu h\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\NOtes\pzqu H&&\qu i\enotes +%\check +% mesure 68 +\barre\NOtes\pzqu G&\zhlp b\zh d\itenu0g\hu g\relax + &\itenl2i\mordant o\hu i\enotes +\temps\NOtes\pzqu G&&\enotes +\temps\notes\pzqu I&\tten0\itenu1e\zq e\qu g&\tten2\trioskip + \Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes +%\check +% mesure 69 +\barre\NOtes\pzqu H&\tten1\itenu0h\zql e\zhp c\hup h&\qu j\enotes +\temps\NOtes\pzqu H&\ql e&\enotes +\temps\NOtes\pzqu H&\ql f&\soupir\enotes +% mesure 70 +\barre\NOtes\pzqu K&\tten0\zh d\zhl{^f}\hup h&\qlp k\enotes +\temps\notes\pzqu K&&\bigaccid\sk\cl{_l}\enotes +\temps\notes\pzqu J&\bigaccid\zq c\ql{_e}&\Ibl0jk1\qb0j\tqb0k\enotes +%\check +% mesure 71 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes +\temps\NOtes\pzqu G&&\enotes +\temps\NOtes\pzqu I&\itenl0e\ql {=e}&\ql j\enotes +%\check +% mesure 72 +\barre\NOtes\pzqu H&\tten0\itenl0e\zhl c\zhu h\hlp e&\qlp j\enotes +\temps\notes\pzqu H&&\sk\cl{k}\enotes +\temps\notes\pzqu G&\zq b\qu g&\Ibl0ij1\qb0i\tqb0j\enotes +% mesure 73 +\barre\NOtes\pzqu F&\tten0\itenu1h\zhp c\zhlp h\hu e&\hu h\enotes +\temps\NOtes\pzqu F&&\enotes +\temps\NOtes\pzqu F&\qu f&\soupir\enotes +% mesure 74 +\barre\NOtes\pzqu H&\tten1\zhl e\zhp{^c}\hup h&\qup h\enotes +\temps\notes\pzqu H&&\sk\bigsh j\cl j\enotes +\temps\notes\pzqu H&\ql g&\dqb kl\enotes +% mesure 75 +\barre\NOtes\pzqu K&\zhp d\zhup{_h}\hl f&\hl m\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&\itenu1g\ql g&\itenu0m\ql m\enotes +% mesure 76 +\barre\NOtes\na I\pzqu I&\itenu2g\tten1\zh d\zhl{=b}\hup g&\tten0\ql m\enotes +\temps\notes\pzqu I&&\dqb lk\enotes +\temps\notes\fl I\pzqu I&\itenl0e\zq{_b}\ql e&\bigaccid\dqb{^j}k\enotes +% mesure 77 +\barre\NOtes\pzqu H&\tten0\tten2\zhp{^c}\zhlp e\qu g&\hl{^j}\enotes +\temps\NOtes\pzqu H&\qu h&\enotes +\temps\NOtes\pzqu H&\cfl i\qu i&\soupir\enotes +% mesure 78 +\barre\NOtes\pzqu I&\zhp{_h}\zhp d\hup f&\hlp k\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\NOtes\pzqu H&&\enotes +% mesure 79 +\barre\NOtes\pzqu G&\zhp b\zhup g\itenu0g\hl e&\qlp i\enotes +\temps\notes\pzqu G&&\sk\cl j\enotes +\temps\notes\pzqu I&\ql{^f}&\dqb hi\enotes +% mesure 80 +\barre\NOtes\pzqu H&\tten0\itenl0c\zhp c\zhup g\hl e&\qlp j\enotes +\temps\notes\pzqu H&&\sk\cl k\enotes +\temps\notes\pzqu G&\ql d&\dqb ij\enotes +% mesure 81 +\barre\NOtes\pzqu F&\tten0\zhl e\zhp c\hup h&\hu h\enotes +\temps\NOtes\pzqu F&&\enotes +\temps\NOtes\pzqu F&\ql f&\soupir\enotes +%\check +% mesure 82 +\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes +\temps\notes\pzqu G&\ql f&\sk\cl j\enotes +\temps\notes\pzqu I&\ql e&\dqb hi\enotes +%\check +% mesure 83 +\barre\NOtes\pzqu J&\itenl0c\zhp c\zhu g\qsk\ql d&\hu g\enotes +\temps\NOtes\pzqu J&\hl e&\enotes +\temps\NOtes\pzqu J&\qu i&\qu f\enotes +%\check +% mesure 84 +\barre\NOtes\pzqu F&\tten0\pt b\zh c\zhup h\qsk\zql d&\pointdorgue m\hup f\enotes +\temps\NOtes\pzqu F&\ql e&\enotes +\temps\NOtes\pointdurgue F\qu F&\pointdorgue m\zql f&\enotes +%\check +\finmorceau +% +\medskip\rightline{\it \aujourdhui} +\vfil +\eject diff --git a/Master/texmf-dist/doc/generic/musictex/pacifiqb.tex b/Master/texmf-dist/doc/generic/musictex/pacifiqb.tex new file mode 100644 index 00000000000..d039da83204 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/pacifiqb.tex @@ -0,0 +1,1102 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\musicsize=16\relax +\def\lppage{7}% + % + % +\newdimen\pageheight +\vsize=290mm +\parindent 12mm +% +% sortie de page +% +\pageheight=\vsize\advance\pageheight by 2cm + +\musicsize=16\relax +\def\lppage{7}% +\ifx\gros\undefined\font\gros=\fonthdg\fonthdge bx10 scaled \magstep2\fi + % + % +\voffset-30mm +% +\def\outmorc{\shipout\vbox to \pageheight{\vfil\pagecontents\vfil\line{% +\ifodd\pageno\sl Pacifique (D. Taupin) \rm$\copyright$\hss \number\pageno +\else\rm\number\pageno\hss\sl Pacifique (D. Taupin) \rm$\copyright$\fi}}% +\global\advance\count0 by 1\relax + \ifnum\outputpenalty>-20000 \else\dosupereject\fi}% +% +\output{\outmorc}% +% +% calcul de \elemskip en fonction de la largeur de page pour eviter les glues +% +\centerline{\gros Pacifique} +\medskip +\line{Compos\'e en 1972, \sl San Jose (Calif.)\hss Daniel TAUPIN} +\smallskip +\line{\sl r\'ev. mai 1981, janvier 1990\hss\`a Christiane} +\bigskip +%\tracingstats=2\relax +% +\nbporteesi=2\relax +\def\nbinstruments{1} +\global\cleftoksi={{6}{0}{0}{0}}% +\def\noteskipLARGE{\def\scalenoteskip{1.5}}% +\def\noteskipLarge{\def\scalenoteskip{1.2}}% +\def\noteskiplarge{\def\scalenoteskip{1.1}}% +\def\noteskipnormal{\def\scalenoteskip{1.0}}% +% +\generalsignature{-4}\relax % quatre bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{Piano} +%\check +\generalmeter{\allabreve} +\normal% \noteskipLarge +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\gluemaxskip{6pt}% +% +% formes frequentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% +\def\qqB#1#2#3#4#5{\ibl0{#3}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% +\def\qqh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% +\def\qqH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% +% octave basse en blanche +\def\bohl#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hl{#1}}% +\def\bohu#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hu{#1}}% +\def\sohl#1{\zh{#1}{\advance\transpose by 7\relax\hl{#1}}\sk}% +\def\sohu#1{\zh{#1}{\advance\transpose by 7\relax\hu{#1}}\sk}% +% +% octave sup. en croches u +\def\soqh#1{\zq{#1}\rlap{\advance\transpose by 7\qh0{#1}}\sk}% +\def\soqu#1{\zq{#1}\rlap{\advance\transpose by 7\qu{#1}}\sk}% +\def\soqb#1{\zq{#1}\rlap{\advance\transpose by 7\qb0{#1}}\sk}% +\def\soql#1{\zq{#1}\rlap{\advance\transpose by 7\ql{#1}}\sk}% +\def\dsoqh#1#2#3{{\advance\transpose by 7\ibu0{#2}{#1}}\soqh{#2}\tbu0\soqh{#3}}% +\def\dsoqb#1#2#3{\ibl0{#2}{#1}\soqb{#2}\tbl0\soqb{#3}}% +%\check +\def\qsoqh#1#2#3#4#5{{\advance\transpose by 7\relax\ibu0{#2}{#1}}\soqh{#2}\relax + \soqh{#3}\soqh{#4}\tbu0\soqh{#5}}% +\def\qsoqb#1#2#3#4#5{\ibl0{#2}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% +%\check +\def\qsoqB#1#2#3#4#5{\ibl0{#3}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% +%\check +% octave inf. en croches u +\def\boqh#1{{\advance\transpose by -7\relax\zq{#1}}\qh0{#1}}% +\def\boqb#1{{\advance\transpose by -7\relax\zq{#1}}\qb0{#1}}% +\def\dboqh#1#2#3{\ibu0{#2}{#1}\boqh{#2}\tbu0\boqh{#3}}% +\def\dboqb#1#2#3{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\tbl0\boqb{#3}}% +%\check +\def\qboqb#1#2#3#4#5{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\relax + \boqb{#3}\boqb{#4}\tbl0\boqb{#5}}% +\def\qboqh#1#2#3#4#5{\ibu0{#2}{#1}\boqh{#2}\boqh{#3}\boqh{#4}\tbu0\boqh{#5}}% +%\check +% +\def\arpg#1#2{\vnotes 0.2\elemskip\arpeggio{#1}{#2}\enotes} +\def\Arpg#1#2{\vnotes 0.2\elemskip + \off{-\internote}\larpeggio{#1}{#2}\off{\internote}\enotes} +\def\uarpg#1#2{\vnotes 0.2\elemskip\nextstaff\arpeggio{#1}{#2}\enotes} +\def\uArpg#1#2{\vnotes 0.2\elemskip\nextstaff + \off{-\internote}\larpeggio{#1}{#2}\off{\internote}\enotes} +% +% soufflets crescendo +% +\def\soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Cresc}}} +\def\Soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\CREsc}}} +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne +% +\debutmorceau\autolines 95{\lppage}\relax +% +\advance\linesinpage by 1\relax +% +\hyphenpenalty -50\relax +\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{90})}\enotes +\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes +\zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes +\zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes +\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0hfgh\enotes +% mesure 2 +\barre\notes\PED\zh{Mb}\hl d\sl\sk\DEP|\qqh0ighi\enotes +\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0jhij\enotes +% mesure 3 +\barre\notes\zcharnote{-5}{\Ped\ \it simile}\zh{Mb}\hl d|\Tleg0\qu k\sk\Ilegl0d\dqh4ik\enotes +\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes +% mesure 4 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 5 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes|\raise -\internote\rlap{\Uptext{\kern -15mm\it sempre +\ppff mp}}\Ilegl0d\dqh3gh\enotes +% mesure 6 +\barre\notes\zh{LN}\hl b|\qqh0ighi\enotes +\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes +% mesure 7 +\barre\notes\zh{N=b}\hl d|\qqh0{=k}{=i}jk\enotes +\temps\notes\zh{Nc}\hl{=e}|\qqh0{=l}jkl\enotes +% mesure 8 +\barre\notes\zh{Mc}\hl f|\qqh{-3}m{_l}{_k}j\enotes +\temps\notes\zh{M_b}\hl d|\qqh0k{_i}jk\enotes +% mesure 9 +\barre\notes\zh{LN}\hl b|\qqh{-3}lkji\enotes +\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes +% mesure 10 +\barre\notes\zh{ad}\hl f|\qqh{-3}kjih\enotes +\temps\notes\lh b\zh c\hl{=e}|\qqh0ighi\enotes +% mesure 11 +\barre\notes\zh{Nb}\hl{=e}|\qqh{-3}jihg\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegl0d\dqh3gh\enotes +% mesure 12 +\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 13 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes +% mesure 14 +\barre\notes\bohl e\rmidtwotext{\it pi\`u forte}\relax + |\zq g\qqh0ighi\enotes +\temps\notes\bohl a|\rlap{\hl e}\zq h\qqh0jhij\enotes +% mesure 15 +\barre\notes\bohu M|\rlap{\hl f}\zq h\qqh0kijk\enotes +\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes +% mesure 16 +\barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes +\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes +% mesure 17 +\barre\Notes\bohu M|\zq f\tleg0\qu h\enotes +\temps\notes|\Ilegu0q\dqh3ij\enotes +\temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes +% mesure 18 +\barre\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh3ghik\enotes +\temps\notes\bohu{=L}|\rlap{\hl e}\zq g\qqh{-3}jihg\enotes +% mesure 19 +\barre\Notes\bohu M|\rlap{\ql f}\zq f\tleg0\qu h\enotes +\temps\notes|\Ilegu0p\dqh3gh\enotes +\temps\notes\bohu K|\rlap{\hl d}\zq f\qqh0ihgi\enotes +% mesure 20 +\barre\notes\bohu J|\rlap{\hl c}\zq f\qqh0hgfh\enotes +\temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes +% mesure 21 +\barre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes +\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax + |\soupir\uptext{\ppff p}\enotes +\temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes +% mesure 22 +\barre\notes\qqB0bNab|\zh{gi}\hu{=l}\enotes +\temps\notes\qqB0cabc|\zh{hj}\hu m\enotes +% mesure 23 +\barre\notes\Tleg0\ql d\sk|\zh{hk}\hu m\enotes +\temps\notes\Ilegu0d\dqb4bd|\enotes +\temps\notes\qqB0cbac|\zh{hj}\hu{_l}\enotes +% mesure 24 +\barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes +\temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes +% mesure 25 +\barre\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes +\temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes +\temps\notes\Ilegl0F\dqb3Na|\enotes +% mesure 26 +\barre\notes\zmidtwotext{\it\ poco\ \ a\ \ poco}\qqB0bNab\relax + |\zh{gi_l}\hu n\enotes +\temps\notes\qqB0cabc|\zh{fhj}\hu m\enotes +% mesure 27 +\barre\notes\qqB0{=d}bcd|\zh{fi=k}\hu m\enotes +\temps\notes\qqB0{=e}cde|\zh{gj}\rh i\hu{=l}\enotes +%\check +% mesure 28 +\barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes +\temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes +% mesure 29 +\barre\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes +\temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes +% mesure 30 +\barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes +\temps\notes\qqb3MNac|\zh{hjm}\hl o\enotes +%\check +% mesure 31 +\barre\notes\qqb{-3}baNM|\zh{i_ln}\hl p\enotes +\temps\notes\qqb3LMNb|\zh{gil}\hu n\enotes +%\check +%mesure 32 +\barre\notes\Tleg0\ql a\sk|\zh{hjl}\hl o\enotes +\temps\notes\Ilegl0F\dqb3bc|\enotes +\temps\notes\qqb0dcde|\zh{iln}\hl p\enotes +% +% mesure 33 +% changement d'espacement +\barre\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes +\temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes +\temps\notes\Ilegl0F\dqb3bc|\enotes +% mesure 34 +\barre\notes\qqb{-3}dcba|\zh{ikm}\hl p\enotes +\temps\notes\qqb3Nabc|\zh{j=ln}\hl q\enotes +% mesure 35 +\barre\notes\qqb0dcde|\zh{kmp}\hl r\enotes +\temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes +% mesure 36 +\barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\cbreath\enotes +\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes +\temps\arpg K5\relax +\notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax + |\qsoqb0hfgh\enotes +%\check +% mesure 37 +\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0ighi\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jhij\enotes +%\check +% mesure 38 +\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0kjik\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jihj\enotes +%\check +% mesure 39 +\barre\Arpg J5\notes\zh{=LNc}\lh b\hl{=e}|\qsoqb0ihgi\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes +%\check +% mesure 40 +\barre\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes +\temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes +\notes\soupir|\Ilegu0t\dsoqb3gh\enotes +%\check +% mesure 41 +\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb0ighi\enotes +\temps\arpg a4\notes\zh{ace}\hl h|\qsoqb0jhij\enotes +%check +% mesure 42 +\barre\Arpg K5\notes\zh{Mb=d}\hl f|\qsoqb0{=k}ijk\enotes +\temps\Arpg J5\notes\zh{JNc}\hl{=e}|\qsoqb0{=l}jkl\enotes +%check +% mesure 43 +\barre\Arpg K5\notes\zh{Mcf}\hl{=h}|\qsoqb{-3}m{_l}{_k}j\enotes +\temps\Arpg I5\notes\zh{IMb}\hl{_d}\sk|\Tleg0\zq i\ql p\enotes +\temps\notes|\Ilegu0t\dsoqb3jk\enotes +%\check +% mesure 44 +\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes +\temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes +\temps\notes|\Ilegu0r\dsoqb3gh\enotes +%\check +% mesure 45 +\barre\arpg I5\notes\zh{IMb}\hl d|\qsoqb0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qsoqb0hgfh\enotes +%check +% mesure 46 +\def\sfql#1{\usf{#1}\ql{#1}}% +\barre\Arpg J5\notes\soufflcr\zh{JNc}\hl{=e}|\qsoqb0gf{=e}g\enotes +\temps\arpg E5\notes\zq{FJM}\sfql a\sk|\Tleg0\zq f\sfql m\enotes +\temps\notes\zmidtwotext{\ppff f}\dsoqb{-3}F{=E}|\Ilegu0s\dsoqb3fg\enotes +%\check +% mesure 47 +\barre\notes\zq F\ql M\sk\dsoqb3{_E}F|\zq{jm}\qsoqb0hfgh\enotes +\temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes +%\check +% mesure 48 +\barre\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes +\temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes +%\check +% mesure 49 +\barre\notes\zq G\ql N\sk\zq E\ql L|\zq{np}\qsoqb{-3}lkji\enotes +\temps\notes\qsoqb0HGHI|\zq{mo}\qsoqb0jijk\enotes +%\check +% mesure 50 +\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{=ln}\qsoqb{-3}jihg\enotes +\temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes +%\check +% mesure 51 +\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes +\temps\arpg F5\notes\zq{FJM}\ql a\sk|\Tleg0\zq{fhj}\ql m\enotes +\temps\notes\Ilegl0F\zmidtwotext{\it meno}\dqb3MN|\soupir\enotes +%\check +% mesure 52 +\barre\nspace\uarpg h4\notes\zmidtwotext{\it\ \ forte}\qqb0aNab|\zh{hjm}\hl o\enotes +\temps\uArpg h5\notes\qqb0cbcd|\zh{j_lo}\hl q\enotes +%\check +% mesure 53 +\barre\nspace\uarpg l4\notes\qqb0edef|\zh{lnp}\hl s\enotes +\temps\uarpg l4\notes\qqb{-3}edcb|\zh{lnp}\hl s\enotes +%\check +% mesure 54 +\barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes +\notes\dsoqb3J{=K}|\enotes +\temps\uArpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes +% mesure 55 +\barre\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes +\temps\uArpg i4\notes\qboqb{-3}gf{=e}d|\zh{=ikn}\hl{=p}\enotes +%\check +%mesure 56 +\barre\nspace\uArpg h5\notes\zq J\ql c\sk\dboqb3{=d}{=e}|\zh{j=ln}\hl q\enotes +\temps\notes\zcharnote j{\kern -2\noteskip\it senza arpeggiare}\relax +\qboqb{-3}f{_e}{_d}c|\zq{m=oq}\ql t\sk\zq{moq}\ql t\enotes +%\check +% mesure 57 +\barre\notes\zmidtwotext{\ppff f}\zq I\ql b\sk|\zh{ikm}\hl p\enotes +\temps\notes\dsoqb3JK|\enotes +\temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes +%\check +% mesure 58 +\barre\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes +\temps\notes\dsoqb3IJ|\enotes +\temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes +%\check +% mesure 59 +\barre\notes\qsoqb0JIHJ|\zh{hjm}\hl o\enotes +\temps\notes\qsoqb0IHGI|\zq{i=ln}\ql p\sk\zq{i=ln}\ql p\sk\enotes +%\check +% mesure 60 +\barre\notes\soufflcr\zq H\ql a|\zh{jmo}\hl q\enotes +\temps\notes\dsoqb3GH|\enotes +\temps\notes\rlap{\sk\sk\zmidtwotext{\ppff ff}}\qsoqb0IHGI\relax + |\zq{kmp}\ql r\sk\zq{kmp}\ql r\sk\enotes +% mesure 61 +%\check +\barre\notes\qsoqb0HGFH|\zq{jmo}\ql q\sk\zq{jmo}\ql q\sk\enotes +\temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes +%\check +%mesure 62 +\barre\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax + |\zq{moq}\ql t\cbreath\enotes +\temps\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes +%\check +% mesure 63 +\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0ighi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jhij\enotes +%\check +% mesure 64 +\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0kjik\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jihj\enotes +%\check +% mesure 65 +% +\barre\Arpg H5\notes\zh{JN}\lh b\hl c|\qqh0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegu0q\dqh3gh\enotes +%\check +% mesure 66 +\barre\arpg I5\notes\zh{KMb}\hl d|\qqh0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes +%\check +% mesure 67 +\barre\Arpg H5\notes\zh{J=LN}\hl c|\qqh0gf{=e}g\enotes +\temps\arpg M3\notes\zq{Ma}\ql c|\Tleg0\qu f\enotes +\cleftoksi={{6}{6}{0}{0}}% +\changeclefs\nspace +\notes\soupir|\zcharnote A{\ppff f}\Ilegu0g\dqb3MN\enotes +%\check +% mesure 68 +\def\bozh#1{{\advance\transpose by -7\zh{#1}}\zh{#1}}\relax +\def\bozq#1{{\advance\transpose by -7\zq{#1}}\zq{#1}}\relax +\barre\arpg{!`F}6\notes\uptext{\ppff f \it e nervoso}\bozh F\hu J\relax + |\qqB0aMNa\enotes +\temps\arpg{!`E}6\notes\bozh E\hu I|\qqB0bNab\enotes +% mesure 69 +%\check +\barre\arpg A6\notes\bozh H\hu L|\qqB0cabc\enotes +\temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes +%\check +% mesure 70 +\barre\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes +\temps\arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes +%\check +% mesure 71 +\barre\arpg B6\notes\bozh I\hu M|\qqb3bcdf\enotes +\temps\arpg A8\notes\bozh E\zh I\hu N|\qqb{-3}edcb\enotes +%\check +% mesure 72 +\barre\arpg A6\notes\bozh H\hu L|\qqb3abce\enotes +\temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes +%\check +% mesure 73 +\barre\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes +\temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes +% +% mesure 74 +\barre\arpg {!`D}6\notes\bozh F\hu J|\Tleg0\ql a\sk\enotes +\temps\notes|\Ilegu0d\dqb3Na\enotes +\temps\arpg B5\notes\bozh I\hu K|\qqB0baNb\enotes +%\check +% mesure 75 +\barre\arpg C5\notes\bozh J\hu M|\qqB0aNMa\enotes +\temps\Arpg C5\notes\bozh J\hu {=L}\zmidtwotext{\ppff mf}|\qqB0NM{=L}N\enotes +%\check +% mesure 76 +\barre\arpg{-8}6\notes\bozq F\zq H\qu J\relax + |\Tleg0\ql M\enotes +\cleftoksi={{6}{0}{0}{0}}% +\changeclefs +\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes +\temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes +% mesure 77 +%\check +\barre\arpg A6\notes\bozh H\hu L|\qboqh0jijk\enotes +\temps\arpg E5\notes\bozh L\hu N|\qboqh{-3}lkji\enotes +% mesure 78 +%\check +\barre\arpg F4\notes\zh{FJ}\hu M|\zq a\qu h\sk\enotes +\temps\notes|\dboqh3ij\enotes +\temps\arpg {!`G}7\notes\bozh I\hu M|\qboqh{-3}kjih\enotes +% mesure 79 +\barre\Arpg C5\Notes\bozh J\hu{=L}|\zq N\qu g\enotes +\temps\notes|\dboqh3hi\enotes +\temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes +%\check +% mesure 80 +\barre\arpg {`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes +\temps\notes|\dboqh3gh\enotes +\temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes +% mesure 81 +\barre\arpg B6\notes\bozh J\hu M|\qboqh0hgfh\enotes +\temps\Arpg B5\notes\bozh J\hu{=L}|\qboqh0gfeg\enotes +%\check +%mesure 82 +\barre\arpg {!`F}6\notes\bozq F\qu J\zmidtwotext{\ppff f}|\Tleg0\zq{Ma}\qu f\sk\enotes +\temps\notes\dboqh3LM\zmidtwotext{\it sempre}|\dsoqb3gh\enotes +\temps\notes\qboqb0NLMN|\zq{ln}\qsoqh0ighi\enotes +% mesure 83 +\barre\notes\zmidtwotext{\it crescendo}\qboqb0aMNa|\zq{lo}\qsoqb0jhij\enotes +\temps\notes\zmidtwotext{\it\kern 1.5\noteskip e}\qboqb0bNab\relax + |\zq{mp}\qsoqb0kijk\enotes +% \check +% mesure 84 +\barre\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes +\temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes +% \check +% mesure 85 +\def\boql#1{{\advance\transpose by -7\relax\zq{#1}}\ql{#1}}% +\def\boqu#1{{\advance\transpose by -7\relax\zq{#1}}\qu{#1}}% +\barre\notes\boql b\sk\boql b|\zq{mp}\qsoqb{-3}kjih\enotes +\temps\notes\bohu L|\zq{jl}\qsoqb2ghik\enotes +% mesure 86 +\barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes +\temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes +% mesure 87 +\barre\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes +\temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes +% mesure 88 +\barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes +\temps\notes\qboqb0aNab|\zq{mo}\qsoqb0jij{=k}\enotes +%\check +% mesure 89 +\barre\notes\zmidtwotext{\ppff \fff}\qboqb0c{=b}c{=d}|\octfin v{18}\zq{gj}\qsoqh0{=e}{=d}ef\enotes +\temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes +%\check +% mesure 90 +\barre\notes\qboqb{-2}gg{=e}{_d}|\zq{=ln}\qsoqb{-2}iig{=e}\enotes +\temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\enotes +% mesure 91 +%\check +\barre\notes\qboqh{-2}JIG{=E}|\qsoqh{-2}ddbN\enotes +\temps\notes\rlap{\qboqb0CGEC}\ibu0d{-2}\boqh d\boqh d\boqh b\tbu0\boqh N\enotes +%\check +% mesure 92 +\barre\notes\rlap{\qsk\ibu0A0\boqh C\tbu0\boqh C}\ibu0K0\boqh K\qsk\rq K\tbu0\qh0J|\enotes +\temps\notes\rlap{\qsk\dsoqb0CC}\ibu0d0\boqh d\qsk\rq d\tbu0\qh0c|\enotes +\temps\notes\dsoqb0JJ|\ibu0k0\boqh k\rq k\tbu0\qh0j\enotes +\temps\notes|\rlap{\qsk\dsoqb0cc}\ibu0q0\soqh k\qsk\rq r\tbu0\qh0q\enotes +\cleftoksi={{0}{0}{0}{0}}\changeclefs +%\check +% mesure 93 +\barre\notes\dsoqb0jj\dsoqh0cc|\octline v\ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes +\temps\notes\zmidtwotext{\kern 2\Interligne\it sempre + \ppff \fff}\zq M\cu f|\zq m\cl t\enotes +\znotes|\zbreath\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs +\temps\notes\dsoupir\boql f|\ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes +% mesure 94 +\barre\notes\zmidtwotext{\it ed accelerando}\boql f\sk\boql f|\qsoqb0ighi\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0jhij\enotes +%\check +% mesure 95 +\barre\notes\boql f\sk\boql f|\qsoqb0kjik\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0jihj\enotes +%\check +% mesure 96 +\autolines 95{\lppage}\relax +\barre\notes\boql f\sk\boql f|\octline t\qsoqb0ihgi\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes +%\check +% mesure 97 +\barre\notes\boql{=e}\sk\boql e|\qsoqb0gf{=e}g\enotes +\temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes +%\check +% mesure 98 +\barre\notes\boql d\sk\boql d|\qsoqb0ighi\enotes +\temps\notes\boql c\sk\boql c|\qsoqb0jhij\enotes +%\check +% mesure 99 +\barre\notes\boql b\sk\boql b|\qsoqb0kjik\enotes +\temps\notes\boql a\sk\boql a|\qsoqb0jihj\enotes +%\check +% mesure 100 +\barre\notes\boql N\sk\boql N|\qsoqb0ihgi\enotes +\temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes +%\check +% mesure 101 +\barre\notes\boql K\sk\boql K|\octfin u{17}\qsoqb0ihgi\enotes +\temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes +%\check +% mesure 102 +\barre\notes\boql J\sk\boql J|\qsoqb0gf{=e}g\enotes +\temps\NOtes\pointdorgue d\bohu K|\pointdorgue o\zh{hk}\bohl m\cbreath\enotes +% mesure 103 +\barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes +\temps\notes\Ilegl0F\dqb3Na|\hpause\enotes +\temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes +%\check +% mesure 104 +\barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes +\temps\notes\tleg0\ql c\sk|\zh{hj}\hl l\enotes +\temps\notes\Ilegu0f\dqb3bc\enotes +%\check +% mesure 105 +\barre\notes\qqB0dcbd|\zh{il}\hl n\enotes +\temps\notes\qqB0cbac|\zh{hj}\hl m\enotes +% mesure 106 +\barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes +\temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes +\temps\notes\Ilegu0f\dqb3Na|\enotes +%\check +% mesure 107 +\barre\notes\qqB0baNb|\zh{gik}\hl m\enotes +\temps\notes\qqB0aNMa|\zh{hj}\hl m\enotes +%\check +% mesure 108 +\barre\notes\qqB0NM{=L}N|\zh{gj}\lh i\hl{=l}\enotes +\temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes +\temps\notes\soupir|\Ilegl0M\dqh3MN\enotes +% mesure 109 +%\check +\barre\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax + |\uptext{\it espressivo e delicato}\qqh3abcd\enotes +\temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes +% mesure 110 +\barre\notes\zh H\hl L|\Tleg0\qu a\sk\enotes +\temps\notes|\Ilegl0a\dqh3c{=d}\enotes +\temps\notes\zh{JN}\hl c|\qqh4{=e}fgh\enotes +%\check +% mesure 111 +\barre\notes\zh{JN}\hl b|\qqh{-6}ig{_d}c\enotes +\temps\notes\zh{FJ}\hl M|\Tleg0\qu c\sk\enotes +\temps\notes|\Ilegl0b\dqh3fg\enotes +% mesure 112 +\barre\notes\zh F\hl L|\rlap{\hl c}\qqh0{=h}ijh\enotes +\temps\notes\zh{IM}\hl b|\rlap{\hl d}\Tleg0\qu f\sk\enotes +\temps\notes|\Ilegl0b\dqh3ij\enotes +% mesure 113 +\barre\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes +\temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes +% mesure 114 +\barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes +\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0s\cl{_n}\enotes +\Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes +% mesure 115 +\barre\Arpg G5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes +\temps\notes\Soufflcr\zh{JN}\hl c|\rlap{\sk\sk\sk\tleg0}\qqH6{=e}gkj\enotes +%\check +% mesure 116 +\barre\notes\zmidtwotext{\ppff ff}\zq{J=L}\ql N|\dsoqh{-3}dc\enotes +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\nspace\notes\zq{c=e}\qu g|\dsoqb{-3}kj\enotes +\temps\notes\zq{j=l}\ql n|\dsoqb{-3}rq\enotes +\temps\notes\zq{ce}\qu g|\dsoqb{-3}kj\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs +%\check +% mesure 117 +\def\motif#1#2#3{\notes\ibu0F4\boqh F\relax + |\sk{\advance\transpose by 3\relax\ibu1{#3}6}\zq{#1}\zq{#2}\qh1{#3}\relax + \tbl0\zq{#1}\zq{#2}\qb0{#3}\tbu1{\advance\transpose by 7\relax + \zq{#1}\zq{#2}\qh1{#3}}\enotes}% +%\check +\barre\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm +\moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes +% +\advance\linesinpage by 1\relax +% +\motif acf\temps\motif bdg\relax +% mesure 118 +\barre\motif cfh\temps\motif acf\relax +% mesure 119 +\barre\motif bdg\temps\motif cfh\relax +% mesure 120 +\barre\motif dgi\temps\motif bdg\relax +% mesure 121 +\barre\motif cfh\temps\motif dgi\relax +% mesure 122 +\barre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax +% mesure 123 +\barre\motif dfi\temps\motif fhj\relax +% mesure 124 +\barre\motif fik\temps\motif dfi\relax +\generalmeter{\meterfrac 54}\relax\changecontext +\znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes +% mesure 125 +%\check +\def\motif#1#2#3#4#5#6{\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes +\notes{\advance\transpose by -7\relax +\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes +\notes|\zq{#1}\zq{#2}\qb1{#3}\zq{#4}\zq{#5}\qb0{#6}\enotes +\notes|{\advance\transpose by 7\relax +\zq{#1}\zq{#2}\qb1{#3}\tbl0\zq{#4}\zq{#5}\qb0{#6}}\enotes +\notes|{\advance\transpose by 14\relax +\tbl1\zq{#1}\zq{#2}\qb1{#3}}\enotes}% +%\check +\motif {=e}gjegj\relax +% mesure 126 +\barre\motif fhjfhj\relax +% mesure 127 +\barre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes +\notes{\advance\transpose by -7\relax +\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes +\notes|\zq g\lq i\qb1j\zq g\lq i\qb0j\enotes +\notes|{\advance\transpose by 7\relax +\zq g\lq i\qb1j\tbl0\zq g\lq i\qb0j}\enotes +\notes|{\advance\transpose by 14\relax +\tbl1\zq g\lq i\qb1j}\enotes +%\check +% mesure 128 +\barre\motif fikfik\relax +% mesure 129 +\barre\motif gi{=l}gil\relax +% mesure 130 +\generalmeter{\allabreve}\changecontext +% +\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax +\sforz x\zh{j=ln}\hu q\enotes +\temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes +% mesure 131 +\transpose=0\relax\alaligne +%\autolines 95{\lppage}\relax +\notes\rlap{\bohu F}% +\ifx\mxversion\undefined\Ilegu0g\else\isluru0h\fi\qqh3MNab\relax +|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen tempo I$^{\bf o}$}\enotes +\temps\notes\qqb0cbcd|\zh{hj}\hu m\uptext{\it m.s.}\enotes +% mesure 132 +%\check +\Invertslur0\relax +\barre\notes + \bohu L|\qqb0edef\enotes +\temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes +% mesure 133 +\barre\Notes\bohu H\ifx\mxversion\undefined\Tleg0\relax + \else\tslur0b\relax + \fi|\hl c\enotes +\temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes +\temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes +% mesure 134 +%\check +\barre\notes\bohu J|\qqb5{=e}gkj\enotes +\temps\notes|\rlap{\zh n\rh p\hu q}\qqB{-6}igdc\enotes +% mesure 135 +\barre\notes\bohl M|\ibl0e0\qb0{=h=ef}\tqb0g\enotes +\temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes +%\check +% mesure 136 +\barre\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk\tleg0}\qqb{-6}lj{=h}f\enotes +\temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes +%\check +% mesure 137 +\barre\arpg I5\notes\zh{KMb}\hl d|\qqb{-6}ki{_h}g\enotes +\temps\Arpg H5\notes\zmidtwotext{\it crescendo}\zh{JN}\lh b\hl c|\qqh{-6}{=l}kig\enotes +% mesure 138 +%\check +\barre\Arpg H6\notes\zh{=Lb=e}\hl g\zmidtwotext{\it molto}|\qqh{-6}n{=l}ki\enotes +\temps\Arpg b{9}\notes\zh c|\rlap{\zh {=eg}\hl j}\qqh{-6}pnlk\enotes +%\check +% mesure 139 +\barre\Arpg H5\notes\zh{=LN}\bohl c|\qqb{-8}rpnj\enotes +\temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes +%\check +% mesure 140 +\barre\autolines {17}4{\lppage}\relax\bigaccid +\ifx\mulooseness\undefined\else\mulooseness=-2\fi +\notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip + \hbox{\it e crescendo}}}\soupir|\soupir\enotes +%\check +\notes\ibbl0F3\soqb F\qs\tbl0\soqb G\qs|\qs\ibbu0m3\soqh f\qs\tbu0\soqh g\enotes +%\check +\def\motif#1#2#3#4{\notes\ibbu0b0{\advance\transpose by -7\relax\boqh{#1}}\sk + |\qsk\sk\rlap{\soqb{#1}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#2}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#3}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk +\tbl0\soqb{#4}}\enotes +}% fin motif +%\check +\temps\motif hfgh\relax +%\check +% mesure 141 +\autolines {18}4{\lppage}\relax +\barre\motif ighi\temps\motif jhij\nspace +% mesure 142 +\barre\motif kjik\temps\motif jihj\nspace +% mesure 143 +\barre\motif ihgi\temps\motif hgfh\nspace +%\check +% mesure 144 +\barre\motif gf{=e}g\temps\motif ffgh\relax +% mesure 145 +\barre\motif ighi\temps\motif jhij\nspace +% mesure 146 +\barre\motif {=k}ijk\temps\motif {=l}jkl\nspace +% mesure 147 +\barre\motif m{_l}{_k}j\temps\motif iijk\nspace +% mesure 148 +\barre\motif lkji\temps\motif hhij\relax +% mesure 149 +\barre\motif kjik\relax +%\check +\def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax +\boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#6}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#7}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk +\tbl0\soqb{#8}}\enotes}% fin motif +%\check +\temps\motif j{^j}{=k}{^k}jjjj\nspace +% mesure 150 +\barre\motif {=l}{_l}{=k}{_k}jjjj\relax +\temps\motif jihgjj{=k}{=l}\nspace +% mesure 151 +\barre\Notes\pointdorgue a\zcharnote i{\kern -\elemskip\ppff \fff}\bohl M\relax + |\pointdorgue u\zh{=oq}\sohl m\enotes +%\check +\NOTes\rlap{\pointdurgue F\soupir}\midtwotext{\kern \elemskip\it\vbox{\hsize 2\noteskip +\centerline{a piacere }\centerline{% +quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes +\transpose=-7\relax +% +\ifx\mulooseness\undefined\else\mulooseness=0\fi +\Notes\charnote C{\ppff f}\dqh8FJ\enotes +% +% +% mesure 152 +% +\varaccid +\def\motif{}% +\def\motifb#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\usf{#2}\qb0{#2}\tbbl0\qb0{#3}% +\nbbl0\qb0{#4}\tbbl0\qb0{#5}\nbbl0\qb0{#6}\tqb0{#7}}% +\def\motifh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}% +\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% +\def\motifH#1#2#3#4#5#6#7{{\advance\transpose by 3\ibbu0{#2}{#1}}% +\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% +%\check +\transpose=0\relax +\barre\autolines {25}2{\lppage}\relax +\notes\motifh8FHJMac\enotes +\temps\notes|\motifb8fhjmoq\enotes +%\check +% mesure 153 +\barre\notes|\motifb{-6}t{=s}tqom\enotes +\temps\notes|\na l\motifb{-6}lmjhf{=e}\enotes +\temps\notes|\usf f\ibbl0d0\qb0f\tbbl0\qb0c\enotes +\notes\nbbu0\qh0a\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\temps\notes\motifh{-4}JHF{=E}FC\enotes +\transpose=-7\relax +\temps\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 154 +\barre +\transpose=-7\relax +\notes\motifh8FIKMbd\enotes +\temps\notes|\motifh8fikmpr\enotes +\transpose=7\relax +\notes|\usf f\ibbl0f4\qb0{fi}\tqb0k\enotes +%\check +% mesure 155 +\transpose=0\relax +\barre\notes|\motifb{-6}t{=s}trpm\enotes +\temps\notes|\na l\motifb{-6}lmkif{=e}\enotes +\temps\notes|\usf f\ibbl0e0\qb0f\tbbl0\qb0d\enotes +\notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\temps\notes\motifh{-4}KIF{=E}FD\enotes +\transpose=-7\relax +\temps\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 156 +\transpose=-7\relax +\barre\notes\motifH8FJ{_L}Mc{_e}\enotes +\temps\notes|\motifH8fj{_l}mq{_s}\enotes +\transpose=7\relax +\temps\notes|\sforz h\ibbl0g4\qb0{fj}\tqb0{_l}\enotes +%\check +% mesure 157 +\transpose=0\relax +\barre\notes|\motifb{-6}t{=s}t{_s}qm\enotes +\temps\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes +\temps\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes +\notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\temps\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes +\transpose=-7\relax +\temps\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 158 +\def\motif{}% +\def\motifb{}% +\def\motifh{}% +%\normal +\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FIK}\tqh0M\enotes +\temps\notes\transpose=0\relax\ibbu0I8\qh0{IK}\tqh0M\enotes +\temps\notes|\transpose=7\relax\ibbu0I8\qh0{IK}\tqh0M\enotes +\temps\notes|\transpose=0\relax\lsf i\ibbu0i8\qh0{ik}\tqh0m\enotes +\temps\notes|\transpose=7\relax\lsf g\ibbu0g8\qh0{gik}\tqh0m\enotes +%\check +\def\souffldim{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Dimin}}}% +% mesure 159 +\transpose=7\relax\def\motifa{\sforz u\ibbu0m0\qh0{nm}\tqh0n}\relax +\def\motifb{\ibbl0k{-8}\qb0{ki}\tqb0f}\relax +\barre +\autolines {27}2{\lppage}\relax +\notes\souffldim|\motifa\enotes +\notes|\motifb\enotes +\transpose=0\relax +\temps\notes|\motifa\enotes +\notes|\motifb\enotes +\transpose=-7\relax +\temps\notes|\motifa\enotes +\notes\motifb\enotes +\transpose=-14\relax +\temps\notes\motifa\enotes +\notes\motifb\enotes +\transpose=-21\relax +\temps\notes\motifa\enotes +\notes\motifb\enotes +%\check +% mesure 160 +\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FJM}\tqh0N\enotes +\temps\notes\transpose=0\relax\ibbu0H8\qh0{HJM}\tqh0N\enotes +\temps\notes\transpose=7\relax\ibbu0J0\qh0{HJ}\enotes +\notes|\transpose=7\qb0M\tqb0N\enotes +\temps\notes|\transpose=0\relax\ibbu0h8\qh0{hjm}\tqh0n\enotes +\temps\notes|\transpose=7\relax\ibbl0h8\qb0{hjm}\tqb0n\enotes +% +% mesure 161 +% sixte et quinte inferieures +\transpose=0\relax +\def\motifb{}\def\motifh{}\def\motifH{}% +\def\bsqh#1{{\advance\transpose by -5\relax\zq{#1}}\qh0{#1}}% +\def\bqqh#1{{\advance\transpose by -4\relax\zq{#1}}\qh0{#1}}% +\def\tbsqh{\tbu0\bsqh}\def\tbqqh{\tbu0\bqqh}% +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\generalmeter{\meterfrac 44}\changecontext +\autolines {25}2{\lppage}\relax +\def\serre{\def\scalenoteskip{0.8}}\serre +\def\motif{\ibbbl2n{-6}\qb2{onm}\tqb2j}% +\transpose=0\relax +\temps\notes|\octline r\motif\enotes +\temps\notes\souffldim|\motif\enotes +\temps\notes\hpause|\motif\enotes +\temps\notes|\motif\enotes +% +% +\temps\notes\soupir|\motif\enotes +\temps\notes\zmidtwotext{\ppff p}|\motif\enotes +\temps\notes\Ibu0fg4\bsqh f|\motif\enotes +\notes\tbsqh g|\motif\enotes +% mesure 162 +\def\Motif#1#2#3#4{\Ibbbl2{#1}{#4}3\hb2{#1#2#3}\tbl2\hb2{#4}}% +\barre\NOtes\ibu0g0\bsqh h\bsqh f\bsqh g\tbsqh h\relax + |\Motif onmj\enotes +\temps\NOtes\ibu0h0\bsqh i\bsqh g\bsqh h\tbsqh i|\Motif ponk\enotes +% mesure 163 +%\check +\def\motif#1#2#3#4{\Ibbbl1{#1}{#4}3\qb1{#1#2#3}\tbl1\qb1{#4}}% +\barre\NOtes\ibu0i0\bsqh j\bsqh h\bsqh i\tbsqh j\relax + |\octline t\Motif qpom\enotes +\autolines {23}2{\lppage}\relax +\temps\notes\Ibu0jh4\bsqh k|\motif rqpm\enotes +\notes\tbsqh i|\motif rqpm\enotes +\temps\notes\Ibu0ig4\bsqh j|\motif qpom\enotes +\notes\tbsqh h|\motif qpom\enotes +%\check +% mesure 164 +\generalmeter{\meterfrac 34}\changecontext +\notes\Ibu0hf4\zq d\qh0i|\motif pon{=l}\enotes +\notes\tbsqh g|\motif ponl\enotes +\temps\NOtes\zh b\zh{=e}\hu g|\Motif ponl\enotes +%\check +% mesure 165 +\generalmeter{\meterfrac 44}\changecontext +\autolines {26}2{\lppage}\relax +\notes\Ibu0hf4\bsqh i|\octline t\motif ponk\enotes +\notes\tbsqh g|\motif ponk\enotes +\temps\notes\Ibu0ge4\bsqh h|\motif onmj\enotes +\notes\tbsqh f|\motif onmj\enotes +\temps\NOtes\zq a\qu f\sk\ibu0g{-6}\bsqh h\tbsqh f|\Motif onmj\enotes +%\check +% mesure 166 +\barre\serre\notes\ibu0g1\na e\bsqh e\relax|\motif nm{=l}i\enotes +\notes\bsqh g|\motif nmli\enotes +\notes\bsqh f|\motif onmj\enotes +\notes\tbsqh h|\motif onmj\enotes +\temps\notes\ibu0i1\bsqh g|\motif ponk\enotes +\notes\bsqh i|\motif ponk\enotes +\notes\bsqh h|\motif qpo{_l}\enotes +\notes\bigfl e\tbu0\bsqh j|\motif qpol\enotes +%\check +% mesure 167 +\generalmeter{\meterfrac 34}% +\changecontext\autolines {25}2{\lppage}\noautolines\serre +\notes\ibu0j1\bigna h\bsqh h|\octline t\motif qp{=o}m\enotes +\notes\bsqh j|\motif qpom\enotes +\notes\bsqh i|\motif rqpm\enotes +\notes\tbsqh k|\motif rqpm\enotes +\temps\notes\Ibu0jl4\bsqh j|\motif srqm\enotes +\Notes\fl g\tbsqh l|\multnoteskip{.8}\motif srqm\enotes +% +% mesure 168 +\generalmeter{\meterfrac 44}\changecontexte +\Notes\zq f\qu k\sk\Ibu0ik1\bsqh i\tbsqh k|\Motif rqpm\enotes +\temps\Notes\ibu0i0\bsqh j\bsqh i\fl h\bsqh h\tbsqh j|\Motif qpom\enotes +% +% mesure 169 +\xbarre\Notes\ibu0h0\bsqh i\bsqh h\bsqh g\tbsqh i|\Motif ponk\enotes +\autolines{11}5{\lppage}\noautolines +\zalaligne\Notes\ibu0g0\bsqh h\bsqh g\bsqh f\tbsqh h|\octline t\Motif onmj\enotes +% mesure 170 +\xbarre\Notes\ibu0f0\bsqh g\bsqh f\na e\bsqh e\tbsqh g|\Motif nm{=l}i\enotes +\temps\Notes\zq a\qu f\sk\ibu0f0\zq c\bsqh f\zq c\tbsqh f|\Motif onmj\enotes +% mesure 171 +\xbarre\Notes\ibu0f0\na a\zq c\bsqh f\zq c\bsqh f\zq c\bsqh f\zq c\tbsqh +f|\na o\Motif onmj\enotes +\temps\Notes\ibu0f0\zq d\bqqh f\zq d\bqqh f\zq d\bqqh f\zq d\tbqqh +f|\Motif p{_o}nk\enotes +%\check +% mesure 172 +\xbarre\Notes\ibu0g0\zq d\bsqh g\zq d\bsqh g\zq d\bsqh g\zq d\tbsqh +g|\Motif ponk\enotes +\temps\Notes\ibu0h0\zq f\bsqh h\zq f\bsqh h\zq f\bsqh h\zq f\tbsqh +h|\Motif qpom\enotes +% mesure 173 +\xbarre\Notes\ibu0g0\zmidtwotext{\it smorz.}\relax +\zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes +\nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\enotes + \suspmorceau +\eject +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% finale % +\transpose=0\relax\cleftoksi={{6}{0}{0}{0}}% +% mesure 200 +\linesinpage=0\relax +\barno=200\relax\autolines 95{\lppage}\relax +\generalmeter{\allabreve}\reprmorceau +\savemeters\saveclefs +\notes\zmidtwotext{\ppff p}|\Uptext{\kern -7mm\moyen +a tempo primo, con molta delicatezza}\soupir\enotes +\temps\notes\hpause|\Ilegl0d\dqh3fg\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hfgh\enotes +% mesure 201 +\barre\notes\zh{Mb}\hl d|\qqh0ighi\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu j\sk\enotes +\temps\notes|\Ilegl0d\dqh3ij\enotes +% mesure 202 +\barre\notes\zh{Mb}\hl d|\qqh0kjik\enotes +\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes +%\check +% mesure 203 +\barre\notes\zh M\lh N\hl b|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\enotes +\temps\notes|\Ilegl0d\dqh3gh\enotes +%\check +% mesure 204 +\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 205 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes|\Ilegu0r\dqh3gh\enotes +% mesure 206 +\barre\notes\zh{LN}\hl b|\rlap{\hl e}\qqh0ighi\enotes +\temps\notes\zh{La}\hl c|\rlap{\hl e}\qqh0jijk\enotes +% mesure 207 +\barre\notes\zh b\bohl e|\rlap{\hl g}\qqh{-3}lkji\enotes +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegu0t\dqh3jk\enotes +% mesure 208 +\barre\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes +\temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes +% mesure 209 +\barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax + \ibl0m0\qb0{=o=lm}\tqb0n\enotes +\temps\notes\zh{c_e}\hu h|\qqb3opqr\enotes +%\check +% mesure 210 +\barre\notes\zh{=ac}\hu{_g}|\qqb{-7}sq{=o}m\enotes +\temps\notes\zh{bd}\hu f|\Tleg0\ql r\enotes +\temps\notes|\Ilegu0s\dqb4pr\enotes +% mesure 211 +\barre\notes\zh{ac}\hu f|\qqB0qpoq\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs +\temps\notes\zh{Nb}\hl{=e}|\qqB0ponp\enotes +% mesure 212 +\generalmeter{\meterfrac 32}\changecontexte +\Notes\zh{Ma}\hl c|\Tleg0\ql o\enotes +\temps\notes|\Ilegu0r\dqb3no\enotes +\temps\notes\zh{KM}\hl b|\qqB0ponp\enotes +\temps\notes\zh{JM}\hl a|\qqB0onmo\enotes +%\check +% mesure 213 +\generalmeter{\allabreve}\changecontexte +\notes\zh{J=L}\hl N|\qqB0nm{=l}n\enotes +\temps\Notes\boqu M|\Tleg0\hl m\enotes +\temps\notes\zmidtwotext{\kern -1.5\noteskip\ppff pp}\Ilegu0e\dqb3MN\enotes +%\check +% mesure 214 +\alaligne\notes\qqb3abcd|\zh{fh}\hu j\enotes +\temps\notes\qqb{-3}cbaN|\zh{=eg}\hu j\enotes +%\check +% mesure 215 +\barre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes +\temps\notes\Ilegu0d\dqb3Na\enotes +\temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216 +\barre\notes\qqB0aNMa|\zh{fh}\hl j\enotes +\temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes +% mesure 217 +\barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes +\cleftoksi={{6}{6}{0}{0}}\changeclefs +\notes|\Ilegu0j\dqh3Na\enotes +\temps\notes\bohu K|\rlap{\hl M}\qqh5bcdf\enotes +% mesure 218 +\barre\notes\bohu L|\rlap{\hl N}\qqh{-3}edcb\enotes +\temps\Notes\bohu H|\Tleg0\rlap{\ql a}\qu c\enotes +\temps\notes|\Ilegu0h\dqh3bc\enotes +%\check +% mesure 219 +\barre\notes\bohu I|\rlap{\hl M}\qqh0dcbd\enotes +\temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes +%\check +% mesure 220 +\barre\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes +\temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes +\temps\notes|\Ilegu0h\dqh3Na\enotes +% mesure 221 +\barre\notes\Uptext{\it diminuendo,\ \ ma senza}\bohu D\relax + |\rlap{\hl K}\qqh0baNb\enotes +\temps\notes\bohu C|\rlap{\hl J}\qqh0aNMa\enotes +% mesure 222 +%\check +\barre\notes\Uptext{\it rallentare}\bohu C|\rlap{\hl J}\qqh0NMLN\enotes +\temps\NOtes\bohu F|\Tleg0\rlap{\hl J}\hu M\enotes +% mesure 223 +\barre\notes\bohu F|\itenu0f\itenl1M\rlap{\qsk\zqp b\qup d}\bohl f\sk\sk +\itenu2a\itenu3c\zq a\cu c\qsk\enotes +\NOtes\pointdorgue a\bohu F\relax + |\pointdurgue F\tten0\tten1\tten2\tten3\zh{ac}\bohl f\enotes +\finmorceau \rightline{\sl \aujourdhui} +\eject\bye + + +\bye diff --git a/Master/texmf-dist/doc/generic/musictex/pacifiqn.tex b/Master/texmf-dist/doc/generic/musictex/pacifiqn.tex new file mode 100644 index 00000000000..6edf5faa51c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/pacifiqn.tex @@ -0,0 +1,1113 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +% +\parindent 12mm +% +\title{Pacifique} +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN\\\`a Christiane} + \othermention{Compos\'e en 1972, \sl San Jose (Calif.)\\r\'ev. mai 1981, +janvier 1990} +\maketitle + +\tracingstats=2\relax +% +\nbporteesi=2\relax +\def\nbinstruments{1} +\global\cleftoksi={{6}{0}{0}{0}}% +\def\noteskipLARGE{\def\scalenoteskip{1.5}}% +\def\noteskipLarge{\def\scalenoteskip{1.2}}% +\def\noteskiplarge{\def\scalenoteskip{1.1}}% +\def\noteskipnormal{\def\scalenoteskip{1.0}}% +% +\signaturegenerale{-4}\relax % quatre bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{Piano} +%\check +\generalmeter{\allabreve} +\normal\noteskipLarge +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\gluemaxskip{6pt}% +% +% formes frequentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% +\def\qqB#1#2#3#4#5{\ibl0{#3}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% +\def\qqh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% +\def\qqH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% +% octave basse en blanche +\def\bohl#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hl{#1}}% +\def\bohu#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hu{#1}}% +\def\sohl#1{\zh{#1}{\advance\transpose by 7\relax\hl{#1}}\sk}% +\def\sohu#1{\zh{#1}{\advance\transpose by 7\relax\hu{#1}}\sk}% +% +% octave sup. en croches u +\def\soqh#1{\zq{#1}\rlap{\advance\transpose by 7\qh0{#1}}\sk}% +\def\soqu#1{\zq{#1}\rlap{\advance\transpose by 7\qu{#1}}\sk}% +\def\soqb#1{\zq{#1}\rlap{\advance\transpose by 7\qb0{#1}}\sk}% +\def\soql#1{\zq{#1}\rlap{\advance\transpose by 7\ql{#1}}\sk}% +\def\dsoqh#1#2#3{{\advance\transpose by 7\ibu0{#2}{#1}}\soqh{#2}\tbu0\soqh{#3}}% +\def\dsoqb#1#2#3{\ibl0{#2}{#1}\soqb{#2}\tbl0\soqb{#3}}% +%\check +\def\qsoqh#1#2#3#4#5{{\advance\transpose by 7\relax\ibu0{#2}{#1}}\soqh{#2}\relax + \soqh{#3}\soqh{#4}\tbu0\soqh{#5}}% +\def\qsoqb#1#2#3#4#5{\ibl0{#2}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% +%\check +\def\qsoqB#1#2#3#4#5{\ibl0{#3}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% +%\check +% octave inf. en croches u +\def\boqh#1{{\advance\transpose by -7\relax\zq{#1}}\qh0{#1}}% +\def\boqb#1{{\advance\transpose by -7\relax\zq{#1}}\qb0{#1}}% +\def\dboqh#1#2#3{\ibu0{#2}{#1}\boqh{#2}\tbu0\boqh{#3}}% +\def\dboqb#1#2#3{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\tbl0\boqb{#3}}% +%\check +\def\qboqb#1#2#3#4#5{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\relax + \boqb{#3}\boqb{#4}\tbl0\boqb{#5}}% +\def\qboqh#1#2#3#4#5{\ibu0{#2}{#1}\boqh{#2}\boqh{#3}\boqh{#4}\tbu0\boqh{#5}}% +%\check +% +\def\arpg#1#2{\vnotes 0.2\elemskip\arpeggio{#1}{#2}\enotes} +\def\Arpg#1#2{\vnotes 0.2\elemskip + \off{-\internote}\larpeggio{#1}{#2}\off{\internote}\enotes} +\def\uarpg#1#2{\vnotes 0.2\elemskip\nextstaff\arpeggio{#1}{#2}\enotes} +\def\uArpg#1#2{\vnotes 0.2\elemskip\nextstaff + \off{-\internote}\larpeggio{#1}{#2}\off{\internote}\enotes} +% +% soufflets crescendo +% +\def\soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Cresc}}} +\def\Soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\CREsc}}} +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne +% +\debutmorceau +% +\noteskipLarge +\hyphenpenalty -50\relax +\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{90})}\enotes +\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes +\zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes +\zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes +\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0hfgh\enotes +% mesure 2 +\barre\notes\PED\zh{Mb}\hl d\sl\sk\DEP|\qqh0ighi\enotes +\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0jhij\enotes +% mesure 3 +\barre\notes\PED\zh{Mb}\hl d\sk\zcharnote{-5}{\it simile}|\Tleg0\qu k\sk\Ilegl0d\dqh4ik\enotes +\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes +% mesure 4 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 5 +\alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes|\raise -\internote\rlap{\Uptext{\it sempre \ppff mp}}\Ilegl0d\dqh3gh\enotes +% mesure 6 +\barre\notes\zh{LN}\hl b|\qqh0ighi\enotes +\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes +% mesure 7 +\barre\notes\zh{N=b}\hl d|\qqh0{=k}{=i}jk\enotes +\temps\notes\zh{Nc}\hl{=e}|\qqh0{=l}jkl\enotes +% mesure 8 +\barre\notes\zh{Mc}\hl f|\qqh{-3}m{_l}{_k}j\enotes +\temps\notes\zh{M_b}\hl d|\qqh0k{_i}jk\enotes +% mesure 9 +\alaligne\notes\zh{LN}\hl b|\qqh{-3}lkji\enotes +\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes +% mesure 10 +\barre\notes\zh{ad}\hl f|\qqh{-3}kjih\enotes +\temps\notes\lh b\zh c\hl{=e}|\qqh0ighi\enotes +% mesure 11 +\barre\notes\zh{Nb}\hl{=e}|\qqh{-3}jihg\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegl0d\dqh3gh\enotes +% mesure 12 +\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 13 +\alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes +% mesure 14 +\barre\notes\bohl e\rmidtwotext{\it pi\`u forte}\relax + |\zq g\qqh0ighi\enotes +\temps\notes\bohl a|\rlap{\hl e}\zq h\qqh0jhij\enotes +% mesure 15 +\barre\notes\bohu M|\rlap{\hl f}\zq h\qqh0kijk\enotes +\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes +% mesure 16 +\barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes +\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes +% mesure 17 +\alaligne\Notes\bohu M|\zq f\tleg0\qu h\enotes +\temps\notes|\Ilegu0q\dqh3ij\enotes +\temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes +% mesure 18 +\barre\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh3ghik\enotes +\temps\notes\bohu{=L}|\rlap{\hl e}\zq g\qqh{-3}jihg\enotes +% mesure 19 +\barre\Notes\bohu M|\rlap{\ql f}\zq f\tleg0\qu h\enotes +\temps\notes|\Ilegu0p\dqh3gh\enotes +\temps\notes\bohu K|\rlap{\hl d}\zq f\qqh0ihgi\enotes +% mesure 20 +\barre\notes\bohu J|\rlap{\hl c}\zq f\qqh0hgfh\enotes +\temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes +% mesure 21 +\xbarre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes +\zalapage\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax + |\soupir\uptext{\ppff p}\enotes +\temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes +% mesure 22 +\barre\notes\qqB0bNab|\zh{gi}\hu{=l}\enotes +\temps\notes\qqB0cabc|\zh{hj}\hu m\enotes +% mesure 23 +\barre\notes\Tleg0\ql d\sk|\zh{hk}\hu m\enotes +\temps\notes\Ilegu0d\dqb4bd|\enotes +\temps\notes\qqB0cbac|\zh{hj}\hu{_l}\enotes +% mesure 24 +\barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes +\temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes +% mesure 25 +\alaligne\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes +\temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes +\temps\notes\Ilegl0F\dqb3Na|\enotes +% mesure 26 +\barre\notes\zmidtwotext{\it\ poco\ \ a\ \ poco}\qqB0bNab\relax + |\zh{gi_l}\hu n\enotes +\temps\notes\qqB0cabc|\zh{fhj}\hu m\enotes +% mesure 27 +\barre\notes\qqB0{=d}bcd|\zh{fi=k}\hu m\enotes +\temps\notes\qqB0{=e}cde|\zh{gj}\rh i\hu{=l}\enotes +%\check +% mesure 28 +\barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes +\temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes +% mesure 29 +\alaligne\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes +\temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes +% mesure 30 +\barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes +\temps\notes\qqb3MNac|\zh{hjm}\hl o\enotes +%\check +% mesure 31 +\barre\notes\qqb{-3}baNM|\zh{i_ln}\hl p\enotes +\temps\notes\qqb3LMNb|\zh{gil}\hu n\enotes +%\check +%mesure 32 +\barre\notes\Tleg0\ql a\sk|\zh{hjl}\hl o\enotes +\temps\notes\Ilegl0F\dqb3bc|\enotes +\temps\notes\qqb0dcde|\zh{iln}\hl p\enotes +% +% mesure 33 +% changement d'espacement +\def\interfacteur{12}% +\alaligne\noteskipLARGE\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes +\temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes +\temps\notes\Ilegl0F\dqb3bc|\enotes +% mesure 34 +\barre\notes\qqb{-3}dcba|\zh{ikm}\hl p\enotes +\temps\notes\qqb3Nabc|\zh{j=ln}\hl q\enotes +% mesure 35 +\barre\notes\qqb0dcde|\zh{kmp}\hl r\enotes +\temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes +% mesure 36 +\barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\cbreath\enotes +\zalapage\noteskipLarge\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes +\temps\arpg K5\relax +\notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax + |\qsoqb0hfgh\enotes +%\check +% mesure 37 +\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0ighi\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jhij\enotes +%\check +% mesure 38 +\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0kjik\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jihj\enotes +%\check +% mesure 39 +\barre\Arpg J5\notes\zh{=LNc}\lh b\hl{=e}|\qsoqb0ihgi\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes +%\check +% mesure 40 +\alaligne\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes +\temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes +\notes\soupir|\Ilegu0t\dsoqb3gh\enotes +%\check +% mesure 41 +\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb0ighi\enotes +\temps\arpg a4\notes\zh{ace}\hl h|\qsoqb0jhij\enotes +%check +% mesure 42 +\barre\Arpg K5\notes\zh{Mb=d}\hl f|\qsoqb0{=k}ijk\enotes +\temps\Arpg J5\notes\zh{JNc}\hl{=e}|\qsoqb0{=l}jkl\enotes +%check +% mesure 43 +\barre\Arpg K5\notes\zh{Mcf}\hl{=h}|\qsoqb{-3}m{_l}{_k}j\enotes +\temps\Arpg I5\notes\zh{IMb}\hl{_d}\sk|\Tleg0\zq i\ql p\enotes +\temps\notes|\Ilegu0t\dsoqb3jk\enotes +%\check +% mesure 44 +\advancebottom{\Interligne}\relax +\alaligne\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes +\temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes +\temps\notes|\Ilegu0r\dsoqb3gh\enotes +%\check +% mesure 45 +\barre\arpg I5\notes\zh{IMb}\hl d|\qsoqb0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qsoqb0hgfh\enotes +%check +% mesure 46 +\def\sfql#1{\usf{#1}\ql{#1}}% +\barre\Arpg J5\notes\soufflcr\zh{JNc}\hl{=e}|\qsoqb0gf{=e}g\enotes +\temps\arpg E5\notes\zq{FJM}\sfql a\sk|\Tleg0\zq f\sfql m\enotes +\temps\notes\zmidtwotext{\ppff f}\dsoqb{-3}F{=E}|\relax + \ifx\mxversion\undefined\Ilegu0s\relax + \else\Ilegu0q\relax + \fi + \dsoqb3fg\enotes +%\check +% mesure 47 +\barre\notes\zq F\ql M\sk\dsoqb3{_E}F|\zq{jm}\qsoqb0hfgh\enotes +\temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes +%\check +% mesure 48 +\alaligne\noteskipLARGE\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes +\temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes +%\check +% mesure 49 +\barre\notes\zq G\ql N\sk\zq E\ql L|\zq{np}\qsoqb{-3}lkji\enotes +\temps\notes\qsoqb0HGHI|\zq{mo}\qsoqb0jijk\enotes +%\check +% mesure 50 +\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{=ln}\qsoqb{-3}jihg\enotes +\temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes +%\check +% mesure 51 +\alaligne\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes +\temps\arpg F5\notes\zq{FJM}\ql a\sk|\relax + \ifx\mxversion\undefined\Tleg0\relax + \else\tslur0o\relax + \fi + \zq{fhj}\ql m\enotes +\temps\notes\Ilegl0F\zmidtwotext{\it meno}\dqb3MN|\soupir\enotes +%\check +% mesure 52 +\barre\nspace\uarpg h4\notes\zmidtwotext{\it\ \ forte}\qqb0aNab|\zh{hjm}\hl o\enotes +\temps\uArpg h5\notes\qqb0cbcd|\zh{j_lo}\hl q\enotes +%\check +% mesure 53 +\barre\nspace\uarpg l4\notes\qqb0edef|\zh{lnp}\hl s\enotes +\temps\uarpg l4\notes\qqb{-3}edcb|\zh{lnp}\hl s\enotes +%\check +% mesure 54 +\barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes +\advancebottom{-\Interligne}\relax \def\interfacteur{10}% +\zalapage\noteskipLarge\notes\dsoqb3J{=K}|\enotes +\temps\uarpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes +% mesure 55 +\barre\noteskipLarge\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes +\temps\uArpg i4\notes\qboqb{-3}gf{=e}d|\zh{=ikn}\hl{=p}\enotes +%\check +%mesure 56 +\barre\nspace\uArpg h5\notes\zq J\ql c\sk\dboqb3{=d}{=e}|\zh{j=ln}\hl q\enotes +\temps\notes\zcharnote j{\kern -2\noteskip\it senza arpeggiare}\relax +\qboqb{-3}f{_e}{_d}c|\zq{m=oq}\ql t\sk\zq{moq}\ql t\enotes +%\check +% mesure 57 +\barre\notes\zmidtwotext{\ppff f}\zq I\ql b\sk|\zh{ikm}\hl p\enotes +\temps\notes\dsoqb3JK|\enotes +\temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes +%\check +% mesure 58 +\alaligne\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes +\temps\notes\dsoqb3IJ|\enotes +\temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes +%\check +% mesure 59 +\barre\notes\qsoqb0JIHJ|\zh{hjm}\hl o\enotes +\temps\notes\qsoqb0IHGI|\zq{i=ln}\ql p\sk\zq{i=ln}\ql p\sk\enotes +%\check +% mesure 60 +\barre\notes\soufflcr\zq H\ql a|\zh{jmo}\hl q\enotes +\temps\notes\dsoqb3GH|\enotes +\temps\notes\rlap{\sk\sk\zmidtwotext{\ppff ff}}\qsoqb0IHGI\relax + |\zq{kmp}\ql r\sk\zq{kmp}\ql r\sk\enotes +% mesure 61 +%\check +\barre\notes\qsoqb0HGFH|\zq{jmo}\ql q\sk\zq{jmo}\ql q\sk\enotes +\temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes +%\check +%mesure 62 +\def\interfacteur{9}% +\alaligne\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax + |\zq{moq}\ql t\cbreath\enotes +\temps\noteskipLarge\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes +%\check +% mesure 63 +\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0ighi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jhij\enotes +%\check +% mesure 64 +\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0kjik\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jihj\enotes +%\check +% mesure 65 +% +\barre\Arpg H5\notes\zh{JN}\lh b\hl c|\qqh0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegu0q\dqh3gh\enotes +%\check +% mesure 66 +\alaligne\arpg I4\notes\zh{KMb}\hl d|\qqh0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes +%\check +% mesure 67 +\barre\arpg H5\notes\zh{J=LN}\hl c|\qqh0gf{=e}g\enotes +\temps\arpg M3\notes\zq{Ma}\ql c|\Tleg0\qu f\enotes +\cleftoksi={{6}{6}{0}{0}}% +\changeclefs\nspace +\notes\soupir|\zcharnote A{\ppff f}\ifx\mxversion\undefined\Ilegu0g\else + \Ilegu0d\fi + \dqb3MN\enotes +%\check +% mesure 68 +\def\bozh#1{{\advance\transpose by -7\zh{#1}}\zh{#1}}\relax +\def\bozq#1{{\advance\transpose by -7\zq{#1}}\zq{#1}}\relax +\barre\arpg{!`F}6\notes\uptext{\ppff f \it e nervoso}\bozh F\hu J\relax + |\qqB0aMNa\enotes +\temps\arpg{!`E}6\notes\bozh E\hu I|\qqB0bNab\enotes +% mesure 69 +%\check +\barre\arpg A6\notes\bozh H\hu L|\qqB0cabc\enotes +\temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes +%\check +% mesure 70 +\alaligne\noteskipLARGE\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes +\temps\arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes +%\check +% mesure 71 +\barre\arpg B6\notes\bozh I\hu M|\qqb3bcdf\enotes +\temps\arpg A8\notes\bozh E\zh I\hu N|\qqb{-3}edcb\enotes +%\check +% mesure 72 +\barre\arpg A6\notes\bozh H\hu L|\qqb3abce\enotes +\temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes +%\check +% mesure 73 +\alaligne\noteskipLARGE\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes +\temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes +% +% mesure 74 +\barre\arpg {!`D}6\notes\bozh F\hu J|\ifx\mxversion\undefined\Tleg0\relax + \else\tslur0b\fi + \ql a\sk\enotes +\temps\notes|\Ilegu0d\dqb3Na\enotes +\temps\arpg B5\notes\bozh I\hu K|\qqB0baNb\enotes +%\check +% mesure 75 +\barre\arpg C5\notes\bozh J\hu M|\qqB0aNMa\enotes +\temps\Arpg C5\notes\bozh J\hu {=L}\zmidtwotext{\ppff mf}|\qqB0NM{=L}N\enotes +%\check +% mesure 76 +\barre\noteskipLarge\arpg{-8}6\notes\bozq F\zq H\qu J\relax + |\Tleg0\ql M\enotes +\cleftoksi={{6}{0}{0}{0}}% +\changeclefs\def\interfacteur{11}% +\advancebottom{\Interligne}\relax +\zalapage\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes +\temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes +% mesure 77 +%\check +\barre\arpg A6\notes\bozh H\hu L|\qboqh0jijk\enotes +\temps\arpg E5\notes\bozh L\hu N|\qboqh{-3}lkji\enotes +% mesure 78 +%\check +\barre\arpg F4\notes\zh{FJ}\hu M|\zq a\qu h\sk\enotes +\temps\notes|\dboqh3ij\enotes +\temps\arpg {!`G}7\notes\bozh I\hu M|\qboqh{-3}kjih\enotes +% mesure 79 +\barre\Arpg C5\Notes\bozh J\hu{=L}|\zq N\qu g\enotes +\temps\notes|\dboqh3hi\enotes +\temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes +%\check +% mesure 80 +\alaligne\arpg {!`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes +\temps\notes|\dboqh3gh\enotes +\temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes +% mesure 81 +\barre\arpg B6\notes\bozh J\hu M|\qboqh0hgfh\enotes +\temps\Arpg B5\notes\bozh J\hu{=L}|\qboqh0gfeg\enotes +%\check +%mesure 82 +\barre\arpg {!`F}6\notes\bozq F\qu J\zmidtwotext{\ppff f}|\Tleg0\zq{Ma}\qu f\sk\enotes +\temps\notes\dboqh3LM\zmidtwotext{\it sempre}|\dsoqb3gh\enotes +\temps\notes\qboqb0NLMN|\zq{ln}\qsoqh0ighi\enotes +% mesure 83 +\barre\notes\zmidtwotext{\it crescendo}\qboqb0aMNa|\zq{lo}\qsoqb0jhij\enotes +\temps\notes\zmidtwotext{\it\kern 1.5\noteskip e}\qboqb0bNab\relax + |\zq{mp}\qsoqb0kijk\enotes +% \check +% mesure 84 +\alaligne\noteskipLARGE\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes +\temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes +% \check +% mesure 85 +\def\boql#1{{\advance\transpose by -7\relax\zq{#1}}\ql{#1}}% +\def\boqu#1{{\advance\transpose by -7\relax\zq{#1}}\qu{#1}}% +\barre\notes\boql b\sk\boql b|\zq{mp}\qsoqb{-3}kjih\enotes +\temps\notes\bohu L|\zq{jl}\qsoqb2ghik\enotes +% mesure 86 +\barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes +\temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes +% mesure 87 +\alaligne\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes +\temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes +% mesure 88 +\barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes +\temps\notes\qboqb0aNab|\zq{mo}\qsoqb0jij{=k}\enotes +%\check +% mesure 89 +\barre\notes\zmidtwotext{\ppff \fff}\qboqb0c{=b}c{=d}|\relax + \ifx\mxversion\undefined\octsup v9\relax + \else \ioctfinup v\relax + \fi \zq{gj}\qsoqh0{=e}{=d}ef\enotes +\temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes +%\check +% mesure 90 +\alaligne\noteskipLarge\notes\qboqb{-2}gg{=e}{_d}|\relax + \ifx\mxversion\undefined\octfin v9\fi + \zq{=ln}\qsoqb{-2}iig{=e}\enotes +\temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\relax + \ifx\mxversion\undefined\else\toctfin\fi + \enotes +% mesure 91 +%\check +\barre\notes\qboqh{-2}JIG{=E}|\qsoqh{-2}ddbN\enotes +\temps\notes\rlap{\qboqb0CGEC}\ibu0d{-2}\boqh d\qsk\boqh d\boqh b\tbu0\boqh N\enotes +%\check +% mesure 92 +\barre\notes\rlap{\qsk\ibu0A0\boqh C\tbu0\boqh C}\ibu0K0\boqh K\qsk\rq K\tbu0\qh0J|\enotes +\temps\notes\rlap{\qsk\dsoqb0CC}\ibu0d0\boqh d\qsk\rq d\tbu0\qh0c|\enotes +\temps\notes\dsoqb0JJ|\ibu0k0\boqh k\rq k\tbu0\qh0j\enotes +\temps\notes|\rlap{\qsk\dsoqb0cc}\ibu0q0\soqh k\qsk\rq r\tbu0\qh0q\enotes +\cleftoksi={{0}{0}{0}{0}}\zchangeclefs +%\check +% mesure 93 +\barre\noteskipLarge\def\scalenoteskip{1.05}\relax +\notes\dsoqb0jj\dsoqh0cc|\ifx\mxversion\undefined\octsup v6\else\ioctfinup t\fi + \ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes +\temps\notes\zq M\cu f|\zq m\cl t\zbreath\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs +\staffbotmarg=3\Interligne\def\interfacteur{11}% +\zalapage\notes\midtwotext{\kern -6mm\it sempre + \ppff \fff}\enotes +\temps\notes\dsoupir\boql f|\ifx\mxversion\undefined\octline v\fi + \ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes +% mesure 94 +\barre\notes\zmidtwotext{\it ed accelerando}\boql f\sk\boql f|\qsoqb0ighi\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0jhij\enotes +%\check +% mesure 95 +\barre\notes\boql f\sk\boql f|\qsoqb0kjik\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0jihj\enotes +%\check +% mesure 96 +\barre\notes\boql f\sk\boql f|\qsoqb0ihgi\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes +%\check +% mesure 97 +\alaligne\noteskipLarge +\notes\boql{=e}\sk\boql e|\ifx\mxversion\undefined\octline t\fi + \qsoqb0gf{=e}g\enotes +\temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes +%\check +% mesure 98 +\barre\notes\boql d\sk\boql d|\qsoqb0ighi\enotes +\temps\notes\boql c\sk\boql c|\qsoqb0jhij\enotes +%\check +% mesure 99 +\barre\notes\boql b\sk\boql b|\qsoqb0kjik\enotes +\temps\notes\boql a\sk\boql a|\qsoqb0jihj\enotes +%\check +% mesure 100 +\barre\notes\boql N\sk\boql N|\qsoqb0ihgi\enotes +\temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes +%\check +% mesure 101 +\alaligne\notes\boql K\sk\boql K|\ifx\mxversion\undefined\octfin u{17}\fi + \qsoqb0ihgi\enotes +\temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes +%\check +% mesure 102 +\barre\notes\boql J\sk\boql J|\qsoqb0gf{=e}g\enotes +\temps\NOtes\pointdorgue d\bohu K|\pointdorgue o\zh{hk}\bohl m\relax + \ifx\mxversion\undefined\else\toctfin\fi \enotes +% mesure 103 +\barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes +\temps\notes\Ilegl0F\dqb3Na|\hpause\enotes +\temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes +%\check +% mesure 104 +\barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes +\temps\notes\tleg0\ql c\sk|\zh{hj}\hl l\enotes +\temps\notes\Ilegu0f\dqb3bc\enotes +%\check +% mesure 105 +\alaligne\notes\qqB0dcbd|\zh{il}\hl n\enotes +\temps\notes\qqB0cbac|\zh{hj}\hl m\enotes +% mesure 106 +\barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes +\temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes +\temps\notes\Ilegu0f\dqb3Na|\enotes +%\check +% mesure 107 +\barre\notes\qqB0baNb|\zh{gik}\hl m\enotes +\temps\notes\qqB0aNMa|\zh{hj}\hl m\enotes +%\check +% mesure 108 +\barre\notes\qqB0NM{=L}N|\zh{gj}\lh i\hl{=l}\enotes +\temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes +\temps\notes\soupir|\Ilegl0M\dqh3MN\enotes +% mesure 109 +\advancebottom{-2\Interligne}% +%\check +\alaligne\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax + |\uptext{\it espressivo e delicato}\qqh3abcd\enotes +\temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes +% mesure 110 +\barre\notes\zh H\hl L|\ifx\mxversion\undefined\Tleg0\else\tslur0a\fi + \qu a\sk\enotes +\temps\notes|\Ilegl0a\dqh3c{=d}\enotes +\temps\notes\zh{JN}\hl c|\qqh4{=e}fgh\enotes +%\check +% mesure 111 +\barre\notes\zh{JN}\hl b|\qqh{-6}ig{_d}c\enotes +\temps\notes\zh{FJ}\hl M|\Tleg0\qu c\sk\enotes +\temps\notes|\Ilegl0b\dqh3fg\enotes +% mesure 112 +\barre\notes\zh F\hl L|\rlap{\hl c}\qqh0{=h}ijh\enotes +\temps\notes\zh{IM}\hl b|\rlap{\hl d}\tleg0\qu f\sk\enotes +\temps\notes|\Ilegl0b\dqh3ij\enotes +% mesure 113 +\alaligne\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes +\temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes +% mesure 114 +\barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes +\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0s\cl{_n}\enotes +\Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes +% mesure 115 +\barre\arpg I5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes +\temps\notes\Soufflcr\zh{JN}\hl c|\rlap{\sk\sk\sk\tleg0}\qqH6{=e}gkj\enotes +%\check +% mesure 116 +\barre\notes\zmidtwotext{\ppff ff}\zq{J=L}\ql N|\dsoqh{-3}dc\enotes +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\nspace\notes\zq{c=e}\qu g|\dsoqb{-3}kj\enotes +\temps\notes\zq{j=l}\ql n|\dsoqb{-3}rq\enotes +\temps\notes\zq{ce}\qu g|\dsoqb{-3}kj\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs %\check +% mesure 117 +\def\motif#1#2#3{\notes\ibu0F4\boqh F\relax + |\sk{\advance\transpose by 3\relax\ibu1{#3}6}\zq{#1}\zq{#2}\qh1{#3}\relax + \tbl0\zq{#1}\zq{#2}\qb0{#3}\tbu1{\advance\transpose by 7\relax + \zq{#1}\zq{#2}\qh1{#3}}\enotes}% +%\check +\staffbotmarg=5\Interligne +\alapage\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm +\moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes +\motif acf\temps\motif bdg\relax +% mesure 118 +\barre\motif cfh\temps\motif acf\relax +% mesure 119 +\barre\motif bdg\temps\motif cfh\relax +% mesure 120 +\barre\motif dgi\temps\motif bdg\relax +% mesure 121 +\alaligne\motif cfh\temps\motif dgi\relax +% mesure 122 +\xbarre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax +% mesure 123 +\xbarre\motif dfi\temps\motif fhj\relax +% mesure 124 +\xbarre\motif fik\temps\motif dfi\relax +\generalmeter{\meterfrac 54}\relax\lchangecontext +\znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes +% mesure 125 +%\check +\def\motif#1#2#3#4#5#6{\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes +\notes{\advance\transpose by -7\relax +\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes +\notes|\zq{#1}\zq{#2}\qb1{#3}\zq{#4}\zq{#5}\qb0{#6}\enotes +\notes|{\advance\transpose by 7\relax +\zq{#1}\zq{#2}\qb1{#3}\tbl0\zq{#4}\zq{#5}\qb0{#6}}\enotes +\notes|{\advance\transpose by 14\relax +\tbl1\zq{#1}\zq{#2}\qb1{#3}}\enotes}% +%\check +\noteskipLarge\relax +\motif {=e}gjegj\relax +% mesure 126 +\xbarre\motif fhjfhj\relax +% mesure 127 +\xbarre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes +\notes{\advance\transpose by -7\relax +\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes +\notes|\zq g\lq i\qb1j\zq g\lq i\qb0j\enotes +\notes|{\advance\transpose by 7\relax +\zq g\lq i\qb1j\tbl0\zq g\lq i\qb0j}\enotes +\notes|{\advance\transpose by 14\relax +\tbl1\zq g\lq i\qb1j}\enotes +%\check +% mesure 128 +\alaligne\motif fikfik\relax +% mesure 129 +\xbarre\motif gi{=l}gil\relax +% mesure 130 +\generalmeter{\allabreve}\changecontext +\noteskipnormal\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax +\sforz x\zh{j=ln}\hu q\enotes +\temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes +% mesure 131 +\noteskipLarge\transpose=0\relax\barre +\notes\rlap{\bohu F}\ifx\mxversion\undefined\Ilegu0g\else\Ilegu0e\fi + \qqh3MNab|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen + tempo I$^{\bf o}$}\enotes +\temps\notes\qqb0cbcd|\zh{hj}\hu m\uptext{\it m.s.}\enotes +% mesure 132 +\ifx\mxversion\undefined + \def\atnextline{\Invertslur0\relax\liftslur0{-2\Interligne}}% +\else + \def\atnextline{\Invertslur0\relax}% +\fi +%\show\Invertslur +%\show\liftslur +\alaligne\notes\bohu L|\qqb0edef\enotes +\temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes +% mesure 133 +\barre\Notes\ifx\mxversion\undefined\Tleg0\else\tslur0L\fi + \bohu H|\hl c\enotes +\temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes +\temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes +% mesure 134 +%\check +\barre\notes\bohu J|\qqb5{=e}gkj\enotes +\temps\notes|\rlap{\zh n\rh p\hu q}\qqB{-6}igdc\enotes +% mesure 135 +\barre\notes\bohl M|\ibl0e0\qb0{=h=ef}\tqb0g\enotes +\temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes +%\check +% mesure 136 +\alapage\noteskipLarge\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk + \ifx\mxversion\undefined\tleg0\else\tslur0a\fi}\qqb{-6}lj{=h}f\enotes +\temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes +%\check +% mesure 137 +\barre\arpg I5\notes\zh{KMb}\hl d|\qqb{-6}ki{_h}g\enotes +\temps\Arpg H5\notes\zmidtwotext{\it crescendo}\zh{JN}\lh b\hl c|\qqh{-6}{=l}kig\enotes +% mesure 138 +%\check +\barre\Arpg H6\notes\zh{=Lb=e}\hl g\zmidtwotext{\it molto}|\qqh{-6}n{=l}ki\enotes +\temps\Arpg b{9}\notes\zh c|\rlap{\zh {=eg}\hl j}\qqh{-6}pnlk\enotes +%\check +% mesure 139 +\barre\Arpg H5\notes\zh{=LN}\bohl c|\qqb{-8}rpnj\enotes +\temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes +%\check +% mesure 140 +\alaligne\noteskiplarge\bigaccid +\notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip + \hbox{\it e crescendo}}}\soupir|\soupir\enotes +%\check +\noteskipnormal\def\scalenoteskip{0.75}\relax +\notes\ibbl0F3\soqb F\qs\tbl0\soqb G\qs|\qs\ibbu0m3\soqh f\qs\tbu0\soqh g\enotes +%\check +\def\motif#1#2#3#4{\notes\ibbu0b0{\advance\transpose by -7\relax\boqh{#1}}\sk + |\qsk\sk\rlap{\soqb{#1}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#2}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#3}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk +\tbl0\soqb{#4}}\enotes +}% fin motif +%\check +\temps\motif hfgh\relax +%\check +% mesure 141 +\xbarre\motif ighi\temps\motif jhij\relax +% mesure 142 +\xbarre\motif kjik\temps\motif jihj\relax +% mesure 143 +\def\scalenoteskip{0.7}\alaligne\motif ihgi\temps\motif hgfh\relax +%\check +% mesure 144 +\xbarre\motif gf{=e}g\temps\motif ffgh\relax +% mesure 145 +\xbarre\motif ighi\temps\motif jhij\relax +% mesure 146 +\alaligne\motif {=k}ijk\temps\motif {=l}jkl\relax +% mesure 147 +\xbarre\motif m{_l}{_k}j\temps\motif iijk\relax +% mesure 148 +\xbarre\motif lkji\temps\motif hhij\relax +% mesure 149 +\alaligne\motif kjik\relax +%\check +\def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax +\boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#6}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#7}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk +\tbl0\soqb{#8}}\enotes}% fin motif +%\check +\temps\motif j{^j}{=k}{^k}jjjj\relax +% mesure 150 +\xbarre\motif {=l}{_l}{=k}{_k}jjjj\relax +\temps\motif jihgjj{=k}{=l}\relax +% mesure 151 +\noteskipLarge\varaccid +\xbarre\Notes\pointdorgue a\zcharnote i{\ppff \fff}\bohl M\relax + |\pointdorgue u\zh{=oq}\sohl m\enotes +%\check +\NOtes\rlap{\pointdurgue F\soupir}\midtwotext{\it\vbox{\hsize 2\noteskip +\centerline{a piacere +}\centerline{% +quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes +\transpose=-7\relax +% +\staffbotmarg=3\Interligne +\Notes\charnote C{\ppff f}\dqh8FJ\enotes +% +% +% mesure 152 +% +\def\motif{}% +\def\motifb#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\usf{#2}\qb0{#2}\tbbl0\qb0{#3}% +\nbbl0\qb0{#4}\tbbl0\qb0{#5}\nbbl0\qb0{#6}\tqb0{#7}}% +\def\motifh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}% +\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% +\def\motifH#1#2#3#4#5#6#7{{\advance\transpose by 3\ibbu0{#2}{#1}}% +\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% +%\check +\noteskipnormal\def\scalenoteskip{1.11}\hyphenpenalty -20\relax +\transpose=0\relax +\alapage\notes\motifh8FHJMac\enotes +\temps\notes|\motifb8fhjmoq\enotes +%\check +% mesure 153 +\barre\notes|\motifb{-6}t{=s}tqom\enotes +\zbarre\notes|\na l\motifb{-6}lmjhf{=e}\enotes +\zbarre\notes|\usf f\ibbl0d0\qb0f\tbbl0\qb0c\enotes +\notes\nbbu0\qh0a\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\zbarre\notes\motifh{-4}JHF{=E}FC\enotes +\transpose=-7\relax +\zbarre\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 154 +\alaligne +\transpose=-7\relax +\notes\motifh8FIKMbd\enotes +\zbarre\notes|\motifh8fikmpr\enotes +\transpose=7\relax +\notes|\usf f\ibbl0f4\qb0{fi}\tqb0k\enotes +%\check +% mesure 155 +\transpose=0\relax +\barre\notes|\motifb{-6}t{=s}trpm\enotes +\zbarre\notes|\na l\motifb{-6}lmkif{=e}\enotes +\zbarre\notes|\usf f\ibbl0e0\qb0f\tbbl0\qb0d\enotes +\notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\zbarre\notes\motifh{-4}KIF{=E}FD\enotes +\transpose=-7\relax +\zalaligne\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 156 +\transpose=-7\relax +\barre\notes\motifH8FJ{_L}Mc{_e}\enotes +\zbarre\notes|\motifH8fj{_l}mq{_s}\enotes +\transpose=7\relax +\zbarre\notes|\sforz h\ibbl0g4\qb0{fj}\tqb0{_l}\enotes +%\check +% mesure 157 +\transpose=0\relax +\barre\notes|\motifb{-6}t{=s}t{_s}qm\enotes +\zbarre\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes +\zbarre\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes +\notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\zalaligne\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes +\transpose=-7\relax +\zbarre\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 158 +\def\motif{}% +\def\motifb{}% +\def\motifh{}% +\noteskipnormal +\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FIK}\tqh0M\enotes +\zbarre\notes\transpose=0\relax\ibbu0I8\qh0{IK}\tqh0M\enotes +\zbarre\notes|\transpose=7\relax\ibbu0I8\qh0{IK}\tqh0M\enotes +\zbarre\notes|\transpose=0\relax\lsf i\ibbu0i8\qh0{ik}\tqh0m\enotes +\zbarre\notes|\transpose=7\relax\lsf g\ibbu0g8\qh0{gik}\tqh0m\enotes +%\check +\def\souffldim{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Dimin}}}% +% mesure 159 +\transpose=7\relax\def\motifa{\sforz u\ibbu0m0\qh0{nm}\tqh0n}\relax +\def\motifb{\ibbl0k{-8}\qb0{ki}\tqb0f}\relax +\barre\notes\souffldim|\motifa\enotes +\notes|\motifb\enotes +\transpose=0\relax +\zbarre\notes|\motifa\enotes +\notes|\motifb\enotes +\transpose=-7\relax +\zbarre\notes|\motifa\enotes +\notes\motifb\enotes +\transpose=-14\relax +\zbarre\notes\motifa\enotes +\notes\motifb\enotes +\transpose=-21\relax +\zbarre\notes\motifa\enotes +\notes\motifb\enotes +%\check +% mesure 160 +\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FJM}\tqh0N\enotes +\zbarre\notes\transpose=0\relax\ibbu0H8\qh0{HJM}\tqh0N\enotes +\zbarre\notes\transpose=7\relax\ibbu0J0\qh0{HJ}\enotes +\notes|\transpose=7\qb0M\tqb0N\enotes +\zbarre\notes|\transpose=0\relax\ibbu0h8\qh0{hjm}\tqh0n\enotes +\zbarre\notes|\transpose=7\relax\ibbl0h8\qb0{hjm}\tqb0n\enotes +% +% mesure 161 +% sixte et quinte inferieures +\transpose=0\relax +\def\motifb{}\def\motifh{}\def\motifH{}% +\def\bsqh#1{{\advance\transpose by -5\relax\zq{#1}}\qh0{#1}}% +\def\bqqh#1{{\advance\transpose by -4\relax\zq{#1}}\qh0{#1}}% +\def\tbsqh{\tbu0\bsqh}\def\tbqqh{\tbu0\bqqh}% +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\generalmeter{\meterfrac 44}\changecontext\staffbotmarg=5\Interligne +\def\serre{\def\scalenoteskip{0.8}}\serre +\def\motif{\ibbbl2n{-6}\qb2{onm}\tqb2j}% +\transpose=0\relax +\def\atnextline{\serre}\relax +\ifx\mxversion\undefined + \def\everystaff{\znotes\nextstaff\octline t\enotes}\relax +\fi +\zalapage +\ifx\mxversion\undefined\else + \znotes|\ioctfinup t\enotes +\fi +\notes|\motif\enotes +\zbarre\notes\souffldim|\motif\enotes +\zbarre\notes\hpause|\motif\enotes +\zbarre\notes|\motif\enotes +% +% +\temps\notes\soupir|\motif\enotes +\zbarre\notes\zmidtwotext{\ppff p}|\motif\enotes +\zbarre\notes\ibu0f1\bsqh f|\motif\enotes +\notes\tbsqh g|\motif\enotes +% mesure 162 +\def\Motif#1#2#3#4{\Ibbbl2{#1}{#4}3\hb2{#1#2#3}\tbl2\hb2{#4}}% +\barre\NOtes\ibu0g0\bsqh h\bsqh f\bsqh g\tbsqh h\relax + |\Motif onmj\enotes +\temps\NOtes\ibu0h0\bsqh i\bsqh g\bsqh h\tbsqh i|\Motif ponk\enotes +% mesure 163 +%\check +\def\motif#1#2#3#4{\Ibbbl1{#1}{#4}3\qb1{#1#2#3}\tbl1\qb1{#4}}% +\barre\NOtes\ibu0g0\bsqh j\bsqh h\bsqh i\tbsqh j\relax + |\Motif qpom\enotes +\temps\notes\ibu0j{-6}\bsqh k|\motif rqpm\enotes +\notes\tbsqh i|\motif rqpm\enotes +\zbarre\notes\ibu0i{-6}\bsqh j|\motif qpom\enotes +\notes\tbsqh h|\motif qpom\enotes +%\check +% mesure 164 +\generalmeter{\meterfrac 34}\changecontext +\notes\ibu0h{-4}\zq d\qh0i|\motif pon{=l}\enotes +\notes\tbsqh g|\motif ponl\enotes +\temps\NOtes\zh b\zh{=e}\hu g|\Motif ponl\enotes +%\check +% mesure 165 +\generalmeter{\meterfrac 44}\changecontext\serre +\Notes\Ibu0hg3\bsqh i|\motif ponk\enotes +\Notes\tbsqh g|\motif ponk\enotes +\zbarre\Notes\Ibu0ge3\bsqh h|\motif onmj\enotes +\Notes\tbsqh f|\motif onmj\enotes +\zbarre\NOtes\zq a\qu f\sk\Ibu0gf1\bsqh h\tbsqh f|\Motif onmj\enotes +%\check +% mesure 166 +\barre\serre\notes\ibu0g1\bigna e\bsqh e\relax|\motif nm{=l}i\enotes +\notes\bsqh g|\motif nmli\enotes +\notes\bsqh f|\motif onmj\enotes +\notes\tbsqh h|\motif onmj\enotes +\notes\ibu0i1\bsqh g|\motif ponk\enotes +\notes\bsqh i|\motif ponk\enotes +\notes\bsqh h|\motif qpol\enotes +\notes\tbu0\bsqh j|\motif qpol\enotes +%\check +% mesure 167 +\generalmeter{\meterfrac 34}% +\changecontext\notes\ibu0j1\bigna h\bsqh h\relax +|\motif qp{=o}m\enotes +\notes\bsqh j|\motif qpom\enotes +\notes\bsqh i|\motif rqpm\enotes +\notes\tbsqh k|\motif rqpm\enotes +\notes\ibu0j1\bsqh j|\motif srqm\enotes +\notes\bigfl g\tbsqh l|\motif srqm\enotes +% +% mesure 168 +\generalmeter{\meterfrac 44}\changecontexte +\NOtes\zq f\qu k\sk\ibu0i2\bsqh i\tbsqh k|\Motif rqpm\enotes +\zbarre\NOtes\ibu0i0\bsqh j\bsqh i\fl h\bsqh h\tbsqh j|\Motif qpom\enotes +% +% mesure 169 +\barre\NOtes\ibu0h0\bsqh i\bsqh h\bsqh g\tbsqh i|\Motif ponk\enotes +\zbarre\Notes\ibu0g0\bsqh h\bsqh g\bsqh f\tbsqh h| +\Motif onmj\enotes +% mesure 170 +\barre\Notes\ibu0f0\bsqh g\bsqh f\na e\bsqh e\tbsqh g|\Motif nm{=l}i\enotes +\temps\Notes\zh a\hu f|\Motif onmj\enotes +%\check +% mesure 171 +\barre\Notes\ibu0f0\na a\zq c\bsqh f\zq c\bsqh f\zq c\bsqh f\zq c\tbsqh +f|\na o\Motif onmj\enotes +\temps\Notes\ibu0f0\zq d\bqqh f\zq d\bqqh f\zq d\bqqh f\zq d\tbqqh +f|\Motif p{_o}nk\enotes +%\check +% mesure 172 +\barre\Notes\ibu0g0\zq d\bsqh g\zq d\bsqh g\zq d\bsqh g\zq d\tbsqh +g|\Motif ponk\enotes +\temps\Notes\ibu0h0\zq f\bsqh h\zq f\bsqh h\zq f\bsqh h\zq f\tbsqh +h|\Motif qpom\enotes +% mesure 173 +\barre\Notes\ibu0g0\zmidtwotext{\it smorz.}\relax +\zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes +\nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\toctfin\enotes +\suspmorceau\def\everystaff{}\relax +\eject +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% finale % +\transpose=0\relax\cleftoksi={{6}{0}{0}{0}}% + \eject\staffbotmarg=3\Interligne\relax +\def\interfacteur{11}% +\def\scalenoteskip{1.0}% +% mesure 200 +\barno=200\relax +\generalmeter{\allabreve}\reprmorceau +\savemeters\noteskipLarge\saveclefs +\notes\zmidtwotext{\ppff p}|\Uptext{\kern -7mm\moyen +a tempo primo, con molta delicatezza}\soupir\enotes +\temps\notes\hpause|\Ilegl0d\dqh3fg\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hfgh\enotes +% mesure 201 +\xbarre\notes\zh{Mb}\hl d|\qqh0ighi\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu j\sk\enotes +\temps\notes|\Ilegl0d\dqh3ij\enotes +% mesure 202 +\xbarre\notes\zh{Mb}\hl d|\qqh0kjik\enotes +\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes +%\check +% mesure 203 +\xbarre\notes\zh M\lh N\hl b|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\enotes +\temps\notes|\Ilegl0d\dqh3gh\enotes +%\check +% mesure 204 +\alaligne\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 205 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes|\Ilegu0r\dqh3gh\enotes +% mesure 206 +\barre\notes\zh{LN}\hl b|\rlap{\hl e}\qqh0ighi\enotes +\temps\notes\zh{La}\hl c|\rlap{\hl e}\qqh0jijk\enotes +% mesure 207 +\barre\notes\zh b\bohl e|\rlap{\hl g}\qqh{-3}lkji\enotes +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegu0t\dqh3jk\enotes +% mesure 208 +\alaligne\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes +\temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes +% mesure 209 +\barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax + \ibl0m0\qb0{=o=lm}\tqb0n\enotes +\temps\notes\zh{c_e}\hu h|\qqb3opqr\enotes +%\check +% mesure 210 +\xbarre\notes\zh{=ac}\hu{_g}|\qqb{-7}sq{=o}m\enotes +\temps\notes\zh{bd}\hu f|\Tleg0\ql r\enotes +\temps\notes|\Ilegu0s\dqb4pr\enotes +% mesure 211 +\xbarre\notes\zh{ac}\hu f|\qqB0qpoq\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs +\temps\notes\zh{Nb}\hl{=e}|\qqB0ponp\enotes +% mesure 212 +\generalmeter{\meterfrac 32}\changecontexte +\Notes\zh{Ma}\hl c|\Tleg0\ql o\enotes +\temps\notes|\Ilegu0r\dqb3no\enotes +\temps\notes\zh{KM}\hl b|\qqB0ponp\enotes +\temps\notes\zh{JM}\hl a|\qqB0onmo\enotes +%\check +% mesure 213 +\generalmeter{\allabreve}\changecontexte +\notes\zh{J=L}\hl N|\qqB0nm{=l}n\enotes +\temps\Notes\boqu M|\Tleg0\hl m\enotes +\temps\notes\zmidtwotext{\kern -1.5\noteskip\ppff pp}\Ilegu0e\dqb3MN\enotes +%\check +% mesure 214 +\xbarre\notes\qqb3abcd|\zh{fh}\hu j\enotes +\temps\notes\qqb{-3}cbaN|\zh{=eg}\hu j\enotes +%\check +% mesure 215 +\xbarre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes +\temps\notes\Ilegu0d\dqb3Na\enotes +\temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216 +\alaligne\notes\qqB0aNMa|\zh{fh}\hl j\enotes +\temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes +% mesure 217 +\barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes +\cleftoksi={{6}{6}{0}{0}}\changeclefs +\notes|\Ilegl0E\dqh3Na\enotes +\temps\notes\bohu K|\rlap{\hl M}\qqh5bcdf\enotes +% mesure 218 +\barre\notes\bohu L|\rlap{\hl N}\qqh{-3}edcb\enotes +\temps\Notes\bohu H|\Tleg0\rlap{\ql a}\qu c\enotes +\temps\notes|\Ilegl0E\dqh3bc\enotes +%\check +% mesure 219 +\barre\notes\bohu I|\rlap{\hl M}\qqh0dcbd\enotes +\temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes +%\check +% mesure 220 +\alaligne\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes +\temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes +\temps\notes|\Ilegl0F\dqh3Na\enotes +% mesure 221 +\barre\notes\Uptext{\it diminuendo,\ \ \ ma senza}\bohu D\relax + |\rlap{\hl K}\qqh0baNb\enotes +\temps\notes\bohu C|\rlap{\hl J}\qqh0aNMa\enotes +% mesure 222 +%\check +\barre\notes\Uptext{\it rallentare}\bohu C|\rlap{\hl J}\qqh0NMLN\enotes +\temps\NOtes\bohu F|\Tleg0\rlap{\hl J}\hu M\enotes +% mesure 223 +\barre\notes\bohu F|\itenu0f\itenl1M\roff{\zqp b\zqup d}\bohl f\sk\sk +\itenu2a\itenu3c\zq a\cu c\qsk\enotes +\NOtes\pointdorgue a\bohu F\relax + |\pointdurgue F\tten0\tten1\tten2\tten3\zh{ac}\bohl f\enotes +\finmorceau \rightline{\sl \aujourdhui} +\eject +\bye +\endinput diff --git a/Master/texmf-dist/doc/generic/musictex/praetori.tex b/Master/texmf-dist/doc/generic/musictex/praetori.tex new file mode 100644 index 00000000000..91b8dc1d1f2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/praetori.tex @@ -0,0 +1,18 @@ + +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{0}% +\def\Signature{3}\relax % trois diezes a la clef +\input praetorx +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{1}\relax % un dieze a la clef +\input praetorx +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-2}\relax +\def\Signature{-1}\relax % un bemol a la clef +\input praetorx +\bye + diff --git a/Master/texmf-dist/doc/generic/musictex/praetorx.tex b/Master/texmf-dist/doc/generic/musictex/praetorx.tex new file mode 100644 index 00000000000..86df23daf8e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/praetorx.tex @@ -0,0 +1,162 @@ +\fulltitle{Dans une \'etable obscure} +\shorttitle{Dans une \'etable obscure} + \fullauthor{Praetorius 1571(env.) -- 1621\\Version fran\c caise d'A. +Mahot\\Transposition Daniel Taupin} + \othermention{Paroisse de Gif-sur-Yvette\\Transposition \`a usage +priv\'e} + \shortauthor{Praetorius} + \maketitle + % +\tracingstats=1\relax +\relativeaccidentals +\sepbarrules +% +\parindent 15mm +% soufflets crescendo et decrescendo +% +\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\cresc}}% +\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CResc}}% +% +\def\souffldim#1{\zcharnote{#1}{\kern -1cm\dimin}}% +\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DImin}}% +% +%\check +\def\nbinstruments{3}\resetsignatures +\barsinline=0\relax\linesinpage=0\relax +\global\nbporteesii=0 +\global\nbporteesi=1\relax +\global\nbporteesiii=1\relax +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksiii={{0}{0}{0}{0}}% +\def\lowersonginstrum{1} % to be used to make heavy bars at staff left +\def\uppersonginstrum{3} % to be used to make heavy bars at staff left +% +\signaturegenerale{\Signature}% +\generalmeter{\meterfrac{4}{4}} +%\check +\def\interfacteur{12}% +\def\instrumenti{\vbox{\hsize=\parindent +\centerline{T\'enors}\centerline{basses}}}% +\def\instrumentiii{\vbox{\hsize=\parindent +\centerline{Sopran.}\centerline{Altos}}}% +%\check +\def\instrumentii{}% +\def\respire{\notes&&\cbreath\enotes}% +% +\def\eightpoint{\Tenpoint}% +%\check +\catcode`\@=13 +\catcodesmusic +\def@#1|#2|#3&{&\vbox to 0pt{\vss +\parindent 0pt\parskip 0pt\hsize=1.5\Interligne +\centerline{\vphantom{\'EQ}#1}\centerline{\vphantom{\'EQ}#2}\relax +\centerline{\vphantom{\'EQ}#3}\vskip -2\Interligne\vss}&}% +% +\debutmorceau +\autolines 754\relax +\transpose=\Transpose +\notes&&\Uptext{\raise 2\Interligne\hbox{\moyen Lent}}\enotes + % +\znotes\zcharnote C{\ppff pp}&&\Uptext{\kern -2\Interligne + \ppff pp \it et myst\'erieux}\enotes +\temps\NOtes\zhl a\hu c@Dans|Tan -|Plein&\zhl h\hu l\enotes +%\advance\barsinline by 1\relax +% +\barre\Notes\zql a\qu c@une|dis|d'u -&\zql h\qu l\enotes +\temps\Notes\zql a\qu c@\'e -|que|ne&\zql h\qu l\enotes +\temps\Notes\Soufflcr C\zql K\qu d@table|les|foi&\Soufflcr t\zql h\qu m\enotes +\temps\Notes\zql a\qu c@obs -|Rois|pro -&\zql h\qu l\enotes +% +%\check +\barre\Notes\zhl L\hu b@cu -|ma -|fon -&\zhl g\hu l\enotes +\temps\notes\souffldim C&&\souffldim t\enotes +\temps\NOtes\zhl M\hu a@re,|ges,|de,&\zhl h\hu j\enotes +% +%\check +\barre\NOtes\zcharnote C{\ppff ppp}\zhl I\hu f@Sous|Tan +-|Le&\Uptext{\ppff ppp}\zhl i\hu k\enotes +\temps\Notes\zql J\qu e@le|dis|monde&\zql f\qu j\enotes +\temps\Notes\zql K\qu d@ciel|que|est&\zql f\qu i\enotes +% +%\check +\barre\NOtes\zhl L\hu c@\'e -|les|\`a&\zhl e\hu h\enotes +\temps\NOtes\zhl L\hu b@toi -|ber -|ge -&\zhl e\hu g\enotes +% +%\check +\barre\NOtes\pointdurgue C\zhl H\hu c@l\'e !|gers|noux !&\pointdorgue m\zhl e\hu h\enotes +\temps\NOtes\zhl a\hu c@Et|Lui|Toi&\zhl h\hu l\enotes +% +\barre\Notes\zql a\qu c@d'u -|por|sou -&\zql h\qu l\enotes +\temps\Notes\zql a\qu c@ne|tent|ve -&\zql h\qu l\enotes +\temps\Notes\Soufflcr C\zql K\qu d@Vier -|leurs|rain&\Soufflcr t\zql h\qu m\enotes +\temps\Notes\zql a\qu c@ge|hom -|du&\zql h\qu l\enotes +% +%\check +\barre\Notes\zhl L\hu b@pu -|ma -|mon -&\zhl g\hu l\enotes +\temps\notes\souffldim C&&\souffldim t\enotes +\temps\NOtes\zhl M\hu a@re,|ges,|de,&\zhl h\hu j\enotes +% +%\check +\barre\NOtes\zcharnote C{\ppff p}\zhl I\hu f@Un|Por +-|\'E -&\Uptext{\ppff p}\zhl i\hu k\enotes +\temps\Notes\zql J\qu e@doux|tons -|tends&\zql f\qu j\enotes +\temps\Notes\zql K\qu d@Sau -|Lui|les&\zql f\qu i\enotes +% +%\check +\barre\NOtes\zhl L\hu c@veur|nos|mains&\zhl e\hu h\enotes +\temps\NOtes\zhl L\hu b@est|bai -|sur&\zhl e\hu g\enotes +% +%\check +% \autolines 654 +\barre\NOTes\pointdurgue C\zhl H\hu c@n\'e.|sers !|nous !&\pointdorgue m\zhl e\hu h\enotes +\Changecontext +\temps\Notes\zcharnote C{\ppff mf}\soupir&&\uptext{\ppff mf}\soupir\enotes +\temps\notes\zcl H\cu a@Le|Le|\^O&\zcl e\cu j\enotes% +\temps\notes\zcl H\cu a@Sei -|Sei -|J\'e&\zcl e\cu j\enotes% +% +%\check +\barre\Notes\itenl0I\itenu1c\zql I\qu M@gneur|gneur|sus--- + &\itenl3d\itenu4i\zql{^d}\qu i\enotes +\Notes\Souffldim C\tten0\tten1\zql J\qu c&&\relax + \tten3\tten4\Souffldim t\zql e\qu g\enotes +\temps\Notes\zql M\qu c@J\'e -|J\'e -|tout&\zql f\qu h\enotes +\temps\Notes\zql I\qu a@sus|sus|pe -&\zql d\qu f\enotes +% +%\check +\barre\NOTes\rlap{\hlp L}\hup N@Christ|Christ|tit !&\relax +\rlap{\hlp e}\hup e\enotes +\temps\Notes\zcharnote C{\ppff f}\zql a\qu c\relax + @Est|Sau -|Le&\Uptext{\ppff f}\zql h\qu l\enotes +% +%\check +%\autolines 754 +\barre\Notes\zql N\qu d@n\'e|ra|monde&\zql i\qu l\enotes +\temps\Notes\zql a\qu c@dans|bien|en -&\zql h\qu l\enotes +\temps\Notes\zql K\qu d@u -|nous|tier&\zql h\qu m\enotes +\temps\Notes\zql a\qu c@ne|sou -|T'ac -&\zql h\qu l\enotes +% +%\check +\barre\Notes\zhl L\hu b@cr\`e -|ri -|cla -&\zhl g\hu l\enotes +\temps\notes\souffldim C&&\souffldim t\enotes +\temps\NOtes\zhl M\hu a@che,|re,|me,&\zhl h\hu j\enotes +% +%\check +\barre\NOtes\zcharnote C{\ppff pp}\zhl I\hu f@Quand|En|Dans&\Uptext{\ppff + pp}\zhl i\hu k\enotes +\temps\Notes\zql J\qu e@a|cette|l'a -&\zql f\qu j\enotes +\temps\Notes\zql K\qu d@son -|heu -|do -&\zql f\qu i\enotes +% +%\check +\barre\NOtes\zhl L\hu c@n\'e|reu -|ra -&\zhl e\hu h\enotes +\temps\Notes\itenu0d\zh E\zhl L\qu b\tten0\qu d@mi -|se|ble&\zhl e\hu g\enotes +% +%\check +\barre\temps\NOtes\pointdurgue C\zh L\zhl H\hu c@nuit.|nuit.|nuit.&\relax + \pointdorgue m\zhl e\hu h\enotes +\temps +\finmorceau +\medskip\rightline{\it le \aujourdhui} +\absoluteaccidentals +\vfil\eject + +\endinput diff --git a/Master/texmf-dist/doc/generic/musictex/prelude.tex b/Master/texmf-dist/doc/generic/musictex/prelude.tex new file mode 100644 index 00000000000..2f07abcc0f0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/prelude.tex @@ -0,0 +1,704 @@ +\title{Pr\'elude et fugue} +\fulltitle{\enorme VI. \titremorceau} +\subtitle{(pour orgue)} +\othermention{Compos\'e en 1990} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\csname titremorceautoc\endcsname +\maketitle + +\parindent 18mm +% +\bigskip +\centerline{\moyen PR\'ELUDE}\medskip +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-2}\relax % sol mineur +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Mordant{\mordant{10}}% +\def\Pince{\pince{10}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.}% +%\check +\def\gluemaxskip{7pt}% +\medskip\noindent{\rm G.O.: Plein jeu, fonds 16' {\sl ad libitum.}}% +\par\noindent{\rm P\'ed.: fonds et anches 16', tirasse G.O.}% +\smallskip +% +\quatretemps% +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\doubler{\multiply\noteskip by 2\relax}% +\debutmorceau +% calcul de \elemskip en fonction de la largeur de page pour eviter les glues +% +\autolines {17}35\relax +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Maestoso \bf(\metron{\qu}{50})}}\enotes +\advance\linesinpage by 1\relax +% +% formes frequentes +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqbbh{\dqbbu}\def\dqbbb{\dqbbl}% +% +% quatre doubles croches +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5#6{\ibbu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbbL#1#2#3#4#5#6{\ibbl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% quatre croches +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% +% mesure 1 +\smallnotesize\bigaccid +\notes&\zmidtwotext{\ppff ff\hskip 8mm}\qqbbH9KGKNa\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}abN{^M}N\enotes +\temps\notes&\qqbbl7KNbc\enotes +\temps\notes&\qqbbL{-4}cdbab\enotes +%\check +% mesure 2 +\barre\notes&|\qqbbH8bNbd{^f}\enotes +\temps\notes\sk\sk\pause&|\qqbbH{-4}ggdcd\enotes +\temps\notes&|\qqbbH7dbdfg\enotes +\temps\notes&|\qqbbu0ifgi\enotes +%\check +% mesure 3 +\barre\notes&|\qqbbL0ikgik\enotes +\normalnotesize +\temps\Notes\hpause&|\cl n\qsoupir\enotes +\temps\Notes\ccu G&\itenl1N\itenu2g\zq{Nbd}\ccl g|\itenu3n\zq{ik}\ccu n|\enotes +\temps +\NOtes\pointdorgue 8\qup G&\tten1\tten2\pointdurgue H\zqp{Nce}\qlp g\relax + |\tten3\pointdorgue o\zqp{jl}\qlp n\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +% mesure 4 +\autolines {16}35\relax +\smallnotesize\bigaccid +\barre\notes&\qqbbH7IGJLM\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}MNLKL\enotes +\temps\notes&\qqbbl7JLN{=b}\enotes +\temps\notes&\qqbbL{-4}acNMN\enotes +%\check +% mesure 5 +\barre\notes&\qqbbH7MLN{=b}c\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbH0debce\enotes +\temps\notes&|\qqbbH7cNceg\enotes +\temps\notes&|\qqbbL0hjg{=i}j\enotes +%\check +% mesure 6 +\barre\notes&|\qqbbL0kljln\enotes +\normalnotesize +\temps\notes\hpause&|\cl q\qsoupir\sk\enotes +\temps\Notes\ccu E&\itenu1c\zq{LN}\ccl c|\itenu2j\zq{eg}\ccu j\enotes +\temps +\NOtes\pointdorgue 7\qup D&\tten1\pointdorgue{10}\zqp{K^Ma}\qlp c\relax + |\tten2\pointdorgue{10}\zqp{^fh}\qup j\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +% mesure 7 +\barre\autolines 775\relax +\smallnotesize\bigaccid +\notes&\qqbbH8FD{^F}HJ\enotes +\temps\notes\sk\sk\sk\pause&\qqbbH0KLKLJ\enotes +\zbarre\notes&\qqbbl3K{^M}N{_b}\enotes +\temps\notes&\qqbbL3aabcd\enotes +% mesure 8 +\barre\notes&|\qqbbH3dec{^f}g\enotes +\temps\notes\sk\sk\pause&|\qqbbl2hijk\enotes +\zbarre\notes&|\qqbbL{-2}jlj{=i}j\enotes +\temps\notes&|\qqbbl2{^m}non\enotes +% mesure 9 +\barre\notes\soupir&|\qqbbl{-3}{^m}lkj\enotes +\normalnotesize +\temps\NOtes\qu G&\zq{KN}\ql b|\zq{dg}\ql{_i}\enotes +\smallnotesize\bigaccid +\zbarre\notes\sk\sk\sk\hpause&\qsoupir\ibbl0L4\qb0{KN}\tqb0{^M}\enotes +\temps\notes&\qqbbL3LNKba\enotes +% mesure 10 +\barre\notes&\qqbbL2abNdc\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbH4fdbgh\enotes +\zbarre\notes&|\qqbbh{-3}ihg{=f}\enotes +\temps\notes&|\qqbbh{-3}gfed\enotes +%\check +% mesure 11 +\normalnotesize +\barre\NOtes\qu J&\zq {LN}\ql c|\qu e\enotes +\smallnotesize\bigaccid +\temps\notes\sk\soupir&|\qsoupir\ibbu0d2\qh0{ce}\tqh0d\enotes +\zbarre\notes\sk\sk\hpause&|\qqbbH2fechg\enotes +\temps\notes&|\qqbbH2hh{^f}ji\enotes +% mesure 12 +\barre\notes&|\qqbbH3jjhlk\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbh{-4}lkji\enotes +\zbarre\notes&|\qqbbh{-4}hg{^f}e\enotes +\temps\notes&|\qqbbh{-4}dc{=b}a\enotes +% mesure 13 +\normalnotesize +\barre\NOtes\qu G&\zq {=IK}\lq M\ql N|\qu{=b}\enotes +\smallnotesize\bigaccid +\temps\notes\soupir&|\qsoupir\ibbu0a2\qh0{N=b}\tqh0a\enotes +\zbarre\notes\sk\sk\hpause&|\qqbbH2cbNdc\enotes +\temps\notes&|\qqbbh3dbfe\enotes +%\check +% mesure 14 +\barre\notes&|\off{-2\Interligne}\qqbbh3fd{_h}g\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbl5hfml\enotes +\zbarre\notes&|\qqbbl{-3}kj{i}{_h}\enotes +\temps\notes&|\qqbbh{-3}gfed\enotes +% mesure 15 +\normalnotesize +\barre\NOtes\qu C&\zq {J=LN}\lq b\ql c|\qu{=e}\enotes +\smallnotesize\bigaccid +\temps\notes\soupir&|\qsoupir\ibbu0d2\qh0{c=e}\tqh0d\enotes +\zbarre\notes\sk\sk\hpause&|\qqbbh3ecgf\enotes +\temps\notes&|\qqbbh3gei{_h}\enotes +%\check +% mesure 16 +\troistemps +\changecontext\notes&|\off{-2.4\Interligne}\qqbbL5hig{=l}m\enotes +\temps\notes\sk\pause&\midtwotext{\it animando}|\qqbbl{-3}nmlk\enotes +\temps\notes&|\qqbbl{-3}j{i}{_h}g\enotes +% mesure 17 +\quatretemps\normalnotesize +\changecontext\Notes +\off{-\Interligne}\qu F&\off{-1.4\Interligne}\zq {M_ac}\ql f|\off{-\Interligne}\qu{_h}\enotes +\smallnotesize\bigaccid +\temps\notes\soupir&\zmidtwotext{\it poco a poco}|\qsoupir\ibbu0d6\qh0{cf}\tqh0g\enotes +\zbarre\notes\sk\sk\hpause&|\fl h\qqbbh{-3}hgfe\enotes +\temps\notes&|\qqbbh{-3}dc{=b}{=a}\enotes +%\check +% mesure 18 +\normalnotesize +\barre\autolines {16}35\relax +\NOtes\qu G&\zq {=IK}\ql N|\qu{=b}\enotes +\smallnotesize\bigaccid +\temps\notes\soupir&|\qsoupir\ibbu0b7\qh0{Nb}\tqh0d\enotes +\temps\notes\sk\sk\hpause&|\qqbbu0gd{^f}g\enotes +\temps\notes&|\qqbbu3{=i}gik\enotes +%\check +% mesure 19 +\barre\notes&|\qqbbl{-2}m{_o}nm\enotes +\temps\notes\hpause&|\qqbbl{-3}lkj{=i}\enotes +\normalnotesize +\temps\notes\cu J&\bigaccid\zq{=LN}\lq b\ccl c|\fl i\rq i\zq{=eg}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes +\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes +% mesure 20 +\normalnotesize +\barre\nspace\notes\cu I&\bigaccid\lfl b\zq{=LN}\lq b\ccl c|\fl i\rq i\zq{=eg}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes +\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes +\normalnotesize +\temps\notes\bigaccid\cu{_H}&\bigaccid\zq{M_a}\ccl c|\zq{f_h}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{ch}\tqh0g\enotes +\temps\notes\sk\soupir&|\qqbbH3ihfji\enotes +%\check +% mesure 21 +\normalnotesize +\barre\nspace\notes\cu G&\bigaccid\lfl b\zq{=LN}\lq b\ccl c|\fl i\rq i\zq{=eg}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes +\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes +\normalnotesize +\temps\notes\cu{F}&\bigaccid\zq{M_a}\ccl c|\zq{f_h}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{ch}\tqh0g\enotes +\temps\notes\sk\soupir&|\qqbbH3ihfji\enotes +%\check +% mesure 22 +\normalnotesize +\barre\notes\bigaccid\cu{^F}&\bigaccid\sh M\lna a\zq{JMa}\ccl c|\lna h\sh f\zq{fh}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{dh}\tqh0g\enotes +\temps\notes\sk\soupir&|\qqbbH3ihfj{=i}\enotes +\normalnotesize +\temps\notes\cu{K}&\zq{Ma}\ccl c|\zq{dfh}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\sk\dsoupir&|\ibbl0i5\qb0{ho}\tqb0n\enotes +\temps\notes\sk\soupir&|\qqbbL3mo{^m}q{=p}\enotes +% mesure 23 +\barre\notes&|\qqbbl3qosr\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbl{-3}srq{_p}\enotes +\temps\notes&|\qqbbl{-3}qpon\enotes +\temps\notes&|\qqbbl{-3}{^m}lkj\enotes +%\check +% mesure 24 +\autolines {17}35\relax +\normalnotesize\varaccid +\barre\notes\qu G&\zq{Nb}\ql d|\Uptext{\hbox{\kern -6mm\moyen Allegro moderato + \bf(\metron{\qu}{65})}}\zqu i\qqbbL{-2}hig{^f}g\enotes +\temps\notes\soupir&\soupir|\zqu i\qqbbL{-2}higfg\enotes +\temps\notes\qu G&\lq a\zq{Nc}\ql e|\zqu j\qqbbL{-2}ijgfg\enotes +\temps\notes\soupir&\soupir|\zqu j\qqbbL{-2}ijgfg\enotes +% mesure 25 +%\check +\barre\notes\qu G&\zq{Nb}\ql d|\zqu k\qqbbL{-2}hig{^f}g\enotes +\temps\notes\soupir&\soupir|\zqu k\qqbbL{-2}higfg\enotes +\temps\notes\qu G&\lq a\zq{Nc}\ql e|\zqu l\qqbbL{-2}ijgfg\enotes +\temps\notes\soupir&\soupir|\zqu l\qqbbL{-2}ijgfg\enotes +%\check +% mesure 26 +\barre\notes\hu G&\zqu N\qqbbl2Ndbd|\doubler\rlap{\dql{-3}ig}\dqu{-3}ki\enotes +\temps\notes&\qqbbl{-2}bdNb|\ibu0i3\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\hu J&\zqu L\qqbbl2LcNc|\rlap{\ibl1h{-4}\qb1j\sk\tqb1e}\relax + \ibu0l{-4}\qh0l\sk\tqh0g\enotes +\temps\notes&\qqbbl{-2}NcLN|\ibu0h6\zql e\qh0g\sk\tqh0l\enotes +%\check +% mesure 27 +\barre\notes\hu F&\zqu M\qqbbl3Mcac|\rlap{\ibl1h{-3}\qb1h\sk\tqb1f}\relax + \ibu0j{-3}\qh0j\sk\tqh0h\enotes +\temps\notes&\qqbbl{-3}acMa|\ibu0h3\zql f\qh0h\sk\tqh0j\enotes +\temps\notes\hu I&\zqu K\qqbbl3KbMb|\rlap{\ibl1g{-3}\qb1i\sk\tqb1d}\relax + \ibu0k{-4}\qh0k\sk\tqh0f\enotes +\temps\notes&\qqbbl{-2}MbKM|\ibu0h5\zql d\qh0f\sk\tqh0k\enotes +%\check +% mesure 28 +\barre\notes\hu E&\zqu L\qqbbl2LbNb|\rlap{\ibl1g{-3}\qb1g\sk\tqb1e}\relax + \ibu0i{-3}\qh0i\sk\tqh0g\enotes +\temps\notes&\qqbbl{-2}NbLN|\ibu0h2\zql e\qh0g\sk\tqh0i\enotes +\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}hc}\dqh{-5}je\enotes +\temps\notes&\qqbbl{-2}LaJL|\doubler\zql c\dqu7ej\enotes +% mesure 29 +\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\rlap{\ibl1f{-3}\qb1{^f}\sk\tqb1d}\relax + \ibu0h{-3}\qh0h\sk\tqh0f\enotes +\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql d\qh0f\sk\tqh0h\enotes +\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\relax + \qqbbl2Ndad|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql i\qu k\enotes +%\check +% mesure 30 +\barre\notes\bigaccid\hu{=I}&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes +\temps\notes\hu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}ge}\dqu{-3}lj\enotes +\temps\notes&\qqbbl{-2}NcLN|\doubler\zql e\dqu4jl\enotes +%\check +% mesure 31 +\barre\notes\hu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\hu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\fl i\dql{-3}ih}\dqu{-4}kj\enotes +\temps\notes&\qqbbl{-2}MbKM|\ibu0i4\zql f\qh0i\sk\tqh0k\enotes +%\check +% mesure 32 +\barre\notes\hu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}gg}\dqu{-3}li\enotes +\temps\notes&\qqbbl{-2}NbLN|\ibu0j2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-3}ji\enotes +\temps\notes&\rlap{\qu b}\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes +% mesure 33 +\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes +\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0j\enotes +%\check +\temps\notes\doubler\dqu{-2}G{^F}&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax +|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qu G&\rlap{\cu b}\qqbbl{-2}bdNb|\zq i\qu k\enotes +%\check +% mesure 34 +\barre\notes\qup G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\sk\cu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes +\temps\notes\doubler\dqu2JK&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\zql e\qu j\enotes +%\check +% mesure 35 +\barre\notes\qup F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\sk\cu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0m\enotes +\temps\notes\doubler\dqu2IJ&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\qu i\enotes +%\check +% mesure 36 +\barre\notes\qup E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}ge}\dqu{-3}lg\enotes +\temps\notes\sk\cu G&\qqbbl{-2}NbLN|\ibu0k2\zql e\qh0g\sk\tqh0l\enotes +\temps\notes\doubler\dqu2HI&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}he}\dqu{-3}jh\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes +% mesure 37 +\barre\notes\qup D&\zqu K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes +\temps\notes\sk\sh F\cu F&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0k\enotes +\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax +|\doubler\rlap{\dql{-2}gf}\dqu{-2}ih\enotes +\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql g\qu g\enotes +%\check +% mesure 38 +\barre\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes +\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\doubler\zql g\dqu{-3}lj\enotes +%\check +% mesure 39 +\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes +%\check +% mesure 40 +\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes +\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes +% mesure 41 +\generalmeter{\meterfrac 54}\changecontext +\NOTes\qu K&\zq{Nb}\ql K|\zq{gi}\ql k\enotes +\temps\NOTes\qu G&\zq{LN}\ql c|\zq{gj}\ql l\enotes +\temps\NOTes\qu H&\zq{La}\ql c|\zq{eh}\ql j\enotes +\temps\NOTEs\qup K&\zqp{^Ma}\qlp d|\zqp{^fh}\qlp k\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +% mesure 42 +\quatretemps\changecontext +\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes +\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\doubler\zql g\dqu{-3}lj\enotes +%\check +% mesure 43 +\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes +%\check +% mesure 44 +\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes +\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes +% mesure 45 +\barre\NOtes\qu K&\zq{Nb}\ql d|\zq{gi}\ql k\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +\temps\NOtes\qu G&\zq{LN}\ql c|\zq{gj}\ql l\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +% mesure 46 +\barre\NOtes\qu H&\zq{La}\ql c|\zq{eh}\ql j\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +\temps\NOtes\qu K&\zq{^Ma}\ql d|\zq{^fh}\ql k\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +%\check +% mesure 47 +\generalmeter{\meterfrac 32}\changecontext +\NOTEs\hu G&\zh I\zh K\hl N|\zh b\zh d\hu g\enotes +\smallnotesize\bigaccid +\notes&|\Uptext{\hbox{\kern -16mm\moyen Maestoso \bf(\metron{\qu}{50})}}\enotes +\notes&\qqbbH9KGKNa\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}abN{^M}N\enotes +\temps\notes&\qqbbl7KNbc\enotes +\temps\notes&\qqbbL{-4}cdbab\enotes +%\check +% mesure 48 +\quatretemps +\changecontext\notes&|\qqbbH8bNbd{^f}\enotes +\temps\notes\sk\sk\pause&|\qqbbH{-4}ggdcd\enotes +\temps\notes&|\qqbbH7dbdfg\enotes +\temps\notes&|\qqbbu0ifgi\enotes +%\check +% mesure 49 +\barre\notes&|\qqbbL0ikgik\enotes +\normalnotesize +\temps\notes\hpause&|\cl n\qsoupir\sk\enotes +\temps\Notes\ccu G&\itenl1N\itenu2g\zq{Nbd}\ccl g|\itenu3n\zq{ik}\ccu n|\enotes +\temps\NOtes\pointdorgue 8\qup G&\tten1\tten2\pointdurgue H\zqp{Nce}\qlp g\relax + |\tten3\pointdorgue o\zqp{jl}\qlp n\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +\autolines {16}35\relax +% mesure 50 +\smallnotesize\bigaccid +\barre\notes&\qqbbH7IGJLM\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}MNLKL\enotes +\temps\notes&\qqbbl7JLN{=b}\enotes +\temps\notes&\qqbbL{-4}acNMN\enotes +%\check +% mesure 51 +\barre\notes&\qqbbH7MLN{=b}c\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbH0debce\enotes +\temps\notes&|\qqbbH7cNceg\enotes +\temps\notes&|\qqbbL0hjg{=i}j\enotes +%\check +% mesure 52 +\barre\notes&|\qqbbL0kljln\enotes +\normalnotesize +\temps\notes\hpause&|\cl q\qsoupir\sk\enotes +\temps\Notes\ccu E&\itenu1c\zq{LN}\ccl c|\itenu2j\zq{eg}\ccu j\enotes +\temps\NOtes\pointdorgue 7\qup F&\tten1\pointdorgue{10}\zqp{JM_a}\qlp c\relax + |\tten2\pointdorgue{10}\zqp{f_h}\qup j\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +% mesure 53 +\smallnotesize\bigaccid +\barre\notes&\qqbbH7KJM{_a}b\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}acaNa\enotes +\temps\notes&\qqbbl7Mac{=e}\enotes +\temps\notes&\qqbbL{-4}cfcbc\enotes +%\check +% mesure 54 +% \barre\notes&\qqbbH7c{_a}c{=e}f\enotes +\barre\notes&\ibbu0h7\qh0{_a}\qh0c|\sk\sk\qh0{=e}\tqh0f\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbH0f{_h}fef\enotes +\temps\notes&|\qqbbH7ecfhi\enotes +\temps\notes&|\qqbbL0hjhgh\enotes +%\check +% mesure 55 +\troistemps\changecontext\notes&|\qqbbl6f{_h}j{=l}\enotes +\temps\notes\sk\sk\pause&|\qqbbl2mn{_o}n\enotes +\temps\notes&|\qqbbl{-3}m{_l}{_k}j\enotes +% mesure 56 +%\check +\normalnotesize +\quatretemps\changecontext\NOTes\qup I&\zqp M\zqp b\qlp{_d}|\zqp{fi}\qlp{_k}\enotes +\smallnotesize\bigaccid +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +\temps\notes\sk\sk\sk\hpause&\ibbu0h5\qh0M\qh0b|\sk\sk\qh0{_d}\tqh0e\enotes +\temps\notes&|\qqbbh{-2}fdcd\enotes +%\check +% mesure 57 +\barre\notes&|\qqbbH7bb{_d}fh\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbL{-2}gifef\enotes +\temps\notes&|\qqbbH8e{_d}fi{_k}\enotes +\temps\notes&|\qqbbL{-2}kmkjk\enotes +% +% mesure 58 +\barre\notes&|\qqbbl5ikmo\enotes +\temps\notes\hpause&|\qqbbl{-3}p{_o}{_n}m\enotes +\normalnotesize +\temps\NOtes\qup E&\zqp{_Nb}|\zqp e\rlap{\qlp {_g}}\zqp{il}\qup{_n}\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +% mesure 59 +\smallnotesize\bigaccid +\barre\notes&\ibbl0L7\qb0L\qb0b\enotes +\notes&|\qb0e\tqb0f\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbh{-2}{_g}e{_d}e\enotes +\temps\notes&|\qqbbH6dce{g}j\enotes +\temps\notes&|\qqbbL{-2}jljij\enotes +% mesure 60 +\barre\notes&|\qqbbl5{=h}jl{_n}\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbl2opqp\enotes +\temps\notes&|\qqbbl{-3}o{=n}ml\enotes +\temps\notes&|\qqbbl{-3}{_k}jih\enotes +% mesure 61 +\normalnotesize +\barre\nspace\autolines{18}35\relax +\Notes\cu{_H}&\zmidtwotext{\it accelerando poco a poco}\relax +\zq K\lq a\lfl a\zq M\ccl b|\fl h\zq d\zq f\rq h\ccu i\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0g3\qh0{fi}\tqh0h\enotes +\temps\notes\soupir&|\qqbbH3gidih\enotes +\normalnotesize +\temps\Notes\cu G&\zq L\zq N\ccl b|\zq e\zq g\ccu i\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{eg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgeih\enotes +% mesure 62 +\barre\nspace +\normalnotesize +\Notes\cu F&\zq K\zq M\lfl a\lq a\ccl b|\fl h\zq d\zq f\rq h\ccu i\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{df}\tqh0e\enotes +\temps\notes\soupir&|\qqbbH3ffdih\enotes +\normalnotesize +\temps\Notes\cu E&\zq L\zq N\ccl b|\zq e\zq g\ccu i\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{eg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgeih\enotes +% mesure 63 +\normalnotesize +\barre\Notes\cu D&\zq K\zq N\ccl{=b}|\zq d\zq g\ccu{=i}\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{dg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgeji\enotes +\normalnotesize\nspace +\temps\Notes\cu C&\zq{=L}\zq N\lfl b\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes +% mesure 64 +\normalnotesize +\barre\Notes\cu I&\zq{=L}\zq N\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes +\normalnotesize\nspace +\temps\Notes\cu{_H}&\zq M\zq{_a}\ccl c|\zq f\zq{_h}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{c_h}\tqh0g\enotes +\temps\notes\soupir&|\qqbbH3fhfji\enotes +% mesure 65 +\normalnotesize +\barre\Notes\cu G&\zq{=L}\zq N\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes +\normalnotesize +\temps\Notes\cu F&\zq M\zq{=a}\ccl c|\zq f\zq{=h}\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{fh}\tqh0g\enotes +\temps\notes\soupir&|\qqbbH3fhfj{=i}\enotes +% mesure 66 +\normalnotesize +\barre\Notes\cu{^F}&\zq{^M}\zq a\ccl c|\zq{^f}\zq h\ccu j\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{dh}\tqh0g\enotes +\temps\notes\soupir&|\qqbbH3fhf{_i}h\enotes +\normalnotesize +\temps\Notes\cu G&\zq K\zq N\ccl b|\zq d\zq g\ccu i\enotes +\smallnotesize\bigaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{di}\tqh0h\enotes +\temps\notes\soupir&|\qqbbH5higik\enotes +\autolines {17}35\relax +%\check +% mesure 67 +\normalnotesize +\barre\notes\hu G&\zqu N\qqbbl2Ndbd|\raise 7\Interligne\rlap{\vbox to 2\Interligne +{\vss\hbox{\moyen Allegro \bf(\metron{\qu}{70})}}}\relax + \doubler\rlap{\dql{-3}ig}\dqu{-5}ni\enotes +\temps\notes&\qqbbl{-2}bdNb|\ibu0i3\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\hu J&\zqu L\qqbbl2LcNc|\rlap{\ibl1h{-4}\qb1j\sk\tqb1e}\relax + \ibu0l{-4}\qh0l\sk\tqh0g\enotes +\temps\notes&\qqbbl{-2}NcLN|\ibu0h6\zql e\qh0g\sk\tqh0l\enotes +%\check +% mesure 68 +\barre\notes\hu F&\zqu M\qqbbl3Mcac|\rlap{\ibl1h{-3}\qb1h\sk\tqb1f}\relax + \ibu0j{-5}\qh0m\sk\tqh0h\enotes +\temps\notes&\qqbbl{-3}acMa|\ibu0h3\zql f\qh0h\sk\tqh0j\enotes +\temps\notes\hu I&\zqu K\qqbbl3KbMb|\rlap{\ibl1g{-3}\qb1i\sk\tqb1d}\relax + \ibu0k{-4}\qh0k\sk\tqh0f\enotes +\temps\notes&\qqbbl{-2}MbKM|\ibu0h5\zql d\qh0f\sk\tqh0i\enotes +%\check +% mesure 69 +\barre\notes\hu E&\zqu L\qqbbl2LbNb|\rlap{\ibl1g{-3}\qb1g\sk\tqb1e}\relax + \ibu0i{-5}\qh0l\sk\tqh0g\enotes +\temps\notes&\qqbbl{-2}NbLN|\ibu0h2\zql e\qh0g\sk\tqh0i\enotes +\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}hc}\dqh{-5}je\enotes +\temps\notes&\qqbbl{-2}LaJL|\doubler\zql c\dqu6eh\enotes +% mesure 70 +\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\rlap{\ibl1f{-3}\qb1{^f}\sk\tqb1d}\relax + \ibu0h{-5}\qh0k\sk\tqh0f\enotes +\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql d\qh0f\sk\tqh0h\enotes +\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\relax + \qqbbl2Ndad|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql i\qu k\enotes +%\check +% mesure 71 +\barre\notes\bigaccid\hu{=I}&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes +\temps\notes\hu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}ge}\dqu{-3}lj\enotes +\temps\notes&\qqbbl{-2}NcLN|\doubler\zql e\dqu4jl\enotes +%\check +% mesure 72 +\barre\notes\hu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\bigaccid\hu{_I}&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\fl i\dql{-3}ih}\dqu{-4}kj\enotes +\temps\notes&\qqbbl{-2}MbKM|\ibu0i4\zql f\qh0i\sk\tqh0k\enotes +%\check +% mesure 73 +\barre\notes\hu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}gg}\dqu{-3}li\enotes +\temps\notes&\qqbbl{-2}NbLN|\ibu0j2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-3}ji\enotes +\temps\notes&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes +% mesure 74 +\barre\notes\hu D&\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes +\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0j\enotes +%\check +\temps\notes\doubler\dqu{-2}G{^F}&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax +|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qu G&\rlap{\cu b}\qqbbl{-2}bdNb|\zq i\qu k\enotes +%\check +% mesure 75 +\barre\notes\qup G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\sk\cu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes +\temps\notes\doubler\dqu2JK&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\zql e\qu j\enotes +%\check +% mesure 76 +\barre\notes\qup F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\sk\cu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0m\enotes +\temps\notes\doubler\dqu2IJ&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\qu i\enotes +%\check +% mesure 77 +\barre\notes\qup E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}ge}\dqu{-3}lg\enotes +\temps\notes\sk\cu G&\qqbbl{-2}NbLN|\ibu0k2\zql e\qh0g\sk\tqh0l\enotes +\temps\notes\doubler\dqu2HI&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}he}\dqu{-3}jh\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes +% mesure 78 +\barre\notes\qup D&\zql K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes +\temps\notes\doubler\sk\sh F\cu F&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0k\enotes +\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax +|\doubler\rlap{\dql{-2}gf}\dqu{-2}ih\enotes +\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql g\qu g\enotes +%\check +% mesure 79 +\barre\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes +\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\zql g\doubler\dqu{-3}lj\enotes +%\check +% mesure 80 +\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes +%\check +% mesure 81 +\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes +\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes +% mesure 82 +\barre\notes\qu K&\qqbbl2KbNb|\doubler\rlap{\dql{-2}ih}\dqu{-2}kj\enotes +\temps\notes\qu L&\qqbbl{-2}NbLN|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qup K&\qqbbl6KNbd|\rlap{\cl g\sk + \raise -3\internote\dsoupir}\zqp i\qup k\enotes +\notes\sk\sk\dsoupir&|\ql g\sk\raise 3\internote\dsoupir\enotes +% mesure 83 +\barre\notes\qu J&\qqbbl7JLNc|\zq{gj}\ql l\enotes +\temps\NOtes\soupir&\cl e\dsoupir|\soupir\enotes +\temps\notes\qu H&\qqbbl7HJLa|\zq{eh}\ql j\enotes +\temps\NOtes\soupir&\cl c\dsoupir|\soupir\enotes +% mesure 84 +\barre\notes\qu K&\qqbbl7K{^M}ad|\bigaccid\rlap{\cl{^f}\sk +\raise-3\interligne\dsoupir}\zq{h}\qu k\enotes +\temps\NOTEs\soupir&\soupir|\zql f\raise 3\interligne\soupir\enotes +\temps\NOTEs\hpause&\hpause|\hpause\enotes +% mesure 85 +\troistemps\changecontext\NOtes\cu G&\zq{KNb}\cl d|\zq{gik}\cl n\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +\temps\NOtes\cu E&\zq{JLN}\cl c|\zq{egj}\cl l\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +\temps\NOtes\cu C&\zq{JL}\cl a|\zq{ceh}\cl j\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +% mesure 86 +\barre\NOTEs\qu D&\zq{K^M}\ql a|\zq{d^fh}\ql k\enotes +\temps\NOTEs\soupir&\soupir|\soupir\enotes +\cleftoksii={{0}{0}{0}{0}}\changeclefs +\temps\NOtes\zq D\cu K&\cu d|\cu k\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +\advance\barsinline by -1\relax +% mesure 87 +\barre\NOTES\zh N\hl G&\hu g|\hu n\enotes +\temps\NOTES\soupir&\soupir|\soupir\enotes +% +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject diff --git a/Master/texmf-dist/doc/generic/musictex/purcellx.tex b/Master/texmf-dist/doc/generic/musictex/purcellx.tex new file mode 100644 index 00000000000..2fc2789d0da --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/purcellx.tex @@ -0,0 +1,211 @@ +\fulltitle{Andante cantabile} +\title{Andante cantabile} +\author{Daniel PURCELL (1660--1717)\\transcription pour orgue Daniel TAUPIN} +\shortauthor{D. Purcell, D. Taupin} + \othermention{R\'ecit: fl\^utes 8', 4', nasard \sl(ad lib.)\\G.O.: +bourdon 8'\\P\'ed.: bourdon 16'+tirasse G.O.} + \maketitle + +\csname titremorceautoc\endcsname +% +\parindent 13mm +% +\tracingstats=2\relax +% +\def\nbinstruments{3} +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksiii={{0}{0}{0}{0}}% +\nbporteesi=1\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax +% +\signaturegenerale{-1}\relax +%\check +\def\instrumenti{P\'ed}% +\def\instrumentii{G.O.}% +\def\instrumentiii{R\'ecit}% +%\check +\def\gluemaxskip{7pt}% +% +\def\doubler{\multiply\noteskip by 2\relax}% +% +%\check +% +\generalmeter{\meterfrac 44}% +% +\debutmorceau +\autolines{19}34\relax +%\check +% +\hyphenpenalty -50\relax +\notes&&\zcharnote{w}{\kern -20mm\moyen Andante cantabile +\bf(\metron{\qu}{52})}\enotes +% +%\check +% +% mesure 1 +\NOTes\qlp M&\zhl a\zq{c}\qu f&\ust m\ql m\enotes +\temps\NOtes\sk\cl L&\zq{c}\qu f&\ust m\ql m\enotes +\temps\NOtes\Ibu0KH3\qh0{KJI}\tqh0H&\zhl c\zq{f}\qu h\sk\zq{f}\qu h\sk +&\ust m\ql m\sk\ql m\enotes +% mesure 2 +%\check +\barre\NOtes\ibu0I{-2}\qh0I\tqh0G&\zq f\zql d\qsk\zhu g&\ust n\ql n\enotes +\temps\NOtes\ibu0J0\qh0J&\zhl c\qu e&\ust n\ql n\enotes +\Notes\nbbu0\qh0I\tqh0J\enotes +\temps\Notes\qu H&\zq f\qu h&\ust o\ql o\cbreath\enotes +\temps\NOTes\qu F&\itenl0f\zq h\zql f\itenu1m\zqu m&\ql q\enotes +% mesure 3 +\barre\NOtes\qu G&\tten0\tten1\zq h\zql f\ibu1m{-2}\qh1m\tqh1k&\ql p\enotes +\temps\NOtes\qu H&\zhu j\ibl1f{1}\qb1f&\ust o\ql o\enotes +\Notes&\nbbl1\qb1g\tqb1h\enotes +\temps\NOtes\ibu0I0\qh0{IGH}\tqh0I&\qlp d\sk\ibu1i{-1}\qh1i\zcl f\tqh1h\relax +&\ibl2m{-2}\qb2{nmn}\tqb2k\enotes +% mesure 4 +\barre\autolines{15}44\relax +\NOtes\qu J&\zql e\qu g&\ibl2l{-2}\qb2l\tqb2j\enotes +\temps\NOtes\qu K&\rlap{\kern -0.4\internote\zhl f}\ibu1a{-2}\qh1a\tqh1M&\hl m\enotes +\temps\NOTes\qu I&\ql d\enotes +\temps\NOTes\qu J&\zql c\qu e&\ql l\enotes +% mesure 5 +\barre\Notes\qu F&\zq a\qu f&\ql m\cbreath\enotes +\temps\NOTes\soupir&\soupir&\ust q\ql q\enotes +\temps\NOTes\soupir&\soupir&\ust m\ql m\enotes +\temps\NOTes\ql d&\zql f\itenl0f\qu m&\itenu1p\ql p\enotes +% mesure 6 +\barre\NOTes\ql N&\tten0\zqu i\qlp f&\tten1\ql p\enotes +\temps\NOtes\ql a&\qu j\cl e&\itenu1o\ql o\enotes +\temps\NOtes\qlp b&\zhl d\qu k&\tten1\ibl1o0\qb1o\enotes +\Notes&&\nbbl1\qb1p\tqb1o\enotes +\temps\NOtes\sk\cl N&\itenu0g\qu g&\ibl1n{-1}\qb1n\tqb1m\enotes +% mesure 7 +\barre\NOtes\ql J&\tten0\zql e\qu g&\ibl1l{-3}\ust l\qb1l\enotes +\notes&&\cbreath\enotes +\NOtes&&\tqb1j\enotes +\temps\NOTes\qu H&\itenl1c\zql c\qu j&\hl q\enotes +\temps\NOtes\ql K&\tten1\ibl0d{-3}\zhu f\qb0c\tqb0a\enotes +\temps\NOTes\qu G&\na b\ql b&\ql{=p}\enotes +% mesure 8 +\barre +\autolines{26}24\relax +\NOtes\qu J&\zql c\qu e&\ibl1q{-4}\ust q\qb1q\tqb1n\enotes +\temps\NOtes\ql L&\zhu g\hlp c&\ibl1o0\qb1q\enotes +\notes&&\nbbl1\fl p\qbp1p\sk\tbbbl1\tqb1q\enotes +\temps\notes\ql M&&\ibbl1n0\qbp1o\sk\tbbbl1\tbbl1\qb1p\enotes +\notes&&\nbbl1\qbp1n\sk\tbbbl1\tqb1o\enotes +\temps\notes\qu H&\itenl2f\qu f&\ibbl1l0\qbp1m\sk\tbbbl1\tbbl1\qb1n\enotes +\notes&&\ibbl1j0\qbp1l\sk\tbbbl1\tqb1m\enotes +% mesure 9 +\barre\NOtes\ibl0I3\qb0I&\tten2\zq f\ibu1k0\qh1k&\upz l\cl k\enotes +\notes\nbbl0\qbp0a\sk\tbbbl0\tqb0b&\nbbu1\qhp1j\sk\tbbbu1\tqh1k&\ql r\enotes +\temps\notes +\ibbl0M0\qbp0N\sk\tbbbl0\tbbl0\qb0a\sh M\nbbl0\qbp0M\sk\tbbbl0\tqb0N\relax +&\ibbu0i0\qhp0i\sk\tbbbu0\tbbu0\qh0j\nbbu0\qhp0h\sk\tbbbu0\tqh0i\relax +&\sk\sk\sk\cl q\enotes +\temps\notes\ql L&\qu g\relax +&\ibbl0o0\qbp0p\sk\tbbbl0\tbbl0\qb0q\nbbl0\qbp0o\sk\tbbbl0\tqb0p\enotes +\temps\notes\ql K&\bigna f\zq f\qu i\relax +&\ibbl0m0\qbp0n\sk\tbbbl0\tbbl0\qb0o\nbbl0\qbp0m\sk\tbbbl0\tqb0n\enotes +% mesure 10 +\barre\autolines{24}24\relax +\NOtes\qu J&\rlap{\qup i}\ibl0d0\qb0e&\ibl1l1\ust l\qb1l\enotes +\notes&&\cbreath\enotes +\notes&\nbbl0\qbp0d\sk\tbbbl0\tqb0e&\qb1n\enotes +\NOTes\ql L&\itenl0c\ql c\cu j&\qb1q\tqb1n\enotes +\temps\NOtes\ql M&\zhup h\tten0\Ibl0ca1\qb0c&\ibl1l0\qb1o\enotes +\notes&&\cbreath\enotes +\NOTes&\tqb0a&\qb1m\enotes +\NOTes\qu I&\ql d&\qb1 k\enotes +\Notes&\Ibbu0gf1\qh0g\tqh0f&\tqb1p\enotes +% mesure 11 +\barre +\notes\Ibbu2JI3\qhp2J\sk\tbbbu2\tbbu2\qh2K\nbbu2\qhp2I\sk\tbbbu2\tqh2J\relax +&\zqu e\qlp c&\ibl1k0\qb1n\sk\rlap{\cbreath}\sk\qb1l\enotes +\NOTes\qu H&\itenu0f\qu f\cl M&\qb1j\tqb1m\enotes +\temps\NOTes\qu G&\tten0\rlap{\qlp b}\Ibu0fd3\qh0f&\Ibl1kp1\qb1l\enotes +\Notes&\nbbu0\qh0e\tqh0d&\tqb1p\enotes +\temps\NOTes\Ibu2JH1\qh2J\tqh2H&\qu e\cl c&\Ibl1po1\qb1p\tqb1o\enotes +% mesure 12 +\cleftoksii={{6}{0}{0}{0}}\changeclefs +\barre\autolines{20}24\relax +\NOtes\qup I&\zhl K\qu d&\Ibl1on1\qb1o\tqb1n\enotes +\temps\NOtes&\itenu1N\qu N&\Ibl1nm1\qb1n\enotes +\Notes\Ibbu2HI1\qh2H\tqh2{=I}&&\tqb1m\enotes +\temps\NOtes\qu J&\zql L\tten1\cu N\qu c&\Ibl1lq1\qb1l\tqb1q\enotes +\temps\NOtes\qu D&\ql M&\Ibl1qp1\qb1q\enotes +\NOtes&\itenu2b\cu{_b}&\tqb1p\enotes +% mesure 13 +\barre +\NOtes\Ibu2EF1\qh2E\tqh2F&\tten2\zql J\Ibu0ba1\qh0b\tqh0a&\Ibl0po1\qb0p\tqb0o\enotes +\cleftoksii={{0}{0}{0}{0}}\changeclefs +\temps\NOtes\ql M&\zq{cf}\qu a&\ibl0o0\qb0o\enotes +\Notes&&\nbbl0\qb0p\tqb0o\enotes +\temps\NOtes\ql L&\zq{eg}\qu j&\ibl0n0\qb0n\enotes +\Notes&&\nbbl0\qb0o\tqb0n\enotes +\temps\NOtes\ql K&\zq{fh}\qu k&\ibl0m0\qb0m\enotes +\Notes&&\nbbl0\qb0n\tqb0m\enotes +% mesure 14 +\barre\autolines{19}34\relax +\NOTes\hu J&\zhl e\qup h&\ql l\enotes +\notes&&\cbreath\enotes +\temps\NOtes&&\itenu0o\ql o\enotes +\temps\Notes&\Ibbu0ij1\bigna i\qh0i\tqh0j\enotes +\temps\NOTes\hu I&\zhu k\qlp d\cu{^f}\qu g\cl e&\tten0\ibl0k0\qb0{okn}\tqb0l\enotes +% mesure 15 +\barre\NOtes\qup H&\zq e\qu{^j}&\Ibl0jh1\ust j\qb0{^j}\ust h\tqb0h\enotes +\temps\NOtes&\zh f\itenl1k\zhl m\hup k&\qlp k\enotes +\temps\Notes\Ibbu0GH1\qh0G\tqh0H\enotes +\temps\NOtes\qup I\enotes +\temps\Notes&&\Ibbl0lm1\qb0l\tqb0m\enotes +\temps\Notes\sk\sk\Ibbu2HG1\qh2H\tqh2G\relax + &\zq g\itenu2l\ql l&\ibbl0m0\qb0{nom}\tqb0n\enotes +% mesure 16 +\barre +\NOtes\hu H&\tten2\zh h\zhu l\qsk\tten1\Ibl0ki1\qb0k\tqb0{=i}&\qlp l\enotes +\temps\NOtes&\ql{^j}&\sk\cl k\enotes +\temps\NOtes\qu D&\zq{fh}\qu k&\cl k\enotes +\notes&&\cbreath\enotes +\temps\NOtes\sk\soupir&\sk\soupir&\Ibl0lh2\qb0{lm}\tqb0h\enotes +% mesure 17 +\barre\autolines{17}34\relax +\NOtes\hl d&\fl i\zhl i\zq k\qu m&\Ibl1ik3\qb1i\enotes +\notes&&\cbreath\enotes +\NOtes&\sk\zh l\hu n&\qb1{mn}\tqb1k\enotes +\temps\NOtes\itenu1c\hl c&\hl h&\Ibl1ln3\qb1l\enotes +\notes&&\cbreath\enotes +\NOtes&\sk\Ibl0ol1\qb0o\tqb0l&\qb1{nq}\tqb1n\enotes +% mesure 18 +\barre\NOtes\tten1\ibl2M0\qb2{cMN}\tqb2a&\zhlp f\zqp k\qu m\sk\qu l\cl j\relax + &\Ibl1ol3\qb1{oqm}\tqb1o\enotes +\temps\NOtes\ql b&\zq k\qu k&\Ibl1kn1\qb1k\tqb1n\enotes +\temps\NOtes\ql b&\zq{ce}\qu g&\Ibl1lj2\qb1l\enotes +\Notes&&\nbbl1\qb1k\tqb1j\enotes +% mesure 19 +\barre\NOtes\ql a&\rlap{\qlp f}\Ibu0jm1\qh0j\tqh0m&\qlp m\enotes +\temps\NOtes\ql N&\itenu0i\qu i\enotes +\Notes&\cl d&\Ibbl1nm1\qb1n\tqb1m\enotes +\NOTes\ql J&\itenl1c\zh c\zhl e\tten0\qup i&\xTrille n{1.5\noteskip}\ql l\enotes +\temps\NOtes\qu C&\sk\cu h&\sk\cl m\enotes +% mesure 20 +\barre\autolines{16}34\relax +\NOTes\qu F&\tten1\zq{cf}\qu h&\ql m\enotes +\notes&&\cbreath\enotes +\temps\NOTes\qu H&\zq c\zql j\hu f&\ql q\enotes +\temps\NOtes\itenu2I\hu I&\zhl d\qu k&\Ibl1pm3\qb1p\qb1o\enotes +\NOtes&\itenl1g\qu g&\qb1n\tqb1m\enotes +% mesure 21 +\barre\NOtes\tten2\Ibu2IJ1\qh2I&\tten1\zhl c\zq e\qu g&\Ibl1lk1\qb1l\enotes +\Notes\tqh2J&&\nbbl1\qb1k\tqb1j\enotes +\temps\NOTes\qu H&\itenl1f\zq f\qu j&\qlp m\enotes +\temps\NOtes\Ibu2KI1\qh2K&\tten1\zql d\Ibu0fg1\qh0f\enotes +\Notes\tqh2I&\tqh0g&\Ibbl1nm1\qb1n\tqb1m\enotes +\temps\NOtes\qu J&\Ibl0cb1\zq e\zqu g\qb0c\tqb0b&\ql l\enotes +% mesure 22 +\barre\NOTes\pointdurgue F\wh F\relax +&\zhu f\zql c\qsk\qup a&\pointdorgue m\wh m\enotes +\temps\NOtes&\ql d\cu N\enotes +\temps\NOTES&\zh c\zh a\pointdorgue m\hu f\enotes +\finmorceau +\rightline{\sl\aujourdhui}\eject + diff --git a/Master/texmf-dist/doc/generic/musictex/racine.tex b/Master/texmf-dist/doc/generic/musictex/racine.tex new file mode 100644 index 00000000000..f547ba468e3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/racine.tex @@ -0,0 +1,590 @@ +% \input musixtex +\hsize 190mm \vsize 280mm +\hoffset -1.84cm + + +\fulltitle{Cantique de Jean Racine} +\shorttitle{Cantique de Jean Racine} +\shortauthor{G. Faur\'e} +\fullauthor{Gabriel Faur\'e\\Transcription Orgue Daniel Taupin} +\othermention{Gif~: 2.4/9.11.13/19.23/33.37.41/54/46.47.48.51} +\maketitle + +% +\parindent 14mm +\musicsize=20 + +\def\quatreinstruments{\def\nbinstruments{4}\relax +\nbporteesi=1\relax +\nbporteesii=2\relax +\nbporteesiii=1\relax +\nbporteesiv=1\relax +\cleftoksi{6000}\relax +\cleftoksii{6000}\relax +\cleftoksiii{6000}\relax +\cleftoksiv{0000}\relax +\def\staffspacingi{1.0}\def\interinstrumenti{0pt}\relax +\def\staffspacingii{1.0}\def\interinstrumentii{-2\Interligne}\relax +\def\staffspacingiii{0.64}\def\interinstrumentiii{0pt}\relax +\def\staffspacingiv{0.64}\def\interinstrumentiv{0pt}\relax +} + % +\def\sanspedale{\def\nbinstruments{3}\relax +\nbporteesi=2\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax +\cleftoksi{6000}\relax +\cleftoksii{6000}\relax +\cleftoksiii{0000}\relax +\def\staffspacingi{1.0}\def\interinstrumenti{-2\Interligne}\relax +\def\staffspacingii{0.64}\def\interinstrumentii{0pt}\relax +\def\staffspacingiii{0.64}\def\interinstrumentiii{0pt}\relax +} + % +\font\gros=\fonthdg\fonthdge bx12 scaled \magstep2 +\font\paroles=\fonthdg\fonthdge r8 + +%\paroles +% \line{G.O. ({\bf I}) : 8'+4', acc. Positif/R\'ecit\hss Gabriel Faur\'e} +% \line{Positif ({\bf II}) : 8'+4'+1 1/3, acc. R\'ecit\hss Transcription Orgue Daniel +%Taupin } +% \line{R\'ecit ({\bf III}) : 8'+4'\hss... } +% \line{P\'edale : 16'+8', acc. Positif\hss } + +\quatreinstruments +\normal +\def\instrumenti{Pdale} +\def\instrumentii{Manuel} +\def\instrumentiii{\vbox{\hbox{T\'enors}\hbox{Basses}}} +\def\instrumentiv{\vbox{\hbox{Sopran.}\hbox{Altos}}} +\generalmeter{\meterC}% +% +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2{\bigaccid\Ibl0{#1}{#2}1\qb0{#1}\varaccid\tqb0{#2}} +\def\dqh#1#2{\bigaccid\Ibu0{#1}{#2}1\qh0{#1}\varaccid\tqh0{#2}} +\def\sdqh{\ds\dqh} +\def\lsdqb{\raise-3\Internote\ds\dqb} +\def\sdqb{\ds\dqb} +\def\Tqb#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\varaccid\qb0{#2}\tqb0{#3}} +\def\tQb#1#2#3{\ibl0{#2}0\qb0{#1}\varaccid\qb0{#2}\tqb0{#3}} +\def\Tqh#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\varaccid\qh0{#2}\tqh0{#3}} +\def\tQh#1#2#3{\ibu0{#2}0\qh0{#1}\varaccid\qh0{#2}\tqh0{#3}} +\def\Sqh#1#2#3{\bigaccid\Tqh{#1}{#2}{#3}\Tqh} +\def\Sqb#1#2#3{\bigaccid\Tqb{#1}{#2}{#3}\Tqb} +\def\Qqh#1#2{\sdqh{#1}{#2}\Tqh} +\def\Qqb#1#2{\sdqb{#1}{#2}\Tqb} +\def\dnu#1#2{\bigaccid\qu{#1}\sk\sk\qu{#2}}% +\def\Dnu#1#2{\bigaccid\zq{!#1}\qu{!`#1}\sk\sk\zq{!`#2}\qu{!#2}}% +\def\dnb#1#2{\bigaccid\ql{#1}\sk\sk\ql{#2}}% +\def\Dnb#1#2{\bigaccid\zq{!#1}\ql{!`#1}\sk\sk\zq{!`#2}\ql{!#2}}% +\def\dnl{\dnb}\def\Dnl{\Dnb} +\def\Hu#1{\bigaccid\zh{!`#1}\hu{!#1}} +\def\Hl#1{\bigaccid\zh{!`#1}\hl{!#1}} +\def\hlu#1#2{\bigaccid\zhl{#1}\hu{#2}} +\def\huu#1#2{\bigaccid\zh{#1}\hu{#2}} +\def\hll#1#2{\bigaccid\zh{#1}\hl{#2}} +\def\qlu#1#2{\bigaccid\zql{#1}\qu{#2}} +\def\quu#1#2{\bigaccid\zq{#1}\qu{#2}} +\def\qll#1#2{\bigaccid\zq{#1}\ql{#2}} +\def\Pause{\sk\sk\sk\sk\sk\pause} +\def\Hpause{\sk\sk\hpause} +% +\def\zmid#1{\zcharnote{12}{\paroles #1}} +% +\staffbotmarg\Interligne + +\generalsignature{-5} +\def\nbinstruments{2}% +\debutmorceau +\autolines{14}{4}{4}% +%Takt 1 +\notes\zcharnote b{$\wedge$}\wh K&\uptext{\kern -1.5\Interligne + \bf II}\sdqb cd\Tqb fcd|\uptext{\moyen Andante}\Hpause\enotes +\temps\notes&\Tqb acd\sdqb cd|\sk\sk\sk\qu f\enotes +%Takt 2 +\barre\notes\hu F&\Sqb acdfda|\hu h\enotes +\temps\notes\hu H&\Qqb {=b}ceca|\hu g\enotes +%Takt 3 +\autolines{13}{4}{4}% +\barre\notes\hu K&\Qqb acdaM|\hup f\enotes +\temps\notes\hu J&\Sqb acdfda|\sk\sk\sk\qu h\enotes +%Takt 4 +\def\atnextline{\autolines{13}44}% +\barre\notes\qu I&\sdqb{=e}f|\qu k\enotes +\temps\notes\qu H&\sdqb fc|\qu j\enotes +\temps\notes\qu G&\sdqb cd|\qu i\enotes +\temps\notes\qu F&\sdqb da|\qu h\enotes +%Takt 5 +\barre\notes\hu H&\sdqb{=b}c|\qu h\enotes +\temps\notes &\Tqb eca|\qu g\enotes +\temps\notes\qu K&\sdqb{=N}a|\qu f\enotes +\temps\notes\qu F&\Tqb daM|\qu f\enotes +%Takt 6 +\barre\notes\hu G&\Qqb{=a}bdbL|\hu e\enotes +\temps\notes\hu H&\Qqb {=b}cec{_a}|\hu g\enotes +%Takt 7 +\barre\notes\dnu KJ&\Qqb{=N}adaM|\hu f\enotes +\temps\notes\dnu IH&\sdqb cd\sdqb da|\soupir\sk\sk\qu f\enotes +%Takt 8 +\barre\notes\hup G&\Qqb {=a}bdbL|\hu e\enotes +\temps\notes\sk\sk\sk\ql N&\Qqb{=b}cedc|\hu i\enotes +%Takt 9 +\barre\notes\dnb ML&\Qqb{=b}cfc{=a}|\hu{=h}\enotes +\temps\notes\dnb KJ&\sdqb ae\sdqb ea|\sk\sk\sk\qu f\enotes +%Takt 10 +\barre\notes\dnu IH&\sdqb{=e}f\sdqb fc|\dnu kj\enotes +\temps\notes\dnu GF&\sdqb cd\Tqb fd{_a}|\dnu i{_h}\enotes +%Takt 11 +\barre\notes\hu H&\Qqb{=b}ceca|\dnu hg\enotes +\temps\notes\dnu DF&\Qqb{=N}adad|\dnu fh\enotes +%Takt 12 +\advance\linesinpage by -1\relax + % +\barre\notes\hu G&\Qqb{=a}bdb{_N}|\hu f\enotes +\temps\notes\hu H&\Qqb N{_a}caN|\hu e\enotes +\def\atnextline{\sanspedale\def\nbinstruments{2}\savemeters}% + % +%Takt 13 +\barre\notes\zcharnote B{\kern -2\Interligne\rm(Pd.)}\zhl K\relax + \raise 2\Interligne\sdqb Ma\sdqb aM|\cu d\sk\ds\itenl1d\qu d&\Hpause\enotes +\temps\notes\cl a\sk\ds|\tten1\Tqh dcd&\soupir\enotes +\temps\notes\zcharnote C{\bf I \rm(G.O.)}\soupir|\Tqh fda&\relax + \zmid{Verbe -}\clp M\sk\ccl M\enotes +%Takt 14 +\barre\notes\hu F|\Qqh cdfda&\zmid{gal}\hl a\enotes +\temps\notes\hu H|\Qqh {=b}ceca&\zmid{au}\qlp N\sk\sk\sk\zmid{Trs-}\sk\cl N\enotes +%Takt 15 +\barre\notes\hu K|\Qqh acdaM&\zmid{Haut}\hlp M\enotes +\temps\notes\hu J|\Sqh acdfda&\sk\sk\sk\zmid{notre}\qll Ma\enotes +%Takt 16 +\barre\notes\qu I|\sdqh{=e}f&\zmid{u-}\qll Md\enotes +\temps\notes\qu H|\sdqh fc&\zmid{ni-}\zq M\ql c\enotes +\temps\notes\qu G|\sdqh cd&\zmid{que es-}\zq K\ql b\enotes +\temps\notes\qu F|\sdqh da&\zmid{p\'e}\zq a\ql a\enotes + %\check +%Takt 17 +\def\atnextline{\sanspedale\def\nbinstruments{3}\savemeters}% +\barre\notes\hu H|\Qqh aceca&\zmid{ran-}\zql a\hu c\sk\sk\ql N&\Pause\enotes +\temps\notes\dnu DF|\Qqh acdaM&\zmid{ce}\zq M\ql d\sk\sk\zmid{Jour}\zq M\ql d\enotes + %\check +%Takt 18 +\barre\notes\hu G|\Qqh bdedb&\zmid{\'e-}\zh L\hl d&\Pause\enotes +\temps\notes\hu H|\Qqh NcecN&\zmid{ter-}\zh N\hl c\enotes + %\check +%Takt 19 +\barre\notes\wh I|\Qqh MbdbM&\zmid{nel}\zh M\hl d&\Hpause\enotes +\temps\notes|\Sqh bcdfdb&\zmid{de}\zq M\ql d\sk\sk + \zmid{la}\zq M\ql d&\soupir\sk\sk\zmid{De}\qu f\enotes + %\check +%Takt 20 +\barre\notes\wh H|\Qqh cdfda&\zmid{terre}\hll Md&\zmid{la}\qu h\sk\sk + \zmid{pai-}\qu h\enotes +\temps\notes|\Qqh NdedN&\zmid{et}\zq L\ql d\sk\sk + \zmid{des}\zq M\ql c&\zmid{si-}\qu g\sk\sk + \zmid{ble}\qu g\enotes + %\check +%Takt 21 +\barre\notes\hu K|\Qqh MadaM&\zmid{cieux,}\zh K\hlp d&\zmid{nuit,}\hup f\enotes +\temps\notes\hu J|\Sqh acdfda&\hl J\sk\sk\zmid{nous}\qu a&\sk\sk\sk + \zq f\qu h\enotes + %\check +%Takt 22 +\barre\notes\dnu IH|\sdqh{=e}f\sdqh fc&\zmid{rom-}\qll Ib\sk\sk + \zmid{pons}\qll Hd&\quu fk\sk\sk\quu fj\enotes +\temps\notes\dnu {=G}J|\sdqh bf\sdqh eb&\zmid{le}\qll {=G}d\sk\sk + \zmid{si-}\qll Jc&\quu fi\sk\sk\quu {=e}j\enotes + %\check +%Takt 23 +\barre\notes\hup F|\Qqh {=N}c{=e}cN&\zmid{len-}\hll Fc&\huu {=e}i\enotes +\temps\notes\sk\sk\sk\qu J|\Sqh acfh{_e}c&\zmid{ce,}\qll Mc\sk\sk + \zmid{Di-}\qll Je&\quu fh\sk\sk\quu hj\enotes + %\check +%Takt 24 +\barre\notes\hu K|\Qqh bfhfb&\zmid{vin}\hll Kf&\zhu i\qsk\hl h\enotes +\temps\notes\hu L|\Qqh bd{=g}db&\zmid{Sau-}\hll Lb&\zh{=g}\hu k\enotes + %\check +%Takt 25 +\barre\notes\Dnu a{=N}|\sdqh ce\ds\rq c\dqh b{=e}\relax + &\zmid{veur,}\qll aa\sk\sk\qll{=N}b&\zhup j\dnb e{=e}\enotes +\temps\notes\Dnu ML|\ds\zq a\dqh cf\ds\zq{=a}\dqh c{_g}&\relax +\qll Ma\sk\sk\zmid{jet-}\qll L{=a}&\ql f\sk\sk\quu{_g}j\enotes + %\check +%Takt 26 +\barre\notes\Hu K|\Qqh bdfdb&\zmid{te}\zh K\hlp b\sk\sk\zmid{sur}\relax + &\zhl f\qu i\sk\sk\qu i\enotes +\temps\notes\Hu L|\Qqh bd{=g}db&\hl L\sk\sk\qu b&\zhl{=g}\qu k\sk\sk\qu k\enotes + %\check +%Takt 27 +\barre\notes\Hu{=L}|\Qqh c{=g}igc&\zmid{yeux,}\hll {=L}b&\zhl{=g}\hup j\enotes +\temps\notes\zq F\dnu MH|\Qqh ch{_g}ca&\quu Ma\sk\sk\zmid{Di-}\qll ac\relax + &\ql h\sk\sk\lfl g\zqu h\qsk\ql g\enotes + %\check +%Takt 28 +\barre\notes\Dnu KM|\sdqh fk\zq{=h}\Tqh jfe&\zmid{vin}\qll Kd\sk\sk\quu M{=a}\relax + &\Ilegu1q\zhl f\qu m\sk\sk\qu j\sk\tleg1\enotes +\temps\notes\Dnu ba|\Qqh di{_j}f{=d}&\zmid{Sau-}\qll bb\sk\sk\quu a{=d}&\relax + \Ilegu1q\quu fk\sk\sk\quu {_j}m\sk\tleg1\enotes + %\check +%Takt 29 +\barre\notes\Dnu{=N}{=L}|\Qqh ei{=g}{_d}i&\zmid{veur}\qll {=N}e\sk\sk + \zmid{jet-}\qll {=L}b&\quu il\sk\sk\quu {=g}k\enotes +\temps\notes\Dnu{M}{=K}|\Qqh chfca&\zmid{te}\qll Ma\sk\sk + \zmid{sur}\qll {=K}a&\quu hj\sk\sk\quu fj\enotes + %\check +%Takt 30 +\barre\notes\zh E\hu L|\Qqh c{=g}ec{=N}&\zmid{nous}\hll L{=N}&\huu ej\enotes +\temps\notes\hu E|\Qqh dgedN&\zmid{les}\hll LN&\huu di\enotes + %\check +%Takt 31 +\barre\notes\hu H|\Qqh cehec&\zmid{yeux !}\hll Ha&\huu ch\enotes +\temps\notes\Hpause|\Tqh e{=g}h\zqu j\Tqb jgh&\Hpause + &\Hpause\enotes + %\check +%Takt 32 +\barre\notes\hu J|\zhu l\Qqb{=g}hjgh&\Pause&\Pause\enotes +\temps\notes\hu L|\zhu k\raise -\interligne\ds\dqb{^f}g\Tqb ifg\enotes +\def\atnextline{\sanspedale\def\nbinstruments{1}}% + %\check +%Takt 33 +\advance\linesinpage by -1\relax + % +\barre\notes\hl a|\zhup j\raise -\interligne\ds\dqb e{=g}\Tqb hec\enotes +\temps\notes\hl{=N}|\Tqb egh\zqu l\sdqb jh\enotes + %\check +%Takt 34 +\barre\notes\dnb ML|\bigaccid\zqu o\sdqb{=i}j\bigaccid\zqu{=n}\sdqb kj\enotes +\temps\notes\dnb KJ|\bigaccid\zqu m\sdqb{=g}h\zqu l\sdqb ih\enotes + %\check +%Takt 35 +\barre\notes\dnu IL|\zqu l\sdqb fh\zqu k\raise -\Interligne\ds\dqb e{=g}\enotes +\temps\notes\dnu HJ|\zqu j\raise -2\Interligne\ds\dqb eg\zqu j\Tqb heh\enotes + %\check +%Takt 36 +\barre\notes\hl K|\zhu i\raise -2\Interligne\ds\dqb fh\Tqb dfh\enotes +\temps\notes\hl L|\zhu k\raise -2\Interligne\ds\dqb e{=g}\Tqb ieg\enotes + %\check +\def\atnextline{\quatreinstruments\savemeters}% + %\check +%Takt 37 +\barre\notes&\hl{=L}|\zhu j\raise -2\Interligne\ds\dqb {=g}i\Tqb {=e}gi&\Pause + &\Pause\enotes +\temps\notes\soupir\sk\sk\qu J&\dnb Mc|\Sqh cfhjeh\enotes + %\check +%Takt 38 +\barre\notes\hl K&\hl b|\Qqh fhifh&\Pause&\Pause\enotes +\temps\notes\hl L&\hl d|\Qqh e{=g}ieg\enotes + %\check +%Takt 39 +\barre\notes\wh H&\hlp c|\Qqh e{=g}hec&\Hpause&\Hpause\enotes +\temps\notes&\uptext{\bf II}\sk\sk\sk\soupir|\Sqh eghjhe&\soupir\sk\sk + \zmid{R\'e-}\qll Ha&\soupir\sk\sk\quu ej\enotes + \ifx\mxversion\undefined\hskip -\Interligne\fi % only with MusiCTeX, not MusiX +\cleftoksii{0000}\changeclefs + %\check +%Takt 40 +\barre\notes\hu H&\Qqh eecee|\zh h\hu j&\zmid{pands}\hll Ha&\huu ej\enotes +\temps\notes\hu I&\Qqh ddbdd|\zh f\hu i&\zmid{sur}\hll IM&\huu di\enotes + %\check +%Takt 41 +\barre\notes\wh J&\Qqh cc{=N}cc|\lna e\zq e\qu{=g}\sk\sk\qu e&\relax + \zmid{nous}\qll J{=L}\sk\sk + \zmid{le}\qll Jc&\quu c{=g}\sk\sk\zq c\qu {=e}\enotes +\temps\notes&\Qqh ccbcc|\zq{=d}\qu f\sk\sk\zq e\qu g&\zmid{feu}\qll +Jb\sk\sk\zmid{de la}\zq J\cl b\sk\zq J\cl b&\zq {=d}\qu f\sk + \sk\zq{=e}\cu h\sk\zq e\cu h\enotes + %\check +%Takt 42 +\barre\notes\wh M&\sdqh cc\sdqh cc|\zq f\qu h\sk\sk\zq f\qu h&\zmid{gr-}\zhl +M\qu a\sk\sk\ql f&\huu fh\enotes +\temps\notes&\Qqh ffeff|\zq{=g}\qu i\sk\sk\zq{=h}\qu j&\zmid{ce}\qll Mf\sk\sk + \zmid{puis-}\qll Me&\zq {=g}\qu i\sk\sk\zq {=h}\qu j\enotes + %\check +%Takt 43 +\barre\notes\wh I&\Qqh ffeff|\zh{=h}\hu j&\zmid{gr\^a}\hll Ie&\zh h\hu j\enotes +\temps\notes&\Qqh ffiff|\zq i\qu k\sk\sk\zcharnote{n}{\bf I\rm(G.O.)}\soupir + &\zmid{te,}\qll Id\sk\sk\zmid{que}\qll bf&\zq i\qu k\sk\sk\zq i\qu k\enotes + %\check +%Takt 44 +\barre\notes\hl b&\Qqh ffdff|\zh i\hu k&\zmid{tout}\hll bf&\huu ik\enotes +\temps\notes\hl L&\Qqh eecee|\zh{_g}\hu j&\zmid{l'en-}\hll Le&\zh{_g}\hu j\enotes + %\check +%Takt 45 +\barre\notes\wh M&\Qqh ccfcc|\zh f\hu{=h}&\zmid{fer,}\qll Mc\sk\sk + \zmid{que}\qll Mf&\quu f{=h}\sk\sk\quu fh\enotes +\temps\notes&\Qqh ffeff|\zq{=g}\qu i\sk\sk\zq h\qu j&\zmid{tout}\qll {=N}f\sk\sk + \zmid{l'en-}\qll {=a}e&\quu fi\sk\sk\quu fj\enotes + %\check +%Takt 46 +\barre\notes\wh b&\Qqh ffiff|\zh i\hl k&\zmid{fer}\qll bd\sk\sk + \zmid{fuie}\ql b&\quu fk\sk\sk\quu ik\enotes +\temps\notes&\Qqh iihii|\zq j\ql l\sk\sk\zq{=k}\ql m&\zmid{au}\lq c\ql b\sk\sk + \zmid{son}\qll b{=d}&\quu il\sk\sk\qll hm\enotes + %\check +%Takt 47 +\barre\notes\wh L&\Qqb iihii|\zh{=k}\hl m\zcharnote m{\bf II \rm(Pos.)}\relax + &\zmid{de}\zqp L\qlp{=d}\sk\sk\sk\zmid{ta}\relax + \zq L\cl d&\zhp h\hup m\sk\sk\sk\zq g\cu n\enotes +\temps\notes&\sdqb ig\Tqb ebe|\zq l\cl n\sk\ds\sk\soupir&\zmid{voix}\qll Le\sk + \sk\soupir&\quu gn\sk\sk\zmid{Dis-}\quu in\enotes +\cleftoksii{6000}\changeclefs + %\check +%Takt 48 +\barre\notes\itenl0F\wh F&\Hpause|\sdqh{c}f\zql g\Tqh geb&\soupir\sk\sk + \zmid{Dis-}\qll bg&\Ilegu1o\zmid{si}\quu {=h}m\sk\sk\quu ej\tleg1\enotes +\temps\notes&\soupir\sk\sk\ql N|\zql f\Tqh fc{=h}\zql i\Tqh iec&\relax + \zmid{si-}\qll{=a}f\sk\sk\zmid{pe}\qll{N}e&\zq e\hu j\sk\sk\qu i\enotes +\def\atnextline{\sanspedale\savemeters}% + %\check +%Takt 49 +\barre\notes\tten0\zhl F\zhlp M\qsk\zcharnote D{\it(Ped.)}\relax + |\zhu h\raise -3\Interligne\ds\dqb ce\tQb fce\relax + &\zmid{le}\qll Me\sk\sk\zmid{som-}\zql M\noteskip=1.5\noteskip\dqh dc\relax + &\zq j\zqu{=h}\noteskip=1.5\noteskip\sk\sk\zql h\dqh kl\enotes +\temps\notes\ql I\sk\sk\soupir|\Sqh idfifd&\zmid{meil}\qll Id\sk\sk\soupir + &\quu ik\sk\sk\zmid{d'une}\quu fk\enotes + %\check +%Takt 50 +\barre\notes\itenl1J\wh J\sk\sk\ql d|\sdqh{=e}{=g}\zql f\Tqh fgi&\soupir + \sk\sk\zmid{lan-}\qll Md&\zmid{\^a-}\quu{=e}j\sk\sk\zmid{me}\quu d{=g}\enotes +\temps\notes\ql c\sk\sk\itenu2b\ql b|\bigaccid\zql{=e}\Tqh egi\ds\zq d\dqh fg\relax + &\qll{=L}c\sk\sk\zmid{guis-}\qll{_K}b&\zmid{lan-}\quu bg\sk\sk\rq g\qu f\enotes + %\check +%Takt 51 +\barre\notes\tten1\zhl J\tten2\ql b\sk\sk\noteskip=1.5\noteskip\dqh{=a}{=N}\relax + |\ds\zq c\dqh{=e}{=g}\Tqh{=h}ei&\zmid{san-}\zhl J\ql b\sk\sk\noteskip + =1.5\noteskip\dqb {=a}{=N}&\zhl{=e}\qu{=g}\sk\sk\noteskip=1.5\noteskip + \dqh{=h}i\enotes +\temps\notes\zcl M\cu a\sk\ds\zq F\qu M|\Qqh cfhfc&\zmid{te,}\qll Fa\sk + \sk\zmid{qui}\ql M&\quu fh\sk\sk\soupir\enotes + %\check +%Takt 52 +\barre\notes\Hu b|\Qqh dfifd&\hl b\sk + \zmid{qui}\sk\qu b&\hpause\enotes +\temps\notes\Hu{_a}|\Qqh cfjfc&\zmid{la}\zhl a\ql f\sk + \sk\zmid{con-}\ql f&\soupir\sk\sk\qu f\enotes + %\check +%Takt 53 +\barre\notes\Hu N|\Qqh fiebe&\zmid{duit}\zhl N\ql f\sk\sk\ql e\relax + &\hlp i\sk\sk\qu i\enotes +\temps\notes\Dnu MK|\Qqh dfifb&\zmid{\`a}\qll Md\sk\sk\zmid{l'ou-}\qll Kf\relax + &\qu m\sk\sk\qlu ii\enotes + %\check +%Takt 54 +\barre\notes\Hu L|\Qqh cgigc&\zmid{bli}\hll Lb&\rq j\qu i\sk\sk\noteskip + =1.5\noteskip\rq j\cu i\rq j\cu i\enotes +\temps\notes\Hu M|\Qqh ce{=h}ec&\zmid{ de}\zql M\noteskip=1.5\noteskip + \dqh fe\zmid{tes}\dqh dc&\quu {=h}j\sk\sk\noteskip=1.5\noteskip + \zq h\cu k\zq h\cu l\enotes + %\check +%Takt 55 +\barre\notes\Hu N|\Qqh d{=h}igd&\zmid{lois,}\zhl N\ql c\sk\sk\ql b\relax + &\quu{=h}l\sk\sk\quu ik\enotes +\temps\notes\zmidtwotext{\kern -2\Interligne\bf I \rm(G.O.)}\Dnu ML|\relax + \Qqh df{=h}fc&\soupir\sk\sk\ql M&\Hpause\enotes + %\check +%Takt 56 +\barre\notes\Hu K\zcharnote I{(+Pd.)}|\sdqh bf\itenu1i\zqu i\Tqb ifb&\hl b\sk + \zmid{qui}\sk\qu b&\hpause\enotes +\temps\notes\Hu J\zcharnote I{(+Pd.)}|\tten1\zqu i\raise -2\Interligne\ds + \dqb bf\zqu {_h}\qsk + \Tqb ifb&\zmid{la}\qll bf\sk\sk\zmid{con-}\qll af&\soupir\sk\sk\qu f\enotes + \def\atnextline{\quatreinstruments}% + %\check +%Takt 57 +\barre\notes\wh I&\hu I|\zhu g\raise -5\Internote\ds\dqb bf\Tqb ifb\relax + &\zmid{duit}\zhl N\ql f\sk\sk\ql e&\hlp i\sk\sk\qu i\enotes +\temps\notes&\Hl b|\zqu f\raise -6\Internote\ds\dqb df\zqu i\Tqb ifd\relax + &\zmid{\`a}\qll Md\sk\sk\zmid{l'ou-}\qll bd&\qu m\sk\sk\quu fk\enotes + %\check +%Takt 58 +\barre\notes\hu H&\Hl a|\itenu1j\zh h\zhu j\raise -3\Interligne\ds + \dqb ce\Tqb ece&\zmid{bli}\hll ac&\quu hl\sk\sk\noteskip=1.5\noteskip + \zq h\cu l\zq h\cu l\enotes +\temps\notes\hu G&\Hl N|\tten1\rh i\zhu j\raise -3\Interligne\ds + \dqb ce\Tqb ece&\zmid{de}\qll Nb\sk\sk\zmid{tes}\qll Nb&\quu il\sk\sk + \noteskip=1.5\noteskip\zq i\cu k\zq i\cu l\enotes + %\check +%Takt 59 +\barre\notes\hu F&\zw F\wh M|\zq{=h}\zqu j\raise -3\Interligne\ds + \dqb c{=e}\Tqb fc{=a}&\zmid{lois !}\zhp M\hl c&\huu {=h}m\enotes +\temps\notes\Hpause&\zmidtwotext{\bf II \rm(Pos.)}|\Sqh cefhfc&\sk + \sk\sk\zmid{\^O}\ql M&\Hpause\enotes +\def\atnextline{\sanspedale}% + %\check +%Takt 60 +\barre\notes\Pause + &\hu F|\Qqh cdfd{_a}&\zmid{Christ sois}\dnb aa&\Pause\enotes +\temps\notes&\hu H|\Qqh {=b}c{_e}ca&\zmid{fa-\ \ \ \ vo-}\dnb NN\enotes + %\check +%Takt 61 +\barre\notes\hu K|\Qqh acdaM&\zmid{ra-}\hl M&\Pause\enotes +\temps\notes\hu J|\Sqh acdfda&\zmid{ble \`a}\ql M\sk\sk\zmid{\ ce}\zql M\cu +a\sk\cu a\enotes + %\check +%Takt 62 +\barre\notes\dnu IH|\sdqh{=e}f\sdqh fc&\zmid{peu-}\zhl M\qu d\sk + \sk\qu c&\Pause\enotes +\temps\notes\qu G|\sdqh cd&\zmid{ple}\qll Kb\enotes +\temps\notes\qu F|\sdqh da&\zmid{fi-}\qll aa\enotes + %\check +%Takt 63 +\barre\notes\hu H|\sdqh ac\Tqh eca&\relax + \Ilegl1F\zmid{d\`e-}\zql a\hu c\sk\sk\ql N\tleg1&\Pause\enotes +\temps\notes\qu D|\sdqh ac&\zmid{le}\qll Md&\enotes +\temps\notes\qu F|\Tqh daM&\zmid{pour}\qll Md\sk\sk\enotes + %\check +%Takt 64 +\barre\notes\hu G|\Qqb bdedb&\zmid{te}\hll Ld&\Pause\enotes +\temps\notes\hu H|\Qqb NcecN&\zmid{b\'e-}\hll Nc\enotes + %\check +%Takt 65 +\barre\notes\wh I|\Qqh MbdbM&\zmid{nir}\hll Md&\Hpause\enotes +\temps\notes|\Sqh bcdfdb&\zmid{main-}\qll Md\sk\sk\zmid{te-}\qll Md&\relax + \soupir\sk\sk\zmid{Re-}\qu f\enotes +%Takt 66 +\barre\notes\wh H|\zh f\zhu h\raise -4\Interligne\ds\dqb ac\Tqb dad&\relax + \zmid{nant}\hll Md&\zmid{\c cois}\ql h\sk\sk\zmid{\c les}\ql h\enotes +\temps\notes|\zh e\zhu g\raise -4\Interligne\ds\dqb ac\Tqb dad&\relax + \zmid{ras-}\qll Ld\sk\sk\zmid{sem-}\qll Lc&\zmid{chants}\ql g\sk\sk + \zmid{qu'il}\ql g\enotes + %\check +%Takt 67 +\barre\notes\zql D\sdqh ac\zql H\Tqh daM|\zh d\zhu f&\relax + \zmid{bl\'e,}\zw d\ql K\sk\sk\qu H&\zmid{of-}\hu f\enotes +\temps\notes\dnb KJ|\Sqh adfhfd&\ql K\sk\sk\ql J&\zmid{re}\hl f\sk + \sk\zmid{Re-}\qu h\enotes + %\check +%Takt 68 +\barre\notes\wh I|\sdqh ad\zqu h\Tqb fda&\zmid{chants}\zhl I\raise\Interligne + \soupir\sk\sk + \qu a&\zmid{\c cois}\zhlp f\qu k\sk\sk\zmid{les}\qu j\enotes +\temps\notes|\zqu k\Tqb fdf\zqu j\Tqb hfd&\zmid{qu'il}\zhl I\ql d\sk\sk\ql c&\relax + \zmid{chants}\qu i\sk\sk\zmid{qu'il}\quu fh\enotes + %\check +%Takt 69 +\barre\notes\qsk\dnu LI|\zhu i\qsk\tQb hbe\Tqb heb&\zmid{offre}\zql L\hu b\sk + \sk\zmid{\`a}\ql I&\zmid{of-}\zh e\hu h\enotes +\temps\notes\dnu LK|\zqu i\Sqb gbegeb&\zmid{ta}\zql L\hu b\sk\sk + \zmid{gloi-}\ql K&\zmid{fre,}\zq e\qu g\sk\sk\zmid{}\qu i\enotes + %\check +%Takt 70 +\barre\notes\zmidtwotext{\kern -\Interligne\bf I \rm(G.O.)}\wh J|\sdqb be\zqu i\Tqb geb\relax + &\zmid{ta}\zhl J\raise\Interligne\soupir\sk\sk\zmid{gloire}\qu b\relax + &\zhlp g\qu l\sk\sk\qu k\enotes +\temps\notes|\zqu l\Tqb geg\zqu k\Tqb ige&\zmid{im-}\zhl J\ql e\sk\sk + \zmid{mor-}\ql d&\qu j\sk\sk\quu gi\enotes + %\check +%Takt 71 +\barre\notes\qsk\Dnl MJ|\zhu j\qsk\tQb icf\Tqb ifc&\zmid{tel-}\zql M\hl c\sk\sk + \ql J&\zh f\hu i\enotes +\temps\notes\Dnl ML|\zqu j\tQb hcf\itenu1h\zqu h\qsk\Tqb gca&\zmid{le,}\relax + \qll Mc\sk\sk\zmid{et}\qll Lc&\zq f\qu h\sk\sk\rq h\qu g\enotes + %\check +%Takt 72 +\barre\notes\Dnl KM|\tten1\zqu h\tQb fdf\zqu{=h}\tQb ece&\zmid{de}\qll Kd\sk\sk + \qll M{=a}&\zhl f\qu m\sk\sk\qu j\enotes +\temps\notes\Dnl ba|\zqu i\Tqb dfd\zqu{_j}\tQb f{=d}f&\zmid{tex}\ql b\sk\sk + \qll {_a}{=d}&\zq f\qu k\sk\sk\zq{j}\qu m\enotes + %\check +%Takt 73 +\barre\notes\Dnl{=N}{=L}|\zqu i\tQb ebe\zqu{=g}\tQb{_d}bd&\zmid{dons}\qll {=N}e\sk + \sk\qll{=L}b&\zq i\qu l\sk\sk\zq{=g}\qu k\enotes +\temps\notes\Dnl M{=K}|\zqu h\tQb cac\zq h\zqu j\tQb fcf&\zmid{qu'il}\qll Ma\sk + \sk\qll{=K}a&\quu hj\sk\sk\quu fj\enotes + %\check +%Takt 74 +\barre\notes\zh E\hu L|\zh{=g}\zhu j\tQb ece\tQb ece&\zmid{tour-}\hll L{=N}\relax + &\huu ej\enotes +\temps\notes\zh{_D}\hu{_K}|\zh g\zhu i\raise -3\Interligne\ds + \dqb be\Tqb ebe&\zmid{ne}\zqp{_K}\qlp N\sk\sk\sk\zmid{com-}\zq K\cl N&\zqp e\qup i\sk + \sk\sk\zq e\cu i\enotes + %\check +%Takt 75 +\barre\notes\Hu J|\zhu h\raise -3\Interligne\ds\dqb ae\tQb eae\relax + &\hll Ja&\zh e\hup h\enotes +\temps\notes|\zcharnote n{\bf II}\sk\enotes +\temps\notes\hu K|\zhu{_j}\tQb fdf\Tqb hfd&\zmid{Et}\hll K{_c}&\hu f\sk + \sk\ql h\enotes + %\check +%Takt 76 +\barre\notes\dnu GI|\zqu i\raise -3\Interligne\ds\dqb dg\zqu h\relax + \raise -3\Interligne\ds\dqb {=d}f&\zmid{de}\qll Gd\sk\sk\qll Ia&\zq d\qu i\sk + \sk\zq{=d}\qu f\enotes +\temps\notes\dnb L{_K}|\zqu{_g}\raise -3\Interligne\ds + \dqb be\zq{=g}\zqu i\tQb gb{=e}&\zmid{tes}\qll LN\sk\sk\qll K{=N}&\relax + \zq d\qu g\sk\sk\zq{=f}\qu i\enotes + %\check +%Takt 77 +\def\atnextline{\quatreinstruments\savemeters}% + % +\barre\notes\Pause&\dnu JG|\zqu h\raise -3\Interligne\ds + \dqb a{_e}\zqu j\tQb {=h}eh&\zmid{dons}\qll Ja\sk\sk\qll Nc&\quu eh\sk\sk + \dfl i\quu il\enotes +\temps\notes\Pause&\dnu F{=G}\relax + |\zqu k\tQb {_h}fh\raise 2\Interligne\rlap{\ds}\Tqh bdb&\zmid{qu'il}\relax + \qll Md\sk\sk\zmid{re-}\qll {=N}b&\zq h\qu k\sk\sk\zq d\qu f\enotes + %\check +%Takt 78 +\barre\notes&\wh H|\Qqh acfca&\zmid{tour-}\hll aa&\zh c\hu h\enotes +\temps\notes&|\Qqh NcecN&\zmid{ne}\zqp H\qlp{_N}\sk\sk\sk + \zmid{com-}\zq H\cl N&\zqp c\qup e\sk\sk\sk\cu d\enotes + %\check + %Takt 79 +\barre\notes\zcharnote b{$\wedge$}\hl K&\zmidtwotext{\bf III + \rm(r\'ecit)}\sdqb Ma\Tqb daM|\sk\hpause&\zmid{bl\'e !}\zhp K\hlp M\relax + &\hup d\enotes +\temps\notes\hpause&\Tqb acd\sdqb da|\soupir\sk\sk\qu f&\sk\sk\sk\soupir + &\sk\sk\sk\soupir \enotes + %\check + %Takt 80 +\barre\notes\hu F&\Qqb cdfda|\hu h&\Pause&\Pause\enotes +\temps\notes\hu G&\Qqb {=a}bdbN|\hu g\enotes + %\check + %Takt 81 +\barre\notes\itenl1H\wh H&\Qqb {=N}adaM|\hup f&\Hpause&\Hpause\enotes +\temps\notes&\Sqb acdfda|\sk\sk\sk\soupir&\soupir\sk\sk +\zmid{Et}\qll Ha&\soupir\sk\sk\zq d\qu f\enotes + %\check + %Takt 82 +\barre\notes\tten1\wh H&\Qqb NdedN|&\zmid{de}\zhl H\dnu NM&\zhu e\qsk\hl d\enotes +\temps\notes&\Qqb NcecN|&\zmid{tes}\hll HL&\huu cg\enotes + %\check + %Takt 83 +\barre\notes\wh K&\Qqb MadaM|&\zmid{dons}\zhp K\hlp M&\zhp d\hup f\enotes +\temps\notes&\Tqb acd\sdqb da|\soupir\sk\sk\qu f&\sk\sk\sk\soupir + &\sk\sk\sk\soupir\enotes + %\check + %Takt 84 +\barre\notes\hu{=H}&|\zqu k\Tqb efe\zqu j\Tqb fef&\Pause&\Pause\enotes +\temps\notes\dnu IJ&|\zqu i\Tqb dfd\zqu h\tQb fcf&\enotes + %\check + %Takt 85 +\barre\notes\dnu KL&|\zqu h\Tqb cfc\zqu g\tQb ebe&\Hpause&\Hpause\enotes +\temps\notes\dnu MF&\Sqb {=a}cMd{_a}M|\qu f\sk\sk\soupir + &\zmid{qu'il}\qll F{=a}\sk\sk + \zmid{re-}\qll F{_a}&\zq c\qu f\sk\sk\zq d\qu {_h}\enotes + %\check + %Takt 86 +\barre\notes\wh G&\Qqh MbdbM|&\zmid{tour-}\zw G\wh b&\zw d\wh f\enotes +\temps\notes&|\Tqh bdf\zq i\cu k\ds\enotes + %\check + %Takt 87 +\barre\notes\wh H&\sdqh Na|\sk\sk\sk\Tqh ceg&\zmid{ne}\relax + \zhlp H\hup N&\zhp c\hup e\enotes +\temps\notes&|\zq h\cu j\sk\ds\soupir&\sk\sk\zmid{com-}\qll HN\relax + &\sk\sk\quu dd\enotes + %\check + %Takt 88 +\barre\notes\itenl1K\wh K&|\Qqh acdaM&\relax + \zmid{bl\'e}\itenl0K\itenu3M\zw K\wh M&\itenl4d\wh d\enotes +\temps\notes&|\Tqb acd\itenu2f\zqu f\Tqb fda\enotes + \advance\barsinline by -1\relax % accepter une mesure de plus + %\check + %Takt 89 +\barre\notes\tten1\wh K&|\tten2\zw {Mad}\wh f\sk + &\tten0\tten3\zw K\wh M&\tten4\wh d\enotes +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musictex/recit.tex b/Master/texmf-dist/doc/generic/musictex/recit.tex new file mode 100644 index 00000000000..a5b93c29128 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/recit.tex @@ -0,0 +1,413 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\title{R\'ecit} +\fulltitle{II. R\'ecit} +\csname titremorceautoc\endcsname +\subtitle{\sl (pour orgue)} +\othermention{Compos\'e en 1990} +\fullauthor{Daniel TAUPIN\\organiste Gif-sur-Yvette} +\maketitle + +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-2}\relax % deux bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{G.O.}}}% +%\check +\def\gluemaxskip{7pt}% +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +% +\medskip\noindent{\rm G.O.: fonds 8' ou 8'+4' doux}% +\par\noindent{\rm R\'ec.: cornet ou cromorne}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O.}% +\smallskip +% +\troistemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\debutmorceau +% +\autolines 855\relax +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\NOtes&|\Uptext{ \hbox{\kern -16mm\moyen Adagio \bf(\metron{\qu}{60})}}\enotes +% mesure 1 +\advance\linesinpage by 1\relax +% +\NOtes\hu I&\zh{bd}\hu g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\zq{ac}\qu{^f}|\qu h\enotes +%\check +% mesure 2 +\barre\NOtes\hu G&\zhp b\zh d\itenu1g\hup g|\hu i\enotes +\temps\NOtes&|\enotes +\temps\NOtes\qu J&\itenu2e\qu e|\itenl0i\qu i\enotes +%\check +% mesure 3 +\barre\NOtes\hu H&\zhp c\zhp e\tten2\tten1\hup g|\tten0\qu i\enotes +\temps\notes&|\dqh{-2}hg\enotes +\temps\notes\qu J&|\dqh{-2}ji\enotes +%\check +% mesure 4 +\barre\NOtes\hu K&\zh a\zh d\hu{^f}|\hu h\enotes +\temps\NOtes&|\enotes +\temps\NOtes\qu J&\soupir|\soupir\enotes +% mesure 5 +\barre\NOtes\hu I&\itenu0d\zh b\zh d\hu g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\tten0\itenu0d\zq a\zq d\qu{^f}|\qu i\enotes +% mesure 6 +\autolines 755\relax +\barre\NOtes\hu G&\tten0\itenu1d\zhp b\zhp d\hup g|\hu k\enotes +\temps\NOtes&|\enotes +\temps\NOtes\qu I&|\qu k\enotes +%\check +% mesure 7 +\barre\NOtes\qu{=I}&\tten1\itenl1N\zqu d\zhp{=b}\hlp N|\qup m\enotes +\temps\notes&\qu{=f}|\sk\cu l\enotes +\temps\notes\qu G&\qu d|\dqh{-5}mk\enotes +%\check +% mesure 8 +\barre\NOtes\hup J&\tten1\zhl N\zhp c\hup e|\qup l\enotes +\temps\notes&|\sk\cu k\enotes +\temps\NOtes&\ql a|\qu j\enotes +% mesure 9 +\barre\notes\hl K&\zhp d\zhp{^f}\hup h|\dqh3kl\enotes +\temps\notes&|\dqh{-3}kj\enotes +\temps\notes\ql J&|\dqh{-3}ih\enotes +% mesure 10 +\barre\NOtes\hu I&\itenu1g\zh b\zhl d\hup g|\qup k\enotes +\temps\notes&|\sk\cu i\enotes +\temps\NOtes\qu J&\zq c\ql e|\qu g\enotes +% mesure 11 +\barre\NOtes\hu K&\tten1\zhl d\zhp g\hup i|\soupir\enotes +\temps\notes&|\dsoupir\cu d\enotes +\temps\notes\qu J&\ql e|\dqh7gj\enotes +% mesure 12 +\barre\NOtes\hup K&\zhp a\zh d\hup{^f}|\hup h\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes&\ql c|\relax\enotes +% mesure 13 +\barre\NOTes\hu G&\zh g\zh b\hu d|\hu g\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +% +% mesure 14 +\barre\NOtes\hu I&\zh b\zh d\hu g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\zq a\zq c\qu{^f}|\qu h\enotes +%\check +% mesure 15 +\barre\NOtes\itenl1G\hlp G&\itenu0d\zhu g\zhp b\hlp d|\hu i\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes&\itenl2N\ql N|\qu i\enotes +%\check +% mesure 16 +\barre\NOtes\tten1\hlp G&\tten2\tten0\itenl1N\zhp{=b}\zqu d\hlp N|\xTrille q{2\noteskip}\hu{=i}\enotes +\temps\NOtes&\qu{=f}|\relax\enotes +\temps\notes&\qu d|\ibu0i0\qh0i\noteskip=0.6\elemskip\relax\nbbu0\qh0h\tqh0i\enotes +%\check +% mesure 17 +\barre\NOtes\hu J&\tten1\zhl N\zhp c\hup e|\qup j\enotes +\temps\notes&|\sk\cu k\enotes +\temps\NOtes\qu H&\ql a|\qu l\enotes +%\check +% mesure 18 +\barre\NOtes\hlp K&\itenu1f\itenu2h\zhp d\zhp {^f}\hup h|\itenl0k\hlp k\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes&|\relax\enotes +% mesure 19 +\barre\notes\hup J&\tten1\tten2\zhp c\zhp{^f}\hup h|\tten0\dqb5k{^m}\enotes +\temps\notes&|\dqb3no\enotes +\temps\notes&|\dqb{-5}pn\enotes +% mesure 20 +\barre\notes\hup I&\zhp b\zhp d\hup g|\dqb6kn\enotes +\temps\notes&|\dqb3op\enotes +\temps\notes&|\dqb{-5}qo\enotes +% mesure 21 +\barre\notes\hup H&\zhp a\zhp c\hup{^f}|\dqb9ko\enotes +\temps\notes&|\dqb3pq\enotes +\temps\notes&|\dqb{-5}rp\enotes +% mesure 22 +\barre\notes\hup G&\itenl1N\zqu d\zhp N\hlp{=b}|\dqb3n{_o}\enotes +\temps\notes&\qu{=f}|\dqb{-3}nm\enotes +\temps\notes&\qu d|\dqb{-3}lk\enotes +% mesure 23 +\barre\NOtes\qu J&\tten1\zhp N\zhp c\hup e|\qup j\enotes +\temps\notes\qu H&|\sk\cl k\enotes +\temps\notes\qu J&|\dqb{-5}lj\enotes +% mesure 24 +\barre\notes\hu K&\zhp a\zhp d\hup{^f}|\dqb3kl\enotes +\temps\notes&|\dqb{-3}kj\enotes +\temps\notes\qu{^F}&|\dqb{-3}ih\enotes +% mesure 25 +\barre\NOtes\qu G&\zql b\zhp e\hup g|\qup g\enotes +\temps\notes\hu E&\hl c|\sk\cu h\enotes +\temps\notes&|\dqh3ij\enotes +% +% mesure 26 +\barre\NOtes\hup D&\zhl d\zhp{^f}\hup h|\hu h\enotes +\temps\NOtes&|\relax\enotes +\temps\notes&\ql c|\trioskip\ibl0d5\qbp0d\sk\tbbl0\tqb0k\enotes +% mesure 27 +\barre\NOtes\qu G&\itenu1d\itenu2g\zhp b\zhp d\hup g|\qlp k\enotes +\temps\notes\hu I&|\sk\cl l\enotes +\temps\notes&|\dqb5m{_o}\enotes +% mesure 28 +\barre\notes\hup{=I}&\tten1\tten2\itenu1g\zhl{=b}\zhp d\hup g|\dqb{-3}nm\enotes +\temps\notes&|\dqb{-3}lk\enotes +\temps\notes&\ql N|\dqb{-3}j{=i}\enotes +% mesure 29 +\barre\NOtes\hu J&\tten1\zh c\zh e\hu g|\ql k\enotes +\temps\notes&|\ql j\enotes +\resp +\temps\notes\qu H&\soupir|\trioskip\ibl0f5\qbp0f\sk\tbbl0\tqb0m\enotes +% mesure 30 +\barre\notes\hup F&\zhp a\zhp c\itenl1f\hup f|\dqb3mn\enotes +\temps\notes&|\dqb{-3}ml\enotes +\temps\notes&|\dqb{-3}kj\enotes +%\check +% mesure 31 +\barre\NOtes\qup I&\itenl3b\tten1\zhu f\zhp b\hlp d|\hl k\enotes +\temps\notes\sk\cu H&|\relax\enotes +\temps\NOtes\qu G&\itenl2g\qu g|\itenl0g\qu g\enotes +% mesure 32 +\barre\NOtes\hu E&\tten3\tten2\zhl b\zhp e\hup g|\tten0\qup g\enotes +\temps\notes&|\sk\cu d\enotes +\temps\notes\qu J&\ql c|\dqh7gj\enotes +% mesure 33 +\barre\NOtes\hu K&\zh d\zh{^f}\hu a|\hu h\enotes +\temps\Notes&|\relax\enotes +\resp +\temps\notes\qu J&\soupir|\trioskip\ibl0g5\qbp0g\sk\tbbl0\tqb0n\enotes +% mesure 34 +\barre\notes\hup{=I}&\itenu1g\zhp{=b}\zhp d\hup g|\dqb3n{_o}\enotes +\temps\notes&|\dqb{-3}nm\enotes +\temps\notes&|\dqb{-3}lk\enotes +% mesure 35 +\barre\notes\hup J&\tten1\itenl1c\zhp c\zhp e\hup g|\dqb{-3}ml\enotes +\temps\notes&|\dqb{-3}kj\enotes +\temps\notes&|\dqb3kl\enotes +% mesure 36 +\barre\notes\hup H&\tten1\itenu1f\zhp a\zhp c\hup f|\dqb3mn\enotes +\temps\notes&|\dqb{-3}ml\enotes +\temps\notes&|\dqb{-3}kj\enotes +% mesure 37 +\barre\notes\hu I&\tten1\zhl b\zq f\hup d|\dqh{-5}kg\enotes +\temps\notes&\qu{^f}|\dqh3{^f}g\enotes +\temps\notes\qu{=I}&\zqu{_h}\ql{=b}|\dqh3{=i}k\enotes +%\check +% mesure 38 +\barre\NOtes\hu J&\zhu g\zhp c\hlp e|\qu k\enotes +\temps\NOtes&|\qu j\enotes +\resp +\temps\notes\qu H&\qu{=h}|\trioskip\ibl0f5\qbp0f\sk\tbbl0\tqb0m\enotes +% mesure 39 +\barre\notes\hup F&\zhp a\zhp c\itenl1f\hup f|\dqb3mn\enotes +\temps\notes&|\dqb{-3}ml\enotes +\temps\notes&|\dqb{-3}kj\enotes +%\check +% mesure 40 +\barre\notes\hup I&\tten1\zhp f\zhp b\hup d|\dqh{-5}kg\enotes +\temps\notes&|\dqh3{^f}g\enotes +\temps\notes&|\dqh3{_i}k\enotes +%\check +% mesure 41 +\barre\notes\hup J&\itenu1c\itenu2e\zhp N\zhp c\hup e|\dqb3lm\enotes +\temps\notes&|\dqb{-3}lk\enotes +\temps\notes&|\dqb{-3}ji\enotes +% mesure 42 +\barre\notes\hup H&\tten1\tten2\itenl1a\zhp a\zhp c\hup e|\dqh3hi\enotes +\temps\notes&|\dqh{-3}hg\enotes +\temps\notes&|\dqh5hj\enotes +% mesure 43 +\barre\notes\hu K&\tten1\zhp a\zhp d\hup{^f}|\dqb3kl\enotes +\temps\notes&|\dqb{-3}kj\enotes +\temps\notes\qu{^F}&|\dqb{-3}ih\enotes +% mesure 44 +\barre\NOtes\qu G&\zql b\zhp e\hup g|\qup g\enotes +\temps\notes\hu E&\hl c|\sk\cu{^f}\enotes +\temps\notes&|\dqh8gj\enotes +% +% mesure 45 +\barre\NOtes\hup D&\zhp d\zhp{^f}\hup h|\xTrille p{3\noteskip}\hu h\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes&|\relax\enotes +%\check +% mesure 46 +\barre\NOtes\hup G&\zh b\zh d\hu g|\hu g\enotes +\temps\Notes&|\relax\enotes +\resp +\temps\notes&\soupir|\fl i\trioskip\ibl0i5\qbp0i\sk\tbbl0\tqb0p\enotes +%\check +% mesure 47 +\barre\notes\hup{=L}&\lna e\zhp e\zhp g\hup{_b}|\dqb{-3}p{_o}\enotes +\temps\notes&|\dqb{-3}nm\enotes +\temps\notes&|\dqb{-3}{=l}k\enotes +%\check +% mesure 48 +\barre\NOtes\hup M&\itenl1f\itenl2h\zhp f\zhp{_h}\hup c|\hu j\enotes +\temps\NOtes&|\relax\enotes +\temps\notes&|\trioskip\ibl0h5\qbp0{_h}\sk\tbbl0\tqb0{_o}\enotes +%\check +% mesure 49 +\barre\nspace\notes\hup K&\tten1\tten2\zhp d\zhp f\hup{_h}|\dqb{-3}{_o}n\enotes +\temps\notes&|\dqb{-3}m{_l}\enotes +\temps\notes&|\dqb{-3}kj\enotes +% mesure 50 +\barre\NOtes\hup L&\itenu1e\itenu2g\zhp b\zhp e\hup g|\hu i\enotes +\temps\NOtes&|\relax\enotes +\temps\notes&|\trioskip\ibl0e5\qbp0e\sk\tbbl0\tqb0l\enotes +% mesure 51 +\barre\notes\hup J&\tten1\tten2\zhp c\zhp e\hup g|\dqb{-3}lk\enotes +\temps\notes&|\dqb3jk\enotes +\temps\notes&|\dqb{-5}lj\enotes +%\check +% mesure 52 +\barre\notes\hup K&\itenu1d\zhp{ad}\hup{^f}|\dqb3hi\enotes +\temps\notes&|\dqb{-3}hg\enotes +\temps\notes&|\dqb5hj\enotes +%\check +% mesure 53 +\barre\notes\hup I&\tten1\zhp{bd}\hup g|\dqb3kl\enotes +\temps\notes&|\dqb{-3}kj\enotes +\temps\notes&|\dqb{-5}ki\enotes +% mesure 54 +\barre\notes\hup L&\itenu1c\itenu2e\zh{Nc}\hup e|\dqh3gh\enotes +\temps\notes&|\dqh{-3}g{^f}\enotes +\temps\notes&|\dqh5gi\enotes +% mesure 55 +\barre\notes\hup H&\tten1\tten2\itenl1a\zhp{ac}\hup e|\dqb3jk\enotes +\temps\notes&|\dqb{-3}ji\enotes +\temps\notes&|\dqb{-5}jh\enotes +% mesure 56 +\barre\notes\hup K&\tten1\itenu1d\zhp{ad}\hup{^f}|\dqh{-5}{^f}d\enotes +\temps\notes&|\dqh3ef\enotes +\temps\notes&|\dqh3gh\enotes +% mesure 57 +\barre\notes\itenl0G\hup G&\tten1\itenu1g\zhp{bd}\hup g|\dqh{-5}ig\enotes +\temps\notes&|\dqh3{^f}g\enotes +\temps\notes&|\dqh3hi\enotes +% mesure 58 +\barre\notes\tten0\itenl0G\hup G&\tten1\itenu1g\zhp{ce}\hup g|\dqh{-7}jg\enotes +\temps\notes&|\dqh5{^f}g\enotes +\temps\notes&|\dqh3ij\enotes +% mesure 59 +\barre\notes\tten0\hup G&\tten1\itenu1g\itenl2b\zhp{bd}\hup g|\dqh3kl\enotes +\temps\notes&|\dqh{-3}kj\enotes +\temps\notes&|\dqh{-3}i{_h}\enotes +%\check +% mesure 60 +\generalmeter{\meterfrac 24}% +\advance\elemskip by 1.5pt +\changecontext\notes\qu L&\itenu3e\tten1\tten2\zql b\zh e\hu g|\Uptext{\moyen pi\`u lento}\dqb5gi\enotes +\temps\notes\qu J&\itenl1c\ql c|\dqb3jk\enotes +%\check +% mesure 61 +\barre\NOTes\itenl0H\hu H&\tten1\tten3\itenl1a\zh a\zh c\hu e|\qlpp l\enotes +\temps\notes&|\ccl n\enotes +%\check +% mesure 62 +\barre\NOtes\tten0\hu H&\tten1\itenl1a\lna e\zh a\zh{^c}\hu e|\xTrille q{2\noteskip}\qup{^j}\enotes +\temps\notes&|\trioskip\sk\ibbl0i3\qb0i\tqb0j\enotes +%\check +% mesure 63 +\barre\NOTEs\pointdurgue G\hu K&\tten1\pointdorgue m\zh{ad}\hu{^f}|\pointdorgue m\hl k\enotes +% mesure 64 +\troistemps +\advance\elemskip by -1.5pt +\changecontext\NOtes\hu I&\soupir|\soupir\enotes +\temps\notes&\zq b\zql d\hu g|\dqh7dg\enotes +\temps\notes\qu L&\zq c\ql e|\dqh{-3}ji\enotes +% mesure 65 +\barre\NOTEs\hup K&\itenl0d\zhu h\zhp d\hlp{^f}|\Uptext{\moyen tempo primo}\xTrille o{\noteskip}\hu h\enotes +\temps\notes&\qu j|\dqb{-3}hg\enotes +% mesure 66 +\barre\NOTes\hu G&\tten0\zh{dg}\hu i|\hu g\enotes +\temps\notes\soupir&\soupir|\soupir\enotes +% mesure 67 +\barre\NOtes\hu I&\zh{bd}\hu g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\zq{ac}\qu{^f}|\qu h\enotes +% mesure 68 +\barre\NOtes\hu G&\itenu1g\zhp b\zh d\hup g|\hu i\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes\qu I&\itenl2e\qu e|\itenl0i\qu i\enotes +% mesure 69 +\barre\NOtes\hu J&\tten1\tten2\zhl c\zhp e\hup g|\tten0\qu i\enotes +\temps\notes&|\dqh{-3}hg\enotes +\temps\notes\qu L&\ql a|\dqh{-3}ji\enotes +% mesure 70 +\barre\NOtes\hu K&\zh d\zh{^f}\hu h|\hu h\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes\qu J&\soupir|\soupir\enotes +% mesure 71 +\barre\NOtes\hu I&\itenl1d\itenu2g\zhp b\zhp d\hup g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\notes\qu H&|\dqh5ik\enotes +% +% mesure 72 +\barre\NOtes\hup G&\zhp{=b}\tten1\tten2\zhp d\hup g|\qlp m\enotes +\temps\notes&|\sk\cl m\enotes +\temps\notes\qu{=I}&|\dqb{-3}lk\enotes +% mesure 73 +\barre\NOtes\hup J&\zh e\zhu g\hlp c|\hl j\enotes +\temps\Notes&|\relax\enotes +\temps\NOtes&\zq{^f}\qu h|\ql k\enotes +\autolines {12}45\relax +% mesure 74 +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +%\check +\barre\notes\hu I&\zhl b\zhp d\hup g|\qqbbl0klkj\enotes +\temps\notes&|\qqbbl{-3}kjih\enotes +\temps\notes\qu{=I}&\ql{=b}|\qqbbl{-3}gfed\enotes +% mesure 75 +\autolines{14}35\relax +\alaligne\notes\hu J&\zhu g\zhp c\hup e|\qqbbl0lmlk\enotes +\temps\notes&|\qqbbl{-3}lkji\enotes +\temps\notes\qu H&\qu a|\qqbbh{-3}hg{^f}{=e}\enotes +% mesure 76 +\barre\notes\hu K&\zhl d\zhp{^f}\hup h|\qqbbl0{^m}nm{=l}\enotes +\temps\notes&|\qqbbl{-4}mlkj\enotes +\temps\notes\qu J&\ql c|\qqbbl{-5}ihg{^f}\enotes +% mesure 77 +\barre\notes\qu I&\zq b\zq d\qu g|\qqbbh0g{=e}{^f}g\enotes +\temps\notes\qu H&\zq c\zql e\hu h|\qqbbl4hij{_l}\enotes +\temps\notes\qu K&\zq d\qu{^f}|\qqbbl0k{=l}{^m}k\enotes +\quatretemps +% mesure 78 +\autolines {10}35\relax +\changecontext\barsinline=0\relax +\NOTEs\hlp I&\zwh g\zhp b\hlp d|\hl n\enotes +\temps\NOtes&|\dsoupir\cl d\enotes +\temps\NOtes\qu J&\zq c\ql e|\dqb5gj\enotes +% mesure 79 +\barre\NOtes\hup K&\zw d\zw{^f}\wh h|\xTrille o{3\noteskip}\hlp h\enotes +\temps\NOtes&|\enotes +\temps\NOtes&|\enotes +\temps\notes\qu D&|\dqh{-3}hg\enotes +% mesure 80 +\barre\NOtes\wh G&\zw b\zw d\wh g|\mordant o\wh g\enotes +\temps\NOtes&|\enotes +\temps\NOtes&|\enotes +\temps\NOtes&|\enotes +\finmorceau +\medskip\rightline{\it \aujourdhui} +\eject diff --git a/Master/texmf-dist/doc/generic/musictex/recueil.tex b/Master/texmf-dist/doc/generic/musictex/recueil.tex new file mode 100644 index 00000000000..d8c18ca5a83 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/recueil.tex @@ -0,0 +1,128 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\vsize 270mm +\hyphenation{re-gis-tra-tion} +\csname french\endcsname +\tracingstats=2\relax +\line{\ \hss} +\font \geant=\fonthdg\fonthdge bx12 scaled \magstep 6 +\vskip 15mm +\font\assezgros=\fonthdg\fonthdge r17 scaled \magstep 1 +\centerline{\assezgros Daniel TAUPIN} +\vfil +{\baselineskip 20mm +\centerline{\geant PETITES} +\centerline{\geant PI\`ECES}\centerline{\geant POUR} +\centerline{\geant PLAIRE} +} +\vskip 15mm +\centerline{\sl Petites pi\`eces pas trop difficiles pour orgue} +\smallskip +\centerline{\sl \`a deux claviers et p\'edalier} +\vfil +\centerline{Orsay, \aujourdhui} +\eject +%\check +\null +\vfil +\hbox to \hsize{\hss\vbox{\hsize 12cm +\centerline{\moyen PR\'EFACE ET AVERTISSEMENT} + \bigskip Pour pouvoir avoir l'outrecuidance de se pr\'etendre compositeur +\`a la fin du XX\`eme si\`ecle, il est indispensable de faire preuve +d'audaces, de produire du jamais entendu, m\^eme si seule une minorit\'e +infime d'initi\'es, c'est-\`a-dire l'\'elite musicale et musicologique, est +capable d'appr\'ecier la d\'elicate saveur des \'etranget\'es harmoniques +qu'on lui propose. + \medskip Ou bien alors, si l'on veut produire de la musique tonale, il faut +se r\'esigner \`a \^etre catalogu\'e dans cette musique de vari\'et\'es, qui +est r\'eput\'ee \^etre \`a la vraie musique ce que le ``fast-food'' est \`a +la gastronomie. + \medskip En d\'efinitive, l'audace de l'auteur de ces ``Petites Pi\`eces +Pour Plaire'' est d'avoir os\'e \'ecrire de la musique qui n'est ni de la +musique ``contemporaine'', ni de la musique de ``vari\'et\'es'', qui aurait +pu \^etre \'ecrite -- disons modestement~: comme exercices de style -- par +des \'el\`eves des compositeurs des deux ou trois si\`ecles pass\'es. Leur +simple objectif est de charmer les oreilles d'auditeurs de culture classique, +tout en restant compatibles avec le genre des lieux o\`u l'on trouve le plus +d'orgues classiques, \`a savoir les \'eglises. + \medskip +\centerline{\vrule height 0.4pt width 0.5\hsize} +\vskip 1mm + \medskip Comme il est \'ecrit dans le titre, ces pi\`eces n\'ecessitent +l'usage du p\'edalier, mais la partie de p\'edale est rarement difficile~; de +ce fait elles pourront servir de pi\`eces d'initiation \`a l'orgue pour des +pianistes d'un niveau moyen. + \medskip Bien que certaines pi\`eces (notamment le Choral Vari\'e et la +Romance sans Paroles) +mentionnent une registration \`a trois claviers, toutes ces pi\`eces peuvent +\^etre jou\'ees avec les instruments usuels \`a deux claviers et p\'edalier. + \vskip 15mm + \rightline{\vtop{\divide\hsize by 2\relax\centerline{\sl Daniel +TAUPIN}\smallskip \centerline{\sl \aujourdhui}}} + + \bigskip + \centerline{\rm Tous droits de reproduction commerciale r\'eserv\'es} + \centerline{\rm All rights of commercial distribution reserved} + \bigskip + \def\tocitem#1#2{\hbox to \hsize{\hskip 1cm #1\dotfill\ p. #2\hskip 1cm}} + \input recueil.toc +}\hss}\vfil +\eject + \def\titremorceautoc{\write\toc{\noexpand\tocitem{\titremorceau}{\the\pageno}}} + \newwrite\toc + \immediate\openout\toc=recueil.toc +% +% +\def\misazero{\def\nbinstruments{2}\nbporteesi=1\relax +\nbporteesii=2\relax +\barsinline=0\relax +\linesinpage=0\relax +\signaturegenerale{0}\savesignature +\resetfacteurs +\computewidths}% +% +\misazero +\input adagio +% +\misazero +\input recit +% +\misazero +\input tierce +% +\misazero +\input choral +% +\misazero +\input reves +% +\misazero +\input prelude +% +\misazero +\input fugue +% +\misazero +\input aria +% +\misazero +\input ostinato +% +\misazero +\input romances +% +\misazero +\input magnific +% +\misazero +\input marcellx +% +\misazero +\input purcellx +% +\misazero +\input avemario +% +\closeout\toc +\bye diff --git a/Master/texmf-dist/doc/generic/musictex/reves.tex b/Master/texmf-dist/doc/generic/musictex/reves.tex new file mode 100644 index 00000000000..d955c73811b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/reves.tex @@ -0,0 +1,529 @@ +\title{R\^eves} +\fulltitle{V. \titremorceau} +\subtitle{(pour orgue)} +\csname titremorceautoc\endcsname +\othermention{Compos\'e en 1990} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\maketitle +\parindent 18mm +% + +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{0}\relax % pas d'armature +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Mordant{\mordant{10}}% +\def\Pince{\pince{10}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{G.O.}}}% +%\check +\def\gluemaxskip{7pt}% +% +\def\doubler{\multnoteskip 2\relax}% +\def\tripler{\multnoteskip 3\relax}% +% formes frequentes +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +% +% croche pointee et double croche meme hauteur +\def\cpdcl#1{\trioskip\ibl0{#1}0\qbp0{#1}\sk\tbbl0\tqb0{#1}}% +\def\cpdcu#1{\trioskip\ibu0{#1}0\qhp0{#1}\sk\tbbu0\tqh0{#1}}% +% +% croche et deux doubles croches (1ere = 3eme) +\def\cddcu#1#2{\ibu0{#1}0\qh0{#1}\trioskip + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\ibl0{#1}0\qb0{#1}\trioskip + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\medskip\noindent{\rm G.O.: bourdon 8', unda maris ou tremblant}% +\par\noindent{\rm R\'ec.: nasard, tremblant}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O.}% +\smallskip +% +\generalmeter{\meterfrac 44\meterfrac 54}% +% +\def\trioskip{\doubler\relax\divide\noteskip by 3\relax}% +\debutmorceau +\autolines {10}45\relax +\footnote{}{\noteskip=18pt\altportee=0pt\resetstem +\tenpoint\bf* \rm Notation :\ \ \zwq 1\ \ \ = \itenl01\wh 1\tten0\qu 1\ \ .}% +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Adagio molto \bf(\metron{\qu}{50})}}\enotes +\advance\linesinpage by 1\relax +% \advance\barsinline by 1\relax +% +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\dqbbh#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tqh0{#3}}\relax +\def\dqbbu{\dqbbh}\def\dqbbb{\dqbbl}% +\def\dqbbl#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tqb0{#3}}\relax +%\check +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +%\check +% +% mesure 1 +\temps\Notes\itenu0J\zwq J\zcharnote 8 {\bf *}&\itenl1c\qu c\enotes +\temps\Notes&\tten1\itenl1c\zw c\qsk\wh d\enotes +\temps\Notes&\qu g|\pause\enotes +\temps\Notes&\qu{_h}\enotes +\temps\Notes&\qu{_i}\enotes +% mesure 2 +\barre\nspace\nspace + \notes\tten0\itenu0J\zwq J&\tten1\itenl1c\lh d\lfl d\zhl c\relax + \ibu0g0\qh0g\trioskip\nbbu0\qh0{=h}\tqh0g|\sk\hpause\enotes +\temps\notes&\dqu3ef\enotes +\temps\NOTEs&\tten1\itenl1c\itenl2e\itenu3g\relax + \zhp c\zhp e\hup g|\divide\noteskip by 2\relax\sk\hpause\enotes +\temps\NOtes&|\qu c\enotes +% mesure 3 +\def\atnextline{\autolines {9}45}\relax +\barre\nspace +\Notes\tten0\wh J&\tten1\tten2\tten3\zw c\zw e\itenu1g\wh g|\qu{_d}\enotes +\temps\Notes&|\qu g\enotes +\temps\Notes&|\qu{_h}\enotes +\temps\Notes&|\qu{_i}\enotes +% mesure 4 +\barre\nspace\notes\doubler\hu{=H}&\zw g\tten1\lfl d\fl e\kern 3pt\lh d\hl e\relax + |\ibu0g0\qh0g\trioskip\nbbu0\qh0{_h}\tqh0g\enotes +\temps\notes&|\dqu3{_e}f\enotes +\temps\NOTEs\itenu0J\hup J&\itenu1c\itenu2e\zhp c\hlp{=e}|\hu g\enotes +\temps\NOtes&\qu{_h}|\qu j\enotes +% mesure 5 +%\barre +\alaligne +\notes\tten0\wh J&\tten1\tten2\itenu1c\itenu2e\zw{ceg}\relax + |\ibu0g0\qh0g\trioskip\nbbu0\qh0f\tqh0g\enotes +\temps\notes&|\dqh3ef\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes&|\qu{_h}\enotes +% mesure 6 +\barre\NOtes\wh{_H}&\tten1\tten2\itenu2e\zw{_ac}\wh e|\qu{_i}\enotes +\temps\NOtes&|\qu j\enotes +\temps\NOtes&|\qu k\enotes +\temps\notes&|\dql3l{^m}\enotes +% mesure 7 +\barre\nspace\NOtes\zwq E&\tten2\itenu2e\zwq{be}\zwq{^g}|\ql{^n}\enotes +\temps\NOtes&|\ql l\enotes +\temps\notes&|\cddcu i{^j}\enotes +\temps\notes&|\dqu3{^g}h\enotes +\temps\NOtes&|\qu i\enotes +% mesure 8 +\barre\NOtes\zwq J&\tten2\itenl1c\zwq{ce}\zwq{=g}|\ql j\enotes +\temps\NOtes&|\qu{=g}\enotes +\temps\notes&|\cddcu e{^f}\enotes +\temps\notes&|\dqu3cd\enotes +\temps\NOtes&|\qu e\enotes +% mesure 9 +\barre\Notes\zw{^G}&\tten1\itenl1c\zw{ac_e}|\qu{^f}\enotes +\temps\Notes&|\qu{^g}\enotes +\temps\Notes&|\qu{^h}\enotes +\temps\notes&|\dql3jk\enotes +%\check +% mesure 10 +\barre\NOtes\zwq J&\tten1\zwq{Nc=e}|\ql l\enotes +\temps\NOtes&|\ql j\enotes +\temps\notes&|\na g\cddcu g{=h}\enotes +\temps\notes&|\dqu3e{=f}\enotes +\temps\NOtes&|\qu g\enotes +% mesure 11 +\barre\NOtes\zwq F&\fl d\zwq{_af}\rlap{\qsk\hup d}|\qu{_h}\enotes +\temps\NOtes&|\qu{_i}\enotes +\temps\NOtes&|\ql j\enotes +\temps\notes&\itenl0b\hu b|\dql3kl\enotes +\temps\NOtes&|\ql{^m}\enotes +% mesure 12 +\barre\nspace\Notes\zwq E&\tten0\zw b\zwq{e^g}|\ql{^n}\enotes +\temps\Notes&|\ql l\enotes +\temps\notes&|\cddcu i{^j}\enotes +\temps\notes&|\dqu3{^g}{^h}\enotes +\temps\NOtes&\qu{^b}|\qu{^i}\enotes +\def\atnextline{\autolines {11}45}\relax +% mesure 13 +\barre\NOtes\zwq{^J}&\lsh f\zwq{^c^g}\qsk\hu f|\qsk\ql{^j}\enotes +\temps\NOtes&|\qu{^g}\enotes +\temps\notes&\hu d|\na e\cddcu e{^f}\enotes +\temps\notes&|\dqu3{^c}d\enotes +\temps\NOtes&\qu e|\qu e\enotes +% mesure 14 +\barre\NOtes\wh F&\rlap{\lna c\qsk\hup{c}}\zw{a=f}|\qu f\enotes +\temps\NOtes&|\qu{=c}\enotes +\temps\notes&|\dqu3de\enotes +\temps\NOtes&\qu{_d}|\qu f\enotes +% mesure 15 +\barre\nspace\NOtes\wh{_E}&\lfl e\rlap{\qsk\hup e}\zw{_b_g}|\qu{_g}\enotes +\temps\NOtes&|\qu{_d}\enotes +\temps\notes&|\bigfl e\dqu3{e}f\enotes +\temps\NOtes&\qu{=d}|\qu g\enotes +% mesure 16 +\advance\barsinline by -1\relax +\barre\nspace\NOtes\wh{=E}&\lna e\rlap{\qsk\hup e}\zw{=b_h}|\qu{_h}\enotes +\temps\NOtes&|\qu{=e}\enotes +\temps\notes&|\bigfl g\dqu3{g}{_h}\enotes +\temps\NOtes&\qu f|\qu{_i}\enotes +% mesure 17 +\barre\NOtes\zwq J&\zwq{ce}\zwq g|\ql j\enotes +\temps\NOtes&|\qu{=g}\enotes +\temps\notes&|\cddcu ef\enotes +\temps\notes&|\dqu3cd\enotes +\temps\NOtes&|\qu e\enotes +% mesure 18 +\barre\nspace\NOtes\wh{^F}&\zw a\zw{_e}\qsk\itenu1d\wh d|\qu{_e}\enotes +\temps\notes&|\dqu{3}de\enotes +\temps\notes&|\dqu{3}cd\enotes +\temps\notes&|\dqu{3}ef\enotes +% mesure 19 +\barre\NOtes\wh G&\tten1\zw b\zw d\zw g|\qu g\enotes +\temps\notes&|\cddcu d{_e}\enotes +\temps\Notes&|\dqu3bc\enotes +\temps\Notes&|\qu d\enotes +% mesure 20 +\advance\barsinline by -1\relax +\autolines {22}25\relax +\cleftoksii={{6}{0}{0}{0}}\changeclefs +\def\sxtu#1#2#3#4#5#6{{\advance\transpose by 4\ibbu0{#1}2}\qh0{#1}\relax + \qh0{#2}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}% +%\check +\def\sxtl#1#2#3#4#5#6{{\advance\transpose by 2\ibbl0{#1}2}\qb0{#1}\relax + \qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}% +%\check +% croche et deux doubles croches (1ere = 3eme) +\def\duoskip{\tripler\relax + \divide\noteskip by 2\relax}% +\def\cddcu#1#2{\duoskip\ibu0{#1}0\qh0{#1}\sk + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\duoskip\ibl0{#1}0\qb0{#1}\sk + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\barre\notes\doubler\wh{_G}&\fl N\sxtl N{_a}{_d}{_e}da|\bigaccid\qu{_e}\enotes +\temps\notes&\sxtl{N}ad{e}da|\qu f\enotes +\temps\notes&\sxtl{N}ad{e}da|\qu g\enotes +\temps\notes&\sxtl{N}{a}{=d}{=e}da|\tripler\dqu2hi\enotes +% mesure 21 +\autolines {29}25\relax +\barre\notes\doubler\wh{^J}&\sxtl M{_a}d{_e}da|\bigsh j\cddcu jk\enotes +\temps\notes&\sxtl M{a}d{e}da|\tripler\dqu{-2}{^g}{^f}\enotes +\temps\notes&\sxtl M{a}d{e}da|\tripler\dqu{2}{^e}f\enotes +\temps\notes&\sxtl M{a}d{e}da|\qu g\enotes +% mesure 22 +\barre\notes\zwq K&\sxtl KMbcbM|\qu h\enotes +\temps\notes&\sxtl KMbcbM|\qu i\enotes +\temps\notes&\sxtl KMbcbM|\tripler\dqu2jk\enotes +\temps\notes&\sxtl KMbcbM|\ql l\enotes +\temps\notes&\sxtl KMbcbM|\ql m\enotes +\autolines {27}25\relax +% mesure 23 +\cleftoksii={{0}{0}{0}{0}}\changeclefs +\barre\notes\itenu0J\zwq J&\sxtu Ncefec|\ql n\enotes +\temps\notes&\sxtu Ncefec|\tripler\dql{-2}lj\enotes +\temps\notes&\sxtu Ncefec|\cddcu gh\enotes +\temps\notes&\sxtu Ncefec|\tripler\dqu2ef\enotes +\temps\notes&\sxtu Ncefec|\qu g\enotes +% mesure 24 +\barre\notes\tten0\hup J&\sxtu Ncefec|\tripler\dqu2hi\enotes +\temps\notes&\sxtu Ncefec|\tripler\dqu2jk\enotes +\temps\notes&\sxtu Ncefec|\tripler\dql4ln\enotes +\temps\notes\qu H&\multnoteskip{1.1}\sxtu ac{_e}{^f}ec|\bigsh m\ql{m}\enotes +% mesure 25 +\autolines {31}25\relax +\barre\notes\zwq G&\noteskip 1.2\noteskip\sxtu ac{=e}{^f}ec|\ql n\enotes +\temps\notes&\sxtu acefec|\tripler\dql{-4}lj\enotes +\temps\notes&\sxtu acefec|\cddcu gh\enotes +\temps\notes&\sxtu acefec|\tripler\dqu2e{^f}\enotes +\temps\notes&\sxtu acegec|\qu g\enotes +% mesure 26 +\barre\notes\doubler\zwq{_G}&\noteskip 1.3\noteskip +\lfl N\bigfl a\sxtu N{a}e{^f}ea|\doubler\qu{_h}\enotes +\temps\notes&\sxtu Naefea|\tripler\dql2{_i}j\enotes +\temps\notes&\sxtu Naefea|\tripler\dql2kl\enotes +\temps\notes&\sxtu Naefea|\tripler\dql2{^m}{^n}\enotes +\temps\notes&\sxtu Naefea|\tripler\ql{_p}\enotes +% mesure 27 +\autolines {28}25\relax\barre\notes\zwq J&\bigna N\sxtu Ncegec|\ql q\enotes +\temps\notes&\sxtu Ncegec|\doubler\ql{=n}\enotes +\temps\notes&\sxtu Ncegec|\bigaccid\cddcl l{=m}\enotes +\temps\notes&\sxtu Ncegec|\tripler\dql2jk\enotes +\temps\notes&\sxtu Ncegec|\ql l\enotes +%\check +% mesure 28 +\barre\notes\zwq H&\noteskip 1.2\noteskip\sxtu ac{_e}{_g}ec|\bigaccid\ql{^m}\enotes +\temps\notes&\sxtu acegec|\tripler\dql{-2}{=l}k\enotes +\temps\notes&\fl a\sxtu ac{=e}fec|\tripler\dql{-2}j{_i}\enotes +\temps\notes&\sxtu acefec|\tripler\dqu{-2}{_h}{_g}\enotes +% mesure 29 +\autolines {24}25\relax +\barre\notes\wh J&\sxtu Ncegec|\cddcu ef\enotes +\temps\notes&\sxtu Ncegec|\tripler\dqu3{=g}{=i}\enotes +\temps\notes&\sxtu Ncegec|\tripler\dql2jk\enotes +\temps\notes&\sxtu Ncegec|\tripler\dql4ln\enotes +%\check +% mesure 30 +\barre\notes\wh H&\sxtu ac{^f}{^g}fc|\ql q\enotes +\temps\notes&\sxtu acfgfc|\tripler\dql{-2}{_p}{^n}\enotes +\temps\notes&\sxtu acfgfc|\tripler\dql{-2}{^m}l\enotes +\temps\notes&\sxtu acfgfc|\tripler\dql{-2}kj\enotes +%\check +\cleftoksii={{6}{0}{0}{0}}\changeclefs +% mesure 31 +\autolines {25}25\relax +\barre\notes\hup J&\sxtl Ncegec|\cddcu gh\enotes +\temps\notes&\sxtl Nce{^f}ec|\tripler\dqu{-2}{^f}e\enotes +\temps\notes&\sxtl Ncefec|\tripler\dqu{-2}dc\enotes +\temps\notes\itenl0H\doubler\qu{_H}&\fl N\sxtl N{_a}d{_e}da|\doubler + \itenl1e\qu{_e}\enotes +%\check +% mesure 32 +\barre\notes\doubler\tten0\wh{_H}&\noteskip 1.1\noteskip\fl N\sxtl +N{_a}d{_e}da|\bigfl e\tten1\qu{e}\enotes +\temps\notes&\noteskip 1.1\noteskip\sxtl Nad{=e}da|\bigaccid\hup{=e}\enotes +\temps\notes&\sxtl Nadeda|\enotes +\temps\notes&\sxtl Nadeda|\enotes +%\check +% mesure 33 +\barre\notes\doubler\wh{_K}&\sxtl M{_a}{_d}fda|\qu f\enotes +\temps\notes&\sxtl Madfda|\tripler\dql2{_h}{_i}\enotes +\temps\notes&\sxtl Madfda|\tripler\dql2j{_k}\enotes +\temps\notes&\sxtl Madfda|\tripler\dql2{_l}m\enotes +%\check +% mesure 34 +\barre\nspace\notes\doubler\wh{_L}&\noteskip 1.2\noteskip + \sxtl M{_N}{_b}{_e}bN|\bigaccid\ql{_p}\enotes +\temps\notes&\sxtl MNbebN|\tripler\dql{-2}{_o}{_n}\enotes +\temps\notes&\sxtl MNbebN|\tripler\dql{-2}m{_l}\enotes +\temps\notes&\sxtl MNbebN|\tripler\dql{-4}{_k}{_i}\enotes +%\check +% mesure 35 +\barre\notes\doubler\wh{_K}&\sxtl M{_a}{_d}fda|\bigfl h\cddcu h{_i}\enotes +\temps\notes&\sxtl Madfda|\tripler\dqu{-2}f{_e}\enotes +\temps\notes&\sxtl Madfda|\tripler\dqu2{_d}e\enotes +\temps\notes&\sxtl Madfda|\qu f\enotes +%\check +% mesure 36 +\barre\notes\doubler\wh{_L}&\sxtl M{_N}{_b}ebN|\doubler\uptext{\it rit.}\qu{_g}\enotes +\temps\notes&\sxtl MNbebN|\doubler\qu{_h}\enotes +\temps\notes&\sxtl MNbebN|\doubler\qu{_i}\enotes +\temps\notes&\sxtl MNbebN|\qu j\enotes +%\check +% mesure 37 +\autolines{30}25\relax +\barre\notes\doubler\itenl0L\wh{=K}&\noteskip 1.2\noteskip\sxtl M{=a}{=d}fda|\itenu2m\wh m\enotes +\temps\notes&\sxtl M{_a}dfda|\enotes +\temps\notes&\noteskip 1.15\noteskip\sxtl M{=N}{_d}{_e}dN|\enotes +\temps\notes&\noteskip 1.15\noteskip\sxtl M{_N}{=d}edN|\enotes +%\check +\barre\autolines{15}35\relax +% mesure 38 +\notes\tten0\itenl0L\wh K&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0{_N}\tqb0d|\tten2\hlp m\enotes +\temps\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0{_e}\qb0d\tqb0N\enotes +\temps\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0N\tqb0d\enotes +\temps\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0e\qb0d\tqb0N|\sk\soupir\enotes +% mesure 39 +\barre\notes\tten0\hup K&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0{_N}\tqb0d|\enotes +\temps\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0{_e}\qb0d\tqb0N|\sk\sk\pause\enotes +\temps\NOtes&\itenl3L\hl L\enotes +\temps\NOtes\itenl2J\qu J&|\enotes +%\check +% mesure 40 +\barre\nspace\autolines{11}45\relax +\NOtes\tten2\zwq J&\tten3\zwq L\itenl1L|\uptext{\it a tempo}\qu c\enotes +\temps\NOtes&\wh{=N}|\qu{_d}\enotes +\temps\NOtes&\itenu2c\hup c|\qu g\enotes +\temps\NOtes&|\qu{_h}\enotes +\temps\NOtes&|\qu{_i}\enotes +% mesure 41 +% +% croche et deux doubles croches (1ere = 3eme) +\def\cddcu#1#2{\ibu0{#1}0\qh0{#1}\trioskip + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\ibl0{#1}0\qb0{#1}\trioskip + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\barre +\nspace\notes\doubler\hu{_H}&\doubler\tten1\itenl1L\relax +\tten2\itenu2c\zwq L\zwq c\hl{_a}|\cddcu g{_h}\enotes +\temps\notes&|\dqu3{_e}f\enotes +\temps\NOTEs\itenu0J\hup J&\hl{N}|\hu g\enotes +\temps\NOtes&\ql{a}|\qu j\enotes +% mesure 42 +\barre\notes\tten0\wh J&\tten1\tten2\itenu1c\itenl2L\zw{LNc}\relax + |\cddcu gf\enotes +\temps\notes&|\dqh3ef\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes&|\qu{_h}\enotes +% mesure 43 +\barre\NOtes\wh{_H}&\tten1\tten2\itenl1N\zw{_ac}\wh L|\qu{_i}\enotes +\temps\NOtes&|\qu j\enotes +\temps\NOtes&|\qu k\enotes +\temps\notes&|\dql3l{^m}\enotes +% mesure 44 +\barre\nspace\NOtes\zwq E&\tten1\itenu2e\zwq{be}\zwq{^N}|\ql{^n}\enotes +\temps\NOtes&|\ql l\enotes +\temps\notes&|\cddcu i{^j}\enotes +\temps\notes&|\dqu3{^g}h\enotes +\temps\NOtes&|\qu i\enotes +% mesure 45 +\barre\NOtes\zwq J&\tten2\itenu1c\zwq{ce}\zwq{=N}|\ql j\enotes +\temps\NOtes&|\qu{=g}\enotes +\temps\notes&|\cddcu e{^f}\enotes +\temps\notes&|\dqu3cd\enotes +\temps\NOtes&|\qu e\enotes +% mesure 46 +\barre\NOtes\zw{^G}&\tten1\itenu1c\zw{ac_e}|\qu{^f}\enotes +\temps\NOtes&|\qu{^g}\enotes +\temps\NOtes&|\qu{^h}\enotes +\temps\notes&|\dql3jk\enotes +%\check +% mesure 47 +\barre\NOtes\zwq J&\tten1\zwq{Lc}\kern 3pt\qsk\zhl M|\ql l\enotes +\temps\NOtes&|\ql j\enotes +\temps\notes&\hl{_a}|\na g\cddcu g{=h}\enotes +\temps\notes&|\dqu3e{=f}\enotes +\temps\NOtes&\ql N|\qu g\enotes +% mesure 48 +\barre\nspace\NOtes\zwq{_G}&\lfl a\zwq{_Nc}\qsk\zwq a|\qu{_h}\enotes +\temps\NOtes&|\qu{_i}\enotes +\temps\NOtes&|\ql j\enotes +\temps\notes&|\dql3kl\enotes +\temps\NOtes&|\ql{^m}\enotes +\cleftoksii={{0}{0}{0}{0}}\changeclefs +% mesure 49 +\barre\NOtes\zwq E&\zw b\zwq{b^g}\zw d|\ql{^n}\enotes +\temps\NOtes&|\ql l\enotes +\temps\notes&|\cddcu i{^j}\enotes +\temps\notes&|\dqu3{^g}{^h}\enotes +\temps\NOtes&\qu{^d}|\qu{^i}\enotes +% mesure 50 +\barre\NOtes\zwq{^J}&\lsh f\zwq{^c^g}\qsk\hu f|\qsk\ql{^j}\enotes +\temps\NOtes&|\qu{^g}\enotes +\temps\notes&\hu d|\bigna e\cddcu e{^f}\enotes +\temps\notes&|\dqu3{^c}d\enotes +\temps\NOtes&\qu e|\qu e\enotes +% mesure 51 +\barre\NOtes\wh F&\lna c\rlap{\qsk\hup c}\zw{a=f}|\qu f\enotes +\temps\NOtes&|\qu{=c}\enotes +\temps\notes&|\dqu3de\enotes +\temps\NOtes&\qu{_d}|\qu f\enotes +% mesure 52 +\barre\autolines{10}35\nspace +\NOtes\wh{_E}&\bigna d\lfl b\rlap{\qsk\hup d}\zw{b_g}|\qu{_g}\enotes +\temps\NOtes&|\qu{_d}\enotes +\temps\notes&|\bigfl e\dqu3{e}f\enotes +\temps\NOtes&\qu{_e}|\qu g\enotes +% mesure 53 +\barre\nspace\NOtes\wh{=E}&\lna e\rlap{\qsk\hup e}\zw{=b_h}|\qu{_h}\enotes +\temps\NOtes&|\qu{=e}\enotes +\temps\notes&|\dqu3{_g}{_h}\enotes +\temps\NOtes&\qu f|\qu{_i}\enotes +% mesure 54 +\barre\NOtes\zwq J&\zwq{cf}\qsk\zw g|\ql j\enotes +\temps\notes&|\cddcu gf\enotes +\temps\notes&|\dqu{-2}ed\enotes +\temps\notes&|\dqu2cd\enotes +\temps\NOtes&\qu{_h}|\qu e\enotes +% mesure 55 +\barre\nspace\NOtes\wh H&\lfl d\zw{c=f}\qsk\zw{dg}|\qu{^f}\enotes +\temps\notes&|\dqu{-2}gf\enotes +\temps\notes&|\dqu{-2}ih\enotes +\temps\notes&|\noteskip 0.9\noteskip\ibu0g{-1}\qh0g\zcharnote n{\sl 3}\relax +\qh0{^f}\tqh0{=f}\enotes +\cleftoksii={{6}{0}{0}{0}}\changeclefs +% mesure 56 +\barre\nspace\NOtes\wh J&\fl a\fl e\zw{Nd}\qsk\zw{ae}|\qu{=e}\enotes +\temps\notes&|\bigsh f\dqu{-2}{f}e\enotes +\temps\notes&|\dqu3{^g}{^h}\enotes +\temps\notes&|\dqu3jk\enotes +%\check +% mesure 57 +\barre\bigaccid +\NOtes\zwq C&\zwq{Nc=e}|\ql l\enotes +\temps\NOtes&|\ql j\enotes +\temps\notes&|\cddcu gh\enotes +\temps\notes&|\dqu{-2}{^f}e\enotes +\temps\notes&|\dqu{-2}dc\enotes +%\check +% mesure 58 +\barre\NOtes\wh{_H}&\zw{^M}\rw d\wh{_e}|\qu{_e}\enotes +\temps\notes&|\trioskip\fl f\ibu0f0\qh0f\zcharnote l{\sl 3}\qh0e\tqh0f\enotes +\temps\notes&|\dqu2ef\enotes +\temps\notes&|\dqu2de\enotes +% mesure 59 +\barre\NOtes\wh J&\zw{Nb}\rw c\wh{=e}|\qu{=e}\enotes +\temps\notes&|\dqu{-2}{=f}e\enotes +\temps\notes&|\dqu4gi\enotes +\temps\notes&|\dqu4jl\enotes +% mesure 60 +\barre\NOtes\wh{_G}&\fl N\zw M\rw N\rw d\wh c|\ql{^m}\enotes +\temps\notes&|\trioskip\ibl0l0\qb0l\zcharnote c{\sl 3}\qb0m\tqb0l\enotes +\temps\notes&|\dqb{-2}kj\enotes +\temps\notes&|\dqu{-2}{_i}{_h}\enotes +% mesure 61 +\barre\NOtes\wh H&\sh M\zw M\zw a\wh d|\qu{=h}\enotes +\temps\notes&|\trioskip\ibu0e0\qh0{^f}\zcharnote n{\sl 3}\qh0e\tqh0f\enotes +\temps\notes&|\dqu2de\enotes +\temps\notes&|\dqu6fi\enotes +% mesure 62 +\barre\NOTEs\hup E&\itenu0a\zwq a\qsk\zhp L\hup N|\hu h\enotes +\temps\notes&|\trioskip\ibu0g{-1}\qhp0g\sk\tbbu0\tqh0{^f}\enotes +\temps\NOTEs\hu D&\itenu1d\zh {^M}\hu d|\hu f\enotes +\resp +% mesure 63 +\barre\NOtes\itenl3D\zwq D&\tten0\tten1\itenu1d\zwq{^fad}|\qu d\enotes +\temps\notes&|\qu{_e}\enotes +\temps\notes&|\qu h\enotes +\temps\notes&|\qu{_i}\enotes +\temps\notes&|\qu j\enotes +% mesure 64 +\barre\notes\tten3\itenl3D\zwq D&\tten1\itenu1d\zh L\zhl N\zwq d|\cddcu h{_i}\enotes +\temps\notes&|\dqu2{^f}g\enotes +\temps\NOTEs&\itenl0M\zhu a\hlp{^M}|\qu h\enotes +\temps\NOtes&\qu{_b}|\ql k\enotes +%\check +% mesure 65 +\barre\notes\tten3\itenl3D\zwq D&\tten0\tten1\itenu1d\zhp{^M}\zwq d\hlp a|\cddcu h{_i}\enotes +\temps\notes&|\dqu2{^f}g\enotes +\temps\NOtes&|\qu h\enotes +\temps\notes&\zh{LN}\hl{_b}|\dqu2gh\enotes +\temps\notes&|\dqu2gh\enotes +% mesure 66 +\barre\notes\tten3\itenl3D\zw D&\tten1\itenu1d\zh{^M}\zw d\hl a|\sh f\cddcu fe\enotes +\temps\NOtes&|\qu d\enotes +\temps\notes&\zh{LN}\hl{_b}|\dqu2gh\enotes +\temps\notes&|\dqu2gh\enotes +% mesure 67 +\barre\notes\tten3\itenl3D\zw D&\tten1\zh{^M}\zw d\hl a|\sh f\cddcu fe\enotes +\temps\NOtes&|\qu d\enotes +\temps\notes&\zh{LN}\itenu2b\hl{_b}|\dqu2gh\enotes +\temps\notes&|\dqu2gh\enotes +% mesure 68 +\barre\nspace\NOTes\tten3\itenl3D\zw D&\tten2\lfl b\zw{_L_Nb_e}|\hl{_i}\enotes +\temps\NOtes&|\ql j\enotes +\temps\NOtes&|\sh j\ql j\enotes +% mesure 69 +\barre\NOTes\tten3\zwq D\pointdorgue 8&\na L\na N\zwq{Kd}\qsk\itenl2N\zh L\hu N|\pointdorgue m\zwq k\enotes +\temps\NOTes&\tten2\zh N\hu {_b}\enotes +\temps\NOtes&\zq{^M}\pointdorgue {11}\qu a\enotes +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +\varaccid diff --git a/Master/texmf-dist/doc/generic/musictex/romances.tex b/Master/texmf-dist/doc/generic/musictex/romances.tex new file mode 100644 index 00000000000..c337b1192b3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/romances.tex @@ -0,0 +1,499 @@ +\title{Romance sans paroles} +\fulltitle{IX. \titremorceau} +\subtitle{(pour orgue)} +\othermention{Compos\'e en 1992--93} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\maketitle + +\csname titremorceautoc\endcsname + +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}} +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}} +\def\Tqb#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}} +\def\Tqh#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}} +\def\doubler{\noteskip=2\noteskip}% +\def\bassyn#1{\doubler\dsoupir\cu{#1}\dsoupir} +% +\parindent 18mm +% + +\tracingstats=2\relax +% +\nbporteesii=1\relax +\def\nbinstruments{3} +\global\cleftoksiii={{0}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-2}\relax % deux bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{12}{8}}}% +\def\troistemps{\generalmeter{\meterfrac{9}{8}}}% +\def\deuxtemps{\generalmeter{\meterfrac{6}{8}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{Positif ({\bf II})}% +\def\instrumentiii{R\'ecit ({\bf III})}% +%\check +\def\gluemaxskip{7pt}% +% +\medskip\noindent{\rm G.O.: fonds 8'+4' ou 8'+4'+2' (acc. positif.)}% +\par\noindent{\rm Pos.: fonds 8'+4'+2' doux}% +\par\noindent{\rm R\'ec.: nasard, larigot ({\ppff f}, tremblant {\sl ad lib.})}% +\par\noindent{\rm P\'ed.: 16'+8',(+4' doux {\sl ad lib.})}% +\smallskip +% +\deuxtemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\resp{\vnotes 0.2\elemskip&&\cbreath\enotes}% +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{{\advance\transpose by 1\relax + \ibbu0{#2}{#1}}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\sqbbh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\relax + \qh0{#4}\qh0{#5}\qh0{#6}\tqh0{#7}}\relax +\def\sqbbH#1#2.#3#4#5#6#7#8{\Ibbu0{#1}{#2}5\qh0{#3}\qh0{#4}\relax + \qh0{#5}\qh0{#6}\qh0{#7}\tqh0{#8}}\relax +\def\sqbbl#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\qb0{#2}\qh0{#3}\qh0{#4}\relax + \qh0{#5}\qh0{#6}\tqb0{#7}}\relax +\def\sqbbL#1#2.#3#4#5#6#7#8{\Ibbl0{#1}{#2}5\qb0{#3}\qb0{#4}\relax + \qb0{#5}\qb0{#6}\qb0{#7}\tqb0{#8}}\relax +% +\debutmorceau +% +\ifnum\musicsize>16\def\barperline{6}\else\def\barperline{7}\fi +\autolines {6}{\barperline}5\relax +%\check +% +\ifnum\musicsize>16\relax\advance\linesinpage by 1\relax\fi +% mesure 1 +\ifx\mxversion\undefined\kern -\internote\fi +\notes&\sqbbH dd.bdgdbN&\Uptext{\hbox{\kern -16mm\moyen Andante con moto + \bf(\metron{\qup}{60})}}\enotes +\zbarre \notes\pause&\sqbbH dd.a{^c}g{^f}gc&\pause\enotes +%\check +% mesure 2 +\barre\ifx\mxversion\undefined\kern -\Interligne\fi +\notes&\sqbbH ff.d{^f}gigd&\sk\sk\qsk\pt i\soupir\enotes +\zbarre\notes\pause&\sqbbH cc.{=c}dfdca&\sk\soupir\sk\Ilegu3o\sk\cu d\enotes +%\check +% mesure 3 +\barre\ifx\mxversion\undefined\kern -\Interligne\fi +\notes\bassyn G&\sqbbH eg.bdgi{=e}{^f}&\doubler + \qu g\sk\cu h\enotes +\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler + \qu i\sk\cu k\enotes +%\check +% mesure 4 +\barre\notes\doubler\dsoupir\cu H\dsoupir&\bigsh c\sqbbH gh.c{=e}g{^j}ge&\doubler + \qup{^j}\enotes +\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH ee.acegfe&\doubler + \qu h\tleg3\sk\dsoupir\enotes +%\check +% mesure 5 +\barre\notes\doubler\dsoupir\cu{=I}\dsoupir&\sqbbH fg.dfh{=i}hf&\doubler + \Ilegu3o\Tqh{=i}hg\enotes +\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH gh.{=e}gh{^j}hg&\doubler + \Tqh{_i}hg\enotes +%\check +% mesure 6 +\barre\notes\doubler\dsoupir\cu K\dsoupir&\sqbbH gh.d{^f}h{=j}{=i}h&\doubler + \qu{^f}\sk\cu{=e}\enotes +\zbarre\notes\bassyn I&\sqbbH hh.{_i}fgigd&\qu d\tleg3\sk + \cbreath\sk\Ilegu3o\cu d\enotes +%\check +% mesure 7 +\barre\notes\bassyn G&\sqbbH dg.bd{^f}g{=e}f&\doubler + \qu g\sk\cu h\enotes +\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler + \qu i\sk\cu k\enotes +%\check +% mesure 8 +\barre\notes\bassyn{^J}&\sqbbH gg.{^c}{=e}g{^j}ge&\doubler + \qlp{=l}\enotes +\zbarre\notes\doubler\dsoupir\cna J\cu{J}\dsoupir&\sqbbH fd.{^f}dhfd{=c}&\relax + \ql k\tleg3\sk + \cbreath\sk\Ilegu3o\cna j\cl j\enotes +%\check +% mesure 9 +\barre\notes\bassyn I&\sqbbH df.dbgd{_e}g&\doubler + \ql i\sk\cl j\enotes +\zbarre\notes\bassyn D&\sqbbH ff.d{^f}jhdf&\doubler + \ql h\sk\cl i\enotes +%\check +% mesure 10 +\barre\notes\bassyn G&\sqbbH fd.igdgdb&\doubler\hu g\tleg3\sk\sk\enotes +\zbarre\notes\bassyn J&\sqbbH bd.Nbcdec&\doubler\sk\dsoupir + \Ilegu3o\cu d\enotes +%\check +% mesure 11 +\barre\notes\bassyn G&\sqbbH df.bdgi{=e}{^f}&\doubler + \qu g\sk\cu h\enotes +\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler + \qu i\sk\cu k\enotes +%\check +% mesure 12 +\barre\notes\bassyn H&\sqbbH eg.{^c}{=e}gied&\doubler\qlp n\enotes +\zbarre\notes\bassyn J&\sqbbH fg.{=c}{^f}hjhf&\doubler\ql {^m}\sk\cl{=l}\enotes +%\check +% mesure 13 +\barre\notes\bassyn K&\sqbbH gi.dgijig&\doubler\Tqb kji\enotes +\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH gh.{=e}gh{^j}hg&\doubler + \Tqh{i}hg\enotes +%\check +% mesure 14 +\barre\notes\bassyn K&\sqbbH gg.hd{^f}{=j}hf&\doubler\qu h\tleg3\sk\dsoupir\enotes +\zbarre\notes\bassyn G&\sqbbH gi.gdgili&\doubler\Ilegu3o\qu i\sk\cu i\enotes +%\check +% mesure 15 +\barre\notes\bassyn H&\sqbbH hj.hehjlj&\doubler\qu j\sk\cu j\enotes +\zbarre\notes\bassyn I&\sqbbH hj.idgilk&\doubler\qu k\sk\cu k\enotes +%\check +% mesure 16 +\barre\notes\bassyn{^F}&\sqbbH ii.{^j}hdfh{=i}&\doubler\Tqh k{^j}{=j}\enotes +\zbarre\notes\bassyn G&\sqbbH fh.egh{=j}{_i}g&\doubler\Tqh {_i}hg\enotes +%\check +% mesure 17 +\barre\notes\bassyn K&\sqbbH gg.hd{^f}hjh&\qup h\enotes +\zbarre\notes\doubler\qup G&\Ibbu0ge3\qh0{gig}\tqh0d&\cu g\tleg3\sk\dsoupir + \Ilegu3p\enotes +\cleftoksii={6000}\changeclefs +\temps\notes&\zmidtwotext{\kern -\Interligne\bf I \rm(GO)}\Ibbl0bc1\qb0b\tqb0c&\doubler + \uptext{\kern -\Interligne\bf I \rm(GO)}\itenl0d\cu d\enotes +%\check +% mesure 18 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler + \tten0\itenl0d\zqlp d\qu g\sk\zq {^f}\cu h\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler + \tten0\zql d\zq g\qu i\sk\zcl g\cu g\enotes +%\check +% mesure 19 +\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler + \zq g\rq h\qu{^j}\tleg3\sk\dsoupir\enotes +\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbL dM.d{=c}{_b}aN{^M}&\doubler + \Ilegu3o\zqp {^f}\zqlp h\qu k\sk\cu {=j}\enotes +%\check +% mesure 20 +\barre\notes\doubler\qup G&\sqbbL LN.{=L}{^M}NabN&\doubler + \zqlp d\zq g\Tqh ihg\enotes +\zbarre\notes\doubler\qup J&\sqbbL cL.cbaN{=M}{=L}&\doubler + \zqlp{=e}\zq g\Tqh ihg\enotes +%\check +% mesure 21 +\barre\notes\doubler\hu K&\sqbbL La.{^M}K{=L}MNa&\doubler + \zq d\zql{^f}\qup h\sk\raise -2.5\Interligne\soupir\enotes +\zbarre\notes\doubler\sk\sk\soupir&\sqbbL NN.bMNabc&\qu d\tleg3\sk + \doubler\cbreath\Ilegu3o\itenl0d\cu d\enotes +%\check +% mesure 22 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler + \tten0\itenl0d\zqlp d\qu g\sk\zq{^f}\cu h\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler + \tten0\zql d\itenl0g\zq g\itenu1i\qu i\sk + \tten0\tten1\itenl0g\zq g\zq i\cu k\enotes +%\check +% mesure 23 +\barre\notes\doubler\qup{^J}&\sqbbL cM.{^c}{=e}cbaN&\doubler + \tten0\pt f\zqp g\rlap{\qsk\itenu1h\zqp h}\qup{=l}\sk\sk\enotes +\zbarre\notes\doubler\qu K\sk\dsoupir&\sqbbL La.{^M}K{=L}MNa&\relax + \tten1\zq {^f}\zq h\qu k\tleg3\sk\doubler\sk\Ilegu3o\cna j\cl j\enotes +%\check +% mesure 24 +\barre\notes\qup G&\sqbbL aa.{_b}aN{=c}aN&\doubler + \itenl0d\zqp d\zqlp g\qu i\sk\cu j\enotes +\zbarre\notes\qup K&\sqbbL LL.{^M}{=L}MKLM&\doubler + \tten0\zql d\zqp {^f}\qu h\sk \zcu i\raise -3\Interligne\ds\enotes +%\check +% mesure 25 +\barre\notes\hu G&\sqbbL NI.N{^M}NKIK&\doubler\zh b\zh d\hu g\sk\sk\enotes +\zbarre\notes\sk\sk\soupir&\cu G\sk\dsoupir&\sk\tleg3\sk\dsoupir\enotes +\cleftoksii={0000}\changeclefs +\temps\notes&\uptext{(I)}\Ibbu0dc1\qh0d\tqh0c&\relax + \uptext{\bf III}\Ilegu3p\cu d\enotes +%\check +% mesure 26 +\barre\notes\doubler\qu G\sk\cu K&\rlap{\ql b\sk\sk\sk\cl a}\relax +\sqbbH df.bdgdce&\doubler\qu g\sk\cu h\enotes +\zbarre\notes\doubler\qu I\sk\cu H&\rlap{\ql b\sk\sk\sk\qsk\cl c}\relax +\sqbbH ff.dgigd{^f}&\doubler\qu i\sk\cu k\enotes +%\check +% mesure 27 +\barre\notes\doubler\qu G\sk\cu{=I}&\rlap{\ql{=b}\sk\sk\sk\cl d}\relax + \sqbbH fh.dg{=i}g{=f}g&\doubler\ql n\sk\cl m\enotes +\zbarre\notes\qup J&\zqlp c\sqbbH gi.egjghg&\doubler\Tqb lkj\enotes +%\check +% mesure 28 +\barre\notes\doubler\qup H&\rlap{\qsk\zql e}\sqbbH gi.{^f}hjijh&\doubler + \Tqb lkj\enotes +\zbarre\notes\doubler\qup{^J}&\zqlp e\sqbbH gh.{=e}gh{^j}hg&\doubler + \Tqh{_i}hg\enotes +%\check +% mesure 29 +\barre\notes\doubler\qup{=J}&\rlap{\ql d\sk\sk\sk\cna c\cl c}\relax + \sqbbH gg.hg{^f}{=j}hf&\doubler\qu h\sk\cu{^f}\enotes +\zbarre\notes\doubler\qu I\sk\soupir&\rlap{\ql d\sk\sk\sk\cl c}\relax + \sqbbH gg.gihg{^f}g&\qu d\tleg3\sk\cbreath\sk + \Ilegu3o\cu d\enotes +%\check +% mesure 30 +\barre\notes\doubler\qup I&\zqlp b\sqbbH gh.dgigdg&\doubler + \Tqh ghi\enotes +\zbarre\notes\doubler\qup H&\zqlp c\sqbbH gh.eghjhg&\doubler + \Tqb ijk\enotes +%\check +% mesure 31 +\barre\notes\doubler + \qup K&\zqlp c\sqbbH fh.c{=e}{^f}hjh&\doubler + \Tqb k{=l}{^m}\enotes +\zbarre\notes\doubler\qu I\sk\cu{=I}&\zqlp d\sqbbH ii.giki{=i}g&\doubler + \ql n\sk\cl {=m}\enotes +%\check +% mesure 32 +\barre\notes\doubler\qup J&\zqlp c\sqbbH gi.{_e}ghjhg&\doubler + \Tqb {_l}kj\enotes +\zbarre\notes\doubler\qup{^J}&\lsh c\zqlp c\sqbbH gh.{=e}gh{^j}hg&\doubler + \Tqh ihg\enotes +%\check +% mesure 33 +\barre\notes\doubler\qup{_I}&\lna c\zqlp c\sqbbH gh.{_e}gh{=j}hg&\doubler + \Tqh ihg\enotes +\zbarre\notes\doubler\qu K\sk\ds&\zql d\sqbbH ge.{^f}hjhfd&\doubler + \qu h\tleg3\sk\dsoupir\enotes +%\check +% mesure 34 +\barre\notes\doubler\qu G\sk\cu F&\rlap{\ql b\sk\sk\sk\cl d}\relax + \sqbbH ff.dgigdg&\doubler\Ilegu3o\Tqh gh{=i}\enotes +\zbarre\notes\doubler\qup E&\zqlp c\sqbbH gh.eghjhg&\doubler + \Tqb ijk\enotes +%\check +% mesure 35 +\barre\notes\doubler + \qup D&\zqlp c\sqbbH gg.{^f}hjhdf&\doubler + \Tqb k{=l}{^m}\enotes +\zbarre\notes\doubler + \qu{=E}\sk\cu{=I}&\rlap{\ql b\sk\sk\sk\cl{=b}}\sqbbH gg.{=e}g{=i}gdf&\doubler + \ql n\sk\cl m\enotes +% mesure 36 +\barre\notes\doubler\qup J&\lna e\rlap{\qsk\zql e}\sqbbH gi.{^f}hjkjh&\doubler + \Tqb {=l}kj\enotes +\zbarre\notes\doubler\qup H&\zqlp c\sqbbH gh.{_e}ghjhg&\doubler + \Tqb {_i}hg\enotes +% mesure 37 +\barre\notes\doubler\ql{I}\sk\ds&\rlap{\clp{^c}\sk\sk\pt{-5}\raise -4\Interligne\ds}\relax + \sqbbH cc.{^c}egeca&\doubler + \ql{^j}\tleg3\sk\ds\enotes +\cleftoksii={6000}\changeclefs +\zbarre\notes\doubler\qup K&\uptext{\kern -\Interligne(I)}\sqbbL La.{^M}K{=L}MNa&\relax + \uptext{\kern -2\Interligne\bf I}\doubler\Ilegu3o + \zqp {^f}\zqlp h\qu k\sk\cu{=j}\enotes +%\check +% mesure 38 +\barre\notes\qup G&\sqbbL aa.{_b}aNcaN&\doubler + \itenl0d\zqp d\zqlp g\qu i\sk\cu j\enotes +\zbarre\notes\qup K&\sqbbL LL.{^M}{=L}MKLM&\doubler + \tten0\zql d\zqp {^f}\qu h\sk \zcu i\raise -3\Interligne\ds\enotes +%\check +% mesure 39 +\barre\notes\hu G&\sqbbL NI.N{^M}NKIK&\doubler\zh b\zh d\hu g\sk\sk\enotes +\zbarre\notes\sk\sk\soupir + &\cu G\sk\ds&\sk\tleg3\sk\uptext{\rm (I)}\dsoupir\enotes +\cleftoksii={0000}\changeclefs +\temps\notes&\uptext{\bf III}\Ibbu0dc1\qh0d\tqh0c&\relax + \Ilegu3q\cu k\enotes +%\check +% mesure 40 +\barre\notes\doubler\qu G\sk\cu{^F}&\sqbbH bb.babNac&\doubler + \zq{ik}\ql n\sk\zq{j^m}\cl o\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbH bd.babNdb&\doubler + \zq{kn}\ql p\sk\zq{=mp}\cl r\enotes +%\check +% mesure 41 +\barre\notes\qup H&\sqbbH ce.a{^c}{=e}gfe&\doubler\zq{=lo}\ql{^q}\sk\tleg3\enotes +\zbarre\notes\doubler\qu K\sk\cu{^F}&\sqbbH ff.{^f}dhfd{=c}&\doubler + \Ilegu3r\zqp{^m}\zqlp o\qu r\sk\cl{=q}\enotes +%\check +% mesure 42 +\barre\notes\doubler\qu G\sk\cu J&\sqbbH dd.bdgdec&\doubler + \itenu2n\zq{kn}\ql p\sk\tten2\zq{ln}\cl q\enotes +\zbarre\notes\doubler\qu K\sk\cu K&\sqbbH dd.ac{^f}dcd&\doubler + \zqp k\zqlp{^m}\qu o\sk\cu p\enotes +% mesure 43 +\barre\notes\doubler\hu G&\sqbbH cc.bdgdec&\doubler + \zq{ik}\ql n\tleg3\sk\ds\enotes +\zbarre\notes\doubler\sk\soupir&\sqbbH ff.bd{=e}{^f}gh&\doubler + \Ilegu3r\ql k\sk\itenl0k\cl k\enotes +%\check +% mesure 44 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL if.{!'b}abNa{^M}&\doubler + \tten0\itenl0k\zqlp k\ql n\sk\zq{^m}\cl o\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbH gj.{'N}abN{=e}d&\doubler + \tten0\zq k\itenl0n\itenu1p\zq n\ql p\sk + \tten0\tten1\zq n\zq p\cl r\enotes +%\check +% mesure 45 +\barre\notes\doubler\qsk\qup H&\qsk\sqbbL jf.{!'^c}{=e}cbaN&\doubler\qsk + \lna s\zqp o\zqp {^q}\qlp{s}\sk\tleg3\sk\enotes +\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbH he.hgfed{=c}&\doubler + \Ilegu3s\zqp {^m}\zqlp o\qu r\sk\cu {=q}\enotes +%\check +% mesure 46 +\barre\notes\doubler\qup G&\sqbbH ce.bcd{=e}{^f}g&\doubler + \zqlp k\zq n\Tqh pon\enotes +\zbarre\notes\doubler\qup J&\sqbbL ff.eihg{=f}{=e}&\doubler + \zqlp{=l}\zq n\Tqh pon\enotes +%\check +% mesure 47 +\barre\notes\doubler\qup K&\sqbbL eh.{!'^M}K{=L}MNa&\doubler + \zqp {k^m}\qlp o\enotes +\zbarre\notes\doubler\qu G\sk&\Ibbu0gc3\qh0{g_ed}\tqh0c&\cl n\tleg3\sk\dsoupir\enotes +\cleftoksii={6000}\changeclefs +\temps\notes\ds&\Ibbl0bc1\qb0b\tqb0c&\doubler + \Ilegu3r\itenl0k\cu k\enotes +%\check +% mesure 48 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler + \tten0\itenl0k\zqlp k\qu n\sk\zq {^m}\cu o\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler + \tten0\zq k\zq n\ql p\sk\cl n\enotes +%\check +% mesure 49 +\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler + \lq n\zq o\ql{^q}\tleg3\sk\dsoupir\enotes +\cleftoksii={0000}\changeclefs +\zbarre\notes\doubler\qup K&\sqbbH eh.{!'^M}K{=L}MNa&\doubler + \Ilegu3r\zq {^m}\zq o\ql r\sk\cna q\cl q\enotes +%\check +% mesure 50 +\barre\notes\qup G&\sqbbH hh.{!'_b}aNcaN&\doubler + \itenl0k\zqp k\zqlp n\qu p\sk\cu q\enotes +\zbarre\notes\qup K&\sqbbH ee.{!'^M}{=L}MKLM&\doubler + \tten0\itenl0k\zqp k\zqlp {^m}\qu o\sk \cu p\enotes +%\check +% mesure 51 +\barre\notes\hu G&\sqbbH gd.{!'N}{^M}NKIK&\doubler\tten0\zh i\zh k\hl n\sk\sk\enotes +\zbarre\notes\sk\sk\soupir&\cu N\zmidtwotext{\bf I \ppff ff}\sk\dsoupir + &\sk\tleg3\sk\dsoupir\enotes +\cleftoksii={6000}\changeclefs +\temps\notes&\cl c&\cu d\enotes +%\check +% mesure 52 +\barre\NOtes\qu G\sk\cu H&\Tqb bN{^M}&\zqlp d\zq g\qu i\sk\zq{^f}\cu h\enotes +\zbarre\NOtes\Tqh IHG&\Tqb KMN&\zqlp d\Ibu1gi2\zq b\qh1g\zq{^f}\qh1h\zq g\tqh1i\enotes +%\check +% mesure 53 +\barre\NOtes\qu H\sk\cu J&\Tqb aLN&\zqlp e\zq g\qu j\sk\zq{g}\cu i\enotes +\zbarre\NOtes\qup K&\Tqb {^M}KJ&\zqp d\zqlp{^f}\qu h\sk\cu h\enotes +%\check +% mesure 54 +\barre\NOtes\qup I&\Tqb IKN&\zql d\Ibu1ig2\zq g\qh1i\zq{^f}\qh1h\zcl e\zq g\tqh1i\enotes +\zbarre\NOtes\qup{^J}&\Tqh {=L}{^J}N&\zqp{=e}\zqlp g\qu{^j}\sk\cu j\enotes +% check +% mesure 55 +\barre\notes\qup K&\sqbbL aJ.aN{^M}{=L}KJ&\doubler + \zqp{^f}\zqlp h\qu k\sk\cu k\enotes +\zbarre\notes\doubler\qu G\sk\cu J&\sqbbL IK.IKNK{_L}J&\doubler + \zq d\zq g\itenu1g\qu i\sk\tten1\zq e\zq g\cu j\enotes +%\check +% mesure 56 +\barre\notes\qup K&\sqbbL KK.KJK{^M}aJ&\doubler\zqp d\zqlp {^f}\qu h\sk\cu i\enotes +\zbarre\notes\qup G&\sqbbL Ia.IK{=L}MNa&\doubler\zq{bd}\qu g\sk\ds\enotes +%\check +% mesure 57 +\barre\notes\qup I&\sqbbL aa.babNab&\doubler + \uptext{\it non legato}\zq{dg}\qu i\sk\zq{dg}\cu i\enotes +\zbarre\notes\qup H&\sqbbL bb.cbcabc&\doubler\zq{eh}\qu j\sk\zq{eh}\cu j\enotes +%\check +% mesure 58 +\barre\notes\qup I&\sqbbL aa.d{^c}dbNd&\doubler\zq g\zq i\qu k\sk\zq{eg}\cu k\enotes +\zbarre\notes\qup {^F}&\sqbbL NN.{=c}aKMac&\doubler\zqp{^f}\zqlp h\Tqh k{^j}{=j}\enotes +%\check +% mesure 59 +\barre\notes\qup G&\sqbbL aa.{=b}aNbaN&\doubler + \zq{dg}\qu {=i}\sk\zq{dg}\cu i\enotes +\zbarre\notes\qup E&\sqbbL Ma.{!`e}gh{=j}{_i}g&\doubler + \zq e\zql g\Tqh {_i}hg\enotes +%\check +% mesure 60 +\barre\notes\qup D&\sqbbL LL.aK{^M}aca&\itenl1d\zqp d\zqp {^f}\qup h\enotes +\zbarre\notes\doubler\qu G&\cl N\sk\ds&\tten1\zq d\cu g\sk\dsoupir + \enotes +\temps\notes\ds&\zmidtwotext{\kern -2\Interligne\fff}\Ibbl0bc1\qb0b\tqb0c&\doubler + \Ilegu3o\itenl0d\cu d\enotes +%\check +% mesure 61 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler + \tten0\itenl0d\zqlp d\qu g\sk\zq {^f}\cu h\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler + \tten0\zql d\zq g\qu i\sk\zcl g\cu g\enotes +%\check +% mesure 62 +\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler + \zq g\rq h\qu{^j}\tleg3\sk\dsoupir\enotes +\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbL dM.d{=c}{_b}aN{^M}&\doubler + \lst f\zq {^f}\zq h\qu k\sk\lppz f\zq {fh}\cu {=j}\enotes +%\check +% mesure 63 +\barre\notes\doubler\qu I\sk\cu G&\sqbbL aa.NabNcb&\doubler + \lst d\zq d\zq g\qu i\sk\lppz e\zq{eg}\cu j\enotes +\zbarre\notes\doubler\qu K\sk\cu D&\sqbbL NN.aNa{^M}ba&\doubler + \lst d\zq{d^f}\qu h\sk\lppz d\zq{d^f}\qu i\enotes +%\check +% mesure 64 +\barre\notes\doubler\qu G\sk\ds&\sqbbL NH.NLKJIH&\doubler + \zhp {bd}\hup g\enotes +\ifnum\musicsize<17\relax\autolines695\relax\fi +\zbarre\NOtes\qu G\sk\ds&\cu G\ds\cl a&\relax + \sk\ds\uptext{\kern 3\Interligne\llap{\moyen maestoso}}\rq d\cu c\enotes +%\check +% mesure 65 +\barre\NOtes\qu G\sk\cu{^F}&\ust N\ql N\sk\uppz a\zq{^M}\cl a&\relax + \lst b\zq{bd}\qu g\sk\lppz d\zq{^fd}\cu h\enotes +\zbarre\NOtes\qu G\sk\cu{=F}&\ust b\zq N\ql b\sk\uppz d\zq{=Mb}\cl d&\relax + \lst d\zq{dg}\qu i\sk\lppz f\zq{=fi}\cu k\enotes +%\check +% mesure 66 +\barre\NOtes\qu{=E}\sk\cu G&\lsh c\zqp{=LNc}\qlp{=e}&\relax + \Ilegu3o\lsh j\zqp{gj=l}\qlp n\enotes +\zbarre\NOtes\qu{^F}\sk\ds&\zq{^Ma}\ql d\sk\ds&\tleg3\zq {^fh}\ql k\sk\ds\enotes +%\check +% mesure 67 +\barre\NOtes\qu H\sk\cu I&\ust c\zq{_La}\ql c\sk\uppz b\zq{KN}\cl b&\relax + \lst e\zq{_eh}\qu{=j}\sk\lppz d\zq{dg}\cu i\enotes +\zbarre\NOtes\qu J\sk\cu{^J}&\zql L\qup N\sk\cl{=L}&\relax + \rlap{\zq c\ql e\sk\lsh c\zq c\cl{=e}}\Tqh hgh\enotes +%\check +% mesure 68 +\barre\Notes\hu K&\zh{=J^M}\hl a&\hu d\sk\sk\sk\enotes +\zbarre\NOtes\soupir&\ds\zq{^M}\cl a&\ds\rq d\cu c\enotes +%\check +% mesure 69 +\advance\maxbarsinline by 1\relax +\barre\NOtes\qu G\sk\cu{^F}&\ust N\ql N\sk\uppz a\zq{^M}\cl a&\relax + \lst b\zq{bd}\qu g\sk\lppz d\zq{^fd}\cu h\enotes +\zbarre\NOtes\qu G\sk\cu{=F}&\ust b\zq N\ql b\sk\uppz d\zq{=Mb}\cl d&\relax + \lst d\zq{dg}\qu i\sk\lppz f\zq{=fi}\cu k\enotes +%\check +% mesure 70 +\barre\NOtes\qup C&\zq{J=LN}\ql c\sk\ds&\zq{=egj}\ql{=l}\sk\ds\enotes +\zbarre +\NOtes\qu D\sk\cu{^F}&\zqp{^Ma}\qlp d&\zqp{^f}\zqlp h\qu k\sk\cu j\enotes +%\check +% mesure 71 +\barre\notes\qup G&\doubler\zcl K\zqp N\qup b\ql J&\relax + \rlap{\zq d\cl g\sk\zq{_e}\ql g}\ibu0i0\qh0i\sk\nbbu0\qh0{ihj}\tqh0i\enotes +\zbarre\notes\qup D&\doubler\zcl K\zqp{^M}\qup a\ql J&\relax + \rlap{\zq d\cl{^f}\sk\zq{c}\ql f}\ibu0h0\qh0h\sk\nbbu0\qh0{hgi}\tqh0h\enotes +% mesure 72 +\barre\NOtes\hup G\sk\sk&\zql{J}\zqp{=L}\itenu0N\qup N\sk\cl H&\relax + \zqp{c}\zqlp{=e}\itenu1g\qup g\enotes +\zbarre\NOtes&\zqp{I}\zqlp K\tten0\qup N&\zqp{b}\zqlp{d}\tten1\qup g\enotes +%\check +\finmorceau +% +\medskip\rightline{\it \aujourdhui} +\vfil +\eject diff --git a/Master/texmf-dist/doc/generic/musictex/screatim.tex b/Master/texmf-dist/doc/generic/musictex/screatim.tex new file mode 100644 index 00000000000..e4ae7e68d9f --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/screatim.tex @@ -0,0 +1,139 @@ +\input musicnft +\input musictex +\input musicsty +% +\def\nbinstruments{2}% +\generalmeter{\meterfrac{4}{4}}% +\signaturegenerale{0}% +\hsize 190mm +\vsize 275mm +\centerline{\enorme Aria No. 24} +\medskip\centerline{\moyen (La Cr\'eation)} +\medskip\centerline{\moyen Joseph HAYDN} +% +\rightline{Transcription pour Orgue et T\'enor, D. Taupin (1990)} +\medskip +\nbporteesii=1\relax +\nbporteesii=2\relax +\def\instrumenti{P\'ed.}\def\instrumentii{Manuel} +\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}% +\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}% +\etroit \def\DS{\hbox{\ds}}\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip} +\cleftoksi={{6}{0}{0}{0}} +\cleftoksii={{6}{0}{0}{0}} +\debutmorceau +\NOTes\soupir\relax +&\rlap{\rmidtwotext{\bf II}}\relax +\soupir\relax +|\relax +\qu g\relax +\enotes +% mesure 1 +\advance\barno by -1\relax +\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\smallnotesize +\itenl0j\relax +\ibu1l0\relax +\qh1j\relax +\enotes +\notes&\qbl0c0|\smallnotesize\nbbu1\nbbbu1\tten0\qh1{jkj}\tbu1\qh1i\enotes +\Notes&\qb0e\tbl0\qb0c|\smallnotesize\qu j\enotes +\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes +% mesure 2 +\smallnotesize +\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax + \zq c\qb1e\zq c\qb1e\relax + \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes +\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax + \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes +% mesure 3 +\normalnotesize +\barre\NOtes\itenl2G\wh G&\zw N\raise 3.5\Interligne\ds +|\rlap{\cl f}\itenl0k\ibu1m0\qh1k\enotes +\notes&\qbl0b0|\nbbu1\nbbbu1\tten0\qh1{klk}\tbu1\qh1{^j}\enotes +\Notes&\zq d\qb0f\tbl0\qb0b|\qu k\enotes +\temps\Notes&\ibl0d0\zq d\qb0{fb}\zq d\qb0f|\qu m\sk\pt k\qbu1k{-4}\enotes +\notes&\tbl0\qb0b|\sk\tbbu1\tbu1\qh1i\enotes +% mesure 4 +\alaligne\Notes\tten2\wh G&\ql G\sk\ql I|\rlap{\qupp g}\ibl1c0\qb1g\relax + \zq{bd}\qb1f\zq{bd}\qb1f\relax + \zq{bd}\tbl1\rlap{\qb1f}\ \ \ccu h\enotes +\temps\Notes&\ql K\sk\pt I\qbl0I{-4}|\ibl1d0\rlap{\qb1b}\cu g\relax + \zq{bd}\rlap{\qb1f}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes +\notes&\sk\tbbl0\tbl0\qb0G|\tbl1\zq{bd}\qb1f\enotes +% mesure 5 +\tinynotesize +\barre\Notes\hu J&\rlap{\lhu J}\ibl0M0\qb0J\zq N\qb0c\zq N\qb0c\tbl0\zq N\qb0c\relax + |\rlap{\hl e}\qu j\sk\qbu1l{-4}\tbu1\qh1j\enotes +\temps\Notes\hu K&\rlap{\lhu K}\ibl0M0\qb0K\zq N\qb0b\zq N\qb0b\tbl0\zq N\qb0b\relax + |\rlap{\hl f}\ibu1k0\qh1{ikm}\tbu1\qh1k\enotes +%\check +% mesure 6 +\normalnotesize +\barre\Notes\wh L&\zw N\raise 3.5\Interligne\ds\qbl0c0\qb0e\relax + |\rlap{\hl g}\ppt j\qu j\enotes +\notes&\tbl0\qb0c|\sk\ccu l\enotes +\temps\Notes&\ibl0c0\qb0{ece}|\rlap{\hl g}\qu n\sk\raise 2\Interligne\DS\enotes +\notes&\tbl0\qb0c|\ibbu1m{-3}\qh1m\tbu1\qh1l\enotes +%\check +% mesure 7 +\barre\Notes\wh M&\zw a\raise 3.5\Interligne\ds\qbl0d0\qb0f\tbl0\qb0d\relax + |\rlap{\hlp h}\qu k\sk\qu m\enotes +\temps\Notes&\ibl0d0\qb0f|\pt o\qbu1o{-3}\enotes +\notes&\zq d\qb0f\sk +\zq d\qb0f\sk\tbl0\zq d\qb0f|\sk\tbbu1\tbu1\qh1n\relax + \ibbu1m{-3}\rlap{\raise -\Interligne\qp}\qh1{mlk}\tbu1\qh1j\enotes +%\check +% mesure 8 +\alaligne\tinynotesize +\Notes\hu G&\lcharnote c{\bf I}\relax +\pz b\ibl0M3\qb0N\pz d\qb0b\pz f\qb0d\pz d\tqb0b|\ql i\rlap{\uptext{\bf I}}\sk\ds\ppz p\zq{km}\cl p\enotes +\temps\Notes\hu G&\ibl0M3\pz b\qb0N\pz e\qb0c\pz g\qb0e\pz e\tqb0c\relax + |\zq{jl}\ql q\sk\ds\ppz l\zq{gj}\cl l\enotes +%\check +% mesure 9 +\barre\Notes\hu G&\pz b\ibl0M3\qb0N|\zq{gi}\ql k\enotes +\notes&\nbbl0\qb0b\tqb0c\enotes +\zglu\Notes&\pz f\ibl0d{-4}\qb0d\pz d\tqb0b|\ds\ppz p\zq{km}\cl p\enotes +\temps\Notes\hu G&\pz b\ibl0M3\qb0N|\ppz q\ibl1m3\zq l\qb1q\enotes +\notes&\nbbl0\qb0c\tqb0d|\nbbl1\qb1q\tqb1p\enotes +\temps\notes&\pz g\ibl0e{-4}\qb0e\sk\pz e\tqb0c|\ibbl1p0\qb1{qpq}\tqb1s\enotes +%\check +% mesure 10 +\barre\Notes\hu G&\zq{Nb}\ql d|\pz t\ibl1o{-3}\qb1r\enotes +\notes&|\nbbl1\qb1n\tqb1{^m}\enotes +\zglu\notes&\soupir|\ibbl1m0\qb1{nmn}\tqb1m\enotes +\temps\Notes\hpause&\ibl0I6\pz J\qb0G|\pz p\cl n\enotes +\notes&\nbbl0\qb0N\tqb0{^M}|\ibbu1g{-3}\qh1g\tqh1{^f}\enotes +\notes&\ibbl0N0\qb0{NMN}\tqb0M|\ibbu1g0\qh1{gfg}\tqh1f\enotes +%\check +\suspmorceau +\def\nbinstruments{4}% +\nbporteesiii=0\relax +% mesure 11 +\reprmorceau +\NOtes\qu G&\ql N|\st n\qu g&&\hpause\enotes +\zglu\NOtes\soupir&\rlap{\rmidtwotext{\bf II}}\soupir|\zq d\qu{=f}&&\enotes +\temps\NOtes\hpause&\hpause|\zq c\qu e&&\soupir\enotes +\zglu\NOtes&|\zq b\qu d&Mit~&\ilegu0p\qu g\enotes +% mesure 12 +\barre\Notes&\qu J|\zw N\zq c\ibu0e0\qh0e\zq c\qh0e&W\"urd~&\ql j\enotes +\Notes&\soupir|\zq c\qh0e\zq c\tqh0e&und~&\ql j\enotes +\temps\Notes\pause&\hpause|\zq c\ibu0e0\qh0e\zq c\qh0e&Ho-&\ql l\enotes +\Notes&\zcharnote C{\bf I}|\zq c\qh0e\zq c\tqh0e&heit~&\ql j\enotes +% mesure 13 +\barre\Notes&\qu C|\zw N\zq c\ibu0e0\qh0e\zq c\qh0e&an-&\qup g\enotes +\Notes&\qu E|\zq c\qh0e\zq c\tqh0e&\sk ge-&\sk\cu h\enotes +\temps\Notes\pause&\qu G|\zq c\ibu0e0\qh0e\zq c\qh0e&tan,~&\tleg0\qu g\enotes +\Notes&\ibu1E{-3}\qhp1E|\zq c\qh0e&mit~&\ilegu0p\qu g\enotes +\notes&\sk\tbbu1\tqh1C|\zq c\tqh0e&&\enotes +% mesure 14 +\barre\Notes&\qu G|\zw N\ibu0e0\zq{bd}\qh0f\zq{bd}\qh0f\relax + &Sch\"on-&\ql k\enotes +\Notes&\soupir|\zq{bd}\qh0f\zq{bd}\tqh0f&heit,~&\ql k\enotes +\temps\Notes\pause&\hpause|\zq{bd}\qh0f\zq{bd}\qh0f&St\"ark~&\ql m\enotes +\Notes&|\zq{bd}\qh0f\zq{bd}\tqh0f&und~&\ibu2k{-4}\qh2k\tqh2i\enotes +\suspmorceau +\removelastskip\rightline{\sl\aujourdhui} + +\bye diff --git a/Master/texmf-dist/doc/generic/musictex/souvenir.tex b/Master/texmf-dist/doc/generic/musictex/souvenir.tex new file mode 100644 index 00000000000..5210a58558d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/souvenir.tex @@ -0,0 +1,29 @@ +\ifx\Smalltype\undefined \def\Smalltype{\ninepoint}\fi + % +\def\Transpose{0}% +\def\Signature{-3}\relax % trois bemols a la clef +\generalsignature{\Signature}\savesignature +\barsinline=0\relax\linesinpage=0\relax +\input souvenix +% +\def\Transpose{-4}% +\def\Signature{-4}\relax % quatre bemols a la clef +\generalsignature{\Signature}\savesignature +\barsinline=0\relax\linesinpage=0\relax +\input souvenix +% +\bye + +\def\Transpose{-4}\relax +\def\Signature{3}\relax % trois diezes a la clef +\generalsignature{\Signature}\savesignature +\barsinline=0\relax\linesinpage=0\relax +\input souvenix +% +\def\Transpose{-3}\relax +\def\Signature{-2}\relax % deux bemols a la clef +\generalsignature{\Signature}\savesignature +\barsinline=0\relax\linesinpage=0\relax +\input souvenix +\bye + diff --git a/Master/texmf-dist/doc/generic/musictex/souvenix.tex b/Master/texmf-dist/doc/generic/musictex/souvenix.tex new file mode 100644 index 00000000000..6d69a70f29d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/souvenix.tex @@ -0,0 +1,475 @@ + +\fulltitle{Un souvenir...} +\shortauthor{Rossi/Capitani} +\title{Un souvenir} +\othermention{Paroles d'Oreste ROSSI} +\fullauthor{Musique de Fernand CAPITANI}% +\maketitle + +\ifx\Transpose\undefined\def\Transpose{0}\fi +\ifx\Signature\undefined\def\Signature{-3}\fi + +\tracingstats=1\relax +%\check +% +% +% soufflets crescendo et decrescendo +% +\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\cresc}}% +\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CResc}}% +% +\def\souffldim#1{\zcharnote{#1}{\kern -1cm\dimin}}% +\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DImin}}% +% +%\check +\def\nbinstruments{2} +\setstaffs12\relax +\setstaffs21\relax +\setclefs1{6000}% +\setclefs2{0000}% +% +\generalsignature{\Signature}% +\generalmeter{\meterfrac{4}{4}} +%\check +\def\interfacteur{10}% +\parindent 15mm +\def\instrumenti{Piano}% +\def\instrumentii{Chant}% +\setinterinstrument1{4\Interligne} +%\check +\def\respire{\notes\nextinstrument\cbreath\enotes}% +% +%\check +\catcode`\@=13 +% +\def\doct#1#2{\Ibl0{#1}{#2}1{\zq{'#1}}\qb0{#1}{\zq{'#2}}\tqb0{#2}}% +\def\doctu#1#2{{\advance\transpose by 7\relax +\Ibu0{#1}{#2}1\zq{#1}}\qh0{#1}{\zq{'#2}}\tqh0{#2}}% +% +\def\nbinstruments{1}\computewidths +\debutmorceau +\autolines {10}44\relax +\transpose=\Transpose +\notes|\Uptext{\raise 2\Interligne\hbox{\moyen Moderato}}\enotes +% +\def\rchone{\lq q\zq{lnp}\ql s}% +\def\Lchone{\lh c\zh{be}\hl g}% +\def\lchone{\lq c\zq{be}\ql g}% +\def\Lchtwo{\zh{bd}\hl g}% +\def\lchtwo{\zq{bd}\ql g}% +%\def\octs#1{\zw{#1}\advance\transpose by 7\zw{#1}\raise 3\Interligne\soupir}% +\def\octs#1{\zw{#1}\advance\transpose by 7\zw{#1}\zcharnote{H}{\soupir}}% +\znotes\zmidtwotext{\kern -2\Interligne\ppff p}\enotes +\temps\NOtes\octs E|\soupir\enotes +\temps\NOtes\Lchone|\rchone\enotes +\temps\NOtes|\rchone\enotes +\temps\NOtes\lchone|\rchone\enotes + %\check +% mesure 2 +\barre\NOtes\octs G|\itenl1k\itenl2n\itenu3p\itenu4r\zw{knpr}\enotes +\temps\NOtes\Lchtwo\enotes +\temps\NOtes\sk\enotes +\temps\NOtes\lchtwo\enotes + %\check +% mesure 3 +% +\def\lchthree{\lq f\zq{ce}\ql h}% +\def\Lchthree{\lh f\zh{ce}\hl h}% +\xbarre\NOtes\octs H|\tten1\tten2\tten3\tten4\zq{knp}\ql r\enotes +\temps\notes\Lchthree|\doct jk\enotes +\temps\NOtes|\zq{lnq}\ql s\enotes +\temps\notes\lchthree|\doct kj\enotes +% + %\check +% mesure 4 +\def\lchfour{\zq{be}\ql g}% +\def\Lchfour{\zh{be}\hl g}% +\xbarre\NOtes\octs G|\zw{inp}\qsk\zql m\enotes +\temps\NOtes\Lchfour|\ql l\enotes +\temps\NOtes|\ql k\enotes +\temps\NOtes\lchfour|\Fl k\ql k\enotes +% + %\check +% mesure 5 +% +\def\lchfive{\lq e\zq c\ql f}% +\def\Lchfive{\lh e\zh c\hl f}% +\def\uchfive{\lq m\zq{hl}\ql o}% +\barre\autolines 854\relax +\NOtes\octs F|\soupir\enotes +\temps\NOtes\lFl c\Lchfive|\uchfive\enotes +\temps\NOtes|\uchfive\enotes +\temps\notes\lchfive|\lq m\zq l\doct hh\enotes +% + %\check +% mesure 6 +% +\def\lchsix{\lq c\zq{Nb}\ql e}% +\def\Lchsix{\lNa c\lh c\zh{Nb}\hl e}% +\xbarre\NOtes\octs B|\itenl1g\itenu2n\zw{gn}\qsk\ql m\enotes +\temps\NOtes\Lchsix|\ql l\enotes +\temps\NOtes|\ql j\enotes +\temps\NOtes\lchsix|\ql i\enotes +% + %\check +% mesure 7 +\def\lchseven{\zq{Ma}\ql c}% +\def\Lchseven{\Fl c\zh{Mac}\hl e}% +\xbarre\NOtes\octs B|\tten1\tten2\zq g\qu n\enotes +\temps\notes\bigaccid\Lchseven|\doctu fg\enotes +\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m\enotes +\temps\notes\lchseven|\doctu ef\enotes +% + %\check +% mesure 8 +\xbarre\NOTes\itenl1E\itenu2L\zw E\zw L\raise 3\Interligne\hpause + |\Na j\rh j\zh{egi}\hu l\enotes +\temps\NOTes\Fl c\Lchthree|\lh m\zh{il}\hl p\enotes +% + %\check +% mesure 9 +\xbarre\notes\qsk\enotes +\NOTEs\llap{\lNa c\kern 1pt}\tten1\tten2\zw{EL}\lw c\zw{be}\wh g\relax + |\lw p\zw{lnq}\wh s\enotes +\setdoublebar\suspmorceau +% + %\check +% mesure 10 +\def\nbinstruments{2}\generalmeter{}\savemeters + %\computewidths + %\advance\linesinpage by 1 + \lreprmorceau +{\leftrepeatsymbol}% +\def\txt#1|#2&{{\vbox to 0pt{\Smalltype\baselineskip 10pt +\vss\hrule width \elemskip height 0pt +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #2\kern\internote}\smallskip +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #1\kern\internote}}}}% +\znotes\zmidtwotext{\ppff p}&\enotes +% +\znotes\rlap{\arpeggio E6}\arpeggio c6\enotes +\notes\zw{EILNb}|\wh g&\ds\enotes +\hardlyrics{\txt Se |De &}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt sou-|la &}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt ve-|mer-&}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt nir |veil-&}\notes&\hsong\thelyrics\cu i\enotes +\hardlyrics{\txt c'est |leuse &}\notes&\hsong\thelyrics\cu i\enotes +\hardlyrics{\txt croire |a-&}\notes&\hsong\thelyrics\cu j\enotes +\hardlyrics{\txt en |ven-&}\notes&\hsong\thelyrics\cu j\enotes + %\check +% mesure 11 +\xbarre\znotes\arpeggio G5|\arpeggio d4\enotes +\NOtes\zh{GK}\hu b|\zh{dgi}\hu k&\hsong{\txt co-|tu-&}\hl k\enotes +\temps\znotes\arpeggio M8|\arpeggio i4\enotes +\NOtes\zh{Nd}|\zhl g\zh{knp}\hu r&\hsong{\txt re |re &}\hl k\enotes +% + %\check +% mesure 12 +\xbarre +\znotes\rlap{\arpeggio D8}\arpeggio b7\enotes +\notes\zw{EILNb}|\zw g\qsk\hl f&\ds\enotes +\hardlyrics{\txt Que |Qui &}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt tout |un &}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt vient |jour &}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt de |a &}\notes|\zhl e&\hsong\thelyrics\cu i\enotes +\hardlyrics{\txt re-|pu &}\notes&\hsong\thelyrics\cu i\enotes +\hardlyrics{\txt com-|nous &}\notes&\hsong\thelyrics\cu j\enotes +\hardlyrics{\txt men-|u-&}\notes&\hsong\thelyrics\cu j\enotes + %\check +% mesure 13 +\xbarre\znotes\arpeggio E6|\arpeggio c4\enotes +\nspace +\NOtes\zw{GKb}|\Sh h\zw{dik}\qsk\zhl h\sk&\hsong{\txt cer |nir &}\wh k\enotes +\temps\NOtes|\hl g\enotes +% + %\check +% mesure 14 +\alaligne +\notes\zh{JN}\hl c|\zh{eg}\hu l&\ds\enotes +\hardlyrics{\txt\kern -\Interligne C'est |Je &}\notes&\hsong\thelyrics\cl l\enotes +\hardlyrics{\txt re-|gar-&}\notes&\hsong\thelyrics\cl k\enotes +\hardlyrics{\txt voir |de &}\notes&\hsong\thelyrics\cu j\enotes +\hardlyrics{\txt + l'\^e-|mal-&}\notes\bigaccid\zh H\zh L\Na a\hl a|\zh{cj}\zhu e\qsk\zql i&\hsong\thelyrics\cu i\enotes +\hardlyrics{\txt tre |gr\'e &}\notes&\hsong\thelyrics\cu i\enotes +\hardlyrics{\txt qu'on |mes &}\notes|\bigaccid\Na h\ql h&\hsong\thelyrics\cu j\enotes +\hardlyrics{\txt a-|bles-&}\notes&\hsong\thelyrics\cu j\enotes + %\check +% mesure 15 +\xbarre\NOTes\zh{F}\zhl J\zh{ac}|\zh{e}\hu g&\hsong{\txt do-|su-&}\hu g\enotes +\temps\NOTes\zh{M}\hl c|\zh{hjl}\hl n&\hsong{\txt re |res &}\hu g\enotes +% + %\check +% mesure 16 +\xbarre +\notes\bigaccid\Sh a\zw{FLac}|\zw e\wh g&\ds\enotes +\hardlyrics{\txt Et |L'in-&}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt re-|ef-&}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt trou-|fa-&}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt ver |\c ca-&}\notes&\hsong\thelyrics\cu f\enotes +\hardlyrics{\txt tout |ble &}\notes&\hsong\thelyrics\cu f\enotes +\hardlyrics{\txt le |sou-&}\notes&\hsong\thelyrics\cu g\enotes +\hardlyrics{\txt pas-|ve-&}\notes&\hsong\thelyrics\cu g\enotes + %\check +% mesure 17 +\xbarre\NOtes\Na a\zw{Ia}|\zh{g}\zhu i\qlp d&\zsong{\txt s\'e... |nir... &}\wh i\enotes +\temps\notes|\Ibbl0ef2\qb0e\Sh e\qb0e\tqb0f\enotes +\NOTes|\Sh f\Sh m\zhl f\zh{ikm}\hu p\enotes +% + %\check +% mesure 18 +\setdoublebar\alaligne +% +\autolines {10}44\relax +\znotes\zmidtwotext{\kern -3mm\ppff p}&\uptext{\rm REFRAIN}\soupir\enotes +\temps\NOtes\octs E|\soupir\enotes +%\temps\NOtes\Lchone|\rchone&\hsong{Un }\ql l\enotes +\temps\NOtes\Lchone|\rchone&\hsong{\txt|Un &}\ql l\enotes +\temps\NOtes|\rchone&\hsong{\txt|sou-&}\ql l\enotes +\temps\NOtes\lchone|\rchone&\hsong{\txt|ve-&}\ql l\enotes + %\check +% mesure 19 +\barre\NOtes\octs G|\itenl1k\itenl2n\itenu3p\itenu4r\zw{knpr}&\hsong{\txt|nir &}\wh k\enotes +\temps\NOtes\Lchtwo\enotes +\temps\NOtes\sk\enotes +\temps\NOtes\lchtwo\enotes + %\check +% mesure 20 +% +\xbarre\NOtes\octs H|\tten1\tten2\tten3\tten4\zq{knp}\ql r&\soupir\enotes +\temps\Notes\Lchthree|\doct jk&\dhsong{\txt|\kern -\Interligne C'est l'i-&}\cl j\cl k\enotes +\temps\NOtes|\zq{lnq}\ql s&\hsong{\txt|ma-&}\ql l\enotes +\temps\Notes\lchthree|\doct kj&\dhsong{\txt|\kern -\Interligne ge d'un &}\cl k\cl j\enotes +%\temps\Notes\lchthree|\doct kj&\dhsong{ge d'un }\cl k\cl j\enotes +% + %\check +% mesure 21 +\xbarre\NOtes\octs G|\zh{inl}\hl p&\hsong{\txt|r\^e-&}\hl i\enotes +\temps\NOtes\Lchfour|\enotes +\temps\NOtes|\zh{inl}\hl p&\hsong{\txt|ve &}\hl i\enotes +\temps\NOtes\lchfour|\enotes +% + %\check +% mesure 22 +% +\def\lchttwo{\zq a\zq c\ql e}% +\def\Lchttwo{\zh a\zh c\hl e}% +\def\uchttwo{\zq{hjl}\ql o}% +\barre\NOtes\octs F|\soupir&\soupir\enotes +\temps\NOtes\Lchttwo|\uchttwo&\hsong{\txt|\kern -5pt D'une &}\qu h\enotes +\temps\NOtes|\uchttwo&\hsong{\txt|\kern -\internote heu-&}\qu h\enotes +\temps\Notes\lchttwo|\zq j\zq l\doct hh&\dhsong{\txt|re trop &}\cu h\cu h\enotes +% + %\check +% mesure 23 +% +\def\Lchtthree{\lh c\zh{Nb}\hl e}% +\def\lchtthree{\lq c\zq{Nb}\ql e}% +\barre\NOtes\octs B|\zh{gjl}\hl n&\hsong{\txt|br\`e-&}\hu g\enotes +\temps\NOtes\Lchtthree|\enotes +\temps\NOtes|\itenl1g\itenl2j\itenu3l\itenu4n\zh{gjl}\hl n&\hsong{\txt|ve &}\hu g\enotes +\temps\NOtes\lchsix|\enotes +% + %\check +% mesure 24 +\def\Lchtfour{\zh{Mac}\hl e}% +\barre\NOtes\octs B|\tten1\tten2\tten3\tten4\zq{gjl}\qu n&\soupir\enotes +\temps\Notes\Lchtfour|\doctu fg&\dhsong{\txt|Qui ne &}\cu f\cu g\enotes +\temps\NOtes|\zq f\qu m&\hsong{\txt|veut &}\qu f\enotes +\temps\Notes\lchseven|\doctu ef&\dhsong{\txt|pas fi-&}\cu e\cu f\enotes +% + %\check +% mesure 25 +\barre\NOtes\octs E|\zh{gil}\hu n&\hsong{\txt|nir &}\hu g\enotes +\temps\NOtes\lchtthree\enotes +\temps\NOtes\soupir|\Sh m\zh{ikm}\hu p&\hsong{\txt|---&}\hu i\enotes +\temps\NOtes\qu I\enotes +% + %\check +% mesure 26 +\barre\temps\NOtes\octs E|\soupir&\soupir\enotes +\temps\NOtes\Lchone|\rchone&\hsong{\txt|Un &}\ql l\enotes +\temps\NOtes|\rchone&\hsong{\txt|sou-&}\ql l\enotes +\temps\NOtes\lchone|\rchone&\hsong{\txt|ve-&}\ql l\enotes +% + %\check +% mesure 27 +\barre\NOtes\octs G|\itenl1k\itenu3p\itenu4r\Sh o\zw{kpr}\qsk\zql o&\hsong{\txt|nir &}\wh k\enotes +\temps\NOtes\Lchtwo|\ql n\enotes +\temps\NOtes\sk|\Sh m\ql m\enotes +\temps\NOtes\lchtwo|\ql n\enotes + %\check +% mesure 28 +% +\barre\NOtes\octs H|\tten1\tten3\tten4\zq{kp}\ql r&\soupir\enotes +\temps\Notes\Lchthree|\doct jk&\dhsong{\txt|\kern -2\Interligne C'est tou-&}\cl {jk}\enotes +\temps\NOtes|\zq{lnq}\ql s&\hsong{\txt|te &}\ql l\enotes +\temps\Notes\lchthree|\doct kj&\dhsong{\txt|la ten-&}\cl{kj}\enotes +% + %\check +% mesure 29 +\barre\NOtes\octs G|\zh{in}\zhl p\qsk\zqu m&\hsong{\txt|dres-&}\hu i\enotes +\temps\NOtes\Lchfour|\qu l\enotes +\temps\NOtes\sk|\zh{in}\zhl p\qsk\zqu k&\hsong{\txt|se &}\hu i\enotes +\temps\NOtes\lchfour|\Fl k\qu k\enotes +% + %\check +% mesure 30 +% +\barre\NOtes\octs F|\soupir&\soupir\enotes +\temps\NOtes\lFl c\Lchfive|\uchfive&\hsong{\txt|Des &}\qu h\enotes +\hardlyrics{\txt|beaux &}\notes|\uchfive&\hsong\thelyrics\qu h\enotes +\temps\Notes\lchfive|\lq m\zq l\doct hh&\zsong{\txt|jours d'i-&}\cu{hh}\enotes +% + %\check +% mesure 31 +% +\barre\NOtes\octs B|\zh{g}\zhl n\qsk\qu m&\hsong{\txt|vres-&}\hu g\enotes +\temps\NOtes\Lchsix|\qu l\enotes +\temps\NOtes|\itenl1g\itenu2n\zh{g}\zhl n\qsk\qu j&\hsong{\txt|se &}\hu g\enotes +\temps\NOtes\lchsix|\qu i\enotes +% + %\check +% mesure 32 +\barre\NOtes\octs B|\tten1\tten2\zq g\qu n&\soupir\enotes +\temps\Notes\Lchseven|\doctu fg&\zsong{\kern -2\internote\txt|Que l'on &}\cu f\cu g\enotes +\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m&\hsong{\txt voit |croit&}\qu f\enotes +\temps\Notes\lchseven|\doctu ef&\dhsong{\txt re- ve-|re- te-&}\cu e\cu f\enotes +% + %\check +% mesure 33 +\barre\NOtes\octs E|\Na j\rh j\zh{egi}\hu l&\hsong{\txt nir |nir &}\wh e\enotes +\temps\NOtes\qu N\enotes +\temps\NOtes\qu a\enotes +\temps\NOtes\Sh a\qu a\enotes +% + %\check +% mesure 34 +\barre\notes\zh G\zhl K|\zh b\hu d&\ds\enotes +\hardlyrics{\txt|Un &}\notes&\hsong\thelyrics\Ibu0eh2\qh0d\enotes +\hardlyrics{\txt|soir &}\notes&\hsong\thelyrics\qh0g\enotes +\notes&\hsong{\txt|tu &}\bigaccid\Sh h\tqh0h\enotes +\temps\notes\zh I\hu N|\zh k\hl g&\hsong{\txt|as &}\ibu0j0\qh0i\enotes +\hardlyrics{\txt|pu &}\notes&\hsong\thelyrics\qh0k\enotes +\notes&\hsong{\txt|te &}\qh0j\enotes +\notes&\hsong{\txt|re-&}\tqh0i\enotes + %\check +% mesure 35 +\barre\NOTes\Sh H\zw H\wh N|\zw e\zw g\hu k&\hsong{\txt|pren-&}\hl k\enotes +\temps\NOTes|\hu j&\hsong{\txt|dre &}\hl j\enotes + %\check +% mesure 36 +\barre\notes\zw K\bigaccid\Sh a\wh a|\bigaccid\Sh f\zw f\wh j&\ds\enotes +\hardlyrics{\txt|\kern -\internote Tout &}\notes&\hsong\thelyrics\ibu0j0\qh0j\enotes +\hardlyrics{\txt|bri-&}\notes&\hsong\thelyrics\qh0j\enotes +\hardlyrics{\txt|ser, &}\notes&\hsong\thelyrics\tqh0j\enotes +\hardlyrics{\txt|tout &}\notes&\hsong\thelyrics\Ibu0kh4\qh0k\enotes +\notes&\hsong{\txt|a-&}\qh0k\enotes +\notes&\hsong{\txt|n\'e-&}\bigaccid\Sh h\qh0h\enotes +\notes&\hsong{\txt|an-&}\tqh0h\enotes + %\check +% mesure 37 +\barre\notes\Ibu0Ga3\qh0{GKN}\Sh a\tqh0a|\zw{g}\wh i&\hsong{\txt|tir &}\wh i\enotes +\temps\notes|\Ibu0cf3\qh0{bdg}\Sh f\tqh0f\enotes + %\check +% mesure 38 +\barre\notes\zh I\hu M|\zh d\bigaccid\Na f\hu f&\ds\enotes +\hardlyrics{\txt|\kern -3\internote Mais &}\notes&\hsong\thelyrics\Ibu0gj3\qh0f\enotes +\hardlyrics{\txt|pour &}\notes&\hsong\thelyrics\qh0i\enotes +\hardlyrics{\txt|moi &}\notes&\hsong\thelyrics\tqh0j\enotes +\hardlyrics{\txt|qui &}\notes\zh K\hl b|\zh f\hl i&\hsong\thelyrics\Ibu0ki3\qh0k\enotes +\hardlyrics{\txt|ne &}\notes&\hsong\thelyrics\qh0k\enotes +\hardlyrics{\txt|sais &}\notes&\hsong\thelyrics\qh0j\enotes +\hardlyrics{\txt|com-&}\notes&\hsong\thelyrics\tqh0i\enotes + %\check +% mesure 39 +\barre\NOTes\zw J\wh b|\bigaccid\Fl g\zw e\wh g&\hsong{\txt|pren-&}\hu k\enotes +\temps\NOTes&\hsong{\txt|dre &}\hu j\enotes + %\check +% mesure 40 +\barre\Notes\zmidtwotext{\it rit.}\zw F\wh M|\zw e\zw j\qsk\zhl i&\soupir\enotes +\temps\NOtes&\hsong{\txt|\kern -\internote Qu'on &}\ql j\enotes +\temps\NOtes|\Sh h\hl h&\hsong{\txt|peut &}\ql k\enotes +\temps\NOtes&\hsong{\txt|men-&}\ql l\enotes + %\check +% mesure 41 +\barre\Notes\zw I\qu b|\bigaccid\Na h\zw{hm}\qsk\qu k&\hsong{\txt|tir &}\wh m\enotes +\temps\Notes\qu c|\qu j\enotes +\temps\Notes\Sh c\qu c|\Sh i\qu i\enotes +\temps\Notes\qu d|\Na i\qu i\enotes + %\check +% mesure 42 +\barre\temps\NOtes\zmidtwotext{\it a tempo}\octs E|\soupir&\soupir\enotes +\temps\NOtes\Lchone|\rchone&\hsong{\txt|Un &}\ql l\enotes +\temps\NOtes|\rchone&\hsong{\txt|sou-&}\ql l\enotes +\temps\NOtes\lchone|\rchone&\hsong{\txt|ve-&}\ql l\enotes + %\check +% mesure 43 +\barre\NOtes\octs G|\itenl1k\itenu3p\itenu4r\Sh o\zw{kpr}\qsk\zql o&\hsong{\txt|nir &}\wh k\enotes +\temps\NOtes\Lchtwo|\ql n\enotes +\temps\NOtes\sk|\Sh m\ql m\enotes +\temps\NOtes\lchtwo|\ql n\enotes + %\check +% mesure 44 +% +\barre\NOtes\octs H|\tten1\tten3\tten4\zq{kp}\ql r&\soupir\enotes +\temps\Notes\Lchthree|\doct jk&\thsong{\txt|\kern -\Interligne C'est l'i-&}\cl {jk}\enotes +\temps\NOtes|\zq{lnq}\ql s&\hsong{\txt|ma-&}\ql l\enotes +\temps\Notes\lchthree|\doct kj&\dhsong{\txt|ge d'un &}\cl{kj}\enotes +% + %\check +% mesure 45 +\barre\NOtes\octs G|\zh{in}\zhl p\qsk\zqu m&\hsong{\txt|r\^e-&}\hu i\enotes +\temps\NOtes\Lchfour|\qu l\enotes +\temps\NOtes\sk|\zh{in}\zhl p\qsk\zqu k&\hsong{\txt|ve &}\hu i\enotes +\temps\NOtes\lchfour|\Fl k\qu k\enotes +% + %\check +% mesure 46 +% +\barre\autolines {9}54\relax +\NOtes\octs F|\soupir&\soupir\enotes +\temps\hardlyrics{\txt|\kern -\internote D'une &}\notes\lFl c\Lchfive|\uchfive&\hsong\thelyrics\qu h\enotes +\temps\hardlyrics{\txt|\kern -\internote heu-&}\notes|\uchfive&\hsong\thelyrics\qu h\enotes +\temps\Notes\lchfive|\lq m\zq l\doct hh&\zsong{\txt|\kern -\internote re trop &}\cu{hh}\enotes +% + %\check +% mesure 47 +% +\xbarre\NOtes\octs B|\zh{g}\zhl n\qsk\qu m&\hsong{\txt|br\`e-&}\hu g\enotes +\temps\NOtes\Lchsix|\qu l\enotes +\temps\NOtes|\itenl1g\itenu2n\zh{g}\zhl n\qsk\qu j&\hsong{\txt|ve &}\hu g\enotes +\temps\NOtes\lchsix|\qu i\enotes +% + %\check +% mesure 48 +\xbarre\NOtes\octs B|\tten1\tten2\zq g\qu n&\soupir\enotes +\temps\Notes\Lchseven|\doctu fg&\dhsong{\txt|\kern -\internote Qui ne &}\cu f\cu g\enotes +\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m&\hsong{\txt|\kern -\internote veut &}\qu f\enotes +\temps\Notes\lchseven|\doctu ef&\dhsong{\txt|pas fi-&}\cu e\cu f\enotes +% + %\check +% mesure 49 +\xbarre\NOTes\itenl1E\itenl2L\octs E\relax +|\Na j\rh j\zh{egi}\hu l&\hsong{\txt|nir...&}\wh e\enotes +\temps\NOTes + \ifnum\transpose<-2\relax + \Fl c\qsk\lh e\zh c\zh f\hl h\else \sk\fi +|\ifnum\transpose<-2\else + \rlap{\Fl c\qsk\lh e\zh c\zh f\zhl h}\fi + \zh{il}\rh m\hu p\relax +\enotes + %\check +% mesure 50 +\xbarre\NOTes\Na c\qsk\tten1\tten2\zh E\zhl L\rh c\zh b\zh e\hu g|\qsk +\lh q\zh l\zh n\zh p\hl s\enotes +\temps\NOtes\qu E|\hpause&\pause\enotes +\temps\NOtes\soupir\enotes +\setrightrepeat\finpartition +\medskip\rightline{\it le \aujourdhui} +\eject + + + + diff --git a/Master/texmf-dist/doc/generic/musictex/tierce.tex b/Master/texmf-dist/doc/generic/musictex/tierce.tex new file mode 100644 index 00000000000..ecfc89d98e5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/tierce.tex @@ -0,0 +1,367 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\title{Tierce en taille} +\fulltitle{III. \titremorceau} +\csname titremorceautoc\endcsname +% +\parindent 18mm + +\subtitle{\sl (pour orgue)} +\othermention{Compos\'e en 1990} +\author{Daniel TAUPIN} +\maketitle + +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{0}{3}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{1}\relax % un dieze a la clef +\def\quatretemps{\generalmeter{\allabreve}}% +\def\troistemps{\generalmeter{\meterfrac{3}{2}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{2}}}% +\def\Mordant{\mordant{10}}% +\def\Pince{\pince{10}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{G.O.}}}% +%\check +\def\gluemaxskip{7pt}% +% +% formes frequentes +% +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +% +% croche pointee et double croche meme hauteur +\def\cpdcl#1{\trioskip\ibl0{#1}0\qbp0{#1}\sk\tbbl0\tqb0{#1}}% +\def\cpdcu#1{\trioskip\ibu0{#1}0\qhp0{#1}\sk\tbbu0\tqh0{#1}}% +% +\medskip\noindent{\rm G.O.: fonds 8' ou 8'+4' doux}% +\par\noindent{\rm R\'ec.: cornet ou cromorne}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O.}% +\smallskip +% +\quatretemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\debutmorceau +\advancebottom{4\internote}% +\autolines {8}44\relax +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{ \hbox{\kern -16mm\moyen Adagio \bf(\metron{\qu}{60})}}\enotes +\advance\barsinline by 1\relax +\advance\linesinpage by 1\relax +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\dqbbh#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tqh0{#3}}\relax +\def\dqbbu{\dqbbh}\def\dqbbb{\dqbbl}% +\def\dqbbl#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tqb0{#3}}\relax +%\check +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +%\check +% +% mesure 1 +\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes +\temps\NOTEs&|\hu d\enotes +\temps\notes\qu J&\ql e|\trioskip\Pince\qqbbl{-5}edeb\enotes +% mesure 2 +\barre\NOTEs\hu I&\tten1\tten2\zh d\zhl g\hup i|\hu d\enotes +\temps\notes\qu L&\itenl1e\ql e|\cpdcu N\enotes +\temps\notes\qu H&\tten1\itenu0h\zq c\zql e\qu h|\dqu3ab\enotes +% mesure 3 +\barre\NOTes\hu K&\tten0\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes +\temps\notes&|\ibbu0N3\trioskip\qh0N\tqh0a\enotes +\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes +\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes +% mesure 4 +\autolines{9}44\relax +\barre\NOTes\hu H&\zh f\zh h\hu j|\xTrille i{1.2\noteskip}\qup c\enotes +\temps\notes&|\sk\trioskip\ibbu0b3\qh0b\tqh0c\enotes +\temps\NOtes\hu I&\itenl1d\zh d\zh g\hu i|\itenl0d\qu d\enotes +\temps\notes&|\trioskip\tten0\qqbbh3defg\enotes +% mesure 5 +\barre\NOtes\hu K&\tten1\zql d\zh f\hu h|\Pince\ql f\enotes +\temps\notes&\zql c|\dql{-2}ed\enotes +\temps\notes\hu I&\zh b\zh d\hu g|\dql6dg\enotes +\temps\notes&|\dql{-8}dN\enotes +% mesure 6 +\barre\NOTes\hu H&\zh c\zhl e\hup h|\qup c\enotes +\temps\notes&|\cu c\enotes +\temps\NOtes\hu D&\itenl1d\zh d\zhl f|\xTrille i{1.5\noteskip}\qup c\enotes +\temps\notes&\qu j|\sk\cu b\enotes +% mesure 7 +\barre\NOTEs\hup G&\tten1\zhp d\zhp g\hup i|\hup b\enotes +\resp +\temps\notes\soupir&\soupir|\cpdcu N\enotes +% mesure 8 +\barre\NOTes\hu H&\zh c\zhl e\wh h|\qup a\enotes +\temps\notes&|\cu b\enotes +\temps\NOTes\hu K&\itenl1d\zh d\hl f|\xTrille i{1.0\noteskip}\qup a\enotes +\temps\notes&|\trioskip\dqbbh3Na\enotes +% mesure 9 +\barre\NOtes\hu G&\tten1\zh d\zh g\hu i|\itenl1b\qu b\enotes +\temps\notes&|\tten1\qqbbh3bb{^c}d\enotes +\temps\NOTes\hu H&\itenu1h\zh{^ce}\hu h|\xTrille i{\noteskip}\qup{c}\enotes +\temps\notes&|\trioskip\ibbu1b3\qh1b\tqh1c\enotes +% mesure 10 +\barre\NOTes\hup K&\tten1\zhp {df}\hup h|\hup d\enotes +\resp +\temps\notes\soupir&\soupir|\cpdcu a\enotes +% mesure 11 +\barre\NOTes\wh H&\zh{=c}\zhl e\wh h|\qup{=c}\enotes +\temps\notes&|\cu c\enotes +\temps\notes\hu K&\itenl2d\zh d\zhl f|\ibu0c3\qh0c\trioskip\nbbu0\qh0d\tqh0e\enotes +\temps\notes&|\Pince\dql{-3}dc\enotes +% mesure 12 +\troistemps +\changecontext\NOTes\hu G&\tten2\itenl2d\zh d\zh g\hu i|\xTrille i{\noteskip}\qup b\enotes +\temps\notes&|\cu a\enotes +\temps\NOTEs\wh K&\zw d\tten2\zw f\wh h|\Mordant \wh a\enotes +\resp +% mesure 13 +\deuxtemps\changecontext\notes\wh{=J}&\zw{=cf}\wh h|\cpdcl h\enotes +\temps\NOTes&|\hu f\enotes +\temps\notes&|\trioskip\pince j\qqbbl{-3}hghd\enotes +% mesure 14 +\barre\NOtes\hu I&\zh{bd}\hu g|\qu g\enotes +\temps\NOtes&|\qu N\enotes +\temps\NOtes\hu H&\itenu2h\zh{ce}\hu h|\itenl1a\qu a\enotes +\temps\notes&|\trioskip\tten1\qqbbu3aabc\enotes +% mesure 15 +\barre\NOtes\hu K&\tten2\itenl2d\zh{df}\hu h|\itenl1d\qu d\enotes +\temps\notes&|\trioskip\tten1\qqbbu3ddef\enotes +\temps\notes\qu I&\tten2\zq d\zq b\qu g|\ibu0e{-9}\qh0g\tqh0N\enotes +\temps\notes\qu J&\zq{ch}\qu e|\dql{-3}cb\enotes +%\check +% mesure 16 +\troistemps +\changecontext\temps\NOtes\qu K&\zql d\zh f\hu h|\xTrille i{1.5\noteskip}\qup a\enotes +\temps\notes\qu D&\zql c|\sk\cu N\enotes +\temps\NOTes\wh G&\zw{bd}\zw g|\wh N\enotes +\resp +% mesure 17 +\deuxtemps +\changecontext\notes\hup I&\zw{gi}\hlp d|\cpdcl g\enotes +\temps\NOTes&|\hl d\enotes +\temps\notes\qu J&\ql e|\trioskip\Pince\qqbbl{-5}edeb\enotes +% mesure 18 +\barre\NOTEs\hup H&\itenl1e\itenu2h\zhp{^c}\zhp e\hup h|\hup{^c}\enotes +\temps\notes\qu {^J}&\tten1\tten2\zq e\rq g\qu h|\cpdcu a\enotes +% mesure 19 +\barre\NOtes\qu K&\zhl d\zq f\qu h|\ql h\enotes +\temps\notes\qu I&\zq g\qu i|\dql{-3}gf\enotes +\temps\NOtes\hu H&\zh{^c}\zhl e\qu h|\xTrille l{1.5\noteskip}\qlp e\enotes +\temps\notes&\qu g|\sk\cl d\enotes +% mesure 20 +\barre\NOTEs\hup D&\zhp d\zhp f\hup h|\hlp d\enotes +\resp +\temps\notes\qu J&\itenl1c\itenu2h\zq{=ce}\qu h|\cpdcu a\enotes +% mesure 21 +\barre\NOTes\hu H&\tten1\tten2\zw f\zw h\hl c|\hu c\enotes +\temps\notes&|\cu c\enotes +\temps\notes\hu K&|\ibl1c3\qb1c\trioskip\nbbl 1\qb1d\tqb1e\enotes +\temps\notes&\itenl1d\ql d|\Pince\dql{-2}dc\enotes +% mesure 22 +\barre\NOtes\hu G&\tten1\zh g\zh i\hu d|\itenu1 b\qu b\enotes +\notes&|\tten1\trioskip\qqbbl3bbcd\enotes +\temps\notes\hu J&\zh c\zh e\hu g|\cpdcl e\enotes +\temps\notes&|\dql{-6}ea\enotes +% mesure 23 +\barre\NOtes\hu I&\zh d\zh g\hu i|\itenu0d\qu d\enotes +\temps\notes&|\tten0\trioskip\qqbbh{-1}dNab\enotes +\temps\NOTes\hu H&\itenu2h\zh e\zh h\hu c|\qup c\enotes +\temps\notes&|\cu c\enotes +% mesure 24 +\troistemps\changecontext\NOTes\hu F&\tten2\itenl2f\zh f\zh h\hu c|\xTrille i{1.2\noteskip}\qup c\enotes +\temps\notes&|\cu b\enotes +\temps\NOTEs\wh I&\tten2\zw{^d}\zw f\wh i|\Mordant \wh b\enotes +\resp +% mesure 25 +\barre\notes\wh H&\zw{^df}\hup i|\cpdcl f\enotes +\temps\NOTes&|\hu{^d}\enotes +\temps\notes&\qu h|\trioskip\Pince\qqbbl{-3}fefb\enotes +% mesure 26 +\barre\notes\hu G&\zh b\zh e\hu g|\cpdcl e\enotes +\temps\NOtes&|\hu e\enotes +\temps\notes\hu H&\zh {cf}\hu h|\enotes +\temps\notes&|\trioskip\ibl0f3\qb0f\sk\nbbl0\qb0g\tqb0h\enotes +% mesure 27 +\barre\NOTes\hu I&\itenl1b\itenu2g\zh {bd}\hu g|\hu d\enotes +\temps\NOTes\hl L&\tten1\tten2\zh b\zh e\hu g|\hl g\enotes +% mesure 28 +\barre\temps\notes\hu H&\zh c\zh f\hu h|\qqbl{-2}fedc\enotes +\temps\NOTEs\hu I&\itenl1d\zh d\zh g\hu i|\hu b\enotes +% mesure 29 +\troistemps\changecontext\NOTes\hu K&\tten1\itenl1d\zh d\zh f\hu h|\xTrille i{\noteskip}\qup a\enotes +\temps\notes&|\cu N\enotes +\temps\NOTEs\hup G&\tten1\zhp d\zhp g\hup i|\hup N\enotes +\temps\Notes\soupir&\soupir|\soupir\enotes +%\check +% mesure 31 +\deuxtemps\changecontext\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes +\temps\NOTEs&|\hu d\enotes +\temps\notes\qu J&\ql e|\trioskip\Pince\qqbbl{-5}edeb\enotes +% mesure 31 +\barre\NOTEs\hu I&\tten1\tten2\zhl d\zhp g\hup i|\hu d\enotes +\temps\notes\qu L&\itenl1e\zql e|\cpdcu N\enotes +\temps\notes\qu H&\tten1\itenu1h\zq c\zql e\qu h|\dqu3ab\enotes +% mesure 32 +\barre\NOTes\hu K&\tten1\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes +\temps\notes&|\ibbu0N3\trioskip\qh0N\tqh0a\enotes +\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes +\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes +% mesure 33 +\barre\NOtes\hu J&\zw g\zh c\hl e|\itenu0e\ql e\enotes +\temps\notes&|\trioskip\tten0\qqbbl3eefg\enotes +\temps\notes\hu I&\zh b\hl d|\dql6dg\enotes +\temps\notes&|\dql{-8}dN\enotes +% mesure 34 +\barre\NOtes\hu H&\zh c\zhl e\wh h|\itenl0a\qu a\enotes +\temps\notes&|\tten0\trioskip\qqbbh3aabc\enotes +\temps\NOtes\hu K&\zh d\hl f|\itenl0d\qu d\enotes +\temps\notes&|\tten0\trioskip\qqbbh3ddef\enotes +%\check +% mesure 35 +\cleftoksii={{0}{0}{0}{0}}\changeclefs +\barre\NOTes\hu I&\zhl d\zhp g\hup i|\qup g\enotes +\temps\notes&|\cu h\enotes +\temps\notes\qu L&\hl e|\dqu{-4}ge\enotes +\temps\notes\qu H&\zq h\qu j|\dqu{-3}ji\enotes +% mesure 36 +\troistemps\changecontext\NOtes\qu K&\zw d\zh f\hu h|\xTrille o{\noteskip}\qup h\enotes +\temps\notes\qu D&|\sk\cu g\enotes +\temps\NOtes\hup G&\zhp{dg}\hup i|\hup g\enotes +\resp +\temps\notes\soupir&\soupir|\cpdcu b\enotes +% mesure 37 +\deuxtemps\changecontext\notes\hu I&\zh{^d}\zhl f\wh i|\dqu3ij\enotes +\temps\notes&|\dqu{-3}ih\enotes +\temps\notes\hu L&\zh g\hl e|\pince o\dqu{-3}gf\enotes +\temps\notes&|\dqu{-5}ge\enotes +% mesure 38 +\barre\notes\hu{^J}&\zh{^c}\zhl e\wh h|\dqu3hi\enotes +\temps\notes&|\dqu{-3}hg\enotes +\temps\notes\hu K&\zh d\hl f|\pince o\dqu{-3}fe\enotes +\temps\NOtes&|\qu d\enotes +% mesure 39 +\barre\notes\hu I&\zh b\zhl d\wh g|\dqu3gh\enotes +\temps\notes&|\dqu{-8}gd\enotes +\temps\notes\hu J&\zh c\hl e|\dqu3ef\enotes +\temps\NOtes&|\pince o\qu e\enotes +% mesure 40 +\barre\notes\hu H&\zh{^c}\zhl e\wh h|\dqu3hi\enotes +\temps\notes&|\dqu{-8}he\enotes +\temps\notes\hu J&\zh d\hl f|\dqu3fg\enotes +\temps\NOtes&|\pince o\qu f\enotes +%\check +% mesure 41 +\barre\notes\hu G&\zhl d\zw g\wh i|\dqu3ij\enotes +\temps\notes&|\dqu{-3}ih\enotes +\temps\notes\hu L&\hl e|\dqu{-3}gf\enotes +\temps\notes&|\dqu{-5}ge\enotes +%\check +% mesure 42 +\barre\notes\hu H&\itenu1h\zh c\zhl e\wh h|\dqu3jk\enotes +\temps\notes&|\dqu{-3}ji\enotes +\temps\notes\hu{^J}&\hl{^c}|\dqu{-3}hg\enotes +\temps\notes&|\dqu{-3}fe\enotes +% mesure 43 +\barre\notes\qu K&\tten1\zql d\zh f\hu h|\dqu3fg\enotes +\temps\notes\qu{=J}&\ql{=c}|\pince o\dqu{-6}fd\enotes +\temps\NOTes\hu I&\zh{bd}\hu g|\qup g\enotes +\temps\notes&|\cu h\enotes +% mesure 44 +\troistemps\changecontext\NOtes\qu K&\itenl0d\zh d\zh f\hu h|\xTrille o{1.5\noteskip}\qup h\enotes +\temps\notes\qu D&|\sk\cu g\enotes +\temps\NOTEs\wh G&\tten0\zw b\zw d\wh g|\Mordant\wh g\enotes +\resp +% mesure 45 +\cleftoksii={{0}{3}{0}{0}}\changeclefs +\barre\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes +\temps\NOTEs&|\hu d\enotes +\temps\notes\qu J&\ql e|\trioskip\Pince\qqbbl{-5}edeb\enotes +% mesure 46 +\barre\NOTEs\hu I&\tten1\tten2\zh d\zhl g\hup i|\hu d\enotes +\temps\notes\qu L&\itenl1e\ql e|\cpdcu N\enotes +\temps\notes\qu H&\tten1\itenu0h\zq c\zql e\qu h|\dqu3ab\enotes +% mesure 47 +\barre\NOTes\hu K&\tten0\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes +\temps\notes&|\ibbl0N3\trioskip\qb0N\tqb0a\enotes +\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes +\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes +% mesure 48 +\barre\NOTes\hu H&\zh f\zh h\hu j|\xTrille i{1.2\noteskip}\qup c\enotes +\temps\notes&|\sk\trioskip\ibbl0b3\qb0b\tqb0c\enotes +\temps\NOtes\hu I&\itenl1d\zh d\zh g\hu i|\itenl0d\qu d\enotes +\temps\notes&|\trioskip\tten0\qqbbh3defg\enotes +% mesure 49 +\barre\NOtes\hu K&\tten1\zql d\zh f\hu h|\Pince\ql f\enotes +\temps\notes&\zql c|\dql{-2}ed\enotes +\temps\notes\hu I&\zh b\zh d\hu g|\dql6dg\enotes +\temps\notes&|\dql{-8}dN\enotes +% mesure 50 +\troistemps\changecontext\NOTes\hu H&\zh c\zhl e\hup h|\xTrille i{\noteskip}\qup a\enotes +\temps\notes&|\cu b\enotes +\temps\NOTEs\wh I&\zw{^d}\zw f\wh i|\Mordant\wh b\enotes +\resp +% mesure 51 +\deuxtemps\changecontext\notes\wh H&\zw{^df}\hup i|\cpdcl f\enotes +\temps\NOTes&|\hu{^d}\enotes +\temps\notes&\qu h|\trioskip\Pince\qqbbl{-3}fefb\enotes +% mesure 52 +\barre\notes\hu G&\zh b\zh e\hu g|\cpdcl e\enotes +\temps\NOtes&|\hu e\enotes +\temps\notes\hu H&\zh {cf}\hu h|\enotes +\temps\notes&|\trioskip\ibl0f3\qb0f\sk\nbbl0\qb0g\tqb0h\enotes +% mesure 53 +\barre\NOTes\hu I&\itenl1b\itenu2g\zh {bd}\hu g|\hu d\enotes +\temps\NOTes\hl L&\tten1\tten2\zh b\zh e\hu g|\hl g\enotes +% mesure 54 +\barre\temps\notes\hu H&\zh c\zh f\hu h|\qqbl{-2}fedc\enotes +\temps\NOTes\hu I&\itenl1d\zw d\zh g\hu i|\xTrille i{1.5\noteskip}\qup b\enotes +\temps\notes&|\cu a\enotes +% mesure 55 +\barre\NOTes\wh K&\tten1\zw d\zw f\wh h|\Mordant \wh a\enotes +\resp +% mesure 56 +\barre\notes\wh{=J}&\zw{=cf}\wh h|\cpdcl h\enotes +\temps\NOTes&|\hu f\enotes +\temps\notes&|\trioskip\pince{11}\qqbbl{-3}hghd\enotes +% mesure 57 +\barre\NOtes\hu I&\zh{bd}\hu g|\qu g\enotes +\temps\NOtes&|\qu N\enotes +\temps\NOtes\hu H&\itenu2h\zh{ce}\hu h|\itenl1a\qu a\enotes +\temps\notes&|\trioskip\tten1\qqbbu3aabc\enotes +% mesure 58 +\barre\NOtes\hu K&\tten2\itenl2d\zh{df}\hu h|\itenl1d\qu d\enotes +\temps\notes&|\trioskip\tten1\qqbbu3ddef\enotes +\temps\notes\qu I&\tten2\zq d\zq b\qu g|\ibu0e{-9}\qh0g\tqh0N\enotes +\temps\notes\qu J&\zq{hc}\qu e|\dql{-3}cb\enotes +%\check +% mesure 59 +\advance\barsinline by -1\relax +\barre\NOTes\hu K&\itenl1d\zw d\zh g\hu i|\hu b\enotes +\temps\NOTes\hu D&\zh f\hu h|\xTrille i{\noteskip}\qup a\enotes +\temps\notes&|\cu N\enotes +% mesure 60 +\barre\NOTEs\wh G&\tten1\zw{bd}\zw g|\wh N\enotes +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject diff --git a/Master/texmf-dist/doc/generic/musixtex/CHANGES b/Master/texmf-dist/doc/generic/musixtex/CHANGES new file mode 100644 index 00000000000..984f109f364 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/CHANGES @@ -0,0 +1,31 @@ + PostScript (Type 1) Fonts for MusiXTeX + Ver 1.13 + + 19-February-2003 + + Takanori Uchiyama, uchiyama@appi.keio.ac.jp + +19-February-2003 + + Fix a problem that xslz20 disappears with Acrobat 5. + +15-July-2002 + + Fix broken fonts, xslhd11, xslhd11d, xslhd13, xslhd13d, xslhd16d, + xslhd24, xslhd29d. + +28-August-2001 + + Fix wrong width of musix13.pfb. + + Fix wrong width of xslhu11-29 and xslhu11d-29d. + +30-July-2001 + + Reducing control points. + + Hinted automatically with Fontographer. + + Upgrade from T101 to T102 (musix11 - 29, xslhz20, xslhz20d) + + PostScript names were changed. + Ex. TeX-musix20 --> TeXMUSIX20-Regular + + typo correction. + musix.tex --> musix.map + +13-July-2001 + + First release. + +[End of CHANGES] diff --git a/Master/texmf-dist/doc/generic/musixtex/README b/Master/texmf-dist/doc/generic/musixtex/README new file mode 100644 index 00000000000..3490a07d215 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/README @@ -0,0 +1,114 @@ + PostScript (Type 1) Fonts for MusiXTeX + Ver 1.13 + + 19-February-2003 + + Takanori Uchiyama, uchiyama@appi.keio.ac.jp + +1. DESCRIPTION + +This package provides PostScript (type 1) fonts (PFB format), and dvips and +dvipdfm map files for MusiXTeX. The fonts are based on the original METAFONT +sources, such as musix20.mf, which are distributed with MusiXTeX. The fonts +provided here may be used to produce printer-independent Postscript files. PDF +files generated using type 1 fonts are well displayed by the Acrobat Reader and +xpdf. + +The fonts were generated from the METAFONT sources in the TeX Live CD 2000 July +using TeXtrace 0.45 or mftrace 1.0.12 but musix11-20, xslhz20 and xslhz20d +were upgraded to those in musixtex-T102.tar.gz. + +Here is a list of the 71 generated fonts. + +musix11.pfb xgreg24.pfb xsld29.pfb xslhd24.pfb xslhu24.pfb xslu20.pfb +musix13.pfb xgreg29.pfb xsld29d.pfb xslhd24d.pfb xslhu24d.pfb xslu20d.pfb +musix16.pfb xsld11.pfb xsldd20.pfb xslhd29.pfb xslhu29.pfb xslu24.pfb +musix20.pfb xsld11d.pfb xsldu20.pfb xslhd29d.pfb xslhu29d.pfb xslu24d.pfb +musix24.pfb xsld13.pfb xslhd11.pfb xslhu11.pfb xslhz20.pfb xslu29.pfb +musix29.pfb xsld13d.pfb xslhd11d.pfb xslhu11d.pfb xslhz20d.pfb xslu29d.pfb +musixsps.pfb xsld16.pfb xslhd13.pfb xslhu13.pfb xslu11.pfb xslud20.pfb +musixspx.pfb xsld16d.pfb xslhd13d.pfb xslhu13d.pfb xslu11d.pfb xslup20.pfb +xgreg11.pfb xsld20.pfb xslhd16.pfb xslhu16.pfb xslu13.pfb xslz20.pfb +xgreg13.pfb xsld20d.pfb xslhd16d.pfb xslhu16d.pfb xslu13d.pfb xslz20d.pfb +xgreg16.pfb xsld24.pfb xslhd20.pfb xslhu20.pfb xslu16.pfb xtie20.pfb +xgreg20.pfb xsld24d.pfb xslhd20d.pfb xslhu20d.pfb xslu16d.pfb + +Note: musix25 and xgreg25 were not generated because they are not used in + musixgre.tex or musixtex.tex. + + +The control points were reduced with Fontographer. +The fonts were hinted automatically with Fontographer. musix11 - 29 were +hand tuned by Takanori Uchiyama. + +2. METHOD + +Most of fonts were generated using TeXtrace 0.45 running on Mac OS X 10.0.4. +xslz20 was generated using mftrace 1.0.12 running on Mac OS X 10.2.3. +Thirty-two fonts were generated with the original traceall.sh script. Others +were generated with traceall.sh modified by Takanori Uchiyama. The modification +involved reducing resolution, corresponding to enlargement of "1 thou" in +traceall.sh. The following are lists of fonts that were generated with N-fold +thou scripts. + +twofold + musix11, musix13, xsld11, xsld11d, xsld13, xsld13d, xsld16, xsld16d, + xslhd13, xslhd13d, xslhd16, xslhd16d, xslhd20, xslhd20d, xslhd24d, + xslhu13, xslhu13d, xslhu16, xslhu16d, xslhu20, xslhu20d, xslhu24d, + xslu13, xslu13d, xslu16, xslu16d, xslud20 + +threefold + musixsps, musixspx, xslhd11, xslhd11d, xslhu11, xslhu11d, xslz20, xslz20d + +fivefold + xslhz20, xslhz20d, xtie20 + +The reason for reducing resolution is that METAFONT supports only limited +values of real numbers and so cannot generate very high resolution MusiXTeX +fonts. + +3. INSTALLATION + + 1) Make a directory such as $TEXMF/fonts/type1/musixtex, for PFBs. + 2) Copy all PFBs to the above directory; they should be readable by all users. + 3) Copy the map file ./dvips/musix.map to the appropriate directory, such as + $TEXMF/dvips/config + 4) Add a line + + p +musix.map + + to a suitable config.xxx file or, in a tetex-based distribution, add + musix.map to the list of map files for Type1 fonts with Metafont + equivalents in the updmap script, which should then be executed + by doing "./updmap". + 5) Copy the map file ./dvipdfm/musix.map to the appropriate directory, such as + $TEXMF/dvipdfm/config + 6) Add a line + + f musix.map + + to the config file. + 7) Do mktexlsr or texhash or whatever is necessary on your system to + re-generate the TeX database. + +When these fonts are used, type 1 fonts should also be used for non-music text; +for example, type 1 versions of the Computer Modern fonts are available. + +4. TODO + + + Hinting + + Modifying METAFONT sources to get high resolution outputs + +5. LICENSE + + The license of this package is LPPL. + +6. ACKNOWLEDGEMENTS + + Thanks to Dr. Daniel Taupin, Ross Mitchell and Andreas Egler for their +MusiXTeX package, to Dr. Peter Szabo for his excellent TeXtrace tool, +and to Dr. Han-Wen Nienhuys for his smart mftrace tool. +And thanks to Dr. Bob Tennent for his helpful comments, and to Mr. David +Fritzsche for his suggestions. + +[End of README] diff --git a/Master/texmf-dist/doc/generic/musixtex/README.psfonts b/Master/texmf-dist/doc/generic/musixtex/README.psfonts new file mode 100644 index 00000000000..5285b7dcc30 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/README.psfonts @@ -0,0 +1,111 @@ + PostScript (Type 1) Fonts for MusiXTeX + Ver 1.11 + + 28-August-2001 + + Takanori Uchiyama, uchiyama@appi.keio.ac.jp + +1. DESCRIPTION + +This package provides PostScript (type 1) fonts (PFB format), and dvips and +dvipdfm map files for MusiXTeX. The fonts are based on the original METAFONT +sources, such as musix20.mf, which are distributed with MusiXTeX. The fonts +provided here may be used to produce printer-independent Postscript files. PDF +files generated using type 1 fonts are well displayed by the Acrobat Reader and +xpdf. + +The fonts were generated from the METAFONT sources in the TeX Live CD 2000 July +using TeXtrace 0.45 but musix11-20, xslhz20 and xslhz20d were upgraded to those +in musixtex-T102.tar.gz. + +Here is a list of the 71 generated fonts. + +musix11.pfb xgreg24.pfb xsld29.pfb xslhd24.pfb xslhu24.pfb xslu20.pfb +musix13.pfb xgreg29.pfb xsld29d.pfb xslhd24d.pfb xslhu24d.pfb xslu20d.pfb +musix16.pfb xsld11.pfb xsldd20.pfb xslhd29.pfb xslhu29.pfb xslu24.pfb +musix20.pfb xsld11d.pfb xsldu20.pfb xslhd29d.pfb xslhu29d.pfb xslu24d.pfb +musix24.pfb xsld13.pfb xslhd11.pfb xslhu11.pfb xslhz20.pfb xslu29.pfb +musix29.pfb xsld13d.pfb xslhd11d.pfb xslhu11d.pfb xslhz20d.pfb xslu29d.pfb +musixsps.pfb xsld16.pfb xslhd13.pfb xslhu13.pfb xslu11.pfb xslud20.pfb +musixspx.pfb xsld16d.pfb xslhd13d.pfb xslhu13d.pfb xslu11d.pfb xslup20.pfb +xgreg11.pfb xsld20.pfb xslhd16.pfb xslhu16.pfb xslu13.pfb xslz20.pfb +xgreg13.pfb xsld20d.pfb xslhd16d.pfb xslhu16d.pfb xslu13d.pfb xslz20d.pfb +xgreg16.pfb xsld24.pfb xslhd20.pfb xslhu20.pfb xslu16.pfb xtie20.pfb +xgreg20.pfb xsld24d.pfb xslhd20d.pfb xslhu20d.pfb xslu16d.pfb + +Note: musix25 and xgreg25 were not generated because they are not used in + musixgre.tex or musixtex.tex. + + +The control points were reduced with Fontographer. +The fonts were hinted automatically with Fontographer. musix11 - 29 were +hand tuned by Takanori Uchiyama. + +2. METHOD + +All fonts were generated using TeXtrace 0.45 running on Mac OS X 10.0.4. +Thirty-two fonts were generated with the original traceall.sh script. Others +were generated with traceall.sh modified by Takanori Uchiyama. The modification +involved reducing resolution, corresponding to enlargement of "1 thou" in +traceall.sh. The following are lists of fonts that were generated with N-fold +thou scripts. + +twofold + musix11, musix13, xsld11, xsld11d, xsld13, xsld13d, xsld16, xsld16d, + xslhd13, xslhd13d, xslhd16, xslhd16d, xslhd20, xslhd20d, xslhd24d, + xslhu13, xslhu13d, xslhu16, xslhu16d, xslhu20, xslhu20d, xslhu24d, + xslu13, xslu13d, xslu16, xslu16d, xslud20 + +threefold + musixsps, musixspx, xslhd11, xslhd11d, xslhu11, xslhu11d, xslz20, xslz20d + +fivefold + xslhz20, xslhz20d, xtie20 + +The reason for reducing resolution is that METAFONT supports only limited +values of real numbers and so cannot generate very high resolution MusiXTeX +fonts. + +3. INSTALLATION + + 1) Make a directory such as $TEXMF/fonts/type1/musixtex, for PFBs. + 2) Copy all PFBs to the above directory; they should be readable by all users. + 3) Copy the map file ./dvips/musix.map to the appropriate directory, such as + $TEXMF/dvips/config + 4) Add a line + + p +musix.map + + to a suitable config.xxx file or, in a tetex-based distribution, add + musix.map to the list of map files for Type1 fonts with Metafont + equivalents in the updmap script, which should then be executed + by doing "./updmap". + 5) Copy the map file ./dvipdfm/musix.map to the appropriate directory, such as + $TEXMF/dvipdfm/config + 6) Add a line + + f musix.map + + to the config file. + 7) Do mktexlsr or texhash or whatever is necessary on your system to + re-generate the TeX database. + +When these fonts are used, type 1 fonts should also be used for non-music text; +for example, type 1 versions of the Computer Modern fonts are available. + +4. TODO + + + Hinting + + Modifying METAFONT sources to get high resolution outputs + +5. LICENSE + + The license of this package is LPPL. + +6. ACKNOWLEDGEMENTS + + Thanks to Dr. Daniel Taupin, Ross Mitchell and Andreas Egler for their +MusiXTeX package, and to Dr. Peter Szabo for his excellent TeXtrace tool. +And thanks to Dr. Bob Tennent for his helpful comments. + +[End of README] diff --git a/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty b/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty new file mode 100644 index 00000000000..0c06073ad95 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty @@ -0,0 +1,320 @@ +%%% backgrnd.sty = background.sty +%%% Experimental version 24 march 1996 +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% +%%% This macro file aims at implementing marking of text, +%%% either by a grey background or by a change bar +%%% using TeX's own resoureces only, +%%% (i.e., without resorting to any pstricks). +%%% Grey background uses a shade font defined using MetaFont +%%% The macros seem to work satisfactory under plain TeX, +%%% however, I have also tried (rudimentarily) to integrate it with +%%% LaTeX, too. It seems to work with (simple) LaTeX 2.09, at least. +%%% +%%% commands : +%%% \RuleOn and \RuleOff : changebar +%%% \RuleON : backs up to mark current line, too +%%% \RuleStyle { ( dimension ) % width of rule +%%% % rule offset on pages +%%% [ # dimension | % with even pagenumbers +%%% # dimension ] } % with odd pagenumbers +%%% % # is either < : left margin +%%% % or > : right margin +%%% e.g.: default values are set by +%%% \RuleStyle { (2pt)[<18pt|>18pt] } +%%% +%%% +%%% \ShadeON ( backs up to mark current line, too ) and +%%% \ShadeOn and \ShadeOff : grey background, requires shade.sty +%%% therefore, by default, + \let\ifUseGrey\iffalse % grey background will not be installed +%%% - and will be replaced by rules +%%% if grey background is required then +%%% remove comment signs %%% from next line : +%%% \let\ifUseGrey\iftrue +%%% +%%% (At present) it is not possible to use both commands +%%% in the same document ! +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% Peter Schmitt %%% +%%% Institut f\"ur Mathematik, Universit\"at Wien %%% +%%% Strudlhofgasse 4, A-1090 Wien, Austria %%% +%%% email: schmitt@awirap.bitnet %%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\catcode`\: 11 % make internal macros private +\countdef\int: 255 % scratch registers +\dimendef\dim: 0 +\skipdef\skip: 0 + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% commands and options %%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\def \RuleOn {\bg:ini \bg:rule + \RuleStyle { (2pt)[<18pt|>18pt] } + \bg:commands \RuleOn \RuleON \RuleOff + \RuleOn + } +\def \RuleStyle #1{\set:hsize #1(\bg:hsize)\\% + \set:offsets #1[*|*]\iftrue]\iffalse\\% + } + +\def \bg:rule {\leaders\vrule width\bg:hsize\vskip} +\def \bg:empty {\vskip} +\let \bg:offset \relax + +%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% interface tools %%% +%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\def\bg:commands #1#2#3{\def #1{\bg:option {\vbox{}\pos:on}} + \def #2{\bg:option {\nobreak\vskip-\baselineskip + \vbox{}\pos:on + \nobreak\vskip\baselineskip } + } + \def #3{\bg:option {\vbox{}\pos:off}} + } +\def \bg:ini {\output{\bg:output} % should be followed by desired \bg:style + \zero:pos + \global\let \bg:skip \bg:empty + \let \bg:style + } +\def\bg:option #1{\ifvmode #1\else \vadjust{#1}\fi } + +\def \set:hsize #1(#2)#3\\{\edef\bg:hsize{#2}} +\def \set:offsets #1[#2#3|#4#5]#6]#7#8\\{#7 + \def\bg:shift{} + \set:offset #2#3 + \set:offset #4#5 + \expandafter \set:shifts \bg:shift + \fi } +\def\set:offset #1#2 {\setbox0\hbox{\dim: +#2\bg:offset\xdef\bg:offset{\the\dim:}} + \dim:\bg:offset + \expandafter\expandafter\expandafter + \set:shift \csname bg:#1\endcsname + } +\def\set:shift #1#2{\dim: \bg:offset \advance\dim: #2% + \edef\bg:shift {\bg:shift {#1\the\dim:}} + } +\expandafter\def \csname bg:<\endcsname {\moveleft \bg:hsize} +\expandafter\def \csname bg:>\endcsname {\moveright \hsize} +\def \set:shifts #1#2{\def\bg:shift{\ifodd\pageno #2\else #1\fi}} + +%%% not used : +\def\bg:err #1{\errmessage {% + Warning ! Background mode \noexpand#1 already active ! } + } +%%% saving position without eject yields not always correct result +%%% \def\bg:on {\switch:to \bg:style } \def\bg:off {\switch:to \bg:empty } + +%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% grey background %%% +%%%%%%%%%%%%%%%%%%%%%%%%%%% +\ifUseGrey + +\def\ShadeOn {\bg:ini \bg:grey + \let\bg:shift\relax + \let\bg:hsize\hsize + \setbox\grey:line + \vbox{\shade{\line:{\vphantom{\grey:\char0}\hfil}}} + \bg:commands \ShadeOn \ShadeON \ShadeOff + \ShadeOn + } +\csname newbox\endcsname\grey:line % allow \newbox in conditional text +\def\bg:grey {\leaders\copy\grey:line\vskip} +\let\line:\line +\input shade + +\else + \def\ShadeOn{\RuleOn} \def\ShadeOff{\RuleOff} \def\ShadeON{\RuleON} + \fi +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% output routine %%% +%%%%%%%%%%%%%%%%%%%%%%%%%% + + \newbox \bg:page + \newdimen \v:size + \newskip \v:pos + \newcount \true:penalty + \chardef \the:page 255 + +\def\option: #1{\advance\int: -1 + \edef#1{\penalty\the\int: } + \expandafter\def\csname\the\int:\endcsname + } \int: -12345 +\def\bg:output{\expandafter\ifx\csname\the\outputpenalty\endcsname\relax + \global\true:penalty\outputpenalty + \expandafter\bg:pagecontents + \else \expandafter\expandafter + \csname\the\outputpenalty\endcsname + \fi } +\option: \pos:on {\bg:switch \bg:style } +\option: \pos:off {\bg:switch \bg:empty } +\option: \bg:top {\save:pos \add:bg\bg:empty\v:skip{} + \repeat:page \unvbox\the:page } +\option: \bg:bot {\save:pos \repeat:page \unvbox\the:page } +\option: \fg:end {\save:pos \add:bg\bg:empty{}\v:skip \bg:makepage } + +\def \bg:switch #1{\setbox\the:page + \vbox{\unvbox\the:page \setbox0\lastbox } + \ifdim \pagetotal=\topskip + \global\let \bg:skip #1 + \unvbox\the:page + \else \switch:to #1 + \repeat:page\repeat:inserts \unvbox\the:page + \fi + } +\def\switch:to #1{\save:pos + \add:bg \bg:skip{}\v:skip + \global\let \bg:skip #1} +\def\bg:pagecontents {\switch:to \bg:skip + \setbox\the:page \vbox + {\vbox{}\bg:top \unvbox\the:page \bg:bot } + \zero:pos \repeat:page + \pagecontents \fg:end + } +\def\bg:makepage {\global\v:size\vsize \advance\v:size \dp\the:page + \def\pagecontents{% + \bg:shift + \vbox to0pt{\vbox to\v:size{\unvbox\bg:page}\vss} + \unvbox\the:page } + \outputpenalty\true:penalty + \plainoutput + \zero:pos \reset:inserts + } + +%%%%%%%%%%%%%%%%% +%%% tools %%% +%%%%%%%%%%%%%%%%% + +\def\repeat:page {\vbox{}\nobreak\kern-\topskip } +\def\add:bg #1#2#3{\let\bg:vskip #1 + \global\setbox\bg:page \vbox{#2\unvbox\bg:page#3} + } + +\newdimen \v:fil +\newdimen \v:fill +\newdimen \v:filll +\def\zero:pos {\global \v:pos 0pt + \global \v:fil 0pt + \global \v:fill 0pt + \global \v:filll 0pt + } +\def\save:pos {\skip: -\v:pos % save -last:pos + \global \v:pos \pagetotal + \global\advance \v:pos \pagedepth + \ifnum \pagedepth=0 \advance\v:pos \dp\the:page \fi + \global\advance \v:pos 0ptplus\pagestretch minus\pageshrink + \save:skip + } +\def\save:pos {\skip: -\v:pos % save -last:pos + \global \v:pos \pagetotal + \global\advance \v:pos \pagedepth + \ifnum \pagedepth=0 \advance\v:pos \dp\the:page \fi + \global\advance \v:pos 0ptplus\pagestretch minus\pageshrink + \save:skip + \global\skip\ins:size \vsize + \global\advance\skip\ins:size -\pagegoal + \global\advance\skip\ins:size -\ins:skip + } +\def\save:skip {\advance\skip:\v:pos % v:pos - last:pos + \let\bg:vskip\relax + \edef\v:skip{\bg:vskip\the\skip:} + \fil:skip l \fil:skip ll \fil:skip lll + } +\def\fil:skip #1 {\set:fil {\csname v:fi#1\endcsname} + {\csname pagefi#1stretch\endcsname} + \edef\v:skip{\v:skip \bg:vskip0ptplus\the:pt \dim: fi#1 } + } +\def\set:fil #1#2{\dim: -#1 + \advance \dim: #2 + \global #1 #2 + } +\def\the:pt {\expandafter\PT:\the} + { \catcode`p 12 \catcode`t 12 +\gdef\PT: #1pt{#1} }% \catcode`p 11 \catcode`t 11 + +%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% insert handling %%% +%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\newcount\ins: +\newinsert\ins:size +\newdimen\ins:skip + +\let\do:insert \insert +\def\inserts:{} +\def\insert {\afterassignment\adjust:pos\ins:} +\def\adjust:pos {\csname ins:\the\ins:\endcsname\csname iftrue\endcsname + \add:plus \ins: \add:minus \ins: + \advance\ins:skip\skip\ins: + \let\temp:\relax + \edef\inserts:{\inserts: \temp:{\the\ins:}} + \fi + \global\expandafter\let\csname ins:\the\ins:\endcsname \iffalse + \do:insert\ins: } +\def\repeat:inserts{\def\temp:##1{\do:insert##1{}}\inserts: } +\def\reset:inserts{% + \def\temp: ##1{\global\expandafter\let\csname ins:##1\endcsname \relax } + \inserts: \gdef\inserts:{}\global\ins:skip 0pt } + +%%% tools for insert handling %%% + + \catcode `L12 \catcode `N12 \catcode `S12 \catcode `U12 \lowercase{ +\def\plus: #1LUS #2 #3\\{#2} +\def\Plus: #1{\expandafter\plus:\the#1 LUS 0.0pt \\} +\def\minus: #1NUS #2 #3\\{#2} +\def\Minus: #1{\expandafter\minus:\the#1 NUS 0.0pt \\} + } \catcode `L11 \catcode `N11 \catcode `S11 \catcode `U11 + +\def\set:int {\afterassignment\set:frac\int: } +\def\set:frac #1{\afterassignment\csname\count0 } +\def\adv:pos #1{\global\advance#1\the\int:.\the\count0 pt } +\def \pt:p {\adv:pos {\v:pos 0ptplus}} +\def \pt:m {\adv:pos {\v:pos 0ptminus}} +\def \fil:p {\adv:pos \v:fil } +\def \fill:p {\adv:pos \v:fill } +\def\filll:p {\adv:pos \v:filll } + +\def\add:plus #1{{\expandafter\set:int \Plus: {\skip#1}:p\endcsname }} +\def\add:minus #1{{\expandafter\set:int \Minus:{\skip#1}:m\endcsname }} + +%%%%%%%%%%%%%%%%%%%%%%%% +%%% LaTeX extras %%% +%%%%%%%%%%%%%%%%%%%%%%%% + +\catcode`@ 11 +\ifx \@outputbox\undefined \endinput \catcode`@12 \catcode`: 12 \fi + +\newtoks\latex:output \latex:output \output +\newdimen\v:ht % possibly \textheight could be used + +\def\bg:@makecol {\switch:to \bg:skip + \setbox\the:page \vbox + {\vbox{}\bg:top \unvbox\the:page \bg:bot } + \@makecol + \global\v:ht\ht\@outputbox \global\v:size\v:ht + \global\advance\v:size\dp\@outputbox + \zero:pos \outputpenalty\true:penalty + \repeat:page \unvbox\@outputbox \fg:end + } +\def\bg:@makepage {\setbox\@outputbox \vbox to \v:ht {% + \bg:shift + \vbox to0pt{\vbox to\v:size{\unvbox\bg:page}\vss} + \unvbox\the:page } + \outputpenalty\true:penalty + \let\@makecol\relax \the\latex:output + \zero:pos \reset:inserts + } +\let \bg:makepage \bg:@makepage +\let \bg:pagecontents \bg:@makecol +\def \line: {\hbox to\textwidth} +\let \pageno \c@page + +\catcode`@ 12 \catcode`: 12 + +\endinput %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% end : background.sty [ 0.3 ] %%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/adagio.tex b/Master/texmf-dist/doc/generic/musixtex/examples/adagio.tex new file mode 100644 index 00000000000..7fb253826fa --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/adagio.tex @@ -0,0 +1,445 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{Adagio} +\subtitle{(pour orgue)} +\headtitle{I. Adagio} +\csname titremorceautoc\endcsname +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN\\organiste Gif-sur-Yvette} +\othermention{Compos en 1989} +% +% + +\maketitle +\parindent 18mm +% +% calcul de \elemskip en fonction de la largeur de page pour eviter les glues +% +\def\znotes{\vnotes 0\elemskip}% + + +\tracingstats=1\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-1}\relax % un bemol a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{16', 8'} + \def\instrumentii{\vbox{\hsize=\parindent\centerline{cornet}\vskip \interportee +\vskip -10pt\centerline{fl\^ute 8'}}}% +%\check +%\elemskip=10pt\relax +%\normal +\def\gluemaxskip{7pt}% +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qu0{#3}}% +\def\doubler{\multiply\noteskip by 2\relax}% +% +\noautolines +\quatretemps +% +\debutmorceau +\hyphenpenalty -50\relax +\global\cleftoksii={{0}{0}{0}{0}}% +\changeclefs\zglu +\notes&|\uptext{\raise 1.5\Interligne\hbox{\kern -14mm\moyen Adagio \bf \metron{\qu}{60}}}\enotes +% mesure 1 +\zglu\notes\itenl1K\wh K&\zq f\zqu h\itenl2d\wh d|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenu0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu i\enotes +% mesure 2 +\barre\NOTes\tten1\hu K&\zq e\zqu g\qsk\tten2\wh d|\hu g\enotes +\temps\NOTes&\zq e\qu g\enotes +\temps\NOTes\soupir&\zq e\qu g|\soupir\enotes +\temps\Notes\qu K&\zq e\qu g|\ibu0h3\qh0g\enotes +\notes&|\nbbu0\qh0h\enotes +\notes&|\tbu0\qh0i\enotes +% mesure 3 +\barre\Notes\wh{^J}&\rlap{\wh{^c}}\zq e\qu g|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes +\temps\Notes &\zq e\qu g|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes +\temps\Notes &\zq e\qu g|\ibu0g{-3}\qh0g\tbu0\qh0f\enotes +\temps\Notes &\zq e\qu h|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes +% mesure 4 +%\etroit +\barre\NOTes\hup K&\zw d\zq f\zqu h|\qup f\enotes +\temps\Notes&\zq f\qu h|\sk\cu e\enotes +\temps\NOTes&\zq f\qu h|\qup d\enotes +\temps\Notes\soupir&\zq f\qu h|\sk\demisoupir\enotes +% mesure 5 +\barre\notes\wh K&\itenl1d\zq f\zqu h\wh d|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenl0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu j\enotes +% mesure 6 +\barre\nspace\NOTes\wh{=I}&\tten1\lsh g\zw d\zq f\rq g\qu{=i}|\itenl2i\hu{=i}\enotes +\temps\NOTes&\zq f\rq g\qu i\enotes +\temps\Notes&\zq f\rq g\qu i|\tten2\ibl0i3\qb0i\enotes +\notes&|\nbbl0\qb0j\tbl0\qb0k\enotes +\temps\NOTes&\zq{eg}\qu i|\qu{^g}\enotes +% mesure 7 +\barre\NOTes\wh{^J}&\itenl1c\zq e\zqu h\wh{^c}|\itenl0h\hu h\enotes +\temps\NOTes&\zq e\qu h|\enotes +\temps\Notes&\zq e\qu h|\tten0\ibu0h{-3}\qh0h\tbu0\qh0{=g}\enotes +\temps\Notes&\zq e\qu h|\ibu0h{-4}\qh0h\tbu0\qh0f\enotes +% mesure 8 +\barre\NOTes\wh H&\tten1\zq e\zqu g\wh{^c}|\itenl0g\hu g\enotes +\temps\NOTes&\zq e\qu g|\enotes +\temps\Notes&\zq e\qu g|\tten0\ibu0g{-3}\qh0g\tbu0\qh0f\enotes +\temps\Notes&\zq e\qu g|\ibu0g{-4}\qh0g\tbu0\qh0e\enotes +% mesure 9 +\barre\NOTes\hup K&\rlap{\wh a}\zq d\qu f|\qup f\enotes +\temps\Notes&\zq d\qu f|\sk\cu e\enotes +\temps\NOTes&\zq d\qu f|\qup d\enotes +\temps\Notes\soupir&\zq d\qu f|\sk\demisoupir\enotes +% mesure 10 +\barre\notes\wh K&\rlap{\wh d}\zq f\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenl0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu i\enotes +%\check +% mesure 11 +\barre\NOTes \wh J&\zw c\zq{^f}\qu h|\hu j\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\soupir\enotes +\temps\Notes&\zq f\qu h|\ibl0i3\qb0j\enotes +\notes &|\nbbl0\qb0k\tbl0\qb0{_l}\enotes +%\check +% mesure 12 +\barre\Notes\wh K&\itenl0d\zq{^f}\zqu h\wh d|\ibl0l{-3}\qb0{_l}\tbl0\qb0k\enotes +\temps\Notes &\zq f\qu h|\ibl0k{-3}\qb0k\tbl0\qb0j\enotes +\temps\Notes &\zq f\qu h|\ibl0j{-3}\qb0j\tbl0\qb0i\enotes +\temps\Notes&\zq f\qu h|\ibl0i{-3}\qb0i\tbl0\qb0h\enotes +%\check +% mesure 13 +\barre\NOTes\wh N&\tten0\zw d\zq g\qu i|\qlp i\enotes +\temps\Notes&\zq g\qu i|\sk\cu h\enotes +\temps\NOTes&\zq g\qu i|\qup g\enotes +\temps\Notes&\zq g\qu i|\sk\ds \enotes +%\check +% mesure 14 +\barre\nspace\NOTes\wh L&\lna e\zw{^c}\zq e\qu h|\rlap{\hl{^j}}\zcharnote + n{\Trille{2\noteskip}}\relax +\zcharnote q{\ \ (*)}\enotes +\footnote{}{(*) Trilles commenc\'es sur la note et finissant sans +terminaison sur la note suivante.}\relax + \temps\NOTes&\zq e\qu h\enotes +\temps\NOTes&\zq e\qu h|\ql j\enotes +\temps\Notes&\zq e\qu h|\ibl0i3\qb0{=i}\tbl0\qb0j\enotes +%\check +% mesure 15 +\barre\NOTes\wh K&\rlap{\wh d}\zq f\qu h|\rlap{\hl k}\zcharnote n{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\ql k\enotes +\temps\Notes&\zq f\qu h|\ibl0j3\qb0{^j}\tbl0\qb0k\enotes +%\check +% mesure 16 +\barre\NOTes\wh{^J}&\rlap{\wh e}\zq g\qu i|\rlap{\hl l}\zcharnote n{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq g\qu i\enotes +\temps\Notes&\zq g\qu i|\ibl0l0\qb0l\enotes +\notes&|\nbbl0\qb0m\tbl0\qb0l\enotes +\temps\Notes&\zq g\qu i|\ibl0k3\qb0k\tbl0\qb0l\enotes +%\check +% mesure 17 +\barre\NOTes\wh K&\zw d\zq f\qu h|\hlp m\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\soupir\enotes +%\check +% mesure 18 +\barre\NOTes\wh J&\zw{=c}\zq{^f}\qu h|\rlap{\hl{^m}}% +\zcharnote p{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\ql m\enotes +\temps\Notes&\zq f\qu h|\ibl0l3\qb0l\tbl0\qb0m\enotes +%\check +% mesure 19 +\barre\NOTes\wh I&\rlap{\wh d}\zq g\qu i|\rlap{\hl n}\zcharnote p{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq g\qu i\enotes +\temps\NOTes&\zq g\qu i|\ql n\enotes +\temps\Notes&\zq g\qu i|\ibl0m3\qb0{^m}\tbl0\qb0n\enotes +%\check +% mesure 20 +\barre\NOTes\wh H&\rlap{\wh c}\zq{^f}\qu h|\rlap{\hl o}\zcharnote q{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\Notes&\zq f\qu h|\ibl0o0\qb0o\enotes +\notes&|\nbbl0\qb0p\tbl0\qb0o\enotes +\temps\Notes&\zq f\qu h|\ibl0n3\qb0n\tbl0\qb0o\enotes +%\check +% mesure 21 +\barre\NOTes\wh G&\zw d\zq g\qu i|\qlp p\enotes +\temps\Notes&\zq g\qu i|\sk\cl o\enotes +\temps\Notes&\zq g\qu i|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes +\temps\Notes&\zq g\qu i|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes +%\check +% mesure 22 +\barre\Notes\hup H&\zw{^c}\zq e\qu g|\ibl0j{-4}\qb0{^j}\tbl0\qb0h\enotes +\temps\Notes&\zq e\qu g|\ibl0i3\qb0{=i}\tbl0\qb0 j\enotes +\temps\Notes&\zq e\qu g|\ibl0k3\qb0k\tbl0\qb0l\enotes +\temps\Notes\qu G&\zq e\qu g|\ibl0m3\qb0m\tbl0\qb0n\enotes +%\check +% mesure 23 +\barre\NOTes\hu F&\zw d\zq f\qu h|\qlp o\enotes +\temps\Notes&\zq f\qu h|\sk\cl k\enotes +\temps\Notes\qu G&\zq b\qu g|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes +\temps\NOTes\itenl0H\qu H&\zq a\qu f|\ql m\enotes +%\check +% mesure 24 +\barre\NOTes\tten0\wh H&\zw a\zq{^c}\qu e|\zcharnote o{\Trille{3\noteskip}}\wh l\enotes +\temps\NOTes&\zq c\qu e|\enotes +\temps\NOTes&\zq c\qu e|\enotes +\temps\Notes&\zq {ce}\qu g|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes +%\check +% mesure 25 +\barre\NOTes\hup K&\zw d\zq f\qu h|\hlp k\enotes +\temps\NOTes&\zq f\qu h|\enotes +\temps\NOTes&\zq f\qu h|\enotes +\temps\NOtes\soupir&\zq f\qu h|\soupir\enotes +% mesure 26 +\barre\notes\hup K&\rlap{\hlp d}\zq f\qu h|\ibbl0k0\qb0k\tbbl0\qb0{=j}\enotes +\Notes&|\tbl0\itenl0k\qb0k\enotes +\NOTes&\zq f\qu h|\tten0\hl k\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOtes\qu J&\rlap{\ql c}\zq{_e}\qu h|\ql{_l}\enotes +% mesure 27 +\barre\NOtes\wh{=I}&\rlap{\zw d}\rq g\qu f|\hl m\enotes +\temps\NOtes&\rq g\qu f\enotes +\temps\NOtes&\rq g\qu f|\soupir\enotes +\temps\Notes&\rq g\qu f|\ibl0m3\qb0m\enotes +\notes&|\nbbl0\qb0n\tbl0\qb0{_o}\enotes +% mesure 28 +\barre\nspace\Notes\wh G&\rlap{\wh{=b}}\zq d\qu f|\ibl0o{-3}\qb0{_o}\tbl0\qb0n\enotes +\temps\Notes &\zq d\qu f|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes +\temps\Notes &\zq d\qu f|\ibl0m{-3}\qb0m\tbl0\qb0{_l}\enotes +\temps\Notes &\zq d\zq f\qu{=i}|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes +% mesure 29 +\barre\NOTes\wh J&\zw c\zq{_e}\qu g|\qlp{_l}\enotes +\temps\Notes&\zq e\qu g|\sk\cl k\enotes +\temps\NOTes&\zq e\qu g|\qlp j\enotes +\temps\Notes&\zq e\qu g|\sk\ds \enotes +%\check +% mesure 30 +\barre\NOTes\wh H&\zw c\zq{^f}\qu h|\itenu0o\hl o\enotes +\temps\NOTes&\zq f\qu h&\enotes +\temps\Notes&\zq f\qu h|\tten0\ibl0o3\qb0o\enotes +\notes&|\nbbl0\qb0p\tbl0\qb0q\enotes +\NOTes&\zq f\qu h|\ql{^m}\enotes +% mesure 31 +\barre\NOTes\wh I&\zw b\zq d\qu g|\itenu0n\hl n\enotes +\temps\NOTes&\zq d\qu g|\enotes +\temps\Notes&\zq d\qu g|\tten0\ibl0n{-3}\qb0n\tbl0\qb0{=m}\enotes +\Notes&\zq d\qu g|\ibl0n{-4}\qb0n\tbl0\qb0{_l}\enotes +%\check +% mesure 32 +\barre\NOTes\wh{=I}&\zw d\zq f\qu{=i}|\itenu0m\hl m\enotes +\temps\NOTes&\zq f\qu i|\enotes +\temps\Notes&\zq f\qu i|\tten0\ibl0m{-3}\qb0m\tbl0\qb0{_l}\enotes +\temps\Notes&\zq f\qu{_h}|\ibl0m{-4}\qb0m\tbl0\qb0k\enotes +%\check +% mesure 33 +\barre\NOTes\wh J&\zw c\zq{_e}\qu g|\fl l\qlp l\enotes +\temps\Notes&\zq e\qu g|\sk\cl k\enotes +\temps\NOTes&\zq e\qu g|\qlp j\enotes +\temps\Notes&\zq e\qu g|\sk\ds \enotes +%\check +% mesure 34 +\barre\nspace +\NOTes\wh K&\zw d\lsh f\zq f\qu{=h}|\itenu0k\hl k\enotes +\temps\NOTes&\zq f\qu h|\enotes +\temps\Notes&\zq f\qu h|\tten0\dqb3k{_l}\enotes +\temps\Notes&\zq f\qu h|\dqb{-3}kj\enotes +% mesure 35 +\barre +\Notes\wh J&\zw c\sh f\zq f\qu h|\dqb3k{=l}\enotes +\temps\Notes&\zq f\qu h|\dqb3{^m}n\enotes +\temps\Notes&\zq f\qu h|\dqb3op\enotes +\temps\Notes&\zq f\qu h|\dqb{-4}qo\enotes +% mesure 36 +\barre% +\Notes\wh I&\zw b\zq d\qu g|\dqb{-3}rq\enotes +\temps\Notes&\zq d\qu g|\dqb{-3}po\enotes +\temps\Notes&\zq d\qu g|\dqb{-3}nm\enotes +\temps\Notes&\zq d\qu g|\dqb{-4}nl\enotes +% mesure 37 +\barre +\Notes\wh H&\zw c\zq{^f}\qu h|\sh m\dqb{-3}ml\enotes +\temps\Notes&\zq f\qu h|\dqb3mn\enotes +\temps\Notes&\zq f\qu h|\dqb3op\enotes +\temps\Notes&\zq f\qu h|\dqb{-4}qo\enotes +% mesure 38 +\barre +\Notes\wh G&\itenl0d\zw d\zq g\qu i|\dqb{-3}po\enotes +\temps\Notes&\zq g\qu i|\dqb{-3}n{=m}\enotes +\temps\Notes&\zq g\qu i|\fl l\dqb{-3}lk\enotes +\temps\Notes&\zq g\qu i|\dqb{-3}ji\enotes +% mesure 39 +%\check +\barre +\NOTes\wh F&\tten0\zw d\na i\zq f\qu i|\rlap{\hl{=i}}\zcharnote n{\Trille{2\noteskip}}\enotes +\temps\NOTes&\zq f\qu i|\enotes +\temps\Notes&\zq f\qu i|\ibl0i0\qb0i\enotes +\notes&|\nbbl0\qb0j\tbl0\qb0i\enotes +\temps\Notes&\zq f\qu i|\dqb3hi\enotes +%\check +% mesure 40 +\barre\NOTes\wh E&\zw c\zq e\qu g|\zcharnote o{\Trille{2\noteskip}}\hl j\enotes +\temps\NOTes&\zq e\qu g|\enotes +\temps\Notes&\zq e\qu g|\ibl0j0\qb0j\enotes +\notes&|\nbbl0\qb0k\tbl0\qb0j\enotes +\temps\Notes&\zq e\qu g|\dqb3{=i}j\enotes +% mesure 41 +\barre\NOTes\wh H&\zw{^c}\zq e\qu g|\zcharnote o{\Trille{2\noteskip}}\hl{^j}\enotes +\temps\NOTes&\zq e\qu g|\enotes +\temps\Notes&\rlap{\midtwotext{\it rit.}}\zq e\qu g|\ibl0j0\qb0j\enotes +\notes&|\nbbl0\qb0k\tbl0\qb0j\enotes +\temps\Notes&\zq e\qu g|\dqb3{=i}j\enotes +% mesure 42 +\barre\NOTes\hup D&\rlap{\midtwotext{\it a tempo}}\zw d\zq{^f}\qu h|\hlp k\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes\soupir&\zq f\qu h|\soupir\enotes +%\check +% mesure 43 +\barre\notes\wh K&\rlap{\wh d}\zq{=f}\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenl0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu i\enotes +%\check +% mesure 44 +\barre\NOTes\wh G&\zw b\zq d\qu g|\hu g\enotes +\temps\NOTes&\zq d\qu g\enotes +\temps\NOTes&\zq d\qu g|\soupir\enotes +\temps\Notes&\zq d\qu g|\ibu0h3\qh0g\enotes +\notes&|\nbbu0\qh0h\tbu0\qh0i\enotes +% mesure 45 +\barre\Notes\wh J&\rlap{\rhl b}\zq c\qu e|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes +\temps\Notes &\zq c\qu e|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes +\temps\Notes &\rlap{\hl c}\zq e\qu i|\ibu0g{-3}\qh0g\tbu0\qh0f\enotes +\temps\Notes &\zq e\qu i|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes +%\check +% mesure 46 +\barre \NOTes\wh F&\zw a\zq c\qu f|\qup f\enotes +\temps\Notes&\zq c\qu f|\sk\cu g\enotes +\temps\NOTes&\zq c\qu f|\qup h\enotes +\temps\Notes&\zq c\qu f|\sk\ds\enotes +% mesure 47 +%\check +\large +\barre\notes\hl K&\rlap{\hl d}\zq g\qu i|\ibbu0i0\qh0{iji}\tbu0\qh0h\enotes +\temps\notes&\zq g\qu i|\ibbu0i0\qh0{igh}\tbu0\qh0{=i}\enotes +\temps\notes\hl L&\rlap{\hl{^c}}\zq e\qu g|\ibbl0j3\qb0{^jkl}\tbl0\qb0m\enotes +\temps\notes&\zq e\qu g|\ibbl0n3\qb0{no=p}\tbl0\qb0{^q}\enotes +% mesure 48 +%\check +\barre\notes\hl M&\rlap{\hl a}\zq d\qu f|\ibbl0r{-3}\qb0{r=q_p}\tbl0\qb0o\enotes +\temps\notes&\zq d\qu f|\ibbl0n{-3}\qb0{nml}\tbl0\qb0 k\enotes +\temps\notes\hl G&\rlap{\hl b}\zq e\qu g|\ibbl0n{-3}\qb0{nml}\tbl0\qb0k\enotes +\temps\notes&\zq e\qu g|\ibbl0j{-3}\qb0{^j=ih}\tbl0\qb0g\enotes +% mesure 49 +%\check +\barre\notes\hu H&\rlap{\hl a}\zq d\qu f|\ibbl0f3\qb0{fhk}\tbl0\qb0h\enotes +\temps\notes&\zq d\qu f|\ibbl0k3\qb0{mko}\tbl0\qb0m\enotes +\temps\notes\hu I&\rlap{\hl b}\zq d\qu g|\ibbl0g3\qb0{g_il}\tbl0\qb0i\enotes +\temps\notes&\zq d\qu g|\ibbl0l3\qb0{nl_p}\tbl0\qb0n\enotes +% mesure 50 +%\check +\barre\notes\hu H&\rlap{\hl d}\zq f\qu h|\ibbl0h3\qb0{hkm}\tbl0\qb0k\enotes +\temps\notes&\zq f\qu h|\ibbl0m3\qb0{omr}\tbl0\qb0o\enotes +\temps\notes\hu G&\rlap{\hl d}\zq g\qu i|\ibbl0i3\qb0{ikn}\tbl0\qb0k\enotes +\temps\notes&\zq g\qu i|\ibbl0m3\qb0{pnr}\tbl0\qb0 p\enotes +% mesure 51 +%\check +\normal +\barre\NOTes\hup F&\rlap{\hlp d}\zq f\qu h|\qlp o\enotes +\temps\Notes&\zq f\qu h|\sk\cl n\enotes +\temps\notes&\zq f\qu h|\ibl0m{-3}\qb0m\zcharnote o{\sl 3}\qb0l\tbl0\qb0k\enotes +\temps\Notes\qu G&\rlap{\ql b}\zq e\qu g|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes +% mesure 52 +%\check +\barre\NOTes\wh H&\itenl0a\zw a\zq d\qu f|\ql m\enotes +\temps\NOTes&\zq{^c}\qu e|\zcharnote n{\Trille{2\noteskip}}\hl l\enotes +\temps\NOTes&\zq c\qu e|\enotes +\temps\NOtes&\zq c\qu e|\ibl0l{-3}\pt l\qb0l\enotes +\notes&|\tbbl0\tbl0\qb0k\enotes +% mesure 53 +%\check +\barre\NOTes\hup D&\tten0\zw a\zq d\qu f|\hlp k\enotes +\temps\NOTes&\zq d\qu f|\enotes +\temps\NOTes&\zq d\qu f|\enotes +\temps\NOTes\soupir&\zq d\qu f|\soupir\enotes +% mesure 54 +%\cleftoksii={{3}{0}{0}{0}}\changeclefs +\barre\notes\itenu1K\wh K&\itenl2d\zw d\zq f\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes +\Notes&|\tbu0\itenl0h\qh0h\enotes +\NOTes&\zq f\qu h|\tten0\hu h\enotes +\temps\NOTes&\zq f\qu h\enotes +\temps\NOTes&\zq f\qu h|\qu i\enotes +% mesure 55 +\barre\NOTes\tten1\hu K&\zq e\zqu g\qsk\tten2\wh d|\hu g\enotes +\temps\NOTes&\zq e\qu g\enotes +\temps\NOTes\soupir&\zq e\qu g|\soupir\enotes +\temps\Notes\qu K&\zq e\qu g|\ibu0h3\qh0g\enotes +\notes&|\nbbu0\qh0h\enotes +\notes&|\tbu0\qh0i\enotes +% mesure 56 +\barre\Notes\wh{^J}&\rlap{\wh{^c}}\zq e\qu g|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes +\temps\Notes &\zq e\qu g|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes +\temps\Notes &\zq e\qu g|\ibu0g{-3}\qh0g\tbu0\qh0{^f}\enotes +\temps\Notes &\zq e\qu h|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes +% mesure 57 +\barre\NOTes\wh K&\rlap{\wh d}\zq{^f}\qu h|\qup {^f}\enotes +\temps\Notes&\zq f\qu h|\sk\cu g\enotes +\temps\NOTes&\zq f\qu h|\qup h\enotes +\temps\Notes&\zq f\qu h|\sk\ds \enotes +% mesure 58 +\barre\NOTes\qu J&\zq{=c}\rq d\qu g|\qu d\enotes +\temps\NOTes\hup I&\rlap{\hlp b}\zq d\qu g|\itenl0g\qu g\enotes +\temps\notes&\zq d\qu g|\tten0\ibbu0g{-3}\qh0{g=fe}\tbu0\qh0d\enotes +\temps\notes&\zq d\qu g|\ibbu0g{-3}\qh0{gfe}\tbu0\qh0d\enotes +% mesure 59 +%\check +\barre\notes\wh H&\doubler\itenl0a\zw a\zq{^c}\qu e|\ibbu0c0\qh0{^c=bc}\tbu0\qh0a\enotes +\temps\notes&\zq c\qu e|\ibbu0b3\qh0{bcd}\tbu0\qh0e\enotes +\temps\NOTes&\zq d\qu f|\qu f\enotes +\temps\Notes&\zq d\qu f|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes +% mesure 60 +%\check +\barre\NOTes\wh H&\tten0\zw a\zq{^c}\qu e|\zcharnote n{\Trille{3\noteskip}}\hup e\enotes +\temps\NOTes&\zq c\qu e\rlap{\midtwotext{\sl rall.\ \ \ }}\enotes +\temps\NOTes&\zq c\qu e|\enotes +\temps\Notes&\zq c\qu e|\ibu0e{-3}\qh0e\tbu0\qh0d\enotes +% mesure 61 +%\check +\cleftoksii={{6}{0}{0}{0}}% +\zchangeclefs +\barre +\elemskip=1.1\elemskip +\NOTes\itenl1D\wh D&\itenu2d\zw d\zq M\ql a|\itenl0d\zw d\enotes +\temps\NOTes&\zq M\ql a|\enotes +\temps\NOTes&\zq N\ql b|\enotes +\temps\NOTes&\zq L\ql N|\enotes +% mesure 62 +\barre\nspace +\NOTEs\tten1\pointdorgue a\hu D&\tten2\zh{Ma}\pointdorgue d\hl d|\tten0\pointdorgue o\hu d\enotes +\temps\NOTEs\hpause&\hpause|\hpause\enotes +\mulooseness -2\relax +\finmorceau +\bigskip +\rightline{\it \aujourdhui} +\vfil +\eject diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/albinoni.tex b/Master/texmf-dist/doc/generic/musixtex/examples/albinoni.tex new file mode 100644 index 00000000000..9b30fd3bb7a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/albinoni.tex @@ -0,0 +1,614 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + \input musixadd + \title{Adagio (Albinoni)} +\csname titremorceautoc\endcsname +\fulltitle{Adagio per archi ed organo} +\title{Adagio per archi ed organo} + \author{Tomaso Albinoni\\Transcription orgue et clarinette Daniel +Taupin} + \shortauthor{Albinoni} + \subtitle{\relax} + \othermention{G.O. (I): Montre 8'+4'\\Positif (II): 8'+4'+quinte + \\R\'ecit (III): fl\^utes +8'+4'\\P\'edale : 16'\\Tirasse positif, claviers accoupls.\\Gif : +2-4/9-11-13/19-22/33-37/46-47-48-49-54} + \maketitle + + +\parindent 13mm +\musicsize=20 +\normal +\relativeaccidentals +\bigaccid +\def\nbinstruments{4} +\def\instrumenti{P\'edale} +\def\instrumentii{Positif} +\def\instrumentiii{Positif} +\def\instrumentiv{Clarinette} +\def\staffspacingiv{0.64} +\generalmeter{\meterfrac34}% +\cleftoksi{6000} +\cleftoksii{6000} +\cleftoksiii{0000} +\cleftoksiv{0000} +\generalsignature{-2} + % + \def\pto#1#2#3{\Ibbbu0{#1}{#3}2\qh0{#1}\tbbu0\qh0{#2}\tbu0\itenu0{#3}\multnoteskip{1.42}\qhp0{#3}}% + \def\ptb#1#2#3{\Ibbbl0{#1}{#3}2\qb0{#1}\tbbl0\qb0{#2}\tbl0\itenu0{#3}\multnoteskip{1.42}\qbp0{#3}}% + \def\qpqu#1#2{\Ibu0{#1}{#2}2\qhp0{#1}\sk\tbbu0\tqh0{#2}} + \def\qpql#1#2{\Ibl0{#1}{#2}2\qbp0{#1}\sk\tbbl0\tqb0{#2}} + \def\Qpqu#1#2{\Ibu1{#1}{#2}2\qhp1{#1}\sk\tbbu1\tqh1{#2}} + \def\Qpql#1#2{\Ibl1{#1}{#2}2\qbp1{#1}\sk\tbbl1\tqb1{#2}} + \def\Qpqlt#1#2#3{\Ibl1{#1}{#2}2\qbp1{#1}\sk\tbbl1\tslur3{#3}\tqb1{#2}} + % + \def\grnotes{\vnotes0.7\elemskip}% 16th + \def\ggrnotes{\vnotes0.5\elemskip}% 16th + % + \def\qqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}} + \def\qqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}} + \def\qqqb#1#2#3{{\advance\transpose -13\relax\triolet #2}\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}} + \def\qqqh#1#2#3{{\advance\transpose 8\relax\triolet #1}\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}} + % +\debutmorceau +\NOtes\sk\pause&\lpz G\qu G\upz N\ql N\lpz G\qu G + &\roff{\itenl1b\itenl2d\itenu3g}\zhp b\zhp d\hlp g&\Uptext{\bf\kern -5mm(\metron{\qu}60)}\sk\pause\enotes + \barre %2 +\NOtes\sk\pause&\zcharnote {-7}{\it il basso staccato}\lpz F\qu F\upz M\ql +M\lpz F\qu F&\tten1\tten2\tten3\zhp b\zhp d\hlp g&\sk\pause\enotes + \barre %3 +\notes&\qu E&\roff{\itenl1b\itenl2e}\zhp b\zhlp e\pto ghi&\enotes +\NOtes\pause&\ql L&\tten0\qup i&\pause\enotes +\Notes&\qu E&\sk\cu g\enotes + \barre %4 +\NOtes&\qu D\ql K\qu D&\tten1\tten2\zhp b\zhlp e\hup g&\sk\pause\enotes + \barre %5 +\notes&\qu C&\roff{\zhp e\zhlp h}\pto hij\enotes +\NOtes\pause&\qu J\qu C&\tten0\hu j&\pause\enotes + \barre %6 +\notes&\qu {^C}&\zhp {^e}\zhlp g\pto ihi\enotes +\NOtes\pause&\qu {^J}\qu C&\tten0\hu i&\pause\enotes + \barre %7 +\notes&\qu D&\lh d\itenl1d\zhl d\pto hgh\enotes +\NOtes\pause&\ql K&\tten0\itenu0h\qu h&\pause\enotes +\Notes&\qu D&\tten1\lq{=c}\zql d\tten0\triolet p\Ibu0hf2\qh0{hg}\tqh0{^f}\enotes + \barre %8 +\NOtes\sk\pause&\qu G\ql N\qu G&\zhp b\zhlp d\hup g&\sk\pause\enotes + \setclef2\treble \changeclefs + \barre %9 + \NOtes\lpz G\qu G\upz N\ql N&\zcharnote n{{\bf III} -- fltes}\zhp b\hup d&\zcharnote n{{\bf II} -- quinte}\ppt5\soupir&\isluru3m\ql k\Ibl1ji1\qbp 1j\enotes + \notes&&\ccu N&\tbbl1\tqb1i\enotes + \notes\lpz G\qu G&&\Ibu0ab1\qhp0a\sk\tbbu0\tqh0b&\Ibl1hg2\qbp1h\sk\tbbl1\tslur3m\tqb1g\enotes + %\check + \barre %10 + \notes\qu H&\hup c&\qpqu cd&\isluru3m\hu g\enotes + \notes\ql a&&\qpqu ed\enotes + \notes\qu H&&\qpqu ec&\tslur3l\qu{^f}\enotes + \barre %11 + \NOtes\qu H&\qup c&\qup{^f}&\isluru3l\ql l\enotes + \notes\ql a&\sk\dsoupir&\sk\sk\ccu a&\Qpql kj\enotes + \notes\qu H&\soupir&\qpqu bc&\Qpqlt ihk\enotes + \barre %12 + \notes\qu I&\hlp d&\qpqu d{^e}&\isluru3l\hl h\enotes + \notes\ql b&&\qpqu {^f}d\enotes + \NOtes\qu I&&\qu g&\tslur3k\qu g\enotes + \barre %13 + \NOtes\qu I&\zhp d\zhlp g\hu k&\hu g&\isluru3o\ql n\enotes + \Notes\ql b&&&\Ibl1mn2\qb1m\tqb1n\enotes + \Notes\qu I&&\qu d&\triolet o\Ibl0lk2\qb0{lm}\tqb0k\enotes + \barre %14 + \NOtes\qu J&\zh e\hu g&\qu d&\tslur3n\hlp l\enotes + \Notes\ql c&&\Ibu0cd1\qh0c\tqh0d\enotes + \Notes\qu J&\soupir&\triolet M\Ibu0ba2\qh0{bc}\tqh0a\enotes + \barre %15 + \NOtes\qu H&\zh c\hu j&\hu f&\isluru3n\ql m\enotes + \Notes\ql a&&&\Ibl0lm1\qb0l\tqb0m\enotes + \Notes\qu H&\zq c\qu f&\qu c&\triolet n\Ibl0kj2\qb0{kl}\tqb0j\enotes + \barre %16 + \NOtes\qu I&\zh d\hu f&\qu c&\tslur3l\hlp k\enotes + \Notes\ql b&&\qqh bc\enotes + \Notes\qu I&\soupir&\qqqh abN\enotes + \barre %17 + \NOtes\qu G&\zh b\hu i&\hu e&\isluru3m\ql l\enotes + \Notes\ql N&&&\qqb kl\enotes + \Notes\qu G&\zq b\qu e&\qu b&\qqqb jki\enotes + \barre %18 + \NOtes\qu H&\zhp c\hup e&\qu b&\tslur3k\hl j\enotes + \Notes\ql a&&\qqh ab\enotes + \Notes\qu H&&\qqqh cba&\isluru3k\ql j\enotes + \barre %19 + \NOtes\qu I&\hu d&\zq a\qu d&\hl k\enotes + \Notes\ql b&&\Ibl1NM1\Ibu0gf1\zqb1N\qh0g\tbl1\zqb1{^M}\tqh0{^f}\enotes + \Notes\qu J&\qu e&\Ibl1Na1\Ibu0gh1\zqb1N\zql e\qh0g\tbl1\zqb1a\tqh0h&\ql l\enotes + \barre %20 + \NOTEs\pointdurgue F\hu K&\hu d&\pointdorgue n\zh {bdg}\hu i&\pointdorgue + m\tslur3l\hl k\enotes + \Notes\soupir&\soupir&\uptext{\kern -5mm\it a tempo}\soupir&\Uptext{\kern -5mm\it a tempo}\ds\cl n\enotes + \barre %21 + \Notes\sk\sk\sk\pause&\sk\sk\sk\pause&\sk\sk\sk\pause&\qqb op\qqb on\qqb {^m}n\enotes + \barre %22 + \NOTes\qu{^I}\ql{^b}&&\zh{df}\hu{_h}&\hlp{=m}\enotes + \notes\qu I&&\ibbbu0g0\zq d\qh0f\tbbu0\zq e\qh0g\zq f\qh0h\sk\nbbbu0\zq +e\qh0g\zq d\tqh0f\enotes + \barre %23 + \NOtes\qu J&&\zhp c\zhlp e\raise 2\Interligne\soupir&\isluru3m\qlp l\enotes + \Notes\ql c&&\hu g&\sk\cl j\enotes + \notes\qu J&&&\qpql ln\enotes + \barre %24 + \NOtes\qu {=I}&&\zhp N\zhlp d\raise 2\Interligne\soupir&\tslur3l\qlp k\enotes + \Notes\ql {=b}&&\hu g&\sk\isluru3l\cl i\enotes + \notes\qu I&&&\qpql kn\enotes + \barre %25 + \NOtes\qu {_H}\ql{_a}&&\zh {_a}\zhl c&\tslur3l\hl j\enotes + \notes\qu H&\zcharnote a{(III -- fltes)}\qu e&\ibbbu0j0\zq {_h}\qh0j\tbbu0\zq i\qh0k\zq j\qh0l\sk\nbbbu0\zq +i\qh0k\zq h\tqh0j&\isluru4k\ql j\enotes + \barre %26 + \NOtes\qu K\ql d&\hup d&\zh g\zhu i&\hlp i\enotes + \notes\qu K&&\ibbbu0i0\zq g\qh0i\tbbu0\zq {=h}\qh0j\zq i\qh0k\sk\nbbbu0\zq +h\qh0j\zq g\tqh0i\enotes + \barre %27 + \NOtes\qu K\ql d&\hup c&\zh {^f}\zhu h&\hlp h\enotes + \notes\qu K&&\ibbbu0h0\zq f\qh0h\tbbu0\zq g\qh0i\zq h\qh0j\sk\nbbbu0\zq +g\qh0i\zq f\tqh0h\enotes + \barre %28 + \NOtes\qu G\ql N\qu G&\itenl1b\hup b&\itenl2d\itenu3g\zhp d\hup g&\tslur4l\hup g\enotes + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + \barno 1\relax + \barre %2 +\NOtes\zcharnote {-7}{\it il basso staccato}\lpz F\qu F\upz M\ql +M\lpz F\qu F&\tten1\hup b&\tten2\tten3\zhp d\hup g&\sk\pause\enotes + \barre %3 +\notes\qu E&&\roff{\itenl1b\itenl2e}\zhp b\zhlp e\pto ghi&\enotes +\NOtes\ql L&&\tten0\qup i&\pause\enotes +\Notes\qu E&&\sk\cu g\enotes + \barre %4 +\NOtes\qu D\ql K\qu D&&\tten1\tten2\zhp b\zhlp e\hup g\enotes + \barre %5 +\notes\qu C&&\roff{\zhp e\zhlp h}\pto hij\enotes +\NOtes\qu J\qu C&&\tten0\hu j&\pause\enotes + \barre %6 +\notes\qu {^C}&&\zhp {^e}\zhlp g\pto ihi\enotes +\NOtes\qu {^J}\qu C&&\tten0\hu i&\pause\enotes + \barre %7 +\notes\qu D&&\lh d\itenl1d\zhl d\pto hgh\enotes +\NOtes\ql K&&\tten0\itenu0h\qu h&\pause\enotes +\Notes\qu D&&\tten1\lq{=c}\zql d\tten0\triolet p\Ibu0hf2\qh0{hg}\tqh0{^f}\enotes + \barre %8 +\NOtes\qu G\ql N\qu G&&\zhp b\zhlp d\hup g\enotes + \barre %9 + \NOtes\lpz G\qu G\upz N\ql N&\zhp b\hup d\zcharnote a{(III -- +fltes)}&\ppt5\soupir\zcharnote n{(II -- quinte)}&\isluru3m\ql +k\Ibl1ji1\qbp 1j\enotes + \notes&&\ccu N&\tbbl1\tqb1i\enotes + \notes\lpz G\qu G&&\Ibu0ab1\qhp0a\sk\tbbu0\tqh0b&\Ibl1hg2\qbp1h\sk\tbbl1\tslur3m\tqb1g\enotes + %\check + \barre %10 + \notes\qu H&\hup c&\qpqu cd&\isluru3m\hu g\enotes + \notes\ql a&&\qpqu ed\enotes + \notes\qu H&&\qpqu ec&\tslur3l\qu{^f}\enotes + \barre %11 + \NOtes\qu H&\qup c&\qup{^f}&\isluru3l\ql l\enotes + \notes\ql a&\sk\dsoupir&\sk\sk\ccu a&\Qpql kj\enotes + \notes\qu H&\soupir&\qpqu bc&\Qpqlt ihk\enotes + \barre %12 + \notes\qu I&\hlp d&\qpqu d{^e}&\isluru3l\hl h\enotes + \notes\ql b&&\qpqu {^f}d\enotes + \NOtes\qu I&&\qu g&\tslur3k\qu g\enotes + \barre %13 + \NOtes\qu I&\zhp d\zhlp g\hu k&\hu g&\isluru3o\ql n\enotes + \Notes\ql b&&&\Ibl1mn2\qb1m\tqb1n\enotes + \Notes\qu I&&\qu d&\triolet o\Ibl0lk2\qb0{lm}\tqb0k\enotes + \barre %14 + \NOtes\qu J&\zh e\hu g&\qu d&\tslur3n\hlp l\enotes + \Notes\ql c&&\Ibu0cd1\qh0c\tqh0d\enotes + \Notes\qu J&\soupir&\triolet M\Ibu0ba2\qh0{bc}\tqh0a\enotes + \barre %15 + \NOtes\qu H&\zh c\hu j&\hu f&\isluru3n\ql m\enotes + \Notes\ql a&&&\Ibl0lm1\qb0l\tqb0m\enotes + \Notes\qu H&\zq c\qu f&\qu c&\triolet n\Ibl0kj2\qb0{kl}\tqb0j\enotes + \barre %16 + \NOtes\qu I&\zh d\hu f&\qu c&\tslur3l\hlp k\enotes + \Notes\ql b&&\qqh bc\enotes + \Notes\qu I&\soupir&\qqqh abN\enotes + \barre %17 + \NOtes\qu G&\zh b\hu i&\hu e&\isluru3m\ql l\enotes + \Notes\ql N&&&\qqb kl\enotes + \Notes\qu G&\zq b\qu e&\qu b&\qqqb jki\enotes + \barre %18 + \NOtes\qu H&\zhp c\hup e&\qu b&\tslur3k\hl j\enotes + \Notes\ql a&&\qqh ab\enotes + \Notes\qu H&&\qqqh cba&\isluru3k\ql j\enotes + \barre %19 + \NOtes\qu I&\hu d&\zq a\qu d&\hl k\enotes + \Notes\ql b&&\Ibl1NM1\Ibu0gf1\zqb1N\qh0g\tbl1\zqb1{^M}\tqh0{^f}\enotes + \Notes\qu J&\qu e&\Ibl1Na1\Ibu0gh1\zqb1N\zql e\qh0g\tbl1\zqb1a\tqh0h&\ql l\enotes + \barre %20 + \NOTEs\pointdurgue F\hu K&\hu d&\pointdorgue n\zh {bdg}\hu i&\pointdorgue + m\tslur3l\hl k\enotes + \Notes\soupir&\soupir&\uptext{\kern -5mm\it a tempo}\soupir&\Uptext{\it a tempo}\ds\cl n\enotes + \barre %21 + \Notes\sk\sk\sk\pause&\sk\sk\sk\pause&\sk\sk\sk\pause&\qqb op\qqb on\qqb {^m}n\enotes + \barre %22 + \NOTes\qu{^I}\ql{^b}&&\zh{df}\hu{_h}&\hlp{=m}\enotes + \notes\qu I&&\ibbbu0g0\zq d\qh0f\tbbu0\zq e\qh0g\zq f\qh0h\sk\nbbbu0\zq +e\qh0g\zq d\tqh0f\enotes + \barre %23 + \NOtes\qu J&&\zhp c\zhlp e\raise 2\Interligne\soupir&\isluru3m\qlp l\enotes + \Notes\ql c&&\hu g&\sk\cl j\enotes + \notes\qu J&&&\qpql ln\enotes + \barre %24 + \NOtes\qu {=I}&&\zhp N\zhlp d\raise 2\Interligne\soupir&\tslur3l\qlp k\enotes + \Notes\ql {=b}&&\hu g&\sk\isluru3l\cl i\enotes + \notes\qu I&&&\qpql kn\enotes + \barre %25 + \NOtes\qu {_H}\ql{_a}&&\zh {_a}\zhl c&\tslur3l\hl j\enotes + \notes\qu H&\zcharnote a{(III -- +fltes)}\qu e&\ibbbu0j0\zq {_h}\qh0j\tbbu0\zq i\qh0k\zq j\qh0l\sk\nbbbu0\zq +i\qh0k\zq h\tqh0j&\isluru3k\ql j\enotes + \barre %26 + \NOtes\qu K\ql d&\hup d&\zh g\zhu i&\hlp i\enotes + \notes\qu K&&\ibbbu0i0\zq g\qh0i\tbbu0\zq {=h}\qh0j\zq i\qh0k\sk\nbbbu0\zq +h\qh0j\zq g\tqh0i\enotes + \barre %27 + \NOtes\qu K\ql d&\hup c&\zh {^f}\zhu h&\hlp h\enotes + \notes\qu K&&\ibbbu0h0\zq f\qh0h\tbbu0\zq g\qh0i\zq h\qh0j\sk\nbbbu0\zq +g\qh0i\zq f\tqh0h\enotes + \barno 29\relax + \barre %30 + \znotes&&&\tslur3l\enotes + \NOTEs\itenl0G\hup G&\itenl1b\itenu2f\zhp{=f}\hup{^b}&\itenl3b\itenu4g\itenl5d\zhp{^b}\zhp d\hup g&\itenu6g\hup g\enotes + \barre %31 + \znotes\tten0&\tten1\tten2&\tten3\tten4\tten5&\tten6\enotes + \NOTes\itenl0G\hup G&\zq f\qu{^b}&\itenl1b\itenl2d\itenu3g\zhp{^b}\zhp d\hup g&\qu g\enotes + \zalapage + \def\qqqq#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% + \def\qqqqh{\qqqq}% + \def\qqqqb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% + \notes&&\zcharnote n{\kern -4mm{\bf III} -- fltes}&\ds\cu g\qqqq{_h}g{^f}g\enotes + \barre %32 + \znotes&&\tten1\tten2\tten3\zcharnote r{\kern -2mm +\it reprendre au III}\zcharnote n{\kern -2mm +\it l'accord du II accoupl}\enotes + \notes\tten0\itenl0G\hup G&&\itenl1d\itenl2b\itenu3g\zhp d\zhp +g\hup{^b}&\qqqq{=f}ede\qqqq fede\qqqq dc{^b}c\enotes + \barre %33 + \NOTes\tten0\hu G&&\tten1\tten2\tten3\zh d\zh g\hu{^b}&\hu d\enotes + \cleftoksii{6000}\zchangeclefs + \notes\pt5\ds\ccu G&\uptext{\bf II}\pt5\ds\ccl M&\uptext{\bf II}\pt5\ds\zq {^b}\zq d\ccu g&\soupir\enotes + \barre %34 + \NOtes\itenl0G\hup G&\ql L&\itenl1c\itenl2e\itenu3g\zhp c\zhp e\hup g&\soupir\enotes + \Notes&&\uptext{{\bf III} - fltes}&\ds\cu g\enotes + \notes&\hpause&&\qqqq{_h}g{^f}g\enotes + \barre %35 + \notes\tten0\itenl0G\hup G&&\tten1\tten2\tten3\itenl1c\itenl2e\zhp{ce}\hup +g&\qqqq{=f}ede\qqqq fede\qqqq edc{^b}\enotes + \barre %36 + \NOTes\pointdorgue b\tten0\itenl0G\hup G&&\pointdorgue m\tten1\tten2\itenl1c\itenl2e\zhp c\hup +e&\pointdorgue m\qu c\enotes + \Notes&&&\ds\cu N\qqh ce\enotes + \barre %37 + \notes\tten0\itenl0G\hup G&&\tten1\tten2\itenl1c\itenl2e\zhp c\hup e&\qqqq +gecN\qqqq cegj\qqqq ljge\enotes + \barre %38 + \notes\tten0\itenl0G\hup G&&\tten1\tten2\itenl1c\itenl2e\zhp c\hup e&\qqqq +gjln\qqqq qnlj\qqqq lnqs\enotes + \barre %39 + \NOTes\tten0\hu G&&\tten1\tten2\zh c\hu e&\pointdurgue c\qlp {!'n}\enotes + \notes\pt5\ds\ccu G&\uptext{\kern -5mm\bf I -- \ppff ff}\pt5\ds\ccl N&\uptext{\kern -5mm\bf I -- +\ppff ff}\pt5\ds\zq c\ccu e&\soupir\enotes + \barre %40 + \NOtes\itenl0G\hup G&\ql N&\itenl1b\roff{\itenl2c}\itenu3e\zhp b\roff{\zhp c}\hup {^e}&\soupir\enotes + \Notes&\soupir&\uptext{{\bf III} - fltes}&\ds\cl j\enotes + \notes&&&\qqqq{_k}j{^i}j\enotes + \barre %41 + \notes\tten0\itenl0G\hup G&&\tten1\tten2\tten3\itenl1b\roff{\itenl2c}\itenu3e\zhp b\roff{\zhp c}\hup {^e}% + &\qqqq {=i}{_h}gh\qqqq ihgh\qqqq gf{^e}f\enotes + \barre %42 + \NOTes\tten0\hu G&&\tten1\tten2\tten3\zh b\rh c\hu {^e}&\hu g\enotes + \notes\pt5\ds\ccu G&\uptext{\bf II}\pt5\ds\ccl N&\uptext{\bf II}\pt5\ds\zq +b\rq c\ccu {^e}&\soupir\enotes + \barre %43 + \NOtes\itenl0F\hup F&\ql M&\itenl1a\itenl2c\itenu3f\zhp {_a}\zhp c\hup f&\soupir\enotes + \Notes&&\uptext{{\bf III} - fltes}&\ds\cu j\enotes + \notes&\hpause&&\qqqq{_k}j{^i}j\enotes + \barre %44 + \notes\tten0\itenl0F\hup F&&\tten1\tten2\tten3\itenl1a\itenl2c\zhp{_a}\zhp c\hup +f&\qqqq{=i}{_h}gh\qqqq ihgh\qqqq hgf{^e}\enotes + \barre %45 + \NOTes\pointdorgue b\tten0\itenl0F\hup F&&\pointdorgue m\tten1\tten2\itenl1a\itenl2c\zhp {_a}\hup +c&\pointdorgue m\qu f\enotes + \Notes&&&\ds\cu {_a}\qqh cf\enotes + \barre %46 + \notes\tten0\itenl0F\hup F&&\tten1\tten2\itenl1a\itenl2c\zhp {_a}\hup c&\qqqq +{_h}fc{_a}\qqqq cfhj\qqqq mjhf\enotes + \barre %47 + \notes\tten0\itenl0F\hup F&&\tten1\tten2\itenl1a\itenl2c\zhp {_a}\hup c&\qqqq +{_h}jm{_o}\qqqq qomj\qqqq moqt\enotes + \barre %48 + \NOTes\tten0\hu F&&\tten1\tten2\zh {_a}\hu c&\pointdurgue e\qlp {!'_o}\enotes + \notes\pt5\ds\ccu F&\uptext{\kern -5mm\bf I -- \ppff ff}\pt5\ds\ccl +M&\uptext{\kern -5mm\bf I -- +\ppff ff}\pt5\ds\zq {ac}\ccu f&\soupir\enotes + \barre %49 + \NOtes\itenl0D\hup D&\qu K&\itenl1a\itenl2c\itenu3f\zhp {=a}\zhp c\hup {^f}&\soupir\enotes + \Notes&\soupir&\uptext{{\bf III} - fltes}&\ds\cl j\enotes + \Notes&&&\qqb kl\enotes + \barre %50 + \notes\tten0\hup D&&\tten1\tten2\tten3\zhp a\zhp c\hup {^f}% + &\qqqq lk{=m}l\qqqq lkkj\qqqq j{^i}ij\enotes + \barre %51 + \notes\lpz G\qu G&&\zhp N\zhp{^b}\itenu1f\hup{=f}&\ptb {^i}jk\enotes + \NOtes\upz N\ql N&&&\tten0\qlp k\enotes + \Notes\lpz N\qu G&&\tten1\qqh fe&\sk\cl j\enotes + \barre %52 + \NOtes\lpz J\qu J\upz c\ql c\upz J\qu J&&\itenl1N\itenl2c\itenu3e\zhp N\zhp +c\hup e&\hlp j\enotes + \barre %53 + \NOtes\qu{=I}\ql{=b}\qu I&\sk\uptext{\bf II}&\tten1\tten2\tten3\zhp N\zhp +c\hup e\uptext{\bf II}&\sk\pause\enotes + \barre %54 +\notes\qu {_H}&&\itenl1e\itenl2h\zhp e\zhlp {_h}\pto jkl&\enotes +\NOtes\ql {_a}&&\tten0\qup l&\pause\enotes +\Notes\qu H&&\sk\cu j\enotes + \barre %55 +\NOtes\qu G\ql N\qu G&&\tten1\tten2\zhp e\zhlp {_h}\hup j\enotes + \barre %56 +\notes\qu F&&\roff{\zhp {_h}\zhlp k}\pto klm\enotes +\NOtes\qu M\qu F&&\tten0\hu m&\pause\enotes + \barre %57 +\notes\qu {^F}&&\zhp {=h}\zhlp j\pto lkl\enotes +\NOtes\qu {^M}\qu F&\hpause\ql c&\tten0\hu l&\pause\enotes + \barre %58 +\notes\qu G&\hl c&\zhlp g\pto kjk\enotes +\NOtes\ql N&&\tten0\itenu0k\qu k&\pause\enotes +\Notes\qu G&\uptrio e2{10}\ql{^b}\sk\cl{=f}&\tten0\triolet t\Ibu0ki2\qh0{kj}\tqh0{^i}\enotes + \barre %59 +\NOtes\qu J\ql c\qu J&\hlp e\uptext{ \bf I -- \ff}&\zhlp g\hup j\uptext{ \bf I -- \ff}&\sk\pause\enotes + \barre %60 + \NOTes\qu C&&\zq g\zq j\ql l&\isluru3m\ql n\enotes + \Notes\qu J&\sk\sk\ccl N&\pt5\ds\sk\ccu c&\qpql ml\enotes + \Notes\qu C&\qpql {^b}c&\qpqu de&\qpql kj\enotes + \barre %61 + \Notes\qu D&\hl c&\qpqu fg&\hl k\enotes + \Notes\qu K&&\qpqu {_h}g\enotes + \Notes\qu D&\ql{^b}&\rlap{\sk\sk\itenl0f}\qpqu hf&\tslur3j\ql{^i}\enotes + \barre %62 + \NOTes\qu D&&\tten0\Sh i\lFl h\rq i\zq h\qu f&\isluru3p\ql {_o}\enotes + \Notes\qu K&\sk\sk\ccl {^b}&\pt5\ds\sk\ccu d&\qpql nm\enotes + \Notes\qu D&\qpql cd&\qpqu ef&\qpql lk\enotes + \barre %63 + \Notes\qu E&\hl d&\qpqu g{=h}&\hl k\enotes + \Notes\qu L&&\rlap{\sk\sk\itenl1g}\qpqu {^i}g\enotes + \Notes\qu E&\ql c&\tten1\zq g\qu j&\tslur3j\ql j\enotes + \barre %64 + \NOTes\qu E&\ql c&\zq g\qu j&\ust q\ql q\enotes + \Notes\ql L&\zhl N\Ibu1dc1\qh1d\itenu0c\tqh1c&\qqh{=i}j&\qqb{=p}q\enotes + \Notes\qu E&\tten0\itenu0c\qu c&\Fl h\rlap{\sk\sk\itenl2g}\qqqh hig&\isluru3p\Fl o\qqqb opn\enotes + \barre %65 + \NOTes\qu F&\tten0\hup c&\roff{\tten2\zql g}\hup{_h}&\tslur3p\hlp{_o}\enotes + \Notes\ql M&\qqb fg&\enotes + \Notes\qu F&\qqqb efd\enotes + \barre %66 + \NOTes\qu D&\ql b&\zq f\qu i&\ust p\ql p\enotes + \Notes\ql K&\zhl M\Ibu1cb1\qh1c\itenu0b\tqh1b&\qqh{_h}i&\qqb{_o}p\enotes + \Notes\qu D&\tten0\itenu0b\qu b&\rlap{\sk\sk\itenl2f}\qqqh ghf&\isluru3o\qqqb {n}om\enotes + \barre %67 + \NOTes\qu E&\tten0\hup b&\roff{\tten2\zql f}\hup g&\tslur3o\hlp n\enotes + \Notes\ql L&\qqb ef\enotes + \Notes\qu E&\qqqb dec\enotes + \barre %68 + \NOtes\qu C&\lh e\itenu1f\hlp f&\qu{=h}&\itenu3m\hlp m\enotes + \Notes\qu J&&\sk\cu h\enotes + \Notes\qu C&&\qpqu ij\enotes + \barre %69 + \NOtes\qu D&\zhp b\tten1\zhlp f&\hup i&\tten3\ql m\enotes + \Notes\qu K&&\uptext{\bf II}&\ds\isluru3n\cl m\enotes + \Notes\qu D&&&\qpql ki\enotes + \barre %70 + \NOtes\qu E&\hlp b&\zh e\hu g&\tslur3j\ql i\enotes + \Notes\qu L&&&\ds\isluru3j\cl {=h}\enotes + \Notes\qu E&&\qqh ge&\qpql ij\enotes + \barre %71 + \NOtes\qu D&\ql b&\qu f&\tslur3k\qlp i\enotes + \Notes\qu K&\soupir&\ds\cu f&\sk\ds\enotes + \Notes\qu D&\ql M&\qpqu db&\soupir\enotes + \barre %72 + \NOtes\qu E&\hl N&\qup b\enotes + \Notes\qu L&&\ds\cu a&\pause\enotes + \Notes\qu E&\ql N&\qpqu bc\enotes + \barre %73 + \NOtes\pointdorgue a\hup D&\hlp M\uptext{\bf III}&\pointdorgue l\hup +b\uptext{\bf III}&\sk\pointdorgue l\pause\sk\enotes + \barre %74 + \NOtes\hup D&\hlp M&\zq b\qu f&\itenu3p\ql p\enotes + \notes&&\zhl f\qu k&\tten3\qqqqb ponm\enotes + \notes&&\qu i&\qqqqb lkji\enotes + \barre %75 + \Notes\hup E&\hlp L&\zql e\zh g\hu j&\cu g\itenu3n\qlp n\enotes + \NOtes&&\zhl c&\enotes + \notes&&\zq b\qu g&\tten3\qqqb nlj\enotes + \barre %76 + \NOtes\lpz F\qu F\upz M\ql M\lpz F\qu F&\hl b\sk\ql{_a}&\zhp c\hup f&\hl i\sk\ql{_h}\enotes + \barre %77 + \NOtes\lpz D\qu D&\ql f&\hu i&\itenu3m\hl m\enotes + \NOtes\upz K\ql K&\hl b&&\enotes + \notes\lpz D\qu D&\ql {_a}&\qu f&\tten3\qqqb mki\enotes + \barre %78 + \NOtes\qu E&\roff{\zql a}\Fl a\zhp e\hlp b&\uptext{{\bf II} -- quinte}\soupir&\qu{_h}\enotes + \Notes\ql L&\hl N&\ds\cu e&\hu g\enotes + \notes\qu E&&\qpqu bN\enotes + \barre %79 + \NOtes\qu D&\hl M&\hup{^b}&\qu f\enotes + \Notes\qu K&&&\ds\cu {^b}\enotes + \notes\qu D&\ql M&&\qpqu cd\enotes + \barre %80 + \NOtes\qu E&\zhp N\hlp c&\soupir&\hup c\enotes + \Notes\ql L&&\ds\cl q\enotes + \notes\qu E&\zqp N\qlp c&\qpqu nl\enotes +% \def\grace{\catcodesmusic\grnotes&&&\grcu}% + \def\grace{\catcodesmusic\hardnotes 1.5\Interligne\notes&&&\grcu}% + \barre %81 + \grace{_a}\enotes + \NOtes\qu F&\hlp {_a}&\qup j&\hup f\enotes + \Notes\ql M&&\ds\cu {^i}\enotes + \notes\qu F&&\qpqu jk\enotes + \barre %82 + \grace{N}\enotes + \NOtes\qu E&\hlp N&\hlp j&\qup e\enotes + \Notes\ql L&&&\sk\cl j\enotes + \notes\qu E&&&\qpqu ge\enotes + \barre %83 + \NOtes\qu F&\itenu2c\zhp c\hlp {_a}&&\qup c\enotes + \Notes\ql M&&&\sk\cu {^b}\enotes + \notes\qu F&&&\qpqu cd\enotes + \barre %84 + \NOTes\qup E&\tten2\zqp c\qlp g&&\qup c\enotes + \Notes\soupir\sk\cu +E&&\ibl0c0\ibu1j0\zqb0c\qh1j\zqb0{^b}\qh1{^i}\tbl0\tbu1\zqb0c\zq g\qh1j&\ds\soupir\enotes + \barre %85 + \NOtes\qu F\ql M&&\zhl {_d}\zh {_h}\hu {_k}\enotes + \notes\qu F&&\ibbbl0f0\ibbbu1k0\zqb0d\qh1k\tbbl0\tbbu1\zqb0e\qh1l\zqb0f\qh1m\sk + \nbbbl0\nbbbu1\zqb0e\qh1l\tbl0\tbu1\zqb0d\qh1k&\pause\enotes + %\check + \barre %86 + \NOtes\pointdorgue a\hu G&&\pointdorgue m\zhl c\zh e\zh g\hu +j&\sk\pointdorgue l\hpause\enotes + \Notes\soupir&&\ds\zcl c\cu j&\ds\cl q\enotes + \barre %87 + \Notes\sk\sk\pause&&\ibl0d0\ibu1j0\rlap{\qb0{=dedc^b}\tqb0c}\qh1{=klkj^i}\tqh1j&\ibl0p0\qb0{=rsrq^p}\tqb0q\enotes + \barre %88 + \NOtes\qu{^E}\ql{^L}&&\zhl{=b}\zh{_d}\zh g\hu{=i}&\hl{=p}\enotes + \notesp\qu E&&\ibbbl0i0\zq g\qb0i\tbbl0\zq {_h}\qb0j\zq i\qb0{_k}\sk\nbbbl0\zq +h\qb0j\zq g\tqb0i&\advance\transpose 7\ibbbl0i0\qh0i\tbbl0\qh0j\qh0{_k}\sk\nbbbl0\qh0j\tqb0i\enotes + \barre %89 + \NOtes\qu F&&\zqp f\qup{_h}&\qlp{_o}\enotes + \Notes\ql M&\sk\cl {_a}&\sk\cu f&\sk\cl m\enotes + \notes\qu F&\ql c&\qpqu hj&\qpql oq\enotes + \barre %90 + \NOtes\qu {=E}&\qlp c&\qup g&\qlp n\enotes + \Notes\ql {=L}&\sk\cl N&\sk\cu e&\sk\cl l\enotes + \notes\qu E&\ql c&\qpqu gj&\qpql nq\enotes + \barre %91 + \NOtes\qu{_D}\ql{_K}&\hl{_d}&\hu f&\hl m\enotes + \notes\qu D&&\ibbbu0j0\zq {f}\zql{_h}\qh0{_k}\tbbu0\qh0l\qh0m\sk\nbbbu0\qh0l\tqh0k&\ibbbl0n0\qb0m\tbbl0\qb0n\qb0{_o}\sk\nbbbl0\qb0n\tqb0m\enotes + \barre %92 + \NOtes\qu{G}\ql{N}&&\zh {e}\zhl{g}\hu j&\hl l\enotes + \notesp\qu G&&\ibbbu0i0\zq {e}\zql{g}\qh0{j}\tbbu0&\ibbbu1m0\qh1l\tbbu1\enotes + \notes&&\qh0{=k}\qh0l\sk\nbbbu0\qh0k\tqh0j&\qh1m\qh1n\sk\nbbbu1\qh1m\tqh1l\enotes + \barre %93 + \NOtes\qu{G}\ql{N}&&\zh {d}\zhl{f}\hu {^i}&\hl k\enotes + \notes\qu G&&\ibbbu0h0\zq {d}\zql{f}\qh0i\tbbu0\qh0{j}\qh0k\sk\nbbbu0\qh0j\tqh0i&\ibbbu0l0\qh0k\tbbu0\qh0l\qh0m\sk\nbbbu0\qh0l\tqh0k\enotes + \barre %94 + \NOtes\qu{_H}\ql{_a}\qu{_H}&\zhp e\hlp c&\hup j&\itenu3j\hlp j\enotes + \barre %95 + \notes\qu G&\ptb cde&\hup j&\tten3\hlp j\enotes + \NOtes\ql N&\tten0\hl e\enotes + \NOtes\qu G\enotes + \barre %96 + \def\alldsp{\notes\pt5\ds&\pt5\ds&\pt5\ds&\pt5\ds\enotes}% + \grace e\enotes + \notesp\pointdurgue E\hu +{^F}&\Ibbl3ce2\roff{\tbbl3}\qb3c\sk\itenu0e\tbl3\qbp3e\sk&\zq{=h}\Ibbbu0jl2\qh0j\tbbu0\zq{^i}\qh0 +k\itenu1j\zqp j\itenu2l\tbu0\qhp0l\sk&\pointdorgue l\hl j\enotes + \NOTes\pointdorgue c\qu {^M}&\tten0\pointdorgue e\zq L\lSh M\lq M\zq a\ql +e&\pointdorgue s\tten1\tten2\zq j\qu l\enotes + \advance\mulooseness -1\relax + \zalapage + \alldsp\grace{j}\enotes + \notes\ccu {^F}&\ccl c\zmidtwotext{\llap{\bf I -- \ff\space\space}}&\zq e\ccu h&\ccl l\Uptext{\llap{\ppff +Solenne }}\enotes + \barre %97 + \grace j\enotes + \NOtes\hup G&\zql c&\zhp d\hup g&\ql k\enotes + \grace{^i}\enotes + \NOTes&\hl{^b}&&\hl k\enotes + \barre %98 + \grace k\enotes + \NOTes\hu{^I}&\hl{_a}&\zh d\hu f&\hl m\enotes + \alldsp\grace{k}\enotes + \notes\cu I&\ccl d&\zq f\ccu{_h}&\ccl m\enotes + \barre %99 + \grace k\enotes + \NOtes\hup J&\ql d&\zhp e\hup g&\ql l\enotes + \grace j\enotes + \NOTes&\hl c&&\hl l\enotes + \barre %100 + \grace{^l}\enotes + \NOTes\hu{^J}&\hl{=b}&\zh{^e}\hu g&\hl n\enotes + \alldsp\grace{l}\enotes + \notes\ccu J&\zq {^e}\ccl g&\ccu i&\ccl n\enotes + \barre %101 + \grace{^l}\enotes + \NOtes\hup K&\zq {^e}\ql g&\hup h&\ql n\enotes + \grace k\enotes + \NOTes&\zh f\hl d&&\hl m\enotes + \barre %102 + \grace{i}\enotes + \NOTes\hu G&\zh{b}\hl{=e}&\hu i&\hl {=l}\enotes + \alldsp\grace i\enotes + \notes\ccu G&\zq{b}\ccl{e}&\ccu i&\ccl l\enotes + \barre %103 + \grace i\enotes + \NOtes\hup H&\zq b\ql e&\hu i&\ql l\enotes + \notes&&&\enotes + \NOtes&\lSh c\zh{c}\hl{^e}&&\ql {^j}\enotes + \grace h\enotes + \Notes&&\qu h&\ibl0j0\qb0j\enotes + \grace g\enotes + \Notes&&&\tqb0j\enotes + \barre %104 + \grace f\enotes + \NOTEs\pointdurgue F\hup I&\pointdorgue d\hl d&\pointdorgue l\hup f&\pointdorgue m\hlp k\enotes + \barre %105 + \ggrnotes&&&\tinynotesize\Ibbu0ej1\qh0e\tqh0j\enotes + \NOTes\hu{^F}&\hl{=e}&\zh{hj}\hu l&\hl o\enotes + \notes\pt5\ds&\soupir&\pt5\ds&\pt5\ds\enotes + \grace j\enotes + \notes\ccu F&&\zq{hj}\ccu l&\ccl o\enotes + \barre %106 + \grace j\enotes + \NOtes\hup G&\soupir\soupir\ql b&\roff{\zql h}\zhp i\hup k\hlp g&\ql o\hl n\enotes + \barre %107 + \grnotes&&&\tinynotesize\Ibbu0dh1\qh0d\tqh0{_h}\enotes + \NOTes\hu{^I}&\hl{^b}&\zh{f_h}\hu k&\hl m\enotes + \notes\pt5\ds&\soupir&\pt5\ds&\pt5\ds\enotes + \grace h\enotes + \notes\ccu I&&\zq{fh}\ccu k&\ccl m\enotes + \barre %108 + \grace g\enotes + \NOtes\hup J&\soupir\soupir\ql c&\roff{\zhlp g}\zq f\qu k\zh e\hu j&\ql m\hl l\enotes + \barre %109 + \grace{g}\enotes + \NOTes\hu{^J}&\hl{^c}&\zh{^eg}\hu i&\hl i\enotes + \notes\pt5\ds&\soupir&\pt5\ds&\pt5\ds\enotes + \grace {=e}\enotes + \notes\ccu {^C}&&\ccl g&\ccl i\enotes + \barre %110 + \ggrnotes&&&\tinynotesize\Ibbu0Nd1\qh0N\tqh0{d}\enotes + \NOtes\qu D\qu K\qu D&&\zhp {bd}\hup g&\hlp i\enotes + \barre %111 + \notes\qu{=C}&&\pt L\zh N\roff{\zhp a}\hup e&\ptb hij\enotes + \NOtes\qu{=J}\qu C&&&\tten0\hl j\enotes + \barre %112 + \notes\qu{^C}&&\zhp b\zhp N\hup {^e}&\ptb ihi\enotes + \NOtes\qu{^J}\qu C&&&\tten0\hl i\enotes + \barre %113 + \notes\qu D&\hl N&\zh a\hup d&\pto hgh\enotes + \NOtes\qu K&&&\tten0\itenu0h\ql h\enotes + \Notes\qu D&\zql K\triolet d\ibu0L0\qh0{^MN}\tqh0M&\triolet l\Ibu0ca2\qh0c\qh0b\tqh0a&\tten0\qqqh hg{^f}\enotes + \barre %114 + \NOTes\itenl0G\hup G&\itenl1K\hlp K&\itenl2N\itenl3b\zhp N\hup b&\qup g\enotes + \notes&&&\cu N\islurd5c\qqqq bdgi\enotes + \barre %115 + \notes\tten0\hup G&\tten1\hlp K&\tten2\tten3\itenl2N\itenl3b\zhp N\hup +b&\rlap{\sk\sk\sk\tslur5c}\qqqqh gdbd\islurd5f\qqqqh gikn\tslur5n\rlap{\sk\isluru5n}\qqqqb pnpr\enotes + \barre %116 + \NOtes\pointdorgue a\hup G&\sk\pause&\pointdorgue l\tten2\tten3\zhp b\zhp d\hup +g&\pointdurgue e\tslur5u\hlp u\enotes +\mulooseness 1\relax +\finmorceau +\bigskip\rightline{\sl\aujourdhui} +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/angescam.tex b/Master/texmf-dist/doc/generic/musixtex/examples/angescam.tex new file mode 100644 index 00000000000..f2b915632f1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/angescam.tex @@ -0,0 +1,19 @@ +\advance\staffbotmarg by 7\Interligne +% +% option pas d'accompagnement +\newcount\orgue +\orgue=0\relax +% +\def\Transpose{0}% +\def\Signature{1}\relax % un dieze a la clef +\input angescax +\signaturegenerale{0}\savesignature\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{-1}\relax % un bemol a la clef +\input angescax +\signaturegenerale{0}\savesignature\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-2}\relax +\def\Signature{-3}\relax % un bemol a la clef +\input angescax +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/angescao.tex b/Master/texmf-dist/doc/generic/musixtex/examples/angescao.tex new file mode 100644 index 00000000000..e2a7b34bcef --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/angescao.tex @@ -0,0 +1,24 @@ +\input musixtex +\input musixcpt +\input musixsty + +\advance\staffbotmarg by 4\Interligne +% +% option accompagnement +\newcount\orgue +\orgue=1\relax +% +\interinstrument=41pt +\def\Transpose{0}% +\def\Signature{1}\relax % un dieze a la clef +\input angescax +\signaturegenerale{0}\savesignature\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{-1}\relax % un bemol a la clef +\input angescax +\signaturegenerale{0}\savesignature\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-2}\relax +\def\Signature{-3}\relax % un bemol a la clef +\input angescax +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/angescax.tex b/Master/texmf-dist/doc/generic/musixtex/examples/angescax.tex new file mode 100644 index 00000000000..6dcab817c75 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/angescax.tex @@ -0,0 +1,366 @@ +\tenpoint +% +\catcodesmusic +\ifnum\orgue=1\relax + \def\org#1\\{#1&}\relax +% \def\cadrage{\vrule width 0pt height 40mm}\relax + \def\cadrage{\vrule width 0pt height 1mm}\relax +\else + \def\org#1\\{}\relax + \def\cadrage{\vrule width 0pt height 10mm}\relax +\fi +% +\title{Les anges dans nos campagnes} +\subtitle{No\"el du XIII\umero\ si\`ecle} +\fullauthor{Harmonisation + Fran\c cois-Auguste GEVAERT\\1828 -- 1908\ifnum\orgue>0\\ + Partition d'orgue Daniel TAUPIN\fi} +\shortauthor{F.-A. Gevaert, D. Taupin} +\maketitle +% +\parindent 12mm +\sepbarrules +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% quatre croches +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +%\bigskip +% +% soufflets crescendo et decrescendo +% +\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\Cresc}}% +\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CREsc}}% +% +\def\souffldim#1{\zcharnote{#1}{\kern -1cm\Dimin}}% +\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DIMin}}% +% +%\check +\ifnum\orgue=0\relax + \def\nbinstruments{4}\global\nbporteesi=1\relax + \global\nbporteesii=1\relax + \global\nbporteesiii=1\relax + \global\nbporteesiv=1\relax + \global\cleftoksi={{6}{0}{0}{0}}\relax + \global\cleftoksii={{0}{0}{0}{0}}\relax + \global\cleftoksiii={{0}{0}{0}{0}}\relax + \global\cleftoksiv={{0}{0}{0}{0}}\relax + \def\instrumenti{Basses}\relax + \def\instrumentii{T\'enors}\relax + \def\instrumentiii{Altos}\relax + \def\instrumentiv{Sopran.}\relax + \interinstrument=30pt + \songbottom{1} % to be used to make heavy bars at staff left + \songtop{4} % to be used to make heavy bars at staff left +\else + \interinstrument=25pt + \def\interinstrumenti{0pt} + \def\nbinstruments{6}\global\nbporteesi=1\relax + \global\nbporteesii=2\relax + \global\nbporteesiii=1\relax + \global\nbporteesiv=1\relax + \global\nbporteesv=1\relax + \global\nbporteesvi=1\relax + \global\cleftoksi={{6}{0}{0}{0}}\relax + \global\cleftoksii={{0}{0}{0}{0}}\relax + \global\cleftoksiii={{6}{0}{0}{0}}\relax + \global\cleftoksiv={{0}{0}{0}{0}}\relax + \global\cleftoksv={{0}{0}{0}{0}}\relax + \global\cleftoksvi={{0}{0}{0}{0}}\relax + \def\instrumenti{P\'edale}\relax + \def\instrumentii{Manuel}\relax + \def\instrumentiii{Basses}\relax + \def\instrumentiv{T\'enors}\relax + \def\instrumentv{Altos}\relax + \def\instrumentvi{Sopran.}\relax + \def\staffspacingiii{0.7}\relax + \def\staffspacingiv{0.7}\relax + \def\staffspacingv{0.7}\relax + \def\staffspacingvi{0.7}\relax + \songbottom{3} % to be used to make heavy bars at staff left + \songtop{6} % to be used to make heavy bars at staff left +\fi +%\check +% +\signaturegenerale{\Signature}% +\relativeaccidentals +\generalmeter{\meterfrac{4}{4}} +%\check +\def\interfacteur{9}% +%\check +\def\respire{\notes\org&\\&&&\zbreath\enotes}% +% +%\check +\catcode`\@=13 +%\ifx\ninerm\undefined\font\ninerm=\fontid r9\fi + +\def@#1|#2|#3*{\zcharnote{-11}{\vbox to 0pt{\ninerm + \vss\lineskiplimit=0pt +\baselineskip 9.5pt\parindent 0pt\parskip 0pt\rlap{\vphantom{\'EQ}#3} +\rlap{\vphantom{\'EQ}#2}\rlap{\vphantom{\'EQ}#1}\relax +\vss}}}% +% +\barsinline=0\relax +\linesinpage=0\relax +\debutmorceau\def\dmtp{}\def\dmtph{}\def\!{\kern -4pt}% +\ifnum\orgue=0\relax + \autolines {8}42\relax +\else + \autolines {8}42\relax + \advance\linesinpage 1\relax +\fi +\transpose=\Transpose +\znotes\org&\zmidtwotext{\moyen III}\\&&&\Uptext{\moyen Allegretto}\enotes +% +\dmtp\def\txt{@\!Ber-|\!\!Cher-|\!Les*}\Notes\org&\qu g|\ql i\\\relax + &\txt\ql n&\txt\qu g&\txt\ql i\enotes +\dmtp\def\txt{@gers,|\!chons|an-*}\Notes\org&\qu f|\ql i\\&\txt\ql m\relax + &\txt\qu g&\txt\ql i\enotes +\dmtph\def\txt{@quit-|tous|ges*}\Notes\org\pause&\qu e|\ql i\\\pause + &\txt\ql l&\txt\qu g&\txt\ql i\enotes +\dmtp\def\txt{@tez|l'heu-|dans*}\notes\org&\qu d|\dql3ik\\&\txt\ql k\relax + &\txt\dqu3gi&\txt\dql3ik\enotes +% +%\check +% mesure 2 +\barre\def\txt{@vos|reux|nos*}\Notes\org&\qu e|\qlp k\\&\txt\qlp k\relax + &\txt\qu i&\txt\qlp k\enotes +\dmtp\def\txt{@re-|vil-|cam-*}\notes\org&\qu f|\sk\cl j\\\hpause + &\sk\txt\cl k\qsk&\txt\qu f&\sk\txt\cl j\qsk\enotes +\dmtph\def\txt{@trai-|la-|pa-*}\notes\org\pause&\qu g|\ql i\\\qp + &\txt\dql{-3}kj&\txt\dqu{-4}ge&\txt\ql i\enotes +\dmtp\def\txt{@tes|ge|gnes*}\Notes\org&\qu d|\ql g\\@U--|Qui--|Ont--*\itenu0N\ql N\relax + &\txt\ql i&\txt\qu d&\txt\ql g\enotes +% +%\check +% mesure 3 +\barre\def\txt{@U-|Qui|Ont*}\Notes\org&\qu g|\ql i\\\tten0\ql N\relax + &\txt\ql k&\txt\qu g&\txt\ql i\enotes +\dmtp\def\txt{@nis-|l'a|en-*}\notes\org&\qu f|\rlap{\dql{-2}ih}\\\txt\cl M\relax + &\txt\cl k&\txt\cu g&\txt\cl i\enotes +\dmtp\def\txt{@sez-|vu|ton-*}\notes\org&|\\\txt\cl M\relax + &\txt\cl k&\txt\cu g&\txt\cl h\enotes +\dmtph\def\txt{@vous|na\^\i-|n\'e*}\notes\org\pause&\qu e|\ql i\\\txt\ql L\relax + &\txt\qu g&\txt\dqu{-2}gf&\txt\ql i\enotes +\dmtp\def\txt{@\`a--|tre--|l'hym--*}\notes\org&\dqu2ef|\dql3ik\\\txt\dql2LM\relax + &\txt\dqu2gh&\txt\dqu{-2}ed&\txt\dql3ik\enotes +% +%\check +% mesure 4 +\barre\def\txt{@leurs|sous|ne*}\Notes\org&\qu f|\qlp k\\\txt\ql M\relax + &\txt\ql h&\txt\qu d&\txt\qlp k\enotes +\dmtp\def\txt{@con-|ses|des*}\notes\org&\qu d|\sk\cl j\\\txt\ql K\sk + &\txt\dql5hk&\txt\qu f&\sk\rlap{\!\txt}\cl j\enotes +\dmtph\def\txt{@\!certs,|\!toits;|\!Cieux,*}\notes\org\pause + &\qu b|\zqu i\dql{-6}gd\\\txt\ql N\relax + &\txt\ql k&\txt\qu g&\txt\ql i\qsk\enotes +\dmtp\def\txt{@Et|Of-|Et*}\notes\org&\soupir|\rlap{\dql2ef}\soupir\\\soupir\relax + &\txt\cl l&\soupir&\soupir\enotes +\dmtp\def\txta{@que|\!frons|l'\'e*}\notes\org&|\\\relax + &\txta\cl m&&\enotes +% +%\check +% mesure 5 +\def\txtb{@vos-|lui|cho*}% +\ifnum\orgue=0\relax + \barre +\else + \global\cleftoksii={{6}{0}{0}{0}}\changeclefs\alapage% barre +\fi +\Notes\org&\ql N|\zql g\qu i\\&\txtb\ql n&\txt\qu g&\txt\ql i\enotes +\dmtp\Notes\org&\ql M|\zql g\qu i\\&\txta\ql m&\txta\qu g&\txta\ql i\enotes +\dmtph\Notes\org\pause&\ql L|\zql g\qu i\\\pause + &\txtb\ql l&\txtb\qu g&\txtb\ql i\enotes +\dmtp\def\txt{@ten-|le|de*}\notes\org&\ql K|\rlap{\dql3gi}\dqu3ik\\\relax + &\txt\ql k&\txt\dqu3gi&\txt\dql3ik\cadrage\enotes +% +%\check +% mesure 6 +\barre +\def\txt{@dres|\!\!tendre|nos*}\Notes\org&\hl K|\zql i\qup k\\&\txt\qlp k\relax + &\txt\qu i&\txt\qlp k\enotes +\dmtp\def\txt{@mu-|hom-|mon-*}\notes\org&|\ql f\cu j\\\hpause + &\sk\txt\cl k\qsk&\txt\qu f&\sk\txt\cl j\qsk\enotes +\dmtph\def\txt{@set-|ma-|ta-*}\notes\org\pause + &\dql{-3}KJ|\zqu i\dql{-4}ge\\\soupir + &\txt\dql{-3}kj&\txt\dqu{-4}ge&\txt\ql i\enotes +\def\txta{@Fas-|Et|Re-*}\relax +\dmtp\def\txt{@tes|ge|gnes*}\Notes\org&\ql I|\zql d\qu g\\\txta\ql N\relax + &\txt\ql i&\txt\qu d&\txt\ql g\enotes +% +%\check +% mesure 7 +\def\txtb{@\!sent|de|dit*}% +\barre + \Notes\org&\ql N|\zql d\qu i\\\txtb\ql N&\txta\qu i\relax + &\txta\qu d&\txta\ql i\enotes +\dmtp\def\txt{@re-|nos|ce*}\notes\org&\ql M|\rlap{\dqu{-2}ih}\qlp{^d}\\\txt\ql M\relax + &\txtb\cu h&\txtb\cu{^d}&\txtb\cl i\enotes +\dmtp\notes\org&|\\\relax + &\txt\cu h&\txt\cu d&\txt\cl h\enotes +\dmtph\def\txt{@ten-|c\oe urs|chant*}\notes\org\pause + &\dql{-2}ML|\qu i\cl e\\\relax + \txt\dql{-2}ML&\txt\dqu{-2}hg&\txt\dqu2de&\txt\ql i\enotes +\dmtp\def\txt{@tir--|et--|m\'e--*}\notes + \org&\dql{-6}LI|\rlap{\dql{-2}gf}\dqu3ik\\\txt\dql{-6}LI\relax + &\txt\dqu4gi&\txt\dqu{-2}gf&\txt\dql3ik\enotes +% +%\check +% mesure 8 +\barre\def\txt{@dans|de|lo-*}\Notes\org&\ql J|\zql e\qup k\\\txt\ql J\relax + &\txt\ql i&\txt\qu e&\txt\qlp k\enotes +\dmtp\def\txt{@les|nos|di-*}\notes\org&\ql K|\ql f\cu j\\\txt\ql K\sk + &\txt\qu h&\txt\qu f&\sk\txt\cl j\enotes +\dmtph\def\txt{@airs:|voix.|eux.*}\Notes\org\pause&\ql N|\zql{=d}\qu i\\\txt\ql N\relax + &\txt\ql i&\txt\qu{=d}&\txt\ql i\enotes +\temps\Notes\org&\soupir|\soupir\\\soupir\relax + &\soupir&\soupir&\soupir\enotes +\ifnum\orgue=0\relax +\else + \global\cleftoksii={{0}{0}{0}{0}}\changeclefs +\fi +\suspmorceau +%\eject +\catcodesmusic +% +%\check +\def@#1|#2|#3*{\zcharnote{-5}{\vbox to 0pt{\vss\lineskiplimit=0pt +\baselineskip 10pt\parindent 0pt\parskip 0pt\rlap{\vphantom{\'EQ}#3} +\rlap{\vphantom{\'EQ}#2}\rlap{\vphantom{\'EQ}#1}\relax +\vss}}} +\ifnum\orgue=0\relax + \autolines {8}43\relax +\linesinpage=0\relax +\barsinline=0\relax + \interinstrument=6pt +\else + \interinstrument=5pt + \def\interinstrumenti{0pt} +\fi +% +% +% mesure 9 +\def\xx{@|---|*}% +\reprmorceau\def\Glo{@|Glo -|*}\Notes\org&\zcharnote{-5}{\moyen II}\hpause + |\uptext{\moyen I}\hl k\\&&\sk\hpause&\Glo\hl k\enotes +\temps\notes\org\pause&\hu g\relax + |\qqbl{-2}lkji\\\pause&\pause + &\Glo\hu g&\xx\qqbl{-2}lkji\cadrage\enotes +% +% mesure 10 +\barre\notes\org&\qqbh{-2}hgfe|\hl j\\&&\xx\qqbh{-2}hgfe&\xx\hl j\enotes +\temps\notes\org\pause&\hu f|\qqbl{-2}kjih\\\pause&\pause&\xx\hu f&\xx\qqbl{-2}kjih\enotes +% +% mesure 11 +\barre\notes\org&\qqbh{-2}gfed|\hl i\\&&\xx\qqbh{-2}gfed&\xx\hl i\enotes +\temps\def\Ri{@|ri-|*}\notes\org\pause&\hu e|\qqbl{-2}jihg\\\pause&\pause + &\xx\qup e\sk\sk\Ri\cu e&\xx\qqbl{-2}jihg\enotes +% +% mesure 12 +%\check +\barre\def\txta{@|a|*}\def\Txta{@|a--|*}% +\notes\org&\qqbh{-1}fede|\qup h\sk\sk\cu h\\&\soupir\sk\Glo\hl k\relax + &\Txta\qqbh{-1}fede&\xx\qup h\sk\sk\Ri\cu h\enotes +\temps\notes\org\pause&\qu f\sk\soupir|\rlap{\ql d\sk\ql c}\qqbH0gfghf\\\pause + &\xx\sk\sk\Ri\cl j\txta\cl j\relax + &\xx\qqbH0gfghf&\txta\qu d\sk\soupir\enotes +\ifnum\orgue=0\relax +\else + \global\cleftoksii={{6}{0}{0}{0}}\changeclefs +\fi +% +% mesure 13 +\barre\def\In{@|in|*}\NOtes\org&\qu K|\zq{bd}\upz g\ql g\\&\In\ql i\relax + &\xx\qu d&\In\lpz g\qu g\enotes +\dmtp\def\Ex{@|ex-|*}\notes\org&\zql J\qu M|\zq{cf}\upz h\ql h\\&\Ex\dql{-4}jh\relax + &\In\cu e\Ex\cu f&\Ex\lpz h\qu h\enotes +\temps\def\txt{@|cel-|*}\notes\org\pause&\zql I\qu N|\zq{eg}\upz i\ql i\\\pause\relax + &\txt\dql{-2}lk&\txt\qu g&\txt\upz i\ql i\enotes +\dmtp\def\txt{@|sis|*}\Notes\org&\zql J\qu L|\zq{eh}\upz j\ql j\\&\txt\ql j&\txt\itenl0h\qu h\relax + &\txt\upz j\ql j\enotes +% +% mesure 14 +\barre\def\De{@|De-|*}\Notes\org&\hu K|\zw d\zh g\hu i\\\relax + &\De\ql k&\tten0\qu h&\De\hl i\enotes +\dmtp\Notes\org&|\\&@|o!|*\ql k&\De\hu g&\xx\enotes +\temps\notes\org\pause&\zcharnote{-6}{\moyen I}\qqbl{-2}MLKJ|\zh f\hu h\\\pause&\Glo\qqbl{-2}kjih\relax + &\sk\sk@|o!|*\qu f&@|o!|*\hl h\cadrage\enotes +% +% mesure 15 +\barre\notes\org\ql N\sk\ql M&\hu I|\zw g\zh i\hu k\\\sk\hpause + &\xx\hlp i&\Glo\qqbh{-2}ihgf&\Glo\hl k\enotes +\temps\notes\org\hl L&\hl N|\qqbh{-2}lkji\\\Glo\hl N&\xx\sk\sk\dql{-2}lk\relax + &\xx\itenl0e\hu e&\xx\qqbl{-2}lkji\enotes +%\check +% mesure 16 +% +\barre\notes\org\ql M\sk\ql L&\qqbl{-2}aNML|\zh e\zh h\hu j\relax + \\\xx\qqbl{-2}aNML&\xx\dql{-2}ji\hl h\relax + &\xx\tten0\qu e\sk\dqu{-2}hg&\xx\qu j\enotes +\temps\notes\org\hl K&\hl K|\zh f\zhl h\rlap{\qqbh{-2}kjih}\relax + \\\xx\hl M&\sk\sk&\xx\dqh{-2}fe\relax + &\xx\rlap{\qqbl{-2}kjih}\enotes +\dmtp\notes\org&|\\&\xx\dql{-2}kj&\itenl0d\qu d&\enotes +% +% mesure 17 +\barre +%\autolines 753 +\notes\org\ql L\sk\ql K&\qqbl{-2}NMLK|\zw e\zw g\hu i\relax + \\\xx\qqbl{-2}NMLK&\dqh{-2}ih\xx\hu g\relax + &\tten0\qu d\zbreath\sk\dqh{-2}gf&\xx\hl i\enotes +\temps\notes\org\hl J&\hl J|\rlap{\qqbh{-2}jihg}\relax + \\\xx\hl L&\sk\sk&\xx\dqh{-2}ed\relax + &\xx\rlap{\qqbh{-2}jihg}\enotes +\dmtp\notes\org&|\\&\dql{-2}ji&\itenl0c\qu c&\cadrage\enotes +% +% mesure 18 +\barre\notes\org\bigaccid\hu{^J}&\qqbl{-1}MLKL\relax + |\bigaccid\Sh c\zhl c\zqp f\qup h\relax + \sk\sk\zq f\cu h\\\xx\qqbl{-1}MLKL&\xx\dqh{-2}hg\Ri\dqh2fg\relax + &\tten0\dqh0c{^c}\Ri\dqh{-2}dc\relax + &\xx\qup h\sk\sk\Ri\cu h\enotes +\def\txt{@|a--|*}% +\temps\notes\org\hu K&\qqbl0MNaM|\zhu d\hl d\\\xx +\qqbl0MNaM&\qqbH0ihi{=j}h\relax + &\txt\qqbH0edefe&\txt\qu d\sk\soupir\enotes +% +%mesure 19 +\barre\def\Ex{@|ex-|*}\relax +\notes\org\qu I\sk\qu H&\ql N\sk\ql M|\zq b\zq d\upz g\ql g\sk\bigaccid +\zq{=c}\zq f\upz h\ql h\relax + \\\xx\qqbl{-1}bcba&\In\upz k\ql k\sk\Ex\upz j\ql j\relax + &\In\lpz d\qu d\sk\Ex\lpz f\qu f\relax + &\In\lpz g\qu g\sk\Ex\lpz h\qu h\enotes +\temps\def\Cel{@|cel-|*}\NOtes\org\qu I&\ql N|\zq d\zq g\upz i\ql i\relax + \\\Ri\ql N&\Cel\upz k\ql k\relax + &\Cel\lpz g\qu g&\Cel\upz i\ql i\enotes +\dmtp\def\Sis{@|sis|*}\Notes\org\qu{=J}\relax + &\qu L|\zq e\zq h\upz j\ql j\relax + \\@|a|*\qu J&\Sis\upz l\ql l\relax + &\Sis\itenl0h\qu h&\Sis\upz j\ql j\enotes +% mesure 20 +\barre\Notes\org\hu K&\qu K|\zh d\zhl i\qsk\qu h\relax + \\\De\ql K&\De\itenu1k\hl k&\tten0\qu h&\De\hl i\enotes +\temps\notes\org&\dqb5Nb|\qu g\\\dqb5Nb&&\De\qu g&\enotes +\temps\notes\org\hu D&\qqbL{-2}bdcbc|\zh f\hu h\sk\itenl2d\ql d\sk\relax + \\\xx\hl d&\tten1\xx\qqbl{-1}kjij&\xx\hu f&\xx\hl h\sk\enotes +% mesure 21 +\xbarre\def\txt{@|o!|*}\NOTes\org\pointdorgue a\hu G\relax + &\pointdorgue b\zh N\hl b|\tten2\pointdorgue n\zh d\hu g\relax + \\\txt\pointdorgue a\hl N\relax + &\txt\pointdorgue l\hl i&\txt\pointdorgue l\hu d\relax + &\txt\pointdorgue m\hu g\enotes +\temps\Notes\org&|\\\hpause&\hpause&\hpause&\hpause\enotes +% +\finmorceau +\medskip\rightline{\it le \aujourdhui} +\absoluteaccidentals +\eject + +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex b/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex new file mode 100644 index 00000000000..85bd6861b34 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex @@ -0,0 +1,19 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\tracingstats=2\relax +\hsize=185mm +\vsize=270mm +\hoffset -1.70cm +\voffset -1.54cm +\barsinline=0\relax +\linesinpage=0\relax +\resetfacteurs +\computewidths +% +\input avemarix +\bye + + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/avemarid.tex b/Master/texmf-dist/doc/generic/musixtex/examples/avemarid.tex new file mode 100644 index 00000000000..e190c1201ff --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/avemarid.tex @@ -0,0 +1,1016 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + \title{Ave Maria (Gounod)} +\csname titremorceautoc\endcsname +\fulltitle{M\'editation -- Ave Maria} +\title{M\'editation -- Ave Maria} + \author{Charles Gounod \& J.-S. Bach\\Transcription Orgue solo Daniel +Taupin\\\& Markus Veittes} + \shortauthor{C. Gounod, J.-S. Bach, D. Taupin} + \subtitle{\relax} + \othermention{G.O.: fl\^ute 8' [+4']\\R\'ecit : fl\^utes 8'+4' [+nasard ou +chalumeau {\it ad lib.}]\\Positif : quinte\\P\'edale : 16', acc. +G.O.\\Gif : 2/9-11-12/20-23/33-37-45/50-52-54} +\maketitle + +\staffbotmarg\Interligne +% +\parindent 13mm +\musicsize=20 +\normal +\relativeaccidentals +\generalsignature{2} +\transpose=1 +\def\oct{\advance\transpose by 7\relax} +\def\nbinstruments{3} +\def\instrumenti{P\'edale} +\def\instrumentii{G.O.} +%\def\interinstrumenti{-2\Interligne} +%\def\interinstrumentii{-2\Interligne} +\def\instrumentiii{Positif} +\nbporteesi=1\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax + +\generalmeter{\meterC}% +\cleftoksi{{6}{0}{0}{0}} +\cleftoksii{{0}{0}{0}{0}} +\cleftoksiii{{0}{0}{0}{0}} +%\raggedlinestrue % uncomment for ragged right lines + + +\debutmorceau +\def\OrgNotes#1\enotes{\Notes#1&\relax#5\enotes}% +\autolines{25}{3}{5}% + %\check +%Takt 1 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes +\barre + %\check +%Takt 2 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\barre + %\check +%Takt 3 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\barre + %\check +%Takt 4 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes +\barre + %\check +%Takt 5 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\wh l&A\rlap{---}&\wh e&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes +\barre + %\check +%Takt 6 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\wh m&ve&\hupp f&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h&&&&\enotes +\OrgNotes&\qb2k\tqb2m&&Ma-&\cu f&&&&\enotes +\barre + %\check +%Takt 7 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hlp n&ri\rlap{---}&\hup g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\ql k&\rlap{---}&\qu d&&&&\enotes +\barre + %\check +%Takt 8 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hlp l&a,&\hup e&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 9 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct + \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&\enotes +\OrgNotes&\ibbl0j3\qb0h\tqb0l&&&&\enotes +\OrgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct + \tten5\ibl4c0\qb4h&&\tten4\cu h&&&&\enotes +\OrgNotes&\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\rlap{---}&\Ibu5ac4\qh5a&&&&\enotes +\OrgNotes&\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\qh5b&&&&\enotes +\OrgNotes&\qb1l\tqb1o&\oct\tqb4c&a&\tqh5c&&&&\enotes +\barre + %\check +%Takt 10 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \qlp d&ple\rlap{---}&\qup d&&&&\enotes +\OrgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2f&&&&\enotes +\OrgNotes&\qh2h\tqh2k&\oct \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \ql d&na,&\qu d&&&&\enotes +\OrgNotes&\ibbu1g3\qh1f\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 11 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \tten5\ibl4b0\qb4g&&\tten4\cu g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&\oct + \qb4N&\rlap{---}&\Ibu5Nb4\qh5N&&&&\enotes +\OrgNotes&\ibbl2k0\qb2n\qb2g&\oct + \qb4a&mi-&\qh5a&&&&\enotes +\OrgNotes&\qb2k\tqb2n&\oct + \tqb4b&nus&\tqh5b&&&&\enotes +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 12 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct + \qlp c&te\rlap{---}&\qup c&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \cl d&&\cu d&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct + \ql c&cum,&\qu c&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp&&\qp&&&&\enotes +% +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 13 +\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct + \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct + \tten5\ibl4c0\qb4j&&\tten4\cu j&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct + \qb4c&\rlap{---}&\Ibu5ce4\qh5c&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct + \qb4d&ne\rlap{---}&\qh5d&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \tqb4e&&\tqh5e&&&&\enotes +\barre + %\check +%Takt 14 +\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct\bigaccid + \qlp{^f}&\rlap{dic---}&\bigaccid\qup {^f}&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2d&&&&\enotes +\OrgNotes&\qh2f\tqh2j&\oct + \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct + \ql d&\rlap{---}&\qu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct + \ql a&ta&\qu a&&&&\enotes +\barre + %\check +%Takt 15 +\def\atnextline{\staffbotmarg3\Interligne}% +\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct + \hl b&tu&\hu b&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&\enotes +\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\qp&&\qp&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct + \ql d&in&\qu d&&&&\enotes +\barre + %\check +%Takt 16 +\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\oct + \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct + \tten5\ibl5e1\qb5e&&\tten4\cu e&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct + \qb5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct + \qb5f&&\qh4f&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \tqb5g&&\tqh4g&&&&\enotes +\barre + %\check +%Takt 17 +\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \hl h&e\rlap{---}&\ppt h\qu h&&&&\enotes +\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&\enotes +\OrgNotes&\tqh2k&&ri-&\ccu a&&&&\enotes +\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \ql a&bus&\qu a&&&&\enotes +\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 18 +\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\oct + \itenu5d\hl d&et\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&\enotes +\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \tten5\ibl4d1\qb4d&&\tten4\cu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&\oct + \qb4d&be\rlap{---}&\Ibu5df4\qh5d&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d&\oct + \qb4e&&\qh5e&&&&\enotes +\OrgNotes&\qh2f\tqh2i&\oct + \tqb4f&ne-&\tqh5f&&&&\enotes +\barre + %\check +%Takt 19 +\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct + \hl g&\rlap{dic---}&\hu g&&&&\enotes +\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct + \qu N&tus&\qu N&&&&\enotes +\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 20 +\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4c1\qb4c&&\tten4\cu c&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct + \qb4c&tus&\Ibu5ce4\qh5c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4d&&\qh5d&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4e&&\tqh5e&&&&\enotes +\barre + %\check +%Takt 21 +\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4f1\qb4f&&\tten4\cu f&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct + \qb4f&ris&\Ibu5fh4\qh5f&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4g&&\qh5g&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4h&&\tqh5h&&&&\enotes +\barre + %\check +%Takt 22 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \qlp i&tu--&\qlp i&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \cl h&i,&\cl h&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ql g&\rlap{Je---}&\qu g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \ql d&&\qu d&&&&\enotes +\barre + %\check +%Takt 23 +\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \hlp e&sus.&\hup e&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + &&&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + &&&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \pt a\ds\sk\sk\cl e&&\qp&&&&\enotes +\barre + %\check +%Takt 24 +\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct + \hl g&\rlap{Sanc---}&\hu g&&&&\enotes +\OrgNotes&\bigaccid\ibbu1b3\qh1{_b}\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct + \ql e&ta&\qu e&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds&&\pt h\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e&&&&\enotes +\barre + %\check +%Takt 25 +\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \hl h&ri\rlap{---}&\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \ql a&a,&\qu a&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 26 +\OrgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct + \hl h&\rlap{sanc---}&\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct + \ql c&ta&\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c&\oct\qsk + \pt a\ds&&\qsk\pt h\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&\enotes +\barre + %\check +%Takt 27 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}&\ds&\oct + \hl j&ri\rlap{---}&\hl j&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \bigaccid\ql{_e}&a,&\bigaccid\qu{_e}&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds&&\pt j\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&\enotes +\barre + %\check +%Takt 28 +\OrgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \hl j&ri\rlap{---}&\hl j&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&\enotes +\temps\OrgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \ql d&a!&\qu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct + \pt a\ds\sk\sk\ccl d&&\qp&&&&\enotes +\barre + %\check +%Takt 29 +\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&\enotes +\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4d{-1}\qb4d&&\tten4\cu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct + \qb4d&ra&\Ibu5db4\qh5d&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2N&\oct + \qb4c&&\qh5c&&&&\enotes +\OrgNotes&\qh2b\tqh2d&\oct + \tqb4b&pro&\tqh5 b&&&&\enotes +\barre + %\check +%Takt 30 +\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \qlp g&no\rlap{---}&\qup g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N&&&&\enotes +\OrgNotes&\qh2c\tqh2e&\oct + \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \ql c&bis,&\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 31 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \tten5\ibl4f{-1}\qb4f&&\tten4\cu f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4f&bis&\Ibu5fd4\qh5f&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \qb4e&pec-&\qh5e&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4d&ca-&\tqh5d&&&&\enotes +\barre + %\check +%Takt 32 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \qlp k&to\rlap{---}&\qlp k&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \cl i&ri-&\cl i&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ql g&bus,&\qu g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 33 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\oct + \itenu5h\hl h&nunc&\itenl4h\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \tten5\ibl4h1\qb4h&&\tten4\cu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&\oct + \qb4h&et\rlap{---}&\Ibu5hj4\qh5h&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4i&&\qh5i&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4j&in&\tqh5j&&&&\enotes +\barre + %\check +%Takt 34 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}&\ds&\oct + \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \tten5\ibl4j{-4}\qb4l&&\tten4\cl l&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4j&--&\Ibu5je4\qh5j&&&&\enotes +\OrgNotes&\ibbu2e0\qh2g\qh2N&\oct + \qb4g&ra,&\qh5g&&&&\enotes +\OrgNotes&\qh2c\tqh2g&\oct + \tqb4e&in&\tqh5e&&&&\enotes +\barre + %\check +%Takt 35 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4h&&\tqh5h&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \qb4i&ra&\ibu5i{-1}\qh5i&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4h&&\tqh5h&&&&\enotes +\barre + %\check +%Takt 36 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct + \usf g\qb4g&&\tqh5k&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \usf f\qb4f&tis&\ibu5i{-2}\qh5i&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \usf d\tqb4d&&\tqh5g&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\relax + \lsf i\ibu4i{-3}\qh4i&nos-&\ibu5f{-2}\qh5f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\relax + \lsf h\qh4h&&\tqh5d&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\relax + \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\relax + \lsf d\tqh4d&&\tqh5N&&&&\enotes +\barre + %\check +%Takt 37 +\OrgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds&\relax + \hup c&A\rlap{---}&\itenl4c\hu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&&\rlap{men.}&\tten4\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&\uptext{R\'ecit (doux)}&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 38 +\def\orgNotes#1\enotes{\Notes#1&\relax#4\enotes}% +\def\orgNOTes#1\enotes{\NOTes#1&\relax#4\enotes}% +\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\wh l&A\rlap{---}&&&&&\enotes +\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&\raise -2\Interligne\hpause&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\hl g&&&&&&\enotes +\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes +\barre + %\check +%Takt 39 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\wh m&ve&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&\raise -2\Interligne\hpause&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp d&\ds&&\hl h&&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2h&&&&&&&\enotes +\orgNotes&\qb2k\tqb2m&&&\rlap{\kern -\Interligne Ma-}&\cu f&&&&&&\enotes +\barre + %\check +%Takt 40 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu3g\wh g&\zhl i\hup n&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne\qs\qupp d&\ds&&\hl f&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&\qu k&&&&&&\enotes +\barre + %\check +%Takt 41 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten3\zw e\wh + g&\zhlp g\hup l&&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&&&&&\enotes +\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&&&&&\enotes +\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&\qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 42 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu h&\relax + {\roffset{0.3}{\zhu j}}\oct + \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0h\tqb0l&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp +e&\ds&&{\roffset {0.3}{\zhu l}}\oct + \tten5\ibl4a0\qb4h&&\tten4\ibu5g{-3}\qh5h&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0h\tqb0l&&\oct\qb4a&\rlap{---}&\tqh5a&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1o\qb1h&&\oct\qb4b&ti-&\cu b&&&&&&&&\enotes +\orgNotes&\qb1l\tqb1o&&\oct\tqb4c&a&\cu c&&&&&&&&\enotes +\barre + %\check +%Takt 43 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\bigaccid\zw{^f}&\itenu5o{\zhu o}\oct + \qlp d&ple\rlap{---}&\Ilegu4k\qup d&&&&&&&&\enotes +\orgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2f&&&&&&&&\enotes +\orgNotes&\qh2h\tqh2k&&\oct \cl e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\tten5{\ibu3m{-2}\zqh3o}\oct + \ql d&na,&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1f\tqh1h&&{\qh3h}&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&&\raise -2\Interligne\rlap{\qp}{\qh3i\sk\tqh3j}&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 44 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zw g&\relax + \rlap{\roffset{0.3}{\qupp k}}\oct + \normalnotesize\itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&\sk\sk\sk\ccu l&&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\roffset {0.5}{\zhu k}\oct + \normalnotesize\tten5\ibl4N0\qb4g&&\tten4\ibu5f{-3}\qh5g&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&\oct + \qb4N&\rlap{---}&\tqh5N&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2n\qb2g&&\oct + \qb4a&mi-&\cu a&&&&&&&&\enotes +\orgNotes&\qb2k\tqb2n&&\oct + \tqb4b&nus&\cu b&&&&&&&&\enotes +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 45 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\itenl4e\zw e&{\itenu3n\zhu n}\oct + \qlp c&te\rlap{---}&\Ilegu2j\qup c&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \cl d&&\tleg2\cu d&&&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&&{\tten3\ibu3l{-3}\zqh3n}\oct + \ql c&cum,&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\qh3g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&\raise -2.5\Interligne\rlap{\qp}\qh3h\sk\tqh3i&\qp&\qp&&&&&&&&\enotes +% +\barre + %\check +%Takt 46 +\orgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\zw e&\relax + {\roffset{0.3}{\zhl j}}\oct + \itenu5j\hu j&be\rlap{---}&\itenu4j\hu j&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl a\raise 5\Interligne\qs\qupp c&\ds&&{\zql h}\oct + \tten5\cu j&&\tten4\cl j&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct + \Ibu4ce4\qh4c&\rlap{---}&\Ibl5ce4\qh5c&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&{\zql g}\oct + \qh4d&ne\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \tqh4e&&\tqh5e&&&&&&&&\enotes +\barre + %\check +%Takt 47 +\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds + &&\bigaccid\zhlp h\oct + \qup{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\qup {^f}&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2d&&&&&&&&\enotes +\orgNotes&\qh2f\tqh2j&&\oct + \cu e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&&\oct + \qu d&\rlap{---}&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&&\oct + \zql a\qu a&ta&\qu a&&&&&&&&\enotes +\barre + %\check +%Takt 48 +\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\relax + {\zw g}\oct \hu b&tu&\hu b&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&&&&&\enotes +\temps\orgNotes\zhl N\raise 4.2\Interligne\qs\qupp b&\ds&&\relax + \raise\Interligne\qp&&\qp&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&\oct + \qu d&in&\qu d&&&&&&&&\enotes +\barre + %\check +%Takt 49 +\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&&{\zw{^j}}\oct + \itenu5e\hu e&mu\rlap{---}&\itenl4e\hu e&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\oct + \tten5\cu e&&\tten4\cu e&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct + \Ibu5eg4\qh5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&\oct + \qh5f&&\qh4f&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \tqh5g&&\tqh4g&&&&&&&&\enotes +\barre + %\check +%Takt 50 +\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\itenu3o\hu o&\relax + \rlap{\hlp k}\oct \itenu4h\hu h&e\rlap{---}&\ppt h\qu h&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1d\tqh1h&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&&&&&\enotes +\orgNotes&\tqh2k&&&ri-&\ccu a&&&&&&&&\enotes +\temps\orgNotes\zhl M\raise 3.8\Interligne\qs\qupp a&\ds&\tten3&\tten4\relax + \oct \cu h&bus&\qu a&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1d\tqh1h&&{\Ibu3hj4\qh3h}&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&&\qh3i\sk\tqh3j&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 51 +\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid + \hu r&\bigaccid\zw {=i}\oct\itenu5d\hu d&et\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&&&&&\enotes +\temps\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\hu k&\oct + \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&\oct + \Ibu4df4\qh4d&be\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d&&\oct + \qh4e&&\tqh5e&&&&&&&&\enotes +\orgNotes&\qh2f\tqh2i&&\oct + \tqh4f&ne-&\cu f&&&&&&&&\enotes +\barre + %\check +%Takt 52 +\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\itenu3n\hu +n&{\zhlp j}\oct + \itenu4g\hu g&\rlap{dic---}&\hu g&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1c\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\tten3\ibl3n{3}\qb3n&\oct + \tten4\cu g&tus&\qu N&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1c\tqh1g&\qb3n&\Ibu4gi4\qh4g&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qb3o\sk\tqb3p&\qh4h\sk\tqh4i&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 53 +\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\zw h\hu +q&{\zw h}\oct + \itenu5c\hu c&fruc\rlap{---}&\itenl4c\hu c&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenu3j\hu j&\oct + \tten5\cu c&&\tten4\cu c&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&\oct + \Ibu4ce4\qh4c&tus&\ibu5d1\qh5c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qh4d&&\qh5d&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4e&&\tqh5e&&&&&&&&\enotes +\barre + %\check +%Takt 54 +\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten3\zw c\hu j&\relax + {\zw j}\oct + \itenu5f\hu f&vent\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&&\oct + \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&\hu h&\oct + \Ibu4fh4\qh4f&ris&\ibu5g1\qh5f&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qh4g&&\qh5g&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4h&&\tqh5h&&&&&&&&\enotes +\barre + %\check +%Takt 55 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\hu +g&{\zqlp n}\oct + \qup i&tu--&\Ilegu4k\qlp i&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \cu h&i,&\tleg4\cl h&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp K&\ds&&\relax + \rlap{\roff{\hl m}}\oct \qu g&\rlap{Je---}&\Ilegu5l\qu g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct + \qu d&&\tleg5\qu d&&&&&&&&\enotes +\barre + %\check +%Takt 56 +\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&&{\zhlp j}\oct + \hup e&sus.&\hup e&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hu g&\oct + &&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + &&&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct + \pt a\ds\sk\sk\ccl e&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 57 +\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\zw e\relax + &{\bigfl i\zhlp i}\oct \hu g&&&&&&&\enotes +\orgNotes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu l&\oct + \qu e&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct + \pt a\ds&&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl e&&&&&&\enotes +\barre + %\check +%Takt 58 +\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl c\itenl3e\itenu4h\zh e\hu +h&\itenu2j\zh j\hl o&ri\rlap{---}&\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten3\tten4\zh e\zhl h\hu +j&\tten2\zq j\ql h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&\oct + \qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 59 +\orgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\bigaccid + \zw h\hu{_l}&{\bigfl l\zh l}\oct + \hl h&\rlap{sanc---}&\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu +o&{\zq h}\oct + \ql c&ta&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c&&\oct + \pt a\ds&&\pt h\ds&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&&&&&\enotes +\barre + %\check +%Takt 60 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\zw g\zw j\hu +n&\itenl2j\zh j\oct \hl j&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp L&\ds&\bigaccid\hu{_l}&\bigaccid + \tten2\zq j\ql{_l}&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct + \pt a\ds&&\pt j\ds&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&&&&&\enotes +\barre + %\check +%Takt 61 +\orgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu +k&{\zhp l}\oct + \hl j&ri\rlap{---}&\hl j&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&&&&&\enotes +\temps\orgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu j&\oct + \ql d&a!&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&\oct + \pt a\ds\sk\sk\ccl d&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 62 +\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu +i&{\zhl f}\oct + \itenu5d\hu d&O\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp M&\ds&&{\zql i}\oct + \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct + \Ibu4db4\qh4d&ra&\ibu5d{-1}\qh5d&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2N&&{\itenl4g\zql g}\oct + \qh4c&&\tqh5c&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2d&&\oct + \tqh4b&pro&\cu b&&&&&&&&\enotes +\barre + %\check +%Takt 63 +\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\zw e\hu +g&{\tten4\zhlp g}\oct + \qup g&no\rlap{---}&\Ilegu4l\qup g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2e&&\oct + \cu e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp L&\ds&\itenu3j\zhl g\hu j&\oct + \qu c&bis,&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct + \raise\Interligne\qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 64 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\itenl3f\zw +f&{\zhl j}\oct + \itenu5f\hu f&no\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl c&{\zhl h}\oct + \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4fd4\qh4f&bis&\cu f&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4e&pec-&\cu e&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4d&ca-&\cu d&&&&&&&&\enotes +\barre + %\check +%Takt 65 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\zw f\zhl d\hu +i&{\zh m}\oct + \qlp k&\raise\Interligne\hbox{to---}&\Ilegu4k\qlp k&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \cl i&ri-&\tleg4\cl i&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl b\hu +k&{\zq i}\oct + \ql g&bus,&\qu g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct + \qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 66 +\def\atnextline{\autolines{25}25}\relax +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid + \qupp {_L}&\ds&\bigaccid\zhl{^f}&{\bigaccid\zw j\zhl{_l}}\oct + \itenu5h\hu h&nunc&\itenl4h\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\zhl h&{\bigaccid\zhl{^m}}\oct + \tten5\cu h&&\tten4\cu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&\oct + \Ibl4hj4\qb4h&et\rlap{---}&\ibu5i1\qh5h&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qb4i&&\tqh5i&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqb4j&in&\cl j&&&&&&&&\enotes +\barre + %\check +%Takt 67 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds&\zw g\zh j&{\zhl n}\oct + \itenu5l\hu l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{=l}&{\zql{=l}}\oct + \tten5\cu l&&\tten4\ibu5j{-2}\qh5l&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4je4\qh4j&---&\tqh5j&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2g\qh2N&&{\zql j}\oct + \qh4g&ra,&\cu g&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2g&&\oct + \tqh4e&in&\cu e&&&&&&&&\enotes +\barre + %\check +%Takt 68 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw f\hu +k&{\zhl f}\oct + \itenu5d\hu d&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu +h&{\zhl h}\oct + \tten5\cu d&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4hh4\qh4h&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4i&&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4h&&&&&&&&\enotes +\alaligne + %\check +%Takt 69 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\zw d\rh f\zhu +g&\zhl i\oct \Ibu4fc6\qh4h&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct \qh4g&&&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4f&tis&\ibu5i{-2}\qh5i&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \tqh4d&&&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu N&\relax + {\zhl d}\ibu4i{-3}\qh4i&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\relax + \qh4h&&\tqh5d&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\relax + \qh4f&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\relax + \tqh4d&&&&&&\enotes +\barre +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + %\check +%Takt 70 +\orgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds + &\bigaccid\zw{_b}\roff{\itenu3c\zw c}&\roff{\itenu4c\zw c}\bigaccid\wh{_b}\relax + &&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhu C\raise\Interligne\qs\qupp J&\ds&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes +\def\atnextline{\autolines{20}35}\relax +%\cleftoksii{6000}\changeclefs +\alaligne + %\check +%Takt 71 +\orgNotes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh +c&\tten4\zw a\wh c&&&&&&&&&\enotes +\orgNotes&\oct\ibbu1a3\qh1M\tqh1a&&&&&&&&\enotes +\orgNotes&\oct\ibbu2e0\qh2c\qh2f\qh2c\tqh2a&&&&&&&&\enotes +\temps\orgNotes\tten2\hu J&\oct\ibbu2b0\qh2c\qh2a\qh2M\tqh2a&&&&&&&&\enotes +\orgNotes&\oct\ibbu3M0\qh3M\qh3K\qh3M\tqh3K&&&&&&&&\enotes +%\cleftoksii{0000}\changeclefs +\barre + %\check +%Takt 72 +\orgNotes\zw C\qs\itenl3I\qupp I&\ds&&\bigaccid\wh{=b}&&&&&&&&&\enotes +\orgNotes&\ibbl1h3\qb1g\tqb1i&&&&&&&&\enotes +\orgNotes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i&&&&&&&&\enotes +\temps\orgNotes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i&&&&&&&&&&\enotes +\orgNotes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d&&&&&&&&\enotes +\barre + %\check +%Takt 73 +\orgNOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax + &&\pointdorgue f\wh c&&&&&&&&\enotes +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/avemaril.tex b/Master/texmf-dist/doc/generic/musixtex/examples/avemaril.tex new file mode 100644 index 00000000000..ac2d11f3e4d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/avemaril.tex @@ -0,0 +1,20 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\tracingstats=2\relax +\hsize=185mm +\vsize=270mm +\hoffset -1.70cm +\voffset -1.54cm +\barsinline=0\relax +\linesinpage=0\relax +\resetfacteurs +\computewidths +\musicsize 29 +% +\input avemarix +\bye + + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/avemario.tex b/Master/texmf-dist/doc/generic/musixtex/examples/avemario.tex new file mode 100644 index 00000000000..747452c4a43 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/avemario.tex @@ -0,0 +1,1014 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + \title{Ave Maria (Gounod)} +\csname titremorceautoc\endcsname +\fulltitle{M\'editation -- Ave Maria} +\title{M\'editation -- Ave Maria} + \author{Charles Gounod \& J.-S. Bach\\Transcription Orgue solo Daniel +Taupin\\\& Markus Veittes} + \shortauthor{C. Gounod, J.-S. Bach, D. Taupin} + \subtitle{\relax} + \othermention{G.O.: fl\^ute 8' [+4']\\R\'ecit : fl\^utes 8'+4' [+nasard ou +chalumeau {\it ad lib.}]\\Positif : quinte\\P\'edale : 16', acc. +G.O.\\Gif : 2/9-11-12/20-23/33-37-45/50-52-54} +\maketitle + +\staffbotmarg\Interligne +% +\parindent 13mm +\musicsize=20 +\normal +\relativeaccidentals +\def\oct{\advance\transpose by 7\relax} +\def\nbinstruments{3} +\def\instrumenti{P\'edale} +\def\instrumentii{G.O.} +%\def\interinstrumenti{-2\Interligne} +%\def\interinstrumentii{-2\Interligne} +\def\instrumentiii{Positif} +\nbporteesi=1\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax + +\generalmeter{\meterC}% +\cleftoksi{{6}{0}{0}{0}} +\cleftoksii{{0}{0}{0}{0}} +\cleftoksiii{{0}{0}{0}{0}} +%\raggedlinestrue % uncomment for ragged right lines + + +\debutmorceau +\def\OrgNotes#1\enotes{\Notes#1&\relax#5\enotes}% +\autolines{25}{3}{5}% + %\check +%Takt 1 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes +\barre + %\check +%Takt 2 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\barre + %\check +%Takt 3 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\barre + %\check +%Takt 4 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes +\barre + %\check +%Takt 5 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\wh l&A\rlap{---}&\wh e&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes +\barre + %\check +%Takt 6 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\wh m&ve&\hupp f&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&&&&\enotes +\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2h&&&&\enotes +\OrgNotes&\qb2k\tqb2m&&Ma-&\cu f&&&&\enotes +\barre + %\check +%Takt 7 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hlp n&ri\rlap{---}&\hup g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\ql k&\rlap{---}&\qu d&&&&\enotes +\barre + %\check +%Takt 8 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hlp l&a,&\hup e&&&&\enotes +\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes +\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes +\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 9 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct + \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&\enotes +\OrgNotes&\ibbl0j3\qb0h\tqb0l&&&&\enotes +\OrgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct + \tten5\ibl4c0\qb4h&&\tten4\cu h&&&&\enotes +\OrgNotes&\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\rlap{---}&\Ibu5ac4\qh5a&&&&\enotes +\OrgNotes&\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\qh5b&&&&\enotes +\OrgNotes&\qb1l\tqb1o&\oct\tqb4c&a&\tqh5c&&&&\enotes +\barre + %\check +%Takt 10 +\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \qlp d&ple\rlap{---}&\qup d&&&&\enotes +\OrgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2f&&&&\enotes +\OrgNotes&\qh2h\tqh2k&\oct \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \ql d&na,&\qu d&&&&\enotes +\OrgNotes&\ibbu1g3\qh1f\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 11 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes +\OrgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct + \tten5\ibl4b0\qb4g&&\tten4\cu g&&&&\enotes +\OrgNotes&\ibbl1j3\qb1g\tqb1k&\oct + \qb4N&\rlap{---}&\Ibu5Nb4\qh5N&&&&\enotes +\OrgNotes&\ibbl2k0\qb2n\qb2g&\oct + \qb4a&mi-&\qh5a&&&&\enotes +\OrgNotes&\qb2k\tqb2n&\oct + \tqb4b&nus&\tqh5b&&&&\enotes +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 12 +\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct + \qlp c&te\rlap{---}&\qup c&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \cl d&&\cu d&&&&\enotes +\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct + \ql c&cum,&\qu c&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp&&\qp&&&&\enotes +% +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 13 +\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct + \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct + \tten5\ibl4c0\qb4j&&\tten4\cu j&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct + \qb4c&\rlap{---}&\Ibu5ce4\qh5c&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct + \qb4d&ne\rlap{---}&\qh5d&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \tqb4e&&\tqh5e&&&&\enotes +\barre + %\check +%Takt 14 +\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct\bigaccid + \qlp{^f}&\rlap{dic---}&\bigaccid\qup {^f}&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2d&&&&\enotes +\OrgNotes&\qh2f\tqh2j&\oct + \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct + \ql d&\rlap{---}&\qu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct + \ql a&ta&\qu a&&&&\enotes +\barre + %\check +%Takt 15 +\def\atnextline{\staffbotmarg3\Interligne}% +\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct + \hl b&tu&\hu b&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&\enotes +\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\qp&&\qp&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct + \ql d&in&\qu d&&&&\enotes +\barre + %\check +%Takt 16 +\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\oct + \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct + \tten5\ibl5e1\qb5e&&\tten4\cu e&&&&\enotes +\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct + \qb5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct + \qb5f&&\qh4f&&&&\enotes +\OrgNotes&\qh2g\tqh2j&\oct + \tqb5g&&\tqh4g&&&&\enotes +\barre + %\check +%Takt 17 +\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \hl h&e\rlap{---}&\ppt h\qu h&&&&\enotes +\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&\enotes +\OrgNotes&\tqh2k&&ri-&\ccu a&&&&\enotes +\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \ql a&bus&\qu a&&&&\enotes +\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes +\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 18 +\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\oct + \itenu5d\hl d&et\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&\enotes +\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \tten5\ibl4d1\qb4d&&\tten4\cu d&&&&\enotes +\OrgNotes&\ibbu1f3\qh1d\tqh1f&\oct + \qb4d&be\rlap{---}&\Ibu5df4\qh5d&&&&\enotes +\OrgNotes&\ibbu2i0\qh2i\qh2d&\oct + \qb4e&&\qh5e&&&&\enotes +\OrgNotes&\qh2f\tqh2i&\oct + \tqb4f&ne-&\tqh5f&&&&\enotes +\barre + %\check +%Takt 19 +\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct + \hl g&\rlap{dic---}&\hu g&&&&\enotes +\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&\enotes +\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct + \qu N&tus&\qu N&&&&\enotes +\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes +\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 20 +\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4c1\qb4c&&\tten4\cu c&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct + \qb4c&tus&\Ibu5ce4\qh5c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4d&&\qh5d&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4e&&\tqh5e&&&&\enotes +\barre + %\check +%Takt 21 +\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4f1\qb4f&&\tten4\cu f&&&&\enotes +\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct + \qb4f&ris&\Ibu5fh4\qh5f&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4g&&\qh5g&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4h&&\tqh5h&&&&\enotes +\barre + %\check +%Takt 22 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \qlp i&tu--&\qlp i&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \cl h&i,&\cl h&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ql g&\rlap{Je---}&\qu g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \ql d&&\qu d&&&&\enotes +\barre + %\check +%Takt 23 +\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \hlp e&sus.&\hup e&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + &&&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + &&&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \pt a\ds\sk\sk\cl e&&\qp&&&&\enotes +\barre + %\check +%Takt 24 +\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct + \hl g&\rlap{Sanc---}&\hu g&&&&\enotes +\OrgNotes&\bigaccid\ibbu1b3\qh1{_b}\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct + \ql e&ta&\qu e&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds&&\pt h\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e&&&&\enotes +\barre + %\check +%Takt 25 +\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \hl h&ri\rlap{---}&\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \ql a&a,&\qu a&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 26 +\OrgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct + \hl h&\rlap{sanc---}&\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct + \ql c&ta&\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c&\oct\qsk + \pt a\ds&&\qsk\pt h\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&\enotes +\barre + %\check +%Takt 27 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}&\ds&\oct + \hl j&ri\rlap{---}&\hl j&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \bigaccid\ql{_e}&a,&\bigaccid\qu{_e}&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds&&\pt j\ds&&&&\enotes +\OrgNotes&\tqh2e&\oct + \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&\enotes +\barre + %\check +%Takt 28 +\OrgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \hl j&ri\rlap{---}&\hl j&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&\enotes +\temps\OrgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \ql d&a!&\qu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct + \pt a\ds\sk\sk\ccl d&&\qp&&&&\enotes +\barre + %\check +%Takt 29 +\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&\enotes +\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\ibl4d{-1}\qb4d&&\tten4\cu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct + \qb4d&ra&\Ibu5db4\qh5d&&&&\enotes +\OrgNotes&\ibbu2d0\qh2d\qh2N&\oct + \qb4c&&\qh5c&&&&\enotes +\OrgNotes&\qh2b\tqh2d&\oct + \tqb4b&pro&\tqh5 b&&&&\enotes +\barre + %\check +%Takt 30 +\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \qlp g&no\rlap{---}&\qup g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N&&&&\enotes +\OrgNotes&\qh2c\tqh2e&\oct + \cl e&&\cu e&&&&\enotes +\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \ql c&bis,&\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 31 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \tten5\ibl4f{-1}\qb4f&&\tten4\cu f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4f&bis&\Ibu5fd4\qh5f&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \qb4e&pec-&\qh5e&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4d&ca-&\tqh5d&&&&\enotes +\barre + %\check +%Takt 32 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \qlp k&to\rlap{---}&\qlp k&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \cl i&ri-&\cl i&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ql g&bus,&\qu g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \qp&&\qp&&&&\enotes +\barre + %\check +%Takt 33 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\oct + \itenu5h\hl h&nunc&\itenl4h\hu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes +\OrgNotes&\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \tten5\ibl4h1\qb4h&&\tten4\cu h&&&&\enotes +\OrgNotes&\ibbu1b3\qh1a\tqh1c&\oct + \qb4h&et\rlap{---}&\Ibu5hj4\qh5h&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct + \qb4i&&\qh5i&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4j&in&\tqh5j&&&&\enotes +\barre + %\check +%Takt 34 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}&\ds&\oct + \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct + \tten5\ibl4j{-4}\qb4l&&\tten4\cl l&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4j&--&\Ibu5je4\qh5j&&&&\enotes +\OrgNotes&\ibbu2e0\qh2g\qh2N&\oct + \qb4g&ra,&\qh5g&&&&\enotes +\OrgNotes&\qh2c\tqh2g&\oct + \tqb4e&in&\tqh5e&&&&\enotes +\barre + %\check +%Takt 35 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct + \qb4h&&\tqh5h&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \qb4i&ra&\ibu5i{-1}\qh5i&&&&\enotes +\OrgNotes&\qh2c\tqh2f&\oct + \tqb4h&&\tqh5h&&&&\enotes +\barre + %\check +%Takt 36 +\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct + \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct + \usf g\qb4g&&\tqh5k&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct + \usf f\qb4f&tis&\ibu5i{-2}\qh5i&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\oct + \usf d\tqb4d&&\tqh5g&&&&\enotes +\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\relax + \lsf i\ibu4i{-3}\qh4i&nos-&\ibu5f{-2}\qh5f&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1b&\relax + \lsf h\qh4h&&\tqh5d&&&&\enotes +\OrgNotes&\ibbu2e0\qh2f\qh2N&\relax + \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b&&&&\enotes +\OrgNotes&\qh2b\tqh2f&\relax + \lsf d\tqh4d&&\tqh5N&&&&\enotes +\barre + %\check +%Takt 37 +\OrgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds&\relax + \hup c&A\rlap{---}&\itenl4c\hu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes +\temps\OrgNotes\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&&\rlap{men.}&\tten4\qu c&&&&\enotes +\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&\uptext{R\'ecit (doux)}&&&&\enotes +\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp&&\qp&&&&\enotes +\barre + %\check +%Takt 38 +\def\orgNotes#1\enotes{\Notes#1&\relax#4\enotes}% +\def\orgNOTes#1\enotes{\NOTes#1&\relax#4\enotes}% +\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\wh l&A\rlap{---}&&&&&\enotes +\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&\raise -2\Interligne\hpause&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\hl g&&&&&&\enotes +\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes +\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes +\barre + %\check +%Takt 39 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\wh m&ve&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&\raise -2\Interligne\hpause&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp d&\ds&&\hl h&&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2h&&&&&&&\enotes +\orgNotes&\qb2k\tqb2m&&&\rlap{\kern -\Interligne Ma-}&\cu f&&&&&&\enotes +\barre + %\check +%Takt 40 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu3g\wh g&\zhl i\hup n&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne\qs\qupp d&\ds&&\hl f&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&\qu k&&&&&&\enotes +\barre + %\check +%Takt 41 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten3\zw e\wh + g&\zhlp g\hup l&&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&&&&&\enotes +\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&&&&&\enotes +\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&\qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 42 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu h&\relax + {\roffset{0.3}{\zhu j}}\oct + \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0h\tqb0l&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp +e&\ds&&{\roffset {0.3}{\zhu l}}\oct + \tten5\ibl4a0\qb4h&&\tten4\ibu5g{-3}\qh5h&&&&&&&&\enotes +\orgNotes&\ibbl0j3\qb0h\tqb0l&&\oct\qb4a&\rlap{---}&\tqh5a&&&&&&&&\enotes +\orgNotes&\ibbl1k0\qb1o\qb1h&&\oct\qb4b&ti-&\cu b&&&&&&&&\enotes +\orgNotes&\qb1l\tqb1o&&\oct\tqb4c&a&\cu c&&&&&&&&\enotes +\barre + %\check +%Takt 43 +\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\bigaccid\zw{^f}&\itenu5o{\zhu o}\oct + \qlp d&ple\rlap{---}&\Ilegu4k\qup d&&&&&&&&\enotes +\orgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2f&&&&&&&&\enotes +\orgNotes&\qh2h\tqh2k&&\oct \cl e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\tten5{\ibu3m{-2}\zqh3o}\oct + \ql d&na,&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1f\tqh1h&&{\qh3h}&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&&\raise -2\Interligne\rlap{\qp}{\qh3i\sk\tqh3j}&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 44 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zw g&\relax + \rlap{\roffset{0.3}{\qupp k}}\oct + \normalnotesize\itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&\sk\sk\sk\ccu l&&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\roffset {0.5}{\zhu k}\oct + \normalnotesize\tten5\ibl4N0\qb4g&&\tten4\ibu5f{-3}\qh5g&&&&&&&&\enotes +\orgNotes&\ibbl1j3\qb1g\tqb1k&&\oct + \qb4N&\rlap{---}&\tqh5N&&&&&&&&\enotes +\orgNotes&\ibbl2k0\qb2n\qb2g&&\oct + \qb4a&mi-&\cu a&&&&&&&&\enotes +\orgNotes&\qb2k\tqb2n&&\oct + \tqb4b&nus&\cu b&&&&&&&&\enotes +\def\atnextline{\autolines{25}35}\relax +\barre + %\check +%Takt 45 +\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\itenl4e\zw e&{\itenu3n\zhu n}\oct + \qlp c&te\rlap{---}&\Ilegu2j\qup c&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \cl d&&\tleg2\cu d&&&&&&&&\enotes +\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&&{\tten3\ibu3l{-3}\zqh3n}\oct + \ql c&cum,&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\qh3g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&\raise -2.5\Interligne\rlap{\qp}\qh3h\sk\tqh3i&\qp&\qp&&&&&&&&\enotes +% +\barre + %\check +%Takt 46 +\orgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\zw e&\relax + {\roffset{0.3}{\zhl j}}\oct + \itenu5j\hu j&be\rlap{---}&\itenu4j\hu j&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl a\raise 5\Interligne\qs\qupp c&\ds&&{\zql h}\oct + \tten5\cu j&&\tten4\cl j&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct + \Ibu4ce4\qh4c&\rlap{---}&\Ibl5ce4\qh5c&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&{\zql g}\oct + \qh4d&ne\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \tqh4e&&\tqh5e&&&&&&&&\enotes +\barre + %\check +%Takt 47 +\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds + &&\bigaccid\zhlp h\oct + \qup{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\qup {^f}&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2d&&&&&&&&\enotes +\orgNotes&\qh2f\tqh2j&&\oct + \cu e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&&\oct + \qu d&\rlap{---}&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&&\oct + \zql a\qu a&ta&\qu a&&&&&&&&\enotes +\barre + %\check +%Takt 48 +\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\relax + {\zw g}\oct \hu b&tu&\hu b&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&&&&&\enotes +\temps\orgNotes\zhl N\raise 4.2\Interligne\qs\qupp b&\ds&&\relax + \raise\Interligne\qp&&\qp&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&\oct + \qu d&in&\qu d&&&&&&&&\enotes +\barre + %\check +%Takt 49 +\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&&{\zw{^j}}\oct + \itenu5e\hu e&mu\rlap{---}&\itenl4e\hu e&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes +\orgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\oct + \tten5\cu e&&\tten4\cu e&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct + \Ibu5eg4\qh5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2e&&\oct + \qh5f&&\qh4f&&&&&&&&\enotes +\orgNotes&\qh2g\tqh2j&&\oct + \tqh5g&&\tqh4g&&&&&&&&\enotes +\barre + %\check +%Takt 50 +\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\itenu3o\hu o&\relax + \rlap{\hlp k}\oct \itenu4h\hu h&e\rlap{---}&\ppt h\qu h&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1d\tqh1h&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&&&&&\enotes +\orgNotes&\tqh2k&&&ri-&\ccu a&&&&&&&&\enotes +\temps\orgNotes\zhl M\raise 3.8\Interligne\qs\qupp a&\ds&\tten3&\tten4\relax + \oct \cu h&bus&\qu a&&&&&&&&\enotes +\orgNotes&\ibbu1g3\qh1d\tqh1h&&{\Ibu3hj4\qh3h}&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&&\qh3i\sk\tqh3j&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 51 +\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid + \hu r&\bigaccid\zw {=i}\oct\itenu5d\hu d&et\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&&&&&\enotes +\temps\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\hu k&\oct + \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1d\tqh1f&&\oct + \Ibu4df4\qh4d&be\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2i\qh2d&&\oct + \qh4e&&\tqh5e&&&&&&&&\enotes +\orgNotes&\qh2f\tqh2i&&\oct + \tqh4f&ne-&\cu f&&&&&&&&\enotes +\barre + %\check +%Takt 52 +\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\itenu3n\hu +n&{\zhlp j}\oct + \itenu4g\hu g&\rlap{dic---}&\hu g&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1c\tqh1g&&&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&&&&&\enotes +\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\tten3\ibl3n{3}\qb3n&\oct + \tten4\cu g&tus&\qu N&&&&&&&&\enotes +\orgNotes&\ibbu1f3\qh1c\tqh1g&\qb3n&\Ibu4gi4\qh4g&&&&&&\enotes +\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qb3o\sk\tqb3p&\qh4h\sk\tqh4i&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 53 +\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\zw h\hu +q&{\zw h}\oct + \itenu5c\hu c&fruc\rlap{---}&\itenl4c\hu c&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenu3j\hu j&\oct + \tten5\cu c&&\tten4\cu c&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&\oct + \Ibu4ce4\qh4c&tus&\ibu5d1\qh5c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qh4d&&\qh5d&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4e&&\tqh5e&&&&&&&&\enotes +\barre + %\check +%Takt 54 +\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten3\zw c\hu j&\relax + {\zw j}\oct + \itenu5f\hu f&vent\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&&\oct + \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes +\orgNotes&\ibbu1c3\qh1a\tqh1c&\hu h&\oct + \Ibu4fh4\qh4f&ris&\ibu5g1\qh5f&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qh4g&&\qh5g&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4h&&\tqh5h&&&&&&&&\enotes +\barre + %\check +%Takt 55 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\hu +g&{\zqlp n}\oct + \qup i&tu--&\Ilegu4k\qlp i&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \cu h&i,&\tleg4\cl h&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp K&\ds&&\relax + \rlap{\roff{\hl m}}\oct \qu g&\rlap{Je---}&\Ilegu5l\qu g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct + \qu d&&\tleg5\qu d&&&&&&&&\enotes +\barre + %\check +%Takt 56 +\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&&{\zhlp j}\oct + \hup e&sus.&\hup e&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hu g&\oct + &&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + &&&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct + \pt a\ds\sk\sk\ccl e&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 57 +\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\zw e\relax + &{\bigfl i\zhlp i}\oct \hu g&&&&&&&\enotes +\orgNotes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu l&\oct + \qu e&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct + \pt a\ds&&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl e&&&&&&\enotes +\barre + %\check +%Takt 58 +\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl c\itenl3e\itenu4h\zh e\hu +h&\itenu2j\zh j\hl o&ri\rlap{---}&\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten3\tten4\zh e\zhl h\hu +j&\tten2\zq j\ql h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&\oct + \qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 59 +\orgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\bigaccid + \zw h\hu{_l}&{\bigfl l\zh l}\oct + \hl h&\rlap{sanc---}&\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu +o&{\zq h}\oct + \ql c&ta&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c&&\oct + \pt a\ds&&\pt h\ds&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&&&&&\enotes +\barre + %\check +%Takt 60 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\zw g\zw j\hu +n&\itenl2j\zh j\oct \hl j&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp L&\ds&\bigaccid\hu{_l}&\bigaccid + \tten2\zq j\ql{_l}&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct + \pt a\ds&&\pt j\ds&&&&&&&&\enotes +\orgNotes&\tqh2e&&\oct + \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&&&&&\enotes +\barre + %\check +%Takt 61 +\orgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu +k&{\zhp l}\oct + \hl j&ri\rlap{---}&\hl j&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&&&&&\enotes +\temps\orgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu j&\oct + \ql d&a!&\qu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&\oct + \pt a\ds\sk\sk\ccl d&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 62 +\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu +i&{\zhl f}\oct + \itenu5d\hu d&O\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp M&\ds&&{\zql i}\oct + \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct + \Ibu4db4\qh4d&ra&\ibu5d{-1}\qh5d&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2d\qh2N&&{\itenl4g\zql g}\oct + \qh4c&&\tqh5c&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2d&&\oct + \tqh4b&pro&\cu b&&&&&&&&\enotes +\barre + %\check +%Takt 63 +\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\zw e\hu +g&{\tten4\zhlp g}\oct + \qup g&no\rlap{---}&\Ilegu4l\qup g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2e&&\oct + \cu e&&\tleg4\cu e&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp L&\ds&\itenu3j\zhl g\hu j&\oct + \qu c&bis,&\qu c&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct + \raise\Interligne\qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 64 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\itenl3f\zw +f&{\zhl j}\oct + \itenu5f\hu f&no\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl c&{\zhl h}\oct + \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4fd4\qh4f&bis&\cu f&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4e&pec-&\cu e&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4d&ca-&\cu d&&&&&&&&\enotes +\barre + %\check +%Takt 65 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\zw f\zhl d\hu +i&{\zh m}\oct + \qlp k&\raise\Interligne\hbox{to---}&\Ilegu4k\qlp k&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \cl i&ri-&\tleg4\cl i&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl b\hu +k&{\zq i}\oct + \ql g&bus,&\qu g&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct + \qp&&\qp&&&&&&&&\enotes +\barre + %\check +%Takt 66 +\def\atnextline{\autolines{25}25}\relax +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid + \qupp {_L}&\ds&\bigaccid\zhl{^f}&{\bigaccid\zw j\zhl{_l}}\oct + \itenu5h\hu h&nunc&\itenl4h\hu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes +\orgNotes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\zhl h&{\bigaccid\zhl{^m}}\oct + \tten5\cu h&&\tten4\cu h&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1a\tqh1c&&\oct + \Ibl4hj4\qb4h&et\rlap{---}&\ibu5i1\qh5h&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct + \qb4i&&\tqh5i&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqb4j&in&\cl j&&&&&&&&\enotes +\barre + %\check +%Takt 67 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds&\zw g\zh j&{\zhl n}\oct + \itenu5l\hu l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{=l}&{\zql{=l}}\oct + \tten5\cu l&&\tten4\ibu5j{-2}\qh5l&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4je4\qh4j&---&\tqh5j&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2g\qh2N&&{\zql j}\oct + \qh4g&ra,&\cu g&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2g&&\oct + \tqh4e&in&\cu e&&&&&&&&\enotes +\barre + %\check +%Takt 68 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw f\hu +k&{\zhl f}\oct + \itenu5d\hu d&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu +h&{\zhl h}\oct + \tten5\cu d&&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct + \Ibu4hh4\qh4h&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4i&&&&&&&&&\enotes +\orgNotes&\qh2c\tqh2f&&\oct + \tqh4h&&&&&&&&\enotes +\alaligne + %\check +%Takt 69 +\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\zw d\rh f\zhu +g&\zhl i\oct \Ibu4fc6\qh4h&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct \qh4g&&&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct + \qh4f&tis&\ibu5i{-2}\qh5i&&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\oct + \tqh4d&&&&&&&&&&\enotes +\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu N&\relax + {\zhl d}\ibu4i{-3}\qh4i&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&\relax + \qh4h&&\tqh5d&&&&&&&&\enotes +\orgNotes&\ibbu2e0\qh2f\qh2N&&\relax + \qh4f&&&&&&&\enotes +\orgNotes&\qh2b\tqh2f&&\relax + \tqh4d&&&&&&\enotes +\barre +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + %\check +%Takt 70 +\orgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds + &\bigaccid\zw{_b}\roff{\itenu3c\zw c}&\roff{\itenu4c\zw c}\bigaccid\wh{_b}\relax + &&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes +\temps\orgNotes\zhu C\raise\Interligne\qs\qupp J&\ds&&&&&&&&\enotes +\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes +\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes +\def\atnextline{\autolines{20}35}\relax +%\cleftoksii{6000}\changeclefs +\alaligne + %\check +%Takt 71 +\orgNotes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh +c&\tten4\zw a\wh c&&&&&&&&&\enotes +\orgNotes&\oct\ibbu1a3\qh1M\tqh1a&&&&&&&&\enotes +\orgNotes&\oct\ibbu2e0\qh2c\qh2f\qh2c\tqh2a&&&&&&&&\enotes +\temps\orgNotes\tten2\hu J&\oct\ibbu2b0\qh2c\qh2a\qh2M\tqh2a&&&&&&&&\enotes +\orgNotes&\oct\ibbu3M0\qh3M\qh3K\qh3M\tqh3K&&&&&&&&\enotes +%\cleftoksii{0000}\changeclefs +\barre + %\check +%Takt 72 +\orgNotes\zw C\qs\itenl3I\qupp I&\ds&&\bigaccid\wh{=b}&&&&&&&&&\enotes +\orgNotes&\ibbl1h3\qb1g\tqb1i&&&&&&&&\enotes +\orgNotes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i&&&&&&&&\enotes +\temps\orgNotes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i&&&&&&&&&&\enotes +\orgNotes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d&&&&&&&&\enotes +\barre + %\check +%Takt 73 +\orgNOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax + &&\pointdorgue f\wh c&&&&&&&&\enotes +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/avemarix.tex b/Master/texmf-dist/doc/generic/musixtex/examples/avemarix.tex new file mode 100644 index 00000000000..c6a57cca4ba --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/avemarix.tex @@ -0,0 +1,951 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\fulltitle{M\'editation -- Ave Maria} +\author{Charles Gounod \& J.-S. Bach\\Transcription Orgue+soliste Daniel + Taupin\\\& Markus Veittes} +\shortauthor{C. Gounod, J.-S. Bach, D. Taupin} + \title{Ave Maria} + \othermention{G.O.: fl\^ute 8' [+4']\\Positif : fl\^utes 8'+4' +[+2']\\P\'edale : 16', acc. positif} + \maketitle + +\parindent 13mm +\ifnum\musicsize=0\musicsize=20\fi +\normal +\relativeaccidentals +\def\oct{\advance\transpose by 7\relax} +\def\nbinstruments{4} +\def\instrumenti{Positif} +\def\staffspacingii{0.64} +\def\staffspacingiv{0.64} +\def\instrumentii{Violon} +%\def\interinstrumenti{-2\Interligne} +%\def\interinstrumentii{-2\Interligne} +\def\instrumentiv{Chant} +\nbporteesi=2\relax +\nbporteesiii=0\relax +%\font\gros=\fonthdg\fonthdge bx12 scaled \magstep3 + +\generalmeter{\meterC}% +\cleftoksi{{6}{0}{0}{0}} +\cleftoksii{{0}{0}{0}{0}} +\cleftoksiv{{0}{0}{0}{0}} +%\raggedlinestrue % uncomment for ragged right lines +\def\nbinstruments{1}% +\debutmorceau +\autolines{25}{3}{4}% +%Takt 1 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds\enotes +\Notes|\ibbl0j3\qb0g\tqb0j\enotes +\Notes|\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds\enotes +\Notes|\ibbl2j3\qb2g\tqb2j\enotes +\Notes|\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes +\barre +%Takt 2 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes +\Notes|\ibbl1j3\qb1h\tqb1k\enotes +\Notes|\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes +\Notes|\ibbl1j3\qb1h\tqb1k\enotes +\Notes|\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes +\barre +%Takt 3 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes +\Notes|\ibbl1j3\qb1g\tqb1k\enotes +\Notes|\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes +\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes +\Notes|\ibbl1j3\qb1g\tqb1k\enotes +\Notes|\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes +% +\suspmorceau +% +% +\def\nbinstruments{4}% +\debutmorceau +\barno=4\relax +%Takt 4 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds\enotes +\Notes|\ibbl0j3\qb0g\tqb0j\enotes +\Notes|\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\pause&&\pause\enotes +\Notes|\ibbl2j3\qb2g\tqb2j\enotes +\Notes|\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes +\barre +%Takt 5 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\wh l&A\rlap{---}&\wh e\enotes +\Notes|\ibbl0j3\qb0g\tqb0j&&&\enotes +\Notes|\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&&&\enotes +\Notes|\ibbl2j3\qb2g\tqb2j&&&\enotes +\Notes|\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&\enotes +\barre +%Takt 6 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\wh m&ve&\hupp f\enotes +\Notes|\ibbl1j3\qb1h\tqb1k\enotes +\Notes|\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&&&\enotes +\Notes|\ibbl1j3\qb1h\tqb1k\enotes +\Notes|\ibbl2k0\qb2m\qb2h\enotes +\Notes|\qb2k\tqb2m&&Ma-&\cu f\enotes +\barre +%Takt 7 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\hlp n&ri\rlap{---}&\hup g\enotes +\Notes|\ibbl1j3\qb1g\tqb1k\enotes +\Notes|\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes +\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes +\Notes|\ibbl1j3\qb1g\tqb1k\enotes +\Notes|\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\ql k&\rlap{---}&\qu d\enotes +\barre +%Takt 8 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\hlp l&a,&\hup e\enotes +\Notes|\ibbl0j3\qb0g\tqb0j\enotes +\Notes|\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&&&\enotes +\Notes|\ibbl2j3\qb2g\tqb2j&&&\enotes +\Notes|\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp&&\qp\enotes +\barre +%Takt 9 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\oct + \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h\enotes +\Notes|\ibbl0j3\qb0h\tqb0l\enotes +\Notes|\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\oct + \tten5\ibl4c0\qb4h&&\tten4\ibu5g{-3}\qh5h\enotes +\Notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\rlap{---}&\tqh5a\enotes +\Notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\cu b\enotes +\Notes|\qb1l\tqb1o&\oct\tqb4c&a&\cu c\enotes +\barre +%Takt 10 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\oct + \qlp d&ple\rlap{---}&\Ilegu4k\pt d\qu d\enotes +\Notes|\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes +\Notes|\ibbu2i0\qh2k\qh2f\enotes +\Notes|\qh2h\tqh2k&\oct \cl e&&\tleg4\cu e\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\oct + \ql d&na,&\qu d\enotes +\Notes|\ibbu1g3\qh1f\tqh1h\enotes +\Notes|\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp\enotes +\barre +%Takt 11 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\oct + \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g\enotes +\Notes|\ibbl1j3\qb1g\tqb1k\enotes +\Notes|\ibbl2k0\qb2n\qb2g\qb2k\tqb2n\enotes +\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\oct + \tten5\ibl4b0\qb4g&&\tten4\ibu5f{-3}\qh5g\enotes +\Notes|\ibbl1j3\qb1g\tqb1k&\oct + \qb4N&\rlap{---}&\tqh5N\enotes +\Notes|\ibbl2k0\qb2n\qb2g&\oct + \qb4a&mi-&\cu a\enotes +\Notes|\qb2k\tqb2n&\oct + \tqb4b&nus&\cu b\enotes +\def\atnextline{\autolines{25}34}\relax +\barre +%Takt 12 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c|\ds&\oct + \qlp c&te\rlap{---}&\Ilegu4j\pt c\qu c\enotes +\Notes|\ibbu1f3\qh1e\tqh1g\enotes +\Notes|\ibbu2i0\qh2j\qh2e\enotes +\Notes|\qh2g\tqh2j&\oct + \cl d&&\tleg4\cu d\enotes +\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c|\ds&\oct + \ql c&\rlap{cum,}&\qu c\enotes +\Notes|\ibbu1f3\qh1e\tqh1g\enotes +\Notes|\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp&&\qp\enotes +% +\def\atnextline{\autolines{25}34}\relax +\barre +%Takt 13 +\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c|\ds&\oct + \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j\enotes +\Notes|\ibbu1f3\qh1e\tqh1g\enotes +\Notes|\ibbu2i0\qh2j\qh2e\qh2g\tqh2j\enotes +\temps\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c|\ds&\oct + \tten5\ibl4c0\qb4j&&\tten4\ibu5h{-3}\qh5j\enotes +\Notes|\ibbu1f3\qh1e\tqh1g&\oct + \qb4c&\rlap{---}&\tqh5c\enotes +\Notes|\ibbu2i0\qh2j\qh2e&\oct + \qb4d&ne\rlap{---}&\ibu5e1\qh5d\enotes +\Notes|\qh2g\tqh2j&\oct + \tqb4e&&\tqh5e\enotes +\barre +%Takt 14 +\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a|\ds&\oct\bigaccid + \qlp{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\pt f\qu {^f}\enotes +\Notes|\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}\enotes +\Notes|\ibbu2i0\qh2j\qh2d\enotes +\Notes|\qh2f\tqh2j&\oct + \cl e&&\tleg4\cu e\enotes +\temps\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a|\ds&\oct + \ql d&\rlap{---}&\qu d\enotes +\Notes|\ibbu1f3\qh1d\tqh1f\enotes +\Notes|\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct + \ql a&ta&\qu a\enotes +\barre +%Takt 15 +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b|\ds&\oct + \hl b&tu&\hu b\enotes +\Notes|\ibbu1f3\qh1d\tqh1g\enotes +\Notes|\ibbu2i0\qh2i\qh2d\qh2g\tqh2i\enotes +\temps\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b|\ds&\qp&&\qp\enotes +\Notes|\ibbu1f3\qh1d\tqh1g\enotes +\Notes|\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct + \ql d&in&\qu d\enotes +\barre +%Takt 16 +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}|\ds&\oct + \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e\enotes +\Notes|\ibbu1f3\qh1e\tqh1g\enotes +\Notes|\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j\enotes +\temps\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b|\ds&\oct + \tten5\ibl5e1\qb5e&&\tten4\cu e\enotes +\Notes|\ibbu1f3\qh1e\tqh1g&\oct + \qb5e&li\rlap{---}&\ibu4f1\qh4e\enotes +\Notes|\ibbu2i0\qh2j\qh2e&\oct + \qb5f&&\qh4f\enotes +\Notes|\qh2g\tqh2j&\oct + \tqb5g&&\tqh4g\enotes +\barre +%Takt 17 +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a|\ds&\oct + \hl h&e\rlap{---}&\ppt h\qu h\enotes +\Notes|\ibbu1g3\qh1d\tqh1h\enotes +\Notes|\ibbu2i0\qh2k\qh2d\qh2h\enotes +\Notes|\tqh2k&&ri-&\ccu a\enotes +\temps\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a|\ds&\oct + \ql a&bus&\qu a\enotes +\Notes|\ibbu1g3\qh1d\tqh1h\enotes +\Notes|\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp&&\qp\enotes +\barre +%Takt 18 +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}|\ds&\oct + \itenu5d\hl d&et\rlap{---}&\itenl4d\hu d\enotes +\Notes|\ibbu1f3\qh1d\tqh1f\enotes +\Notes|\ibbu2i0\qh2i\qh2d\qh2f\tqh2i\enotes +\temps\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a|\ds&\oct + \tten5\ibl4d1\qb4d&&\tten4\cu d\enotes +\Notes|\ibbu1f3\qh1d\tqh1f&\oct + \qb4d&be\rlap{---}&\ibu5e1\qh5d\enotes +\Notes|\ibbu2i0\qh2i\qh2d&\oct + \qb4e&&\tqh5e\enotes +\Notes|\qh2f\tqh2i&\oct + \tqb4f&ne-&\cu f\enotes +\barre +%Takt 19 +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N|\ds&\oct + \hl g&\rlap{dic---}&\hu g\enotes +\Notes|\ibbu1f3\qh1c\tqh1g\enotes +\Notes|\ibbu2i0\qh2j\qh2c\qh2g\tqh2j\enotes +\temps\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N|\ds&\oct + \qu N&tus&\qu N\enotes +\Notes|\ibbu1f3\qh1c\tqh1g\enotes +\Notes|\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp&&\qp\enotes +\barre +%Takt 20 +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M|\ds&\oct + \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c\enotes +\Notes|\ibbu1c3\qh1a\tqh1c\enotes +\Notes|\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes +\temps\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M|\ds&\oct + \tten5\ibl4c1\qb4c&&\tten4\cu c\enotes +\Notes|\ibbu1c3\qh1a\tqh1c&\oct + \qb4c&tus&\ibu5d1\qh5c\enotes +\Notes|\ibbu2e0\qh2f\qh2a&\oct + \qb4d&&\qh5d\enotes +\Notes|\qh2c\tqh2f&\oct + \tqb4e&&\tqh5e\enotes +\barre +%Takt 21 +\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M|\ds&\oct + \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f\enotes +\Notes|\ibbu1c3\qh1a\tqh1c\enotes +\Notes|\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes +\temps\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M|\ds&\oct + \tten5\ibl4f1\qb4f&&\tten4\cu f\enotes +\Notes|\ibbu1c3\qh1a\tqh1c&\oct + \qb4f&ris&\ibu5g1\qh5f\enotes +\Notes|\ibbu2e0\qh2f\qh2a&\oct + \qb4g&&\qh5g\enotes +\Notes|\qh2c\tqh2f&\oct + \tqb4h&&\tqh5h\enotes +\barre +%Takt 22 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \qlp i&tu--&\Ilegu4k\pt i\ql i\enotes +\Notes|\ibbu1b3\qh1N\tqh1b\enotes +\Notes|\ibbu2e0\qh2f\qh2N\enotes +\Notes|\qh2b\tqh2f&\oct + \cl h&i,&\tleg4\cl h\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \ql g&\rlap{Je---}&\Ilegu5l\qu g\enotes +\Notes|\ibbu1b3\qh1N\tqh1b\enotes +\Notes|\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \ql d&&\tleg5\qu d\enotes +\barre +%Takt 23 +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L|\ds&\oct + \hlp e&sus.&\hup e\enotes +\Notes|\ibbu1b3\qh1N\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes +\temps\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L|\ds&\oct + &&\enotes +\Notes|\ibbu1b3\qh1N\tqh1c&\oct + &&\enotes +\Notes|\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \pt a\ds\sk\sk\cl e&&\qp\enotes +\barre +%Takt 24 +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N|\ds&\oct + \hl g&\rlap{Sanc---}&\hu g\enotes +\Notes|\bigaccid\ibbu1b3\qh1{_b}\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2b\qh2c\tqh2e\enotes +\temps\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N|\ds&\oct + \ql e&ta&\qu e\enotes +\Notes|\ibbu1b3\qh1b\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds&&\pt h\ds\enotes +\Notes|\tqh2e&\oct + \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e\enotes +\barre +%Takt 25 +\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct + \hl h&ri\rlap{---}&\hu h\enotes +\Notes|\ibbu1b3\qh1a\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2a\qh2c\tqh2e\enotes +\temps\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct + \ql a&a,&\qu a\enotes +\Notes|\ibbu1b3\qh1a\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct + \qp&&\qp\enotes +\barre +%Takt 26 +\Notes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J|\ds&\oct + \hl h&\rlap{sanc---}&\hu h\enotes +\Notes|\ibbu1b3\qh1a\tqh1c\enotes +\Notes|\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e\enotes +\temps\Notes\zhl F\raise\Interligne\hbox{\qs}\qupp J|\ds&\oct + \ql c&ta&\qu c\enotes +\Notes|\ibbu1b3\qh1a\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2a\qh2c&\oct\qsk + \pt a\ds&&\qsk\pt h\ds\enotes +\Notes|\tqh2e&\oct + \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h\enotes +\barre +%Takt 27 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}|\ds&\oct + \hl j&ri\rlap{---}&\hl j\enotes +\Notes|\ibbu1b3\qh1b\tqh1c\enotes +\Notes|\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L|\ds&\oct + \bigaccid\ql{_e}&a,&\bigaccid\qu{_e}\enotes +\Notes|\ibbu1b3\qh1b\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds&&\pt j\ds\enotes +\Notes|\tqh2e&\oct + \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j\enotes +\barre +%Takt 28 +\Notes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct + \hl j&ri\rlap{---}&\hl j\enotes +\Notes|\ibbu1b3\qh1b\tqh1c\enotes +\Notes|\ibbu2d0\qh2d\qh2b\qh2c\tqh2d\enotes +\temps\Notes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct + \ql d&a!&\qu d\enotes +\Notes|\ibbu1b3\qh1b\tqh1c\enotes +\Notes|\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct + \pt a\ds\sk\sk\ccl d&&\qp\enotes +\barre +%Takt 29 +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct + \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d\enotes +\Notes|\ibbu1b3\qh1N\tqh1b\enotes +\Notes|\ibbu2d0\qh2d\qh2N\qh2b\tqh2d\enotes +\temps\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct + \tten5\ibl4d{-1}\qb4d&&\tten4\cu d\enotes +\Notes|\ibbu1b3\qh1N\tqh1b&\oct + \qb4d&ra&\ibu5d{-1}\qh5d\enotes +\Notes|\ibbu2d0\qh2d\qh2N&\oct + \qb4c&&\tqh5c\enotes +\Notes|\qh2b\tqh2d&\oct + \tqb4b&pro&\cu b\enotes +\barre +%Takt 30 +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L|\ds&\oct + \qlp g&no\rlap{---}&\Ilegu4l\pt g\qu g\enotes +\Notes|\ibbu1b3\qh1N\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2N\enotes +\Notes|\qh2c\tqh2e&\oct + \cl e&&\tleg4\cu e\enotes +\temps\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L|\ds&\oct + \ql c&bis,&\qu c\enotes +\Notes|\ibbu1b3\qh1N\tqh1c\enotes +\Notes|\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \qp&&\qp\enotes +\barre +%Takt 31 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f\enotes +\Notes|\ibbu1b3\qh1N\tqh1c\enotes +\Notes|\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \tten5\ibl4f{-1}\qb4f&&\tten4\cu f\enotes +\Notes|\ibbu1b3\qh1N\tqh1c&\oct + \qb4f&bis&\cu f\enotes +\Notes|\ibbu2e0\qh2f\qh2N&\oct + \qb4e&pec-&\cu e\enotes +\Notes|\qh2c\tqh2f&\oct + \tqb4d&ca-&\cu d\enotes +\barre +%Takt 32 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \qlp k&to\rlap{---}&\Ilegu4k\pt k\ql k\enotes +\Notes|\ibbu1b3\qh1N\tqh1b\enotes +\Notes|\ibbu2e0\qh2f\qh2N\enotes +\Notes|\qh2b\tqh2f&\oct + \cl i&ri-&\tleg4\cl i\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \ql g&bus,&\qu g\enotes +\Notes|\ibbu1b3\qh1N\tqh1b\enotes +\Notes|\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \qp&&\qp\enotes +\barre +%Takt 33 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}|\ds&\oct + \itenu5h\hl h&nunc&\itenl4h\hu h\enotes +\Notes|\ibbu1b3\qh1a\tqh1c\enotes +\Notes|\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L|\ds&\oct + \tten5\ibl4h1\qb4h&&\tten4\cu h\enotes +\Notes|\ibbu1b3\qh1a\tqh1c&\oct + \qb4h&et\rlap{---}&\ibu5i1\qh5h\enotes +\Notes|\ibbu2e0\qh2f\qh2a&\oct + \qb4i&&\tqh5i\enotes +\Notes|\qh2c\tqh2f&\oct + \tqb4j&in&\cl j\enotes +\barre +%Takt 34 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}|\ds&\oct + \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l\enotes +\Notes|\ibbu1b3\qh1N\tqh1c\enotes +\Notes|\ibbu2e0\qh2g\qh2N\qh2c\tqh2g\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L|\ds&\oct + \tten5\ibl4j{-4}\qb4l&&\tten4\ibu5j{-2}\qh5l\enotes +\Notes|\ibbu1b3\qh1N\tqh1c&\oct + \qb4j&--&\tqh5j\enotes +\Notes|\ibbu2e0\qh2g\qh2N&\oct + \qb4g&ra,&\cu g\enotes +\Notes|\qh2c\tqh2g&\oct + \tqb4e&in&\cu e\enotes +\barre +%Takt 35 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d\enotes +\Notes|\ibbu1b3\qh1N\tqh1c\enotes +\Notes|\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d\enotes +\Notes|\ibbu1b3\qh1N\tqh1c&\oct + \qb4h&&\tqh5h\enotes +\Notes|\ibbu2e0\qh2f\qh2N&\oct + \qb4i&ra&\ibu5i{-1}\qh5i\enotes +\Notes|\qh2c\tqh2f&\oct + \tqb4h&&\tqh5h\enotes +\barre +%Takt 36 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct + \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g\enotes +\Notes|\ibbu1b3\qh1N\tqh1b&\oct + \usf g\qb4g&&\tqh5k\enotes +\Notes|\ibbu2e0\qh2f\qh2N&\oct + \usf f\qb4f&tis&\ibu5i{-2}\qh5i\enotes +\Notes|\qh2b\tqh2f&\oct + \usf d\tqb4d&&\tqh5g\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\relax + \lsf i\ibu4i{-3}\qh4i&nos-&\ibu5f{-2}\qh5f\enotes +\Notes|\ibbu1b3\qh1N\tqh1b&\relax + \lsf h\qh4h&&\tqh5d\enotes +\Notes|\ibbu2e0\qh2f\qh2N&\relax + \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b\enotes +\Notes|\qh2b\tqh2f&\relax + \lsf d\tqh4d&&\tqh5N\enotes +\suspmorceau +\eject +% +%Takt 37 +\def\instrumenti{P\'ed. 16'} +\def\instrumentii{Positif} +\def\instrumentiii{(Pos.)} +\def\instrumentiv{Violon} +\def\instrumentvi{Chant} +\def\nbinstruments{6} +\linesinpage=0\relax +\nbporteesi=1\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax +\nbporteesiv=1\relax +\nbporteesv=0\relax +\nbporteesvi=1\relax +\cleftoksi={6000}\relax +\cleftoksii={6000}\relax +\cleftoksiii={0000}\relax +\cleftoksiv={0000}\relax +\cleftoksvi={0000}\relax +\def\interinstrumenti{0pt} +\def\interinstrumentii{0pt} +%\def\interinstrumentiv{-2\Interligne} +\def\staffspacingi{1}% +\def\staffspacingii{1}% +\def\staffspacingiii{1}% +\def\staffspacingiv{0.64}% +\def\staffspacingvi{0.64}% +\debutmorceau\barno=37\relax +\autolines{26}33\relax +\def\atnextline{\autolines{24}33}\relax +% +\Notes&\zhl C\raise\Interligne\hbox{\qs}\qupp J&\ds&\relax + \hup c&A\rlap{---}&\itenl4c\hu c\enotes +\Notes&&\ibbu1b3\qh1N\tqh1c&\enotes +\Notes&&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes +\temps\Notes\pause&\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&&\rlap{men.}&\tten4\qu c\enotes +\Notes&&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp&&\qp\enotes +\cleftoksii={0000}\changeclefs +\barre +%Takt 38 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\uptext{G.O.}&\wh l&A\rlap{---}&\wh e\enotes +\Notes&\ibbl0j3\qb0g\tqb0j&\hpause\enotes +\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu e&&&\enotes +\Notes&\ibbl2j3\qb2g\tqb2j&&&\enotes +\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&\enotes +\barre +%Takt 39 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\wh m&ve&\hupp f\enotes +\Notes&\ibbl1j3\qb1h\tqb1k&\hpause\enotes +\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hu h&&&\enotes +\Notes&\ibbl1j3\qb1h\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2h\enotes +\Notes&\qb2k\tqb2m&&&\rlap{\kern -\Interligne Ma-}&\cu f\enotes +\barre +%Takt 40 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu3g\wh g&\hlp n&ri\rlap{---}&\hup g\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes +\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hl f\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&\ql k&\rlap{---}&\qu d\enotes +\barre +%Takt 41 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten3\zw e\wh g&\hlp l&a,&\hup e\enotes +\Notes&\ibbl0j3\qb0g\tqb0j\enotes +\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&\enotes +\Notes&\ibbl2j3\qb2g\tqb2j&&&\enotes +\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&\qp&&\qp\enotes +\barre +%Takt 42 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu h&\oct + \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h\enotes +\Notes&\ibbl0j3\qb0h\tqb0l\enotes +\Notes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu e&\oct + \tten5\ibl4a0\qb4h&&\tten4\ibu5g{-3}\qh5h\enotes +\Notes&\ibbl0j3\qb0h\tqb0l&&\oct\qb4a&\rlap{---}&\tqh5a\enotes +\Notes&\ibbl1k0\qb1o\qb1h&&\oct\qb4b&ti-&\cu b\enotes +\Notes&\qb1l\tqb1o&&\oct\tqb4c&a&\cu c\enotes +\barre +%Takt 43 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\bigaccid\zw{^f}\itenu5o\hu o&\oct + \qlp d&ple\rlap{---}&\Ilegu4k\pt d\qu d\enotes +\Notes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes +\Notes&\ibbu2i0\qh2k\qh2f\enotes +\Notes&\qh2h\tqh2k&&\oct \cl e&&\tleg4\cu e\enotes +\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\tten5\ibu3m{-2}\qh3o&\oct + \ql d&na,&\qu d\enotes +\Notes&\ibbu1g3\qh1f\tqh1h&\qh3h\enotes +\Notes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qh3i\sk\tqh3j&\qp&&\qp\enotes +\barre +%Takt 44 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zw g\qupp k&\oct + \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&\sk\sk\sk\ccu l\enotes +\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hu k&\oct + \tten5\ibl4N0\qb4g&&\tten4\ibu5f{-3}\qh5g\enotes +\Notes&\ibbl1j3\qb1g\tqb1k&&\oct + \qb4N&\rlap{---}&\tqh5N\enotes +\Notes&\ibbl2k0\qb2n\qb2g&&\oct + \qb4a&mi-&\cu a\enotes +\Notes&\qb2k\tqb2n&&\oct + \tqb4b&nus&\cu b\enotes +\def\atnextline{\autolines{25}33}\relax +\barre +%Takt 45 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\itenl4e\zw e\itenu3n\hu n&\oct + \qlp c&te\rlap{---}&\Ilegu2j\pt c\qu c\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\enotes +\Notes&\qh2g\tqh2j&&\oct + \cl d&&\tleg2\cu d\enotes +\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\tten3\ibu3l{-3}\qh3n&\oct + \ql c&\rlap{cum,}&\qu c\enotes +\Notes&\ibbu1f3\qh1e\tqh1g&\qh3g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qh3h\sk\tqh3i&\qp&&\qp\enotes +% +\def\atnextline{\autolines{25}33}\relax +\barre +%Takt 46 +\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\zw e\hu j&\oct + \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j\enotes +\temps\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\qu h&\oct + \tten5\ibl4c0\qb4j&&\tten4\ibu5h{-3}\qh5j\enotes +\Notes&\ibbu1f3\qh1e\tqh1g&&\oct + \qb4c&\rlap{---}&\tqh5c\enotes +\Notes&\ibbu2i0\qh2j\qh2e&\qu g&\oct + \qb4d&ne\rlap{---}&\ibu5e1\qh5d\enotes +\Notes&\qh2g\tqh2j&&\oct + \tqb4e&&\tqh5e\enotes +\barre +%Takt 47 +\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds + &\bigaccid\zw {^f}\zw c\roff{\itenl3d\zw d}&\oct\bigaccid + \qlp{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\pt f\qu {^f}\enotes +\Notes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}\enotes +\Notes&\ibbu2i0\qh2j\qh2d\enotes +\Notes&\qh2f\tqh2j&&\oct + \cl e&&\tleg4\cu e\enotes +\temps\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&&\oct + \ql d&\rlap{---}&\qu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f\enotes +\Notes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&&\oct + \ql a&ta&\qu a\enotes +\barre +%Takt 48 +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\tten3\zw d\wh g&\oct + \hl b&tu&\hu b\enotes +\Notes&\ibbu1f3\qh1d\tqh1g\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i\enotes +\temps\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\qp&&\qp\enotes +\Notes&\ibbu1f3\qh1d\tqh1g\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&\oct + \ql d&in&\qu d\enotes +\barre +%Takt 49 +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\bigsh c\wh{c}&\oct + \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j\enotes +\temps\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\oct + \tten5\ibl5e1\qb5e&&\tten4\cu e\enotes +\Notes&\ibbu1f3\qh1e\tqh1g&&\oct + \qb5e&li\rlap{---}&\ibu4f1\qh4e\enotes +\Notes&\ibbu2i0\qh2j\qh2e&&\oct + \qb5f&&\qh4f\enotes +\Notes&\qh2g\tqh2j&&\oct + \tqb5g&&\tqh4g\enotes +\barre +%Takt 50 +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\zw k\itenu3o\hu o&\oct + \hl h&e\rlap{---}&\ppt h\qu h\enotes +\Notes&\ibbu1g3\qh1d\tqh1h\enotes +\Notes&\ibbu2i0\qh2k\qh2d\qh2h\enotes +\Notes&\tqh2k&&&ri-&\ccu a\enotes +\temps\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\tten3\ibl3m2\qb3o&\oct + \ql a&bus&\qu a\enotes +\Notes&\ibbu1g3\qh1d\tqh1h&\qb3o\enotes +\Notes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qb3p\sk\tqb3q&\qp&&\qp\enotes +\barre +%Takt 51 +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid + \zw {=i}\hu r&\oct\itenu5d\hl d&et\rlap{---}&\itenl4d\hu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i\enotes +\temps\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\hu k&\oct + \tten5\ibl4d1\qb4d&&\tten4\cu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f&&\oct + \qb4d&be\rlap{---}&\ibu5e1\qh5d\enotes +\Notes&\ibbu2i0\qh2i\qh2d&&\oct + \qb4e&&\tqh5e\enotes +\Notes&\qh2f\tqh2i&&\oct + \tqb4f&ne-&\cu f\enotes +\barre +%Takt 52 +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\zw j\itenu3n\hu n&\oct + \hl g&\rlap{dic---}&\hu g\enotes +\Notes&\ibbu1f3\qh1c\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j\enotes +\temps\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\tten3\ibl3n{3}\qb3n&\oct + \qu N&tus&\qu N\enotes +\Notes&\ibbu1f3\qh1c\tqh1g&\qb3n\enotes +\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qb3o\sk\tqb3p&\qp&&\qp\enotes +\barre +%Takt 53 +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\zw h\hu q&\oct + \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c\enotes +\Notes&\ibbu1c3\qh1a\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes +\temps\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenu3j\hu j&\oct + \tten5\ibl4c1\qb4c&&\tten4\cu c\enotes +\Notes&\ibbu1c3\qh1a\tqh1c&&\oct + \qb4c&tus&\ibu5d1\qh5c\enotes +\Notes&\ibbu2e0\qh2f\qh2a&&\oct + \qb4d&&\qh5d\enotes +\Notes&\qh2c\tqh2f&&\oct + \tqb4e&&\tqh5e\enotes +\barre +%Takt 54 +\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten3\zw c\hu j&\oct + \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f\enotes +\Notes&\ibbu1c3\qh1a\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes +\temps\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&&\oct + \tten5\ibl4f1\qb4f&&\tten4\cu f\enotes +\Notes&\ibbu1c3\qh1a\tqh1c&\hu h&\oct + \qb4f&ris&\ibu5g1\qh5f\enotes +\Notes&\ibbu2e0\qh2f\qh2a&&\oct + \qb4g&&\qh5g\enotes +\Notes&\qh2c\tqh2f&&\oct + \tqb4h&&\tqh5h\enotes +\barre +%Takt 55 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\hu g&\oct + \qlp i&tu--&\Ilegu4k\pt i\ql i\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\enotes +\Notes&\qh2b\tqh2f&&\oct + \cl h&i,&\tleg4\cl h\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu f&\oct + \ql g&\rlap{Je---}&\Ilegu5l\qu g\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct + \ql d&&\tleg5\qu d\enotes +\barre +%Takt 56 +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\zw c\hu e&\oct + \hlp e&sus.&\hup e\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes +\temps\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hu g&\oct + &&\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&&\oct + &&\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct + \pt a\ds\sk\sk\cl e&&\qp\enotes +\barre +%Takt 57 +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\zw e\bigfl i\relax + \roff{\zw i}\hu j&\oct \hl g&\rlap{Sanc---}&\hu g\enotes +\Notes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e\enotes +\temps\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu l&\oct + \ql e&ta&\qu e\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct + \pt a\ds&&\pt h\ds\enotes +\Notes&\tqh2e&&\oct + \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e\enotes +\barre +%Takt 58 +\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl c\itenl3e\itenu4h\zh e\hu h&\oct + \hl h&ri\rlap{---}&\hu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e\enotes +\temps\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten3\tten4\zh e\zhl h\hu j&\oct + \ql a&a,&\qu a\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&\oct + \qp&&\qp\enotes +\barre +%Takt 59 +\Notes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\bigaccid + \zw h\hu{_l}&\oct + \hl h&\rlap{sanc---}&\hu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e\enotes +\temps\Notes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu o&\oct + \ql c&ta&\qu c\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c&&\oct + \pt a\ds&&\pt h\ds\enotes +\Notes&\tqh2e&&\oct + \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h\enotes +\barre +%Takt 60 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\zw g\zw j\hu n&\oct + \hl j&ri\rlap{---}&\hl j\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{_l}&\oct\bigaccid + \ql{_e}&a,&\bigaccid\qu{_e}\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct + \pt a\ds&&\pt j\ds\enotes +\Notes&\tqh2e&&\oct + \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j\enotes +\barre +%Takt 61 +\Notes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu k&\oct + \hl j&ri\rlap{---}&\hl j\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d\enotes +\temps\Notes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu j&\oct + \ql d&a!&\qu d\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&\oct + \pt a\ds\sk\sk\ccl d&&\qp\enotes +\barre +%Takt 62 +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu i&\oct + \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d\enotes +\temps\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl b\itenu3g\hu g&\oct + \tten5\ibl4d{-1}\qb4d&&\tten4\cu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&&\oct + \qb4d&ra&\ibu5d{-1}\qh5d\enotes +\Notes&\ibbu2d0\qh2d\qh2N&&\oct + \qb4c&&\tqh5c\enotes +\Notes&\qh2b\tqh2d&&\oct + \tqb4b&pro&\cu b\enotes +\barre +%Takt 63 +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\tten3\zw e\hu g&\oct + \qlp g&no\rlap{---}&\Ilegu4l\pt g\qu g\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\enotes +\Notes&\qh2c\tqh2e&&\oct + \cl e&&\tleg4\cu e\enotes +\temps\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\itenu3j\zhl g\hu j&\oct + \ql c&bis,&\qu c\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct + \qp&&\qp\enotes +\barre +%Takt 64 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\itenl3f\zw f\hu j&\oct + \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl c\hu h&\oct + \tten5\ibl4f{-1}\qb4f&&\tten4\cu f\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&&\oct + \qb4f&bis&\cu f\enotes +\Notes&\ibbu2e0\qh2f\qh2N&&\oct + \qb4e&pec-&\cu e\enotes +\Notes&\qh2c\tqh2f&&\oct + \tqb4d&ca-&\cu d\enotes +\barre +%Takt 65 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\zw f\zhl d\hu i&\oct + \qlp k&\raise\Interligne\hbox{to---}&\Ilegu4k\pt k\ql k\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\enotes +\Notes&\qh2b\tqh2f&&\oct + \cl i&ri-&\tleg4\cl i\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl b\hu k&\oct + \ql g&bus,&\qu g\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct + \qp&&\qp\enotes +\barre +%Takt 66 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid + \qupp {_L}&\ds&\bigaccid\zw j\zhl{^f}\hu{_l}&\oct + \itenu5h\hl h&nunc&\itenl4h\hu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\zhl h\hu{^m}&\oct + \tten5\ibl4h1\qb4h&&\tten4\cu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c&&\oct + \qb4h&et\rlap{---}&\ibu5i1\qh5h\enotes +\Notes&\ibbu2e0\qh2f\qh2a&&\oct + \qb4i&&\tqh5i\enotes +\Notes&\qh2c\tqh2f&&\oct + \tqb4j&in&\cl j\enotes +\barre +%Takt 67 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds&\zw g\zh j\hu n&\oct + \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{=l}&\oct + \tten5\ibl4j{-3}\qb4l&&\tten4\ibu5j{-2}\qh5l\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&&\oct + \qb4j&---&\tqh5j\enotes +\Notes&\ibbu2e0\qh2g\qh2N&&\oct + \qb4g&ra,&\cu g\enotes +\Notes&\qh2c\tqh2g&&\oct + \tqb4e&in&\cu e\enotes +\barre +%Takt 68 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw f\hu k&\oct + \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu h&\oct + \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&&\oct + \qb4h&&\tqh5h\enotes +\Notes&\ibbu2e0\qh2f\qh2N&&\oct + \qb4i&ra&\ibu5i{-1}\qh5i\enotes +\Notes&\qh2c\tqh2f&&\oct + \tqb4h&&\tqh5h\enotes +\barre +%Takt 69 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\zw d\rh f\zhu g&\oct + \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&&\oct + \usf g\qb4g&&\tqh5k\enotes +\Notes&\ibbu2e0\qh2f\qh2N&&\oct + \usf f\qb4f&tis&\ibu5i{-2}\qh5i\enotes +\Notes&\qh2b\tqh2f&&\oct + \usf d\tqb4d&&\tqh5g\enotes +\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu N&\relax + \lsf i\ibu4i{-3}\qh4i&\rlap{nos---}&\ibu5f{-2}\qh5f\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&&\relax + \lsf h\qh4h&&\tqh5d\enotes +\Notes&\ibbu2e0\qh2f\qh2N&&\relax + \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b\enotes +\Notes&\qh2b\tqh2f&&\relax + \lsf d\tqh4d&&\tqh5N\enotes +\barre +\autolines{19}43\relax +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%Takt 70 +\Notes\zhl C\raise\Interligne\hbox{\qs}\qupp J&\ds + &\bigaccid\zw{_b}\roff{\itenu3c\zw c}&\itenl4c\wh c + &A\rlap{---}&\wh c\enotes +\Notes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e\enotes +\temps\Notes\zhl C\raise\Interligne\hbox{\qs}\qupp J&\ds\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e\enotes +\barre +%Takt 71 +\Notes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh c&\tten4\wh c + &\rlap{\kern -\interligne men!}&\hu c\enotes +\Notes&\ibbu1a3\qh1M\tqh1a\enotes +\Notes&\ibbu2e0\qh2c\qh2f\qh2c\tqh2a\enotes +\temps\Notes\tten2\hu J&\ibbu2b0\qh2c\qh2a\qh2M\tqh2a&&\oct + &&\hpause\enotes +\Notes\ibbu3M0\qh3M\qh3K\qh3M\tqh3K\enotes +\barre +%Takt 72 +\Notes\zw C\qs\itenl3I\qupp I&\ds&\bigaccid\zw{=b}\wh g&\itenl4N\wh N + &A\rlap{---}&\wh g\enotes +\Notes&\ibbl1h3\qb1g\tqb1i\enotes +\Notes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i\enotes +\temps\Notes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i&&\enotes +\Notes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d\enotes +\barre +%Takt 73 +\NOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax + &\zw N\zw c\wh e&\tten4\wh N&\rlap{\kern -\interligne men!}&\pointdorgue g\wh g\enotes +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/avemaroo.tex b/Master/texmf-dist/doc/generic/musixtex/examples/avemaroo.tex new file mode 100644 index 00000000000..520d5f05307 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/avemaroo.tex @@ -0,0 +1,858 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + \input avemaria.reg + \title{Ave Maria (Gounod)} +\csname titremorceautoc\endcsname +\fulltitle{M\'editation -- Ave Maria} +\title{M\'editation -- Ave Maria} + \author{Charles Gounod \& J.-S. Bach\\Transcription Orgue solo Daniel +Taupin\\\& Markus Veittes} + \shortauthor{C. Gounod, J.-S. Bach, D. Taupin} + \subtitle{\relax} + \othermention{G.O.: fl\^ute 8' [+4']\\R\'ecit : fl\^utes 8'+4' [+nasard ou +chalumeau {\it ad lib.}]\\Positif : quinte\\P\'edale : 16', acc. +G.O.\\Gif : 2/9-11-12/20-23/33-37-45/50-52-54} +\maketitle + +\staffbotmarg\Interligne +% +\parindent 13mm +\musicsize=20 +\normal +\relativeaccidentals +\def\oct{\advance\transpose by 7\relax} +\def\nbinstruments{3} +\def\instrumenti{P\'edale} +\def\instrumentii{G.O.} +%\def\interinstrumenti{-2\Interligne} +%\def\interinstrumentii{-2\Interligne} +\def\instrumentiii{Positif} +\nbporteesi=1\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax + +\generalmeter{\meterC}% +\cleftoksi{{6}{0}{0}{0}} +\cleftoksii{{0}{0}{0}{0}} +\cleftoksiii{{0}{0}{0}{0}} +%\raggedlinestrue % uncomment for ragged right lines + + +\debutmorceau +\def\OrgNotes#1\enotes{\Notes#1&\relax#5\enotes}% +\def\orgNotes#1\enotes{\Notes#1&\relax#4\enotes}% +\def\orgNOTes#1\enotes{\NOTes#1&\relax#4\enotes}% + %\check +%Takt 1 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes +\Notes&\ibbl0j3\qb0g\tqb0j\enotes +\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause\enotes +\Notes&\ibbl2j3\qb2g\tqb2j\enotes +\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes +\barre + %\check +%Takt 2 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds\enotes +\Notes&\ibbl1j3\qb1h\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause\enotes +\Notes&\ibbl1j3\qb1h\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes +\barre + %\check +%Takt 3 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes +\barre + %\check +%Takt 4 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes +\Notes&\ibbl0j3\qb0g\tqb0j\enotes +\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause\enotes +\Notes&\ibbl2j3\qb2g\tqb2j\enotes +\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes +\barre + %\check +%Takt 5 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\wh e\enotes +\Notes&\ibbl0j3\qb0g\tqb0j\enotes +\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes +\Notes&\ibbl2j3\qb2g\tqb2j\enotes +\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes +\barre + %\check +%Takt 6 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hupp f\enotes +\Notes&\ibbl1j3\qb1h\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds\enotes +\Notes&\ibbl1j3\qb1h\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2h\enotes +\Notes&\qb2k\tqb2m&\cu f\enotes +\barre + %\check +%Takt 7 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hup g\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\qu d\enotes +\barre + %\check +%Takt 8 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hup e\enotes +\Notes&\ibbl0j3\qb0g\tqb0j\enotes +\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes +\Notes&\ibbl2j3\qb2g\tqb2j\enotes +\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp\enotes +\barre + %\check +%Takt 9 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\itenl4h\hu h\enotes +\Notes&\ibbl0j3\qb0h\tqb0l\enotes +\Notes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten4\cu h\enotes +\Notes&\ibbl0j3\qb0h\tqb0l&\Ibu5ac4\qh5a\enotes +\Notes&\ibbl1k0\qb1o\qb1h&\qh5b\enotes +\Notes&\qb1l\tqb1o&\tqh5c\enotes +\barre + %\check +%Takt 10 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\qup d\enotes +\Notes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes +\Notes&\ibbu2i0\qh2k\qh2f\enotes +\Notes&\qh2h\tqh2k&\cu e\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\qu d\enotes +\Notes&\ibbu1g3\qh1f\tqh1h\enotes +\Notes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp\enotes +\barre + %\check +%Takt 11 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu4g\hu g\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n\enotes +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\tten4\cu g\enotes +\Notes&\ibbl1j3\qb1g\tqb1k&\Ibu5Nb4\qh5N\enotes +\Notes&\ibbl2k0\qb2n\qb2g&\qh5a\enotes +\Notes&\qb2k\tqb2n&\tqh5b\enotes +\barre + %\check +%Takt 12 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\qup c\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\enotes +\Notes&\qh2g\tqh2j&\cu d\enotes +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\qu c\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp\enotes +% +\barre + %\check +%Takt 13 +\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\itenu4j\hu j\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j\enotes +\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\cu j\enotes +\Notes&\ibbu1f3\qh1e\tqh1g&\Ibu5ce4\qh5c\enotes +\Notes&\ibbu2i0\qh2j\qh2e&\qh5d\enotes +\Notes&\qh2g\tqh2j&\tqh5e\enotes +\barre + %\check +%Takt 14 +\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\bigaccid\qup {^f}\enotes +\Notes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}\enotes +\Notes&\ibbu2i0\qh2j\qh2d\enotes +\Notes&\qh2f\tqh2j&\cu e\enotes +\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\qu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f\enotes +\Notes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\qu a\enotes +\barre + %\check +%Takt 15 +\def\atnextline{\staffbotmarg3\Interligne}% +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\hu b\enotes +\Notes&\ibbu1f3\qh1d\tqh1g\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i\enotes +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\qp\enotes +\Notes&\ibbu1f3\qh1d\tqh1g\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\qu d\enotes +\barre + %\check +%Takt 16 +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\itenl4e\hu e\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j\enotes +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\tten4\cu e\enotes +\Notes&\ibbu1f3\qh1e\tqh1g&\Ibu4eg4\qh4e\enotes +\Notes&\ibbu2i0\qh2j\qh2e&\qh4f\enotes +\Notes&\qh2g\tqh2j&\tqh4g\enotes +\barre + %\check +%Takt 17 +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\ppt h\qu h\enotes +\Notes&\ibbu1g3\qh1d\tqh1h\enotes +\Notes&\ibbu2i0\qh2k\qh2d\qh2h\enotes +\Notes&\tqh2k&\ccu a\enotes +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\qu a\enotes +\Notes&\ibbu1g3\qh1d\tqh1h\enotes +\Notes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp\enotes +\barre + %\check +%Takt 18 +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\itenl4d\hu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i\enotes +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\tten4\cu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f&\Ibu5df4\qh5d\enotes +\Notes&\ibbu2i0\qh2i\qh2d&\qh5e\enotes +\Notes&\qh2f\tqh2i&\tqh5f\enotes +\barre + %\check +%Takt 19 +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\hu g\enotes +\Notes&\ibbu1f3\qh1c\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j\enotes +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\qu N\enotes +\Notes&\ibbu1f3\qh1c\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp\enotes +\barre + %\check +%Takt 20 +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenl4c\hu c\enotes +\Notes&\ibbu1c3\qh1a\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\tten4\cu c\enotes +\Notes&\ibbu1c3\qh1a\tqh1c&\Ibu5ce4\qh5c\enotes +\Notes&\ibbu2e0\qh2f\qh2a&\qh5d\enotes +\Notes&\qh2c\tqh2f&\tqh5e\enotes +\barre + %\check +%Takt 21 +\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\itenl4f\hu f\enotes +\Notes&\ibbu1c3\qh1a\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes +\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten4\cu f\enotes +\Notes&\ibbu1c3\qh1a\tqh1c&\Ibu5fh4\qh5f\enotes +\Notes&\ibbu2e0\qh2f\qh2a&\qh5g\enotes +\Notes&\qh2c\tqh2f&\tqh5h\enotes +\barre + %\check +%Takt 22 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\qlp i\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\enotes +\Notes&\qh2b\tqh2f&\cl h\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\qu g\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\qu d\enotes +\barre + %\check +%Takt 23 +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hup e\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp\enotes +\barre + %\check +%Takt 24 +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu g\enotes +\Notes&\bigaccid\ibbu1b3\qh1{_b}\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e\enotes +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\qu e\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c&\pt h\ds\enotes +\Notes&\tqh2e&\ccu e\enotes +\barre + %\check +%Takt 25 +\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e\enotes +\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\qu a\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\qp\enotes +\barre + %\check +%Takt 26 +\Notes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e\enotes +\Notes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\qu c\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c&\qsk\pt h\ds\enotes +\Notes&\tqh2e&\ccu h\enotes +\barre + %\check +%Takt 27 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}&\ds&\hl j\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\qu{_e}\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c&\pt j\ds\enotes +\Notes&\tqh2e&\ccl j\enotes +\barre + %\check +%Takt 28 +\Notes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hl j\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d\enotes +\Notes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\qu d\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\qp\enotes +\barre + %\check +%Takt 29 +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\itenl4d\hu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d\enotes +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten4\cu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&\Ibu5db4\qh5d\enotes +\Notes&\ibbu2d0\qh2d\qh2N&\qh5c\enotes +\Notes&\qh2b\tqh2d&\tqh5 b\enotes +\barre + %\check +%Takt 30 +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\qup g\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\enotes +\Notes&\qh2c\tqh2e&\cu e\enotes +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\qu c\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp\enotes +\barre + %\check +%Takt 31 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\itenl4f\hu f\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten4\cu f\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\Ibu5fd4\qh5f\enotes +\Notes&\ibbu2e0\qh2f\qh2N&\qh5e\enotes +\Notes&\qh2c\tqh2f&\tqh5d\enotes +\barre + %\check +%Takt 32 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\qlp k\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\enotes +\Notes&\qh2b\tqh2f&\cl i\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\qu g\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\qp\enotes +\barre + %\check +%Takt 33 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\itenl4h\hu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\tten4\cu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c&\Ibu5hj4\qh5h\enotes +\Notes&\ibbu2e0\qh2f\qh2a&\qh5i\enotes +\Notes&\qh2c\tqh2f&\tqh5j\enotes +\barre + %\check +%Takt 34 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}&\ds&\itenu4l\hl l\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\tten4\cl l\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\Ibu5je4\qh5j\enotes +\Notes&\ibbu2e0\qh2g\qh2N&\qh5g\enotes +\Notes&\qh2c\tqh2g&\tqh5e\enotes +\barre + %\check +%Takt 35 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\itenl4d\hu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten4\ibu5g3\qh5d\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\tqh5h\enotes +\Notes&\ibbu2e0\qh2f\qh2N&\ibu5i{-1}\qh5i\enotes +\Notes&\qh2c\tqh2f&\tqh5h\enotes +\barre + %\check +%Takt 36 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\ibu5j2\qh5g\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&\tqh5k\enotes +\Notes&\ibbu2e0\qh2f\qh2N&\ibu5i{-2}\qh5i\enotes +\Notes&\qh2b\tqh2f&\tqh5g\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\ibu5f{-2}\qh5f\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&\tqh5d\enotes +\Notes&\ibbu2e0\qh2f\qh2N&\ibu5b{-2}\qh5b\enotes +\Notes&\qh2b\tqh2f&\tqh5N\enotes +\barre + %\check +%Takt 37 +\Notes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds&\itenl4c\hu c\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes +\Notes\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&\tten4\qu c\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\uptext{R\'ecit (doux)}\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp\enotes +\barre + %\check +%Takt 38 +\Notes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&\wh l\enotes +\Notes&\ibbl0j3\qb0g\tqb0j\enotes +\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&\raise -2\Interligne\hpause\enotes +\Notes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&\hl g\enotes +\Notes&\ibbl2j3\qb2g\tqb2j\enotes +\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes +\barre + %\check +%Takt 39 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\wh m\enotes +\Notes&\ibbl1j3\qb1h\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&\raise -2\Interligne\hpause\enotes +\Notes\zhl c\raise 5.5\Interligne\qs\qupp d&\ds&\hl h\enotes +\Notes&\ibbl1j3\qb1h\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2h\enotes +\Notes&\qb2k\tqb2m\enotes +\barre + %\check +%Takt 40 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zhl i\hup n\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes +\Notes\zhl b\raise 5.5\Interligne\qs\qupp d&\ds&\hl f\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\qu k\enotes +\barre + %\check +%Takt 41 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\zhlp g\hup l\enotes +\Notes&\ibbl0j3\qb0g\tqb0j\enotes +\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes +\Notes&\ibbl2j3\qb2g\tqb2j\enotes +\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp\enotes +\barre + %\check +%Takt 42 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\relax + {\roffset{0.3}{\zhu j}}\oct + \itenu5h\hl h\enotes +\Notes&\ibbl0j3\qb0h\tqb0l\enotes +\Notes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp +e&\ds&{\roffset {0.3}{\zhu l}}\oct + \tten5\ibl4a0\qb4h\enotes +\Notes&\ibbl0j3\qb0h\tqb0l&\oct\qb4a\enotes +\Notes&\ibbl1k0\qb1o\qb1h&\oct\qb4b\enotes +\Notes&\qb1l\tqb1o&\oct\tqb4c\enotes +\barre + %\check +%Takt 43 +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu5o{\zhu o}\oct + \qlp d\enotes +\Notes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes +\Notes&\ibbu2i0\qh2k\qh2f\enotes +\Notes&\qh2h\tqh2k&\oct \cl e\enotes +\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\tten5{\ibu3m{-2}\zqh3o}\oct + \ql d\enotes +\Notes&\ibbu1g3\qh1f\tqh1h&{\qh3h}\enotes +\Notes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\raise -2\Interligne\rlap{\qp}{\qh3i\sk\tqh3j}\enotes +\barre + %\check +%Takt 44 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\relax + \rlap{\roffset{0.3}{\qupp k}}\oct + \normalnotesize\itenu5g\hl g\enotes +\Notes&\ibbl1j3\qb1g\tqb1k\enotes +\Notes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&\sk\sk\sk\ccu l\enotes +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\roffset {0.5}{\zhu k}\oct + \normalnotesize\tten5\ibl4N0\qb4g\enotes +\Notes&\ibbl1j3\qb1g\tqb1k&\oct \qb4N\enotes +\Notes&\ibbl2k0\qb2n\qb2g&\oct + \qb4a\enotes \Notes&\qb2k\tqb2n&\oct \tqb4b\enotes +\barre + %\check +%Takt 45 +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&{\itenu3n\zhu n}\oct + \qlp c\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\enotes +\Notes&\qh2g\tqh2j&\oct + \cl d\enotes +\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&{\tten3\ibu3l{-3}\zqh3n}\oct + \ql c\enotes +\Notes&\ibbu1f3\qh1e\tqh1g&\qh3g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\raise -2.5\Interligne\rlap{\qp}\qh3h\sk\tqh3i\enotes +% +\barre + %\check +%Takt 46 +\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\relax + {\roffset{0.3}{\zhl j}}\oct + \itenu5j\hu j\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j\enotes +\Notes\zhl a\raise 5\Interligne\qs\qupp c&\ds&{\zql h}\oct + \tten5\cu j\enotes +\Notes&\ibbu1f3\qh1e\tqh1g&\oct + \Ibu4ce4\qh4c\enotes +\Notes&\ibbu2i0\qh2j\qh2e&{\zql g}\oct + \qh4d\enotes +\Notes&\qh2g\tqh2j&\oct + \tqh4e\enotes +\barre + %\check +%Takt 47 +\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds + &\bigaccid\zhlp h\oct + \qup{^f}\enotes +\Notes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}\enotes +\Notes&\ibbu2i0\qh2j\qh2d\enotes +\Notes&\qh2f\tqh2j&\oct \cu e\enotes +\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct + \qu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f\enotes +\Notes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct + \zql a\qu a\enotes +\barre + %\check +%Takt 48 +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\relax + {\zw g}\oct \hu b\enotes +\Notes&\ibbu1f3\qh1d\tqh1g\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i\enotes +\Notes\zhl N\raise 4.2\Interligne\qs\qupp b&\ds&\relax + \raise\Interligne\qp\enotes +\Notes&\ibbu1f3\qh1d\tqh1g\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct + \qu d\enotes +\barre + %\check +%Takt 49 +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\zw{^j}\oct + \itenu5e\hu e\enotes +\Notes&\ibbu1f3\qh1e\tqh1g\enotes +\Notes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j\enotes +\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct + \tten5\cu e&\enotes +\Notes&\ibbu1f3\qh1e\tqh1g&\oct + \Ibu5eg4\qh5e\enotes +\Notes&\ibbu2i0\qh2j\qh2e&\oct + \qh5f\enotes +\Notes&\qh2g\tqh2j&\oct + \tqh5g\enotes +\barre + %\check +%Takt 50 +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds& + \rlap{\hlp k}\oct \itenu4h\hu h\enotes +\Notes&\ibbu1g3\qh1d\tqh1h\enotes +\Notes&\ibbu2i0\qh2k\qh2d\qh2h\enotes +\Notes&\tqh2k\enotes +\Notes\zhl M\raise 3.8\Interligne\qs\qupp a&\ds&\tten4\relax + \oct \cu h\enotes +\Notes&\ibbu1g3\qh1d\tqh1h&{\Ibu3hj4\qh3h}\enotes +\Notes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qh3i\sk\tqh3j\enotes +\barre + %\check +%Takt 51 +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid\zw {=i}\oct\itenu5d\hu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f\enotes +\Notes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i\enotes +\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct + \tten5\cu d\enotes +\Notes&\ibbu1f3\qh1d\tqh1f&\oct + \Ibu4df4\qh4d\enotes +\Notes&\ibbu2i0\qh2i\qh2d&\oct + \qh4e\enotes +\Notes&\qh2f\tqh2i&\oct + \tqh4f\enotes +\barre + %\check +%Takt 52 +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&{\zhlp j}\oct + \itenu4g\hu g\enotes +\Notes&\ibbu1f3\qh1c\tqh1g\enotes +\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j\enotes +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct + \tten4\cu g\enotes +\Notes&\ibbu1f3\qh1c\tqh1g&\Ibu4gi4\qh4g\enotes +\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qh4h\sk\tqh4i\enotes +\barre + %\check +%Takt 53 +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&{\zw h}\oct + \itenu5c\hu c\enotes +\Notes&\ibbu1c3\qh1a\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes +\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\cu c\enotes +\Notes&\ibbu1c3\qh1a\tqh1c&\oct + \Ibu4ce4\qh4c\enotes +\Notes&\ibbu2e0\qh2f\qh2a&\oct + \qh4d\enotes +\Notes&\qh2c\tqh2f&\oct + \tqh4e\enotes +\barre + %\check +%Takt 54 +\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\relax + {\zw j}\oct + \itenu5f\hu f\enotes +\Notes&\ibbu1c3\qh1a\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes +\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct + \tten5\cu f\enotes +\Notes&\ibbu1c3\qh1a\tqh1c&\oct + \Ibu4fh4\qh4f\enotes +\Notes&\ibbu2e0\qh2f\qh2a&\oct + \qh4g\enotes +\Notes&\qh2c\tqh2f&\oct + \tqh4h\enotes +\barre + %\check +%Takt 55 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zqlp n}\oct + \qup i\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\enotes +\Notes&\qh2b\tqh2f&\oct \cu h\enotes +\Notes\zhl G\raise 1.6\Interligne\qs\qupp K&\ds&\relax + \rlap{\roff{\hl m}}\oct \qu g\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct + \qu d&\enotes +\barre + %\check +%Takt 56 +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&{\zhlp j}\oct + \hup e\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct + \enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\oct + \enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \pt a\ds\sk\sk\ccl e\enotes +\barre + %\check +%Takt 57 +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&{\bigfl i\zhlp i}\oct \hu g\enotes +\Notes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e\enotes +\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct \qu e\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c&\oct \pt a\ds\enotes +\Notes&\tqh2e&\oct \ccl e\enotes +\barre + %\check +%Takt 58 +\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\itenu2j\zh j\hl o\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e\enotes +\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten2\zq j\ql h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct \qp\enotes +\barre + %\check + %Takt 59 + \Notes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp +J&\ds&{\bigfl l\zh l}\oct \hl h\enotes + \Notes&\ibbu1b3\qh1a\tqh1c\enotes + \Notes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e\enotes + \Notes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&{\zq h}\oct \ql c\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2a\qh2c&\oct \pt a\ds\enotes +\Notes&\tqh2e&\oct \ccl h\enotes +\barre + %\check +%Takt 60 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\itenl2j\zh j\oct \hl j\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e\enotes +\Notes\zhl G\raise 1.6\Interligne\qs\qupp L&\ds&\bigaccid + \tten2\zq j\ql{_l}\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2b\qh2c&\oct + \pt a\ds\enotes +\Notes&\tqh2e&\oct + \ccl j\enotes +\barre + %\check +%Takt 61 +\Notes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&{\zhp l}\oct + \hl j\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d\enotes +\Notes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct + \ql d\enotes +\Notes&\ibbu1b3\qh1b\tqh1c\enotes +\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct + \pt a\ds\sk\sk\ccl d\enotes +\barre + %\check +%Takt 62 +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&{\zhl f}\oct + \itenu5d\hu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d\enotes +\Notes\zhl G\raise 2\Interligne\qs\qupp M&\ds&{\zql i}\oct + \tten5\cu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&\oct + \Ibu4db4\qh4d\enotes +\Notes&\ibbu2d0\qh2d\qh2N&{\itenl4g\zql g}\oct + \qh4c\enotes +\Notes&\qh2b\tqh2d&\oct + \tqh4b\enotes +\barre + %\check +%Takt 63 +\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&{\tten4\zhlp g}\oct + \qup g\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\enotes +\Notes&\qh2c\tqh2e&\oct + \cu e\enotes +\Notes\zhl G\raise 2\Interligne\qs\qupp L&\ds&\oct + \qu c\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct + \raise\Interligne\qp\enotes +\barre + %\check +%Takt 64 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zhl j}\oct + \itenu5f\hu f\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zhl h}\oct + \tten5\cu f\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\oct + \Ibu4fd4\qh4f\enotes +\Notes&\ibbu2e0\qh2f\qh2N&\oct + \qh4e\enotes +\Notes&\qh2c\tqh2f&\oct + \tqh4d\enotes +\barre + %\check +%Takt 65 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zh m}\oct + \qlp k\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\enotes +\Notes&\qh2b\tqh2f&\oct + \cl i\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zq i\oct + \ql g\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\qp\enotes +\barre + %\check +%Takt 66 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid + \qupp {_L}&\ds&{\bigaccid\zw j\zhl{_l}}\oct + \itenu5h\hu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c\enotes +\Notes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&{\bigaccid\zhl{^m}}\oct + \tten5\cu h\enotes +\Notes&\ibbu1b3\qh1a\tqh1c&\oct + \Ibl4hj4\qb4h\enotes +\Notes&\ibbu2e0\qh2f\qh2a&\oct + \qb4i\enotes +\Notes&\qh2c\tqh2f&\oct + \tqb4j\enotes +\barre + %\check +%Takt 67 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds +&{\zhl n}\oct \itenu5l\hu l\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&{\zql{=l}}\oct + \tten5\cu l\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\oct + \Ibu4je4\qh4j\enotes +\Notes&\ibbu2e0\qh2g\qh2N&{\zql j}\oct \qh4g\enotes +\Notes&\qh2c\tqh2g&\oct \tqh4e\enotes +\barre + %\check +%Takt 68 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zhl f}\oct + \itenu5d\hu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1c\enotes +\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zhl h}\oct + \tten5\cu d\enotes +\Notes&\ibbu1b3\qh1N\tqh1c&\oct + \Ibu4hh4\qh4h\enotes +\Notes&\ibbu2e0\qh2f\qh2N&\oct + \qh4i\enotes +\Notes&\qh2c\tqh2f&\oct + \tqh4h\enotes +\barre + %\check +%Takt 69 +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl i\oct \Ibu4fc6\qh4h\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&\oct \qh4g\enotes +\Notes&\ibbu2e0\qh2f\qh2N&\oct + \qh4f\enotes +\Notes&\qh2b\tqh2f&\oct + \tqh4d\enotes +\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\relax + {\zhl d}\ibu4i{-3}\qh4i\enotes +\Notes&\ibbu1b3\qh1N\tqh1b&\relax + \qh4h\enotes +\Notes&\ibbu2e0\qh2f\qh2N&\relax + \qh4f\enotes +\Notes&\qh2b\tqh2f&\relax + \tqh4d\enotes +\barre +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + %\check +%Takt 70 +\Notes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds + &\bigaccid\zw{_b}\roff{\itenu3c\zw c}\enotes +\Notes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e\enotes +\Notes\zhu C\raise\Interligne\qs\qupp J&\ds\enotes +\Notes&\ibbu1b3\qh1N\tqh1b\enotes +\Notes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e\enotes +%\cleftoksii{6000}\changeclefs +\barre + %\check +%Takt 71 +\Notes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh c\enotes +\Notes&\oct\ibbu1a3\qh1M\tqh1a\enotes +\Notes&\oct\ibbu2e0\qh2c\qh2f\qh2c\tqh2a\enotes +\Notes\tten2\hu J&\oct\ibbu2b0\qh2c\qh2a\qh2M\tqh2a\enotes +\Notes&\oct\ibbu3M0\qh3M\qh3K\qh3M\tqh3K\enotes +%\cleftoksii{0000}\changeclefs +\barre + %\check +%Takt 72 +\Notes\zw C\qs\itenl3I\qupp I&\ds&\bigaccid\wh{=b}\enotes +\Notes&\ibbl1h3\qb1g\tqb1i\enotes +\Notes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i\enotes +\Notes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i\enotes +\Notes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d\enotes +\barre + %\check +%Takt 73 +\NOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax + &\pointdorgue f\wh c\enotes + \linegoal 19 +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/aveverch.tex b/Master/texmf-dist/doc/generic/musixtex/examples/aveverch.tex new file mode 100644 index 00000000000..3d29ea6f48e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/aveverch.tex @@ -0,0 +1,3 @@ +\def\chorale{\relax} +\input aveverum +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/aveverdd.tex b/Master/texmf-dist/doc/generic/musixtex/examples/aveverdd.tex new file mode 100644 index 00000000000..7480111e5f4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/aveverdd.tex @@ -0,0 +1,4 @@ +\def\Signature{-5} +\def\Transpose{-1} +\input aveverum +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/aveveruc.tex b/Master/texmf-dist/doc/generic/musixtex/examples/aveveruc.tex new file mode 100644 index 00000000000..be83ce5730b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/aveveruc.tex @@ -0,0 +1,4 @@ +\def\Signature{0} +\def\Transpose{-2} +\input aveverum +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/aveverud.tex b/Master/texmf-dist/doc/generic/musixtex/examples/aveverud.tex new file mode 100644 index 00000000000..329d5ac4c82 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/aveverud.tex @@ -0,0 +1,4 @@ +\def\Signature{2} +\def\Transpose{-1} +\input aveverum +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/aveverum.tex b/Master/texmf-dist/doc/generic/musixtex/examples/aveverum.tex new file mode 100644 index 00000000000..f2a22bd51b6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/aveverum.tex @@ -0,0 +1,297 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + \title{Ave Verum} + \author{Charles Gounod} + \shortauthor{C. Gounod} + \subtitle{\relax} + \maketitle +\parindent 13mm +\musicsize=20 +\normal +\relativeaccidentals +\def\nbinstruments{1} +\def\instrumenti{Orgue} +\def\instrumentii{Basse} +\def\instrumentiii{Tnor} +\def\instrumentiv{\vbox{\hsize\parindent\centerline{Soprano}\centerline{Alto}}} +\nbporteesi=2\relax +\generalmeter{\allabreve} +\setinterinstrument1{10pt} +\setinterinstrument2{10pt} +\setinterinstrument3{10pt} +\cleftoksi{6000} +\cleftoksii{6000} +\cleftoksiii{6000} + +\ifx\Transpose\undefined + \def\Transpose{0} + \def\Signature{-3} +\fi +\generalsignature{\Signature} + +\ifx\chorale\undefined + \setsize1{\normalvalue} + \setsize2{\smallvalue} + \setsize3{\smallvalue} + \setsize4{\smallvalue} +\else + \setsize1{\smallvalue} + \setsize2{\normalvalue} + \setsize3{\normalvalue} + \setsize4{\normalvalue} +\fi +\ninepoint + +\def\Zsong{\zsong} + +\stemcut + +\transpose=\Transpose +\debutmorceau +\qspace +\NOtes\itenl1E\itenl2L\zw E\wh L|\hpause\enotes +\NOtes\hu N|\zh b\hu e\enotes +\barre % 2 +\NOtes\tten1\tten2\itenl1E\itenl2L\zw E\zwh L\hu a|\itenl0c\zwh c\hu f\enotes +\NOtes\hu N|\hu g\enotes +\barre %3 +\NOtes\tten1\tten2\zhl E\roff{\itenu1M}\rh M\hu L|\tten0\zhl c\hu h\enotes +\NOtes\zhl F\tten1\zh M\hu a|\zh d\hu j\enotes +\barre %4 +\NOtes\zhl G\zh N\hu b|\zwh e\hu i\enotes +\NOtes\zhl H\zh J\hu a|\hu e\enotes +\barre %5 +\NOtes\itenl2I\zwh I\hu b|\itenl1e\zh e\hu g\enotes +\NOtes\hu N|\tten1\itenu1e\zh b\hu e\enotes +\barre %6 +\NOtes\tten2\zwh I\hu M|\zwh a\zh c\tten1\hu e\enotes +\NOtes|\zh b\hu d\enotes +\barre %7 +\NOTes\zhlp E\hup L|\zhp N\zhp b\hup e\enotes +\Notes\soupir|\soupir\enotes +\suspmorceau +\def\nbinstruments{4}% +\debutmorceau %8 +\barno 8\relax +\qspace +\def\H#1#2#3#4#5{\NOtes\zhl{#1}\hu{#2}|\zhl{#3}\hu{#4}&\Zsong{#5}\hu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\hu{#4}\enotes}% +\def\Hh#1#2#3#4#5{\NOtes\hl{#1}|\zhl{#2}\zh{#3}\hu{#4}&\Zsong{#5}\hu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\hu{#4}\enotes}% +\def\Hqhq#1#2#3#4#5{\Notes\zhl{#1}\qu{#2}|\zhl{#3}\qu{#4}&\Zsong{#5}\hu{#1}&\Zsong{#5}\ql{#2}&\Zsong{#5}\zhl{#3}\qu{#4}\enotes}% +\def\Hhhq#1#2#3#4#5{\Notes\zhl{#1}\hu{#2}|\zhl{#3}\qu{#4}&\Zsong{#5}\hu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\qu{#4}\enotes}% +\H LNei{A--}% +\Hqhq I{ba}d{gf}{ve}% +\barre %9 +\H JNee{ve--}% +\NOtes \zhl I\hu N|\Fl d\zhu e\roff{\hl d}&\Zsong{rum }\hu I&\Zsong{rum }\hl +N&\Zsong{rum }\Fl d\zhu e\roff{\hl d}\enotes +\barre %10 +\H Hacj{Cor--}% +\Hqhq I{NM}{=d}{ih}{pus }% +\barre %11 +\Hh Lceh{na--}% +\Hh Lbeg{tum }% +\barre %12 +\H LNgi{de }% +\Hqhq K{^a^b}f{jk}{Ma--}% +\barre %13 +\H Jcel{ri--}% +\H Lcgg{a }% +\barre %14 +\Notes\zw M\wh{=a}|\zhl c\qu{fg}\zql f\qu h\zql e\qu j\relax + &\Zsong{Vir-}\hup M\sk\sk\Zsong{gi-}\qu M\relax + &\Zsong{Vir-}\hup{=a}\sk\sk\Zsong{gi-}\qu a\relax + &\Zsong{Vir-}\zhl c\qu{fg}\Zsong{gi-}\zql f\qu h\zql e\qu j\enotes +\barre %15 +\NOtes\zw I\wh a|\zw d\hu {ji}&\Zsong{ne.}\wh I&\Zsong{ne.}\wh a&\Zsong{ne.}\zw + d\hu {ji}\enotes +\barre %16 +\H LNei{Ve-}% +\Hqhq I{ba}d{gf}{re}% +\barre %17 +\H JNee{pas-}% +\NOtes \zhl I\hu N|\Fl d\zhu e\roff{\hl d}&\Zsong{sum }\hu I&\Zsong{sum }\hl +N&\Zsong{sum }\Fl d\zhu e\roff{\hl d}\enotes +\barre %18 +\H Hacj{im-}% +\Hqhq I{NM}{=d}{ih}{mo-}% +\barre %19 +\Hh Lceh{la-}% +\Hh Lbeg{tum }% +\barre %20 +\H Kbfi{In }% +\H Ibfk{cru-}% +\barre %21 +\Hhhq Lbe{g^f}{ce }% +\Hhhq JLe{g^h}{pro }% +\barre %22 +\NOtes\zw K\hu d|\zhl g\hu i&\Zsong{ho-}\hup K&\Zsong{ho-}\hl +d&\Zsong{ho-}\zhl g\hu i\enotes +\Notes\qup c|\lSh f\zqlp f\qup{^h}&&\Zsong{-}\qlp c&\Zsong{-}\lSh f\zqp f\qup{^h}\enotes +\notes\sk\cu c|\sk\lNa h\zq{=f}\cu h&\Zsong{mi-}\qu K&\sk\Zsong{mi-}\cl +c&\sk\Zsong{mi-}\lNa h\zcl{=f}\cu h\enotes +\barre %23 +\def\Hp#1#2#3#4#5{\NOTes\zhlp{#1}\hup{#2}|\zhlp{#3}\hup{#4}&\Zsong{#5}\hup{#1}&\Zsong{#5}\hlp{#2}&\Zsong{#5}\zhlp{#3}\hup{#4}\enotes}% +\def\Qhhq#1#2#3#4#5{\Notes\zhu{#2}\ql{#1}|\zhl{#3}\qu{#4}&\Zsong{#5}\qu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\qu{#4}\enotes}% +\Hp Nbgg{ne }% +\Notes\soupir|\soupir&\soupir&\soupir&\soupir\enotes +\barre %24 +\H Nbei{Cu-}% +\Qhhq {ML}be{=hg}{jus }% +\barre %25 +\NOtes\roff{\zhl a}\hu b|\zhl d\hu g&\Zsong{la-}\hu a&\Zsong{la-}\hl +b&\Zsong{la-}\zhl d\hu g\enotes +\NOtes\roff{\zhl a}\hu b|\zhl d\hu f&\Zsong{tus }\hu a&\Zsong{tus }\hl +b&\Zsong{tus }\zhl d\hu f\enotes +\barre %26 +\H Nbei{per-}% +\Qhhq {ML}be{hg}{fo-}% +\barre %27 +\NOtes\roff{\zhl a}\hu b|\zhl d\hu g&\Zsong{ra-}\hu a&\Zsong{ra-}\hl +b&\Zsong{ra-}\zhl d\hu g\enotes +\NOtes\roff{\zhl a}\hu b|\zhl d\hu f&\Zsong{tum }\hu a&\Zsong{tum }\hl +b&\Zsong{tum }\zhl d\hu f\enotes +\barre %28 +\H Nbee{flu-}% +\Hhhq Kbf{ih}{xit}% +\barre %29 +\def\Qqqq#1#2#3#4#5{\Notes\rlap{\qu{#2}}\ql{#1}|\rlap{\ql{#3}}\qu{#4}&\Zsong{#5}\qu{#1}&\Zsong{#5}\ql{#2}&\Zsong{#5}\rlap{\ql{#3}}\qu{#4}\enotes}% +\H Lbgg{un-}% +\Qqqq L{^b}gk{da }% +\Qqqq Lcgj{et }% +\barre %30 +\Notes\zhlp M\qu {dc=b}\zql M\qu c|\zhl f\qu{i^h}\zhl +e\qu{g=h}\relax + &\Zsong{san-}\hup M\sk\sk\Zsong{gui-}\qu M\relax + &\Zsong{san-}\ql{dc}\Zsong{gui-}\ql{=bc}\relax + &\Zsong{san-}\zhl f\qu{i^h}\Zsong{gui-}\zhl e\qu{g=h}\enotes +\barre %31 +\Hp Ibdi{ne, }% +\Notes\soupir|\soupir&\soupir&\soupir&\soupir\enotes +\barre %32 +\H LNei{Es-}% +\Hqhq I{ba}d{gf}{to }% +\barre %33 +\H JNee{no-}% +\NOtes \zhl N\hu b|\Fl d\zhu e\roff{\hl d}&\Zsong{bis }\hu N&\Zsong{bis }\hl +b&\Zsong{bis }\Fl d\zhu e\roff{\hl d}\enotes +\barre %34 +\def\Qqhh#1#2#3#4#5{\Notes\rlap{\qu{#2}}\ql{#1}|\zhl{#3}\hu{#4}&\Zsong{#5}\qu{#1}&\Zsong{#5}\ql{#2}&\Zsong{#5}\zhl{#3}\hu{#4}\enotes}% +\def\Qqqh#1#2#3#4#5{\Notes\rlap{\qu{#2}}\ql{#1}|\zhu{#4}\ql{#3}&\Zsong{#5}\qu{#1}&\Zsong{#5}\ql{#2}&\Zsong{#5}\zhu{#4}\ql{#3}\enotes}% +\Qqhh {aN}{cb}cj{pr\ae{}-}% +\Qqqh {ML}{aN}{=de}j{gus-}% +\barre %35 +\H Kafj{ta-}% +\H Kafi{tum }% +\barre %36 +\H LNei{Mor-}% +\Hh Jegj{tis }% +\barre %37 +\Hhhq Mcf{ih}{in }% +\Hqhq H{ba}c{gf}{ex-}% +\barre %38 +\NOtes\zhlp I\hu N|\zhlp b\hu e&\Zsong{a-}\hup +I&\Zsong{a-}\hl N&\Zsong{a-}\zhlp b\hu e\enotes +\Notes\hu a\ql I|\hu d\ql b&\sk\Zsong{mi-}\qup I&\Zsong{ni-}\hl +a&\Zsong{mi-}\hu d\ql b\enotes +\barre %39 +\NOtes\zhlp L\hup N|\zhlp b\hup e&\Zsong{ne }\hu L&\Zsong{ne +}\hlp N&\Zsong{ne }\zhlp b\hup e\enotes +\Notes\sk\soupir|\sk\soupir&\Zsong{O }\hu L&\sk\soupir&\sk\soupir\enotes +\barre %40 +\NOtes\zhl L\hu c|\zhl e\hu h&\Zsong{Je-}\hu L&\Zsong{O }\hl c&\Zsong{O }\zhl +e\hu h\enotes +\Notes\zhl L\qu{bb}|\zhl d\qu{hg}&\Zsong{su }\hu L&\Zsong{Je-}\ql b\Zsong{su +}\ql b&\Zsong{Je-}\zql d\qu h\Zsong{su }\zql d\qu g\enotes +\barre %41 +\def\qhhh#1#2#3#4#5{\Notes\zhu{#2}\ql{#1}|\zhl{#3}\qu{#4}&\Zsong{#5}\qu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\hu{#4}\enotes}% +\H Lacg{dul-}% +\Notes \zhu a\zhl{LL}|\zhl c\hu f&\Zsong{cis }\qu L\Zsong{O }\qu L&\Zsong{cis +}\hl a&\Zsong{cis }\zhl c\hu f\enotes +\barre %42 +\NOtes\zhl L\hu e|\zhl h\hu j&\Zsong{Je-}\hu L&\Zsong{O }\hl e&\Zsong{O }\zhl +h\hu j\enotes +\Notes\zhl L\qu{_dd}|\zhl g\qu{ji}&\Zsong{su }\hu L&\Zsong{Je-}\ql {_d}\Zsong{su +}\ql d&\Zsong{Je-}\zql g\qu j\Zsong{su }\zql g\qu i\enotes +\barre %43 +\H Lcfi{pi-}% +\H Lcfh{e }% +\barre %44 +\H b{=d}hm{Je-}% +\NOtes\zhu c\roff{\hl b}|\zhl h\hu l&\Zsong{su, }\hu b&\Zsong{su, }\hl +f&\Zsong{su, }\zhl h\hu l\enotes +\barre %45 +\H bfhk{Je-}% +\H begj{su }% +\barre %46 +\Hhhq Idf{ji}{fi-}% +\Qqqq Icej{li }% +\Qqqq Ibdh{Ma-}% +\barre %47 +\H Lbeh{ri-}% +\Qqqq Lbeg{\ae{} }% +\Qqqq bbeg{In }% +\barre %48 +\Qqqq aceg{no-}% +\Notes \zql a\qu c|\zqu f\roff{\ql e}&\Zsong{bis }\qu a&\Zsong{bis }\ql c&\Zsong{bis }\roff{\zql +e}\qu f\enotes +\Notes \roff{\zql a}\qu b|\zqu f\ql d&\Zsong{mi-}\qu a&\Zsong{mi-}\ql b&\Zsong{mi-}\roff{\zql +e}\qu f\enotes +\Notes \roff{\zql a}\qu b|\zqu j\ql d&\Zsong{se-}\qu a&\Zsong{se-}\ql b&\Zsong{se-}\zql +d\qu j\enotes +\barre %49 +\H Nbej{re-}% +\Qqqq Nbei{re }% +\Qqqq Nbei{O }% +\barre %50 +\Qqqq {Lb}{bd}{gh}{nm}{Je-}% +\Qqqq cegl{su }% +\Qqqq N{^b}fk{In }% +\barre %51 +\Qqqq acej{no-}% +\Qqqq {^L}{_d}gi{bis }% +\Qqqq Mcfh{mi-}% +\Qqqq Hacf{se-}% +\barre %52 +\def\Whhh#1#2#3#4#5{\NOtes\zwh{#1}\hu{#2}|\rlap{\hl{#3}}\hu{#4}&\Zsong{#5}\zwh{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\rlap{\hl{#3}}\hu{#4}\enotes}% +\Whhh I{Na}{eb}{id}{re-}% +\barre %53 +\NOtes\zhl L\hup N|\zhlp b\hup e&\Zsong{re }\hu L&\Zsong{re }\hlp N&\Zsong{re }\zhlp b\hup e\enotes +\Notes\itenl1E\itenl2L\zh E\hl L\raise2\Interligne\soupir|\sk\soupir&\itenl3L\Zsong{A-}\hu L&\sk\soupir&\sk\soupir\enotes +\barre %54 +\NOtes\tten1\tten2\zwh c\zh E\hl L|\zw g\wh l&\Zsong{--}\tten3\hu L&\Zsong{A-}\wh +c&\Zsong{A-}\zw g\wh l\enotes +\Notes\itenl1E\itenl2L\zh E\hl L&\csong{men !}\itenl3L\hu L\enotes +\barre %55 +\NOtes\tten1\tten2\zh E\zhl L\hup b|\zhlp g\hup k&\tten3\Zsong{--}\hu L&\csong{men !}\hlp b&\csong{men !}\zhlp g\hup k\enotes +\Notes\itenl1E\itenl2L\zh E\hl L\raise2\Interligne\soupir|\sk\soupir&\itenl3L\Zsong{A-}\hu L&\sk\soupir&\sk\soupir\enotes +\barre %56 +\NOtes\tten1\tten2\zwh {^a}\zh E\hl L|\zw {^f}\wh j&\tten3\Zsong{--}\hu L&\Zsong{A-}\wh +{^a}&\Zsong{A-}\zw {^f}\wh j\enotes +\Notes\itenl1E\itenl2L\zh E\hl L&\csong{men !}\itenl3L\hu L\enotes +\barre %57 +\NOtes\tten1\tten2\zh E\zhl L\hu b|\zhlp g\hup i&\tten3\Zsong{--}\hu L&\csong{men !}\hlp b&\csong{men !}\zhlp g\hup i\enotes +\Notes\itenl1E\itenl2L\zh E\hl L\raise2\Interligne\soupir|\sk\soupir&\itenl3L\Zsong{A-}\hu L&\sk\soupir&\sk\soupir\enotes +\barre %58 +\NOtes\tten1\tten2\zwh c\zh E\hl L|\zw e\wh h&\tten3\Zsong{--}\hu L&\Zsong{A-}\wh +c&\Zsong{A-}\zw e\wh h\enotes +\Notes\itenl1E\itenl2L\zh E\hl L&\csong{men !}\itenl3L\hu L\enotes +\barre %59 +\NOtes\tten1\tten2\zhp E\zhlp L\hup b|\zhlp e\hup g&\tten3\hu L&\csong{men !}\hlp b&\csong{men !}\zhlp e\hup g\enotes +\Notes\sk\soupir|\sk\soupir&\sk\soupir&\sk\soupir&\sk\soupir\enotes +\barre %60 +\NOtes\zw I\rw b\wh a|\zw d\hu{gf}&\Zsong{A-}\wh I&\Zsong{A-}\rw b\wh +a&\Zsong{A-}\zw d\hu{gf}\enotes +\barre %61 +\NOtes\zw E\wh L|\pointdorgue l\zw{Nb}\wh e&\Zsong{men.}\zw E\wh L&\Zsong{men.}\zw N\wh +b&\pointdorgue l\Zsong{men.}\wh e\enotes +\ifnum\Signature<-3\relax +\mulooseness1\relax +\else +\mulooseness2\relax +\fi +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex b/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex new file mode 100644 index 00000000000..7e3bb3e70b1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex @@ -0,0 +1,23 @@ + +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{0}% +\def\Signature{1}\relax % trois diezes a la clef +\input canticox +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{-1}\relax % deux diezes a la clef +\input canticox +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-2}\relax +\def\Signature{-3}\relax % un bemol a la clef +\input canticox +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-3}\relax +\def\Signature{2}\relax % un bemol a la clef +\input canticox +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex b/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex new file mode 100644 index 00000000000..795204a8c4b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex @@ -0,0 +1,156 @@ +\fulltitle{Canticorum jubilo} +\shorttitle{Canticorum jubilo} + \fullauthor{Georg Friedrich Hndel\\Transposition +Daniel Taupin} + \shortauthor{G.-F. Hndel} + \maketitle + % +\tracingstats=1\relax +\relativeaccidentals +\sepbarrules + % +\parindent 15mm + % soufflets crescendo et decrescendo + % +\def\soufflcr#1{\zcharnote{#1}{\kern -0.5cm\cresc}}% +\def\Soufflcr#1{\zcharnote{#1}{\kern -0.5cm\CResc}}% + % +\def\souffldim#1{\zcharnote{#1}{\kern -0.5cm\dimin}}% +\def\Souffldim#1{\zcharnote{#1}{\kern -0.5cm\DImin}}% + % + %\check +\def\nbinstruments{2}\resetsignatures +\global\nbporteesi=1\relax +\global\nbporteesii=1\relax +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\def\lowersonginstrum{1} % to be used to make heavy bars at staff left +\def\uppersonginstrum{2} % to be used to make heavy bars at staff left + % +\signaturegenerale{\Signature}% +\generalmeter{\allabreve} + %\check +\def\interfacteur{18}% +\def\instrumenti{\vbox{\hsize=\parindent +\centerline{T\'enors}\centerline{basses}}}% +\def\instrumentii{\vbox{\hsize=\parindent +\centerline{Sopran.}\centerline{Altos}}}% + %\check + % +\def\eightpoint{\Tenpoint}% + %\check +\catcode`\@=13 +\catcodesmusic + % +\def\respire{\notes&\cbreath\enotes}% + % +\def\txt#1|#2&{{\vbox to 0pt{\Smalltype\baselineskip 9pt +\vss\hrule width 9pt height 0pt +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #2\kern\internote}\smallskip +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #1\kern\internote}\kern -6pt}}}% + % +\elemskip 20pt\relax +\debutmorceau + %\autolines 754\relax + \transpose=\Transpose + \qspace + % + \NOtes\zhl N\hu b&\hsong{Can-}\zhl g\hu k\enotes + \Notes\islurd0b\zqlp b\isluru1d\qup d&\zsong{ti- }\islurd2g\zqlp g\isluru3i\qup i\enotes + \notes\tslur0a\zcl a\tslur1c\cu c&\hsong{---}\tslur2f\zcl f\tslur3j\cu j\enotes + % + %\check + \barre %2 + \NOtes\zhl N\hu b&\hsong{co-}\zhl g\hu k\enotes + \NOtes\zhl b\hu d&\hsong{rum}\zhl d\hu g\enotes + % + %\check + \barre %3 + \notes\zqlp a\qu c&\zsong{ju-}\Ibl0fi3\Ibu1hk3\zqb0f\qh1h\enotes + \notes&\hsong{- }\zqb0g\qh1i\enotes + \notes\qu a&\hsong{- }\zqb0h\qh1j\enotes + \notes\cl N&\hsong{- }\tbl0\zqb0i\tqh1k\enotes + \Notes\zql M\qu d&\hsong{- }\zql h\qu j\enotes + \Notes\zql N\qu d&\zsong{bi- }\zql g\qu i\enotes + % + %\check + \barre %4 + \NOTEs\zw K\wh d&\hsong{lo}\zw f\wh h\enotes + % + %\check + \barre %5 + \notes\Ibl0bc3\zhup d\qb0b&\hsong{Re-}\zhlp g\Ibu1kl3\qh1k\enotes + \notes\qb0a&\hsong{- }\qh1j\enotes + \notes\qb0b&\hsong{- }\qh1k\enotes + \notes\tqb0c&\hsong{- }\tqh1l\enotes + \Notes\ql b&\hsong{- }\qu k\enotes + \Notes\zql b\qu d&\hsong{gi }\zql g\qu k\enotes + % + %\check + \barre %6 + \NOtes\zhl b\hu d&\hsong{ma-}\zhl g\hu n\enotes + \NOtes\zhl N\hu b&\hsong{gno }\zhl g\hu k\enotes + % + %\check + \barre %7 + \Notes\zql a\isluru0c\qu c&\zsong{psal-}\islurd1f\isluru2j\zql f\qu j\enotes + \notes\tslur0d\zhu d\Ibl0bc1\qb0b\tqb0c&\tslur1g\tslur2i\hsong{- }\zhl g\qu i\enotes + \Notes\ql d\zql K\qu c&\hsong{- }\hu h\hsong{li-}\ql f\enotes + % + %\check + \barre %8 + \NOTes\zw N\wh b&\hsong{te !}\roff{\zw g}\wh g\enotes + \setrightrepeat + % + %\check + \barre %9 + \notes\zhlp N\hup d&\zsong{\txt Per-|Jam-&}\Ibl0gh3\Ibu1ij3\zqb0g\qh1i\zqb0f\qh1h\zqb0g\qh1i\tbl0\tbu1\zqb0h\qh1j\enotes + \Notes&\hsong{\txt - |- &}\zql g\qu i\enotes + \Notes\zql N\qu d&\hsong{\txt so- |re- &}\zql g\qu i\enotes + % + %\check + \barre %10 + \NOtes\zhl K\hu c\zhl L\hu b&\hsong{\txt nan-|sul-&}\zhl f\hu h\hsong{\txt +tes |tent &}\zhl e\hu g\enotes + % + %\check + \barre %11 + \Notes\islurd0M\isluru1d\zql M\qu{^d}&\hsong{\txt or-|mu-&}\islurd2h\isluru3j\zql h\qu j\enotes + \Notes\zql N\qu e&\hsong{\txt - |- &}\zql g\qu i\enotes + \Notes\tslur0a\tslur1c\zql a\qu c&\hsong{\txt - |- &}\tslur2f\tslur3h\zql f\qu h\enotes + \Notes\zql L\qu b&\hsong{\txt ga-|si-&}\zql e\qu g\enotes + % + %\check + \barre %12 + \NOTes\roff{\zw b}\wh b&\hsong{\txt nis,!|ca, &}\zw{^d}\wh f\enotes + % + %\check + \barre %13 + \notes\zhlp L\hup b&\zsong{\txt Ju-|Un-&}\Ibl0ef3\Ibu1gh3\zqb0e\qh1g\zqb0{^d}\qh1f\zqb0e\qh1g\tbl0\tbu1\zqb0f\qh1h\enotes + \Notes&\hsong{\txt - |- &}\zql e\qu g\enotes + \Notes\loff{\zql d}\qu b&\hsong{\txt bi- |da, &}\zql e\qu g\enotes + % + %\check + \barre %14 + \NOtes\zhl{^c}\hu c&\hsong{\txt la-|tel-&}\zhlp g\hu l\enotes + \Notes\zhl a\hu e&\hsong{\txt te, |lus, &}\hu{^j}\ql g\enotes + % + %\check + \barre %15 + \Notes\zql b\qu d&\hsong{\txt plau-|si-&}\zql f\qu k\enotes + \notes\zql N\qu b&\hsong{\txt - |- &}\Ibl0gf1\Ibu1lk1\zqb0g\qh1l\tbl0\tbu1\zqb0f\qh1k\enotes + %\check + \Notes\zql a\qu e&\hsong{\txt - |- &}\zql e\qup{^j}\enotes + \notes\zql a\qu e&\hsong{\txt di-|de-&}\ql h\cu k\enotes + % + %\check + \barre %16 + \NOTes\zw K\wh f&\hsong{\txt te.|ra.&}\zw h\wh k\enotes + \finmorceau +\medskip\rightline{\it le \aujourdhui} +\absoluteaccidentals +\vfil\eject + +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/chanson.tex b/Master/texmf-dist/doc/generic/musixtex/examples/chanson.tex new file mode 100644 index 00000000000..6b5fd30052b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/chanson.tex @@ -0,0 +1,318 @@ +\ifx +\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{Chanson innocente} +\subtitle{(pour orgue)} +\fulltitle{XII. Chanson innocente} +\csname titremorceautoc\endcsname +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN\\organiste Gif-sur-Yvette} +\othermention{Compos en 1996-1999} +% +% + +\maketitle +\parindent 18mm + +\instrumentnumber{3} +\setname1{Flte 16, 8'} +\setname2{Flte 8'} +\setname3{Sesquialtera} +\generalmeter{\meterfrac68} + +%\def\ttriou#1#2#3{\def\txt{\eightit3}\Ibbu0{#1}{#3}2\qh0{#1}\butext0\qh0{#2}\tqh0{#3}} + +%\def\ttriol#1#2#3{\def\txt{\eightit3}\Ibbl0{#1}{#3}2\qb0{#1}\bltext0\qb0{#2}\tqb0{#3}} + +\def\sextol#1#2#3{\ibbl0{#1}0\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#1}\qb0{#2}\tqb0{#3}} +\def\sextou#1#2#3{\ibbu0{#3}0\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#1}\qb0{#2}\tqh0{#3}} + %\check +\def\Sextol#1#2#3#4#5#6{\Ibbl0{#1}{#4}3\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}} +\def\Sextou#1#2#3#4#5#6{\Ibbu0{#3}{#6}3\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqh0{#6}} + %\check +\def\triou#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}} + %\check +\def\triol#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}} + %\check +\def\triopl#1#2#3{\Ibl0{#1}{#3}4\qbp0{#1}\sk\sk\tbbl0\qb0{#2}\tqb0{#3}\sk} +\def\triopu#1#2#3{\Ibu0{#1}{#3}4\qhp0{#1}\sk\sk\tbbu0\qh0{#2}\tqh0{#3}\sk} +\noautolines +\setname1{Pdale}\setname2{Flte}\setname3{Sesquialtera} +\generalsignature{1} +\setclef1{\bass}\setclef2{\treble}\setclef3{\treble} +\def\tripler{\noteskip=3\noteskip} +\def\doubler{\noteskip=2\noteskip} +\debutmorceau +\Notes\qup G&\sextou bdg&\Uptext{\moyen Andantino \bf \metron{\qup}{40}}\enotes +\Notes\qup H&\sextou ceg&\pause\enotes +\barre %2 +\Notes\qup K&\Sextou adfacf&\doubler\sk\pt5\soupir\enotes +\Notes\qup G&\Sextou Nbdbdg&\doubler\soupir\sk\ilegu0n\cu g\enotes +\barre %3 +\Notes\qup G&\sextou bdg&\doubler\qu i\sk\cu i\enotes +\Notes\qup H&\sextou acf&\doubler\triou jij\enotes +\barre %4 +\Notes\qup I&\sextou bdg&\doubler\qu k\sk\cu i\enotes +\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu g\enotes +\barre %5 +\Notes\qup J&\sextou Nce&\doubler\ql l\sk\cl l\enotes +\Notes\qup H&\sextou acf&\doubler\triol jkl\enotes +\barre %6 +\Notes\qup I&\sextou bdg&\doubler\qlp k\enotes +\Notes\qlp L&\sextou beg&\doubler\cu i\tleg0\ds\ilegu0n\cu g\enotes +\barre %7 +\Notes\qup H&\sextou ace&\doubler\qu j\sk\cu j\enotes +\Notes\qlp K&\sextou Mad&\doubler\triou hij\enotes +\barre %8 +\Notes\qup I&\Sextou Ma{^d}Mad&\doubler\qu i\sk\cu h\enotes +\Notes\qlp L&\sextou Nbe&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes +\barre %9 +\Notes\qlp J&\sextou ace&\doubler\qu h\sk\cu g\enotes +\Notes\qlp K&\Sextou adgadf&\doubler\qu g\sk\cu f\enotes +\barre %10 +\Notes\qup I&\sextou bdg&\qup g\tleg0\enotes +\Notes\qup H&\Sextou acgacd&\doubler\soupir\sk\ilegu0n\cu g\enotes +\barre %11 +\Notes\qup G&\Sextou Nbdbdg&\doubler\qu i\sk\cu i\enotes +\Notes\qup H&\sextou acf&\doubler\triou jij\enotes +\barre %12 +\Notes\qup I&\sextou bdg&\doubler\qu k\sk\cu i\enotes +\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu g\enotes +\barre %13 +\Notes\qup J&\sextou ceg&\doubler\ql l\sk\cl l\enotes +\Notes\qup H&\sextou acf&\doubler\triol lmn\enotes +\barre %14 +\Notes\qup I&\sextou bdg&\doubler\qlp k\enotes +\Notes\qlp L&\sextou beg&\doubler\cu i\tleg0\ds\sk\ilegu0n\cu g\enotes +\barre %15 +\Notes\qup H&\sextou ace&\doubler\qu j\sk\cu j\enotes +\Notes\qup {^K}&\sextou acf&\doubler\triou hij\enotes +\barre %16 +\Notes\qlp L&\Sextou NbeNaf&\doubler\qu i\sk\cu h\enotes +\Notes\doubler\qup J&\sextou Nce&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes +\barre %17 +\Notes\qup H&\sextou ace&\doubler\qu h\sk\cu g\enotes +\Notes\qlp K&\Sextou acdacf&\doubler\qu g\sk\cu f\enotes +\barre %18 +\Notes\qup G&\sextou bdg&\hu g\tleg0\enotes +\Notes\sk\sk\sk\soupir&\sextou dgi&\doubler\soupir\sk\ilegu0n\cl i\enotes +\barre %19 +\Notes\qup I&\sextou dgi&\doubler\ql k\sk\cl k\enotes +\Notes\qup K&\Sextou dfhcfh&\triopl mlm\enotes +\barre %20 +\Notes\qup L&\sextou egi&\triopl nml\enotes +\Notes\qup I&\sextou dgi&\doubler\ql k\sk\cl l\enotes +\barre %21 +\Notes\qup H&\sextou acf&\doubler\ql j\sk\cl k\enotes +\Notes\qup G&\Sextou bdgdgi&\doubler\qu i\sk\cu g\enotes +\barre %22 +\Notes\qup K&\sextou dfh&\doubler\qup h\tleg0\enotes +\Notes\qup D&\Sextou dfhcfh&\doubler\soupir\sk\ilegu0n\cu h\enotes +\barre %23 +\Notes\qup G&\sextou dgi&\doubler\qu i\sk\cu i\enotes +\Notes\qup H&\sextou fhj&\doubler\triou jij\enotes +\barre %24 +\Notes\qup I&\sextou dgi&\doubler\qu k\sk\cu i\enotes +\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes +\barre %25 +\Notes\qup J&\sextou ehj&\doubler\qu h\sk\cu g\enotes +\Notes\qup K&\Sextou cdhdfj&\doubler\qu g\sk\cu f\enotes +\barre %26 +\Notes\qup G&\sextou bdg&\qup g\tleg0\enotes +\Notes\sk\sk\pt 5\soupir&\sextou dgi&\doubler\soupir\sk\ilegu0n\cl i\enotes +\barre %27 +\Notes\qup G&\sextou dgi&\doubler\ql k\sk\cl k\enotes +\Notes\qup H&\sextou cfh&\doubler\triol mkm\enotes +\barre %28 +\Notes\qup I&\sextou dgi&\triopl nml\enotes +\Notes\qup G&\sextou dgi&\doubler\ql k\sk\cl l\enotes +\barre %29 +\Notes\qup H&\sextou acf&\doubler\ql j\sk\cl k\enotes +\Notes\qup G&\Sextou bdgdgi&\triopl iji\enotes +\generalmeter{\meterfrac 98}% +\changecontext %30 +\Notes\qup K&\sextou dfh&\doubler\cu h\tleg0\ds\ilegu0n\cu h\enotes +\Notes\qup G&\sextou dgi&\triopu iji\enotes +\Notes\qup D&\Sextou dghcfh&\triopu hih\enotes +\generalmeter{\meterfrac 68}% +\changecontext %31 +\Notes\hu G&\Sextou bdgNbd&\qup g\tleg0\enotes +\Notes\sk\sk\soupir&\sextou bdg&\doubler\soupir\sk\ilegu0n\cu g\enotes +\generalsignature{-2}% +\changecontext %32 +\Notes\qup G&\sextou bdg&\doubler\ql i\sk\cl i\enotes +\Notes\qup H&\Sextou ac{^f}acf&\triopl jij\enotes +\barre %33 +\Notes\qup I&\sextou bdg&\doubler\ql k\sk\cl i\enotes +\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu g\enotes +\barre %34 +\Notes\qup J&\sextou Nce&\doubler\ql l\sk\cl l\enotes +\Notes\qup K&\Sextou d{^f}hcfh&\doubler\triol jkl\enotes +\barre %35 +\Notes\qup I&\Sextou bdgNbd&\doubler\qlp k\enotes +\Notes\qlp L&\sextou beg&\doubler\cu i\tleg0\ds\ilegu0n\cu g\enotes +\barre %36 +\Notes\qup H&\sextou ace&\doubler\qu j\sk\cu j\enotes +\Notes\qlp K&\sh M\sextou Mad&\doubler\triou hij\enotes +\barre %37 +\Notes\qup G&\Sextou bdgac{^f}&\doubler\qu i\sk\cu h\enotes +\Notes\qlp L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes +\barre %38 +\Notes\qlp J&\sextou ace&\doubler\qu h\sk\cu g\enotes +\Notes\qlp K&\Sextou adgad{^f}&\doubler\qu g\sk\cu {^f}\enotes +\barre %39 +\Notes\hu G&\Sextou bdgNbd&\qup g\tleg0\enotes +\Notes\doubler\sk\soupir&\sextou bdg&\doubler\soupir\sk\ilegu0n\cl i\enotes +\barre %40 +\Notes\qup G&\sextou bdg&\doubler\ql k\sk\cl k\enotes +\Notes\qup H&\Sextou ac{^f}acf&\triopl{^m}{=l}m\enotes +\barre %41 +\Notes\qup I&\sextou bdg&\triopl n{=m}{_l}\enotes +\Notes\qup J&\sextou ceg&\doubler\ql k\sk\cl j\enotes +\barre %42 + %\check +\Notes\qup K&\sextou dgi&\triopl iji\enotes +\Notes\qup K&\Sextou d{^f}hdfh&\triopl hih\enotes +\barre %43 +\Notes\hu G&\Sextou dgibdg&\doubler\qup g\tleg0\enotes +\Notes\doubler\sk\soupir&\sextou dgi&\doubler\soupir\sk\ilegu0n\cl i\enotes +\barre %44 +\Notes\qup I&\sextou dfi&\doubler\ql k\sk\cl k\enotes +\Notes\qup K&\sextou fik&\triopl mlk\enotes +\Notes\doubler\ql{=M}\sk\cl{^M}&\sextou fhj&\doubler\ql j\sk\cl k\enotes +\barre %45 +\Notes\qlp N&\sextou dgi&\triopl iji\enotes +\Notes\qup K&\Sextou d{^f}hdfh&\doubler\cu h\tleg0\ds\ilegu0n\cu h\enotes +\barre %46 +\Notes\qlp N&\sextou dgi&\triopu iji\enotes +\Notes\qlp K&\Sextou d{^f}hdfj&\triopu hih\enotes +\barre %47 +\Notes\hu G&\Sextou bdgdgi&\qup g\tleg0\enotes +\Notes\doubler\sk\soupir&\Sextou dg{=i}dgi&\doubler\soupir\sk\ilegu0o\cl k\enotes +\generalsignature{1}% +\changecontext %48 +\Notes\qup G&\sextou dgi&\doubler\ql p\sk\cl p\enotes +\Notes\qlp K&\sextou dfh&\triopl opo\enotes +\barre %49 +\Notes\qlp L&\sextou beg&\triopl nml\enotes +\Notes\qup I&\sextou bdg&\doubler\ql k\sk\cl i\enotes +\barre %50 +\Notes\qup H&\Sextou cfhacf&\triopl jkj\enotes +\Notes\qup G&\Sextou bdgdgi&\triopu ihg\enotes +\barre %51 +\Notes\qup K&\sextou dfh&\qu h\tleg0\sk\ds\enotes +\Notes\qup I&\sh d\sextou dfi&\doubler\ilegu0n\qu i\sk\cu h\enotes +\barre %52 +\Notes\qlp L&\sextou beg&\doubler\qu g\sk\cu g\enotes +\Notes\qup H&\sextou acf&\triopu jih\enotes +\barre %53 +\Notes\qup I&\sextou beg&\doubler\qu i\sk\cu i\enotes +\Notes\qup I&\sextou bfh&\doubler\qu i\sk\cu i\enotes +\barre %54 +\Notes\hl L&\Sextou begNbe&\doubler\qup e\tleg0\enotes +\Notes\doubler\sk\soupir&\sextou beg&\doubler\soupir\sk\ilegu0n\cl i\enotes +\barre %55 +\Notes\qlp L&\sextou beg&\doubler\ql n\sk\cl n\enotes +\Notes\qup H&\sextou acf&\ibl0m0\pt m\qb0m\sk\sk\nbbl0\qb0{nm}\tqb0l\enotes +\barre %56 +\Notes\qup I&\Sextou b{^d}fadf&\doubler\cl{^k}\tleg0\ds\ilegu0n\cl i\enotes +\Notes\qlp L&\sextou beg&\doubler\ql l\sk\cl m\enotes +\barre %57 +\Notes\qup J&\Sextou cegceh&\doubler \ql n\sk\ql o\enotes +\Notes\qup I&\Sextou {^d}fidfi&\doubler\ql p\sk\cl m\enotes +\barre %58 +\Notes\qup L&\sextou egi&\Ibl0nl5\qb0n\sk\nbbl0\qb0{onm}\tqb0l\enotes +\Notes\qup I&\sh d\sextou dfi&\doubler\cl {^k}\tleg0\ds\ilegu0o\cl i\enotes +\barre %59 +\Notes\qlp L&\sextou beg&\doubler\ql l\sk\cl m\enotes +\Notes\qup J&\Sextou cegceh&\doubler \ql n\sk\cl o\enotes +\barre %60 +\Notes\qup G&\sextou dgi&\doubler\ql p\sk\cl n\enotes +\Notes\qup I&\sextou bdg&\Ibl0nl5\qbp0n\sk\sk\nbbl0\qb0{on}\tqb0m\enotes +\barre %61 +\Notes\qup J&\sextou ceg&\doubler\ql l\sk\cl j\enotes +\Notes\qlp N&\sextou dgi&\triopl iji\enotes +\barre %62 +\Notes\qup K&\sextou dfh&\triopu hih\enotes +\Notes\qup L&\sextou egi&\triopu gfe\enotes +\barre %63 +\Notes\qup H&\sextou acf&\doubler\qu f\sk\cu f\enotes +\Notes\qup I&\sextou beg&\triopu gfe\enotes +\Notes\qup I&\sextou bfh&\triopu fe{^d}\enotes +\barre %64 +\Notes\hu L&\Sextou begNbe&\qup e\tleg0\enotes +\Notes\doubler\sk\soupir&\Sextou begbdg&\doubler\soupir\sk\ilegu0n\cu g\enotes +\barre %65 +\Notes\qup G&\sextou dgi&\doubler\ql i\sk\cl i\enotes +\Notes\qup I&\sextou bdg&\triopl kji\enotes +\barre %66 +\Notes\doubler\qu K\sk\cu{^K}&\Sextou dfhdfi&\doubler\qu h\sk\cu i\enotes +\Notes\qup L&\sextou egi&\Ibu0ge5\qh0g\sk\nbbu0\qh0{hgf}\tqh0e\enotes +\Notes\qup I&\sh d\sextou dfi&\Ibu0fd5\qh0f\sk\nbbu0\qh0{gfe}\tqh0{^d}\enotes +\barre %67 +\Notes\hl L&\Sextou egibeg&\qup e\tleg0\enotes +\Notes\doubler\sk\soupir&\Sextou egidgi&\doubler\soupir\sk\ilegu0n\cu g\enotes +\barre %68 +\Notes\qup G&\sextou bdg&\doubler\qu i\sk\cu i\enotes +\Notes\qup H&\sextou acf&\doubler\triou jij\enotes +\barre %69 +\Notes\qup I&\sextou bdg&\doubler\qu k\sk\cu i\enotes +\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu g\enotes +\barre %70 +\Notes\qup J&\sextou ceg&\doubler\ql l\sk\cl l\enotes +\Notes\qup H&\sextou cfh&\doubler\triol lmn\enotes +\barre %71 +\Notes\qup I&\sextou bdg&\doubler\qlp k\enotes +\Notes\qlp L&\sextou beg&\doubler\cu i\tleg0\ds\ilegu0n\cu i\enotes +\barre %72 +\Notes\qup H&\sextou ace&\doubler\qu j\sk\cu j\enotes +\Notes\qlp K&\sextou Mad&\doubler\triou lkj\enotes +\barre %73 +\Notes\qup I&\Sextou Ma{^d}Mad&\doubler\qu i\sk\cu h\enotes +\Notes\qlp L&\sextou Nbe&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes +\barre %74 +\Notes\qlp J&\sextou ace&\doubler\qu h\sk\cu g\enotes +\Notes\qlp K&\Sextou adgadf&\doubler\qu g\sk\cu f\enotes +\barre %75 +\Notes\qup I&\sextou bdg&\qup g\tleg0\enotes +\Notes\qup H&\ibbu0f0\qh0{acged}\tqh0c&\doubler\soupir\sk\ilegu0n\cl i\enotes +\barre %76 +\Notes\qup I&\sextou bdg&\doubler\ql k\sk\cl k\enotes +\Notes\qup K&\Sextou dfhcfh&\triopl mlm\enotes +\barre %77 +\Notes\qup L&\sextou egi&\triopl nml\enotes +\Notes\qup I&\Sextou dgibeg&\doubler\ql k\sk\cl l\enotes +\barre %78 +\Notes\qup H&\sextou acf&\doubler\ql j\sk\cl k\enotes +\Notes\qup G&\Sextou bdgdgi&\doubler\qu i\sk\cu g\enotes +\barre %79 +\Notes\qup K&\sextou dfh&\doubler\cu h\tleg0\ds\ilegu0n\cu h\enotes +\Notes\qup G&\sextou dgi&\triopu iji\enotes +\Notes\qup D&\Sextou dghcfh&\triopu hih\enotes +\barre %80 +\Notes\hu G&\Sextou bdgdgi&\qup g\tleg0\enotes +\Notes\sk\sk\soupir&\Sextou gikikn&\uptext{\moyen Rall.}\doubler\soupir\sk\ilegu0o\cl n\enotes +\barre %81 +\Notes\qup G&\Ibbl0nk3\qb0{pnknk}\tqb0i&\advance\transpose 7\triopl iji\enotes +\Notes\qup D&\Ibbu0jg5\qh0{khfcf}\tqh0h&\advance\transpose 7\triopl hih\enotes +\barre %82 +\Notes\hup G&\Ibbu0je5\qh0{igdgd}\tqh0b&\hlp n\tleg0\enotes +\Notes&\Sextou Nbdbdf\enotes +\NOtes\pt 5\soupir&\qup g&\pt 5\soupir\enotes +%\linegoal 28 +\mulooseness -7 +\finmorceau + +\rightline{\sl\aujourdhui}\vfil\eject + +\ifx\toc\undefined + \let\finishpiece \end +\else + \let\finishpiece\relax +\fi +\finishpiece +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/dissonan.tex b/Master/texmf-dist/doc/generic/musixtex/examples/dissonan.tex new file mode 100644 index 00000000000..021607ab3f9 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/dissonan.tex @@ -0,0 +1,947 @@ +\title{Fantaisie aigre-douce} +\subtitle{(pour orgue)} +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN} +\othermention{Compos\'e en 1993} +\maketitle + +\tracingstats=2\relax +% +% formes frquentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins deux doubles croches basses et hautes +\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins trois doubles croches basses et hautes +\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}% +\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +%au moins quatre doubles croches basses et hautes +\def\qqbb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqbb#1#2#3#4{\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqBB#1#2#3#4{\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqhh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqhh#1#2#3#4{\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqHH#1#2#3#4{\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +% +\def\qlppz#1{\uppz #1\ql #1} +\def\zlppz#1{\lppz #1\zq #1} +\def\quppz#1{\lppz #1\qu #1} +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{0}\relax % ut majeur +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{P\'edale}% +\def\instrumentii{G.O.}% +%\check +\medskip\noindent{\rm G.O.: Plein jeu, anches 8' et fonds 16' {\sl ad libitum.}}% +\par\noindent{\rm P\'ed.: fonds et anches 16', tirasse G.O.}% +\smallskip +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\doubler{\multiply\noteskip by 2\relax}% +\troistemps +\debutmorceau +\bigaccid +\notes&|\Uptext{\hbox{\kern -16mm\moyen Allegro + \bf(\metron{\hup}{50})}}\enotes +\advance\linesinpage by 1\relax +\ifx\mxversion\undefined\kern -\Interligne\fi +%\check +% mesure 1 +\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes +%\check +% mesure 2 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes +%\check +% mesure 3 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\notes&\zq L\uppz a\ql{_a}|\lppz c\zql{_d}\dqh fe\enotes +\temps\NOtes\soupir&\zq L\qlppz a|\lppz c\zql d\qu f\enotes +%\check +% mesure 4 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\notes&\zq L\uppz a\ql{_a}|\na d\roff{\lppz d\zql d}\dqh ef\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes +%\check +% mesure 5 +\barre\NOtes\hu{_K}&\zq L\qlppz N|\lppz d\zq{_d}\qu f\enotes +\temps\NOtes&\zq L\qlppz N|\lppz d\rq e\qu{=d}\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\lppz d\zq{_d}\qu f\enotes +%\check +% mesure 6 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\na d\roff{\lppz d\zql d}\dqh ef\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes +%\check +% mesure 7 +\barre\NOtes\hu{^J}&\zq K\qlppz N|\lppz c\zq{^c}\qu g\enotes +\temps\NOtes&\zq L\qlppz N|\lppz d\zq d\qu{^f}\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\qu{=f}\enotes +%\check +% mesure 8 +\barre\NOtes\qu J&\zq L\qlppz N|\na c\zlppz c\qu e\enotes +\temps\notes\doubler\qu{K}&\zq L\uppz a\ql{_a}|\lppz c\zql c\dqh e{^d}\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes +%\check +% mesure 9 +\barre\NOtes\hu{_L}&\zq L\qlppz N|\lppz b\zq {_e}\qu{b}\enotes +\temps\NOtes&\zq L\qlppz N|\zq a\lppz a\qu{^c}\enotes +\temps\NOtes\qu{K}&\zq M\uppz a\ql{_a}|\lppz b\zq b\qu d\enotes +%\check +% mesure 10 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu{=e}\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes +%\check +% mesure 11 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\qu{_K}&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes +% mesure 12 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +%\check +% mesure 13 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +%\check +% mesure 14 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\notes\qu{_K}&\zq L\uppz a\ql{_a}|\lppz c\zq f\zql{_d}\dqh {_h}g\enotes +\temps\NOtes\soupir&\zq L\qlppz a|\lppz c\zq d\zql f\qu h\enotes +%\check +% mesure 15 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\relax + \na d\lppz d\zq f\zql d\roff{\dqh g{_h}}\enotes + \nspace +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\zq e\qu g\enotes +%\check +% mesure 16 +\barre\NOtes\hu{^J}&\zq L\qlppz N|\lppz c\zq{^c}\zq f\qu{_h}\enotes +\temps\NOtes&\zq L\qlppz N|\lppz d\rq e\zq d\qu g\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\lppz c\zq{=c}\zq f\qu h\enotes +%\check +% mesure 17 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\relax + \lfl e\lq e\lppz d\zql d\dqh g{=h}\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\na e\lppz c\zql c\zq e\qu g\enotes +%\check +% mesure 18 +\barre\NOtes\hu{^J}&\zq L\qlppz N|\lppz c\zq{^c}\zq e\zq g\qu{_i}\enotes +\temps\NOtes&\zq L\qlppz N|\lppz d\zq d\zq{^f}\qu h\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\zql{_e}\qu{_h}\enotes +%\check +% mesure 19 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq{=e}\qu g\enotes +\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\lppz c\zq e\zql c\dqh g{^f}\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\zq e\qu g\enotes +%\check +% mesure 20 +\barre\NOtes\hu{^K}&\zq L\qlppz N|\lsh c\lppz b\rq c\zq{_b}\qu{^f}\enotes +\temps\NOtes&\zq L\qlppz N|\na b\lppz d\zq b\rq c\qu{=f}\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\lppz b\zq b\qu{^f}\enotes +%\check +% mesure 21 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +%\check +% mesure 22 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\qu{_K}&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +%\check +% mesure 23 +\barre\NOtes\qu L&\zq {La}\qlppz c|\zlppz e\zq h\qu j\enotes +\temps\NOtes\qu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +%\check +% mesure 24 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +% mesure 25 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes +\temps\NOtes\soupir&\zq {Ma}\qlppz c|\zlppz f\zql {h}\qu j\enotes +%\check +% mesure 26 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq {jg}\qu l\enotes +\temps\NOtes&\zq {L=a}\qlppz c|\lna h\sh f\zlppz f\zq {hj}\qu{_l}\enotes +\temps\NOtes\soupir&\lfl a\zq {^Ma}\qlppz c|\zlppz f\zq {_h}\qu k\enotes +% mesure 27 +\barre\NOtes\hu J&\zq {L=a}\qlppz c|\zlppz e\zq{=h}\qu j\enotes +\temps\notes&\zq {LN}\qlppz c|\zlppz e\zql {g}\dqh ji\enotes +\temps\NOtes\soupir&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\qu j\enotes +%\check +% mesure 28 +\barre\NOtes\hu J&\zq {L_a}\qlppz c|\zlppz e\rq f\qu{_h}\enotes +\temps\NOtes&\zq {LN}\uppz b\qlp{_b}|\zlppz e\zq g\qu{_i}\enotes +\temps\NOtes\soupir&\zq {_LN}\na b\qlppz b|\fl e\zlppz e\zq g\qu{=i}\enotes +%\check +% mesure 29 +\barre\NOtes\hu J&\zq {=LN}\qlppz c|\na e\zlppz e\zq g\qu j\enotes +\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes +\temps\NOtes\soupir&\lsh M\zq {M=a}\qlppz c|\lsh f\zlppz f\zql {=h}\qu j\enotes +%\check +% mesure 30 +\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes +\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 31 +\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes +\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 32 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes&\zq {L_a}\uppz d\ql{_d}|\lppz f\zq{f_h}\zql{_k}\dqh ml\enotes +\temps\NOtes\soupir&\zq{La}\qlppz d|\lppz f\zq{fh}\zql k\qu m\enotes +%\check +% mesure 33 +\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes&\zq {L_a}\uppz d\ql{=d}|\zlppz e\zq{=h}\zql k\roff{\dqh lm}\enotes +\nspace +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 34 +\barre\NOtes\hu{^J}&\zq {LN}\sh c\qlppz c|\zlppz f\zq{h^j}\qu m\enotes +\temps\NOtes&\zq {LN}\qlppz d|\zlppz e\rq k\zq g\qu l\enotes +\temps\NOtes\soupir&\lfl a\zq {Ma}\na c\qlppz c|\zlppz f\zq{h=j}\qu m\enotes +%\check +% mesure 35 +\barre\NOtes\qu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes\doubler\qu{=K}&\zq {L_a}\ql d|\lppz e\zq{e_h}\zql k\roff{\dqh lm}\enotes +\nspace +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 36 +\barre\NOtes\hu{^J}&\zq {KN}\sh c\qlppz c|\lppz g\zq{g^j}\rq k\qu n\enotes +\temps\NOtes&\zq{LN}\qlppz d|\zq{^fj}\rq l\qu{^m}\enotes +\temps\NOtes\soupir&\zq {M_a}\qlppz c|\lfl h\na f\zlppz f\zq{hj}\qu{=m}\enotes +%\check +% mesure 37 +\barre\NOtes\qu J&\zq {LN}\na c\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes\doubler\qu{=K}&\lfl a\zq {La}\na d\qlppz d|\lppz e\zq{_h}\zql j\dqh l{^k}\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\lppz e\zq{egj}\qu l\enotes +%\check +% mesure 38 +\barre\NOtes\qsk\hu{^K}&\qsk\lfl b\na d\zq {LNb}\qlppz d|\qsk + \zlppz e\zq{g}\qu{=k}\enotes +\temps\NOtes&\sh c\zq {LN}\qlppz c|\zq e\lppz e\zq h\qu{^j}\enotes +\temps\NOtes\qu{=K}&\lq a\lfl a\zq {M}\qlppz b|\lppz d\zq {df_h}\qu k\enotes +%\check +% mesure 39 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 40 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\Uptext{\it rit.}\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 41 +\barre +\notes\zcharnote B{\it legato}\Ilegu0b\hl L&\zcharnote g{\it + a tempo}\Qqbb Nece|\Uptext{\it bien + sirupeux~!}\ibbu0i0\qh0{lgj}\tqh0g\enotes +\temps\notes&\Qqbb Nece|\ibbu0i0\qh0{lgj}\tqh0g\enotes +\temps\notes\ql L&\Qqbb Nece|\ibbu0i0\qh0{lgj}\tqh0g\enotes +%\check +% mesure 42 +\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 43 +\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 44 +\barre\notes\qlp N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\sk\tleg0\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\Ilegu0b\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 45 +\barre\notes\hlp a&\Qqbb Mcac|\Qqhh mhjh\enotes +\temps\notes&\Qqbb Mcac|\Qqhh mhjh\enotes +\temps\notes&\Qqbb Mcac|\Qqhh mhjh\enotes +%\check +% mesure 46 +\barre\notes\qlp N\tleg0&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\sk\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 47 +\barre\notes\hl c&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 48 +\barre\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql M&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 49 +\barre\notes\hu K\tleg0&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\soupir&\Qqbb Ndbd|\Qqhh kgig\enotes +%\check +% mesure 50 +\barre\notes\Ilegu0c\hl L&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 51 +\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 52 +\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 53 +\barre\notes\hl a&\Qqbb aece|\Qqhh lhjh\enotes +\temps\notes&\Qqbb aece|\Qqhh lhjh\enotes +\temps\notes\ql b&\Qqbb {^N}ebe|\Qqhh l{^g}ig\enotes +%\check +% mesure 54 +\barre\notes\qlp c\tleg0&\Qqbb aece|\Qqhh lhjh\enotes +\temps\notes\sk\sk\ds&\Qqbb aece|\Qqhh lhjh\enotes +\temps\notes\Ilegu0c\ql c&\Qqbb aece|\Qqhh lhjh\enotes +%\check +% mesure 55 +\barre\notes\hl b&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\nspace\notes\ql a&\Qqbb aece|\bigsh m\Qqhh mhjh\enotes +%\check +% mesure 56 +\barre\notes\hl N&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\ql a&\Qqbb aece|\Qqhh lhjh\enotes +%\check +% mesure 57 +\barre\notes\hl N&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\nspace\notes\ql {^M}&\varaccid\Qqbb a{^f}{^d}f|\sh m\varaccid\Qqhh mh{^k}h\enotes +%\check +% mesure 58 +\barre\notes\hl L\tleg0&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\soupir&\Qqbb Nebe|\Qqhh lgig\enotes +%\check +% mesure 59 +\barre\notes\Ilegu0b\hl N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 60 +\barre\notes\hl M&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh njlj\enotes +%\check +% mesure 61 +\barre\notes\hlp K&\Qqbb Ndbd|\Qqhh niki\enotes +\temps\notes&\Qqbb Ndbd|\Qqhh niki\enotes +\temps\notes&\Qqbb Ndbd|\Qqhh niki\enotes +%\check +% mesure 62 +\barre\notes\hl J\tleg0&\Qqbb Nece|\Qqhh njlj\enotes +\temps\notes&\Qqbb Nece|\Qqhh njlj\enotes +\temps\notes\soupir&\Qqbb Nece|\Qqhh njlj\enotes +% mesure 63 +\barre\notes\Ilegu0b\hl L&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 64 +\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 65 +\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 66 +\barre\notes\qlp N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\sk\tleg0\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 67 +\barre\notes\hlp c&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes +%\check +% mesure 68 +\barre\notes\qlp N\tleg0&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\sk\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +% mesure 69 +\barre\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql M&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 70 +\barre\notes\hu K&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\qu K&\Qqbb Ndbd|\Qqhh kgig\enotes +%\check +% mesure 71 +\barre\notes\hu J\tleg0&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\soupir&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 72 +\barre\notes\lppz J\qu J&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\lppz J\qu J&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\lppz J\qu J&\Qqbb Nece|\soupir\enotes +%\check +% mesure 73 +\barre + \NOtes\hu J&\zq L\qlppz N|\uptext{\it aigre et nerveux}\zlppz c\qu e\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes +%\check +% mesure 74 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes +%\check +% mesure 75 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\notes&\zq L\uppz a\ql{_a}|\lppz c\zql{_d}\dqh fe\enotes +\temps\NOtes\soupir&\zq L\qlppz a|\lppz c\zql d\qu f\enotes +%\check +% mesure 76 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\notes&\zq L\uppz a\ql{_a}|\na d\roff{\lppz d\zql d}\dqh ef\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes +%\check +% mesure 77 +\barre\NOtes\hu{_K}&\zq L\qlppz N|\lppz c\zq{_d}\qu f\enotes +\temps\NOtes&\zq L\qlppz N|\lppz d\rq e\qu{=d}\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\qu f\enotes +%\check +% mesure 78 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\na d\roff{\lppz d\zql d}\dqh ef\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes +%\check +% mesure 79 +\barre\NOtes\hu{_K}&\zq K\qlppz N|\lppz c\zq{_d}\qu g\enotes +\temps\NOtes&\zq L\qlppz N|\lppz d\zq{=d}\qu{^f}\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\qu{=f}\enotes +%\check +% mesure 80 +\barre\NOtes\qu J&\zq L\qlppz N|\na c\zlppz c\qu e\enotes +\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\lppz c\zql c\dqh e{^d}\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes +%\check +% mesure 81 +\barre\NOtes\hu{^K}&\zq L\qlppz N|\lppz b\zq {^d}\qu{b}\enotes +\temps\NOtes&\zq L\qlppz N|\zq a\lppz a\qu{^c}\enotes +\temps\NOtes\qu{=K}&\zq M\uppz a\ql{_a}|\lppz b\zq b\qu{=d}\enotes +%\check +% mesure 82 +\barre\NOtes\hu J&\zq L\qlppz N|\lppz c\zq{=c}\qu e\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes +%\check +% mesure 83 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\qu{_K}&\zq L\qlppz N|\zlppz c\qu e\enotes +\temps\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes +% mesure 84 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +%\check +% mesure 85 +\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +%\check +% mesure 86 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\notes\qu{_K}&\zq L\uppz a\ql{_a}|\lppz c\zq f\zql{_d}\dqh {_h}g\enotes +\temps\NOtes\soupir&\zq L\qlppz a|\lppz c\zq d\zql f\qu h\enotes +%\check +% mesure 87 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\relax + \na d\lppz d\zq f\zql d\roff{\dqh g{_h}}\enotes + \nspace +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\zq e\qu g\enotes +%\check +% mesure 88 +\barre\NOtes\hu{^J}&\zq L\qlppz N|\lppz c\zq{^c}\zq f\qu{_h}\enotes +\temps\NOtes&\zq L\qlppz N|\lppz d\rq e\zq d\qu g\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\zq f\qu h\enotes +%\check +% mesure 89 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\notes\qu{K}&\zq L\uppz a\ql{_a}|\relax + \lfl e\lq e\lppz d\zql d\dqh g{=h}\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\na e\lppz c\zql c\zq e\qu g\enotes +%\check +% mesure 90 +\barre\NOtes\hu{^J}&\zq L\qlppz N|\lppz c\zq{^c}\zq e\zq g\qu{_i}\enotes +\temps\NOtes&\zq L\qlppz N|\lppz d\zq d\zq{^f}\qu h\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\zql{_e}\qu{_h}\enotes +%\check +% mesure 91 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq{=e}\qu g\enotes +\temps\notes\qu{K}&\zq L\uppz a\ql{_a}|\lppz c\zq e\zql c\dqh g{^f}\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\zq e\qu g\enotes +%\check +% mesure 92 +\barre\NOtes\hu{^K}&\zq L\qlppz N|\lsh c\lppz b\rq c\zq{_b}\qu{^f}\enotes +\temps\NOtes&\zq L\qlppz N|\na b\lppz d\zq b\rq c\qu{=f}\enotes +\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\lppz b\zq b\qu{^f}\enotes +%\check +% mesure 93 +\barre\NOtes\hu J&\zq L\qlppz N|\lppz c\zq{=c}\zq e\qu g\enotes +\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +%\check +% mesure 94 +\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\qu{_K}&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +\temps\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes +%\check +% mesure 95 +\barre\NOtes\qu L&\zq {La}\qlppz c|\zlppz e\zq h\qu j\enotes +\temps\NOtes\qu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +%\check +% mesure 96 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +% mesure 97 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes +\temps\NOtes\soupir&\zq {Ma}\qlppz c|\zlppz f\zql {h}\qu j\enotes +%\check +% mesure 98 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq {jg}\qu l\enotes +\temps\NOtes&\zq {L=a}\qlppz c|\lna h\sh f\zlppz f\zq {hj}\qu{_l}\enotes +\temps\NOtes\soupir&\lfl a\zq {^Ma}\qlppz c|\zlppz f\zq {_h}\qu k\enotes +% mesure 99 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes +\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes +\temps\NOtes\soupir&\zq {Ma}\qlppz c|\zlppz f\zql {h}\qu j\enotes +%\check +% mesure 100 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq {jg}\qu l\enotes +\temps\NOtes&\zq {L=a}\qlppz c|\lna h\sh f\zlppz f\zq {hj}\qu{_l}\enotes +\temps\NOtes\soupir&\lfl a\zq {^Ma}\qlppz c|\zlppz f\zq {_h}\qu k\enotes +% mesure 101 +\barre\NOtes\hu J&\zq {L=a}\qlppz c|\zlppz e\zq{=h}\qu j\enotes +\temps\notes&\zq {LN}\qlppz c|\zlppz e\zql {g}\dqh ji\enotes +\temps\NOtes\soupir&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\qu j\enotes +%\check +% mesure 102 +\barre\NOtes\hu J&\zq {L_a}\qlppz c|\zlppz e\rq f\qu{_h}\enotes +\temps\NOtes&\zq {LN}\uppz b\qlp{_b}|\zlppz e\zq g\qu{_i}\enotes +\temps\NOtes\soupir&\zq {_LN}\na b\qlppz b|\fl e\zlppz e\zq g\qu{=i}\enotes +%\check +% mesure 103 +\barre\NOtes\hu J&\zq {L=a}\qlppz c|\zlppz e\zq{=h}\qu j\enotes +\temps\notes&\zq {LN}\qlppz c|\zlppz e\zql {g}\dqh ji\enotes +\temps\NOtes\soupir&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\qu j\enotes +%\check +% mesure 104 +\barre\NOtes\hu J&\zq {L_a}\qlppz c|\zlppz e\rq f\qu{_h}\enotes +\temps\NOtes&\zq {LN}\uppz b\qlp{_b}|\zlppz e\zq g\qu{_i}\enotes +\temps\NOtes\soupir&\zq {_LN}\na b\qlppz b|\fl e\zlppz e\zq g\qu{=i}\enotes +%\check +% mesure 105 +\barre\NOtes\hu J&\zq {=LN}\qlppz c|\na e\zlppz e\zq g\qu j\enotes +\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes +\temps\NOtes\soupir&\lsh M\zq {M=a}\qlppz c|\lsh f\zlppz f\zql {=h}\qu j\enotes +%\check +% mesure 106 +\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes +\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 107 +\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes +\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 108 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes&\zq {L_a}\uppz d\ql{_d}|\lppz f\zq{f_h}\zql{_k}\dqh ml\enotes +\temps\NOtes\soupir&\zq{La}\qlppz d|\lppz f\zq{fh}\zql k\qu m\enotes +%\check +% mesure 109 +\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes&\zq {L_a}\uppz d\ql{=d}|\zlppz e\zq{=h}\zql k\roff{\dqh lm}\enotes +\nspace +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 110 +\barre\NOtes\hu{^J}&\zq {LN}\sh c\qlppz c|\zlppz f\zq{h^j}\qu m\enotes +\temps\NOtes&\zq {LN}\qlppz d|\zlppz e\rq k\zq g\qu l\enotes +\temps\NOtes\soupir&\lfl a\zq {Ma}\na c\qlppz c|\lfl h\zlppz f\zq{h=j}\qu m\enotes + %\check +% mesure 111 +\barre\NOtes\hu K&\zq {^Ma}\qlppz d|\sh f\zlppz f\zq{hk}\qu{^m}\enotes +\temps\NOtes&\zq {^La}\sh c\qlppz c|\lsh j\sh e\zlppz e\zq{hj}\qu{^l}\enotes +\temps\NOtes\soupir&\zq {Ma}\qlppz d|\zlppz f\zq{hk}\qu{m}\enotes + %\check +% mesure 112 +\barre\NOtes\hu L&\zq {N=c}\qlppz e|\zlppz g\zq{j=l}\qu{n}\enotes +\temps\NOtes&\zq {^Ma}\qlppz d|\sh f\zlppz f\zq{hk}\qu{^m}\enotes +\temps\NOtes\soupir&\zq {Nc}\qlppz e|\zlppz g\zq{jl}\qu{n}\enotes + %\check +% mesure 113 +\barre\NOtes\hu K&\zq {^Ma}\qlppz d|\sh f\zlppz f\zq{hk}\qu{^m}\enotes +\temps\NOtes&\zq {^La}\sh c\qlppz c|\lsh j\sh e\zlppz e\zq{hj}\qu{^l}\enotes +\temps\NOtes\soupir&\zq {Ma}\qlppz d|\zlppz f\zq{hk}\qu{m}\enotes + %\check +% mesure 114 +\barre\NOtes\hu{_L}&\zq{Nc}\lppz e\ql{_e}|\zlppz g\zq{_lj}\qu{n}\enotes +\temps\NOtes&\zq{Nc}\qlppz{e}|\zlppz g\zq{lj}\qu{n}\enotes +\temps\NOtes\soupir&\zq{Nc}\qlppz{e}|\zlppz g\zq{lj}\qu{n}\enotes + %\check +% mesure 115 +\barre\NOtes\hu{K}&\zq{Nc}\fl e\qlppz{e}|\zlppz g\zq{_lj}\qu{n}\enotes +\temps\NOtes&\zq{Nc}\qlppz{e}|\zlppz g\zq{lj}\qu{n}\enotes +\temps\NOtes\soupir&\zq{Nc}\qlppz{e}|\zlppz g\zq{lj}\qu{n}\enotes + %\check +% mesure 116 +\barre\NOtes\hu{K}&\zq{Nb}\qlppz{d}|\zlppz g\zq{ik}\qu{n}\enotes +\temps\NOtes&\zq{Nb}\qlppz{d}|\zlppz g\zq{ik}\qu{n}\enotes +\temps\NOtes\soupir&\zq{Nb}\qlppz{d}|\zlppz g\zq{ik}\qu{n}\enotes +% mesure 117 +\barre +\notes\zcharnote B{\it legato}\Ilegu0b\hl L&\zcharnote g{\it + a tempo}\Qqbb Nece|\Uptext{\it bien + sirupeux~!}\ibbu0i0\qh0{lgj}\tqh0g\enotes +\temps\notes&\Qqbb Nece|\ibbu0i0\qh0{lgj}\tqh0g\enotes +\temps\notes\ql L&\Qqbb Nece|\ibbu0i0\qh0{lgj}\tqh0g\enotes +%\check +% mesure 118 +\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 119 +\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 120 +\barre\notes\qlp N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\sk\tleg0\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\Ilegu0b\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 121 +\barre\notes\bigfl a\hlp a&\bigaccid\Qqbb Mc{_a}c|\bigaccid\Qqhh m{_h}jh\enotes +\temps\notes&\Qqbb Mcac|\Qqhh mhjh\enotes +\temps\notes&\Qqbb Mcac|\Qqhh mhjh\enotes +%\check +% mesure 122 +\barre\notes\qlp N\tleg0&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\sk\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +% mesure 123 +\barre\notes\hl c&\bigfl a\Qqbb afcf|\bigaccid\Qqhh m{_h}jh\enotes +\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 124 +\barre\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql M&\Qqbb {=a}fcf|\Qqhh m{=h}jh\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 125 +\barre\notes\hu K\tleg0&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes&\Qqbb Ndbd|\Qqhh kgig\enotes +\temps\notes\soupir&\Qqbb Ndbd|\Qqhh kgig\enotes +%\check +% mesure 126 +\barre\notes\Ilegu0b\hl L&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 127 +\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 128 +\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql K&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 129 +\barre\notes\qlp N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\sk\tleg0\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 130 +\barre\notes\hlp c&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes +%\check +% mesure 131 +\barre\notes\qlp b\tleg0&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\sk\sk\ds&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\Ilegu0c\ql c&\Qqbb aece|\Qqhh lhjh\enotes +% mesure 132 +\barre\notes\qlp b\tleg0&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\sk\sk\ds&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\Ilegu0c\ql c&\Qqbb aece|\Qqhh lhjh\enotes +%\check +% mesure 133 +\barre\notes\ql b&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\ql N&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\ql a&\Qqbb aece|\Qqhh lhjh\enotes +%\check +% mesure 134 +\barre\notes\ql b&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\ql a&\Qqbb aece|\Qqhh lhjh\enotes +\temps\nspace\notes\ql b&\varaccid\Qqbb a{^f}{^d}f|\varaccid\sh m\Qqhh mh{^k}h\enotes +%\check +% mesure 135 +\barre\notes\hl L\tleg0&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\soupir&\Qqbb Nebe|\Qqhh lgig\enotes +%\check +% mesure 136 +\barre\notes\Ilegu0b\hl N&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes +\temps\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes +%\check +% mesure 137 +\barre\notes\ql N&\Qqbb Nebe|\Qqhh lgig\enotes +\temps\notes\ql M&\Qqbb afcf|\Qqhh mhjh\enotes +\temps\notes\ql L&\Qqbb Nece|\Qqhh njlj\enotes +%\check +% mesure 138 +\barre\notes\hl K&\Qqbb Ndbd|\Qqhh niki\enotes +\temps\notes&\Qqbb Ndbd|\Qqhh niki\enotes +\temps\notes\ql K&\Qqbb Ndbd|\Qqhh niki\enotes +%\check +% mesure 139 +\barre\notes\hl J\tleg0&\Qqbb Nece|\Qqhh njlj\enotes +\temps\notes&\Qqbb Nece|\Qqhh njlj\enotes +\temps\notes\soupir&\Qqbb Nece|\Qqhh njlj\enotes +%\check +% mesure 140 +\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes +\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 141 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes&\zq {L_a}\uppz d\ql{_d}|\lppz f\zq{f_h}\zql{_k}\dqh ml\enotes +\temps\NOtes\soupir&\zq{La}\qlppz d|\lppz f\zq{fh}\zql k\qu m\enotes +%\check +% mesure 142 +\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes&\zq {L_a}\uppz d\ql{=d}|\zlppz e\zq{=h}\zql k\roff{\dqh lm}\enotes +\nspace +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 143 +\barre\NOtes\hu{^J}&\zq {LN}\sh c\qlppz c|\zlppz f\zq{h^j}\qu m\enotes +\temps\NOtes&\zq {LN}\qlppz d|\zlppz e\rq k\zq g\qu l\enotes +\temps\NOtes\soupir&\lfl a\zq {Ma}\na c\qlppz c|\zlppz f\zq{h=j}\qu m\enotes +%\check +% mesure 144 +\barre\NOtes\qu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes\doubler\qu{=K}&\zq {L_a}\ql d|\lppz e\zq{e_h}\zql k\roff{\dqh lm}\enotes +\nspace +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 145 +\barre\NOtes\hu{^J}&\zq {KN}\sh c\qlppz c|\lppz g\zq{g^j}\rq k\qu n\enotes +\temps\NOtes&\zq{LN}\qlppz d|\zq{^fj}\rq l\qu{^m}\enotes +\temps\NOtes\soupir&\zq {M_a}\qlppz c|\lfl h\na f\zlppz f\zq{hj}\qu{=m}\enotes +%\check +% mesure 146 +\barre\NOtes\qu J&\zq {LN}\na c\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\notes\doubler\qu{=K}&\lfl a\zq {La}\na d\qlppz d|\lppz e\zq{_h}\zql j\dqh l{^k}\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\lppz e\zq{egj}\qu l\enotes +%\check +% mesure 147 +\barre\NOtes\qsk\hu{^K}&\qsk\lfl b\na d\zq {LNb}\qlppz d|\qsk + \zlppz e\zq{g}\qu{=k}\enotes +\temps\NOtes&\sh c\zq {LN}\qlppz c|\zq e\lppz e\zq h\qu{^j}\enotes +\temps\NOtes\qu{=K}&\lq a\lfl a\zq {M}\qlppz b|\lppz d\zq {df_h}\qu k\enotes +%\check +% mesure 148 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 149 +\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes +%\check +% mesure 150 +\def\sQqbb{\smallnotesize\Qqbb}% +\def\sqqBB{\smallnotesize\qqBB}% +\def\sQqhh{\smallnotesize\Qqhh}% +\notes\hu J&\sQqbb Nece|\smallnotesize\roff{\normalnotesize\zhu l}\relax + \ibbl0i0\qb0{lgj}\tqb0g\enotes +\temps\notes&\sQqbb cece|\smallnotesize\ibbl0i0\qb0{jgj}\tqb0g\enotes +\temps\notes\qu J&\sQqbb Nece|\zqu l\smallnotesize\ibbl0i0\qb0{lgj}\tqb0g\enotes +%\check +% mesure 151 +\barre\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +\temps\notes\qu G&\sQqbb Ndbd|\zqu k\sqqBB kgig\enotes +\temps\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +%\check +% mesure 152 +\barre\notes\qu H&\sQqbb Nece|\zqu j\sqqBB jghg\enotes +\temps\notes\qu I&\sQqbb Ndbd|\zqu k\sqqBB kgig\enotes +\temps\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +%\check +% mesure 153 +\barre\notes\qlp L&\sQqbb Nece|\zqup n\sqqBB njlj\enotes +\temps\notes\sk\sk\ds&\sQqbb cece|\rlap{\sk\sk\raise 3\Interligne\ds}\relax + \sqqBB ljlj\enotes +\temps\notes\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes +%\check +% mesure 154 +\barre\notes\hlp M&\sQqbb Mcac|\rlap{\smallnotesize\qsk\normalnotesize\hup o}\relax + \sqqBB ojmj\enotes +\temps\notes&\sQqbb acac|\sqqBB mjmj\enotes +\temps\notes&\sQqbb acac|\sqqBB mjmj\enotes +%\check +% mesure 155 +\barre\notes\qlp L&\sQqbb Nece|\zqup n\sqqBB njlj\enotes +\temps\notes\sk\sk\ds&\sQqbb cece|\rlap{\sk\sk\raise 3\Interligne\ds}\relax + \sqqBB ljlj\enotes +\temps\notes\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes +%\check +% mesure 156 +\barre\notes\hl M&\sQqbb afcf|\rlap{\smallnotesize\qsk + \normalnotesize\hu q}\sqqBB qmom\enotes +\temps\notes&\sQqbb afcf|\sqqBB omom\enotes +\temps\notes\itenu0L\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes +%\check +% mesure 157 +\barre\notes\tten0\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes +\temps\notes\ql K&\sQqbb afcf|\zqu m\sqqBB mhjh\enotes +\temps\notes\ql J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +%\check +% mesure 158 +\barre\notes\hu G&\sQqbb Ndbd|\rlap{\smallnotesize\qsk\normalnotesize\hu k}\relax + \sqqBB kgig\enotes +\temps\notes&\sQqbb Ndbd|\sqqBB igig\enotes +\temps\notes\soupir&\sQqbb Ndbd|\raise 2\Interligne\rlap{\soupir}\sqqBB igig\enotes +%\check +% mesure 159 +\barre\notes\hu J&\sQqbb Nece|\rlap{\smallnotesize\qsk\normalnotesize\hu l}\relax + \sqqBB lgjg\enotes +\temps\notes&\sQqbb Nece|\sqqBB jgjg\enotes +\temps\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +%\check +% mesure 160 +\barre\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +\temps\notes\qu I&\sQqbb Ndbd|\zqu k\sqqBB kgig\enotes +\temps\notes\qu G&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +%\check +% mesure 161 +\barre\notes\qu J&\sQqbb Nece|\zqu j\sqqBB jghg\enotes +\temps\notes\qu H&\sQqbb Nece|\zqu k\sqqBB kgig\enotes +\temps\notes\qu G&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +%\check +% mesure 162 +\barre\notes\qup J&\sQqbb Nece|\zqup n\sqqBB njlj\enotes +\temps\notes\sk\sk\ds&\sQqbb Nece|\rlap{\sk\sk\raise 3\Interligne\ds}\relax + \sqqBB ljlj\enotes +\temps\notes\qu J&\sQqbb Nece|\zqu n\sqqBB njlj\enotes +%\check +% mesure 163 +\barre\notes\hlp M&\sQqbb afcf|\rlap{\smallnotesize\qsk\normalnotesize\hup q}\relax + \sqqBB qmom\enotes +\temps\notes&\sQqbb afcf|\sqqBB omom\enotes +\temps\notes&\sQqbb afcf|\sqqBB omom\enotes +%\check +% mesure 164 +\barre\notes\qlp L&\sQqbb Nece|\zqup n\sqqBB njlj\enotes +\temps\notes\sk\sk\ds&\sQqbb Nece|\rlap{\sk\sk\raise 3\Interligne\ds}\relax + \sqqBB ljlj\enotes +\temps\notes\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes +% mesure 165 +\barre\notes\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes +\temps\notes\ql K&\sQqbb afcf|\zqu m\sqqBB mhjh\enotes +\temps\notes\ql J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes +%\check +% mesure 166 +\barre\notes\hu G&\sQqbb Ndbd|\rlap{\smallnotesize\qsk\normalnotesize\hu k}\relax + \sqqBB kgig\enotes +\temps\notes&\sQqbb Ndbd|\sqqBB igig\enotes +\temps\notes\qu G&\sQqbb Ndbd|\zqu k\sqqBB kgig\enotes +%\check +% mesure 167 +\barre\notes\hu J&\sQqbb +LcNc|\normalnotesize\roff{\zhu j}\relax + \sqqBB jege\enotes +\temps\notes&\sQqbb LcNc|\sqqBB gege\enotes +\temps\notes\soupir&\sQqbb LcNc|\rlap{\raise 2\interligne\soupir}\relax + \sqqBB gege\enotes +% mesure 168 +\barre +\Notes\hu L&\zh c\hl g|\zh{jl}\hl n\enotes +\temps\Notes&\enotes +\temps\Notes\qu L&\zq c\qlppz g|\zq{jl}\qlppz n\enotes +% mesure 169 +\barre\Notes\qu L&\zq c\ql g|\zq{jl}\ql n\enotes +\temps\Notes\qu K&\zq b\ql f|\zq{ik}\ql m\enotes +\temps\Notes\qu J&\zq N\ql e|\zq{gj}\ql l\enotes +%\check +% mesure 170 +\barre\Notes\hu G&\zh N\hl d|\zh{gi}\hl k\enotes +\temps\Notes&\enotes +\temps\Notes\qu G&\zq N\ql d|\zq{gi}\ql k\enotes +%\check +% mesure 171 +\barre\NOtes\itenu0J\hup J&\itenl1N\itenu2c\zhp N\hlp c|\itenl3e\itenu4g\itenu5j\zhp e\zhp g\hlp j\enotes +%\check +% mesure 172 +\barre\Notes\tten0\zhlp J\hlp C&\tten1\tten2\zhp N\hlp c|\tten3\tten4\tten5\zhp e\zhp g\hlp j\enotes +%\mulooseness 1\relax +\mulooseness -4\relax +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fantaisc.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisc.tex new file mode 100644 index 00000000000..7a965a73507 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisc.tex @@ -0,0 +1,4 @@ +\def\ftranspose{-1} +\def\fsignature{-3} +\input fantaisi +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fantaisd.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisd.tex new file mode 100644 index 00000000000..7bb931e0917 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisd.tex @@ -0,0 +1,2 @@ +\input fantaisi +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex new file mode 100644 index 00000000000..8b74bc93760 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex @@ -0,0 +1,1238 @@ +\ifx\ftranspose\undefined\def\ftranspose{0}\fi +\ifx\fsignature\undefined\def\fsignature{-1}\fi + +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + + +\fullauthor{Daniel TAUPIN} +\shortauthor{D. Taupin} +\shorttitle{Fantaisie en style romantique} +\title{Fantaisie en style romantique} +\transpose=\ftranspose\relax +\newif\iffiveoctaves +\ifnum\transpose=0\relax + \subtitle{(pour orgue 5 octaves)} + \fiveoctavestrue + \else\ifnum\transpose=-1\relax + \subtitle{(pour orgue 4 octaves et demi, do--sol)} + \fiveoctavesfalse + \else + \subtitle{(pour orgue)} + \fiveoctavesfalse + \fi +\fi + +\othermention{Compos\'e en 1992\\r\'evis\'e en 1995} +\maketitle + +\ifx\ftranspose\undefined\def\ftranspose{0}\fi +\ifx\fsignature\undefined\def\fsignature{-1}\fi + +\parindent 18mm +\tracingstats=2\relax +% +% formes fr\'equentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins deux doubles croches basses et hautes +\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins trois doubles croches basses et hautes +\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}% +\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}% +\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +%au moins quatre doubles croches basses et hautes +\def\qqbb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqbb#1#2#3#4{{\smallnotesize\qqbb{#1}{#2}{#3}{#4}}}% +\def\Qqbb#1#2#3#4{\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sQqbb#1#2#3#4{{\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}% +\def\qqBB#1#2#3#4{\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqBB#1#2#3#4{{\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}% +\def\qqhh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqhh#1#2#3#4{\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqHH#1#2#3#4{\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +\def\sqqHH#1#2#3#4{{\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}% +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{\fsignature}\relax % r\'e mineur +\transpose=\ftranspose\relax +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Quatretemps{\generalmeter{\meterfrac{4}{2}}}% +\def\Troistemps{\generalmeter{\meterfrac{3}{2}}}% +\def\Deuxtemps{\generalmeter{\meterfrac{2}{2}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.}% +%\check +\medskip\noindent{\rm G.O.: Plein jeu, fonds 16' {\sl ad libitum.}}% +\par\noindent{\rm Pos.: Plein jeu, acc. G.O.}% +\par\noindent{\rm P\'ed.: fonds et anches 16', tirasses G.O. \& pos.}% +\smallskip +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\doubler{\multiply\noteskip by 2\relax}% +\quatretemps +\staffbotmarg=10pt +\debutmorceau +\relativeaccidentals +\bigaccid +\autolines{9}55\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Allegro maestoso + \bf(\metron{\qu}{55})}}\enotes +\advance\linesinpage by 1\relax +%\check +% mesure 1 +\temps\notes\sk\soupir&\sk\soupir|\qqhh de{^c}d\enotes +%\check +% mesure 2 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\NOtes&|\soupir\enotes +\temps\notes\hpause&\hpause|\qqhh de{^c}d\enotes +%\check +% mesure 3 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\NOtes&|\soupir\enotes +\temps\notes\hpause&\hpause|\qqhh de{^c}d\enotes +%\check +% mesure 4 +%\check +\deuxtemps\changecontext +\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax + |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes +\temps\Notes\dqh{J}J&\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax + |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes +%\check +% mesure 5 +%\check +\quatretemps\changecontext +\NOTes\pointdurgue G\hu K&\pointdorgue a\zh{M}\hl a\relax + |\pointdorgue l\zh{df}\hu h\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 6 +%\check +\barre\NOTes\hu K&\zh{LN}\hl b|\zh{d}\lh e\hl g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 7 +%\check +\barre\NOTes\hu K&\zh{M}\hl a|\zh{d}\hu f\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh HI{^G}H|\qqhh ab{^N}a\enotes +%\check +% mesure 8 +%\check +\deuxtemps\changecontext +\addspace{-0.5\afterruleskip}% +\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax + |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes +\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax + |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes +%\check +% mesure 9 +%\check +\quatretemps\changecontext +\NOTes\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax + |\pointdorgue l\zh{a}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 10 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 11 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 12 +%\check +\deuxtemps\changecontext +\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +%\check +% mesure 13 +%\check +\quatretemps\changecontext +\NOTes\pointdurgue G\hu{=J}&\pointdorgue a\Sh M\zh{M}\hl a\relax + |\pointdorgue l\lsh f\zh{=cf}\hu h\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes +%\check +% mesure 14 +%\check +\barre\NOTes\hu J&\zh{=M}\hl a|\zh{c=f}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes +%\check +% mesure 15 +%\check +\barre\NOTes\hu{^I}&\zh{K}\hl N|\zh{d}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh {=I}JHI|\qqhh {=b}cab\enotes +%\check +% mesure 16 +%\check +\barre\NOTes\hu{=I}&\zh{L}\hl N|\zh{be}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh HI{^G}H|\qqhh ab{^N}a\enotes +%\check +% mesure 17 +%\check +\deuxtemps\changecontext +\addspace{-0.5\afterruleskip}% +\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax + |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes +\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax + |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes +%\check +% mesure 18 +%\check +\quatretemps\changecontext +\NOTes\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax + |\pointdorgue l\zh{a}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 19 +\advance\barsinline by 1\relax +\barre\notes\hup K&\bigSh M\Qqbb Mcac|\doubler\bigSh f\zh{f}\zhl h\qu{_l}\enotes +\temps\notes&\Qqbb Mcac|\doubler\qu k\enotes +\temps\notes&\Qqbb Mcac|\doubler\zh{f}\zhl h\qu k\enotes +\temps\notes\soupir&\Qqbb Mcac|\doubler\qu j\enotes +%\check +% mesure 20 +\barre\autolines{16}45\relax +\notes\hup G&\Qqbb KbNb|\doubler\zh{d}\zhl g\hu i\enotes +\temps\notes&\Qqbb KbNb\enotes +\temps\notes&\Qqbb KbNb|\doubler\dqh gh\enotes +\temps\notes\soupir&\Qqbb KbNb|\doubler\dqh{^f}g\enotes +%\check +% mesure 21 +\barre\notes\hup J&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu k\enotes +\temps\notes&\Qqbb LcNc|\doubler\qu j\enotes +\temps\notes&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu j\enotes +\temps\notes\soupir&\Qqbb LcNc|\doubler\qu i\enotes +%\check +% mesure 22 +\barre\notes\hup F&\Qqbb JaLa|\doubler\zh{cf}\hu h\enotes +\temps\notes&\Qqbb JaLa\enotes +\temps\notes&\Qqbb JaMa|\doubler\cNa f\dqh fg\enotes +\temps\notes\soupir&\Qqbb JaMa|\doubler\dqh ef\enotes +%\check +% mesure 23 +\barre\notes\hup I&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu j\enotes +\temps\notes&\Qqbb KbMb|\doubler\qu i\enotes +\temps\notes&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu i\enotes +\temps\notes\soupir&\Qqbb KbMb|\doubler\qu h\enotes +%\check +% mesure 24 +\barre\autolines{16}35\relax +\notes\hup H&\Qqbb LbNb|\doubler\zh{^ce}\hu g\enotes +\temps\notes&\Qqbb LbNb\enotes +\temps\notes&\bigaccid\Qqbb L{^c}Nc|\doubler\dqh ef\enotes +\temps\notes\soupir&\Qqbb LcNc|\doubler\dqh de\enotes +%\check +% mesure 25 +\barre\notes\hu G&\Qqbb LbNb|\doubler\zh{^c}\zhl e\qu i\enotes +\temps\notes&\Qqbb LbNb|\doubler\qu h\enotes +\temps\notes\hu H&\Qqbb LbNb|\doubler\zh{c}\zhl e\qu h\enotes +\temps\notes&\Qqbb LbNb|\doubler\qu g\enotes +%\check +% mesure 26 +\barre\notes\hu K&\Qqbb KaMa|\doubler\zhl{d}\qu f\enotes +\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes +\nspace +\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zhl{d}\qu{^f}\enotes +\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes +%\check +% mesure 27 +\barre\notes\hu K&\Qqbb KbNb|\doubler\zhl{d}\qu g\enotes +\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes +\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zh d\zhl{f}\qu h\enotes +\temps\notes&\Qqbb KaMa|\qqhh ihgh\enotes +%\check +% mesure 28 +\barre\notes\hl K&\Qqbb KbNb|\doubler\zh d\zhl{g}\qu i\enotes +\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes +\nspace +\temps\notes\hl L&\bigaccid\Qqbb L{^c}Nc|\doubler\zh e\zhl{g}\qu{^j}\enotes +\temps\notes&\Qqbb LcNc|\qqhh kj{^i}j\enotes +%\check +% mesure 29 +\barre\bigaccid +\notes\wh M&\Qqbb Mdad|\bigaccid\zh{=fh}\hu k\enotes +\temps\notes&\Qqbb Mdad|\enotes +\temps\notes&\Qqbb Mdad|\zh{f}\hu h\enotes +\temps\notes&\Qqbb Mdad|\enotes +% +% mesure 30 +\barre\autolines{10}55\relax +\notes\hu G&\Qqbb INKN|\doubler\zh{b}\zhl d\qu g\enotes +\temps\notes&\zmidtwotext{\it rit.}\Qqbb INKN|\qu f\enotes +\temps\notes\hu H&\Qqbb {^J}NLN|\doubler\zhl{a^c}\qu e\enotes +\temps\notes&\Qqbb {J}NLN|\qu d\enotes +%\check +% mesure 31 +%\check +\barre\NOTes\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax + |\pointdorgue l\zh{a}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\varaccid +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 32 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 33 +%\check +\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 34 +%\check +\deuxtemps\changecontext\autolines{9}55\relax +\addspace{-\afterruleskip}% +\Notes\qsk\cNa J\dqh{J}J&\qsk\zmidtwotext{\it rit.} + \ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\qsk\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +%\check +% mesure 35 +%\check +\quatretemps\changecontext +\NOTEs\cNa F\hu{F}&\zh{JL}\hl a|\zh{ce}\hu h\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes +%\check +% mesure 36 +%\check +\barre\NOTes\hu H&\zh{J=M}\hl a|\zh{c=f}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\bigaccid +\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes +%\check +% mesure 37 +%\check +\barre\NOTes\hu{=I}&\zh{L}\hl{N}|\zh{=be}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh {=I}JHI|\qqhh bcab\enotes +%\check +% mesure 38 +%\check +\deuxtemps\changecontext +\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax + |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes +\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq J\tqb0L\relax + |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes +%\check +% mesure 39 +\quatretemps\changecontext\stemcut +\notes\hu D&\Qqbb HMKM|\uptext{\it\kern -1em un +poco pi\`u vivo}\zqp a\qup d\enotes +\temps\notes&\Qqbb HMKM|\sk\sk\ds\enotes +\zalaligne\autolines{15}45\relax +%\check +\notes\sk\sk\hpause&\Qqbb KaMa|\Ilegu0r\ql o\enotes +\temps\notes&\Qqbb KaMa|\ql o\enotes +%\check +% mesure 40 +\def\atnextline{\autolines{17}35}\relax +\barre\notes\wh K&\Qqbb Mdad|\zhl h\qu o\enotes +\temps\notes&\Qqbb Mdad|\doubler\dqh nm\enotes +\temps\notes&\Qqbb Mdad|\zhl g\qu l\enotes +\temps\notes&\Qqbb Mdad|\qu k\enotes +%\check +% mesure 41 +\barre\notes\wh H&\bigaccid\Qqbb L{^c}Nc|\doubler\zhl h\hu{^j}\tleg0\enotes +\temps\notes&\Qqbb LcNc|\enotes +\temps\notes&\Qqbb LcNc|\Ilegu0r\zql h\qu h\enotes +\temps\notes&\Qqbb LcNc|\zqu h\qsk\zql g\enotes +%\check +% mesure 42 +\barre\notes\qu K&\Qqbb Mdad|\zql f\qu k\enotes +\temps\notes\bigSh J\qu J&\Qqbb L{^c}Nc|\zql i\qu l\enotes +\temps\notes\qu K&\Qqbb Mdad|\zql h\qu m\enotes +\temps\notes\qu I&\Qqbb KbNb|\zql i\qu n\enotes +%\check +% mesure 43 +\barre\notes\hu H&\Qqbb L{^c}Nc|\bigSh j\zqlp j\qup l\tleg0\enotes +\temps\notes&\Qqbb LcNc|\sk\sk\ds\enotes +\temps\notes\sk\sk\sk\hpause&\Qqbb KaMa|\zhl h\Ilegu0r\qu o\enotes +\temps\notes&\Qqbb KaMa|\qu o\enotes +%\check +% mesure 44 +\barre\notes\hu K&\Qqbb Mdad|\zhl h\qu o\enotes +\temps\notes&\Qqbb Mdad|\doubler\dqh nm\enotes +\temps\notes\hu K&\Qqbb Mdad|\zhl g\qu l\enotes +\temps\notes&\Qqbb Mdad|\qu k\enotes +%\check +% mesure 45 +\barre\notes\zwh G&\Qqbb KbNb|\zhlp i\hu p\enotes +\temps\notes&\Qqbb KbNb|\enotes +\temps\notes&\Qqbb KbNb|\qu n\enotes +\temps\notes&\Qqbb KbNb|\zqu p\raise -2\Interligne\soupir\enotes +%\check +% mesure 46 +\barre\notes\qu H&\Qqbb Mdad|\zql m\qu o\enotes +\temps\notes\qu I&\Qqbb KbNb|\zql l\qu n\enotes +\temps\notes\hu H&\Qqbb Mdad|\zql k\qu m\enotes +\temps\notes&\bigaccid\Qqbb L{^c}Nc|\bigSh j\zql j\qu l\enotes +%\check +% mesure 47 +\barre\notes\hup D&\Qqbb KaMa|\zqlp f\qup k\tleg0\enotes +\temps\notes&\Qqbb KaMa|\sk\sk\dsoupir\enotes +\temps\notes&\Qqbb KbNb|\Ilegu0r\ql r\enotes +\temps\notes\soupir&\Qqbb KbNb|\ql r\enotes +\def\atnextline{}% +%\check +% mesure 48 +\barre\notes\hu G&\Qqbb LcNc|\ql r\enotes +\temps\notes&\Qqbb LcNc|\doubler\dqb qp\enotes +\temps\notes\hu J&\Qqbb LcNc|\ql o\enotes +\temps\notes&\Qqbb LcNc|\ql n\enotes +%\check +% mesure 49 +\barre\notes\hu H&\Qqbb Mcac|\hl q\enotes +\temps\notes&\Qqbb Mcac\enotes +\temps\notes\hu F&\Qqbb Mcac|\zhl m\qu o\enotes +\temps\notes&\Qqbb Mcac|\qu o\enotes +%\check +% mesure 50 +\barre\notes\hu G&\Qqbb KbNb|\zhl n\qu p\enotes +\temps\notes&\Qqbb KbNb|\qu r\enotes +\temps\notes\hu J&\Qqbb LcNc|\zhl l\qu q\enotes +\temps\notes&\Qqbb LcNc|\qu p\enotes +%\check +%\check +% mesure 51 +\barre\def\atnextline{\autolines{14}45}\relax +\notes\hu F&\Qqbb Mcac|\zqlp m\qup o\tleg0\enotes +\temps\notes&\Qqbb Mcac|\sk\sk\ds\enotes +\temps\notes\hu I&\Qqbb KbMb|\Ilegu0s\zhl k\qu p\enotes +\temps\notes&\Qqbb KbNb|\qu p\enotes +%\check +% mesure 52 +\barre\notes\hu L&\Qqbb LbNb|\zhl n\qu p\enotes +\temps\notes&\Qqbb LbNb|\doubler\dqh qp\enotes +\temps\notes\bigSh J\hu J&\bigaccid\Qqbb L{^c}Nc|\zhl l\qu o\enotes +\temps\notes&\Qqbb LcNc|\qu n\enotes +%\check +% mesure 53 +\barre\notes\hup K&\Qqbb Mdad|\zhl m\hu r\enotes +\temps\notes&\Qqbb Mdad\enotes +\temps\notes&\Qqbb Mdad|\zhl h\qu m\enotes +\temps\notes\sk\soupir&\Qqbb Mdad|\qu m\enotes +%\check +% mesure 54 +\barre\notes\hu H&\bigaccid\Qqbb L{^c}Nc|\bigSh j\zql j\qu l\enotes +\temps\notes&\Qqbb Mdad|\zql k\qu m\enotes +\temps\notes\soupir&\Qqbb LcNc|\zhl l\qu n\enotes +\temps\notes\qu H&\Qqbb LcNc|\qu o\enotes +%\check +% mesure 55 +\barre\notes\hu D&\Qqbb Mdad|\wh k\tleg0\enotes +\temps\notes&\Qqbb Mdad|\raise -\Interligne\hpause\enotes +\temps\zalaligne +\notes\Ilegu0a\ql a&\sQqbb Mdad|\Uptext{\it \kern -1.5\Interligne + les petites notes}\uptext{\it\kern -1.5\Interligne au positif ad lib.}% + \qs\sTqbb fhf\enotes +\temps\notes\ql a&\sQqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 56 +\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes\doubler\dqb NM&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\ql L&\sQqbb Mdad|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes\ql K&\sQqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 57 +\barre\notes\tleg0\bigSh J\hu J&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\zw l\raise -\Interligne\qs + \bigaccid\Tqbb h{^j}h\enotes +\temps\notes&\sQqbb L{c}Nc|\sQqbb jhjh\enotes +\temps\notes\Ilegu0N\qu H&\sQqbb L{c}Nc|\sQqbb jhjh\enotes +\temps\notes\qu H&\sQqbb L{c}Nc|\sQqbb jgjg\enotes +%\check +% mesure 58 +\barre\def\atnextline{\autolines{17}35}\relax +\notes\ql K&\sQqbb Mdad|\smallnotesize\zw m\raise -\Interligne\qs + \Tqbb hkh\enotes +\temps\notes\ql L&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\bigSh j\Qqbb jhjh\enotes +\temps\notes\ql M&\sQqbb Mdad|\sQqbb khkh\enotes +\temps\notes\ql N&\sQqbb Ndbd|\sQqbb kiki\enotes +%\check +% mesure 59 +\barre\notes\hl L\tleg0&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\zw o\raise -\Interligne\qs + \bigSh j\Tqbb jlj\enotes +\temps\notes&\sQqbb L{c}Nc|\sQqbb ljlj\enotes +\temps\notes\Ilegu0a\ql a&\sQqbb L{c}Nc|\sQqbb ljlj\enotes +\temps\notes\ql a&\sQqbb L{c}Nc|\sQqbb ljlj\enotes +%\check +% mesure 60 +\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zw o\raise -\Interligne\qs\Tqbb lml\enotes +\temps\notes\doubler\dqb NM&\sQqbb Mdad|\sQqbb mlml\enotes +\temps\notes\ql L&\sQqbb Mdad|\sQqbb mlml\enotes +\temps\notes\ql K&\sQqbb Mdad|\sQqbb mlml\enotes +%\check +% mesure 61 +\barre\notes\hl b\tleg0&\sQqbb Ndbd|\smallnotesize\zw n\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes&\sQqbb Ndbd|\sQqbb kiki\enotes +\temps\notes\Ilegu0a\ql N&\sQqbb Ndbd|\sQqbb kiki\enotes +\temps\notes\ql b&\sQqbb Ndbd|\sQqbb kiki\enotes +%\check +% mesure 62 +\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zhup m\raise -\Interligne\qs\Tqbb hkh\enotes +\temps\notes\ql N&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\bigSh j\Qqbb jljl\enotes +\temps\notes\ql M&\sQqbb Mdad|\sQqbb hkhk\enotes +\temps\notes\ql L&\sQqbb LcNc|\smallnotesize\zqu l\Qqbb hjhj\enotes +%\check +% mesure 63 +\barre\notes\hl K\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\Ilegu0d\ql d&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\ql d&\sQqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 64 +\barre\notes\ql d&\sQqbb Mdbd|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb gig\enotes +\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\sQqbb igig\enotes +\temps\notes\ql a&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb gig\enotes +\temps\notes\ql N&\sQqbb LcNc|\sQqbb igig\enotes +%\check +% mesure 65 +\barre\notes\hl c\tleg0&\sQqbb Mcac|\smallnotesize\zw m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes&\sQqbb Mcac|\sQqbb jhjh\enotes +\temps\notes\Ilegu0b\ql a&\sQqbb Mcac|\sQqbb jhjh\enotes +\temps\notes\ql a&\sQqbb Mcac|\sQqbb jhjh\enotes +%\check +% mesure 66 +\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes\ql d&\sQqbb Mdbd|\sQqbb kiki\enotes +\temps\notes\ql c&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb jgj\enotes +\temps\notes\ql b&\sQqbb LcNc|\sQqbb gjgj\enotes +%\check +% mesure 67 +\barre\notes\hl a\tleg0&\sQqbb Mcac|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes&\sQqbb Mcac|\sQqbb jhjh\enotes +\temps\notes\Ilegu0c\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes\ql b&\sQqbb Mdbd|\sQqbb kiki\enotes +%\check +% mesure 68 +\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\sQqbb kiki\enotes +\temps\notes\ql a&\sQqbb Mdbd|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb gig\enotes +\temps\notes\ql N&\sQqbb Mdbd|\sQqbb igig\enotes +%\check +% mesure 69 +\barre\notes\hl d\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\Ilegu0N\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 70 +\barre\notes\ql L&\bigaccid\sQqbb L{^c}ac|\smallnotesize\bigaccid + \zwh l\raise -\Interligne\qs\Tqbb h{^j}h\enotes +\temps\notes\ql M&\sQqbb L{c}ac|\sQqbb jhjh\enotes +\temps\notes\ql N&\sQqbb LcNc|\sQqbb jgjg\enotes +\temps\notes\ql a&\sQqbb LcNc|\sQqbb jgjg\enotes +%\check +% mesure 71 +\def\uppzql#1{\uppz #1\ql #1}% +\barre\notes\hu K\tleg0&\sk\hpause + |\smallnotesize\varaccid\Ibbl0hk3\qb0h\zq k\qb0m\zq{^j}\qb0l\zq{^i}\tqb0k\enotes +\temps\notes&\zq M\uppzql a\relax + |\smallnotesize\Ibbl0hk3\qb0h\zq k\qb0m\zq j\qb0l\zq i\tqb0k\enotes +\temps\notes\bigaccid\hu{^J}&\zq L\uppzql N\relax + |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes +\temps\notes&\zq L\uppzql N\relax + |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes +%\check +% mesure 72 +\barre\notes\hu K&\zq M\uppzql a\relax + |\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes +\temps\notes&\zq M\uppzql a\relax +|\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes +\temps\notes\hu I&\zq N\uppzql b\relax + |\smallnotesize\Ibbl0in3\qb0i\zq n\qb0p\zq m\qb0o\zq l\tqb0n\enotes +\temps\notes&\zq N\uppzql b\relax + |\smallnotesize\Ibbl0in3\qb0i\zq n\qb0p\zq m\qb0o\zq l\tqb0n\enotes +%\check +% mesure 73 +\barre\notes\qu H&\zq M\uppzql a\relax + |\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes +\temps\notes\qu H&\zq L\uppzql N\relax + |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes +\temps\notes\qu H&\zq K\uppzql M\relax + |\smallnotesize\varaccid\Ibbl0hk3\qb0h\zq k\qb0m\zq{^j}\qb0l\zq{^i}\tqb0k\enotes +\temps\notes\qu H&\zq{^J}\uppzql L\relax + |\smallnotesize\Ibbl0hj3\qb0h\zq j\qb0l\zq i\qb0k\zq h\tqb0j\enotes +%\check +% mesure 74 +\barre\notes\Ilegl2H\qu K&\sQqbb Mdad|\smallnotesize\itenu1k\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes\doubler\dqh ML&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\qu K&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\doubler\bigSh J\dqh JK&\sQqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 75 +\barre\notes\qu L&\sQqbb Mdad|\smallnotesize\tten1\zwh k\Qqbb hfhf\enotes +\temps\notes\qu M&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\hu K\tleg2&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 76 +\barre\notes\Ilegu2a\ql M&\sQqbb afcf|\smallnotesize\itenu1m\zwh m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes\doubler\dqb aN&\sQqbb afcf|\sQqbb jhjh\enotes +\temps\notes\ql M&\sQqbb afcf|\sQqbb jhjh\enotes +\temps\notes\doubler\dqb LM&\sQqbb afcf|\sQqbb jhjh\enotes +%\check +% mesure 77 +\barre\notes\ql N&\sQqbb afcf|\smallnotesize\tten1\zwh m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes\ql a&\sQqbb afcf|\sQqbb jhjh\enotes +\temps\notes\hl M\tleg2&\sQqbb afcf|\sQqbb jhjh\enotes +\temps\notes&\sQqbb afcf|\sQqbb jhjh\enotes +\cleftoksii={0000}\changeclefs +%\check +% mesure 78 +\barre\notes\Ilegu2b\ql a&\sqqHH cheh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb jlj\enotes +\temps\notes\doubler\dqb c{^b}&\sqqHH cheh|\sQqbb ljlj\enotes +\temps\notes\ql a&\sqqHH cheh|\sQqbb ljlj\enotes +\temps\notes\doubler\dqb {^N}a&\sqqHH cheh|\sQqbb ljlj\enotes +%\check +% mesure 79 +\barre\notes\bigaccid\ql {^b}&\sqqHH ei{^g}i\relax + |\smallnotesize\zhu p\raise -\Interligne\qs\Tqbb l{^n}l\enotes +\temps\notes\ql c&\sqqHH eigi|\sQqbb nlnl\enotes +\temps\notes\ql a\tleg2&\sqqHH ejhj\relax + |\smallnotesize\zhu q\raise -\Interligne\qs\Tqbb lol\enotes +\temps\notes\ql e&\sqqHH ejhj|\sQqbb olol\enotes +%\check +% mesure 80 +%\cleftoksii={6000}\changeclefs +\barre\notes\hlp f&\sqqHH dhfh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb kmk\enotes +\temps\notes&\sqqHH dhfh|\sQqbb mkmk\enotes +\temps\notes&\sqqHH dhfh|\sQqbb mkmk\enotes +\temps\notes\doubler\dqb ed&\sqqHH dhfh|\sQqbb mkmk\enotes +%\check +% mesure 81 +\barre\notes\hl e&\sqqHH cheh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb jlj\enotes +\temps\notes&\sqqHH cheh|\sQqbb ljlj\enotes +\temps\notes\soupir&\sqqHH cheh|\sQqbb ljlj\enotes +\temps\notes\ql a&\sqqHH cheh|\sQqbb ljlj\enotes +%\check +% mesure 82 +\barre\notes\hlp d&\sqqHH bfdf|\smallnotesize\zwh m\raise -\Interligne\qs\Tqbb iki\enotes +\temps\notes&\sqqHH bfdf|\sQqbb kiki\enotes +\temps\notes&\sqqHH bfdf|\sQqbb kiki\enotes +\temps\notes\doubler \dqb cb&\sqqHH bfdf|\sQqbb kiki\enotes +%\check +% mesure 83 +\barre\notes\hl c&\sqqHH afcf|\smallnotesize\zw m\raise -\Interligne\qs\Tqbb hjh\enotes +\temps\notes&\sqqHH afcf|\sQqbb jhjh\enotes +\temps\notes\soupir\zcharnote{-4}{\it non legato}&\sqqHH afcf|\sQqbb jhjh\enotes +\temps\notes\ql M&\sqqHH afcf|\sQqbb jhjh\enotes +% mesure 84 +\barre\notes\ql b&\sqqHH bgdg|\sqqBB niki\enotes +\temps\notes\ql a&\sqqHH bfdf|\sqqBB miki\enotes +\temps\notes\ql N&\sqqHH bede|\sqqBB liki\enotes +\temps\notes\ql M&\sqqHH bdbd|\sqqBB kiki\enotes +%\check +% mesure 85 +\barre\notes\ql b&\sqqHH bgdg|\sqqBB niki\enotes +\temps\notes\ql a&\sqqHH bfdf|\sqqBB miki\enotes +\temps\notes\ql N&\sqqHH bede|\sqqBB liki\enotes +\temps\notes\ql M&\sqqHH bdbd|\sqqBB kiki\enotes +%\check +% mesure 86 +\cleftoksii={6000}\changeclefs +\barre\notes\ql L&\sQqbb Ne{^c}e|\bigaccid\sqqBB o{^j}lj\enotes +\temps\notes\ql a&\sQqbb Ne{c}e|\sqqBB ojlj\enotes +\temps\notes\ql L&\sQqbb Ne{c}e|\sqqBB ojlj\enotes +\temps\notes\ql a&\sQqbb Ne{c}e|\sqqBB ojlj\enotes +%\check +% mesure 87 +\barre\notes\ql M&\sQqbb Mdad|\bigaccid\sqqBB okmk\enotes +\temps\notes\ql K&\sQqbb Mdad|\sqqBB okmk\enotes +\temps\notes\ql M&\sQqbb Mdad|\sqqBB okmk\enotes +\temps\notes\ql K&\sQqbb Mdad|\sqqBB okmk\enotes +%\check +% mesure 88 +\barre\notes\ql L&\sQqbb Ne{^c}e|\bigaccid\sqqBB o{^j}lj\enotes +\temps\notes\ql a&\sQqbb Nece|\sqqBB ojlj\enotes +\temps\notes\ql L&\sQqbb Nece|\sqqBB ojlj\enotes +\temps\notes\ql a&\sQqbb Nece|\sqqBB ojlj\enotes +%\check +% mesure 89 +\barre\notes\ql M&\sQqbb Ndbd|\bigaccid\sqqBB okmk\enotes +\temps\notes\ql a&\sQqbb Ndbd|\sqqBB okmk\enotes +\temps\notes\ql L&\bigaccid\sQqbb L{^c}Nc|\bigaccid\sqqBB o{^j}lj\enotes +\temps\notes\ql a&\sQqbb LcNc|\sqqBB ojlj\enotes +% +% mesure 90 +\def\octp{\advance\transpose by 7\relax}% +\barre\notes\hup K&\sQqbb Mdad|\sQqbb komo\enotes +\temps\notes&\sQqbb Mdad|\sQqbb komo\enotes +\cleftoksii={0000}\changeclefs +\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes\soupir&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 91 +\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\advance\linesinpage by 1\relax +\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes +%\check +% mesure 92 +\barre\nspace\notes\wh H&\qsk\Sh c\sqqHH cgeg|\zh{^j}\zhu{^q}\qsk\qqbb jolo\enotes +\temps\notes&\sqqHH cgeg|\qqbb lolo\enotes +\temps\notes&\sqqHH cgeg|\zq h\zqu o\qqbb hljl\enotes +\temps\notes&\sqqHH cgeg|\zq h\zqu o\qqbb hljl\enotes +%\check +% mesure 93 +\barre\notes\qu K&\sqqHH dhfh|\zq k\zqu r\qqbb komo\enotes +\temps\notes\qu{^J}&\sqqHH{^c}heh|\zq l\zqu s\qqbb lono\enotes +\temps\notes\qu K&\sqqHH dhfh|\zq m\zqu t\qqbb mror\enotes +\temps\notes\qu I&\sqqHH digi|\zq n\zqu u\qqbb nrpr\enotes +%\check +% mesure 94 +\barre\notes\wh H&\roff{\sqqHH{^c}heh}|\zh l\zhu s\roff{\qqbb l{^q}oq}\enotes +\temps\notes&\sqqHH cheh|\qqbb oqoq\enotes +\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 95 +\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 96 +\barre\notes\wh G&\roff{\sqqHH digi}|\iffiveoctaves + \octp\zh i\zhu p\roff{\qqbb inkn}\relax + \else\octp\zh g\zhu n\roff{\qqbb gkik}\relax + \fi\enotes + \nspace +\temps\notes&\sqqHH digi|\iffiveoctaves + \octp\qqbb knkn\relax + \else\octp\qqbb gkik\relax + \fi\enotes +\temps\notes&\sqqHH digi|\iffiveoctaves + \octp\zq g\zqu n\qqbb gkik\relax + \else\octp\zq e\zqu l\qqbb eigi\relax + \fi\enotes +\temps\notes&\sqqHH eigi|\iffiveoctaves + \octp\zq i\zqu p\qqbb inln\relax + \else\octp\zq e\zqu l\qqbb eigi\relax + \fi\enotes +%\check +% mesure 97 +\barre\notes\wh H&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\sqqHH{^c}heh|\octp\zq g\zqu n\qqbb gl{^j}l\enotes +\temps\notes&\sqqHH dhfh|\octp\zq f\zqu m\qqbb fkhk\enotes +\temps\notes&\sqqHH cheh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes +%\check +% mesure 98 +\barre\notes\hu D&\qsk\sqqHH afdf|\zh k\zhu r\qsk\qqbb komo\enotes +\temps\notes&\sqqHH dfdf|\qqbb komo\enotes +\temps\notes\hu K&\sqqHH afdf|\zq k\zqu r\qqbb komo\enotes +\temps\notes&\sqqHH afdf|\zq k\zqu r\qqbb komo\enotes +%\check +% mesure 99 +\barre\notes\wh G&\sqqHH digi|\zq k\zqu r\qqbb kpnp\enotes +\temps\notes&\sqqHH bgdg|\rlap{\doubler\zq j\Ibu0qp1\qh0 q\zq i\tqh0p}\relax + \Ibbl1ji2\qb1{jni}\tqb1n\enotes +\temps\notes&\sqqHH bgdg|\zq h\zqu o\qqbb hkik\enotes +\temps\notes&\sqqHH bgdg|\zq g\zqu n\qqbb gkik\enotes +% +% mesure 100 +\barre\notes\wh H&\qsk\sqqHH afcf|\zh j\zhu q\qsk\qqbb jomo\enotes +\temps\notes&\sqqHH afcf|\qqbb momo\enotes +\temps\notes&\sqqHH afcf|\zq h\zqu o\qqbb hmjm\enotes +\temps\notes&\sqqHH afcf|\zq h\zqu o\qqbb hmjm\enotes +%\check +% mesure 101 +\cleftoksii={6000}\changeclefs +\barre\notes\hu G&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes +\temps\notes&\sQqbb Ndbd|\zq k\zqu r\qqbb kpnp\enotes +\temps\notes\hu J&\sQqbb LcNc|\zq j\zqu q\qqbb jnln\enotes +\temps\notes&\sQqbb LcNc|\zq i\zqu p\qqbb inln\enotes +% +% mesure 102 +\advance\linesinpage by 1\relax +\barre\notes\hu F&\qsk\sQqbb Mcac|\zh h\zhu o\qsk\qqbb hmjm\enotes +\temps\notes&\sQqbb Mcac|\qqbb jmjm\enotes +\temps\notes\hu G&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes +\temps\notes&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes +%\check +% mesure 103 +\barre\notes\wh L&\sQqbb Ne{^c}e|\zq i\zqu p\qqbb inln\enotes +\temps\notes&\sQqbb Nece|\cNa j\rlap{\doubler\zq j\Ibu0qp1\qh0 q\zq i\tqh0p}\relax + \Ibbl1ji2\qb1{jni}\tqb1n\enotes +\cleftoksii={0000}\changeclefs +\temps\notes&\sqqHH af{=c}f|\zq h\zqu o\qqbb hmjm\enotes +\temps\notes&\sqqHH Nece|\zq g\zqu n\qqbb gljl\enotes +% +% mesure 104 +\barre\notes\wh K&\qsk\sqqHH afdf|\zh k\zhu r\qsk\qqbb komo\enotes +\temps\notes&\sqqHH afdf|\qqbb momo\enotes +\temps\notes&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes +\temps\notes&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes +% +% mesure 105 +\barre\notes\qu H&\sqqHH Ne{^c}e|\octp\zq e\zqu l\qqbb e{^j}hj\enotes +\temps\notes\qu I&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes +\temps\notes\qu G&\sqqHH Nece|\octp\zq g\zqu n\qqbb gl{^j}l\enotes +\temps\notes\qu H&\sqqHH Nece|\octp\zq h\zqu o\qqbb hljl\enotes +%\check +% mesure 106 +\barre\notes\hup D&\qsk\sqqHH afdf|\octp\zh d\zhu k\qsk\Qqbb dhfh\enotes +\temps\notes&\sqqHH afdf|\octp\Qqbb fhfh\enotes +\temps\notes&\sqqHH afdf|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes\soupir&\sqqHH afdf|\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 107 +\barre\notes\wh K&\sqqHH Mdad|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH Mdad|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sqqHH Mdad|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sqqHH Mdad|\varaccid\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 108 +\barre\notes\wh G&\qsk\sqqHH Ndbd|\zh i\zhu p\qsk\qqbb inkn\enotes +\temps\notes&\sqqHH Ndbd|\qqbb knkn\enotes +\temps\notes&\sqqHH Ndbd|\zq g\zqu n\qqbb gkik\enotes +\temps\notes&\sqqHH Ndbd|\zq i\zqu p\qqbb inln\enotes +%\check +% mesure 109 +\barre\notes\wh H&\sqqHH afdf|\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\sqqHH ae{^c}e|\zq g\zqu n\qqbb gl{^j}l\enotes +\temps\notes&\sqqHH afdf|\zq f\zqu m\qqbb fkhk\enotes +\temps\notes&\sqqHH aece|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +% mesure 110 +%\check +\xbarre\autolines{9}55\relax +\NOtes&\pointdorgue l\hpause + |\pointdorgue l\hpause\enotes +\zalapage\nostemcut +\temps\NOtes\pointdorgue a\pause + &\soupir|\soupir\enotes +\cleftoksii={6000}\changeclefs +\varaccid +\temps\notes&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 111 +%\check +\barre\NOtes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 112 +%\check +\barre +\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 113 +%\check +\deuxtemps\changecontext +\def\atnextline{\autolines{9}55\relax}\relax +\Notes\qsk\cNa J\dqh{J}J&\qsk\zmidtwotext{\it rit.} + \ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\qsk\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax + |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes +%\check +% mesure 114 +%\check +\quatretemps\changecontext +\NOTEs\cNa F\hu{F}&\zh{JL}\hl a|\zh{ce}\hu h\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes +%\check +% mesure 115 +%\check +\barre\NOTes\hu H&\zh{J=M}\hl a|\zh{c=f}\hu h\enotes +\temps\NOtes&\soupir|\soupir\enotes +\bigaccid +\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes +% mesure 116 +%\check +\barre\NOTes\hup{=I}&\zh{L}\hl{N}|\zh{=be}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh {=I}JHI|\qqhh {=b}cab\enotes +% mesure 117 +%\check +\barre\NOTes\hup{I}&\zh{K}\hl{N}|\zh{bd}\hu g\enotes +\temps\NOtes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh HIGH|\qqhh abNa\enotes +% mesure 118 +\def\atnextline{\autolines{16}45\relax}\relax +%\check +\deuxtemps\changecontext +\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax + |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes +\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax + |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes +%\check +% mesure 119 +%\check +\quatretemps\changecontext +\NOTes\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax + |\pointdorgue l\zh{a}\hu d\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 120 +\advance\barsinline by 1\relax +\barre\notes\hup K&\bigSh M\Qqbb Mcac|\doubler + \bigSh f\zh{f}\zhl h\qu{_l}\enotes +\temps\notes&\Qqbb Mcac|\doubler\qu k\enotes +\temps\notes&\Qqbb Mcac|\doubler\zh{f}\zhl h\qu k\enotes +\temps\notes\soupir&\Qqbb Mcac|\doubler\qu j\enotes +%\check +% mesure 121 +\barre\notes\hup G&\Qqbb KbNb|\doubler\zh{d}\zhl g\hu i\enotes +\temps\notes&\Qqbb KbNb\enotes +\temps\notes&\Qqbb KbNb|\doubler\dqh gh\enotes +\temps\notes\soupir&\Qqbb KbNb|\doubler\dqh{^f}g\enotes +%\check +% mesure 122 +\barre\notes\hup J&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu k\enotes +\temps\notes&\Qqbb LcNc|\doubler\qu j\enotes +\temps\notes&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu j\enotes +\temps\notes\soupir&\Qqbb LcNc|\doubler\qu i\enotes +%\check +% mesure 123 +\barre\notes\hup F&\Qqbb JaLa|\doubler\zh{cf}\hu h\enotes +\temps\notes&\Qqbb JaLa\enotes +\temps\notes&\Qqbb JaMa|\doubler\cNa f\dqh fg\enotes +\temps\notes\soupir&\Qqbb JaMa|\doubler\dqh ef\enotes +%\check +% mesure 124 +\barre\notes\hup I&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu j\enotes +\temps\notes&\Qqbb KbMb|\doubler\qu i\enotes +\temps\notes&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu i\enotes +\temps\notes\soupir&\Qqbb KbMb|\doubler\qu h\enotes +%\check +% mesure 125 +\barre\autolines{16}35\relax +\notes\hup H&\Qqbb LbNb|\doubler\zh{^ce}\hu g\enotes +\temps\notes&\Qqbb LbNb\enotes +\temps\notes&\bigaccid\Qqbb L{^c}Nc|\doubler\dqh ef\enotes +\temps\notes\soupir&\Qqbb LcNc|\doubler\dqh de\enotes +%\check +% mesure 126 +\barre\notes\hu G&\Qqbb LbNb|\doubler\zh{^c}\zhl e\qu i\enotes +\temps\notes&\Qqbb LbNb|\doubler\qu h\enotes +\temps\notes\hu H&\Qqbb LbNb|\doubler\zh{c}\zhl e\qu h\enotes +\temps\notes&\Qqbb LbNb|\doubler\qu g\enotes +%\check +% mesure 127 +\barre\notes\hu K&\Qqbb KaMa|\doubler\zhl{d}\qu f\enotes +\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes +\nspace +\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zhl{d}\qu{^f}\enotes +\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes +%\check +% mesure 128 +\barre\notes\hu K&\Qqbb KbNb|\doubler\zhl{d}\qu g\enotes +\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes +\nspace +\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zh d\zhl{f}\qu h\enotes +\temps\notes&\Qqbb KaMa|\qqhh ihgh\enotes +%\check +% mesure 129 +\barre\notes\hl K&\Qqbb KbNb|\doubler\zh d\zhl{g}\qu i\enotes +\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes +\nspace +\temps\notes\hl L&\bigaccid\Qqbb L{^c}Nc|\doubler\zh e\zhl{g}\qu{^j}\enotes +\temps\notes&\Qqbb LcNc|\qqhh kj{^i}j\enotes +%\check +% mesure 130 +\barre\autolines{17}35\relax +\bigaccid +\notes\hl M&\Qqbb Mdad|\bigaccid\zh{=fh}\hu k\enotes +\temps\notes&\Qqbb Mdad|\enotes +\temps\notes\hu K&\Qqbb Mdad|\zh{f}\hu h\enotes +\temps\notes&\Qqbb Mdad|\enotes +% +% mesure 131 +\barre\notes\hu G&\Qqbb INKN|\doubler\zh{b}\zhl d\qu g\enotes +\temps\notes&\zmidtwotext{\it rit.}\Qqbb INKN|\qu f\enotes +\temps\notes\hu H&\Qqbb {^J}NLN|\doubler\zhl{a^c}\qu e\enotes +\temps\notes&\Qqbb {J}NLN|\qu d\enotes +% +% mesure 132 +\stemcut +\barre \notes\hu D&\Qqbb HMKM|\doubler\zh{a}\hu d\enotes +\temps\notes&\Qqbb HMKM|\enotes +\temps\notes\uptext{\it a tempo}\sk\hpause + &\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes +%\check +% +% mesure 133 +\barre\notes\wh F&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sQqbb KaMa|\normalnotesize\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sQqbb {^J}NLN|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sQqbb INKN|\varaccid\zq d\zqu k\qqbb digi\enotes +% +% mesure 134 +\def\octm{\advance\transpose by -7\relax}% +\barre\notes\hu H&\qsk\Sh J\sQqbb JNLN|\zh{^c}\zhu{^j}\qsk\qqbb cheh\enotes +\temps\notes&\sQqbb JNLN|\qqbb eheh\enotes +\temps\notes\hu G&\sQqbb JNLN|\zq a\zqu h\qqBB aece\enotes +\temps\notes&\sQqbb JNLN|\zq a\zqu h\qqBB aece\enotes +%\check +% mesure 135 +\barre\notes\qu F&\sQqbb HMKM|\octm\zq k\zqu r\qqbb komo\enotes +\temps\notes\qu G&\sQqbb{^J}aLa|\octm\zq l\zqu s\qqbb lono\enotes +\temps\notes\qu H&\sQqbb KaMa|\octm\zq m\zqu t\qqbb mror\enotes +\temps\notes\qu I&\sQqbb KbNb|\octm\zq n\zqu u\qqbb nrpr\enotes +%\check +% mesure 136 +\barre\notes\wh H&\qsk\octm\sQqbb{^c}heh|\octm\zh l\zhu s\qsk\qqbb l{^q}oq\enotes +\temps\notes&\octm\sQqbb cheh|\octm\qqbb oqoq\enotes +\temps\notes&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 137 +\barre\notes\wh K&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\octm\sQqbb dhfh|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\octm\sQqbb dhfh|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\octm\sQqbb dhfh|\varaccid\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 138 +\barre\notes\wh G&\qsk\sQqbb KbNb|\zh i\zhu p\qsk\qqbb inkn\enotes +\temps\notes&\sQqbb KbNb|\qqbb knkn\enotes +\temps\notes&\octm\sQqbb bgdg|\zq g\zqu n\qqbb gkik\enotes +\temps\notes&\octm\sQqbb bgdg|\zq i\zqu p\qqbb inln\enotes +%\check +% mesure 139 +\barre\notes\wh H&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\octm\sQqbb{^c}heh|\zq g\zqu o\qqbb gl{^j}l\enotes +\temps\notes&\octm\sQqbb afdf|\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\sQqbb JaLa|\zq g\zqu o\qqbb gljl\enotes +%\check +% mesure 140 +\barre\notes\hl K&\sQqbb Mdad|\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes +\temps\notes&\sQqbb Mdad|\Qqbb hfhf\enotes +\temps\notes\Ilegu0d\ql d&\sQqbb KaMa|\uptext{\it positif}\sQqbb hfhf\enotes +\temps\notes\ql d&\sQqbb KaMa|\raise\Interligne\rlap{\hpause}\sQqbb hfhf\enotes +%\check +% mesure 141 +\barre\notes\ql d&\sQqbb KbNb|\smallnotesize\zhu k\raise -\Interligne\qs\sTqbb gig\enotes +\temps\notes\doubler\dqb cb&\sQqbb KbNb|\sQqbb igig\enotes +\temps\notes\ql a&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb gig\enotes +\temps\notes\ql N&\sQqbb LcNc|\sQqbb igig\enotes +%\check +% mesure 142 +\barre\notes\hl c\tleg0&\sQqbb JaMa|\smallnotesize\zw m\raise -\Interligne\qs\sTqbb hjh\enotes +\temps\notes&\sQqbb JaMa|\sQqbb jhjh\enotes +\temps\notes\Ilegu0a\ql a&\sQqbb JaMa|\sQqbb jhjh\enotes +\temps\notes\ql a&\sQqbb JaMa|\sQqbb jhjh\enotes +%\check +% mesure 143 +\barre\notes\ql b&\sQqbb IMKM|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes +\temps\notes\ql d&\sQqbb IMKM|\sQqbb kiki\enotes +\temps\notes\ql c&\sQqbb JNLN|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb jgj\enotes +\temps\notes\ql b&\sQqbb JNLN|\sQqbb gjgj\enotes +%\check +% mesure 144 +\barre\notes\tleg0\hl a&\sQqbb Mcac|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb hjh\enotes +\temps\notes&\sQqbb Mcac|\sQqbb jhjh\enotes +\temps\notes\Ilegu0c\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes +\temps\notes\ql b&\sQqbb Mdbd|\sQqbb kiki\enotes +%\check +% mesure 145 +\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes +\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\sQqbb kiki\enotes +\temps\notes\ql a&\sQqbb Mdbd|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb gig\enotes +\temps\notes\ql N&\sQqbb Mdbd|\sQqbb igig\enotes +%\check +% mesure 146 +\barre\notes\hl d\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\sTqbb fhf\enotes +\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\Ilegu0a\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes +\temps\notes\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes +%\check +% mesure 147 +\barre\notes\ql L&\bigaccid\sQqbb L{^c}ac|\smallnotesize\bigaccid + \zwh l\raise -\Interligne\qs\sTqbb h{^j}h\enotes +\temps\notes\ql M&\sQqbb L{c}ac|\sQqbb jhjh\enotes +\temps\notes\ql N&\sQqbb LcNc|\sQqbb jgjg\enotes +\temps\notes\ql a&\sQqbb LcNc|\sQqbb jgjg\enotes +%\check +% mesure 148 +\barre\autolines{8}65\relax +\NOTes\pointdurgue H\hu K\tleg0&\pointdurgue H\smallnotesize\zh{Ma}\hl d\relax + |\pointdorgue m\smallnotesize\zh{fh}\hu k\enotes +\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 149 +\barre\NOtes\hu K&\zh M\hl a|\zh d\hu f\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +%\check +% mesure 150 +%\check +\barre\NOtes\hu K&\zh M\hl a|\zh{df}\hu h\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes +% mesure 151 +%\check +\deuxtemps\changecontext +\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax + |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes +\temps\Notes\dqh{J}J&\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax + |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes +%\advancebottom{-2\Interligne}% +%\check +% mesure 152 +\quatretemps\changecontext\varaccid +\NOTes\pointdurgue H\hu K&\pointdorgue a\zh{M}\hl a\relax + |\pointdorgue l\zh{df}\hu h\enotes +\temps\Notes&\soupir|\uptext{\it\kern -1em a tempo}\soupir\enotes +\temps\notes\hpause&\qqhh K{_L}{^J}K|\qqhh d{_e}{^c}d\enotes +% mesure 153 +\barre\NOtes\hu K&\zh{^Ma}\hl c|\zh{^fhj}\hl{_l}\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh K{_L}{^J}K|\qqhh d{_e}{^c}d\enotes +% mesure 154 +\barre\NOtes\hu J&\zh{^Ma}\hl c|\zh{hj}\hl{^m}\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh K{_L}{=J}K|\qqhh d{_e}{=c}d\enotes +% mesure 155 +\barre\NOtes\hu I&\zh{LN}\hl{^c}|\lSh j\zh{j=l}\hl n\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh K{_L}{=J}K|\qqhh d{_e}{=c}d\enotes +% mesure 156 +\barre\NOtes\hu G&\zh{KN}\hl{b}|\zh{ik}\hl n\enotes +\temps\Notes&\soupir|\soupir\enotes +\temps\notes\hpause&\qqhh HIGH|\qqhh abNa\enotes +%\check +% mesure 157 +\barre\NOtes\qu D&\zq{^Ma}\ql{d}|\zq{^fh}\ql k\enotes +\temps\NOtes\pointdorgue a\soupir&\pointdorgue a\soupir|\pointdorgue l\soupir\enotes +\temps\notes\hu H&\sQqbb Mdad|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sQqbb Mdad|\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 158 +\barre\autolines{16}35\relax +\notes\wh H&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sQqbb KaMa|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sQqbb KaMa|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sQqbb KaMa|\varaccid\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 159 +\staffbotmarg=2pt +\barre\notes\qu H&\sQqbb L{^c}ac|\zq h\zqu o\qqbb hl{^j}l\enotes +\temps\NOtes\pointdorgue a\soupir&\pointdorgue a\soupir|\pointdorgue l\soupir\enotes +\cleftoksii={0000}\changeclefs +\temps\notes\sk\hpause&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +% +% mesure 160 +\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes +\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax + \Ibbl1gf2\qb1{gkf}\tqb1k\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes +\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes +% +% mesure 161 +\barre\notes\wh G&\roff{\sqqHH digi}|\iffiveoctaves + \octp\zh i\zhu p\roff{\qqbb inkn}\relax + \else\octp\zh g\zhu n\roff{\qqbb gkik}\relax + \fi\enotes + \nspace +\temps\notes&\sqqHH digi|\iffiveoctaves + \octp\qqbb knkn\relax + \else\octp\qqbb gkik\relax + \fi\enotes +\temps\notes&\sqqHH digi|\iffiveoctaves + \octp\zq g\zqu n\qqbb gkik\relax + \else\octp\zq e\zqu l\qqbb eigi\relax + \fi\enotes +\temps\notes&\sqqHH eigi|\iffiveoctaves + \octp\zq i\zqu p\qqbb inln\relax + \else\octp\zq e\zqu l\qqbb eigi\relax + \fi\enotes +%\check +% mesure 162 +\barre\autolines{8}65\relax +\notes\wh H&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hmkm\enotes +\temps\notes&\sqqHH{^c}heh|\octp\zq g\zqu n\qqbb gl{^j}l\enotes +\temps\notes&\sqqHH dhfh|\octp\zq f\zqu m\qqbb fkhk\enotes +\temps\notes&\sqqHH aece|\varaccid\octp\zq e\zqu l\qqbb e{j}gj\enotes +%\check +% mesure 163 +\barre\NOtes\pointdorgue N\hpause + &\zmidtwotext{\ppff {f}{f}{f}}\pointdurgue f\hpause|\pointdorgue l\hpause\enotes +\temps\NOtes\lppz G\qu G&\lppz b\zq{bd}\qu g|\Uptext{\moyen Maestoso}\octp\uppz g\zq{bd}\ql g\enotes +\temps\NOtes\lppz G\qu I&\lppz d\zq{dg}\qu i|\octp\uppz i\zq{dg}\ql i\enotes +% mesure 164 +\barre +\NOtes\lppz H\qu H&\octp\lppz K\zq{KM}\qu a|\octp\uppz h\zq{df}\ql h\enotes +\temps\NOtes\lppz H\qu H&\octp\lppz I\zq{IK}\qu N|\octp + \uppz g\zq{bd}\ql g\enotes +\temps\NOtes\lppz H\qu H&\octp\lppz H\zq{HK}\qu M|\octp + \uppz f\zq{ad}\ql f\enotes +\temps\NOtes\lppz H\qu H&\octp\lppz H\zq{H^J}\qu L|\octp + \uppz e\zq{a^c}\ql e\enotes +% mesure 165 +\barre\NOtes\qu I&\zq{bd}\qu{h}|\zq{ik}\ql o\enotes +\temps\NOtes\pointdorgue a\soupir&\pointdorgue l\soupir|\pointdorgue l\soupir\enotes +\temps\NOtes\lppz G\qu G&\octp\uppz N\zq{IK}\ql N|\octp\uppz g\zq{bd}\ql g\enotes +\temps\notes\lppz G\qu I&\octp\uppz N\zq{IK}\ql N|\octp\uppz i\zq{bdg}\ql i\enotes +\cleftoksii={6000}\changeclefs +% mesure 166 +\barre\NOtes\lppz G\qu H&\octp\uppz M\zq{HK}\ql M|\octp\uppz h\zq{adf}\ql h\enotes +\temps\NOtes\lppz G\qu G&\octp\uppz K\zq{GI}\ql K|\octp\uppz g\zq{Nbd}\ql g\enotes +\temps\NOtes\lppz F\qu F&\octp\uppz K\zq{FH}\ql K|\octp\uppz f\zq{Mad}\ql f\enotes +\temps\NOtes\lppz E\qu E&\octp\uppz J\zq{EH}\ql{^J}|\octp\uppz e\zq{La^c}\ql e\enotes +% mesure 167 +\barre\NOTes\wh D&\octp\zw{DF}\wh{H}|\octp\zw{KMa}\wh d\enotes +\finmorceau +\staffbotmarg=0pt +\rightline{\sl\aujourdhui}\vfil\eject + +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fantcmol.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fantcmol.tex new file mode 100644 index 00000000000..0a1d3956e32 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fantcmol.tex @@ -0,0 +1,626 @@ +\fullauthor{Daniel TAUPIN} +\shortauthor{D. Taupin} +\fulltitle{XI. Fantaisie et fugue en style baroque} +\shorttitle{Fantaisie et fugue en style baroque} +\csname titremorceautoc\endcsname +\shorttitle{Fantaisie en style baroque} +\subtitle{{\frtbf Fantaisie}} +\othermention{Compos\'e en 1995} +\maketitle + + % if transpose not defined outside assume 0 and three flats +\ifx\ftranspose\undefined\def\ftranspose{0}\fi +\ifx\fsignature\undefined\def\fsignature{-3}\fi + + +\parindent 18mm +\tracingstats=2\relax + % + % formes fr\'equentes + % + %au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% + %au moins deux doubles croches basses et hautes +\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% + %au moins trois doubles croches basses et hautes +\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}% +\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}% +\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}% + %au moins quatre croches basses et hautes +\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% + %au moins quatre doubles croches basses et hautes +\def\qqbb#1#2#3#4{\varaccid\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqbb#1#2#3#4{\varaccid\smallnotesize\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqbb#1#2#3#4{\varaccid\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sQqbb#1#2#3#4{{\varaccid\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}% +\def\qqBB#1#2#3#4{\varaccid\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqBB#1#2#3#4{{\varaccid\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}% +\def\qqhh#1#2#3#4{\varaccid\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\sqqhh#1#2#3#4{\varaccid\smallnotesize\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqhh#1#2#3#4{\varaccid\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\sQqhh#1#2#3#4{\varaccid\smallnotesize\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqHH#1#2#3#4{\varaccid\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +\def\sqqHH#1#2#3#4{{\varaccid\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}% + % +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={6000}% +\global\cleftoksi={6000}% +% +\noautolines + % +\generalsignature{\fsignature}\relax % r\'e mineur +\transpose=\ftranspose\relax + %\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.}% + %\check +\medskip\noindent{\rm G.O.: Plein jeu, fonds 16' {\sl ad libitum.}}% +\par\noindent{\rm Pos.: Plein jeu, acc. G.O.}% +\par\noindent{\rm P\'ed.: fonds et anches 16', tirasses G.O. \& pos.}% +\smallskip + % +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\doubler{\multiply\noteskip by 2\relax}% +\generalmeter{\meterfrac 34} +\staffbotmarg=10pt +\stafftopmarg=0pt +\interstaff{10} +\debutmorceau +%\noautolines +\relativeaccidentals +\bigaccid +%\autolines{9}55\relax +\znotes&|\Uptext{\hbox{\kern -8mm\moyen Allegro + \bf(\metron{\qu}{55})}}\enotes + %\advance\linesinpage by 1\relax + %\check + % mesure 1 +\notes&\sqqhh JKLM|\sqqhh cdef\enotes +\temps\notes\sk\pause&\sqqhh NLKJ|\sqqhh gedc\enotes +\temps\notes&\sqqhh caNM|\sqqhh jhgf\enotes + %\check + % mesure 2 +\barre\notes&\sqqhh NaMa|\sqqhh ghfh\enotes +\temps\notes\sk\pause&\sqqhh NLKJ|\sqqhh gedc\enotes +\temps\notes&\sqqhh caNM|\sqqhh jhgf\enotes + %\check + % mesure 3 +\barre\notes&\sqqhh NaMN|\sqqhh ghfg\enotes +\temps\notes\sk\pause&\sqqhh LMKL|\sqqhh efde\enotes +\temps\notes&\sqqhh JLKJ|\sqqhh cedc\enotes + %\check + % mesure 4 +\barre\notes\hu G&\sqqbb N{^a}{^b}c|\itenu1i\itenl2g\zq{^id}\qu g\enotes +\temps\notes&\sqqbb dbaN|\tten1\tten2\itenl1g\zhl g\zq{k}\qu{^i}\enotes +\temps\notes\qu J&\sqqbb edec|\zq{l}\qu j\enotes + %\check + % mesure 5 +\barre\notes\hu G&\sqqbb{^b}cdb|\tten1\itenl1g\zhlp g\zh{^i}\hu k\enotes +\temps\notes&\sqqbb NabN|\enotes +\temps\notes\qu J&\sqqbb edec|\zq j\qu l\enotes + %\check + % mesure 6 +\barre\notes\qu I&\sqqbb decd|\tten1\zq{g=i}\qu k\enotes +\temps\notes\qu K&\sqqbb {=b}c{^a}b|\zq{hj}\qu{^m}\enotes +\temps\notes\qu G&\sqqbb N{^b}aN|\zq{^ik}\qu n\enotes + %\check + % mesure 7 +\barre\notes\hu J&\itenu1c\zh{Nc}\hl e|\sqqbb jklm\enotes +\temps\notes&|\sqqbb nlkj\enotes +\temps\notes\qu H&\tten1\itenu1c\zq{ac}\ql f|\sqqbb qonm\enotes + %\check + % mesure 8 +\barre\notes\hu J&\tten1\itenu1c\zh{Nc}\hl e|\sqqbb nomo\enotes +\temps\notes&|\sqqbb nlkj\enotes +\temps\notes\qu H&\tten1\zq{ac}\ql f|\sqqbb qonm\enotes + %\check + % mesure 9 +\barre\notes\qu G&\itenl1N\zh N\zhl{^b}\qu d|\sqqbb nomn\enotes +\temps\notes\qu{^I}&\qu f|\sqqhh lmkl\enotes +\temps\notes\qu J&\tten1\zq N\lfl b\zq{b}\ql{^e}|\sqqhh j{^l}kj\enotes + %\check + % mesure 10 +\barre\notes\hu F&\sqqbb MNab|\itenu1m\zh h\zhl j\hup m\enotes +\temps\notes&\sqqbb caNM\enotes +\temps\notes\qu I&\sqqbb f{_d}cb|\zq i\ql k\enotes + %\check + % mesure 11 +\barre\notes\hu F&\sqqbb c{_d}bd|\tten1\itenu1m\zh h\zhl j\hup m\enotes +\temps\notes&\sqqbb caNM\enotes +\temps\notes\qu I&\sqqbb fdcb|\zq i\ql k\enotes + %\check + % mesure 12 +\barre\notes\qu H&\sqqbb c{_d}bc|\tten 1\zq h\zq j\ql m\enotes +\temps\notes\qu J&\sqqbb abNa|\zq g\zq i\ql{^l}\enotes +\temps\notes\qu F&\sqqbb MNab|\zq h\zq j\ql m\enotes + %\check + % mesure 13 +\barre\notes\hu J&\zh N\zhl{^e}\roff{\qu c}|\sqqbb jk{^l}m\enotes +\temps\notes&\qu b|\sqqbb nlkj\enotes +\temps\notes\qu H&\zq{ac}\ql f|\sqqbb qonm\enotes + %\check + % mesure 14 +\barre\notes\hu J&\zh N\zhl{^e}\roff{\qu c}|\sqqbb nomo\enotes +\temps\notes&\qu b|\sqqbb n{^l}kj\enotes +\temps\notes\qu H&\zq{ac}\ql f|\sqqbb qonm\enotes + %\check + % mesure 15 +\barre\notes\qu G&\itenl1N\zql N\zq c\qu {=e}|\sqqbb nomn\enotes +\temps\notes\qu {^I}&\tten1\zq N\zq {^b}\qu f|\sqqbb {=l}mkl\enotes +\temps\notes\qu J&\zq {=b}\rq c\qu {^e}|\sqqbb jk{^l}j\enotes + %\check + % mesure 16 +\barre\notes\hu {^H}&\sqqbb MN{^a}b|\itenl1h\zhp{^hj}\hlp m\enotes +\temps\notes&\sqqbb cbca\enotes +\temps\notes\qu J&\sqqbb {=e}c{^a}N|\enotes + %\check + % mesure 17 +\barre\notes\hu K&\sqqbb {^M}N{^a}b|\tten1\itenl1h\itenu2m\zh{^hk}\hl{^m}\enotes +\temps\notes&\sqqbb cbca\enotes +\temps\notes\qu J&\sqqbb {^f}{=e}dc|\tten1\tten2\zq{hj}\ql m\enotes + %\check + % mesure 18 +\barre\notes\qu I&\sqqbb bcdb|\itenl1i\itenu2n\zq{ik}\ql n\enotes +\temps\notes\qu L&\sqqbb g{=e}dc|\tten1\tten2\zq{il}\ql n\enotes +\temps\notes\qu K&\sqqbb d{^e}{^f}d|\zq{^hj}\ql{^m}\enotes + %\check + % mesure 19 +\barre\notes\qu I&\sqqbb g{=e}dc|\zq{ik}\zqu n\enotes +\temps\notes\qu H&\sqqbb dcba|\zq{^hj}\zqu{^m}\enotes +\temps\notes\qu G&\sqqbb N{^a}{^b}N|\zq{^ik}\zqu{=m}\enotes + %\check + % mesure 20 +\barre\notes\hu{^H}&\itenl1c\itenu2e\lSh c\zq{^ac}\ql{^e}|\sqqbb {^j}k{^l}m\enotes +\temps\notes&\tten1\tten2\zq{ce}\ql g|\sqqbb nmnl\enotes +\temps\notes\qu K&\zq{^ad}\ql{=f}|\sqqbb mlk{=j}\enotes + %\check + % mesure 21 +\barre\notes\qu G&\itenl1N\itenu2f\zhlp N\zq{^b}\qu f|\sqqbb {^i}jkl\enotes +\temps\notes\qu {^I}&\tten2\zq{d}\qu f|\sqqbb mlmk\enotes +\temps\notes\qu J&\zq{=b}\qu {^e}|\sqqbb lkj{=i}\enotes + %\check + % mesure 22 +\barre\notes\hup{^H}&\tten1\lSh c\zql N\zhp{c}\hup{^e}|\sqqbb {^h}{^i}{^j}k\enotes +\temps\notes&\ql{^a}|\sqqbb {^l}k{^j}i\enotes +\temps\notes&\ql N|\sqqbb jhij\enotes + %\check + % mesure 23 +\generalsignature{2}\changecontext +\notes\itenl1K\hup K&\sqqbb MNaM|\itenl2k\zh {hm}\hu k\enotes +\temps\notes&\sqqbb KMNa|\enotes +\temps\notes&\sqqbb babN|\tten2\itenl2k\zq{ik}\ql n\enotes + %\check + % mesure 24 +\barre\notes\tten1\hup K&\sqqbb abad|\tten2\itenu2m\zh{hk}\hl m\enotes +\temps\notes&\sqqbb cbaN|\enotes +\temps\notes&\sqqbb MNaM|\tten2\itenu2m\zq{_j}\zql m\qu o\enotes + %\check + % mesure 25 +\barre\notes\hu I&\sqqbb KMNa|\tten2\zh i\zhl k\qu m\enotes +\temps\notes&\sqqbb babN|\qu n\enotes +\temps\notes\qu H&\sqqbb cabc|\zq j\zql l\qu o\enotes + %\check + % mesure 26 +\barre\notes\hu K&\itenu1d\zh{ad}\hl f|\sqqbb klmn\enotes +\temps\notes&|\sqqbb omlk|\enotes +\temps\notes\qu I&\tten1\itenu1d\zq{bd}\ql g|\sqqbb popn|\enotes + %\check + % mesure 27 +\barre\notes\hu K&\tten1\zh{ad}\hl f|\sqqbb opon|\enotes +\temps\notes&|\sqqbb monm|\enotes +\temps\notes\qu G&\zq{be}\ql g|\sqqbb nmlk|\enotes + %\check + % mesure 28 +\barre\notes\hup H&\zhp a\zhlp c\hu e|\sqqbb jklm|\enotes +\temps\notes&|\sqqbb nlon|\enotes +\temps\notes&\qu g|\sqqbb {_m}lkj|\enotes + %\check + % mesure 29 +\barre\notes\hu K&\sqqbb KL{_M}N|\itenu1k\zh {_fh}\hu k\enotes +\temps\notes&\sqqbb aNaM|\enotes +\temps\notes\qu G&\sqqbb {_b}aNb|\tten1\itenu1k\zq{g_i}\qu k\enotes + %\check + % mesure 30 +\barre\notes\hup K&\sqqbb a{_M}LK|\tten1\zq{_f}\zql h\hup k\enotes +\temps\notes&\sqqbb d{_b}aN|\zq g\ql{_i}\enotes +\temps\notes&\sqqbb aNMa|\zq f\ql h\enotes + %\check + % mesure 31 +\barre\notes\qu G&\sqqbb N{_M}LK|\zq g\zq{_i}\ql l\enotes +\temps\notes\qu H&\sqqbb JKLM|\itenu0j\zq h\zq j\ql {_m}\enotes +\temps\notes\qu F&\sqqbb {=M}{^N}{^a}M|\tten0\lSh h\zq{h}\zq j\ql {=m}\enotes + %\check + % mesure 32 +\barre\notes\itenl1I\hup I&\itenl2b\zh b\zh d\hl f|\sqqbb ijkl\enotes +\temps\notes&|\sqqbb mkji\enotes +\temps\notes&\tten2\itenl2b\zq b\zq e\ql g|\sqqbb pnml\enotes + %\check + % mesure 33 +\barre\notes\tten1\hu I&\tten2\zh b\zh d\itenu2f\hl f|\sqqbb mnml\enotes +\temps\notes&|\sqqbb km{^o}p\enotes +\temps\notes\qu F&\tten2\itenu2f\zq{^ac}\ql f|\sqqbb qpo{^n}\enotes + %\check + % mesure 34 +\barre\notes\hup I&\zh b\tten2\itenu2d\itenu3f\zh {^d}\hl f|\sqqbb ml{^k}j\enotes +\temps\notes&|\sqqbb klm{=o}\enotes +\temps\notes&\tten2\tten3\zq{df}\ql{=a}|\sqqbb {_q}omk\enotes + %\check + % mesure 35 +\barre\notes\hu E&\sqqbb LMNa|\zh{gi}\itenu1l\hl l\enotes +\temps\notes&\sqqbb bNML|\enotes +\temps\notes\qu H&\sqqbb e{_c}ba|\zq{h_j}\tten1\itenu1l\ql l\enotes + %\check + % mesure 36 +\barre\notes\hu E&\sqqbb b{_c}ac|\zh{gi}\tten1\itenu1l\hl l\enotes +\temps\notes&\sqqbb bNML|\enotes +\temps\notes\qu {_J}&\sqqbb ecba|\zq{h_j}\tten1\itenu1l\ql l\enotes + %\check + % mesure 37 +\barre\notes\hu I&\sqqbb b{_c}ab|\tten1\itenl1i\zq{g}\zql i\qu l\enotes +\temps\notes&\sqqbb NaMN|\loff{\tten1\zq g}\zql h\qu{^k}\enotes +\temps\notes\qu{^G}&\sqqbb L{^N}ML|\zq{^gi}\ql l\enotes + %\check + % mesure 38 +\barre\notes\hup H&\zh N\zh c\hl e|\sqqhh hijk\enotes +\temps\notes&|\sqqhh ljih\enotes +\temps\notes\qu{_F}&\itenl1a\zq a\zq d\ql {_f}|\sqqhh {_m}lmk\enotes + %\check + % mesure 39 +\barre\notes\hu J&\tten1\zhp c\zhlp a\hu e|\sqqhh lkji\enotes +\temps\notes&|\sqqhh jhjk\enotes +\temps\notes\qu H&\qu g|\sqqhh ljkl\enotes + %\check + % mesure 40 +\barre\notes\qu F&\itenu1f\zq {^a}\zq c\ql f|\sqqhh mlkj\enotes +\temps\notes\hu I&\tten1\zql b\zh{^d}\hu f|\sqqhh {^k}ikm\enotes +\temps\notes&\ql {=a}|\sqqhh ponm\enotes + %\check + % mesure 41 +\generalsignature{3}\relax +\changecontext\notes\hu J&\sqqbb {^L}M{N}L|\itenu0j\zh{^l}\zh g\hu j\enotes +\temps\notes&\sqqbb cbaN\enotes +\temps\notes\qu F&\sqqbb aMac|\tten0\itenu0m\zq m\zq h\qu j\enotes + %\check + % mesure 42 +\barre\notes\hu I&\sqqbb fedc|\tten0\zhp i\zhlp k\hu m\enotes +\temps\notes&\sqqbb decd\enotes +\temps\notes\qu K&\sqqbb bdcb|\qu n\enotes + %\check + % mesure 43 +\barre\notes\hu E&\zhp{N}\zhlp b\hu d|\sqqhh {g}hi{_j}\enotes +\temps\notes&|\sqqhh kihg\enotes +\temps\notes\qu G&\itenu1e\qu e|\sqqhh lkji\enotes + %\check + % mesure 44 +\barre\notes\hu H&\tten1\zhp c\zhup e\hl a|\sqqhh {=j}kji\enotes +\temps\notes&|\sqqhh jhjk\enotes +\temps\notes\qu{_G}&\ql {_N}|\sqqhh ljkl\enotes + %\check + % mesure 45 +\barre\notes\hu F&\advance\transpose -7\relax\sqqbb f{g}{^h}i|\zh{^h}\zhl + j\itenu1m\hup m\enotes +\temps\notes&\advance\transpose -7\relax\sqqbb jhgf\enotes +\temps\notes\qu I&\advance\transpose -7\relax\sqqbb kjki|\zq i\ql k\enotes + %\check + % mesure 46 +\barre\notes\hu F&\advance\transpose -7\relax\sqqbb jkik|\tten1\zh{^h}\zh j\hl m\enotes +\temps\notes&\advance\transpose -7\relax\sqqbb j{^h}{g}f\enotes +\temps\notes\qu{^H}&\advance\transpose -7\relax\sqqbb lklj|\zq j\zq l\ql{^o}\enotes + %\check + % mesure 47 +\barre\notes\qu I&\advance\transpose -7\relax\sqqbb kji{=h}|\itenl1i\itenl2k\zq +i\zq k\ql m\enotes +\temps\notes\qu K&\advance\transpose -7\relax\sqqbb +{g}hig|\tten1\tten2\itenu1n\zq i\zq k\ql n\enotes +\temps\notes\qu J&\advance\transpose -7\relax\sqqbb {^l}{^k}lj|\tten1\zq +j\zq{^l}\ql n\enotes + %\check + % mesure 48 +\barre\notes\hu H&\zh a\zhl c\itenu1f\hup f|\sqqbb mnop\enotes +\temps\notes&|\sqqbb qpqo\enotes +\temps\notes\qu I&\itenu2b\itenu0d\zq b\ql d|\sqqbb rqrp\enotes + %\check + % mesure 49 +\barre\notes\qu G&\tten0\tten1\tten2\zq b\zq d\ql f|\advance\transpose 7\sqqbb mkji\enotes +\temps\notes\qu J&\zq {c^e}\zql g|\advance\transpose 7\sqqbb jkik\enotes +\temps\notes\qu H&\zq{ac}\ql f|\advance\transpose 7\sqqbb jhgf\enotes + %\check + % mesure 50 +\barre\notes\qu G&\itenu1c\zql N\zh c\hu {^e}|\sqqhh nm{^l}{^k}\enotes +\temps\notes\qu J&\ql b|\sqqhh jihg\enotes +\temps\notes\qu H&\tten1\zq{a}\ql c|\sqqhh hfhj\enotes + % mesure 51 +\barre\notes\hup F&\sqqbb MNab|\zhp {hj}\itenu1m\hlp m\enotes +\temps\notes&\sqqbb c{^d}{^e}c\enotes +\temps\notes&\sqqbb f{=e}{=d}c\enotes + %\check + % mesure 52 +\barre\notes\hu I&\sqqbb dcdb|\tten1\zq i\zq k\ql m\enotes +\temps\notes&\sqqbb Nabc|\zq g\itenu1j\itenu2l\zq j\ql{^l}\enotes +\temps\notes\qu J&\sqqbb {^d}{^e}fg|\tten1\tten2\zq j\zq l\ql n\enotes + %\check + % mesure 53 +\barre\notes\hup H&|\zq h\itenu1j\itenu2m\zq j\zqu m\sqqbb f{^e}fc\enotes +\temps\notes&|\tten1\tten2\itenu2m\zq j\zqu m\sqqbb hghf\enotes +\temps\notes&|\tten2\zqu m\sqqbb jijh\enotes + % mesure 54 + %\check +\barre\notes\qu{^H}&|\itenl1f\zq f\zql c\sqqhh m{^l}mj\enotes +\temps\notes\qu I&|\tten1\zq b\zql f\sqqhh kjki\enotes +\temps\notes\qu G&|\zq N\zq b\zql{=e}\sqqhh {=l}kli\enotes + % mesure 55 + %\check +\barre\notes\qu H&\itenu1a\zq{ac}\ql e|\sqqhh jijh\enotes +\temps\notes\qu F&\tten1\itenu1d\zq{Ma}\ql d|\sqqhh kjkh\enotes +\temps\notes\qu G&\tten1\itenu1N\zq{Nb}\ql d|\sqqhh ihig\enotes + % mesure 56 + %\check +\barre\notes\qu{^E}&\tten1\zq{^L}\zql N\hu c|\sqqhh jijg\enotes +\temps\notes\qu F&\zh M\hl a|\sqqhh high\enotes +\temps\notes\qu D&\qu d|\sqqhh fhgf\enotes + % mesure 57 + %\check +\barre\notes\hup C&\zq{^L}\zql N\itenu1c\zhup c|\zqu j\ibbl0g0\qb0{j^e^d}\tqb0e\enotes +\temps\notes&\zq M\ql a|\zqu j\ibbl0h0\qb0{jfe}\tqb0f\enotes +\temps\notes&\zq N\ql b|\zqu j\ibbl0h0\qb0{jgf}\tqb0g\enotes + % mesure 58 + %\check +\barre\notes\qu D&\tten1\itenl1M\itenu2c\zq M\zq a\ql c|\zqu j\sqqBB jhgh\enotes +\temps\notes\qu F&\tten1\tten2\zq M\zq{^a}\ql c|\zqu m\sqqBB m{^h}gh\enotes +\temps\notes\qu G&\zq N\zq b\ql d|\zqu m\sqqBB mihi\enotes + % mesure 59 + %\check +\barre\notes\qu {^H}&\zq{^a}\zq c\itenu1f\ql f|\zqu m\sqqBB mjij\enotes +\temps\notes\qu I&\zh b\zh d\tten1\hl f|\zqu m\sqqBB mkjk\enotes +\temps\notes\qu {=H}&|\zqu i\sqqbb ijkm\enotes + % mesure 60 + %\check +\barre\notes\qu G&\zql N\zhp c\hup{^e}|\zqu n\sqqBB n{^l}kl\enotes +\temps\notes\hu I&\hl b|\zqu j\sqqbb jlkl\enotes +\temps\notes&|\zqu n\sqqBB nlkl\enotes + % mesure 61 + %\check +\barre\notes\hup H&\zhp {ac}\hlp f|\zqu j\sqqBB jm{^l}m\enotes +\temps\notes&|\zqu o\sqqbb omlm\enotes +\temps\notes&|\zqu j\sqqBB jmlm\enotes + % mesure 62 + %\check +\barre\notes\qu I&\itenu1g\zq b\zql d\hup g|\zqu p\sqqBB pnmn\enotes +\temps\notes\qu J&\zq{c}\ql {^e}|\zqu {^l}\sqqbb lnmn\enotes +\temps\notes\qu K&\zq{b}\ql d|\zqu p\sqqBB pnmn\enotes + % mesure 63 + %\check +\barre\notes\qu J&\tten1\itenu1c\zq{c^e}\ql g|\sqqbb {^l}nmn\enotes +\temps\notes\qu H&\tten1\zq{ac}\itenu1f\ql f|\sqqbb opno\enotes +\temps\notes\qu I&\tten1\zq{bd}\ql f|\sqqbb monm\enotes + % mesure 64 + %\check +\barre\notes\itenl3J\hup J&\sqqhh JK{^L}M|\itenu2q\zh{^ln}\hl q\enotes +\temps\notes&\sqqbb NabN\enotes +\temps\notes&\sqqbb abNa|\tten2\itenu1m\itenu2o\zq{mo}\ql q\enotes + % mesure 65 + %\check +\barre\notes\tten3\itenl3J\hup J&\sqqbb MaNM|\tten1\tten2\zq{jm}\ql o\enotes +\temps\notes&\sqqbb {^L}cbc|\itenu1q\zh{^ln}\hl q\enotes +\temps\notes&\sqqbb Lcbc\enotes + % mesure 66 + %\check +\barre\notes\tten3\itenl3J\hup J&\sqqbb Mcac|\tten1\itenu1q\zh m\zhl o\hup q\enotes +\temps\notes&\sqqbb Mcac\enotes +\temps\notes&\sqqbb Ncbc|\itenu4n\itenu2p\zq n\ql p\enotes + % mesure 67 + %\check +\barre\notes\tten3\hup J&\sqqbb Ncbc|\tten4\tten2\roff{\tten1\zhup q}\zq p\ql n\enotes +\temps\notes&\sqqbb af{^e}f|\itenu1m\zh m\hl o\enotes +\temps\notes&\sqqbb afef\enotes + % mesure 68 + %\check +\barre\notes\qu I&\sqqbb df{=e}d|\tten1\itenl1m\zhlp m\zq p\qu r\enotes +\temps\notes\hu J&\sqqbb cfac|\itenu2o\itenu3q\zh o\hu q\enotes +\temps\notes&\sqqbb MaNM\enotes + % mesure 69 + %\check +\barre\notes\qu H&\sqqbb JMac|\tten3\tten1\tten2\itenu1m\zq m\zq o\ql q\enotes +\temps\notes\qu I&\sqqbb dcba|\tten1\itenu1p\zq m\zq p\ql r\enotes +\temps\notes\qu L&\sqqbb NabN|\tten1\zq l\zq n\ql p\enotes + % mesure 70 + %\check +\barre\notes\hu H&\itenl1a\zh c\zhu e\hlp a|\sqqbb opqr\enotes +\temps\notes&|\sqqbb srsq\enotes +\temps\notes\qu K&\zq d\ql{_f}|\sqqbb {_t}str\enotes + % mesure 71 + %\check +\barre\notes\qu H&\tten1\zhl a\zq c\qu e|\sqqbb srqs\enotes +\temps\notes\qu I&\zq d\qu{_f}|\sqqbb r{_q}po\enotes +\temps\notes\qu E&\zq N\zq b\ql e|\sqqbb nopn\enotes + \generalsignature{0}\relax +% mesure 72 +\changecontext\notes\itenl2H\hup H&\sqqbb abcd|\itenl1o\zhlp o\zh q\hu s\enotes +\temps\notes&\sqqbb ecba\enotes +\temps\notes&\sqqbb hfed|\zq r\qu t\enotes + %\check + %mesure 73 +\barre\notes\tten2\itenl2H\hup H&\sqqbb efdf|\tten1\itenl1o\zhlp o\zh q\hu s\enotes +\temps\notes&\sqqbb ecba\enotes +\temps\notes&\sqqbb hfed|\zq r\qu t\enotes + %\check + %mesure 74 +\barre\notes\tten2\hu H&\sqqbb efde|\tten1\zh o\zh q\zhl s\enotes +\temps\notes&\sqqbb cdbc\enotes +\temps\notes\qu F&\sqqbb acba|\zq m\zq p\ql r\enotes + %\check + %mesure 75 +\barre\notes\hu E&\zh{^N}\zhl b\hup e|\sqqbb l{^m}{^n}o\enotes +\temps\notes&|\sqqbb pqrp\enotes +\temps\notes\qu H&\itenu1a\itenu2c\zq a\ql c|\sqqbb qrpq\enotes + %\check + %mesure 76 +\barre\notes\qu F&\tten1\tten2\zq M\zq a\ql c|\sqqbb oqpo\enotes +\temps\notes\hu E&\itenu1e\zq{^N}\zq b\ql e|\sqqbb {^n}opn\enotes +\temps\notes&\tten1\zq a\zq c\ql e|\sqqbb l{=m}{=n}l\enotes + %\check + %mesure 77 +\barre\notes\hup F&\itenl1M\itenu2d\zq M\zq a\ql d|\sqqbb mlkj\enotes +\temps\notes&\tten1\tten2\itenu1b\itenu2d\zq M\zq b\ql d|\sqqbb ijki\enotes +\temps\notes&\tten1\tten2\zq{Nb}\ql d|\sqqbb ghig\enotes + %\check + %mesure 78 +\barre\notes\hu J&\advance\transpose 7\sqqbb JKLM|\advance\transpose 7\sqqbb cdef\enotes +\temps\notes&\advance\transpose 7\sqqbb NLKJ|\advance\transpose 7\sqqbb gedc\enotes +\temps\notes\qu H&\advance\transpose 7\sqqbb aMLK|\advance\transpose 7\sqqbb jhgf\enotes + %\check + % mesure 79 +\barre\notes\hu J&\advance\transpose 7\sqqbb LMKM|\advance\transpose 7\sqqbb ghfh\enotes +\temps\notes&\advance\transpose 7\sqqbb LJIH|\advance\transpose 7\sqqbb gedc\enotes +\temps\notes\qu H&\advance\transpose 7\sqqbb aMLK|\advance\transpose 7\sqqbb jhgf\enotes + %\check + % mesure 80 +\barre\notes\qu J&\advance\transpose 7\sqqbb LMKL|\advance\transpose 7\sqqbb ghfg\enotes +\temps\notes\qu H&\advance\transpose 7\sqqbb JKIJ|\advance\transpose 7\sqqbb efde\enotes +\temps\notes\qu F&\advance\transpose 7\sqqbb HJIH|\advance\transpose 7\sqqbb cedc\enotes + %\check + % mesure 81 +\barre\notes\hu G&\sqqbb Nabc|\itenl1i\zhlp i\zq k\qu n\enotes +\temps\notes&\sqqbb dbaN|\zq k\qu m\enotes +\temps\notes\qu J&\sqqbb edec|\zq j\qu l\enotes + %\check + % mesure 82 +\barre\notes\hu G&\sqqbb bcdb|\tten1\itenl1g\zhlp g\zh{i}\hu k\enotes +\temps\notes&\sqqbb NabN|\enotes +\temps\notes\qu J&\sqqbb edec|\zq j\qu l\enotes + %\check + % mesure 83 +\barre\notes\qu I&\sqqbb decd|\tten1\itenu1k\zq{gi}\qu k\enotes +\temps\notes\qu K&\sqqbb bcab|\tten1\itenu1k\zq{hk}\qu m\enotes +\temps\notes\qu G&\rlap{\sk\sk\sk\itenu0N}\sqqbb NabN|\tten1\zq{ik}\qu n\enotes + %\check + % mesure 84 +\barre\notes\hu J&\itenu1c\tten0\zh{Nc}\hl e|\sqqbb jklm\enotes +\temps\notes&|\sqqbb nlkj\enotes +\temps\notes\qu H&\tten1\itenu1c\zq{ac}\ql f|\sqqbb qonm\enotes + %\check + % mesure 85 +\barre\notes\hu J&\tten1\itenu1c\zh{Nc}\hl e|\sqqbb nomo\enotes +\temps\notes&|\sqqbb nlkj\enotes +\temps\notes\qu H&\tten1\zq{ac}\ql f|\sqqbb qonm\enotes + %\check + % mesure 86 +\barre\notes\qu G&\itenl1N\zh N\zhl b\qu d|\sqqbb nomn\enotes +\temps\notes\qu I&\qu f|\sqqhh lmkl\enotes +\temps\notes\qu J&\tten1\zq N\zq{_b}\ql e|\sqqhh jlkj\enotes + %\check + % mesure 87 +\barre\notes\hu F&\sqqbb MNa{_b}|\itenu1m\zh h\zhl j\hup m\enotes +\temps\notes&\sqqbb caNM\enotes +\temps\notes\qu {_I}&\sqqbb fdcb|\zq{_i}\ql k\enotes + %\check + % mesure 88 +\barre\notes\hu F&\sqqbb cd{_b}d|\tten1\itenu1m\zh h\zhl j\hup m\enotes +\temps\notes&\sqqbb caNM\enotes +\temps\notes\qu {_I}&\sqqbb fdcb|\zq {_i}\ql k\enotes + %\check + % mesure 89 +\barre\notes\qu H&\sqqbb cdbc|\tten 1\zq h\zq j\ql m\enotes +\temps\notes\qu J&\sqqbb a{_b}Na|\zq g\zq{_i}\ql l\enotes +\temps\notes\qu F&\sqqbb MNab|\zq h\zq j\ql m\enotes + %\check + % mesure 90 +\barre\notes\hu J&\zh N\zhl e\roff{\qu c}|\sqqbb jklm\enotes +\temps\notes&\qu {_b}|\sqqbb nlkj\enotes +\temps\notes\qu H&\itenu1c\zq{ac}\ql f|\sqqbb qonm\enotes + %\check + % mesure 91 +\barre\notes\hu J&\zh N\zhl e\roff{\tten1\qu c}|\sqqbb nomo\enotes +\temps\notes&\qu {_b}|\sqqbb nlkj\enotes +\temps\notes\qu H&\itenu1c\zq{ac}\ql f|\sqqbb qonm\enotes + %\check + % mesure 92 +\barre\notes\qu G&\tten1\itenl1N\zql N\zq c\qu e|\sqqbb nomn\enotes +\temps\notes\qu I&\tten1\zq N\zq {=b}\qu f|\sqqbb lmkl\enotes +\temps\notes\qu J&\zq{_b}\rq c\qu e|\sqqbb jklj\enotes + %\check + % mesure 93 +\barre\notes\hu H&\sqqbb MNa{_b}|\itenl1h\zhp{hj}\hlp m\enotes +\temps\notes&\sqqbb cbca\enotes +\temps\notes\qu J&\sqqbb {_e}caN|\enotes + %\check + % mesure 94 +\barre\notes\hu K&\sqqbb {^M}Na{_b}|\tten1\itenl1h\itenu2m\zh{hk}\hl{^m}\enotes +\temps\notes&\sqqbb cbca\enotes +\temps\notes\qu J&\sqqbb {^f}{_e}dc|\tten1\tten2\zq{hj}\ql m\enotes + %\check + % mesure 95 +\barre\notes\qu {_I}&\sqqbb {_b}cdb|\itenl1i\itenu2n\zq{ik}\ql n\enotes +\temps\notes\qu {_L}&\sqqbb g{_e}dc|\tten1\tten2\zq{i_l}\ql n\enotes +\temps\notes\qu K&\sqqbb d{=e}{^f}d|\zq{hj}\ql{^m}\enotes + %\check + % mesure 96 +\barre\notes\qu {_I}&\sqqbb g{_e}dc|\zq{_ik}\zqu n\enotes +\temps\notes\qu H&\sqqbb dc{_b}a|\zq{hj}\zqu{^m}\enotes +\temps\notes\qu G&\rlap{\sk\sk\sk\itenl1N}\sqqbb Na{=b}N|\zq{=ik}\zqu{=m}\enotes + %\check + % mesure 97 + \barre\notes\hu J&\tten1\itenu1c\itenu2e\zhl N\zhp c\hup{_e}|\sqqbb jk{_l}m\enotes + \temps\notes&|\sqqbb nlkj\enotes + \temps\notes\qu{_H}&\ql {^M}|\sqqbb q{_o}n{^m}\enotes + %\check + % mesure 98 + \barre\notes\hu J&\tten1\tten2\itenu1c\itenu2e\zhl N\zhp c\hup{_e}|\sqqbb n{_o}{=m}o\enotes + \temps\notes&|\sqqbb n{_l}kj\enotes + \temps\notes\qu{_H}&\ql {=M}|\sqqbb qonm\enotes + %\check + % mesure 99 + \barre\notes\qu G&\tten1\tten2\zhl N\zq c\qu{_e}|\sqqbb n{_o}mo\enotes + \temps\notes\qu I&\zq b\qu d|\sqqbb nm{_l}k\enotes + \temps\notes\qu J&\zq c\qu {=e}|\sqqbb jk{=l}j\enotes + %\check + % mesure 100 + \barre +\znotes&|\Sh m\enotes + \nspace + \notes\hu K&\sqqbb acbc|\ust m\lh l\zh{h}\hl{m}\enotes + \temps\notes&\sqqbb acbc\enotes + \temps\notes\qu H&\sqqbb acbc|\uppz m\lq l\zq h\ql{m}\enotes + %\check + % mesure 101 + \barre\znotes&|\lFl l\Sh m\enotes + \nspace + \notes\hu {^F}&\sqqbb {^M}aNa|\ust q\lh l\zh{jm}\hl q\enotes + \temps\notes&\sqqbb MaNa\enotes + \temps\notes\qu J&\sqqbb MaNa|\uppz q\lq l\zq{jm}\ql q\enotes + %\check + % mesure 102 + \barre\notes\hu G&\sqqbb N{_e}ce|\uppz u\zq{nq_s}\ql u\enotes + \temps\notes&\sqqbb Nece|\uppz s\zq{_lnq}\ql s\enotes + \temps\notes\qu {_I}&\sqqbb Nd{_b}d|\uppz r\zq{kn_p}\ql r\enotes + %\check + % mesure 103 + \barre\nspace + \notes\hu H&\sqqbb ae{^c}e|\lSh j\zh{j=ln}\hl {^q}\enotes + \temps\notes&\sqqbb aece\enotes + \temps\notes\qu {^J}&\sqqbb aece|\uppz q\zq{jln}\ql q\enotes + %\check + % mesure 104 + \barre\notes\hu {_I}&\sqqbb {_b}fdf|\uppz r\zq{km_p}\ql r\enotes + \temps\notes&\sqqbb bfdf|\uppz t\zq{mpr}\ql t\enotes + \temps\notes\qu G&\sqqbb Nf{=b}f|\cNa i\uppz p\zq{ikn}\ql {=p}\enotes + %\check + % mesure 105 + \barre\nspace + \NOTEs\hu{_H}&\itenu1a\itenu3f\zh{_ac}\hl f|\itenu2q\zhl j\zh{m_o}\hu q\enotes + \temps\NOtes\qu F&\tten1\tten3\zq{ad}\ql f|\zql k\enotes + %\check + % mesure 106 + \barre\NOTEs\hup C&\zhp{Nce}\hlp g|\tten2\zhp{jln}\hlp q\enotes + \mulooseness -4\relax +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fantfuga.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fantfuga.tex new file mode 100644 index 00000000000..d44cb7558ed --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fantfuga.tex @@ -0,0 +1,18 @@ +\input musixtex +\input musixcpt +\input musixsty +% +\def\misazero{\def\nbinstruments{2}\nbporteesi=1\relax +\nbporteesii=2\relax +\barsinline=0\relax +\linesinpage=0\relax +\signaturegenerale{0}\savesignature +\resetfacteurs +\computewidths}% +% +\misazero +\input fantcmol.tex +\misazero +\input fugcmoll.tex +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fugcmoll.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fugcmoll.tex new file mode 100644 index 00000000000..922cfac945b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fugcmoll.tex @@ -0,0 +1,517 @@ +\fullauthor{Daniel TAUPIN} +\shortauthor{D. Taupin} +\fulltitle{{\frtbf Fugue}} +\shorttitle{Fugue en style baroque} +\subtitle{} +\othermention{} +\maketitle + + % if transpose not defined outside assume 0 and three flats +\ifx\ftranspose\undefined\def\ftranspose{0}\fi +\ifx\fsignature\undefined\def\fsignature{-3}\fi + + % + % formes fr\'equentes + % + %au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% + %au moins deux doubles croches basses et hautes +\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% + %au moins trois doubles croches basses et hautes +\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}% +\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}% +\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}% + %au moins quatre croches basses et hautes +\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% + %au moins quatre doubles croches basses et hautes +\def\qqbb#1#2#3#4{\varaccid\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqbb#1#2#3#4{\varaccid\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sQqbb#1#2#3#4{{\varaccid\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}% +\def\qqBB#1#2#3#4{\varaccid\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqBB#1#2#3#4{{\varaccid\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}% +\def\qqhh#1#2#3#4{\varaccid\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqhh#1#2#3#4{\varaccid\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqHH#1#2#3#4{\varaccid\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +\def\sqqHH#1#2#3#4{{\varaccid\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}% + % +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={6000}% +\global\cleftoksi={6000}% + % +\generalsignature{\fsignature}\relax % r\'e mineur +\transpose=\ftranspose\relax + %\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.}% + %\check +\medskip\noindent{\rm G.O.: mixtures {\sl ad libitum.}}% +\par\noindent{\rm Pos.: mixtures, acc. G.O.}% +\par\noindent{\rm P\'ed.: fonds 16', tirasses G.O. \& pos.}% +\smallskip +\generalmeter{\meterfrac 32} +\staffbotmarg=10pt +\stafftopmarg=0pt +\interstaff{10} +\debutmorceau +\relativeaccidentals +\varaccid +\nspace + \Notes\wh G\sk\sk\hu C&\sk\pause\sk\soupir\ql c|\Uptext{\hbox{\kern +-8mm\moyen Andante + \bf(\metron{\qu}{65})}}\sk\sk\pausep\enotes + %\check + % mesure 2 +\barre\Notes&\zhl L\qu N\hu e\hl M\enotes +\temps\notes\pause&\dqh dc\enotes +\temps\Notes&\zhl K\qu {^b}\enotes +\temps\notes&\dqh cd\enotes + %\check + % mesure 3 +\barre\Notes&\zhl L\qu N\hu c\enotes +\temps\Notes\sk\pause&\hl {^L}\qu b\zhl M\qu a\enotes +\temps\notes&\dqh Na\enotes + %\check + % mesure 4 +\barre\Notes\sk\sk\sk\pause&\zql {=L}\qu N\zql K\qu M\zql J\qu L\zql H\qu M\enotes % +\temps\Notes&\zhl G\qu N\enotes +\temps\notes&\dqh ML\enotes + %\check + % mesure 5 + \generalmeter{\meterfrac 22}% +\changecontext\Notes\sk\pause&\zhl{^I}\roff{\Pince c}\hu K\enotes +\temps\Notes&\zql J\qu J\soupir|\sk\qu g\enotes + %\check + % mesure 6 + \generalmeter{\meterfrac 32}% +\changecontext\Notes&\hl b\sk\hl{^M}|\roff{\zw d}\qu d\hu i\enotes +\temps\notes\pause&|\dqh hg\enotes +\temps\Notes&\hl K|\zhl c\qu{^f}\enotes +\temps\notes&|\dqh gh\enotes + %\check + % mesure 7 +\barre\Notes\sk\sk\sk\pause&\zhl I\hu b\sk\zhl{^I}\itenu1N\wh N\sk\ql J|\qu d\hu g\sk\qu f\qu e\enotes +\temps\notes&\dqb {=I}J|\dqh de\enotes + %\check + % mesure 8 +\barre\Notes\sk\sk\sk\pause&\tten1\zqu N\ql I\zqu {^M}\ql H\zqu N\ql G\zqu {^a}\ql L\zqu b\ql K|\qu {dcbcd}\enotes +\temps\notes&\rlap{\dqb LJ}\dqh aN|\dqh cb\enotes + %\check + % mesure 9 + \generalmeter{\meterfrac 22}% +\changecontext\Notes\sk\pause&\zhl K\hu{^M}|\roff{\Pince L}\hu a\enotes +\temps\Notes&\zql N\qu N\soupir|\qu N\qu g\enotes + %\check + % mesure 10 +\barre\Notes\sk\sk\pause&\hl L\sk\hl{^I}|\roff{\zhl c}\qu c\hu h\hl d\enotes +\temps\notes&|\dqh gf\enotes + %\check + % mesure 11 +\barre\Notes&\hl{=I}|\zhl c\qu{^e}\enotes +\temps\notes\sk\pause&|\dqh fg\enotes +\temps\Notes&\zhu M\hl H\sk|\qu c\qu j\enotes + %\check + % mesure 12 + \generalmeter{\meterfrac 32}% +\changecontext\Notes&\zhu N\hl I\sk\hl J|\qu f\hu{_k}\hl{^e}\enotes +\temps\notes\pause&|\dqh ji\enotes +\temps\Notes&\hl {_K}|\zhl f\qu h\enotes +\temps\notes&|\dqh ij\enotes + %\check + % mesure 13 +\barre\Notes&\hl J|\zhl{=b}\qu {^e}\enotes +\temps\notes&|\dqh fg\enotes +\temps\Notes\pause&\hl I|\zhl a\qu c\enotes +\temps\notes&|\dqh de\enotes +\temps\Notes&\itenu1M\zhu M\hl{^H}\sk|\qu f\qu m\enotes + %\check + % mesure 14 +\barre\Notes&\tten1\zhu M\hl G|\qu {^i}\hu o\enotes +\temps\Notes&\zw N\hl{^I}|\enotes +\temps\notes\pause&|\dqh nm\enotes +\temps\Notes&\hl {^H}|\qu l\enotes +\temps\notes&|\dqh kj\enotes + %\check + % mesure 15 +\barre\Notes\sk\sk\pause&\zqu a\ql K\zqu c\ql L\hl N|\qu m\qu l\zql g\hu k\ql f\enotes +\temps\Notes\soupir\qu J&\ql c\soupir|\zql e\qu j\soupir\enotes + %\check + % mesure 16 + \generalmeter{\meterfrac 22}% +\changecontext\Notes\qu G\hu L\sk&\sk\pause|\sk\pause\enotes +\temps\notes\dqh KL&|\enotes + %\check + % mesure 17 +\barre\Notes\qu M\qu K&|\sk\hpause\enotes +\temps\Notes\hu L&\pause|\soupir\qu h\enotes + %\check + % mesure 18 +\barre\Notes\hu K\sk\hu J&\sk\sk\pause|\qu f\hu j\enotes +\temps\notes&|\dqh{^i}j\enotes + %\check + % mesure 19 +\barre\Notes\hu {^I}\sk&\sk\hpause|\qu k\qu{^i}\enotes +\temps\Notes\hu J&\sk\qu N|\itenu1j\hu j\enotes + %\check + % mesure 20 +\barre\Notes\hu H&\qu L\hu c|\tten1\wh j\enotes +\temps\Notes\hu {_K}&\enotes +\temps\notes&\dqh{=b}c\enotes + %\check + % mesure 21 +\barre\Notes\hu I&\qu {_d}\qu b|\hu g\enotes +\temps\Notes\qu H\qu M&\itenu1c\hu c|\soupir\qu h\enotes + %\check + % mesure 22 +\barre\Notes\qu J\hl a&\tten1\wh c|\qu m\qu{^l}|\enotes +\temps\Notes\sk&|\qu m\enotes +\temps\notes\dqb Na&|\dqh lk\enotes + %\check + % mesure 23 +\barre\Notes\ql N&\ql b|\hu j\enotes +\temps\Notes\ql M&\ql a\enotes +\temps\Notes\ql {^L}&\ql N|\zhl i\hu{^l}\enotes +\temps\notes\dqb KJ&\dqb ab\enotes + %\check + % mesure 24 +\barre\Notes\ql M&\ql c|\zql h\qu m\enotes +\temps\Notes\ql J&\ql b|\zql i\qu {^l}\enotes +\temps\Notes\hu F&\ql a\soupir|\zql j\qu m\zql f\raise 2\Interligne\soupir\enotes + %\check + % mesure 25 +\barre\Notes\hu H&|\ql c\hl h\enotes +\temps\Notes\hu I&\pause|\sk\enotes +\temps\notes&|\dqb gh\enotes + %\check + % mesure 26 +\barre\Notes\hu {_K}&|\ql i\zql g\raise4\internote\hpause\enotes +\temps\Notes\hu J&\hpause|\hl h\qu j\enotes + %\check + % mesure 27 +\barre\Notes\hu H&\wh c|\qu m\hu {^l}\enotes +\temps\Notes\hu I&|\sk\enotes +\temps\notes&|\dqh kl\enotes + %\check + % mesure 28 +\barre\Notes\hu {^I}&\zhl a\hu d|\qu m\qu k\enotes +\temps\Notes\hu{=I}&\zhl N\itenu1c\hu c|\qu {^l}\enotes +\temps\notes&|\dqh kj\enotes + %\check + % mesure 29 +\barre\Notes\hu{H}&\tten1\zhl M\wh c|\qu m\enotes +\temps\notes&|\bigNa l\dqh l{_k}\enotes +\temps\notes\hu G&\hu{^e}|\dqh ji\enotes +\temps\notes&|\dqh hg\enotes + %\check + % mesure 30 + \generalmeter{\meterfrac 32}% +\changecontext\Notes\hu F&\zhl M\hu d|\qu h\enotes +\temps\notes&|\dqh gf\enotes +\temps\Notes\hu{^E}&\zhl N\hu c|\qu {j^e}\enotes +\temps\Notes\hu F&\zql M\hu a|\hu f\enotes +\temps\Notes&\qu M|\sk\enotes + %\check + % mesure 31 +\barre\Notes\hu K&\qu a\hu{^I}\enotes +\temps\Notes\hu G&\enotes +\temps\notes&\dqh JK|\pause\enotes +\temps\Notes\qu {LK}&\qu N\qu M\enotes + %\check + %mseure 32 +\barre\Notes\hu J&\qu L\enotes +\temps\notes&\dqh KL\enotes +\temps\notes\hu H&\dqh ML|\pause\enotes +\temps\notes&\dqh KJ\enotes +\temps\Notes\hu G&\qu N\soupir|\soupir\qu g\enotes + %\check + % mesure 33 +\barre\Notes\hu H&\hu M|\qu c\hu h\enotes +\temps\Notes\hu {^I}&\zhl K\hu{^b}\enotes +\temps\notes&|\dqh gf\enotes +\temps\Notes\hu J&\zhl L\hu c|\qu e\enotes +\temps\notes&|\dqh dc\enotes + %\check + % mesure 34 + \generalmeter{\meterfrac 22}% +\changecontext\notes\hu G&\zhl K\hu{^b}|\dqh gf\enotes +\temps\notes&|\dqh ed\enotes +\temps\Notes\hu J&\zql L\qu N\soupir|\qu c\qu j\enotes + %\check + % mesure 35 + \generalmeter{\meterfrac 32}% +\changecontext\Notes\hu {^H}&\zql M\hu c\ql {^a}|\qu l\hu{^f}\enotes +\temps\Notes\hu K&\zw{^M}\hu d|\enotes +\temps\notes&|\dqh kj\enotes +\temps\notes\hu{^F}&\hu c|\dqh kj\enotes +\temps\notes&|\dqh ih\enotes + %\check + % mesure 36 +\barre\Notes\hu G&\zhl b\hu d|\qu g\enotes +\temps\notes&|\dqh {^h}i\enotes +\temps\Notes\hu {^H}&\zhl L\itenu0c\hu c|\qu j\enotes +\temps\Notes&|\qu e\enotes +\temps\Notes\hu K&\zhl{^M}\tten0\qu c|\qu d\enotes +\temps\notes&\qu a|\dqh {^e}{^f}\enotes + %\check + % mesure 37 +\barre\Notes\hu G&\zql N\hu b\ql L|\hu g\enotes +\temps\notes\qu {^H}&\zql K\qu{^M}|\dqh ji\enotes +\temps\notes\qu K&\zql M\qu c|\dqh {^h}g\enotes +\temps\Notes\hu G&\zqu{^b}\ql N|\qu g\enotes +\temps\notes&\soupir|\dqh g{^h}\enotes + %\check + % mesure 38 + \generalmeter{\meterfrac 22}% +\changecontext\notes\hu K&\zhl{^b}\hu f|\dqh {^i}j\dqh kl\enotes +\temps\Notes\hu{^I}&\cNa a\zhl a\hu d|\qu m\enotes +\temps\notes&|\dqh fg\enotes + %\check + % mesure 39 +\barre\notes\hu G&\itenl1N\zhl N\qu f\sk\qu d|\dqh {^h}{^i}\dqh jk\enotes +\temps\Notes\itenl0J\hu J&\tten1\zql N\qu e|\itenu1l\ql l\enotes +\temps\notes&\dqh LK\enotes + %\check + % mesure 40 +\barre\notes\tten0\hu J&\dqh LM\dqh Na|\itenl0g\zhl g\tten1\hu l\enotes +\temps\Notes\hu F&\qu a|\tten0\itenl0g\zhl g\hu k\enotes +\temps\notes&\dqh NM\enotes + %\check + % mesure 41 + \generalmeter{\meterfrac 32}% +\changecontext\Notes\hu G&\qu L|\tten0\zhl g\hu j\enotes +\temps\notes&\dqh KJ\enotes +\temps\notes\hu{^I}&\dqh NM|\zhl f\hu{^i}\enotes +\temps\notes&\dqh LK\enotes +\temps\Notes\hu H&\qu {^J}|\zql g\qu{^j}\enotes +\temps\Notes&\soupir|\qu h\enotes + %\check + % mesure 42 +\barre\Notes\hl K&|\qu f\enotes +\temps\Notes\sk\hl{^L}&|\hu k\sk\enotes +\temps\notes&\pause|\dqh{^j}{^i}\enotes +\temps\Notes\hu{^H}&|\qu j\enotes +\temps\notes&|\dqh k{^l}\enotes + %\check + % mesure 43 +\barre\Notes\hu F&|\qu h\enotes +\temps\Notes\sk\hu I&|\hu k\sk\enotes +\temps\Notes&\pause|\qu j\enotes +\temps\Notes\hu J&|\qu {=i}\enotes +\temps\notes&|\dqh hi\enotes + %\check + % mesure 44 +\barre\Notes\qu{^J}&|\qu {^h}\enotes +\temps\Notes\cNa I\qu I&|\qu g\enotes +\temps\Notes\qu H&|\qu f\enotes +\temps\Notes\qu G&\pause|\qu g\enotes +\temps\Notes\qu F&|\qu {^h}\enotes +\temps\notes\qu G&|\dqh gf\enotes + %\check + % mesure 45 + \generalmeter{\meterfrac 22}% +\changecontext\Notes\hu {^H}&|\roff{\Pince l}\hu {^e}\enotes +\temps\Notes&\hpause|\sk\enotes +\temps\Notes\hu D&\soupir|\hu d\enotes +\temps\Notes&\ql{^a}|\sk\enotes + %\check + % mesure 46 + \generalmeter{\meterfrac 32}% +\changecontext\Notes\hu I&\ql M\hl d|\zhl{^h}\hu k\enotes +\temps\Notes\hu {^H}&|\zhl g\hu{^l}\enotes +\temps\notes&\dqb{^c}{^b}\enotes +\temps\Notes\hu{^J}&\ql c|\zhl l\hu n\enotes +\temps\notes&\dqb d{^e}\enotes + %\check + % mesure 47 + \barre\Notes\hu K&\ql f|\zhl h\hu m\enotes + \temps\notes&\dqb{^e}d\enotes + \temps\notes\hu{^H}&\ql e\sk\ql{^c}|\itenl0j\zhl{^j}\dqh {^o}n\dqh m{^l}\enotes + \temps\Notes\hu F&\ql {^a}\soupir|\roff{\tten0\zql j}\qu k\ql k\enotes + %\check + % mesure 48 + \barre\Notes\hu G&\qu K|\ql p\enotes + \temps\notes&\dqh{^L}M|\hl n\enotes + \temps\Notes\hu J&\qu L|\enotes + \temps\notes\sk\sk\hu I&\dqh KJ\hu{^L}|\dqb m{^l}\dqb qp\dqb {=o}n\enotes + %\check + % mesure 49 + \barre\Notes\hu H&\ql M|\ql o\enotes + \temps\notes&\dqb Na|\dqb nm\enotes + \temps\Notes\hu I\sk\hu J&\hl N\sk\ql{^L}|\ql {_r}\hl {^l}\sk\enotes + \temps\notes&\dqb Nb|\dqb mn\enotes + %\check + % mesure 50 + \barre\notes\hu H&\dqb aN\dqb M{=L}|\ql j\sk\ql m\enotes + \temps\notes\qu G\sk\qu J&\hl{^L}|\dqb po\dqb nm\enotes + \temps\Notes\hu F&\ql a\soupir|\ql m\qu m\enotes + %\check + % mesure 51 + \barre\Notes\hu H&\zhl a\itenu1f\hu f|\zhl h\qu j\enotes + \temps\Notes\sk&|\hu o\enotes + \temps\Notes\hu I&\tten1\itenl1b\zhl b\zhu f|\hl{_k}\enotes + \temps\notes\sk&|\dqh nm\enotes + \temps\Notes\hu J&\tten1\zhl b\hu{^e}|\zhl j\qu{^l}\enotes + \temps\notes\sk&|\dqh mn\enotes + %\check + % mesure 52 + \barre\Notes\hu H&\zhl a\itenu1f\hu f|\zhl h\qu j\enotes + \temps\Notes\sk&|\hu m\enotes + \temps\Notes\hu{^H}&\zhl{^a}\tten1\itenu1f\hu f|\hl j\enotes + \temps\Notes\sk&|\qu{=l}\enotes + \temps\Notes\hu I&\tten1\zhl b\hu f|\zhl i\qu{_k}\enotes + \temps\notes\sk&|\dqh jk\enotes + %\check + % mesure 53 + \barre\Notes\qu J&\zhl b\hu{^e}|\loff{\zqu j}\hl i\enotes + \temps\Notes\qu I&|\qu{^l}\enotes + \temps\Notes\qu H&\zql c\hu f|\zhl h\qu m\enotes + \temps\notes\qu I&\ql{_d}|\dqh {=l}{_k}\enotes + \temps\Notes\qu J&\zql c\hu{^e}|\zhl g\qu j\enotes + \temps\Notes\qu I&\ql N|\qu {^l}\enotes + %\check + % mesure 54 + \barre\Notes\hu H&\zhl a\itenu0f\hu f|\zhl j\qu m\enotes + \temps\Notes\sk&|\qu {=l}\enotes + \temps\Notes\hu G&\zhl{^b}\tten0\hu f|\zhl {^i}\qu{=k}\enotes + \temps\notes\sk&|\dqh jk\enotes + \temps\Notes\hu J&\zhl N\hu{=e}|\zhl g\qu l\enotes + \temps\notes\sk&|\dqh kj\enotes + %\check + % mesure 55 + \generalmeter{\meterfrac 22}% + \changecontext\notes\hu G&\zql{^b}\hu f|\zhl{^i}\dqh lk\enotes + \temps\notes\sk&\rlap{\sk\itenu1N}\dqb aN|\dqh j{^i}\enotes + \temps\Notes\qu J&\tten1\zql N\qu e|\zhl g\qu j\enotes + \temps\Notes\soupir&\itenu1c\zqu c\raise -\Interligne\soupir|\qu l\enotes + %\check + % mesure 56 + \generalmeter{\meterfrac 32}% +\changecontext\Notes\hu G\sk\hu H&\tten1\zhl L\qu c\hu e\hl M|\zhl g\qu j\hu n\hl h\enotes +\temps\notes&\dqh dc|\dqh ml\enotes +\temps\Notes\hu F&\zhl K\qu {^b}|\zhl h\qu k\enotes +\temps\notes&\dqh cd|\dqh lm\enotes + %\check + % mesure 57 +\barre\Notes\hu E&\zhl L\qu N\hu c|\itenl0j\zwh j\qu l\hu o\enotes +\temps\Notes\hu J\sk\hu H&\hl {^L}\qu b\zhl M\qu a|\sk\qu n\tten0\zhl j\qu m\enotes +\temps\notes&\rlap{\sk\itenu0c}\dqh bc|\dqh no\enotes + %\check + % mesure 58 +\barre\Notes\hu G\sk \qu J\qu H&\zql N\tten0\qu c\zql M\qu {^b}\zql L\qu N\zql a\qu +d|\zql l\qu n\zql k\qu m\zql j\qu l\zql h\qu m\enotes % +\temps\Notes\itenl2G\hu G&\zql N\qu e|\zql j\qu n\enotes +\temps\notes&\rlap{\dqb aN}\dqh dc|\rlap{\dqb hg}\dqh ml\enotes + %\check + % mesure 59 + \generalmeter{\meterfrac 22}% +\changecontext\Notes\tten2\hu G&\zql a\hu d\itenl1N\ql N|\zhl{^i}\roff{\Pince q}\hu k\enotes +\temps\Notes\qu J\qu J&\tten1\zql N\qu e\soupir|\zql g\qu j\soupir\enotes + %\check + % mesure 60 + \barre \temps\Notes\qu K&\zhl a\itenu1f\hu f|\zhl h\hu k\enotes + \temps\Notes\hu G\sk&\sk\itenl0N\zhl N\tten1\hu f|\sk\zhl {^i}\hu m\enotes + \temps\notes\dqh H{^I}&|\enotes + \temps\Notes\qu J&\tten0\zhl N\hu e|\zhl j\hu l\enotes + \temps\notes\dqh KL&|\enotes + %\check + % mesure 61 + \barre\Notes\ql M&\zhl a\hu f|\zhl k\hu m\enotes + \temps\notes\dqb Na&|\enotes + \temps\Notes\ql N&\zhl c\hu g|\zhl l\itenu1n\hu n\enotes + \temps\notes\dqb ML&|\enotes + \temps\Notes\ql K&\zhl {^b}\hu f|\zhl k\tten1\hu n\enotes + \temps\Notes\ql N&|\enotes + %\check + % mesure 62 + \setclef2{0000}\changeclefs + \barre\Notes\hl J&\zhl c\hu e|\zhl g\qu j\enotes + \temps\Notes\sk&|\hu l\enotes + \temps\Notes\hl L&\zhl e\hu g|\hl j\enotes + \temps\Notes\sk&|\qu n\enotes + \temps\Notes\hl M&\itenl0d\zhl d\hu h|\zql j\itenu1o\hu o\enotes + \temps\Notes\sk&|\ql k\enotes + %\check + % mesure 63 + \barre\Notes\hl N&\tten0\zhl d\hu f|\zhl{^i}\tten1\qu o\enotes + \temps\notes\sk&|\dqh nm\enotes + \temps\Notes\hl J&\zhl e\qu h|\zw j\hu l\enotes + \temps\Notes\sk&\qu g|\enotes + \temps\Notes\hl L&\zhl c\qu e|\hu m\enotes + \temps\Notes\sk&\itenu1h\qu h|\enotes + %\check + % mesure 64 + \barre\Notes\hl{^I}&\tten1\zhl d\qu h|\zhl k\hu n\enotes + \temps\notes\sk&\dqh gf|\enotes + \temps\Notes\hl J&\zhl c\qu e|\zhl l\hu o\enotes + \temps\Notes\sk&\hu j|\enotes + \temps\Notes\hl{^L}&\hl g|\zhl k\hu n\enotes + \temps\Notes\sk&\qu i|\enotes + %\check + % mesure 65 + \barre\Notes\hl M&\zql h\itenu1j\hu j|\itenl2l\zhl l\hu o\enotes + \temps\notes\sk&\dqb gf|\enotes + \temps\Notes\hl{=L}&\tten1\zql g\qu j|\tten2\zql l\hu q\enotes + \temps\Notes\sk&\itenl1f\ql f|\ql o\enotes + \temps\Notes\hl K&\roff{\tten1\zhl f}\qu g|\zql n\hu{^p}\enotes + \temps\Notes\sk&\qu h|\ql m\enotes + %\check + % mesure 66 + \barre\Notes\qu J&\zhl e\itenu1g\wh g|\zhl j\qu l\enotes + \temps\Notes\qu H&|\qu m\enotes + \temps\Notes\hu G&\hl d|\zhl{^i}\hu n\enotes + \temps\Notes\sk&|\enotes + \temps\Notes\hu C&\zql c\zq e\tten1\qu g|\soupir\enotes + \temps\Notes\sk&\soupir|\qu j\enotes + %\check + % mesure 67 + \barre\Notes\hu K&\zh{^b}\itenu1f\zhl f\bracket h{27}\hu h|\ql o\enotes + \temps\Notes\sk&|\hl {^i}\enotes + \temps\Notes\hu G&\tten1\zh a\itenl1d\zh d\hu f|\enotes + \temps\notes\sk&|\dqb jk\enotes + \temps\Notes\hu E&\roff{\itenu0c}\rh c\zh N\tten1\hu d|\ql g\enotes + \temps\notes\sk&|\dqb nm\enotes + %\check + % mesure 68 + \barre\Notes\hu G&\tten0\itenl1a\itenl2c\zh{ac}\hu e|\ql l\enotes + \temps\notes\sk&|\dqb mn\enotes + \temps\Notes\hu F&\tten1\tten2\zh{a}\zhl c\qu f|\ql o\enotes + \temps\notes\sk&\rlap{\sk\itenu2h}\dqh gh|\dqb nm\enotes + \temps\Notes\hu G&\tten2\zh{^b}\zhl f\qu h|\ql {^p}\enotes + \temps\notes\sk&\dqh gf|\dqb {^o}n\enotes + %\check + % mesure 69 + \barre\Notes\hu{^H}&\zh{ce}\hu g|\ql q\enotes + \temps\Notes\sk&|\ql n\enotes + \temps\notes\hu{=H}&\itenu1f\zh{^bf}\hu{=h}|\dqb ml\enotes + \temps\notes\sk&|\dqb kj\enotes + \temps\Notes\hu F&\tten1\zh{ad}\hu f|\ql o\enotes + \temps\notes\sk&|\dqb nm\enotes + %\check + \generalmeter{\meterfrac 22}% + % mesure 70 + \changecontext\notes\hu G&\itenu1c\itenu2e\zh{Nc}\hu e|\dqb lm\enotes + \temps\Notes\sk&|\hl n\enotes + \temps\Notes\hu J&\tten1\tten2\itenl0a\zh{ac}\hu e|\sk\enotes + \temps\notes\sk&|\dqb ml\enotes + %\check + % mesure 71 + \generalmeter{\meterfrac 32}% + \changecontext\Notes\qu G&\tten0\zh a\itenu2f\hu f|\ITrille 0p\zw{^i}\wh k\enotes + \temps\Notes\qu H&|\enotes + \temps\NOtes\wh G&\tten2\zw{^b}\wh f|\enotes + \temps\NOtes\sk&|\Ttrille 0\zhl j\hu j\enotes + %\check + % mesure 72 + \barre\NOTes\whp C&\zwp{Nc}\whp e|\whp j\enotes +\mulooseness 5\relax +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fugue.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fugue.tex new file mode 100644 index 00000000000..d6065f3651e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fugue.tex @@ -0,0 +1,677 @@ +\parindent 18mm +% +\centerline{\moyen FUGUE}\bigskip +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{1}\relax % sol majeur +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.}% +%\check +\def\gluemaxskip{7pt}% +\medskip\noindent{\rm G.O.: mixtures, fonds 8'}% +\par\noindent{\rm P\'ed.: fonds 16', tirasse G.O.}% +\smallskip +% +\generalmeter{\meterfrac 68}% +% +\debutmorceau +% calcul de \elemskip en fonction de la largeur de page pour eviter les glues +% +\autolines {12}45\relax +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Giocoso \bf(\metron{\cu}{120})}}\enotes +\advance\linesinpage by 1\relax +% +% formes frequentes +\def\ptsoupir{\pt 5\soupir}% soupir pointe +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% formes frequentes +% trois croches hautes +\def\trql#1#2#3#4{\ibl0{#2}{#1}\qb0{#2#3}\tbl0\qb0{#4}}% +\def\trqL#1#2#3#4{\ibl0{#3}{#1}\qb0{#2#3}\tbl0\qb0{#4}}% +%\check +\def\trqu#1#2#3#4{\ibu0{#2}{#1}\qh0{#2#3}\tbu0\qh0{#4}}% +\def\trqU#1#2#3#4{\ibu0{#3}{#1}\qh0{#2#3}\tbu0\qh0{#4}}% +%\check +% +% formes frequentes +% trois croches hautes pizzicato +\def\pztql#1#2#3#4{\ibl0{#2}{#1}\blpz0\qb0{#2}\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}% +\def\pztqL#1#2#3#4{\ibl0{#3}{#1}\blpz0\qb0{#2}\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}% +% +\def\pztqu#1#2#3#4{\ibu0{#2}{#1}\bupz0\qh0{#2}\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}% +\def\pztqU#1#2#3#4{\ibu0{#3}{#1}\bupz0\qh0{#2}\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}% +% +\def\lpztqu#1#2#3#4{\ilegl0{#3}\ibu0{#2}{#1}\qh0{#2}\tleg0\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}% +\def\lpztqL#1#2#3#4{\ilegu0{#2}\ibl0{#3}{#1}\qb0{#2}\tleg0\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}% +\def\lpztql#1#2#3#4{\ilegu0{#3}\ibl0{#2}{#1}\qb0{#2}\tleg0\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}% +% +\def\lPztqL#1#2#3#4{\ilegu0{#2}\ibl0{#3}{#1}\qb0{#2}\tleg0\upzqb{#3}\tbl0\upzqb{#4}}% +\def\lPztql#1#2#3#4{\ilegu0{#3}\ibl0{#2}{#1}\qb0{#2}\tleg0\upzqb{#3}\tbl0\upzqb{#4}}% +\def\lPztqU#1#2#3#4{\ilegl0{#2}\ibu0{#3}{#1}\qh0{#2}\tleg0\lpzqh{#3}\tbu0\lpzqh{#4}}% +% +\def\upzqb#1{\upz{#1}\qb0{#1}}% +\def\lpzqh#1{\lpz{#1}\qh0{#1}}% +% +\def\Pztql#1#2#3#4{\ibl0{#2}{#1}\upzqb{#2}\upzqb{#3}\tbl0\upzqb{#4}}% +\def\PztqL#1#2#3#4{\ibl0{#3}{#1}\upzqb{#2}\upzqb{#3}\tbl0\upzqb{#4}}% +\def\Pztqu#1#2#3#4{\ibu0{#2}{#1}\lpzqh{#2}\lpzqh{#3}\tbu0\lpzqh{#4}}% +\def\PztqU#1#2#3#4{\ibu0{#3}{#1}\lpzqh{#2}\lpzqh{#3}\tbu0\lpzqh{#4}}% +\def\Pztqh{\Pztqu}\def\Pztqb{\Pztql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqbbh{\dqbbu}\def\dqbbb{\dqbbl}% +% +% quatre doubles croches +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5#6{\ibbu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbbL#1#2#3#4#5#6{\ibbl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% quatre croches +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% croche pointee et 3 doubles croches +\def\cpdddu#1#2#3#4{\ibu0{#1}{-2}\qhp0{#1}\sk\sk\nbbu0\qh0{#2}\qh0{#3}\tqh0{#4}}% +\def\cpdddl#1#2#3#4{\ibl0{#2}{-2}\qbp0{#1}\sk\sk\nbbl0\qb0{#2}\qb0{#3}\tqb0{#4}}% +%\check +% croche et 4 doubles croches +\def\cddddu#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#2}\sk\nbbu0\qh0{#3#4#5}\tqh0{#6}}% +\def\cddddl#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#2}\sk\nbbl0\qb0{#3#4#5}\tqb0{#6}}% +% +\def\doubler{\multiply\noteskip by 2\relax}% +% +% mesure 1 +\Notes&|\pztql0iki\enotes +\temps\notes\pause&\pause|\cpdddl lkji\enotes +%\check +% mesure 2 +\barre\Notes&|\pztqU0hjh\enotes +\temps\Notes\pause&\pause|\qu k\sk\dsoupir\enotes +%\check +% mesure 3 +\barre\Notes&|\pztqU0gig\enotes +\temps\Notes\pause&\pause|\pztqu0jhj\enotes +% +% mesure 4 +\barre\Notes&|\lpztqu0khk\enotes +\temps\notes\pause&\pause|\cddddu2ighij\enotes +%\check +% mesure 5 +\barre\autolines {10}55\relax +\Notes&\Pztql0bdb|\pztql0kmk\enotes +\temps\notes\pause&\doubler\ql L\sk\cu{^J}|\cpdddl nmlk\enotes +%\check +% mesure 6 +\barre\Notes&\sh a\Pztql0a{^c}a|\sh j\pztql0jlj\enotes +\temps\Notes\pause&\ql K\sk\cl M|\ql m\sk\dsoupir\enotes +%\check +% mesure 7 +\barre\Notes&\ql N\sk\cl b|\pztql0iki\enotes +\temps\Notes\pause&\ql c\sk\na a\cl a|\pztqL0l{=j}l\enotes +% mesure 8 +\barre\Notes&\ql M\sk\cl K|\pztqL0khk\enotes +\temps\notes\pause&\ql N\sk\dsoupir|\cddddu1gefgh\enotes +% mesure 9 +\barre\Notes&\pztql0LNL|\rlap{\qlp i}\qup n\enotes +\temps\notes\pause&\cpdddl aNML|\rlap{\qlp j}\qup l\enotes +%\check +% mesure 10 +\barre\Notes&\pztql0KMK|\rlap{\qlp h}\qup m\enotes +\temps\notes\pause&\cpdddl baNM|\rlap{\qlp g}\qup k\enotes +% mesure 11 +\barre\Notes&\pztql0LNL|\rlap{\qup l}\pztql2ghi\enotes +\temps\Notes\pause&\pztqu{-2}JIH|\itenu0m\rlap{\qup m}\pztql2hi{^j}\enotes +% mesure 12 +\barre\Notes\ptsoupir&\pztqu0I{^K}I|\tten0\sh k\rlap{\qlp k}\qup m\enotes +\temps\Notes\PztqU0EGE&\qu L\sk\dsoupir|\zql i\qu n\sk\dsoupir\enotes +%\check +\cleftoksii={{0}{0}{0}{0}}\changeclefs % +% mesure 13 +\barre\Notes\qu I\sk\dsoupir&\PztqU0{^d}fd|\pztql0i{^k}i\enotes +\temps\notes\doubler\pztqU0EGE&\doubler\pztqu0geg|\cpdddu l{=k}ji\enotes +%\check +% mesure 14 +\barre\Notes\qu J\sk\dsoupir&\PztqU0cec|\pztql0hjh\enotes +\temps\notes\doubler\pztqU0FHF&\doubler\PztqU0{^d}fd|\cpdddl ml{^k}j\enotes +%\check +\def\atnextline{\autolines{10}45}\relax +% mesure 15 +\barre\Notes\qup{^K}&\pztqU0fhf|\pztql0i{^k}i\enotes +\temps\Notes\qlp L&\pztqu0igi|\pztqL0nln\enotes +%\check +% mesure 16 +\barre\Notes\qup I&\qup{^d}|\rlap{\qup m}\pztql0i{^k}i\enotes +\temps\notes\qup J&\doubler\pztqU0ege|\bigaccid + \rlap{\qup n}\cpdddl l{=k}ji\enotes +%\check +% mesure 17 +\barre\notes\qup H&\cpdddu fe{=d}c|\doubler\rlap{\qup m}\pztql0hjh\enotes +\temps\Notes\qup I&\PztqU0bdb|\zql i\qu n\sk\dsoupir\enotes +%\check +% mesure 18 +\barre\notes\qup G&\cpdddu edcb|\doubler\zhup l\pztql0gig\enotes +\temps\Notes\qup H&\PztqU0aca|\pztqL0jhj\enotes +% +% mesure 19 +\barre\Notes\qup F&\Pztqu0dcd|\rlap{\qup m}\lpztqL0khk\enotes +\temps\notes\qup G&\qu b\sk\sk\sk\dsoupir|\rlap{\doubler + \qu n\sk\raise 2\Interligne\dsoupir}\cl i\sk\qqbbl2ghij\off{-\elemskip}\enotes +%\check +% mesure 20 +\cleftoksii={{6}{0}{0}{0}}\changeclefs % +\barre\Notes\qup I&\Pztql0bdb|\rlap{\qlp g}\pztqU0kmk\enotes +\temps\notes\qup E&\doubler\PztqL0ebe|\rlap{\qlp i}\cpdddu nmlk\enotes +%\check +% mesure 21 +\barre\notes\qup H&\bigsh c\cpdddl cbaN|\itenl0h\rlap{\qlp h}\doubler\sh j\pztqU0jlj\enotes +\temps\Notes\qup D&\pztql0MaM|\tten0\zql h\qu m\sk\dsoupir\enotes +%\check +\def\atnextline{\autolines{10}55}\relax +% mesure 22 +\barre\notes\qup G&\cpdddl baNM|\rlap{\hlp g}\doubler\pztqU0iki\enotes +\temps\Notes\qup C&\pztql0LNL|\pztqu0ljl\enotes +% mesure 23 +\barre\Notes\qup D&\pztql0MKM|\rlap{\qlp f}\pztqu0khk\enotes +\temps\notes\qup G&\ql b\sk\sk\sk\dsoupir|\rlap{\doubler + \ql d\sk\raise-2\Interligne\dsoupir}\cu i\sk\qqbbu2ghij\enotes +%\check +% mesure 24 +\cleftoksii={{6}{0}{0}{0}}\changeclefs % +\barre\Notes\qup I&\Pztql0bdb|\rlap{\qlp g}\pztqU0kmk\enotes +\temps\notes\qup E&\doubler\PztqL0ebe|\rlap{\qlp i}\cpdddu nmlk\enotes +%\check +% mesure 25 +\barre\notes\qup H&\cpdddl cbaN|\itenl0h\rlap{\qlp h}\doubler\pztqU0jlj\enotes +\temps\Notes\qup D&\pztql0MaM|\tten0\zql h\qu m\sk\dsoupir\enotes +%\check +% mesure 26 +\barre\notes\qup G&\cpdddl baN{=M}|\rlap{\hlp g}\doubler\pztqU0iki\enotes +\temps\Notes\qup C&\qlp L|\pztqu0ljl\enotes +% mesure 27 +\barre\Notes\qup {=F}&\qlp a|\rlap{\hlp{=f}}\pztqu0khk\enotes +\temps\Notes\qup G&\qlp N|\pztqu0igi\enotes +\signaturegenerale{0}% +% mesure 28 +\changecontext\Notes\pztql0JLJ&\ql N\sk\dsoupir|\zql c\qu j\sk\dsoupir\enotes +\transpose=1\relax % pour eviter de monter d'un cran ce qui ecrit en si bemol +\temps\notes\cpdddl MLKJ&\ptsoupir|\ptsoupir\enotes +% mesure 29 +\barre\Notes\pztql0IKI\enotes +\temps\notes\cpdddl NMLK&\pause|\pause\enotes +% mesure 30 +\barre\Notes\pztql0JLJ\enotes +\temps\Notes\lpztqL0aMa&\pause|\pause\enotes +% mesure 31 +\barre\Notes\lpztqL0bab\enotes +\temps\Notes\ql M\sk\dsoupir&\pause|\pause\enotes +% mesure 32 +\barre\Notes\qup I&\Pztql0bdb|\rlap{\kern -1pt\qlp i}\pztqU0dfd\enotes +\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\zql e\cpdddu gfed\enotes +% mesure 33 +\barre\Notes\qup H&\pztql0aca|\rlap{\kern -1pt\qlp h}\PztqU0cec\enotes +\temps\notes\qup K&\doubler\pztql0MaM|\rlap{\qlp d}\cpdddu fedc\enotes +% mesure 34 +\barre\Notes\qup G&\pztql0NbN|\rlap{\kern -1pt\hlp g}\PztqU0bdb\enotes +\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes +% mesure 35 +\barre\Notes\qup H&\pztql1JML|\rlap{\kern -1pt\qlp h}\pztqu0fcf\enotes +\transpose=0\relax % retour a la normale +\temps\Notes\qu J&\zql L\qu N\sk\dsoupir|\rlap{\kern -1pt\qlp j}\Pztqu{-3}ecb\enotes +\signaturegenerale{-3}% +% mesure 36 +\changecontext\Notes\PztqU0CEC&|\qu c\sk\dsoupir\enotes +\temps\Notes\qu G\sk\dsoupir&\pause|\Pztqu0{=b}db\enotes +% mesure 37 +\barre\notes\doubler\PztqU0CEC&|\cpdddu gfed\enotes +\temps\Notes\qu H\sk\dsoupir&\pause|\Pztqu0cec\enotes +% mesure 38 +\barre\notes\doubler\PztqU0DFD&|\cpdddu hgfe\enotes +\temps\Notes\qu {=I}\sk\dsoupir&\pause|\Pztqu0dfd\enotes +% mesure 39 +\barre\notes\doubler\PztqU0G{=I}G&|\bigaccid\cpdddu {=i}{=h}gf\enotes +\temps\Notes\qu J\sk\dsoupir&\pause|\pztqU0ege\enotes +% mesure 40 +\barre\notes\qup E&\rlap{\qlp L}\cpdddu cbaN|\doubler\pztqu0jgj\enotes +\temps\Notes\qup F&\rlap{\qlp M}\pztqU0cac|\bigna h\pztqu0hfh\enotes +% mesure 41 +\barre\notes\qup I&\rlap{\qlp M}\cpdddu dcba|\doubler\pztqu0khk\enotes +\temps\Notes\qup L&\rlap{\qlp N}\pztqu0beb|\pztqu0igi\enotes +% mesure 42 +\barre\notes\qup J&\rlap{\qlp N}\cpdddu edcb|\doubler\pztqu0lil\enotes +\temps\Notes\qup H&\rlap{\qlp a}\qup c|\pztqu0jhj\enotes +% mesure 43 +\barre\notes\doubler\qup{=H}&\rlap{\bigna a\qlp a}\cpdddu fedc|\doubler\pztqu0mjm\enotes +\temps\Notes\qup I&\rlap{\qlp b}\itenu0d\qup d|\pztqu0kik\enotes +% mesure 44 +\barre\Notes\qup G&\tten0\rlap{\qlp{=b}}\qup d|\pztqL0nkn\enotes +\temps\Notes\qup J&\itenu0c\itenu1e\rlap{\zqp c\qlp N}\qup e|\pztql0ljl\enotes +% mesure 45 +\barre\Notes\qup{=H}&\tten0\tten1\itenu0a\rlap{\zqp c\qlp{=a}}\qup e|\na o\pztqL0olo\enotes +\temps\Notes\qup J&\tten0\itenu0d\rlap{\zqp a\qup{^M}}\qup d|\pztqu0{^m}km\enotes +% mesure 46 +\signaturegenerale{-2}% +\changecontext\Notes\qup G&\tten0\zqp {Nb}\qlp d|\pztql{-4}nkj\enotes +\temps\Notes\ptsoupir&\ptsoupir|\pztql2ijk\enotes +% mesure 47 +\barre\Notes\qup G&\Pztql0bdb|\qu g\sk\dsoupir\enotes +\temps\notes\qup J&\cpdddl edcb|\ptsoupir\enotes +% mesure 48 +\barre\Notes\qup F&\Pztql0aca|\enotes +\temps\notes\qup I&\cpdddl dcba|\pause\enotes +% mesure 49 +\barre\Notes\qup E&\Pztql0NbN|\enotes +\temps\Notes\qup H&\lPztqL0cac|\pause\enotes +% mesure 50 +\barre\Notes\sh F\qup F&\PztqL0dad\enotes +\temps\notes\qup G&\cl b\sk\qqbbl3Nabc|\pause\enotes +% mesure 51 +\barre\Notes\qup I&\PztqL0dbd|\pztql0iki\enotes +\temps\notes\qup J&\doubler\PztqL0geg|\cpdddl lkji\enotes +%\check +% mesure 52 +\barre\Notes\qup L&\Pztql0cec|\pztqU0hjh\enotes +\temps\Notes\qup K&\PztqL0{^f}df|\qu k\sk\dsoupir\enotes +%\check +% mesure 53 +\barre\Notes\qup E&\Pztql0bdb|\pztqU0gig\enotes +\temps\notes\qup H&\cpdddl edcb|\doubler\pztqu0jhj\enotes +% +% mesure 54 +\barre\Notes\qup{^F}&\lpztql0ada|\Pztqu0khk\enotes +\temps\notes\qup G&\itenl0N\rlap{\qlp N}\qup d|\cddddu2ighij\enotes +%\check +% mesure 55 +\barre\Notes\qup I&\tten0\rlap{\kern 1pt\qup N}\Pztql0bdb|\pztql0kmk\enotes +\temps\notes\qup G&\doubler\rlap{\kern 1pt\qup a}\Pztql0ege|\bigaccid + \cpdddl n{=m}lk\enotes +%\check +% mesure 56 +\barre\Notes\qup H&\sh M\rlap{\kern 1pt\hup M}\Pztql0aca|\pztql0jlj\enotes +\temps\Notes\qup K&\Pztql0d{^f}d|\ql{^m}\sk\dsoupir\enotes +%\check +% mesure 57 +\barre\Notes\qup G&\rlap{\kern 1pt\qup N}\PztqL0dbd|\pztql0iki\enotes +\temps\Notes\qup H&\rlap{\kern 1pt\qup L}\PztqL0cac|\pztqL0ljl\enotes +% mesure 58 +\barre\Notes\qup{^F}&\sh M\rlap{\kern 1pt\qup M}\Pztql0aca|\pztqL0khk\enotes +\temps\Notes\itenl0G\qup G&\rlap{\qup d}\Pztql0NbN|\qu g\sk\dsoupir\enotes +% mesure 59 +\barre\notes\tten0\qup G&\bigfl e\cpdddl edcb|\enotes +\temps\Notes\qup{=F}&\Pztql0aca|\pause\enotes +%\check +% mesure 60 +\barre\Notes\qu I\sk\dsoupir&\ql d\sk\dsoupir|\ptsoupir\enotes +\temps\Notes\qup E&\Pztql2Nab|\qup i\enotes +% mesure 61 +\barre\notes\qup H&\doubler\Pztql0cec|\cpdddl lkji\enotes +\temps\Notes\qup D&\Pztql2MNa|\qup h\enotes +% mesure 62 +\barre\Notes\qup G&\Pztql0bdb|\qup k\enotes +\temps\Notes\qup C&\pztql2LMN|\qup g\enotes +% mesure 63 +\barre\Notes\hup H&\Pztql0aca|\pztql0jlj\enotes +\temps\Notes&\pztqL0MLM|\pztqu0hfh\enotes +%\check +% mesure 64 +\barre\Notes\pztql0IKI&\ql b\sk\dsoupir|\ql i\sk\dsoupir\enotes +\temps\notes\cpdddl MLKJ&\ptsoupir|\ptsoupir\enotes +% mesure 65 +\barre\Notes\pztql0IKI\enotes +\temps\notes\cpdddl NMLK&\pause|\pause\enotes +% mesure 66 +\barre\Notes\pztql0JLJ\enotes +\temps\Notes\lpztqL0aMa&\pause|\pause\enotes +% mesure 67 +\barre\Notes\lpztqL0bab\enotes +\temps\Notes\ql M\sk\dsoupir&\pause|\pause\enotes +% mesure 68 +\barre\Notes\qup I&\Pztql0bdb|\pztqU0dfd\enotes +\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\cpdddu gfed\enotes +% mesure 69 +\barre\Notes\qup H&\pztql0aca|\PztqU0cec\enotes +\temps\notes\qup K&\doubler\pztql0MaM|\cpdddu fedc\enotes +% mesure 70 +\barre\Notes\qup G&\pztql0NbN|\PztqU0bdb\enotes +\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes +% mesure 71 +\barre\Notes\qup H&\pztql1JML|\pztqu0fcf\enotes +\temps\Notes\qup I&\itenl0M\rlap{\qlp K}\qup M|\pztqu0dbd\enotes +% mesure 72 +\barre\Notes\qup{=I}&\tten0\pt a\rlap{\qu N}\qsk\qlp M|\pztqu0gdg\enotes +\temps\Notes\qup J&\itenl0L\rlap{\qlp L}\qup N|\pztqu0ece\enotes +% mesure 73 +\barre\Notes\qup H&\tten0\rlap{\qlp L}\hup a|\pztqu0heh\enotes +\temps\Notes\itenl0K\qup K&\itenl1M\qlp M|\pztqu0fdf\enotes +% mesure 74 +\barre\Notes\tten0\qup K&\tten1\rlap{\qlp M}\hup b|\pztqu0ifi\enotes +\temps\Notes\qlp L&\itenl0N\qlp N|\pztqu0geg\enotes +% mesure 75 +\barre\Notes\qup J&\tten0\rlap{\qlp N}\zhp c\hup e|\pztqu0jgj\enotes +\temps\Notes\qlp M&\itenu0a\qlp a|\pztqu0hfh\enotes +% mesure 76 +\barre\Notes\qup K&\tten0\itenu0d\zqp{^Ma}\qlp d|\pztqu0khk\enotes +\temps\Notes\qup G&\tten0\itenl0N\itenu1b\zqp{dN}\qlp b|\pztqu0igi\enotes +% mesure 77 +\barre\Notes\qup J&\tten0\tten1\zqp{N}\rlap{\qlp b}\hup e|\pztqu0lil\enotes +\temps\Notes\qup H&\itenl2a\itenu3c\zqp{a}\qlp c\relax +|\pztqu0jhj\enotes +% mesure 78 +\barre\Notes\qup K&\tten2\tten3\rlap{\kern 1pt\qup c}\zhp a\hlp{^f}|\pztqL0{^m}km\enotes +\temps\Notes\qup J&\qlp d|\pztqL0{m}km\enotes +% mesure 79 +\signaturegenerale{1}% +\changecontext\Notes\qup G&\zqp {Nb}\qlp d|\pztql{-4}nkj\enotes +\temps\Notes\ptsoupir&\ptsoupir|\lpztql2{=i}jk\enotes +% mesure 80 +\barre\Notes\qup G&\Pztql0bdb|\qup g\enotes +\temps\notes\qup J&\cpdddl edcb|\ptsoupir\enotes +% mesure 81 +\barre\Notes\qup F&\Pztql0aca|\enotes +\temps\notes\qup I&\cpdddl dcba|\pause\enotes +% mesure 82 +\barre\Notes\qup E&\Pztql0NbN|\enotes +\temps\Notes\qup H&\lPztqL0cac|\pause\enotes +% mesure 83 +\barre\Notes\qup F&\PztqL0dad\enotes +\temps\notes\qup G&\cl b\sk\qqbbl2Nabc|\pause\enotes +\cleftoksii={{0}{0}{0}{0}}\changeclefs +% mesure 84 +\barre\Notes\qup I&\PztqU0dfd|\pztql0iki\enotes +\temps\notes\qup E&\doubler\pztqu0geg|\cpdddl lkji\enotes +%\check +% mesure 85 +\barre\Notes\qup F&\PztqU0{^c}ec|\pztqU0{^h}{^j}h\enotes +\temps\Notes\qup I&\Pztqu0fdf|\qu k\sk\dsoupir\enotes +%\check +% mesure 86 +\barre\Notes\qup E&\PztqU0bdb|\pztqU0gig\enotes +\temps\notes\qup H&\cpdddu ed{=c}b|\doubler\pztqu0j{=h}{=j}\enotes +% +% mesure 87 +\barre\Notes\qup{=F}&\lPztqU0ada|\lpztqu0khk\enotes +\temps\Notes\qup G&\Pztqu0d{_b}d|\pztqu0{_i}gi\enotes +% mesure 88 +\barre\Notes\qup J&\PztqU0cec|\pztqL0l{_i}l\enotes +\cleftoksii={{6}{0}{0}{0}}\changeclefs +\temps\Notes\qup{=F}&\pztqL0a{_L}a|\pztqu0h{=f}h\enotes +%\check +\signaturegenerale{-2}% +% mesure 89 +\changecontext\Notes\qup I&\Pztql0bdb|\rlap{\kern -1pt\hlp i}\pztqU0dfd\enotes +\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\cpdddu gfed\enotes +% mesure 90 +\barre\Notes\qup H&\pztql0aca|\rlap{\kern -1pt\hlp h}\PztqU0cec\enotes +\temps\notes\qup K&\doubler\pztql0MaM|\cpdddu fedc\enotes +% mesure 91 +\barre\Notes\qup G&\pztql0NbN|\rlap{\kern -1pt\hlp g}\PztqU0bdb\enotes +\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes +% mesure 92 +\barre\Notes\qup H&\pztql1JML|\rlap{\kern -1pt\qlp h}\pztqu0fcf\enotes +\temps\Notes\qup I&\ql K\sk\dsoupir|\zql d\qu i\sk\dsoupir\enotes +% mesure 93 +\barre\Notes&\Pztql0bdb\enotes +\temps\notes\pause&\bigaccid\cpdddl edcb|\pause\enotes +% mesure 94 +\barre\Notes&\fl a\Pztql0aca|\enotes +\temps\Notes\pause&\ql d\sk\dsoupir|\pause\enotes +% mesure 95 +\barre\Notes&\Pztql2N{_a}b\enotes +\temps\Notes\pause&\lpztqL{-2}cba|\pause\enotes +% mesure 96 +\barre\Notes&\Pztql0b{_a}b|\ptsoupir\enotes +\temps\Notes\pause&\qlp L|\Pztqu0ege|\enotes +% mesure 97 +\barre\notes&\qlp K|\bigaccid\cpdddu i{_h}gf\enotes +\temps\Notes\pause&\qlp J|\Pztqu0ege\enotes +\def\atnextline{\autolines{9}65}\relax +% mesure 98 +\barre\Notes&\qup{_H}|\ql j\sk\dsoupir\enotes +\temps\Notes\pause&\qlp I|\Pztqu0f{_h}f\enotes +% mesure 99 +\barre\Notes&\qup K|\lpztqL0kik\enotes +\temps\Notes\pause&\qup L|\Pztqu{-3}li{_h}\enotes +% mesure 100 +\def\atnextline{\autolines{10}55}\relax +\barre\Notes&\Pztql0N{=b}N|\qu g\sk\dsoupir\enotes +\temps\notes\pause&\cpdddl edcb|\ptsoupir\enotes +%\check +% mesure 101 +\barre\Notes&\cna a\Pztql0aca\enotes +\temps\Notes\pause&\qu K\sk\dsoupir|\pause\enotes +% mesure 102 +\barre\Notes&\lPztql2Nab\enotes +\temps\Notes\pause&\Pztql0cec|\pause\enotes +%\check +% mesure 103 +\barre\Notes&\lPztql2MNa\enotes +\temps\Notes\pause&\Pztql0bdb|\pause\enotes +% mesure 104 +\barre\Notes&\lPztql2LMN\enotes +\temps\Notes\pause&\Pztql0aca|\pause\enotes +% mesure 105 +\barre\Notes&\lPztql2K{=L}{^M}\enotes +\temps\Notes\pause&\Pztql0NbN|\pause\enotes +%\check +% mesure 106 +\barre +\Notes&\ql d\sk\dsoupir|\ptsoupir\enotes +\temps\Notes\pause&\Pztql0N{=b}N|\rlap{\qlp{=i}}\qup k\enotes +% mesure 107 +\barre\notes&\cpdddl edcb|\doubler\rlap{\qlp g}\pztqu0ljl\enotes +\temps\Notes\pause&\Pztql0aca|\rlap{\qlp f}\qup h\enotes +% mesure 108 +\barre\Notes&\qu K\sk\dsoupir|\rlap{\qlp{^f}}\pztqu0khk\enotes +\temps\Notes\pause&\lPztql2Nab|\itenl0g\rlap{\qlp g}\qup i\enotes +%\check +% mesure 109 +\barre\notes&\doubler\Pztql0cec|\tten0\rlap{\qlp g}\cpdddu lkji\enotes +\temps\Notes\pause&\lPztql2MNa|\itenl0f\rlap{\qlp {=f}}\qup h\enotes +% mesure 110 +\barre\Notes&\Pztql0bdb|\tten0\rlap{\qlp f}\qup k\enotes +\temps\Notes\pause&\lPztql2LMN|\itenl0e\rlap{\qlp e}\qup g\enotes +% mesure 111 +\barre\notes&\doubler\Pztql0aca|\tten0\rlap{\qlp e}\cpdddu jihg\enotes +\temps\Notes\pause&\lPztql2K{=L}{^M}|\rlap{\qlp d}\qup{^f}\enotes +%\check +% mesure 112 +\barre\Notes&\Pztql0NbN|\itenl1g\rlap{\hlp g}\qup i\enotes +\temps\Notes\pause&\lPztql2JK{_L}|\qup l\enotes +% mesure 113 +\barre\Notes&\Pztql0{=M}N{_a}|\rlap{\qsk\tten1\qlp g}\pt i\hu{_h}\enotes +\temps\Notes\pause&\lpztql2KLM|\zqp {=f}\qlp k\enotes +\def\atnextline{\autolines {13}45}\relax +% mesure 114 +\barre\Notes\ptsoupir&\pztqL0NMN|\rlap{\qlp g}\qup{=i}\enotes +\temps\Notes\PztqU0CEC&\qu J\sk\dsoupir|\ptsoupir\enotes +%\check +% mesure 115 +\barre\NOtes\qu G\sk\dsoupir&|\PztqU0cec\enotes +\temps\notes\doubler\Pztqu0CEC&\pause|\cpdddu gfed\enotes +% mesure 116 +\barre\NOtes\qu{_H}\sk\dsoupir&|\PztqU0cec\enotes +\temps\notes\doubler\PztqU0DFD&\pause|\bigfl h\cpdddu hgfe\enotes +% mesure 117 +\barre\NOtes\qu{=I}\sk\dsoupir&|\PztqU0dfd\enotes +\temps\notes\doubler\pztqU0GIG&\pause|\bigaccid\na i\cpdddu i{=h}gf\enotes +%\check +% mesure 118 +\barre\NOtes\qup J&\trql{-3}cN{^M}|\uptext + {\it legato}\rlap{\qlp e\itenl0g\ql g}\trqu6egj\enotes +\temps\NOtes\pointdorgue N\qu G\sk\dsoupir + &\pointdurgue H\ql N\sk\dsoupir|\tten0\zq d\zql g\pointdorgue o\qu{=i}\sk\dsoupir\enotes +\signaturegenerale{-3}% +% mesure 119 +\setdoublebar +\changecontext\NOtes\qup J&\rlap{\qup e}\trqL0cNc|\Uptext{\bf\kern -14mm+acc. III}\rlap{\zqp g\qlp j}\trqU0lnl\enotes +\temps\notes\qup F&\doubler + \rlap{\qlp L}\trqu0cac|\rlap{\zqp h\qlp j}\cpdddu onml\enotes +%\check +% mesure 120 +\barre\NOtes\qup I&\rlap{\qup d}\trqL0aMa|\rlap{\zqp f\qlp h}\trqU0kmk\enotes +\temps\notes\qup E&\doubler + \rlap{\qlp K}\trqu0bNb|\rlap{\zqp g\qlp i}\cpdddu nmlk\enotes +% mesure 121 +\barre\NOtes\qup H&\rlap{\qup c}\trqL0aLa|\rlap{\zqp e\qlp h}\trqU0jlj\enotes +\temps\NOtes\qup F&\rlap{\qlp M}\trqu0dad|\rlap{\zqp f\qlp h}\trqu0mkm\enotes +% mesure 122 +\barre\NOtes\qup G&\rlap{\qup {=b}}\trqL0NMN|\rlap{\zqp d\qlp f}\na i\trqU0igi\enotes +\temps\NOtes\qup E&\rlap{\qlp L}\trqu0cNc|\rlap{\zqp e\qlp g}\trqu0jlj\enotes +%\check +% mesure 123 +\barre\NOtes\qu G\sk\dsoupir&\zq{KN=b}\ql d\sk\dsoupir + |\zq{=ik}\ql n\sk\dsoupir\enotes +\temps\NOtes\qup J&\rlap{\qup e}\trqL0cNc|\rlap{\zqp g\qlp j}\trqU0lnl\enotes +% mesure 124 +\barre\notes\qup F&\doubler + \rlap{\qlp L}\trqu0cac|\rlap{\zqp h\qlp j}\cpdddu onml\enotes +\temps\NOtes\qup I&\rlap{\qup d}\trqL0aMa|\rlap{\zqp f\qlp h}\trqU0kmk\enotes +%\check +% mesure 125 +\def\atnextline{\autolines {12}45}\relax +\signaturegenerale{-2}\relax +\changecontext\notes\qup E&\doubler + \rlap{\qlp K}\trqu0bNb|\rlap{\zqp g\qlp i}\cpdddu nmlk\enotes +\temps\NOtes\qup H&\rlap{\qup c}\trqL0N{^M}N|\relax + \rlap{\zqp{^f}\qlp h}\trqU0jlj\enotes +% mesure 126 +\barre\NOtes\qup{^F}&\rlap{\qlp{^M}}\trqu0dad|\rlap{\zqp{^f}\qlp h}\trqu0{^m}km\enotes +\temps\NOtes\qup G&\rlap{\qup d}\trqL0bNb|\rlap{\zqp g\qlp i}\trqu{-5}nkj\enotes +% mesure 127 +\barre\NOtes\qup D&\itenl0K\rlap{\qlp K}\trqU{-2}cba|\rlap{\zqp d\qlp{^f}}\trqu2ijk\enotes +\temps\NOtes\qu G\sk\dsoupir&\tten0\zq{KN}\ql b\sk\dsoupir + |\qu g\sk\dsoupir\enotes +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% reprise prelude +%\check +% mesure 128 +\barre\def\atnextline{\autolines{12}35}\relax +\notes\qup G&\zqu N\qqbbl0N{dbd}Nb|\doubler\rlap{\trqL0igi}\trqu0kik\enotes +\temps\notes\qup J&\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0jej}\trqu0lgl\enotes +%\check +% mesure 129 +\barre +\notes\qup F&\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\trqL0hfh}\trqu0jhj\enotes +\temps\notes\qup I&\zqu K\qqbbl0K{bMb}KM|\doubler\rlap{\trqL0idi}\trqu0kfk\enotes +%\check +% mesure 130 +\barre\notes\qup E&\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\trqL0geg}\relax + \trqu0igi\enotes +\temps\notes\qup H&\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0hch}\trqu0jej\enotes +% mesure 131 +\barre\notes\qup D&\zqu K\qqbbl0K{a^Ma}KM|\doubler\rlap{\trqL0{^f}df}\relax + \trqu0hfh\enotes +\temps\notes\qup G&\zqu N\qqbbl0N{dad}bd|\doubler\rlap{\trqL0ghi}\trqu0ijk\enotes +%\check +% mesure 132 +\barre\notes\doubler\qup{=I}&\zqu N\qqbbl0N{d=bd}Nb|\doubler\rlap{\trqL0{=i}{=f}i}\trqu0nkn\enotes +\temps\notes\qup J&\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0geg}\trqu0ljl\enotes +%\check +% mesure 133 +\barre\notes\qup F&\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\qlp h}\trqu0mjm\enotes +\temps\notes\qup I&\zqu K\qqbbl0K{_bMb}KM|\doubler\rlap{\trql0fef}\trqu0kjk\enotes +%\check +% mesure 134 +\barre\notes\qup E&\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\trql0geg}\trqu0lgl\enotes +\temps\notes\qup H&\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0heh}\trqu0jhj\enotes +% mesure 135 +\barre\notes\qup D&\zqu K\qqbbl0K{a^Ma}KM|\doubler\rlap{\qlp {^f}}\trqu0khk\enotes +\temps\notes\qup G&\zqu N\qqbbl0N{dad}bd|\doubler\rlap{\trqL0gfg}\trqu{-2}ihg\enotes +%\check +% mesure 136 +\barre\notes\doubler\qu G\sk\dsoupir + &\zqu N\qqbbl0N{d=bd}Nb|\doubler\rlap{\trqL0{=i}{=f}i}\trqu0nkm\enotes +\temps\notes\doubler\qu J\sk\dsoupir + &\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0gfg}\trqu0lkl\enotes +%\check +% mesure 137 +\barre\notes\doubler\qu F\sk\dsoupir + &\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\qlp h}\trqu0mjl\enotes +\temps\notes\doubler\qu I\sk\dsoupir + &\zqu K\qqbbl0K{_bMb}KM|\doubler\rlap{\trql0fef}\trqu0kjk\enotes +%\check +% mesure 138 +\barre\notes\doubler\qu E\sk\dsoupir + &\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\qlp g}\trqu0lik\enotes +\temps\notes\doubler\qu H\sk\dsoupir + &\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0hgh}\trqu{-2}jih\enotes +% mesure 139 +\barre\Notes\qu K\sk\dsoupir&\zq{Nb}\ql K\sk\dsoupir|\zq{gi}\ql k\sk\dsoupir\enotes +\temps\Notes\qu G\sk\dsoupir&\zq{LN}\ql c\sk\dsoupir|\zq{gj}\ql l\sk\dsoupir\enotes +% mesure 140 +\barre% \advance\barsinline by -1\relax +\Notes\qu H\sk\dsoupir&\zq{La}\ql c\sk\dsoupir|\zq{eh}\ql j\sk\dsoupir\enotes +\temps\Notes\pointdurgue K\qup K&\pointdorgue d\zqp{^Ma}\qlp d|\pointdorgue l\zqp{^fh}\qlp k\enotes +\temps\Notes&\zmidtwotext{\ff}|\Uptext{\moyen Maestoso\ \bf(\metron{\cu}{90})}\enotes +%\check +% mesure 141 +\def\motif#1#2#3#4{\doubler{\advance\transpose by 2\relax + \ibl0{#1}0\advance\transpose by-3\relax + \ibu1{#4}0}\zq{#1}\rlap{\qb0{#2}}\buppz1\qh1{#3}\relax + \zq{#2}\rlap{\qb0{#3}}\buppz1\qh1{#4}\relax + \zq{#1}\rlap{\tqb0{#2}}\buppz1\tqh1{#3}}% +\setdoublebar\signaturegenerale{1}\changecontext +\notes\qup G&\qqbbl{-2}b{cba}NM|\motif dgik\enotes +\temps\notes\qup J&\qqbbl1LM{Nba}N|\relax + \rlap{\doubler\zq g\ql j\sk\zq e\cl g}\cpdddu lkji\enotes +% mesure 142 +\barre\notes\qup K&\qqbbl1MN{acb}a|\motif cfhj\enotes +\temps\notes\qup I&\qqbbl{-1}N{aba}NM|\relax + \rlap{\doubler\zq g\ql i\sk\zq d\cl g}\cpdddu kjih\enotes +% mesure 143 % +\barre\notes\qup L&\qqbbl1L{MNa}bN|\motif begi\enotes +\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax + \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes +% mesure 144 % +\barre\notes\qup I&\bigaccid\sh K\qqbbl1K{LMa}NM|\bigsh d\motif bdfh\enotes +\temps\notes\qup E&\qqbbl2L{MNa}bc|\relax + \doubler\zq{gi}\ql e\sk\dsoupir\enotes +% mesure 145 +\barre\notes\qup G&\qqbbl{-2}b{cba}NM|\motif dgik\enotes +\temps\notes\qup J&\qqbbl1LM{Nba}N|\relax + \rlap{\doubler\zq g\ql j\sk\zq e\cl g}\cpdddu lkji\enotes +% mesure 146 +\barre\notes\qup K&\qqbbl1MN{acb}a|\motif cfhj\enotes +\temps\notes\qup I&\qqbbl{-1}N{aba}NM|\relax + \rlap{\doubler\zq g\ql i\sk\zq d\cl g}\cpdddu kjih\enotes +% mesure 147 +\barre\notes\qup L&\qqbbl1L{MNa}bN|\motif begi\enotes +\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax + \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes +% mesure 148 % +\barre\notes\qup J&\qqbbl1K{LMN}aN|\motif adfh\enotes +\temps\notes\doubler\qup I&\qqbbl1M{LMa}bc|\relax + \rlap{\doubler\zq f\ql h\sk\zq d\cl f}\cpdddu kjih\enotes +% mesure 149 % +\barre\notes\qup L&\qqbbl1L{MNa}bN|\Uptext{\it rit.}\motif begi\enotes +\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax + \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes +% mesure 150 % +\barre\notes\qup K&\qqbbl1K{LMa}NM|\Uptext{\it rall. molto}\doubler + \itenl5c\rlap{\pt b\lh d\hlp c}\trqU0fhf\enotes +\temps\NOtes\itenl0G\qup G&\itenl1K\itenu3N\zqp {K}\qlp N|\relax +\itenu2d\rlap{\qsk\tten5\qlp c}\itenu4g\itenu5i\zq d\pt e\zqp g\qup i\enotes +% mesure 151 +\advance\barsinline by -1\relax + \barre\NOtes\tten0\hup G&\tten1\zhp {KN}\hlp +b|\tten2\tten3\tten4\tten5\zhp{dg}\hup i\enotes + \finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex b/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex new file mode 100644 index 00000000000..2b455cee38a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex @@ -0,0 +1,314 @@ +%\input musixtex +%\input musixcpt +%\input musixsty +\ifx\qh\undefined\let\qh\qb\fi % +\ifx\qhp\undefined\let\qhp\qbp\fi % +\ifx\qhpp\undefined\let\qhpp\qbpp\fi % +\parindent 15mm + % +\title{Gloria} +\fullauthor{M\'elodie~: Guy BOUSSION\\Harmonisation~: Daniel TAUPIN} +\shortauthor{G. Boussion} +\maketitle + +\tracingstats=1\relax + % + +\def\nbinstruments{3} +\setsize3{\tinyvalue} +\setstaffs22\relax +\setclef2{6000}% +\setclef1{6000}% +\setclef3{0000}% + % +\generalsignature{-1}\relax % un bemol a la clef +\generalmeter{\meterfrac{2}{2}} + %\check +\def\instrumenti{P\'edale} +\def\instrumentii{\vbox{\hsize=\parindent\centerline{Orgue$^{\tenbf *}$}\centerline{(manuel)}}} +\def\instrumentiii{}\def\instrumentiv{Chant} + %\check +\elemskip=7pt\relax +\setinterinstrument2{3\Interligne} + % + \footnote{}{\noindent\bf{*} \rm Si, pour une raison ou une autre, il n'est +pas possible de jouer la partie basse au p\'edalier, celle-ci devra \^etre +jou\'ee \`a la main gauche sur un clavier manuel, de pr\'ef\'erence avec un +jeu de 16 pieds. Dans ce cas, on pourra sacrifier la partie manuelle en clef +de Fa. Les indications {\bf I} et {\bf II} indiquent des changements de plan +sonore (ou de clavier) dans le cas o\`u l'on alterne le chant par +l'assembl\'ee (I) et par une chorale (II). +}% + % + %\check +\geometricskipscale +\eightrm +\sepbarrules +\startpiece +\def\respire{\notes&&\cbreath\enotes}% +\znotes&\zmidstaff{\bf \kern -6pt I \ppff(mf)}&\uptext{\kern -9mm\raise 9pt\hbox{\bigfont + Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes +\hardlyrics{\kern-9pt Gloire }\notes\qp&\qp|\qu c&\hsong\thelyrics\cu c\enotes +\notes &| &\hsong{\`a }\cu c\enotes +\barre +\NOtes\hup F&\hup M|\zhp a\zhp c\hup f&\hsong{Dieu~}\hu f\enotes +\notes &|&\hsong{au~}\cu f\enotes +\hardlyrics{plus~}\notes &|&\hsong\thelyrics\cu f\enotes +\hardlyrics{haut~}\notes \qu J&\qu L|\zq{ce}\qu g&\hsong\thelyrics\cu g\enotes +\notes&&\zsong{des~}\cu g\enotes +\barre +\NOtes\hl M&\hl M|\zh{cf}\hu h&\hsong{cieux~}\qup h\enotes +\notes&&\hsong{et~}\cu h\enotes +\Notes\qu K&\hl b|\zq{df}\qu i&\hsong{paix~}\qu i\enotes +\notes\qu L&|\ibu0h{-3}\rlap{\zq c\ql e}\qh0h&\hsong{sur~}\cu h\enotes +\notes&|\tbu0\qh0g&\hsong{la~}\cu g\enotes +\barre +\Notes\hl M&\wh M|\zh{ac}\hu f&\hsong{ter-~}\qu f\enotes +\notes&&\hsong{re~}\cu f\enotes +\hardlyrics{aux~}\notes&&\hsong\thelyrics\cu f\enotes +\hardlyrics{hom-~}\notes\qu I&|\rlap{\zh b\hl d}\qu g&\hsong\thelyrics\qu g\enotes +\hardlyrics{mes~}\notes\qu G&|\ibu0h3\qh0h&\hsong\thelyrics\cu h\enotes +\notes &|\tbu0\qh0i&\zsong{qu'il~}\cu i\enotes +\barre +\Notes\qu J&\hl N|\rlap{\ql c}\zh e\hu g&\hsong{ai-~}\hu g\enotes +\Notes\qu C&|\ql b&\enotes +\Notes\hu F&\hl M|\zh a\zh c\hu f&\hsong{me. }\hu f\enotes + %\check +\respire\Notes&\cmidstaff{\kern -15pt\bf II \ppff(mf)}\enotes +\barre +\hardlyrics{Nous~}\notes\ql M&\ql a|\rlap{\hl c}\zq f\qu h&\hsong\thelyrics\qu h\enotes +\notes\qu J&\ql N|\zq e\qu g&\hsong{Te~}\cu g\enotes +\hardlyrics{lou-~}\notes&&\hsong\thelyrics\cu g\enotes +\NOtes\hl M&\hl a|\zh{cf}\hu h&\hsong{ons,~}\hu h\enotes + %\check +\barre +\hardlyrics{nous~}\notes\qu K&\ql M|\zq{df}\qu h&\hsong\thelyrics\cu h\enotes +\notes&&\hsong{Te~}\cu h\enotes +\notes\qu L&\ql N|\zq{eg}\qu j&\hsong{b\'e-~}\cu j\enotes +\hardlyrics{nis-~}\notes&&\hsong\thelyrics\cu j\enotes + %\check +\NOTes \hl M&\hl a|\zh{cf}\hu h&\hsong{sons,~}\hu h\enotes +\barre +\hardlyrics{nous~}\notes \qu M&\ql a|\zq{cf}\qu h&\hsong\thelyrics\qu h\enotes + %\check +\Notes\hup J&\hlp N|\rlap{\ql c}\zh e\hu g&\hsong{T'a-~}\hu g\enotes +\Notes&|\hl b&\enotes +\Notes&|\zq c\qu f&\hsong{do-~}\qu f\enotes +\barre +\NOtes \hu F&\hl M|\zh{ac}\hu f&\hsong{rons,~}\hu f\enotes + %\check +\znotes&\cmidstaff{\bf I}\enotes +\respire +\hardlyrics{nous~}\notes\ql M&\ql a|\rlap{\hl c}\istied0c\zq f\qu h&\hsong\thelyrics\cu h\enotes +\notes&&\hsong{Te~}\cu h\enotes + %\check +\hardlyrics{glo-~}\notes\ql J&\ql N|\zq e\qu g&\hsong\thelyrics\cu g\enotes +\notes&&\hsong{ri-~}\cu g\enotes +\barre +\NOTes\hl M&\hl a|\tten0\rlap{\hl c}\zh f\hu h&\hsong{fions,~}\hu h\enotes + %\chec +\hardlyrics{\kern -4pt nous~}\notes\qlp K&\qlp a|\rlap{\hl d}\zqp f\qup h&\hsong\thelyrics\cu h\enotes +\notes&&\hsong{Te~}\cu h\enotes +\hardlyrics{ren-~}\notes&&\hsong\thelyrics\cu h\enotes +\notes\cu I&\cl N|\zq g\cu i&\zsong{dons~}\cu i\enotes +\barre +\NOtes\qup J&\qlp L|\zqp c\zqp e\qup g&\hsong{gr\^a-~}\qu g\enotes +\notes&&\hsong{ces }\cu g\enotes +\hardlyrics{pour~}\notes\cu J&\cl L|\zq e\cu g&\hsong\thelyrics\cu g\enotes +\hardlyrics{Ton~}\notes\ibl0L0\qb0M&\ibl1M3\qb1M|\ibu2h3\zq f\qh2h&\hsong\thelyrics\cu h\enotes +\hardlyrics{im-~}\notes\qb0L&\qb1N|\zq g\qh2i&\hsong\thelyrics\cu i\enotes +\hardlyrics{men-~}\notes\qb0M&\qb1a|\zq h\qh2j&\hsong\thelyrics\cu j\enotes +\notes\tbl0\qb0K&\tbl1\qb1b|\tbu2\zq i\qh2k&\hsong{se~}\cu k\enotes + %\check +\barre +\Notes\qu L&\ql c|\rlap{\zh e\hl g}\qu j&\isluru1k\hsong{gloi-~}\ql j\enotes +\Notes\qu J&\ql L|\qu i&\hsong{--~}\ql i\enotes +\notes\ql M&\ql a|\zq f\qu h&\tslur1j\hsong{re~!~}\ql h\enotes +\rlap{\respire}\notes&\cmidstaff{\bf II}\enotes +\notes\ibl2M3\qb2M&\ibl0a3\qb0a|\ibu1h3\zq{cf}\qh1h&\hsong{\kern -4pt Sei-~}\cu h\enotes +\hardlyrics{gneur~}\notes\tbl2\qb2N&\tbl0\qb0b|\tbu1\zq{dg}\qh1i&\hsong\thelyrics\cu i\enotes +\barre +\hardlyrics{Dieu,~}\notes\ql a&\zql c\roff{\zhup c}|\zq{fh}\qu j&\hsong\thelyrics\qu j\enotes + %\check +\hardlyrics{Roi~}\notes\ibl2M{-3}\qb2M&\ibl0a{-3}\qb0a|\ibu1h{-3}\zq f\qh1h&\hsong\thelyrics\cu h\enotes +\notes\tbl2\qb2L&\tbl0\qb0N|\tbu1\zq e\qh1g&\hsong{du~}\cu g\enotes +\Notes\ql M&\ql a|\zq f\qu h&\hsong{Ciel,~}\qu h\enotes + %\check +\hardlyrics{Dieu~}\notes\ibl2K{-3}\qb2K&\ibl0a{-3}\qb0a|\ibu1h{-3}\zq{df}\qh1h&\hsong\thelyrics\cu h\enotes +\notes\tbl2\qb2J&\tbl0\qb0N|\tbu1\zq{ce}\qh1g&\hsong{le~}\cu g\enotes + %\check +\barre +\notes\ibl2I{-4}\qb2I&\ibl0M{-4}\qb0M|\ibu1h0\rlap{\ql c}\zq +f\qh1h&\hsong{\kern -4pt P\`e-~}\cu h\enotes +\notes\tbl2\qb2G&\tbl0\qb0K|\zq g\qh1i&\hsong{re~}\cu i\enotes +\hardlyrics{\kern -4pt tout-~}\notes\ql J&\ql L|\rlap{\ql e}\qh1g&\hsong\thelyrics\cu g\enotes +\hardlyrics{puis-~}\notes&|\tbu1\zq c\qh1h&\hsong\thelyrics\cu h\enotes +\NOtes\qup F&\hl M|\zqp c\zqp f\qup h&\hsong{sant~!~}\qup h\enotes +\notes&\cmidstaff{\bf I}\enotes +\respire +\hardlyrics{Sei-~}\notes\ds&|\cu h&\hsong\thelyrics\cu h\enotes + %\check +\barre +\hardlyrics{gneur,~}\notes \ql M&\ql a|\rlap{\hl c}\zq f\qu h&\hsong\thelyrics\qu h\enotes +\notes \qu J&\ql L|\zq e\qu g&\hsong{Fils~}\cu g\enotes +\notes&&\hsong{u-~}\cu g\enotes +\notes \qu K&\ql M|\zq {ad}\qu f&\hsong{ni-~}\cu f\enotes +\notes&&\hsong{que~}\cu f\enotes +\notes \qu J&\ql N|\zq{ce}\qu g&\hsong{J\'e-~}\cu g\enotes +\notes&&\hsong{sus~}\cu g\enotes + %\check +\barre +\NOtes \hl M&\hl a|\zh{cf}\hu h&\hsong{Christ,~}\hu h\enotes +\respire +\Notes \ql M&\ql a|\rlap{\hl c}\zq f\qu h&\hsong{Sei-~}\qu h\enotes +\Notes \qu J&\ql N|\zq e\qu g&\zsong{gneur~}\qu g\enotes + %\check +\barre +\NOtes \hl M&\hl a|\zh c\zh f\hu h&\hsong{Dieu,~}\hu h\enotes +\notes\soupir&\soupir|\ds&\ds\enotes +\notes&|\cu h&\hsong{a-~}\cu h\enotes +\hardlyrics{\kern -4pt gneau~}\notes \Ibu0KI1\qh0K&\ql a|\rlap{\zq d\ql f}\ibu1h3\qh1h&\hsong\thelyrics\cu h\enotes +\notes \tbu0\qh0I&|\tbu1\qh1i&\hsong{de~}\cu i\enotes +\barre +\NOtes \qup J&\qlp N|\zqp c\zqp e\qup g&\hsong{Dieu,~}\qup g\enotes +\notes \cu K&\cl a|\zq d\cu f&\hsong{le~}\cu f\enotes +\Notes \hu J&\ql N|\rlap{\zh c\hl e}\qu g&\hsong{Fils~}\qu g\enotes +\Notes&|\qu g&\hsong{du~}\qu g\enotes +\barre +\NOTes \hup F&\hlp a|\rlap{\zhp c\hlp f}\hu h&\isluru1n\hsong{P\`e-~}\hu h\enotes +\Notes&|\qu h&\tslur1m\hsong{re~}\qu h\enotes +\Notes\soupir &\rlap{\soupir}\cmidstaff{\kern -8pt \bf II \ppff(mp)\kern 17pt}|\soupir&\soupir\enotes +\barre +\Notes\qu K&\ql a|\zq d\qu f&\hsong{Toi~}\qu f\enotes +\notes\qu J&\ql N|\rlap{\hl c}\zq e\qu g&\hsong{qui~}\cu g\enotes +\notes&&\hsong{en-~}\cu g\enotes +\notes\ql M&\ql a|\zq f\qu h&\hsong{l\`e-~}\cu h\enotes +\notes&&\hsong{ves~}\cu h\enotes +\notes\ql K&\ql b|\zq d\zq f\qu i&\hsong{le~}\cl i\enotes +\notes&&\hsong{p\'e-~}\cl i\enotes +\barre +\notes\hup J&\ibl0M3\qb0M|\istied0c\rlap{\hl c}\ibu1h{-3}\zq f\qh1h&\hsong{ch\'e~}\cu h\enotes +\notes&\tbl0\qb0N|\tbu1\zq e\qh1g&\hsong{du~}\cu g\enotes +\hardlyrics{mon-~}\notes&\ql M|\zq f\qu h&\hsong\thelyrics\qu h\enotes +\Notes&\ql L|\tten0\zq{ce}\qu g&\hsong{de,~}\qu g\enotes +\Notes\soupir&\soupir|\soupir&\soupir\enotes +\barre +\NOtes\qup K&\qlp a|\zqp d\qup f&\hsong{prends~}\qup f\enotes +\notes\cu G&\cl N|\zq{bd}\cu g&\hsong{pi-~}\cu g\enotes +\NOtes\hu J&\hl N|\itenu0c\rlap{\hl c}\zq e\qup g&\hsong{ti\'e~}\qup g\enotes +\notes&|\zq b\cu f&\hsong{de~}\cu f\enotes +\barre +\NOTes\hup F&\hlp M|\tten0\zhp a\zhp c\hup f&\hsong{nous~!~}\hup f\enotes +\Notes\soupir&\zmidstaff{\bf\kern -20pt I \ppff(mp)}\soupir|\soupir&\soupir\enotes + %\check +\barre +\Notes\qu K&\ql a|\zq d\qu f&\hsong{Toi~}\qu f\enotes +\notes\qu J&\ql N|\rlap{\hl c}\zq e\qu g&\hsong{qui~}\cu g\enotes +\notes&&\hsong{en-~}\cu g\enotes +\notes\ql M&\ql a|\zq f\qu h&\hsong{l\`e-~}\cu h\enotes +\notes&&\hsong{ves~}\cu h\enotes +\notes\ql K&\ql b|\zq d\zq f\qu i&\hsong{le~}\cl i\enotes +\notes&&\hsong{p\'e-~}\cl i\enotes +\barre +\notes\hup J&\ibl0M3\qb0M|\istied0c\rlap{\hl c}\ibu1h{-3}\zq f\qh1h&\hsong{ch\'e~}\cu h\enotes +\notes&\tbl0\qb0N|\tbu1\zq e\qh1g&\hsong{du~}\cu g\enotes +\Notes&\ql M|\zq f\qu h&\hsong{mon-~}\qu h\enotes +\Notes&\ql L|\tten0\zq{ce}\qu g&\hsong{de,~}\qu g\enotes +\notes\soupir&\soupir|\ds&\ds\enotes +\notes&|\cu h&\hsong{en-~}\cu h\enotes +\barre +\hardlyrics{tends~}\notes\qu K&\ql a|\zq d\qu f&\hsong\thelyrics\cu f\enotes +\notes&&\hsong{no-~}\cu f\enotes +\notes\qu J&\ql N|\rlap{\hlp c}\zq e\qu g&\hsong{tre~}\cu g\enotes +\hardlyrics{pri-~}\notes&&\hsong\thelyrics\cu g\enotes +\Notes\ql M&\ql M|\zq f\qu h&\hsong{\`e-~}\qu h\enotes +\Notes\qu J&\ql L|\zq e\qu g&\hsong{re~! }\qu g\enotes +\rlap{\respire}\notes&\cmidstaff{\bf II}\enotes +\barre +\NOTEs \hu L&\istied0c\wh c|\zh{eg}\hu j&\hsong{Toi~}\hu j\enotes +\Notes \ql M&|\rlap{\hl f}\zq h\qu j&\hsong{qui~}\qu j\enotes +\notes \qu I&|\zq i\qu k&\hsong{es~}\cu k\enotes +\notes&&\hsong{as-~}\cu k\enotes +\barre +\Notes \qu H&\tten0\hl c|\zq f\zq h\qu j&\hsong{sis~}\ql j\enotes +\notes \ibu1G{-3}\qh1G&|\zq g\ibu0i{-3}\qh0i&\hsong{\`a~}\cl i\enotes +\notes \tbu1\qh1F&|\zq f\tbu0\qh0h&\hsong{la~}\cl h\enotes +\Notes \qu J&\ql L|\zq c\zq e\qu g&\hsong{droi-~}\qu g\enotes +\notes \ibl1K3\qb1K&\ibl2M3\qb2M|\zq d\ibu0f3\qh0f&\hsong{te~}\cu f\enotes +\notes \tbl1\qb1L&\tbl2\qb2N|\zq e\tbu0\qh0g&\hsong{du~}\cu g\enotes +\barre +\NOTes \hl M&\hl a|\rlap{\hlp c}\zh f\hu h&\isluru1n\hsong{P\`e-~}\hu h\enotes +\Notes \qu J&\ql N|\zq e\qu g&\tslur1m\hsong{re~}\qu g\enotes +\Notes\soupir&\soupir|\soupir&\soupir\enotes + %\check + %\check +\barre +\NOtes \hu K&\hl a|\rlap{\zh d\hl f}\qup h&\hsong{prends~}\qup h\enotes +\notes&|\cu h&\hsong{pi-~}\cu h\enotes +\NOtes \hu G&\hl N|\rlap{\zh b\hl d}\qup g&\hsong{ti\'e~}\qup g\enotes +\notes&|\cu h&\hsong{de~}\cu h\enotes + %\check +\barre +\NOTes \hu H&\hl a|\zh{^ce}\hu h&\hsong{nous~!~}\hu h\enotes +\notes&\zmidstaff{\kern -12pt\bf I \ppff(f)}|\soupir + &\Uptext{\bigfont plus anim\'e}\soupir\enotes +\notes\hpause&\hpause|\qu{=c}&\hsong{\kern -4pt Car~}\cu c\enotes +\notes&&\hsong{Toi~}\cu c\enotes + %\check +\barre +\Notes\qu K&\ql M|\zq{ad}\qu f&\hsong{seul~}\qu f\enotes +\Notes\qu J&\ql N|\zq{ce}\qu g&\hsong{es~}\qu g\enotes +\Notes\hu F&\hl M|\zqp c\zqp f\qup h&\zsong{saint~!~}\qup h\enotes +\notes&|\qs&\qs\enotes +\notes&|\zq{cf}\ccu h&\zsong{Toi~}\ccu h\enotes +\barre +\Notes\qu F&\ql M|\zq {cf}\qu h&\hsong{seul~}\qu h\enotes +\notes\Ibu0CF1\qhp0C&\ibl1L3\qbp1L|\zql c\Ibu2gh1\zqp e\qhp2g&\hsong{es~}\cup g\enotes +\hardlyrics{Sei-~}\notes\tbbu0\tbu0\qh0 F&\tbbl1\tbl1\qb1M|\zq {f}\tbbu2\tbu2\qh2h&\hsong\thelyrics\ccu h\enotes +\NOtes\qup F&\qlp M|\zqp c\zqp f\qup h&\hsong{gneur~!~}\qup h\enotes +\notes&\cmidstaff{\bf II \ppff(f)\kern 12pt}\enotes +\respire +\notes\ds&\cl M|\zq {cf}\cu h&\hsong{Toi~}\cu h\enotes + %\check +\barre +\notes\ibu0M0\qh0M&\ibl2a0\qb2a|\ibu1h0\rlap{\hl c}\zq f\qh1h&\hsong{\kern + -4pt seul~}\cu h\enotes +\notes\qh0J&\qb2N|\zq e\qh1g&\hsong{es~}\cu g\enotes +\notes\qh0M&\qb2a|\zq f\qh1h&\hsong{le~}\cu h\enotes +\hardlyrics{Tr\`es-~}\notes\tbu0\qh0N&\tbl2\qb2b|\zq g\tbu1\qh1i&\hsong\thelyrics\cu i\enotes +\hardlyrics{haut,~}\notes\ql a&\ql c|\zq {fh}\qu j&\hsong\thelyrics\ql j\enotes +\notes\ibl0a{-3}\qb0a&\ibl2c{-3}\qb2c|\zq {h}\ibl1j{-3}\qb1j&\hsong{J\'e-~}\cl j\enotes +\notes\tbl0\qb0N&\tbl2\qb2b|\zq g\tbl1\qb1i&\zsong{sus-~}\cl i\enotes + %\check +\barre +\NOtes\hl M&\hl a|\zhl f\zq h\qup j&\hsong{Christ,~}\qlp j\enotes +\notes&|\cu h&\hsong{a-}\cu h\enotes +\notes \qu K&\ql M|\zq{ad}\qu f&\hsong{vec~}\cu f\enotes +\notes&&\hsong{le~}\cu f\enotes +\hardlyrics{\kern -4pt Saint-~}\notes \qu J&\ql N|\zq{ce}\qu g&\hsong\thelyrics\cu g\enotes +\notes&&\hsong{Es-~}\cu g\enotes + %\check +\barre +\NOtes \hl M&\hl a|\zh{cf}\hu h&\hsong{prit~! }\hu h\enotes +\notes&\cmidstaff{\bf I}\enotes +\Notes\qu K&\ql M|\zq{ad}\qu f&\hsong{dans~}\qu f\enotes +\notes\qu J&\ql N|\zq{ce}\qu g&\hsong{la~}\qu g\enotes +\barre +\Notes\qup F&\qlp a|\rlap{\hl c}\zqp f\qu h&\hsong{gloi-~}\qu h\enotes +\notes&|&\hsong{re~}\cu h\enotes +\notes\cu C&\cl N|\zq e\cu g&\hsong{de~}\cu g\enotes +\Notes\qu F&\ql M|\zq{cf}\qu h&\hsong{Dieu~}\qu h\enotes +\Notes\qu I&\ql b|\zq{df}\qu i&\hsong{le~}\qu i\enotes +\barre +\Notes\qu J\qu C&\hl N|\rlap{\ql c}\zh e\hu g\ql b&\isluru1m\hsong{P\`e-~}\hu g\enotes +\NOtes\hu F&\hl M|\zh{ac}\hu f&\tslur1l\hsong{re. }\hu f\enotes +\rlap{\respire}\Notes&\cmidstaff{\kern -12pt\ppff $<$ ff}\enotes +\barre +\Notes\qu J\qu I\qu H\qu G&\wh L|\zw c\zw e\wh g&\islurd1e\zsong{A - - - - - }\wh g\enotes\barre +\NOtes\zhp F\hup M&\hlp a|\zhp c\zhp f\hup h&\tslur1f\hsong{men~!~}\hup h\enotes +\notes\soupir&\soupir|\soupir&\soupir\enotes +\mulooseness 2 +\Stoppiece +\medskip\rightline{\it le \aujourdhui} +\eject +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex b/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex new file mode 100644 index 00000000000..6d5bad41fbc --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex @@ -0,0 +1,286 @@ +%\input musixtex +%\input musixcpt +%\input musixsty +% +\parindent 15mm +% +\title{Gloria} +\fullauthor{M\'elodie~: Guy BOUSSION} +\shortauthor{G. Boussion} +\maketitle +\tracingstats=1\relax +% +\bigskip +\def\nbinstruments{1} +\setstaffs11 +% +\generalsignature{-1}\relax % un bemol a la clef +\generalmeter{\meterfrac{2}{2}} +%\check +% +\geometricskipscale +\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne +\startpiece +\setsongraise1{2\Interligne}% +\def\respire{\notes\cbreath\enotes}% +\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigfont + Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes +% +\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes +\notes\hsong{\`a }\cu c\enotes +\barre +\NOTes\hsong{Dieu~}\hu f\enotes +\notes\hsong{au}\cu f\enotes +\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes +\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes +\notes\hsong{des}\cu g\enotes +\barre +\NOtes\hsong{cieux~}\qup h\enotes +\notes\hsong{et~}\cu h\enotes +\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes +\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{la~}\cu g\enotes +\barre +\Notes\hsong{ter-}\qu f\enotes +\notes\hsong{re~}\cu f\enotes +\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes +\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes +\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes +\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes +\barre +\Notes\hsong{ai-}\hu g\enotes +\Notes\hsong{}\enotes +\Notes\hsong{me.}\hu f\enotes +%\check +\respire\Notes\uptext{\bf II }\enotes +\barre +\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes +\notes\hsong{Te~}\cu g\enotes +\notes\hsong{lou-}\cu g\enotes +\NOtes\hsong{ons,}\hu h\enotes +%\check +\barre +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{b\'e-}\cu j\enotes +\notes\hsong{nis-}\cu j\enotes +%\check +\NOTes\hsong{sons,}\hu h\enotes +\barre +\Notes\hsong{nous~}\qu h\enotes +%\check +\Notes\hsong{t'a-}\hu g\enotes +\Notes\enotes +\Notes\hsong{do-}\qu f\enotes +\barre +\NOtes\hsong{rons,~}\hu f\enotes +%\check +\respire\notes\uptext{\bf I}\enotes +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +%\check +\notes\hsong{glo-}\cu g\enotes +\notes\hsong{ri-}\cu g\enotes +\barre +\NOTEs\hsong{fions,~}\hu h\enotes +%\chec +\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{ren-}\cu h\enotes +\notes\zsong{dons~}\cu i\enotes +\barre +\NOtes\hsong{gr\^a~-}\qu g\enotes +\notes\hsong{ces~}\cu g\enotes +\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{im-}\cu i\enotes +\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes +\notes\zsong{se~}\cu k\enotes +%\check +\barre +\Notes\hsong{gloi-}\ql j\enotes +\Notes\hsong{-}\ql i\enotes +\Notes\hsong{re~!}\qu h\enotes +\respire\notes\uptext{\bf II}\enotes +\notes\hsong{Sei-}\cu h\enotes +\notes\zsong{gneur~}\thelyrics\cu i\enotes +\barre +\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes +%\check +\notes\hsong{Roi~}\cu h\enotes +\notes\hsong{du~}\cu g\enotes +\Notes\hsong{Ciel,~}\qu h\enotes +%\check +\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes +\notes\zsong{le~}\cu g\enotes +%\check +\barre +\notes\hsong{P\`e-~}\itied1h\cu h\enotes +\notes\hsong{re~}\ttie1\cu i\enotes +\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes +\Notes\hsong{sant~!}\qup h\enotes +\respire\notes\uptext{\bf I}\enotes +\notes\zsong{Sei-}\cu h\enotes +%\check +\barre +\hardlyrics{gneur,~}\notes\hsong\thelyrics\qu h\enotes +\hardlyrics{Fils~}\notes\hsong\thelyrics\cu g\enotes +\notes\hsong{u-}\cu g\enotes +\notes\hsong{ni-}\cu f\enotes +\hardlyrics{que~}\notes\hsong\thelyrics\cu f\enotes +\notes\hsong{J\'e-}\cu g\enotes +\notes\zsong{sus~}\cu g\enotes +%\check +\barre +\NOtes\hsong{Christ,}\hu h\enotes +\respire +\Notes\hsong{Sei-}\qu h\enotes +\Notes\zsong{gneur}\qu g\enotes +%\check +\barre +\NOtes\hsong{Dieu,}\hu h\enotes +\notes\hsong{}\ds\enotes +\notes\hsong{a-}\cu h\enotes +\hardlyrics{\kern -4pt gneau~}\notes\hsong\thelyrics\cu h\enotes +\notes\zsong{de~}\cu i\enotes +\barre +\NOtes\hsong{Dieu,}\qup g\enotes +\notes\hsong{le~}\cu f\enotes +\Notes\hsong{Fils~}\qu g\enotes +\Notes\zsong{du~}\qu g\enotes +\barre +\NOTes\hsong{P\`e-}\hu h\enotes +\Notes\hsong{re~}\qu h\enotes +\Notes\hsong{}\rlap{\uptext{\bf II }}\soupir\enotes +\barre +\Notes\hsong{Toi~}\qu f\enotes +\notes\hsong{qui~}\cu g\enotes +\notes\hsong{en-}\cu g\enotes +\notes\hsong{l\`e-}\cu h\enotes +\notes\hsong{ves~}\cu h\enotes +\notes\hsong{le~}\cl i\enotes +\notes\zsong{p\'e-}\cl i\enotes +\barre +\notes\hsong{ch\'e~}\cu h\enotes +\notes\hsong{du~}\cu g\enotes +\Notes\hsong{mon-}\qu h\enotes +\NOtes\hsong{de,}\qu g\enotes +\Notes\hsong{}\soupir\enotes +\barre +\NOtes\hsong{prends~}\qup f\enotes +\notes\hsong{pi-}\cu g\enotes +\NOtes\hsong{ti\'e~}\qup g\enotes +\notes\zsong{de~}\cu f\enotes +\barre +\NOTes\hsong{nous~!}\hup f\uptext{\bf I}\enotes +\Notes\hsong{}\soupir\enotes +%\check +\barre +\Notes\hsong{Toi~}\qu f\enotes +\notes\hsong{qui~}\cu g\enotes +\notes\hsong{en-}\cu g\enotes +\notes\hsong{l\`e-}\cu h\enotes +\notes\hsong{ves~}\cu h\enotes +\notes\hsong{le~}\cl i\enotes +\notes\zsong{p\'e-}\cl i\enotes +\barre +\notes\hsong{ch\'e~}\cu h\enotes +\notes\hsong{du~}\cu g\enotes +\Notes\hsong{mon-}\qu h\enotes +\NOtes\hsong{de,}\qu g\enotes +\notes\hsong{}\ds\enotes +\notes\zsong{en-}\cu h\enotes +\barre +\hardlyrics{tends~}\notes\hsong\thelyrics\cu f\enotes +\notes\hsong{no-}\cu f\enotes +\notes\hsong{tre~}\cu g\enotes +\notes\hsong{pri-}\cu g\enotes +\Notes\hsong{\`e-}\qu h\enotes +\Notes\hsong{re~!}\qu g\enotes +\respire\notes\uptext{\bf II}\enotes +\barre +\NOTEs\hsong{Toi~}\hu j\enotes +\Notes\hsong{qui~}\qu j\enotes +\notes\hsong{es~}\cu k\enotes +\notes\zsong{as-}\cu k\enotes +\barre +\Notes\hsong{sis~}\ql j\enotes +\notes\hsong{ \`a~}\cl i\enotes +\notes\hsong{la~}\cl h\enotes +\Notes\hsong{droi-}\qu g\enotes +\notes\hsong{te~}\cu f\enotes +\notes\zsong{du~}\cu g\enotes +\barre +\NOTes\hsong{P\`e-}\hu h\enotes +\Notes\hsong{re~}\qu g\enotes +\Notes\hsong{}\soupir\enotes +%\check +%\check +\barre +\NOtes\hsong{prends~}\qup h\enotes +\notes\hsong{pi-}\cu h\enotes +\NOtes\hsong{ti\'e~}\qup g\enotes +\notes\zsong{de~}\cu h\enotes +%\check +\barre +\NOTes\hsong{nous~!}\hu h\uptext{\bf I }\enotes +\notes\rlap{\uptext{\raise 9pt\hbox{\bigfont\ + plus anim\'e\kern 5pt}}}\soupir\enotes +\hardlyrics{Car~}\notes\hsong\thelyrics\cu c\enotes +\notes\zsong{Toi~}\cu c\enotes +%\check +\barre +\Notes\hsong{seul~}\qu f\enotes +\Notes\hsong{es~}\qu g\enotes +\Notes\zsong{saint~!}\qup h\enotes +\notes\zsong{\sk Toi~}\qs\ccu h\enotes +\barre +\Notes\hsong{seul~}\qu h\enotes +\notes\hsong{es~}\cup g\enotes +\notes\hsong{Sei-}\ccu h\enotes +\NOtes\hsong{gneur~!}\qup h\enotes +\respire\notes\uptext{\bf II }\enotes +\notes\zsong{Toi~}\cu h\enotes +%\check +\barre +\notes\hsong{\kern -4pt seul~}\cu h\enotes +\notes\hsong{es~}\cu g\enotes +\notes\hsong{le~}\cu h\enotes +\hardlyrics{Tr\`es-}\notes\hsong\thelyrics\cu i\enotes +\Notes\hsong{haut,}\ql j\enotes +\notes\hsong{J\'e-}\cl j\enotes +\notes\zsong{sus-}\cl i\enotes +%\check +\barre +\NOtes\hsong{Christ,}\qlp j\enotes +\notes\hsong{a-}\cu h\enotes +\notes\hsong{vec~}\cu f\enotes +\notes\hsong{le~}\cu f\enotes +\hardlyrics{\kern -4pt Saint-}\notes\hsong\thelyrics\cu g\enotes +\notes\zsong{Es-}\cu g\enotes +%\check +\barre +\NOtes\hsong{prit~!}\hu h\enotes +\notes\uptext{\bf I}\enotes +\Notes\hsong{dans~}\qu f\enotes +\notes\zsong{la~}\qu g\enotes +\barre +\Notes\hsong{gloi-}\qu h\enotes +\notes\hsong{re~}\cu h\enotes +\notes\hsong{de~}\cu g\enotes +\Notes\hsong{Dieu~}\qu h\enotes +\Notes\zsong{le~}\qu i\enotes +\barre +\Notes\hsong{P\`e-}\hu g\enotes +\NOtes\zsong{re.}\hu f\enotes +\respire +\barre +\Notes\zsong{A - - - - - }\wh g\enotes +\barre +\NOtes\hsong{men~!}\hup h\enotes +\notes\hsong{}\soupir\enotes +\mulooseness 4% +\Stoppiece +\medskip\rightline{\it le \aujourdhui\ \ \ \ } +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/gloriax.tex b/Master/texmf-dist/doc/generic/musixtex/examples/gloriax.tex new file mode 100644 index 00000000000..509b8dea32e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/gloriax.tex @@ -0,0 +1,283 @@ +\input musixtex +\input musixcpt +\input musixsty +\sepbarrules +\def\tempz{\temps}% +% +\vsize=28.2cm +\hsize=18.5cm +\parindent 15mm +% +\vbox{% +\centerline{\enorme Gloria} +\medskip +\rightline{\cmbx M\'elodie~: Guy BOUSSION} +}% +\tracingstats=1\relax +% +\bigskip +\def\nbinstruments{2} +\global\nbporteesi=0 +% +\signaturegenerale{-1}\relax % un bemol a la clef +\generalmeter{\meterfrac{2}{2}} +%\check +%\check + +% +\def\eightpoint{\Tenpoint}% +% +%\check +\catcode`\@=11 +\newdimen\lyricskip +\def\varskip#1{% + \setbox\ch@box\hbox{#1}\global\lyricskip\wd\ch@box} +\catcode`\@=12 + +\normal\elemskip=15pt +\def\gluemaxskip{6pt}% +\staffbotmarg=1.5\Interligne\stafftopmarg=1.5\Interligne +\debutmorceau +% +\def\respire{\notes&\cbreath\enotes}% +\temps\znotes&\uptext{\kern -9mm\raise 9pt\hbox{\moyen + Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes +% +\def\Varnotes#1\enotes{\vnotes0.05\elemskip &\enotes +% \varskip{#1}\vnotes0.05\elemskip\rlap{#1}&\rlap{#2}\enotes + \varskip{#1}\znotes\rlap{#1}&\rlap{#2}\enotes + \hardspace{\lyricskip}% + \vnotes0.05\elemskip &\enotes +}% +% +\def\VarNotes#1\enotes{\vnotes0.05\elemskip &\enotes + \varskip{#1}\vnotes1\elemskip\rlap{#1}&\rlap{#2}\enotes + \hardspace{\lyricskip}% + \vnotes0.05\elemskip &\enotes +}% +% +\def\VarNOtes#1\enotes{\vnotes0.05\elemskip &\enotes + \varskip{#1}\vnotes2\elemskip\rlap{#1}&\rlap{#2}\enotes + \hardspace{\lyricskip}% + \vnotes0.05\elemskip &\enotes +}% +\temps\Varnotes \kern-5pt Gloire &\cu c\enotes +\temps\Varnotes \`a &\cu c\enotes +\barre\NOTes Dieu~&\hu f\enotes +\tempz\Varnotes au&\cu f\enotes +\temps\Varnotes plus~&\cu f\enotes +\temps\Varnotes haut~&\cu g\enotes +\temps\Varnotes des &\cu g\enotes +\barre\VarNOtes cieux~&\qup h\enotes +\temps\Varnotes et~&\cu h\enotes +\tempz\VarNotes paix~&\qu i\enotes +\temps\Varnotes sur~&\cu h\enotes +\temps\Varnotes la~&\cu g\enotes +\barre\VarNotes ter-&\qu f\enotes +\temps\Varnotes re~&\cu f\enotes +\temps\Varnotes aux~&\cu f\enotes +\tempz\VarNotes hom~-&\qu g\enotes +\temps\Varnotes mes~&\cu h\enotes +\temps\Varnotes qu'il~&\cu i\enotes +\alaligne\VarNotes ai-&\hu g\enotes +\temps\VarNotes &\enotes +\tempz\VarNotes me.&\hu f\enotes +%\check +\temps\respire\VarNotes&\uptext{\bf II }\enotes +\barre\VarNotes Nous~&\qu h\enotes +\temps\Varnotes Te~&\cu g\enotes +\temps\Varnotes lou-&\cu g\enotes +\tempz\VarNOtes ons,&\hu h\enotes +%\check +\barre\Varnotes nous~&\cu h\enotes +\temps\Varnotes Te~&\cu h\enotes +\temps\Varnotes b\'e-&\cu j\enotes +\temps\Varnotes nis-&\cu j\enotes +%\check +\tempz\NOTes sons,&\hu h\enotes +\barre\VarNotes nous~&\qu h\enotes +%\check +\temps\VarNotes t'a-&\hu g\enotes +\tempz\VarNotes&\enotes +\temps\VarNotes do-&\qu f\enotes +\alaligne\VarNOtes rons,~&\hu f\enotes +%\check +\temps\respire\Varnotes&\uptext{\bf I}\enotes +\tempz\Varnotes nous~&\cu h\enotes +\temps\Varnotes Te~&\cu h\enotes +%\check +\temps\Varnotes glo-&\cu g\enotes +\temps\Varnotes ri-&\cu g\enotes +\barre\NOTEs fions,~&\hu h\enotes +%\chec +\tempz\Varnotes \kern -4pt nous~&\cu h\enotes +\temps\Varnotes Te~&\cu h\enotes +\temps\Varnotes ren-&\cu h\enotes +\temps\Varnotes dons~&\cu i\enotes +\barre\VarNOtes gr\^a~-&\qu g\enotes +\temps\Varnotes ces&\cu g\enotes +\temps\Varnotes pour&\cu g\enotes +\tempz\Varnotes Ton~&\cu h\enotes +\temps\Varnotes im-&\cu i\enotes +\temps\Varnotes men&\cu j\enotes +\temps\Varnotes se~&\cu k\enotes +%\check +\alaligne\VarNotes gloi-&\ql j\enotes +\temps\VarNotes -&\ql i\enotes +\temps\VarNotes re~!&\qu h\enotes +\temps\respire\Varnotes&\uptext{\bf II}\enotes +\temps\Varnotes Sei-&\cu h\enotes +\temps\Varnotes gneur~&\cu i\enotes +\barre\VarNotes Dieu,~&\qu j\enotes +%\check +\temps\Varnotes Roi~&\cu h\enotes +\temps\Varnotes du~&\cu g\enotes +\tempz\VarNotes Ciel,~&\qu h\enotes +%\check +\temps\Varnotes Dieu~&\cu h\enotes +\temps\Varnotes le~&\cu g\enotes +%\check +\barre\Varnotes P\`e-~&\cu h\enotes +\temps\Varnotes re~&\cu i\enotes +\temps\Varnotes tout-&\cu g\enotes +\temps\Varnotes puis-&\cu h\enotes +\tempz\VarNOtes sant~!&\qup h\enotes +\temps\respire\Varnotes&\uptext{\bf I}\enotes +\temps\Varnotes Sei-&\cu h\enotes +%\check +\barre\VarNotes gneur,~&\qu h\enotes +\temps\Varnotes Fils~&\cu g\enotes +\temps\Varnotes u-&\cu g\enotes +\tempz\Varnotes ni-&\cu f\enotes +\temps\Varnotes que-&\cu f\enotes +\temps\Varnotes J\'e-&\cu g\enotes +\temps\Varnotes sus~&\cu g\enotes +%\check +\barre\VarNOtes Christ,&\hu h\enotes +\temps\respire +\tempz\VarNotes Sei-&\qu h\enotes +\temps\VarNotes gneur&\qu g\enotes +%\check +\barre\VarNOtes Dieu,&\hu h\enotes +\tempz\notes &\ds\enotes +\temps\Varnotes a-&\cu h\enotes +\temps\Varnotes \kern -4pt gneau~&\cu h\enotes +\temps\Varnotes de~&\cu i\enotes +\alaligne +\temps\VarNOtes Dieu,&\qup g\enotes +\temps\Varnotes le~&\cu f\enotes +\tempz\VarNotes Fils~&\qu g\enotes +\temps\VarNotes du~&\qu g\enotes +\barre\NOTes P\`e-&\hu h\enotes +\tempz\VarNotes re~&\qu h\enotes +\temps\Notes &\rlap{\uptext{\bf II }}\soupir\enotes +\barre\VarNotes Toi~&\qu f\enotes +\temps\Varnotes qui~&\cu g\enotes +\temps\Varnotes en-&\cu g\enotes +\tempz\Varnotes l\`e-&\cu h\enotes +\temps\Varnotes ves~&\cu h\enotes +\temps\Varnotes le~&\cl i\enotes +\temps\Varnotes p\'e-&\cl i\enotes +\barre\Varnotes ch\'e~&\cu h\enotes +\temps\Varnotes du~&\cu g\enotes +\temps\VarNotes mon-&\qu h\enotes +\tempz\VarNOtes de,&\qu g\enotes +\temps\Notes &\soupir\enotes +\alaligne\VarNOtes prends~&\qup f\enotes +\temps\Varnotes pi-&\cu g\enotes +\tempz\VarNOtes ti\'e~&\qup g\enotes +\temps\Varnotes de~&\cu f\enotes +\barre\NOTes nous~!&\hup f\uptext{\bf I}\enotes +\temps\Notes &\soupir\enotes +%\check +\barre\VarNotes Toi~&\qu f\enotes +\temps\Varnotes qui~&\cu g\enotes +\temps\Varnotes en-&\cu g\enotes +\tempz\Varnotes l\`e-&\cu h\enotes +\temps\Varnotes ves~&\cu h\enotes +\temps\Varnotes le~&\cl i\enotes +\temps\Varnotes p\'e-&\cl i\enotes +\barre\Varnotes ch\'e~&\cu h\enotes +\temps\Varnotes du~&\cu g\enotes +\temps\VarNotes mon-&\qu h\enotes +\tempz\VarNOtes de,&\qu g\enotes +\temps\notes &\ds\enotes +\temps\Varnotes en-&\cu h\enotes +\barre\Varnotes tends~&\cu f\enotes +\temps\Varnotes no-&\cu f\enotes +\temps\Varnotes tre~&\cu g\enotes +\temps\Varnotes pri-&\cu g\enotes +\tempz\VarNotes \`e-&\qu h\enotes +\temps\VarNotes re~!&\qu g\enotes +\temps\respire\Varnotes&\uptext{\bf II}\enotes +\barre\NOTEs Toi~&\hu j\enotes +\tempz\VarNotes qui~&\qu j\enotes +\tempz\Varnotes es~&\cu k\enotes +\tempz\Varnotes as-&\cu k\enotes +\barre\VarNotes sis~&\ql j\enotes +\temps\Varnotes \`a~&\cl i\enotes +\temps\Varnotes la~&\cl h\enotes +\tempz\VarNotes droi-&\qu g\enotes +\tempz\Varnotes te~&\cu f\enotes +\temps\Varnotes du~&\cu g\enotes +\alaligne\NOTes P\`e-&\hu h\enotes +\tempz\VarNotes re~&\qu g\enotes +\temps\Notes &\soupir\enotes +%\check +%\check +\barre\VarNOtes prends~&\qup h\enotes +\temps\Varnotes pi-&\cu h\enotes +\tempz\VarNOtes ti\'e~&\qup g\enotes +\temps\Varnotes de~&\cu h\enotes +%\check +\barre\NOTes nous~!&\hu h\uptext{\bf I }\enotes +\tempz\notes&\rlap{\uptext{\raise 8pt\hbox{\moyen plus anim\'e\kern 5pt}}}\soupir\enotes +\temps\Varnotes Car~&\cu c\enotes +\temps\Varnotes Toi~&\cu c\enotes +%\check +\barre\VarNotes seul~&\qu f\enotes +\temps\VarNotes es~&\qu g\enotes +\tempz\VarNotes saint~!&\qup h\enotes +\temps\notes \sk&\qsoupir\enotes +\temps\Varnotes Toi~&\ccu h\enotes +\alaligne\VarNotes seul~&\qu h\enotes +\temps\Varnotes es~&\cup g\enotes +\temps\Varnotes Sei-&\ccu h\enotes +\tempz\VarNOtes gneur~!&\qup h\enotes +\temps\respire\Varnotes&\uptext{\bf II }\enotes +\temps\Varnotes Toi~&\cu h\enotes +%\check +\barre\Varnotes seul~&\cu h\enotes +\temps\Varnotes es~&\cu g\enotes +\temps\Varnotes le~&\cu h\enotes +\temps\Varnotes Tr\`es-&\cu i\enotes +\tempz\VarNotes haut,&\ql j\enotes +\temps\Varnotes J\'e-&\cl j\enotes +\temps\Varnotes sus-&\cl i\enotes +%\check +\barre\VarNOtes Christ,&\qlp j\enotes +\temps\Varnotes a-&\cu h\enotes +\tempz\Varnotes vec~&\cu f\enotes +\temps\Varnotes le~&\cu f\enotes +\temps\Varnotes \kern -4pt Saint-&\cu g\enotes +\temps\Varnotes Es-&\cu g\enotes +%\check +\barre\VarNOtes prit~!&\hu h\enotes +\tempz\Varnotes&\uptext{\bf I}\enotes +\temps\VarNotes dans~&\qu f\enotes +\temps\Varnotes la~&\qu g\enotes +\barre\VarNotes gloi-&\qu h\enotes +\temps\Varnotes re~&\cu h\enotes +\temps\Varnotes de~&\cu g\enotes +\tempz\VarNotes Dieu~&\qu h\enotes +\temps\VarNotes le~&\qu i\enotes +\barre\VarNotes P\`e-&\hu g\enotes +\tempz\VarNOtes re.&\hu f\enotes +\temps\respire +\barre\VarNotes A - - - - - &\wh g\enotes +\barre\VarNOtes men~!&\hup h\enotes +\tempz\notes &\soupir\enotes +%\mulooseness -2\relax +\finmorceau +\medskip\rightline{\it le \aujourdhui\ \ \ \ } +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/gymnoman.tex b/Master/texmf-dist/doc/generic/musixtex/examples/gymnoman.tex new file mode 100644 index 00000000000..07f1ac9966a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/gymnoman.tex @@ -0,0 +1,569 @@ +% \input musixtex +% \input musixcpt +% \input musixsty +\title{Gymnomanie} +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN} +% +\othermention{Compos\'e en 1994} +\maketitle + +\parindent 12mm +\tracingstats=2\relax +% +\nbporteesi=2\relax +\def\nbinstruments{1}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{0}\relax % un bemol a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +%\check +\def\instrumenti{Piano} +%\check +\troistemps +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\ff{{f}\kern -1pt{f}}% +\def\gluemaxskip{6pt}% +% +% formes frequentes +% +%\check +% au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +% +% trois doubles croches hautes +\def\tqbbl#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}% +\def\tqbbu#1#2#3{\Ibbu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% +\def\tqbbh{\tqbbu}% +\def\tqbbb{\tqbbl}% +% quatre doubles croches +\def\qqbbh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1}\qh0{#2}\qh0{#3}\tqh0{#4}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4{\Ibbl0{#1}{#2}3\qb0{#1}\qb0{#2}\qb0{#3}\tqb0{#4}}\relax +%\check +% octave basse en blanche +\def\bohl#1{\zh{!`#1}\hl{!#1}}% +\def\bohu#1{\zh{!`#1}\hu{!#1}}% +\def\sohl#1{\zh{!'#1}\hl{!#1}}% +\def\sohu#1{\zh{!'#1}\hu{!#1}}% +% octave basse en blanche pointee +\def\bohlp#1{\zhp{!`#1}\hlp{!#1}}% +\def\bohup#1{\zhp{!`#1}\hup{!#1}}% +\def\sohlp#1{\zhp{!'#1}\hlp{!#1}}% +\def\sohup#1{\zhp{!'#1}\hup{!#1}}% +% +\def\bozh#1{\zh{!`#1!#1}}% +\def\bozq#1{\zq{!`#1!#1}}% +\def\boql#1{\zq{!`#1}\ql{!#1}}% +\def\boqu#1{\zq{!`#1}\qu{!#1}}% +% octave sup. en croches u +\def\soqh#1{\zq{!'#1}\qh0{!#1}}% +\def\soqb#1{\zq{!'#1}\qb0{!#1}}% +\def\soqu#1{\zq{!'#1}\qu{!#1}}% +\def\soql#1{\zq{!'#1}\ql{!#1}}% +%\check +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne % +\def\lPED{\zcharnote{-5}{\hbox to 2.4\internote{\hss\Ped\kern -2pt}}}% +\def\PEDDEP{\PED\sk\sk\sk\DEP\pause}% +\def\PEDpDEP{\PED\sk\sk\sk\DEP\sk}% +\def\upsoupir#1{\raise#1\Interligne\rlap{\soupir}} +% +\debutmorceau +% call \autolines with musiCtex, not with musiXtex !!! +\ifx\mxversion\undefined\autolines {6}55\relax\fi +\advance\barsinline by 1\relax +\notes|\Uptext{\moyen\kern -20pt Lento \rm(\metron{\qu}{65})}\enotes +\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff + p}|\zcharnote a{\kern -5mm\ppff mp}\enotes + % +\temps\NOtes \upsoupir2\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\qu m\enotes + % mesure 2 +\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hup l\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes + %\check + % mesure 3 +\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{ad}|\zql f\qu m\enotes + % mesure 4 +\barre\NOtes \upsoupir2\bohlp{=J}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{LN}\qu{=c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq g\qu e\enotes + % mesure 5 +\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes +\temps\NOtes\zq{Ma}\qu c|\qu f\enotes +\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes + % mesure 6 +\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes +\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes +\temps\NOtes\zq{Mad}|\zql f\qu m\enotes + % mesure 7 + %\check +\barre\NOtes \upsoupir2\bohlp J|\upsoupir{-2}\hu n\enotes +\temps\NOtes\zq L\qu N|\zq c\qu e\enotes +\temps\NOtes\zq L\qu N|\upsoupir3\zq {ce}\qu g\enotes + % mesure 8 +\barre\NOtes \upsoupir2\bohlp K|\hu o\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\qu o\enotes + % mesure 9 +\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{L}\qu{c}|\zq g\qu e\enotes + % mesure 10 +\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hu o\enotes +\temps\NOtes\zq{a^c}\qu e|\qu g\enotes +\temps\NOtes\zq{ae}\qu g|\zql h\qu o\enotes + % mesure 11 +\barre\NOtes \upsoupir2\bohup{D}|\upsoupir{-2}\hup m\enotes +\temps\NOtes\zq{KMa}\qu{d}|\upsoupir{-2}\enotes +\temps\NOtes\zq{Ka}\qu{d}|\qu f\enotes + %\check + % mesure 12 +\barre\NOtes \upsoupir2\bohup F|\hu o\enotes +\temps\NOtes\zq{Mad}|\zql f\enotes +\temps\NOtes\zq{ad}|\zq f\zql h\qu o\enotes + %\check + % mesure 13 +\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{L}\qu{c}|\zq h\ql e\enotes + %\check + % mesure 14 +\barre\NOtes \upsoupir2\bohup{F}|\qu o\enotes +\temps\NOtes\zq{Mad}|\zql{f}\qu n\enotes +\temps\NOtes\zq{ad}|\zq f\zql{h}\qu m\enotes + %\check + % mesure 15 +\barre\NOtes \upsoupir2\bohup{C}|\hu n\enotes +\temps\NOtes\zq{LNc}\qu{e}|\enotes +\temps\NOtes\zq{Nce}|\upsoupir2\ql g\enotes + %\check + % mesure 16 +\barre\NOtes \upsoupir2\bohup D|\hu m\enotes +\temps\NOtes\zq{KMa}\qu d\enotes +\temps\NOtes\zq{Mad}\qu f|\qu m\enotes + %\check + % mesure 17 +\barre\NOtes \upsoupir2\bohlp G|\hup l\enotes +\temps\NOtes\zq{LN_b}\qu e\enotes +\temps\NOtes\zq{Nbe}\qu g|\enotes + %\check + % mesure 18 +\barre\NOtes \upsoupir2\bohup D|\zcharnote b{\CREsc}\hu {^m}\enotes +\temps\NOtes\zq{K^Ma}\qu d\enotes +\temps\NOtes\zq{Mad}\qu{^f}|\qu m\enotes + %\check + % mesure 19 +\barre\NOtes \upsoupir2\bohup E|\hu{^n}\enotes +\temps\NOtes\zq{L^Nb}\qu e\enotes +\temps\NOtes\zq{Nbe}|\zql{^g}\qu n\enotes + %\check + % mesure 20 +\barre\NOtes \upsoupir2\bohup{^F}|\hu{^o}\enotes +\temps\NOtes\lsh a\zq{^Ma^c}|\ql{^f}\enotes +\temps\NOtes\zq{ac}|\zq f\zql{^h}\qu o\enotes + %\check + % mesure 21 +\barre\NOtes \upsoupir2\bohlp{^G}|\hup{^p}\enotes +\temps\NOtes\lsh b\zq{^Nb^d}|\ql{^g}\enotes +\temps\NOtes\zq{^Mdb}|\zq g\zql{^i}\enotes + %\check + % mesure 22 +\barre\NOtes \upsoupir2\bohlp{=H}|\hup{^q}\enotes +\temps\NOtes\lna a\zq{a^c}|\zq e\ql{=h}\enotes +\temps\NOtes\zq{Lc}|\zq {eg}\ql{^j}\enotes + %\check + % mesure 23 +\barre\NOtes \upsoupir2\bohup{^F}|\qu{^q}\enotes +\temps\NOtes\zq{^Ma^c}|\zql{^f}\qu p\enotes +\temps\NOtes\zq{ac}|\zq f\zql{h}\qu o\enotes + %\check + % mesure 24 +\barre\NOtes \upsoupir2\bohup{^C}|\hup{^n}\enotes +\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes +\temps\NOtes\zq{Nb}|\zq e\ql {^g}\enotes + %\check + % mesure 25 +\barre\NOtes \upsoupir2\bohlp{K}|\hu{^m}\enotes +\temps\NOtes\zq{^Mad}|\ql{^f}\enotes +\temps\NOtes\zq{ad}|\zq f\zql {h}\qu m\enotes + %\check + % mesure 26 +\barre\NOtes \upsoupir2\bohlp{^J}|\hup{l}\enotes +\temps\NOtes\lsh N\zq{LN^c}|\ql{e}\enotes +\temps\NOtes\zq{Nc}|\zq e\ql {^g}\enotes + %\check + % mesure 27 +\barre\NOtes \upsoupir2\bohlp{K}\zmidtwotext{\DIMin}|\qu k\enotes +\temps\NOtes\zq{^Ma}\ql d|\qu l\enotes +\temps\NOtes\zq{ad}|\zql {^f}\qu{^m}\enotes + %\check + % mesure 28 +\xbarre\NOtes \upsoupir2\bohlp{^J}|\hu{^j}\enotes +\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes +\temps\NOtes\zq{Nb}|\zq e\zql {^g}\upsoupir2\enotes + %\check + % mesure 29 +\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes +\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes +\temps\NOtes\zq{Mac}\ql {^f}|\boqu o\enotes + %\check + % mesure 30 +\barre\NOtes \upsoupir2\bohlp{^J}|\bohup{^n}\enotes +\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes +\temps\NOtes\zq{Nb}|\zq e\ql {^g}\enotes + %\check + % mesure 31 +\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes +\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes +\temps\NOtes\zq{Mac}\qu {^f}|\boqu o\enotes + %\check + % mesure 32 +\barre\NOtes \upsoupir2\bohup{E}|\bohup{p}\enotes +\temps\NOtes\zq{L^Nb}|\ql{e}\enotes +\temps\NOtes\zq{Nb}|\zq d\ql {g}\enotes + %\check + % mesure 33 +\barre\NOtes \upsoupir2\bohlp{H}|\bohu{^q}\enotes +\temps\NOtes\zq{a^ce}|\ql{h}\enotes +\temps\NOtes\zq{Lc}\ql {e}|\boqu q\enotes + %\check + % mesure 34 +\barre\NOtes \upsoupir2\bohlp{^J}|\boqu{s}\enotes +\temps\NOtes\zq{a^c}|\zq{^f}\zql{h}\boqu{^q}\enotes +\temps\NOtes\zq{^Mac}|\zql f\boqu o\enotes + %\check + % mesure 35 +\barre\NOtes \upsoupir2\bohlp{^J}|\bohu{^n}\enotes +\temps\NOtes\lsh e\lsh N\zq{^LN^c}\ql{e}\enotes +\temps\NOtes\zq{LN}\lq b\zql c|\soupir\enotes + %\check + % mesure 36 +\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes +\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes +\temps\NOtes\zq{Mac}\ql {^f}|\boqu o\enotes + %\check + % mesure 37 +\barre\NOtes \upsoupir2\bohup{H}|\bohu{=n}\enotes +\temps\NOtes\lna a\zq{=La^c}|\ql{=e}|\enotes +\temps\NOtes\zq{ac}|\zql e\boqu n\enotes + %\check + % mesure 38 +\barre\NOtes \upsoupir3\bohup K|\boqu {^m}\enotes +\temps\NOtes\zq{K^Ma}\qu d|\boqu l\enotes +\temps\NOtes\zq{Ma}\qu{^f}|\boqu k\enotes + %\check + % mesure 39 +\barre\NOtes \upsoupir2\bohup{H}|\bohu{^j}\enotes +\temps\NOtes\zq{La^c}\ql{e}|\enotes +\temps\NOtes\zq{ace}|\zql h\upsoupir2\enotes + %\check + % mesure 40 +\barre\NOtes \upsoupir2\bohup{G}|\bohup{p}\enotes +\temps\NOtes\zq{KNb}\ql{d}|\enotes +\temps\NOtes\zq{Nbd}|\zql g\enotes + %\check + % mesure 41 +\barre\NOtes \upsoupir2\bohup{H}|\bohup{^q}\enotes +\temps\NOtes\zq{La^c}\ql{e}|\enotes +\temps\NOtes\zq{ace}|\ql h\enotes + %\check + % mesure 42 +\barre\NOtes \upsoupir2\bohup{I}|\boqu{^r}\enotes +\temps\NOtes\zq{^Mb^d}|\zql{^f}\boqu{^q}\enotes +\temps\NOtes\zq{bd}|\zq h\zql {f}\qsk\boqu p\enotes + %\check + % mesure 43 +\barre\NOtes \upsoupir2\bohup{E}|\bohup{s}\enotes +\temps\NOtes\zq{LN}\ql{c}|\enotes +\temps\NOtes\zq{Nc}\ql e\enotes + %\check + % mesure 44 +\barre\NOtes \upsoupir2\bohup{G}|\boqu{t}\enotes +\temps\NOtes\zq{KNb}\ql d|\boqu{s}\enotes +\temps\NOtes\zq{Nbd}\zql {f}|\boqu r\enotes + %\check + % mesure 45 +\barre\NOtes \upsoupir2\bohup{C}|\bohu{s}\enotes +\temps\NOtes\zq{LNc}|\ql{e}\enotes +\temps\NOtes\zq{Nc}|\zq e\zql g\boqu s\enotes + %\check + % mesure 46 +\barre\NOtes \upsoupir2\bohup{G}|\bohup{r}\enotes +\temps\NOtes\zq{Nb}\ql e|\enotes +\temps\NOtes\zq{Nb}\ql d|\enotes + %\check + % mesure 47 +\barre\NOtes \upsoupir2\bohup{H}|\boqu{q}\enotes +\temps\NOtes\zq{Lac}\zql{e}|\boqu p\enotes +\temps\NOtes\zq{Lac}\zql e|\boqu o\enotes + %\check + % mesure 48 +\barre\NOtes \qsk\upsoupir2\bohup{G}|\qsk\bohup{_p}\enotes +\temps\NOtes\zq{KN_b}\ql d|\enotes +\temps\NOtes\zq{Nbd}|\ql g|\enotes + %\check + % mesure 49 +\barre\NOtes \zmidtwotext{\it rit.}\upsoupir2\bohup{H}|\bohu{o}\enotes +\temps\NOtes\zq{La^c}\ql e|\enotes +\temps\NOtes\zq{ac}\ql e|\boqu n\enotes + %\check + % mesure 50 +\barre\NOtes \zmidtwotext{\it a tempo}\upsoupir2\bohlp K|\bohu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\boqu m\enotes + % mesure 51 +\barre\NOtes \upsoupir2\bohlp{^J}|\bohup l\enotes +\temps\NOtes\zq{LN^c}\ql e\enotes +\temps\NOtes\zq{LNc}|\zq h\ql e\enotes + %\check + % mesure 52 +\barre\NOtes \upsoupir2\bohlp K|\bohu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{M_b}\qu d|\boqu m\enotes + % mesure 53 +\barre\NOtes \upsoupir2\bohlp{=J}|\bohup n\enotes +\temps\NOtes\zq{LN=c}|\ql e\enotes +\temps\NOtes\zq{LNc}|\zq g\ql e\enotes + % mesure 54 +\barre\NOtes \upsoupir2\bohup F|\bohu o\enotes +\temps\NOtes\zq{Mac}|\zql f\enotes +\temps\NOtes\zq{Mac}|\zql f\boqu o\enotes + % mesure 55 +\barre\NOtes \upsoupir2\bohlp{H}|\boqu q\enotes +\temps\NOtes\zq{Ma}\qu{c}|\boqu o\enotes +\temps\NOtes\zq{Ma}\zql d|\boqu m\enotes + % mesure 56 + %\check +\barre\NOtes \upsoupir2\bohlp{^J}|\bohu n\enotes +\temps\NOtes\zq {LN}|\zq{^c}\ql e\enotes +\temps\NOtes\zq L\zq N|\upsoupir3\zq {ce}\ql g\enotes + % mesure 57 +\barre\NOtes \upsoupir2\bohlp K|\bohu o\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\boqu o\enotes + % mesure 58 +\barre\NOtes \upsoupir2\bohlp{G}|\bohup n\enotes +\temps\NOtes\zq{KN_b}\qu{d}|\enotes +\temps\NOtes\zq{Nbd}|\ql g\enotes + % mesure 59 + %\check +\barre\NOtes \upsoupir2\bohlp{H}|\boqu o\enotes +\temps\NOtes\zq {KMa}\qu d|\boqu n\enotes +\temps\NOtes\zq {Ma}\zql d|\boqu m\enotes + % mesure 60 + %\check +\barre\NOtes \upsoupir2\bohlp{J}|\bohup {_l}\enotes +\temps\NOtes\zq {_LNc}\zql{_e}\enotes +\temps\NOtes\zq {Nce}|\ql g\enotes + % mesure 61 + %\check +\barre\NOtes \upsoupir2\bohlp{K}|\bohu k\enotes +\temps\NOtes\zq {K^Ma}\zql d|\enotes +\temps\NOtes\zq {Mad}\zql{^f}|\soupir\enotes + %\check + % mesure 62 +\barre\NOtes \qsk\upsoupir2\bohup{G}|\bohu{n}\enotes +\temps\NOtes\zq{KN_b}\ql d|\enotes +\temps\NOtes\zq{Nb}\ql d|\boqu n\enotes + % mesure 63 + %\check +\barre\NOtes \upsoupir2\bohlp{F}|\bohup {_o}\enotes +\temps\NOtes\lfl a\zq {=Mac}\zql{=f}|\enotes +\temps\NOtes\zq {acf}|\zql h\enotes + % mesure 64 + %\check +\barre\NOtes \upsoupir2\bohlp{J}|\boqu n\enotes +\temps\NOtes\zq {_LNc}\zql{_e}|\boqu m\enotes +\temps\NOtes\zq {Nc}\zql{g}|\boqu{_l}\enotes + % mesure 65 + %\check +\barre\NOtes \upsoupir2\bohlp{F}|\bohup {_k}\enotes +\temps\NOtes\lfl a\zq {Ma_d}\zql{f}|\enotes +\temps\NOtes\zq {adf}\zql{_h}|\enotes + % mesure 66 + %\check +\barre\NOtes \upsoupir2\bohlp{G}|\cna b\cna i\bohu {i}\enotes +\temps\NOtes\zq {Nb}\zql{=d}|\enotes +\temps\NOtes\zq {bd}\zql{f}|\soupir\enotes + % mesure 67 + %\check +\barre\NOtes \upsoupir2\bohlp{_H}|\zcharnote a{\ppff mf}\bohup {q}\enotes +\temps\NOtes\zq {_ac}|\zq{_e}\zql{_h}\enotes +\temps\NOtes|\zq {ceh}\ql{j}|\enotes + % mesure 68 + %\check +\barre\NOtes \upsoupir2\bohlp{J}|\boqu {_s}\enotes +\temps\NOtes\zq {_ac}|\zq{_e}\zql{_h}\boqu q\enotes +\temps\NOtes|\zq {ceh}\zql{j}\qsk\fl o\boqu {o}\enotes + % mesure 69 + %\check +\barre\NOtes \upsoupir3\bohlp{_L}|\bohup {n}\enotes +\temps\NOtes\zq {_LN_b}\zql{_e}\enotes +\temps\NOtes\zq {Nbe}|\ql{g}\enotes + % mesure 70 + %\check +\barre\NOtes \upsoupir2\bohlp{_H}|\boqu {q}\enotes +\temps\NOtes\zq {_ac}\zql{_e}|\zq{j_l}\boqu {_o}\enotes +\temps\NOtes\zq {ce}|\zql h\zq{lo}\boqu {q}\enotes + % mesure 71 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\boqu {_p}\enotes +\temps\NOtes\zq {N_b}\zql{_e}|\zq{_i_l}\boqu {n}\enotes +\temps\NOtes\zq {be}|\zql g\zq{ln}\boqu {p}\enotes + % mesure 72 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{M}|\qsk\boqu {_o}\enotes +\temps\NOtes\zq {_ac}\zql{f}|\zq{_hj}\boqu {m}\enotes +\temps\NOtes\zq {c}\zql f|\zq{jm}\boqu {o}\enotes + % mesure 73 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\bohup {_p}\enotes +\temps\NOtes\zq {_LN_b}\zql{_e}|\enotes +\temps\NOtes\zq {Nbe}|\zql g\enotes + % mesure 74 + %\check +\barre\NOtes \upsoupir2\bohlp{_H}|\boqu {q}\enotes +\temps\NOtes\zq {_ac}\zql{_e}|\zq{j_l}\boqu {_o}\enotes +\temps\NOtes\zq {ce}|\zql h\zq{lo}\boqu {q}\enotes + % mesure 75 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\boqu {_p}\enotes +\temps\NOtes\zq {N_b}\zql{_e}|\zq{_i_l}\boqu {n}\enotes +\temps\NOtes\zq {be}|\zql g\zq{ln}\boqu {p}\enotes + % mesure 76 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{M}|\qsk\boqu {_o}\enotes +\temps\NOtes\zq {_ac}\zql{f}|\zq{_hj}\boqu {m}\enotes +\temps\NOtes\zq {c}\zql f|\zq{jm}\boqu {o}\enotes + % mesure 77 + %\check +\barre\NOtes \upsoupir3\bohlp{J}|\bohup {n}\enotes +\temps\NOtes\zq {=LNc}\zql{=e}|\enotes +\temps\NOtes\zq {Nce}|\zql g\enotes + % mesure 78 + %\check +\barre\NOtes \upsoupir3\bohlp{_K}|\bohu {m}\enotes +\temps\NOtes\zq {M_a_d}\ql{f}|\enotes +\temps\NOtes\zq {KMa}\ql d|\boqu m\enotes + % mesure 79 + %\check +\barre\NOtes \upsoupir3\bohlp{J}|\qsk\bohup {_l}\enotes +\temps\NOtes\zq {_LNc}\ql{_e}|\enotes +\temps\NOtes\zq {Nce}|\ql g\enotes + % mesure 80 + %\check +\barre\NOtes \qsk\upsoupir3\bohlp{_K}|\qsk\zq{f_h}\boqu {_k}\enotes +\temps\NOtes\fl N\fl d\zq {KN_b}\ql{d}|\zq{_g_i}\boqu{_l}\enotes +\temps\NOtes\zq {KM_a}\ql d|\zq{hk}\boqu m\enotes + % mesure 81 + %\check +\barre\NOtes \qsk\upsoupir2\bohlp{J}|\qsk\lna g\zh{=eg}\bohu {j}\enotes +\temps\NOtes\lna L\zq {L=N}\ql{c}|\enotes +\temps\NOtes\zq {Nc}\ql{=e}|\soupir\enotes + %\check + % mesure 82 +\barre\NOtes \upsoupir2\zmidtwotext{\DIMin}\bohup{G}|\bohu{n}\enotes +\temps\NOtes\zq{KN_b}\ql d|\enotes +\temps\NOtes\zq{Nb}\ql d|\boqu n\enotes + %\check + % mesure 83 +\barre\NOtes \upsoupir3\bohlp K|\bohup m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\enotes + %\check + % mesure 84 +\barre\NOtes \upsoupir2\bohlp J|\zq{gj}\boqu{_l}\enotes +\temps\NOtes\zq{_LN}\ql c|\boqu{k}\enotes +\temps\NOtes\zq{LN}\qu {_e}|\boqu j\enotes + % mesure 85 + %\check +\barre\NOtes \upsoupir2\bohlp{K}|\bohu k\enotes +\temps\NOtes\zq {K^Ma}\zql d|\enotes +\temps\NOtes\zq {Mad}\zql{^f}|\soupir\enotes + % mesure 86 +\barre\NOtes\uptext{\kern -\Interligne\ppff + p} \upsoupir2\bohlp K|\zcharnote a{\kern -\Interligne\ppff mp}\cna m\hu m\enotes +\temps\NOtes\zq{=Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\qu m\enotes + % mesure 87 +\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hup l\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes + %\check + % mesure 88 +\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{ad}|\zql f\qu m\enotes + % mesure 89 +\barre\NOtes \upsoupir2\bohlp{=J}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{LN}\qu{=c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq g\qu e\enotes + % mesure 90 +\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes +\temps\NOtes\zq{Ma}\qu c|\qu f\enotes +\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes + % mesure 91 +\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes +\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes +\temps\NOtes\zq{Mad}|\zql f\qu m\enotes + % mesure 92 + %\check +\barre\NOtes \upsoupir2\bohlp J|\upsoupir{-2}\hu n\enotes +\temps\NOtes\zq L\qu N|\zq c\qu e\enotes +\temps\NOtes\zq L\qu N|\upsoupir3\zq {ce}\qu g\enotes + % mesure 93 +\ifx\mxversion\undefined\def\atnextline{\autolines665}\fi % only with musiCtex +\barre\NOtes\upsoupir2\zmidtwotext{\it diminuendo}\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{Maf}\qu d|\qu m\enotes + % mesure 94 +\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup l\enotes +\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes +\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes + %\check + % mesure 95 +\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes +\temps\NOtes\zq{Ma}\qu d\enotes +\temps\NOtes\zq{ad}|\zql f\qu m\enotes + % mesure 96 +\barre\NOtes \upsoupir2\bohlp{G}|\upsoupir{-2}\hup n\enotes +\temps\NOtes\zq{KN}\qu{_b}|\zq d\qu g\enotes +\temps\NOtes\zq{N}\qu{b}|\zq d\zq g\qu{_i}\enotes + % mesure 97 +\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes +\temps\NOtes\zq{Ma}\qu c|\qu f\enotes +\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes + % mesure 98 +\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes +\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes +\temps\NOtes\zq{Mad}|\zql f\qu m\enotes + % mesure 99 +\barre\NOtes \upsoupir2\bohlp{H}|\hup l\enotes +\temps\NOtes\zq{Lae}\qu{^c}\enotes +\temps\NOtes\zq{ace}|\ql g\enotes + % mesure 100 +\barre\NOtes \pointdurgue{!`D}\upsoupir2\bohup{D}\zmidtwotext{\it rall.}\relax + |\pointdorgue n\hup k\enotes +\temps\NOtes\zq{Mad}|\ql f\enotes +\temps\NOtes\pointdorgue d\zq{Ma}\ql d\enotes +\mulooseness 1\relax +\finmorceau + \rightline{\sl \aujourdhui}\eject +\bye + + + + + + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex new file mode 100644 index 00000000000..c304a1eca58 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex @@ -0,0 +1,13 @@ + +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{0}\relax +\def\Signature{1}\relax % un dieze a la clef +\input ilestnex +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{-1}\relax % un bemol a la clef +\input ilestnex +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex new file mode 100644 index 00000000000..64da5c3b21e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex @@ -0,0 +1,201 @@ +\fulltitle{Il est n, le divin enfant} +\title{Il est n, le divin enfant} +\author{traditionnel\\Harmonisation Pierre Darmon} +\maketitle + +\tracingstats=1\relax +\relativeaccidentals +\sepbarrules +% +\bigskip +% au moins deux croches basses et hautes +\def\dql#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqu#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% +% soufflets crescendo et decrescendo +% +\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\cresc}}% +\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CResc}}% +% +\def\souffldim#1{\zcharnote{#1}{\kern -1cm\dimin}}% +\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DImin}}% +% +%\check +\def\nbinstruments{2}\resetsignatures +\barsinline=0\relax\linesinpage=0\relax +\global\nbporteesi=1\relax +\global\nbporteesii=1\relax +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\def\lowersonginstrum{1} % to be used to make heavy bars at staff left +\def\uppersonginstrum{2} % to be used to make heavy bars at staff left +% +\ifx\Signature\undefined\def\Signature{1}\fi +\ifx\Transpose\undefined\def\Transpose{0}\fi +% +\signaturegenerale{\Signature}% +\generalmeter{\meterfrac{4}{4}} +%\check +\def\interfacteur{12}% +\def\instrumenti{\vbox{\hsize=\parindent +\centerline{T\'enors}\centerline{basses}}}% +\def\instrumentii{\vbox{\hsize=\parindent +\centerline{Sopran.}\centerline{Altos}}}% +%\check +\def\respire{\notes&\cbreath\enotes}% +% +\def\eightpoint{\Tenpoint}% +%\check +\catcodesmusic + +\def\txt#1|#2|#3&{{\vbox to 0pt{\Smalltype\baselineskip 9pt +\vss\hrule width 9pt height 0pt +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #3\kern\internote}\smallskip +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #2\kern\internote}\smallskip +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #1\kern\internote}\kern -12pt}}}% + % +\def\interfacteur{16}% +% +\debutmorceau +\autolines 784\relax +\transpose=\Transpose +\notes&\Uptext{\raise 2\Interligne\hbox{\moyen Lent}}\enotes + % +% +\Notes\zql N\qu b&\hsong{\txt |Il |&}\qu d\enotes +\temps\Notes\zql N\qu b&\hsong{\txt |est|&}\qu g\enotes +% +%\check +\barre\Notes\zql N\qu b&\hsong{\txt |n|&}\qu g\enotes +\notes\rlap{\dqb NK}\dqu db&\zsong{\txt |le di-|&}\thelyrics\dqu ig\enotes +% +%\check +\barre\Notes\zql I\qu N&\hsong{\txt |vin|&}\qu d\enotes +\temps\notes\zqu b\dql KM&\hsong{\txt |en-|&}\qu g\enotes +% +%\check +\barre\hardlyrics{\txt |fant !|&}\notes\zql N\qu b&\hsong\thelyrics\qu g\enotes +\temps\Notes\soupir&\soupir\enotes +% +%\check +\barre\Notes\zql N\qu b&\hsong{\txt |Jou-|&}\qu g\enotes +\temps\notes\rlap{\dqb NM}\dqu bc&\zsong{\txt |ez haut-|&}\dqu gh\enotes +% +%\check +\barre\hardlyrics{\txt |bois, |&}\notes\zql L\qu d&\hsong\thelyrics\ql i\enotes +\temps\notes\rlap{\dqb NL}\dqu ed&\zsong{\txt |rson-|&}\dql ji\enotes +% +%\check +\barre\Notes\zql M\qu c&\hsong{\txt |nez|&}\qu h\enotes +\temps\Notes\zql L\qu b&\hsong{\txt |mu-|&}\qu g\enotes +% +%\check +\barre\Notes\zql K\qu c&\hsong{\txt |set-|&}\qu h\enotes +\temps\notes\zcl M\cu c&\zsong{\txt |tes |&}\cu d\enotes +\temps\notes\ds&\ds\enotes +% +%\check +\barre\notes\zql N\qu b&\hsong{\txt |Il |&}\zql d\dqu nm\enotes +\temps\notes\zql N\qu b&\zsong{\txt |est |&}\zql g\dqu lk\enotes +% +%\check +\barre\notes\zql N\qu b&\hsong{\txt |n |&}\zql g\dqu lk\enotes +\temps\notes\rlap{\dqb NK}\dqu db&\zsong{\txt |le di-|&}% + \Ibl0 ig1\zqb0 i\loff{\Ibu1ji1\qh1j}\tbl0\zqb0g\tqh1i\enotes +% +%\check +\barre\notes\zql I\qu N&\hsong{\txt |vin|&}\zql d\dqu ji\enotes +\temps\notes\zqu b\dql KM&\hsong{\txt |en-|&}\zql g\qsk\dqu hg\enotes +% +%\check +\barre\hardlyrics{\txt |fant !|&}\notes\zql N\qu b&\hsong\thelyrics\zql g\qu k\enotes +\temps\Notes\soupir&\soupir\enotes +% +%\check +\barre\hardlyrics{\txt |Chan-|&}\notes\zql N\qu b&\hsong\thelyrics\zql g\qu k\enotes +\temps\notes\zql M\dqu ca&\zsong{\txt |tons|&}\zql h\qu k\enotes +% +%\check +\barre\hardlyrics{\txt |tous |&}\notes\zql L\qu N&\hsong\thelyrics\zql i\qu l\enotes +\temps\notes\rlap{\dqb LJ}\qu a&\zsong{\txt |son a-|&}\zqu l\dql ji\enotes +% +%\check +\barre\Notes\zql K\qu d&\hsong{\txt |v-|&}\zql h\qu m\enotes +\temps\Notes\zql K\qu c&\hsong{\txt |ne-|&}\zql k\qu m\enotes +% +%\check +\barre\NOTes\zhl N\hu b&\hsong{\txt |ment|&}\zhl g\zh k\hu n\enotes +\setdoublebar +% +%\check +\barre\Notes\itenu0N\tten0\itenu0N\hl N&\hsong{\txt |De-|&}\zql g\qu i\enotes +\temps\Notes&\hsong{\txt |puis|&}\zql h\qu j\enotes +% +%\check +\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |plus|&}\zql i\qu k\enotes +\temps\notes&\zsong{\txt |de qua-|&}\rlap{\dqb hg}\dqu ji\enotes +% +%\check +\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |tre|&}\zql h\qu j\enotes +\temps\Notes&\hsong{\txt |mille|&}\zql j\qu l\enotes +% +%\check +\barre\NOtes\tten0\itenu0N\hl N&\hsong{\txt |ans|&}\zhl i\hu k\enotes +% +%\check +\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |Nous|&}\zql g\qu i\enotes +\temps\Notes&\hsong{\txt |le|&}\zql h\qu j\enotes +% +%\check +\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |pro-|&}\zql i\qu k\enotes +\temps\notes&\zsong{\txt |mettaient|&}\rlap{\dqb ji}\dqu lk\enotes +% +%\check +\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |les|&}\zql h\qu j\enotes +\temps\Notes&\hsong{\txt |pro-|&}\zql g\qu i\enotes +% +%\check +\barre\Notes\tten0\qlp N&\hsong{\txt |ph-|&}\zql g\qu i\enotes +\temps\notes&\hsong{\txt |tes|&}\zcl f\cu h\enotes +\temps\notes\ds&\ds\enotes +% +%\check +\barre\Notes\ql N&\hsong{\txt |De-|&}\zql g\qu i\enotes +\temps\Notes\ql M&\hsong{\txt |puis|&}\zql h\qu j\enotes +% +%\check +\barre\Notes\ql L&\hsong{\txt |plus|&}\zql i\qu k\enotes +\temps\notes\dqb MN&\zsong{\txt |de qua-|&}\rlap{\dqb hg}\dqu ji\enotes +% +%\check +\barre\Notes\ql K&\hsong{\txt |tre|&}\zql h\qu j\enotes +\temps\Notes\ql N&\hsong{\txt |mille|&}\zql j\qu l\enotes +% +%\check +\barre\NOtes\hl N&\hsong{\txt |ans|&}\zhl i\hu k\enotes +% +%\check +\barre\Notes\ql N&\hsong{\txt |Nous|&}\zql g\qu i\enotes +\temps\Notes\ql M&\hsong{\txt |at-|&}\zql h\qu j\enotes +% +%\check +\barre\Notes\ql L&\hsong{\txt |ten-|&}\zql i\qu k\enotes +\temps\notes\dqb aL&\zsong{\txt |dions cet|&}\rlap{\dqb ji}\dqu lk\enotes +% +%\check +\barre\Notes\ql M&\hsong{\txt |heu-|&}\zql h\qu j\enotes +\temps\notes\dql LI&\zsong{\txt |reux|&}\zql g\qu i\enotes +% +%\check +\barre\NOtes\hl K&\hsong{\txt |temps.|&}\zhl f\hu h\enotes +% +\finmorceau +\medskip\rightline{\it le \aujourdhui} +\absoluteaccidentals +\vfil\eject + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ilfaitda.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ilfaitda.tex new file mode 100644 index 00000000000..25a596e9286 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ilfaitda.tex @@ -0,0 +1,18 @@ + +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{0}% +\def\Signature{0}\relax % +\input ilfaitdx +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{-2}\relax % deux diezes a la clef +\input ilfaitdx +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-2}\relax +\def\Signature{+3}\relax % un bemol a la clef +\input ilfaitdx +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ilfaitdx.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ilfaitdx.tex new file mode 100644 index 00000000000..009d000f547 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ilfaitdx.tex @@ -0,0 +1,171 @@ +\fulltitle{Il fait danser les mondes} +\shorttitle{Il fait danser les mondes} + \fullauthor{Jean-Sbastien Bach\\Transposition +Daniel Taupin\\paroles Jacques Tournier} + \shortauthor{J.-S. Bach} + \maketitle + % +\tracingstats=1\relax +\relativeaccidentals +\sepbarrules + % +\parindent 15mm + % soufflets crescendo et decrescendo + % +\def\soufflcr#1{\zcharnote{#1}{\kern -0.5cm\cresc}}% +\def\Soufflcr#1{\zcharnote{#1}{\kern -0.5cm\CResc}}% + % +\def\souffldim#1{\zcharnote{#1}{\kern -0.5cm\dimin}}% +\def\Souffldim#1{\zcharnote{#1}{\kern -0.5cm\DImin}}% + % + %au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% + % + %\check +\def\nbinstruments{2}\resetsignatures +\global\nbporteesi=1\relax +\global\nbporteesii=1\relax +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\def\lowersonginstrum{1} % to be used to make heavy bars at staff left +\def\uppersonginstrum{2} % to be used to make heavy bars at staff left + % +\signaturegenerale{\Signature}% +\generalmeter{\meterC} + %\check +\def\interfacteur{20}% +\def\instrumenti{\vbox{\hsize=\parindent +\centerline{T\'enors}\centerline{basses}}}% +\def\instrumentii{\vbox{\hsize=\parindent +\centerline{Sopran.}\centerline{Altos}}}% + %\check + % +\def\eightpoint{\Tenpoint}% + %\check +\catcode`\@=13 +\catcodesmusic + % +\def\respire{\notes&\cbreath\enotes}% + % +\def\txt#1|#2|#3&{{\vbox to 0pt{\Smalltype\baselineskip 9pt +\vss\hrule width 9pt height 0pt +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #3\kern\internote}\smallskip +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #2\kern\internote}\smallskip +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #1\kern\internote}\kern -12pt}}}% + % +\elemskip 20pt\relax +\debutmorceau + %\autolines 754\relax + \transpose=\Transpose + \qspace + % + \NOtes\zql J\qu L&\hsong{\txt Chaque|Il|Il&}\zql N\qu c\enotes + \barre %1 +\hardlyrics{\txt homme |est|fait&}\notes\zql L\qu N&\hsong\thelyrics\zql c\qu g\enotes + \Notes\zql J\qu c&\hsong{\txt est |en |dan-&}\zql e\qu g\enotes + \Notes\zql M\qu c&\hsong{\txt son |cha-|ser &}\zql f\qu h\enotes + \Notes\zql{^G}\qu b&\hsong{\txt re-|que |les &}\zql e\qu i\enotes + % + %\check + \barre %2 + \NOtes\zhl H\hu a&\hsong{\txt fu- |pier-|mon-&}\zhl e\hu j\enotes + \Notes\zql H\qu a&\hsong{\txt ge |re |des &}\zql e\qu j\enotes + \Notes\zql a\qu c&\hsong{\txt Il |En |Les &}\zql h\qu l\enotes + % + %\check + \barre %3 + \Notes\zql M\qu a&\hsong{\txt se |cha-|as-&}\zql h\qu k\enotes + \Notes\zql K\qu a&\hsong{\txt re-|que |tres &}\zql f\qu j\enotes + \Notes\zql N\qu N&\hsong{\txt pose |c\oe ur |les &}\zql e\qu j\enotes + \Notes\zql G\qu N&\hsong{\txt en |vi-|sau-&}\zql d\qu i\enotes + % + %\check + \barre %4 + \NOTes\zhlp J\hup N&\hsong{\txt lui, |vant |sons &}\zhlp e\hup j\enotes + \Notes\zql J\qu L&\hsong{\txt Mais |Au |Il &}\zql N\qu c\enotes + % + %\check + \barre %5 + \Notes\zql L\qu N&\hsong{\txt y |cen-|p-&}\zql c\qu g\enotes + \Notes\zql J\qu c&\hsong{\txt p-|tre |se &}\zql e\qu g\enotes + \hardlyrics{\txt ntre |de |juge &}\notes\zql M\qu c&\hsong\thelyrics\zql f\qu h\enotes + \Notes\zql{^G}\qu b&\hsong{\txt en |la |et &}\zql e\qu i\enotes + % + %\check + \barre %6 + \NOtes\zhl H\hu a&\hsong{\txt Ju- |ter-|son-&}\zhl e\hu j\enotes + \Notes\zql H\qu a&\hsong{\txt ge |re |de &}\zql e\qu j\enotes + \Notes\zql a\qu c&\hsong{\txt L'- |Au |Ren-&}\zql h\qu l\enotes + % + %\check + \barre %7 + \hardlyrics{\txt prouve |fond |ver-&}\notes\zql M\qu a&\hsong\thelyrics\zql h\qu k\enotes + \Notes\zql K\qu a&\hsong{\txt et |des |se &}\zql f\qu j\enotes + \Notes\zql N\qu N&\hsong{\txt le |o-|les &}\zql e\qu j\enotes + \Notes\zql G\qu N&\hsong{\txt con-|c-|pri-&}\zql d\qu i\enotes + % + %\check + \barre %8 + \NOTes\zhlp J\hup N&\hsong{\txt duit. |ans. |sons. &}\zhlp e\hup j\enotes + \notes\zql J\qu L&\zsong{\txt L'a |Il |Il &}\rlap{\dqb ef}\dqh jk\enotes + % + %\check + \barre %9 + \notes\zqu c\dqb cb&\zsong{\txt fait |fait |per-&}\zql g\qu l\enotes + \notes\zqu c\dqb aN&\zsong{\txt |ger-|ce &}\zql h\qu l\enotes + \Notes\zql {^M}\qu d&\hsong{\txt son |mer |l'im-&}\zql h\qu k\enotes + \Notes\zql K\qu d&\hsong{\txt i-|les |pos-&}\zql {^f}\qu j\enotes + % + %\check + \barre %10 + \notes\zhl N\dqh dc&\zsong{\txt ma-|grai-|tu-&}\rlap{\dqb g{^f}}\dqh ih\enotes + \Notes\qu d&\hsong{\txt -- |--|-- &}\zql g\qu i\enotes + \Notes\zql G\qu b&\hsong{\txt ge |nes, |re &}\zql d\qu g\enotes + \Notes\zql {=M}\qu d&\hsong{\txt D'a-|Di-|A-&}\zql g\qu i\enotes + % + %\check + \barre %11 + \Notes\zql L\qu c&\hsong{\txt mour |ri-|bais-&}\zql g\qu j\enotes + \Notes\zql K\qu d&\hsong{\txt et |ge |se &}\zql f\qu i\enotes + \Notes\zql J\qu e&\hsong{\txt de |les |les &}\zql e\qu h\enotes + \notes\zql K\dqh dc&\hsong{\txt bon-|ruis-|plus &}\zql{^f}\qu h\enotes + % + %\check + \barre %12 + \NOTes\zhlp G\hup b&\hsong{\txt heur |seaux |forts &}\zhlp d\hup g\enotes + \Notes\zql I\qu N&\hsong{\txt Et |Fait |D-&}\zql d\qu g\enotes + % + %\check + \barre %13 + \notes\zql J\qu N&\hsong{\txt l'at-|jail-|mas-&}\rlap{\dqb cd}\dqh ef\enotes + \Notes\zql {_I}\qu c&\hsong{\txt tend |lir |que &}\zql e\qu g\enotes + \notes\zqu c\dqb H{=I}&\hsong{\txt au |les |le &}\zql f\qu h\enotes + \notes\zql {^J}\qu {_b}&\hsong{\txt ri-|fon-|par-&}\zql e\qu g\enotes + % + %\check + \barre %14 + \Notes\zhl K\hu a&\hsong{\txt va-|tai-|ju-&}\islurd1e\isluru2g\zql e\qu g\enotes + \Notes&\hsong{\txt --|--|--&}\tslur1d\tslur2f\zql d\qu f\enotes + \Notes\zql H\qu a&\hsong{\txt ge |nes, |re &}\zql c\qu e\enotes + \Notes\zql {_I}\qu L&\hsong{\txt Dont |Et |Et &}\zql c\qu g\enotes + % + %\check + \barre %15 + \Notes\zql H\qu M&\hsong{\txt il |chan-|com-&}\zql c\qu f\enotes + \hardlyrics{\txt est |ter |mande &}\notes\zql G\qu N&\hsong\thelyrics\zql c\qu e\enotes + \Notes\cNa F\zql F\qu a&\hsong{\txt le |les | &}\roff{\zql c}\qu d\enotes + \notes\zql G\dqh NM&\zsong{\txt Sei-|oi-|la &}\zql b\qu d\enotes + % + %\check + \barre %16 + \NOTes\zhlp J\hup L&\hsong{\txt gneur.|seaux.|mort.&}\zhlp N\hup c\enotes + \finmorceau +\medskip\rightline{\it le \aujourdhui} +\absoluteaccidentals +\vfil\eject + +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kv315.tex b/Master/texmf-dist/doc/generic/musixtex/examples/kv315.tex new file mode 100644 index 00000000000..390d5d0030a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kv315.tex @@ -0,0 +1,827 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{Andante KV 315}\subtitle{pour fl\^ute et orchestre} +\author{W. A. Mozart\\transcription pour fl\^ute, hautbois et orgue\\D. Taupin} +\shortauthor{W. A. Mozart / D. Taupin} +\maketitle + +\parindent 2cm +\generalsignature{0} +\instrumentnumber{3} + %\setname1{P\'edale 16'} +\setname1{Orgue} +\setname2{\vbox{\hbox{Haubois}\hbox{Violon}}} +\setname3{Fl\^ute} +\setstaffs12 +\setclef1{6000} +\ifx\orgue\undefined\else\setsize2{0.64}\setsize3{0.64}\fi +\ifx\oboe\undefined\else\setsize1{0.64}\setsize3{0.64}\fi +\ifx\flute\undefined\else\setsize2{0.64}\setsize1{0.64}\fi +\generalmeter{\meterfrac 24} +\def\dble{\multnoteskip 2} + +\debutmorceau +\zbarre +\NOTes\zq J\ql N\zq G\ql N|\zq c\qu e\zq d\qu f&\ql j\ql i&\multnoteskip{0.7}\sk\pause\enotes +% +\barre %2 +\NOtes + \ibl0K0\upz a\zq N\qb0J\upz b\zq N\qb0 b\relax + |\Ibu1eg2\lpz c\zq c\qh1e\qh1g\relax + &\Ibl2jl2\qb2j\zcharnote n{\it tr}\multnoteskip{0.6}\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \zq J\upz c\tqb0c|\tqh1g\relax + &\tqb2l&\ds\enotes +\notes\ds|\ds&\ds&\Ibbl0lm2\zcharnote n{\it tr}\qbp0l\sk\tbbbl0\tqb0m\enotes +% +\barre %3 +\notes\dble\zhu N\cl J\raise -\Interligne\ds\cl G\raise -\Interligne\ds + |\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq +c\qh0e\zq d\qh0f\zq b\tqh0d\relax + & \dble\dble\sk\pause + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %4 +\notes\dble\zq C\cu J\ds\zq C\cu J\ds\relax + |\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax + \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax + &\dble\dble\sk\pause + &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes +% +\barre %5 +\notes\dble\zq C\cu J\ds\cu J\ds + |\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq +h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax + &\dble\dble\sk\pause + &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk + \ibbl0o0\tten0\qbp0q\relax + {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax + \Ibbl0po1\qb0p\tqb0o\enotes +% +\barre %6 +\notes\dble\zq C\cu J\ds\cu J\ds + |\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax + \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax + &\dble\dble\sk\pause + &\dble\Ibl0on1\zcharnote q{\it tr}\qb0o\tqb0n\ds + \multnoteskip{0.33}\zcharnote p{\it tr}\ibbl0n0\qbp0n\sk\tbbbl0\tqb0n\enotes +% +\barre %7 +\notes\dble\zq H\ql a\sk\zq{_H}\ql{_a}\relax + |\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq +f\qh0{_h}\zq h\tqh0j\relax + &\dble\dble\sk\pause + &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes +% +\barre %8 +\Notes\zq G\ql N|\qs\Ibbu0di2\zq b\qh0d&\relax + &\multnoteskip{0.5}\Ibbbl1nk3\qb1{nml}\tqb1k\enotes +\notes|\zq d\qh0f\zq f\tqh0i&\sk\pause + &\ql k\sk\enotes +\notes\dble\Ibu0MJ1\zq G\qh0N\zq C\tqh0J\relax + |\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax + &&\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes +% +\barre %9 +\notes\dble\zq F\qu M\sk\zql G\ibu0L0\qh0N\tqh0N\relax + |\dble\zqp d\qup f\sk\sk\zq b\cu d\relax + &\dble\dble\sk\pause + &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax + \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes +% +\barre %10 +\notes\dble\zhu N\ql J\sk\Ibl0JI1\qb0J\tqb0I\relax + |\qs\Ibbu0bd2\qh0b\qh0c\tqh0{=d}\Ibbu0eg3\qh0{^de=d}\tqh0g\relax + &\qs\Ibbu0ef2\qh0{^de}\tqh0f\Ibbu0fi3\qh0{^fgh}\tqh0i\relax + &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds + \zcharnote p{\it tr}\multnoteskip{0.4}\ibbl0n0\qbp0n\sk\tbbbl0\tqb0n\enotes +% +\barre %11 +\notes\dble\zq H\ql a\sk\zq{_H}\ql{_a}\relax + |\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax + \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax + &\dble\ql j\sk\ds\cl j\relax + &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax + \dble\ql m\sk\cl m\enotes +% +\barre %12 +\notes\dble\Ibu0LK1\lpz G\zq G\qh0N\lpz F\zq F\tqh0M\ds + |\dble\lpz d\zq d\Ibu0gd1\qh0g\lpz b\zq b\tqh0d\ds + &\dble\Ibu0ig2\lpz i\qh0i\lpz g\tqh0g\ds + &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes +\notes\cl L|\cu c&\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes +% +\barre %13 +\notes\ql M|\dble\dble\Ibu0cd1\qh0c\tqh0d\relax + &\dble\dble\Ibu0fh1\qh0f\tqh0h\relax + &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes +\Notes\dble\ibl0N0\qb0N\tqb0N\relax + |\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax + &\sk\sk\soupir + &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk + \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes +% +\barre %14 +\notes\zql J\Ibbu0JI2\qh0M\tbbu0\qh0L\tqh0L\sk\dble\zq{_L}\ql N\relax + |\qs\Ibbu0cg2\zq c\qh0N\zq c\qh0e\zq e\tqh0g\qs + \Ibbu0ej2\zq c\qh0{_e}\zq e\qh0g\zq g\tqh0j\relax + &\dble\dble\sk\pause + &\zcharnote n{\it tr}\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk + \multnoteskip{0.67}\Ibbl0jn2\qbp0j\sk\tbbbl0\tqb0n\enotes +% +\barre %15 +\notes\zh D\hu K|\dble\ibl1h0\qb1h\qb1{^f}\relax + &\dble\ds\isluru0m\ql k\relax + &\Ibbl0nm2\qb0n\tbbl0\qb0{^m}\itenu3m\tqb0m\enotes +\notes|\multnoteskip{0.75}\dble\dble\qb1g\itenu1h\tqb1h\relax + &\multnoteskip{0.75}\dble\dble\sk\tslur0l\itenu2j\cl j\relax + &\multnoteskip{0.75}\tten3\ibbbl0m0\qb0{mln}\tqb0m\Ibbbl0ol3\qb0{onm}\tqb0l\enotes +% +\barre %16 +\notes\zh D\hu K|\dble\zcl{^f}\tten1\cu h\Ibl0po1\zq o\qb0q\zq +n\tqb0p\itenl1g\cu g\relax + &\tten2\dble\cu j\ds\ds\itenu2i\cu i\relax + &\uppersh p\zcharnote n{\it tr}\Ibbl0nk2\qb0l\tbbl0\qb0k\itenu3k\tqb0k\sk + \tten3\ibbl0k0\qb0k\tqb0p\multnoteskip{0.8}\Ibbbl0ol2\qb0{on^m}\tqb0l\enotes +% +\barre %17 +\notes\zh D\hu K|\dble\zcl e\tten1\cu g\Ibl0on1\zq n\qb0p\zq +{^m}\tqb0o\zq d\cu {^f}\relax + &\tten2\dble\cu i\ds\ds\cu h\relax + &\ibbl0k0\qb0k\tbbl0\qb0j\itenu3q\tqb0q\sk + \tten3\Ibbl0qj2\qb0{qo^m}\tqb0j\enotes +% +\barre %18 +\notes\dble\zq G\qu N\sk\ds\zq d\cl b\relax + |\zq d\cu g\sk\sk\sk\ds\ibbu0f0\qh0d\qh0g\tqh0{=f}\relax + &\dble\qu i\sk\soupir\relax + &\Ibbl0ip3\qb0{ikn}\tqb0p\itenu4r\ql r\enotes +% +\barre %19 +\notes\dble\ibl0c0\qb0{ccc}\tqb0c\relax + |\zhl e\ibbu0j0\roff{\tbbu0}\qh0g\qh0l\sk\qh0k\sk\qh0j\sk\tbbu0\tqh0i\relax + &\dble\ibu0g0\qh0{g^gh}\tqh0{=g}\relax + &\tten4\Ibbl0rn7\roff{\tbbl0}\qb0r\qb0q\sk\qb0p\sk\qb0o\sk\tbbl0\tqb0n\enotes +% +\barre %20 +\NOtes\dble\ibl0d0\qb0d\tqb0d\multnoteskip{0.7}\cl d\ds + |\dble\ibu0h0\qh0h\tqh0h\multnoteskip{0.7}\cu h\ds + &\dble\ibu0f0\qh0{^f}\tqh0f\multnoteskip{0.7}\cu f\ds + &{\multnoteskip{0.5}\Ibbbl0nk3\qb0{n^ml}\tqb0k\Ibbbl0jk3\qb0{^jkl}\tqb0k}\relax + \cl k\ds\enotes +% +\barre %21 +\Notes\zq G\cu N\ds\zq K\cu D|\zq b\cu d\ds\zq c\rq d\cu{^f}\ds + &\cu g\ds\cu h\ds&\sk\sk\pause\enotes +% +\barre %22 +\Notes\Ibl0HJ2\upz N\zq N\qb0G\upz a\zq a\qb0H|\ibu1g1\zq d\qh1g\zq d\qh1{^f}\relax + &\Ibl2ik2\upz i\qb2i\upz j\zq j\qb2j&\soupir\enotes +\notes\upz b\zq I\tqb0b\sk\ds + |\zq d\tqh1g\sk\ds + &\tqb2k\sk\ds + &\qs\Ibbl2kp2\qb2{kn}\tqb2p\enotes +% +\barre %23 +\NOtes\zhu d\islurd0a\ql a\tslur0N\ql N|\isluru0j\ql j\tslur0i\ql i\relax + &\isluru0m\ql{^m}\tslur0n\ql n&\itenu5r\hl r\enotes +% +\barre %24 +\NOtes\upz d\zq d\lq c\Ibl0Ma2\qb0{^M}\upz d\zq d\zq b\qb0N\upz f\zq{^f}\tqb0a\relax + |\ibl0k0\qb0{kk}\tqb0k\relax + &\Ibl0oq2\qb0o\zcharnote r{\it tr}\relax + \rlap{\multnoteskip{0.25}\sk\sk\tinynotesize\Ibbu1op1\qh1o\tqh1p}\relax + \qb0p\tqb0q\relax + &\tten5\itenu5r\ql r\sk + \tten5\multnoteskip{0.6}\ibbl0r0\qb0r\relax + \nbbbl0\multnoteskip{0.6}\qb0s\tqb0r\enotes +\notes\ds|\ds&\ds&\multnoteskip{0.72}\Ibbbl0ro3\qb0{rqp}\tqb0o\enotes +% +\barre %25 +\Notes\ql N|\qs\ibbu1i0\zq b\qh1g\relax + &&\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes +\notes\dble\sk\ql b|\zq i\qh1k\zq g\tqh1i\ibbu0g0\zq d\qh0g\zq d\qh0g\zq d\qh0g\zq d\tqh0g\relax + &\sk\pause + &\dble\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes +% +\barre %26 +\Notes\ql c|\qs\ibbu1g0\zq e\qh1g\relax + &&\multnoteskip{0.5}\ibbbl0l0\qb0{l^mn}\tqb0m\enotes +\notes\dble\sk\ql N|\qh1e\zq g\tqh1e\ibbu0i0\zq j\qh0g\zq j\qh0g\zq i\qh0g\zq i\tqh0g\relax + &\sk\pause + &\dble\isluru0l\ql l\sk\tslur0k\cl{k}\enotes +% +\barre %27 +\notes\ql a|\ds\ibbu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax + &\sk\sk\sk\pause + &\ibl0j0\zcharnote m{\it tr}\qbp0j\sk\sk\nbbbl0\multnoteskip{0.7}\qb0i\tqb0j\enotes +\notes\ql K|\ibbu0h0\zq{^f}\qh0h\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax + &&\Ibl0kj2\isluru0k\qb0k\sk\tslur0j\tqb0j\enotes +% +\barre %28 +\NOtes\ds\Ibl1LJ3\zqu b\qb1L|\ds\zqu g\Ibl2ge3\qb2g\relax + &&\Ibu3hi1\islurd3h\qh3{^h}\tslur3i\tqh3i\enotes +\notes\dble\dble\qb1K\zcu c\tqb1J|\dble\dble\qb2{^f}\zcu g\tqb2e\relax + &\pause + &\hs\Ibbbu0gi2\qh0{g=h}\tqh0i\Ibbbl0jm3\qb0{jkl}\tqb0{^m}\enotes +% +\barre %29 +\Notes\cu I|\zqup g\raise -6\Internote\qs\ibbl1f0\zq b\qb1d\relax + &\soupir&\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes +\notes\dble\ds\cu I\ds|\zq d\qb1b\zq d\tqb1b\Ibbl0ef3\zq b\qb0d\zq b\qb0d\zq d\qb0{=f}\zq d\tqb0f\relax + &\dble\sk\ds\cu{^g}\relax + &\itenu0n\cl n\sk\tten0\ibbl0o0\qb0{nrq}\tqb0p\enotes +% +\barre %30 +\notes\ibu1J0\qh1J\sk\qh1J|\Ibbu0fe2\zq d\qh0f\zq c\tbbu0\qh0e\zq c\tqh0e\relax + &\Ibbu0ih2\qh0i\tbbu0\qh0h\tqh0h\relax + &\Ibbl0no1\qb0{^n}\tqb0o\qs\ccl s\enotes +\Notes\dble\qh1J\tqh1J|\dble\Ibu0hj1\zq e\qh0h\zq h\tqh0j\relax + &\dble\Ibu0jl1\qh0j\tqh0l\relax + &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\qs\sk\Ibbbl0po1\qb0p\tqb0o\enotes +% +\barre %31 +\Notes\zq K\ql d|\qs\ibbu1i0\zq g\qh1i\relax + &\ds + &\multnoteskip{0.71}\ibbl3n0\qbp3p\sk\tbbbl3\tbbl3\qb3n\enotes +\Notes\dble\sk\zq K\ql d|\qh1i\tqh1i\Ibbu0ig3\qh0i\zq e\qh0{^h}\lna h\zq{^f}\qh0h\tqh0g\relax + &\ibbu0k0\qh0k\tqh0k\Ibbu0ki3\qh0{k^j=j}\tqh0i\relax + &\itenu1r\tqb3r\sk\tten1\Ibbl0rp3\qb0{r^q=q}\tqb0p\enotes +% +\barre %32 +\Notes\zcl K\roff{\zq d\itenu1d}\itenl0c\qu c\sk\raise -2\Internote\ds + |\qs\ibbu0g0\qh0{gg}\tqh0g\relax + &\itenl2h\qu h\relax + &\zhl o\xTrille q{8\noteskip}\enotes +\notes\dble\zcl K\ibbu0b0\roff{\zq d\tten1}\tten0\qh0c\rq d\qh0c\rq d\relax + \raise -2\Internote\rlap{\ds}\qh0c\rq d\tqh0c\relax + |\Ibbbu0fg3\qh0{^fgh}\tqh0g\ibbbu0i0\qh0{hij}\tqh0h\relax + &\tten2\Ibbbu0hi3\qh0{hij}\tqh0i\Ibbbu0jm3\qh0{jkl}\tqh0{^m}\relax + &\sk\sk\sk\sk\sk\sk\sk\multnoteskip{0.7}\tinynotesize\Ibbbu0lm1\qh0n\tqh0o\enotes +% +\barre %33 +\notes\zql N\zql G\ibbu1a0\qh1b\zcharnote C{(p\'ed.)}\sk\qh1d\relax + |\Ibbbu0gh3\qh0{ghi}\tqh0h\relax + &\Ibbbl0no3\qb0{nop}\tqb0o\relax + &\ql n\enotes +\Notes\qh1b\tqh1d\zql I\raise4\Internote\qs\ibbu0N0\qh0{Nd}\tqh0N\relax + |\dble\qu g\sk\cu{^f}\relax + &\dble\isluru0n\ql n\sk\tslur0m\cl{^m}\relax + &\dble\sk\soupir\enotes +% +\barre %34 +\notes\zql J\raise4\Internote\qs\sk\ibbu1M0\qh0N\relax + |\Ibbbu0ef3\qh0{e^fg}\tqh0f\relax + &\Ibbbl0lm3\qb0{l^mn}\tqb0m\relax + &\enotes +\Notes\qh1c\tqh1N\rlap{\dble\Ibl0JK1\qb0J\tqb0L}\Ibbu0aM3\qh0{cNb}\tqh0N\relax + |\dble\qu e\sk\cu d\relax + &\dble\isluru0l\ql l\sk\tslur0k\cl k\relax + &\dble\sk\pause\enotes +% +\barre %35 +\notes\zqlp L\Ibbbu0LM3\qh0{L=MN}\tqh0M\relax + |\Ibbbu0cd3\qh0{cde}\tqh0d\relax + &\Ibbbl0jk3\qb0{jkl}\tqb0k\relax + &\enotes +\Notes\ibbu0L0\qh0L\tqh0N\Ibbu0LK2\qh0{LN}\roff{\zcl K}\qh0K\tqh0N\relax + |\dble\qu c\sk\cu b\relax + &\dble\isluru0j\ql j\sk\tslur0i\cl i\relax + &\dble\sk\pause\enotes +% +\barre %36 +\Notes\zql J\Ibu0Lc3\qh0L\sk\nbbu0\qh0a\tqh0c|\dble\ibu0e0\qh0e\tqh0e\relax + &\Ibbu0gl3\qh0{^ghj}\tqh0l\enotes +\notes\zql K\ibl0f0\qb0d\sk\sk\tqb0d\relax + |\Ibbu0ig2\qhp0i\sk\tbbbu0\tqh0g\Ibbbu0if3\qh0{ihg}\tqh0{^f}\relax + &\islurd0k\Ibbu0ki2\qhp0k\sk\tbbbu0\tqh0i\Ibbbu0kh3\qh0{kji}\tslur0h\tqh0h\relax + &\sk\pause\enotes +% +\barre %37 +\Notes\zcl G\zq {Nb}\cu d\sk\ds|\cu g\sk\ds + &\cu g\sk\ds + &\qs\isluru0g\Ibbl0gk2\qb0{gi}\tqb0k\enotes +\notes\soupir|\soupir&\soupir + &\tslur0n\ibbbl0n0\qb0n\upz k\qb0k\upz l\qb0l\upz +m\tqb0{^m}\Ibbbl0nq3\upz n\qb0n\upz o\qb0o\upz p\qb0p\upz q\tqb0q\enotes +% +\barre %38 +\Notes\zq G\cu N\ds\zq D\cu K\ds|\zq {_bd}\cu g\ds\zq{ac}\rq d\cu{^f}\sk + &\cu g\ds\cu {^f}\ds&\itenu0r\hl r\enotes +% +\barre %39 +\Notes\Ibl1GN2\upz N\zq N\qb1G\upz c\zq c\qb1K\relax + |\Ibu2gi2\lpz b\zq{_bd}\qh2g\zq{d^f}\qh2h\relax + &\Ibu3gi2\lpz g\qh3g\lpz h\qh3h\relax + &\tten0\itenu0r\ql r\enotes +\notes\upz b\zq N\tqb1{_b}\sk\ds + |\lpz d\zq{dg}\tqh2{_i}\sk\ds + &\lpz i\tqh3{_i}\sk\ds + &\tten0\ibbl0r0\qb0{rrr}\tqb0r\enotes +% +\barre %40 +\notes\zql H\raise2\Interligne\qs\Ibbu0Ma1\qh0{^M}\zqlp a\tqh0a\relax + |\ds\sk\qs\itenl0c\ccu c\relax + &\relax + &\dble\dble\isluru1s\ql{_s}\enotes + \nspace +\notes + |\tten0\zq c\zql{_e}\Ibbu0ej3\qh0{e^fh}\tqh0j\relax + &\pause + &\tslur1m\ql{^m}\enotes +% +\barre %41 +\Notes\lpz I\Ibu0NL2\zq{_I}\qh0{_b}\lpz F\zq{^F}\qh0{^M}\lpz G\zq G\tqh0N\ds + |\lpz d\Ibu0ki2\zq{dg}\qh0k\lpz d\zq{dh}\qh0j\lpz d\zq{dg}\tqh0{_i}\ds + &\upz k\Ibl0ki2\qb0k\upz j\qb0j\upz i\tqb0{_i}\ds + &\Ibl0no1\qb0n\zcharnote q{\it tr}\upperfl s\qb0o\tqb0{_p}\ds + \enotes +% +\barre %42 +\notes\ql c|\ds&&\multnoteskip{0.8}\ibbbl0o0\qb0{_poq}\tqb0o\enotes +\Notes\sk\ql d|\Ibl0jh2\zq{_l}\qb0j\zq l\qb0{_i}\zq j\tqb0 h\relax + &\sk\pause + &\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes +% +\barre %43 +\notes\dble\zql N\hu d\sk\ql{=M}\relax + |\Ibbu0ji3\zq{^f}\qh0j\zq g\qh0{_i}\zq g\qh0i\zq g\tqh0i\relax + \qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax + &\dble\sk\sk\pause + &\Ibbl0on2\qb0o\tbbl0\qb0n\tqb0n\sk\ds\sk\cl n\enotes +% +\barre %44 +\notes\dble\zq L\ql{^c}\sk\zq K\ql d\relax + |\qs\ibbu0i0\zq g\qh0{_i}\zq{^f}\qh0h\zq g\tqh0i\relax + \qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax + &\dble\sk\sk\pause + &\itenu1n\ql n\sk\sk\sk\tten1\ibbl0n0\qb0n\qb0n\qb0{^m}\tqb0n\enotes +% +\barre %45 +\notes\dble\qu{^J}\sk\qu K\relax + |\zql e\ibbu0h0\qh0{gh^g}\tqh0h\ibbu0h0\zq d\qh0{=f}\zq f\qh0h\zq +e\qh0{=g}\zq d\tqh0f\relax + &\dble\sk\sk\pause + &\Ibbl0po2\qb0{_p}\tbbl0\qb0o\itenu0o\tqb0o\sk + \tten0\Ibbl0oq3\qb0{or^q}\tqb0r\enotes +% +\barre %46 +\notes\zql E\raise2\Interligne\qs\Ibbu0JL1\qh0{^J}\zqlp L\tqh0L\relax + |\ds\sk\qs\itenl0N\ccu N\relax + &\relax + &\dble\dble\isluru1p\ql{_p}\enotes + \nspace +\notes + |\tten0\zq N\zql{_b}\Ibbu0bg3\qh0{b^ce}\tqh0g\relax + &\pause + &\tslur1j\ql{^j}\enotes +% +\barre %47 +\Notes\lpz F\Ibu0MK2\zq F\qh0M\lpz C\zq{^C}\qh0{^J}\lpz D\zq D\tqh0K\ds + |\lpz a\Ibu0hf2\zq{ad}\qh0h\lpz a\zq{ae}\qh0g\lpz a\zq{ad}\tqh0f\ds + &\lpz h\Ibu0hf2\qh0h\lpz g\qh0g\lpz f\tqh0f\ds + &\Ibl0kl1\qb0k\zcharnote n{\it tr}\qb0l\tqb0m\ds + \enotes +% +\barre %48 +\notes\ql N|\ds&&\multnoteskip{0.8}\ibbbl0l0\qb0{mln}\tqb0l\enotes +\Notes\sk\ql a|\Ibu0hf2\zq{_i}\qh0g\zq h\qh0f\zq g\tqh0 e\relax + &\pause + &\isluru0k\ql k\sk\tslur0j\cl{^j}\enotes +% +\barre %49 +\notes\dble\zq K\ql a\sk\zq{=I}\ql{=b}\relax + |\ibbu0g0\zq{^c}\qh0h\zq d\qh0f\lpz d\zq d\qh0f\lpz d\zq d\tqh0f\zq d\qh0{^g}\relax + &\dble\sk\sk\pause + &\Ibbl0lk2\qb0l\tbbl0\qb0k\tqb0k\sk\qs\ibbl0m0\qb0{mm}\tqb0m\enotes +% +\barre %50 +\notes\dble\zq J\ql c\sk\zq{^G}\ql{^N}\relax + |\qs\ibbu0i0\zq e\qh0h\zq e\qh0h\zq e\tqh0h\zq e\qh0{=i}\relax + &\dble\sk\pause + &\Ibbl0ml2\qb0m\tbbl0\qb0l\tqb0l\sk\qs\ibbl0k0\qb0{kk}\tqb0k\enotes +% +\barre %51 +\notes\dble\zq H\ql a\sk\zq F\qu M\relax + |\zcl e\Ibbu0ih1\qh0i\tqh0h\zq c\dble\qu h\relax + &\dble\sk\sk\pause + &\ibbl0k0\qb0k\tbbl0\qb0j\itenu0o\tqb0o\sk + \multnoteskip{0.6}\Ibbl0om3\tten0\qb0o\sk\nbbbl0\qb0n\tqb0m\enotes +\notes|\zq a\cu h&&\Ibbl0lk1\qb0l\tqb0{^k}\enotes +% +\barre %52 +\notes\zql E\raise2\Interligne\qs\ibbu0L0\qh0{LL}\tqh0L\dble\cu L\ds + |\Ibbu0hg3\zq c\qh0h\zq b\qh0{^g}\zq b\zq e\qh0g\zq b\zq e\tqh0g\dble\zq + {be}\cu g\ds + &\dble\dble\pause + &\Ibbl0kl2\qb0{^k}\tbbl0\qb0l\tqb0l\sk\qs\ibbl0l0\qb0{ll}\tqb0l\enotes +% +\barre %53 +\notes\qs\ibbl0K0\qb0{KK}\tqb0K\relax + |\qs\ibbu0i0\rq g\sh g\zq f\qh0i\rq g\zq f\qh0i\rq g\zq f\tqh0i\relax + &\qs\ibbu0i0\qh0{ii}\tqh0i\relax + &\Ibbl0nm2\qb0n\tbbl0\qb0m\tqb0m\enotes +\notes\multnoteskip{0.7}\cl K\sk\sk\sk\ds + |\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds + &\multnoteskip{0.7}\cu i\sk\sk\sk\ds + &\multnoteskip{0.7}\hs\ibbbl0l0\qb0{ml}\tqb0m\ibbbl0l0\qb0{nml}\tqb0m\enotes +% +\barre %54 +\notes\zql G\raise3\Internote\qs\ibbl0N0\qb0{NN}\tqb0N\relax + |\qs\ibbu0i0\zq d\zq f\qh0i\zq d\zq f\qh0i\zq d\zq f\tqh0i\relax + &\qs\ibbu0i0\qh0{ii}\tqh0i\relax + &\Ibbl0qp2\qb0q\tbbl0\qb0p\tqb0p\enotes +\notes\multnoteskip{0.7}\cl N\sk\sk\sk\ds + |\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds + &\multnoteskip{0.7}\cu i\sk\sk\sk\ds + &\multnoteskip{0.7}\hs\ibbbl0o0\qb0{po}\tqb0p\ibbbl0o0\qb0{qpo}\tqb0p\enotes +% +\barre %55 +\NOTes\zq J\ql N\zq G\ql N|\zq c\qu e\zq d\qu f&\ql j\ql i&\ql q\soupir\enotes +% +\barre %56 +\NOtes + \ibl0K0\upz a\zq N\qb0J\upz b\zq N\qb0 b\relax + |\Ibu1eg2\lpz c\zq c\qh1e\qh1g\relax + &\Ibl2jl2\qb2j\zcharnote n{\it tr}\multnoteskip{0.6}\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \zq J\upz c\tqb0c|\tqh1g\relax + &\tqb2l&\ds\enotes +\notes\ds|\ds&\ds&\Ibbl0lm2\zcharnote n{\it tr}\qbp0l\sk\tbbbl0\tqb0m\enotes +% +\barre %57 +\notes\dble\zhu N\cl J\raise -\Interligne\ds\cl G\raise -\Interligne\ds + |\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq +c\qh0e\zq d\qh0f\zq b\tqh0d\relax + & \dble\dble\sk\pause + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %58 +\notes\dble\zq C\cu J\ds\zq C\cu J\ds\relax + |\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax + \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax + &\dble\dble\sk\pause + &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes +% +\barre %59 +\notes\dble\zq C\cu J\ds\cu J\ds + |\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq +h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax + &\dble\dble\sk\pause + &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk + \ibbl0o0\tten0\qbp0q\relax + {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax + \Ibbl0po1\qb0p\tqb0o\enotes +% +\barre %60 +\notes\dble\zq C\cu J\ds\cu J\ds + |\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax + \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax + &\dble\dble\sk\pause + &\dble\Ibl0on1\zcharnote q{\it tr}\qb0o\tqb0n\ds + \multnoteskip{0.33}\zcharnote p{\it tr}\ibbl0n0\qbp0n\sk\tbbbl0\tqb0n\enotes +% +\barre %61 +\notes\dble\zq H\ql a\sk\zq{_H}\ql{_a}\relax + |\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq +f\qh0{_h}\zq h\tqh0j\relax + &\dble\dble\sk\pause + &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes +% +\barre %62 +\Notes\zq G\ql N|\qs\Ibbu0di2\zq b\qh0d&\relax + &\multnoteskip{0.5}\Ibbbl1nk3\qb1{nml}\tqb1k\enotes +\notes|\zq d\qh0f\zq f\tqh0i&\sk\pause + &\ql k\sk\enotes +\notes\dble\Ibu0MJ1\zq G\qh0N\zq C\tqh0J\relax + |\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax + &&\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes +% +\barre %63 +\notes\dble\zq F\qu M\sk\zql G\ibu0L0\qh0N\tqh0N\relax + |\dble\zqp d\qup f\sk\sk\zq b\cu d\relax + &\dble\dble\sk\pause + &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax + \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes +% +\barre %64 +\notes\dble\zhu N\ql J\sk\Ibl0JI1\qb0J\tqb0I\relax + |\qs\Ibbu0bd2\qh0b\qh0c\tqh0{=d}\Ibbu0eg3\qh0{^de=d}\tqh0g\relax + &\qs\Ibbu0ef2\qh0{^de}\tqh0f\Ibbu0fi3\qh0{^fgh}\tqh0i\relax + &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds + \zcharnote p{\it tr}\multnoteskip{0.4}\ibbl0n0\qbp0n\sk\tqb0n\enotes +% +\barre %65 +\notes\dble\zq H\ql a\sk\zq{_H}\ql{_a}\relax + |\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax + \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax + &\dble\ql j\sk\ds\cl j\relax + &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax + \dble\ql m\sk\cl m\enotes +% +\barre %66 +\notes\dble\Ibu0LK1\lpz G\zq G\qh0N\lpz F\zq F\tqh0M\ds + |\dble\lpz d\zq d\Ibu0gd1\qh0g\lpz b\zq b\tqh0d\ds + &\dble\Ibu0ig2\lpz i\qh0i\lpz g\tqh0g\ds + &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes +\notes\cl L|\cu c&\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes +% +\barre %67 +\notes\ql M|\dble\dble\Ibu0cd1\qh0c\tqh0d\relax + &\dble\dble\Ibu0fh1\qh0f\tqh0h\relax + &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes +\Notes\dble\ibl0N0\qb0N\tqb0N\relax + |\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax + &\sk\sk\soupir + &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk + \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes +% +\barre %68 +\notes\zql J\Ibbu0JI2\qh0M\tbbu0\qh0L\tqh0L\sk\dble\ql N\relax + |\qs\Ibbu0cg2\zq c\qh0N\zq c\qh0e\zq e\tqh0g\qs + \Ibbu0ej2\zq c\qh0{e}\zq e\qh0g\zq g\tqh0j\relax + &\dble\dble\sk\pause + &\zcharnote n{\it tr}\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk + \multnoteskip{0.67}\Ibbl0jj2\qbp0j\sk\tbbbl0\tqb0j\enotes +% +\barre %69 +\Notes\zhl J\qu a\relax + |\qs\Ibbu0fj2\zq c\qh0{^f}\zq f\qh0h\zq h\tqh0j\relax + &\relax + &\Ibbl0jn2\qb0{^j}\tbbl0\qb0k\itenu0r\tqb0r\enotes +\notes\ql{_b}|\dble\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax + &\pause + &\tten0\isluru0r\Ibbbl0ro3\qb0{r=q_p}\tqb0o\Ibbbl0nk3\qb0{nml}\tslur0k\tqb0k\enotes +% +\barre %70 +\Notes\zhl J\qu N\relax + |\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax + &\relax + &\zcharnote m{\it tr}\ibbl0j0\qb0k\tbbl0\qb0j\itenu0q\tqb0q\enotes +\notes\ql a|\dble\qs\Ibbu0fj2\zq c\qh0{=f}\zq f\qh0h\zq h\tqh0j\relax + &\pause + &\tten0\isluru0q\Ibbbl0qn3\qb0{q_po}\tqb0n\Ibbbl0mj3\qb0{mlk}\tslur0j\tqb0j\enotes +% +\barre %71 +\Notes\ql J\relax + |\qs\Ibbu0fj2\zq a\qh0d\zq d\qh0f\zq f\tqh0h\relax + &\relax + &\zcharnote m{\it tr}\ibbl0i0\qb0j\tbbl0\qb0{_i}\itenu0p\tqb0{_p}\enotes +\Notes\ql c\relax + |\ibbu0g0\zq e\qh0{g_ih}\tqh0g\relax + &\pause + &\tten0\ibbl0p0\qb0{prq}\tqb0p\enotes +% +\barre %72 +\notes\dble\ibl0N0\zq M\qb0c\zq N\qb0c\zq a\qb0c\zq N\tqb0c\relax + |\dble\ibu0g0\qh0{fef}\tqh0g\relax + &\dble\sk\pause + &\Ibbl0nl7\roff{\tbbl0}\qb0{^no}\sk\qb0{=n}\sk\qb0m\sk\tbbl0\tqb0l\enotes +% +\barre %73 +\notes\dble\dble\zhup a\ibl0M0\qb0{MMM}\zcu M\tqb0M\relax + |\dble\dble\ibu0h0\qh0{hhh}\zq f\tqh0h\relax + &\dble\dble\dble\pause + &\isluru0k\Ibbbl0jk3\qb0{^jkl}\tqb0k\Ibbbl0lm3\qb0{lmn}\tslur0m\tqb0m\relax + \isluru0n\Ibbbl0no3\qb0{^nop}\tqb0o\Ibbbl0nk3\qb0{=nml}\tslur0k\tqb0k\enotes +% +\barre %74 +\notes\dble\Ibu0LJ1\qh0N\tqh0G\relax + |\ibl0g0\zqu g\itenu0g\qbp0e\sk\multnoteskip{0.7}\sk\nbbbl0\qb0f\tqb0e\relax + &\sk\sk\sk\pause + &\ibl0j0\qbp0j\sk\multnoteskip{0.7}\sk\nbbbl0\qb0k\tqb0j\enotes +\Notes\cl N\ds|\tten0\zcl d\cu g\ds + &\relax + &\cl i\ds\enotes +% +\barre %75 +\NOtes\zq C\cu J\ds\zq G\qu N\ds|\zq e\cu g\ds\zq{eg}\cu i\ds + &\cl j\ds\cl k\ds + &\sk\sk\pause\enotes +% +\barre %76 +\Notes\lpz C\zq C\Ibu1JL2\qh1J\lpz D\zq D\qh1K\relax + |\upz j\zq j\ibu2i0\qh2g\upz i\zq g\qh2i\relax + &\upz l\Ibl3ln2\qb3l\upz m\qb3m\relax + &\soupir\enotes +\notes\lpz E\zq E\tqh1L\sk\ds + |\upz j\zq g\tqh2j\sk\ds + &\upz n\tqb3n\relax + &\qs\Ibbl0gl2\qb0{gj}\tqb0l\enotes +% +\barre %77 +\NOtes\zq N\lq M\ql d\zq{LN}\ql c|\qu g\qu g\relax + &\qu i\qu j\relax + &\itenu3n\hl n\enotes +% +\barre %78 +\Notes\Ibl1IK2\upz b\zq {Nb}\qb1I\upz c\zq{cN}\qb1J\relax + |\ibu2g0\qh2{gg}\relax + &\Ibl3km2\qb3k\zcharnote n{\it tr}\multnoteskip{0.33}\qb3l\tinynotesize\Ibbu0kl1\qh0k\tqh0l\relax + &\tten3\itenu3n\ql n\enotes +\notes\upz b\zq{Nb}\tqb1K\sk\ds + |\tqh2g\sk\ds + &\tqb3m\sk\ds + &\tten3\Ibbl0np3\qb0{n^no}\tqb0p\enotes +% +\barre %79 +\Notes\ql c|\qs\Ibbl1ij2\zq e\qb1j\relax + &&\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes +\notes\dble\sk\ql e|\zq l\qb1n\zq j\tqb1l\ibbu0i0\zq j\qh0g\zq j\qh0g\zq j\qh0g\zq j\tqh0g\relax + &\sk\pause + &\dble\isluru0q\ql q\sk\tslur0p\cl p\enotes +% +\barre %80 +\Notes\ql f|\qs\Ibbl1hg0\zq h\qb1j\relax + &&\multnoteskip{0.5}\ibbbl0o0\qb0{opq}\tqb0p\enotes +\notes\dble\sk\ql c|\zq m\qb1j\zq j\tqb1h\ibbu0h0\zq f\qh0h\zq f\qh0h\zq e\qh0g\zq e\tqh0g\relax + &\sk\pause + &\dble\isluru0o\ql o\sk\tslur0n\cl n\enotes +% +\barre %81 +\notes\ql d|\qs\ibbu0i0\zq j\qh0h\zq j\qh0h\zq j\tqh0h\relax + &\sk\sk\sk\pause + &\ibl0m0\xTrille q{3\noteskip}\qbp0m\sk\sk\nbbbl0\multnoteskip{0.7}\qb0l\tqb0m\enotes +\notes\zq N\ql d|\ibbu0h0\zq g\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0i\relax + &&\Ibl0nm2\isluru0n\qb0n\sk\tslur0m\tqb0m\enotes +% +\barre %82 +\NOtes\ds\Ibu1MK3\zqu a\qh1H\relax + |\ds\zql e\ibu2i0\qh2j\relax + &&\Ibl3kl1\isluru3k\qh3{^k}\tslur3l\tqb3l\enotes +\notes\dble\dble\zq G\qh1N\zq F\tqh1M\relax + |\dble\dble\rq j\qh2i\zcl f\zq h\tqh2j\relax + &\pause + &\hs\Ibbbl0jl2\qh0{j=k}\tqb0l\Ibbbl0mp3\qb0{mno}\tqb0p\enotes +% +\barre %83 +\Notes\zq E\cu L|\zqup j\raise -6\Internote\qs\ibbl1f0\zq e\qb1g\relax + &\soupir&\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes +\notes\dble\ds\zq C\cu J\ds|\zq e\qb1g\zq e\tqb1g\ibbl0f0\zq e\qb0g\zq g\qb0{_i}\zq +f\qb0h\zq e\tqb0{^g}\relax + &\dble\sk\ds\cu j\relax + &\itenu0q\cl q\sk\tten0\Ibbl0qn3\qb0{q_po}\tqb0{^n}\enotes +% +\barre %84 +\notes\ibu1L0\zq F\qh1M\relax + |\ibu2i0\zq f\qh2h\relax + &\ibu3h0\qh3j\relax + &\Ibbl0no1\qb0{^n}\tqb0o\enotes +\Notes\dble\zq F\qh1M\zq F\qh1M\zq F\tqh1M\relax + |\dble\zq j\qh2f\zq h\qh2j\zq k\tqh2f\relax + &\dble\qh3h\qh3f\tqh3h\relax + &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\relax + \qs\sk\Ibbbl0po1\qb0{=p}\tqb0o\relax + \qs\sk\Ibbbl0nm1\qb0{=n}\tqb0m\enotes +% +\barre %85 +\notes\dble\zq G\qu N\sk\zq G\qu N\relax + |\qs\advance\transpose 7\ibbl0d0\zq c\qh0e\zq e\qh0g\zq e\tqb0e\relax + \ibbl0d0\zq e\qh0g\zq{a^d}\qh0{^f}\zq{b=d}\qh0{=f}\zq c\tqb0e\relax + &\itenl0g\qu g\sk\sk\sk\tten0\Ibbu0ge3\qh0{g^f=f}\tqh0e\relax + &\Ibbl0ln2\qb0l\tbbl0\qb0n\itenu0n\tqb0n\sk\tten0\Ibbl0nl3\qb0{n^m=m}\tqb0l\enotes +% +\barre %86 +\Notes\zcl G\roff{\zq N\itenl1N}\itenl0M\qu M\sk\raise -4\Internote\ds + |\qs\advance\transpose 7\ibbl0e0\lq c\qh0d\lq c\qh0d\lq c\tqb0d\relax + &\itenl2d\qu d\relax + &\zhl k\xTrille q{8\noteskip}\enotes +\notes\dble\zcl G\tten0\roff{\tten1}\ibbu0L0\rq N\qh0M\rq N\qh0M\rq N\qh0M\rq N\tqh0M\relax + |\advance\transpose 7\Ibbbl0de3\qh0{bcd}\tqb0c\ibbbl0f0\qh0{def}\tqb0d\relax + &\tten2\Ibbbu0df3\qh0{def}\tqh0e\Ibbbu0fi3\qh0{fgh}\tqh0i\relax + &\dble\sk\sk\sk\multnoteskip{0.3}\tinynotesize\Ibbu0jk1\qh0j\tqh0k\enotes +% +\barre %87 +\Notes\zqu C\ibbu1N0\qh1L\zcharnote C{(p\'ed.)}\qh1N\relax + |\advance\transpose 7\multnoteskip{0.5}\ibbbl0j0\qb0{jkl}\tqb0k\relax + &\multnoteskip{0.5}\ibbbu0j0\qb0{jkl}\tqh0k\relax + &\ql j\enotes +\notes\qh1c\tqh1N\zql E\ibbu1N0\qh1{LNc}\tqh1N\relax + |\dble\advance\transpose 7\ql j\sk\cl i\relax + &\dble\islurd0j\qu j\sk\tslur0i\cu i\relax + &\dble\sk\soupir\enotes +% +\barre %88 +\Notes\zql F\ibbu1N0\qh1M\qh1a\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{hij}\tqb0i\relax + &\multnoteskip{0.5}\ibbbu0h0\qb0{hij}\tqh0i\relax + &\enotes +\notes\qh1c\tqh1N\zqu{^C}\ibbu1L0\qh1{^JLa}\tqh1L\relax + |\dble\advance\transpose 7\ql h\sk\cl g\relax + &\dble\islurd0h\qu h\sk\tslur0g\cu g\relax + &\dble\sk\pause\enotes +% +\barre %89 +\Notes\zql D\ibbu1a0\qh1K\qh1a\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{fgh}\tqb0g\relax + &\multnoteskip{0.5}\ibbbu0f0\qb0{fgh}\tqh0g\relax + &\enotes +\notes\qh1d\tqh1{_a}\zcl I\rlap{\sk\sk\zcl J}\ibbu1N0\qh1{NdN}\tqh1c\relax + |\dble\advance\transpose 7\ql f\sk\cl e\relax + &\dble\islurd0f\qu f\sk\tslur0e\cu e\relax + &\dble\sk\pause\enotes +% +\barre %90 +\Notes\zql F\multnoteskip{0.5}\ibbbu0M0\qh0{MNa}\tqh0N\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0g0\qh0{def}\tqb0e\relax + &\multnoteskip{0.5}\ibbbu0d0\qb0{def}\tqh0e\relax + &\enotes +\notes\ibbl0N0\qb0M\tqb0c\ibbl0N0\qb0{Mc^M}\tqb0c\relax + |\dble\zq h\ql k\sk\zq h\cl{_l}\relax + &\dble\islurd0d\qu d\sk\tslur0e\cu{_e}\relax + &\sk\sk\pause\enotes +% +\barre %91 +\notes\zcl G\ibbu0N0\qh0{Nc_a}\tqh0c\ibbu0N0\qh0{Nc^M}\tqh0c\relax + |\dble\ibl0k0\zq j\qb0{=l}\zq j\qh0m\zq j\qh0n\zq j\tqb0o\relax + &\dble\ibu0e0\qh0{=efe}\tqh0{_e}\relax + &\dble\dble\sk\pause\enotes +% +\barre %92 +\notes\dble\pointdurgue F\zq G\qu N\sk\soupir + |\dble\pointdorgue n\zq{n}\ql j\sk\soupir + &\dble\pointdorgue m\qu{=e}\sk\soupir + &\Ibl0lj3\pointdorgue o\qbp0n\sk\sk\tbbl0\tqb0j\xTrille n{3\noteskip}\ibl0j0\qbp0k\sk\sk\multnoteskip{0.7}\nbbbl0\qb0j\tqb0k\enotes +% +\barre %93 +\NOtes\zq J\ql N\zq N\ql G|\zq e\qu c\zq f\qu d\relax + &\ql j\ql i&\ql j\soupir\enotes +% +\barre %94 +\NOtes + \ibl0K0\upz a\zq N\qb0J\upz b\zq N\qb0 b\relax + |\Ibu1eg2\lpz c\zq c\qh1e\qh1g\relax + &\Ibl2jl2\qb2j\zcharnote n{\it tr}\multnoteskip{0.6}\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \zq J\upz c\tqb0c|\tqh1g\relax + &\tqb2l&\ds\enotes +\notes\ds|\ds&\ds&\Ibbl0lm2\zcharnote n{\it tr}\qbp0l\sk\tbbbl0\tqb0m\enotes +% +\barre %95 + %\check +\notes\dble\zhu N\cl J\raise -\Interligne\ds\cl G\raise -\Interligne\ds + |\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq +c\qh0e\zq d\qh0f\zq b\tqh0d\relax + & \dble\dble\sk\pause + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %96 + %\check +\Notes\zhl J\Ibu1LN2\qh1N\sk\tqh1{_b}\relax + |\qs\Ibbu2dg2\zq b\qh2{^d}\zq c\qh2e\relax + &\relax + &\Ibl3kl3\qb3{^k}\sk\nbbl3\qb3l\enotes + %\check +\Notes\sk|\zq e\tqh2g\relax + &\relax + &\multnoteskip{0.6}\raise2\Interligne\hs\tbbbl3\tqb3l\enotes + %\check +\Notes\Ibu0MK2\qh0a\sk\tqh0M\relax + |\Ibbu0gc3\roff{\tbbu0}\zq f\qh0h\zq{=d}\qh0f\sk\tbbu0\zq{=b}\tqh0d\relax + &\pause + &\zcharnote o{\it tr}\multnoteskip{0.5}\ibbbl0n0\qb0{mlm}\tqb0n\relax + \zcharnote q{\it tr}\ibbbl0p0\qb0{ono}\tqb0p\enotes +% +\barre %97 + %\check +\notes\ibl1J0\zcu L\qb1J\relax + |\zq c\ibu2f0\qh2g\relax + &&\Ibbl3on2\qbp3q\sk\tbbbl3\tqb3n\enotes +\notes\zqb1M\Ibbu4MN3\qhp4M\sk\sk\tbbbu4\tqh4a\relax + |\nbbbu2\qh2{gfe}\tqh2d\relax + &\sk\pause + &\Ibbbl3pm3\isluru4p\qb3{pon}\tqb3m\enotes + %\check +\NOtes\qb1N\zq G\tqb1N\relax + |\cu c\zq{df}\cu i\relax + &\relax + &\Ibl0lk1\qb0l\tslur4k\tqb0k\enotes + %\check +% +\barre %98 +\NOTes\zqp J\qlp N\multnoteskip{0.7}\sk\ds|\isluru0i\zq d\zq f\qu i\tslur0j\multnoteskip{0.7}\zq c\zq e\cu j\ds + &\pause&\isluru0k\ql k\tslur0j\multnoteskip{0.7}\cl j\ds\enotes +% +\ifx\orgue\undefined + \ifx\flute\undefined + \ifx\oboe\undefined + \linegoal24\relax + \else\linegoal19\fi + \else\linegoal20\fi % flute +\else\linegoal20\fi % orgue +\finmorceau + +\rightline{\sl \today} +\eject + + +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kv315f.tex b/Master/texmf-dist/doc/generic/musixtex/examples/kv315f.tex new file mode 100644 index 00000000000..5ea4c9b67c4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kv315f.tex @@ -0,0 +1,2 @@ +\def\flute{xxx} +\input kv315.tex diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kv315h.tex b/Master/texmf-dist/doc/generic/musixtex/examples/kv315h.tex new file mode 100644 index 00000000000..a502fc3a89c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kv315h.tex @@ -0,0 +1,2 @@ +\def\oboe{xxx} +\input kv315.tex diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kv315o.tex b/Master/texmf-dist/doc/generic/musixtex/examples/kv315o.tex new file mode 100644 index 00000000000..4f71bd55366 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kv315o.tex @@ -0,0 +1,2 @@ +\def\orgue{xxx} +\input kv315.tex diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/marcello.tex b/Master/texmf-dist/doc/generic/musixtex/examples/marcello.tex new file mode 100644 index 00000000000..4506fc8d1f6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/marcello.tex @@ -0,0 +1,319 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{Adagio (B. Marcello)} +\csname titremorceautoc\endcsname +\title{Adagio} +\fulltitle{Adagio} +\subtitle{(extrait du Concerto pour Hautbois)} +\othermention{R\'ecit: cornet ou cromorne\\G.O. + bourdon 8'\\P\'ed.: bourdon 16'+tirasse G.O.} +\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN} +\shortauthor{B. Marcello, D. Taupin} +\maketitle +% +\parindent 13mm +% +\tracingstats=2\relax +% +\def\nbinstruments{3} +\def\interfacteur{9} +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksiii={{0}{0}{0}{0}}% +\nbporteesi=1\relax% +\nbporteesii=1\relax% +\nbporteesiii=1\relax% +\signaturegenerale{-3}\relax +%\check +\def\instrumenti{P\'ed}% +\def\instrumentii{G.O.}% +\def\instrumentiii{R\'ecit}% +%\check +\def\gluemaxskip{7pt}% +% +\def\doubler{\multiply\noteskip by 2\relax}% +% formes frequentes +\def\Pause{\sk\sk\qsk\pause}% +% +%\check +% +\generalmeter{\meterfrac 34}% +% +\debutmorceau +\linesinpage=0\relax +\autolines{19}35\relax +%\check +% +\hyphenpenalty -50\relax +\notes&&\zcharnote{w}{\kern -20mm\moyen Adagio +\bf(\metron{\cu}{84})}\enotes +% +%\check +% +% mesure 1 +\NOTes\Pause&\ibl0j0\qb0{jjjjj}\tqb0j&\Pause\enotes +\advance\linesinpage by 1 +% mesure 2 +\barre\NOTes\Pause +&\ibl0j0\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\tqb0k&\Pause\enotes +% mesure 3 +\def\motif{\zq i\qh0k}% +\barre\NOTes\hup G&\rlap{\pt g\lh f\hlp g}\bigna i\ibu0k0\motif +\motif\motif\motif\motif\tbu0\motif&\Pause\enotes +% mesure 4 +\def\motif{\zq j\qh0 l}% +\barre\NOTes\Ibu2CJ1\qh2C\itenl0J\tqh2J\relax +&\ibu0l0\itenl1e\rlap{\zhp g\hlp e}\motif\motif\relax +&\Ibl1jl1\qb1j\tqb1l\enotes +\NOTes\tten0\hu J&\motif\motif&\Ibl1ln1\qb1l\tqb1n\enotes +\NOTes&\motif&\ibl1n0\qb1n\enotes +\NOtes&\tbu0\motif&\nbbl1\qb1o\tqb1n\enotes +% mesure 5 +\def\motif{\zq h\qh0j}% +\barre\NOTes\qsk\hup F&\qsk\tten1\zql e\relax +\ibu0j0\motif\motif&\qsk\mordant q\zhl o\enotes +\NOTes&\zql d\motif\motif\enotes +\NOTes&\zql c\motif\tbu0\motif&\soupir\enotes +% mesure 6 +\def\motif{\zq h\qh0k}% +\barre\temps\NOTes\hup I&\zhl f\ibu0k0\motif\motif&\Ibl1ik1\qb1i\tqb1k\enotes +\NOTes&\motif&\Ibl1kl2\qb1k\enotes +\NOtes&\motif&\nbbl1\qb1m\tqb1l\enotes +\NOtes&\itenl1d\zql d\motif\sk\tbu0\motif&\Ibbl1mn3\qb1{mno}\tqb1n\enotes +% mesure 7 +\def\motif{\zq g\qh0i}% +\barre\autolines{20}35\relax +\NOTes\qsk\hup E&\qsk\tten1\zql d\ibu0i0\motif +\motif&\qsk\mordant p\zhl n\enotes +\NOTes&\zql c\motif\motif\enotes +\NOTes&\zql b\motif\tbu0\motif&\soupir\enotes +% mesure 8 +\def\motif{\zq h\qh0j}% +\barre\NOtes\hup H&\ibu0j0\zhl e\motif\sk\motif +&\Ibbl1hi3\qb1{hij}\tqb1i\enotes +\NOtes&\motif\sk\motif +&\Ibbl1jk3\qb1{jkl}\tqb1k\enotes +\NOtes&\itenl1c\zql c\motif\sk\tbu0\motif +&\Ibbl1lm3\qb1{lmn}\tqb1m\enotes +% mesure 9 +\def\motif{\zq f\qh0h}% +\barre\NOTes\qsk\hup K&\qsk\tten1\zql c\ibu0h0\motif +\tbu0\motif&\qsk\mordant o\zhl m\enotes +\def\motif{\zq f\qh0i}% +\temps\NOTes&\zql b\ibu0i0\motif\motif\enotes +\NOTes&\zql a\motif\tbu0\motif&\soupir\enotes +% mesure 10 +\def\motif{\zq i\qh0k}% +\barre\autolines{28}25\relax +\Notes\Ibu2NG4\qh2N\sk\sk\sk\itenl0G\tqh2G&\bigna i\zhlp f\relax +\ibu0k0\motif\sk\sk\sk\motif&\Ibbbu1gk7\qh1{g^fgh=ihi}\tqh1j\enotes +\Notes\tten0\hu G&\motif\sk\sk\sk\motif&\Ibbbl1jj7\qb1{kijkn=ml}\tqb1k\enotes +\NOtes&\motif\sk\tbu0\motif&\Ibbl1kl3\qb1{klm}\tqb1l\enotes +% mesure 11 +%\check +\def\motif{\zq g\qh0 j}% +\barre\notes\Ibu2CJ5\qh2C&\zhlp e\ibu0j0\motif +&\ibbbbl1l0\qb1{lkl}\tbbbbl1\tbbbl1\tbbl1\qb1m\enotes +\NOtes&&\tbl1\qbp1l\enotes +\NOTes\itenl0J\tqh2J&\motif&\enotes +\NOtes\tten0\itenl0J\hu J&\motif\sk\motif&\qsoupir\Ibbl1ln2\qb1{lo}\tqb1n\enotes +\NOtes&\motif\sk\tbu0\motif&\Ibbl1ol3\qb1{omm}\tqb1l\enotes +% mesure 12 +%\check +\barre +\NOTes\tten0\qu J&\ibu0h0\zhl d\zq f\qh0h\zq f\tqh0h\relax +&\mordant q\ql k\sk\enotes +\NOtes\itenl2I\hu I&\ibu0i0\zq g\qh0i\sk\zq g\tqh0i&\qsoupir +\Ibbl1km2\qb1{kn}\tqb1m\enotes +\NOtes&\ibu0j0\zq g\qh0j\sk&\ibbl1k0\qb1n\qbp1l\enotes +\Notes&\zq g\tqh0j&\sk\nbbbl1\qb1{kj}\tqb1k\enotes +% mesure 13 +\barre +\notes\tten2\qu I&\zhl c\ibu0g0\zq e\qh0g&\ibbbbl1j0\qb1{j=ij}\relax +\tbbbbl1\tbbbl1\tbbl1\qb1k\enotes +\NOtes&&\tbl1\qbp1j\enotes +\NOTes&\zq e\tqh0g&\enotes +\temps\Notes\hu H&\ibu0h0\zq f\qh0h\sk\sk\sk\zq f\tqh0h\relax +&\qsoupir\sk\ibbbl1j0\qb1j\tbbl1\qb1l\nbbbl1\qb1{kjk}\tqb1l\enotes +\temps\Notes&\zql d\ibu0h0\zq f\qh0h\sk\sk\sk\zq f\tqh0h&\ibbbl1k0\qb1{mnlmkl}\relax +\triolet M\qb1{jk}\tqb1j\enotes +% mesure 14 +%\check +\def\motif{\zq g\qh0 i}% +\barre\autolines{21}35\relax +\NOTes\hup G&\rlap{\qsk\hlp d}\bigna b\ibu0i0\qh0b\rq +f\rlap{\qsk\itenl0f}\bigna i\motif +&\bigna i\hl i\enotes +\NOTes&\rlap{\qsk\tten0\hl f}\motif\motif\motif\tbu0\motif&\sk\sk\soupir\enotes +% mesure 15 +\barre\NOTes\hup J&\bigna e\zhlp c\Ibu0jg1\zq e\qh0j\tqh0g\relax +&\ibl1l0\bigna l\qb1l\qb1n\enotes +\NOTes&\ibu0g0\zq e\qh0g\zq e\tqh0g&\qb1n\tqb1l\enotes +\temps\NOtes&\ibu0j0\zq e\qh0j\sk\zq e\tqh0j&\fl i\ibbl1i0\qb1{inl}\tqb1i\enotes +% mesure 16 +\barre\NOTes\hlp M&\zql c\ibu0j0\zq g\qh0j&\ibu1k0\itenl1i\qh1i\enotes +\Notes&\zq g\tqh0j&\tten1\nbbbu1\qh1{ihj}\tqh1i\enotes +\temps\NOTes&\ibu0j0\zhl f\zq h\qh0j\zq h\relax +\qh0j\zq h\qh0j\zq h\tqh0j&\qu h\sk\soupir\enotes +% mesure 17 +\def\motif{\zq h\qh0 k}% +\barre\autolines{24}35\relax +\NOtes\hup K&\lsh f\zhlp f\na h\ibu0k0\motif\sk\motif +&\ibbl1m0\sh m\qb1{m=om}\tqb1n\enotes +\Notes&\motif\sk\sk\sk\motif\sk\sk\sk&\Ibbbl1oh7\qb1{onm=lkji}\tqb1{=h}\enotes +\Notes&\motif\sk\sk\sk\sk\tbu0\motif\sk\sk\sk +&\Ibbbu1dl9\qh1{d=e^fghij}\qhp1k\qsk\tbbbbu1\tqh1j\enotes +% mesure 18 +\barre +\NOTes\hup G&\zql d\zq g\ibu0k0\qh0k\zq g\tqh0k&\Ibl1ji1\qb1j\tqb1i\enotes +\temps\NOTes&\itenl0e\zhl e\zq g\ibu0i0\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0i\relax +&\Ibl1lk1\bigfl l\qb1l\tqb1k\mordant n\itenu1l\ql l\enotes +% mesure 19 +\barre\NOTes\hl M&\tten0\zql e\zq{_h}\ibu0j0\qh0j\relax +&\tten1\ibl1l0\qb1l\enotes +\NOtes&\zq h\tqh0j&\nbbl1\qb1m\tqb1l\enotes +\temps\NOTes&\zhl d\zq f\ibu0h0\qh0h&\ibl1k0\qb1k\enotes +\NOtes&\zq f\qh0h&\nbbl1\qb1l\tqb1j\enotes +\NOTes\qu F&\zq f\qh0h\zq f\tqh0h&\itenu1k\mordant m\ql k\enotes +% mesure 20 +\barre\autolines{28}35\relax +\NOtes\hu E&\zql d\ibu0i0\zq g\qh0i\sk\zq g\tqh0 i\relax +&\tten1\ibbl1k0\qb1{knl}\tqb1k\enotes +\temps\NOtes&\zhl c\ibu0g0\zq e\qh0g\sk\zq e\qh0g&\ibbl1i0\qb1{jih}\tqb1i\enotes +\NOTes\ql L&\zq e\qh0g\zq e\tqh0g&\upperna j\mordant o\itenu1j\ql j\enotes +% mesure 21 +\barre +\NOtes\hup K&\zhl b\zq f\ibu0h0\qh0h\sk\zq f\tqh0h\relax +&\ibbl1j0\tten1\qb1j\qb1{_i}\qb1k\enotes +\Notes&&\nbbbl1\qb1m\tqb1l\enotes +\temps\Notes&\zq d\ibu0f0\qh0f\sk\sk\sk\zq d\qh0f\relax +&\ibbbl1i0\qb1{kjihijk}\tqb1l\enotes +\NOtes&\zql a\zq d\qh0f\sk\zq d\tqh0f&\Ibbl1mi3\qb1{mk}\relax +\pince l\qb1j\enotes +\NOtes&&\itenu0i\tqb1i\enotes +% mesure 22 +\barre\Notes\hup J&\zql N\ibu0g0\zq e\qh0g\sk\sk\sk\zq e\tqh0g\relax +&\tten0\ibbbl1i0\qb1{ijj}\tqb1i\Ibbbu1ig3\qh1{ihh}\tqh1g\enotes +\temps\Notes&\ibu0j0\zql e\zq g\qh0j\sk\sk\sk\zq g\tqh0j\relax +&\ibbbu1g0\qh1{ghh}\tqh1g\Ibbbu1ge3\qh1{gff}\tqh1e\enotes +\temps\NOtes&\zql e\rq f\ibu0h0\qh0h\sk\zq f\tqh0h\relax +&\ibbu1k0\qh1{flk}\tqh1j\enotes +% mesure 23 +\barre\autolines{21}35\relax +\Notes\hu I&\doubler +\zhl d\zq f\ibu0h0\qh0h\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax +&\itenu1k\ql k\sk\sk\sk\tten1\Ibl1ki3\qbp1k\sk\sk\tbbl1\tqb1i\enotes +\NOTes\qu J&\zql c\zq e\ibu0g0\qh0g\zq e\tqh0g&\itenu1l\ql l\enotes +% mesure 24 +\barre +\NOTes\qu{H}&\zqu j\ibl0e0\zq e\qb0h&\tten1\ibl1i0\itenu1l\qb1l\enotes +\Notes&\zq e\tqb0 h&\tten1\nbbbl1\qb1{ljk}\tqb1l\enotes +\temps\NOTes\hu I&\zhu i\ibl0d0\zq d\qb0f\zq d\qb0f\zq d\qb0f\zq e\tqb0g\relax +&\qlp m\sk\sk\cl l\enotes +% mesure 25 +\barre\NOTes\hlp M&\zhlp f\ibu0k0\qh0h\zq h\qh0{_k}&\bigfl k\qlp k\enotes +\NOtes&\zq h\qh0k\sk\zq h\qh0k\sk\zq h\qh0k\sk\zq h\tqh0k\sk +&\sk\sk\ibbl1m0\qb1{mnonm}\tqb1l\enotes +% mesure 26 +\barre\autolines{23}35\relax +\NOTes\hlp N&\zhlp e\ibu0i0\zq g\qh0i\zq g\qh0i&\itenu1k\ql{_k}\enotes +\NOtes&\zq i\qh0g\sk\zq i\qh0g\sk\zq i\qh0g\sk\zq i\tqh0g\sk +&\tten1\Ibbl1ko3\qb1{kln}\tqb1{o}\Ibbl1pk3\qb1{pnl}\tqb1k\enotes +% mesure 27 +\barre +\NOTes\hl a&\zhl e\zq h\ibu0j0\qh0j\relax +&\bigfl k\ibl1j0\itenu1k\qb1k\enotes +\Notes&\zq h\qh0j&\tten1\nbbbl1\qb1{kjl}\tqb1k\enotes +\NOtes&\zq h\qh0j\sk\zq h\tqh0j&\Ibbl1jn3\qb1{jlm}\tqb1n\enotes +\temps\NOtes\qu H&\zql f\ibu0j0\zq h\qh0j\sk\zq h\tqh0j\relax +&\Ibbl1ol3\qb1{onm}\tqb1l\enotes +% mesure 28 +\barre\NOTes\hu G&\rlap{\qsk\zhl f}\ibu0i0\bigna i\zq g\qh0i\zq g\qh0i\relax +&\itenu1m\ql m\enotes +\NOtes&\zq g\qh0i\sk\zq g\tqh0i&\tten1\ibbl1h0\qb1{mgh}\tqb1{=i}\enotes +\temps\NOtes\qu{H}&\itenl0f\zql f\zq h\itenu2h\itenu1j\qu j\relax +&\Ibbl1jk3\qb1{j=kl}\tqb1k\enotes +% mesure 29 +\barre\autolines{23}35\relax +\NOtes\qu F&\tten2\tten1\tten0\zq f\zql h\Ibu0jk2\qh0j\sk\tqh0k\relax +&\ibbl1l0\qb1{lom}\tqb1k\enotes +\temps\NOTes\hu G&\zqlp d\na i\Ibu0ij3\zq g\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0j\relax +&\qlp{=i}\sk\sk\cl j\enotes +% mesure 30 +%\check +\barre +\NOTes\hup{H}&\zhlp c\ibu0h0\zq f\qh0h\zq f\qh0h\zq f\qh0h\zq f\qh0h\relax +&\itenl1f\hu f\enotes +\NOtes&\zq f\qh0h\sk\zq f\tqh0h&\tten1\Ibbu1fe3\qh1{fcd}\tqh1e\enotes +% mesure 31 +%\check +\barre +\NOtes\hu G&\zhl d\bigna i\zq g\qh0i\sk\zq g\qh0i\sk +&\Ibbu1fe3\qh1{fed}\tqh1e\enotes +\NOtes&\zq g\qh0i\sk\zq g\tqh0i&\Ibbu1fg3\qh1{fgh}\tqh1g\enotes +\temps\Notes\ql L&\ibu0j0\zql c\zq g\qh0j\sk\sk\sk\zq g\tqh0j\relax +&\Ibbbu1gi7\qh1{gfefghi}\tqh1{=i}\enotes +% mesure 32 +%\check +\barre\autolines{21}35\relax +\NOtes\bigaccid\zql{a}&\zql c\ibu0h0\zq f\qh0h\sk\zq f\tqh0h\relax +&\Ibl1jk3\qbp1j\sk\sk\tbbl1\tqb1k\enotes +\temps\NOTes\hl N&\ibl0d0\rlap{\qup{=i}}\zq d\qb0f\zq d\qb0f\zq d\qb0f\zcu j\zq e\tqb0g\relax +&\qlp k\sk\sk\cl j\enotes +% mesure 33 +%\check +\def\motif{\zq h\qh0 j}% +\barre\NOTes\hu K&\bigaccid\lsh f\na h\zhl f\ibu0j0\motif\motif +\motif\tbu0\motif +&\bigsh m\itenu1m\hl m\enotes +\temps\NOTes\qu G&\zql d\bigna i\zq g\ibu0i0\qh0i\zq g\tqh0i\relax +&\tten1\Ibl1nk1\qb1n\tqb1k\enotes +% mesure 34 +%\check +\barre\NOTes\Ibl2JG5\qb2J&\zql e\zq g\ibu0j0\qh0j&\Ibl1lj2\qb1l\enotes +\NOtes\qb2L&\zq g\tqh0j&\nbbl1\qb1k\tqb1j\enotes +\NOTes\qb2{NMN}\tqb2G&\zh d\zhl g\na i\qup i\sk\sk\cu j&\zcharnote +n{\Trille{2\noteskip}}\na i\qlp i\sk\sk\cl j\enotes +% mesure 35 +%\check +\barre\autolines{17}35\relax +\NOTes\hup J&\Ibu0je1\zq e\zq g\qh0j&\hlp j\enotes +\NOTes&\itenl0N\zq N\zq c\tqh0e\enotes +\temps\NOTes&\tten0\zhl N\ibu0e0\zq c\qh0e\zq c\qh0e\zq c\qh0e\zq c\tqh0e\enotes +% mesure 36 +%\check +\barre\NOTes\hup G&\ibu0e0\zhlp N\zq c\qh0e\rq d\qh0c\rq d\qh0c\rq d\qh0c\zq +{_b}\qh0d\zq b\tqh0d&\sk\sk\qsk\pause\enotes +% mesure 37 +%\check +\barre\NOTes\hup J&\na e\zhlp N\ibu0e0\relax +\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\tqh0 e\relax +&\sk\sk\qsk\pause\enotes +% mesure 38 +%\check +\barre\autolines{16}45\relax +\NOTes\hlp M&\rlap{\qsk\zql b}\ibu0f0\zq c\qh0f\zq c\qh0f\enotes +\NOTes&\itenl1a\zql a\zq c\qh0 f\zq c\tqh0f&\sk\pause\enotes +\temps\NOTes&\tten1\zq {ac}\rq f\qu e\enotes +% mesure 39 +%\check +\barre\NOTes\hl N&\rlap{\qup f}\na b\ibl0b0\zq b\qb0d\zq b\qb0d\zq b\qb0d\relax +\Ibu1gc2\zq b\rlap{\tqb0d}\qh1g\relax +&\sk\sk\qsk\pause\enotes +\NOTes\ql a&\zq c\qh1e\rq d\tqh1c\enotes +% mesure 40 +%\check +\barre\NOTes\ql M&\zq a\zql c\Ibu1ef1\qh1e\tqh1f\enotes +\temps\NOTes\ibu2N0\qh2{NMN}\tqh2G&\na b\zh b\hu d&\qsk\pause\enotes +% mesure 41 +%\check +\cleftoksii={{6}{0}{0}{0}}\changeclefs\barre +\NOTES\hlp J&\zhp{LN}\hup c&\sk\pause\enotes +\finmorceau +\rightline{\sl\aujourdhui}\eject + + + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/marcon1.tex b/Master/texmf-dist/doc/generic/musixtex/examples/marcon1.tex new file mode 100644 index 00000000000..ba0073d59eb --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/marcon1.tex @@ -0,0 +1,729 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +% +\title{Concerto pour hautbois --- allegro} +\fulltitle{Concerto pour hautbois --- allegro} +\othermention{Transcription pour hautbois, flte et orgue\\{\bf + \ifFlute Partition flte\fi + \ifOboe Partition hautbois\fi + \ifOrgue Partition orgue\fi} +} +\shorttitle{Concerto pour hautbois --- allegro} +\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN} +\shortauthor{B. Marcello, D. Taupin} +\maketitle +% +\parindent 13mm +\def\interfacteur{10} % was 9 +\def\OrgelManual{\ifOrgue + \global\cleftoksi={{6}{0}{0}{0}}% + \def\interinstrumentii{0pt}% + \def\interinstrumenti{0pt}% + \nbporteesi=2\relax% + \fi +} +\def\OrgelPedal{\ifOrgue + \global\cleftoksi={{6}{6}{0}{0}}% + \def\interinstrumentii{-\Interligne}% + \def\interinstrumenti{-\Interligne}% + \nbporteesi=3\relax% + \fi +} +\ifOrgue + \def\nbinstruments{3} + \global\cleftoksi={{6}{6}{0}{0}}% + \global\cleftoksii={{0}{0}{0}{0}}% + \global\cleftoksiii={{0}{0}{0}{0}}% + \nbporteesi=3\relax% + \nbporteesii=1\relax% + \nbporteesiii=1\relax% + \def\instrumenti{Orgue}% + \def\instrumentii{Flte}% + \def\instrumentiii{Hautbois}% + \def\staffspacingii{0.64}\def\staffspacingiii{0.64}% +\else + \def\nbinstruments{2} + \global\cleftoksi={{0}{0}{0}{0}}% + \global\cleftoksii={{0}{0}{0}{0}}% + \nbporteesi=1\relax% + \nbporteesii=1\relax% + \def\instrumenti{Flte}% + \def\instrumentii{Hautbois}% + \ifFlute\def\staffspacingi{1.0}\else\def\staffspacingi{0.64}\fi + \ifOboe\def\staffspacingii{1.0}\else\def\staffspacingii{0.64}\fi% + \def\everystaff{\vrule width 0pt depth 5mm\relax}% +\fi + +\ifOboe\def\interinstrumenti{2\Interligne}\fi +% +\signaturegenerale{-3}\relax +%\check +\def\doubler{\multiply\noteskip by 2\relax}% +% +% formes frequentes +% +\def\Pause{\sk\sk\sk\qsk\pause\sk\sk\sk}% +\def\PauseSoliste{\ifOrgue\Pause\else\sk\pause\sk\fi}% +\def\PauseSoliste{\Pause}% +% + \def\oct{\advance\transpose 7\relax}% +% +% +\def\clpz#1{\upz{#1}\cl{#1}} +\def\cupz#1{\lpz{#1}\cu{#1}} +\def\qlpz#1{\upz{#1}\ql{#1}} +\def\qupz#1{\lpz{#1}\qu{#1}} +% + \def\fourlll#1#2#3#4{\Ibbl0{#1}{#4}3% +\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\isluru0{#3}\qb0{#3}% +\tslur0{#4}\tqb0{#4}}% +% + \def\fourllu#1#2#3#4{\Ibbu0{#1}{#4}3% +\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\islurd0{#3}\qh0{#3}% +\tslur0{#4}\tqh0{#4}}% +% + \def\twobbu#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}} + \def\twobbl#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}} +% + \def\fourbu#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}} + \def\fourbl#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}} +% + \def\fourblu#1#2#3#4{\Ibu0{#1}{#4}3\islurd0{#1}\qh0{#1#2#3}\tslur0{#4}\tqh0{#4}} + \def\fourbll#1#2#3#4{\Ibl0{#1}{#4}3\isluru0{#1}\qb0{#1#2#3}\tslur0{#4}\tqb0{#4}} +% + \def\fourbbu#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}} + \def\fourbbl#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}} +% + \def\fourbblu#1#2#3#4{\Ibbu0{#1}{#4}3{\advance\transpose-1\islurd0{#1}}\qh0{#1#2#3}{\advance\transpose-1\tslur0{#4}}\tqh0{#4}} + \def\fourbbll#1#2#3#4{\Ibbl0{#1}{#4}3{\advance\transpose 1\isluru0{#1}}\qb0{#1#2#3}{\advance\transpose 1\tslur0{#4}}\tqb0{#4}} +% + \def\twobu#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}} + \def\twobl#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}} + \def\twolbu#1#2{\Ibu0{#1}{#2}1\islurd0{#1}\qh0{#1}\tslur0{#2}\tqh0{#2}} + \def\twolbl#1#2{\Ibl0{#1}{#2}1\isluru0{#1}\qb0{#1}\tslur0{#2}\tqb0{#2}} + +\catcodesmusic +\def\org#1|#2&{\ifOrgue \ifnum\nbporteesi=3#1|\fi #2&\relax\fi} +\def\GO{\znotes\org|\zmidtwotext{\llap{\bf I}}&\enotes} +\def\Pos{\znotes\org|\zmidtwotext{\llap{\bf II}}&\enotes} +% +%\check +% +\generalmeter{\meterC}% +\sepbarrules +% +\OrgelPedal +\debutmorceau +\GO +\notes\org|\relax + &\ifFlute\zcharnote N{\sl (orgue solo)}\fi + &\ifOboe\zcharnote N{\sl (orgue solo)}\fi\zcharnote{w}{\kern -20mm\moyen Allegro moderato \bf(\metron{\cu}{112})}\enotes +% +%\check +% mesure 1 +\Notes\org \Ibu0cL1\qh0c\tqh0J\ds\cu J\ibu0L0\qh0{KGN}\tqh0K\relax + |\Pause + |\oct\Ibu0cL1\qh0c\tqh0J\ds\cu J\ibu0L0\qh0{KGN}\tqh0K\relax + &\ifFlute\tinynotesize\oct\Ibu0cL1\qh0c\tqh0J\ds\cu J\ibu0L0\qh0{KGN}\tqh0K\relax + \else\PauseSoliste\fi + &\ifOboe \tinynotesize\oct\Ibu0cL1\qh0c\tqh0J\ds\cu J\ibu0L0\qh0{KGN}\tqh0K\relax + \else\PauseSoliste\fi + \enotes + %\check + \barre % mesure 2 +\Notes\org \Ibu0LJ1\qh0L\tqh0J\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax + |\Pause + |\oct\Ibu0LJ1\qh0L\tqh0J\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax + &\ifFlute\tinynotesize\oct\Ibu0LJ1\qh0L\tqh0J\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax + \else\PauseSoliste\fi + &\ifOboe \tinynotesize\oct\Ibu0LJ1\qh0L\tqh0J\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax + \else\PauseSoliste\fi + \enotes + %\check + \barre % mesure 3 +\notes\org \qu G\sk\qs\sk\sk\soupir\sk\sk\sk\hpause + |\relax \soupir\sk\qs\Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax + |\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax + &\ifFlute\tinynotesize\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax + \else\multnoteskip{1.8}\PauseSoliste\fi + &\ifOboe\tinynotesize\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax + \else\multnoteskip{1.8}\PauseSoliste\fi + \enotes + %\check + \barre % mesure 4 + \Pos +\notes\org \doubler\Pause + |\doubler\ibl0K0\qb0{JKL}\tqb0J\qu{=I}\sk\ds\cu G\relax + |\doubler\zq N\zq c\qu e\sk\zql N\Ibu0ce1\qh0c\tqh0e\zq N\qu d\sk\ds\zq d\rq g\cu f\relax + &\ifFlute\zcharnote N{\sl flte}\fi + \ibu0g0\qh0g\sk\nbbu0\qh0g\tqh0f\doubler\qu g\sk\qu g\sk\ds\cu{=i}\relax + &\ifOboe\zcharnote N{\sl hautbois}\fi + \uptext{\p}\cl j\sk\sk\sk\qs\Ibbl0jl2\qb0j\qb0k\tqb0l\Ibl0kg2\qb0 k\sk\tqb0g\ibbl0m0\qb0{nmn}\tqb0k\enotes + %\check + \barre % mesure 5 +\Notes\org\soupir\sk|\ql J\sk|\zq{ce}\qu g&\ql j\sk&\Ibl0lj1\qb0l\tqb0j\enotes +\GO +\Notes\org \ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax + |\soupir\sk\sk\hpause + |\oct\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax + &\ifFlute\tinynotesize\oct\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax + \else\soupir\sk\sk\hpause\fi + &\ifOboe\tinynotesize\oct\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax + \else\soupir\sk\sk\hpause\fi + \enotes + %\check + \barre % mesure 6 + \ifOrgue\def\atnextline{\OrgelManual}\fi% +\notes\org \qu G\sk\qs\sk\sk\soupir\sk\sk\sk\hpause + |\relax \soupir\sk\qs\Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax + |\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax + &\ifFlute\tinynotesize\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax + \else\multnoteskip{1.8}\PauseSoliste\fi + &\ifOboe\tinynotesize\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax + \else\multnoteskip{1.8}\PauseSoliste\fi + \enotes + %\check + \barre % mesure 7 + \Pos +\notes\org \doubler\Pause + |\doubler\ibl0K0\qb0{JKL}\tqb0J\qu{=I}\sk\ds\cu G\relax + |\doubler\zq N\zq c\qu e\sk\zql N\Ibu0ce1\qh0c\tqh0e\zq N\qu d\sk\ds\zq d\rq g\cu f\relax + &\ibu0g0\qh0g\sk\nbbu0\qh0g\tqh0f\doubler\qu g\sk\qu g\sk\ds\cu{=i}\relax + &\uptext{\p}\cl j\sk\sk\sk\qs\Ibbl0jl2\qb0j\qb0k\tqb0l\Ibl0kg2\qb0 k\sk\tqb0g\ibbl0m0\qb0{nmn}\tqb0k\enotes + %\check + \barre % mesure 8 + \notes\org\doubler\Pause + |\doubler\ibl0L0\qb0{Jca}\tqb0M\ql b\sk\ds\cl N\relax + |\zq c\qu e\sk\sk\sk\zql c\ibu0f0\qh0e\sk\nbbu0\qh0h\tqh0g\zq d\qu f\sk\sk\sk\ds\sk\zcl d\Ibbu0gf1\qh0g\tqh0f\relax + &\ibu0j0\qh0j\sk\nbbu0\qh0j\tqh0{_i}\itenu0j\qu j\sk\sk\sk\tten0\Ibu0ji3\qh0j\sk\nbbu0\qh0j\tqh0i\itenu1i\qu i\relax + &\pince n\rlap{\Ibbl0lj2\multnoteskip{0.667}\qbp0l\sk\tbbbl0\qb0k\tqb0j}\sk\sk\sk\sk\qs\isluru0l\ibbl0l0\qb0{lm}\tslur0l\tqb0l\fourlll +lkkn\fourlll nknk\enotes + %\check + \barre % mesure 9 + \notes\org&\relax&\grcu l\enotes + \notes\org\doubler\Pause + |\doubler\ql a\sk\ds\cl M\Ibl0NK3\qb0{NNL}\tqb0J\relax + |\zq c\qu e\sk\sk\sk\ds\sk\zcl c\Ibbu0fe1\qh0f\tqh0e\doubler\Ibu0ec3\zq +c\qh0e\zq{=b}\qh0d\qh0c\zq N\tqh0c\relax + &\tten1\Ibu0ih3\qh0i\sk\nbbu0\qh0i\tqh0h\itenu0h\qu h\sk\sk\sk\tten0\Ibu0hg3\qh0h\sk\nbbu0\qh0h\tqh0g\Ibu0ge2\qh0g\sk\tqh0e\relax + &\fourlll kjjm\fourlll mjmj\pince m\Ibl0ji2\qb0j\sk\tqb0{=i}\sk\ds\sk\cu g\enotes + %\check + \barre % mesure 10 + \notes\org\doubler\Pause + |\doubler\ql M\sk\twobl LK\qu J\sk\twobu JI\relax + |{\doubler \Ibu0cd1\zq c\qh0a\zq d\tqh0{=b}\Ibu0ef1\zq c\qh0e\zq d\tqh0f\zq e\qu g\sk\rlap{\twobl d{=e}}}\fourllu hggh\relax + &\fourllu fggh\fourlll h{=i}ij\Ibbl0jg2\qb0j\tbbl0\qb0g\tqb0g\sk\doubler{\twobl jj}\relax + &\fourlll h{=i}ij\fourlll jkkl\fourlll ljjk\fourlll k{=l}lm\enotes + %\check + \barre % mesure 11 + \notes\org\doubler\Pause + |\doubler\ibu0K0\qh0{HaN}\tqh0{=I}\ibu0K0\qh0{JMN}\tqh0G\relax + |\rlap{\sk\sk\fourlll fggf}{\doubler\ibu0h0\zq f\qh0 h\qh0 j\qh0{=i}\rq +g\tqh0f\Ibu0gf1\zq e\qh0g\zq f\tqh0d}\Ibbu0fd2\zq d\qh0f\tbbu0\zq c\qh0e\zq{=b}\tqh0d\relax + &\fourlll jmml\Ibbu0lk2\qh0l\tbbu0\qh0k\tqh0k\sk\doubler\twobu jh\qu g\relax + &\mordent o{\doubler \isluru0m\qlp m\sk\sk\tslur0n\cl +n}\Ibl0lj3\qb0{_l}\sk\nbbl0\upz k\qb0k\upz j\tqb0j\Pince n\Ibl0ij3\isluru0i\qbp0{=i}\sk\sk\tbbl0\tslur0j\tqb0j\enotes + %\check + \barre % mesure 12 + \notes\org\doubler\Pause + |\doubler\ibu0J0\qh0{JKL}\tqh0J\qu M\sk\twobu LK\relax + |{\doubler\zq{Nc}\qu e\sk\Ibu0dg1\zq N\qh0c\zq e\tqh0g}\zql f\fourllu +h{=i}ij\rlap{\doubler\twobl gf}\fourllu jiij\relax + &\ibu0g0\qh0g\sk\nbbu0\qh0g\tqh0f{\doubler \twobu gj}\fourllu jkkl\fourllu lkkl\relax + &\doubler\ql j\sk\soupir\sk\hpause\enotes + %\check + \barre % mesure 13 + \notes\org\doubler\Pause + |\doubler\qu J\sk{\multnoteskip{1.2}\twobu JI}\twobu HH\twobu G{=I}\relax + |\rlap{\fourllu jjjk\multnoteskip{1.2}\fourllu k{=l}lm}{\doubler\twobl eg{\multnoteskip{1.2}\roff{\ibl0j0\qb0j}\tqb0j}\zql j\qu +m\sk}\ibu0g0\zq d\qh0g\sk\zq d\rq f\tqh0g\relax + &\fourlll lllm{\ifOrgue\multnoteskip{1.2}\fi\fourlll mnno\ql o}\sk\sk\sk\fourllu{=i}kgn\relax + &\doubler\Pause\enotes + %\check + \barre % musure 14 + \notes\org\doubler\Pause + |\doubler\ibu0L0\qh0{JMN}\tqh0G\qu J\sk\ql c\relax + |\Ibu1gh2\zq g\qh1e\sk\rlap{\twobbl fe}\tqh1h\sk{\doubler\zql d\twobu +gf}{\doubler\ibu0h0\zq c\qh0e\zq c\zq e\tqh0g}\ibu0g0\zq e\qh0g\sk\nbbu0\qb0e\tqh0g\relax + &\Ibl0lj3\qb0l\sk\nbbl0\qb0k\tqb0j\Ibl0ij3\qbp0{=i}\sk\sk\tbbl0\tqb0j\doubler\ibl0j0\qb0{jjj}\tqb0j\relax + &{\doubler\sk\hpause\sk\sk}\qs\ibbl0j0\qb0j\isluru0j\qb0j\tslur0l\tqb0l\fourlll + lnn{_i}\enotes + %\check + \barre % mesure 15 + \notes\org\doubler\Pause + |\doubler\qlpz M\sk\qlpz b\sk\qlpz L\sk\qlpz a\relax + |\zql c\ibu0h0\zq f\qh0h\sk\zq f\tqh0h\sk\ibu0f0\zq d\qh0f\sk\nbbu0\qh0d\tqh0f\relax + \roff{\zql d}\ibu0g0\zq e\qh0g\sk\zq e\tqh0g\sk\ibu0e0\zq c\qh0e\sk\nbbu0\qh0c\tqh0e\relax + &\doubler\ibu0j0\qh0{jj_i}\tqh0i\ibu0i0\qh0{iih}\tqh0h\relax + &\fourlll ihhk\fourlll kmmh\fourlll hggi\fourlll illg\enotes + \barre % mesure 16 + \notes\org\doubler\Pause + |\doubler\qlpz K\sk\qlpz N\sk\qlpz J\sk\qlpz M\relax + |\zql c\ibu0f0\qh0f\sk\tqh0f\sk\ibu0d0\zq b\qh0d\sk\nbbu0\qh0b\tqh0d\relax + \zql b\ibu0e0\qh0e\sk\tqh0e\sk\ibu0d0\zq a\qh0c\sk\nbbu0\qh0d\tqh0c\relax + &\doubler\ibu0h0\qh0{hhg}\tqh0g\ibu0g0\qh0{ggf}\tqh0f\relax + &\fourlll gffh\fourlll hkkf\fourlll feei\fourlll lnml\enotes + \barre % mesure 17 + \notes\org\doubler\Pause + |\doubler\Ibl0JL3\qb0{IbN}\tqb0L\ibl0a0\qb0{aNa}\tqb0N\relax + |\ibbu0d0\qh0{dfe}\tqh0d\ibbu0e0\qh0{egf}\tqh0e\ibbu0d0\qh0c\tbbu0\qh0e\tqh0b\sk\ibbu0d0\qh0c\tbbu0\qh0e\tqh0b\relax + &{\doubler\qu f\sk}\ibbu0g0\qh0{gih}\tqh0g\doubler\ibl0l0\qh0{ll}\ds\tqb0l\relax + &{\doubler\ql k\sk\ds\cl i}\fourlll jiij\fourlll jiij\enotes + %\check + \barre % mesure 18 + \notes\org\doubler\Pause + |\doubler\twobl aH\ds\cl a\ibl0a0\qb0{bab}\tqb0a\relax + |\ibbu0c0\qh0{cMa}\tqh0c\cu f\sk\cu c\sk\ibbu0e0\qh0d\tbbu0\qh0f\tqh0c\sk\ibbu0e0\qh0d\tbbu0\qh0f\tqh0c\relax + &\ql m\sk\sk\sk\Ibbl0hm3\qb0{jhj}\itenu0m\tqb0m\tten0\doubler\ibl0m0\qh0{mm}\ds\tqb0m\relax + &{\doubler\twobu jf\ds\cl j}\fourlll kjjk\fourlll kjjk\enotes + \ifOrgue\def\atnextline{\OrgelPedal}\fi% + %\check + \barre % mesure 19 + \notes\org\doubler\Pause + |\doubler\twobl bI\ds\cl{=b}\ibl0b0\qb0{cbc}\tqb0b\relax + |\ibbu0d0\qh0{dNb}\tqh0d\cu g\sk\cu d\sk\ibbu0f0\qh0e\tbbu0\qh0g\tqh0d\sk\ibbu0f0\qh0e\tbbu0\qh0g\tqh0d\relax + &\ql n\sk\sk\sk\Ibbl0in3\qb0{ikm}\itenu0n\tqb0n\tten0\doubler\ibl0n0\qh0{nn}\ds\tqb0n\relax + &{\doubler\twobu kg\ds\cl k}\fourlll lkkl\fourlll lkkl\enotes + %\check + \barre % mesure 20 + \notes\org\doubler\Pause + |\doubler\twobl cJ\ds\cu J\ibu0J0\qb0{KJK}\tqh0J\relax + |\ibbu0e0\qh0{eac}\tqh0e\cu h\sk\cu e\sk\doubler\zhl b\ibu0f0\qh0{fef}\tqh0d\relax + &\ql o\sk\sk\sk\ibbl0j0\qb0{hjl}\tqb0h\itenu0h\qu h\sk\sk\sk\tten0\ibu0h0\qhp0h\sk\sk\tbbu0\tqh0h\relax + &{\doubler\twobu lh\ds\cl l}\fourlll moom\fourlll mkki\enotes + %\check + \barre % mesure 21 + \notes\org\doubler\soupir\sk\soupir\sk\twobu LE\ds\cu L\relax + |\Ibl0La3\qb0L\sk\nbbl0\qb0N\tqb0a\doubler\zmidtwotext{\bf I}\twobl bI\twobu LL\soupir\relax + |\ibu0e0\zq b\qhp0e\sk\sk\tbbu0\zq c\tqh0e\Ibu0eg3\qh0d\sk\nbbu0\zq f\qh0h\zq e\tqh0g\doubler\zq e\twobu ge\ds\cu e\relax + &\Ibu0gj3\qhp0g\sk\sk\tbbu0\tqh0j\doubler\twobl ik\zmidtwotext{\f}\ql l\sk\soupir + \ifFlute\tinynotesize\cu e\fi + &\isluru0i\Ibbl0im3\qh0{ikl}\tslur0m\tqb0m\Pince +n\isluru0k\Ibl0kl3\qbp0k\sk\sk\tbbl0\tslur0l\tqb0l\doubler\ql l\sk\soupir + \ifOboe\tinynotesize\cu e\fi\enotes + %\check + \barre % mesure 22 + \def\orgel{\ibu0N0\qh0{MIb}\tqh0M\twobu NL\ds\cl c}% + \Notes\org\orgel|\Pause|\oct\orgel\relax + &\ifFlute\tinynotesize\oct\orgel + \else\PauseSoliste\fi + &\ifOboe\tinynotesize\oct\orgel + \else\PauseSoliste\fi\enotes + \barre % mesure 23 + \def\orgel{\ibu0N0\qh0{KbJ}\tqh0a\qu I\sk}% + \Notes\org\orgel|\sk\hpause\sk\sk\soupir|\oct\orgel\relax + &\ifFlute\tinynotesize\oct\orgel + \else\PauseSoliste\fi + &\ifOboe\tinynotesize\oct\orgel + \else\PauseSoliste\fi\enotes + \notes\org\sk\soupir|\qs\Ibbu0IK2\qh0{IJ}\tqh0K|\oct\qs\Ibbu0IK2\qh0{IJ}\tqh0K\relax + &\ifFlute\tinynotesize\oct\qs\Ibbu0IK2\qh0{IJ}\tqh0K\fi + &\ifOboe\tinynotesize\oct\qs\Ibbu0IK2\qh0{IJ}\tqh0K\fi\enotes + \ifOrgue\def\atnextline{\OrgelManual}\fi% + %\check + \barre % mesure 24 + \def\orgel{\Ibbu0La3\qh0{LMN}\tqh0a{\multnoteskip{1.42}\twobu bI}}% + \notes\org|\orgel|\oct\orgel + &\ifFlute\tinynotesize\oct\orgel + \else\doubler\sk\hpause\fi + &\ifOboe\tinynotesize\oct\orgel + \else\doubler\sk\hpause\fi\enotes + \nspace\Pos\nspace + \notes\org\pause + |\doubler\ibu0L0\qh0{LMN}\tqh0L|\doubler\zql b\itenl0e\qu e\sk\tten0\zql +b\twobu eg\relax + &\doubler\rlap{\sk\turn n}\twobl gh\ql i\relax + &\ql l\sk\sk\sk\qs\Ibbl0ln3\isluru0l\qb0{lm}\tslur0n\tqb0n\enotes + %\check + \barre % mesure 25 + \notes\org\doubler\Pause + |\doubler\qu K\sk\ds\cu I\ibu0L0\qh0{LKN}\tqh0L\relax + |\doubler\zq b\qu f\sk\ds\zq b\cu d\zq b\qu e\sk\Ibu0ei1\zq b\qh0e\zq g\tqh0i\relax + &{\doubler\qu i\sk\ds\cu +f}\Ibbu0gh3\islurd0g\qh0{gfg}\tslur0h\tqh0h\doubler\twobu il\relax + &{\doubler\twobl mi}\fourlll mhmh{\doubler\pince p\twolbu hg}\qs\ibbl0i0\qb0{il}\tqb0i\enotes + %\check + \barre % mesure 26 + \notes\org\doubler\Pause + |\doubler \ibl0M0\qb0{aaN}\tqb0L\twobl aH\ds\cl {=a}\relax + |\doubler \ibu0j0\qh0{jei}\tqh0g\twobu jh\twobu fj\relax + &{\doubler\ibl0l0\qb0{ljl}\tqb0i}\ibbl0j0\qb0{lhj}\tqb0l\ibbl0k0\qb0{mjl}\tqb0m\relax + &\ibbl0j0\isluru0j\qb0{jhj}\tslur0l\tqb0l\relax + \ibbl0i0\isluru0i\qb0{igi}\tslur0l\tqb0l\relax + \ql j\sk\sk\sk\qs\ibbl0j0\qb0{jm}\tqb0j\enotes + %\check + \barre % mesure 27 + \notes\org\doubler\Pause + |\doubler \ibl0N0\qh0{bb=a}\tqb0M\twobl bI\ds\cl {=b}\relax + |\doubler \ibu0k0\qh0{kfj}\tqh0{=h}\twobu ki\twobu gk\relax + &{\doubler\ibl0l0\qb0{mkm}\tqb0j}\ibbl0j0\qb0{mik}\tqb0m\ibbl0k0\qb0{nkm}\tqb0n\relax + &\ibbl0k0\isluru0k\qb0{kik}\tslur0m\tqb0m\relax + \ibbl0j0\isluru0i\qb0{j=hj}\tslur0m\tqb0m\relax + \ql k\sk\sk\sk\qs\ibbl0k0\qb0{kn}\tqb0k\enotes + %\check + \barre % mesure 28 + \notes\org\doubler\Pause + |\doubler \ibl0N0\qb0{cc=b}\tqb0N\twobl cJ\soupir\relax + |\doubler \ibu0l0\qh0{lgk}\tqh0{=i}\zq l\qu g\sk\soupir\relax + &\doubler\ibl0m0\qb0{nln}\tqb0k\ql n\sk\soupir\relax + &\ibbl0l0\isluru0l\qb0{ljl}\tslur0n\tqb0n\relax + \ibbl0j0\isluru0k\qb0{k=ik}\tslur0n\tqb0n\relax + \fourlll lnnl\fourlll ljj{=h}\enotes + %\check + \ifOrgue\def\atnextline{\OrgelPedal}\fi% + \barre % mesure 29 + \notes\org\doubler\Pause + |\doubler\doubler\ql M\soupir\ql L\soupir + |\doubler\doubler\zq e\qu c\qu d\zq d\qu g\qu c\relax + &\doubler\doubler\ql {=hkil}\relax + &\fourlll {=h}mmk\fourlll kiig\fourlll gllj\fourlll jhh{^f}\enotes + %\check + \barre % mesure 30 + \notes\org\doubler\Pause + |\doubler\doubler\qu K\soupir\qu G\soupir + |\doubler\doubler\lsh f\zq {df}\qu{=h}\soupir\zq {dg}\qu i\soupir\relax + &\doubler\doubler\ql {j^mkn}\relax + &\fourlll {^f}{=h}kh\fourlll fhkh\fourlll iknk\fourlll {=i}knk\enotes + %\check + \barre % mesure 31 + \notes\org\doubler\sk\sk\hpause + |\doubler\qu J\sk + |\doubler\zq{eg}\qu j\sk\soupir + &\doubler\doubler\ql l\soupir + &\fourlll lnnl\fourlll ljj{^m}\enotes + \GO + \notes\org\doubler\ibu0L0\qh0{K=L^M}\tqh0K\relax + |\hl d|\fourllu{^f}gg{=h}\doubler\twobu hf\relax + &\itenu0j\ql j\sk\sk\sk\tten0\ibl0j0\qbp0j\sk\sk\tbbl0\tqb0j\relax + &\ql m\sk\sk\sk\qs\Ibbl0km2\qb0{k=l}\tqb0m\enotes + %\check + \barre % mesure 32 + \notes\org\doubler\Ibu0LJ3\qh0{NJK}\tqh0D\qu G\relax + |\doubler\ibl0d0\qb0{ded}\tqb0d\ql N\relax + |\doubler\ibl0h0\qb0g\zq{gi}\qb0l\zq{=h}\qb0k\lq j\zq h\tqb0k\zq{gi}\ql k\relax + &{\doubler \twobl in}\ibl0n0\isluru0n\qbp0n\sk\sk\tslur0m\tbbl0\tqb0{^m}\ql n\relax + &\isluru0n\ibbl0k0\qb0{nki}\tslur0j\tqb0j\Pince n{\doubler\qu{=h}\sk\qu g}\qsk\enotes + \Notes\org\ds\cl e|\soupir|\ds\cl l\relax + &\soupir\ifFlute\tinynotesize\cl l\fi + &\soupir\ifOboe \tinynotesize\cl l\fi\enotes + %\check +\barre % mesure 33 + \Notes\org\ibl0M0\qb0{MdL}\tqb0c\qu K\relax + |\sk\sk\hpause\sk\soupir + |\ibu0h0\qh0{fke}\tqh0j\qu d\relax + &\ifFlute\tinynotesize\ibu0j0\qh0{fke}\tqh0j\qu d\relax + \else\rlap{\PauseSoliste}\fi + &\ifOboe \tinynotesize\ibu0j0\qh0{fke}\tqh0j\qu d\relax + \else\rlap{\PauseSoliste}\fi\enotes + %\check + \notes\org\sk\soupir + |\qs\Ibbl0KM2\qb0{K=L}\tqb0{^M}\relax + |\qs\Ibbu0df2\qb0{d=e}\tqh0{^f}\relax + &\ifFlute\tinynotesize\qs\Ibbu0df2\qb0{d=e}\tqh0{^f}\fi + &\ifOboe \tinynotesize\qs\Ibbu0df2\qb0{d=e}\tqh0{^f}\fi\enotes + %\check + \ifOrgue\def\atnextline{\OrgelManual}\fi% + \barre % mesure 34 + \notes\org + |\Ibbl0Nc3\qb0{N=a_b}\tqb0c\relax + |\Ibbu0gi3\qh0{g=h_i}\tqh0j\relax + &\ifFlute\tinynotesize\Ibbu0gi3\qh0{g=h_i}\tqh0j\relax + \else\rlap{\doubler\Pause}\fi + &\ifOboe \tinynotesize\Ibbu0gi3\qh0{g=h_i}\tqh0j\relax + \else\sk\sk\hpause\fi\enotes + \Notes\org + |\twobl dK\relax + |\twobu kd\relax + &\ifFlute\tinynotesize\twobu kd\fi + &\ifOboe \tinynotesize\twobu kd\fi\enotes + \notes\org\pause + |\doubler\ql N\sk\soupir + |\doubler\qu g\sk\soupir + &\ifFlute\tinynotesize\qu g\fi + &\ifOboe {\tinynotesize \zql g}\raise\Interligne\qs\else\qs\fi + \Ibbl0nk2\qb0n\isluru0n\qb0n\tslur0k\tqb0k\fourlll k{=i}ig\enotes + \Pos + %\check + \barre % mesure 35 + \notes\org\rlap{\doubler\Pause}\relax + |\doubler\zq G\qu N\sk\soupir + |\doubler\zq n\zq{=i}\ql k\sk\soupir + &\sk\sk\hpause + &\fourlll g{=i}ik\fourlll knn{=l}\enotes + %\check + \Notes\org + |\hu J\relax % fourbu JJJJ\relax + |\ibl0i0\lfl i\lq i\zq g\qb0j\lq i\zq g\qb0j\lq i\zq g\qb0j\lq i\zq g\tqb0j\relax + &\ibl0l0\na l\qb0{lll}\tqb0l\relax + &\doubler\ql l\soupir\enotes + %\check + \barre % mesure 36 + \notes\org\doubler\Pause + |\doubler\doubler\ql M\soupir\zq M\qu F\soupir + |\doubler\doubler\zq {f=h}\qu j\soupir\zq{=ac}\qu f\soupir + &\doubler\doubler\ql m\soupir\hpause + &\qs\Ibbl0mj2\qb0m\isluru0m\qh0m\tslur0j\tqb0j\relax + \fourllu j{=h}hf\fourllu fhhj\fourlll jmmk\enotes + \barre % mesure 37 + \nspace + \Notes\org + |\hu I\relax % \fourbu IIII\relax + |\ibl0j0\lfl h\lq h\zq i\qb0k\lq h\zq i\qb0k\lq h\zq i\qb0k\lq h\zq i\tqb0k\relax + &\ibl0m0\qb0{mmm}\tqb0m\relax + &\doubler\ql k\soupir\enotes + \notes\org\pause + |\doubler\ql L\sk\soupir + |\doubler\zq {il}\ql g\sk\soupir + &\doubler\ql n\sk\soupir + &\qs\Ibbl0li2\qb0l\isluru0l\qb0l\tslur0i\tqb0i\fourlll igge\enotes + %\check + \barre % mesure 38 + \notes\org\rlap{\doubler\Pause}\relax + |\doubler\zq E\qu L\sk\soupir + |\doubler\zq {Nbe}\qu g\sk\soupir + &\sk\sk\hpause + &\fourllu eggi\fourlll illj\enotes + %\check + \Notes\org + |\hu H\relax % \fourbu HHHH\relax + |\ibl0i0\zq h\qb0j\zq h\qb0j\zq h\qb0j\zq h\tqb0j\relax + &\fourbl llll\relax + &\doubler\ql j\soupir\enotes + %\check + \barre % mesure 39 + \notes\org\doubler\Pause + |\doubler\doubler\ql K\soupir\zq K\qu D\soupir + |\doubler\doubler\zq {fh}\qu k\soupir\zq{Mad}\qu f\soupir + &\doubler\doubler\ql m\soupir\hpause + &\qs\Ibbl0kh2\qb0k\isluru0k\qh0k\tslur0h\tqb0h\relax + \fourllu hffd\fourllu dffh\fourlll hkk{=i}\enotes + %\check + \barre % mesure 40 + \notes\org\doubler\Pause + |\doubler\hu G\sk\sk\sk\hu J\relax % \fourbu GGGG\fourbu JJJJ\relax + |\doubler\ibl0h0\zq{g=i}\qb0k\zq{gi}\qb0k\zq{gi}\qb0k\zq{gi}\tqb0k\relax + \lfl i\ibl0h0\lq i\zq g\qb0j\lq i\zq g\qb0j\lq i\zq g\qb0j\lq i\zq g\tqb0j\relax + &\doubler\fourbl mmmm\na l\fourbl llll\relax + &\fourbblu{=i}gik\fourbblu igik\rlap{\sk\islurd0c\sk\sk\tslur0g}\fourbbu{=l}c{=e}g\fourbblu eceg\enotes + %\check + \barre % mesure 41 + \notes\org\doubler\Pause +% |\doubler\fourbl MMMM\fourbl bbbb\relax + |\doubler\hl M\sk\sk\sk\hl b\relax + |\doubler\ibl0h0\zq{f=h}\qb0j\zq{fh}\qb0j\zq{fh}\qb0j\zq{fh}\tqb0j\relax + \ibu0h0\rq i\zq f\qh0{_h}\rq i\zq f\qh0h\rq i\zq f\qh0h\rq i\zq f\tqh0h\relax + &\doubler\fourbl {_l}lll\fourbl kkkk\relax + &\na h\fourbblu hfhj\fourbblu hfhj\fourbblu kikm\fourbblu kikm\enotes + \ifOrgue\def\atnextline{\OrgelPedal}\fi% + \barre % mesure 42 + \notes\org\doubler\Pause +% |\doubler\fourbl LLLL\fourbl aaaa\relax + |\doubler\hl L\sk\sk\sk\hl a\relax % fourbl LLLL\fourbl aaaa\relax + |\doubler\ibl0h0\zq{eg}\qb0i\zq{eg}\qb0i\zq{eg}\qb0i\zq{eg}\tqb0i\relax + \ibu0h0\zq e\qh0{_h}\zq e\qh0h\zq e\qh0h\zq e\tqh0h\relax + &\doubler\fourbl {_k}kkk\fourbl jjjj\relax + &\rlap{\sk\islurd0e\sk\sk\tslur0i}\fourbbu negi\fourbblu gegi\fourbbll jhjl\fourbbll jhjl\enotes + %\check + \barre % mesure 43 + \notes\org\doubler\Pause +% |\doubler\fourbl MMMM\fourbl MMMM\relax + |\doubler\hl M\sk\sk\sk\hl M\relax %MMM\fourbl MMMM\relax + |\doubler\ds\ibu0c0\zq a\qh0c\zq a\qh0c\zq a\tqh0c\relax + \ds\ibu0d0\zq a\qh0d\zq a\qh0d\zq a\tqh0d\relax + &\fourbblu jhjm\fourbblu jhjm\fourbblu hfhj\fourbblu hfhj\relax + &\itenu1m\wh m\enotes + \barre % mesure 44 + \notes\org\doubler\sk\sk\hpause\relax + |\doubler\ibu0L0\qh0{NJN}\tqh0G\relax + |\doubler\ibu0i0\zq d\qh0g\zq e\qh0g\zq d\qh0g\zq d\tqh0f\relax + &\doubler\ibu0i0\qh0{=i}\itenl0j\qh0j\tten0\qh0j\tqh0i\relax + &\tten1\ibl0m0\qb0m\sk\nbbl0\qb0l\tqb0m\Pince +n\ibl0k0\qhp0k\sk\sk\nbbl0\tqb0j\enotes + %\check + \Notes\org\soupir\sk\ds\cl a\relax + |\qu J\zmidtwotext{\bf I}\sk\soupir + |\zq e\qu c\sk\ds\cu h\relax + &\qu j\sk\soupir\ifFlute\tinynotesize\cu h\fi + &\ql j\sk\soupir\ifOboe \tinynotesize\cu h\fi\enotes + %\check + \barre % mesure 45 + \def\orgel{\ibu0L0\qh0{_INH}\tqh0M}% + \Notes\org\orgel|\sk\qsk\hpause|\oct\orgel + &\ifFlute\tinynotesize\oct\orgel + \else\rlap{\PauseSoliste}\fi + &\ifOboe \tinynotesize\oct\orgel + \else\rlap{\PauseSoliste}\fi + \enotes + %\check + \def\orgel{\qs\Ibbu0GI2\qh0{GH}\tqh0{=I}}% + \notes\org\qu G\sk\sk\soupir|\soupir\sk\orgel|\qu N\sk\oct\orgel\relax + &\ifFlute\tinynotesize\qu N\sk\oct\orgel\fi + &\ifOboe \tinynotesize\qu N\sk\oct\orgel\fi\enotes + \ifOrgue\def\atnextline{\OrgelManual}\fi% + %\check + \barre % mesure 46 + \notes\org|\fourbbu JKLM|\fourbbu cdef\relax + &\ifFlute\tinynotesize\fourbbu cdef\fi + &\ifOboe \tinynotesize\fourbbu cdef\relax + \else\sk\sk\sk\hpause\fi\enotes + \Notes\org\sk\pause|\twobu NG\qu J\zmidtwotext{\bf II}\sk\soupir|\twobu gN\qu +c\sk\ds\zq g\cu{_i}\relax + &\ifFlute\tinynotesize\twobu gN\qu c\relax + \else\sk\pause\fi + &\ifOboe \tinynotesize\twobu gN\qu c\relax + \else\sk\sk\soupir\sk\fi\normalnotesize\ds\cl{=l}\enotes + %\check + \barre % mesure 47 + \notes\org||\doubler\ibu0i0\zq h\qh0j\zq g\qh0 +i\zq h\qh0 j\zq g\tqh0i\relax + &&\fourlll m{=l}lm\fourlll mllm\enotes + \Notes\org\pause|\pause|\ibu0i0\zq h\qh0j\zq g\tqh0i\ds\zq{=h}\cl j\relax + &\pause&\twobl ml\ds\cl{^m}\enotes + %\check + \barre % mesure 48 + \notes\org\doubler\Pause + |\doubler\sk\hpause\sk\sk\ds\Ibl0bN2\qb0{=bc}\tqb0N\relax + |\doubler\ibl0i0\zq i\qb0k\zq h\qb0 j\zq i\qb0k\zq h\tqb0 j\relax + \ibu0h0\zq g\qh0i\tqh0{=i}\zq g\zq e\Ibu0jg1\qh0j\tqh0g\relax + &\doubler\Pause + &\fourlll n{^m}mn\fourlll nmmn\fourlll nkkl\fourlll l{=i}ij\enotes + %\check + \barre % mesure 49 + \notes\org\doubler\Pause + |\doubler\zqu c\twobl a{=L}\zqu a\twobl MJ\rlap{\qu N\sk\qu N}\fourbl KJ{=I}G\relax + |\doubler\zq f\twobu h{=e}\zq c\twobu fc\zq{=b}\ibu0e0\qh0f\zq c\qh0e\zq d\qh0f\zq b\tqh0d\relax + &\doubler\Pause + &\fourllu jggh\fourllu h{=e}ef\itenl0f\qu f\sk\sk\sk\sk\tten0\fourllu fhgf\enotes + %\check + \barre % mesure 50 + \Notes\org|\Ibl1JH3\qb1{JM}\relax + |\Ibu0eh1\zq{Nc}\qh0{_e}\zq{ac}\tqh0h\relax + &&\ibu2i0\qh2{_ej}\enotes + \notes\org\sk\sk\sk\pause|\qb1N\sk\tqb1G\relax + |\zql{=b}\fourbbu gfed\relax + &\hpause + &\doubler\qh2d\tqh2{=i}\enotes + \Notes\org|\rlap{\sk\sk\sk\cu c}\fourbl JKLJ\relax + |\zq{Nc}\qu e\sk\ds\cu g\relax + &\soupir\sk\ds\cl{=l}\relax + &\qup c\sk\sk\ds\enotes + %\check + \barre % mesure 51 + \notes\org\doubler\sk\sk\sk\pause + |\doubler\zqu c\ibl0K0\qb0{MJ}\raise6\internote\rlap{\ds}\qb0M\zcu c\tqb0J\relax + |\fourllu hggh\fourllu hggh\relax + &\fourlll m{=l}lm\fourlll mllm\relax + &\doubler\sk\sk\sk\pause\enotes + \Notes\org|\zqu c\twobl MJ\ds\zcl K\cu d\relax + |\twobu hg\ds\cu{=h}\relax + &\twobl ml\ds\cl{^m}&\enotes + %\check + \barre % mesure 52 + \notes\org\doubler\sk\sk\sk\pause + |\doubler\zqu d\ibl0L0\qb0{NK}\raise6\internote\rlap{\ds}\qb0N\zcu d\tqb0K\relax + |\fourllu i{=h}hi\fourllu ihhi\relax + &\fourlll n{^m}mn\fourlll nmmn\relax + &\doubler\sk\sk\sk\pause\enotes + %\check + \notes\org|\doubler\zqu d\ql N\sk + |\multnoteskip{1.2}\fourlll i{=i}ij\relax + &\ifOrgue\multnoteskip{1.2}\fi\fourlll nkkl&\enotes + %\check + \notes\org|\doubler\raise6\internote\rlap{\ds}\ql G\cu N\relax + |\fourlll jiij\relax + &\fourlll lkkl&\enotes + %\check + \barre % mesure 53 + \notes\org\doubler\sk\sk\sk\pause + |\doubler\zhl J\raise 2\internote\rlap{\ds}\hu c\ibu0N0\zq{=L}\qh0N\zq M\qh0a\tqh0N\relax + |\fourlll jgg{_h}\fourlll h{=l}lm\relax + &\fourlll l{=l}l{=m}\fourlll mnno\relax + &\doubler\sk\sk\sk\pause\enotes + \Notes\org|\zql M\cu c\qu d\multnoteskip{0.71}\doubler\rlap{\sk\cu N}\twobl NG\relax + |\ql m\sk\ql{=i}\relax + &\itenu0o\ql o\sk\multnoteskip{0.71}\tten0\fourbbl oonm\enotes + %\check + \barre % mesure 54 + \notes\org\doubler\sk\sk\sk\pause + |\rlap{\sk\sk\sk\sk\fourbbu NMLK}\doubler\zqu c\Ibl0JG3\qb0{JMN}\tqb0G\relax + |\fourbbl jlkj\ibl0i0\qbp0{=i}\sk\sk\tbbl0\tqb0j\relax + &\fourbbll lnml\isluru0k\ibl0j0\qbp0k\sk\sk\tbbl0\tslur0j\tqb0j\relax + &\doubler\sk\sk\hpause\enotes + \Notes\org|\zql J\fourbu JKLJ\relax + |\ql j\sk\ds\cu e\relax + &\ql j\sk\ds\cl j\relax + &\soupir\sk\ds\cl l\enotes + %\check + \barre % mesure 55 + \notes\org\doubler\Pause + |\itenu1N\wh N\relax + |\fourllu edde\fourllu fgfe\fourllu edde\fourllu fgfe\relax + &\fourlll j{=i}ij\fourlll klkj\fourlll jiij\fourlll klkj\relax + &\fourlll lkkl\fourbbll mnml\fourlll lkkl\fourbbll mnml\enotes + %\check + \barre % mesure 56 + \Notes\org|\tten1\fourbl NNLJ|\twobu ed\Ibu0ge1\zq g\qh0c\zq{Nc}\tqh0e\relax + &\twobl j{=i}\ql j\relax + &\twobl lk\ds\cu g\enotes + \notes\org\pause + |\doubler\zq a\ql M\sk\Ibl0LK1\zq c\qb0L\zq{=b}\tqb0K\relax + |\doubler\zq c\qu c\sk\twobu ef\relax + &\fourllu fggh\Ibbu0hg2\qh0h\tbbu0\qh0g\tqh0g\relax + &\fourlll h{=i}ij\fourlll jkkl\enotes + \ifOrgue\def\atnextline{\OrgelPedal}\fi% + %\check + \barre % mesure 57 + \notes\org\doubler\Pause + |\doubler\qu J\sk\twobu JI\ibu0M0\qh0{HaN}\tqh0{=I}\relax + |\zql c\zqu g\ibl0e0\qb0e\sk\nbbl0\qb0e\tqb0f\zql c\doubler\twobu f{=e}\zq +c\qu f\sk\zql d\multnoteskip{0.5}\ibu0g0\qhp0g\sk\sk\tbbu0\tqh0f\relax + &\qu g\sk\sk\sk\fourllu fggh\fourllu hjj{=i}\Ibbu0ik2\qh0i\tbbu0\qh0j\tqh0k\relax + &\fourlll ljjk\fourlll k{=l}lm\doubler\mordent o\isluru0m\qlp m\sk\sk\tslur0n\cl n\enotes + %\check + \barre % mesure 58 + \notes\org\doubler\sk\sk\hpause + |\doubler\ibu0M0\qh0{JMN}\tqh0G\relax + |{\doubler\ibu0f0\qh0{_e}\zq c\tqh0f}\zq {=b}\zql d\fourbblu gfed\relax + &{\doubler\twobu jh}\ibbu0k0\qh0{gml}\tqh0k\relax + &\Ibl0lj3\isluru0l\qb0 l\sk\nbbl0\qb0k\tslur0j\tqb0j\Pince n\isluru0i\Ibl0ij3\qbp0{=i}\sk\sk\tslur0j\tbbl0\tqb0j\enotes + \Notes\org\fourbu JKLJ\relax + |\qlp c\sk\sk\cl N\relax + |\fourbu efge\relax + &\fourbl lmnl\relax + &\ql j\sk\soupir\enotes + %\check + \barre % mesure 59 + \notes\org\doubler\ql M\sk\soupir\sk\sk\hpause + |\doubler\qu M\sk\twobu LK\qu J\sk \twobu JI\relax + |\fourllu a{=b}bc\fourllu cbbc\Ibbu0cd3\qh0{cc}\islurd0c\qh0c\tslur0d\tqh0d\fourllu d{=e}ef\relax + &\advance\transpose 7\fourlll cdde\fourlll edde\Ibbl0ef3\qb0{ee}\isluru0e\qb0e\tslur0f\tqb0f\fourlll fggh\relax + &\doubler\Pause\enotes + %\check + \barre % mesure 60 + \Notes\org\ibu0M0\qh0{HaN}\tqh0{=I}\relax + |\ql c\sk\twobl{=b}d\relax + |\zq f\ibu0h0\qh0h\itenu0f\qh0f\zq d\tten0\qh0f\tqh0g\relax + &\ibl0m0\qb0{omk}\tqb0n\enotes + \notes\org\ibu1M0\doubler\qh1{JM}\relax + |\zq c\ql N\relax + |\fourbbu fedc\relax + &\fourbbl mlkj&\pause\enotes + \Notes\org\qh1N\tqh1G\relax + |\twobl bN|\qu g\relax + &\twobl n{=i}\enotes + %\check + \barre % mesure 61 + \NOtes\org\pointdurgue B\wh C|\zw J\wh N|\zw c\wh e\relax + &\pointdorgue m\wh j&\pointdorgue m\pause\enotes +% \ifOrgue\advance\mulooseness 1\fi + \ifOrgue\linegoal 19\fi + \finmorceau + + + +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/marcon2.tex b/Master/texmf-dist/doc/generic/musixtex/examples/marcon2.tex new file mode 100644 index 00000000000..fb5efe87b62 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/marcon2.tex @@ -0,0 +1,723 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +% +\title{Concerto pour hautbois --- adagio} +\fulltitle{Concerto pour hautbois --- adagio} +\othermention{Transcription pour hautbois, flte et orgue\\{\bf + \ifFlute Partition flte\fi + \ifOboe Partition hautbois\fi + \ifOrgue Partition orgue\fi} +} +\shorttitle{Concerto pour hautbois --- adagio} +\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN} +\shortauthor{B. Marcello, D. Taupin} +\maketitle +% +\parindent 13mm +\def\interfacteur{10} % was 9 +\def\OrgelManual{% + \global\cleftoksi={{6}{0}{0}{0}}% + \def\interinstrumentii{0pt}% + \def\interinstrumenti{0pt}% + \nbporteesi=2\relax% +} +\def\OrgelPedal{% + \global\cleftoksi={{6}{6}{0}{0}}% + \def\interinstrumentii{0pt}% + \def\interinstrumenti{0pt}% + \nbporteesi=3\relax% +} +\ifOrgue + \def\nbinstruments{3} + \global\cleftoksi={{6}{0}{0}{0}}% + \global\cleftoksii={{0}{0}{0}{0}}% + \global\cleftoksiii={{0}{0}{0}{0}}% + \nbporteesi=3\relax% + \nbporteesii=1\relax% + \nbporteesiii=1\relax% + \def\instrumenti{Orgue}% + \def\instrumentii{Flte}% + \def\instrumentiii{Hautbois}% + \def\staffspacingii{0.64}\def\staffspacingiii{0.64}% +\else + \def\nbinstruments{2} + \global\cleftoksi={{0}{0}{0}{0}}% + \global\cleftoksii={{0}{0}{0}{0}}% + \nbporteesi=1\relax% + \nbporteesii=1\relax% + \def\instrumenti{Flte}% + \def\instrumentii{Hautbois}% + \ifFlute\def\staffspacingi{1.0}\else\def\staffspacingi{0.64}\fi + \ifOboe\def\staffspacingiii{1.0}\else\def\staffspacingii{0.64}\fi% + \def\everystaff{\vrule width 0pt depth 8mm\relax}% +\fi + +\ifOboe\def\interinstrumenti{2\Interligne}\fi +% +\signaturegenerale{-3}\relax +%\check +\def\doubler{\multiply\noteskip by 2\relax}% +% +% formes frequentes +% +\def\Pause{\sk\sk\qsk\pause}% +% + \def\twobbu#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}} + \def\twobbl#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}} +% + \def\fourbbu#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}} + \def\fourbbl#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}} +% + \def\fourlll#1#2#3#4{\Ibbl0{#1}{#4}3% +\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\isluru0{#3}\qb0{#3}% +\tslur0{#4}\tqb0{#4}}% +% + \def\fourllu#1#2#3#4{\Ibbu0{#1}{#4}3% +\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\islurd0{#3}\qh0{#3}% +\tslur0{#4}\tqh0{#4}}% +% + \def\twobu#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}} + \def\twobl#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}} +% + \def\sixbu#1#2#3#4#5#6{\Ibu0{#1}{#2}1\qh0{#1}\qh0{#2}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}} + \def\sixbl#1#2#3#4#5#6{\Ibl0{#1}{#2}1\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}} +% + \def\twolbu#1#2{\Ibu0{#1}{#2}1\islurd0{#1}\qh0{#1}\tslur0{#2}\tqh0{#2}} + \def\twolbl#1#2{\Ibl0{#1}{#2}1\isluru0{#1}\qb0{#1}\tslur0{#2}\tqb0{#2}} + +% +%\check +% +\catcodesmusic +\def\org#1|#2&{\ifOrgue \ifnum\nbporteesi=3#1|\fi #2&\relax\fi} +% +\generalmeter{\meterfrac 34}% +\sepbarrules +% +\debutmorceau +%\check +% +\notes\org\relax + |&&\zcharnote{w}{\kern -20mm\moyen Adagio +\bf(\metron{\cu}{84})}\enotes +% +%\check +% +% mesure 1 +\NOTes\org\Pause\relax + |\Pause\relax + |\ibl0j0\qb0{jjjjj}\tqb0j\relax + &\ifFlute\zcharnote N{\sl (orgue solo)}\fi + \ifFlute\tinynotesize\ibl0j0\qb0{jjjjj}\tqb0j\relax + \else\Pause + \fi\relax + &\ifOboe\zcharnote N{\sl (orgue solo)}\fi + \ifOboe\tinynotesize\ibl0j0\qb0{jjjjj}\tqb0j\relax + \else\Pause\fi\enotes +% mesure 2 +\barre\NOTes\org\Pause + |\Pause\relax + |\ibl0j0\qb0j\qb0j\qb0j\qb0j\qb0j\tqb0j\relax + &\ifFlute\zcharnote N{\sl flte}\fi\ibl0k0\qb0k\qb0k\qb0k\qb0k\qb0k\tqb0k\relax + &\ifOboe\tinynotesize\ibl0j0\qb0j\qb0j\qb0j\qb0j\qb0j\tqb0j\relax + \else\Pause\fi\enotes +% mesure 3 +\barre\NOTes\org\hup G\relax + |\roff{\pt g}\rh g\hup f\relax + |\na i\ibl0i0\qb0{iiiii}\tqb0i\relax + &\ibl0k0\qb0{kkkkk}\tqb0k\relax + &\ifOboe\tinynotesize\na i\ibl0i0\qb0{iiiii}\tqb0i\relax + \else\Pause\fi\enotes +% mesure 4 +\def\motif{\zq j\qh0 l}% +\barre\NOTes\org\Ibu1CJ1\qh1C\itenl5J\tqh1J\relax + |\itenl1e\zhp c\zhp g\hlp e\relax + |\ibl3j0\qb3{jj}\relax + &\ibl4l0\qb4{ll}\relax + &\ifOboe\zcharnote N{\sl hautbois}\fi\twolbl jl\enotes +\NOTes\org\tten5\hu J\relax + |\relax + |\qb3{jj}\relax + &\qb4{ll}\relax + &\twolbl ln\enotes +\NOTes\org\relax + |\relax + |\qb3j\relax + &\qb4l\relax + &\isluru5n\ibl5n0\qb5n\enotes +\NOtes\org\relax + |\relax + |\tqb3j\relax + &\tqb4l\relax + &\nbbl5\qb5o\tslur5n\tqb5n\enotes +% mesure 5 +\barre\NOTes\org\hup F\relax + |\tten1\zql e\roff{\hup f}\sk\ql d\sk\ql c\relax + |\ibu3h0\qh3{hhhhh}\tqh3h\relax + &\ibl4j0\qb4{jjjjj}\tqb4j\relax + &\mordant q\hl o\sk\sk\sk\soupir\enotes +% mesure 6 +\barre\temps\NOTes\org\hup I\relax + |\zhl b\hup f\relax + |\ibu3h0\qh3{hh}\relax + &\ibl4k0\qh4{kk}\relax + &\twolbl ik\enotes +\NOTes\org\relax + |\relax + |\qh3{h}\relax + &\qh4k\relax + &\Ibl5kl2\isluru5k\qb5k\enotes +\NOtes\org\relax + |\relax + |\qh3h\relax + &\qb4k\relax + &\nbbl5\qb5m\tslur5l\tqb5l\enotes +\NOtes\org\relax + |\itenl2d\ql d\relax + |\qb3h\sk\tqh3h\relax + &\qb4k\sk\tqb4k\relax + &\Ibbl5mn3\isluru5m\qb5{mno}\tslur5n\tqb5n\enotes +% mesure 7 +\barre +\NOTes\org\hup E\relax + |\tten2\qu d\sk\qu c\sk\qu b\relax + |\sixbu gggggg\relax + &\sixbu iiiiii\relax + &\doubler\mordant p\hl n\sk\soupir\enotes +% mesure 8 +\def\motif{\zq h\qh0j}% +\barre\NOtes\org\hup H\relax + |\doubler\doubler\zhl a\hup e\sk\itenl2c\qu c\relax + |\doubler\sixbu hhhhhh\relax + &\doubler\sixbl jjjjjj\relax + &\isluru0h\fourbbl hiji\fourbbl jklk\rlap{\sk\sk\sk\tslur0m}\fourbbl lmnm\enotes +% mesure 9 +\def\motif{\zq f\qh0h}% +\def\motifa{\zq f\qh0i}% +\barre\NOTes\org\hup K\relax + |\doubler\tten2\qu c\qu b\qu a\relax + |\ibu0h0\motif\tbu0\motif\ibu0i0\motifa\motifa\motifa\tbu0\motifa\relax + &\sixbl kkkkkk\relax + &\doubler\mordant o\hl m\sk\soupir\enotes +% mesure 10 +\barre +\Notes\org\Ibu1NG4\qh1N\sk\sk\sk\itenl1G\tqh1G\relax + |\hup f\relax + |\doubler\doubler\bigna i\ibu3i0\qh3{ii}\relax + &\doubler\doubler\ibl4k0\qb4k\qb4k\relax + &\islurd5f\Ibbbu5gk7\qh5{g^fgh=ihi}\tslur5i\tqh5j\enotes +\Notes\org\tten1\hu G\relax + |\relax + |\doubler\doubler\qh3{ii}\relax + &\doubler\doubler\qb4{kk}\relax + &\isluru5l\Ibbbl0jj7\qb0{kijkn=ml}\tslur5l\tqb0k\enotes +\NOtes\org\relax + |\relax + |\doubler\qh3i\tqh3i\relax + &\doubler\qb4k\tqb4k\relax + &\isluru5l\Ibbl0kl3\qb0{klm}\tslur5m\tqb0l\enotes +% mesure 11 +%\check +\def\motif{\zq e\qh3 g}% +\barre\notes\org\Ibu1CJ5\qh1C\relax + |\hup c\relax + |\ibu3g0\motif\relax + &\ibl4j0\qb4j\relax + &\isluru5l\ibbbbl5l0\qb5{lkl}\tbbbbl5\tbbbl5\tbbl5\qb5m\enotes +\NOtes\org\relax + |\relax + |\relax + &\relax + &\tbl5\tslur5l\qbp5l\enotes +\NOTes\org\itenl1J\tqh1J\relax + |\relax + |\motif\relax + &\qb4j\relax + &\enotes +\NOtes\org\tten1\itenl1J\hu J\relax + |\relax + |\motif\sk\motif\relax + &\qb4j\sk\qb4j\relax + &\qsoupir\isluru5n\Ibbl5ln2\qb5{lo}\tslur5o\tqb5n\enotes +\NOtes\org\relax + |\relax + |\motif\sk\tbu3\motif\relax + &\qb4j\sk\tqb4j\relax +% &\Ibbl5ol3\qb5{omm}\tqb5l\enotes + &\fourlll omml\enotes +% mesure 12 +%\check +\barre +\NOTes\org\tten1\qu J\relax + |\roff{\zql c}\hu d\relax + |\ibu3f0\qh3f\tqh3f\relax + &\ibu4h0\qh4h\tqh4h\relax + &\mordant p\ql k\sk\enotes +\NOtes\org\itenl1I\hu I\relax + |\hl b\relax + |\ibu0g0\qh0g\sk\tqh0g\relax + &\ibu0i0\qh0i\sk\tqh0i\relax + &\qsoupir + \isluru5m\Ibbl5km2\qb5{kn}\tslur5m\tqb5m\enotes +\NOtes\org\relax + |\qu e\relax + |\ibu3g0\qh3g\sk\relax + &\ibu4j0\qh4j\sk\relax + &\isluru5n\ibbl5k0\qb5n\qbp5l\enotes +\Notes\org\relax + |\relax + |\tqh3g\relax + &\tqh4j\relax + &\sk\nbbbl5\qb5{kj}\tslur5k\tqb5k\enotes +% mesure 13 +\barre +\notes\org\tten1\qu I\relax + |\roff{\zql b}\hu c\relax + |\ibu3e0\qh3e\relax + &\ibu4g0\qh4g\relax + &\isluru5k\ibbbbl1j0\qb1{j=ij}\relax +\tbbbbl1\tbbbl1\tbbl1\qb1k\enotes +\NOtes\org\relax + |\relax + |\relax + &\relax + &\tslur5k\tbl1\qbp1j\enotes +\NOTes\org\relax + |\relax + |\tqh3e\relax + &\tqh4g\relax + &\enotes +\temps\Notes\org\hu H\relax + |\hl a\relax + |\ibu0f0\qh0f\sk\sk\sk\tqh0f\relax + &\ibu0h0\qh0h\sk\sk\sk\tqh0h\relax + &\qsoupir\sk\isluru5k\ibbbl1j0\qb1j\tbbl1\qb1l\nbbbl1\qb1{kjk}\tslur5l\tqb1l\enotes +\temps\Notes\org\relax + |\qu d\relax + |\ibu0f0\qh0f\sk\sk\sk\tqh0f\relax + &\ibu0h0\qh0h\sk\sk\sk\tqh0h\relax + &\isluru5n\ibbbl1k0\qb1{mnlmkl}\relax +\triolet n\qb1{jk}\tslur5k\tqb1j\enotes +% mesure 14 +%\check +\def\motif{\rq g\qh3f}% +\barre +\NOTes\org\hup G\relax + |\hup b\relax + |\zhlp d\ds\ibu3g0\motif\motif\motif\motif\tbu3\motif + &\ds\ibu0i0\qh0{=iiii}\tqh0i\relax + &\bigna i\hl i\sk\sk\sk\soupir\enotes +% mesure 15 +\barre\NOTes\org\hup J\relax + |\hup c\relax + |\bigna e\ibu0g0\zq e\qh0g\zq e\tqh0g\relax + &\twobu jg\relax + &\bigna l\twolbl ln\enotes +\NOTes\org\relax + |\relax + |\ibu0g0\zq e\qh0g\zq e\tqh0g\relax + &\twobu gg\relax + &\twolbl nl\enotes +\NOtes\org\relax + |\relax + |\doubler\twobu ee\relax + &\doubler\twobl jj\relax + &\fl i\isluru5m\ibbl1i0\qb1{inl}\tslur5m\tqb1i\enotes +% mesure 16 +\barre\NOTes\org\hlp M\relax + |\qu c\relax + |\ibu3g0\qh3g\relax + &\ibl4j0\qb4j\relax + &\ibu5k0\itenl5i\qh5i\enotes +\Notes\org\relax + |\relax + |\tqh3g\relax + &\tqb4j\relax + &\tten5\nbbbu5\islurd5i\qh5{ihj}\tslur5i\tqh5i\enotes +\temps\NOTes\org\relax + |\hu f\relax + |\ibu0h0\qh0{hhh}\tqh0h\relax + &\ibl0j0\qb0{jjj}\tqb0j\relax + &\qu h\sk\soupir\enotes +% mesure 17 +\def\motif{\zq h\qh0 k}% +\barre +\NOtes\org\hup K\relax + |\hup {^f}\relax + |\ibu3h0\na h\qh3h\sk\qh3h\relax + &\ibl4k0\qb0k\sk\qb0k\relax + &\ibbl1m0\sh m\qb1{m=om}\tqb1n\enotes +\Notes\org\relax + |\relax + |\qh3h\sk\sk\sk\qh3h\sk\sk\sk\relax + &\qb4k\sk\sk\sk\qb4k\sk\sk\sk\relax + &\Ibbbl1oh7\qb1{onm=lkji}\tqb1{=h}\enotes +\Notes\org\relax + |\relax + |\qh3h\sk\sk\sk\sk\tqh3h\sk\sk\sk\relax + &\qb4k\sk\sk\sk\sk\tqb4k\sk\sk\sk\relax + &\Ibbbu1dl9\qh1{d=e^fghij}\pointdurgue e\qhp1k\qsk\tbbbbu1\tqh1j\enotes +% mesure 18 + \barre +\NOTes\org\hup G\relax + |\qu d\relax + |\twobu gg\relax + &\twobl kk\relax + &\twolbl ji\enotes +\NOTes\org\relax + |\itenl2e\hu e\relax + |\ibu3g0\qh3{ggg}\tqh3g\relax + &\ibl4i0\qb4{iii}\tqb4i\relax + &\bigfl l\twobl lk\mordant n\itenu5l\ql l\enotes +% mesure 19 +\barre\NOTes\org\hl M\relax + |\tten2\qu e\relax + |\ibu3h0\qh3{_h}\relax + &\ibl4j0\qh4j\relax + &\tten5\isluru5m\ibl5l0\qb5l\enotes +\NOtes\org\relax + |\relax + |\tqh3h\relax + &\tqb4j\relax + &\nbbl5\qb5m\tqb5l\enotes +\NOTes\org\relax + |\hu d\relax + |\ibu3f0\qh3f\relax + &\ibu4h0\qh4h\relax + &\ibl5k0\qb5k\enotes +\NOtes\org\relax + |\relax + |\qh3f\relax + &\qh4h\relax + &\nbbl5\qb5l\tslur5k\tqb5j\enotes +\NOTes\org\qu F\relax + |\relax + |\qh3f\tqh3f\relax + &\qh4h\tqh4h\relax + &\itenu5k\mordant m\ql k\enotes +% mesure 20 +\barre +\NOtes\org\hu E\relax + |\qu d\relax + |\doubler\twobu gg\relax + &\doubler\twobu ii\relax + &\tten5\ibbl0k0\rlap{\sk\isluru5n}\qb0{knl}\tqb0k\enotes +\temps\NOtes\org\relax + |\hu c\relax + |\ibu3e0\qh3{e*e}\relax + &\ibu4g0\qh4{g*g}\relax + &\ibbl0i0\qb0{jih}\tslur5i\tqb0i\enotes +\NOTes\org\ql L\relax + |\relax + |\qh3e\sk\tqh3e\relax + &\qh4g\sk\tqh4g\relax + &\upperna j\mordant o\itenu5j\ql j\enotes +% mesure 21 +\barre +\NOtes\org\hup K\relax + |\hu b\relax + |\doubler\twobu ff\relax + &\doubler\twobu fh\relax + &\ibbl5j0\tten5\qb5j\isluru5k\qb5{_i}\qb5k\multnoteskip{0.71}\nbbbl5\qb5m\tqb5l\enotes +\Notes\org\relax + |\relax + |\ibu3d0\qh3d\sk\sk\sk\qh3d\relax + &\ibu4f0\qh4f\sk\sk\sk\qh4f\relax + &\ibbbl5i0\qb5{kjihijk}\tqb5l\enotes +\NOtes\org\relax + |\qu a\relax + |\qh3d\sk\tqh3d\relax + &\qh4f\sk\tqh4f\relax + &\Ibbl5mi3\qb5{mk}\relax +\pince l\qb5j\enotes +\NOtes\org\relax + |\relax + &\relax + &\tslur5k\itenu5i\tqb5i\enotes +% mesure 22 +\barre +\Notes\org\hup J\relax + |\qu N\relax + |\ibu3e0\qh3e\sk\sk\sk\tqh3e\relax + &\ibu4g0\qh4g\sk\sk\sk\tqh4g\relax + &\tten5\ibbbl1i0\rlap{\sk\isluru5m}\qb1{ijj}\tqb1i\Ibbbu1ig3\qh1{ihh}\tqh1g\enotes +\Notes\org\relax + |\qu e\relax + |\ibu3g0\qh3g\sk\sk\sk\tqh3g\relax + &\ibu4j0\qh4j\sk\sk\sk\tqh4j\relax + &\ibbbu1g0\qh1{ghh}\tqh1g\Ibbbu1ge3\qh1{gff}\tqh1e\enotes +\temps\NOtes\org\relax + |\qu e\relax + |\ibu3f0\qh3f\sk\tqh3f\relax + &\ibu4h0\qh4h\sk\zq f\tqh4h\relax + &\ibbu5k0\tslur5m\rlap{\sk\isluru5r}\qh5{flk}\tqh5j\enotes +% mesure 23 +\barre +\NOTes\org\hu I\relax + |\hu d\relax + |\ibu3f0\qh3{fff}\relax + &\ibu4h0\qh4{hhh}\relax + &\tslur5n\itenu5k\ql k\sk\tten5\Ibl5ki3\qbp5k\enotes +\NOtes\org + |\relax + |\tqh3f\relax + &\tqh4h\relax + &\sk\tbbl5\tqb5i\enotes +\NOTes\org\qu J\relax + |\qu c\relax + |\twobu ee\relax + &\twobu gg\relax + &\itenu5l\ql l\enotes +% mesure 24 +\barre +\NOTes\org\qu{H}\relax + |\relax + |\ibu3h0\zq e\qh3h\relax + &\ql j\relax + &\tten5\ibl5i0\itenu5l\qb5l\enotes +\Notes\org\relax + |\relax + |\zq e\tqh3h\relax + &\relax + &\tten5\rlap{\sk\isluru5m}\nbbbl5\qb5{ljk}\tqb5l\enotes +\NOTes\org\hu I\relax + |\hpause + |\ibu0f0\zq d\qh0f\zq d\qh0f\zq d\qh0f\zq e\tqh0g\relax + &\hl i\relax + &\ifOboe\rlap{\tinynotesize\ibl0d0\zq d\qb0f\zq d\qb0f\zq d\qb0f\loff{\zq e\tqb0g}\relax}\fi + \qlp m\sk\sk\tslur5m\cl l\enotes +% mesure 25 +\barre\NOTes\org\hlp M\relax + |\relax + |\zhlp f\ibu3h0\qh3{hhh}\relax + &\Ibl4hk6\qb4h\qb4{_kk}\relax + &\Uptext{\pp}\bigfl k\qlp k\enotes +\NOtes\org\relax + |\pause + |\doubler\qh3{hh}\tqh3h\relax + &\doubler\qb4{kk}\tqb4k\relax + &\ibbl5m0\isluru5n\qb5{mnonm}\tslur5m\tqb5l\enotes +% mesure 26 +\barre +\NOTes\org\hlp N\relax + |\relax + |\zhlp e\ibu3g0\qh3{gg}\relax + &\ibu4i0\qh4{ii}\relax + &\itenu5k\ql{_k}\enotes +\NOtes\org\relax + |\sk\pause + |\doubler\qh3{ggg}\tqh3g\relax + &\doubler\qh4{iii}\tqh4i\relax + &\tten5\isluru5m\Ibbl1ko3\qb1{kln}\tqb1{o}\Ibbl1pk3\qb1{pnl}\tslur5m\tqb1k\enotes +% mesure 27 +\barre +\NOTes\org\hl a\relax + |\hu e\relax + |\ibu3h0\qh3h\relax + &\ibl4j0\qb4j\relax + &\bigfl k\ibl1j0\isluru5l\itenu1k\qb1k\enotes +\Notes\org\relax + |\relax + |\qh3h\relax + &\qh4j\relax + &\tten1\nbbbl1\qb1{kjl}\tqb1k\enotes +\NOtes\org\relax + |\relax + |\qh3h\sk\tqh3h\relax + &\qb4j\sk\tqb4j\relax + &\Ibbl1jn3\qb1{jlm}\tqb1n\enotes +\NOtes\org\qu H\relax + |\itenl2f\qu f\relax + |\ibu3h0\qh3h\sk\tqh3h\relax + &\ibl4j0\qb4j\sk\tqb4j\relax + &\Ibbl1ol3\qb1{onm}\tslur5m\tqb1l\enotes +% mesure 28 +\barre\NOTes\org\hu G\relax + |\tten2\hu f\relax + |\ibu3g0\qh3{gg}\relax + &\ibl4i0\bigna i\qb4{ii}\relax + &\itenu5m\ql m\enotes +\NOtes\org\relax + |\relax + |\qh3g\sk\tqh3g\relax + &\qb4i\sk\tqb4i\relax + &\tten5\ibbl5h0\rlap{\sk\isluru5j}\qb1{mgh}\tqb5{=i}\enotes +\NOtes\org\qu{H}\relax + |\itenl2f\qu f\relax + |\itenu3h\qu h\relax + &\itenu4j\ql j\relax + &\Ibbl1jk3\qb1{j=kl}\tqb1k\enotes +% mesure 29 +\barre +\NOtes\org\qu F\relax + |\tten2\qu f\relax + |\doubler\tten3\twobu hh\relax + &\doubler\tten4\twobl jk\relax + &\ibbl5l0\qb5{lom}\tslur5m\tqb5k\enotes +\temps\NOTes\org\hu G\relax + |\qup d\sk\sk\cu e\relax + |\ibu0g0\qh0{ggg}\tqh0g\relax + &\qlp{=i}\sk\sk\cl j\relax + &\ifOboe\rlap{\tinynotesize\ibl0g0\qb0{ggg}\tqb0g\relax}\fi + \isluru5k\qlp{=i}\sk\sk\tslur5l\cu j\enotes +% mesure 30 +%\check +\barre +\NOTes\org\hup{H}\relax + |\hup c\relax + |\ibu3h0\zq f\qh3h\zq f\qh3h\zq f\qh3h\zq f\qh3h\relax + &\ibl4j0\qb4{jjjj}\relax + &\itenl5f\hu f\enotes +\NOtes\org\relax + |\relax + |\zq f\qh3h\sk\zq f\tqh3h\relax + &\qb4j\sk\tqb4j\relax + &\tten5\rlap{\sk\islurd5c}\Ibbu5fe3\qh5{fcd}\tqh5e\enotes +% mesure 31 +%\check +\barre +\NOtes\org\hu G\relax + |\hu d\sk + |\doubler\ibu3g0\qh3{gggg}\relax + &\doubler\bigna i\ibl4i0\qb4{iii}\tqb4i\relax + &\Ibbu5fe3\qh5{fed}\tslur5d\tqh5e\islurd5e\Ibbu5fg3\qh5{fgh}\tslur5f\tqh5g\enotes +\Notes\org\ql L\relax + |\qu c\relax + |\doubler\doubler\qh3g\tqh3g\relax + &\doubler\doubler\twobl jj\relax + &\islurd5f\Ibbbu1gi7\qh1{gfefghi}\tslur5g\tqh1{=i}\enotes +% mesure 32 +%\check +\barre +\NOtes\org\bigaccid\zql{a}\relax + |\qu c\relax + |\ibu0f0\qh0f\sk\tqh0f\relax + &\doubler\twobu hh\relax + &\Ibl5jk3\qbp5j\sk\sk\tbbl5\tqb5k\enotes +\NOTes\org\hl N\relax + |\qup d\sk\sk\cu e\relax + |\twobu ff\twobu gg\relax + &\qlp{=i}\sk\sk\cl j\relax + &\ifOboe\rlap{\tinynotesize\twobl ff\twobl gg\relax}\fi + \isluru5l\qlp k\sk\sk\tslur5l\cu j\enotes +% mesure 33 +%\check +\barre\NOTes\org\hu K\relax + |\zhu{^f}\hlp d\relax + |\na h\ibu3h0\qh3{hhh}\tqh3h\relax + &\ibl4j0\qb4{jjj}\tqb4j\relax + &\bigsh m\isluru5n\hl m\enotes +\NOTes\org\qu G\relax + |\raise 2\internote\soupir + |\twobu gg\relax + &\bigna i\twobu ii\relax + &\tslur5o\isluru5o\twobl nk\enotes +% mesure 34 +%\check +\barre\NOTes\org\Ibl1JG5\qb1J\relax + |\qu e\relax + |\ibu3g0\qh3g\relax + &\ibl4j0\qb4j\relax + &\tslur5m\Ibl5lj2\qb5l\enotes +\NOtes\org\qb1L\relax + |\relax + |\tqh3g\relax + &\tqb4j\relax + &\nbbl5\qb5k\tqb5j\enotes +\NOTes\org\qb1{NMN}\tqb1G\relax + |\hu d\relax + |\hu g\relax + &\na i\qup i\sk\sk\cu j\relax + &\zcharnote o{\Trille{1.8\noteskip}}\na i\ql i\sk\rlap{\isluru5j\sk\tslur5k}\twobl ij\enotes + \ifOrgue\cleftoksi={{6}{6}{0}{0}}\changeclefs\fi +% mesure 35 +%\check +\barre +\NOTes\org\hup J\relax + |\rlap{\sk\itenl2N}\twobl cN\relax + |\Ibu3ge1\zq e\qh3g\zq c\tqh3e\relax + &\Ibl4jl5\qh4{jl}\relax + &\hlp j\enotes +\NOTes\org\relax + |\tten2\hl N\relax + |\ibu3e0\zq c\qh3e\zq c\qh3e\zq c\qh3e\zq c\tqh3e\relax + &\qb4{lll}\tqb4l\enotes +% mesure 36 +%\check +\barre\NOTes\org\hup G\relax + |\hlp N\relax + |\ibu3e0\zq c\qh3e\rq d\qh3c\rq d\qh3c\rq d\qh3c\zq +{_b}\qh3d\zq b\tqh3d\relax + &\Ibl4lk5\qb4{lkkkk}\tqb4k\relax + &\sk\sk\qsk\pause\enotes +% mesure 37 +%\check +\barre\NOTes\org\hup J\relax + |\hlp N + |\na e\ibu3e0\relax +\zq b\qh3 e\zq b\qh3 e\zq b\qh3 e\zq b\qh3 e\zq b\qh3 e\zq b\tqh3 e\relax + &\na l\ibl4l0\qb4{lllll}\tqb4l\relax + &\sk\sk\qsk\pause\enotes +% mesure 38 +%\check +\barre +\NOTes\org\hlp M\relax + |\zql b\relax + |\ibu3f0\zq c\qh3f\zq c\qh3f\relax + &\ibl4m0\qb4m\qb4m\enotes +\NOTes\org\relax + |\itenu2a\ql a\relax + |\zq c\qh3f\zq c\tqh3f\relax + &\qb4m\tqb4m\relax + &\sk\pause\enotes +\temps\NOTes\org\relax + |\tten2\ql a\relax + |\zq {c}\rq f\qu e\relax + &\ql m\sk + &\enotes +% mesure 39 +%\check +\barre +\NOTes\org\hl N\relax + |\na b\ibl2b0\zq b\qb2d\zq b\qb2d\zq b\qb2d\zq b\tqb2d\relax + |\qup f\sk\sk\Ibu3gc2\qh3g\relax + &\qlp m\sk\sk\Ibl4nj2\qb4n\relax + &\sk\sk\qsk\pause\enotes +\NOTes\org\ql a\relax + |\ql c\relax + |\qh3e\tqh3d\relax + &\qb4l\tqb4k\enotes +% mesure 40 +%\check +\barre +\NOTes\org\ql M\relax + |\zq c\ql a\sk\relax + |\twobu ef\relax + &\twobl lm\enotes +\NOTes\org\ibu2N0\qh2{NMN}\tqh2G\relax + |\hl{=b}\relax + |\hu d\relax + &\hl k\sk\sk\relax + &\qsk\pause\enotes +% mesure 41 +%\check +%\ifOrgue\cleftoksi={{6}{6}{0}{0}}\changeclefs\fi +\barre +\NOTES\org\hup J\relax + |\zhp{LN}\hlp c\relax + |\sk\pause + &\hlp j\relax + &\sk\pause\enotes +\ifOrgue \linegoal 9\relax +\else \linegoal 12\relax +\fi +\finmorceau + +\endinput + + + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/marcon3.tex b/Master/texmf-dist/doc/generic/musixtex/examples/marcon3.tex new file mode 100644 index 00000000000..52b1989bb06 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/marcon3.tex @@ -0,0 +1,1106 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +% +\title{Concerto pour hautbois --- finale} +\fulltitle{Concerto pour hautbois --- finale} +\othermention{Transcription pour hautbois, flte et orgue\\{\bf + \ifFlute Partition flte\fi + \ifOboe Partition hautbois\fi + \ifOrgue Partition orgue\fi} +} +\shorttitle{Concerto pour hautbois --- finale} +\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN} +\shortauthor{B. Marcello, D. Taupin} +\maketitle +% +\parindent 13mm +\def\interfacteur{10} % was 9 +\ifOrgue + \def\nbinstruments{3} + \global\cleftoksi={{6}{6}{0}{0}}% + \global\cleftoksii={{0}{0}{0}{0}}% + \global\cleftoksiii={{0}{0}{0}{0}}% + \nbporteesi=3\relax% + \nbporteesii=1\relax% + \nbporteesiii=1\relax% + \def\instrumenti{Orgue}% + \def\instrumentii{Flte}% + \def\instrumentiii{Hautbois}% + \def\staffspacingii{0.64}\def\staffspacingiii{0.64}% +\else + \def\nbinstruments{2} + \global\cleftoksi={{0}{0}{0}{0}}% + \global\cleftoksii={{0}{0}{0}{0}}% + \nbporteesi=1\relax% + \nbporteesii=1\relax% + \def\instrumenti{Flte}% + \def\instrumentii{Hautbois}% + \ifFlute\def\staffspacingi{1.0}\else\def\staffspacingi{0.64}\fi + \ifOboe\def\staffspacingiii{1.0}\else\def\staffspacingii{0.64}\fi% + \def\everystaff{\vrule width 0pt depth 5mm\relax}% +\fi + +\ifOboe\def\interinstrumenti{2\Interligne}\fi +% +\signaturegenerale{-3}\relax +%\check +\def\doubler{\multiply\noteskip by 2\relax}% +% formes frequentes +\def\Pause{\sk\sk\qsk\pause}% +% +% +\def\sixlpl#1#2#3#4#5#6{\Ibbl0{#1}{#6}5% +\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\upz{#3}\qb0{#3}% +\upz{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}% +% +\def\Sixlpl#1#2#3#4#5#6{{\advance \transpose -1\relax\Ibbl0{#1}{#6}5}% +\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\upz{#3}\qb0{#3}% +\upz{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}% +% +\def\fiveplpl#1#2#3#4#5{\Ibbl0{#1}{#5}4% +\isluru0{#1}\qb0{#1}\qb0{#2}\qb0{#3}% +\tslur0{#4}\tbbl0\qb0{#4}\upz{#5}\tqb0{#5}}% +% +\def\fourplpl#1#2#3#4{\Ibl0{#1}{#4}4% +\upz{#1}\qb0{#1}\sk\isluru0{#2}\nbbl0\qb0{#2}\tbbl0\tslur0{#3}\qb0{#3}% +\upz{#4}\tqb0{#4}\sk}% +% +\def\threelpl#1#2#3{\Ibbl0{#1}{#3}2% +\isluru0{#1}\qb0{#1}% +\tslur0{#2}\tbbl0\qb0{#2}\upz{#3}\tqb0{#3}}% +% +\def\threell#1#2#3{\Ibbl0{#1}{#3}2% +\isluru0{#1}\qb0{#1}% +\tslur0{#2}\tbbl0\qb0{#2}\tqb0{#3}}% +% +\def\sixlpu#1#2#3#4#5#6{\Ibbu0{#1}{#6}5% +\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\lpz{#3}\qh0{#3}% +\lpz{#4}\qh0{#4}\lpz{#5}\qh0{#5}\lpz{#6}\tqh0{#6}}% +% +\def\Sixlpu#1#2#3#4#5#6{{\advance\transpose 1\relax\Ibbu0{#1}{#6}5}% +\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\lpz{#3}\qh0{#3}% +\lpz{#4}\qh0{#4}\lpz{#5}\qh0{#5}\lpz{#6}\tqh0{#6}}% +% +\def\fiveplpu#1#2#3#4#5{\Ibbu0{#1}{#5}4% +\islurd0{#1}\qh0{#1}\qh0{#2}\lpz{#3}\qh0{#3}% +\tslur0{#4}\tbbu0\qh0{#4}\lpz{#5}\tqh0{#5}}% +% +\def\fourplpu#1#2#3#4{\Ibu0{#1}{#4}4% +\lpz{#1}\qh0{#1}\sk\islurd0{#2}\nbbu0\qh0{#2}\tbbu0\tslur0{#3}\qh0{#3}% +\lpz{#4}\tqh0{#4}\sk}% +% +\def\threelpu#1#2#3{\Ibbu0{#1}{#3}2% +\islurd0{#1}\qh0{#1}% +\tslur0{#2}\tbbu0\qh0{#2}\lpz{#3}\tqh0{#3}}% +% +\def\threelu#1#2#3{\Ibbu0{#1}{#3}2% +\islurd0{#1}\qh0{#1}% +\tslur0{#2}\tbbu0\qh0{#2}\tqh0{#3}}% +% +\def\sixppl#1#2#3#4#5#6{\Ibbl0{#1}{#6}5% +\upz{#1}\qb0{#1}\upz{#2}\qb0{#2}\upz{#3}\qb0{#3}% +\upz{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}% +% +\def\Sixppl#1#2#3#4#5#6{{\advance\transpose -1\relax\Ibbl0{#1}{#6}5}% +\upz{#1}\qb0{#1}\upz{#2}\qb0{#2}\upz{#3}\qb0{#3}% +\upz{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}% +% +\def\threeppl#1#2#3{\Ibbl0{#1}{#3}2% +\upz{#1}\qb0{#1}\tbbl0\upz{#2}\qb0{#2}\tqb0{#3}}% +% +\def\sixppu#1#2#3#4#5#6{\Ibbu0{#1}{#6}5% +\lpz{#1}\qh0{#1}\lpz{#2}\qh0{#2}\lpz{#3}\qh0{#3}% +\lpz{#4}\qh0{#4}\lpz{#5}\qh0{#5}\lpz{#6}\tqh0{#6}}% +% +\def\threeppu#1#2#3{\Ibbu0{#1}{#3}2% +\lpz{#1}\qh0{#1}\tbbu0\lpz{#2}\qh0{#2}\tqh0{#3}}% +% +\def\triol#1#2#3{\doubler\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}% +\def\triou#1#2#3{\doubler\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% +\def\triopl#1#2#3{\doubler\Ibl0{#1}{#3}2\upz{#1}\qb0{#1}\upz{#2}\qb0{#2}\upz{#3}\tqb0{#3}}% +\def\triopu#1#2#3{\doubler\Ibu0{#1}{#3}2\lpz{#1}\qh0{#1}\lpz{#2}\qh0{#2}\lpz{#3}\tqh0{#3}}% +% +\def\clpz#1{\upz{#1}\cl{#1}} +\def\cupz#1{\lpz{#1}\cu{#1}} +% Siciliano : O. oO +\def\sicu#1#2#3{\Ibu0{#1}{#3}4\qhp0{#1}\sk\sk\tbbu0\qh0{#2}\tqh0{#3}\sk} +\def\sicl#1#2#3{\Ibl0{#1}{#3}4\qbp0{#1}\sk\sk\tbbl0\qb0{#2}\tqb0{#3}\sk} + +\catcodesmusic +\def\org#1&{\ifOrgue #1\relax + &\relax\fi} +% +%\check +% +\generalmeter{\meterfrac 38}% +\sepbarrules +% +\debutmorceau +\notes\org\relax + &\relax + &\zcharnote{w}{\kern -20mm\moyen Allegro \bf(\metron{\cu}{160})}\enotes +% +%\check +% mesure 1 +\notes\org\Pause + |\zmidtwotext{\llap{\bf II}}\qlp c\relax + |\zqp e\qup g\relax + &\qlp j\relax + &\uptext{\p}\sixlpl jgjklj\enotes +%\check + \barre % mesure 2 +\notes\org\Pause + |\qlp{=b}\relax + |\zqp d\qup g\relax + &\qlp k\relax + &\sixlpl kgklmk\enotes +%\check + \barre % mesure 3 +\notes\org\Pause + |\doubler\cl c\ql a\relax + |\doubler\zq e\cu g\zq c\qu f\relax + &\doubler\Ibu0ii1\bupz0\qh0j\bupz0\qh0l\bupz0\tqh0j\relax + &\sixppl lkjklm\enotes +%\check + \barre % mesure 4 +\Notes\org\sk\pause + |\qlp N\relax + |\zqp d\qup g\relax + &\qup{=i}\relax + &\isluru0n\ql n\sk\tslur0g\cl g\enotes +%\check + \barre % mesure 5 +\notes\org\Pause + |\qup J\relax + |\sixppl lkj{_i}hg\relax + &\sixppl nmlkj{_i}\relax + &\Pause\enotes +%\check + \barre % mesure 6 +\notes\org\Pause + |\sixppl MNMLKJ\relax + |\qu f\sk\sk\sk\ds\relax + &\threeppl hjm\sk\ds\relax + &\Pause\enotes +%\check + \barre % mesure 7 +\notes\org\Pause + |\zqlp I\Ibbu0KN2\qh0K\tbbu0\qh0M\tqh0b\sk\ds\relax + |\sixppu kjihgf\relax + &\sixppl mlkjih\relax + &\Pause\enotes +%\check + \barre % mesure 8 +\notes\org\Pause + |\sixppl LMLKJI\relax + |\qu e\sk\sk\sk\ds\relax + &\threeppl gil\sk\ds\relax + &\Pause\enotes +%\check + \barre % mesure 9 +\notes\org\Pause + |\zqlp H\Ibbu0JM2\qh0J\tbbu0\qh0L\tqh0a\sk\ds\relax + |\sixppu jihgfe\relax + &\sixppl lkjihg\relax + &\Pause\enotes +%\check + \barre % mesure 10 +\notes\org\Pause + |\sixppl KLKJIH\relax + |\qu d\sk\sk\sk\ds\relax + &\threeppl fhk\sk\ds\relax + &\Pause\enotes +%\check + \barre % mesure 11 +\notes\org\Pause + |\zqlp G\Ibbu0IL2\qh0{=I}\tbbu0\qh0K\tqh0N\sk\ds\relax + |\sixppu {=i}hgfed\relax + &\relax + \ifx\Quer\undefined \sixppu kj{=i}onm\else\sixppu kj{=i}hgf\fi + \relax + &\Pause\enotes +%\check + \barre % mesure 12 +\notes\org\Pause + |\sicu JKL\relax + |\Ibbu0cg4\qh0{cde}\tbbu0\qh0f\tqh0g\sk\relax + &\relax + \ifx\Quer\undefined \Ibbu0li2\qh0l\tqh0k\itenl0j\qu j\sk + \else\Ibbu0ei2\qh0e\tqh0g\itenl0j\qu j\sk + \fi\relax + &\Pause\enotes +%\check + \barre % mesure 13 +\notes\org\Pause + |\doubler\Ibl0MI2\qb0M\qb0N\tqb0G\relax + |\doubler +\Ibu0fd2\zq f\qb0h\zq g\qh0d\zq f\tqh0d\relax + &\tten0\ibbu0j0\qh0j\tbbu0\qh0k\qhp0{=i}\sk\sk\tbbu0\tqh0j\enotes +%\check + \barre % mesure 14 +\notes\org\qup J\relax + |\zmidtwotext{\llap{\bf I}}\qlp c\relax + |\zqp e\qup g\relax + &\qlp j\relax + &\sixlpl jgjklj\enotes +%\check + \barre % mesure 15 +\notes\org\doubler\qup {=I}\relax + |\doubler\qlp{=b}\relax + |\zqp d\qup g\relax + &\qlp k\relax + &\sixlpl kgklmk\enotes +%\check + \barre % mesure 16 +\notes\org\doubler\cu J\qu H\relax + |\doubler\cl c\ql a\relax + |\doubler\zq e\cu g\zq c\qu f\relax + &\doubler\Ibl0ii1\upz j\qb0j\upz l\qb0l\upz j\tqb0j\relax + &\sixppl lkjklm\enotes +%\check + \barre % mesure 17 +\notes\org\qup G\relax + |\qlp N\relax + |\zqp d\qup g\relax + &\fourplpl{=i}kji\relax + &\doubler\isluru0n\ql n\sk\tslur0g\cl g\enotes +%\check + \barre % mesure 18 +\notes\org\doubler\qu J\sk\lpz H\cu H\relax + |\doubler\ql c\sk\upz a\cl a\relax + |\doubler\zq e\qu g\sk\ds\relax + &\fourplpl llkj\relax + &\sixlpl nljlom\enotes + %\check + \barre % mesure 19 +\notes\org\doubler\qu I\sk\lpz G\cu G\relax + |\doubler\ql b\sk\upz N\cl N\relax + |\qu d\sk\ds\relax + &\fiveplpl iklmn\relax + &\threelpl kmp\sk\ds\enotes +%\check + \barre % mesure 20 +\notes\org\doubler\qu H\sk\lpz F\cu F\relax + |\doubler\ql a\sk\upz M\cl M\relax + |\doubler\zq c\qu e\sk\ds\relax + &\fourplpl jjih\relax + &\sixlpl ljhjlj\enotes + %\check + \barre % mesure 21 +\notes\org\doubler\qu G\sk\ds\relax + |\doubler\ql N\sk\ds\relax + |\doubler\qu {=b}\sk\ds\relax + &\fiveplpl gh{=i}jk\relax + &\threelpl {=i}kn\sk\ds\enotes + %\check + \barre % mesure 22 +\notes\org\Pause + |\Pause + |\doubler\ibu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax + &\fourplpl jlkj\relax + &\sixlpl lkjklj\enotes + %\check + \barre % mesure 23 +\notes\org\Pause + |\Pause + |\doubler\ibu0h0\zq {df}\qh0h\zq {df}\qh0h\zq {df}\tqh0h\relax + &\fourplpl imlk\relax + &\sixlpl mlklmk\enotes + %\check + \barre % mesure 24 +\notes\org\Pause + |\Pause + |\doubler\ibu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax + &\fourplpl inml\relax + &\sixlpl nmlmnl\enotes + %\check + \barre % mesure 25 +\notes\org\Pause + |\Pause + |\doubler\ibu0h0\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax + &\fourplpl ionm\relax + &\sixlpl pnmlkj\enotes + %\check + \barre % mesure 26 +\notes\org \Pause + |\Pause + |\doubler\Ibl0hg2\zq g\qb0i\zq f\qb0 h\zq e\tqb0 g\relax + &\Ibbl0li5\qb0{lkkjj}\tqb0i\relax + &\rlap{\sk\sk\sk\sk\itenu0l}\sicl iil\enotes + %\check + \barre % mesure 27 +\notes\org\Pause + |\doubler\ql c\sk\cl b\relax + |\doubler\Ibu0hi2\zq f\qh0{hi}\rq i\zq h\tqh0f\relax + &\doubler\Ibl0jk2\qb0{jk}\tqb0k\relax + &\tten0\ibbl0l0\qb0l\tbbl0\qb0m\isluru0m\Pince o\qb0m\sk\sk\tslur0l\tbbl0\tqb0l\enotes + %\check + \barre % mesure 28 + \notes\org\doubler\ibl0L0\qb0{LN}\tqb0L\relax + |\doubler\zq g\ql b\sk\itenu1b\itenu2e\zq e\cl +b\relax + |\sixppu iilmnl\relax + &\sixppl lilmnl\relax + &\doubler\ql l\sl\ds\enotes + %\check + \barre % mesure 29 + \notes\org\doubler\ibl0J0\qb0{IK}\tqb0I\relax + |\tten1\tten2\doubler\zql b\cu e\qu +d\cl b\relax + |\sixppu miklmk\relax + &\sixppl mimnom\relax + &\relax\Pause\enotes + %\check + \barre % mesure 30 + \notes\org\doubler\ibl0M0\qb0{LN}\tqb0L\relax + |\doubler\ibl0c0\qb0{be}\tqb0b\relax + |\sixppl lkjklm\relax + &\sixppl nmlmno\relax + &\Pause\enotes + %\check + \barre % mesure 31 + \notes\org\qup I\relax + |\Ibbl0bM5\qb0{bcbaN}\tqb0M\relax + |\doubler\isluru0k\ql k\sk\tslur0i\cl i\relax + &\doubler\ql p\sk\ds\relax + &\Pause\enotes + %\check + \barre % mesure 32 + \notes\org\Pause + |\zmidtwotext{\llap{\bf II}}\doubler\ibl0L0\upz L\qb0L\upz N\qb0 N\upz +L\tqb0L\relax + |\doubler\zq g\qu i\sk\zq g\cu i\relax + &\doubler\ibl0j0\isluru0l\qb0l\tslur0i\qb0i\upz l\tqb0l\relax + &\uptext{\mf}\sixlpl lilmnl\enotes + %\check + \barre % mesure 33 + \notes\org\Pause + |\doubler\ibu0J0\lpz I\qb0I\lpz K\qb0 K\lpz I\tqh0I\relax + |\doubler +\zq f\qu i\sk\zq k\cu i\relax + &\doubler\ibl0j0\isluru0l\qb0l\tslur0k\qb0k\upz m\tqb0m\relax + &\Sixlpl mimnom\enotes + %\check + \barre % mesure 34 + \notes\org\Pause + |\doubler\ibl0L0\upz L\qb0L\upz N\qb0 N\upz +L\tqb0L\relax + |\doubler\zq i\ql l\sk\zq i\cl l\relax + &\doubler\ibl0l0\isluru0n\qb0n\tslur0i\qb0i\upz n\tqb0n\relax + &\sixlpl nmlmno\enotes + %\check + \barre % mesure 35 + \notes\org\Pause + |\doubler\ql b\sk\ds\relax + |\doubler\zql i\Ibu0lk1\qh0l\tqh0k\ds\relax + &\doubler\Ibl0nm1\isluru0n\qb0n\tslur0m\tqb0m\ds\relax + &\doubler\isluru0p\ql p\sk\tslur0i\cl i\ds\enotes + %\check + \barre % mesure 36 + \notes\org\Pause + |\doubler\ql L\sk\ds\relax + |\doubler\zq e\zq g\ql i\sk\ds\relax + &\doubler\ql l\sk\ds\relax + &\Sixlpl ligili\enotes + %\check + \barre % mesure 37 + \notes\org\Pause + |\doubler\ibl0a0\upz c\zq a\qb0c\upz c\zq a\qb0c\upz c\zq a\tqb0c\relax + |\Pause\relax + &\sixlpl ljhjlj\relax + &\threelpl jlo\sk\ds\enotes + %\check + \barre % mesure 38 + \notes\org\Pause + |\doubler\zq M\ql c\sk\ds\relax + |\doubler\qu{=h}\sk\ds\relax + &\threelpl {=h}jm\sk\ds\relax + &\Sixlpl mj{=h}jmj\enotes + %\check + \barre % mesure 39 + \notes\org\Pause + |\doubler\ibl0c0\zq b\upz d\qb0d\zq b\upz d\qb0d\zq b\upz d\tqb0d\relax + |\Pause\relax + &\sixlpl mkikmk\relax + &\threelpl kmp\sk\ds\enotes + %\check + \barre % mesure 40 + \notes\org\Pause + |\doubler\zq N\ql d\sk\ds\relax + |\doubler\qu{=i}\sk\ds\relax + &\threelpl {=i}kn\sk\ds\relax + &\Sixlpl nk{=i}knk\enotes + %\check + \barre % mesure 41 + \notes\org\doubler\qu J\sk\cupz F\relax + |\zmidtwotext{\llap{\bf I}}\doubler\ql c\sk\clpz M\relax + |\doubler\ds\Ibu0gh1\qh0g\tqh0{_h}\relax + &\doubler\isluru0l\ql l\sk\tslur0m\clpz m\relax + &\sixlpl lnlj{_o}m\enotes + %\check + \barre % mesure 42 + \notes\org\doubler\qu I\sk\cupz E\relax + |\doubler + \ql b\sk\clpz L\relax + |\doubler\Ibu0fg2\qh0f\qh0 i\tqh0g\relax + &\doubler\isluru0k\ql k\sk\tslur0j\clpz j\relax + &\sixlpl kmkinl\enotes + %\check + \barre % mesure 43 + \notes\org\doubler\qu H\sk\cupz D\relax + |\doubler + \ql a\sk\clpz K\relax + |\doubler\ds\Ibu0eh1\zq c\qh0e\zq f\tqh0h\relax + &\Ibl0ji5\isluru0j\qb0j\sk\qb0l\sk\nbbl0\qb0h\tslur0i\tqb0i\relax + &\sixlpl jljhmk\enotes + %\check + \barre % mesure 44 + \notes\org\doubler\qu G\sk\cupz C\relax + |\doubler\ql N\sk\clpz J\relax + |\doubler\Ibu0de2\qh0d\qh0g\tqh0e\relax + &\doubler\isluru0i\ql i\sk\tslur0h\cl h\relax + &\sixlpl ikiglj\enotes + %\check + \barre % mesure 45 + \notes\org\doubler\qu F\sk\cupz I\relax + |\doubler\ql M\sk\clpz b\relax + |\doubler\ds\Ibu0cd1\qh0c\tqh0d\relax + &\itenl0h\qu h\sk\sk\sk\Ibbu0hg1\tten0\qh0h\tqh0g\relax + &\sixlpu hjhfki\enotes + %\check + \barre % mesure 46 + \notes\org\doubler\qu E\sk\cupz C\relax + |\doubler\ql L\sk\clpz J\relax + |\doubler\Ibu0dd2\qh0e\qh0N\tqh0e\relax + &\doubler\islurd0g\qu g\sk\tslur0h\cu {=h}\relax + &\sixlpu gigej{=h}\enotes + %\check + \barre % mesure 47 + \notes\org\doubler\qu D\sk\ds\relax + |\doubler\ql K\sk\ds\relax + |\zq c\rq d\qu{^f}\sk\ds\relax + &\doubler\qu {=h}\sk\ds\relax + &\sixlpu {^f}df{=h}kh\enotes + %\check + \barre % mesure 48 + \notes\org\doubler\qu G\sk\ds\relax + |\ql N\sk\ds\doubler\relax + |\doubler\zq {bd}\qu g\sk\ds\relax + &\doubler\qu i\sk\ds\relax + &\sixlpl igiknk\enotes + %\check + \barre % mesure 49 + \notes\org\doubler\qu J\sk\ds\relax + |\doubler\ql c\sk\ds\relax + |\doubler\zq e\qu g\sk\ds\relax + &\doubler\ql j\sk\ds \relax + &\sixlpl ljlnqn\enotes + %\check + \barre % mesure 50 + \notes\org\doubler\qu K\sk\cupz L\relax + |\doubler\ql{=a}\sk\ds\relax + |\doubler\zq d\qu{^f}\sk\zq e\cu g\relax + &\Ibu0hk5\qh0{=h}\sk\nbbu0\bupz0\qh0h\bupz0\qh0i\bupz0\qh0j\bupz0\tqh0k\relax + &\rlap{\sk\sk\sk\sk\itenu0n}\sicl {^m}kn\enotes + %\check + \barre % mesure 51 + \notes\org\doubler\qu J\sk\cupz G\relax + |\doubler\ql c\sk\cupz N\relax + |\doubler + \ibu0g0\lpz g\qh0g\lpz f\qh0{^f}\lpz g\tqh0g\relax + &\doubler\Ibl0lj2\qb0l\qb0k\tqb0j\relax + &\tten0\ibbl0n0\qb0n\tbbl0\qb0{=o}\Pince o\isluru0m\qh0{^m}\sk\sk\tslur0n\tbbl0\tqb0n\enotes + %\check + \barre % mesure 52 + \notes\org\doubler\qu G\sk\ds\relax + |\doubler\ql N\sk\ds\relax + |\doubler\zq {bd}\qu g\sk\ds\relax + &\doubler\qu i\sk\ds\relax + &\sixlpl nknkik\enotes + %\check + \barre % mesure 53 + \notes\org\qup G\relax + |\qlp N\relax + |\sixppu i{=h}gfed\relax + &\advance\transpose 7\relax\sixppl kji{=h}gf\relax + &\doubler\qu g\sk\ds\enotes + %\check + \barre % mesure 54 + \notes\org\doubler\qu E\sk\ds\relax + |\sixppu JKJI{=H}G\relax + |\doubler\qu c\sk\ds\relax + &\advance\transpose 7\relax \threeppl egj\sk\ds\relax + &\Pause\enotes + %\check + \barre % mesure 55 + \notes\org\qup F\relax + |\threeppu {=H}JM\sk\ds\relax + |\sixppu {=h}gfedc\relax + &\advance\transpose 7\relax \sixppl ji{=h}gfe\relax + &\Pause\enotes + %\check + \barre % mesure 56 + \notes\org\doubler\qu D\sk\ds\relax + |\sixppu IJI{=H}GF\relax + |\doubler\qu b\sk\ds\relax + &\advance\transpose 7\relax \threeppl dfi\sk\ds\relax + &\pause\enotes + %\check + \barre % mesure 57 + \notes\org\qup E\relax + |\threeppu GIL\sk\ds\relax + |\sixppu gfedcb\relax + &\advance\transpose 7\relax \sixppl i{=h}gfed\relax + &\Pause\enotes + %\check + \barre % mesure 58 + \notes\org\doubler\qu C\sk\ds\relax + |\sixppu {=H}IHGF{=E}\relax + |\doubler\qu {=a}\sk\ds\relax + &\advance\transpose 7\relax \threeppl c{=e}{=h}\sk\ds\relax + &\Pause\enotes + %\check + \barre % mesure 59 + \notes\org\doubler\qu D\sk\ds\relax + |\threeppu{^F}{=H}K\sk\ds\relax + |\sixppu {^f}{_e}dcb{=a}\relax + &\advance\transpose 7\relax \sixppu{=h}g{^f}{_e}dc\relax + &\Pause\enotes + %\check + \barre % mesure 60 + \notes\org\sicu G{=H}I\relax + |\Ibbl0Nd4\qb0N\qb0{=a}\qb0b\tbbl0\qb0c\tqb0d\sk\relax + |\Ibbu0bd1\qh0b\tqh0d\itenu1g\qu g\relax + &\advance\transpose 7\relax \Ibbl0bd1\qb0b\tqb0d\itenu0g\ql g\relax + &\Pause\enotes + %\check + \barre % mesure 61 + \notes\org\doubler\Ibu0IG2\qh0J\qh0K\tqh0D\relax + |\doubler + \Ibl0eb2\qb0e\zq{=a}\qb0d\zq a\tqb0c\relax + |\tten1\ibbu0g0\qh0g\tbbu0\qh0{=h}\qhp0{^f}\sk\sk\tbbu0\tqh0g\relax + &\advance\transpose 7\relax \tten0\ibbl0g0\qb0g\tbbl0\qb0{=h}\isluru0f\qbp0{^f}\sk\sk\tbbl0\tslur0g\tqb0g\relax + &\Pause\enotes + %\check + \barre % mesure 62 + \notes\org\qup G\relax + |\zqp{=b}\qlp N\relax + |\doubler\qup g\relax + &\relax\advance\transpose 7\relax + \qlp g\relax + &\Pause\enotes + \ifOrgue + \setrightrepeat + \alapage % mesure 63 + \addspace{-\afterruleskip}% + \leftrepeatsymbol + \else + \setleftrightrepeat + \barre % mesure 63 + \fi + \notes\org\triou GIG\relax + |\zmidtwotext{\llap{\bf I}}\triol NbN\relax + |\doubler\zq d\qu g\sk\zq d\cu g\relax + &\fourplpl ikji\relax + &\sixlpl nknopn\enotes + %\check + \barre % mesure 64 + \notes\org\triou JIH\relax + |\triol cba\relax + |\doubler\zq c\zq {=e}\qu g\sk \itenl0c\zq c\cu h\relax + &\doubler\ql n\sk\itenu1 j\cl j\relax + &\Ibl0lh5\qbp0{=l}\sk\sk\nbbl0\qb0{jm}\tqb0h\enotes + %\check + \barre % mesure 65 + \notes\org\triou IJJ\relax + |\triol bcc\relax + |\doubler\tten0\ibu0g0\zq c\qh0g\rq g\qh0f\zq{=e}\tqh0g\relax + &\doubler\tten1\ql j\sk\cl j\relax + &\ibbl0i0\qb0{gmgmg}\tqb0{=l}\enotes + %\check + \barre % mesure 66 + \notes\org\qu F\sk\ds\relax + |\triol MaM\relax + |\doubler\qu h\sk\ds\relax + &\Sixlpl mjmnom\relax + &\doubler\ql m\sk\ds\enotes + %\check + \barre % mesure 67 + \notes\org\Pause + |\doubler\qu I\sk\cu J\relax + |\ibu0i0\zqp h\zqp f\qhp0f\sk\sk\nbbu0\qh0{ij}\tqh0g\relax + &\doubler\ql k\sk\clpz l\relax + &\Pause\enotes + %\check + \barre % mesure 68 + \notes\org\Pause + |\triou HII\relax + |\ibbl0h0\qb0{flflf}\tqb0k\relax + &\triopl mmm\relax + &\Pause\enotes + %\check + \barre % mesure 69 + \notes\org\Pause + |\triopl LNL\relax + |\doubler\ibu0i0\lpz g\zq g\qh0i\lpz g\zq g\qh0i\lpz g\zq g\tqh0i\relax + &\doubler\ql l\sk\clpz l\relax + &\sixlpl lilmnl\enotes + %\check + \barre % mesure 70 + \notes\org\Pause + |\triopl IKI\relax + |\doubler\ibu0i0\lpz d\zq d\zq f\qh0i\lpz d\zq d\zq f\qh0i\lpz +d\zq d\zq f\tqh0i\relax + &\doubler\ql l\sk\clpz m\relax + &\Sixlpl mimnom\enotes + %\check + \barre % mesure 71 + \notes\org\Pause + |\triopl LNL\relax + |\doubler\ibu0k0\lpz g\zq g\zq i\qh0l\lpz g\zq g\zq i\qh0l\lpz +g\zq g\zq i\tqh0l\relax + &\doubler\ql n\sk\clpz n\relax + &\sixlpl nmlmno\enotes + %\check + \barre % mesure 72 + \Notes\org\sl\qsk\pause + |\ql b\sk\ds\relax + |\zql i\Ibu0lk1\qh0l\tqh0k\ds\relax + &\Ibl0nm1\isluru0n\qh0n\tslur0m\tqb0m\ds\relax + &\isluru0p\ql p\sk\tslur0i\cl i\enotes + %\check + \barre % mesure 73 +% + \def\sixllpl#1#2#3#4#5#6{\Ibbl0{#1}{#6}5% +\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\isluru0{#3}\qb0{#3}% +\tslur0{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}% +% + \def\sixllpu#1#2#3#4#5#6{\Ibbu0{#1}{#6}5% +\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\islurd0{#3}\qh0{#3}% +\tslur0{#4}\qh0{#4}\lpz{#5}\qh0{#5}\lpz{#6}\tqh0{#6}}% +% + \def\sixllll#1#2#3#4#5#6{\Ibbl0{#1}{#6}5% +\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\isluru0{#3}\qb0{#3}% +\tslur0{#4}\qb0{#4}\isluru0{#5}\qb0{#5}\tslur0{#6}\tqb0{#6}}% +% + \def\sixlllu#1#2#3#4#5#6{\Ibbu0{#1}{#6}5% +\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\islurd0{#3}\qh0{#3}% +\tslur0{#4}\qh0{#4}\islurd0{#5}\qh0{#5}\tslur0{#6}\tqh0{#6}}% +% + \notes\org\Pause + |\zmidtwotext{\bf II}\doubler\ql L\sk\ds\relax + |\doubler\zq e\zq g\ql i\sk\ds\relax + &\doubler\ql l\sk\ds\relax + &\uptext{\p}\sixllpl liij{_k}k\enotes + %\check + \barre % mesure 74 + \notes\org\Pause + |\doubler\ibl0a0\upz a\qb0a\upz a\qb0a\upz a\tqb0a\relax + |\doubler\soupir\ibu0e0\lpz c\qh0c\lpz c\zq c\tqh0e\relax + &\sixllpu ihhijj\relax + &\usf m\threell {_k}jj\enotes + %\check + \barre % mesure 75 + \notes\org\Pause + |\doubler\zq M\ql{=a}\sk\ds\relax + |\qu e\sk\ds\relax + &\doubler\ql j\sk\ds\relax + &\sixllpl mjj{=k}ll\enotes + %\check + \barre % mesure 76 + \notes\org\Pause + |\doubler\ibl0b0\upz b\qb0b\upz b\qb0b\upz b\tqb0b\relax + |\doubler\soupir\ibu0f0\lpz d\qh0d\lpz d\zq f\tqh0d\relax + &\sixllpl jiijkk\relax + &\usf m\threell lkk\enotes + %\check + \barre % mesure 77 + \notes\org\Pause + |\doubler\zq N\ql{=b}\sk\ds\relax + |\doubler\qu f\sk\ds\relax + &\doubler\ql k\sk\ds\relax + &\sixllpl nkklmm\enotes + %\check + \barre % mesure 78 + \notes\org\Pause + |\doubler\ibl0c0\upz c\qb0c\upz c\qb0c\upz c\tqb0c\relax + |\doubler\soupir\ibu0g0\lpz e\qh0e\lpz e\zq e\tqh0g\relax + &\sixllpl kjjkll\relax + &\usf n\threell mll\enotes + %\check + \barre % mesure 79 + \notes\org\Pause + |\doubler\zq a\ql c\sk\ds\relax + |\doubler\qu {_g}\sk\ds\relax + &\doubler\ql l\sk\ds\relax + &\sixllpl ollm{_n}n\enotes + %\check + \barre % mesure 80 + \notes\org\Pause + |\doubler\ibl0d0\upz d\qb0{_d}\upz d\qb0d\upz d\tqb0d\relax + |\doubler\soupir\ibu0h0\lpz f\qh0f\lpz f\zq h\tqh0f\relax + &\sixllpl l{_k}klmm\relax + &\sixlpl {_n}mm{=n}op\enotes + %\check + \barre % mesure 81 + \notes\org\doubler\soupir\sk\cu J\relax + |\doubler\ust e\ql e\sk\zmidtwotext{\bf I}\clpz c\relax + |\doubler\lst g\qu g\sk\zq h\upz l\ql l\relax + &\doubler\ql l\sk\clpz o\relax + &\ibbl0k0\isluru0k\qb0{_k}\qb0j\tslur0k\qb0k\upz m\qb0m\upz l\qh0l\upz k\tqb0k\enotes + %\check + \barre % mesure 82 + \notes\org\triopl {_K}LE\relax + |\triopl {_d}eL\relax + |\doubler\Ibu0ki2\zq f\qh0m\zq i\qh0l\zq i\tqh0{_k}\relax + &\triopl oon\relax + &\uptext{\f}% + \Ibbl0in1\isluru0j\qb0j\tslur0o\tqb0o\Ibl0ih3\Pince m\isluru0i\qbp0i\sk\sk\tslur0h\tbbl0\tqb0h\enotes + %\check + \barre % mesure 83 + \notes\org\triopu HJH\relax + |\triopl aca\relax + |\zq h\sixppu jehijh\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl hehijh\relax + &\relax\doubler\qu h\sk\ds\enotes + %\check + \barre % mesure 84 + \notes\org\triopu EGE\relax + |\triopu LNL\relax + |%\rlap{\roff{\ql h}\sk\ql g}% + \sixppu ieij{_k}i\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\Sixppl ieij{_k}i\relax + &\Pause\enotes + %\check + \barre % mesure 85 + \notes\org\doubler\qu H\sk\cupz H\relax + |\doubler\ql a\sk\clpz a\relax + |\sixppu hgfghi\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl jihij{=k}\relax + &\Pause\enotes + %\check + \barre % mesure 86 + \Notes\org\qup E\relax + |\qlp L\relax + |\zq g\qu i\sk\cu e\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\isluru0l\ql l\sk\tslur0e\cl e\relax + &\sk\qsk\pause\enotes + %\check + \barre % mesure 87 + \notes\org\qup J\relax + |\doubler\qlp c\sk\zmidtwotext{\bf II}\relax + |\zqp e\zqp h\qlp l\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\qlp h\relax + &\sixlpl ljhjlh\enotes + %\check + \barre % mesure 88 + \notes\org\Pause + |\doubler\ibl0L0\zq {_K}\upz a\qb0a\zq K\upz a\qb0a\zq K\upz a\tqb0a\relax + |\Pause\relax + &\sixlpl om{_k}mom\relax + &\doubler\ql m\sk\ds\enotes + %\check + \barre % mesure 89 + \notes\org\Pause + |\doubler\zq I\ql a\sk\ds\relax + |\doubler\ql i\sk\ds\relax + &\doubler\ql{=k}\sk\ds\relax + &\sixlpl mkikmi\enotes + %\check + \barre % mesure 90 + \notes\org\Pause + |\doubler\ibl0L0\zq L\upz N\qb0N\zq L\upz N\qb0N\zq L\upz N\tqb0N\relax + |\Pause\relax + &\sixlpl pnlnpn\relax + &\doubler\ql n\sk\ds\enotes + %\check + \barre % mesure 91 + \notes\org\Pause + |\doubler\zq J\ql N\sk\ds\relax + |\doubler\ql j\sk\ds\relax + &\doubler\ql{=l}\sk\ds\relax + &\sixlpl n{=l}jlnj\enotes + %\check + \barre % mesure 92 + \notes\org\Pause + |\doubler\isluru0a\Ibbl0Ma2\zq M\qb0a\zq N\qb0 b\tslur0c\zq +a\tqb0c\relax + |\rlap{\triol f{=e}f}\Ibu0jg5\qhp0j\sk\sk\nbbu0\qh0i\qh0h\tqh0g\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\Ibl0jg5\qbp0j\sk\sk\nbbl0\qb0i\qb0h\tqb0g\relax + &\Ibl0ol5\isluru0o\qbp0o\sk\sk\nbbl0\qb0n\qb0m\tslur0l\tqb0{=l}\enotes + %\check + \barre % mesure 93 + \notes\org\Pause + |\doubler\Ibl0bK2\lq b\qb0c\qb0c\zq b\tqb0J\relax + |\zcl f\Ibbu0hj4\qh0h\tbbu0\qh0i\zql{=e}\qh0g\sk\tqh0j\relax + &\Ibbl0oq4\qb0o\tbbl0\qb0p\qb0n\sk\tqb0q\relax + &\ibbl0m0\isluru0m\qb0m\tslur0n\tbbl0\qb0n\Pince n\isluru0l\qbp0{=l}\sk\sk\tbbl0\tslur0m\tqb0m\enotes + %\check + \barre % mesure 94 + \notes\org\triopu MFF\relax + |\zmidtwotext{\bf I}\triopl aMM\relax + |\sixlpu jhfhjf\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl jhfhjf\relax + &\doubler\ql m\sk\ds\enotes + %\check + \barre % mesure 95 + \notes\org\qup I\relax + |\triopl bbb\relax + |\doubler\ql {_k}\sk\ds\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\ql{_k}\sk\ds\relax + &\sixlpl m{_k}ikmi\enotes + %\check + \barre % mesure 96 + \notes\org\triopu EEE\relax + |\qup L\relax + |\sixlpu igegie\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl igegie\relax + &\doubler\ql n\sk\ds\enotes + %\check + \barre % mesure 97 + \notes\org\qup H\relax + |\triopl aaa\relax + |\doubler\ql j\sk\ds\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\ql j\sk\ds\relax + &\sixlpl ljhjlh\enotes + %\check + \barre % mesure 98 + \notes\org\triopu {_D}DD\relax + |\qup {_K}\relax + |\sixlpu hf{_d}fhd\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl hf{_d}fhd\relax + &\doubler\ql m\sk\ds\enotes + %\check + \barre % mesure 99 + \notes\org\qup G\relax + |\triopl NNN\relax + |\doubler\ql i\sk\ds\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\ql i\sk\ds\relax + &\sixlpl {_k}igikg\enotes + %\check + \barre % mesure 100 + \notes\org\triopu CCC\relax + |\qup J\relax + |\sixlpu g{=e}cegc\relax + &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl g{=e}cegc\relax + &\doubler\ql n\sk\ds\enotes + %\check + \barre % mesure 101 + \notes\org\triopu FFF\relax + |\zqup c\triopl MMM\relax + |\islurd0h\Ibbu0he5\qh0{hihgf}\tslur0e\tqh0e\relax + &\ifx\Quer\undefined \advance\transpose 7\relax\isluru0h\Ibbl0he5\qb0{hihgf}\tslur0e\tqb0e\relax + \else\isluru0h\Ibbu0he5\qh0{hihgf}\tslur0e\tqh0e\fi + &\isluru0m\Ibbl0mj5\qb0{mnml=k}\tslur0j\tqb0j\enotes + %\check + \barre % mesure 102 + \notes\org\doubler\qu G\sk\ds\relax + |\doubler\zql +N\cu{=b}\sk\ds\relax + |\doubler\ibu0g0\qh0d\rq g\zq d\qh0f\rq g\zq d\tqh0f\relax + &\doubler\ifx\Quer\undefined \Ibu0ki2\qh0k\else\Ibu0gi2\qh0d\fi\qh0{=i}\tqh0i\relax + &\ibbu0h0\rlap{\sl\islurd0g}\qh0{=igigi}\tslur0g\tqh0g\enotes + %\check + \barre % mesure 103 + \notes\org\doubler\qu J\sk\cu{=I}\relax + |\doubler\ql c\sk\cl{=b}\relax + |\doubler\ibu0g0\zq +e\qh0g\zq e\qh0g\zq d\tqh0 g\relax + &\triopl jjk\relax + &\ibbl0i0\isluru0j\qb0{jgjgk}\tslur0j\tqb0g\enotes + %\check + \barre % mesure 104 + \notes\org\sicu J{_I}H\relax + |\sicl c{_b}a\relax + |\doubler\ibu0i0\zq e\zq j\qh0g\zq e\zq j\qh0g\zq +f\zq j\tqh0h\relax + &\triopl llm\relax + &\ibbl0i0\isluru0l\qb0{lglgm}\tslur0l\tqb0h\enotes + %\check + \barre % mesure 105 + \notes\org\doubler\qu G\sk\cupz J\relax + |\doubler\ql N\sk\clpz c\relax + |\doubler\ibl0h0\zq +g\zq{=i}\qb0m\zq{gi}\qb0k\zq h\tqb0j\relax + &\Ibl0nk4\isluru0n\qbp0n\sk\sk\nbbl0\qb0{ml}\tslur0k\tqb0k\relax + &\Ibl0nk4\isluru0n\qbp0n\sk\sk\nbbl0\qb0{ml}\tslur0k\tqb0k\enotes + %\check + \barre % mesure 106 + \notes\org\triopu MNG\relax + |\triopl ffN\relax + |\doubler\zq h\cl j\zql g\Ibu0ji1\qh0j\tqh0{=i}\relax + &\isluru0l\Ibbl0lm1\qb0l\tslur0m\tqb0m\ql k\relax + &\Ibbl0lj5\isluru0l\qb0l\tslur0m\tbbl0\qb0m\isluru0k\Pince n\qbp0k\sk\sk\tslur0j\tbbl0\tqb0j\enotes + %\check + \barre % mesure 107 + \notes\org\qup J\relax + |\triopl eec\relax + |\doubler\ql j\sk\ds\relax + &\sixppu jgjklj\relax + &\doubler\ql j\sk\ds\enotes + %\check + \barre % mesure 108 + \notes\org\qup G\relax + |\qlp N\relax + |\doubler\cl j\ql{=i}\relax + &\sixppu kgklmk\relax + &\Pause\enotes + %\check + \barre % mesure 109 + \notes\org\qup J\relax + |\doubler\Ibl0ec2\zq e\qb0g\zq d\qb0f\zq c\tqb0e\relax + |\sixppl j{=i}jklm\relax + &\sixppl lklmno\relax + &\Pause\enotes + %\check + \barre % mesure 110 + \notes\org\qup G\relax + |\sixppl NaNMLK\relax + |\doubler\zqlp d\qu {=i}\sk\cu g\relax + &\doubler\isluru0n\ql n\sk\tslur0h\cu g\relax + &\Pause\enotes + %\check + \barre % mesure 111 + \notes\org\doubler\qu J\sk\ds\relax + |\doubler\ql c\sk\ds\relax + |\doubler\ibl0h0\zq g\upz j\qb0j\upz +j\qb0j\upz g\tqb0g\relax + &\triopl ljn\relax + &\uptext{\mf}\sixppl nmlkji\enotes + %\check + \barre % mesure 112 + \notes\org\qup F\relax + |\sixppl MNMLKJ\relax + |\sixppu hihgfe\relax + &\sixppl oponml\relax + &\threell hjm\sk\ds\enotes + %\check + \barre % mesure 113 + \notes\org\doubler\qu I\sk\ds\relax + |\doubler\ql b\sk\ds\relax + |\threelu dfi\sk\ds\relax + &\threell kmp\sk\ds\relax + &\sixppl mlkjih\enotes + %\check + \barre % mesure 114 + \notes\org\qup E\relax + |\sixppl LMLKJI\relax + |\sixppu ghgfed\relax + &\sixppl nonmlk\relax + &\threell gil\sk\ds\enotes + %\check + \barre % mesure 115 + \notes\org\doubler\qu H\sk\ds\relax + |\doubler\ql a\sk\ds\relax + |\threelu ceh\sk\ds\relax + &\threell jlo\sk\ds\relax + &\sixppl lkjihg\enotes + %\check + \barre % mesure 116 + \notes\org\doubler\qup D\relax + |\sixppl KLKJIH\relax + |\sixppu fgfedc\relax + &\sixppl mnmlkj\relax + &\threell fhk\sk\ds\enotes + %\check + \barre % mesure 117 + \notes\org\doubler\qu G\sk\ds\relax + |\doubler\ql N\sk\ds\relax + |\threelu {=b}dg\sk\ds\relax + &\threell {=i}kn\sk\ds\relax + &\sixppl kj{=i}hgf\enotes + %\check + \barre % mesure 118 + \notes\org\sicu JKL\relax + |\doubler\zq N\cl c\soupir\relax + |\Ibbu0eg4\lpz e\qh0e\lpz +d\qh0d\lpz e\qh0 e\lpz f\tbbu0\qh0f\lpz g\tqh0g\relax + &\advance\transpose 7\relax\Ibbl0eg4\upz e\qb0e\upz +d\qb0d\upz e\qb0 e\upz f\tbbl0\qb0f\upz g\tqb0g\relax + &\islurd0e\Ibbu0eg1\qh0e\tslur0g\tqh0g\itenu0j\ql j\enotes + %\check + \barre % mesure 119 + \notes\org\triopu MNG\relax + |\triopl c{=b}N\relax + |\doubler\Ibu0hf2\lpz e\zq e\qh0h\lpz +d\zq d\qh0g\lpz d\zq d\tqh0f\relax + &\triopl onm\relax + &\tten0\ibbl0j0\isluru0j\qb0j\tslur0k\tbbl0\qb0k\Pince n\isluru0i\qlp{=i}\sk\sk\tbbl0\tslur0j\tqb0j\enotes + %\check + \barre % mesure 120 + \notes\org\doubler\qu J\sk\cupz I\relax + |\doubler\ql N\sk\ds\relax + |\doubler\zq c\qu e\sk\ds\relax + &\doubler\ql l\sk\ds\relax + &\sixllll joonnm\enotes + %\check + \barre % mesure 121 + \notes\org\doubler\qu H\sk\cupz F\relax + |\doubler\ql a\sk\clpz M\relax + |\triou cff\relax + &\sixlllu fjkjj{=i}\relax + &\Ibl0mk5\qb0{mm}\isluru0m\qb0m\tslur0l\qb0l\isluru0l\qh0l\tslur0k\tqb0k\enotes + %\check + \barre % mesure 122 + \notes\org\qup G\relax + |\doubler\ql N\sk\clpz N\relax + |\doubler\ibu0f0\zq d\qh0f\rq f\zq d\qh0g\rq f\zq d\tqh0g\relax + &\triopu {=i}ii\relax + &\Ibbl0ih5\qb0{kg=igi}\tqb0g\enotes + %\check + \barre % mesure 123 + \notes\org\doubler\qu J\sk\cupz{=I}\relax + |\doubler\ql c\sk\clpz {=b}\relax + |\doubler\ibu0f0\zq e\qh0g\zq e\qh0g\zq d\tqh0g\relax + &\triopl jjk\relax + &\Ibbl0hi5\qb0{jgjgk}\tqb0g\enotes + %\check + \barre % mesure 124 + \notes\org\sicu J{_I}H\relax + |\doubler\ql c\sk\clpz a\relax + |\doubler\ibu0h0\zq {eg}\qh0j\zq {eg}\qh0j\zq {fh}\tqh0j\relax + &\triopl llm\relax + &\Ibbl0hi5\qb0{lglgm}\tqb0h\enotes + %\check + \barre % mesure 125 + \notes\org\doubler\qu G\sk\cupz H\relax + |\doubler\cl N\sk\clpz c\relax + |\doubler\ibl0h0\zq{m=i}\qb0g\zq{ki}\qb0g\tqb0j\relax + &\Ibl0nk5\isluru0n\qbp0n\sk\sk\nbbl0\qb0{ml}\tslur0k\tqb0k\relax + &\Ibl0nk5\isluru0n\qbp0n\sk\sk\nbbl0\qb0{ml}\tslur0k\tqb0k\enotes + %\check + \barre % mesure 126 + \notes\org\triopu FGG\relax + |\doubler\ql a\qu d\zq N\cl N\relax + |\doubler\zq j\cl h\zql f\Ibu0ji1\qh0j\tqh0{=i}\relax + &\Ibbl0lm1\qb0l\tqb0m\ql k\relax + &\isluru0l\Ibbl0lj5\qb0l\tslur0q\tbbl0\qb0q\Pince n\isluru0k\qbp0k\sk\sk\tbbl0\tslur0j\tqb0j\enotes + \setvoltabox{1}%\check + \barre % mesure 127 + \Notes\org\qu J\sk\ds\relax + |\ql c\sk\ds\relax + |\zq e\zq g\qu j\sk\ds\relax + &\ql j\sk\ds\relax + &\ql j\sk\ds\enotes + \endvoltabox + \nspace +\setrightrepeat + \setvoltabox{2}\setrightrepeat%\check + \barre % mesure 128 + \NOtes\org\qup J\relax + |\qlp c\relax + |\zqp e\zqp g\qup j\relax + &\qlp j\relax + &\qlp j\enotes + \endvoltabox +\ifOrgue \advance\mulooseness -1\relax +\else \advance\mulooseness 1\relax +\fi +\finmorceau + +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/marconf.tex b/Master/texmf-dist/doc/generic/musixtex/examples/marconf.tex new file mode 100644 index 00000000000..048ab60276e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/marconf.tex @@ -0,0 +1,21 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\newif\ifOrgue +\Orguefalse +\newif\ifFlute +\Flutetrue +\newif\ifOboe +\Oboefalse +%\def\Quer{z} % define Querfl\"ote +% +% +\input marcon1.tex +\eject +\input marcon2.tex +\eject +\input marcon3.tex +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/marconh.tex b/Master/texmf-dist/doc/generic/musixtex/examples/marconh.tex new file mode 100644 index 00000000000..fa7aa315332 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/marconh.tex @@ -0,0 +1,20 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\newif\ifOrgue +\Orguefalse +\newif\ifFlute +\Flutefalse +\newif\ifOboe +\Oboetrue +%\def\Quer{z} % define Querfl\"ote +% +\input marcon1.tex +\eject +\input marcon2.tex +\eject +\input marcon3.tex +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/marcono.tex b/Master/texmf-dist/doc/generic/musixtex/examples/marcono.tex new file mode 100644 index 00000000000..eb28d9a12e2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/marcono.tex @@ -0,0 +1,19 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\newif\ifOrgue +\Orguetrue +\newif\ifFlute +\Flutefalse +\newif\ifOboe +\Oboefalse +%\def\Quer{z} % define Querfl\"ote +% +\input marcon1.tex +\eject +\input marcon2.tex +\eject +\input marcon3.tex +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex new file mode 100644 index 00000000000..28add2aca77 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex @@ -0,0 +1,18 @@ + +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{0}% +\def\Signature{3}\relax % trois diezes a la clef +\input onuitbrx +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{1}\relax +\def\Signature{-2}\relax % deux diezes a la clef +\input onuitbrx +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{2}\relax +\def\Signature{0}\relax % un bemol a la clef +\input onuitbrx +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrr.tex b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrr.tex new file mode 100644 index 00000000000..2a07b1c619d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrr.tex @@ -0,0 +1,12 @@ +% + +% +\def\Transpose{0}% +\def\Signature{3}\relax % trois diezes a la clef +\input onuitbrx +\signaturegenerale{1}\savesignature\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{1}\relax % un dieze a la clef +\input onuitbrx +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex new file mode 100644 index 00000000000..eb3f97b0b89 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex @@ -0,0 +1,174 @@ +\fulltitle{\^O nuit brillante} +\shorttitle{\^O nuit brillante} + \fullauthor{Nol ancien\\Musique A. Sala\\Texte J. Bovet\\Transposition +Daniel Taupin} + \othermention{Paroisse de Gif-sur-Yvette\\Transposition \`a usage +priv\'e} + \shortauthor{Traditionnel -- A. Sala} + \maketitle + % +\tracingstats=1\relax +\relativeaccidentals +\sepbarrules + % +\parindent 15mm + % soufflets crescendo et decrescendo + % +\def\soufflcr#1{\zcharnote{#1}{\kern -0.5cm\cresc}}% +\def\Soufflcr#1{\zcharnote{#1}{\kern -0.5cm\CResc}}% + % +\def\souffldim#1{\zcharnote{#1}{\kern -0.5cm\dimin}}% +\def\Souffldim#1{\zcharnote{#1}{\kern -0.5cm\DImin}}% + % + %\check +\def\nbinstruments{2}\resetsignatures +\global\nbporteesi=1\relax +\global\nbporteesii=1\relax +\global\cleftoksi={{6}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\def\lowersonginstrum{1} % to be used to make heavy bars at staff left +\def\uppersonginstrum{2} % to be used to make heavy bars at staff left + % +\signaturegenerale{\Signature}% +\generalmeter{\meterfrac68} + %\check +\def\interfacteur{18}% +\def\instrumenti{\vbox{\hsize=\parindent +\centerline{T\'enors}\centerline{basses}}}% +\def\instrumentii{\vbox{\hsize=\parindent +\centerline{Sopran.}\centerline{Altos}}}% + %\check + % +\def\eightpoint{\Tenpoint}% + %\check +\catcode`\@=13 +\catcodesmusic + % +\def\respire{\notes&\cbreath\enotes}% + % +\def\txt#1|#2&{{\vbox to 0pt{\Smalltype\baselineskip 9pt +\vss\hrule width 9pt height 0pt +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #2\kern\internote}\smallskip +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #1\kern\internote}\kern -6pt}}}% + % +\elemskip 20pt\relax +\debutmorceau + %\autolines 754\relax +\transpose=\Transpose +\znotes&\Uptext{\moyen Lent}\enotes + % +\znotes\zcharnote {-3}{\ppff p}&\zcharnote{10}{\ppff p}\enotes +\qspace +\NOtes\zqlp M\qup a&\hsong{}\zqlp c\qup f\enotes +\notes\zql L\qu b\sk&\zsong{nuit }\zql e\Ibu0gf1\qh0g\tqh0f\enotes +\notes\zcl L\cu b&\hsong{bri-}\zcl e\cu g\enotes + % + \barre + \Notes\islurd0J\zql J\isluru1c\qu c&\hsong{lan-}\zqlp e\isluru2h\qu h\enotes + \notes\tslur0L\tslur1b\zcl L\cu b&\hsong{--}\tslur2g\cu g\enotes + \Notes\zql M\qu a&\hsong{te}\zql c\qu f\enotes + \notes\ds&\ds\enotes + % + \barre + \Notes\zql K\qu d&\hsong{Nuit }\zql f\qu h\enotes + \notes\zcl L\cu b&\hsong{de }\zcl e\cu g\enotes + \notes\zcl M\cu a&\hsong{vi-}\zcl c\cu f\enotes + \notes\zcl N\cu N&\hsong{ve }\zcl b\cu e\enotes + \hardlyrics{\kern -4pt splen-}\notes\zcl L\cu b&\hsong\thelyrics\zcl e\cu g\enotes + % + \barre + \NOtes\itenl0M\itenu1a\zqlp M\qup a&\hsong{deur.}\itenl2c\itenu3f\zqlp c\qup f\enotes + \Notes\tten0\tten1\zql M\qu a&\hsong{--}\tten2\tten3\zql c\qu f\enotes + \notes\ds&\ds\enotes + % + \barre + \Notes\zql M\qu a&\hsong{Ta }\zql c\qu f\enotes + \notes\zcl M\cu b&\Soufflcr q\hsong{lu-}\zcl e\cu g\enotes + \hardlyrics{\kern -4pt mire }\notes\zcl M\cu c&\hsong\thelyrics\zcl f\cu h\enotes + \notes\zcl M\cu d&\hsong{-}\zcl g\cu i\enotes + \notes\zcl M\cu e&\hsong{cla-}\zcl h\cu j\enotes + % + \barre + \Notes\islurd0I\zql I\isluru1d\qu d&\roff{\Souffldim q}\hsong{tan-}\zqlp f\isluru2i\qu i\enotes + \notes\tslur0K\tslur1c\zcl I\cu c&\hsong{--}\tslur2g\cu h\enotes + \Notes\zql L\qu b&\hsong{te}\zql e\qu g\enotes + \notes\ds&\ds\enotes + % + \barre + \Notes\zql H\qu c&\hsong{Fait }\zql e\qu h\enotes + \notes\zcl L\cu b&\hsong{le }\zcl e\cu g\enotes + \hardlyrics{jour }\notes\zcl M\cu a&\hsong\thelyrics\zcl c\cu f\enotes + \hardlyrics{dans }\notes\zcl N\cu N&\hsong\thelyrics\zcl b\cu e\enotes + \notes\zcl L\cu b&\zsong{mon }\zcl e\cu g\enotes + % + \barre + \NOtes\itenl0M\itenu1a\zqlp M\qup a&\hsong{c\oe ur.}\itenl2c\itenu3f\zqlp c\qup f\enotes + \notes\tten0\tten1\zql M\qu a&\hsong{--}\tten2\tten3\zql c\qu f\enotes + \notes&\uptext{\sl FIN}\enotes + \setdoublebar + \barre + \znotes\zcharnote {-3}{\ppff f}&\zcharnote{10}{\ppff f}\enotes + \qspace + \notes\zcl a\cu e&\hsong{\txt Mer-|\'E-&}\zcl h\cu +j\enotes + % + \barre + \NOtes\zqlp a\zqup e&\hsong{\txt veil-|toi-&}\zqlp h\qup j\enotes + \notes\zql L\qu e&\hsong{\txt le !|les !&}\zql g\qu i\enotes + \respire + \notes\zcl L\cu e&\hsong{\txt Mer-|\'E-&}\zcl g\cu j\enotes + % + \barre + \Notes\zqlp M\qup c&\hsong{\txt veil-|toi-&}\zqlp f\isluru2i\qu i\enotes + \notes&\hsong{--}\tslur2h\cu h\enotes + \Notes\zql J\qu c&\hsong{\txt le !|les !&}\zql e\qu g\enotes + \notes\ds&\ds\enotes + % + \barre + \hardlyrics{\txt Gloire |res-&}\notes\zcl M\cu M&\hsong\thelyrics\zcl c\cu h\enotes + \notes\roff{\zcl M}\cu N&\hsong{\txt au |plen-&}\zcl c\cu g\enotes + \notes\zcl M\cu a&\hsong{\txt plus |dis-&}\zcl c\cu f\enotes + \Notes\zql K\qu a&\hsong{\txt Haut |sez &}\zql f\qu h\enotes + \notes\zcl K\cu a&\hsong{\txt des |sur &}\zcl f\cu i\enotes + \barre + \NOtes\itenl0H\itenu1a\zqlp H\qup a&\hsong{\txt cieux !|Lui +!&}\itenl2e\itenu3j\zqlp e\qup j\enotes + \Notes\tten0\tten1\zql H\qu a&\hsong{--}\tten2\tten3\zql e\qu j\enotes + \respire + \notes\zcl a\cu e&\hsong{\txt De-|Un &}\zcl h\cu j\enotes + % + \barre + \Notes\zqlp a\zqup e&\hsong{\txt bout, |Dieu &}\zqlp h\qup j\enotes + \hardlyrics{\txt qu'on |sous &}\notes\zcl a\cu e&\hsong\thelyrics\zcl h\cu +j\enotes + \hardlyrics{\txt se |d'hum-&}\notes\zql L\qu e&\hsong\thelyrics\zql g\qu +i\enotes + \notes\zcl L\cu d&\hsong{\txt r-|bles &}\zcl g\cu j\enotes + % + \barre + \Notes\zqlp M\qup c&\hsong{\txt veil-|voi-&}\zqlp f\isluru2i\qu i\enotes + \notes&\hsong{--}\tslur2h\cu h\enotes + \Notes\zql J\qu c&\hsong{\txt le !|les !&}\zql e\qu g\enotes + \notes\ds&\ds\enotes + % + \barre + \Notes\zcharnote {-3}{\ppff p}\zql M\qu a&\zcharnote{10}{\ppff p}\hsong{\txt +Paix |Vient &}\zql c\qu h\enotes + \notes\zcl M\cu a&\Soufflcr q\hsong{\txt sur | &}\zcl c\cu h\enotes + \notes\roff{\itenl0M\zqlp M}\cu N&\hsong{\kern -4pt\txt terre |nous &}\zcl d\cu i\enotes + \notes\cu a&\hsong{\txt en |cet-&}\zcl d\cu h\enotes + \notes\cu b&\hsong{\txt tous |te &}\zcl d\cu g\enotes + % + \barre + \notes\roff{\tten0\zcl M}\itenu1 N\qup N\cl L\cl K&\zsong{\txt + lieux.|nuit.&}\itenl2c\itenl3g\itenu4j\zqlp c\zqp g\qup j\Souffldim q\enotes + \Notes\zql J\tten1\zqu N&\hsong{---}\tten2\tten3\tten4\zql c\zq g\qu j\enotes + \NOtes\ds&\uptext{\kern -3\Internote\it au refrain}\ds\enotes + \finmorceau +\medskip\rightline{\it le \aujourdhui} +\absoluteaccidentals +\vfil\eject + +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ostinato.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ostinato.tex new file mode 100644 index 00000000000..46feebddc1c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ostinato.tex @@ -0,0 +1,450 @@ +\title{Adagio con basso ostinato} +\fulltitle{VIII. \titremorceau} +\csname titremorceautoc\endcsname +\subtitle{(pour orgue)} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} + +\othermention{Compos\'e en 1992\vrule width 0pt depth 3mm\\G.O.: fonds 8' ou +8'+4' doux\\R\'ec.: cornet ou cromorne\\P\'ed.: 16', tirasse G.O.}% + +\maketitle + +% formes frequentes +% deux croches hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}} +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}} +\def\pzqu#1{\lpz{#1}\qu{#1}}% +\def\pzql#1{\upz{#1}\ql{#1}}% +% +\parindent 18mm +% +\tracingstats=2\relax +% +\nbporteesii=1\relax +\def\nbinstruments{3} +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-1}\relax % un bemol a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O. fonds}% +\def\instrumentiii{R\'ecit}% +%\check +\def\gluemaxskip{7pt}% +% +% +\troistemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\resp{\vnotes 0.2\elemskip&&\cbreath\enotes}% +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{{\advance\transpose by 1\relax + \ibbu0{#2}{#1}}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +% +\debutmorceau +% +\autolines 765\relax +%\check +% +\notes&&\Uptext{\hbox{\kern -16mm\moyen Andante + \bf(\metron{\qu}{65})}}\enotes +\advance\linesinpage by 1\relax +% mesure 1 +\nspace\NOtes\pzql M&&\enotes +\temps \NOtes\pzql M&\pause&\pause\enotes +\temps \NOtes\pzql M&\enotes +%\check +% mesure 2 +\barre\NOtes\pzql M&\zhp c\itenl0f\itenu1h\zhp f\hup h&\hup f\enotes +\temps\NOtes\pzql M&&\enotes +\temps\NOtes\pzql L&&\enotes +%\check +% mesure 3 +\barre\NOtes\pzqu K&\zhlp d\tten0\tten1\itenl0d\itenl1f\zhp f\hup h\relax + &\hup h\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\notes\pzqu J&&\enotes +%\check +% mesure 4 +\barre\NOtes\pzqu I&\tten0\tten1\zhp i\zhlp d\hup f\relax + &\itenl2i\mordant o\hu i\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\notes\pzqu I&\itenu3g\qu g&\tten2\trioskip\Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes +\def\atnextline{\autolines765}% +% mesure 5 +\barre\NOtes\pzqu J&\tten3\zhp e\zhup j\hl g&\hu j\enotes +\temps\NOtes\pzqu J&&\enotes +\temps\NOtes\pzqu J&\itenu0h\ql h&\soupir\enotes +% mesure 6 +\barre\NOtes\pzqu K&\tten0\zh d\zhl{^f}\hup h&\qlp k\enotes +\temps\notes\pzqu K&&\bigaccid\sk\cl{_l}\enotes +\temps\notes\pzqu J&\bigaccid\zq c\ql{_e}&\Ibl0jk1\qb0j\tqb0k\enotes +%\check +% mesure 7 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes +\temps\NOtes\pzqu G&&\enotes +\temps\NOtes\pzqu I&\itenl0e\ql {=e}&\ql j\enotes +%\check +% mesure 8 +\barre\NOtes\pzqu J&\tten0\zhlp c\itenl0c\zh e\hu h&\qlp j\enotes +\temps\notes\pzqu J&&\sk\cl{k}\enotes +\temps\notes\pzqu I&\zq g\qu d&\Ibl0ij1\qb0i\tqb0j\enotes +% mesure 9 +\barre\NOtes\pzqu H&\tten0\itenu1h\zhp f\zhp c\hup h&\hu h\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu H&&\soupir\enotes +% mesure 10 +\barre\NOtes\pzqu H&\tten1\zhl e\zhp{^c}\itenu0h\hup h&\qup h\enotes +\temps\notes\pzqu H&&\sk\bigsh j\cl j\enotes +\temps\notes\pzqu H&\ql g&\dqb kl\enotes +% mesure 11 +\barre\NOtes\pzqu K&\tten0\zhp d\zhp f\hup h&\hl m\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&&\itenu0m\ql m\enotes +% mesure 12 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\tten0\ql m\enotes +\temps\notes\pzqu I&&\dqb lk\enotes +\temps\notes\pzqu I&\itenl0e\ql e&\bigaccid\dqb{^j}k\enotes +% mesure 13 +\barre\NOtes\pzqu H&\tten0\zhp{^c}\zhlp e\hu h&\hl{^j}\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu H&\qu g&\soupir\enotes +% mesure 14 +\barre\NOtes\pzqu I&\itenl0b\itenl1d\zhp b\zhp d\hup f&\hlp k\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\NOtes\pzqu H&&\enotes +% mesure 15 +\barre\NOtes\pzqu G&\tten0\tten1\zhp b\zhp d\itenu0g\hup g&\qlp i\enotes +\temps\notes\pzqu G&&\sk\cl j\enotes +\temps\notes\pzqu I&&\dqb hi\enotes +% mesure 16 +\barre\NOtes\pzqu J&\tten0\itenl0c\zhp c\zhup g\hl e&\qlp j\enotes +\temps\notes\pzqu J&&\sk\cl k\enotes +\temps\notes\pzqu I&\ql d&\dqb ij\enotes +% mesure 17 +\barre\NOtes\pzqu H&\tten0\zhl e\zhp c\hup h&\hu h\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu H&\ql f&\soupir\enotes +%\check +% mesure 18 +\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes +\temps\notes\pzqu G&\ql f&\sk\cl j\enotes +\temps\notes\pzqu I&\ql e&\dqb hi\enotes +%\check +% mesure 19 +\barre\NOtes\pzqu J&\pt b\itenl0c\zh c\zhu g\qsk\ql d&\hu g\enotes +\temps\NOtes\pzqu J&\hl e&\enotes +\temps\NOtes\pzqu J&\qu i&\qu f\enotes +%\check +% mesure 20 +\barre\NOtes\pzqu F&\tten0\zh c\zhu h\qsk\zql d&\hu f\enotes +\temps\NOtes\pzql M&\ql e&\enotes +\temps\NOtes\pzql M&\itenl2f\zql f\raise \Interligne\soupir&\soupir\enotes +%\check +% mesure 21 +\barre\NOtes\pzql M&\tten2\zhp c\itenl0f\itenu1h\zhp f\hup h\relax + &\hup f\enotes +\temps\NOtes\pzql M&&\enotes +\temps\NOtes\pzql L&&\enotes +%\check +% mesure 22 +\barre\NOtes\pzqu K&\zhlp d\tten0\tten1\itenl0d\itenl1f\zhp f\hup h\relax + &\hup h\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\notes\pzqu J&&\enotes +%\check +% mesure 23 +\barre\NOtes\pzqu I&\tten0\tten1\zhp i\zhlp d\hu f\relax + &\itenl2i\mordant o\hu i\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\notes\pzqu I&\itenu3g\qu g&\tten2\trioskip\Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes +% mesure 24 +\barre\NOtes\pzqu J&\tten3\zhl e\zhp g\hup j&\hu j\enotes +\temps\NOtes\pzqu J&&\enotes +\temps\NOtes\pzqu J&\ql{_e}&\soupir\enotes +% mesure 25 +\barre\NOtes\pzqu J&\zql d\zhp{^f}\hup h&\hl{_l}\enotes +\temps\NOtes\pzqu H&\hl c&\enotes +\temps\NOtes\pzqu{^F}&&\ql k\enotes +% mesure 26 +\barre\NOtes\pzqu G&\zhl b\zh d\hu g&\hl i\enotes +\temps\NOtes\pzqu G&&\enotes +\temps\NOtes\pzqu I&\soupir&\soupir\enotes +% mesure 27 +\barre\NOtes\pzqu L&\zhl b\zhp e\hup g&\hl{_k}\enotes +\temps\NOtes\pzqu L&&\enotes +\temps\NOtes\pzqu J&\itenl0c\ql c&\ql j\enotes +% mesure 28 +\barre\NOtes\pzqu H&\tten0\itenu1h\zqu e\zhp c\hlp h&\hu h\enotes +\temps\NOtes\pzqu H&\hu f&\enotes +\temps\NOtes\pzqu F&&\soupir\enotes +% mesure 29 +\barre\NOtes\pzqu H&\tten1\zhl{^c}\zhp e\hup h&\qup h\enotes +\temps\notes\pzqu G&&\sk\cu i\enotes +\temps\notes\pzqu F&\bigaccid\ql{=c}&\dqh hg\enotes +%\check +% mesure 30 +\barre\NOtes\pzqu I&\itenl0b\itenl1d\zhu f\zhp b\hlp d&\qu f\enotes +\temps\NOtes\pzqu H&&\qu h\enotes +\temps\NOtes\pzqu H&\itenu2g\qu g&\qu k\enotes +% mesure 31 +\barre\NOtes\pzqu I&\tten1\tten2\tten0\itenu1g\zhu d\zhp b\hlp g&\qlp n\enotes +\temps\notes\pzqu H&&\sk\cl m\enotes +\temps\notes\pzqu G&\itenl0e\qu e&\dqb lk\enotes +%\check +% mesure 32 +\barre\NOtes\pzqu H&\tten0\tten1\itenl1c\zhu g\zhp{^c}\hlp e&\ql{^j}\enotes +\temps\NOtes\pzqu H&&\ql l\enotes +\temps\NOtes\pzqu I&\qu h&\ql h\enotes +%\check +% mesure 33 +\barre\notes\pzqu G&\tten1\itenu1g\zql c\zhup g\qsk\hu d&\dqh ih\enotes +\temps\notes\pzqu G&\hl b&\dqh gf\enotes +\temps\notes\pzqu I&\itenl0e\qu e&\dqh ed\enotes +%\check +% mesure 34 +\barre\NOtes\pzqu H&\tten0\tten1\zhp{^ce}\hup g&\qu{^c}\enotes +\temps\NOtes\pzqu G&&\qu e\enotes +\temps\NOtes\pzqu F&&\qu h\enotes +% mesure 35 +\barre\NOtes\pzqu G&\itenl0b\itenl1d\zhu f\zhp b\hlp d&\qup f\enotes +\temps\notes\pzqu I&&\sk\cu g\enotes +\temps\notes\pzqu H&\qu e&\dqh ef\enotes +% mesure 36 +\barre\NOtes\pzqu K&\tten0\tten1\zq b\zqu g\hlp d&\hu d\enotes +\temps\NOtes\pzqu K&\zh a\hu f&\enotes +\temps\NOtes\pzqu K&&\soupir\enotes +% mesure 37 +%\check +\barre\NOtes\pzqu K&\itenl0d\zhp {ad}\hup f&\hup f\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&&\enotes +% mesure 38 +%\check +\barre\NOtes\pzqu I&\tten0\zhp {bd}\hup g&\hup g\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu J&&\enotes +% mesure 39 +%\check +\barre\NOtes\pzqu G&\zhl b\zhp e\hup g&\hu i\enotes +\temps\NOtes\pzqu G\enotes +\temps\NOtes\pzqu I&\ql{^c}&\qu h\enotes +% mesure 40 +%\check +\barre\NOtes\pzqu H&\zh {df}\hu h&\hu h\enotes +\temps\NOtes\pzqu H\enotes +\temps\NOtes\pzqu H&\soupir&\soupir\enotes +% mesure 41 +%\check +\barre\NOtes\pzqu J&\zhl{^f}\zhp d\hup h&\qlp k\enotes +\temps\notes\pzqu J&&\sk\cna l\cl l\enotes +\temps\notes\pzqu J&\bigfl e\ql e&\dqb jk\enotes +%\check +% mesure 42 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes +\temps\notes\pzqu G&&\sk\cl j\enotes +\temps\notes\pzqu I&\itenl0e\bigna e\ql e&\dqb hi\enotes +%\check +% mesure 43 +\barre\NOtes\pzqu J&\tten0\zhl c\zhp e\hup g&\qlp j\enotes +\temps\notes\pzqu J&&\sk\cl{k}\enotes +\temps\notes\pzqu I&\itenl0c\bigsh c\ql c&\Ibl0ij1\qb0i\tqb0j\enotes +% mesure 44 +\barre\NOtes\pzqu H&\tten0\sh c\zhp c\zhup h\qsk\zql g&\hu h\enotes +\temps\NOtes\pzqu H&\ql f&\enotes +\temps\NOtes\pzqu H&\ql e&\soupir\enotes +%\check +% mesure 45 +\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes +\temps\notes\pzqu G&\ql f&\sk\cl j\enotes +\temps\notes\pzqu I&\ql e&\dqb hi\enotes +%\check +% mesure 46 +\barre\NOtes\pzqu J&\zhp c\zhu g\qsk\ql d&\hu g\enotes +\temps\NOtes\pzqu J&\itenl0e\hl e&\enotes +\temps\NOtes\pzqu J&\qu i&\qu h\enotes +% mesure 47 +\barre\NOtes\pzqu H&\tten0\zhl e\zhp c\hup h&\hu h\enotes +\temps\NOtes\pzqu H&&\enotes +\temps\NOtes\pzqu H&\ql f&\soupir\enotes +% mesure 48 +%\check +\barre\NOtes\pzqu J&\zhl{^f}\zhp d\hup h&\qlp k\enotes +\temps\notes\pzqu J&&\sk\cna l\cl l\enotes +\temps\notes\pzqu J&\bigfl e\ql e&\dqb jk\enotes +%\check +% mesure 49 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes +\temps\notes\pzqu G&&\sk\cl j\enotes +\temps\notes\pzqu I&\itenl0e\bigna e\ql e&\dqb hi\enotes +%\check +% mesure 50 +\barre\NOtes\pzqu J&\tten0\zhl c\zhp e\hup g&\qlp j\enotes +\temps\notes\pzqu J&&\sk\cl{k}\enotes +\temps\notes\pzqu I&\itenl0c\bigsh c\ql c&\Ibl0ij1\qb0i\tqb0j\enotes +% mesure 51 +\barre\NOtes\pzqu H&\tten0\sh c\zhp c\zhup h\qsk\zql g&\hu h\enotes +\temps\NOtes\pzqu H&\ql f&\enotes +\temps\NOtes\pzqu H&\ql e&\soupir\enotes +%\check +% mesure 52 +\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes +\temps\notes\pzqu G&\ql f&\sk\cl j\enotes +\temps\notes\pzqu I&\ql e&\dqb hi\enotes +%\check +% mesure 53 +\barre\NOtes\pzqu J&\zhp c\zhu g\qsk\ql d&\hu g\enotes +\temps\NOtes\pzqu J&\hl e&\enotes +\temps\NOtes\pzqu J&\qu i&\qu f\enotes +%\check +% mesure 54 +\barre\NOtes\pzqu F&\zh c\zhu h\qsk\zql d&\hu f\enotes +\temps\NOtes\pzql M&\ql e&\enotes +\temps\NOtes\pzql M&\raise\Interligne\rlap{\soupir}\ql f&\soupir\enotes +%\check +% mesure 55 +\barre\NOtes\pzqu M&\zql e\zhp{^c}\itenu0h\hup h&\qup h\enotes +\temps\notes\pzqu M&\ql f&\sk\bigsh j\cl j\enotes +\temps\notes\pzqu L&\ql g&\dqb kl\enotes +% mesure 56 +\barre\NOtes\pzqu K&\tten0\itenl2d\itenl1f\zhp d\zhp f\hup h&\hl m\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&&\itenu0m\ql m\enotes +% mesure 57 +\barre\NOtes\pzqu{=I}&\tten2\tten1\itenu1d\zhp d\zhp f\hup{_h}&\tten0\ql m\enotes +\temps\notes\pzqu I&&\dqb lk\enotes +\temps\notes\pzqu I&&\bigaccid\dqb nm\enotes +%\check +% mesure 58 +\barre\NOtes\pzqu H&\zh{^c}\zhu{=h}\qsk\tten1\zql d&\hl l\enotes +\temps\NOtes\pzqu H&\ql e&\enotes +\temps\NOtes\pzqu{_I}&\raise\Interligne\rlap{\soupir}\ql f&\soupir\enotes +%\check +% mesure 59 +\bigaccid +\barre\NOtes\pzqu{=I}&\itenl0d\zq d\zql f\hup{_h}&\qlp m\enotes +\temps\notes\pzqu I&\tten0\zql d\qsk\itenu0e\zhu e&\sk\cl n\enotes +\temps\notes\pzqu{=J}&\zql{=c}&\dqb lm\enotes +% mesure 60 +\barre\NOtes\pzqu{^J}&\tten0\itenl0c\zq{^c}\zql e\hup{=h}&\qlp n\enotes +\temps\notes\pzqu J&\tten0\itenu0f\zql c\hu f&\sk\cl o\enotes +\temps\notes\pzqu{=J}&\itenl1d\ql d&\dqb mn\enotes +%\check +% mesure 61 +\barre\NOtes\pzqu{=I}&\tten0\tten1\itenl1d\zhp d\zhlp f\hu{_h}&\qlp o\enotes +\temps\notes\pzqu I&&\sk\cl n\enotes +\temps\notes\pzqu I&\qu g&\dqb mn\enotes +%\check +% mesure 62 +\barre\NOtes\pzqu{_I}&\zhp e\zhup g\qsk\tten1\zhl d&\itenu0l\hl l\enotes +\temps\NOtes\pzqu I\enotes +\temps\notes\pzqu I&\bigaccid\ql{^c}&\tten0\dqb lm\enotes +%\check +% mesure 63 +\barre\NOtes\pzqu{=I}&\itenl0d\zhlp d\zhu{_h}\qsk\qu f&\hl k\enotes +\temps\NOtes\pzqu I&\qu e\enotes +\temps\NOtes\pzqu I&\zq f\qu{=h}&\soupir\enotes +% mesure 64 +\barre\NOtes\pzqu H&\tten0\zh f\zhl d\itenu1h\hup h&\qlp m\enotes +\temps\notes\pzqu H&&\sk\cl n\enotes +\temps\notes\pzqu H&\zq e\ql{^c}&\dqb lm\enotes +% mesure 65 +\barre\NOtes\pzqu K&\tten1\zhlp d\zhp f\hup h&\hl k\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu K&&\soupir\enotes +% mesure 66 +\barre\NOtes\pzqu K&\itenu1f\itenl0d\zhp f\zhlp d\hup h&\hup f\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&&\enotes +% mesure 67 +\barre\NOtes\pzqu I&\tten1\tten0\zhlp d\zhp f\zhu i&\hu h\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\NOtes\pzqu H&&\qu i\enotes +%\check +% mesure 68 +\barre\NOtes\pzqu G&\zhlp b\zh d\itenu0g\hu g\relax + &\itenl2i\mordant o\hu i\enotes +\temps\NOtes\pzqu G&&\enotes +\temps\notes\pzqu I&\tten0\itenu1e\zq e\qu g&\tten2\trioskip + \Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes +%\check +% mesure 69 +\barre\NOtes\pzqu H&\tten1\itenu0h\zql e\zhp c\hup h&\qu j\enotes +\temps\NOtes\pzqu H&\ql e&\enotes +\temps\NOtes\pzqu H&\ql f&\soupir\enotes +% mesure 70 +\barre\NOtes\pzqu K&\tten0\zh d\zhl{^f}\hup h&\qlp k\enotes +\temps\notes\pzqu K&&\bigaccid\sk\cl{_l}\enotes +\temps\notes\pzqu J&\bigaccid\zq c\ql{_e}&\Ibl0jk1\qb0j\tqb0k\enotes +%\check +% mesure 71 +\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes +\temps\NOtes\pzqu G&&\enotes +\temps\NOtes\pzqu I&\itenl0e\ql {=e}&\ql j\enotes +%\check +% mesure 72 +\barre\NOtes\pzqu H&\tten0\itenl0e\zhl c\zhu h\hlp e&\qlp j\enotes +\temps\notes\pzqu H&&\sk\cl{k}\enotes +\temps\notes\pzqu G&\zq b\qu g&\Ibl0ij1\qb0i\tqb0j\enotes +% mesure 73 +\barre\NOtes\pzqu F&\tten0\itenu1h\zhp c\zhlp h\hu e&\hu h\enotes +\temps\NOtes\pzqu F&&\enotes +\temps\NOtes\pzqu F&\qu f&\soupir\enotes +% mesure 74 +\barre\NOtes\pzqu H&\tten1\zhl e\zhp{^c}\hup h&\qup h\enotes +\temps\notes\pzqu H&&\sk\bigsh j\cl j\enotes +\temps\notes\pzqu H&\ql g&\dqb kl\enotes +% mesure 75 +\barre\NOtes\pzqu K&\zhp d\zhup{_h}\hl f&\hl m\enotes +\temps\NOtes\pzqu K&&\enotes +\temps\NOtes\pzqu J&\itenu1g\ql g&\itenu0m\ql m\enotes +% mesure 76 +\barre\NOtes\na I\pzqu I&\itenu2g\tten1\zh d\zhl{=b}\hup g&\tten0\ql m\enotes +\temps\notes\pzqu I&&\dqb lk\enotes +\temps\notes\fl I\pzqu I&\itenl0e\zq{_b}\ql e&\bigaccid\dqb{^j}k\enotes +% mesure 77 +\barre\NOtes\pzqu H&\tten0\tten2\zhp{^c}\zhlp e\qu g&\hl{^j}\enotes +\temps\NOtes\pzqu H&\qu h&\enotes +\temps\NOtes\pzqu H&\cfl i\qu i&\soupir\enotes +% mesure 78 +\barre\NOtes\pzqu I&\zhp{_h}\zhp d\hup f&\hlp k\enotes +\temps\NOtes\pzqu I&&\enotes +\temps\NOtes\pzqu H&&\enotes +% mesure 79 +\barre\NOtes\pzqu G&\zhp b\zhup g\itenu0g\hl e&\qlp i\enotes +\temps\notes\pzqu G&&\sk\cl j\enotes +\temps\notes\pzqu I&\ql{^f}&\dqb hi\enotes +% mesure 80 +\barre\NOtes\pzqu H&\tten0\itenl0c\zhp c\zhup g\hl e&\qlp j\enotes +\temps\notes\pzqu H&&\sk\cl k\enotes +\temps\notes\pzqu G&\ql d&\dqb ij\enotes +% mesure 81 +\barre\NOtes\pzqu F&\tten0\zhl e\zhp c\hup h&\hu h\enotes +\temps\NOtes\pzqu F&&\enotes +\temps\NOtes\pzqu F&\ql f&\soupir\enotes +%\check +% mesure 82 +\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes +\temps\notes\pzqu G&\ql f&\sk\cl j\enotes +\temps\notes\pzqu I&\ql e&\dqb hi\enotes +%\check +% mesure 83 +\barre\NOtes\pzqu J&\itenl0c\zhp c\zhu g\qsk\ql d&\hu g\enotes +\temps\NOtes\pzqu J&\hl e&\enotes +\temps\NOtes\pzqu J&\qu i&\qu f\enotes +%\check +% mesure 84 +\barre\NOtes\pzqu F&\tten0\pt b\zh c\zhup h\qsk\zql d&\pointdorgue m\hup f\enotes +\temps\NOtes\pzqu F&\ql e&\enotes +\temps\NOtes\pointdurgue F\qu F&\pointdorgue m\zql f&\enotes +%\check +\finmorceau +% +\medskip\rightline{\it \aujourdhui} +\vfil +\eject diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex new file mode 100644 index 00000000000..7354d7b7e8a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex @@ -0,0 +1,1063 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +% +\parindent 12mm +% +\title{Pacifique} +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN\\\`a Christiane} + \othermention{Compos\'e en 1972, \sl San Jose (Calif.)\\r\'ev. mai 1981, +janvier 1990} +\maketitle + +\musicsize=16\relax +\def\lppage{7}% + +\tracingstats=2\relax +% +\nbporteesi=2\relax +\def\nbinstruments{1} +\global\cleftoksi={{6}{0}{0}{0}}% +% +\generalsignature{-4}\relax % quatre bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{Piano} +%\check +\generalmeter{\allabreve} +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\gluemaxskip{6pt}% +% +% formes frequentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% +\def\qqB#1#2#3#4#5{\ibl0{#3}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% +\def\qqh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% +\def\qqH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% +% octave basse en blanche +\def\bohl#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hl{#1}}% +\def\bohu#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hu{#1}}% +\def\sohl#1{\zh{#1}{\advance\transpose by 7\relax\hl{#1}}\sk}% +\def\sohu#1{\zh{#1}{\advance\transpose by 7\relax\hu{#1}}\sk}% +% +% octave sup. en croches u +\def\soqh#1{\zq{#1}\rlap{\advance\transpose by 7\qh0{#1}}\sk}% +\def\soqu#1{\zq{#1}\rlap{\advance\transpose by 7\qu{#1}}\sk}% +\def\soqb#1{\zq{#1}\rlap{\advance\transpose by 7\qb0{#1}}\sk}% +\def\soql#1{\zq{#1}\rlap{\advance\transpose by 7\ql{#1}}\sk}% +\def\dsoqh#1#2#3{{\advance\transpose by 7\ibu0{#2}{#1}}\soqh{#2}\tbu0\soqh{#3}}% +\def\dsoqb#1#2#3{\ibl0{#2}{#1}\soqb{#2}\tbl0\soqb{#3}}% +%\check +\def\qsoqh#1#2#3#4#5{{\advance\transpose by 7\relax\ibu0{#2}{#1}}\soqh{#2}\relax + \soqh{#3}\soqh{#4}\tbu0\soqh{#5}}% +\def\qsoqb#1#2#3#4#5{\ibl0{#2}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% +%\check +\def\qsoqB#1#2#3#4#5{\ibl0{#3}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% +%\check +% octave inf. en croches u +\def\boqh#1{{\advance\transpose by -7\relax\zq{#1}}\qh0{#1}}% +\def\boqb#1{{\advance\transpose by -7\relax\zq{#1}}\qb0{#1}}% +\def\dboqh#1#2#3{\ibu0{#2}{#1}\boqh{#2}\tbu0\boqh{#3}}% +\def\dboqb#1#2#3{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\tbl0\boqb{#3}}% +%\check +\def\qboqb#1#2#3#4#5{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\relax + \boqb{#3}\boqb{#4}\tbl0\boqb{#5}}% +\def\qboqh#1#2#3#4#5{\ibu0{#2}{#1}\boqh{#2}\boqh{#3}\boqh{#4}\tbu0\boqh{#5}}% +%\check +% +\def\arpg#1#2{\znotes\arpeggio{#1}{#2}\enotes} +\def\Arpg#1#2{\znotes\larpeggio{#1}{#2}\enotes} +\def\uarpg#1#2{\znotes\nextstaff\arpeggio{#1}{#2}\enotes} +\def\uArpg#1#2{\znotes\nextstaff\larpeggio{#1}{#2}\enotes} +% +% soufflets crescendo +% +\def\soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Cresc}}} +\def\Soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\CREsc}}} +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne +% +\debutmorceau\autolines 95\lppage +% +\advance\linesinpage by 1\relax +% +\hyphenpenalty -50\relax +\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{90})}\enotes +\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes +\zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes +\zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes +\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0hfgh\enotes +% mesure 2 +\barre\notes\PED\zh{Mb}\hl d\sl\sk\DEP|\qqh0ighi\enotes +\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0jhij\enotes +% mesure 3 +\barre\notes\PED\zh{Mb}\hl d\sk\zcharnote{-5}{\it simile}|\Tleg0\qu k\sk\Ilegl0d\dqh4ik\enotes +\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes +% mesure 4 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 5 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes|\raise -\internote\rlap{\Uptext{\kern -15mm\it sempre +\ppff mp}}\Ilegl0d\dqh3gh\enotes +% mesure 6 +\barre\notes\zh{LN}\hl b|\qqh0ighi\enotes +\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes +% mesure 7 +\barre\notes\zh{N=b}\hl d|\qqh0{=k}{=i}jk\enotes +\temps\notes\zh{Nc}\hl{=e}|\qqh0{=l}jkl\enotes +% mesure 8 +\barre\notes\zh{Mc}\hl f|\qqh{-3}m{_l}{_k}j\enotes +\temps\notes\zh{M_b}\hl d|\qqh0k{_i}jk\enotes +% mesure 9 +\barre\notes\zh{LN}\hl b|\qqh{-3}lkji\enotes +\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes +% mesure 10 +\barre\notes\zh{ad}\hl f|\qqh{-3}kjih\enotes +\temps\notes\lh b\zh c\hl{=e}|\qqh0ighi\enotes +% mesure 11 +\barre\notes\zh{Nb}\hl{=e}|\qqh{-3}jihg\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegl0d\dqh3gh\enotes +% mesure 12 +\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 13 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes +% mesure 14 +\barre\notes\bohl e\rmidtwotext{\it pi\`u forte}\relax + |\zq g\qqh0ighi\enotes +\temps\notes\bohl a|\rlap{\hl e}\zq h\qqh0jhij\enotes +% mesure 15 +\barre\notes\bohu M|\rlap{\hl f}\zq h\qqh0kijk\enotes +\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes +% mesure 16 +\barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes +\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes +% mesure 17 +\barre\Notes\bohu M|\zq f\tleg0\qu h\enotes +\temps\notes|\Ilegu0q\dqh3ij\enotes +\temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes +% mesure 18 +\barre\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh3ghik\enotes +\temps\notes\bohu{=L}|\rlap{\hl e}\zq g\qqh{-3}jihg\enotes +% mesure 19 +\barre\Notes\bohu M|\rlap{\ql f}\zq f\tleg0\qu h\enotes +\temps\notes|\Ilegu0p\dqh3gh\enotes +\temps\notes\bohu K|\rlap{\hl d}\zq f\qqh0ihgi\enotes +% mesure 20 +\barre\notes\bohu J|\rlap{\hl c}\zq f\qqh0hgfh\enotes +\temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes +% mesure 21 +\barre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes +\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax + |\soupir\uptext{\ppff p}\enotes +\temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes +% mesure 22 +\barre\notes\qqB0bNab|\zh{gi}\hu{=l}\enotes +\temps\notes\qqB0cabc|\zh{hj}\hu m\enotes +% mesure 23 +\barre\notes\Tleg0\ql d\sk|\zh{hk}\hu m\enotes +\temps\notes\Ilegu0d\dqb4bd|\enotes +\temps\notes\qqB0cbac|\zh{hj}\hu{_l}\enotes +% mesure 24 +\barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes +\temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes +% mesure 25 +\barre\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes +\temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes +\temps\notes\Ilegl0F\dqb3Na|\enotes +% mesure 26 +\barre\notes\zmidtwotext{\it\ poco\ \ a\ \ poco}\qqB0bNab\relax + |\zh{gi_l}\hu n\enotes +\temps\notes\qqB0cabc|\zh{fhj}\hu m\enotes +% mesure 27 +\barre\notes\qqB0{=d}bcd|\zh{fi=k}\hu m\enotes +\temps\notes\qqB0{=e}cde|\zh{gj}\rh i\hu{=l}\enotes +%\check +% mesure 28 +\barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes +\temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes +% mesure 29 +\barre\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes +\temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes +% mesure 30 +\barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes +\temps\notes\qqb3MNac|\zh{hjm}\hl o\enotes +%\check +% mesure 31 +\barre\notes\qqb{-3}baNM|\zh{i_ln}\hl p\enotes +\temps\notes\qqb3LMNb|\zh{gil}\hu n\enotes +%\check +%mesure 32 +\barre\notes\Tleg0\ql a\sk|\zh{hjl}\hl o\enotes +\temps\notes\Ilegl0F\dqb3bc|\enotes +\temps\notes\qqb0dcde|\zh{iln}\hl p\enotes +% +% mesure 33 +% changement d'espacement +\barre\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes +\temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes +\temps\notes\Ilegl0F\dqb3bc|\enotes +% mesure 34 +\barre\notes\qqb{-3}dcba|\zh{ikm}\hl p\enotes +\temps\notes\qqb3Nabc|\zh{j=ln}\hl q\enotes +% mesure 35 +\barre\notes\qqb0dcde|\zh{kmp}\hl r\enotes +\temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes +% mesure 36 +\barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\zbreath\enotes +\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes +\temps\arpg K5\relax +\notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax + |\qsoqb0hfgh\enotes +%\check +% mesure 37 +\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0ighi\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jhij\enotes +%\check +% mesure 38 +\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0kjik\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jihj\enotes +%\check +% mesure 39 +\barre\Arpg J5\notes\zh{=LNc}\lh b\hl{=e}|\qsoqb0ihgi\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes +%\check +% mesure 40 +\barre\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes +\temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes +\notes\soupir|\Ilegu0t\dsoqb3gh\enotes +%\check +% mesure 41 +\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb0ighi\enotes +\temps\arpg a4\notes\zh{ace}\hl h|\qsoqb0jhij\enotes +%check +% mesure 42 +\barre\Arpg K5\notes\zh{Mb=d}\hl f|\qsoqb0{=k}ijk\enotes +\temps\Arpg J5\notes\zh{JNc}\hl{=e}|\qsoqb0{=l}jkl\enotes +%check +% mesure 43 +\barre\Arpg K5\notes\zh{Mcf}\hl{=h}|\qsoqb{-3}m{_l}{_k}j\enotes +\temps\Arpg I5\notes\zh{IMb}\hl{_d}\sk|\Tleg0\zq i\ql p\enotes +\temps\notes|\Ilegu0t\dsoqb3jk\enotes +%\check +% mesure 44 +\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes +\temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes +\temps\notes|\Ilegu0r\dsoqb3gh\enotes +%\check +% mesure 45 +\barre\arpg I5\notes\zh{IMb}\hl d|\qsoqb0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qsoqb0hgfh\enotes +%check +% mesure 46 +\def\sfql#1{\usf{#1}\ql{#1}}% +\barre\Arpg J5\notes\soufflcr\zh{JNc}\hl{=e}|\qsoqb0gf{=e}g\enotes +\temps\arpg E5\notes\zq{FJM}\sfql a\sk|\Tleg0\zq f\sfql m\enotes +\temps\notes\zmidtwotext{\ppff f}\dsoqb{-3}F{=E}|\Ilegu0s\dsoqb3fg\enotes +%\check +% mesure 47 +\barre\notes\zq F\ql M\sk\dsoqb3{_E}F|\zq{jm}\qsoqb0hfgh\enotes +\temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes +%\check +% mesure 48 +\barre\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes +\temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes +%\check +% mesure 49 +\barre\notes\zq G\ql N\sk\zq E\ql L|\zq{np}\qsoqb{-3}lkji\enotes +\temps\notes\qsoqb0HGHI|\zq{mo}\qsoqb0jijk\enotes +%\check +% mesure 50 +\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{=ln}\qsoqb{-3}jihg\enotes +\temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes +%\check +% mesure 51 +\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes +\temps\arpg F5\notes\zq{FJM}\ql a\sk|\Tleg0\zq{fhj}\ql m\enotes +\temps\notes\Ilegl0F\zmidtwotext{\it meno}\dqb3MN|\soupir\enotes +%\check +% mesure 52 +\barre\nspace\uarpg h4\notes\zmidtwotext{\it\ \ forte}\qqb0aNab|\zh{hjm}\hl o\enotes +\temps\uArpg h5\notes\qqb0cbcd|\zh{j_lo}\hl q\enotes +%\check +% mesure 53 +\barre\nspace\uarpg l4\notes\qqb0edef|\zh{lnp}\hl s\enotes +\temps\uarpg l4\notes\qqb{-3}edcb|\zh{lnp}\hl s\enotes +%\check +% mesure 54 +\barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes +\notes\dsoqb3J{=K}|\enotes +\temps\uArpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes +% mesure 55 +\barre\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes +\temps\uArpg i4\notes\qboqb{-3}gf{=e}d|\zh{=ikn}\hl{=p}\enotes +%\check +%mesure 56 +\barre\nspace\uArpg h5\notes\zq J\ql c\sk\dboqb3{=d}{=e}|\zh{j=ln}\hl q\enotes +\temps\notes\zcharnote j{\kern -2\noteskip\it senza arpeggiare}\relax +\qboqb{-3}f{_e}{_d}c|\zq{m=oq}\ql t\sk\zq{moq}\ql t\enotes +%\check +% mesure 57 +\barre\notes\zmidtwotext{\ppff f}\zq I\ql b\sk|\zh{ikm}\hl p\enotes +\temps\notes\dsoqb3JK|\enotes +\temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes +%\check +% mesure 58 +\barre\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes +\temps\notes\dsoqb3IJ|\enotes +\temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes +%\check +% mesure 59 +\barre\notes\qsoqb0JIHJ|\zh{hjm}\hl o\enotes +\temps\notes\qsoqb0IHGI|\zq{i=ln}\ql p\sk\zq{i=ln}\ql p\sk\enotes +%\check +% mesure 60 +\barre\notes\soufflcr\zq H\ql a|\zh{jmo}\hl q\enotes +\temps\notes\dsoqb3GH|\enotes +\temps\notes\rlap{\sk\sk\zmidtwotext{\ppff ff}}\qsoqb0IHGI\relax + |\zq{kmp}\ql r\sk\zq{kmp}\ql r\sk\enotes +% mesure 61 +%\check +\barre\notes\qsoqb0HGFH|\zq{jmo}\ql q\sk\zq{jmo}\ql q\sk\enotes +\temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes +%\check +%mesure 62 +\barre\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax + |\zq{moq}\ql t\zbreath\enotes +\temps\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes +%\check +% mesure 63 +\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0ighi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jhij\enotes +%\check +% mesure 64 +\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0kjik\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jihj\enotes +%\check +% mesure 65 +% +\barre\Arpg H5\notes\zh{JN}\lh b\hl c|\qqh0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegu0q\dqh3gh\enotes +%\check +% mesure 66 +\barre\arpg I5\notes\zh{KMb}\hl d|\qqh0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes +%\check +% mesure 67 +\barre\Arpg H5\notes\zh{J=LN}\hl c|\qqh0gf{=e}g\enotes +\temps\arpg M3\notes\zq{Ma}\ql c|\Tleg0\qu f\enotes +\cleftoksi={{6}{6}{0}{0}}% +\changeclefs\nspace +\notes\soupir|\zcharnote A{\ppff f}\Ilegu0g\dqb3MN\enotes +%\check +% mesure 68 +\def\bozh#1{{\advance\transpose by -7\zh{#1}}\zh{#1}}\relax +\def\bozq#1{{\advance\transpose by -7\zq{#1}}\zq{#1}}\relax +\barre\arpg{!`F}6\notes\uptext{\ppff f \it e nervoso}\bozh F\hu J\relax + |\qqB0aMNa\enotes +\temps\arpg{!`E}6\notes\bozh E\hu I|\qqB0bNab\enotes +% mesure 69 +%\check +\barre\arpg A6\notes\bozh H\hu L|\qqB0cabc\enotes +\temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes +%\check +% mesure 70 +\barre\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes +\temps\arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes +%\check +% mesure 71 +\barre\arpg B6\notes\bozh I\hu M|\qqb3bcdf\enotes +\temps\arpg A8\notes\bozh E\zh I\hu N|\qqb{-3}edcb\enotes +%\check +% mesure 72 +\barre\arpg A6\notes\bozh H\hu L|\qqb3abce\enotes +\temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes +%\check +% mesure 73 +\barre\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes +\temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes +% +% mesure 74 +\barre\arpg {!`D}6\notes\bozh F\hu J|\Tleg0\ql a\sk\enotes +\temps\notes|\Ilegu0d\dqb3Na\enotes +\temps\arpg B5\notes\bozh I\hu K|\qqB0baNb\enotes +%\check +% mesure 75 +\barre\arpg C5\notes\bozh J\hu M|\qqB0aNMa\enotes +\temps\Arpg C5\notes\bozh J\hu {=L}\zmidtwotext{\ppff mf}|\qqB0NM{=L}N\enotes +%\check +% mesure 76 +\barre\arpg{-8}6\notes\bozq F\zq H\qu J\relax + |\Tleg0\ql M\enotes +\cleftoksi={{6}{0}{0}{0}}% +\changeclefs +\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes +\temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes +% mesure 77 +%\check +\barre\arpg A6\notes\bozh H\hu L|\qboqh0jijk\enotes +\temps\arpg E5\notes\bozh L\hu N|\qboqh{-3}lkji\enotes +% mesure 78 +%\check +\barre\arpg F4\notes\zh{FJ}\hu M|\zq a\qu h\sk\enotes +\temps\notes|\dboqh3ij\enotes +\temps\arpg {!`G}7\notes\bozh I\hu M|\qboqh{-3}kjih\enotes +% mesure 79 +\barre\Arpg C5\Notes\bozh J\hu{=L}|\zq N\qu g\enotes +\temps\notes|\dboqh3hi\enotes +\temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes +%\check +% mesure 80 +\barre\arpg {`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes +\temps\notes|\dboqh3gh\enotes +\temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes +% mesure 81 +\barre\arpg B6\notes\bozh J\hu M|\qboqh0hgfh\enotes +\temps\Arpg B5\notes\bozh J\hu{=L}|\qboqh0gfeg\enotes +%\check +%mesure 82 +\barre\arpg {!`F}6\notes\bozq F\qu J\zmidtwotext{\ppff f}|\Tleg0\zq{Ma}\qu f\sk\enotes +\temps\notes\dboqh3LM\zmidtwotext{\it sempre}|\dsoqb3gh\enotes +\temps\notes\qboqb0NLMN|\zq{ln}\qsoqh0ighi\enotes +% mesure 83 +\barre\notes\zmidtwotext{\it crescendo}\qboqb0aMNa|\zq{lo}\qsoqb0jhij\enotes +\temps\notes\zmidtwotext{\it\kern 1.5\noteskip e}\qboqb0bNab\relax + |\zq{mp}\qsoqb0kijk\enotes +% \check +% mesure 84 +\barre\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes +\temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes +% \check +% mesure 85 +\def\boql#1{{\advance\transpose by -7\relax\zq{#1}}\ql{#1}}% +\def\boqu#1{{\advance\transpose by -7\relax\zq{#1}}\qu{#1}}% +\barre\notes\boql b\sk\boql b|\zq{mp}\qsoqb{-3}kjih\enotes +\temps\notes\bohu L|\zq{jl}\qsoqb2ghik\enotes +% mesure 86 +\barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes +\temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes +% mesure 87 +\barre\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes +\temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes +% mesure 88 +\barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes +\temps\notes\qboqb0aNab|\zq{mo}\qsoqb0jij{=k}\enotes +%\check +% mesure 89 +\barre\notes\zmidtwotext{\ppff \fff}\qboqb0c{=b}c{=d}|\octfin v{18}\zq{gj}\qsoqh0{=e}{=d}ef\enotes +\temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes +%\check +% mesure 90 +\barre\notes\qboqb{-2}gg{=e}{_d}|\zq{=ln}\qsoqb{-2}iig{=e}\enotes +\temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\enotes +% mesure 91 +%\check +\advance\elemskip by -1pt +\barre\notes\qboqh{-2}JIG{=E}|\qsoqh{-2}ddbN\enotes +\temps\notes\rlap{\qboqb0CGEC}\ibu0d{-2}\boqh d\boqh d\boqh b\tbu0\boqh N\enotes +%\check +% mesure 92 +\barre\notes\rlap{\qsk\ibu0A0\boqh C\tbu0\boqh C}\ibu0K0\boqh K\qsk\rq K\tbu0\qh0J|\enotes +\temps\notes\rlap{\qsk\dsoqb0CC}\ibu0d0\boqh d\qsk\rq d\tbu0\qh0c|\enotes +\temps\notes\dsoqb0JJ|\ibu0k0\boqh k\rq k\tbu0\qh0j\enotes +\temps\notes|\rlap{\qsk\dsoqb0cc}\ibu0q0\soqh k\qsk\rq r\tbu0\qh0q\enotes +\cleftoksi={{0}{0}{0}{0}}\changeclefs +%\check +% mesure 93 +\barre\notes\dsoqb0jj\dsoqh0cc|\octline v\ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes +\temps\notes\zmidtwotext{\kern 2\Interligne\it sempre + \ppff \fff}\zq M\cu f|\zq m\cl t\enotes +\rlap{\notes|\zbreath\enotes}\relax +\cleftoksi={{6}{0}{0}{0}}\changeclefs +\temps\notes\dsoupir\boql f|\ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes +% mesure 94 +\barre\notes\zmidtwotext{\it ed accelerando}\boql f\sk\boql f|\qsoqb0ighi\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0jhij\enotes +%\check +% mesure 95 +\barre\notes\boql f\sk\boql f|\qsoqb0kjik\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0jihj\enotes +%\check +% mesure 96 +\autolines 95\lppage\relax +\barre\notes\boql f\sk\boql f|\octline t\qsoqb0ihgi\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes +%\check +% mesure 97 +\barre\notes\boql{=e}\sk\boql e|\qsoqb0gf{=e}g\enotes +\temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes +%\check +% mesure 98 +\barre\notes\boql d\sk\boql d|\qsoqb0ighi\enotes +\temps\notes\boql c\sk\boql c|\qsoqb0jhij\enotes +%\check +% mesure 99 +\barre\notes\boql b\sk\boql b|\qsoqb0kjik\enotes +\temps\notes\boql a\sk\boql a|\qsoqb0jihj\enotes +%\check +% mesure 100 +\barre\notes\boql N\sk\boql N|\qsoqb0ihgi\enotes +\temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes +%\check +% mesure 101 +\barre\notes\boql K\sk\boql K|\octfin u{17}\qsoqb0ihgi\enotes +\temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes +%\check +% mesure 102 +\barre\notes\boql J\sk\boql J|\qsoqb0gf{=e}g\enotes +\temps\NOtes\pointdorgue d\bohu K|\pointdorgue o\zh{hk}\bohl m\zbreath\enotes +% mesure 103 +\barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes +\temps\notes\Ilegl0F\dqb3Na|\hpause\enotes +\temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes +%\check +% mesure 104 +\barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes +\temps\notes\tleg0\ql c\sk|\zh{hj}\hl l\enotes +\temps\notes\Ilegu0f\dqb3bc\enotes +%\check +% mesure 105 +\barre\notes\qqB0dcbd|\zh{il}\hl n\enotes +\temps\notes\qqB0cbac|\zh{hj}\hl m\enotes +% mesure 106 +\barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes +\temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes +\temps\notes\Ilegu0f\dqb3Na|\enotes +%\check +% mesure 107 +\barre\notes\qqB0baNb|\zh{gik}\hl m\enotes +\temps\notes\qqB0aNMa|\zh{hj}\hl m\enotes +%\check +% mesure 108 +\barre\notes\qqB0NM{=L}N|\zh{gj}\lh i\hl{=l}\enotes +\temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes +\temps\notes\soupir|\Ilegl0M\dqh3MN\enotes +% mesure 109 +%\check +\barre\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax + |\uptext{\it espressivo e delicato}\qqh3abcd\enotes +\temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes +% mesure 110 +\barre\notes\zh H\hl L|\Tleg0\qu a\sk\enotes +\temps\notes|\Ilegl0a\dqh3c{=d}\enotes +\temps\notes\zh{JN}\hl c|\qqh4{=e}fgh\enotes +%\check +% mesure 111 +\barre\notes\zh{JN}\hl b|\qqh{-6}ig{_d}c\enotes +\temps\notes\zh{FJ}\hl M|\Tleg0\qu c\sk\enotes +\temps\notes|\Ilegl0b\dqh3fg\enotes +% mesure 112 +\barre\notes\zh F\hl L|\rlap{\hl c}\qqh0{=h}ijh\enotes +\temps\notes\zh{IM}\hl b|\rlap{\hl d}\Tleg0\qu f\sk\enotes +\temps\notes|\Ilegl0b\dqh3ij\enotes +% mesure 113 +\barre\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes +\temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes +% mesure 114 +\barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes +\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0s\cl{_n}\enotes +\Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes +% mesure 115 +\barre\Arpg G5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes +\temps\notes\Soufflcr\zh{JN}\hl c\sk\sk\tleg0|\qqH6{=e}gkj\enotes +%\check +% mesure 116 +\barre\notes\zmidtwotext{\ppff ff}\zq{J=L}\ql N|\dsoqh{-3}dc\enotes +\cleftoksi={{0}{0}{0}{0}}\zchangeclefs +\nspace\notes\zq{c=e}\qu g|\dsoqb{-3}kj\enotes +\temps\notes\zq{j=l}\ql n|\dsoqb{-3}rq\enotes +\temps\notes\zq{ce}\qu g|\dsoqb{-3}kj\enotes +\cleftoksi={{6}{0}{0}{0}}\zchangeclefs +%\check +% mesure 117 +\def\motif#1#2#3{\notes\ibu0F4\boqh F\relax + |\sk{\advance\transpose by 3\relax\ibu1{#3}6}\zq{#1}\zq{#2}\qh1{#3}\relax + \tbl0\zq{#1}\zq{#2}\qb0{#3}\tbu1{\advance\transpose by 7\relax + \zq{#1}\zq{#2}\qh1{#3}}\enotes}% +%\check +\barre\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm +\moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes +% +\advance\linesinpage by 1\relax +% +\motif acf\temps\motif bdg\relax +% mesure 118 +\barre\motif cfh\temps\motif acf\relax +% mesure 119 +\barre\motif bdg\temps\motif cfh\relax +% mesure 120 +\barre\motif dgi\temps\motif bdg\relax +% mesure 121 +\barre\motif cfh\temps\motif dgi\relax +% mesure 122 +\barre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax +% mesure 123 +\barre\motif dfi\temps\motif fhj\relax +% mesure 124 +\barre\motif fik\temps\motif dfi\relax +\generalmeter{\meterfrac 54}\hyphenpenalty -5000\relax\changecontext +\hyphenpenalty -10\relax +\znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes +% mesure 125 +%\check +\def\motif#1#2#3#4#5#6{\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes +\notes{\advance\transpose by -7\relax +\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes +\notes|\zq{#1}\zq{#2}\qb1{#3}\zq{#4}\zq{#5}\qb0{#6}\enotes +\notes|{\advance\transpose by 7\relax +\zq{#1}\zq{#2}\qb1{#3}\tbl0\zq{#4}\zq{#5}\qb0{#6}}\enotes +\notes|{\advance\transpose by 14\relax +\tbl1\zq{#1}\zq{#2}\qb1{#3}}\enotes}% +%\check +\motif {=e}gjegj\relax +% mesure 126 +\barre\motif fhjfhj\relax +% mesure 127 +\barre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes +\notes{\advance\transpose by -7\relax +\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes +\notes|\zq g\lq i\qb1j\zq g\lq i\qb0j\enotes +\notes|{\advance\transpose by 7\relax +\zq g\lq i\qb1j\tbl0\zq g\lq i\qb0j}\enotes +\notes|{\advance\transpose by 14\relax +\tbl1\zq g\lq i\qb1j}\enotes +%\check +% mesure 128 +\barre\motif fikfik\relax +% mesure 129 +\barre\motif gi{=l}gil\relax +% mesure 130 +\generalmeter{\allabreve}\changecontext +\normal\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax +\sforz x\zh{j=ln}\hu q\enotes +\temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes +% mesure 131 +\transpose=0\relax\barre +\autolines 95\lppage +\notes\rlap{\bohu F}\Ilegu0g\qqh3MNab\relax +|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen tempo I$^{\bf o}$}\enotes +\temps\notes\qqb0cbcd|\zh{hj}\hu m\uptext{\it m.s.}\enotes +% mesure 132 +%\check +\barre\notes\Tslurbreak0c\Islurdbreak0c\bohu L|\qqb0edef\enotes +\temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes +% mesure 133 +\barre\Notes\tslur0d\bohu H|\hl c\enotes +\temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes +\temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes +% mesure 134 +%\check +\barre\notes\bohu J|\qqb5{=e}gkj\enotes +\temps\notes|\rlap{\zh n\rh p\hu q}\qqB{-6}igdc\enotes +% mesure 135 +\barre\notes\bohl M|\ibl0e0\qb0{=h=ef}\tqb0g\enotes +\temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes +%\check +% mesure 136 +\barre\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk\tleg0}\qqb{-6}lj{=h}f\enotes +\temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes +%\check +% mesure 137 +\barre\arpg I5\notes\zh{KMb}\hl d|\qqb{-6}ki{_h}g\enotes +\temps\Arpg H5\notes\zmidtwotext{\it crescendo}\zh{JN}\lh b\hl c|\qqh{-6}{=l}kig\enotes +% mesure 138 +%\check +\barre\Arpg H6\notes\zh{=Lb=e}\hl g\zmidtwotext{\it molto}|\qqh{-6}n{=l}ki\enotes +\temps\Arpg b{9}\notes\zh c|\rlap{\zh {=eg}\hl j}\qqh{-6}pnlk\enotes +%\check +% mesure 139 +\barre\Arpg H5\notes\zh{=LN}\bohl c|\qqb{-8}rpnj\enotes +\temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes +%\check +% mesure 140 +\barre\autolines {17}4\lppage\relax\bigaccid +\notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip + \hbox{\it e crescendo}}}\soupir|\soupir\enotes +%\check +\notes\ibbl0F3\soqb F\qs\tbl0\soqb G\qs|\qs\ibbu0m3\soqh f\qs\tbu0\soqh g\enotes +%\check +\def\motif#1#2#3#4{\notes\ibbu0b0{\advance\transpose by -7\relax\boqh{#1}}\sk + |\qsk\sk\rlap{\soqb{#1}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#2}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#3}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk +\tbl0\soqb{#4}}\enotes +}% fin motif +%\check +\temps\motif hfgh\relax +%\check +% mesure 141 +\autolines {18}4\lppage +\barre\motif ighi\temps\motif jhij\nspace +% mesure 142 +\barre\motif kjik\temps\motif jihj\nspace +% mesure 143 +\barre\motif ihgi\temps\motif hgfh\nspace +%\check +% mesure 144 +\barre\motif gf{=e}g\temps\motif ffgh\relax +% mesure 145 +\barre\motif ighi\temps\motif jhij\nspace +% mesure 146 +\barre\motif {=k}ijk\temps\motif {=l}jkl\nspace +% mesure 147 +\barre\motif m{_l}{_k}j\temps\motif iijk\nspace +% mesure 148 +\barre\motif lkji\temps\motif hhij\relax +% mesure 149 +\barre\motif kjik\relax +%\check +\def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax +\boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#6}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#7}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk +\tbl0\soqb{#8}}\enotes}% fin motif +%\check +\temps\motif j{^j}{=k}{^k}jjjj\nspace +% mesure 150 +\barre\motif {=l}{_l}{=k}{_k}jjjj\relax +\temps\motif jihgjj{=k}{=l}\nspace +% mesure 151 +\barre\Notes\pointdorgue a\zcharnote i{\kern -\elemskip\ppff \fff}\bohl M\relax + |\pointdorgue u\zh{=oq}\sohl m\enotes +%\check +\NOTes\rlap{\pointdurgue F\soupir}\midtwotext{\kern \elemskip\it\vbox{\hsize 2\noteskip +\centerline{a piacere }\centerline{% +quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes +\transpose=-7\relax +% +\Notes\charnote C{\ppff f}\dqh8FJ\enotes +% +% +% mesure 152 +% +\varaccid +\def\motif{}% +\def\motifb#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\usf{#2}\qb0{#2}\tbbl0\qb0{#3}% +\nbbl0\qb0{#4}\tbbl0\qb0{#5}\nbbl0\qb0{#6}\tqb0{#7}}% +\def\motifh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}% +\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% +\def\motifH#1#2#3#4#5#6#7{{\advance\transpose by 3\ibbu0{#2}{#1}}% +\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% +%\check +\transpose=0\relax +\barre\autolines {25}2\lppage +\notes\motifh8FHJMac\enotes +\temps\notes|\motifb8fhjmoq\enotes +%\check +% mesure 153 +\barre\notes|\motifb{-6}t{=s}tqom\enotes +\temps\notes|\na l\motifb{-6}lmjhf{=e}\enotes +\temps\notes|\usf f\ibbl0d0\qb0f\tbbl0\qb0c\enotes +\notes\nbbu0\qh0a\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\temps\notes\motifh{-4}JHF{=E}FC\enotes +\transpose=-7\relax +\temps\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 154 +\barre +\transpose=-7\relax +\notes\motifh8FIKMbd\enotes +\temps\notes|\motifh8fikmpr\enotes +\transpose=7\relax +\notes|\usf f\ibbl0f4\qb0{fi}\tqb0k\enotes +%\check +% mesure 155 +\transpose=0\relax +\barre\notes|\motifb{-6}t{=s}trpm\enotes +\temps\notes|\na l\motifb{-6}lmkif{=e}\enotes +\temps\notes|\usf f\ibbl0e0\qb0f\tbbl0\qb0d\enotes +\notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\temps\notes\motifh{-4}KIF{=E}FD\enotes +\transpose=-7\relax +\temps\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 156 +\transpose=-7\relax +\barre\notes\motifH8FJ{_L}Mc{_e}\enotes +\temps\notes|\motifH8fj{_l}mq{_s}\enotes +\transpose=7\relax +\temps\notes|\sforz h\ibbl0g4\qb0{fj}\tqb0{_l}\enotes +%\check +% mesure 157 +\transpose=0\relax +\barre\notes|\motifb{-6}t{=s}t{_s}qm\enotes +\temps\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes +\temps\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes +\notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\temps\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes +\transpose=-7\relax +\temps\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 158 +\def\motif{}% +\def\motifb{}% +\def\motifh{}% +\normal +\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FIK}\tqh0M\enotes +\temps\notes\transpose=0\relax\ibbu0I8\qh0{IK}\tqh0M\enotes +\temps\notes|\transpose=7\relax\ibbu0I8\qh0{IK}\tqh0M\enotes +\temps\notes|\transpose=0\relax\lsf i\ibbu0i8\qh0{ik}\tqh0m\enotes +\temps\notes|\transpose=7\relax\lsf g\ibbu0g8\qh0{gik}\tqh0m\enotes +%\check +\def\souffldim{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Dimin}}}% +% mesure 159 +\transpose=7\relax\def\motifa{\sforz u\ibbu0m0\qh0{nm}\tqh0n}\relax +\def\motifb{\ibbl0k{-8}\qb0{ki}\tqb0f}\relax +\barre\notes\souffldim|\motifa\enotes +\notes|\motifb\enotes +\transpose=0\relax +\temps\notes|\motifa\enotes +\notes|\motifb\enotes +\transpose=-7\relax +\temps\notes|\motifa\enotes +\notes\motifb\enotes +\transpose=-14\relax +\temps\notes\motifa\enotes +\notes\motifb\enotes +\transpose=-21\relax +\temps\notes\motifa\enotes +\notes\motifb\enotes +%\check +% mesure 160 +\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FJM}\tqh0N\enotes +\temps\notes\transpose=0\relax\ibbu0H8\qh0{HJM}\tqh0N\enotes +\temps\notes\transpose=7\relax\ibbu0J0\qh0{HJ}\enotes +\notes|\transpose=7\qb0M\tqb0N\enotes +\temps\notes|\transpose=0\relax\ibbu0h8\qh0{hjm}\tqh0n\enotes +\temps\notes|\transpose=7\relax\ibbl0h8\qb0{hjm}\tqb0n\enotes +% +% mesure 161 +% sixte et quinte inferieures +\transpose=0\relax +\def\motifb{}\def\motifh{}\def\motifH{}% +\def\bsqh#1{{\advance\transpose by -5\relax\zq{#1}}\qh0{#1}}% +\def\bqqh#1{{\advance\transpose by -4\relax\zq{#1}}\qh0{#1}}% +\def\tbsqh{\tbu0\bsqh}\def\tbqqh{\tbu0\bqqh}% +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\generalmeter{\meterfrac 44}\changecontext +\def\serre{\normal\elemskip=8pt}\serre +\def\motif{\ibbbl2n{-6}\qb2{onm}\tqb2j}% +\transpose=0\relax +\temps\notes|\octline r\motif\enotes +\temps\notes\souffldim|\motif\enotes +\temps\notes\hpause|\motif\enotes +\temps\notes|\motif\enotes +% +% +\temps\notes\soupir|\motif\enotes +\temps\notes\zmidtwotext{\ppff p}|\motif\enotes +\temps\notes\ibu0f1\bsqh f|\motif\enotes +\notes\tbsqh g|\motif\enotes +% mesure 162 +\def\Motif#1#2#3#4{\ibbbl2{#1}{-6}\hb2{#1#2#3}\tbl2\hb2{#4}}% +\barre\NOtes\ibu0g0\bsqh h\bsqh f\bsqh g\tbsqh h\relax + |\Motif onmj\enotes +\temps\NOtes\ibu0h0\bsqh i\bsqh g\bsqh h\tbsqh i|\Motif ponk\enotes +% mesure 163 +%\check +\def\motif#1#2#3#4{\ibbbl1#1{-6}\qb1{#1#2#3}\tbl1\qb1{#4}}% +\barre\NOtes\ibu0i0\bsqh j\bsqh h\bsqh i\tbsqh j\relax + |\octline t\Motif qpom\enotes +\autolines {23}2\lppage +\temps\notes\ibu0j{-4}\bsqh k|\motif rqpm\enotes +\notes\tbsqh i|\motif rqpm\enotes +\temps\notes\ibu0i{-4}\bsqh j|\motif qpom\enotes +\notes\tbsqh h|\motif qpom\enotes +%\check +% mesure 164 +\generalmeter{\meterfrac 34}\changecontext +\notes\ibu0h{-4}\zq d\qh0i|\motif pon{=l}\enotes +\notes\tbsqh g|\motif ponl\enotes +\temps\NOtes\zh b\zh{=e}\hu g|\Motif ponl\enotes +%\check +% mesure 165 +\generalmeter{\meterfrac 44}\changecontext\serre +\notes\ibu0h{-6}\bsqh i|\octline t\motif ponk\enotes +\notes\tbsqh g|\motif ponk\enotes +\temps\notes\ibu0g{-6}\bsqh h|\motif onmj\enotes +\notes\tbsqh f|\motif onmj\enotes +\temps\NOtes\zq a\qu f\sk\ibu0g{-6}\bsqh h\tbsqh f|\Motif onmj\enotes +%\check +% mesure 166 +\barre\serre\notes\ibu0g1\na e\bsqh e\relax|\motif nm{=l}i\enotes +\notes\bsqh g|\motif nmli\enotes +\notes\bsqh f|\motif onmj\enotes +\notes\tbsqh h|\motif onmj\enotes +\temps\notes\ibu0i1\bsqh g|\motif ponk\enotes +\notes\bsqh i|\motif ponk\enotes +\notes\bsqh h|\motif qpo{_l}\enotes +\notes\bigfl e\tbu0\bsqh j|\motif qpol\enotes +%\check +% mesure 167 +\generalmeter{\meterfrac 34}% +\changecontext\autolines {25}2\lppage\noautolines +\notes\ibu0j1\bigna h\bsqh h|\octline t\motif qp{=o}m\enotes +\notes\bsqh j|\motif qpom\enotes +\notes\bsqh i|\motif rqpm\enotes +\notes\tbsqh k|\motif rqpm\enotes +\temps\notes\ibu0j1\bsqh j|\motif srqm\enotes +\Notes\fl g\tbsqh l|\motif srqm\enotes +% +% mesure 168 +\generalmeter{\meterfrac 44}\changecontexte +\Notes\zq f\qu k\sk\ibu0i2\bsqh i\tbsqh k|\Motif rqpm\enotes +\temps\Notes\ibu0i0\bsqh j\bsqh i\fl h\bsqh h\tbsqh j|\Motif qpom\enotes +% +% mesure 169 +\xbarre\Notes\ibu0h0\bsqh i\bsqh h\bsqh g\tbsqh i|\Motif ponk\enotes +\autolines{11}5\lppage\noautolines +\zalaligne\Notes\ibu0g0\bsqh h\bsqh g\bsqh f\tbsqh h|\octline t\Motif onmj\enotes +% mesure 170 +\xbarre\Notes\ibu0f0\bsqh g\bsqh f\na e\bsqh e\tbsqh g|\Motif nm{=l}i\enotes +\temps\Notes\zq a\qu f\sk\ibu0f0\zq c\bsqh f\zq c\tbsqh f|\Motif onmj\enotes +% mesure 171 +\xbarre\Notes\ibu0f0\na a\zq c\bsqh f\zq c\bsqh f\zq c\bsqh f\zq c\tbsqh +f|\na o\Motif onmj\enotes +\temps\Notes\ibu0f0\zq d\bqqh f\zq d\bqqh f\zq d\bqqh f\zq d\tbqqh +f|\Motif p{_o}nk\enotes +%\check +% mesure 172 +\xbarre\Notes\ibu0g0\zq d\bsqh g\zq d\bsqh g\zq d\bsqh g\zq d\tbsqh +g|\Motif ponk\enotes +\temps\Notes\ibu0h0\zq f\bsqh h\zq f\bsqh h\zq f\bsqh h\zq f\tbsqh +h|\Motif qpom\enotes +% mesure 173 +\xbarre\Notes\ibu0g0\zmidtwotext{\it smorz.}\relax +\zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes +\nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\enotes + \suspmorceau +\eject +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% finale % +\transpose=0\relax\cleftoksi={{6}{0}{0}{0}}% +% mesure 200 +\linesinpage=0\relax +\barno=200\relax\autolines 95\lppage +\generalmeter{\allabreve}\reprmorceau +\savemeters\saveclefs +\notes\zmidtwotext{\ppff p}|\Uptext{\kern -7mm\moyen +a tempo primo, con molta delicatezza}\soupir\enotes +\temps\notes\hpause|\Ilegl0d\dqh3fg\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hfgh\enotes +% mesure 201 +\barre\notes\zh{Mb}\hl d|\qqh0ighi\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu j\sk\enotes +\temps\notes|\Ilegl0d\dqh3ij\enotes +% mesure 202 +\barre\notes\zh{Mb}\hl d|\qqh0kjik\enotes +\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes +%\check +% mesure 203 +\barre\notes\zh M\lh N\hl b|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\enotes +\temps\notes|\Ilegl0d\dqh3gh\enotes +%\check +% mesure 204 +\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 205 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes|\Ilegu0r\dqh3gh\enotes +% mesure 206 +\barre\notes\zh{LN}\hl b|\rlap{\hl e}\qqh0ighi\enotes +\temps\notes\zh{La}\hl c|\rlap{\hl e}\qqh0jijk\enotes +% mesure 207 +\barre\notes\zh b\bohl e|\rlap{\hl g}\qqh{-3}lkji\enotes +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegu0t\dqh3jk\enotes +% mesure 208 +\barre\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes +\temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes +% mesure 209 +\barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax + \ibl0m0\qb0{=o=lm}\tqb0n\enotes +\temps\notes\zh{c_e}\hu h|\qqb3opqr\enotes +%\check +% mesure 210 +\barre\notes\zh{=ac}\hu{_g}|\qqb{-7}sq{=o}m\enotes +\temps\notes\zh{bd}\hu f|\Tleg0\ql r\enotes +\temps\notes|\Ilegu0s\dqb4pr\enotes +% mesure 211 +\barre\notes\zh{ac}\hu f|\qqB0qpoq\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs +\temps\notes\zh{Nb}\hl{=e}|\qqB0ponp\enotes +% mesure 212 +\generalmeter{\meterfrac 32}\changecontexte +\Notes\zh{Ma}\hl c|\Tleg0\ql o\enotes +\temps\notes|\Ilegu0r\dqb3no\enotes +\temps\notes\zh{KM}\hl b|\qqB0ponp\enotes +\temps\notes\zh{JM}\hl a|\qqB0onmo\enotes +%\check +% mesure 213 +\generalmeter{\allabreve}\changecontexte +\notes\zh{J=L}\hl N|\qqB0nm{=l}n\enotes +\temps\Notes\boqu M|\Tleg0\hl m\enotes +\temps\notes\zmidtwotext{\kern -1.5\noteskip\ppff pp}\Ilegu0e\dqb3MN\enotes +%\check +% mesure 214 +\alaligne\notes\qqb3abcd|\zh{fh}\hu j\enotes +\temps\notes\qqb{-3}cbaN|\zh{=eg}\hu j\enotes +%\check +% mesure 215 +\barre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes +\temps\notes\Ilegu0d\dqb3Na\enotes +\temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216 +\barre\notes\qqB0aNMa|\zh{fh}\hl j\enotes +\temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes +% mesure 217 +\barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes +\cleftoksi={{6}{6}{0}{0}}\changeclefs +\notes|\Ilegl0E\dqh3Na\enotes +\temps\notes\bohu K|\rlap{\hl M}\qqh5bcdf\enotes +% mesure 218 +\barre\notes\bohu L|\rlap{\hl N}\qqh{-3}edcb\enotes +\temps\Notes\bohu H|\Tleg0\rlap{\ql a}\qu c\enotes +\temps\notes|\Ilegl0E\dqh3bc\enotes +%\check +% mesure 219 +\barre\notes\bohu I|\rlap{\hl M}\qqh0dcbd\enotes +\temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes +%\check +% mesure 220 +\barre\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes +\temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes +\temps\notes|\Ilegl0F\dqh3Na\enotes +% mesure 221 +\barre\notes\Uptext{\it diminuendo,\ \ ma senza}\bohu D\relax + |\rlap{\hl K}\qqh0baNb\enotes +\temps\notes\bohu C|\rlap{\hl J}\qqh0aNMa\enotes +% mesure 222 +%\check +\barre\notes\Uptext{\it rallentare}\bohu C|\rlap{\hl J}\qqh0NMLN\enotes +\temps\NOtes\bohu F|\Tleg0\rlap{\hl J}\hu M\enotes +% mesure 223 +\barre\notes\bohu F|\itenu0f\itenl1M\rlap{\qsk\zqp b\qup d}\bohl f\sk\sk +\itenu2a\itenu3c\zq a\cu c\qsk\enotes +\NOtes\pointdorgue a\bohu F\relax + |\pointdurgue F\tten0\tten1\tten2\tten3\zh{ac}\bohl f\enotes +\finmorceau \rightline{\sl \aujourdhui} +\eject\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex new file mode 100644 index 00000000000..554314e05e4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex @@ -0,0 +1,1113 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +% +\parindent 12mm +% +\title{Pacifique} +\shortauthor{D. Taupin} +\fullauthor{Daniel TAUPIN\\\`a Christiane} + \othermention{Compos\'e en 1972, \sl San Jose (Calif.)\\r\'ev. mai 1981, +janvier 1990} +\maketitle + +\tracingstats=2\relax +% +\nbporteesi=2\relax +\def\nbinstruments{1} +\global\cleftoksi={{6}{0}{0}{0}}% +\def\noteskipLARGE{\def\scalenoteskip{1.5}}% +\def\noteskipLarge{\def\scalenoteskip{1.2}}% +\def\noteskiplarge{\def\scalenoteskip{1.1}}% +\def\noteskipnormal{\def\scalenoteskip{1.0}}% +% +\signaturegenerale{-4}\relax % quatre bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{Piano} +%\check +\generalmeter{\allabreve} +\normal\noteskipLarge +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\gluemaxskip{6pt}% +% +% formes frequentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% +\def\qqB#1#2#3#4#5{\ibl0{#3}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% +\def\qqh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% +\def\qqH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% +% octave basse en blanche +\def\bohl#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hl{#1}}% +\def\bohu#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hu{#1}}% +\def\sohl#1{\zh{#1}{\advance\transpose by 7\relax\hl{#1}}\sk}% +\def\sohu#1{\zh{#1}{\advance\transpose by 7\relax\hu{#1}}\sk}% +% +% octave sup. en croches u +\def\soqh#1{\zq{#1}\rlap{\advance\transpose by 7\qh0{#1}}\sk}% +\def\soqu#1{\zq{#1}\rlap{\advance\transpose by 7\qu{#1}}\sk}% +\def\soqb#1{\zq{#1}\rlap{\advance\transpose by 7\qb0{#1}}\sk}% +\def\soql#1{\zq{#1}\rlap{\advance\transpose by 7\ql{#1}}\sk}% +\def\dsoqh#1#2#3{{\advance\transpose by 7\ibu0{#2}{#1}}\soqh{#2}\tbu0\soqh{#3}}% +\def\dsoqb#1#2#3{\ibl0{#2}{#1}\soqb{#2}\tbl0\soqb{#3}}% +%\check +\def\qsoqh#1#2#3#4#5{{\advance\transpose by 7\relax\ibu0{#2}{#1}}\soqh{#2}\relax + \soqh{#3}\soqh{#4}\tbu0\soqh{#5}}% +\def\qsoqb#1#2#3#4#5{\ibl0{#2}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% +%\check +\def\qsoqB#1#2#3#4#5{\ibl0{#3}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% +%\check +% octave inf. en croches u +\def\boqh#1{{\advance\transpose by -7\relax\zq{#1}}\qh0{#1}}% +\def\boqb#1{{\advance\transpose by -7\relax\zq{#1}}\qb0{#1}}% +\def\dboqh#1#2#3{\ibu0{#2}{#1}\boqh{#2}\tbu0\boqh{#3}}% +\def\dboqb#1#2#3{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\tbl0\boqb{#3}}% +%\check +\def\qboqb#1#2#3#4#5{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\relax + \boqb{#3}\boqb{#4}\tbl0\boqb{#5}}% +\def\qboqh#1#2#3#4#5{\ibu0{#2}{#1}\boqh{#2}\boqh{#3}\boqh{#4}\tbu0\boqh{#5}}% +%\check +% +\def\arpg#1#2{\znotes\arpeggio{#1}{#2}\enotes} +\def\Arpg#1#2{\znotes\larpeggio{#1}{#2}\enotes} +\def\uarpg#1#2{\znotes\nextstaff\arpeggio{#1}{#2}\enotes} +\def\uArpg#1#2{\znotes\nextstaff\larpeggio{#1}{#2}\enotes} +% +% soufflets crescendo +% +\def\soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Cresc}}} +\def\Soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\CREsc}}} +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne +% +\debutmorceau +% +\noteskipLarge +\hyphenpenalty -50\relax +\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{90})}\enotes +\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes +\zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes +\zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes +\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0hfgh\enotes +% mesure 2 +\barre\notes\PED\zh{Mb}\hl d\sl\sk\DEP|\qqh0ighi\enotes +\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0jhij\enotes +% mesure 3 +\barre\notes\PED\zh{Mb}\hl d\sk\zcharnote{-5}{\it simile}|\Tleg0\qu k\sk\Ilegl0d\dqh4ik\enotes +\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes +% mesure 4 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 5 +\alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes|\raise -\internote\rlap{\Uptext{\it sempre \ppff mp}}\Ilegl0d\dqh3gh\enotes +% mesure 6 +\barre\notes\zh{LN}\hl b|\qqh0ighi\enotes +\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes +% mesure 7 +\barre\notes\zh{N=b}\hl d|\qqh0{=k}{=i}jk\enotes +\temps\notes\zh{Nc}\hl{=e}|\qqh0{=l}jkl\enotes +% mesure 8 +\barre\notes\zh{Mc}\hl f|\qqh{-3}m{_l}{_k}j\enotes +\temps\notes\zh{M_b}\hl d|\qqh0k{_i}jk\enotes +% mesure 9 +\alaligne\notes\zh{LN}\hl b|\qqh{-3}lkji\enotes +\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes +% mesure 10 +\barre\notes\zh{ad}\hl f|\qqh{-3}kjih\enotes +\temps\notes\lh b\zh c\hl{=e}|\qqh0ighi\enotes +% mesure 11 +\barre\notes\zh{Nb}\hl{=e}|\qqh{-3}jihg\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegl0d\dqh3gh\enotes +% mesure 12 +\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 13 +\alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes +% mesure 14 +\barre\notes\bohl e\rmidtwotext{\it pi\`u forte}\relax + |\zq g\qqh0ighi\enotes +\temps\notes\bohl a|\rlap{\hl e}\zq h\qqh0jhij\enotes +% mesure 15 +\barre\notes\bohu M|\rlap{\hl f}\zq h\qqh0kijk\enotes +\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes +% mesure 16 +\barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes +\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes +% mesure 17 +\alaligne\Notes\bohu M|\zq f\tleg0\qu h\enotes +\temps\notes|\Ilegu0q\dqh3ij\enotes +\temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes +% mesure 18 +\barre\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh3ghik\enotes +\temps\notes\bohu{=L}|\rlap{\hl e}\zq g\qqh{-3}jihg\enotes +% mesure 19 +\barre\Notes\bohu M|\rlap{\ql f}\zq f\tleg0\qu h\enotes +\temps\notes|\Ilegu0p\dqh3gh\enotes +\temps\notes\bohu K|\rlap{\hl d}\zq f\qqh0ihgi\enotes +% mesure 20 +\barre\notes\bohu J|\rlap{\hl c}\zq f\qqh0hgfh\enotes +\temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes +% mesure 21 +\xbarre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes +\zalapage\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax + |\soupir\uptext{\ppff p}\enotes +\temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes +% mesure 22 +\barre\notes\qqB0bNab|\zh{gi}\hu{=l}\enotes +\temps\notes\qqB0cabc|\zh{hj}\hu m\enotes +% mesure 23 +\barre\notes\Tleg0\ql d\sk|\zh{hk}\hu m\enotes +\temps\notes\Ilegu0d\dqb4bd|\enotes +\temps\notes\qqB0cbac|\zh{hj}\hu{_l}\enotes +% mesure 24 +\barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes +\temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes +% mesure 25 +\alaligne\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes +\temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes +\temps\notes\Ilegl0F\dqb3Na|\enotes +% mesure 26 +\barre\notes\zmidtwotext{\it\ poco\ \ a\ \ poco}\qqB0bNab\relax + |\zh{gi_l}\hu n\enotes +\temps\notes\qqB0cabc|\zh{fhj}\hu m\enotes +% mesure 27 +\barre\notes\qqB0{=d}bcd|\zh{fi=k}\hu m\enotes +\temps\notes\qqB0{=e}cde|\zh{gj}\rh i\hu{=l}\enotes +%\check +% mesure 28 +\barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes +\temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes +% mesure 29 +\alaligne\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes +\temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes +% mesure 30 +\barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes +\temps\notes\qqb3MNac|\zh{hjm}\hl o\enotes +%\check +% mesure 31 +\barre\notes\qqb{-3}baNM|\zh{i_ln}\hl p\enotes +\temps\notes\qqb3LMNb|\zh{gil}\hu n\enotes +%\check +%mesure 32 +\barre\notes\Tleg0\ql a\sk|\zh{hjl}\hl o\enotes +\temps\notes\Ilegl0F\dqb3bc|\enotes +\temps\notes\qqb0dcde|\zh{iln}\hl p\enotes +% +% mesure 33 +% changement d'espacement +\def\interfacteur{12}% +\alaligne\noteskipLARGE\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes +\temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes +\temps\notes\Ilegl0F\dqb3bc|\enotes +% mesure 34 +\barre\notes\qqb{-3}dcba|\zh{ikm}\hl p\enotes +\temps\notes\qqb3Nabc|\zh{j=ln}\hl q\enotes +% mesure 35 +\barre\notes\qqb0dcde|\zh{kmp}\hl r\enotes +\temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes +% mesure 36 +\barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\cbreath\enotes +\zalapage\noteskipLarge\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes +\temps\arpg K5\relax +\notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax + |\qsoqb0hfgh\enotes +%\check +% mesure 37 +\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0ighi\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jhij\enotes +%\check +% mesure 38 +\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0kjik\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jihj\enotes +%\check +% mesure 39 +\barre\Arpg J5\notes\zh{=LNc}\lh b\hl{=e}|\qsoqb0ihgi\enotes +\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes +%\check +% mesure 40 +\alaligne\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes +\temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes +\notes\soupir|\Ilegu0t\dsoqb3gh\enotes +%\check +% mesure 41 +\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb0ighi\enotes +\temps\arpg a4\notes\zh{ace}\hl h|\qsoqb0jhij\enotes +%check +% mesure 42 +\barre\Arpg K5\notes\zh{Mb=d}\hl f|\qsoqb0{=k}ijk\enotes +\temps\Arpg J5\notes\zh{JNc}\hl{=e}|\qsoqb0{=l}jkl\enotes +%check +% mesure 43 +\barre\Arpg K5\notes\zh{Mcf}\hl{=h}|\qsoqb{-3}m{_l}{_k}j\enotes +\temps\Arpg I5\notes\zh{IMb}\hl{_d}\sk|\Tleg0\zq i\ql p\enotes +\temps\notes|\Ilegu0t\dsoqb3jk\enotes +%\check +% mesure 44 +\advancebottom{\Interligne}\relax +\alaligne\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes +\temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes +\temps\notes|\Ilegu0r\dsoqb3gh\enotes +%\check +% mesure 45 +\barre\arpg I5\notes\zh{IMb}\hl d|\qsoqb0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qsoqb0hgfh\enotes +%check +% mesure 46 +\def\sfql#1{\usf{#1}\ql{#1}}% +\barre\Arpg J5\notes\soufflcr\zh{JNc}\hl{=e}|\qsoqb0gf{=e}g\enotes +\temps\arpg E5\notes\zq{FJM}\sfql a\sk|\Tleg0\zq f\sfql m\enotes +\temps\notes\zmidtwotext{\ppff f}\dsoqb{-3}F{=E}|\relax + \ifx\mxversion\undefined\Ilegu0s\relax + \else\Ilegu0q\relax + \fi + \dsoqb3fg\enotes +%\check +% mesure 47 +\barre\notes\zq F\ql M\sk\dsoqb3{_E}F|\zq{jm}\qsoqb0hfgh\enotes +\temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes +%\check +% mesure 48 +\alaligne\noteskipLARGE\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes +\temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes +%\check +% mesure 49 +\barre\notes\zq G\ql N\sk\zq E\ql L|\zq{np}\qsoqb{-3}lkji\enotes +\temps\notes\qsoqb0HGHI|\zq{mo}\qsoqb0jijk\enotes +%\check +% mesure 50 +\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{=ln}\qsoqb{-3}jihg\enotes +\temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes +%\check +% mesure 51 +\alaligne\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes +\temps\arpg F5\notes\zq{FJM}\ql a\sk|\relax + \ifx\mxversion\undefined\Tleg0\relax + \else\tslur0o\relax + \fi + \zq{fhj}\ql m\enotes +\temps\notes\Ilegl0F\zmidtwotext{\it meno}\dqb3MN|\soupir\enotes +%\check +% mesure 52 +\barre\nspace\uarpg h4\notes\zmidtwotext{\it\ \ forte}\qqb0aNab|\zh{hjm}\hl o\enotes +\temps\uArpg h5\notes\qqb0cbcd|\zh{j_lo}\hl q\enotes +%\check +% mesure 53 +\barre\nspace\uarpg l4\notes\qqb0edef|\zh{lnp}\hl s\enotes +\temps\uarpg l4\notes\qqb{-3}edcb|\zh{lnp}\hl s\enotes +%\check +% mesure 54 +\barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes +\advancebottom{-\Interligne}\relax \def\interfacteur{10}% +\zalapage\noteskipLarge\notes\dsoqb3J{=K}|\enotes +\temps\uArpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes +% mesure 55 +\barre\noteskipLarge\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes +\temps\uArpg i4\notes\qboqb{-3}gf{=e}d|\zh{=ikn}\hl{=p}\enotes +%\check +%mesure 56 +\barre\nspace\uArpg h5\notes\zq J\ql c\sk\dboqb3{=d}{=e}|\zh{j=ln}\hl q\enotes +\temps\notes\zcharnote j{\kern -2\noteskip\it senza arpeggiare}\relax +\qboqb{-3}f{_e}{_d}c|\zq{m=oq}\ql t\sk\zq{moq}\ql t\enotes +%\check +% mesure 57 +\barre\notes\zmidtwotext{\ppff f}\zq I\ql b\sk|\zh{ikm}\hl p\enotes +\temps\notes\dsoqb3JK|\enotes +\temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes +%\check +% mesure 58 +\alaligne\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes +\temps\notes\dsoqb3IJ|\enotes +\temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes +%\check +% mesure 59 +\barre\notes\qsoqb0JIHJ|\zh{hjm}\hl o\enotes +\temps\notes\qsoqb0IHGI|\zq{i=ln}\ql p\sk\zq{i=ln}\ql p\sk\enotes +%\check +% mesure 60 +\barre\notes\soufflcr\zq H\ql a|\zh{jmo}\hl q\enotes +\temps\notes\dsoqb3GH|\enotes +\temps\notes\rlap{\sk\sk\zmidtwotext{\ppff ff}}\qsoqb0IHGI\relax + |\zq{kmp}\ql r\sk\zq{kmp}\ql r\sk\enotes +% mesure 61 +%\check +\barre\notes\qsoqb0HGFH|\zq{jmo}\ql q\sk\zq{jmo}\ql q\sk\enotes +\temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes +%\check +%mesure 62 +\def\interfacteur{9}% +\alaligne\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax + |\zq{moq}\ql t\cbreath\enotes +\temps\noteskipLarge\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes +%\check +% mesure 63 +\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0ighi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jhij\enotes +%\check +% mesure 64 +\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0kjik\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jihj\enotes +%\check +% mesure 65 +% +\barre\Arpg H5\notes\zh{JN}\lh b\hl c|\qqh0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegu0q\dqh3gh\enotes +%\check +% mesure 66 +\alaligne\arpg I4\notes\zh{KMb}\hl d|\qqh0ihgi\enotes +\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes +%\check +% mesure 67 +\barre\Arpg H5\notes\zh{J=LN}\hl c|\qqh0gf{=e}g\enotes +\temps\arpg M3\notes\zq{Ma}\ql c|\Tleg0\qu f\enotes +\cleftoksi={{6}{6}{0}{0}}% +\changeclefs\nspace +\notes\soupir|\zcharnote A{\ppff f}\ifx\mxversion\undefined\Ilegu0g\else + \Ilegu0d\fi + \dqb3MN\enotes +%\check +% mesure 68 +\def\bozh#1{{\advance\transpose by -7\zh{#1}}\zh{#1}}\relax +\def\bozq#1{{\advance\transpose by -7\zq{#1}}\zq{#1}}\relax +\barre\arpg{!`F}6\notes\uptext{\ppff f \it e nervoso}\bozh F\hu J\relax + |\qqB0aMNa\enotes +\temps\arpg{!`E}6\notes\bozh E\hu I|\qqB0bNab\enotes +% mesure 69 +%\check +\barre\arpg A6\notes\bozh H\hu L|\qqB0cabc\enotes +\temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes +%\check +% mesure 70 +\alaligne\noteskipLARGE\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes +\temps\Arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes +%\check +% mesure 71 +\barre\arpg B6\notes\bozh I\hu M|\qqb3bcdf\enotes +\temps\arpg A8\notes\bozh E\zh I\hu N|\qqb{-3}edcb\enotes +%\check +% mesure 72 +\barre\arpg A6\notes\bozh H\hu L|\qqb3abce\enotes +\temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes +%\check +% mesure 73 +\alaligne\noteskipLARGE\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes +\temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes +% +% mesure 74 +\barre\arpg {!`D}6\notes\bozh F\hu J|\ifx\mxversion\undefined\Tleg0\relax + \else\tslur0b\fi + \ql a\sk\enotes +\temps\notes|\Ilegu0d\dqb3Na\enotes +\temps\arpg B5\notes\bozh I\hu K|\qqB0baNb\enotes +%\check +% mesure 75 +\barre\arpg C5\notes\bozh J\hu M|\qqB0aNMa\enotes +\temps\Arpg C5\notes\bozh J\hu {=L}\zmidtwotext{\ppff mf}|\qqB0NM{=L}N\enotes +%\check +% mesure 76 +\barre\noteskipLarge\arpg{-8}6\notes\bozq F\zq H\qu J\relax + |\Tleg0\ql M\enotes +\cleftoksi={{6}{0}{0}{0}}% +\changeclefs\def\interfacteur{11}% +\advancebottom{\Interligne}\relax +\zalapage\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes +\temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes +% mesure 77 +%\check +\barre\arpg A6\notes\bozh H\hu L|\qboqh0jijk\enotes +\temps\arpg E5\notes\bozh L\hu N|\qboqh{-3}lkji\enotes +% mesure 78 +%\check +\barre\arpg F4\notes\zh{FJ}\hu M|\zq a\qu h\sk\enotes +\temps\notes|\dboqh3ij\enotes +\temps\arpg {!`G}7\notes\bozh I\hu M|\qboqh{-3}kjih\enotes +% mesure 79 +\barre\Arpg C5\Notes\bozh J\hu{=L}|\zq N\qu g\enotes +\temps\notes|\dboqh3hi\enotes +\temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes +%\check +% mesure 80 +\alaligne\arpg {!`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes +\temps\notes|\dboqh3gh\enotes +\temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes +% mesure 81 +\barre\arpg B6\notes\bozh J\hu M|\qboqh0hgfh\enotes +\temps\Arpg B5\notes\bozh J\hu{=L}|\qboqh0gfeg\enotes +%\check +%mesure 82 +\barre\arpg {!`F}6\notes\bozq F\qu J\zmidtwotext{\ppff f}|\Tleg0\zq{Ma}\qu f\sk\enotes +\temps\notes\dboqh3LM\zmidtwotext{\it sempre}|\dsoqb3gh\enotes +\temps\notes\qboqb0NLMN|\zq{ln}\qsoqh0ighi\enotes +% mesure 83 +\barre\notes\zmidtwotext{\it crescendo}\qboqb0aMNa|\zq{lo}\qsoqb0jhij\enotes +\temps\notes\zmidtwotext{\it\kern 1.5\noteskip e}\qboqb0bNab\relax + |\zq{mp}\qsoqb0kijk\enotes +% \check +% mesure 84 +\alaligne\noteskipLARGE\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes +\temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes +% \check +% mesure 85 +\def\boql#1{{\advance\transpose by -7\relax\zq{#1}}\ql{#1}}% +\def\boqu#1{{\advance\transpose by -7\relax\zq{#1}}\qu{#1}}% +\barre\notes\boql b\sk\boql b|\zq{mp}\qsoqb{-3}kjih\enotes +\temps\notes\bohu L|\zq{jl}\qsoqb2ghik\enotes +% mesure 86 +\barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes +\temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes +% mesure 87 +\alaligne\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes +\temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes +% mesure 88 +\barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes +\temps\notes\qboqb0aNab|\zq{mo}\qsoqb0jij{=k}\enotes +%\check +% mesure 89 +\barre\notes\zmidtwotext{\ppff \fff}\qboqb0c{=b}c{=d}|\relax + \ifx\mxversion\undefined\octsup v9\relax + \else \ioctfinup v\relax + \fi \zq{gj}\qsoqh0{=e}{=d}ef\enotes +\temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes +%\check +% mesure 90 +\alaligne\noteskipLarge\notes\qboqb{-2}gg{=e}{_d}|\relax + \ifx\mxversion\undefined\octfin v9\fi + \zq{=ln}\qsoqb{-2}iig{=e}\enotes +\temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\relax + \ifx\mxversion\undefined\else\toctfin\fi + \enotes +% mesure 91 +%\check +\barre\notes\qboqh{-2}JIG{=E}|\qsoqh{-2}ddbN\enotes +\temps\notes\rlap{\qboqb0CGEC}\ibu0d{-2}\boqh d\qsk\boqh d\boqh b\tbu0\boqh N\enotes +%\check +% mesure 92 +\barre\notes\rlap{\qsk\ibu0A0\boqh C\tbu0\boqh C}\ibu0K0\boqh K\qsk\rq K\tbu0\qh0J|\enotes +\temps\notes\rlap{\qsk\dsoqb0CC}\ibu0d0\boqh d\qsk\rq d\tbu0\qh0c|\enotes +\temps\notes\dsoqb0JJ|\ibu0k0\boqh k\rq k\tbu0\qh0j\enotes +\temps\notes|\rlap{\qsk\dsoqb0cc}\ibu0q0\soqh k\qsk\rq r\tbu0\qh0q\enotes +\cleftoksi={{0}{0}{0}{0}}\zchangeclefs +%\check +% mesure 93 +\barre\noteskipLarge\def\scalenoteskip{1.05}\relax +\notes\dsoqb0jj\dsoqh0cc|\ifx\mxversion\undefined\octsup v6\else\ioctfinup t\fi + \ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes +\temps\notes\zq M\cu f|\zq m\cl t\zbreath\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs +\staffbotmarg=3\Interligne\def\interfacteur{11}% +\zalapage\notes\midtwotext{\kern -6mm\it sempre + \ppff \fff}\enotes +\temps\notes\dsoupir\boql f|\ifx\mxversion\undefined\octline v\fi + \ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes +% mesure 94 +\barre\notes\zmidtwotext{\it ed accelerando}\boql f\sk\boql f|\qsoqb0ighi\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0jhij\enotes +%\check +% mesure 95 +\barre\notes\boql f\sk\boql f|\qsoqb0kjik\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0jihj\enotes +%\check +% mesure 96 +\barre\notes\boql f\sk\boql f|\qsoqb0ihgi\enotes +\temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes +%\check +% mesure 97 +\alaligne\noteskipLarge +\notes\boql{=e}\sk\boql e|\ifx\mxversion\undefined\octline t\fi + \qsoqb0gf{=e}g\enotes +\temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes +%\check +% mesure 98 +\barre\notes\boql d\sk\boql d|\qsoqb0ighi\enotes +\temps\notes\boql c\sk\boql c|\qsoqb0jhij\enotes +%\check +% mesure 99 +\barre\notes\boql b\sk\boql b|\qsoqb0kjik\enotes +\temps\notes\boql a\sk\boql a|\qsoqb0jihj\enotes +%\check +% mesure 100 +\barre\notes\boql N\sk\boql N|\qsoqb0ihgi\enotes +\temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes +%\check +% mesure 101 +\alaligne\notes\boql K\sk\boql K|\ifx\mxversion\undefined\octfin u{17}\fi + \qsoqb0ihgi\enotes +\temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes +%\check +% mesure 102 +\barre\notes\boql J\sk\boql J|\qsoqb0gf{=e}g\enotes +\temps\NOtes\pointdorgue d\bohu K|\pointdorgue o\zh{hk}\bohl m\relax + \ifx\mxversion\undefined\else\toctfin\fi \enotes +% mesure 103 +\barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes +\temps\notes\Ilegl0F\dqb3Na|\hpause\enotes +\temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes +%\check +% mesure 104 +\barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes +\temps\notes\tleg0\ql c\sk|\zh{hj}\hl l\enotes +\temps\notes\Ilegu0f\dqb3bc\enotes +%\check +% mesure 105 +\alaligne\notes\qqB0dcbd|\zh{il}\hl n\enotes +\temps\notes\qqB0cbac|\zh{hj}\hl m\enotes +% mesure 106 +\barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes +\temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes +\temps\notes\Ilegu0f\dqb3Na|\enotes +%\check +% mesure 107 +\barre\notes\qqB0baNb|\zh{gik}\hl m\enotes +\temps\notes\qqB0aNMa|\zh{hj}\hl m\enotes +%\check +% mesure 108 +\barre\notes\qqB0NM{=L}N|\zh{gj}\lh i\hl{=l}\enotes +\temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes +\temps\notes\soupir|\Ilegl0M\dqh3MN\enotes +% mesure 109 +\advancebottom{-2\Interligne}% +%\check +\alaligne\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax + |\uptext{\it espressivo e delicato}\qqh3abcd\enotes +\temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes +% mesure 110 +\barre\notes\zh H\hl L|\ifx\mxversion\undefined\Tleg0\else\tslur0a\fi + \qu a\sk\enotes +\temps\notes|\Ilegl0a\dqh3c{=d}\enotes +\temps\notes\zh{JN}\hl c|\qqh4{=e}fgh\enotes +%\check +% mesure 111 +\barre\notes\zh{JN}\hl b|\qqh{-6}ig{_d}c\enotes +\temps\notes\zh{FJ}\hl M|\Tleg0\qu c\sk\enotes +\temps\notes|\Ilegl0b\dqh3fg\enotes +% mesure 112 +\barre\notes\zh F\hl L|\rlap{\hl c}\qqh0{=h}ijh\enotes +\temps\notes\zh{IM}\hl b|\rlap{\hl d}\tleg0\qu f\sk\enotes +\temps\notes|\Ilegl0b\dqh3ij\enotes +% mesure 113 +\alaligne\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes +\temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes +% mesure 114 +\barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes +\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0s\cl{_n}\enotes +\Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes +% mesure 115 +\barre\arpg I5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes +\temps\notes\Soufflcr\zh{JN}\hl c|\rlap{\sk\sk\sk\tleg0}\qqH6{=e}gkj\enotes +%\check +% mesure 116 +\barre\notes\zmidtwotext{\ppff ff}\zq{J=L}\ql N|\dsoqh{-3}dc\enotes +\cleftoksi={{0}{0}{0}{0}}\zchangeclefs +\nspace\notes\zq{c=e}\qu g|\dsoqb{-3}kj\enotes +\temps\notes\zq{j=l}\ql n|\dsoqb{-3}rq\enotes +\temps\notes\zq{ce}\qu g|\dsoqb{-3}kj\enotes +\cleftoksi={{6}{0}{0}{0}}\zchangeclefs + %\check +% mesure 117 +\def\motif#1#2#3{\notes\ibu0F4\boqh F\relax + |\sk{\advance\transpose by 3\relax\ibu1{#3}6}\zq{#1}\zq{#2}\qh1{#3}\relax + \tbl0\zq{#1}\zq{#2}\qb0{#3}\tbu1{\advance\transpose by 7\relax + \zq{#1}\zq{#2}\qh1{#3}}\enotes}% +%\check +\staffbotmarg=5\Interligne +\alapage\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm +\moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes +\motif acf\temps\motif bdg\relax +% mesure 118 +\barre\motif cfh\temps\motif acf\relax +% mesure 119 +\barre\motif bdg\temps\motif cfh\relax +% mesure 120 +\barre\motif dgi\temps\motif bdg\relax +% mesure 121 +\alaligne\motif cfh\temps\motif dgi\relax +% mesure 122 +\xbarre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax +% mesure 123 +\xbarre\motif dfi\temps\motif fhj\relax +% mesure 124 +\xbarre\motif fik\temps\motif dfi\relax +\generalmeter{\meterfrac 54}\relax\lchangecontext +\znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes +% mesure 125 +%\check +\def\motif#1#2#3#4#5#6{\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes +\notes{\advance\transpose by -7\relax +\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes +\notes|\zq{#1}\zq{#2}\qb1{#3}\zq{#4}\zq{#5}\qb0{#6}\enotes +\notes|{\advance\transpose by 7\relax +\zq{#1}\zq{#2}\qb1{#3}\tbl0\zq{#4}\zq{#5}\qb0{#6}}\enotes +\notes|{\advance\transpose by 14\relax +\tbl1\zq{#1}\zq{#2}\qb1{#3}}\enotes}% +%\check +\noteskipLarge\relax +\motif {=e}gjegj\relax +% mesure 126 +\xbarre\motif fhjfhj\relax +% mesure 127 +\xbarre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes +\notes{\advance\transpose by -7\relax +\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes +\notes|\zq g\lq i\qb1j\zq g\lq i\qb0j\enotes +\notes|{\advance\transpose by 7\relax +\zq g\lq i\qb1j\tbl0\zq g\lq i\qb0j}\enotes +\notes|{\advance\transpose by 14\relax +\tbl1\zq g\lq i\qb1j}\enotes +%\check +% mesure 128 +\alaligne\motif fikfik\relax +% mesure 129 +\xbarre\motif gi{=l}gil\relax +% mesure 130 +\generalmeter{\allabreve}\changecontext +\noteskipnormal\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax +\sforz x\zh{j=ln}\hu q\enotes +\temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes +% mesure 131 +\noteskipLarge\transpose=0\relax\barre +\notes\rlap{\bohu F}\ifx\mxversion\undefined\Ilegu0g\else\Ilegu0e\fi + \qqh3MNab|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen + tempo I$^{\bf o}$}\enotes +\temps\notes\qqb0cbcd|\zh{hj}\hu m\uptext{\it m.s.}\enotes +% mesure 132 +\ifx\mxversion\undefined + \def\atnextline{\Invertslur0\relax\liftslur0{-2\Interligne}}% +\else + \def\atnextline{\Invertslur0\relax}% +\fi +%\show\Invertslur +%\show\liftslur +\alaligne\notes\bohu L|\qqb0edef\enotes +\temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes +% mesure 133 +\barre\Notes\tslur0L\bohu H|\hl c\enotes +\temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes +\temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes +% mesure 134 +%\check +\barre\notes\bohu J|\qqb5{=e}gkj\enotes +\temps\notes|\rlap{\zh n\rh p\hu q}\qqB{-6}igdc\enotes +% mesure 135 +\barre\notes\bohl M|\ibl0e0\qb0{=h=ef}\tqb0g\enotes +\temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes +%\check +% mesure 136 +\alapage\noteskipLarge\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk + \ifx\mxversion\undefined\tleg0\else\tslur0a\fi}\qqb{-6}lj{=h}f\enotes +\temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes +%\check +% mesure 137 +\barre\arpg I5\notes\zh{KMb}\hl d|\qqb{-6}ki{_h}g\enotes +\temps\Arpg H5\notes\zmidtwotext{\it crescendo}\zh{JN}\lh b\hl c|\qqh{-6}{=l}kig\enotes +% mesure 138 +%\check +\barre\Arpg H6\notes\zh{=Lb=e}\hl g\zmidtwotext{\it molto}|\qqh{-6}n{=l}ki\enotes +\temps\Arpg b{9}\notes\zh c|\rlap{\zh {=eg}\hl j}\qqh{-6}pnlk\enotes +%\check +% mesure 139 +\barre\Arpg H5\notes\zh{=LN}\bohl c|\qqb{-8}rpnj\enotes +\temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes +%\check +% mesure 140 +\alaligne\noteskiplarge\bigaccid +\notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip + \hbox{\it e crescendo}}}\soupir|\soupir\enotes +%\check +\noteskipnormal\def\scalenoteskip{0.75}\relax +\notes\ibbl0F3\soqb F\qs\tbl0\soqb G\qs|\qs\ibbu0m3\soqh f\qs\tbu0\soqh g\enotes +%\check +\def\motif#1#2#3#4{\notes\ibbu0b0{\advance\transpose by -7\relax\boqh{#1}}\sk + |\qsk\sk\rlap{\soqb{#1}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#2}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#3}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk +\tbl0\soqb{#4}}\enotes +}% fin motif +%\check +\temps\motif hfgh\relax +%\check +% mesure 141 +\xbarre\motif ighi\temps\motif jhij\relax +% mesure 142 +\xbarre\motif kjik\temps\motif jihj\relax +% mesure 143 +\def\scalenoteskip{0.7}\alaligne\motif ihgi\temps\motif hgfh\relax +%\check +% mesure 144 +\xbarre\motif gf{=e}g\temps\motif ffgh\relax +% mesure 145 +\xbarre\motif ighi\temps\motif jhij\relax +% mesure 146 +\alaligne\motif {=k}ijk\temps\motif {=l}jkl\relax +% mesure 147 +\xbarre\motif m{_l}{_k}j\temps\motif iijk\relax +% mesure 148 +\xbarre\motif lkji\temps\motif hhij\relax +% mesure 149 +\alaligne\motif kjik\relax +%\check +\def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax +\boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#6}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#7}}\enotes +\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk +\tbl0\soqb{#8}}\enotes}% fin motif +%\check +\temps\motif j{^j}{=k}{^k}jjjj\relax +% mesure 150 +\xbarre\motif {=l}{_l}{=k}{_k}jjjj\relax +\temps\motif jihgjj{=k}{=l}\relax +% mesure 151 +\noteskipLarge\varaccid +\xbarre\Notes\pointdorgue a\zcharnote i{\ppff \fff}\bohl M\relax + |\pointdorgue u\zh{=oq}\sohl m\enotes +%\check +\NOtes\rlap{\pointdurgue F\soupir}\midtwotext{\it\vbox{\hsize 2\noteskip +\centerline{a piacere +}\centerline{% +quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes +\transpose=-7\relax +% +\staffbotmarg=3\Interligne +\Notes\charnote C{\ppff f}\dqh8FJ\enotes +% +% +% mesure 152 +% +\def\motif{}% +\def\motifb#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\usf{#2}\qb0{#2}\tbbl0\qb0{#3}% +\nbbl0\qb0{#4}\tbbl0\qb0{#5}\nbbl0\qb0{#6}\tqb0{#7}}% +\def\motifh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}% +\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% +\def\motifH#1#2#3#4#5#6#7{{\advance\transpose by 3\ibbu0{#2}{#1}}% +\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% +%\check +\noteskipnormal\def\scalenoteskip{1.11}\hyphenpenalty -20\relax +\transpose=0\relax +\alapage\notes\motifh8FHJMac\enotes +\temps\notes|\motifb8fhjmoq\enotes +%\check +% mesure 153 +\barre\notes|\motifb{-6}t{=s}tqom\enotes +\zbarre\notes|\na l\motifb{-6}lmjhf{=e}\enotes +\zbarre\notes|\usf f\ibbl0d0\qb0f\tbbl0\qb0c\enotes +\notes\nbbu0\qh0a\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\zbarre\notes\motifh{-4}JHF{=E}FC\enotes +\transpose=-7\relax +\zbarre\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 154 +\alaligne +\transpose=-7\relax +\notes\motifh8FIKMbd\enotes +\zbarre\notes|\motifh8fikmpr\enotes +\transpose=7\relax +\notes|\usf f\ibbl0f4\qb0{fi}\tqb0k\enotes +%\check +% mesure 155 +\transpose=0\relax +\barre\notes|\motifb{-6}t{=s}trpm\enotes +\zbarre\notes|\na l\motifb{-6}lmkif{=e}\enotes +\zbarre\notes|\usf f\ibbl0e0\qb0f\tbbl0\qb0d\enotes +\notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\zbarre\notes\motifh{-4}KIF{=E}FD\enotes +\transpose=-7\relax +\zalaligne\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 156 +\transpose=-7\relax +\barre\notes\motifH8FJ{_L}Mc{_e}\enotes +\zbarre\notes|\motifH8fj{_l}mq{_s}\enotes +\transpose=7\relax +\zbarre\notes|\sforz h\ibbl0g4\qb0{fj}\tqb0{_l}\enotes +%\check +% mesure 157 +\transpose=0\relax +\barre\notes|\motifb{-6}t{=s}t{_s}qm\enotes +\zbarre\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes +\zbarre\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes +\notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes +\zalaligne\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes +\transpose=-7\relax +\zbarre\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +%\check +% mesure 158 +\def\motif{}% +\def\motifb{}% +\def\motifh{}% +\noteskipnormal +\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FIK}\tqh0M\enotes +\zbarre\notes\transpose=0\relax\ibbu0I8\qh0{IK}\tqh0M\enotes +\zbarre\notes|\transpose=7\relax\ibbu0I8\qh0{IK}\tqh0M\enotes +\zbarre\notes|\transpose=0\relax\lsf i\ibbu0i8\qh0{ik}\tqh0m\enotes +\zbarre\notes|\transpose=7\relax\lsf g\ibbu0g8\qh0{gik}\tqh0m\enotes +%\check +\def\souffldim{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Dimin}}}% +% mesure 159 +\transpose=7\relax\def\motifa{\sforz u\ibbu0m0\qh0{nm}\tqh0n}\relax +\def\motifb{\ibbl0k{-8}\qb0{ki}\tqb0f}\relax +\barre\notes\souffldim|\motifa\enotes +\notes|\motifb\enotes +\transpose=0\relax +\zbarre\notes|\motifa\enotes +\notes|\motifb\enotes +\transpose=-7\relax +\zbarre\notes|\motifa\enotes +\notes\motifb\enotes +\transpose=-14\relax +\zbarre\notes\motifa\enotes +\notes\motifb\enotes +\transpose=-21\relax +\zbarre\notes\motifa\enotes +\notes\motifb\enotes +%\check +% mesure 160 +\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FJM}\tqh0N\enotes +\zbarre\notes\transpose=0\relax\ibbu0H8\qh0{HJM}\tqh0N\enotes +\zbarre\notes\transpose=7\relax\ibbu0J0\qh0{HJ}\enotes +\notes|\transpose=7\qb0M\tqb0N\enotes +\zbarre\notes|\transpose=0\relax\ibbu0h8\qh0{hjm}\tqh0n\enotes +\zbarre\notes|\transpose=7\relax\ibbl0h8\qb0{hjm}\tqb0n\enotes +% +% mesure 161 +% sixte et quinte inferieures +\transpose=0\relax +\def\motifb{}\def\motifh{}\def\motifH{}% +\def\bsqh#1{{\advance\transpose by -5\relax\zq{#1}}\qh0{#1}}% +\def\bqqh#1{{\advance\transpose by -4\relax\zq{#1}}\qh0{#1}}% +\def\tbsqh{\tbu0\bsqh}\def\tbqqh{\tbu0\bqqh}% +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\generalmeter{\meterfrac 44}\changecontext\staffbotmarg=5\Interligne +\def\serre{\def\scalenoteskip{0.8}}\serre +\def\motif{\ibbbl2n{-6}\qb2{onm}\tqb2j}% +\transpose=0\relax +\def\atnextline{\serre}\relax +\ifx\mxversion\undefined + \def\everystaff{\znotes\nextstaff\octline t\enotes}\relax +\fi +\zalapage +\ifx\mxversion\undefined\else + \znotes|\ioctfinup t\enotes +\fi +\notes|\motif\enotes +\zbarre\notes\souffldim|\motif\enotes +\zbarre\notes\hpause|\motif\enotes +\zbarre\notes|\motif\enotes +% +% +\temps\notes\soupir|\motif\enotes +\zbarre\notes\zmidtwotext{\ppff p}|\motif\enotes +\zbarre\notes\ibu0f1\bsqh f|\motif\enotes +\notes\tbsqh g|\motif\enotes +% mesure 162 +\def\Motif#1#2#3#4{\Ibbbl2{#1}{#4}3\hb2{#1#2#3}\tbl2\hb2{#4}}% +\barre\NOtes\ibu0g0\bsqh h\bsqh f\bsqh g\tbsqh h\relax + |\Motif onmj\enotes +\temps\NOtes\ibu0h0\bsqh i\bsqh g\bsqh h\tbsqh i|\Motif ponk\enotes +% mesure 163 +%\check +\def\motif#1#2#3#4{\Ibbbl1{#1}{#4}3\qb1{#1#2#3}\tbl1\qb1{#4}}% +\barre\NOtes\ibu0g0\bsqh j\bsqh h\bsqh i\tbsqh j\relax + |\Motif qpom\enotes +\temps\notes\ibu0j{-6}\bsqh k|\motif rqpm\enotes +\notes\tbsqh i|\motif rqpm\enotes +\zbarre\notes\ibu0i{-6}\bsqh j|\motif qpom\enotes +\notes\tbsqh h|\motif qpom\enotes +%\check +% mesure 164 +\generalmeter{\meterfrac 34}\changecontext +\notes\ibu0h{-4}\zq d\qh0i|\motif pon{=l}\enotes +\notes\tbsqh g|\motif ponl\enotes +\temps\NOtes\zh b\zh{=e}\hu g|\Motif ponl\enotes +%\check +% mesure 165 +\generalmeter{\meterfrac 44}\changecontext\serre +\Notes\Ibu0hg3\bsqh i|\motif ponk\enotes +\Notes\tbsqh g|\motif ponk\enotes +\zbarre\Notes\Ibu0ge3\bsqh h|\motif onmj\enotes +\Notes\tbsqh f|\motif onmj\enotes +\zbarre\NOtes\zq a\qu f\sk\Ibu0gf1\bsqh h\tbsqh f|\Motif onmj\enotes +%\check +% mesure 166 +\barre\serre\notes\ibu0g1\bigna e\bsqh e\relax|\motif nm{=l}i\enotes +\notes\bsqh g|\motif nmli\enotes +\notes\bsqh f|\motif onmj\enotes +\notes\tbsqh h|\motif onmj\enotes +\notes\ibu0i1\bsqh g|\motif ponk\enotes +\notes\bsqh i|\motif ponk\enotes +\notes\bsqh h|\motif qpol\enotes +\notes\tbu0\bsqh j|\motif qpol\enotes +%\check +% mesure 167 +\generalmeter{\meterfrac 34}% +\changecontext\notes\ibu0j1\bigna h\bsqh h\relax +|\motif qp{=o}m\enotes +\notes\bsqh j|\motif qpom\enotes +\notes\bsqh i|\motif rqpm\enotes +\notes\tbsqh k|\motif rqpm\enotes +\notes\ibu0j1\bsqh j|\motif srqm\enotes +\notes\bigfl g\tbsqh l|\motif srqm\enotes +% +% mesure 168 +\generalmeter{\meterfrac 44}\changecontexte +\NOtes\zq f\qu k\sk\ibu0i2\bsqh i\tbsqh k|\Motif rqpm\enotes +\zbarre\NOtes\ibu0i0\bsqh j\bsqh i\fl h\bsqh h\tbsqh j|\Motif qpom\enotes +% +% mesure 169 +\barre\NOtes\ibu0h0\bsqh i\bsqh h\bsqh g\tbsqh i|\Motif ponk\enotes +\zbarre\Notes\ibu0g0\bsqh h\bsqh g\bsqh f\tbsqh h| +\Motif onmj\enotes +% mesure 170 +\barre\Notes\ibu0f0\bsqh g\bsqh f\na e\bsqh e\tbsqh g|\Motif nm{=l}i\enotes +\temps\Notes\zh a\hu f|\Motif onmj\enotes +%\check +% mesure 171 +\barre\Notes\ibu0f0\na a\zq c\bsqh f\zq c\bsqh f\zq c\bsqh f\zq c\tbsqh +f|\na o\Motif onmj\enotes +\temps\Notes\ibu0f0\zq d\bqqh f\zq d\bqqh f\zq d\bqqh f\zq d\tbqqh +f|\Motif p{_o}nk\enotes +%\check +% mesure 172 +\barre\Notes\ibu0g0\zq d\bsqh g\zq d\bsqh g\zq d\bsqh g\zq d\tbsqh +g|\Motif ponk\enotes +\temps\Notes\ibu0h0\zq f\bsqh h\zq f\bsqh h\zq f\bsqh h\zq f\tbsqh +h|\Motif qpom\enotes +% mesure 173 +\barre\Notes\ibu0g0\zmidtwotext{\it smorz.}\relax +\zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes +\nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\toctfin\enotes +\suspmorceau\def\everystaff{}\relax +\eject +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% finale % +\transpose=0\relax\cleftoksi={{6}{0}{0}{0}}% + \eject\staffbotmarg=3\Interligne\relax +\def\interfacteur{11}% +\def\scalenoteskip{1.0}% +% mesure 200 +\barno=200\relax +\generalmeter{\allabreve}\reprmorceau +\savemeters\noteskipLarge\saveclefs +\notes\zmidtwotext{\ppff p}|\Uptext{\kern -7mm\moyen +a tempo primo, con molta delicatezza}\soupir\enotes +\temps\notes\hpause|\Ilegl0d\dqh3fg\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hfgh\enotes +% mesure 201 +\xbarre\notes\zh{Mb}\hl d|\qqh0ighi\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu j\sk\enotes +\temps\notes|\Ilegl0d\dqh3ij\enotes +% mesure 202 +\xbarre\notes\zh{Mb}\hl d|\qqh0kjik\enotes +\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes +%\check +% mesure 203 +\xbarre\notes\zh M\lh N\hl b|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\enotes +\temps\notes|\Ilegl0d\dqh3gh\enotes +%\check +% mesure 204 +\alaligne\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes +% mesure 205 +\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes +\temps\notes|\Ilegu0r\dqh3gh\enotes +% mesure 206 +\barre\notes\zh{LN}\hl b|\rlap{\hl e}\qqh0ighi\enotes +\temps\notes\zh{La}\hl c|\rlap{\hl e}\qqh0jijk\enotes +% mesure 207 +\barre\notes\zh b\bohl e|\rlap{\hl g}\qqh{-3}lkji\enotes +\cleftoksi={{0}{0}{0}{0}}\changeclefs +\temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes +\temps\notes|\Ilegu0t\dqh3jk\enotes +% mesure 208 +\alaligne\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes +\temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes +% mesure 209 +\barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax + \ibl0m0\qb0{=o=lm}\tqb0n\enotes +\temps\notes\zh{c_e}\hu h|\qqb3opqr\enotes +%\check +% mesure 210 +\xbarre\notes\zh{=ac}\hu{_g}|\qqb{-7}sq{=o}m\enotes +\temps\notes\zh{bd}\hu f|\Tleg0\ql r\enotes +\temps\notes|\Ilegu0s\dqb4pr\enotes +% mesure 211 +\xbarre\notes\zh{ac}\hu f|\qqB0qpoq\enotes +\cleftoksi={{6}{0}{0}{0}}\changeclefs +\temps\notes\zh{Nb}\hl{=e}|\qqB0ponp\enotes +% mesure 212 +\generalmeter{\meterfrac 32}\changecontexte +\Notes\zh{Ma}\hl c|\Tleg0\ql o\enotes +\temps\notes|\Ilegu0r\dqb3no\enotes +\temps\notes\zh{KM}\hl b|\qqB0ponp\enotes +\temps\notes\zh{JM}\hl a|\qqB0onmo\enotes +%\check +% mesure 213 +\generalmeter{\allabreve}\changecontexte +\notes\zh{J=L}\hl N|\qqB0nm{=l}n\enotes +\temps\Notes\boqu M|\Tleg0\hl m\enotes +\temps\notes\zmidtwotext{\kern -1.5\noteskip\ppff pp}\Ilegu0e\dqb3MN\enotes +%\check +% mesure 214 +\xbarre\notes\qqb3abcd|\zh{fh}\hu j\enotes +\temps\notes\qqb{-3}cbaN|\zh{=eg}\hu j\enotes +%\check +% mesure 215 +\xbarre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes +\temps\notes\Ilegu0d\dqb3Na\enotes +\temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216 +\alaligne\notes\qqB0aNMa|\zh{fh}\hl j\enotes +\temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes +% mesure 217 +\barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes +\cleftoksi={{6}{6}{0}{0}}\changeclefs +\notes|\Ilegl0E\dqh3Na\enotes +\temps\notes\bohu K|\rlap{\hl M}\qqh5bcdf\enotes +% mesure 218 +\barre\notes\bohu L|\rlap{\hl N}\qqh{-3}edcb\enotes +\temps\Notes\bohu H|\Tleg0\rlap{\ql a}\qu c\enotes +\temps\notes|\Ilegl0E\dqh3bc\enotes +%\check +% mesure 219 +\barre\notes\bohu I|\rlap{\hl M}\qqh0dcbd\enotes +\temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes +%\check +% mesure 220 +\alaligne\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes +\temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes +\temps\notes|\Ilegl0F\dqh3Na\enotes +% mesure 221 +\barre\notes\Uptext{\it diminuendo,\ \ \ ma senza}\bohu D\relax + |\rlap{\hl K}\qqh0baNb\enotes +\temps\notes\bohu C|\rlap{\hl J}\qqh0aNMa\enotes +% mesure 222 +%\check +\barre\notes\Uptext{\it rallentare}\bohu C|\rlap{\hl J}\qqh0NMLN\enotes +\temps\NOtes\bohu F|\Tleg0\rlap{\hl J}\hu M\enotes +% mesure 223 +\barre\notes\bohu F|\itenu0f\itenl1M\roff{\zqp b\zqup d}\bohl f\sk\sk +\itenu2a\itenu3c\zq a\cu c\qsk\enotes +\NOtes\pointdorgue a\bohu F\relax + |\pointdurgue F\tten0\tten1\tten2\tten3\zh{ac}\bohl f\enotes +\finmorceau \rightline{\sl \aujourdhui} +\eject +\bye +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/parnasum.tex b/Master/texmf-dist/doc/generic/musixtex/examples/parnasum.tex new file mode 100644 index 00000000000..decd8797a87 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/parnasum.tex @@ -0,0 +1,132 @@ +%format musix + +\input musixtex + +\catcode`@=11 +\def\Special{\def\n@bbl{\C@nb\c@z\c@x\m@ne\z@}% + \def\beamst@m{\getcurpos\advance\y@v-\b@x + \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z \stem@skip\z@ + \advance\y@ii\b@n\interbeam \advance\y@ii\tw@\interbeam \st@bot\y@ii\C@stem}% + \def\t@xbl{\C@txb\lthick{\f@ur\b@amthick}\interbeam\hlthick<}}% +\def\DS{\zchar4\ds} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% TEX translation of MIDI File : +% o.MID +% +% Written by Hans Kuykens +% this translation of date : 1-9-1993 +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\centerline{\BIGtype Doctor Gradus ad Parnassum}\bigskip\bigskip +\rightline{\medtype Claude Debussy}\medskip +\musicparskip +\parindent10mm + +\generalmeter{\meterfrac44} +\setstaffs1{2} +\interstaff{11} +\setclef1\bass +\startmuflex\startpiece\systemnumbers +%%% bar 1 +\scale\tinyvalue +\notes\zchar{11}{\p\lower.5ex\hbox{\it\ \'egal et sans s\'echeresse}}% + \itied0C\tinynotesize\stdstemfalse\grcu C% + |\Uptext{\medtype\bf Mod\'er\'ememt anim\'e}\en +\scale\normalvalue +\notes\tslur0H\isslurd0J\lst J\wh J% + |\qs\Ibbu0Nd2\isslurd1N\qb0{Nc}\tqh0d\en +\notes|\ibbu0d0\qb0{eNc}\tqh0e\ibbu0c0\qb0{dMc}\tqh0d\en +\notes|\ibbu0e0\qb0{fab}\tqh0f\en +%%% bar 2 +\bar +\notes\midslur{-4}\ttie0\itied0J\wh J|\ibbu0d0\qb0{eNc}\tqh0e\en +\notes|\ibbu0f0\qb0{gbc}\tqh0g\en +\notes|\ibbu0e0\qb0{fac}\tqh0f\en +\notes|\ibbu0g0\qb0{hbf}\tqh0h\curve{-2}15\tslur1d\midslur{-4}\en +%%% bar 3 +\bar +\notes\zchar4\qp\ttie0\ql J% + |\loffset{1.3}{\islurd1e}\ibbu0f0\qb0{gce}\tslur1f\tqh0g\en +\notes\roffset{1.1}{\zhu{.c}}\roffset{1.75}{\itieu1c}\ibslurd0c\ql c% + |\ibsluru2k\upz{11}\zcu j\ibbl0h0\qb0{je}\DS\qb0g\tqb0j\en +\notes\ql b|\upz{11}\zcu k\ibbl0h0\qb0{ke}\DS\qb0g\tqb0k\en +\notes\ql a|\upz{11}\zcu j\ibbl0h0\qb0{je}\DS\qb0g\tqb0j\en +%%% bar 4 +\bar +\notes\ttie1\zqu c\rql b% + |\upz{10}\zcu i\ibbl0h0\qb0{ie}\DS\qb0g\tqb0i\en +\notes\ql c|\upz9\zcu h\ibbl0h0\qb0{he}\DS\qb0g\tqb0h\en +\notes\ql b|\upz8\zcu g\ibbl0f0\qb0{gc}\DS\qb0e\tqb0g\en +\notes\midslur{-5}\tdbslur0a\ql a% + |\tdbslur2g\upz7\zcu f\ibbl0f0\qb0{fc}\DS\qb0e\tqb0f\en +%%% bar 5 +\bar +\notes\issluru0N\ql N|\ibsluru1f\zqu e\ibbl0d0\qb0{ebc}\tqb0e\en +\notes\ql M|\zqu d\ibbl0c0\qb0{dac}\tqb0d\en +\notes\icresc\ql L\sk\sk\roff{\zchar{12}\tcresc}% + |\zqu g\ibbl0e0\qb0{gbe}\tqb0g\en +\notes\icresc\curve200\tsslur0a\ql a\sk\sk\roff{\zchar{12}\tdecresc}% + |\zqu h\ibbl0e0\qb0{hce}\curve333\tslur1d\tqb0h\en +%%% bar 6 +\bar +\notes\uptext{\llap\p}\issluru0N\ql N% + |\ibsluru1e\zqu e\ibbl0c0\qb0{eac}\tqb0e\en +\notes\ql M|\zqu d\ibbl0c0\qb0{dac}\tqb0d\en +\setclef1{\bass\bass}\changeclefs +\notes\ql L|\zqu c\ibbl0a0\qb0{cNa}\tqb0c\en +\notes\curve236\tsslur0K\ql K% + |\zqu b\ibbl0N0\qb0{bMN}\curve974\tubslur1h\tqb0b\en +%%% bar 7 +\bar +\notes\roff{\lmidstaff\pp}\roffset{1.125}{\lst F\zw F}% + \ibbu0J5\qb0F\roff\icresc\qb0{JK}\tbbu0\qb0L|\ibsluru0{-10}\en +\notes|\Special\nbbl0\qb0{Mac}\tqb0d\en +\notes\ibbl0t{-5}\loff{\zqb0e\zchar{-2}\tcresc}\icresc + |\sk\qb0{dc}\tbbl0\qb0a\nbbl0\qb0M\en +\notes\qb0{LK}\roff{\zchar{-2}\tdecresc}\tqh0J% + |\sk\sk\curve{16}65\tubslur0{-10}\en +%%% bar 8 +\bar +\notes\roff{\lmidstaff{\pp\kern-2mm}}\roffset{1.125}{\lst F\zw F}% + \ibbu0J5\qb0F\roff\icresc\qb0{JK}\tbbu0\qb0L|\ibsluru0{-10}\en +\notes|\Special\nbbl0\qb0{Mac}\tqb0d\en +\notes\ibbl0t{-5}\loff{\zqb0e\zchar{-2}\tcresc}\icresc + |\sk\qb0{dc}\tbbl0\qb0b\nbbl0\qb0a\en +\notes\qb0{LK}\roff{\zchar{-2}\tdecresc}\tqh0J% + |\sk\sk\curve{16}65\tubslur0{-10}\en +%%% bar 9 +\bar +\notes\roff{\lmidstaff{\pp\kern-2mm}}\roffset{1.125}{\lst F\zw F}% + \ibbu0J5\qb0F\roff\icresc\qb0{JK}\tbbu0\qb0L|\ibsluru0{-10}\en +\notes|\Special\nbbl0\qb0{M_ac}\tqb0d\en +\notes\ibbl0t{-5}\loff{\zqb0e\zchar{-2}\tcresc}\icresc + |\sk\qb0{dc}\tbbl0\qb0a\nbbl0\qb0M\en +\notes\qb0{LK}\roff{\zchar{-2}\tdecresc}\tqh0J% + |\sk\sk\curve{16}65\tubslur0{-10}\en +%%% bar 10 +\bar +\notes\roff{\lmidstaff\pp}\roffset{1.125}{\lst F\zw F}% + \ibbu0J5\qb0F\roff\icresc\qb0{JK}\tbbu0\qb0L|\ibsluru0{-10}\en +\notes|\Special\nbbl0\qb0{M_ac}\tqb0d\en +\notes\ibbl0t{-5}\loff{\zqb0e\zchar{-2}\tcresc}\icresc + |\sk\qb0{dc}\tbbl0\qb0{_b}\nbbl0\qb0a\en +\notes\qb0{LK}\roff{\zchar{-2}\tdecresc}\tqh0J% + |\sk\sk\curve{16}66\tubslur0{-10}\en +%%% bar 11 +\bar +\notes\ibbu0K9\qb0{EI}|\ibsluru0{-13}\en +\notes|\qb0L\tqb0{^N}\en +\notes\ibbu0M9\qb0{IL}|\Uptext{\twelveit cresc. --~~~~--~~~~--~~~~--~~~~--}\en +\notes|\qb0N\tqb0b\en +\notes\ibbu0L3\qb0L\en +\znotes\qb0{^N}\en +\setclef1\bass\changeclefs +\notes|\qb0b\tqb0e\en +\notes\ibbu0N3\qb0{Nb}|\sk\sk\qb0e\tqb0{^g}\en +%%% bar 12 +\bar +\qspace +\NOTEs\lcharnote{17}{\twelveit s\kern-.25ex\f~}\isluru3e\wholeshift{% + \ust e\usfz f}\roffset2\icresc\wh e\zchar{19}\tdecresc + |\curve{16}33\tubslur0{-10}\en +\def\atnextbar{\znotes|\centerpause\en}\mulooseness1\stoppiece +\eject\endmuflex\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/prelfug.tex b/Master/texmf-dist/doc/generic/musixtex/examples/prelfug.tex new file mode 100644 index 00000000000..a1e6928ae7d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/prelfug.tex @@ -0,0 +1,4 @@ +\input prelude.tex +\barsinline=0\relax\linesinpage=0\relax +\input fugue.tex +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/prelude.tex b/Master/texmf-dist/doc/generic/musixtex/examples/prelude.tex new file mode 100644 index 00000000000..160d9d5e7b9 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/prelude.tex @@ -0,0 +1,715 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{Pr\'elude et fugue} +\fulltitle{\enorme VI. \titremorceau} +\subtitle{(pour orgue)} +\othermention{Compos\'e en 1990} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\csname titremorceautoc\endcsname +\maketitle + +\parindent 18mm +% +\bigskip +\centerline{\moyen PR\'ELUDE}\medskip +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{6}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-2}\relax % sol mineur +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Mordant{\mordant{10}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{G.O.}% +%\check +\def\gluemaxskip{7pt}% +\medskip\noindent{\rm G.O.: Plein jeu, fonds 16' {\sl ad libitum.}}% +\par\noindent{\rm P\'ed.: fonds et anches 16', tirasse G.O.}% +\smallskip +% +\quatretemps% +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\doubler{\multiply\noteskip by 2\relax}% +\debutmorceau +% calcul de \elemskip en fonction de la largeur de page pour eviter les glues +% +\autolines {17}35\relax +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Maestoso \bf(\metron{\qu}{50})}}\enotes +\advance\linesinpage by 1\relax +% +% formes frequentes +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqbbh{\dqbbu}\def\dqbbb{\dqbbl}% +% +% quatre doubles croches +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5#6{\ibbu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbbL#1#2#3#4#5#6{\ibbl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% quatre croches +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax +%\check +% +% mesure 1 +\smallnotesize\varaccid +\notes&\zmidtwotext{\ppff ff\hskip 8mm}\qqbbH9KGKNa\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}abN{^M}N\enotes +\temps\notes&\qqbbl7KNbc\enotes +\temps\notes&\qqbbL{-4}cdbab\enotes +%\check +% mesure 2 +\barre\notes&|\qqbbH8bNbd{^f}\enotes +\temps\notes\sk\sk\pause&|\qqbbH{-4}ggdcd\enotes +\temps\notes&|\qqbbH7dbdfg\enotes +\temps\notes&|\qqbbu0ifgi\enotes +%\check +% mesure 3 +\barre\notes&|\qqbbL0ikgik\enotes +\normalnotesize +\temps\Notes\hpause&|\cl n\qsoupir\enotes +\temps\Notes\ccu G&\itenl1N\itenu2g\zq{Nbd}\ccl g|\itenu3n\zq{ik}\ccu n|\enotes +\temps +\NOtes\pointdorgue 8\qup G&\tten1\tten2\pointdurgue H\zqp{Nce}\qlp g\relax + |\tten3\pointdorgue o\zqp{jl}\qlp n\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +% mesure 4 +\autolines {16}35\relax +\smallnotesize\bigaccid +\barre\notes&\qqbbH7IGJLM\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}MNLKL\enotes +\temps\notes&\qqbbl7JLN{=b}\enotes +\temps\notes&\qqbbL{-4}acNMN\enotes +%\check +% mesure 5 +\barre\notes&\qqbbH7MLN{=b}c\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbH0debce\enotes +\temps\notes&|\qqbbH7cNceg\enotes +\temps\notes&|\qqbbL0hjg{=i}j\enotes +%\check +% mesure 6 +\barre\notes&|\qqbbL0kljln\enotes +\normalnotesize +\temps\notes\hpause&|\cl q\qsoupir\sk\enotes +\temps\Notes\ccu E&\itenu1c\zq{LN}\ccl c|\itenu2j\zq{eg}\ccu j\enotes +\temps +\NOtes\pointdorgue 7\qup D&\tten1\pointdorgue{10}\zqp{K^Ma}\qlp c\relax + |\tten2\pointdorgue{10}\zqp{^fh}\qup j\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +% mesure 7 +\barre\autolines 775\relax +\smallnotesize +\notes&\qqbbH8FD{^F}HJ\enotes +\temps\notes\sk\sk\sk\pause&\qqbbH0KLKLJ\enotes +\zbarre\notes&\qqbbl3K{^M}Nb\enotes +\temps\notes&\qqbbL3aabcd\enotes +% mesure 8 +\barre\notes&|\qqbbH3dec{^f}g\enotes +\temps\notes\sk\sk\pause&|\qqbbl2hijk\enotes +\zbarre\notes&|\qqbbL{-2}jlj{=i}j\enotes +\temps\notes&|\bigaccid\qqbbl2{^m}non\enotes +% mesure 9 +\barre\notes\soupir&|\qqbbl{-3}{^m}lkj\enotes +\normalnotesize +\temps\NOtes\qu G&\zq{KN}\ql b|\zq{dg}\ql{_i}\enotes +\smallnotesize\varaccid +\zbarre\notes\sk\sk\sk\hpause&\qsoupir\ibbl0L4\qb0{KN}\tqb0{^M}\enotes +\temps\notes&\qqbbL3LNKba\enotes +% mesure 10 +\barre\notes&\qqbbL2abNdc\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbH4fdbgh\enotes +\zbarre\notes&|\qqbbh{-3}ihg{=f}\enotes +\temps\notes&|\qqbbh{-3}gfed\enotes +%\check +% mesure 11 +\normalnotesize +\barre\NOtes\qu J&\zq {LN}\ql c|\qu e\enotes +\smallnotesize\varaccid +\temps\notes\sk\soupir&|\qsoupir\ibbu0d2\qh0{ce}\tqh0d\enotes +\zbarre\notes\sk\sk\hpause&|\qqbbH2fechg\enotes +\temps\notes&|\qqbbH2hh{^f}ji\enotes +% mesure 12 +\barre\varaccid\notes&|\qqbbH3jjhlk\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbh{-4}lkji\enotes +\zbarre\notes&|\qqbbh{-4}hg{^f}e\enotes +\temps\notes&|\qqbbh{-4}dc{=b}a\enotes +% mesure 13 +\normalnotesize\bigaccid +\barre\NOtes\qu G&\zq {=IK}\lq M\ql N|\qu{=b}\enotes +\smallnotesize\varaccid +\temps\notes\soupir&|\qsoupir\ibbu0a2\qh0{N=b}\tqh0a\enotes +\zbarre\notes\sk\sk\hpause&|\qqbbH2cbNdc\enotes +\temps\notes&|\qqbbh3dbfe\enotes +%\check +% mesure 14 +\barre\notes&|\ifx\mxversion\undefined\off{-2\Interligne}\fi % was for musiCtex + \qqbbh3fd{_h}g\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbl5hfml\enotes +\zbarre\notes&|\qqbbl{-3}kj{i}{_h}\enotes +\temps\notes&|\qqbbh{-3}gfed\enotes +% mesure 15 +\normalnotesize\bigaccid +\barre\NOtes\qu C&\zq {J=LN}\lq b\ql c|\qu{=e}\enotes +\smallnotesize\varaccid +\temps\notes\soupir&|\qsoupir\ibbu0d2\qh0{c=e}\tqh0d\enotes +\zbarre\notes\sk\sk\hpause&|\qqbbh3ecgf\enotes +\temps\notes&|\qqbbh3gei{_h}\enotes +%\check +% mesure 16 +\troistemps +\changecontext\notes&|\ifx\mxversion\undefined\off{-2.4\Interligne}\fi % was for musiCtex + \qqbbL5hig{=l}m\enotes +\temps\notes\sk\pause&\midtwotext{\it animando}|\qqbbl{-3}nmlk\enotes +\temps\notes&|\qqbbl{-3}j{i}{_h}g\enotes +% mesure 17 +\quatretemps\normalnotesize +\changecontext\Notes + \ifx\mxversion\undefined\off{-\Interligne}\fi % was for musiCtex +\qu F&\ifx\mxversion\undefined\off{-1.4\Interligne}\fi % was for musiCtex +\zq {M_ac}\ql f|\ifx\mxversion\indefined\off{-\Interligne}\fi % was for musiCtex + \qu{_h}\enotes +\smallnotesize\varaccid +\temps\notes\soupir&\zmidtwotext{\it poco a poco}|\qsoupir\ibbu0d6\qh0{cf}\tqh0g\enotes +\zbarre\notes\sk\sk\hpause&|\fl h\qqbbh{-3}hgfe\enotes +\temps\notes&|\qqbbh{-3}dc{=b}{=a}\enotes +%\check +% mesure 18 +\normalnotesize +\barre\autolines {16}35\relax\bigaccid +\NOtes\qu G&\zq {=IK}\ql N|\qu{=b}\enotes +\smallnotesize\varaccid +\temps\notes\soupir&|\qsoupir\ibbu0b7\qh0{Nb}\tqh0d\enotes +\temps\notes\sk\sk\hpause&|\qqbbu0gd{^f}g\enotes +\temps\notes&|\qqbbu3{=i}gik\enotes +%\check +% mesure 19 +\barre\notes&|\qqbbl{-2}m{_o}nm\enotes +\temps\notes\hpause&|\qqbbl{-3}lkj{=i}\enotes +\normalnotesize +\temps\notes\cu J&\bigaccid\zq{=LN}\lq b\ccl c|\bigna e\fl i\rq i\zq{eg}\ccu j\enotes +\smallnotesize +\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes +\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes +% mesure 20 +\normalnotesize\bigaccid +\barre\nspace\notes\cu I&\bigaccid\lfl b\zq{=LN}\lq b\ccl c|\fl i\rq i\zq{=eg}\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes +\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes +\normalnotesize +\temps\notes\bigaccid\cu{_H}&\bigaccid\zq{M_a}\ccl c|\zq{f_h}\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{ch}\tqh0g\enotes +\temps\notes\sk\soupir&|\qqbbH3ihfji\enotes +%\check +% mesure 21 +\normalnotesize\bigaccid +\barre\nspace\notes\cu G&\bigaccid\lfl b\zq{=LN}\lq b\ccl c|\fl i\rq i\zq{=eg}\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes +\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes +\normalnotesize +\temps\notes\cu{F}&\bigaccid\zq{M_a}\ccl c|\zq{f_h}\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{ch}\tqh0g\enotes +\temps\notes\sk\soupir&|\qqbbH3ihfji\enotes +%\check +% mesure 22 +\normalnotesize\bigaccid +\barre\notes\bigaccid\cu{^F}&\bigaccid\sh M\lna a\zq{JMa}\ccl c|\lna h\sh f\zq{fh}\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{dh}\tqh0g\enotes +\temps\notes\sk\soupir&|\qqbbH3ihfj{=i}\enotes +\normalnotesize +\temps\notes\cu{K}&\zq{Ma}\ccl c|\zq{dfh}\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\sk\dsoupir&|\ibbl0i5\qb0{ho}\tqb0n\enotes +\temps\notes\sk\soupir&|\qqbbL3mo{^m}q{=p}\enotes +% mesure 23 +\barre\notes&|\qqbbl3qosr\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbl{-3}srq{_p}\enotes +\temps\notes&|\qqbbl{-3}qpon\enotes +\temps\notes&|\qqbbl{-3}{^m}lkj\enotes +%\check +% mesure 24 +\autolines {17}35\relax +\normalnotesize\varaccid +\barre\notes\qu G&\zq{Nb}\ql d|\Uptext{\hbox{\kern -6mm\moyen Allegro moderato + \bf(\metron{\qu}{65})}}\zqu i\qqbbL{-2}hig{^f}g\enotes +\temps\notes\soupir&\soupir|\zqu i\qqbbL{-2}higfg\enotes +\temps\notes\qu G&\lq a\zq{Nc}\ql e|\zqu j\qqbbL{-2}ijgfg\enotes +\temps\notes\soupir&\soupir|\zqu j\qqbbL{-2}ijgfg\enotes +% mesure 25 +%\check +\barre\notes\qu G&\zq{Nb}\ql d|\zqu k\qqbbL{-2}hig{^f}g\enotes +\temps\notes\soupir&\soupir|\zqu k\qqbbL{-2}higfg\enotes +\temps\notes\qu G&\lq a\zq{Nc}\ql e|\zqu l\qqbbL{-2}ijgfg\enotes +\temps\notes\soupir&\soupir|\zqu l\qqbbL{-2}ijgfg\enotes +%\check +% mesure 26 +\barre\notes\hu G&\zqu N\qqbbl2Ndbd|\doubler\rlap{\dql{-3}ig}\dqu{-3}ki\enotes +\temps\notes&\qqbbl{-2}bdNb|\ibu0i3\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\hu J&\zqu L\qqbbl2LcNc|\rlap{\ibl1h{-4}\qb1j\sk\tqb1e}\relax + \ibu0l{-4}\qh0l\sk\tqh0g\enotes +\temps\notes&\qqbbl{-2}NcLN|\ibu0h6\zql e\qh0g\sk\tqh0l\enotes +%\check +% mesure 27 +\barre\notes\hu F&\zqu M\qqbbl3Mcac|\rlap{\ibl1h{-3}\qb1h\sk\tqb1f}\relax + \ibu0j{-3}\qh0j\sk\tqh0h\enotes +\temps\notes&\qqbbl{-3}acMa|\ibu0h3\zql f\qh0h\sk\tqh0j\enotes +\temps\notes\hu I&\zqu K\qqbbl3KbMb|\rlap{\ibl1g{-3}\qb1i\sk\tqb1d}\relax + \ibu0k{-4}\qh0k\sk\tqh0f\enotes +\temps\notes&\qqbbl{-2}MbKM|\ibu0h5\zql d\qh0f\sk\tqh0k\enotes +%\check +% mesure 28 +\barre\notes\hu E&\zqu L\qqbbl2LbNb|\rlap{\ibl1g{-3}\qb1g\sk\tqb1e}\relax + \ibu0i{-3}\qh0i\sk\tqh0g\enotes +\temps\notes&\qqbbl{-2}NbLN|\ibu0h2\zql e\qh0g\sk\tqh0i\enotes +\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}hc}\dqh{-5}je\enotes +\temps\notes&\qqbbl{-2}LaJL|\doubler\zql c\dqu7ej\enotes +% mesure 29 +\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\rlap{\ibl1f{-3}\qb1{^f}\sk\tqb1d}\relax + \ibu0h{-3}\qh0h\sk\tqh0f\enotes +\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql d\qh0f\sk\tqh0h\enotes +\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\relax + \qqbbl2Ndad|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql i\qu k\enotes +%\check +% mesure 30 +\barre\notes\bigaccid\hu{=I}&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes +\temps\notes\hu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}ge}\dqu{-3}lj\enotes +\temps\notes&\qqbbl{-2}NcLN|\doubler\zql e\dqu4jl\enotes +%\check +% mesure 31 +\barre\notes\hu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\hu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\fl i\dql{-3}ih}\dqu{-4}kj\enotes +\temps\notes&\qqbbl{-2}MbKM|\ibu0i4\zql f\qh0i\sk\tqh0k\enotes +%\check +% mesure 32 +\barre\notes\hu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}gg}\dqu{-3}li\enotes +\temps\notes&\qqbbl{-2}NbLN|\ibu0j2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-3}ji\enotes +\temps\notes&\rlap{\qu b}\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes +% mesure 33 +\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes +\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0j\enotes +%\check +\temps\notes\doubler\dqu{-2}G{^F}&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax +|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qu G&\rlap{\cu b}\qqbbl{-2}bdNb|\zq i\qu k\enotes +%\check +% mesure 34 +\barre\notes\qup G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\sk\cu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes +\temps\notes\doubler\dqu2JK&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\zql e\qu j\enotes +%\check +% mesure 35 +\barre\notes\qup F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\sk\cu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0m\enotes +\temps\notes\doubler\dqu2IJ&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\qu i\enotes +%\check +% mesure 36 +\barre\notes\qup E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}ge}\dqu{-3}lg\enotes +\temps\notes\sk\cu G&\qqbbl{-2}NbLN|\ibu0k2\zql e\qh0g\sk\tqh0l\enotes +\temps\notes\doubler\dqu2HI&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}he}\dqu{-3}jh\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes +% mesure 37 +\barre\notes\qup D&\zqu K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes +\temps\notes\sk\sh F\cu F&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0k\enotes +\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax +|\doubler\rlap{\dql{-2}gf}\dqu{-2}ih\enotes +\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql g\qu g\enotes +%\check +% mesure 38 +\barre\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes +\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\doubler\zql g\dqu{-3}lj\enotes +%\check +% mesure 39 +\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes +%\check +% mesure 40 +\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes +\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes +% mesure 41 +\generalmeter{\meterfrac 54}\changecontext +\NOTes\qu K&\zq{Nb}\ql K|\zq{gi}\ql k\enotes +\temps\NOTes\qu G&\zq{LN}\ql c|\zq{gj}\ql l\enotes +\temps\NOTes\qu H&\zq{La}\ql c|\zq{eh}\ql j\enotes +\temps\NOTEs\qup K&\zqp{^Ma}\qlp d|\zqp{^fh}\qlp k\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +% mesure 42 +\quatretemps\changecontext +\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes +\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\doubler\zql g\dqu{-3}lj\enotes +%\check +% mesure 43 +\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes +%\check +% mesure 44 +\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes +\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes +% mesure 45 +\barre\NOtes\qu K&\zq{Nb}\ql d|\zq{gi}\ql k\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +\temps\NOtes\qu G&\zq{LN}\ql c|\zq{gj}\ql l\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +% mesure 46 +\barre\NOtes\qu H&\zq{La}\ql c|\zq{eh}\ql j\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +\temps\NOtes\qu K&\zq{^Ma}\ql d|\zq{^fh}\ql k\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +%\check +% mesure 47 +\generalmeter{\meterfrac 32}\changecontext +\NOTEs\hu G&\zh I\zh K\hl N|\zh b\zh d\hu g\enotes +\smallnotesize\bigaccid +\notes&|\Uptext{\hbox{\kern -16mm\moyen Maestoso \bf(\metron{\qu}{50})}}\enotes +\notes&\qqbbH9KGKNa\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}abN{^M}N\enotes +\temps\notes&\qqbbl7KNbc\enotes +\temps\notes&\qqbbL{-4}cdbab\enotes +%\check +% mesure 48 +\quatretemps +\changecontext\notes&|\qqbbH8bNbd{^f}\enotes +\temps\notes\sk\sk\pause&|\qqbbH{-4}ggdcd\enotes +\temps\notes&|\qqbbH7dbdfg\enotes +\temps\notes&|\qqbbu0ifgi\enotes +%\check +% mesure 49 +\barre\notes&|\qqbbL0ikgik\enotes +\normalnotesize +\temps\notes\hpause&|\cl n\qsoupir\sk\enotes +\temps\Notes\ccu G&\itenl1N\itenu2g\zq{Nbd}\ccl g|\itenu3n\zq{ik}\ccu n|\enotes +\temps\NOtes\pointdorgue 8\qup G&\tten1\tten2\pointdurgue H\zqp{Nce}\qlp g\relax + |\tten3\pointdorgue o\zqp{jl}\qlp n\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +\autolines {16}35\relax +% mesure 50 +\smallnotesize\bigaccid +\barre\notes&\qqbbH7IGJLM\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}MNLKL\enotes +\temps\notes&\qqbbl7JLN{=b}\enotes +\temps\notes&\qqbbL{-4}acNMN\enotes +%\check +% mesure 51 +\barre\notes&\qqbbH7MLN{=b}c\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbH0debce\enotes +\temps\notes&|\qqbbH7cNceg\enotes +\temps\notes&|\qqbbL0hjg{=i}j\enotes +%\check +% mesure 52 +\barre\notes&|\qqbbL0kljln\enotes +\normalnotesize +\temps\notes\hpause&|\cl q\qsoupir\sk\enotes +\temps\Notes\ccu E&\itenu1c\zq{LN}\ccl c|\itenu2j\zq{eg}\ccu j\enotes +\temps\NOtes\pointdorgue 7\qup F&\tten1\pointdorgue{10}\zqp{JM_a}\qlp c\relax + |\tten2\pointdorgue{10}\zqp{f_h}\qup j\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +%\check +% mesure 53 +\smallnotesize\bigaccid +\barre\notes&\qqbbH7KJM{_a}b\enotes +\temps\notes\sk\sk\pause&\qqbbL{-4}acaNa\enotes +\temps\notes&\qqbbl7Mac{=e}\enotes +\temps\notes&\qqbbL{-4}cfcbc\enotes +%\check +% mesure 54 +% \barre\notes&\qqbbH7c{_a}c{=e}f\enotes +\barre\notes&\ibbu0h7\qh0{_a}\qh0c|\sk\sk\qh0{=e}\tqh0f\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbH0f{_h}fef\enotes +\temps\notes&|\qqbbH7ecfhi\enotes +\temps\notes&|\qqbbL0hjhgh\enotes +%\check +% mesure 55 +\troistemps\changecontext\notes&|\qqbbl6f{_h}j{=l}\enotes +\temps\notes\sk\sk\pause&|\qqbbl2mn{_o}n\enotes +\temps\notes&|\qqbbl{-3}m{_l}{_k}j\enotes +% mesure 56 +%\check +\normalnotesize +\quatretemps\changecontext\NOTes\qup I&\zqp M\zqp b\qlp{_d}|\zqp{fi}\qlp{_k}\enotes +\smallnotesize\bigaccid +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +\temps\notes\sk\sk\sk\hpause&\ibbu0h5\qh0M\qh0b|\sk\sk\qh0{_d}\tqh0e\enotes +\temps\notes&|\qqbbh{-2}fdcd\enotes +%\check +% mesure 57 +\barre\notes&|\qqbbH7bb{_d}fh\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbL{-2}gifef\enotes +\temps\notes&|\qqbbH8e{_d}fi{_k}\enotes +\temps\notes&|\qqbbL{-2}kmkjk\enotes +% +% mesure 58 +\barre\notes&|\qqbbl5ikmo\enotes +\temps\notes\hpause&|\qqbbl{-3}p{_o}{_n}m\enotes +\normalnotesize +\temps\NOtes\qup E&\zqp{_Nb}|\zqp e\rlap{\qlp {_g}}\zqp{il}\qup{_n}\enotes +\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes +% mesure 59 +\smallnotesize\bigaccid +\barre\notes&\ibbl0L7\qb0L\qb0b\enotes +\notes&|\qb0e\tqb0f\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbh{-2}{_g}e{_d}e\enotes +\temps\notes&|\qqbbH6dce{g}j\enotes +\temps\notes&|\qqbbL{-2}jljij\enotes +% mesure 60 +\barre\notes&|\qqbbl5{=h}jl{_n}\enotes +\temps\notes\sk\sk\sk\pause&|\qqbbl2opqp\enotes +\temps\notes&|\qqbbl{-3}o{=n}ml\enotes +\temps\notes&|\qqbbl{-3}{_k}jih\enotes +% mesure 61 +\normalnotesize +\barre\nspace\autolines{18}35\relax +\Notes\cu{_H}&\zmidtwotext{\it accelerando poco a poco}\relax +\zq K\lq a\lfl a\zq M\ccl b|\fl h\zq d\zq f\rq h\ccu i\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0g3\qh0{fi}\tqh0h\enotes +\temps\notes\soupir&|\qqbbH3gidih\enotes +\normalnotesize +\temps\Notes\cu G&\zq L\zq N\ccl b|\zq e\zq g\ccu i\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{eg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgeih\enotes +% mesure 62 +\barre\nspace +\normalnotesize +\Notes\cu F&\zq K\zq M\lfl a\lq a\ccl b|\fl h\zq d\zq f\rq h\ccu i\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{df}\tqh0e\enotes +\temps\notes\soupir&|\qqbbH3ffdih\enotes +\normalnotesize +\temps\Notes\cu E&\zq L\zq N\ccl b|\zq e\zq g\ccu i\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{eg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgeih\enotes +% mesure 63 +\normalnotesize +\barre\Notes\cu D&\zq K\zq N\ccl{=b}|\zq d\zq g\ccu{=i}\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{dg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgeji\enotes +\normalnotesize\nspace +\temps\Notes\cu C&\zq{=L}\zq N\lfl b\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes +% mesure 64 +\normalnotesize +\barre\Notes\cu I&\zq{=L}\zq N\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes +\normalnotesize\nspace +\temps\Notes\cu{_H}&\zq M\zq{_a}\ccl c|\zq f\zq{_h}\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{c_h}\tqh0g\enotes +\temps\notes\soupir&|\qqbbH3fhfji\enotes +% mesure 65 +\normalnotesize +\barre\Notes\cu G&\zq{=L}\zq N\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes +\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes +\normalnotesize +\temps\Notes\cu F&\zq M\zq{=a}\ccl c|\zq f\zq{=h}\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{fh}\tqh0g\enotes +\temps\notes\soupir&|\qqbbH3fhfj{=i}\enotes +% mesure 66 +\normalnotesize +\barre\Notes\cu{^F}&\zq{^M}\zq a\ccl c|\zq{^f}\zq h\ccu j\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{dh}\tqh0g\enotes +\temps\notes\soupir&|\qqbbH3fhf{_i}h\enotes +\normalnotesize +\temps\Notes\cu G&\zq K\zq N\ccl b|\zq d\zq g\ccu i\enotes +\smallnotesize\varaccid +\temps\notes\dsoupir&|\ibbu0f3\qh0{di}\tqh0h\enotes +\temps\notes\soupir&|\qqbbH5higik\enotes +\autolines {17}35\relax +%\check +% mesure 67 +\normalnotesize +\barre\notes\hu G&\zqu N\qqbbl2Ndbd|\raise 7\Interligne\rlap{\vbox to 2\Interligne +{\vss\hbox{\moyen Allegro \bf(\metron{\qu}{70})}}}\relax + \doubler\rlap{\dql{-3}ig}\dqu{-5}ni\enotes +\temps\notes&\qqbbl{-2}bdNb|\ibu0i3\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\hu J&\zqu L\qqbbl2LcNc|\rlap{\ibl1h{-4}\qb1j\sk\tqb1e}\relax + \ibu0l{-4}\qh0l\sk\tqh0g\enotes +\temps\notes&\qqbbl{-2}NcLN|\ibu0h6\zql e\qh0g\sk\tqh0l\enotes +%\check +% mesure 68 +\barre\notes\hu F&\zqu M\qqbbl3Mcac|\rlap{\ibl1h{-3}\qb1h\sk\tqb1f}\relax + \ibu0j{-5}\qh0m\sk\tqh0h\enotes +\temps\notes&\qqbbl{-3}acMa|\ibu0h3\zql f\qh0h\sk\tqh0j\enotes +\temps\notes\hu I&\zqu K\qqbbl3KbMb|\rlap{\ibl1g{-3}\qb1i\sk\tqb1d}\relax + \ibu0k{-4}\qh0k\sk\tqh0f\enotes +\temps\notes&\qqbbl{-2}MbKM|\ibu0h5\zql d\qh0f\sk\tqh0i\enotes +%\check +% mesure 69 +\barre\notes\hu E&\zqu L\qqbbl2LbNb|\rlap{\ibl1g{-3}\qb1g\sk\tqb1e}\relax + \ibu0i{-5}\qh0l\sk\tqh0g\enotes +\temps\notes&\qqbbl{-2}NbLN|\ibu0h2\zql e\qh0g\sk\tqh0i\enotes +\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}hc}\dqh{-5}je\enotes +\temps\notes&\qqbbl{-2}LaJL|\doubler\zql c\dqu6eh\enotes +% mesure 70 +\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\rlap{\ibl1f{-3}\qb1{^f}\sk\tqb1d}\relax + \ibu0h{-5}\qh0k\sk\tqh0f\enotes +\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql d\qh0f\sk\tqh0h\enotes +\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\relax + \qqbbl2Ndad|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql i\qu k\enotes +%\check +% mesure 71 +\barre\notes\bigaccid\hu{=I}&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes +\temps\notes\hu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}ge}\dqu{-3}lj\enotes +\temps\notes&\qqbbl{-2}NcLN|\doubler\zql e\dqu4jl\enotes +%\check +% mesure 72 +\barre\notes\hu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\bigaccid\hu{_I}&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\fl i\dql{-3}ih}\dqu{-4}kj\enotes +\temps\notes&\qqbbl{-2}MbKM|\ibu0i4\zql f\qh0i\sk\tqh0k\enotes +%\check +% mesure 73 +\barre\notes\hu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}gg}\dqu{-3}li\enotes +\temps\notes&\qqbbl{-2}NbLN|\ibu0j2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-3}ji\enotes +\temps\notes&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes +% mesure 74 +\barre\notes\hu D&\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes +\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0j\enotes +%\check +\temps\notes\doubler\dqu{-2}G{^F}&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax +|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qu G&\rlap{\cu b}\qqbbl{-2}bdNb|\zq i\qu k\enotes +%\check +% mesure 75 +\barre\notes\qup G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\sk\cu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes +\temps\notes\doubler\dqu2JK&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\zql e\qu j\enotes +%\check +% mesure 76 +\barre\notes\qup F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\sk\cu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0m\enotes +\temps\notes\doubler\dqu2IJ&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\qu i\enotes +%\check +% mesure 77 +\barre\notes\qup E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}ge}\dqu{-3}lg\enotes +\temps\notes\sk\cu G&\qqbbl{-2}NbLN|\ibu0k2\zql e\qh0g\sk\tqh0l\enotes +\temps\notes\doubler\dqu2HI&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}he}\dqu{-3}jh\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes +% mesure 78 +\barre\notes\qup D&\zql K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes +\temps\notes\doubler\sk\sh F\cu F&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0k\enotes +\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax +|\doubler\rlap{\dql{-2}gf}\dqu{-2}ih\enotes +\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql g\qu g\enotes +%\check +% mesure 79 +\barre\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes +\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes +\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes +\temps\notes\qu L&\qqbbl{-2}NcLN|\zql g\doubler\dqu{-3}lj\enotes +%\check +% mesure 80 +\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes +\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes +\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes +\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes +%\check +% mesure 81 +\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes +\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes +\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes +\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes +% mesure 82 +\barre\notes\qu K&\qqbbl2KbNb|\doubler\rlap{\dql{-2}ih}\dqu{-2}kj\enotes +\temps\notes\qu L&\qqbbl{-2}NbLN|\doubler\rlap{\dql2gh}\dqu2ij\enotes +\temps\notes\qup K&\qqbbl6KNbd|\rlap{\cl g\sk + \raise -3\internote\dsoupir}\zqp i\qup k\enotes +\notes\sk\sk\dsoupir&|\ql g\sk\raise 3\internote\dsoupir\enotes +% mesure 83 +\barre\notes\qu J&\qqbbl7JLNc|\zq{gj}\ql l\enotes +\temps\NOtes\soupir&\cl e\dsoupir|\soupir\enotes +\temps\notes\qu H&\qqbbl7HJLa|\zq{eh}\ql j\enotes +\temps\NOtes\soupir&\cl c\dsoupir|\soupir\enotes +% mesure 84 +\barre\notes\qu K&\qqbbl7K{^M}ad|\bigaccid\rlap{\cl{^f}\sk +\raise-3\interligne\dsoupir}\zq{h}\qu k\enotes +\temps\NOTEs\soupir&\soupir|\zql f\raise 3\interligne\soupir\enotes +\temps\NOTEs\hpause&\hpause|\hpause\enotes +% mesure 85 +\troistemps\changecontext\NOtes\cu G&\zq{KNb}\cl d|\zq{gik}\cl n\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +\temps\NOtes\cu E&\zq{JLN}\cl c|\zq{egj}\cl l\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +\temps\NOtes\cu C&\zq{JL}\cl a|\zq{ceh}\cl j\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +% mesure 86 +\barre\NOTEs\qu D&\zq{K^M}\ql a|\zq{d^fh}\ql k\enotes +\temps\NOTEs\soupir&\soupir|\soupir\enotes +\cleftoksii={{0}{0}{0}{0}}\changeclefs +\temps\NOtes\zq D\cu K&\cu d|\cu k\enotes +\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes +\advance\barsinline by -1\relax +% mesure 87 +\barre\NOTES\zh N\hl G&\hu g|\hu n\enotes +\temps\NOTES\soupir&\soupir|\soupir\enotes +% +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/recit.tex b/Master/texmf-dist/doc/generic/musixtex/examples/recit.tex new file mode 100644 index 00000000000..4d178610460 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/recit.tex @@ -0,0 +1,415 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{R\'ecit} +\fulltitle{II. R\'ecit} +\csname titremorceautoc\endcsname +\subtitle{\sl (pour orgue)} +\othermention{Compos\'e en 1990} +\fullauthor{Daniel TAUPIN\\organiste Gif-sur-Yvette} +\maketitle + +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-2}\relax % deux bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{G.O.}}}% +%\check +\def\gluemaxskip{7pt}% +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +% +\medskip\noindent{\rm G.O.: fonds 8' ou 8'+4' doux}% +\par\noindent{\rm R\'ec.: cornet ou cromorne}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O.}% +\smallskip +% +\troistemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\debutmorceau +% +\autolines 855\relax +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\NOtes&|\Uptext{ \hbox{\kern -16mm\moyen Adagio \bf(\metron{\qu}{60})}}\enotes +% mesure 1 +\advance\linesinpage by 1\relax +% +\NOtes\hu I&\zh{bd}\hu g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\zq{ac}\qu{^f}|\qu h\enotes +%\check +% mesure 2 +\barre\NOtes\hu G&\zhp b\zh d\itenu1g\hup g|\hu i\enotes +\temps\NOtes&|\enotes +\temps\NOtes\qu J&\itenu2e\qu e|\itenl0i\qu i\enotes +%\check +% mesure 3 +\barre\NOtes\hu H&\zhp c\zhp e\tten2\tten1\hup g|\tten0\qu i\enotes +\temps\notes&|\dqh{-2}hg\enotes +\temps\notes\qu J&|\dqh{-2}ji\enotes +%\check +% mesure 4 +\barre\NOtes\hu K&\zh a\zh d\hu{^f}|\hu h\enotes +\temps\NOtes&|\enotes +\temps\NOtes\qu J&\soupir|\soupir\enotes +% mesure 5 +\barre\NOtes\hu I&\itenu0d\zh b\zh d\hu g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\tten0\itenu0d\zq a\zq d\qu{^f}|\qu i\enotes +% mesure 6 +\autolines 755\relax +\barre\NOtes\hu G&\tten0\itenu1d\zhp b\zhp d\hup g|\hu k\enotes +\temps\NOtes&|\enotes +\temps\NOtes\qu I&|\qu k\enotes +%\check +% mesure 7 +\barre\NOtes\qu{=I}&\tten1\itenl1N\zqu d\zhp{=b}\hlp N|\qup m\enotes +\temps\notes&\qu{=f}|\sk\cu l\enotes +\temps\notes\qu G&\qu d|\dqh{-5}mk\enotes +%\check +% mesure 8 +\barre\NOtes\hup J&\tten1\zhl N\zhp c\hup e|\qup l\enotes +\temps\notes&|\sk\cu k\enotes +\temps\NOtes&\ql a|\qu j\enotes +% mesure 9 +\barre\notes\hl K&\zhp d\zhp{^f}\hup h|\dqh3kl\enotes +\temps\notes&|\dqh{-3}kj\enotes +\temps\notes\ql J&|\dqh{-3}ih\enotes +% mesure 10 +\barre\NOtes\hu I&\itenu1g\zh b\zhl d\hup g|\qup k\enotes +\temps\notes&|\sk\cu i\enotes +\temps\NOtes\qu J&\zq c\ql e|\qu g\enotes +% mesure 11 +\barre\NOtes\hu K&\tten1\zhl d\zhp g\hup i|\soupir\enotes +\temps\notes&|\dsoupir\cu d\enotes +\temps\notes\qu J&\ql e|\dqh7gj\enotes +% mesure 12 +\barre\NOtes\hup K&\zhp a\zh d\hup{^f}|\hup h\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes&\ql c|\relax\enotes +% mesure 13 +\barre\NOTes\hu G&\zh g\zh b\hu d|\hu g\enotes +\temps\NOtes\soupir&\soupir|\soupir\enotes +% +% mesure 14 +\barre\NOtes\hu I&\zh b\zh d\hu g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\zq a\zq c\qu{^f}|\qu h\enotes +%\check +% mesure 15 +\barre\NOtes\itenl1G\hlp G&\itenu0d\zhu g\zhp b\hlp d|\hu i\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes&\itenl2N\ql N|\qu i\enotes +%\check +% mesure 16 +\barre\NOtes\tten1\hlp G&\tten2\tten0\itenl1N\zhp{=b}\zqu d\hlp N|\xTrille q{2\noteskip}\hu{=i}\enotes +\temps\NOtes&\qu{=f}|\relax\enotes +\temps\notes&\qu d|\ibu0i0\qh0i\noteskip=0.6\elemskip\relax\nbbu0\qh0h\tqh0i\enotes +%\check +% mesure 17 +\barre\NOtes\hu J&\tten1\zhl N\zhp c\hup e|\qup j\enotes +\temps\notes&|\sk\cu k\enotes +\temps\NOtes\qu H&\ql a|\qu l\enotes +%\check +% mesure 18 +\barre\NOtes\hlp K&\itenu1f\itenu2h\zhp d\zhp {^f}\hup h|\itenl0k\hlp k\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes&|\relax\enotes +% mesure 19 +\barre\notes\hup J&\tten1\tten2\zhp c\zhp{^f}\hup h|\tten0\dqb5k{^m}\enotes +\temps\notes&|\dqb3no\enotes +\temps\notes&|\dqb{-5}pn\enotes +% mesure 20 +\barre\notes\hup I&\zhp b\zhp d\hup g|\dqb6kn\enotes +\temps\notes&|\dqb3op\enotes +\temps\notes&|\dqb{-5}qo\enotes +% mesure 21 +\barre\notes\hup H&\zhp a\zhp c\hup{^f}|\dqb9ko\enotes +\temps\notes&|\dqb3pq\enotes +\temps\notes&|\dqb{-5}rp\enotes +% mesure 22 +\barre\notes\hup G&\itenl1N\zqu d\zhp N\hlp{=b}|\dqb3n{_o}\enotes +\temps\notes&\qu{=f}|\dqb{-3}nm\enotes +\temps\notes&\qu d|\dqb{-3}lk\enotes +% mesure 23 +\barre\NOtes\qu J&\tten1\zhp N\zhp c\hup e|\qup j\enotes +\temps\notes\qu H&|\sk\cl k\enotes +\temps\notes\qu J&|\dqb{-5}lj\enotes +% mesure 24 +\barre\notes\hu K&\zhp a\zhp d\hup{^f}|\dqb3kl\enotes +\temps\notes&|\dqb{-3}kj\enotes +\temps\notes\qu{^F}&|\dqb{-3}ih\enotes +% mesure 25 +\barre\NOtes\qu G&\zql b\zhp e\hup g|\qup g\enotes +\temps\notes\hu E&\hl c|\sk\cu h\enotes +\temps\notes&|\dqh3ij\enotes +% +% mesure 26 +\barre\NOtes\hup D&\zhl d\zhp{^f}\hup h|\hu h\enotes +\temps\NOtes&|\relax\enotes +\temps\notes&\ql c|\trioskip\ibl0d5\qbp0d\sk\tbbl0\tqb0k\enotes +% mesure 27 +\barre\NOtes\qu G&\itenu1d\itenu2g\zhp b\zhp d\hup g|\qlp k\enotes +\temps\notes\hu I&|\sk\cl l\enotes +\temps\notes&|\dqb5m{_o}\enotes +% mesure 28 +\barre\notes\hup{=I}&\tten1\tten2\itenu1g\zhl{=b}\zhp d\hup g|\dqb{-3}nm\enotes +\temps\notes&|\dqb{-3}lk\enotes +\temps\notes&\ql N|\dqb{-3}j{=i}\enotes +% mesure 29 +\barre\NOtes\hu J&\tten1\zh c\zh e\hu g|\ql k\enotes +\temps\notes&|\ql j\enotes +\resp +\temps\notes\qu H&\soupir|\trioskip\ibl0f5\qbp0f\sk\tbbl0\tqb0m\enotes +% mesure 30 +\barre\notes\hup F&\zhp a\zhp c\itenl1f\hup f|\dqb3mn\enotes +\temps\notes&|\dqb{-3}ml\enotes +\temps\notes&|\dqb{-3}kj\enotes +%\check +% mesure 31 +\barre\NOtes\qup I&\itenl3b\tten1\zhu f\zhp b\hlp d|\hl k\enotes +\temps\notes\sk\cu H&|\relax\enotes +\temps\NOtes\qu G&\itenl2g\qu g|\itenl0g\qu g\enotes +% mesure 32 +\barre\NOtes\hu E&\tten3\tten2\zhl b\zhp e\hup g|\tten0\qup g\enotes +\temps\notes&|\sk\cu d\enotes +\temps\notes\qu J&\ql c|\dqh7gj\enotes +% mesure 33 +\barre\NOtes\hu K&\zh d\zh{^f}\hu a|\hu h\enotes +\temps\Notes&|\relax\enotes +\resp +\temps\notes\qu J&\soupir|\trioskip\ibl0g5\qbp0g\sk\tbbl0\tqb0n\enotes +% mesure 34 +\barre\notes\hup{=I}&\itenu1g\zhp{=b}\zhp d\hup g|\dqb3n{_o}\enotes +\temps\notes&|\dqb{-3}nm\enotes +\temps\notes&|\dqb{-3}lk\enotes +% mesure 35 +\barre\notes\hup J&\tten1\itenl1c\zhp c\zhp e\hup g|\dqb{-3}ml\enotes +\temps\notes&|\dqb{-3}kj\enotes +\temps\notes&|\dqb3kl\enotes +% mesure 36 +\barre\notes\hup H&\tten1\itenu1f\zhp a\zhp c\hup f|\dqb3mn\enotes +\temps\notes&|\dqb{-3}ml\enotes +\temps\notes&|\dqb{-3}kj\enotes +% mesure 37 +\barre\notes\hu I&\tten1\zhl b\zq f\hup d|\dqh{-5}kg\enotes +\temps\notes&\qu{^f}|\dqh3{^f}g\enotes +\temps\notes\qu{=I}&\zqu{_h}\ql{=b}|\dqh3{=i}k\enotes +%\check +% mesure 38 +\barre\NOtes\hu J&\zhu g\zhp c\hlp e|\qu k\enotes +\temps\NOtes&|\qu j\enotes +\resp +\temps\notes\qu H&\qu{=h}|\trioskip\ibl0f5\qbp0f\sk\tbbl0\tqb0m\enotes +% mesure 39 +\barre\notes\hup F&\zhp a\zhp c\itenl1f\hup f|\dqb3mn\enotes +\temps\notes&|\dqb{-3}ml\enotes +\temps\notes&|\dqb{-3}kj\enotes +%\check +% mesure 40 +\barre\notes\hup I&\tten1\zhp f\zhp b\hup d|\dqh{-5}kg\enotes +\temps\notes&|\dqh3{^f}g\enotes +\temps\notes&|\dqh3{_i}k\enotes +%\check +% mesure 41 +\barre\notes\hup J&\itenu1c\itenu2e\zhp N\zhp c\hup e|\dqb3lm\enotes +\temps\notes&|\dqb{-3}lk\enotes +\temps\notes&|\dqb{-3}ji\enotes +% mesure 42 +\barre\notes\hup H&\tten1\tten2\itenl1a\zhp a\zhp c\hup e|\dqh3hi\enotes +\temps\notes&|\dqh{-3}hg\enotes +\temps\notes&|\dqh5hj\enotes +% mesure 43 +\barre\notes\hu K&\tten1\zhp a\zhp d\hup{^f}|\dqb3kl\enotes +\temps\notes&|\dqb{-3}kj\enotes +\temps\notes\qu{^F}&|\dqb{-3}ih\enotes +% mesure 44 +\barre\NOtes\qu G&\zql b\zhp e\hup g|\qup g\enotes +\temps\notes\hu E&\hl c|\sk\cu{^f}\enotes +\temps\notes&|\dqh8gj\enotes +% +% mesure 45 +\barre\NOtes\hup D&\zhp d\zhp{^f}\hup h|\xTrille p{3\noteskip}\hu h\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes&|\relax\enotes +%\check +% mesure 46 +\barre\NOtes\hup G&\zh b\zh d\hu g|\hu g\enotes +\temps\Notes&|\relax\enotes +\resp +\temps\notes&\soupir|\fl i\trioskip\ibl0i5\qbp0i\sk\tbbl0\tqb0p\enotes +%\check +% mesure 47 +\barre\notes\hup{=L}&\lna e\zhp e\zhp g\hup{_b}|\dqb{-3}p{_o}\enotes +\temps\notes&|\dqb{-3}nm\enotes +\temps\notes&|\dqb{-3}{=l}k\enotes +%\check +% mesure 48 +\barre\NOtes\hup M&\itenl1f\itenl2h\zhp f\zhp{_h}\hup c|\hu j\enotes +\temps\NOtes&|\relax\enotes +\temps\notes&|\trioskip\ibl0h5\qbp0{_h}\sk\tbbl0\tqb0{_o}\enotes +%\check +% mesure 49 +\barre\nspace\notes\hup K&\tten1\tten2\zhp d\zhp f\hup{_h}|\dqb{-3}{_o}n\enotes +\temps\notes&|\dqb{-3}m{_l}\enotes +\temps\notes&|\dqb{-3}kj\enotes +% mesure 50 +\barre\NOtes\hup L&\itenu1e\itenu2g\zhp b\zhp e\hup g|\hu i\enotes +\temps\NOtes&|\relax\enotes +\temps\notes&|\trioskip\ibl0e5\qbp0e\sk\tbbl0\tqb0l\enotes +% mesure 51 +\barre\notes\hup J&\tten1\tten2\zhp c\zhp e\hup g|\dqb{-3}lk\enotes +\temps\notes&|\dqb3jk\enotes +\temps\notes&|\dqb{-5}lj\enotes +%\check +% mesure 52 +\barre\notes\hup K&\itenu1d\zhp{ad}\hup{^f}|\dqb3hi\enotes +\temps\notes&|\dqb{-3}hg\enotes +\temps\notes&|\dqb5hj\enotes +%\check +% mesure 53 +\barre\notes\hup I&\tten1\zhp{bd}\hup g|\dqb3kl\enotes +\temps\notes&|\dqb{-3}kj\enotes +\temps\notes&|\dqb{-5}ki\enotes +% mesure 54 +\barre\notes\hup L&\itenu1c\itenu2e\zh{Nc}\hup e|\dqh3gh\enotes +\temps\notes&|\dqh{-3}g{^f}\enotes +\temps\notes&|\dqh5gi\enotes +% mesure 55 +\barre\notes\hup H&\tten1\tten2\itenl1a\zhp{ac}\hup e|\dqb3jk\enotes +\temps\notes&|\dqb{-3}ji\enotes +\temps\notes&|\dqb{-5}jh\enotes +% mesure 56 +\barre\notes\hup K&\tten1\itenu1d\zhp{ad}\hup{^f}|\dqh{-5}{^f}d\enotes +\temps\notes&|\dqh3ef\enotes +\temps\notes&|\dqh3gh\enotes +% mesure 57 +\barre\notes\itenl0G\hup G&\tten1\itenu1g\zhp{bd}\hup g|\dqh{-5}ig\enotes +\temps\notes&|\dqh3{^f}g\enotes +\temps\notes&|\dqh3hi\enotes +% mesure 58 +\barre\notes\tten0\itenl0G\hup G&\tten1\itenu1g\zhp{ce}\hup g|\dqh{-7}jg\enotes +\temps\notes&|\dqh5{^f}g\enotes +\temps\notes&|\dqh3ij\enotes +% mesure 59 +\barre\notes\tten0\hup G&\tten1\itenu1g\itenl2b\zhp{bd}\hup g|\dqh3kl\enotes +\temps\notes&|\dqh{-3}kj\enotes +\temps\notes&|\dqh{-3}i{_h}\enotes +%\check +% mesure 60 +\generalmeter{\meterfrac 24}% +\advance\elemskip by 1.5pt +\changecontext\notes\qu L&\itenu3e\tten1\tten2\zql b\zh e\hu g|\Uptext{\moyen pi\`u lento}\dqb5gi\enotes +\temps\notes\qu J&\itenl1c\ql c|\dqb3jk\enotes +%\check +% mesure 61 +\barre\NOTes\itenl0H\hu H&\tten1\tten3\itenl1a\zh a\zh c\hu e|\qlpp l\enotes +\temps\notes&|\ccl n\enotes +%\check +% mesure 62 +\barre\NOtes\tten0\hu H&\tten1\itenl1a\lna e\zh a\zh{^c}\hu e|\xTrille q{2\noteskip}\qup{^j}\enotes +\temps\notes&|\trioskip\sk\ibbl0i3\qb0i\tqb0j\enotes +%\check +% mesure 63 +\barre\NOTEs\pointdurgue G\hu K&\tten1\pointdorgue m\zh{ad}\hu{^f}|\pointdorgue m\hl k\enotes +% mesure 64 +\troistemps +\advance\elemskip by -1.5pt +\changecontext\NOtes\hu I&\soupir|\soupir\enotes +\temps\notes&\zq b\zql d\hu g|\dqh7dg\enotes +\temps\notes\qu L&\zq c\ql e|\dqh{-3}ji\enotes +% mesure 65 +\barre\NOTEs\hup K&\itenl0d\zhu h\zhp d\hlp{^f}|\Uptext{\moyen tempo primo}\xTrille o{\noteskip}\hu h\enotes +\temps\notes&\qu j|\dqb{-3}hg\enotes +% mesure 66 +\barre\NOTes\hu G&\tten0\zh{dg}\hu i|\hu g\enotes +\temps\notes\soupir&\soupir|\soupir\enotes +% mesure 67 +\barre\NOtes\hu I&\zh{bd}\hu g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\NOtes\qu H&\zq{ac}\qu{^f}|\qu h\enotes +% mesure 68 +\barre\NOtes\hu G&\itenu1g\zhp b\zh d\hup g|\hu i\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes\qu I&\itenl2e\qu e|\itenl0i\qu i\enotes +% mesure 69 +\barre\NOtes\hu J&\tten1\tten2\zhl c\zhp e\hup g|\tten0\qu i\enotes +\temps\notes&|\dqh{-3}hg\enotes +\temps\notes\qu L&\ql a|\dqh{-3}ji\enotes +% mesure 70 +\barre\NOtes\hu K&\zh d\zh{^f}\hu h|\hu h\enotes +\temps\NOtes&|\relax\enotes +\temps\NOtes\qu J&\soupir|\soupir\enotes +% mesure 71 +\barre\NOtes\hu I&\itenl1d\itenu2g\zhp b\zhp d\hup g|\qu d\enotes +\temps\NOtes&|\qu g\enotes +\temps\notes\qu H&|\dqh5ik\enotes +% +% mesure 72 +\barre\NOtes\hup G&\zhp{=b}\tten1\tten2\zhp d\hup g|\qlp m\enotes +\temps\notes&|\sk\cl m\enotes +\temps\notes\qu{=I}&|\dqb{-3}lk\enotes +% mesure 73 +\barre\NOtes\hup J&\zh e\zhu g\hlp c|\hl j\enotes +\temps\Notes&|\relax\enotes +\temps\NOtes&\zq{^f}\qu h|\ql k\enotes +\autolines {12}45\relax +% mesure 74 +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +%\check +\barre\notes\hu I&\zhl b\zhp d\hup g|\qqbbl0klkj\enotes +\temps\notes&|\qqbbl{-3}kjih\enotes +\temps\notes\qu{=I}&\ql{=b}|\qqbbl{-3}gfed\enotes +% mesure 75 +\autolines{14}35\relax +\alaligne\notes\hu J&\zhu g\zhp c\hup e|\qqbbl0lmlk\enotes +\temps\notes&|\qqbbl{-3}lkji\enotes +\temps\notes\qu H&\qu a|\qqbbh{-3}hg{^f}{=e}\enotes +% mesure 76 +\barre\notes\hu K&\zhl d\zhp{^f}\hup h|\qqbbl0{^m}nm{=l}\enotes +\temps\notes&|\qqbbl{-4}mlkj\enotes +\temps\notes\qu J&\ql c|\qqbbl{-5}ihg{^f}\enotes +% mesure 77 +\barre\notes\qu I&\zq b\zq d\qu g|\qqbbh0g{=e}{^f}g\enotes +\temps\notes\qu H&\zq c\zql e\hu h|\qqbbl4hij{_l}\enotes +\temps\notes\qu K&\zq d\qu{^f}|\qqbbl0k{=l}{^m}k\enotes +\quatretemps +% mesure 78 +\autolines {10}35\relax +\changecontext\barsinline=0\relax +\NOTEs\hlp I&\zwh g\zhp b\hlp d|\hl n\enotes +\temps\NOtes&|\dsoupir\cl d\enotes +\temps\NOtes\qu J&\zq c\ql e|\dqb5gj\enotes +% mesure 79 +\barre\NOtes\hup K&\zw d\zw{^f}\wh h|\xTrille o{3\noteskip}\hlp h\enotes +\temps\NOtes&|\enotes +\temps\NOtes&|\enotes +\temps\notes\qu D&|\dqh{-3}hg\enotes +% mesure 80 +\barre\NOtes\wh G&\zw b\zw d\wh g|\mordant o\wh g\enotes +\temps\NOtes&|\enotes +\temps\NOtes&|\enotes +\temps\NOtes&|\enotes +\finmorceau +\medskip\rightline{\it \aujourdhui} +\eject diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex b/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex new file mode 100644 index 00000000000..2a704a09cfa --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex @@ -0,0 +1,149 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\hyphenation{re-gis-tra-tion} +\csname french\endcsname +\tracingstats=2\relax +\line{\ \hss} +\vskip 15mm +\message{Font name: \fontname\the\font} +\iflongDCfontnames + \font\geant=\fontid bx3583 + \font\assezgros=\fontid r2074 +\else\iflongECfontnames + \font\geant=\fontid bx3583 + \font\assezgros=\fontid rm2074 + \else + \font\geant=\fontid bx12 scaled \magstep 6 + \font\assezgros=\fontid r17 scaled \magstep 1 + \fi +\fi +\centerline{\assezgros Daniel TAUPIN} +\vfil +{\baselineskip 20mm +\centerline{\geant PETITES} +\centerline{\geant PI\`ECES}\centerline{\geant POUR} +\centerline{\geant PLAIRE} +} +\vskip 15mm +\centerline{\sl Petites pi\`eces pas trop difficiles pour orgue} +\smallskip +\centerline{\sl \`a deux claviers et p\'edalier} +\vfil +\centerline{Orsay, \aujourdhui} +\eject +%\check +\null +\vfil +\hbox to \hsize{\hss\vbox{\hsize 12cm +\centerline{\moyen PR\'EFACE ET AVERTISSEMENT} + \bigskip Pour pouvoir avoir l'outrecuidance de se pr\'etendre compositeur +\`a la fin du XX\`eme si\`ecle, il est indispensable de faire preuve +d'audaces, de produire du jamais entendu, m\^eme si seule une minorit\'e +infime d'initi\'es, c'est-\`a-dire l'\'elite musicale et musicologique, est +capable d'appr\'ecier la d\'elicate saveur des \'etranget\'es harmoniques +qu'on lui propose. + \medskip Ou bien alors, si l'on veut produire de la musique tonale, il faut +se r\'esigner \`a \^etre catalogu\'e dans cette musique de vari\'et\'es, qui +est r\'eput\'ee \^etre \`a la vraie musique ce que le ``fast-food'' est \`a +la gastronomie. + \medskip En d\'efinitive, l'audace de l'auteur de ces ``Petites Pi\`eces +Pour Plaire'' est d'avoir os\'e \'ecrire de la musique qui n'est ni de la +musique ``contemporaine'', ni de la musique de ``vari\'et\'es'', et qui aurait +pu \^etre \'ecrite -- disons modestement~: comme exercices de style -- par +des \'el\`eves des compositeurs des deux ou trois si\`ecles pass\'es. Leur +simple objectif est de charmer les oreilles d'auditeurs de culture classique, +tout en restant compatibles avec le genre des lieux o\`u l'on trouve le plus +d'orgues classiques, \`a savoir les \'eglises. + \medskip +\centerline{\vrule height 0.4pt width 0.5\hsize} +\vskip 1mm + \medskip Comme il est \'ecrit dans le titre, ces pi\`eces n\'ecessitent +l'usage du p\'edalier, mais la partie de p\'edale est rarement difficile~; de +ce fait elles pourront servir de pi\`eces d'initiation \`a l'orgue pour des +pianistes d'un niveau moyen. + \medskip Bien que certaines pi\`eces (notamment le Choral Vari\'e et la +Romance sans Paroles) +mentionnent une registration \`a trois claviers, toutes ces pi\`eces peuvent +\^etre jou\'ees avec les instruments usuels \`a deux claviers et p\'edalier. + \vskip 15mm + \rightline{\vtop{\divide\hsize by 2\relax\centerline{\sl Daniel +TAUPIN}\smallskip \centerline{\sl \aujourdhui}}} + + \bigskip + \centerline{\rm Tous droits de reproduction commerciale r\'eserv\'es} + \centerline{\rm All rights of commercial distribution reserved} + \bigskip + \def\tocitem#1#2{\hbox to \hsize{\hskip 1cm #1\dotfill\ p. #2\hskip 1cm}} + \input recueil.toc +}\hss}\vfil +\eject + \def\titremorceautoc{\edef\zetitre{\titremorceau}% + \write\toc{\noexpand\tocitem{\zetitre}{\the\pageno}}} + \newwrite\toc + \immediate\openout\toc=recueil.toc +% +% +\def\misazero{\def\nbinstruments{2}\nbporteesi=1\relax +\nbporteesii=2\relax +\barsinline=0\relax +\linesinpage=0\relax +\signaturegenerale{0}\savesignature +\resetfacteurs +\computewidths}% +% +\misazero +\input adagio +% +\misazero +\input recit +% +\misazero +\input tierce +% +\misazero +\input choral +% +\misazero +\input reves +% +\misazero +\input prelude +% +\misazero +\input fugue +% +\misazero +\input aria +% +\misazero +\input ostinato +% +\misazero +\input romances +% +\misazero +\input magnific +% +\misazero +\input fantcmol +% +\misazero +\input fugcmoll +% +\misazero +\input chanson +% +\misazero +\input marcello +% +\misazero +\input purcellx +% +\misazero +\input avemario +% +\closeout\toc +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/romances.tex b/Master/texmf-dist/doc/generic/musixtex/examples/romances.tex new file mode 100644 index 00000000000..c337b1192b3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/romances.tex @@ -0,0 +1,499 @@ +\title{Romance sans paroles} +\fulltitle{IX. \titremorceau} +\subtitle{(pour orgue)} +\othermention{Compos\'e en 1992--93} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\maketitle + +\csname titremorceautoc\endcsname + +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}} +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}} +\def\Tqb#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}} +\def\Tqh#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}} +\def\doubler{\noteskip=2\noteskip}% +\def\bassyn#1{\doubler\dsoupir\cu{#1}\dsoupir} +% +\parindent 18mm +% + +\tracingstats=2\relax +% +\nbporteesii=1\relax +\def\nbinstruments{3} +\global\cleftoksiii={{0}{0}{0}{0}}% +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-2}\relax % deux bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{12}{8}}}% +\def\troistemps{\generalmeter{\meterfrac{9}{8}}}% +\def\deuxtemps{\generalmeter{\meterfrac{6}{8}}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{Positif ({\bf II})}% +\def\instrumentiii{R\'ecit ({\bf III})}% +%\check +\def\gluemaxskip{7pt}% +% +\medskip\noindent{\rm G.O.: fonds 8'+4' ou 8'+4'+2' (acc. positif.)}% +\par\noindent{\rm Pos.: fonds 8'+4'+2' doux}% +\par\noindent{\rm R\'ec.: nasard, larigot ({\ppff f}, tremblant {\sl ad lib.})}% +\par\noindent{\rm P\'ed.: 16'+8',(+4' doux {\sl ad lib.})}% +\smallskip +% +\deuxtemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\resp{\vnotes 0.2\elemskip&&\cbreath\enotes}% +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{{\advance\transpose by 1\relax + \ibbu0{#2}{#1}}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\sqbbh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\relax + \qh0{#4}\qh0{#5}\qh0{#6}\tqh0{#7}}\relax +\def\sqbbH#1#2.#3#4#5#6#7#8{\Ibbu0{#1}{#2}5\qh0{#3}\qh0{#4}\relax + \qh0{#5}\qh0{#6}\qh0{#7}\tqh0{#8}}\relax +\def\sqbbl#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\qb0{#2}\qh0{#3}\qh0{#4}\relax + \qh0{#5}\qh0{#6}\tqb0{#7}}\relax +\def\sqbbL#1#2.#3#4#5#6#7#8{\Ibbl0{#1}{#2}5\qb0{#3}\qb0{#4}\relax + \qb0{#5}\qb0{#6}\qb0{#7}\tqb0{#8}}\relax +% +\debutmorceau +% +\ifnum\musicsize>16\def\barperline{6}\else\def\barperline{7}\fi +\autolines {6}{\barperline}5\relax +%\check +% +\ifnum\musicsize>16\relax\advance\linesinpage by 1\relax\fi +% mesure 1 +\ifx\mxversion\undefined\kern -\internote\fi +\notes&\sqbbH dd.bdgdbN&\Uptext{\hbox{\kern -16mm\moyen Andante con moto + \bf(\metron{\qup}{60})}}\enotes +\zbarre \notes\pause&\sqbbH dd.a{^c}g{^f}gc&\pause\enotes +%\check +% mesure 2 +\barre\ifx\mxversion\undefined\kern -\Interligne\fi +\notes&\sqbbH ff.d{^f}gigd&\sk\sk\qsk\pt i\soupir\enotes +\zbarre\notes\pause&\sqbbH cc.{=c}dfdca&\sk\soupir\sk\Ilegu3o\sk\cu d\enotes +%\check +% mesure 3 +\barre\ifx\mxversion\undefined\kern -\Interligne\fi +\notes\bassyn G&\sqbbH eg.bdgi{=e}{^f}&\doubler + \qu g\sk\cu h\enotes +\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler + \qu i\sk\cu k\enotes +%\check +% mesure 4 +\barre\notes\doubler\dsoupir\cu H\dsoupir&\bigsh c\sqbbH gh.c{=e}g{^j}ge&\doubler + \qup{^j}\enotes +\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH ee.acegfe&\doubler + \qu h\tleg3\sk\dsoupir\enotes +%\check +% mesure 5 +\barre\notes\doubler\dsoupir\cu{=I}\dsoupir&\sqbbH fg.dfh{=i}hf&\doubler + \Ilegu3o\Tqh{=i}hg\enotes +\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH gh.{=e}gh{^j}hg&\doubler + \Tqh{_i}hg\enotes +%\check +% mesure 6 +\barre\notes\doubler\dsoupir\cu K\dsoupir&\sqbbH gh.d{^f}h{=j}{=i}h&\doubler + \qu{^f}\sk\cu{=e}\enotes +\zbarre\notes\bassyn I&\sqbbH hh.{_i}fgigd&\qu d\tleg3\sk + \cbreath\sk\Ilegu3o\cu d\enotes +%\check +% mesure 7 +\barre\notes\bassyn G&\sqbbH dg.bd{^f}g{=e}f&\doubler + \qu g\sk\cu h\enotes +\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler + \qu i\sk\cu k\enotes +%\check +% mesure 8 +\barre\notes\bassyn{^J}&\sqbbH gg.{^c}{=e}g{^j}ge&\doubler + \qlp{=l}\enotes +\zbarre\notes\doubler\dsoupir\cna J\cu{J}\dsoupir&\sqbbH fd.{^f}dhfd{=c}&\relax + \ql k\tleg3\sk + \cbreath\sk\Ilegu3o\cna j\cl j\enotes +%\check +% mesure 9 +\barre\notes\bassyn I&\sqbbH df.dbgd{_e}g&\doubler + \ql i\sk\cl j\enotes +\zbarre\notes\bassyn D&\sqbbH ff.d{^f}jhdf&\doubler + \ql h\sk\cl i\enotes +%\check +% mesure 10 +\barre\notes\bassyn G&\sqbbH fd.igdgdb&\doubler\hu g\tleg3\sk\sk\enotes +\zbarre\notes\bassyn J&\sqbbH bd.Nbcdec&\doubler\sk\dsoupir + \Ilegu3o\cu d\enotes +%\check +% mesure 11 +\barre\notes\bassyn G&\sqbbH df.bdgi{=e}{^f}&\doubler + \qu g\sk\cu h\enotes +\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler + \qu i\sk\cu k\enotes +%\check +% mesure 12 +\barre\notes\bassyn H&\sqbbH eg.{^c}{=e}gied&\doubler\qlp n\enotes +\zbarre\notes\bassyn J&\sqbbH fg.{=c}{^f}hjhf&\doubler\ql {^m}\sk\cl{=l}\enotes +%\check +% mesure 13 +\barre\notes\bassyn K&\sqbbH gi.dgijig&\doubler\Tqb kji\enotes +\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH gh.{=e}gh{^j}hg&\doubler + \Tqh{i}hg\enotes +%\check +% mesure 14 +\barre\notes\bassyn K&\sqbbH gg.hd{^f}{=j}hf&\doubler\qu h\tleg3\sk\dsoupir\enotes +\zbarre\notes\bassyn G&\sqbbH gi.gdgili&\doubler\Ilegu3o\qu i\sk\cu i\enotes +%\check +% mesure 15 +\barre\notes\bassyn H&\sqbbH hj.hehjlj&\doubler\qu j\sk\cu j\enotes +\zbarre\notes\bassyn I&\sqbbH hj.idgilk&\doubler\qu k\sk\cu k\enotes +%\check +% mesure 16 +\barre\notes\bassyn{^F}&\sqbbH ii.{^j}hdfh{=i}&\doubler\Tqh k{^j}{=j}\enotes +\zbarre\notes\bassyn G&\sqbbH fh.egh{=j}{_i}g&\doubler\Tqh {_i}hg\enotes +%\check +% mesure 17 +\barre\notes\bassyn K&\sqbbH gg.hd{^f}hjh&\qup h\enotes +\zbarre\notes\doubler\qup G&\Ibbu0ge3\qh0{gig}\tqh0d&\cu g\tleg3\sk\dsoupir + \Ilegu3p\enotes +\cleftoksii={6000}\changeclefs +\temps\notes&\zmidtwotext{\kern -\Interligne\bf I \rm(GO)}\Ibbl0bc1\qb0b\tqb0c&\doubler + \uptext{\kern -\Interligne\bf I \rm(GO)}\itenl0d\cu d\enotes +%\check +% mesure 18 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler + \tten0\itenl0d\zqlp d\qu g\sk\zq {^f}\cu h\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler + \tten0\zql d\zq g\qu i\sk\zcl g\cu g\enotes +%\check +% mesure 19 +\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler + \zq g\rq h\qu{^j}\tleg3\sk\dsoupir\enotes +\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbL dM.d{=c}{_b}aN{^M}&\doubler + \Ilegu3o\zqp {^f}\zqlp h\qu k\sk\cu {=j}\enotes +%\check +% mesure 20 +\barre\notes\doubler\qup G&\sqbbL LN.{=L}{^M}NabN&\doubler + \zqlp d\zq g\Tqh ihg\enotes +\zbarre\notes\doubler\qup J&\sqbbL cL.cbaN{=M}{=L}&\doubler + \zqlp{=e}\zq g\Tqh ihg\enotes +%\check +% mesure 21 +\barre\notes\doubler\hu K&\sqbbL La.{^M}K{=L}MNa&\doubler + \zq d\zql{^f}\qup h\sk\raise -2.5\Interligne\soupir\enotes +\zbarre\notes\doubler\sk\sk\soupir&\sqbbL NN.bMNabc&\qu d\tleg3\sk + \doubler\cbreath\Ilegu3o\itenl0d\cu d\enotes +%\check +% mesure 22 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler + \tten0\itenl0d\zqlp d\qu g\sk\zq{^f}\cu h\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler + \tten0\zql d\itenl0g\zq g\itenu1i\qu i\sk + \tten0\tten1\itenl0g\zq g\zq i\cu k\enotes +%\check +% mesure 23 +\barre\notes\doubler\qup{^J}&\sqbbL cM.{^c}{=e}cbaN&\doubler + \tten0\pt f\zqp g\rlap{\qsk\itenu1h\zqp h}\qup{=l}\sk\sk\enotes +\zbarre\notes\doubler\qu K\sk\dsoupir&\sqbbL La.{^M}K{=L}MNa&\relax + \tten1\zq {^f}\zq h\qu k\tleg3\sk\doubler\sk\Ilegu3o\cna j\cl j\enotes +%\check +% mesure 24 +\barre\notes\qup G&\sqbbL aa.{_b}aN{=c}aN&\doubler + \itenl0d\zqp d\zqlp g\qu i\sk\cu j\enotes +\zbarre\notes\qup K&\sqbbL LL.{^M}{=L}MKLM&\doubler + \tten0\zql d\zqp {^f}\qu h\sk \zcu i\raise -3\Interligne\ds\enotes +%\check +% mesure 25 +\barre\notes\hu G&\sqbbL NI.N{^M}NKIK&\doubler\zh b\zh d\hu g\sk\sk\enotes +\zbarre\notes\sk\sk\soupir&\cu G\sk\dsoupir&\sk\tleg3\sk\dsoupir\enotes +\cleftoksii={0000}\changeclefs +\temps\notes&\uptext{(I)}\Ibbu0dc1\qh0d\tqh0c&\relax + \uptext{\bf III}\Ilegu3p\cu d\enotes +%\check +% mesure 26 +\barre\notes\doubler\qu G\sk\cu K&\rlap{\ql b\sk\sk\sk\cl a}\relax +\sqbbH df.bdgdce&\doubler\qu g\sk\cu h\enotes +\zbarre\notes\doubler\qu I\sk\cu H&\rlap{\ql b\sk\sk\sk\qsk\cl c}\relax +\sqbbH ff.dgigd{^f}&\doubler\qu i\sk\cu k\enotes +%\check +% mesure 27 +\barre\notes\doubler\qu G\sk\cu{=I}&\rlap{\ql{=b}\sk\sk\sk\cl d}\relax + \sqbbH fh.dg{=i}g{=f}g&\doubler\ql n\sk\cl m\enotes +\zbarre\notes\qup J&\zqlp c\sqbbH gi.egjghg&\doubler\Tqb lkj\enotes +%\check +% mesure 28 +\barre\notes\doubler\qup H&\rlap{\qsk\zql e}\sqbbH gi.{^f}hjijh&\doubler + \Tqb lkj\enotes +\zbarre\notes\doubler\qup{^J}&\zqlp e\sqbbH gh.{=e}gh{^j}hg&\doubler + \Tqh{_i}hg\enotes +%\check +% mesure 29 +\barre\notes\doubler\qup{=J}&\rlap{\ql d\sk\sk\sk\cna c\cl c}\relax + \sqbbH gg.hg{^f}{=j}hf&\doubler\qu h\sk\cu{^f}\enotes +\zbarre\notes\doubler\qu I\sk\soupir&\rlap{\ql d\sk\sk\sk\cl c}\relax + \sqbbH gg.gihg{^f}g&\qu d\tleg3\sk\cbreath\sk + \Ilegu3o\cu d\enotes +%\check +% mesure 30 +\barre\notes\doubler\qup I&\zqlp b\sqbbH gh.dgigdg&\doubler + \Tqh ghi\enotes +\zbarre\notes\doubler\qup H&\zqlp c\sqbbH gh.eghjhg&\doubler + \Tqb ijk\enotes +%\check +% mesure 31 +\barre\notes\doubler + \qup K&\zqlp c\sqbbH fh.c{=e}{^f}hjh&\doubler + \Tqb k{=l}{^m}\enotes +\zbarre\notes\doubler\qu I\sk\cu{=I}&\zqlp d\sqbbH ii.giki{=i}g&\doubler + \ql n\sk\cl {=m}\enotes +%\check +% mesure 32 +\barre\notes\doubler\qup J&\zqlp c\sqbbH gi.{_e}ghjhg&\doubler + \Tqb {_l}kj\enotes +\zbarre\notes\doubler\qup{^J}&\lsh c\zqlp c\sqbbH gh.{=e}gh{^j}hg&\doubler + \Tqh ihg\enotes +%\check +% mesure 33 +\barre\notes\doubler\qup{_I}&\lna c\zqlp c\sqbbH gh.{_e}gh{=j}hg&\doubler + \Tqh ihg\enotes +\zbarre\notes\doubler\qu K\sk\ds&\zql d\sqbbH ge.{^f}hjhfd&\doubler + \qu h\tleg3\sk\dsoupir\enotes +%\check +% mesure 34 +\barre\notes\doubler\qu G\sk\cu F&\rlap{\ql b\sk\sk\sk\cl d}\relax + \sqbbH ff.dgigdg&\doubler\Ilegu3o\Tqh gh{=i}\enotes +\zbarre\notes\doubler\qup E&\zqlp c\sqbbH gh.eghjhg&\doubler + \Tqb ijk\enotes +%\check +% mesure 35 +\barre\notes\doubler + \qup D&\zqlp c\sqbbH gg.{^f}hjhdf&\doubler + \Tqb k{=l}{^m}\enotes +\zbarre\notes\doubler + \qu{=E}\sk\cu{=I}&\rlap{\ql b\sk\sk\sk\cl{=b}}\sqbbH gg.{=e}g{=i}gdf&\doubler + \ql n\sk\cl m\enotes +% mesure 36 +\barre\notes\doubler\qup J&\lna e\rlap{\qsk\zql e}\sqbbH gi.{^f}hjkjh&\doubler + \Tqb {=l}kj\enotes +\zbarre\notes\doubler\qup H&\zqlp c\sqbbH gh.{_e}ghjhg&\doubler + \Tqb {_i}hg\enotes +% mesure 37 +\barre\notes\doubler\ql{I}\sk\ds&\rlap{\clp{^c}\sk\sk\pt{-5}\raise -4\Interligne\ds}\relax + \sqbbH cc.{^c}egeca&\doubler + \ql{^j}\tleg3\sk\ds\enotes +\cleftoksii={6000}\changeclefs +\zbarre\notes\doubler\qup K&\uptext{\kern -\Interligne(I)}\sqbbL La.{^M}K{=L}MNa&\relax + \uptext{\kern -2\Interligne\bf I}\doubler\Ilegu3o + \zqp {^f}\zqlp h\qu k\sk\cu{=j}\enotes +%\check +% mesure 38 +\barre\notes\qup G&\sqbbL aa.{_b}aNcaN&\doubler + \itenl0d\zqp d\zqlp g\qu i\sk\cu j\enotes +\zbarre\notes\qup K&\sqbbL LL.{^M}{=L}MKLM&\doubler + \tten0\zql d\zqp {^f}\qu h\sk \zcu i\raise -3\Interligne\ds\enotes +%\check +% mesure 39 +\barre\notes\hu G&\sqbbL NI.N{^M}NKIK&\doubler\zh b\zh d\hu g\sk\sk\enotes +\zbarre\notes\sk\sk\soupir + &\cu G\sk\ds&\sk\tleg3\sk\uptext{\rm (I)}\dsoupir\enotes +\cleftoksii={0000}\changeclefs +\temps\notes&\uptext{\bf III}\Ibbu0dc1\qh0d\tqh0c&\relax + \Ilegu3q\cu k\enotes +%\check +% mesure 40 +\barre\notes\doubler\qu G\sk\cu{^F}&\sqbbH bb.babNac&\doubler + \zq{ik}\ql n\sk\zq{j^m}\cl o\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbH bd.babNdb&\doubler + \zq{kn}\ql p\sk\zq{=mp}\cl r\enotes +%\check +% mesure 41 +\barre\notes\qup H&\sqbbH ce.a{^c}{=e}gfe&\doubler\zq{=lo}\ql{^q}\sk\tleg3\enotes +\zbarre\notes\doubler\qu K\sk\cu{^F}&\sqbbH ff.{^f}dhfd{=c}&\doubler + \Ilegu3r\zqp{^m}\zqlp o\qu r\sk\cl{=q}\enotes +%\check +% mesure 42 +\barre\notes\doubler\qu G\sk\cu J&\sqbbH dd.bdgdec&\doubler + \itenu2n\zq{kn}\ql p\sk\tten2\zq{ln}\cl q\enotes +\zbarre\notes\doubler\qu K\sk\cu K&\sqbbH dd.ac{^f}dcd&\doubler + \zqp k\zqlp{^m}\qu o\sk\cu p\enotes +% mesure 43 +\barre\notes\doubler\hu G&\sqbbH cc.bdgdec&\doubler + \zq{ik}\ql n\tleg3\sk\ds\enotes +\zbarre\notes\doubler\sk\soupir&\sqbbH ff.bd{=e}{^f}gh&\doubler + \Ilegu3r\ql k\sk\itenl0k\cl k\enotes +%\check +% mesure 44 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL if.{!'b}abNa{^M}&\doubler + \tten0\itenl0k\zqlp k\ql n\sk\zq{^m}\cl o\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbH gj.{'N}abN{=e}d&\doubler + \tten0\zq k\itenl0n\itenu1p\zq n\ql p\sk + \tten0\tten1\zq n\zq p\cl r\enotes +%\check +% mesure 45 +\barre\notes\doubler\qsk\qup H&\qsk\sqbbL jf.{!'^c}{=e}cbaN&\doubler\qsk + \lna s\zqp o\zqp {^q}\qlp{s}\sk\tleg3\sk\enotes +\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbH he.hgfed{=c}&\doubler + \Ilegu3s\zqp {^m}\zqlp o\qu r\sk\cu {=q}\enotes +%\check +% mesure 46 +\barre\notes\doubler\qup G&\sqbbH ce.bcd{=e}{^f}g&\doubler + \zqlp k\zq n\Tqh pon\enotes +\zbarre\notes\doubler\qup J&\sqbbL ff.eihg{=f}{=e}&\doubler + \zqlp{=l}\zq n\Tqh pon\enotes +%\check +% mesure 47 +\barre\notes\doubler\qup K&\sqbbL eh.{!'^M}K{=L}MNa&\doubler + \zqp {k^m}\qlp o\enotes +\zbarre\notes\doubler\qu G\sk&\Ibbu0gc3\qh0{g_ed}\tqh0c&\cl n\tleg3\sk\dsoupir\enotes +\cleftoksii={6000}\changeclefs +\temps\notes\ds&\Ibbl0bc1\qb0b\tqb0c&\doubler + \Ilegu3r\itenl0k\cu k\enotes +%\check +% mesure 48 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler + \tten0\itenl0k\zqlp k\qu n\sk\zq {^m}\cu o\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler + \tten0\zq k\zq n\ql p\sk\cl n\enotes +%\check +% mesure 49 +\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler + \lq n\zq o\ql{^q}\tleg3\sk\dsoupir\enotes +\cleftoksii={0000}\changeclefs +\zbarre\notes\doubler\qup K&\sqbbH eh.{!'^M}K{=L}MNa&\doubler + \Ilegu3r\zq {^m}\zq o\ql r\sk\cna q\cl q\enotes +%\check +% mesure 50 +\barre\notes\qup G&\sqbbH hh.{!'_b}aNcaN&\doubler + \itenl0k\zqp k\zqlp n\qu p\sk\cu q\enotes +\zbarre\notes\qup K&\sqbbH ee.{!'^M}{=L}MKLM&\doubler + \tten0\itenl0k\zqp k\zqlp {^m}\qu o\sk \cu p\enotes +%\check +% mesure 51 +\barre\notes\hu G&\sqbbH gd.{!'N}{^M}NKIK&\doubler\tten0\zh i\zh k\hl n\sk\sk\enotes +\zbarre\notes\sk\sk\soupir&\cu N\zmidtwotext{\bf I \ppff ff}\sk\dsoupir + &\sk\tleg3\sk\dsoupir\enotes +\cleftoksii={6000}\changeclefs +\temps\notes&\cl c&\cu d\enotes +%\check +% mesure 52 +\barre\NOtes\qu G\sk\cu H&\Tqb bN{^M}&\zqlp d\zq g\qu i\sk\zq{^f}\cu h\enotes +\zbarre\NOtes\Tqh IHG&\Tqb KMN&\zqlp d\Ibu1gi2\zq b\qh1g\zq{^f}\qh1h\zq g\tqh1i\enotes +%\check +% mesure 53 +\barre\NOtes\qu H\sk\cu J&\Tqb aLN&\zqlp e\zq g\qu j\sk\zq{g}\cu i\enotes +\zbarre\NOtes\qup K&\Tqb {^M}KJ&\zqp d\zqlp{^f}\qu h\sk\cu h\enotes +%\check +% mesure 54 +\barre\NOtes\qup I&\Tqb IKN&\zql d\Ibu1ig2\zq g\qh1i\zq{^f}\qh1h\zcl e\zq g\tqh1i\enotes +\zbarre\NOtes\qup{^J}&\Tqh {=L}{^J}N&\zqp{=e}\zqlp g\qu{^j}\sk\cu j\enotes +% check +% mesure 55 +\barre\notes\qup K&\sqbbL aJ.aN{^M}{=L}KJ&\doubler + \zqp{^f}\zqlp h\qu k\sk\cu k\enotes +\zbarre\notes\doubler\qu G\sk\cu J&\sqbbL IK.IKNK{_L}J&\doubler + \zq d\zq g\itenu1g\qu i\sk\tten1\zq e\zq g\cu j\enotes +%\check +% mesure 56 +\barre\notes\qup K&\sqbbL KK.KJK{^M}aJ&\doubler\zqp d\zqlp {^f}\qu h\sk\cu i\enotes +\zbarre\notes\qup G&\sqbbL Ia.IK{=L}MNa&\doubler\zq{bd}\qu g\sk\ds\enotes +%\check +% mesure 57 +\barre\notes\qup I&\sqbbL aa.babNab&\doubler + \uptext{\it non legato}\zq{dg}\qu i\sk\zq{dg}\cu i\enotes +\zbarre\notes\qup H&\sqbbL bb.cbcabc&\doubler\zq{eh}\qu j\sk\zq{eh}\cu j\enotes +%\check +% mesure 58 +\barre\notes\qup I&\sqbbL aa.d{^c}dbNd&\doubler\zq g\zq i\qu k\sk\zq{eg}\cu k\enotes +\zbarre\notes\qup {^F}&\sqbbL NN.{=c}aKMac&\doubler\zqp{^f}\zqlp h\Tqh k{^j}{=j}\enotes +%\check +% mesure 59 +\barre\notes\qup G&\sqbbL aa.{=b}aNbaN&\doubler + \zq{dg}\qu {=i}\sk\zq{dg}\cu i\enotes +\zbarre\notes\qup E&\sqbbL Ma.{!`e}gh{=j}{_i}g&\doubler + \zq e\zql g\Tqh {_i}hg\enotes +%\check +% mesure 60 +\barre\notes\qup D&\sqbbL LL.aK{^M}aca&\itenl1d\zqp d\zqp {^f}\qup h\enotes +\zbarre\notes\doubler\qu G&\cl N\sk\ds&\tten1\zq d\cu g\sk\dsoupir + \enotes +\temps\notes\ds&\zmidtwotext{\kern -2\Interligne\fff}\Ibbl0bc1\qb0b\tqb0c&\doubler + \Ilegu3o\itenl0d\cu d\enotes +%\check +% mesure 61 +\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler + \tten0\itenl0d\zqlp d\qu g\sk\zq {^f}\cu h\enotes +\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler + \tten0\zql d\zq g\qu i\sk\zcl g\cu g\enotes +%\check +% mesure 62 +\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler + \zq g\rq h\qu{^j}\tleg3\sk\dsoupir\enotes +\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbL dM.d{=c}{_b}aN{^M}&\doubler + \lst f\zq {^f}\zq h\qu k\sk\lppz f\zq {fh}\cu {=j}\enotes +%\check +% mesure 63 +\barre\notes\doubler\qu I\sk\cu G&\sqbbL aa.NabNcb&\doubler + \lst d\zq d\zq g\qu i\sk\lppz e\zq{eg}\cu j\enotes +\zbarre\notes\doubler\qu K\sk\cu D&\sqbbL NN.aNa{^M}ba&\doubler + \lst d\zq{d^f}\qu h\sk\lppz d\zq{d^f}\qu i\enotes +%\check +% mesure 64 +\barre\notes\doubler\qu G\sk\ds&\sqbbL NH.NLKJIH&\doubler + \zhp {bd}\hup g\enotes +\ifnum\musicsize<17\relax\autolines695\relax\fi +\zbarre\NOtes\qu G\sk\ds&\cu G\ds\cl a&\relax + \sk\ds\uptext{\kern 3\Interligne\llap{\moyen maestoso}}\rq d\cu c\enotes +%\check +% mesure 65 +\barre\NOtes\qu G\sk\cu{^F}&\ust N\ql N\sk\uppz a\zq{^M}\cl a&\relax + \lst b\zq{bd}\qu g\sk\lppz d\zq{^fd}\cu h\enotes +\zbarre\NOtes\qu G\sk\cu{=F}&\ust b\zq N\ql b\sk\uppz d\zq{=Mb}\cl d&\relax + \lst d\zq{dg}\qu i\sk\lppz f\zq{=fi}\cu k\enotes +%\check +% mesure 66 +\barre\NOtes\qu{=E}\sk\cu G&\lsh c\zqp{=LNc}\qlp{=e}&\relax + \Ilegu3o\lsh j\zqp{gj=l}\qlp n\enotes +\zbarre\NOtes\qu{^F}\sk\ds&\zq{^Ma}\ql d\sk\ds&\tleg3\zq {^fh}\ql k\sk\ds\enotes +%\check +% mesure 67 +\barre\NOtes\qu H\sk\cu I&\ust c\zq{_La}\ql c\sk\uppz b\zq{KN}\cl b&\relax + \lst e\zq{_eh}\qu{=j}\sk\lppz d\zq{dg}\cu i\enotes +\zbarre\NOtes\qu J\sk\cu{^J}&\zql L\qup N\sk\cl{=L}&\relax + \rlap{\zq c\ql e\sk\lsh c\zq c\cl{=e}}\Tqh hgh\enotes +%\check +% mesure 68 +\barre\Notes\hu K&\zh{=J^M}\hl a&\hu d\sk\sk\sk\enotes +\zbarre\NOtes\soupir&\ds\zq{^M}\cl a&\ds\rq d\cu c\enotes +%\check +% mesure 69 +\advance\maxbarsinline by 1\relax +\barre\NOtes\qu G\sk\cu{^F}&\ust N\ql N\sk\uppz a\zq{^M}\cl a&\relax + \lst b\zq{bd}\qu g\sk\lppz d\zq{^fd}\cu h\enotes +\zbarre\NOtes\qu G\sk\cu{=F}&\ust b\zq N\ql b\sk\uppz d\zq{=Mb}\cl d&\relax + \lst d\zq{dg}\qu i\sk\lppz f\zq{=fi}\cu k\enotes +%\check +% mesure 70 +\barre\NOtes\qup C&\zq{J=LN}\ql c\sk\ds&\zq{=egj}\ql{=l}\sk\ds\enotes +\zbarre +\NOtes\qu D\sk\cu{^F}&\zqp{^Ma}\qlp d&\zqp{^f}\zqlp h\qu k\sk\cu j\enotes +%\check +% mesure 71 +\barre\notes\qup G&\doubler\zcl K\zqp N\qup b\ql J&\relax + \rlap{\zq d\cl g\sk\zq{_e}\ql g}\ibu0i0\qh0i\sk\nbbu0\qh0{ihj}\tqh0i\enotes +\zbarre\notes\qup D&\doubler\zcl K\zqp{^M}\qup a\ql J&\relax + \rlap{\zq d\cl{^f}\sk\zq{c}\ql f}\ibu0h0\qh0h\sk\nbbu0\qh0{hgi}\tqh0h\enotes +% mesure 72 +\barre\NOtes\hup G\sk\sk&\zql{J}\zqp{=L}\itenu0N\qup N\sk\cl H&\relax + \zqp{c}\zqlp{=e}\itenu1g\qup g\enotes +\zbarre\NOtes&\zqp{I}\zqlp K\tten0\qup N&\zqp{b}\zqlp{d}\tten1\qup g\enotes +%\check +\finmorceau +% +\medskip\rightline{\it \aujourdhui} +\vfil +\eject diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/souvenir.tex b/Master/texmf-dist/doc/generic/musixtex/examples/souvenir.tex new file mode 100644 index 00000000000..9ab7f02a6a9 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/souvenir.tex @@ -0,0 +1,31 @@ +\input musixtex +\input musixsty +\input musixcpt +% +\def\Transpose{0}% +\def\Signature{-3}\relax % trois bemols a la clef +\generalsignature{\Signature}\savesignature +\barsinline=0\relax\linesinpage=0\relax +\input souvenix +% +\def\Transpose{-4}% +\def\Signature{-4}\relax % quatre bemols a la clef +\generalsignature{\Signature}\savesignature +\barsinline=0\relax\linesinpage=0\relax +\input souvenix +% +\bye + +\def\Transpose{-4}\relax +\def\Signature{3}\relax % trois diezes a la clef +\generalsignature{\Signature}\savesignature +\barsinline=0\relax\linesinpage=0\relax +\input souvenix +% +\def\Transpose{-3}\relax +\def\Signature{-2}\relax % deux bemols a la clef +\generalsignature{\Signature}\savesignature +\barsinline=0\relax\linesinpage=0\relax +\input souvenix +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/souvenix.tex b/Master/texmf-dist/doc/generic/musixtex/examples/souvenix.tex new file mode 100644 index 00000000000..a9ce439bf1b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/souvenix.tex @@ -0,0 +1,474 @@ + +\fulltitle{Un souvenir...} +\shortauthor{Rossi/Capitani} +\title{Un souvenir} +\othermention{Paroles d'Oreste ROSSI} +\fullauthor{Musique de Fernand CAPITANI}% +\maketitle + +\ifx\Transpose\undefined\def\Transpose{0}\fi +\ifx\Signature\undefined\def\Signature{-3}\fi + +\tracingstats=1\relax +%\check +% +% +% soufflets crescendo et decrescendo +% +\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\cresc}}% +\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CResc}}% +% +\def\souffldim#1{\zcharnote{#1}{\kern -1cm\dimin}}% +\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DImin}}% +% +%\check +\def\nbinstruments{2} +\setstaffs12\relax +\setstaffs21\relax +\setclefs1{6000}% +\setclefs2{0000}% +% +\generalsignature{\Signature}% +\generalmeter{\meterfrac{4}{4}} +%\check +\def\interfacteur{10}% +\parindent 15mm +\def\instrumenti{Piano}% +\def\instrumentii{Chant}% +\setinterinstrument1{4\Interligne} +%\check +\def\respire{\notes\nextinstrument\cbreath\enotes}% +% +%\check +\catcode`\@=13 +% +\def\doct#1#2{\Ibl0{#1}{#2}1{\zq{'#1}}\qb0{#1}{\zq{'#2}}\tqb0{#2}}% +\def\doctu#1#2{{\advance\transpose by 7\relax +\Ibu0{#1}{#2}1\zq{#1}}\qh0{#1}{\zq{'#2}}\tqh0{#2}}% +% +\def\nbinstruments{1}\computewidths +\debutmorceau +\autolines {10}44\relax +\transpose=\Transpose +\notes|\Uptext{\raise 2\Interligne\hbox{\moyen Moderato}}\enotes +% +\def\rchone{\lq q\zq{lnp}\ql s}% +\def\Lchone{\lh c\zh{be}\hl g}% +\def\lchone{\lq c\zq{be}\ql g}% +\def\Lchtwo{\zh{bd}\hl g}% +\def\lchtwo{\zq{bd}\ql g}% +\def\octs#1{\zw{#1}\advance\transpose by 7\zw{#1}\raise 3\Interligne\soupir}% +\znotes\zmidtwotext{\kern -3mm\ppff p}\enotes +\temps\NOtes\octs E|\soupir\enotes +\temps\NOtes\Lchone|\rchone\enotes +\temps\NOtes|\rchone\enotes +\temps\NOtes\lchone|\rchone\enotes + %\check +% mesure 2 +\barre\NOtes\octs G|\itenl1k\itenl2n\itenu3p\itenu4r\zw{knpr}\enotes +\temps\NOtes\Lchtwo\enotes +\temps\NOtes\sk\enotes +\temps\NOtes\lchtwo\enotes + %\check +% mesure 3 +% +\def\lchthree{\lq f\zq{ce}\ql h}% +\def\Lchthree{\lh f\zh{ce}\hl h}% +\xbarre\NOtes\octs H|\tten1\tten2\tten3\tten4\zq{knp}\ql r\enotes +\temps\notes\Lchthree|\doct jk\enotes +\temps\NOtes|\zq{lnq}\ql s\enotes +\temps\notes\lchthree|\doct kj\enotes +% + %\check +% mesure 4 +\def\lchfour{\zq{be}\ql g}% +\def\Lchfour{\zh{be}\hl g}% +\xbarre\NOtes\octs G|\zw{inp}\qsk\zql m\enotes +\temps\NOtes\Lchfour|\ql l\enotes +\temps\NOtes|\ql k\enotes +\temps\NOtes\lchfour|\Fl k\ql k\enotes +% + %\check +% mesure 5 +% +\def\lchfive{\lq e\zq c\ql f}% +\def\Lchfive{\lh e\zh c\hl f}% +\def\uchfive{\lq m\zq{hl}\ql o}% +\barre\autolines 854\relax +\NOtes\octs F|\soupir\enotes +\temps\NOtes\lFl c\Lchfive|\uchfive\enotes +\temps\NOtes|\uchfive\enotes +\temps\notes\lchfive|\lq m\zq l\doct hh\enotes +% + %\check +% mesure 6 +% +\def\lchsix{\lq c\zq{Nb}\ql e}% +\def\Lchsix{\lNa c\lh c\zh{Nb}\hl e}% +\xbarre\NOtes\octs B|\itenl1g\itenu2n\zw{gn}\qsk\ql m\enotes +\temps\NOtes\Lchsix|\ql l\enotes +\temps\NOtes|\ql j\enotes +\temps\NOtes\lchsix|\ql i\enotes +% + %\check +% mesure 7 +\def\lchseven{\zq{Ma}\ql c}% +\def\Lchseven{\Fl c\zh{Mac}\hl e}% +\xbarre\NOtes\octs B|\tten1\tten2\zq g\qu n\enotes +\temps\notes\bigaccid\Lchseven|\doctu fg\enotes +\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m\enotes +\temps\Notes\lchseven|\doctu ef\enotes +% + %\check +% mesure 8 +\xbarre\NOTes\itenl1E\itenu2L\zw E\zw L\raise 3\Interligne\hpause + |\Na j\rh j\zh{egi}\hu l\enotes +\temps\NOTes\Fl c\Lchthree|\lh m\zh{il}\hl p\enotes +% + %\check +% mesure 9 +\xbarre\notes\qsk\enotes +\NOTEs\llap{\lNa c\kern 1pt}\tten1\tten2\zw{EL}\lw c\zw{be}\wh g\relax + |\lw p\zw{lnq}\wh s\enotes +\setdoublebar\suspmorceau +% + %\check +% mesure 10 +\def\nbinstruments{2}\generalmeter{}\savemeters + %\computewidths + %\advance\linesinpage by 1 + \lreprmorceau +\llap{\leftrepeatsymbol}% +\def\txt#1|#2&{\hsong{\vbox to 0pt{\Smalltype\baselineskip 10pt +\vss\hrule width \noteskip height 0pt +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #2\kern\internote}\smallskip +\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote + #1\kern\internote}}}}% +\znotes\zmidtwotext{\kern -3mm\ppff p}&\enotes +% +\def\arpg#1#2{\vnotes 0.2\elemskip\larpeggio{#1}{#2}\enotes}% +\def\uarpg#1#2{\vnotes 0.2\elemskip|\larpeggio{#1}{#2}\enotes}% +% +\vnotes 0.2\elemskip\rlap{\larpeggio E6}\larpeggio c6\enotes +\notes\zw{EILNb}|\wh g&\ds\enotes +\temps\notes&\txt Se |De &\cu g\enotes +\temps\notes&\txt sou-|la &\cu g\enotes +\temps\notes&\txt ve-|mer-&\cu g\enotes +\temps\notes&\txt nir |veil-&\cu i\enotes +\temps\notes&\txt c'est |leuse &\cu i\enotes +\temps\notes&\txt croire |a-&\cu j\enotes +\temps\notes&\txt en |ven-&\cu j\enotes + %\check +% mesure 11 +\xbarre\vnotes 0.2\elemskip\larpeggio G5|\larpeggio d4\enotes +\NOtes\zh{GK}\hu b|\zh{dgi}\hu k&\txt co-|tu-&\hl k\enotes +\temps\vnotes 0.2\elemskip\larpeggio M8|\larpeggio i4\enotes +\NOtes\zh{Nd}|\zhl g\zh{knp}\hu r&\txt re |re &\hl k\enotes +% + %\check +% mesure 12 +\xbarre +\vnotes 0.2\elemskip\rlap{\larpeggio D8}\larpeggio b4\enotes +\notes\zw{EILNb}|\zw g\qsk\hl f&\ds\enotes +\temps\notes&\txt Que |Qui &\cu g\enotes +\temps\notes&\txt tout |un &\cu g\enotes +\temps\notes&\txt vient |jour &\cu g\enotes +\temps\notes|\hl e&\txt de |a &\cu i\enotes +\temps\notes&\txt re-|pu &\cu i\enotes +\temps\notes&\txt com-|nous &\cu j\enotes +\temps\notes&\txt men-|u-&\cu j\enotes + %\check +% mesure 13 +\xbarre\vnotes 0.12\elemskip\larpeggio E6\qsk|\larpeggio c4\enotes +\NOtes\zw{GKb}|\Sh h\zw{dik}\qsk\zhl h\sk&\txt cer |nir &\wh k\enotes +\temps\NOtes|\hl g\enotes +% + %\check +% mesure 14 +\alaligne +\notes\zh{JN}\hl c|\zh{eg}\hu l&\ds\enotes +\temps\notes&\txt\kern -\Interligne C'est |Je &\cl l\enotes +\temps\notes&\txt re-|gar- &\cl k\enotes +\temps\notes&\txt voir-|de &\cu j\enotes +\temps\notes\bigaccid\zh H\zh L\Na a\hl a|\zh{cj}\zhu e\qsk\zql i&\txt + l'\^e-|mal-&\cu i\enotes +\temps\notes&\txt tre |gr\'e &\cu i\enotes +\temps\notes|\bigaccid\Na h\ql h&\txt qu'on |mes &\cu j\enotes +\temps\notes&\txt a- |bles-&\cu j\enotes + %\check +% mesure 15 +\xbarre\NOTes\zh{F}\zhl J\zh{ac}|\zh{e}\hu g&\txt do-|su-&\hu g\enotes +\temps\NOTes\zh{M}\hl c|\zh{hjl}\hl n&\txt re |res &\hu g\enotes +% + %\check +% mesure 16 +\xbarre +\notes\bigaccid\Sh a\zw{FLac}|\zw e\wh g&\ds\enotes +\temps\notes&\txt Et |L'in-&\cu g\enotes +\temps\notes&\txt re-|ef-&\cu g\enotes +\temps\notes&\txt trou-|fa-&\cu g\enotes +\temps\notes&\txt ver |\c ca-&\cu f\enotes +\temps\notes&\txt tout |ble &\cu f\enotes +\temps\notes&\txt le |sou-&\cu g\enotes +\temps\notes&\txt pas-|ve-&\cu g\enotes + %\check +% mesure 17 +\xbarre\NOtes\Na a\zw{Ia}|\zh{g}\zhu i\qlp d&\txt s\'e... |nir... &\wh i\enotes +\temps\notes|\Ibbl0ef2\qb0e\Sh e\qb0e\tqb0f\enotes +\NOTes|\Sh f\Sh m\zhl f\zh{ikm}\hu p\enotes +% + %\check +% mesure 18 +\setdoublebar\alaligne +% +\autolines {10}44\relax +\znotes\zmidtwotext{\kern -3mm\ppff p}&\uptext{\rm REFRAIN}\soupir\enotes +\temps\NOtes\octs E|\soupir\enotes +\temps\NOtes\Lchone|\rchone&\hsong{Un }\ql l\enotes +\temps\NOtes|\rchone&\hsong{sou- }\ql l\enotes +\temps\NOtes\lchone|\rchone&\hsong{ve- }\ql l\enotes + %\check +% mesure 19 +\barre\NOtes\octs G|\itenl1k\itenl2n\itenu3p\itenu4r\zw{knpr}&\hsong{nir }\wh k\enotes +\temps\NOtes\Lchtwo\enotes +\temps\NOtes\sk\enotes +\temps\NOtes\lchtwo\enotes + %\check +% mesure 20 +% +\xbarre\NOtes\octs H|\tten1\tten2\tten3\tten4\zq{knp}\ql r&\soupir\enotes +\temps\Notes\Lchthree|\doct jk&\hsong{\kern -2\Interligne C'est l'i-}\cl j\cl k\enotes +\temps\NOtes|\zq{lnq}\ql s&\hsong{ma- }\ql l\enotes +\temps\Notes\lchthree|\doct kj&\hsong{ge d'un }\cl k\cl j\enotes +% + %\check +% mesure 21 +\xbarre\NOtes\octs G|\zh{inl}\hl p&\hsong{r\^e- }\hl i\enotes +\temps\NOtes\Lchfour|\enotes +\temps\NOtes|\zh{inl}\hl p&\hsong{be }\hl i\enotes +\temps\NOtes\lchfour|\enotes +% + %\check +% mesure 22 +% +\def\lchttwo{\zq a\zq c\ql e}% +\def\Lchttwo{\zh a\zh c\hl e}% +\def\uchttwo{\zq{hjl}\ql o}% +\barre\NOtes\octs F|\soupir&\soupir\enotes +\temps\NOtes\Lchttwo|\uchttwo&\hsong{\kern -\internote D'une }\qu h\enotes +\temps\NOtes|\uchttwo&\hsong{\kern -\internote heu- }\qu h\enotes +\temps\Notes\lchttwo|\zq j\zq l\doct hh&\hsong{\kern -\internote re trop }\cu h\cu h\enotes +% + %\check +% mesure 23 +% +\def\Lchtthree{\lh c\zh{Nb}\hl e}% +\def\lchtthree{\lq c\zq{Nb}\ql e}% +\barre\NOtes\octs B|\zh{gjl}\hl n&\hsong{br\`e-}\hu g\enotes +\temps\NOtes\Lchtthree|\enotes +\temps\NOtes|\itenl1g\itenl2j\itenu3l\itenu4n\zh{gjl}\hl n&\hsong{be }\hu g\enotes +\temps\NOtes\lchsix|\enotes +% + %\check +% mesure 24 +\def\Lchtfour{\zh{Mac}\hl e}% +\barre\NOtes\octs B|\tten1\tten2\tten3\tten4\zq{gjl}\qu n&\soupir\enotes +\temps\Notes\Lchtfour|\doctu fg&\hsong{Qui ne }\cu f\cu g\enotes +\temps\NOtes|\zq f\qu m&\hsong{beut }\qu f\enotes +\temps\Notes\lchseven|\doctu ef&\hsong{pas fi-}\cu e\cu f\enotes +% + %\check +% mesure 25 +\barre\NOtes\octs E|\zh{gil}\hu n&\hsong{nir }\hu g\enotes +\temps\NOtes\lchtthree\enotes +\temps\NOtes\soupir|\Sh m\zh{ikm}\hu p&\hsong{--}\hu i\enotes +\temps\NOtes\qu I\enotes +% + %\check +% mesure 26 +\barre\temps\NOtes\octs E|\soupir&\soupir\enotes +\temps\NOtes\Lchone|\rchone&\hsong{Un }\ql l\enotes +\temps\NOtes|\rchone&\hsong{sou-}\ql l\enotes +\temps\NOtes\lchone|\rchone&\hsong{ve-}\ql l\enotes +% + %\check +% mesure 27 +\barre\NOtes\octs G|\itenl1k\itenu3p\itenu4r\Sh o\zw{kpr}\qsk\zql o&\hsong{nir }\wh k\enotes +\temps\NOtes\Lchtwo|\ql n\enotes +\temps\NOtes\sk|\Sh m\ql m\enotes +\temps\NOtes\lchtwo|\ql n\enotes + %\check +% mesure 28 +% +\barre\NOtes\octs H|\tten1\tten3\tten4\zq{kp}\ql r&\soupir\enotes +\temps\Notes\Lchthree|\doct jk&\hsong{\kern -2\Interligne C'est tou-}\cl {jk}\enotes +\temps\NOtes|\zq{lnq}\ql s&\hsong{te }\ql l\enotes +\temps\Notes\lchthree|\doct kj&\hsong{la ten-}\cl{kj}\enotes +% + %\check +% mesure 29 +\barre\NOtes\octs G|\zh{in}\zhl p\qsk\zqu m&\hsong{dres-}\hu i\enotes +\temps\NOtes\Lchfour|\qu l\enotes +\temps\NOtes\sk|\zh{in}\zhl p\qsk\zqu k&\hsong{se }\hu i\enotes +\temps\NOtes\lchfour|\Fl k\qu k\enotes +% + %\check +% mesure 30 +% +\barre\NOtes\octs F|\soupir&\soupir\enotes +\temps\NOtes\lFl c\Lchfive|\uchfive&\hsong{Des }\qu h\enotes +\temps\NOtes|\uchfive&\hsong{beaux }\qu h\enotes +\temps\Notes\lchfive|\lq m\zq l\doct hh&\hsong{jours d'i-}\cu{hh}\enotes +% + %\check +% mesure 31 +% +\barre\NOtes\octs B|\zh{g}\zhl n\qsk\qu m&\hsong{bres-}\hu g\enotes +\temps\NOtes\Lchsix|\qu l\enotes +\temps\NOtes|\itenl1g\itenu2n\zh{g}\zhl n\qsk\qu j&\hsong{se }\hu g\enotes +\temps\NOtes\lchsix|\qu i\enotes +% + %\check +% mesure 32 +\barre\NOtes\octs B|\tten1\tten2\zq g\qu n&\soupir\enotes +\temps\Notes\Lchseven|\doctu fg&\hsong{Que l'on }\cu f\cu g\enotes +\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m&\txt voit |croit&\qu f\enotes +\temps\Notes\lchseven|\doctu ef&\txt re-ve-|re-te-&\cu e\cu f\enotes +% + %\check +% mesure 33 +\barre\NOtes\octs E|\Na j\rh j\zh{egi}\hu l&\txt nir|nir&\wh e\enotes +\temps\NOtes\qu N\enotes +\temps\NOtes\qu a\enotes +\temps\NOtes\Sh a\qu a\enotes +% + %\check +% mesure 34 +\barre\notes\zh G\zhl K|\zh b\hu d&\ds\enotes +\temps\notes&\hsong{Un }\Ibu0eh2\qh0d\enotes +\notes&\hsong{soir }\qh0g\enotes +\notes&\hsong{tu }\bigaccid\Sh h\tqh0h\enotes +\temps\notes\zh I\hu N|\zh k\hl g&\hsong{as }\ibu0j0\qh0i\enotes +\notes&\hsong{pu }\qh0k\enotes +\notes&\hsong{te }\qh0j\enotes +\notes&\hsong{re-}\tqh0i\enotes + %\check +% mesure 35 +\barre\NOTes\Sh H\zw H\wh N|\zw e\zw g\hu k&\hsong{pren-}\hl k\enotes +\temps\NOTes|\hu j&\hsong{dre }\hl j\enotes + %\check +% mesure 36 +\barre\notes\zw K\bigaccid\Sh a\wh a|\bigaccid\Sh f\zw f\wh j&\ds\enotes +\temps\notes&\hsong{\kern -\internote Tout }\ibu0j0\qh0j\enotes +\notes&\hsong{bri-}\qh0j\enotes +\notes&\hsong{ser, }\tqh0j\enotes +\notes&\hsong{tout }\Ibu0kh4\qh0k\enotes +\notes&\hsong{a-}\qh0k\enotes +\notes&\hsong{n\'e-}\bigaccid\Sh h\qh0h\enotes +\notes&\hsong{an-}\tqh0h\enotes + %\check +% mesure 37 +\barre\notes\Ibu0Ga3\qh0{GKN}\Sh a\tqh0a|\zw{g}\wh i&\hsong{tir }\wh i\enotes +\temps\notes|\Ibu0cf3\qh0{bdg}\Sh f\tqh0f\enotes + %\check +% mesure 38 +\barre\notes\zh I\hu M|\zh d\bigaccid\Na f\hu f&\ds\enotes +\temps\notes&\hsong{\kern -3\internote Mais }\Ibu0gj3\qh0f\enotes +\notes&\hsong{pour }\qh0i\enotes +\notes&\hsong{moi }\tqh0j\enotes +\temps\notes\zh K\hl b|\zh f\hl i&\hsong{qui }\Ibu0ki3\qh0k\enotes +\notes&\hsong{ne }\qh0k\enotes +\notes&\hsong{sais }\qh0j\enotes +\notes&\hsong{com-}\tqh0i\enotes + %\check +% mesure 39 +\barre\NOTes\zw J\wh b|\bigaccid\Fl g\zw e\wh g&\hsong{pren-}\hu k\enotes +\temps\NOTes&\hsong{dre }\hu j\enotes + %\check +% mesure 40 +\barre\NOtes\zmidtwotext{\it rit.}\zw F\wh M|\zw e\zw j\qsk\zhl i&\soupir\enotes +\temps\NOtes&\hsong{\kern -\internote Qu'on }\ql j\enotes +\temps\NOtes|\Sh h\hl h&\hsong{peut }\ql k\enotes +\temps\NOtes&\hsong{men-}\ql l\enotes + %\check +% mesure 41 +\barre\NOtes\zw I\qu b|\bigaccid\Na h\zw{hm}\qsk\qu k&\hsong{tir }\wh m\enotes +\temps\NOtes\qu c|\qu j\enotes +\temps\NOtes\Sh c\qu c|\Sh i\qu i\enotes +\temps\NOtes\qu d|\Na i\qu i\enotes + %\check +% mesure 42 +\barre\temps\NOtes\zmidtwotext{\it a tempo}\octs E|\soupir&\soupir\enotes +\temps\NOtes\Lchone|\rchone&\hsong{Un }\ql l\enotes +\temps\NOtes|\rchone&\hsong{sou-}\ql l\enotes +\temps\NOtes\lchone|\rchone&\hsong{ve-}\ql l\enotes + %\check +% mesure 43 +\barre\NOtes\octs G|\itenl1k\itenu3p\itenu4r\Sh o\zw{kpr}\qsk\zql o&\hsong{nir }\wh k\enotes +\temps\NOtes\Lchtwo|\ql n\enotes +\temps\NOtes\sk|\Sh m\ql m\enotes +\temps\NOtes\lchtwo|\ql n\enotes + %\check +% mesure 44 +% +\barre\NOtes\octs H|\tten1\tten3\tten4\zq{kp}\ql r&\soupir\enotes +\temps\Notes\Lchthree|\doct jk&\hsong{\kern -2\Interligne C'est l'i-}\cl {jk}\enotes +\temps\NOtes|\zq{lnq}\ql s&\hsong{ma-}\ql l\enotes +\temps\Notes\lchthree|\doct kj&\hsong{ge d'un}\cl{kj}\enotes +% + %\check +% mesure 45 +\barre\NOtes\octs G|\zh{in}\zhl p\qsk\zqu m&\hsong{r\^e-}\hu i\enotes +\temps\NOtes\Lchfour|\qu l\enotes +\temps\NOtes\sk|\zh{in}\zhl p\qsk\zqu k&\hsong{be }\hu i\enotes +\temps\NOtes\lchfour|\Fl k\qu k\enotes +% + %\check +% mesure 46 +% +\barre\autolines {9}54\relax +\NOtes\octs F|\soupir&\soupir\enotes +\temps\NOtes\lFl c\Lchfive|\uchfive&\hsong{\kern -\internote D'une }\qu h\enotes +\temps\NOtes|\uchfive&\hsong{\kern -\internote heu-}\qu h\enotes +\temps\Notes\lchfive|\lq m\zq l\doct hh&\hsong{\kern -\internote re trop}\cu{hh}\enotes +% + %\check +% mesure 47 +% +\xbarre\NOtes\octs B|\zh{g}\zhl n\qsk\qu m&\hsong{br\`e-}\hu g\enotes +\temps\NOtes\Lchsix|\qu l\enotes +\temps\NOtes|\itenl1g\itenu2n\zh{g}\zhl n\qsk\qu j&\hsong{be }\hu g\enotes +\temps\NOtes\lchsix|\qu i\enotes +% + %\check +% mesure 48 +\xbarre\NOtes\octs B|\tten1\tten2\zq g\qu n&\soupir\enotes +\temps\Notes\Lchseven|\doctu fg&\hsong{\kern -\internote Qui ne }\cu f\cu g\enotes +\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m&\hsong{\kern -\internote veut }\qu f\enotes +\temps\Notes\lchseven|\doctu ef&\hsong{\kern -\internote pas fi-}\cu e\cu f\enotes +% + %\check +% mesure 49 +\xbarre\NOTes\itenl1E\itenl2L\octs E\relax +|\Na j\rh j\zh{egi}\hu l&\hsong{nir...}\wh e\enotes +\temps\NOTes + \ifnum\transpose<-2\relax + \Fl c\qsk\lh e\zh c\zh f\hl h\else \sk\fi +|\ifnum\transpose<-2\else + \rlap{\Fl c\qsk\lh e\zh c\zh f\zhl h}\fi + \zh{il}\rh m\hu p\relax +\enotes + %\check +% mesure 50 +\xbarre\NOTes\Na c\qsk\tten1\tten2\zh E\zhl L\rh c\zh b\zh e\hu g|\qsk +\lh q\zh l\zh n\zh p\hl s\enotes +\temps\NOtes\qu E|\hpause&\pause\enotes +\temps\NOtes\soupir\enotes +\setrightrepeat\finpartition +\medskip\rightline{\it le \aujourdhui} +\eject + + + + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/tierce.tex b/Master/texmf-dist/doc/generic/musixtex/examples/tierce.tex new file mode 100644 index 00000000000..1a17a982d6a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/tierce.tex @@ -0,0 +1,376 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{Tierce en taille} +\fulltitle{III. \titremorceau} +\csname titremorceautoc\endcsname +% +\parindent 18mm + +\subtitle{\sl (pour orgue)} +\othermention{Compos\'e en 1990} +\author{Daniel TAUPIN} +\maketitle + +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{0}{3}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{1}\relax % un dieze a la clef +\def\quatretemps{\generalmeter{\allabreve}}% +\def\troistemps{\generalmeter{\meterfrac{3}{2}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{2}}}% +\def\Mordant{\mordant{10}}% +\def\tenPince{\pince{10}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{G.O.}}}% +%\check +\def\gluemaxskip{7pt}% +% +% formes frequentes +% +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +% +% croche pointee et double croche meme hauteur +\def\cpdcl#1{\trioskip\ibl0{#1}0\qbp0{#1}\sk\tbbl0\tqb0{#1}}% +\def\cpdcu#1{\trioskip\ibu0{#1}0\qhp0{#1}\sk\tbbu0\tqh0{#1}}% +% +\medskip\noindent{\rm G.O.: fonds 8' ou 8'+4' doux}% +\par\noindent{\rm R\'ec.: cornet ou cromorne}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O.}% +\smallskip +% +\quatretemps +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\debutmorceau +\noautolines +\advancebottom{4\internote}% +%\autolines {8}44\relax +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{ \hbox{\kern -16mm\moyen Adagio \bf(\metron{\qu}{60})}}\enotes +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\dqbbh#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tqh0{#3}}\relax +\def\dqbbu{\dqbbh}\def\dqbbb{\dqbbl}% +\def\dqbbl#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tqb0{#3}}\relax +%\check +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +%\check +% +% mesure 1 +\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes +\temps\NOTEs&|\hu d\enotes +\temps\notes\qu J&\ql e|\trioskip\tenPince\qqbbl{-5}edeb\enotes +% mesure 2 +\barre\NOTEs\hu I&\tten1\tten2\zh d\zhl g\hup i|\hu d\enotes +\temps\notes\qu L&\itenl1e\ql e|\cpdcu N\enotes +\temps\notes\qu H&\tten1\itenu0h\zq c\zql e\qu h|\dqu3ab\enotes +% mesure 3 +\barre\NOTes\hu K&\tten0\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes +\temps\notes&|\ibbu0N3\trioskip\qh0N\tqh0a\enotes +\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes +\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes +% mesure 4%\autolines{9}44\relax +\barre\NOTes\hu H&\zh f\zh h\hu j|\xTrille i{1.2\noteskip}\qup c\enotes +\temps\notes&|\sk\trioskip\ibbu0b3\qh0b\tqh0c\enotes +\temps\NOtes\hu I&\itenl1d\zh d\zh g\hu i|\itenl0d\qu d\enotes +\temps\notes&|\trioskip\tten0\qqbbh3defg\enotes +% mesure 5 +\barre\NOtes\hu K&\tten1\zql d\zh f\hu h|\tenPince\ql f\enotes +\temps\notes&\zql c|\dql{-2}ed\enotes +\temps\notes\hu I&\zh b\zh d\hu g|\dql6dg\enotes +\temps\notes&|\dql{-8}dN\enotes +% mesure 6 +\barre\NOTes\hu H&\zh c\zhl e\hup h|\qup c\enotes +\temps\notes&|\cu c\enotes +\temps\NOtes\hu D&\itenl1d\zh d\zhl f|\xTrille i{1.5\noteskip}\qup c\enotes +\temps\notes&\qu j|\sk\cu b\enotes +% mesure 7 +\barre\NOTEs\hup G&\tten1\zhp d\zhp g\hup i|\hup b\enotes +\resp +\temps\notes\soupir&\soupir|\cpdcu N\enotes +% mesure 8 +\barre\NOTes\hu H&\zh c\zhl e\wh h|\qup a\enotes +\temps\notes&|\cu b\enotes +\temps\NOTes\hu K&\itenl1d\zh d\hl f|\xTrille i{1.0\noteskip}\qup a\enotes +\temps\notes&|\trioskip\dqbbh3Na\enotes +% mesure 9 +\barre\NOtes\hu G&\tten1\zh d\zh g\hu i|\itenl1b\qu b\enotes +\temps\notes&|\tten1\qqbbh3bb{^c}d\enotes +\temps\NOTes\hu H&\itenu1h\zh{^ce}\hu h|\xTrille i{\noteskip}\qup{c}\enotes +\temps\notes&|\trioskip\ibbu1b3\qh1b\tqh1c\enotes +% mesure 10 +\barre\NOTes\hup K&\tten1\zhp {df}\hup h|\hup d\enotes +\resp +\temps\notes\soupir&\soupir|\cpdcu a\enotes +% mesure 11 +\barre\NOTes\wh H&\zh{=c}\zhl e\wh h|\qup{=c}\enotes +\temps\notes&|\cu c\enotes +\temps\notes\hu K&\itenl2d\zh d\zhl f|\ibu0c3\qh0c\trioskip\nbbu0\qh0d\tqh0e\enotes +\temps\notes&|\tenPince\dql{-3}dc\enotes +% mesure 12 +\troistemps +\changecontext\NOTes\hu G&\tten2\itenl2d\zh d\zh g\hu i|\xTrille i{\noteskip}\qup b\enotes +\temps\notes&|\cu a\enotes +\temps\NOTEs\wh K&\zw d\tten2\zw f\wh h|\Mordant \wh a\enotes +\resp +% mesure 13 +\deuxtemps\changecontext\notes\wh{=J}&\zw{=cf}\wh h|\cpdcl h\enotes +\temps\NOTes&|\hu f\enotes +\temps\notes&|\trioskip\pince j\qqbbl{-3}hghd\enotes +% mesure 14 +\barre\NOtes\hu I&\zh{bd}\hu g|\qu g\enotes +\temps\NOtes&|\qu N\enotes +\temps\NOtes\hu H&\itenu2h\zh{ce}\hu h|\itenl1a\qu a\enotes +\temps\notes&|\trioskip\tten1\qqbbu3aabc\enotes +% mesure 15 +\barre\NOtes\hu K&\tten2\itenl2d\zh{df}\hu h|\itenl1d\qu d\enotes +\temps\notes&|\trioskip\tten1\qqbbu3ddef\enotes +\temps\notes\qu I&\tten2\zq d\zq b\qu g|\ibu0e{-9}\qh0g\tqh0N\enotes +\temps\notes\qu J&\zq{ch}\qu e|\dql{-3}cb\enotes +%\check +% mesure 16 +\troistemps +\changecontext\temps\NOtes\qu K&\zql d\zh f\hu h|\xTrille i{1.5\noteskip}\qup a\enotes +\temps\notes\qu D&\zql c|\sk\cu N\enotes +\temps\NOTes\wh G&\zw{bd}\zw g|\wh N\enotes +\resp +% mesure 17 +\deuxtemps +\changecontext\notes\hup I&\zw{gi}\hlp d|\cpdcl g\enotes +\temps\NOTes&|\hl d\enotes +\temps\notes\qu J&\ql e|\trioskip\tenPince\qqbbl{-5}edeb\enotes +% mesure 18 +\barre\NOTEs\hup H&\itenl1e\itenu2h\zhp{^c}\zhp e\hup h|\hup{^c}\enotes +\temps\notes\qu {^J}&\tten1\tten2\zq e\rq g\qu h|\cpdcu a\enotes +% mesure 19 +\barre\NOtes\qu K&\zhl d\zq f\qu h|\ql h\enotes +\temps\notes\qu I&\zq g\qu i|\dql{-3}gf\enotes +\temps\NOtes\hu H&\zh{^c}\zhl e\qu h|\xTrille l{1.5\noteskip}\qlp e\enotes +\temps\notes&\qu g|\sk\cl d\enotes +% mesure 20 +\barre\NOTEs\hup D&\zhp d\zhp f\hup h|\hlp d\enotes +\resp +\temps\notes\qu J&\itenl1c\itenu2h\zq{=ce}\qu h|\cpdcu a\enotes +% mesure 21 +\barre\NOTes\hu H&\tten1\tten2\zw f\zw h\hl c|\hu c\enotes +\temps\notes&|\cu c\enotes +\temps\notes\hu K&|\ibl1c3\qb1c\trioskip\nbbl 1\qb1d\tqb1e\enotes +\temps\notes&\itenl1d\ql d|\tenPince\dql{-2}dc\enotes +% mesure 22 +\barre\NOtes\hu G&\tten1\zh g\zh i\hu d|\itenu1 b\qu b\enotes +\notes&|\tten1\trioskip\qqbbl3bbcd\enotes +\temps\notes\hu J&\zh c\zh e\hu g|\cpdcl e\enotes +\temps\notes&|\dql{-6}ea\enotes +% mesure 23 +\barre\NOtes\hu I&\zh d\zh g\hu i|\itenu0d\qu d\enotes +\temps\notes&|\tten0\trioskip\qqbbh{-1}dNab\enotes +\temps\NOTes\hu H&\itenu2h\zh e\zh h\hu c|\qup c\enotes +\temps\notes&|\cu c\enotes +% mesure 24 +\troistemps\changecontext\NOTes\hu F&\tten2\itenl2f\zh f\zh h\hu c|\xTrille i{1.2\noteskip}\qup c\enotes +\temps\notes&|\cu b\enotes +\temps\NOTEs\wh I&\tten2\zw{^d}\zw f\wh i|\Mordant \wh b\enotes +\resp +% mesure 25 +\barre\notes\wh H&\zw{^df}\hup i|\cpdcl f\enotes +\temps\NOTes&|\hu{^d}\enotes +\temps\notes&\qu h|\trioskip\tenPince\qqbbl{-3}fefb\enotes +% mesure 26 +\barre\notes\hu G&\zh b\zh e\hu g|\cpdcl e\enotes +\temps\NOtes&|\hu e\enotes +\temps\notes\hu H&\zh {cf}\hu h|\enotes +\temps\notes&|\trioskip\ibl0f3\qb0f\sk\nbbl0\qb0g\tqb0h\enotes +% mesure 27 +\barre\NOTes\hu I&\itenl1b\itenu2g\zh {bd}\hu g|\hu d\enotes +\temps\NOTes\hl L&\tten1\tten2\zh b\zh e\hu g|\hl g\enotes +% mesure 28 +\barre\temps\notes\hu H&\zh c\zh f\hu h|\qqbl{-2}fedc\enotes +\temps\NOTEs\hu I&\itenl1d\zh d\zh g\hu i|\hu b\enotes +% mesure 29 +\troistemps\changecontext\NOTes\hu K&\tten1\itenl1d\zh d\zh f\hu h|\xTrille i{\noteskip}\qup a\enotes +\temps\notes&|\cu N\enotes +\temps\NOTEs\hup G&\tten1\zhp d\zhp g\hup i|\hup N\enotes +\temps\Notes\soupir&\soupir|\soupir\enotes +%\check +% mesure 31 +\deuxtemps\changecontext\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes +\temps\NOTEs&|\hu d\enotes +\temps\notes\qu J&\ql e|\trioskip\tenPince\qqbbl{-5}edeb\enotes +% mesure 31 +\barre\NOTEs\hu I&\tten1\tten2\zhl d\zhp g\hup i|\hu d\enotes +\temps\notes\qu L&\itenl1e\zql e|\cpdcu N\enotes +\temps\notes\qu H&\tten1\itenu1h\zq c\zql e\qu h|\dqu3ab\enotes +% mesure 32 +\barre\NOTes\hu K&\tten1\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes +\temps\notes&|\ibbu0N3\trioskip\qh0N\tqh0a\enotes +\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes +\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes +% mesure 33 +\barre\NOtes\hu J&\zw g\zh c\hl e|\itenu0e\ql e\enotes +\temps\notes&|\trioskip\tten0\qqbbl3eefg\enotes +\temps\notes\hu I&\zh b\hl d|\dql6dg\enotes +\temps\notes&|\dql{-8}dN\enotes +% mesure 34 +\barre\NOtes\hu H&\zh c\zhl e\wh h|\itenl0a\qu a\enotes +\temps\notes&|\tten0\trioskip\qqbbh3aabc\enotes +\temps\NOtes\hu K&\zh d\hl f|\itenl0d\qu d\enotes +\temps\notes&|\tten0\trioskip\qqbbh3ddef\enotes +%\check +% mesure 35 +\cleftoksii={{0}{0}{0}{0}}\changeclefs +\barre\NOTes\hu I&\zhl d\zhp g\hup i|\qup g\enotes +\temps\notes&|\cu h\enotes +\temps\notes\qu L&\hl e|\dqu{-4}ge\enotes +\temps\notes\qu H&\zq h\qu j|\dqu{-3}ji\enotes +% mesure 36 +\troistemps\changecontext\NOtes\qu K&\zw d\zh f\hu h|\xTrille o{\noteskip}\qup h\enotes +\temps\notes\qu D&|\sk\cu g\enotes +\temps\NOtes\hup G&\zhp{dg}\hup i|\hup g\enotes +\resp +\temps\notes\soupir&\soupir|\cpdcu b\enotes +% mesure 37 +\deuxtemps\changecontext\notes\hu I&\zh{^d}\zhl f\wh i|\dqu3ij\enotes +\temps\notes&|\dqu{-3}ih\enotes +\temps\notes\hu L&\zh g\hl e|\pince o\dqu{-3}gf\enotes +\temps\notes&|\dqu{-5}ge\enotes +% mesure 38 +\barre\notes\hu{^J}&\zh{^c}\zhl e\wh h|\dqu3hi\enotes +\temps\notes&|\dqu{-3}hg\enotes +\temps\notes\hu K&\zh d\hl f|\pince o\dqu{-3}fe\enotes +\temps\NOtes&|\qu d\enotes +% mesure 39 +\barre\notes\hu I&\zh b\zhl d\wh g|\dqu3gh\enotes +\temps\notes&|\dqu{-8}gd\enotes +\temps\notes\hu J&\zh c\hl e|\dqu3ef\enotes +\temps\NOtes&|\pince o\qu e\enotes +% mesure 40 +\barre\notes\hu H&\zh{^c}\zhl e\wh h|\dqu3hi\enotes +\temps\notes&|\dqu{-8}he\enotes +\temps\notes\hu J&\zh d\hl f|\dqu3fg\enotes +\temps\NOtes&|\pince o\qu f\enotes +%\check +% mesure 41 +\barre\notes\hu G&\zhl d\zw g\wh i|\dqu3ij\enotes +\temps\notes&|\dqu{-3}ih\enotes +\temps\notes\hu L&\hl e|\dqu{-3}gf\enotes +\temps\notes&|\dqu{-5}ge\enotes +%\check +% mesure 42 +\barre\notes\hu H&\itenu1h\zh c\zhl e\wh h|\dqu3jk\enotes +\temps\notes&|\dqu{-3}ji\enotes +\temps\notes\hu{^J}&\hl{^c}|\dqu{-3}hg\enotes +\temps\notes&|\dqu{-3}fe\enotes +% mesure 43 +\barre\notes\qu K&\tten1\zql d\zh f\hu h|\dqu3fg\enotes +\temps\notes\qu{=J}&\ql{=c}|\pince o\dqu{-6}fd\enotes +\temps\NOTes\hu I&\zh{bd}\hu g|\qup g\enotes +\temps\notes&|\cu h\enotes +% mesure 44 +\troistemps\changecontext\NOtes\qu K&\itenl0d\zh d\zh f\hu h|\xTrille o{1.5\noteskip}\qup h\enotes +\temps\notes\qu D&|\sk\cu g\enotes +\temps\NOTEs\wh G&\tten0\zw b\zw d\wh g|\Mordant\wh g\enotes +\resp +% mesure 45 +\cleftoksii={{0}{3}{0}{0}}\changeclefs +\barre\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes +\temps\NOTEs&|\hu d\enotes +\temps\notes\qu J&\ql e|\trioskip\tenPince\qqbbl{-5}edeb\enotes +% mesure 46 +\barre\NOTEs\hu I&\tten1\tten2\zh d\zhl g\hup i|\hu d\enotes +\temps\notes\qu L&\itenl1e\ql e|\cpdcu N\enotes +\temps\notes\qu H&\tten1\itenu0h\zq c\zql e\qu h|\dqu3ab\enotes +% mesure 47 +\barre\NOTes\hu K&\tten0\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes +\temps\notes&|\ibbl0N3\trioskip\qb0N\tqb0a\enotes +\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes +\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes +% mesure 48 +\barre\NOTes\hu H&\zh f\zh h\hu j|\xTrille i{1.2\noteskip}\qup c\enotes +\temps\notes&|\sk\trioskip\ibbl0b3\qb0b\tqb0c\enotes +\temps\NOtes\hu I&\itenl1d\zh d\zh g\hu i|\itenl0d\qu d\enotes +\temps\notes&|\trioskip\tten0\qqbbh3defg\enotes +% mesure 49 +\barre\NOtes\hu K&\tten1\zql d\zh f\hu h|\tenPince\ql f\enotes +\temps\notes&\zql c|\dql{-2}ed\enotes +\temps\notes\hu I&\zh b\zh d\hu g|\dql6dg\enotes +\temps\notes&|\dql{-8}dN\enotes +% mesure 50 +\troistemps\changecontext\NOTes\hu H&\zh c\zhl e\hup h|\xTrille i{\noteskip}\qup a\enotes +\temps\notes&|\cu b\enotes +\temps\NOTEs\wh I&\zw{^d}\zw f\wh i|\Mordant\wh b\enotes +\resp +% mesure 51 +\deuxtemps\changecontext\notes\wh H&\zw{^df}\hup i|\cpdcl f\enotes +\temps\NOTes&|\hu{^d}\enotes +\temps\notes&\qu h|\trioskip\tenPince\qqbbl{-3}fefb\enotes +% mesure 52 +\barre\notes\hu G&\zh b\zh e\hu g|\cpdcl e\enotes +\temps\NOtes&|\hu e\enotes +\temps\notes\hu H&\zh {cf}\hu h|\enotes +\temps\notes&|\trioskip\ibl0f3\qb0f\sk\nbbl0\qb0g\tqb0h\enotes +% mesure 53 +\barre\NOTes\hu I&\itenl1b\itenu2g\zh {bd}\hu g|\hu d\enotes +\temps\NOTes\hl L&\tten1\tten2\zh b\zh e\hu g|\hl g\enotes +% mesure 54 +\barre\temps\notes\hu H&\zh c\zh f\hu h|\qqbl{-2}fedc\enotes +\temps\NOTes\hu I&\itenl1d\zw d\zh g\hu i|\xTrille i{1.5\noteskip}\qup b\enotes +\temps\notes&|\cu a\enotes +% mesure 55 +\barre\NOTes\wh K&\tten1\zw d\zw f\wh h|\Mordant \wh a\enotes +\resp +% mesure 56 +\barre\notes\wh{=J}&\zw{=cf}\wh h|\cpdcl h\enotes +\temps\NOTes&|\hu f\enotes +\temps\notes&|\trioskip\pince{11}\qqbbl{-3}hghd\enotes +% mesure 57 +\barre\NOtes\hu I&\zh{bd}\hu g|\qu g\enotes +\temps\NOtes&|\qu N\enotes +\temps\NOtes\hu H&\itenu2h\zh{ce}\hu h|\itenl1a\qu a\enotes +\temps\notes&|\trioskip\tten1\qqbbu3aabc\enotes +% mesure 58 +\barre\NOtes\hu K&\tten2\itenl2d\zh{df}\hu h|\itenl1d\qu d\enotes +\temps\notes&|\trioskip\tten1\qqbbu3ddef\enotes +\temps\notes\qu I&\tten2\zq d\zq b\qu g|\ibu0e{-9}\qh0g\tqh0N\enotes +\temps\notes\qu J&\zq{hc}\qu e|\dql{-3}cb\enotes +%\check +% mesure 59 +\barre\NOTes\hu K&\itenl1d\zw d\zh g\hu i|\hu b\enotes +\temps\NOTes\hu D&\zh f\hu h|\xTrille i{\noteskip}\qup a\enotes +\temps\notes&|\cu N\enotes +% mesure 60 +\barre\NOTEs\wh G&\tten1\zw{bd}\zw g|\wh N\enotes +\mulooseness 3\relax +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject + +\ifx\toc\undefined + \let\finishpiece \end +\else + \let\finishpiece\relax +\fi +\finishpiece +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/traeumer.tex b/Master/texmf-dist/doc/generic/musixtex/examples/traeumer.tex new file mode 100644 index 00000000000..f97c8f85630 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/traeumer.tex @@ -0,0 +1,299 @@ +%format musix + +\input musixtex + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% TEX translation of MIDI File : +% b.MID +% +% Written by Hans Kuykens +% this translation of date : 1-9-1993 +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\musicparskip + +\def\slopecresc#1#2#3#4{\rlap{\varline{#1}{#2\noteskip}{#3}}% + \rlap{\varline{#1}{#2\noteskip}{#4}}}% + +\def\liftqp#1{\raise#1\Interligne\rlap\qp} +\def\liftds#1{\raise#1\Interligne\rlap\ds} +\def\raiseped{-6} + +\nopagenumbers\parindent10mm + +\centerline{\BIGfont Tr\"aumerei}\bigskip +\rightline{\medtype Robert Schumann}\smallskip + +\generalsignature{-1} +\generalmeter\meterC +\setstaffs12 +\interstaff{12} +\setclef1\bass +\meterskip\Interligne +\relativeaccid +\startbarno0\startmuflex\startpiece\systemnumbers +%%% bar 0 +\nspace +\NOtes\zmidstaff\p\qp|\isluru2j\qu c\en +%%% bar 1 +\leftrepeat +\NOtes\sPED\zqu F\roff{\itied0F\zw F}|\liftqp{-4}\issluru1g\hu f\en +\qspace +\Notes\itieu3J\zhp J\issluru4b\hup a|\lpt c\lpt M\zh c\hl M\en +\Notes|\ttie1\ttie2\cu f\ibsluru5d% + \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en +\Notes|\qb0f\tqh0h\en +%%% bar 2 +\bar +\Notes\ttie0\zql F\ttie3\zq J\tslur4b\qu a|\liftqp{-2}\ibu1i5\qb1j\en +\znotes|\tubslur5j\tqh1m\en +\qspace +\notes\multnoteskip\smallvalue\sPED\tinynotesize\ibbu0J9\qb0I\islurd0N\tqh0M\en +\NOtes\ttie0\lpt M\zhl M\hu d|\islurd1f\zhlp f\hu m\en +\Notes\ibsluru0b\ibu0b{-1}\qb0c\tqh0b|\ibsluru2k\ibu2k{-2}\qb2l\tqh2k\en +%%% bar 3 +\bar +\Notes\zchar{-7}\Dep\tslur0J\zql J\qu a% + |\tsslur1f\zql f\ibu2j5\qb2j\tubslur2k\tqh2m\en +\Notes\ibsluru0a\zhl J\ibu0a{-2}\qb0b\tqh0a% + |\ibsluru1f\zhl e\ibu3f5\qb3g\tqh3h\en +\Notes\tubslur0M\qu N|\ibu3h5\qb3i\tubslur1i\tqh3k\en +\Notes\ibslurd0I\ibsluru1L\roffset{.5}{\slopecresc{-8}{2.6}48}% + \ibl0I5\qb0H\tbl0\zqb0J\bsk\ibu1L5\qb1M\tqh1N% + |\itied2c\ibsluru3e\zql{!c}\ibu4e5\qb4f\zq e\tqh4g\en +%%% bar 4 +\bar +\Notes\tdbslur0M\zql M\qu a% + |\ttie2\zql c\zq f\ibu2h5\qb2h\tqh2j\en +\Notes\tubslur1J\ibslurd0K\zhu N\ibl1K3\qb1J\tqb1K% + |\tubslur3g\zhl c\zh g\hu e\en +\Notes\ibl0J{-1}\qb0J\qb0I\en +\Notes\liftqp1\qb0G\tqb0H|\ibsluru2c\zql c\qu c\en +\def\atnextline{\Liftslur02\Liftslur23\def\interstaff{12}}% +%%% bar 5 +\bar +\NOtes\zchar{-7}\sPed\tsslur0M% + \roff{\isslurd0F\zw F}\qu F|\liftqp{-4}\issluru1g\hu f\en +\qspace +\Notes\issluru3J\zhp J\issluru4b\hup a|\lpt c\lpt M\zh c\hl M\en +\Notes|\ttie1\tubslur2f\cu f\ibsluru5d% + \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en +\Notes|\qb0f\tqh0h\en +%%% bar 6 +\bar +\Notes\tsslur0F\zq F\tsslur3J\zq J\tslur4b\qu a|\liftqp{-2}\ibu1k5\qb1j\en +\znotes|\tubslur5l\tqh1o\en +\qspace +\notes\multnoteskip\smallvalue\sPED\tinynotesize\ibbu0L9\qb0{^J}\islurd0b\tqh0O\en +\NOtes\ttie0\islurd0a\issluru1e\lpt a\zhl a\hup e% + |\islurd2g\lpt g\lh g\zhlp h\qup o\en +\Notes\sk\sk\DEP|\ibsluru3m\ibu2m{-3}\qb2n\qb2m\tqh2l\en +%%% bar 7 +\bar +\Notes\sPED\tsslur0a\tslur1e\lpt K\lpt a\zq K\zql a\qup d% + |\tsslur2h\zqlp h\ibu4l0\qb4m\en +\Notes|\qb4o\en +\Notes|\qb4k\en +\nspace +\Notes\DEP\islurd0M\isluru1c\zq M\cl c|\ibslurd4h\zcl{_h}\tqh4m\en +\Notes\sPED\tslur0N\ttie1\zqp N\qlp c|\ibl3g0\zqb3g\qup l\en +\Notes|\qb3j\en +\Notes|\qb3e\en +\nspace +\Notes\DEP\islurd0a\zcl a\ibsluru1b\cu c|\zcu{_l}\tqb3{^f}\en +%%% bar 8 +\bar +\nspace +\Notes\sPED\tsslur0a\zhl N\ibu1d0\qb1{^b}|\tdbslur4h\zqu k\zhl{=f}\en +\Notes\qb1g\en +\Notes\DEP\qb1a|\qu{=l}\en +\notes\tqh1b\en +\notes|\tinynotesize\grcu j\en +\Notes\tubslur1b\zcu c\ibslurd0K\ibl0K{-2}\qb0J% + |\curve105\tslur3g\zql e\hu j\en +\Notes\liftds3\qb0K\en +\nspace +\Notes\liftqp3\qb0{=I}|\liftds{-2}\en +\Notes\tqb0G|\isluru2j\cu c\en +%%% bar 9 +\rightrepeat +\NOtes\zchar{-7}\sPed\tdbslur0L\roff{\zw F}\qu F% + |\liftqp{-4}\issluru1g\hu f\en +\qspace +\Notes\zhp J\hup a|\lpt c\lpt M\zh c\hl M\en +\Notes|\ttie1\ttie2\cu f\ibsluru5d% + \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en +\Notes|\qb0f\tqh0h\tubslur5g\en +%%% bar 10 +\bar +\Notes\ds|\loffset{1.3}{\ibsluru5g}\ibl3j{-1}\zqb3j% + \rlap{\varline{14}{1.5\noteskip}8}% + \rlap{\varline{15}{1.5\noteskip}{11}}\ibu5i3\qb5j\en +\nspace +\Notes\zchar{-7}\Dep\islurd0G\ibsluru1M\zcu N\zcl J% + |\tubslur5j\loffset{.33}{\na i}\tbl3\zqb3i\tqh5{_l}\en +\nspace +\Notes\zchar{-7}\sPed\islurd2K\zhl K\ibu2L5\qb2{^M}|\zhl h\hu l\en +\Notes\tqh2a\en +\NOtes\ibu2d5\zqb2d\roffset{1.5}{\isluru3d}\rhl d\en +\Notes|\tqb2{^f}\en +\Notes\zchar{-7}\Dep\tsslur2L\invertslur1\curve300\tslur1e\ibl1L3\qb1K% + |\zql h\ibsluru4i\ibu5i{-3}\qb5k\en +\Notes\tqb1M|\tqh5j\en +%%% bar 11 +\bar +\Notes\tslur0H\ttie3\zqlp N\qup d|\lpt g\zql g\ibu3h0\qb3i\en +\Notes|\qb3k\en +\Notes|\qb3g\en +\nspace +\Notes\isluru0M\zq J\cl{^M}|\islurd3a\zcl{_e}\tqh3h\en +\Notes\tslur0N\zqp K\qlp N|\ibl2e0\zqb2d\qup i\en +\Notes|\tdbslur3M\qb2g&\en +\Notes|\ibslurd3e\qb2b\en +\Notes\islurd0L\cl{_L}|\zcu h\tqb2c\en +%%% bar 12 +\bar +\Notes\tsslur0K\lpt K\zql K\ibu0a0\qb0b|\qup g\en +\Notes\qb0d\en +\Notes\qb0N|\invertslur3\zchar{.5}{\curve{-1}00\tslur3c}\en +\Notes\islurd0G\islurd1K\issluru2a\zcl K\tqh0a% + |\roff{\islurd3c}\issluru5d\rcl c\cu d\en +\qspace +\Notes\tsslur1K\tsslur2a\ibl0K{-2}\zqb0K\ibu1N{-2}\qb1a% + |\tsslur3c\tsslur5d\tslur4d\zql b\qu d\en +\Notes\zqb0N\qb1N\en +\Notes\zqb0G\qb1G|\ds\en +\Notes\tbl0\zqb0H\tqh1H|\ibsluru3f\cu f\en +%%% bar 13 +\bar +\NOtes\zchar{-9.5}\sPed\curve{-5}30\tsslur0C\qu B% + |\liftqp{-3}\itieu2i\hu i\en +\Notes\zhp d\hlp M|\zhp f\hlp b\en +\Notes|\ttie3\ttie2\cu i\en +\Notes|\icresc\ibsluru2g\ibu0g5\qb0h\en +\Notes|\qb0i\en +\Notes|\tqh0k\en +%%% bar 14 +\bar +\Notes\ds|\zqu m\ibu4m{5}\qb4m\en +\Notes\DEP\islurd0J\ibsluru1c\zcl N\cu d% + |\roff{\zchar{-3}\tcresc}\tubslur2n\tqh4p\en +\nspace +\Notes\sPED\isslurd2a\zhl a\ibu2b3\qb2{^c}|\zhl l\hu p\en +\Notes\tqh2e\en +\NOtes\ibu2h5\zqb2h\roff{\isluru3h}\rhl h\en +\Notes|\tqb2{^j}\en +\Notes\DEP\tsslur2a\invertslur1\curve300\tslur1i\ibl1b3\qb1a% + |\zql l\ibsluru4n\ibu5n{-3}\qb5o\en +\Notes\tqb1c|\tqh5n\en +\def\atnextline{\Liftslur02\Liftslur4{-2}}% +%%% bar 15 +\bar +\Notes\ttie0\ttie3\zqlp d\qup h|\lpt k\zql k\ibu3l0\qb3m\en +\Notes|\qb3o\en +\Notes|\qb3k\en +\Notes\isluru0c\zq N\cl{^c}|\islurd3d\zcl i\tqh3l\en +\Notes\tslur0d\zqp a\qlp d|\ibl2h0\zqb2h\qup m\en +\Notes|\tdbslur3b\qb2k&\en +\Notes|\ibslurd3h\qb2f\en +\Notes\islurd0L\cl b|\zcu l\tqb2g\en +%%% bar 16 +\bar +\Notes\isslurd1a\zhl a|\ibl3f{-2}\zqb3f\qup k\en +\notes|\qb3h\en +\Notes\qb3d|\curve{-4}00\invertslur3\tslur3a\en +\nspace +\Notes\zq e\tqh3{^c}|\issluru2h\zcu h\rcl g\en +\qspace +\Notes\tsslur1a\ibl0b2\zqb0a\qu d% + |\zchar{12}{\twelveit ritard.}\tubslur4h\tsslur2h\zql f\qu h\en +\Notes\islurd2a\tqb0b\en +\nspace +\Notes\zchar{-7}\sPed\zcu{=c}\roff{\tsslur2a\ibl0N{-7}\qb0b}% + |\ibsluru2g\zql e\qu g\en +\qspace +\Notes\zchar{-7}\Dep\liftds2\tqb0J% + |\roff{\stdstemfalse\tinynotesize\grcu c}\en +%%% bar 17 +\bar +\NOtes\curve{-6}40\tsslur0G\zchar{-7}\sPed\zqu F\cchar{11}\p + \roff{\isslurd0F\zw F}% + |\zchar{12}{\twelveit a tempo}\liftqp{-4}\issluru1g\hu f\en +\qspace +\Notes\issluru3J\zhp J\issluru4b\hup a|\pt b\pt L\zh c\hl M\en +\Notes|\ttie1\tslur2e\cu f\ibsluru5d% + \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en +\Notes|\qb0f\tqh0h\en +%%% bar 18 +\bar +\Notes\tsslur0F\zq F\tsslur3J\zq J\tsslur4b\qu a|\liftqp{-2}\ibu1i5\qb1j\en +\znotes|\tubslur5j\tqh1m\en +\qspace +\notes\multnoteskip\tinyvalue\sPED\tinynotesize\ibbu0J9\qb0I\islurd0N\tqh0M\en +\NOtes\ttie0\lpt M\zhl M\hu d|\islurd1f\zhlp f\hu m\en +\Notes\ibsluru0b\ibu0b{-1}\qb0c\tqh0b|\ibsluru2k\ibu2k{-2}\qb2l\tqh2k\en +%%% bar 19 +\bar +\Notes\zchar{-7}\Dep\tslur0J\zql J\qu a% + |\tsslur1g\zql f\ibu2j5\qb2j\tubslur2k\tqh2m\en +\Notes\ibsluru0a\zhl J\ibu0a{-2}\qb0b\tqh0a% + |\ibsluru1f\zhl e\ibu3f5\qb3g\tqh3h\en +\Notes\tubslur0M\qu N|\ibu3h5\qb3i\tubslur1i\tqh3k\en +\Notes\ibslurd0I\ibsluru1L\roffset{.5}{\slopecresc{-8}{1.6}38}% + \ibl0I3\qb0H\tbl0\zqb0J\bsk\ibu1L3\qb1M\tqh1N% + |\isslurd2c\ibsluru3f\zql{!c}\ibu4f3\qb4f\zq e\tqh4g\en +%%% bar 20 +\def\atnextline{\Liftslur04}\bar +\Notes\tdbslur0M\zql M% + \rlap{\kern-2mm\varline{-6}{1.5\noteskip}3}% + \rlap{\kern-2mm\varline{-5.5}{1.5\noteskip}8}\qu a% + |\tsslur2c\zql c\zq f\ibu2h5\qb2h\tqh2j\en +\Notes\tubslur1K\ibslurd0K\zhu N\ibl1K3\qb1J\tqb1K% + |\tubslur3g\zhl c\zh g\hu e\en +\Notes\ibl0J{-1}\qb0J\qb0I\en +\Notes\liftqp1\qb0G\tqb0H|\ibsluru2c\zql c\qu c\en +%%% bar 21 +\bar +\NOtes\zchar{-7}\sPed\tdbslur0L\zqu F\roff{\isslurd0F\zw F}% + |\liftqp{-4}\issluru1g\hu f\en +\Notes\issluru3J\zhp J\issluru4b\hup a|\pt b\pt L\zh c\hl M\en +\Notes|\ttie1\tubslur2f\cu f\ibsluru5d% + \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en +\Notes|\qb0f\tqh0h\en +%%% bar 22 +\bar +\def\tx#1{\cchar{14}{\twelveit #1}}% +\def\rtx#1{\zchar{14}{\twelveit #1}}% +\def\ctx{\cchar{14}{\twelveit --}}% +\Notes\tsslur0F\zq F\tsslur3J\zq J\tslur4b\qu a|\liftqp{-2}\ibu1k5\qb1j\en +\Notes|\tubslur5l\tqh1o\en +\nspace +\NOtes\zchar{-8}{\kern1pt\sPed}\fermataup b\cchar{16}\pp + \isslurd0G\zhp{G^I}\hlp{^b}% + |\islurd2g\lpt g\lpt k\lh f\zhp g\zhl k\fermataup s\qup o\en +\Notes\tx{ri}\sk\sk\ctx|\ibsluru3m\ibu2m{-3}\qb2n\qb2m\tqh2k\en +%%% bar 23 +\bar +\Notes\rtx{tar}\zchar{-7}\Dep\tsslur0J\zq{Ja}\ql c% + |\tsslur2g\zql f\ibu2j5\qb2j\tubslur3k\tqh2m\en +\Notes\ctx\zhl J\zhu c\roff{\ibsluru0a\ibu0a{-2}\qb0b}% + |\ibsluru1f\zhl e\ibu3f5\qb3g\en +\qspace +\Notes\tqh0a|\tqh3h\en +\Notes\ctx\tubslur0L\qu N|\ibu3h5\qb3i\tubslur1i\tqh3k\en +\Notes\tx{dan}\isluru1N\ibl0I3\zq N\qb0I\rtx{\twelveit~--}% + |\isslurd2d\ibsluru3f\zql d\ibu4f3\qb4g\en +\nspace +\Notes\zq a\tqb0K|\zq{^f}\tqh4h\en +%%% bar 24 +\bar +\Notes\tslur1b\zq N\ql b|\tsslur2d\zql d\zq g\ibu1k3\qb1i\en +\Notes\ctx|\tubslur3k\tqh1k\en +\Notes\zchar{11}\p\ibslurd0G\issluru1J\zqu J\ibl0G{-3}\qb0J% + |\isluru2i\zql N\zq b\ibu1c2\qb1d\en +\Notes\tx{do}\tqb0C|\islurd3c\zq c\tqh1e\en +\NOTes\tslur0J\tsslur1J\fermatadown C\zh F\hu J% + |\zhl a\tsslur3d\zh c\tslur2h\fermataup m\hu f\en +%\mulooseness-2\relax +\mulooseness-1\relax +\Endpiece\eject\endmuflex\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex new file mode 100644 index 00000000000..25e4d9304a8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex @@ -0,0 +1,786 @@ +\title{Toccata} +\shortauthor{Ch.-M. Widor} +\subtitle{(extraite de la cinqui\`eme symphonie pour orgue)} +\fullauthor{Charles-Marie WIDOR} +\maketitle +\parindent 13mm +% + +\tracingstats=2\relax +% +\nbporteesi=2\relax +\def\nbinstruments{1} +\global\cleftoksi={{0}{0}{0}{0}}% +% +\signaturegenerale{-1}\relax +\def\Mordant{\mordant{10}}% +%\check +\def\instrumenti{Manuel}% +%\check +\def\gluemaxskip{7pt}% +% +\def\bnotes{\barre\notes}\def\bnoteP{\bnotes\Pause} +\def\tnotes{\temps\notes} +\def\zbnotes{\zbarre\notes} +\def\doubler{\multiply\noteskip by 2\relax}% +\def\Pause{\sk\sk\sk\sk\sk\sk\sk\pause}% +% formes frequentes +% +\def\qbupz#1{\upz{#1}\qb0{#1}} +\def\qhlpz#1{\lpz{#1}\qh0{#1}} +%\check +\def\umotif#1#2#3#4#5#6#7#8#9{\varaccid +{\advance\transpose by 2\ibbl0{#9}0}\relax +\ilegu0{#1}\qb0{#1}\tleg0\qb0{#2#3}% +\qbupz{#1}\qbupz{#4#5}\qbupz{#6#7}\qbupz{#8#9}\qbupz{#7}\tbl0\qbupz{#5}}% +%\check +\def\mmotif#1#2#3#4#5#6#7#8#9{\varaccid +{\advance\transpose by -2\ibbu0{#1}0}\relax +\ilegl0{#3}\qh0{#1}\tleg0\qh0{#2#3}% +\qhlpz{#1}\qhlpz{#4#5}\qhlpz{#6#7}\qhlpz{#8#9}\qhlpz{#7}\tbu0\qhlpz{#5}}% +\def\Mmotif#1#2#3#4#5{\mmotif#1!#2!#3!#4!#5} +\def\Umotif#1#2#3#4#5{\umotif#1!#2!#3!#4!#5} +%\check +% +\def\culpz#1{\lpz{#1}\cu{#1}}% +\def\clupz#1{\upz{#1}\cl{#1}}% +% +%\check +% double accord de 4 + soupir +\def\dbuq#1#2#3#4{\lst{#4}\ibu0{#1}0\zq{#1#2#3}\qh0{#4}\sk +\lpz{#4}\zq{#1#2#3}\tqh0{#4}\sk\dsoupir\sk}% +\def\dblq#1#2#3#4{\ust{#1}\ibl0{#4}0\zq{#1#2#3}\qb0{#4}\sk +\upz{#1}\zq{#1#2#3}\tqb0{#4}\sk\dsoupir\sk}% +% +\def\dblql#1#2#3#4{\ust{#1}\ibl0{#4}0\zq{#1#3}\lq{#2}\qb0{#4}\sk +\upz{#1}\zq{#1#3}\lq{#2}\tqb0{#4}\sk\dsoupir\sk}% +\def\dbuqr#1#2#3#4{\lst{#4}\ibu0{#1}0\rq{#2}\zq{#1#3}\qh0{#4}\sk +\lpz{#4}\rq{#2}\zq{#1#3}\tqh0{#4}\sk\dsoupir\sk}% +% +%\check +% double accord de 3 + soupir +\def\dbut#1#2#3{\lst{#3}\ibu0{#1}0\zq{#1#2}\qh0{#3}\sk +\lpz{#3}\zq{#1#2}\tqh0{#3}\sk\dsoupir\sk}% +\def\Dbut#1#2#3{\ibu0{#1}0\zq{#1#2}\bupz0\qh0{#3}\sk +\zq{#1#2}\bupz0\tqh0{#3}\sk\dsoupir\sk}% +\def\dblt#1#2#3{\ust{#1}\ibl0{#3}0\zq{#1#2}\qb0{#3}\sk +\upz{#1}\zq{#1#2}\tqb0{#3}\sk\dsoupir\sk}% +% +\def\dbutr#1#2#3{\lst{#3}\ibu0{#1}0\zq{#1}\rq{#2}\qh0{#3}\sk +\lpz{#3}\rq{#2}\zq{#1}\tqh0{#3}\sk\dsoupir\sk}% +\def\Dbutr#1#2#3{\ibu0{#1}0\zq{#1}\rq{#2}\bupz0\qh0{#3}\sk +\rq{#2}\zq{#1}\bupz0\tqh0{#3}\sk\dsoupir\sk}% +\def\dbltl#1#2#3{\ust{#1}\ibl0{#3}0\zq{#1}\lq{#2}\qb0{#3}\sk +\upz{#1}\zq{#1}\lq{#2}\tqb0{#3}\sk\dsoupir\sk}% +% +%\check +% double accord de 2 + soupir +\def\dbud#1#2{\lst{#2}\ibu0{#1}0\zq{#1}\qh0{#2}\sk +\lpz{#2}\zq{#1}\tqh0{#2}\sk\dsoupir\sk}% +\def\Dbud#1#2{\ibu0{#1}0\zq{#1}\bupz0\qh0{#2}\sk +\zq{#1}\bupz0\tqh0{#2}\sk\dsoupir\sk}% +% +% double accord de 3 doubles croches +\def\ddbut#1#2#3{\lpz{#3}\ibbu0{#1}0\zq{#1#2}\qh0{#3}% +\lpz{#3}\zq{#1#2}\tqh0{#3}}% +\def\ddblt#1#2#3{\upz{#1}\ibbl0{#3}0\zq{#1#2}\qb0{#3}% +\upz{#1}\zq{#1#2}\tqb0{#3}}% +% +% double accord de 2 doubles croches +\def\ddbud#1#2{\lpz{#2}\ibbu0{#1}0\zq{#1}\qh0{#2}% +\lpz{#2}\zq{#1}\tqh0{#2}}% +\def\ddbld#1#2{\upz{#1}\ibbl0{#2}0\zq{#1}\qb0{#2}% +\upz{#1}\zq{#1}\tqb0{#2}}% +% +% double accord de 3 + soupir +\def\dbutmr#1#2#3{\lst{#3}\ibu0{#1}0\rq{#2}\zq{#1}\qh0{#3}\sk +\lpz{#3}\rq{#2}\zq{#1}\tqh0{#3}\sk\dsoupir\sk}% +% +% double accord de 2 + soupir +\def\dbudr#1#2{\lst{#2}\ibu0{#1}0\rq{#1}\qh0{#2}\sk +\lpz{#2}\rq{#1}\tqh0{#2}\sk\dsoupir\sk}% +% +% double accord de 3 doubles croches +\def\ddbutr#1#2#3{\lpz{#3}\ibbu0{#1}0\rq{#2}\zq{#1}\qh0{#3}% +\lpz{#3}\rq{#2}\zq{#1}\tqh0{#3}}% +\def\ddbltl#1#2#3{\upz{#1}\ibbl0{#3}0\lq{#2}\zq{#1}\qb0{#3}% +\upz{#1}\lq{#2}\zq{#1}\tqb0{#3}}% +% +% double accord de 2 doubles croches +\def\ddbudr#1#2{\lpz{#2}\ibbu0{#1}0\rq{#1}\qh0{#2}\relax +\lpz{#2}\rq{#1}\tqh0{#2}}% +% +% accord de 4, 3 doubles croches inf +\def\lmotbba#1#2#3#4{\dbuq{#1}{#2}{#3}{#4}% +\ddbut{#2}{#3}{#4}}% +%\check +% +% accord de 4, 2 doubles croches sup +\def\lmotbbb#1#2#3#4{\dbuq{#1}{#2}{#3}{#4}% +\ddbud{#1}{#2}}% +%\check +% +% accord de 4, 2 doubles croches med +\def\lmotbbc#1#2#3#4{\dbuq{#1}{#2}{#3}{#4}% +\ddbud{#2}{#3}}% +%\check +% +% accord de 2, 2 doubles croches med +\def\lmotbbd#1#2#3{\dbud{#1}{#2}% +\ddbud{#2}{#3}}% +%\check +% +\def\bld#1#2{\zq{#2}\clupz{#1}}% +\def\blt#1#2#3{\zq{#3#2}\clupz{#1}}% +\def\bltl#1#2#3{\zq{#3}\lq{#2}\clupz{#1}}% +\def\blq#1#2#3#4{\zq{#4#3#2}\clupz{#1}}% +\def\blql#1#2#3#4{\lq{#2}\zq{#3#4}\clupz{#1}}% +% +\def\bud#1#2{\zq{#1}\culpz{#2}}% +\def\budr#1#2{\rq{#1}\culpz{#2}}% +\def\but#1#2#3{\zq{#1#2}\culpz{#3}}% +\def\butr#1#2#3{\zq{#1}\rq{#2}\culpz{#3}}% +\def\buq#1#2#3#4{\zq{#1#3#2}\culpz{#4}}% +\def\buqr#1#2#3#4{\zq{#1#3}\rq{#2}\culpz{#4}}% +\def\tblq#1#2#3#4{\dblq{#1}{#2}{#3}{#4}\blq{#1}{#2}{#3}{#4}}% +\def\tblql#1#2#3#4{\dblql{#1}{#2}{#3}{#4}\blql{#1}{#2}{#3}{#4}}% +\def\tbuq#1#2#3#4{\dbuq{#1}{#2}{#3}{#4}\buq{#1}{#2}{#3}{#4}}% +\def\tblt#1#2#3{\dblt{#1}{#2}{#3}\blt{#1}{#2}{#3}}% +\def\tbltl#1#2#3{\dbltl{#1}{#2}{#3}\bltl{#1}{#2}{#3}}% +%\check +% +\def\tbuqr#1#2#3#4{\dbuqr{#1}{#2}{#3}{#4}\buqr{#1}{#2}{#3}{#4}}% +%\check +% +% accord de 3, final croche +\def\tbut#1#2#3{\dbut{#1}{#2}{#3}\but{#1}{#2}{#3}}% +\def\Tbut#1#2#3{\Dbut{#1}{#2}{#3}\but{#1}{#2}{#3}}% +%\check +% +\def\tbutr#1#2#3{\dbutr{#1}{#2}{#3}\butr{#1}{#2}{#3}}% +\def\Tbutr#1#2#3{\Dbutr{#1}{#2}{#3}\butr{#1}{#2}{#3}}% +%\check +% +% accord de 2, final croche +\def\tbud#1#2{\dbud{#1}{#2}\bud{#1}{#2}}% +\def\Tbud#1#2{\Dbud{#1}{#2}\bud{#1}{#2}}% +%\check +% +\def\register#1{\boxit{\hbox{\bf #1}}} +% +\generalmeter{\meterfrac 42}% +% +\ifnum\musicsize=16\def\bottomfacteur{7}\else\def\bottomfacteur{5}\fi +\debutmorceau +% +\ifnum\musicsize=16\relax + \autolines{19}47\else + \autolines{19}36\fi +%\check +% +\bigaccid +\hyphenpenalty -50\relax +\notes\zmidtwotext{\fff}|\zcharnote{w}{\kern -20mm\moyen Allegro +\bf(\metron{\qu}{100})}\enotes +% +%\check +% +% mesure 1 +\tnotes\lmotbba mjhf|\umotif t!s!q!o!m\enotes +\tnotes\tbuq ljhf|\umotif s!r!q!o!m\enotes +\zbnotes\tbuqr kjhf|\umotif r!q!q!o!m\enotes +\tnotes\tbuq ljhf|\umotif s!r!q!o!m\enotes +% mesure 2 +\bnotes\lmotbba mjhf|\umotif t!s!q!o!m\enotes +\tnotes\tbuq ljhf|\umotif s!r!q!o!m\enotes +\ifnum\musicsize=16\relax + \autolines {17}47\else + \autolines {17}36\fi +\zbnotes\tbuqr kjhf|\umotif r!q!q!o!m\enotes +\tnotes\na i\tbuq lige|\umotif s=p!p!n!m\enotes +% mesure 3 +\bnotes\lmotbba jgec|\umotif q=p!n!l!j\enotes +\tnotes\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\zbnotes\tbuqr hgec|\umotif o!n!n!l!j\enotes +\tnotes\tbuq igec|\umotif p!o!n!l!j\enotes +% mesure 4 +\bnotes\lmotbba jgec|\umotif q=p!n!l!j\enotes +\tnotes\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\zbnotes\tbuqr hgec|\umotif o!n!n!l!j\enotes +\tnotes\sh f\na i\tbut ifd|\umotif p^m!m!k!j\enotes +% mesure 5 +\bnotes\na b\lmotbbc gdbN|\umotif n^m!k=i!g\enotes +\tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes +\zbnotes\tbutr gfd|\umotif o=m!m!k!h\enotes +\tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes +% mesure 6 +\bnotes\lmotbbb fd!N|\umotif o!m!m!k!h\enotes +\qspace +\tnotes\lsh d\sh f\tbut hfd|\na p\umotif p^o^m^k=i\enotes +\zbnotes\tbutr hge|\umotif p!n!n!l!i\enotes +\tnotes\tbut hfd|\umotif p!o!m!k!i\enotes +% mesure 7 +\bnotes\lmotbbb ge!N|\na p\umotif p!n!n!l=i\enotes +\tnotes\fl i\tbut ige|\umotif q!p!n!l!j\enotes +\zbnotes\tbut ifd|\umotif q!m!m!k!j\enotes +\tnotes\tbutr ihf|\umotif q!o!o!m!j\enotes +% mesure 8 +% increase the number of instruments at the next line change +\def\manuale{}% nothing until changed +\def\pedalepause{}% +\def\atnextline{\nbporteesii=2\relax + \nbporteesi=1\relax + \def\nbinstruments{2}\relax + \global\cleftoksii={{0}{0}{0}{0}}\global\cleftoksi={{6}{0}{0}{0}}\relax + \def\pedalepause{\Pause}\def\manuale{&}\relax + \signaturegenerale{-1}}\relax +% +\bnotes\pedalepause\manuale\tbut ige|\umotif q!n!n!l!j\enotes +\tnotes\manuale\sh j\fl e\tbuqr jige|\sh q\umotif q!n!n!l^j\enotes +% +\zbnotes\pedalepause\manuale\tbuq kigd|\umotif r^q!p!n!k\enotes +\tnotes\manuale\na c\na l\tbuq ligc\relax + |\ibbl0{p}0\ilegu0{s}\qb0{s}\tleg0\qb0{^r}% +\qbupz{s}\qbupz{=q}\qbupz{p}\qbupz{n}\qbupz{p}\tbl0\qbupz{q}\enotes +% mesure 9 +%\check +% modification de la liaison initiale en pizz. +\def\umotif#1#2#3#4#5#6#7#8#9{\varaccid +{\advance\transpose by 2\ibbl0{#9}0}\qbupz{#1}\qbupz{#2#3}% +\qbupz{#1}\qbupz{#4#5}\qbupz{#6#7}\qbupz{#8#9}\qbupz{#7}\tbl0\qbupz{#5}}% +%\check +\def\mmotif#1#2#3#4#5#6#7#8#9{\varaccid +{\advance\transpose by -2\ibbu0{#1}0}\qhlpz{#1}\qhlpz{#2#3}% +\qhlpz{#1}\qhlpz{#4#5}\qhlpz{#6#7}\qhlpz{#8#9}\qhlpz{#7}\tbu0\qhlpz{#5}}% +% +%\check +\bnotes\zcharnote{E}{\llap{\ff}}\relax +\doubler\qlp f\sk\sk\cu F&\lmotbba mjhf|\umotif t!s!q!o!m\enotes +\tnotes\doubler\qlp e\sk\sk\cu F&\tbuq ljhf|\umotif s!r!q!o!m\enotes +\zbnotes\doubler\qlp d\sk\sk\cu F&\tbuqr kjhf|\umotif r!q!q!o!m\enotes +\tnotes\doubler\qlp e\sk\sk\cu F&\tbuq ljhf|\umotif s!r!q!o!m\enotes +% mesure 10 +\bnotes\doubler\qlp f\sk\sk\cu F&\lmotbba mjhf|\umotif t!s!q!o!m\enotes +\tnotes\doubler\qlp e\sk\sk\cu F&\tbuq ljhf|\umotif s!r!q!o!m\enotes +\zbnotes\doubler\qlp d\sk\sk\cu F&\tbuqr kjhf|\umotif r!q!q!o!m\enotes +\tnotes\doubler\qlp e\sk\sk\cu G&\na i\tbut lig|\umotif s=p!p!n!m\enotes +% mesure 11 +\bnotes\itenu1c\wh c&\lmotbba jgec|\umotif q=p!n!l!j\enotes +\tnotes&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\zbnotes\tten1\hl c&\tbuqr hgec|\umotif o!n!n!l!j\enotes +\tnotes\hpause&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +% mesure 12 +\bnotes\doubler\qlp c\sk\sk\cu C&\lmotbba jgec|\umotif q=p!n!l!j\enotes +\tnotes\doubler\qlp{=b}\sk\sk\cu C&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\zbnotes\doubler\qlp a\sk\sk\cu C&\tbuqr hgec|\umotif o!n!n!l!j\enotes +\tnotes\doubler\qlp b\sk\sk\cu D&\sh f\na i\tbut ifd|\umotif p^m!m!k!j\enotes +% mesure 13 +\bnotes\whp N&\na b\lmotbbc gdbN|\umotif n^m!k=i!g\enotes +\tnotes&\tbut gec|\umotif n!m!l!j!g\enotes +\zbnotes&\tbut gdb|\umotif n!m!k!i!g\enotes +\tnotes\hpause&\sh c\tbut gec|\umotif o^n!l^j!h\enotes +% mesure 14 +\bnotes\doubler\qlp N\sk\sk\cu G&\sh c\tbut hec|\umotif +o^n!l^j!h\enotes +\tnotes\doubler\qlp N\sk\sk\cu G&\tbut hec|\umotif o!n!l!j!h\enotes +\zbnotes\doubler\qlp M\sk\sk\cu F&\tbut hfd|\na p\umotif +p!m!m!k=i\enotes +\tnotes\doubler\qlp L\sk\sk\cu E&\tbutr hge|\sh q\umotif +q!o!o!n^j\enotes +% mesure 15 +\ifnum\musicsize=16\relax + \autolines{17}46\else + \autolines{17}35\relax +\fi +\bnotes\itenu1K\wh K&\lmotbbd hfd|\umotif r^q!o!m!k\enotes +\tnotes&\tbud hf|\umotif r!q!o!m!k\enotes +\zbnotes\tten1\hl K&\na i\tbut ifd|\na p\umotif p!o!o!m!k\enotes +\tnotes\hpause&\tbut jfd|\na q\umotif q!p!o!m!k\enotes +% mesure 16 +\bnotes\doubler\qlp a\sk\sk\cu H&\sh d\lsh f\na i\tbut +ifd|\na p\umotif p^o^m^k=i\enotes +\tnotes\doubler\qlp a\sk\sk\cu H&\tbut ifd|\umotif p!o!m!k!i\enotes +\zbnotes\doubler\qlp N\sk\sk\cu G&\tbut ige|\sh q\umotif +q!n!n!l^j\enotes +\tnotes\doubler\qlp{^M}\sk\sk\cu{^F}&\sh f\tbutr ihf|\sh r\umotif +r!p!p!o^k\enotes +%\check +% mesure 17 +\bnotes\itenu1L\wh L&\na i\dbud ig\ddbud ge|\umotif +s^r=p!n!l\enotes +\tnotes&\dbud ig\but ige|\umotif s!r!p!n!l\enotes +\zbnotes\tten1\hl L&\tbut jge|\umotif q!p!p!n!l\enotes +\tnotes\hpause&\tbut kge|\na r\umotif r!p!p!n!l\enotes +% mesure 18 +\bnotes\doubler\fl b\qlp b\sk\sk\cu I&\dbut jge\bud ge|\umotif q=p!n!l!j\enotes +\tnotes\doubler\qlp b\sk\sk\cu I&\dbut jge\bud ge|\umotif q!p!n!m!j\enotes +\zbnotes\doubler\qlp a\sk\sk\cu H&\dbuqr kjhf\but jhf|\umotif +r^q!o!m!k\enotes +\tnotes\doubler\qlp N\sk\sk\cu G&\tbuqr ljig\relax + |\varaccid\ibbl0{p}0\ilegu0{s}\qb0{s}\tleg0\qb0{^r}% +\qbupz{s}\qbupz{=q}\qbupz{_p}\qbupz{n}\qbupz{p}\tbl0\qbupz{s}\enotes +% mesure 19 +\bnotes\doubler\qlp M\sk\sk\cu F&\lmotbba mkhf|\umotif t!s!r!n!m\enotes +\tnotes\doubler\qlp N\sk\sk\cu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes +\zbnotes\doubler\qlp M\sk\sk\cu F&\tbut khf|\sh q\umotif +r!q!o!m!l\enotes +\tnotes\doubler\qlp L\sk\sk\cu E&\na j\tbut jhe|\na q\umotif +q!o!o!l!j\enotes +% mesure 20 +\bnotes\doubler\qlp K\sk\sk\cu D&\tbutr ihd|\umotif p!o!o!m!i\enotes +\tnotes\doubler\qlp L\sk\sk\cu E&\tbut ige|\umotif p!n!n!l!i\enotes +\zbnotes\doubler\qlp{^J}\sk\sk\cu{^C}&\sh c\tbutr hgc|\umotif +o!n!n!l!h\enotes +\tnotes\doubler\qlp K\sk\sk\cu D&\tbut hfd|\umotif o!m!m!k!h\enotes +% mesure 21 +\bnotes\wh I&\mmotif h^f!f!d!b|\sh m\dblt omk\ddblt omk\enotes +\tnotes&\mmotif i!g!g!d!b|\tblq rpnk\enotes +\zbnotes\wh J&\mmotif g=f!f!d!c|\lna m\tbltl nmi\enotes +\tnotes&\mmotif g!e!e!d!c|\tblt nli\enotes +%\check +% mesure 22 +\bnotes\hu F&\dbut fca\ddbut fca|\umotif m!l!j!h!f\enotes +\tnotes\sk\hpause&\tbut eca|\umotif l!k!j!h!f\enotes +\zbnotes\Pause&\tbutr dca|\umotif k!j!j!h!f\enotes +\tnotes&\tbut eca|\umotif l!k!j!h!f\enotes +% mesure 23 +\global\cleftoksii={{6}{0}{0}{0}}\changeclefs +\bnotes\Pause&\umotif f!e!c!a!M|\dblt mjh\ddblt mjh\enotes +\tnotes&\umotif e!d!c!a!M|\tblt ljh\enotes +\zbnotes\hpause&\umotif d!c!c!a!M|\tbltl kjh\enotes +\tnotes\lpz F\qu F\sk\sk\sk\soupir&\umotif d=b!b!a!M|\na i\dblt +oki\na p\blt pki\enotes +% mesure 24 +\bnotes\qu E\sk\sk\sk\soupir&\lsh N\na b\tblt ebN|\mmotif l^k=i^g!e\enotes +\tnotes\sk\hpause&\sh d\tblt dbN|\mmotif k^j!i!g!e\enotes +\qspace +\zbnotes\Pause&\lsh c\tbltl cbN|\mmotif j!i!i!g!e\enotes +\tnotes&\tblt dbN|\mmotif k!i!i!g!e\enotes +% mesure 25 +\bnoteP&\umotif e^d=b^N!L|\lsh g\na i\dblt lig\ddblt lig\enotes +\tnotes&\umotif d^c!b!N!L|\sh k\tblt kig\enotes +\zbnotes\sk\hpause&\qsk\sh c\umotif c=b!b^N!L|\sh g\sh j\lna i\qsk\tbltl jig\enotes +\tnotes\lpz E\qu E\sk\sk\sk\soupir&\umotif c^a!a!N!L|\relax + \sh h\sh n\dblt njh\sh o\blt ojh\enotes +% mesure 26 +\bnotes\fl E\qu E\sk\sk\sk\soupir&\lfl b\na N\fl e\dblt +ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes +\tnotes\sk\hpause&\tblt dbN|\mmotif k!i!i!g!e\enotes +\qspace +\zbnotes\sk\hpause&\lsh c\tbltl cbN|\sh j\mmotif + j!i!i!g!e\enotes +\global\cleftoksii={{0}{0}{0}{0}}\changeclefs +\tnotes\ilegl1G\fl L\hl L&\sh c\dbutmr gcb\zq g\rq c\culpz b|\umotif + n^m!j!i!g\enotes +% mesure 27 +\bnotes\tleg1\hu G&\na b\dbut gdb\ddbud db|\umotif n^m!k=i!g\enotes +\tnotes\sk\hpause&\sh f\tbut fdb|\umotif m!k!k!i!g\enotes +\zbnotes\Pause&\sh e\tbutr edb|\bigsh l\umotif l!k!k!i!g\enotes +\tnotes\ilegl1I\hl N&\na i\tbutr ied|\bigna p\umotif p^o!l!k!i\enotes +% mesure 28 +%\check +\bnotes\na I\tleg1\hu I&\na i\lsh f\sh d\dbut ifd\ddbud fd|\na p\umotif + p^o^m^k=i\enotes +\tnotes\sk\hpause&\sh h\tbut hfd|\umotif o!m!m!k!i\enotes +\zbnotes\Pause&\na h\tbut hfd|\na o\umotif o!m!m!k!i\enotes +\tnotes\na b\ilegu1c\hl b&\sh k\dbut khf\zq{kh}\culpz f|\sh r\umotif + r!o!o!m!k\enotes +% mesure 29 +%\check +\bnotes\fl b\tleg1\hl b&\na f\lfl i\na k\dbut kif\ddbut ifd|\na r\umotif + r^q!p!m!k\enotes +\tnotes\doubler\soupir\sk\dsoupir\cu I\relax +&\fl g\fl l\dbutmr lhg\rq h\lpz g\cu g|\fl s\umotif s!o!o_n_l\enotes +\zbnotes\hl b&\dbut kif\ddbut ifd|\na r\umotif + r^q!o!m!k\enotes +\tnotes\doubler\soupir\sk\dsoupir\cu I\relax +&\fl g\fl l\dbutmr lhg\rq h\lpz g\zq l\cu g|\fl s\umotif + s!o!o_n_l\enotes +% mesure 30 +%\check +\bnotes\hl b&\dbut kif\ddbut ifd|\umotif r^q!p!m!k\enotes +\tnotes\sk\hpause +&\dbut kif\zq{if}\culpz d|\umotif r!q!p!m!k\enotes +\zbnotes&\dbut kif\zq{if}\culpz d|\umotif r!q!p!m!k\enotes +\tnotes\pause&\dbut kif\zq{if}\culpz d|\umotif r!q!p!m!k\enotes +% mesure 31 +%\check +\bnoteP&\zcharnote N{\llap{\register{II} }}% +\zmidtwotext{\llap{\mf}}\dbut khf\ddbut hfd|\zcharnote s{\llap{(I)}}% +\umotif r^q!o!m!k\enotes +\tnotes&\dbut khf\zq{hf}\culpz d|\umotif r!q!o!m!k\enotes +\zbnotes\Pause&\dbut khf\zq{hf}\culpz d|\umotif r!q!o!m!k\enotes +\tnotes&\dbut khf\zq{hf}\culpz d|\umotif r!q!o!m!k\enotes +% mesure 32 +%\check +\bnoteP&\qsk\zcharnote a{\llap{(II)}}% +\bigsh g\dbutr kgf\rq g\culpz f|\qsk\zcharnote r{\llap{\register{II} }}% +\umotif r^q^n!m!k\enotes +\tnotes&\dbutr kgf\rq g\culpz f|\umotif r!q!n!m!k\enotes +\zbnotes\Pause&\dbutr kgf\rq g\culpz f|\umotif r!q!n!m!k\enotes +\tnotes&\dbutr kgf\rq g\culpz f|\umotif r!q!n!m!k\enotes +% mesure 33 +%\check +\signaturegenerale{2}\Changecontext +\ifnum\musicsize=16\relax + \def\atnextline{\nbporteesi=2\relax + \def\nbinstruments{1}\relax + \global\cleftoksi={{0}{0}{0}{0}}\relax + \def\pedalepause{}\def\manuale{}}\fi +% +\znotes\manuale\zmidtwotext{\llap{\register{III} \pp}}\enotes +\notes\pedalepause\manuale\mmotif k!j!h!f!d|\dblt rom\ddblt rom\enotes +\tnotes\manuale\mmotif j!i!h!f!d|\tblq qomk\enotes +\zbnotes\pedalepause\manuale\mmotif i!h!h!f!d|\tblql pomk\enotes +\tnotes\manuale\mmotif j!h!h!f!d|\tblq qomk\enotes +% +% mesure 34 +\bnotes\pedalepause\manuale\mmotif k!j!h!f!d|\dblt rom\ddblt rom\enotes +\tnotes\manuale\mmotif j!i!h!f!d|\tblq qomk\enotes +\zbnotes\pedalepause\manuale\mmotif i!h!h!f!e|\tblql pomk\enotes +\tnotes\manuale\mmotif j^g!g!f!e|\tblql qlnk\enotes +% +%\check +% mesure 35 +\bnotes\pedalepause\manuale\dbut hec\ddbud ec|\umotif o^n!l!j!h\enotes +\tnotes\manuale\bigsh g\tbut gec|\umotif n!m!l!j!h\enotes +\zbnotes\pedalepause\manuale\tbutr fec|\umotif m!l!l!j!h\enotes +\tnotes\manuale\sh g\tbut gec|\bigsh n\umotif n!l!l!j!h\enotes +% +%\check +% mesure 36 +\ifnum\musicsize=16\advance\linesinpage by -1\relax\fi +% +\bnotes\pedalepause\manuale\mmotif h^g!e!c!a|\dblt olj\ddblt olj\enotes +\tnotes\manuale\mmotif g!f!e!c!a|\bigsh n\tblq nljh\enotes +\zbnotes\pedalepause\manuale\mmotif f!e!e!c!a|\tblql mljh\enotes +\tnotes\manuale\mmotif g^d!d!b!a|\bigsh k\tblql nhki\enotes +% +%\check +% mesure 37 +\bnotes\pedalepause\manuale\bigsh N\dbut ebN\bud bN|\umotif l^k!i^g!e\enotes +\qspace +\tnotes\manuale\mmotif e^c!c^a!L|\bigaccid\lsh h\sh j\tblq mjhf\enotes +\zbnotes\pedalepause\manuale\dbud db\bud db|\umotif m=k!k!i!f\enotes +\tnotes\manuale\mmotif e!c!c!a!L|\tblq mjhf\enotes +% +%\check +% mesure 38 +\bnotes\pedalepause\manuale\tbud db|\umotif m!k!k!i!f\enotes +\qspace +\tnotes\manuale\mmotif f^d!d^b!L|\bigaccid + \lsh n\lsh i\sh k\sh g\tblq nkig\enotes +\zbnotes\pedalepause\manuale\tbud ec|\sh n\umotif n!l!l!j^g\enotes +\qspace +\tnotes\manuale\mmotif f^d!d^b!L|\bigaccid\lsh i\sh k\tblq nkig\enotes +%\check +% mesure 39 +\bnotes\pedalepause\manuale\dbud ec\bud ec|\sh n\umotif n!l!l!j^g\enotes +\tnotes\manuale\bigna g\dbut gec\but gec|\umotif o!l!l!j!h\enotes +\zbnotes\pedalepause\manuale\dbut gdb\but gdb|\umotif o!k!k!i!h\enotes +\tnotes\manuale\tbutr gfd|\umotif o!m!m!k!h\enotes +% +%\check +% mesure 40 +\bnotes\pedalepause\manuale\tbut gec|\umotif o!l!l!j!h\enotes +\tnotes\manuale\tbut geb|\umotif p!n!n!l!i\enotes +\zbnotes\pedalepause\manuale\bigfl b\tbut geb|\bigna q\umotif q!n!n!l=j\enotes +\tnotes\manuale\tbut gea|\bigsh q\ibbl0{l}0\ilegu0{q}\qb0{q}\tleg0\qb0{n}% +\qbupz{q}\qbupz{n}\qbupz{l}\qbupz{^j}\qbupz{l}\tbl0\qbupz{j}\enotes +\ifnum\nbinstruments=1\relax + \global\cleftoksi={{6}{0}{0}{0}}\else + \global\cleftoksi={{6}{0}{0}{0}}\global\cleftoksii={{6}{0}{0}{0}}\fi +\changeclefs +%\check +% mesure 41 +\bnotes\pedalepause\manuale\qsk\zcharnote f{\llap{\pp}}\lsh N\tbltl cbN|\qsk + \mmotif j!i!i^g^e\enotes +\tnotes\manuale\tbltl cbM|\bigsh k\mmotif k!i!i!g^d\enotes +\qspace +\zbnotes\pedalepause\manuale\bigaccid\lsh a\tbltl cba|\bigna l\mmotif l!j!j!i=e\enotes +\qspace +\tnotes\manuale\bigaccid\lsh N\tbltl cbN|\bigsh l\mmotif l!j!j!i^e\enotes +\ifnum\nbinstruments=1\relax + \global\cleftoksi={{0}{0}{0}{0}}\else + \global\cleftoksi={{6}{0}{0}{0}}\global\cleftoksii={{0}{0}{0}{0}}\fi +\addspace{-\afterruleskip}\changeclefs\notes\manuale \zcharnote N{\register{II}}\enotes +%\check +% mesure 42 +\bnotes\pedalepause\manuale +\zcharnote o{\it cresc.}\relax + \zwp{^a}\Dbud fc\ddbud fc|\zcharnote r{(III)}\umotif m!j!j^h!f\enotes +\tnotes\manuale\bigna f\Tbud fc|\bigna m\umotif m=l!j!h=f\enotes +\zbnotes\pedalepause\manuale\Tbud ec|\umotif l^k!j!h!e\enotes +\tnotes\manuale\zhl c\bigsh h\Tbud he|\bigsh o\umotif o!l!l!j!h\enotes +% +%\check +% mesure 43 +\bnotes\pedalepause\manuale\zwp d\bigna f\bigfl i\Dbud if\ddbud if|\bigfl p\umotif p=m!m!k_i\enotes +\tnotes\manuale\Tbud hf|\umotif o^n!m!k!h\enotes +\zbnotes\pedalepause\manuale\bigfl h\Tbud hf|\bigfl o\umotif o=n!m!k_h\enotes +\tnotes\manuale\zhl f\Tbud kh|\umotif r!o!o!m!k\enotes +% +% mesure 44 +\barre +\def\atnextline{\nbporteesii=2\relax + \nbporteesi=1\relax + \def\nbinstruments{2}\relax + \global\cleftoksii={{0}{0}{0}{0}}\global\cleftoksi={{6}{0}{0}{0}}\relax + \def\pedalepause{\Pause}\def\manuale{&}\relax + \signaturegenerale{2}}\relax +% +\notes\pedalepause\manuale\bigaccid\sh f\qsk\na h\zwp f\Dbud kh\ddbud kh|\qsk + \umotif r=o!o^m!k\enotes +\tnotes\manuale\Tbud jh|\umotif q^p!o!m!j\enotes +\zbnotes\manuale\bigna h\qsk\na j\Tbud jh|\qsk\bigna q\umotif q=p!o!m=j\enotes +\tnotes\manuale\zhl h\Tbud mj|\umotif t!q!q!o!m\enotes +% +%\check +% mesure 45 +\bnotes\pedalepause\manuale\bigsh j\qsk\zmidtwotext{\llap{\mf}}\zcharnote a{\llap{(II)}}\relax +\bigsh g\bigsh l\zhl g\Dbud lj\budr ji|\zcharnote r{\llap{\register{II}}}\qsk + \bigsh s\umotif s>r!q!p^l\enotes +\tnotes\manuale\zhl h\bigna j\Tbud mj|\umotif t=q!q!o!m\enotes +\zbnotes\pedalepause\manuale\zhl g\bigsh j\Dbud lj\ddbudr ji|\umotif s!r^q!p!l\enotes +\tnotes\manuale\qsk\zhl h\bigna j\Tbud mj|\qsk\umotif t=q!q!o!m\enotes +% +%\check +% mesure 46 +\bnotes\doubler\pt 5\soupir\sk\sk\cl c\manuale\bigaccid +\lsh j\sh g\sh l\dblt ljg\bud jg|\bigsh s\umotif s>r!q!p^l\enotes +\tnotes\bigsh e\wh e\manuale\dbut ljg\ddbld jg|\umotif s!r!q!p!l\enotes +\zbnotes\manuale\tblt ljg|\umotif s!r!q!p!l\enotes +\tnotes\hpause\manuale\dblt ljg\bld jg|\umotif s!r!q!p!l\enotes +% +% mesure 47 +\generalsignature{-1}\Changecontext +\notes\doubler\pt 5\soupir\sk\sk + \cl c\manuale\bigfl h\dblt mjh\bud jh|\umotif t!s!q_o!m\enotes +\tnotes\wh f\manuale\dbut mjh\ddbud jh|\umotif t!s!q!o!m\enotes +\zbnotes\manuale\dblt mjh\bud jh|\umotif t!s!q_o!m\enotes +\tnotes\hpause\manuale\dblt mjh\bud jh|\umotif t!s!q!o!m\enotes +% +%\check +% mesure 48 +\bnotes\qsk\qsk\doubler\pt 5\soupir\sk\sk\bigna b\cl +b&\qsk\lfl h\na i\zcharnote N{\llap{\register{I}}}\qsk + \zmidtwotext{\llap{\ff}}\bigaccid +\dbltl mhi\budr ih|\qsk\qsk +\zcharnote r{\llap{(II)}}\umotif t!s_r_q!m\enotes +\tnotes\wh f&\dbltl mhi\ddbudr ih|\umotif t!s!r!q!m\enotes +\qspace\zbnotes&\dbltl mhi\budr ih|\umotif t!s!r!q!m\enotes +\tnotes\hpause&\dbltl mhi\budr ih|\umotif t!s!r!q!m\enotes +%\check +% +% mesure 49 +\bnotes\qsk\hpause&\zmidtwotext{\llap{\fff}}\relax + \zcharnote a{\llap{(I)}}\bigaccid +\lfl h\na i\qsk\dbltl mhi\budr ih|\zcharnote r{\llap{\register{I}}}\qsk + \umotif t!s_r_q!m\enotes +\tnotes\doubler\fl K\ql K\sk\soupir&\dbltl mhi\budr ih|\umotif t!s!r!q!m\enotes +\zbnotes\doubler\na b\ql b\sk\soupir&\dbltl mhi\budr ih|\umotif t!s!r!q!m\enotes +\tnotes\doubler\ql f\sk\soupir&\tbltl mhi|\umotif t!s!r!q!m\enotes +%\check +% +% mesure 50 +\bnotes\doubler\zh F\hu M&\zhl f\bigna h\Dbut mjh\ddbut mjh|\umotif t=s=q!o!m\enotes +\tnotes\doubler\zh E\hu L&\zhl e\Tbut ljh|\umotif s!r!q!o!m\enotes +\zbnotes\doubler\zh D\hu K&\zhl d\Tbutr kjh|\umotif r!q!q!o!m\enotes +\tnotes\doubler\zh E\hu L&\zhl e\Tbut ljh|\umotif s!r!q!o!m\enotes +% mesure 51 +\bnotes\doubler\zh F\hu M&\zhl f\Dbut mjh\ddbut mjh|\umotif t!s!q!o!m\enotes +\tnotes\doubler\zh E\hu L&\zhl e\Tbut ljh|\umotif s!r!q!o!m\enotes +\zbnotes\doubler\zh D\hu K&\zhl d\Tbutr kjh|\umotif r!q!q!o!m\enotes +\tnotes\doubler\zh E\hu L&\zhl e\na i\Tbut lig|\umotif s=p!p!n!m\enotes +% mesure 52 +\bnotes\zbv C\zbv J&\zbv c\Dbut jge\ddbut jge|\umotif q=p!n!l!j\enotes +\tnotes&\na i\Tbut ige|\umotif p!o!n!l!j\enotes +\zbnotes&\Tbutr hge|\umotif o!n!n!l!j\enotes +\tnotes&\Tbut ige|\umotif p!o!n!l!j\enotes +% mesure 53 +\bnotes\doubler\zh J\hl c&\dbut jge\ddbud ge|\umotif q=p!n!l!j\enotes +\tnotes\doubler\zh{=I}\hl{=b}&\na i\tbut ige|\umotif p!o!n!l!j\enotes +\zbnotes\doubler\zh H\hl a&\tbutr hge|\umotif o!n!n!l!j\enotes +\tnotes\doubler\zh I\hl b&\sh f\na i\tbuqr idfc|\umotif p^m!m!k!j\enotes +% mesure 54 +\bnotes\itenl2G\zw G\itenu1N\wh N&\na b\dbut gdb\ddbud db|\umotif n^m!k=i!g\enotes +\tnotes&\tbut gec|\umotif n!m!l!j!g\enotes +\zbnotes\tten1\tten2\zh G\hl N&\tbut gdb|\umotif n!m!k!i!g\enotes +\tnotes\hpause&\sh c\tbut gec|\umotif o^m!l^j!h\enotes +% mesure 55 +\bnotes\doubler\zh N\hl G&\sh c\tbut hec|\umotif +o^n!l^j!h\enotes +\tnotes\doubler\zh N\hl G&\tbut hec|\umotif o!n!l!j!h\enotes +\zbnotes\doubler\zh M\hu F&\tbut hfd|\na p\umotif +p!m!m!k=i\enotes +\tnotes\doubler\zh L\hu E&\tbutr hge|\sh q\umotif +q!o!o!n^j\enotes +% mesure 56 +\bnotes\itenl2D\zw D\itenu1K\wh K&\lmotbbd hfd|\umotif r^q!o!m!k\enotes +\tnotes&\dbud hf\but hfd|\umotif r!q!o!m!k\enotes +\zbnotes\tten1\tten2\zh D\hu K&\na i\tbut ifd|\na p\umotif p!o!o!m!k\enotes +\tnotes\hpause&\tbut jfd|\na q\umotif q!p!o!m!k\enotes +% mesure 57 +\bnotes\doubler\zh a\hl H&\sh d\lsh f\na i\tbut +ifd|\na p\umotif p^o^m^k=i\enotes +\tnotes\doubler\zh a\hl H&\tbut ifd|\umotif p!o!m!k!i\enotes +\zbnotes\doubler\zh N\hl G&\tbut ige|\sh q\umotif +q!n!n!l^j\enotes +\tnotes\doubler\zh{^M}\hl{^F}&\sh f\tbutr ihf|\sh r\umotif +r!p!p!o^k\enotes +%\check +% mesure 58 +\bnotes\itenl2E\itenu1L\zw E\wh L&\na i\dbud ig\ddbud ge|\umotif +s^r=p!n!l\enotes +\tnotes&\dbud ig\but ige|\umotif s!r!p!n!l\enotes +\zbnotes\tten2\tten1\zh E\hu L&\tbut jge|\umotif q!p!p!n!l\enotes +\tnotes\hpause&\tbut kge|\na r\umotif r!p!p!n!l\enotes +% mesure 59 +\bnotes\doubler\fl b\fl I\zh b\hu I&\dbut jge\bud ge|\umotif q=p!n!l!j\enotes +\tnotes\doubler\zh b\hu I&\dbut jge\bud ge|\umotif q!p!n!l!j\enotes +\zbnotes\doubler\zh a\hu H&\dbuqr kjhf\but jhf|\umotif +r^q!o!m!k\enotes +\tnotes\doubler\zh N\hu G&\tbuqr ljig\relax + |\varaccid\ibbl0{p}0\qbupz{s}\qbupz{^r}% +\qbupz{s}\qbupz{=q}\qbupz{_p}\qbupz{n}\qbupz{p}\tbl0\qbupz{s}\enotes +% mesure 60 +\bnotes\doubler\zh M\hu F&\lmotbba mkhf|\umotif t!s!r!n!m\enotes +\tnotes\doubler\zh N\hu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes +\zbnotes\doubler\zh M\hu F&\tbut khf|\sh q\umotif +r!q!o!m!l\enotes +\tnotes\doubler\zh L\hu E&\na j\tbut jhe|\na q\umotif +q!o!o!l!j\enotes +% mesure 61 +\bnotes\doubler\zh K\hu D&\tbutr ihd|\umotif p!o!o!m!i\enotes +\tnotes\doubler\zh L\hu E&\tbut ige|\umotif p!n!n!l!i\enotes +\zbnotes\doubler\zh{^J}\hu{^C}&\sh c\tbutr hgc|\umotif +o!n!n!l!h\enotes +\tnotes\doubler\zh K\hu D&\tbut hfd|\umotif o!m!m!k!h\enotes +% mesure 62 +\bnotes\wh I&\mmotif h^f!f!d!b|\sh m\dblt omk\ddblt omk\enotes +\tnotes&\mmotif i!g!g!d!b|\tblq rpnk\enotes +\zbnotes\wh J&\mmotif g=f!f!d!c|\lna m\tbltl nmi\enotes +\tnotes&\mmotif g!e!e!d!c|\tblt nli\enotes +%\check +% mesure 63 +\bnotes\zbv F&\dblql mkjf\ddbutr kjf|\umotif t!r!r!q!m\enotes +\tnotes&\dblq mkif\but kif|\umotif t!r!r!p!m\enotes +\zbnotes&\dblql mijf\bltl jif|\umotif t!q!q!p!m\enotes +\tnotes&\dblq mjhf\bld jf|\umotif t!q!q!o!m\enotes +%\check +% mesure 64 +\bnoteP&\dbltl kjf\ddbld jf|\umotif r!q!q!m!k\enotes +\tnotes&\dblt kif\bld if|\umotif r!p!p!m!k\enotes +\zbnotes\pedalepause&\dbltl jif\bld if|\umotif q!p!p!m!j\enotes +\tnotes&\dblt jhf\bud fM|\umotif q!o!o!m!j\enotes +% +% mesure 65 +\bnoteP&\zcharnote N{\llap{\register{II}}}\qsk\zmidtwotext{\it diminuendo}\relax + \dblt ifd\ddbud fd|\qsk\zcharnote o{\llap{(I)}}\umotif p!o!o!m!i\enotes +\tnotes&\dbutr ied\budr ed|\umotif p!n!n!l!i\enotes +\zbnotes\pedalepause&\dbut hec\bud ec|\umotif o!n!n!l!h\enotes +\tnotes&\dbutr hdc\budr dc|\umotif o!m!m!k!h\enotes +% +% mesure 66 +\bnoteP&\dbut hdb\ddbud hf|\ibbl0m0\qbupz o\qbupz m\qbupz o\qbupz m\relax + \qbupz k\qbupz k\qbupz m\tbl0\qbupz o\enotes +\tnotes&\tblt kig|\umotif r!p!p!n!k\enotes +\zbnotes\sk\hpause&\dbutr gfc\bud fc|\umotif n!m!m!j!g\enotes +\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\dbut gec\cl q|\umotif n!l!l!i!g\enotes +% +% mesure 67 +\bnotes\hl f&\Ioctfinup0p\dbltl mkj\ddbltl mkj|\mmotif m!k!k!j!f\enotes +\tnotes\hpause&\tblt mki|\mmotif m!k!k!i!f\enotes +\zbnotes\hpause&\tbltl mji|\mmotif m!j!j!i!f\enotes +\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\tblt mjh|\mmotif m!j!j!h!f\enotes +% +% mesure 68 +\bnotes\hl f&\dbutr kjf\ddbltl kjf|\mmotif k!j!j!f!d\enotes +\tnotes\hpause&\tblt kif|\mmotif k!i!i!f!d\enotes +\zbnotes\hpause&\tbltl jif|\zcharnote L{\kern\noteskip\it sempre + diminuendo}\mmotif j!i!i!f!c\enotes +\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\dblt jhf\bigfl e\rq f\cu e\relax + |\mmotif j!h!h!f!c\enotes +% +% mesure 69 +\bnotes\doubler\ql f\sk\soupir&\dbut ifd\ddblt ifd|\Mmotif ihhfd\enotes +\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\bigna e\tblt ige|\Mmotif igged\enotes +\zbnotes\doubler\ql f\sk\soupir&\dbut hec\ddbut hec|\Mmotif hggec\enotes +\tnotes\doubler\pt 5\soupir\sk\sk\cu F&\tbut hfd|\Mmotif hffda\enotes +% +% mesure 70 +\bnotes\hl M&\dbut hdb\ddbld hf|\ibbu0g0\relax +\qhlpz h\qhlpz f\qhlpz h\qhlpz f\qhlpz d\qhlpz d\qhlpz f\tbu0\qhlpz h\enotes +\tnotes\hpause&\tblt kig|\Mmotif kiigd\enotes +\zbnotes\hpause&\tbutr gfc|\Mmotif gffcN\enotes +\tnotes\doubler\ql M\sk\soupir&\tbuqr gceb|\Mmotif geecN\enotes +% +% mesure 71 +\bnotes\doubler\lpz F\qu F\sk\soupir&\doubler + \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes +\tnotes\sk\hpause&\mmotif h^g!f!d!a|\doubler + \ibu0h0\zq{hf}\qhlpz a\tbu0\zq{hf}\qhlpz a\soupir\enotes +\zbnotes\doubler\upz M\ql M\sk\soupir&\doubler + \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes +\tnotes\sk\hpause&\Mmotif hgfda|\doubler + \ibu0h0\zq{hf}\qhlpz a\tbu0\zq{hf}\qhlpz a\soupir\enotes +% +% mesure 72 +\bnotes\doubler\upz M\ql M\sk\soupir&\doubler + \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes +\tnotes\hpause&\dbut hfd\ddbut hfd|\mmotif h^g!f!d!a\enotes +\zbnotes\hpause&\tbut hfc|\Mmotif hgfca\enotes +\tnotes\doubler\ql M\sk\soupir&\tblt kif|\mmotif k^j!i!f!d\enotes +% +% mesure 73 +\bnotes\doubler\qsk\upz f\ql f\sk\soupir + &\qsk\tbutr jif|\qsk\bigna j\Mmotif jiifc\enotes +\tnotes\doubler\upz f\ql f\sk\soupir + &\tbutr jif|\zcharnote b{\it cresc.}\Mmotif jiifc\enotes +\zbnotes\hpause&\tblt jhf|\Mmotif jhhfc\enotes +\tnotes\doubler\upz f\ql f\sk\soupir&\tbutr jgf|\Mmotif jggfc\enotes +% +% mesure 74 +\def\Xmotif#1#2#3#4#5#6#7#8#9{{\advance\transpose by 8\relax +\advance\transpose by \interfacteur\ibbl0{#7}0}\sk\sk\sk\sk\sk\bigaccid +\qhlpz{#8#9}\varaccid\qhlpz{#7}\qhlpz{#5}\relax +|\qbupz{#1}\qbupz{#2#3}\qbupz{#1}\qbupz{#4#5}\qbupz{#6#7}\sk\sk\tbu0}% +%\check +\bnotes\doubler\upz f\ql f\sk\soupir&\ibu0i0\doubler + \zq{jh}\qhlpz f\tbu0\zq{jh}\qhlpz f\soupir\Toctfin0\relax + |\Mmotif jhhfc\enotes +\tnotes\sk\hpause&\zcharnote N{\register{I}}\zcharnote n{\llap{\it cresc. + }}\Xmotif j=i!h!f!c\enotes +\zbnotes\Pause&\Xmotif m!l!j!h!f\enotes +\tnotes&\Xmotif o^n!m!j!h\enotes +% +% mesure 75 +\bnotes&|\ibbl0j0\qbupz o\qbupz{^n}\qbupz o\qbupz m\qbupz j\enotes +\notes\sk\sk\pause&\qhlpz c\qhlpz f\tbu0\qhlpz h\enotes +\tnotes&\Xmotif m!l!j!h!f\enotes +\zbnotes\Pause&\Xmotif o!n!m!j!h\enotes +\tnotes&\Xmotif q=p!o!m!j\enotes +% +% mesure 76 +\ifnum\musicsize=16\relax + \elemskip=0.66\elemskip\advance\barsinline by -1\fi +\barre\NOTes\pause&\pause|\zbv t\itenu1t\pause\sk\enotes +\tnotes\midtwotext{\fff}&\midtwotext{\fff}\enotes +\temps\NOTEs\wh F|\fl e\zw e\rw f\zw h\wh j|\zw m\zw o\wh q\sk\enotes +% +% mesure 77 +\barre\NOTEs\qsk\wh I&\qsk\fl e\zw e\rw f\zw h\wh j|\qsk + \zw m\zw o\tten1\zbv t\itenu1t\wh q\enotes +\temps\NOtes\wh I&\zw d\zw i\roff{\zq d\ql f}\zhp {=e}\hlp g\sk\sk +|\zw m\zw p\roff{\ql m\hlp n}\sk\enotes +% mesure 78 +\barre\ifnum\musicsize=16\NOTes\else\NOtes\fi + \tinynotesize\itenl2F\cu F&\tinynotesize + \zq c\zq f\cu h|\tinynotesize\tinynotesize\zq m\cl o\enotes +\NOTES\tten2\pointdurgue E\zbv F\zbv M|\relax + \zbv c\zbv f\zbv h\sk|\zbv m\zbv o\tten1\zbv t\pointdorgue t\enotes +\temps\temps\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +\varaccid + + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex new file mode 100644 index 00000000000..4a0b638da01 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex @@ -0,0 +1,17 @@ +%\input musicnft +%\input musictex +%\input musicsty + +\musicsize=16\relax +\vsize 275mm +\tracingstats=2\relax + +\barsinline=0\relax +\linesinpage=0\relax +\staffbotmarg\Interligne +\resetfacteurs +\computewidths +% +\input widor +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex new file mode 100644 index 00000000000..9b39f6417c5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex @@ -0,0 +1,11 @@ +\musicsize=20\relax\hyphenation{re-gis-tra-tion} +\csname french\endcsname +\tracingstats=2\relax +\barsinline=0\relax +\linesinpage=0\relax +\resetfacteurs +\computewidths +% +\input widor +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/license.txt b/Master/texmf-dist/doc/generic/musixtex/license.txt new file mode 100644 index 00000000000..180cc2345b3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/license.txt @@ -0,0 +1,20 @@ + + + MusiXTeX may be freely copied, duplicated and used. However, since it is +intended to be a "no cost software" you are not allowed to sell it, and the fee +you may ask for distributing it must be limited to maintenance, support and +duplication costs. You may take it or parts of it to include in other +packages, but no packages called MusiXTeX may be distributed under this name +if different from the original distribution (except obvious bug corrections). + + Adaptations for specific implementations (e.g. fonts) should be provided as +separate additional TeX or LaTeX files which override original definition. + + MusiXTeX may be included in further commercial packages, provided that no +additional fee is charged for MusiXTeX itself. + + Daniel Taupin + mailto:taupin@lps.u-psud.fr + Laboratoire de Physique des solides + batiment 510, centre universitaire + F - 91405 ORSAY cedex diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat b/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat new file mode 100644 index 00000000000..fea551442f0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat @@ -0,0 +1,16 @@ +rem cm-ltx2e = latex2e based on cm* fonts +del musixdoc.mx* +call cm-ltx2e musixdoc +if errorlevel 2 goto end +musixflx musixdoc +call cm-ltx2e musixdoc +if errorlevel 2 goto end +makeindx musixdoc.idx +call cm-ltx2e musixdoc +if errorlevel 2 goto end +makeindx musixdoc.idx +call cm-ltx2e musixdoc +call prthplj musixdoc musixdoc.lj +%emtexdir%\bin\dvips32 musixdoc -o musixdoc.ps -P300 -ta4 +:end + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx1 b/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx1 new file mode 100644 index 00000000000..61ad824438c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx1 @@ -0,0 +1,937 @@ +0.83 +S +284.52756pt +0.0pt +0.0pt +8.0pt +5.99998pt +15.99998pt +16.99997pt +0 0 14.75002pt +0 1 47.99988pt +0 1 0.0pt +0 0 0.4pt +b 1 +1 1 55.99988pt +1 1 0.0pt +1 0 0.4pt +b 2 +2 1 67.99985pt +2 1 0.0pt +2 0 0.4pt +b 3 +r +3 1 55.99988pt +3 1 0.0pt +3 0 0.4pt +b 4 +* 0 0 +4 1 55.99988pt +4 1 0.0pt +4 0 0.4pt +b 5 +5 1 79.99982pt +5 1 0.0pt +5 0 0.4pt +b 6 +r +6 1 85.9998pt +6 1 0.0pt +6 0 0.4pt +b 7 +* 0 0 +7 1 55.99988pt +7 1 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differ diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty b/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty new file mode 100644 index 00000000000..269cd551814 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty @@ -0,0 +1,107 @@ +% +% This file is part of MusiXTeX +% +% MusiXTeX is free software; you can redistribute it and/or modify +% it under the terms of the GNU General Public License as published by +% the Free Software Foundation; either version 2, or (at your option) +% any later version. +% +% MusiXTeX is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with MusiXTeX; see the file COPYING. If not, write to +% the Free Software Foundation, Inc., 59 Temple Place - Suite 330, +% Boston, MA 02111-1307, USA. +% +% american people perhaps may want to change the paper size + +\textheight= 50\baselineskip +\textwidth= 210mm \advance\textwidth-2in % + +\input musixtex +\input musixbm +\input musixcho +\input musixdat +\input musixext +\input musixgre +\input musixgui +\input musixlit +\input musixltx +\input musixper +\input musixmad + +% we don't need margin +\oddsidemargin\z@ \evensidemargin\z@ +\marginparwidth\z@ \marginparsep\z@ \marginparpush\z@ + +\topmargin-15pt \headheight12pt +\headsep25pt \footskip25pt +\columnsep10pt \columnseprule\z@ \parskip\smallskipamount + +\nobarnumbers + +% for usage of notes inside text +\let\nblines\z@ + +\long\def\theindex{\chapter{Index}\parindent\z@ + \parskip\z@ plus.3\p@\relax \let\item\@idxitem \columnseprule\z@ + \columnsep35\p@ \begin{multicols}{2}} + +\def\endtheindex{\end{multicols}} + +% saves paper +\def\@listI{\leftmargin\leftmargini \parsep 4.5\p@ plus2\p@ minus\p@ +\topsep 1\p@ plus2\p@ minus1\p@ +\itemsep 4.5\p@ plus2\p@ minus\p@} + +% more place for digits in \tableofcontents +\def\l@subsection{\@dottedtocline{2}{3.8em}{3.4em}}%original 2 3.8 3.2 + +\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\tt} +\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX} +\def\Bslash{\tt\char'134} +\def\|{{\tt\char'174}} +\def\LBR{{\tt\char'173}} +\def\RBR{{\tt\char'175}} +\def\keyindex#1{\leavevmode + \hbox{\Bslash #1}\index{#1@{\protect\Bslash #1}}} +\def\zkeyindex#1{\index{#1@{\protect\Bslash #1}}} +\def\ixem#1{#1\index{#1}} +\def\itxem#1{\ital{#1}\index{#1}} +\def\ttxem#1{{\tt #1}\index{#1@{\tt #1}}} +\def\ital#1{{\sl #1\/}} + +\newfont{\mflogo}{logo10 scaled 1200} +\def\MF{{\mflogo METAFONT}} +\def\unix{{\sc unix}} + +\iflongDCfontnames + \font\tentt=\fontid tt1000 +\else\iflongECfontnames + \font\tentt=\fontid tt1000 +\else + \font\tentt=\fontid tt10 +\fi\fi +% It's under construction +\tolerance10000\hbadness10000 + +\def\printindex{\@input{\jobname.ind}} + +\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}% + +\def\_{\protect\underscoreSymbol} + +\def\remark{\par\noindent\sl REMARK:} +\def\endremark{\leavevmode\/} + +\def\important{\par\noindent\sl IMPORTANT:} +\def\endimportant{\leavevmode\/} + +\def\caution{\par\noindent\sl CAUTION:} +\def\endcaution{\leavevmode\/} + + +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex new file mode 100644 index 00000000000..68d837a6ae5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex @@ -0,0 +1,8180 @@ +% +% This file is part of MusiXTeX +% +% MusiXTeX is free software; you can redistribute it and/or modify +% it under the terms of the GNU General Public License as published by +% the Free Software Foundation; either version 2, or (at your option) +% any later version. +% +% MusiXTeX is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with MusiXTeX; see the file COPYING. If not, write to +% the Free Software Foundation, Inc., 59 Temple Place - Suite 330, +% Boston, MA 02111-1307, USA. +% + +\ifx\documentclass\undefined + \documentstyle[twoside,11pt,musixdoc,multicol,backgrnd]{report} +\else + \documentclass[twoside,11pt]{report} + \usepackage{multicol} + \usepackage{musixdoc} + \usepackage{backgrnd} +% \usepackage{amsmath} +% \usepackage[emtex]{changebar} +\fi +\def\musictex{Music\TeX{}} + +\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi +\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi + +\startmuflex\makeindex + +\begin{document} + +%\changebarsep 10 pt +\title{\Huge\bf\musixtex\raise1.5ex\hbox{\large\copyright}\\[\bigskipamount] +\LARGE\bf Using \TeX{} to write polyphonic\\or +instrumental music\\\Large\sl Version T.104~-- \today} +\author{\Large\rm Daniel \sc Taupin\\\large\sl + Laboratoire de Physique des Solides\\\normalsize\sl + (associ\'e au CNRS)\\\normalsize\sl + b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\ E-mail : {\tt +taupin@lps.u-psud.fr}\\\medskip + \\\Large\rm Ross \sc Mitchell\\\large\sl + CSIRO Division of Atmospheric Research,\\\normalsize\sl + Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip + \\\Large\rm Andreas \sc Egler\ddag\\\large\sl + (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum} +\date{} +%\show\maketitle +\let\endtitleORI\endtitlepage + \def\endtitlepage{\vfill\noindent $^\ddag$ {\it For personal reasons, Andreas +Egler decided to retire from authorship of this work. Nevertherless, he has +done an important work about that, and I decided to keep his name on this +first page. {\sc D. Taupin}}\endtitleORI} + \maketitle +\clearpage + %\check + +\thispagestyle{empty} + +\null +\vfill + +\begin{flushright}\it +%.. All the possible is done,\\ +%the impossible is being done,\\ +%for miracles I ask for some delay.\\[\smallskipamount] +%{\sc N.N.}\\[\bigskipamount] +%...~time after time~...\\[\smallskipamount] +%{\sc Cindy Lauper}\\[\bigskipamount] + If you are not familiar with \TeX{} at all\\ +I would recommend to find another software\\ +package to do musical typesetting.\\ +Setting up \TeX{} and \musixtex\\ +on your machine and mastering it\\ +is an awesome job which gobbles up\\ +a lot of your time and disk space.\\[\medskipamount] +But, once you master it...\\[\smallskipamount] +{\sc Hans Kuykens} +\end{flushright} + +\begin{center} + Although one of the authors contested that point once the common work had +begun, \musixtex{} may be freely copied, duplicated and used in conformance to +the GNU General Public License (Version 2, 1991, see included file {\tt +copying})\footnote{Thanks to Free Software Foundation for advising us. See +{\tt http://www.gnu.org}}. + +You may take it or parts of it to include in other packages, but no packages +called \musixtex{} without specific suffix may be distributed under the name +\musixtex{} if different from the original distribution (except obvious bug +corrections). + + Adaptations for specific implementations (e.g. fonts) should be provided as +separate additional TeX or LaTeX files which override original definition. + + \end{center} + +\clearpage + +\setcounter{page}1 +\tableofcontents +\setcounter{secnumdepth}3 +\pagestyle{headings} + +\chapter{What is \musixtex{} ?} + +\hrule\smallskip +\section*{Preface} + +\noindent Dear user, + +This is still an imperfect version, which means that some features will be +added or corrected. However our intent is to avoid removing existing commands, +in order to spare your own adaptation problems or your typing time correcting +scores you already have in your archive. + + +Sections marked with a star, or paragraphs marked ``???'' or ``.!.'', indicate +either that text is partly missing, or that something might change at a +next release. + + \smallskip + \noindent{\bf Remarque, Bemerkung, Cuidado, etc.:} If you have problems +understanding technical musical terms in english, please look at: + +\begin{center} ftp://ftp.gmd.de/music/lists/glossary/glossary.ps \end{center} +which gives the translation of most terms into French, German, Dutch, Danish +and Swedish. This file {\tt glossary.eps.gz} is also included in the +distribution. +\index{glossary}\index{glossaire}\index{lexique}\index{traduction}\index{dictionnaire} + + \smallskip\hrule\medskip + + \musixtex\ is a set of \TeX\ macros to typeset polyphonic, orchestral or +polyphonic music. Therefore, it is mainly supposed to be used to type wide +scores -- just because true musicians seldom like to have to frequently turn +pages -- and this is not really compatible with \LaTeX's standard page +formats. Even with \verb|A4.sty|, the \verb|\textheight| and \verb|\textwidth| +are too small for musician needs. + + +However, a \LaTeX\ style has also been provided (and it is used for the +typing of the present paper) but this \verb|musixtex| style is fit for +musicographic books rather than for normal scores to be actually played. + + It should be emphasized that \musixtex\ is not intended to be a +compiler which would translate some \ixem{standard musical +notation}s into \TeX\, nor to decide by itself about aesthetic problems in music typing. +\musixtex\ only typesets staves, notes, chords, beams, slurs and ornaments as +requested by the composer. Since it makes very few typesetting decisions, +\musixtex\ appears to be a versatile and rather powerful tool. However, due +to the important amount of information to be provided to the typesetting +process, coding \musixtex\ might appear to be as awfully complicated as +the real keyboard or orchestral music. It should therefore be interfaced by +some pre-compiler in the case of the composer/typesetter wanting aesthetic +decisions to be automatically made by somebody (or something) else. +% +%\footnote{A short description to all known compilers for \musixtex\ can be +%found on page \pageref{compiler}f.}. + +\section{\musixtex\ principal features} + %\check + \subsection{Music typesetting is two-dimensional} Most people who have just +learned a bit of music at college, probably think that music is a linear +sequence of symbols, similar to literary texts to be \TeX-ed. On the contrary, +with the exception of strictly monodic instruments like most orchestral wind +instruments and solo voices, one should be aware that +reading music is actually a matricial operation: the non-soloist musician +successively reads \ital{columns} of simultaneous notes which he +plays if he is a pianist, clavichordist or organist, which he reads +and watches if he +conducts an orchestra, and which he is supposed to check and partially play +when he is a soloist who wants to play in time with the accompanying +instrument or choir. + + In fact, our personal experience of playing piano and organ as well as +sometimes helping as an alternate Kapellmeister leads us to think that music +reading and composing is actually a slightly more complicated intellectual +process: music reading, music composing and music thinking seem to be a three +layer process. The musician usually reads or thinks several consecutive notes +(typically a long \ital{beat} or a group of logically connected notes), then +he goes down to the next instrument or voice and finally assembles the whole +to build a sequence of music lasting roughly a few seconds. He then proceeds +to the next \ital{beat} or \ital{bar} of his score. + + Thus, it appears that the humanly logical way of coding music consists +in horizontally accumulating a set of \ital{vertical combs} with +\ital{horizontal teeth} as described in Table \ref{readtable}. +\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}} + \begin{table} + \begin{center} + \begin{tabular}{|ll|ll|}\hboxit{note sequence one} + &\hboxit{note seq.\ four} + &\hboxit{note seq.\ seven} + &\hboxit{note seq.\ ten}\\\hboxit{note sequence two} + &\hboxit{note seq.\ five} + &\hboxit{note seq.\ eight} + &\hboxit{note seq.\ eleven}\\\hboxit{note sequence three} + &\hboxit{note seq.\ six} + &\hboxit{note seq.\ nine} + &\hboxit{note seq.\ twelve}\\ + \end{tabular} + \end{center} + \caption{The order in which a musician reads music}\label{readtable} + \end{table} +This is the reason +why, in \musixtex\ the fundamental \ital{macro} is of the form +\begin{center} +\verb|\notes ... & ... & ... \enotes|\footnote{Also +available for \keyindex{enotes} is the abbreviation \keyindex{en}.} +\end{center}\index{\&} +\noindent where the character \verb|&| is used to separate the notes to be +typeset on respective staffs of the various instruments, starting from the +bottom. + +In the case of an instrument whose score has to be written with +several staffs, these staffs are separated by the +character \|. \index{"|@{\tt\char'174}} +Thus, a score written for a keyboard instrument and +a monodic instrument (for example piano and violin) +will be coded as follows: +\begin{center} +\verb=\notes ... | ... & ...\enotes= +\end{center} +\noindent for each column of simultaneous \ital{groups of notes}. +It is worth emphasizing that we actually said \ital{``groups of notes''}: +this means that in each section of the previous macro, the music typesetter is +welcome to insert, not only chord notes to be played at once, but small +sequences of consecutive notes which build something he understands as a +musical phrase. This is why note typing macros are of two kinds in \musixtex, +namely the note macros which are not followed by spacing afterwards, and those +which induce horizontal spacing afterwards. + \subsection{The spacing of the notes} It seems that many books have dealt +with this problem. Although it can lead to interesting algorithms, we think it +is not an important point in practice. + +In fact, each column of notes has not necessarily the same spacing +and, in principle, this \itxem{spacing} should depend on the shortest +duration of the simultaneous notes. But this cannot be established as a rule, +for at least two reasons: +\begin{enumerate} + \item spacing does not depend only on the local notes, +but also on the context, at least in the same bar. + \item in the case of polyphonic music, exceptions can easily be found. +Here is an example: + +\begin{music} +\generalmeter{\meterfrac44} +\startextract\NOtes\zhu j\ql h\hl g\hu k\ql f\enotes\endextract +\end{music} +\noindent where it can be clearly seen that the half notes at beats 2 and 3 +must be spaced as if they were quarter notes since they overlap, which is +obvious only because of the presence of the indication of the +\itxem{meter} 4/4. +\end{enumerate} +So the typesetter has to take care of good readable spacings on his own. +Therefore, we preferred to provide the composer/typesetter with a +set of macros which can be found in \ref{newspacings}. + \subsection{Music tokens, rather than a ready-made generator} +The tokens provided by \musixtex\ are: +\begin{itemize} + \item the note symbols \ital{without stem}; + \item the note symbols \ital{with stems, and hooks for eighth notes and +shorter}; + \item the indication of beam beginnings and beam ends; + \item the indication of beginnings and ends of ties and slurs; + \item the indication of accidentals; + \item the ornaments: arpeggios, trills, mordents, pinc\'es, turns, staccatos +and pizzicatos, fermatas, etc.; + \item the bars, the meter and signature changes, etc. +\end{itemize} + Thus, \verb|\wh a| produces an \ital{A (of nominal frequency 222.5~Hz, +unless transposed)} of duration being a +\ital{whole note}. In the same way, \verb|\wh h| produces an \ital{A +(445~Hz)} of duration represented by a \ital{whole note}, \verb|\qu c| +produces a \ital{C (250~Hz approx.)} whose value is a \ital{quarter note with +stem up}, \verb|\cl J| produces a \ital{C (125~Hz approx.)} of +duration equal to an \ital{eighth note with stem down}, etc. + + To generate quarter, eighth, sixteenth, etc. chords, the macro \keyindex{zq} +can be used: it produces a quarter note head, the vertical position of which +is memorized and recalled when another stemmed note (possibly with a hook) is +coded; then the stem is adjusted to link all simultaneous notes. Thus, the +perfect C-major chord, i.e. + +\begin{music} +\startextract\NOtes\zq{ceg}\qu j\en\endextract +\end{music} + \noindent is coded \verb|\zq c\zq e\zq g\qu j| or, in a more concise way, +\verb|\zq{ceg}\qu j| (stem up): in fact, single notes are treated\dots\ like +one-note chords. + %\check + + \subsection{Beams} +\ital{Beams}\index{beams} are generated using macros which define their +beginning (at the current horizontal position), together with their altitude, +their direction (upper or lower), their multiplicity, their slope and their +reference number. This latter feature -- the reference number -- appears to +be necessary, since one may want to write beams whose horizontal extents +overlap: therefore, it is necessary to specify which beam the notes belong to +and which beam is terminated at a given position. + \subsection{Setting anything on the score} +A general macro (\keyindex{zcharnote}) provides a means of +putting any sequence of symbols (in fact, some \verb|\hbox{...}|) at any +pitch of any staff of any instrument. Thus, any symbol defined in a font +(letters, math symbols, etc.) can be used to typeset music. +\section{A simple example} + Before giving more details, we give below an example of the two first +bars of the sonata in C-major KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc +Mozart, W.A.}}: + +\begin{music} +\parindent10mm +\setname1{Piano} +\setstaffs12 +\generalmeter{\meterfrac44} +\startextract +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en +\bar +\Notes\ibu0f0\qb0{dgf}|\qlp i\en +\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en +\endextract +\end{music} + The \ital{coding} is set as follows: +\begin{quote}\begin{verbatim} +\begin{music} +\parindent10mm +\instrumentnumber{1} % a single instrument +\setname1{Piano} % whose name is Piano +\setstaffs1{2} % with two staffs +\generalmeter{\meterfrac44}% 4/4 meter chosen +\startextract % starting real score +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en +\bar +\Notes\ibu0f0\qb0{dgf}|\qlp i\en +\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en +\endextract % terminate excerpt +\end{music} + \end{verbatim}\end{quote} +\begin{itemize} + \item \verb|\ibu0f0| begins an upper beam, aligned on the +\ital{f}, reference number 0, slope 0 + \item \verb|\tbu0| terminates this beam before writing +the second \ital{g} by means of \verb|\qb0g| + \item \verb|\qb..| indicates a note belonging to a beam. + \item \verb|\sk| sets a space between the two quarters in the right +hand, so that the second is aligned with the third eighth of the left hand. + \item\verb|\qlp| is a quarter with a point. + \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C} +(\verb|j| at this pitch) of slope 15\%. +\end{itemize} + +\section{The three pass system} +\TeX's line-breaking procedure implicitly assumes +that a normal line of text will contain many words, so that inter-word +glue need not stretch or shrink too much to justify the line. +This strategy does not work very well for music. If each bar of music +is treated as a word, in the sense that inter-bar glue is placed +at the end of each bar, then the usual result is the appearance of +unsightly gaps before each bar rule. This follows naturally from the +fact that the number of bars per line is normally many fewer +than the number of words in a line of text. + +To address the above aim, a three pass system was developed. +On the first pass, information about each bar is written to +an external file, by default \verb|jobname.mx1|. +This file begins with a header listing parameters +such as line width, paragraph indentation, clef, sign and meter widths, +and the first-pass elemental spacing \keyindex{elemskip}. +Width information within the bars is classified either as ``soft'' or ``hard'': +``soft'' widths are those amenable to subsequent rescaling (e.g. a note box), +while ``hard'' widths represent unscalable material such as clef symbols, +key signatures and bar rules.\index{soft width}\index{hard width} + +After the first pass, an external routine is run to +determine optimal values of the elemental spacing (\verb|\elemskip|) +for each line, so as to properly fill each line, and to lead to +the piece filling an integral number of lines. This routine was written +in FORTRAN and now converted to C rather than \TeX, the main reason +being the lack of an array +handling capability in \TeX, and the concern that if such a routine +were added to \musixtex, storage problems might be exacerbated. + +The resulting routine reads in the file \verb|jobname.mx1|, and writes its +output to \verb|jobname.mx2|. The latter file contains a single entry for +each line of music in the reformatted output. The key piece of information +is the revised value of \keyindex{elemskip} for each line. + +Next, the file is re-\TeX-ed. On this third pass, +the \verb|jobname.mx2| file is read in, and the information +used as described above. + +To give an easy example: after pass 1 you get the following output: + +\begin{music} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\setsign1{-3} +\startpiece\bigaccid +\NOtes\qu{ce}\enotes +\bar +\NOtes\qu{gh}\enotes +\bar +\NOtes\qu{=b}\enotes +\Notes\ds\cu g\enotes +\bar +\NOtes\qu{^f=f}\enotes +\raggedstoppiece\contpiece% this is cheated, the problem was to get +% pass 1 and pass 3 at the same time +\NOtes\qu{=e}\itied0e\qu{_e}\enotes +\bar +\Notes\ttie0\Qqbu ed{_d}c\enotes +\bar +\Notes\ibu0b{-2}\qb0{=b}\enotes +\notes\nbbu0\qb0{=a}\tqh0N\enotes +\Notes\Dqbu cf\enotes +\raggedstoppiece\contpiece +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes +\bar +\NOtes\qu c\qp\enotes +\setdoubleBAR\raggedstoppiece +\end{music} +After running \verb|musixflx| and \TeX-ing the second time you'll get: + +\begin{music} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\generalsignature{-3} +\startpiece\bigaccid +\NOtes\qu{ce}\enotes +\bar +\NOtes\qu{gh}\enotes +\bar +\NOtes\qu{=b}\enotes +\Notes\ds\cu g\enotes +\bar +\NOtes\qu{^f=f}\enotes +\bar +\NOtes\qu{=e}\itied0e\qu{_e}\enotes +\bar +\Notes\ttie0\Qqbu ed{_d}c\enotes +\bar +\Notes\ibu0b{-2}\qb0{=b}\enotes +\notes\nbbu0\qb0{=a}\tqh0N\enotes +\Notes\Dqbu cf\enotes +\bar +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes +\bar +\NOtes\qu c\qp\enotes +\Endpiece +\end{music} +which was coded as: +\begin{verbatim} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\generalsignature{-3} +\startpiece\bigaccid +\NOtes\qu{ce}\en\bar +\NOtes\qu{gh}\en\bar +\NOtes\qu{=b}\en +\Notes\ds\cu g\en\bar +\NOtes\qu{^f=f}\en\bar +\NOtes\qu{=e}\itied0e\qu{_e}\en\bar +\Notes\ttie0\Qqbu ed{_d}c\en\bar +\Notes\ibu0b{-2}\qb0{=b}\enotes +\notes\nbbu0\qb0{=a}\tqh0N\enotes +\Notes\Dqbu cf\en\bar +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar +\NOtes\qu c\qp\en\Endpiece +\end{verbatim} +The biggest advantage of using a 3-pass system is the very easy and fast +alteration to the layout which is possible, especially of a long masterpiece, +by changing only one parameter, namely \keyindex{mulooseness}. This value +acts analogous to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you +end a paragraph and state \verb|\looseness=-1| somewhere inside, then +\TeX\ will try to make this paragraph one line shorter than it normally would. + +\musixtex\ does the same, but instead for paragraphs, for \ital{sections}. +What is a \ital{section}? As long as you don't force a line break, this means +the whole piece. When you force a line break with either +\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece}, +\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne} +\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage} you start a +new \ital{section}. Somewhere\footnote{Advisably, at the beginning or +at the end of the section, for the sake of clarity.} +before the end of the \ital{section}, you can change the value of +\keyindex{mulooseness} to something different from the default of 0. + +To give an easy example, changing the last line in the previous example to: +\begin{verbatim} +\NOtes\qu c\qp\en\mulooseness=1\Endpiece +\end{verbatim} +yields: + +\begin{music} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\generalsignature{-3} +\startpiece\bigaccid +\NOtes\qu{ce}\enotes +\bar +\NOtes\qu{gh}\enotes +\bar +\NOtes\qu{=b}\enotes +\Notes\ds\cu g\enotes +\bar +\NOtes\qu{^f=f}\enotes +\bar +\NOtes\qu{=e}\itied0e\qu{_e}\enotes +\bar +\Notes\ttie0\Qqbu ed{_d}c\enotes +\bar +\Notes\ibu0b{-2}\qb0{=b}\enotes +\notes\nbbu0\qb0{=a}\tqh0N\enotes +\Notes\Dqbu cf\enotes +\bar +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes +\bar +\NOtes\qu c\qp\enotes +\mulooseness1\Endpiece +\end{music} +or: +\begin{verbatim} +\NOtes\qu c\qp\en\mulooseness=-1\Endpiece +\end{verbatim} +yields (a little bit tight, but only for the sake of +demonstration of \keyindex{mulooseness}): + +\begin{music} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\generalsignature{-3} +\startpiece\bigaccid +\NOtes\qu{ce}\enotes +\bar +\NOtes\qu{gh}\enotes +\bar +\NOtes\qu{=b}\enotes +\Notes\ds\cu g\enotes +\bar +\NOtes\qu{^f=f}\enotes +\bar +\NOtes\qu{=e}\itied0e\qu{_e}\enotes +\bar +\Notes\ttie0\Qqbu ed{_d}c\enotes +\bar +\Notes\ibu0b{-2}\qb0{=b}\enotes +\notes\nbbu0\qb0{=a}\tqh0N\enotes +\Notes\Dqbu cf\enotes +\bar +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes +\bar +\NOtes\qu c\qp\enotes +\mulooseness-1\Endpiece +\end{music} +Here is the fastest way to get a satisfactory output: +\begin{enumerate} + \item build up the piece bar\footnote{Or two or three, +whatever you prefer.} by bar. Pay much attention to correct spacings, and go +on only when you are really satisfied with them. + \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX. + \item Look at the output and decide if you want to have more or fewer +systems lines, e.g.~to fill the page or to get an even number of +pages.\index{musixflx@{\tt musixflx}} + \item Adjust \keyindex{mulooseness}. However, {\large\bf beware~:} +\verb|\mulooseness| increases the target number of lines by its value. This is +of no serious trouble for large pieces, but if you say \verb|\mulooseness=3| +in a piece or in a section which only has 3 bars (three in the musical sense, +i.e. two \verb|\bar| in the text), then {\tt musixflx} will not be able to split +3 bars into 4 lines... and it will hopefully result in a diagnostic by {\tt +musixflx}, but possibly also in an arithmetic fault... + \item Delete the \verb|jobname.mx2| and again\\ +\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX +\quad\ital{(For hackers: watch the difference in {\tt jobname.mx1}!)} +\end{enumerate} + +\begin{remark} +Instead of looking at the output of the previous run and modifying the +number of systems using \keyindex{mulooseness} one can directly specify +the number of lines in a section by assigning a positive number to +\keyindex{linegoal}. Use \keyindex{linegoal} in the same way as +\keyindex{mulooseness} somewhere in a section, preferable at start +or end. \keyindex{mulooseness} must be zero for \keyindex{linegoal} +to work. Both are automatically set to zero after processing the end +of a section e.g. by \keyindex{stoppiece}. \keyindex{linegoal} +requires the latest version of musixflx (0.83). +\end{remark} + + \noindent If you have really followed this step by step, then your whole +layout will be ready and you will not have to generate \verb|jobname.mx2| +again. This only holds as long as you don't change any spacings. + +If you get the warning: \verb|You can't use \raise ...|, than read the upper +paragraph again and follow the instruction of point 5. + +There are some more advantages. Without using \ital{glue}, +every horizontal position in a line can be computed. This enables using, +e.g.~octave lines, without specifying a dimension, but by saying +\verb|\i...| and \verb|\t...|. + + + \subsection{External executable {\tt musixflx}} +One drawback affecting portability between computers is the executable +{\tt musixflx}\index{musixflx@{\tt musixflx}}. We are still searching for +people who are able to compile the C-source and maintain it. + +On most computers, the executable is invoked by typing the name of the program +and the name of the file to be acted upon. \ital{i.e.} + +\verb|musixflx jobname.mx1| + +Optionally, you can add a letter to indicate one of the debug modes, which are: +\begin{quote} +\verb|d | for debug information to screen\\ +\verb|f | for debug information to file \verb|jobname.mxl|\\ +\verb|s | to get the computed lines immediately on screen +\end{quote} +To allow for ease of use with a batch file, \verb|musixflx| can either be fed +with \verb|jobname.mx1|, \verb|jobname.tex| or only +\verb|jobname|, all of which opens \verb|jobname.mx1|. + + \medskip For large scores (more than 4 pages approximately), having +only one section and an overall value of \verb|\mulooseness| becomes +impractical since one wants not only to have nicely spaced systems, but one +also usually wants to have completely filled pages to avoid empty top and +bottom margins on the last page. It is then wise to force the total number of +pages and maybe the line breaks in each page, which can be done by either using +explicit \keyindex{alapage} and \keyindex{alaligne}, or more automatically by +means of the \keyindex{autolines} command borrowed from \musictex\ and +implemented in the additional {\ttxem{musixcpt.tex}} file. + \subsection{Restrictions and warnings} If you have worked with \musictex\ +before, you must be aware that two main things have changed, namely the +spacing (and spacing commands) and the line breaking, see section~\ref{spacing}, +p.~\pageref{spacing} and section~\ref{linebreak} p.~\pageref{linebreak}. + + %\check + A serious practical problem concerns the effect of unrecorded spaces, such as +those created by source lines not ended by \verb|%| \index{%@{\tt\char37}} or +\keyindex{relax} or another control sequence ending in a letter. These will +result in the dreadful {\bf Overfull hbox} messages appearing during pass 3. + +\medskip +\centerline{\boxit{Considerable discipline is needed to avoid this problem!}} + +When you start using this software package, you will spend a lot of time +searching for the cause of over/underfull-hbox warnings, which will appear during +pass 3. You may ignore them during pass 1, +but \ital{you must} find their cause when they +appear during pass 3. + +In \musixtex\ there is no glue (only $\pm$ 1pt behind \verb|\writesignatures|), +so it works only if every space is recorded in the correct way. As a result, +never use +\verb|\hskip| or \verb|\kern| with the exception of \ital{zero}-boxes, like +\verb|\rlap|, \verb|\llap|, \verb|\zcharnote|, \verb|\uptext|, etc., or +(apparently) fixed length boxes like \verb|\hsong|. But that is not all---all +spacing commands\footnote{Except {\Bslash hardspace} which is an exception and has +the opposite purpose.} must be fed with scalable values +(\ital{e.g.} \verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip| and +\verb|\beforeruleskip|, optionally preceded by an integer or decimal number). + +\verb|musixflx| can't work if the values of \verb|\noteskip|, +\verb|\afterruleskip|, \verb|\beforeruleskip|, are directly assigned +``hard''\footnote{Hard values are all values which are not scalable} +values in between +\verb|\startpiece| and \verb|\stoppiece|\footnote{{\Bslash endpiece} has the +same meaning}.\index{hard spacing} + +These restrictions make it hardly compatible with most sources designed for +\musictex\footnote{Most examples provided by D. {\sc Taupin} in +\musictex's distribution can be run with \musixtex\ without serious +problems... However, they will eventually have to be corrected for the sake of +compatibility.}. Most of them have to be adjusted to get things going. + +Some values are much more important than in \musictex, +namely \verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|. +The ratio between them is especially very important if you use +\keyindex{mulooseness} often to adjust the number of lines: +all of them are multiplied by the same factor in each section. + %\check + \subsection{\musixtex's laws} +\begin{enumerate} + \item Never have a line that doesn't finish either with a control sequence +or with a \verb|%| +inside of \verb|\startpiece...\stoppiece| + +\begin{center} +\Large\bf !!! \musixtex\ forgives NOTHING !!! +\end{center} + (a space in the default font (using plain-\TeX) causes 3.33pt of unrecorded space, + but there is only $\pm$ 1pt of glue in \musixtex) + \item \verb|\off| must be used with relative values, like + \verb|\noteskip|, \verb|\elemskip|, \verb|\after[before]ruleskip| + \item \verb|\qsk| and \verb|\hqsk| are now scalable, e.g. \verb|\qsk| + doesn't mean exactly one note head width (it depends on \verb|\elemskip| + and \verb|flex_factor|) + \item Text of songs and any non-\musixtex\ text must be put in zero boxes, like + \verb|\zcharnote|, \verb|zchar|, \verb|rlap|, \verb|lrlap|, \verb|llap|, +\verb|uptext|, \verb|zsong...|. However, specific features are now provided, +namely \verb|\hardlyrics| and \verb|\hsong| (see \ref{lyrics}, +p.~\pageref{lyrics}). + \item Don't touch either \verb|\noteskip| with hard values, + or \verb|\after[before]ruleskip| at all inside of + \verb|\startpiece (\debutmorceau) ... \stop[end]piece (\susp[fin]morceau)| +\end{enumerate} +\section{Some highlights} + %\check + \subsection{Signatures} +Signatures can be stated either for all instruments, for example by +\keyindex{generalsignature}\verb|{-2}| which sets two flats on each staff, or +separately for each instrument. + +Thus, the \keyindex{generalsignature} +can be partly overridden by +\keyindex{setsign}\verb|2{1}| which puts one +sharp on the staffs of \itxem{instrument number} 2. Of course, the +current signature may change at any time as well as the meters and clefs. + \subsection{Transposition} + An important question is: \ital{``can \musixtex\ transpose a score~?''}. +The answer is now 99.5~\% \ital{yes}. If fact, there is an internal register +named \keyindex{transpose} the default value of which is zero, but it may be +set to any reasonable positive or negative value. In that case, it offsets all +symbols pitched with letter symbols by that number of pitch steps. However, +it will neither change the signature nor the local accidentals, and if -- for +example -- you transpose a piece written in $C$ by 1 pitch, \musixtex\ will +not know whether you want it in $D\flat$, in $D$ or in $D\sharp$. This might +become tricky if accidentals occur within the piece, which might have to be +converted into flats, naturals, sharps or double sharps, depending on the new +chosen signature. To avoid this trouble, \ital{relative} accidentals +have been implemented, the actual output of which depends on the pitch of +this accidental and on the current signature.\index{relative accidentals} + %\check + \subsection{Selecting special instrument scores} +Another question is: \ital{``can I write an orchestral score and extract the +separate scores for individual instruments~?''} The answer is 95~\% +\ital{yes}: in fact, you can define your own macros +\verb|\mynotes...\enotes|, \verb|\myNotes...\enotes| with as many +arguments as there are in the orchestral score (hopefully this +is less than, or equal to +9, but \TeX perts know how to work around) and change its definition +depending on the selected instrument (or insert a test dependent +on the value of some +selection register). But the limitation is that the numbering of instruments +may change, so that \verb|\setsign3| may have to become \verb|\setsign1| if +instrument 3 is alone. But, in turn, this is not a serious problem for +average \TeX\ wizard apprentices. + %\check + \subsection{Variable staff and note sizes} + Although the standard staff size is 20pt, \musixtex\ allows scores of 16pt +and 24pt staff sizes. In addition, any instrument may have a special staff +size (usually smaller than the overall staff size) and special commands +\verb|\smallnotesize| or \verb|\tinynotesize| enable notes (and also beams or +accidentals) to be of a smaller size, in order to quote optional notes or +\ital{cadenzas}. + %\check +\section{How to get it} +Primary site is {\tt hprib.lps.u-psud.fr} (anonymous {\tt ftp}); say: + + \verb|cd pub/musixtex| + + \verb|mget musix*.tex| (to get the macros) + + \verb|cd /pub/musixtex/mf| + + \verb|mget *.mf| (to get the source of the fonts) + + \verb|cd /pub/musixtex/tfm| + + \verb|binary| + + \verb|mget *.tfm| (to get the font metrics) + +\noindent or: + + \verb|cd /pub/music\_zips| + + \verb|binary| + + \verb|mget musix*.zip| (to get the zipped packages specific to \musixtex) + +\medskip\noindent Official mirrors are +the CTAN servers. To get it you have tou say: + + \verb|cd ctan| (to go to the CTAN server) + + \verb|cd macros/musixtex/taupin| + + \verb|binary| + + \verb|mget *.zip| (to get the zipped packages) + +\medskip The whole \itxem{distribution} can fit into a single 1.2Mbyte or +1.44Mbyte diskette. All sources (including fonts) are provided, +either separately or ``zipped''. + +{\sl REMARK: normally, the {\tt musixtex.zip} file expands into binary files +valid for any system, and text files (the \TeX{} and \MF{} sources) in the +\unix{} representation, namely with a ``LF'' character between each record. PC +users might complain that their own coding is ``CR+LF'' (``CR'' usually +appears as a ``{\tt \^{}M}''), but we checked that: + \begin{itemize} + \item the \ixem{MS-DOS} editor handles both denotations, + \item the ``emacs'' and ``microemacs'' also do, + \item the \TeX{} and \MF{} executable routines (et least the emTeX ones) +also accept both representations. + \end{itemize} + However, for the sake of compatibility, we now provide two routines for PC's, +namely {\tt dtou.exe} and {\tt utod.exe}, which convert text/source files +from/to the MS-DOS denotation to/from the \unix{} denotation. +} + + %\check +\section{Enhancements} + \subsection{Recent easy enhancements} Many enhancements have been asked for, +to the ``father'' of \musixtex, namely \musictex, and this is a proof that it +is considered as useful by many people. Some of these enhancements which +seemed hard were in fact rather easy to implement, for example small notes to +represent grace notes and cadenzas, or gregorian chant features. + + Some of them were more difficult, such as handling of lyrics now provided +since version T.40. + %\check + \subsection{Enhancement limitations} +Many requested improvements have not been +\ital{yet} implemented for several reasons: + \begin{itemize} + \item The authors' natural laziness (!) + \item More seriously: many of them would require using some more +registers; unfortunately, \TeX\ registers are not numerous (256 of each +kind and the limit of \keyindex{dimen} registers is nearly reached +(especially using \LaTeX), but we do our best). + \item We do not think it is wise to introduce in \musixtex\ itself a great +number of macros which would be poorly used by most users: the reason is that +\TeX\ memory and --- moreover --- \TeX\ registers are severely limited and that +unused macros may occupy many of these, leading to things crashing +because of \verb|TeX capacity exceeded|. + + Therefore, many additional library files are now provided, which may be +invoked or not, depending on the user's specific needs. Most of them are used +to compile this \LaTeXe\ manual... except the {\tt musixadd.tex} and {\tt +musixmad.tex}. + \end{itemize} + %\check + \section{Acknowledgements} The idea of implementing the present package is +due to the previous work (\mutex)\index{mutex@\protect\mutex} of \mbox{Andrea +{\sc Steinbach}} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer +A., \ital{Theses} (1987, 1988), Rheinische Friedrich-Wilhelms Universit\"at, +Bonn, Germany.}. This work provided the basis of the Metafont codes which are +still used here... with 100\% corrections and updates.\index{Schofer, A.@{\sc +Schofer, A.}}\index{Steinbach, A.@{\sc Steinbach, A.}} + + + English language is progressively checked thanks to Cecil {\sc Churms} from +National Accelerator Center (South Africa). + + %\check +\chapter{Practical use} +\section{Heading statements} +Before any reference to \musixtex\ macros: + +\verb|\input musixtex|\footnote{It is highly recommended to build up a format. +If you don't know how to do, you can refer to the same instruction you +perhaps heard or read before: ``Ask you local \TeX-wizard.''. Otherwise +it might be a good idea to look at chapter \ref{installation} +(``Installation'') where some hints are given to build a \musixtex\ format +(ref{formatbuild}).} + + %\check + \noindent which may be followed by \verb|\input musixadd| in the case you +have more than six instruments or more than 6 simultaneous beams +or ties or slurs.\index{musixtex.tex@{\tt musixtex.tex}} +\index{musixadd.tex@{\tt musixadd.tex}} + + %\check + After that, you may write a complete book of \TeX\ provided that you do not +use \verb|&| as a tabulation character (its \keyindex{catcode} has been +changed) inside the music score and that you do not overwrite \musixtex's +definitions. This means that no special macros have been designed to help you +write titles, author names, comments, literature excerpts, etc., unless you +use \LaTeX\ with the \verb|musixtex| style.\index{\&} + %\check + \section{Before you +begin to write notes} + \subsection{Warnings for the non \TeX pert} +\begin{quote} + + %\check +When \TeX\ reads a parameter, it inputs one \ital{token}. This means +\ital{one} figure or \ital{one} character or \ital{one} +command\footnote{Syntactically, a \ital{command} is made of a +\ital{backslash} (``{\Bslash}'') immediately followed by sequence of +\ital{letters}.}. If you want to give more than one char or e.g. a negative +number(`-' is one token and a digit is one) or a command which reads another +parameter, then you have to use braces to transfer the parameter correctly. +For example, the command \verb|\meterfrac| reads two parameters; if you want +to declare a $\frac{8}{12}$ timing and you code: \verb|\meterfrac812|, then +you will get a $\frac{8}{1}$ timing and a misplaced ``\verb|2|''. The correct +coding is \verb|\meterfrac{8}{12}| or \verb|\meterfrac8{12}|. + + + %\check + The next problem is due to spaces. Spaces are ignored at the +beginning of a line. Spaces are ignored immediately behind a \TeX-command +(they indicate the end of that command unless \TeX\ finds characters which are +not \ital{letters}). All other spaces insert \ital{unexpected} space and +they will cause a lot of trouble during third pass. Same remark holds for end +of lines. Thus \verb|\bar| or \verb|\enotes| as last statement in current line +cause no trouble, because an end of line indicates to \TeX\ the end of a +command. + + %\check + If you state \verb|\qu g| and start a new line, then you get into trouble, but +if you say \hbox{\verb|\qu g%|\relax + $$}, you have no more problem +and this is better readable. + +If this sounds complicated, remember that \TeX\ was designed to typeset +text and not music... + + \end{quote} + %\check + \subsection{What you have to specify}\label{whatspecify} + \leavevmode + You should first specify whether you want to typeset music in ``normal'' size +(20pt\index{sizes} per staff) or ``small'' size (16pt) or ``large'' size +(24pt). This is only optional, the default setting is +\keyindex{normalmusicsize}. If you want the smaller size, then you have to +say\footnote{This sets up not only the size of staff, but also the elementary +spacing and the space behind the bar rule.} \keyindex{smallmusicsize}, +\keyindex{largemusicsize}, and \keyindex{Largemusicsize} to have the larger +sizes of 24pt and 28.8pt. + + + + Then, the first compulsory declaration is: + + \keyindex{instrumentnumber}\verb|{|$n$\verb|}| + + \noindent where $n$ is the number of instruments, used by +\musixtex\ to performs loops building staffs, setting signatures, meters, +etc. Therefore, it must be defined before any other statements. +If not then default value is one. An instrument +may consist of several staffs, e.g.~the piano. The difference between one +instrument of several staffs and several instruments is as follows: +\begin{itemize} + \item distinct instruments may have distinct \itxem{signatures}, distinct +staffs of a unique instrument share the same signature. + \item \itxem{stems} may be hung to \itxem{beams} belonging to differents +staffs of the same instrument. + \item \itxem{chords} may extend across several staffs of the same +instrument. + \item staffs of a unique \itxem{instrument} are tied together +with a big brace at the beginning of each line. +\end{itemize} + If the number of staffs is not +equal to one, this number must be specified by: + + \keyindex{setstaffs} $n$\verb|{|$p$\verb|}| + + \noindent where $p$ is the number of staffs, and where $n$ is the +number of the instrument considered (e.g.~\verb|setstaffs3| +for the 3rd instrument, starting from the bottom). + + %\check + Unless all your instruments only use the \ital{violin} clef, you +have to specify all the clefs used for all the instruments. This is done by +coding: + +\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%| + +\noindent where $n$ is the number of the instrument, $s_1$ is one figure +specifying the clef of the lower staff, $s_2$ the clef of the second staff, +etc. + + The value $s_1=0$ means the \ital{violin} clef (G clef or \itxem{clef de +sol} in French) for the lower staff, $s_2=0$ means the violin clef for the +second staff, etc. If $s_2$, $s_3$ or $s_4$ are omitted in the second argument +of the \verb|\setclef|, these staffs have de default clef, namely 0, i.e. the +violin clef. + + The values $s_1=1$ through $s_1=4$ +mean the \ital{alto} clef (\itxem{clef d'ut} in French) set on first (lower) +through fourth (next to upper) line of the staff. + + The value $s_1=5$ means the \ital{bass} clef at third (middle) line, +$s_1=6$ means the usual \ital{bass} clef (F clef or \itxem{clef de fa} in +French) at the usual fourth line, and $s_1=7$ means the \ital{bass} +(\itxem{subbass}) clef (F clef or \itxem{clef de fa} in +French) at the fifth line. + + The value $s_1=8$ is not used. + + The value $s_1=9$ means the \itxem{french violin clef}, an ancient feature +which sets the G clef (\ital{clef de sol} in French) at the fist line of the +staff. + + If remembering the digits associated with usual clefs seems too difficult, +one can also say + + \verb|\setclef{|$n$\verb|}{|\keyindex{treble}\verb|}| + +\noindent to get the \ixem{violin clef} on all staffs of the specified +instrument. In the same way the most used \itxem{alto clef} (alto clef on 3rd +line) can also be called with + + + \verb|\setclef{|$n$\verb|}{|\keyindex{alto}\verb|}| + +\noindent which sets the lower staff of thet instrument to the alto clef, but +sets other staffs above to the violin clef. +The usual \itxem{bass clef} on fourth line +can also be called with + + \verb|\setclef{|$n$\verb|}{|\keyindex{bass}\verb|}| + +\noindent {\sl IMPORTANT: the commands \verb|\alto| and \verb|\bass| only set +these clefs at the first staff. Other staffs still have the default value of +violin clef.} +As an example, a standard piano score +should include: + + \keyindex{setclef}\verb|1{\bass}%| \quad or\quad + \keyindex{setclef}\verb|1\bass| + +\noindent taking account of the fact that the bass clef is set on the lower +staff, but the upper one has the default value of violin clef. +If the signature is not void, one should code: + + \keyindex{generalsignature}\verb|{|$s$\verb|}| + +\noindent where $s>0$ indicates the number of \itxem{sharps} in the +signature and $s<0$ the number of \itxem{flats}\footnote{We have seen once a +score in G-minor where the signature consisted of two flats (B and E) plus +one sharp (F). This is not directly supported by \musixtex.} + + If a \itxem{meter} indication is to be posted, it should be +specified using the macro + + \keyindex{generalmeter}\verb|{|$m$\verb|}%| + + %\check + \noindent where $m$ is the description of the meter indication which should +appear on each staff. If it is a \ital{fraction} (e.g.~3/4) on should code + + \verb|\generalmeter{\meterfrac{3}{4}}%| + +\noindent or, in a simpler way (if the numbers are less than 10): + + \verb|\generalmeter{\meterfrac34}%| + +You can suppress the beginning vertical rule with saying \keyindex{nostartrule} +and restore the default with \keyindex{startrule} after that. + + Special denotations can be used, such as \keyindex{meterC}, +\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and +\keyindex{meterplus}. + + %\check +\begin{music} +\generalmeter\meterC +\nostartrule +\parindent0pt\startpiece +\NOtes\qa{cegj}\enotes +\generalmeter\allabreve\changecontext +\NOTes\ha{ce}\enotes +\generalmeter\reverseC\changecontext +\NOTEs\zbreve g\enotes +\generalmeter\reverseallabreve\changecontext +\NOTEs\zwq g\enotes +\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext +\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes +\endpiece +\end{music} +which was coded as: +\begin{quote}\begin{verbatim} +\generalmeter\meterC +\nostartrule +\parindent0pt\startpiece +\NOtes\qa{cegj}\enotes +\generalmeter\allabreve\changecontext +\NOTes\ha{ce}\enotes +\generalmeter\reverseC\changecontext +\NOTEs\zbreve g\enotes +\generalmeter\reverseallabreve\changecontext +\NOTEs\zwq g\enotes +\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext +\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes +\endpiece +\end{verbatim}\end{quote} + However, not all music scores have the same meter in each staff. +Especially, some staffs may have \ital{ternary} meters while others have +\ital{binary}. This can be specified by using the \keyindex{generalmeter} macro +to set the meter for most of the scores and overriding it by: + +\keyindex{setmeter}\verb|2{{\meterfrac{12}8}\allabreve}%| + + \noindent which sets the meter to 12/8 for the first (lower) +staff, and \ital{alla breve} for the second staff of the instrument number 2. + +Sometimes it might be useful to insert additional space before the meter is +written. This is possible by assigning a value to \keyindex{meterskip} in the +preamble. It is reset to zero after first meter indication. + \subsection{Instrument names} If you want the \itxem{name of the instrument}s +(or the \itxem{name of the voice}s) to be displayed in front of their +respective staffs at the beginning, you may code: + +\keyindex{setname} $n$\verb|{|\ital{name of the instrument}\verb|}%| + + %\check + \noindent where $n$ is the number of the instrument +considered. In this case, you should also adjust the \keyindex{parindent} +dimension so that the long name of an instrument does not spill too far into +the left margin. + \subsection{Polyphonic songs} +Except staffs of a unique instrument tied together with a big brace, staffs +normally begin on the left with a thin vertical rule. However, it is usual to +tie all human voices together with a left heavy and right thin vertical rule. + + \subsubsection{Case of only one choir} + In the usual case where you have only one choir, this can be specified +by: + \begin{quote} +\keyindex{songtop}\verb|{|$n$\verb|}|\\ +\keyindex{songbottom}\verb|{|$m$\verb|}| +\end{quote} +\noindent where $m$ and $n$ are the instrument numbers of the first +and last choral voices. Example is shown in \ref{song}. + + No heavy square brace is produced when the bottom instrument has a number +greater than the top one. This feature can be used to remove choir heavy +braces between distinct parts of the same score. + + \subsubsection{Case of several choirs or several orchestras} + Your may divide your instruments into up to three groups linked together with +a left square brace. Each of these groups is specified with: + \begin{quote} +\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\ +\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}| +\end{quote} +\noindent where $m$ and $n$ are the instrument numbers of the first +and last choral voices of group number $g$. \musixtex{} allows up to three +groups, numbered from 1 to 3, plus the ``zero'' group consisting of the voices +or instruments which belong to no declared group. \verb|\songtop| is equivalent +to \verb|\grouptop 1| and \verb|\songbottom| is equivalent to +\verb|\groupbottom 1|. + + With {\tt musixadd.tex}, this number of groups is raised to four. + + This grouping feature can also be used to collect not only voices but also +instruments with one or several staffs. In that case the normal brace is +shifted left of the square havy brace. + + \subsection{Removing square choir braces} + + Previously defined square choir braces can be removed by stating a +\verb|\songtop| less than the \verb|\songbottom|. The same applies to +\verb|\grouptop| and \verb|\groupbottom| of the same group number. + + \subsection{Specifying all brackets together} + + Alternatively, you can use the following command for specifying all +required brackets together: +\begin{quote} + \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% + \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|% + {\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}| +\end{quote} +\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument +numbers that denote the span of bracket number $n$. For +setting fewer than three brackets, just omit all unneeded +\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs; +\verb|\akkoladen{}| cancels all brackets. + +Example: +\begin{quote} + \verb|\instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}| +\end{quote} +yields:\par\nopagebreak +\begin{music} + % just to avoid wasting space ... + \smallmusicsize\setsize1\smallvalue\setsize2\smallvalue + \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue + \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} + \startextract \hardspace{2cm}\zendextract +\end{music} +which was coded as: + +\begin{verbatim} + \smallmusicsize\setsize1\smallvalue\setsize2\smallvalue + \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue + \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} + \startextract \hardspace{2cm}\zendextract +\end{verbatim} + + + + %\check +\section{Starting your masterpiece} + \subsection{Typing the first system} +Just code +\keyindex{startmuflex} + +\noindent which opens the \ital{jobname}{\tt .mx1} during \TeX ing the first +time your masterpiece. All informations are now written to it. During pass 3 +it will be open for read in and all computed values are used to set the +lines\footnote{The files must be closed before leaving \TeX, preferably before +\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\ +closes all open files on his own when terminating the program, but it is still +wiser to do this explicitly.}. + +\begin{remark} do not worry too much if you forget \verb|\startmuflex|; in +most cases --- since version T.39 --- the \verb|\startpiece| command will do +it, if necessary. Conversely, only the first \verb|\startmuflex| is effective, +the others are inefficient... for safety. \end{remark} + +Then code + + %\check +\keyindex{startpiece} + +\noindent which will initiate (with indentation \keyindex{parindent}) +the first set of staffs for all instruments you have previously defined. But +that is not sufficient to begin writing notes and silences. In fact, you +must also choose the spacing of the notes. + \subsection{Easy selecting note spacing}\label{newspacings} +Therefore, we preferred to provide the composer/typesetter with a +set of macros (incidentally, this can be adjusted): +\begin{center} +\tinynotesize +\renewcommand{\arraystretch}{1.5}% I hate LaTeX +\begin{tabular}{|l|l|l@{~~~~}l|} +\multicolumn{1}{c}{usage}& +\multicolumn{1}{c}{spacing}& +\multicolumn{2}{c}{suggested use for}\\\hline +\keyindex{znotes}\verb| ... & ... & ... \enotes|&(non spacing) + &&specials\\ +\keyindex{notes}\verb| ... & ... & ... \enotes|&\verb=2=\keyindex{elemskip} + &\ccu1&16th\\ +\keyindex{notesp}\verb| ... & ... & ... \enotes|&\verb=2.5\elemskip= + &\pt1\ccu1&16th pointed, 8th triplet\\ +\keyindex{Notes}\verb| ... & ... & ... \enotes|&\verb=3\elemskip= + &\cu1&8th\\ +\keyindex{Notesp}\verb| ... & ... & ... \enotes|&\verb=3.5\elemskip= + &\cup1&8th pointed, 4th triplet\\ +\keyindex{NOtes}\verb| ... & ... & ... \enotes|&\verb=4\elemskip= + &\qu1&4th\\ +\keyindex{NOtesp}\verb| ... & ... & ... \enotes|&\verb=4.5\elemskip= + &\qup1&4th pointed, 2th triplet\\ +\keyindex{NOTes}\verb| ... & ... & ... \enotes|&\verb=5\elemskip= + &\hu1&2th\\ +\keyindex{NOTesp}\verb| ... & ... & ... \enotes|&\verb=5.5\elemskip= + &\hup1&2th pointed\\ +\keyindex{NOTEs}\verb| ... & ... & ... \enotes|&\verb=6\elemskip= + &\wh1&1th\\\hline +\end{tabular}\end{center} +\noindent +If you don't like them, define your own using e.g.: + +\verb|\def\NOtes{\vnotes5.34\elemskip}| + + %\check +\noindent +which means, when you use this \keyindex{NOtes} definition, that all +\ital{spacing} notes and commands, results a spacing of 5.34 $\times$ +\keyindex{elemskip}. +The size of the spatial unit (\keyindex{elemskip}) can be freely +adjusted (it shows only effect outside \verb|\startpiece...\endpiece|). + + In practice, the choice of the macro \verb|\notes|, \verb|\Notes|, +\verb|\NOtes|, etc., to initiate of column of notes sets an +internal dimension register, named \keyindex{noteskip} to the given multiple +of \keyindex{elemskip}. Thus, each \itxem{spacing note} (\keyindex{qu}, +\keyindex{qb}, \keyindex{hl}, etc.) will be followed by a spacing of +\keyindex{noteskip}. Then, the advantage of the definition of \verb|\elemskip| +is that, whenever it is changed, all subsequent \verb|\noteskip|s +will be updated proportionally so that a simple change of \verb|\elemskip| +can expand or shrink all consecutive note spacings as a whole. + +\medskip +{\bf All said above counts only for first pass.} + +\medskip If the arthmetic progression of note spacings does not meet your +wishes, your may force a geometric progression, where {\Bslash Notes} is +$\sqrt{2}$ times wider as {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ +times wider as {\Bslash Notes}, etc. In that case, {\Bslash Notesp} is +approximately $\sqrt{\sqrt{2}}=1.189$ times wider as {\Bslash Notes} and so +on. The geometric progression if forced by the command +\keyindex{geometricskipscale}, and the original arithmetic progression is +restored by \keyindex{arithmeticskipscale}. + + Inside the pair \verb|\notes...\enotes| you may freely change the value of +\verb|\noteskip| (not \verb|\elemskip|) provided you keep it scalable in the +normal situation\footnote{But: provided you keep it \ital{not scalable} if +you use the {\Bslash hardnotes} or {\Bslash hardlyrics} features (see +\ref{lyrics}).}. \verb|\noteskip| can be changed with a command like + +\verb|\noteskip=2.4\noteskip| + +\noindent which obviously keeps it scalable, or by means of + +\keyindex{multnoteskip}\verb|{2.4}| + +\noindent which performs the same multiplication in a smarter way. You can +also force all \verb|\noteskip|s to be re-scaled by a factor of 3.1415 using + +\keyindex{scale}\verb|{2.4}| + +\noindent or \verb|\def|\keyindex{scalenoteskip}\verb|{2.4}| which is more +dangerous and not advises although compatible with \musictex. + +\medskip + +To fill the music line (system) without glue, the values of \verb|\elemskip|, +\verb|\afterruleskip| and \verb|\beforeruleskip| are adjusted from the +external program {\tt musixflx}\index{musixflx@{\tt musixflx}}. So what +spacing you really get, depends on the internal line-breaking routine. + +Spacings for advanced \musixtex'ers: a `normal' bar (slightly~!) magnified: +\medskip + + %\check +\begin{music} +\afterruleskip7pt +\beforeruleskip2pt +\parindent0pt +\setclefsymbol1\empty +% special problems afford special solutions +\makeatletter\global\clef@skip\z@ \makeatother +\startpiece +\zchar{16}{\hbox to\afterruleskip{\downbracefill}}% +\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}% +\addspace\afterruleskip +\zchar{16}{\hbox to2\elemskip{\downbracefill}}% +\zchar{19}{\hbox to2\elemskip{\hss b\hss}}% +\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}% +\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}% +\notes\qa l\en +\znotes\en +\zchar{16}{\hbox to4\elemskip{\downbracefill}}% +\zchar{19}{\hbox to4\elemskip{\hss c\hss}}% +\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}% + \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}% +\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}% + \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}% +\NOtes\qa l\en +\znotes\en +\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}% +\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}% +\endpiece +\end{music} +\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l} +a&\keyindex{afterruleskip}\\ +b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\ +c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\ +d&\keyindex{beforeruleskip}\\ +e&\keyindex{elemskip} +\end{tabular}\end{quote} +As default the values are set up as follows: +\begin{quote}\begin{tabular}{lrrr}\hline +\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} + &\keyindex{beforeruleskip}\\\hline +\keyindex{normalmusicsize}&6pt&8pt&0pt\\ +\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline +\end{tabular}\end{quote} +\begin{quote} +If you want to change upper values, you have to do that behind +\verb|\normalmusicsize| or \verb|\smallmusicsize| and before +\verb|\startpiece|. +\end{quote} + + %\check +\section{Note pitch specification} + Note pitches are usually specified by letters ranging from \verb|a| to +\verb|z| for those which are usually written under the G-clef (\verb|a| +corresponds to the $A$ of nominal frequency 222.5~Hz; the \ital{G} of the +G-clef is denoted \verb|g|). Lower pitch notes are specified using upper +case letters ranging from \verb|A| to \verb|N| (the \ital{F} of the F-clef +is denoted \verb|M|, and \verb|F| is one octave below). + + If necessary, a numeric symbol can be used to place a symbol +independently of the active clef, which has the drawback not to be +transposable. + + Besides, notes below \verb|A| (i.e. the $A$ of nominal frequency 55.625~Hz), +namely the lowest octave of the modern pianos, can only be coded using the +transposition features (see below: \ital{transposition} and +\ital{octaviation}) or in absolute vertical position using numbers. + \section{Writing notes} +There are two major kinds of note macros: \begin{enumerate} \item those +which terminate a note/chord stem and are followed by a horizontal spacing of +value \keyindex{noteskip}, + \item those which initiate or extend a note/chord stem and do not cause +horizontal spacing. +\end{enumerate} + The first kind is used to type a melody, the second kind is used to +type chords. + \subsection{Single spacing notes} +\begin{quote}\begin{description} + \item[\keyindex{breve}~$p$ :]breve note (\hbox to 8pt{\zbreve1\hss}) at pitch $p$. + \item[\keyindex{longa}~$p$ :]longa note + (\hbox to8pt{\zlonga1\hss}) at pitch $p$. + \item[\keyindex{longaa}~$p$ :]same as \verb|\longa|, with an ``automatic'' +stem up or down. + \item[\keyindex{zmaxima}~$p$ :]maxima note + (\hbox to16pt{\zmaxima1\hss}) at pitch $p$. + \item[\keyindex{wq}~$p$ :]arbitrary duration note (also used as alternate +representation of \ital{breve} note) + (\hbox to8pt{\zwq1\hss}) at pitch $p$. + \item[\keyindex{wqq}~$p$ :]long arbitrary duration note (also used as alternate +representation of \ital{longa} note) + (\hbox to8pt{\zwqq1\hss}) at pitch $p$. + \item[\keyindex{wh}~$p$ :]whole note at pitch $p$. + \item[\keyindex{hu}~$p$ :]half note at pitch $p$ with stem up. + \item[\keyindex{hl}~$p$ :]half note at pitch $p$ with stem down. + \item[\keyindex{ha}~$p$ :]half note at pitch $p$ with automatic +stem\footnote{This +means all stems belonging to notes below the third line are stemmed up, +the other down, they work with every clef, but only for single notes.} choice. + \item[\keyindex{qu}~$p$ :]quarter note at pitch $p$ with stem up. + \item[\keyindex{ql}~$p$ :]quarter note at pitch $p$ with stem down. + \item[\keyindex{qa}~$p$ :]quarter note at pitch $p$ with ``automatic'' stem. + \item[\keyindex{cu}~$p$ :]eighth note\footnote{The {\Bslash c} of this macro + name is taken from the French word ``croche'' which is by the way one + half of the english ``crotchet''; {\Bslash cc...}, {\Bslash ccc...} + are standing for ``double croche'', ``triple croche'', etc.} + at pitch $p$ with stem up. + \item[\keyindex{cl}~$p$ :]eighth note at pitch $p$ with stem down. + \item[\keyindex{ca}~$p$ :]eighth note at pitch $p$ with ``automatic'' stem. + \item[\keyindex{ccu}~$p$ :]sixteenth note at pitch $p$ with stem up. + \item[\keyindex{ccl}~$p$ :]sixteenth note at pitch $p$ with stem down. + \item[\keyindex{cca}~$p$ :]sixteenth note at pitch $p$ with ``automatic'' stem. + \item[\keyindex{cccu}~$p$ :]32-th note at pitch $p$ with stem up. + \item[\keyindex{cccl}~$p$ :]32-th note at pitch $p$ with stem down. + \item[\keyindex{ccca}~$p$ :]32-th note at pitch $p$ with ``automatic'' stem. + \item[\keyindex{ccccu}~$p$ :]64-th note at pitch $p$ with stem up. + \item[\keyindex{ccccl}~$p$ :]64-th note at pitch $p$ with stem down. + \item[\keyindex{ccccl}~$p$ :]64-th note at pitch $p$ with ``automatic'' stem. +\end{description}\end{quote} + As an example, the sequence: + + %\check +\begin{music} +\startextract +\Notes\cu c\cl j\enotes\bar +\Notes\ccu c\ccl j\enotes\bar +\Notes\cccu c\cccl j\enotes\bar +\Notes\ccccu c\ccccl j\enotes +\endextract +\end{music} + \noindent was coded as: +\begin{quote}\begin{verbatim} +\Notes\cu c\cl j\enotes\bar +\Notes\ccu c\ccl j\enotes\bar +\Notes\cccu c\cccl j\enotes\bar +\Notes\ccccu c\ccccl j\enotes +\end{verbatim}\end{quote} + If these notes are preceded by \ital{non-spacing} notes (i.e. +macros \keyindex{zq} or \keyindex{zh}) their stem is extended up or down so +as to join all notes into a single chord. + \subsection{Non-spacing (chord) notes} +\begin{quote}\begin{description} + \item[\keyindex{zq}~$p$ :]quarter (or shorter) note head at pitch $p$ with no +spacing after. + \item[\keyindex{zh}~$p$ :]half note head at pitch $p$ with no spacing after. +\end{description}\end{quote} + It must be pointed out that the pitch $p$ of these notes is +memorized so that the stem of the further spacing note will join them into +a chord. This stem top and bottom pitch is \ital{reset} at each spacing +note. + + \begin{remark} Notes of duration longer than whole notes are +always non-spacing. This saves one useless definition, since these notes are +always longer than other simultaneous ones. If needed they can be followed by +\keyindex{sk} to force spacing. +\end{remark} + + \subsection{Shifted non-spacing (chord) heads} These symbols are used mainly +in chords where \ital{second} intervals are present. It is the +responsibility of the typist to choose which heads should be shifted left or +right. + +\begin{quote}\begin{description} +\item[\keyindex{rw}~$p$ :]whole note head shifted right by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{lw}~$p$ :]whole note head shifted left by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{rh}~$p$ :]half note head shifted right by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{lh}~$p$ :]half note head shifted left by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{rq}~$p$ :]quarter note head shifted right by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{lq}~$p$ :]quarter note head shifted left by +one note width ($\approx$ 6pt), no spacing. +\end{description}\end{quote} + %\check + + Except that they are shifted left of right, these macros act like +\verb|\z...| macros for stem building. + \subsection{Single non-spacing notes} +\begin{quote}\begin{description} + \item[\keyindex{zhu} :]half note with stem up but no spacing. It acts like +\verb|\hu| for stem building. + \item[\keyindex{zhl} :]half note with stem down but no spacing. It acts like +\keyindex{hl} for stem building. + \item[\keyindex{zqu} :]quarter note with stem up but no spacing. It acts like +\verb|\qu| for stem building. + \item[\keyindex{zql} :]quarter note with stem down but no spacing. It acts +like \verb|\ql| for stem building. + \item[\keyindex{zcu}, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu} +:]eighth, ..., note with stem up but no spacing. It acts like +\verb|\cu| for stem building. + \item[\keyindex{zcl}, \keyindex{zccl}, \keyindex{zcccl}, \keyindex{zccccl} +:]eighth, ..., note with stem down but no spacing. It acts +like \verb|\cl| for stem building. + \item[\keyindex{zqb} :]note belonging to a beam but no spacing. + \item[\keyindex{rhu}, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, + \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|, + but the note is shifted one note width on the right, other analogous. + \item[\keyindex{lhu}, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, + \keyindex{lcu}, \keyindex{lcl} :]same + as above, but the whole of the note is shifted one note width on the left. + \item[\keyindex{zw}~$p$ :]whole note at pitch $p$ with no spacing after. + \item[\keyindex{zwq}~$p$ :]arbitrary duration note + (\hbox to8pt{\zwq1\hss}) at pitch $p$ with no spacing after. + \item[\keyindex{zbreve}~$p$ :]breve note + (\hbox to8pt{\zbreve1\hss}) at pitch $p$ with no spacing after. + \item[\keyindex{zlonga}~$p$ :]longa note + (\hbox to8pt{\zlonga1\hss}) at pitch $p$ with no spacing after. + \item[\keyindex{zmaxima}~$p$ :]maxima note + (\hbox to16pt{\zmaxima1\hss}) at pitch $p$ with no spacing after. +\end{description}\end{quote} + %\check + + +\subsection{Single (spacing) stemless notes} + + Although not standard in real music scores, one may need to have stemless +quarter and half note heads posted in the same way as whole notes. This can be +done with the following commands: + +\begin{quote}\begin{description} +\item[\keyindex{nh}~$p$ :]half note head at pitch $p$. +\item[\keyindex{nq}~$p$ :]quarter note head at pitch $p$. +\end{description}\end{quote} + +\medskip As an example, the sequence: + +\begin{music} + \startextract +\notes\nq c\nq j\enotes\barre +\Notes\nh c\nh j\enotes\barre +\notes\nq {cdef}\enotes +\endextract +\end{music} + +\medskip \noindent was coded as: + +%\check +\begin{quote}\begin{verbatim} +\notes\nq c\nq j\enotes\barre +\Notes\nh c\nh j\enotes\barre +\notes\nq {cdef}\enotes +\end{verbatim}\end{quote} + + In case of special need, non spacing variants have been provided, namely +\keyindex{znh} and \keyindex{znq}. + + + \subsection{Pointed notes} +One simple way of doing consists in putting \keyindex{pt +$p$} to get a \ital{dot} after the normal note head at pitch $p$. Thus a +quarter note with one point can be coded \verb|\pt h\qu h|, with two points +as \keyindex{ppt}\verb|\qu h| and with three points as +\keyindex{pppt}\verb|\qu h|. + + A simpler way of doing consists in using compact macros, namely: +\keyindex{whp}, \keyindex{whpp}, +\keyindex{zwp}, \keyindex{zwpp}, +\keyindex{hup}, \keyindex{hupp}, +\keyindex{hlp}, \keyindex{hlpp}, +\keyindex{zhp}, \keyindex{zhpp}, +\keyindex{qup}, \keyindex{qupp}, +\keyindex{qlp}, \keyindex{qlpp}, +\keyindex{zqp}, \keyindex{zqpp}, +\keyindex{cup}, \keyindex{cupp}, +\keyindex{clp}, \keyindex{clpp}, +\keyindex{qbp} and \keyindex{qbpp}. +Where all \verb|\z...p| are useful in chords. + + You may also introduce pointed notes, especially in groups by coding +a \ital{period} before (not after) the letter representing the pitch: +\verb|\qu{.a.^b.c}| which is equivalent to: +\begin{quote}\begin{verbatim} +\pt{a}\qu{a}\pt{b}\sh{b}\qu{b}\pt{c}\qu{c} +\end{verbatim}\end{quote} +Finally, pointed notes can also be produced without spacing after, using +\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, +\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, +and the same with two \verb|p|'s for +double-pointed notes, like \keyindex{zhupp}, \keyindex{zhlpp}, +\keyindex{zqupp}, \keyindex{zqlpp}, +\keyindex{zcupp}, \keyindex{zclpp} and \keyindex{zqbpp}. + +If two voices share one staff, the points of the lower voice are lowered, +if the note is on a note line. Therefore you can use \keyindex{lpt}~$p$ and +\keyindex{lppt}~$p$. + + %\check +\section{Beams} + + Beams are not automatically handled, but they must be declared explicitely, +\ital{before} the first spacing note involving them is coded. Two kinds of +macros are provided: + +\begin{enumerate} + + \item fixed slope beams have an arbitrary slope chosen by the user in +the range -45\% to +45\% (by multiples of 5\%); + + \item semi-automatic beams have their slope computed knowing the number +of \keyindex{noteskip} over which they are supposed to extend, and knowing the +initial and final pitch of the notes they are supposed to link. +\end{enumerate} + %\check + \subsection{Fixed slope beams} + \subsubsection{Beam initiation} +\begin{quote}\begin{description} + \item[\keyindex{ibu}~$nps$ :]initiates an \ital{upper beam} 3 horizontal +line spacings above the pitch $p$~; $n$ is its reference number, which must be +in the range [0-5] ([0-8] if \verb|musixadd| file has been \verb|\input|); +$s$ is the slope of the beam. +\end{description}\end{quote} + $s$ is an integer in the range [-9,9]. +$s=1$ means a slope of 5\%, $s=9$ means a slope of 45\%, +$s=-3$ means a slope of -15\%, etc. +With usual spacings a slope of 2 or 3 is fit for ascending scales. A slope of +6 to 9 is fit for ascending arpeggios. + +\begin{quote}\begin{description} + + \item[\keyindex{ibl}~$nps$ :]initiates a \ital{lower beam} 3 horizontal line +spacings below the pitch $p$. Other parameters as above. + + \item[\keyindex{ibbu}~$nps$ :]initiates a \ital{double upper beam} (same +parameter meaning). + \item[\keyindex{ibbl}~$nps$ :]initiates a \ital{double lower beam} (same +parameter meaning). + \item[\keyindex{ibbbu}~$nps$ :]initiates a \ital{triple upper beam} (same +parameter meaning). + \item[\keyindex{ibbbl}~$nps$ :]initiates a \ital{triple lower beam} (same +parameter meaning). + \item[\keyindex{ibbbbu}~$nps$ :]initiates a \ital{quadruple upper beam} (same +parameter meaning). + \item[\keyindex{ibbbbl}~$nps$ :]initiates a \ital{quadruple lower beam} (same +parameter meaning). +\end{description}\end{quote} + +Notes belonging to beams are coded in the form \keyindex{qb}~$np$ where $n$ is +the beam number and $p$ the pitch of the note head. \musixtex\ adjusts the +length of the note stem to link the bottom of the chord to a beam. + + \subsubsection{Beam termination} + Beam termination is also not automatic. The termination of a given +beam must be explicitely declared \ital{before} coding the last spacing note +connected to that beam. +\begin{quote}\begin{description} + \item[\keyindex{tbu}~$n$ :]terminates upper beam number $n$ at current +position. \item[\keyindex{tbl}~$n$ :]terminates lower beam number $n$ at +current position. +\end{description}\end{quote} +\keyindex{tbu} and \keyindex{tbl} terminate beams of any +multiplicity. Therefore 32-th notes hanging on a triple beam are initiated by +\keyindex{ibbbu}~$nps$ and terminated by \keyindex{tbu}~$n$. + + Since beams usualy finish with a \verb|\qb| to link the last note, shorter +macros have been provided: + + \begin{itemize} + + \item \keyindex{tqb} $np$ is equivalent to \verb|\tbl| $n$\verb|\qb| $np$ + + \item \keyindex{tqh} $np$ is equivalent to \verb|\tbu| $n$\verb|\qb| $np$ + + \item \keyindex{ztqb} $np$ is equivalent to \verb|\tbl| $n$\verb|\zqb| $np$ +(no spacing after) + + \item \keyindex{ztqh} $np$ is equivalent to \verb|\tbu| $n$\verb|\zqb| $np$ +(no spacing after) + + \end{itemize} + + \subsubsection{Beams of increasing multiplicity} + It is also possible to code beams whose multiplicity is not the same +at the beginning. The multiplicity can be increased at any position. For +instance, \keyindex{nbbu}~$n$ which sets the multiplicity of upper beam +number $n$ to 2 starting at the current position, \keyindex{nbbbu}~$n$ sets +its multiplicity to 3 and \keyindex{nbbbbu}~$n$ sets its multiplicity to 4. +\keyindex{nbbl}~$n$ \dots +\keyindex{nbbbbl}~$n$ perform the same functions for lower beams. + + + Note that the difference between upper and lower beams does not +mainly consist in the beam being above or below the note heads; rather, it +specifies whether the abscissa of the beginning and the end of this beam is +aligned on the right (upper beam) or on the left (lower) beam. Thus, the +sequence: + +\begin{music} +\startextract +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes +\endextract +\end{music} +\noindent has been coded as +\begin{quote}\begin{verbatim} +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes +\end{verbatim}\end{quote} + + It is quite possible to terminate with \keyindex{tbu} a beam initiated +with \keyindex{ibl}. This may give: + +\begin{music} +\startextract +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes +\endextract +\end{music} +\noindent which has been coded as +\begin{quote}\begin{verbatim} +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes +\end{verbatim}\end{quote} + \subsubsection{Beams of decreasing multiplicity} + Partial termination of beams is also possible, by using \keyindex{tbbu} +or \keyindex{tbbl}~: these macros terminate the current beam except that of +order 1 (eighths). \keyindex{tbbbu} or \keyindex{tbbbl} terminate the current +beam except those of order 1 and 2, etc. + +\begin{music} +\startextract +\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes +\endextract +\end{music} +\noindent has been coded as + +\begin{quote}\begin{verbatim} +\startextract +\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes +\endextract +\end{verbatim}\end{quote} + +The macros \keyindex{tbbu} and \keyindex{tbbl} and higher order +may also be invoked when only +a single beam is active. Then, a second beam or third or ... +(upper or lower according +the initiating procedure) is opened \ital{one note width before +the current position, and closed immediately}. Thus the following sequences + +\begin{music} +\let\extractline\hbox +\hbox to \hsize{% +\hss + \startextract + \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en + \endextract +\hss\hss + \startextract + \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en + \endextract +\hss} +\end{music} +\noindent are coded: +\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim} +\Notes\ibu0e0\qbp0e% + \tbbu0\tbu0\qb0e\en +\end{verbatim}\end{minipage}\hfill +\begin{minipage}{.4\textwidth}\begin{verbatim} +\Notes\ibu0e0\qbpp0e% + \tbbbu0\tbbu0\tbu0\qb0e\en +\end{verbatim}\end{minipage}\hfill + +\noindent The same behaviour occurs in the case of \keyindex{tbbbu}, +\keyindex{tbbbl}, \keyindex{tbbbbu} and \keyindex{tbbbbl}. + The symmetrical pattern is also possible. For example: + +\begin{music} +\startextract +\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes +\endextract +\end{music} +\noindent has been coded as: +\begin{quote}\begin{verbatim} +\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes +\end{verbatim}\end{quote} + \begin{remark} these codings may seem complicated. In fact, +it is the responsibility of the user to define macros which perform the most +common sequences in his masterpiece. For example, one could define sets of +four sixteenths by the macro: + +\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| + +\noindent where the first argument is the slope and the other four +arguments are the pitches of the four consecutive sixteenths wanted. +\end{remark} + + +\noindent A slightly more complicated example is: + +\begin{music} +\startextract +\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en +\notesp\tbbu0\qbp0f\en +\Notes\tbu0\qb0f\en +\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en +\Notes\qb0f\en +\notes\tbbbu0\tbbu0\tbu0\qb0f\en +\endextract +\end{music} +\noindent has been coded as: +\begin{quote}\begin{verbatim} +\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en +\notesp\tbbu0\qbp0f\en +\Notes\tbu0\qb0f\en +\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en +\Notes\qb0f\en +\notes\tbbbu0\tbbu0\tbu0\qb0f\en +\end{verbatim}\end{quote} + %\check + \subsection{Repeated pattern beams}\index{repeated patterns} +Note heads hanging on beams are not necessarily quarter (or higher order) +note heads. It is possible to hang half note heads on beams +using \keyindex{hb} macro, e.g.: + +\begin{music} +\startextract +\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes +\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes +\endextract +\end{music} +\noindent has been coded as: +\begin{quote}\begin{verbatim} +\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes +\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes +\end{verbatim}\end{quote} + + +It is also possible to write + +\begin{music} +\startextract +\Notes\ibbl0j3\wh j\tbl0\wh l\enotes +\Notes\ibbu0g3\wh g\tbu0\wh i\enotes +\endextract +\end{music} +\noindent which was coded as: +\begin{quote}\begin{verbatim} +\Notes\ibbl0j3\wh j\tbl0\wh l\enotes +\Notes\ibbu0g3\wh g\tbu0\wh i\enotes +\end{verbatim}\end{quote} +\noindent However, a better look could be obtained in a more sophisticated +way\footnote{You are suggested to make your own macro if you have to type many +of these, or better: use a pre-compiler.}: + +\begin{music} +\startextract +\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes +\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace +\endextract +\end{music} +\noindent which was simply coded as: +\begin{quote}\begin{verbatim} +\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes +\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace +\end{verbatim}\end{quote} + + Single repeated notes can also be made --- in a much more sophisticated +way\footnote{But you can write your own macro, thinking of using +{\tt\char92transpose} to lift the oblique beams.}, for example: + + \begin{music} +\startextract +\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibu0j0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar +\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j% + \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en +\endextract + \end{music} + \noindent whose coding (due to W. {\sc Icking}) is; + +\begin{quote}\begin{verbatim} +\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibu0j0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar +\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j% + \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en +\end{verbatim}\end{quote} + + \subsection{Beams across bars} +The usual way most composers wrote their scores was beams inside bars, +at least until the beginning of the XIX-th +century. Unfortunately, later composers ({\sc Brahms}, {\sc Scriabin}, +{\sc Grieg}, etc.) wanted to write beams jumping across bars. +This is possible without any problems. +We give an example from {\sc Brahms}'s Intermezzo op.~118,1 provided by +Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip + +\begin{music} +\interstaff{12} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes +\bar +\nspace +\Notes\ibu0L2\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes +\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes +\endextract +\end{music} + %\check +\noindent whose coding is: +\begin{verbatim} +\interstaff{13} +\instrumentnumber{1} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes +\bar +\nspace +\Notes\ibu0a1\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes +\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes +\endextract +\end{verbatim} +Still to be done manually is the cut and prolongation across line breaks, which +can be easily be done with shifting using \keyindex{roff} and/or +\keyindex{loff}, or with insert of a spacing command (here done with +\keyindex{hsk}). We give an example from {\sc Grieg}'s ``Hochzeit auf +Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip + +\begin{music} +\parindent0pt +\def\rqs{\lower\Interligne\rlap\qs} +\def\snotes{\vnotes1\elemskip} +\setstaffs1{2} +\generalsignature{2} +\setclef1{\bass} +\interstaff{12} +\startpiece +%%% bar 1 +\addspace\afterruleskip +\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en +\qspace +\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}% + |\zql g\ibu2l0\busf2\qb2{=m}\en +\Notes|\tubslur0o\qb2{_l}\en +\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}% + |\ibl1h0\zqb1g\bupz2\qb2l\en +\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en +\NOtes\zq L\ql b|\zql g\qu l\en +\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}% + \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en +\notes\qs|\zq N\ibbu3d0\qb3{_d}\en +\notes\qb1E|\rqs\en +\notes\qs|\fl e\zq N\rq e\qb3d\en +%%% bar 2 +\bar +\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en +\qspace +\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en +\notes\tqh1{_E}|\rqs\en +\notes\qs|\zq d\zq g\tqh3N\en +\notes\zq I\ibbu0J0\qb0L|\rqs\en +\notes\qs|\zq d\ibbu1d0\qb1N\en +\notes\qb0E|\rqs\en +\notes\qs|\fl e\rq e\zq d\qb1N\en +\notes\zq I\qb0L|\rqs\en +\notes\qs|\zq f\zq d\qb1N\en +\notes\tqh0E|\rqs\en +\notes\qs|\zq g\zq d\tqh1N\en +\notes\zq I\ibbu0J0\qb0L|\rqs\en +\notes\qs|\zq d\ibbu1d0\qb1N\en +\notes\qb0E|\rqs\en +\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en +\endpiece +\end{music} +\noindent where the prolongation was coded as: +\begin{verbatim} +\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en +\end{verbatim} + %\check + \subsection{Semi-automatic beams} +In order to avoid tedious checks to adjust the slope (and even the starting +pitch) of beams in music with a lot of steep beams, a set of automatically +slope computing has recently been implemented. If +you say \verb|\Ibu2gj3| \musixtex\ will understand that`you want to +build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|, +the first note of which is a \verb|g| and the last note is a \verb|j|. +Knowing these parameters it will choose the highest slope number which +corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt +g})/(3\keyindex{noteskip})$. Moreover, if there is no sufficiently steep beam +slope available, then it will raise the starting point. + + Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, +\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, +\keyindex{Ibbbl} and \keyindex{Ibbbbl}. + +Also available are ready definitions for often needed sets of double, +triple and quadruple notes with computed slopes. These are: +\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, +\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, +\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. + %\check + + +\medskip +\begin{music} +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece +\end{music} +\noindent which was simply coded as: +\begin{quote}\begin{verbatim} +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en +\end{verbatim}\end{quote} + %\check + +\section{Rests} + Except that difference that they have no specific pitch, rests are coded in a +very simple way. + \subsection{Ordinary rests} + Full bar rests (also called ``pauses'') are coded as +\keyindex{pause}, with a point behind as \keyindex{pausep}; +smaller rests are +\keyindex{hpause} (of duration equal to a \ital{half note}), +with a point behind as \keyindex{hpausep}, +\keyindex{qp} (duration equal to a \ital{quarter note}, + also \keyindex{soupir}), +\keyindex{ds} (duration equal to an \ital{eighth note}), +\keyindex{qs} (duration equal to an \ital{sixteenth note}), +\keyindex{hs} (duration equal to an \ital{thirty second note}), +\keyindex{qqs} (duration equal to an \ital{sixty fourth note}). + + Long rests (lasting several bars) can be coded as \keyindex{PAuse} +and \keyindex{PAUSe}, which respectively yield: + +\begin{music} +\generalmeter{\meterfrac44} +\startextract +\def\atnextbar{\znotes\centerbar\PAuse\en}% +\NOTEs\en\bar +\def\atnextbar{\znotes\centerbar\PAUSe\en}% +\NOTEs\en\endextract +\end{music} + %\check + + \subsection{Lifted rests}\index{lifting rests}\index{rest lifting} All the +previous rests with exception of \keyindex{pausep} (pause with a point) and +\keyindex{hpausep} (half rest with a point) are \ital{hboxes}; this means that +they can be vertically offset to meet polyphonic music requirements using the +standard \TeX\ command \keyindex{raise}. For example: + + \begin{quote} + \begin{verbatim} + \raise 2\Interligne\qp + \raise 3mm\qq + \end{verbatim} + \end{quote} + + \noindent{\sl{\bfseries CAUTION:} do not try to lift rests (or notes but this +looks so silly that...) using codings like +\verb|\raise2mm|\keyindex{hbox}\verb|{\qp}|. The reason is that the rest +symbol (e.g. \verb|\qp|) is embedded in braces, so that local counting of +spaces (register \verb|\loc@skip|) will be lost, resulting in turn in +overfull/undfull boxes, beam errors, erratic slurring, etc. In general, all +rests and all notes should be coded at the brace level of the \verb|\notes| +command, unless they are deliberately embedded in \keyindex{rlap} or +\keyindex{llap} which actually overlook spacing counting but finally force no +horizontal spacing, a behaviour which compensates the forgotten spacing count.} + + In addition, two symbols have been provided to put a \itxem{full rest} or a +\itxem{half rest} above or below the staff. Then the ordinary \verb|\pause| or +\verb|\hpause| cannot be used since there is a need for small horizontal line +to distinguish between the full and the half rest. They are: + \begin{itemize} + \item \keyindex{liftpause}~$n$ (non spacing) to get a + \hbox to10pt{\liftpause{-2}\hss} + raised from original position by $n$ staff line intervals, + \item \keyindex{lifthpause}~$n$ (non spacing) to get + \hbox to10pt{\lifthpause{-1}\hss} raised the same way. + \item \keyindex{liftpausep}~$n$ (non spacing) to get a + \hbox to10pt{\liftpausep{-2}\hss} + raised from original position by $n$ staff line intervals, + \item \keyindex{lifthpausep}~$n$ (non spacing) to get + \hbox to10pt{\lifthpausep{-1}\hss} raised the same way. + \end{itemize} + %\check + + \subsection{Bar centered rests}\label{barcentered} +Sometimes it is necessary to place a rest (or other) exactly in the middle +of a bar. This can be done with more sophisticated commands: +%\keyindex{atnextbar} +\keyindex{centerbar}, +\keyindex{centerPAUSe}, +\keyindex{centerPAuse}, +\keyindex{centerpause}, +\keyindex{centerhpause}. +For example: + +\begin{music} +\generalmeter\meterC +\setclef1\bass +\setstaffs1{2} +\parindent0pt +\startpiece\addspace\afterruleskip +\NOtes|\qa{cegj}\en +\def\atnextbar{\znotes\centerpause\en}\bar +\NOtes|\qa{jgec}\en +\def\atnextbar{\znotes\centerpause\en}\bar +\Notes\ca{`jihgfedc}\en +\def\atnextbar{\znotes|\centerpause\en}\bar +\NOTes\ha{Nc}\en +\def\atnextbar{\znotes|\centerpause\en}\bar +\addspace{10\elemskip}% +\def\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\endpiece +\end{music} +\begin{verbatim} +\generalmeter\meterC +\setclef1\bass +\setstaffs1{2} +\parindent0pt +\startpiece\addspace\afterruleskip +\NOtes|\qa{cegj}\en +\def\atnextbar{\znotes\centerpause\en}\bar +\NOtes|\qa{jgec}\en +\def\atnextbar{\znotes\centerpause\en}\bar +\Notes\ca{`jihgfedc}\en +\def\atnextbar{\znotes|\centerpause\en}\bar +\NOTes\ha{Nc}\en +\def\atnextbar{\znotes|\centerpause\en}\bar +\addspace{10\elemskip}% +\def\atnextbar{\znotes\centerbar{\duevolte}|\centerbar{\duevolte}\en}\endpiece +\end{verbatim} + %\check + +\section{Phantom notes and spacing commands}\label{spacing} +It may be interesting, when coding a sequence of notes within a unique pair +\verb|\notes...\enotes|, to skip one note place in order -- for +example -- to set the third note of one staff at the same abscissa as that of +the second note of another staff. This can be done by inserting \keyindex{sk} +which causes a spacing of one \keyindex{noteskip}\footnote{Never use +\keyindex{kern} nor \keyindex{hskip}~: in fact \keyindex{sk} not only causes +a space but also records that space for correct handling of beams, slurs, +trills, octaviation dashed lines, line-breaking, etc.}. Sometimes it is useful +to \ital{skip back} one noteskip, this can be done with \keyindex{bsk}. The +spacing of a half \verb|\noteskip| can be yielded with \keyindex{hsk}. + + %\check + + If you just want to shift a note or a symbol by one note head width, +you may write \keyindex{roff}\verb|{|\ital{note/symbol}\verb|}| (shift right) +or \keyindex{loff}\verb|{|\ital{note/symbol}\verb|}| (shift left). + If you just want to shift a note or a symbol by one half note head width, +you may write \keyindex{hroff}\verb|{|\ital{note/symbol}\verb|}| (shift right) +or \keyindex{hloff}\verb|{|\ital{note/symbol}\verb|}| (shift left). +For example, to get + %\check + + +\begin{music} +\startextract +\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes +\endextract +\end{music} +you code: + + %\check + +\begin{quote}\begin{verbatim} +\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes +\end{verbatim}\end{quote} + +If you want to shift notes or symbols right by more or less than one note head +width, then you can use \keyindex{roffset} (or \keyindex{loffset} in the other +direction) which has an additional first argument which is the number of note +head widths the second argument should be shifted by. For example + +\begin{music} +\startextract +\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes +\endextract +\end{music} +was coded: + +\begin{quote}\begin{verbatim} +\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes +\end{verbatim}\end{quote} + +\begin{important} the offset specified or implicitly specified in +\verb|\roff|, \verb|\loff|, \verb|\roffset| and \verb|loffset| does not add to +the total spacing amount; in other words this is just an offset, not a +spacing. Conversely, the possible spacing of commands included in the argument +of \verb|\roff|/\verb|\loff| and in the second argument +of \verb|\roffset|/\verb|\loffset| actually adds to the total spacing in that +bar of the current staff. Therefore, the symbol/note argument of these offset +commands should usually produce no spacing, i.e. begin with \verb|\z|. + + Besides, it is not advised to insert several consecutive spacing notes in +the \verb|\roff|/\verb|\loff| or \verb|\roffset|/\verb|\loffset| arguments, +since it could mess up the global spacing accounting. + \end{important} + + %\check + + +To insert spacing of \ital{nearly} one \ital{note head width}, you can use +\keyindex{qsk}(which has the drawback, that it is scalable, so what spacing +you really get depends on the computed \verb|\elemskip| from \verb|musixflx| +and the user chosen value of \verb|\elemskip|). The half of this spacing can +be forced with \keyindex{hqsk}. Note that these two latter macros must be used +inside a pair \verb|\notes...\enotes|. + + If you want to insert additional spacing before a group of notes, especially +to avoid a collision with an accidental, you can write \keyindex{nspace} --- +outside the \verb|\notes...\enotes| group --- and this will produces an +additional spacing of a half note head width; in the same way, +\keyindex{qspace} will yield a spacing of a note head width. Note that +\verb|\nspace| and \verb|\qspace| are ``hard'' spacings, whose general +feature is \verb|\hardspace|, described below. + +Sometimes the additional space behind \keyindex{changecontext} +disturbs the eye of a typesetter, but this ugly spacing can be reduced with: + +\keyindex{addspace}\verb|{-|\keyindex{afterruleskip}\verb|}%| + +It should be emphasized that all these spacing commands work correctly, only +when their dimension arguments are \itxem{scalable values} and not fixed +dimensions; the scalable dimensions are \keyindex{elemskip}, +\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and +their multiples. + +The only spacing command which can work with ``normal'' (that is, +\ital{not scalable}) dimensions is:\label{hardspace}\index{hard spacing} + + +\keyindex{hardspace}\verb|{|\ital{any \TeX~dimension}\verb|}%| + +\noindent but both \verb|\addspace| and \verb|\hardspace| can only be used +outside of \verb|\notes...\enotes|. + +Conversely, a more general spacing is allowed within the +\verb|\notes...\enotes| pairs, namely: + +\keyindex{off}\verb|{|$D$\verb|}%| + +\noindent where $D$ is a \itxem{scalable dimension}, for example +\verb|\noteskip| or \verb|\elemskip|. In fact, if you look to the +\musixtex\ source, you will find that \verb|\off| is the basic control +sequence used to define \keyindex{sk}, \keyindex{qsk}, etc. + + %\check + +\section{Collective coding: sequences of notes} + +As seen in the {\sc Mozart} example, it is not necessary to write a macro +sequence \verb|\notes...\enotes| for each column\footnote{Although +the compiler compiles it faster.}. If, on all +staffs of all instruments, spacings are equal or multiple of a unique value, +the notes may be concatenated in each staff: each note in each staff makes +the current position horizontally advance by the elementary spacing specified +by the choice of \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. + + The major interest of this feature resides in that fact that +the note macros are able to write several items; for instance +\verb|\qu{cdefghij}| writes the \ital{C-major} scale in quarters with +stem up. In the same way \verb|\cl{abcdef^gh}| writes the +\ital{A-minor} scale in eighths. Not all note generating macros can be +used to perform collective coding, but most of them can. + + If necessary a void space\footnote{same behaviour as {\Bslash sk}} +can be inserted in a collective coding by using \verb|*|\index{*}. + + %\check + +\section{Accidentals} + +Accidentals can be introduced in two ways. + + The first way, the \ital{manual} way of coding them, consists for +example in coding \keyindex{fl}\verb|a| to put a \ital{flat} at the +pitch $a$, supposedly before the further note of that pitch. +There is no control upon the fact that a note will be put at this position +and at this pitch. +Naturals, sharps, double flats and double sharps are coded \keyindex{na}~$p$, +\keyindex{sh}~$p$, \keyindex{dfl}~$p$ and \keyindex{dsh}~$p$ respectively. + +Alternate procedures \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, +\keyindex{ldfl} and \keyindex{ldsh} +place the same accidentals, but their abscissa is shifted one note head width +on the left. The purpose of this is to avoid collision of accidentals +in a chord with narrow intervals. + + The second way of coding accidentals consists in putting the symbol +\verb|^| (sharp), the symbol \verb|_| (flat), the symbol \verb|=| (natural), the +symbol \verb|>| (double sharp), or the symbol \verb|<| (double +flat) within the coding of the note, e.g.: \verb|\qb{^g}| yields a +$G\sharp$. This may very well be combined with collective coding, e.g.: +\verb|\qu{ac^d}|. + + Two sizes are available for accidentals. They revert to the small +version when notes are supposed to be too close to each other. These two +sizes can be forced by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or +\keyindex{smallfl}, \keyindex{smallsh}, etc. If one does not want to have any +small accidentals, then one can declare \keyindex{bigaccid} (conversely +\keyindex{smallaccid} or \keyindex{varaccid} -- the latter restoring variable +sizes). + + Small accidentals can also be put \ital{above} the note +heads. This is done using \keyindex{uppersh}~$p$, \keyindex{upperna}~$p$ or +\keyindex{upperfl}~$p$: + +\begin{music} +\startextract +\NOtes\uppersh l\qa l\enotes +\NOtes\upperna m\qa m\enotes +\NOtes\upperfl l\qa l\enotes +\endextract +\end{music} + It also possible to introduce \ital{\ixem{cautionary accidental}s} on a +score, i.e.\ small size accidentals between parentheses. This done by preceding +the name of the accidental keyword by a \verb|c|,\label{cautionary} + e.g.~by coding \keyindex{cfl}~$p$ to get a cautionary flat. + Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, \keyindex{cna}, +\keyindex{cdfl} and \keyindex{cdsh}, which give: + +\begin{music} +\startextract +\NOtes\csh g\qa g\enotes +\NOtes\cfl h\qa h\enotes +\NOtes\cna i\qa i\enotes +\NOtes\cdfl j\qa j\enotes +\NOtes\cdsh k\qa k\enotes +\endextract +\end{music} +\noindent +Besides, the distance between note and accidental is influenced by + +\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension} + +\noindent +positive values shift to left, negative to right, default is \verb|0pt|. + \section{Transposition and octaviation} +An important feature is the existence of a special register +\keyindex{transpose} the normal value of which is 0. If you say + +\verb|\transpose=3| + +\noindent all subsequent pitches specified by +upper or lower case letters\footnote{Pitches specified with figures are +absolute and not transposed.} will be transposed 3 positions. If you set +\keyindex{transpose} to 7 you may write your music one octave below its final +pitch. Thus, you can define \ital{octaviation} macros like + +\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}| + +\noindent to build quarter note octaves in a single call. Note +that the octaviated note is coded within braces so that the transposition +is only local. + + \ital{Octaviation}\index{octaviation} can also be performed in another +way, namely using special codes to transpose by multiples of 7 intervals. +For example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and +\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. It should be +emphasized here that the \verb|'| (\itxem{acute accent}) and the \verb|`| +(\itxem{grave accent}) have cumulative effects, so that \verb|\qu{''A'A}| +is equivalent to \verb|\qu{ah}| and that the \verb|\transpose| +parameter is only reset to its initial value (not necessarily zero) when +changing staff or instrument (i.e. \| or \verb|&|) or at \verb|\enotes|. + Since this may be confusing, it is useful to use the \verb|!| prefix +to reset the \verb|\transpose| register explicitely to the value it had +when entering \verb|\notes|\footnote{This value is saved in another +register named \keyindex{normaltranspose}.}. Thus \verb|\qu{!a'a}| always +gives the note \verb|a| and its upper octave \verb|h| \ital{shifted by the +value of {\Bslash transpose} at the beginning of the current} \noindent +\verb|\notes...\enotes| group (or \verb|\Notes...\enotes|, +etc.) whatever the number of previous grave and acute accents occurring +inbetween. + \subsection{Typical piano octave transposition} + \subsubsection{Local octave transposition of fixed length} +\begin{music} +\startextract +\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en +\endextract +\end{music} +\noindent can be coded as +\begin{quote}\begin{verbatim} +\startextract +\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en +\endextract +\end{verbatim}\end{quote}\zkeyindex{octfinup} +\noindent that is, the dashed line extends 3.5$\times${\Bslash noteskip}. +Conversely, lower octaviation can also be coded, for example: + +\begin{music} +\startextract +\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en +\endextract +\end{music} +\noindent which is coded as +\begin{quote}\begin{verbatim} +\startextract +\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en +\endextract +\end{verbatim}\end{quote}\zkeyindex{octfindown} +If a more sophisticated posting is wanted, this can be achieved refefining +the macro \keyindex{octnumber}, e.g.: + +\begin{music} +\startextract +\NOTEs\def\octnumber{\ppffsixteen8$^{va}$}\octfinup{10}3\qu c\qu d\qu e\en +\endextract +\end{music} +\noindent whose coding is +\begin{quote}\begin{verbatim} +\startextract +\NOTEs\def\octnumber{\ppffsixteen8$^{va}$}\octfinup{10}3\qu c\qu d\qu e\en +\endextract +\end{verbatim}\end{quote} +\noindent or + +\begin{music} +\startextract +\NOTEs\def\octnumber{\ppffsixteen8$^{va\,bassa}$}\octfindown{-5}4\ql l\ql k\ql j\en +\endextract +\end{music} +\noindent coded as: +\begin{quote}\begin{verbatim} +\startextract +\NOTEs\def\octnumber{\ppffsixteen8$^{va\,bassa}$}% + \octfindown{-5}4\ql l\ql k\ql j\en +\endextract +\end{verbatim}\end{quote} + +\subsubsection{Long or variable range octave transposition} +Long range octave transpositions are better handled using +\keyindex{Ioctfinup}, +\keyindex{Ioctfindown} and +\keyindex{Toctfin} whose effect extends over line breaks. + +{\Bslash Ioctfinup}~$np$ starts an octave transposition of reference number +$n$ (with $0\le n<6\equiv$\keyindex{maxoctlines}) dashed line at pitch $p$ +(usually $p>10$ but it can also be an alphabetic pitch specification), +{\Bslash Ioctfindown}~$np$ starts a lower octave transposition at pitch $p$ +(usually $p<-2$), and both extend until terminated with {\Bslash toctfin}. The +difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is +the relative position of the ``8'' figure with respect to the dashed line, and +the sense of the terminating hook (note that {\Bslash Ioctfinup} has a hook +under the dashed line, and conversely). + +For the sake of backward compatibility, \keyindex{ioctfinup} is equivalent to +\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to +\verb|\Ioctfindown 0|. +For example: + +\medskip + \begin{music} +\instrumentnumber{1} +\setstaffs12 +\setclef1{6000} +% +\startextract +\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\enotes +\bar +\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\enotes +\bar +\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes +\bar +\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes +\endextract +\end{music} +whose coding is +\begin{quote}\begin{verbatim} +\begin{music} +\instrumentnumber{1} +\setstaffs12 +\setclef1{6000} +% +\startextract +\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\enotes +\bar +\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\enotes +\bar +\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes +\bar +\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes +\endextract +\end{music} +\end{verbatim}\end{quote} + %\check + + +%\begin{changebar} + + The elevation of octaviation lines may be raised/lowered using +\keyindex{Liftoctline}~$n$~$p$ where $n$ is the reference number of the + wanted ocave line, and $n$ a number (possibly negative) number of +\verb|\internote| by which the dashed line should be lifted. This is +particularly useful when octaviation lines last several systems and need to be +lifted in the systems occuring farther than the initiation. + +%\end{changebar} + + \subsection{Transposition of accidentals} + The above processes indeed change the vertical position of the note heads +and associated symbols (note stems, accents and beams) but they do not take +care of the necessary changes of accidentals when transposing, i.e. the fact +that an $F\sharp$ occurring with a zero signature should become a $B\natural$ +when transposing from the tonality of $C$ major to $F$ major where the normal +$B$ is the $B\flat$. Since the intent of the composer is not obvious -- he +may want to shift a group of notes within the same tonality or conversely to +transpose it in another tonality -- this is not done automatically. Thus the +\keyindex{sh}, \keyindex{fl}, \keyindex{na}, \keyindex{dsh} and +\keyindex{dfl} symbols \ital{are not affected} by a change of the +\keyindex{transpose} register. + + But the composer/typesetter may ask \musixtex\ to do that work. In this +case, he should code \keyindex{relativeaccid}. In that case, a \verb|\sh| +command means that the corresponding pitch\footnote{The musical output note, +not the typesetting position.} has to be raised by \ital{one half pitch} +with respect to its normal value \ital{according to the current signature}. +Thus \verb|\sh b| (using \keyindex{relativeaccid}) means a $B\sharp$ if the +signature is zero or positive, and a $B\natural$ if it is negative. The same +logic applies for all accidentals using \keyindex{relativeaccid}. + +In the same way, the compact codes \verb|^|, \verb|_|, \verb|=| are normally +not affected by transposition and signatures, but their behaviour will be +changed by saying \keyindex{relativeaccid} and reset by +\keyindex{absoluteaccid} (the default situation)\footnote{Note that the +behaviour of {\Bslash sh}, {\Bslash na} and {\Bslash fl} with \musixtex\ +corresponds to the behaviour of {\Bslash Sh}, {\Bslash Na} and {\Bslash Fl} +with \musictex+{musictrp.tex}. But the {\tt musixcpt.tex} file forces the same +behaviour as \musixtex\ in that respect, see page \pageref{compatibility}.}. + + Although \ital{relative accidental coding} is an easy and safe way of +coding \ital{transposable} scores, care should be exercised in getting rid +of the habit of saying \verb|\na b| to raise the pitch of a $B$ when the +tonality is $F$ major (i.e. with \keyindex{setsign$n$}\verb|=-1| or +\keyindex{generalsignature}\verb|{-1}|). An example of sophisticated +transposition is given in the score \verb|souvenir.tex| (which \verb|\input|s +\verb|souvenix.tex|). + + %\check + +\section{Slurs and ties} +The slurs and ties provided by \musixtex\ can be divided into two categories: +\label{simpleslur} +\begin{itemize} + \item Those where the complete slur symbol is composed of a single + character from one of the slur fonts, and + \item those where the slur symbol is composed three discrete + characters, to form the beginning, middle and end of the slur. +\end{itemize} +The former are called \ital{simple slurs} and the latter are called +\ital{compound slurs}. To some extent the division between the two is +invisible to the user, in that a number of the macros described below will +select between the two types automatically. However, other macros are +provided to +enable simple slurs to be specified. Note that slurs of both types must be +coded within the pair \verb|\notes...\enotes|. + \subsection{General slur coding} +This section describes the usual method of slur coding, where the +choice between simple or compound slurs is made automatically. +In this case, slurs are initiated and terminated by separate macros, +as is the case for beams. + \subsubsection{Slur initiation} +The slur must be initiated {\em before} +the spacing note at which the slur begins, and terminated {\em before} the +note at which the slur ends. The simplest slur initiation macro is + + +\keyindex{isluru}~$np$ + +\noindent which initiates an upper slur, with reference +number $n$, beginning at pitch $p$. The starting point of the slur is +centred above an imaginary quarter note head at pitch $p$. +As for beams, the reference number $n$ takes values from 0 to 5, or +0 to 8 if \ttxem{musixadd.tex} is included. +Similarly, \keyindex{islurd}~$np$ initiates a lower slur. +These slurs are terminated by coding +\keyindex{tslur}~$np$ where $n$ is the reference number and $p$ is the +termination pitch. To illustrate with a simple example, the following +passage + +\begin{music} +\startextract +\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en +\bar +\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en +\NOTes\hu g\en +\endextract +\end{music} + +\noindent was coded as: +\begin{quote}\begin{verbatim} +\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en +\bar +\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en +\NOTes\hu g\en +\end{verbatim}\end{quote} + +Other macros are provided to change the starting and ending point of the slur +in relation to the initial and final notes. Thus, \keyindex{issluru}~$np$ +initiates a ``short'' upper slur suitable for linking notes involved in chords. The +starting point is shifted to the right, and is vertically aligned with the +centre of an imaginary quarter note head at pitch $p$. If a lower short slur +is wanted, one should use \keyindex{isslurd}~$np$. + + +Sometimes, busy scores call for slurs which are vertically aligned with the +ends of note stems rather than note heads. These ``beam'' slurs --- so called +because the slur is written at usual beam height --- are provided by the +macros \keyindex{ibsluru}~$np$ and \keyindex{ibslurd}~$np$. These macros +initiate slurs raised or lowered by the current stem height to accommodate +stems or beams above or below. + %\check + + \subsubsection{Slur termination}\label {slurtermin} +Termination of slurs can be achieved in two ways. First, macros matching +each of the initialization macros are provided, as shown below.\\ +\begin{center} + \begin{tabular}{ll} + Initiation & Termination \\ + \hline + \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\ + \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\ + \keyindex{ibsluru} & \keyindex{tbsluru}\\ + \keyindex{ibslurd} & \keyindex{tbslurd}\\ + \hline + \end{tabular} \end{center} These specific termination macros enable slurs +started in one way to be terminated in another. For example, a slur beginning +as a ``beam'' slur may be terminated as a normal slur. This would be achieved +using the macro pair \verb|\ibslur...\tslur|. + \subsubsection{Ties} The coding of \itxem{ties} follows from the above +discussion as a special case of slurs, i.e. when there is no pitch change. +Upper ties are initiated by \keyindex{itieu}~$np$ which starts an upper tie of +reference number $n$ at pitch $p$. +Lower ties are initiated by \keyindex{itied}~$np$ which starts an lower tie of +reference number $n$ at pitch $p$. + +The starting position of the tie is the same as \verb|\issluru| and +\verb|\isslurd| respectively. The tie is terminated by coding +\keyindex{ttie}~$n$. + +Some simple examples of slurs and ties are illustrated below. + +\begin{music} +\startextract +\NOTes\isluru0g\hl g\tslur0h\hl h\en +\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en +\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en +\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en +\endextract +\end{music} +\noindent This was coded as: +\begin{quote}\begin{verbatim} +\begin{music} +\startextract +\NOTes\isluru0g\hl g\tslur0h\hl h\en +\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en +\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en +\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en +\endextract +\end{music} +\end{verbatim}\end{quote} + \subsubsection{Short ties} Usual music coding makes ties not different of +slurs, i.e. a tie is typed exactly like a slur linking two notes of same pitch. +However, this traditional way of doing has two the drawback: + \begin{itemize} + \item in some special cases, a slur might be confused with a tie and +conversely, + \item chord ties cannot be implemented with the slur starting above or below +the note, but only starting just right of the noetead and finishing just left +of the other note head. + \end{itemize} + This can be done using \verb|\issluru| (\ref{slurtermin}, p. +\pageref{slurtermin}) or \keyindex{itenu}~$np$, \keyindex{itenl}~$np$ for tie +initiation, and \keyindex{tten}~$n$ to terminate it. As an example: + + \begin{music} + \startextract + \NOTes\itenl0d\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes + \bar + \NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes + \endextract + \end{music} + \noindent was coded as: + \begin{quote}\begin{verbatim} + \begin{music} + \startextract + \NOTes\itenl0d\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes + \bar + \NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes + \endextract + \end{music} + \end{verbatim}\end{quote} + %\check + + + \subsubsection{Slur limitations} + The vertical gap between slur initiation and slur termination is limited to +16\verb|\Internote|. Thus exceedingly ascending slurs lead to unfortunate +results, such as~: + + \begin{music} +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract + \end{music} + whose coding was: + \begin{quote}\begin{verbatim} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract + \end{music} + \end{verbatim}\end{quote} + + Besides, tentative slurs of excessive slope may also yield unexpected shapes, +such as: + \begin{music} +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes + \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes + \endextract + \end{music} + + \subsection{Dotted slurs} Compound and simple slurs (\ref{simpleslur}, +p.\pageref{simpleslur}) may be drawn dotted\footnote{Thanks to Werner {\sc +Icking}.} specifying \keyindex{dotted} just before slur initiation. + +\begin{music} +\startextract +\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar +\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en +\NOTes\hu g\en +\endextract +\end{music} + +\noindent This was coded as: +\begin{quote}\begin{verbatim} +\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar +\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en +\NOTes\hu g\en +\end{verbatim}\end{quote} + + \subsection{*Modifying slur properties} +Several macros are provided to modify the shape of slurs already initiated. +These macros must be coded before the slur termination. Note that only +compound slurs can be modified. Hence, calling any modification macro forces +the slur type to be compound. + \subsubsection{*Changing the rise or fall} + By default, the arch of a slur rises and falls from its original height by +three times the vertical note spacing. This can be changed using the macro +\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For +example, \verb|\midslur{6}| coded before \verb|\tslur| causes an upper slur to +rise to a maximum height of \verb|6\internote| above the starting position. +Note that \verb|\midslur| must be coded {\em immediately} before the slur +termination (eg, \verb|\tslur|). Coding \verb|\midslur| before setting a +simple slur causes problems and should be avoided.\\[20pt] + +\begin{music} +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\tslur0g\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\midslur7\tslur0g\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\isluru2g\ql g\en +\notes\midslur{11}\tslur2g\ql g\en +\endextract +\end{music} +This was coded as: +\begin{quote}\begin{verbatim} +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\tslur0g\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\midslur7\tslur0g\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\isluru2g\ql g\en +\notes\midslur{11}\tslur2g\ql g\en +\endextract +\end{verbatim}\end{quote} + \subsubsection{*Changing the curvature} +The degree of curvature depends primarily on the initial and terminal +gradient of the slur, relative to its mean slope. The macro +\keyindex{curve}~$hij$ allows these to be modified. The first parameter $h$ +is the vertical deviation as for \verb|\midslur| described above. The second +parameter $i$ sets the initial gradient, while the third parameter $j$ sets +the +final gradient. The latter parameters are defined as the horizontal distance +required to attain maximum vertical deviation. Thus smaller numbers for $i$ +and $j$ lead to more extreme gradients. +The default setting is \verb|\curve344|. Hence, coding \verb|\curve322| +doubles the initial and final gradient relative to the default. +As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before +the slur termination. +Likewise, coding \verb|\curve| before +a simple slur causes problems and should be avoided. + +The example below illustrates the use of \verb|\curve| more clearly. + + + +\begin{music} +\startextract +\NOtes\multnoteskip8\itieu0g\ql g\en +\notes\ttie0\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\itieu1g\ql g\en +\notes\curve 322\ttie1\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\itieu2g\ql g\en +\notes\curve 111\ttie2\ql g\en +\endextract +\end{music} +This was coded as: +\begin{quote}\begin{verbatim} +\startextract +\NOtes\multnoteskip8\itieu0g\ql g\en +\notes\ttie0\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\itieu1g\ql g\en +\notes\curve 322\ttie1\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\itieu2g\ql g\en +\notes\curve 111\ttie2\ql g\en +\endextract +\end{verbatim}\end{quote} + %\check + + + + \subsubsection{*Breaking slurs across a line} +Two macros are provided to control the behaviour of slurs which extend across +line breaks. Normally, the part of the slur before the line break is +treated as a tie. This can be changed using \keyindex{breakslur}~$np$, +which sets the termination height of +the broken slur at the line break to pitch $p$, for slur reference number $n$. + +After the line break, the slur is normally resumed at the initial pitch +reference, the one coded in \verb|\islur|. To change this, the macro +\keyindex{Liftslur}~$np$ may be used. Here $n$ is again the slur reference +number and $p$ is the change in height relative to the initialization height. +This macro is normally used following line breaks, in which case it is best +coded using the \verb|\atnextline| macro. For example, coding +\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero +by \verb|6\internote| relative to its initialization height. + +These macros are illustrated by the following example. +%% +% Example +%% + %\check + + \subsubsection{*Inverting slur termination} +Occasionally in keyboard works one needs to begin a slur in one +stave but end it in another. This can be done using the macro +\keyindex{invertslur}~$n$ which is best described by reference to the example +shown below. + +% Finding the final pitch is try and error, sorry, no way out. + +\begin{music} +\setstaffs1{2} +\setclef1\bass +\startextract +\NOtes\multnoteskip5\isluru0a\ql a\en +\notes\invertslur0\curve311\tslur0g|\qu d\en +\NOtes\multnoteskip{10}\isluru0a\ql a\en +\notes\invertslur0\curve333\tslur0g|\qu d\en +\endextract +\end{music} +This was coded as: +\begin{quote}\begin{verbatim} +\setstaffs1{2} +\setclef1{\bass} +\startextract +\NOtes\multnoteskip5\isluru0a\ql a\en +\notes\invertslur0\curve311\tslur0g|\qu d\en +\NOtes\multnoteskip{10}\isluru0a\ql a\en +\notes\invertslur0\curve333\tslur0g|\qu d\en +\endextract +\end{verbatim}\end{quote} + + \begin{remark} + Slur inversion is achieved at a place where its slope ise zero~; therefore it +only works with ascending slurs started with \verb|\isluru|, and with +descending slurs started with \verb|\islurd|. Otherwise no horizontal place +can be found and the result is erratic. + + This second situation can be solved manually, stopping the slur at a +reasonable place with \verb|\tslur| and restarting in the other sense at the +same place. Stopping and restarting obviously refer to virtual note pitches (a +vertical position without actual note) which should be adjusted to have the +minimum discontinuity. + \end{remark} + + To make this drawing easier, three commands have been provided: + \begin{itemize} + \item \keyindex{Tslurbreak}$np$ stops slur number $n$ exactly at pitch $p$, +not above or below the virtual note head. + \item \keyindex{Islurubreak}$np$ restarts an upper slur at the same position, +not above a virtual note head. + \item \keyindex{Islurdbreak}$np$ restarts an lower slur at the same position, +not below a virtual note head. + \end{itemize} + Thus, the following pattern + + \begin{music} +\setclef1\treble +\startextract +\NOTes\multnoteskip 3\isluru0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en +\Notes\tslur0h\qu h\en +\NOTes\multnoteskip 3\islurd0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en +\Notes\tslur0h\qu h\en +\endextract +\end{music} +was coded as +\begin{quote}\begin{verbatim} + \begin{music} +\setclef1\treble +\startextract +\NOTes\multnoteskip 3\isluru0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en +\Notes\tslur0h\qu h\en +\NOTes\multnoteskip 3\islurd0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en +\Notes\tslur0h\qu h\en +\endextract +\end{music} +\end{verbatim}\end{quote} + + + + + \subsection{Simple slurs} +Simple slurs and ties have the advantage +of optimal aesthetics and simple coding, but are limited in length to 68pt +for slurs and 220pt for +ties. Also, the maximum vertical extent of simple slurs is 8 times the +internote spacing, and the slurs may not extend across a line break. +Despite all these limitations, simple slurs are extremely useful in many +applications where the slurs are short and contained within a bar. + +Simple slurs extend to the right of the note immediately following. +Hence they must be coded {\em before} the note at which the slur begins. +The primary macro call is +\keyindex{slur}~$p_1p_2sl$ +where $p_1$ and $p_2$ are respectively the initial and final pitches, +$s$ is the sense, either {\tt u} or {\tt d}, and $l$ is the length, +in units of the current value of {\tt noteskip}. +Thus, thirds slured in pairs can be coded: + + %\check + +\begin{quote}\begin{verbatim} +\NOtes\slur ced1\qu{ce}\en +\NOtes\slur dfd1\qu{df}\en +\NOtes\slur egd1\qu{eg}\en +\NOtes\slur{'e}cu1\ql{ec}\en +\NOtes\slur{'d}bu1\ql{db}\en +\NOtes\slur{'c}au1\ql{ca}\en +\end{verbatim}\end{quote} +which yields: + +\begin{music} +\startextract +\NOtes\slur ced1\qu{ce}\en +\NOtes\slur dfd1\qu{df}\en +\NOtes\slur egd1\qu{eg}\en +\NOtes\slur{'e}cu1\ql{ec}\en +\NOtes\slur{'d}bu1\ql{db}\en +\NOtes\slur{'c}au1\ql{ca}\en +\endextract +\end{music} +%% +Similarly, ties may be set using +\keyindex{tie}~$psl$ where $p$ is the (single) pitch, and the other +parameters are as described above. + +Variants on these macros are provided to change the slur length +and vertical offset relative to the starting note, as follows. +\begin{itemize} + \item \keyindex{sslur}~$p_1p_2sl$, which sets a `short' slur, + designed for the case when a slur is required to link notes which + form part of a chord (see \verb|\isslur| above). + The macro \keyindex{stie}~$psl$ sets analagous ties. +%! \item \keyindex{bslur}~$p_1p_2sl$, which sets a `beam' slur, raised or +%! lowered so that the slur links the ends of note stems rather than +%! note heads. +\end{itemize} + %\check + + \subsection{Restrictions} +Generation of some of the slur fonts is problematic for \MF. +In particular, the long ties tend to exceed \MF's +maximum dimension for high resolution printers. However, for normal 300 dpi +printers there is no problem. A solution to this limitation is planned +for Postscript\raise1.5ex\hbox{\small\copyright} printers using +DVIPS \verb|\special| commands. + +\section{Bars} + \subsection{Bars and spacing} + Ordinary \ital{bars} are coded using the macro \keyindex{bar}. Its drawback +is that it does not differ from \verb|\bar| which is already defined in +\TeX's mathematical mode. \index{bar (original meaning)@{\Bslash bar} +\ital{(original meaning)}} Therefore, inside \verb|\startpiece...\endpiece| +\ital{our} \verb|\bar| means a musician \ital{bar}\footnote{\ital{Mesure} in +French, \ital{Takt} in German.} and outside, it keeps its original meaning. +If you \ital{really} need the original \verb|\bar| inside, you can say +\verb|\endcatcodesmusic...\bar...\catcodesmusic|. + %\check + + \subsection{Bar numbering} +Unless otherwise specified, \index{bar numbering}bars are +numbered. This is a good means of finding errors provided that the \musixtex\ +user has put comments in his source text recording the (expected) bar number. +However, this can look unpleasant for final outputs, since the habit is to +number bars only each other five or ten bars. This is not a serious problem +since the frequency of bar numbering is defined as: + + \verb|\def|\keyindex{freqbarno}\verb|{1}| + +If you replace the {\tt1} by {\tt5}, bar numbering will occur each other five +bars. You can also inhibit any bar number\footnote{default inside this manual} +printing by telling: + +\keyindex{nobarnumbers} + +\noindent If you want to restore bar numbering after \verb|\nobarnumbers|, +you can say + +\keyindex{barnumbers} + + The bar counter is also accessible, its name is \keyindex{barno}. +You can change it without any dramatic consequence. + +Sometimes there is need for to start with a \verb|\barno| value which differs +from 1. Perhaps the piece starts with an \ital{upbeat}, then you can code + +\keyindex{startbarno}\verb|=0| + +\noindent in front of \verb|\startpiece|; or you may want to typeset only an +excerpt starting for example with bar number +198, then you can code \verb|\startbarno=198|. Pay attention because +saying \verb|\startbarno=|$n$ has a global meaning. So if you want to +\verb|\input| several pieces whose starting bar numbers differ, you have to +adjust the value of \verb|\startbarno| each time.\label{startbarno} + + %\check + +The best compromise between information of the bar number and a pleasant +lookout is the command \keyindex{systemnumbers} which draws the bar numbers +only at the left top of every system (or staff? then the command will +be renamed to \verb|\staffnumbers| or \verb|\staffbarnumbers|). + +You can influence the height of the system numbers by coding + +\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}| + +\noindent whose default is set to \verb|4\internote| to fit above +a violin clef. You can influence its horizontal position with + +\verb|\def|\keyindex{shiftbarno}\verb|{|\ital{any \TeX~dimension}\verb|}| + +\noindent which default value is \verb|0pt|. If you don't like the box around +the bar number or its font, you can redefine the macro which sets the system +bar number; its default is + +\verb|\def|\keyindex{writebarno}% + \verb|{\boxit{\eightbf\the\barno\barnoadd}}| + + \noindent where \keyindex{boxit} is a utility macro provided by \musixtex{} +whose purpose is to enclose its argument in a \raise-\boxitsep\hbox{\boxit{box}}. + + +\medskip +\begin{music} +\let\extractline\hbox +\startbarno=36 +\hbox to \hsize{% +\hss + \raise20pt\hbox{(a) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss + \def\writebarno{\tenrm\the\barno\barnoadd}% + \def\raisebarno{2\internote}% + \def\shiftbarno{2.5\Interligne}% + \raise20pt\hbox{(b) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss + \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% + \def\raisebarno{2\internote}% + \def\shiftbarno{1.3\Interligne}% + \raise20pt\hbox{(c) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss} +\end{music} +which was coded as +\begin{itemize} + \item[(a)] (default) + \item[(b)] + \begin{verbatim} +\def\writebarno{\tenrm\the\barno\barnoadd}% +\def\raisebarno{2\internote}% +\def\shiftbarno{2.5\Interligne}% + \end{verbatim} + \item[(c)] + \begin{verbatim} +\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% +\def\raisebarno{2\internote}% +\def\shiftbarno{1.3\Interligne}% + \end{verbatim} +\end{itemize} +If the previous line does not stop with a bar rule to the next system bar number +is added the \keyindex{writezbarno} whose default setting is the lower +character {\tt'a'}. If you want a {\tt'+}' instead, you can say + +\verb|\def|\keyindex{writezbarno}\verb|{+}| + + Besides, you can change the font and anything in the format of current bar +numbers by changing the original definition of the macro +\keyindex{writethebarno} or the font in \keyindex{fontbarno}, where the +defaults are: + + \verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| + + \verb|\def\fontbarno{\it}| + + + \noindent For example: + + \medskip +\begin{music}\barnumbers +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\def\fontbarno{\bf}% +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en\bar +\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece +\end{music} +\noindent which was simply coded as: +\begin{quote}\begin{verbatim}\barnumbers +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\def\fontbarno{\bf}% +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en\bar +\notes\Qqbbu fgge\Qqbbl jhgi\en +\end{verbatim}\end{quote} + %\check + + + + %\check + +\noindent Besides, you can suppress the messages of bar numbers on +\verb|stdout| (normally screen) with \keyindex{nobarmessage}. In the same way, +you can suppress the messages abour new lines (new systems) with +\keyindex{nolinemessages}. + %\check + + \subsection{Full and instrument divided bars} +Normally, bars (as well as double bars, final bars and repeat bars) are +drawn as a continuous line, starting for the bottom of the lower staff of the +lower instrument, and ending at the top of the upper staff of the upper +instrument. However, one may want to have discontinuous bars, that is, one +continuous bar for all the staffs of a unique instrument. This is done by +issuing the command \keyindex{sepbarrules}. An example of this is given in the +{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the +example of section \ref{avemaria}. + + The initial situation can be forced or restored by \keyindex{stdbarrules}. In +the extension library are some more types of bar rules, mainly for very old +music, see \ref{otherbars}. + + \subsection{Instruments with no coherent bar division} + + In some special scores with several instruments, it may happen that distinc +instruments, not only have different meters (e.g. 2/4 and 6/8 to avoid +printing triolet codes for some instrument), but also have bar lines not +synchronized. Obviously, this can be implemented \ital{{\bfseries only if}} +\keyindex{sepbarrules} has been stated. Then, five specific commands can be issued~: + +\begin{itemize} +\item\keyindex{hidebarrule} $n$ hides the bar rule for instrument $n$, until +this is changed by \verb|\showbarrule|~$n$. +\item\keyindex{showbarrule} $n$ stops hiding the bar rule for instrument $n$, until +this is changed by \verb|\hidebarrule|~$n$. +\item\keyindex{Hidebarrule} $n$ hides the bar rule for instrument $n$, only +for the next bar. +\item\keyindex{Showbarrule} $n$ exceptionally shows the bar rule for instrument $n$, +and then resets intrument $n$ to \verb|Hidebarrule|. +\item\keyindex{showallbarrules} resets all defined instruments to +\verb|showbarrule|~$n$. This command is automatically inserted with double +bars, final bars and repeats. +\end{itemize} + +Thus, the following example~: + +\begin{music} +\instrumentnumber3 +\setmeter3{{\meterfrac{3}{4}}} +\setmeter2{{\meterfrac{2}{4}}} +\setmeter1{{\meterfrac{3}{8}}} +\nobarnumbers +\sepbarrules + +\startextract +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\hidebarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\showbarrule2\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\showbarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\showbarrule2\hidebarrule3\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\setdoublebar +\bar\hidebarrule3 +\NOtes\pt f\qa f&\qa f&\qa f\en +\Hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\message{Showbarrule3 coming}% +\Hidebarrule2\Showbarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\Hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\setrightrepeat +\endextract +\end{music} + +\noindent was obtained with the following coding +\begin{quote}\begin{verbatim} +\instrumentnumber3 +\setmeter3{{\meterfrac{3}{4}}} +\setmeter2{{\meterfrac{2}{4}}} +\setmeter1{{\meterfrac{3}{8}}} +\nobarnumbers +\sepbarrules + +\startextract +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\hidebarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\showbarrule2\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\showbarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\showbarrule2\hidebarrule3\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\setdoublebar +\bar\hidebarrule3 +\NOtes\pt f\qa f&\qa f&\qa f\en +\Hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\message{Showbarrule3 coming}% +\Hidebarrule2\Showbarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\Hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\setrightrepeat +\endextract +\end{verbatim}\end{quote} + + +\section{Managing the layout of your score} +\subsection{Line and page breaking}\label{linebreak} + +Those who usually worked with \musictex\ before must be aware that this has +been deeply changed in \musixtex. All line-breaking decisions\footnote{With +exception of the \musictex\ command {\Bslash autolines}, which is provided in +the file {\tt musixcpt.tex}, see page \pageref{compatibility}.} are done by +the external program \verb|musixflx|. Then you get the most even results when +you insert the fewest \ital{manual} line breaks possible. But sometimes +there is really need for them, e.g. page break should preferably occur when +the musician has one hand free to turn the sheet. + +You can force a line break with \keyindex{alaligne} instead of \keyindex{bar}. +In the same way, you can code \keyindex{alapage} to force an \keyindex{eject} +with proper reinitialization of staffs, clefs and signatures. + + %\check + + On the other hand, you may want to forbid line-breaking at a bar, +then you should replace \verb|\bar| with \keyindex{xbar}. + + Conversely, you may want to break a line \ital{not at a bar}\footnote{For +example, you may prefer to turn the page at a place where the pianist has one +hand free, in the middle of a bar.}. This is allowed by \keyindex{zbar} +(optional line break) or forced by \keyindex{zalaligne} or +\keyindex{zalapage}. + +The heavy final double bar of a piece is provided by \keyindex{Endpiece} or +\keyindex{Stoppiece}. If you just want to terminate the text with a simple +bar, you say \keyindex{stoppiece} or \keyindex{endpiece}. If you want to +terminate it without a bar, you code \keyindex{zstoppiece}. + + Once you have stopped the score by any of these means, you can restart it +using \keyindex{contpiece}. If you want to restart indenting the next line +(system) by the dimension \keyindex{parindent}, then you should rather use +\keyindex{Contpiece}, which is recommended when changing the +the number of instruments within a single piece. + + However, neither \verb|\contpiece| nor \verb|\Contpiece| can be used if you +change the signature (i.e. using \keyindex{generalsignature}) between +\verb|stoppiece| and \verb|\contpiece|), since the space used by signatures is +not constant and it has to be taken in account, e.g. by some +\keyindex{changecontext}. In that case, you have to restart your score using +\keyindex{startpiece}, which in turn requires you to save \verb|\barno| to its +furtner starting value \verb|\startbarno| if you do not want it reset at 1, +and to manage the instrument names and/or the \verb|\parindent| if necessary. + + If you want the next vertical bar to be a double bar, you have to +declare \keyindex{doublebar} or \keyindex{setdoublebar} before the +\keyindex{bar} (or the \keyindex{stoppiece} or \keyindex{alaligne} or +\keyindex{alapage}) to be marked with a double thin bar. In the same way you +can declare \keyindex{setdoubleBAR} if you want to have a heavy double bar +(the same as \verb|\Stoppiece|) and even \keyindex{setemptybar} to make the +next \verb|\bar| invisible\footnote{These latter features are given for your +information, but they should be used only in case of emergency.}. + + %\check + +\subsection{How to manage individual page layout} +\begin{enumerate} + \item You write your own output routine, which centers the contents in the +middle of the page. Most important are then the values of +\keyindex{stafftopmarg} and \keyindex{staffbotmarg}, because they decide of +the amount of margin between successive systems. + \item If you say \keyindex{raggedbottom}, the vertical glue is removed and +the score is rather compacted at the top of page. + \item You change the value of \keyindex{parskip} and say +\keyindex{normalbottom} (which behaves like \LaTeX's \keyindex{flushbottom} +and which is done by default working with \verb|plain.tex|). Then the +vertical space between the staffs is changed to get the first staff on page +on top and the last staff on page to bottom (depends on \keyindex{vsize}). +It might be clever to insert a \keyindex{eject} before the \keyindex{bye}. +\keyindex{musicparskip} set between two systems no extra distance, but the +possibility to increase the distance up to \verb|5\Interligne|. +\end{enumerate} +\noindent +Besides, following values of e.g.~paper size are changed +(only if you \ital{do not} work with \LaTeX) to: +\begin{quote}\begin{verbatim} +\parindent= 0pt +\hoffset= -15.4mm +\voffset= -10mm +\hsize= 190mm +\vsize= 260mm +\end{verbatim}\end{quote} +\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset} +\zkeyindex{hsize}\zkeyindex{vsize} + + %\check + +\subsection{How to adjust the global line and page layout}\index{page and line +layout (global)} + + Once you have made your whole score, you will probably find out that all +systems (all ``lines'') have a correct layout with nice beams, nice slurs, and +others. But it is likely that: + \begin{itemize} + \item The result takes too many or too few pages and you estimate a more or +less compact score would be suitable. + \item The results takes a convenient number of pages, but the last page +exhibits a widow line or an ugly blank space at the end. + \end{itemize} + + To solve this, you may revert to two strategies: + \begin{enumerate} + \item Explicitely force line and page breaking at the very places you like; + this can be done using \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| +or \verb|\zalapage| commands. This can also be done using the +\verb|\autolines| command imported from \musictex\ and provided in the {\tt +musixcpt.tex} additional file. But this way of doing may result in +unfortunately uneven distribution of the notes in the score, which is therefore +not very smart. + \item Adapt both the \keyindex{mulooseness} and the global value of +\keyindex{elemskip}: increasing \verb|\mulooseness| (whose default is 0) +increases the total number of systems, and if you are clever you may be able +to fill an integer number of pages. Besides, increasing the stated +\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) also +makes note spacing wider, and its advantage is that you can tune it by half a +percent if needed. + +\begin{remark} \verb|\elemskip| can be retrieved in both the first and the third +pass (second \TeX-ing pass), but any assignment of a value (a dimension value) +to \verb|\elemskip| will be of no effect at third pass, since it is taken from +the {\tt *.mx2} file yielded by {\tt musixflx}. On the contrary, assigning a +value to \keyindex{noteskip} within \verb|\notes...\enotes| is efficient in +both passes, and cause some weird errors if you mix up scalable and not +scalable dimensions. + \end{remark} + \end{enumerate} + %\check + +\section{Changing score attributes} + + As seen before, you can change the signature of the whole set of instruments +by \keyindex{generalsignature}~$n$ where $n>0$ means a number of sharps, $n<0$ +means a number of flats. Or, you may prefer to change the signature of only +one or two instruments by the statement: + +\keyindex{setsign} $n$\verb|{|$s$\verb|}| + + %\check + +\noindent + where $n$ is the number of the instrument considered, and $s$ its +specific signature. Since you may change simultaneously (with respect to the +score) but consecutively (with respect to your code) the signatures of +several instruments, this change takes place only when you say +\keyindex{changesignature} (within a bar) or \keyindex{changecontext} (after +a single vertical rule) or \keyindex{Changecontext} (after a double vertical +rule) or \keyindex{zchangecontext} (without a bar rule\footnote{Old composers +uses the bar rules very rarely}). + + Normally, changing a signature from flats to sharps or sharps to flats or +reducing the number of sharps/flats will produce the convenient set of +naturals to emphasise what is suppressed. This standard feature can be +temporarily inhibited by the command \keyindex{ignorenats} to be issued before +the next {\Bslash changecontext} or {\Bslash changesignature}. + + + In the same way, you may want to change the active clefs. +This is done by + +\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%| + + %\check + +\noindent where $r$ is the number of the instrument, $s_1$ specifies the clef +of the lower staff, $s_2$ the clef of the second staff, etc. $s_1=6$ means the +\ital{bass} clef (\ixem{clef de fa} in French), $s_1=0$ means the \ital{violin} +clef (\ixem{clef de sol} in French), $s_1=1$ through $s_1=4$ mean the +\ital{alto} clef (\ixem{clef d'ut} in French) set on first (lower) through +fourth (next to upper line of the staff), $s_1=5$ or $s_1=6$ mean the bass clef +on the third or fourth line respectively.\index{violin clef}\index{bass +clef}\index{alto clef} + + As seen above in the case of signatures, several clefs may be changed at the +same time; thus all the clef changes become operational only when the macro +\keyindex{changeclefs} is coded. Normal usage consists in issuing this +command before the bar, not after (this helps the music player when the +change happens across a line break). + %\check + + The \verb|\changeclefs| command normally takes some horizontal space to put +one of more clef symbols, but it may happen that you have no notes +immediately before on the staff whose clef is changed. In that case, you can +use \keyindex{zchangeclefs} which performs the same posting, overwritten left on +the last part of the score in that staff. Of course it is your responsibility +to ensure that no notes will collide with the clef change symbols. + %\check + +The \musictex\ problem if a clef change is coded while one or several beams +are pending has been removed in \musixtex. As an enhanced example, we provide +an excerpt of {\sc Brahms}'s Intermezzo op.~117,1 initially coded by Miguel +{\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip + +\begin{music} +\setstaffs1{2} +\interstaff{11} +\setclef1\bass % F- and G-clefs +\generalsignature{-3}% 3 flats +\parindent-4mm +\advance\hsize8mm +\startpiece +\qspace\nspace +\Notes\arpeggio E5\ibslurd0o\zq{EI}\qu N% + \nextstaff\ibl0e{-2}\zq{eg}\qb0l\zq d\qb0k\enotes +\setclef1\treble\zchangeclefs +\nspace +\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes +\notes\curve{-4}22\invertslur0\tslur0t\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes +\setclef1\bass\changeclefs +\notes\islurd0k\zq E\cu I\nextstaff + \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes +\bar +\Notes\ibu0L{-2}\zq{EI}\qb0M\zqb0L% + \nextstaff{\stemlength4\zql N}\ibu1f{-2}\qb1f\tbu1\zqb1e\hsk\enotes +\setclef1\treble\changeclefs +\nspace +\Notes\tbu0\zq{Me}\qb0g\nextstaff\zq{ln}\cl s\en +\notes\curve{-4}22\invertslur0\tslur0q\zq{be}\qu i\nextstaff\zq{ln}\ql s\en +\setclef1\bass\changeclefs +\notes\islurd0m\zq G\cu L\nextstaff + \ibbu1j3\zq c\qb1j\tbu1\zq d\qb1k\enotes +\bar +\Notes\zq G\qu L% + \nextstaff\ibl0e{-2}\zq{ei}\qb0l\zq d\zqb0k\enotes +\setclef1\treble\changeclefs +\nspace +\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes +\notes\curve{-5}22\invertslur0\tslur0o\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes +\setclef1\bass \changeclefs +\notes\zq B\cu I\nextstaff\ibsluru0j% + \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes +\bar +\Notes\zq{IL}\ql N\nextstaff\zql b\ibu0i{-2}\qb0i\enotes +\scale{.5}% +\Notes\nextstaff\qb0e\enotes +\Notes\nextstaff\tinynotesize\isluru1f\grcu g\enotes +\scale\normalvalue +\Notes\zq B\cu I\nextstaff\zcl a\tslur1f\tbu0\zq d\qb0f\enotes +\Notesp\zq E\qu I\nextstaff\tslur0e\zq N\zql e\ibu0g6\qbp0e\enotes +\notes\sk\icresc\cu E\sk\zmidstaff\tcresc\nextstaff + \ibsluru0i\nbbu0\qb0g\zq i\zcl g\qb0i\tbu0\qb0n\tubslur0k\enotes +\endpiece +\end{music} + + +\noindent The first bar of this excerpt was coded as: + + \begin{verbatim} +\begin{music} +\instrumentnumber{1} +\setstaffs1{2} +\interstaff{11} +\setclef1\bass % F- and G-clefs +\generalsignature{-3}% 3 flats +\parindent0pt +\startpiece +\qspace\nspace +\Notes\arpeggio E5\ibslurd0o\zq{EI}\qu N% + \nextstaff\ibl0e{-2}\zq{eg}\qb0l\zq d\qb0k\enotes +\setclef1\treble\zchangeclefs +\nspace +\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes +\notes\invertslur0\tslur0t\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes +\setclef1\bass \changeclefs +\notes\islurd0k\zq E\cu I\nextstaff + \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes +\end{music}\end{verbatim}% +\ital{Meter} changes are implemented in following way: + +\keyindex{setmeter} $n$% + \verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}%| + +\noindent + where $n$ is the number of the instrument, $m1$ specifies the meter +of the lower staff, $m2$ the meter of the second staff, etc. (if necessary!). + +Since meter changes +are meaningful only across bars, they are actually taken in account with +\keyindex{changecontext} or \keyindex{Changecontext} or +\keyindex{zchangecontext} or \keyindex{alaligne} or \keyindex{alapage}. + +\section{Repeats} + +To insert a \ital{repeat bar} you can use following sets of procedures, +namely \keyindex{leftrepeat}, \keyindex{rightrepeat} and +\keyindex{leftrightrepeat}, which are substitute the \keyindex{bar}. +For example: + +\begin{music} +\startextract +\NOTes\ha g\enotes +\leftrepeat +\NOTes\ha h\enotes +\leftrightrepeat +\NOTes\ha i\enotes +\rightrepeat +\NOTEs\wh j\enotes +\endextract +\end{music} + \noindent has been coded as: +\begin{quote}\begin{verbatim} +\NOTes\ha g\enotes +\leftrepeat +\NOTes\ha h\enotes +\leftrightrepeat +\NOTes\ha i\enotes +\rightrepeat +\NOTEs\wh j\enotes +\end{verbatim}\end{quote} +Special cases are forced line breaks: +if you want to force a new line at a repeat, you should code +respectively: + +\begin{quote} +\noindent\keyindex{setrightrepeat}\keyindex{alaligne}\\ +\keyindex{setrightrepeat}\keyindex{endpiece}\\ +\keyindex{alaligne}\keyindex{leftrepeat}\\ +\keyindex{contpiece}\keyindex{leftrepeat}\\ +\keyindex{startpiece}\keyindex{leftrepeat} +\end{quote} + +\noindent or the combination of two of these in the case of a left/right +repeat. + + A second way of coding consists in saying \keyindex{setleftrepeat}, +\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before a bar +(\keyindex{bar}), \keyindex{stoppiece} or \keyindex{changecontext}). In +this case, the next single vertical bar will be replaced with the selected +repeat bar. This meets the traditional music typesetting conventions in the +only case of the \ital{right repeat} but, unfortunately, left and left/right +repeats use to behave in a different manner when in the middle of a line and +at a line break. + + \subsection{Specific first and second pass scoring} + +\RuleOn +A frequent situation consists in a long part of score repeated two or several +times, but its last few bars are different at first pass and at second pass. +This can be specified by saying +\keyindex{setvolta}\verb|{|\ital{text}\verb|}| before the \keyindex{bar} +beginning the part specific to that first or second part\footnote{The word +``volta'' comes from Italian, it means ``time'' in the sense of ``first +time'', ``second time'' or ``pass'' in that case.}. + + Then, only one bar has a horizontal rule above. No termination command is +needed since termination is implied by the following \verb|\bar| or repeat +symbol. For example: + +\medskip \begin{music} + \parindent0pt \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat + \NOTEs\wh d\en\bar + \NOTEs\wh e\en\Endpiece +\end{music} +which was coded as: + \begin{quote}\begin{verbatim} + \parindent0pt \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat + \NOTEs\wh d\en\bar + \NOTEs\wh e\en\Endpiece +\end{verbatim}\end{quote} + + + + If the music typesetter wants to include more than one bar in the first +pass[es] section and he wants all these to have a continuous line above, then +he can code \keyindex{Setvolta}\verb|{|\ital{text}\verb|}| before the bar he +wants the ``volta'' to begin, and put \keyindex{setendvolta} or +\keyindex{setendvoltabox} before the bar they should end. +\keyindex{setendvoltabox} makes the upper line to be terminated with a +descending hook, symmetrical to the opening small vertical bar. + + +\medskip \begin{music} + \parindent0pt + \startpiece + \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvoltabox{1.-3}\bar + \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat + \NOTEs\wh d\en\doublebar + \NOTEs\wh e\en\bar + \NOTEs\wh f\en\leftrepeat + \NOTEs\wh g\en\bar + \NOTEs\wh h\en\Setvolta1\bar + \NOTEs\wh i\en\bar + \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat + \NOTEs\wh i\en\bar + \NOTEs\wh h\en\setendvoltabox + \Endpiece + \end{music} + \noindent has been +coded as: + \begin{quote}\begin{verbatim} + \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvoltabox{1.-3}\bar + \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat + \NOTEs\wh d\en\doublebar + \NOTEs\wh e\en\bar + \NOTEs\wh f\en\leftrepeat + \NOTEs\wh g\en\bar + \NOTEs\wh h\en\Setvolta1\bar + \NOTEs\wh i\en\bar + \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat + \NOTEs\wh i\en\bar + \NOTEs\wh h\en\setendvoltabox + \Endpiece +\end{verbatim}\end{quote} + \zkeyindex{leftrepeat}\zkeyindex{rightrepeat} The +``volta'' symbols are normally set at \verb|4\internote| above the upper line +of the staff and one bar(length?) wide. + + The final down hook is stated, either by \keyindex{setendvoltabox} at the end, +or \keyindex{setvoltabox} at the beginning. + +\begin{important} + You are no more allowed to open \verb|\Setvolta| or \verb|\setvoltabox| whan +another of these multi-bar volta is pending. To re-open a \verb|\Setvolta| at +the ens of another one, you must explicitly order the first one to be closed +at the end of the bar where the second one is opened. Given examples had to be +corrected in order to meet this new safety requirement. + +\end{important} + + For the sake of portability, \keyindex{endvolta} is identical ti +\verb|\setendvolta|, and \keyindex{endvoltabox} is identical to +\verb|\setendvoltabox|. Theses changes in the names ar intended to recall that +these commant take effect only at the next bar, repeat or line break. + + +\RuleOff + + The altitude of the ``volta'' above the upper staff can +be changed, redefining \keyindex{raisevolta}, e.g.: + + \verb|\def\raisevolta{7\internote}| + + \noindent or define it to be any other valid dimension. + + \medskip\noindent{\sl REMARK: the dot after "volta" numbering can be removed, +simply by saying:} + + \verb|\def|\keyindex{voltadot}\verb| {}| + +\noindent {\sl and reset by:} + + \verb|\def|\keyindex{voltadot}\verb| {.}| + + \subsection{Large scope repeats and orientation marks} + +Large scope repeats have also been provided +with special symbols, namely \keyindex{coda}~$p$, \keyindex{Coda}~$p$, +\keyindex{segno}~$p$, where $p$ specifies the pitch. A bigger symbol is +\keyindex{Segno} with no argument. For example, the following figure + +\begin{music} +\startextract +\NOtes\segno n\enotes +\bar +\NOtes\coda n\enotes +\NOtes\Segno\enotes +\bar +\NOtes\Coda n\enotes +\endextract +\end{music} +\noindent has been coded: +\begin{quote}\begin{verbatim} +\NOtes\segno m\enotes\bar +\NOtes\coda m\enotes +\NOtes\Segno\enotes\bar +\NOtes\Coda m\enotes +\end{verbatim}\end{quote} +Orientation marks are set more often above larger orchestral pieces for +easy come together of all instruments for exercise reasons. Often used are +circled or boxed uppercase characters or digits. This can be done with + +\keyindex{boxit}\verb|{|\ital{text}\verb|}|~~~or\\ +\indent\keyindex{circleit}\verb|{|\ital{text}\verb|}| + +\noindent The distance between the box and the including text is influenced by + +\keyindex{boxitsep}\verb|=|\ital{any \TeX\ dimension} + +\noindent which is setup by default to \verb|3pt|. The usage is recommended +with \keyindex{Uptext}, \keyindex{zcharnote}, \keyindex{zchar} or +\keyindex{ccharnote}. + +\subsection{Repeating the last bar} + This can be done using the symbol \keyindex{duevolte} (often used with +\verb|\centerbar|, see example in \ref{barcentered}, p. +\pageref{barcentered}), e.g.: + +\begin{music} +\generalmeter\meterC +\setclef1\bass\setstaffs1{2} +\startextract +\NOtes\sk\sk\pause|\qa{cegj}\en +\bar\NOtes\qa{cdef}|\sk\sk\duevolte\en +\endextract +\end{music} +whose coding is: +\begin{quote}\begin{verbatim} +\generalmeter\meterC +\setclef1\bass\setstaffs1{2} +\startextract +\NOtes\sk\sk\pause|\qa{cegj}\en +\bar\NOtes\qa{cdef}|\sk\sk\duevolte\en +\endextract +\end{verbatim}\end{quote} + + %\check + +\section{Miscellaneous} + \subsection{Putting anything anywhere} +\noindent Special macros are provided to help the composer to set any \TeX\ +text on the staffs. The macro + +\keyindex{zcharnote}~$p$\verb|{|text\verb|}| + +\noindent +sets the given text with its base line at pitch $p$ of the current staff +(this means it must be coded inside \verb|\notes...\enotes|). +Whatever the length of the text, no spacing occurs. +If you want the possible spilling text to expand on the left rather than +on the right, then you can use \keyindex{lcharnote}. +If you want the possible spilling text centered to current position, +then you can use \keyindex{ccharnote} which causes no space. + +The macro \keyindex{zcharnote} is fit for coding special notations like +accents above or below the notes. Also available are \keyindex{zchar}, +\keyindex{lchar} and \keyindex{cchar}, which +allows only numbers for pitch, but enables the use of floats too. + +To place some text at the mid-position between the two staffs of +a keyboard instrument, you may code: +\begin{quote} +\keyindex{zmidstaff}\verb|{|{\it text}\verb|}%| (to right)\\ +\keyindex{lmidstaff}\verb|{|{\it text}\verb|}%| (to left)\\ +\keyindex{cmidstaff}\verb|{|{\it text}\verb|}%| (centred) +\end{quote} +\noindent being however +careful, a) to put it inside \verb|\notes...\enotes|, b) to code it in the +text of the lower staff. + + A text to be put above the current staff is introduced by +\keyindex{uptext}\verb|{...}|. +This may however cause some collision with bar +numbering or notes above the staff; it is then wise to use +\keyindex{Uptext}\verb|{...}| +which puts the text two note line distances higher (recommended to post +the tempo). + \subsection{Fonts} The text fonts loaded by \musixtex\ come in six different +type sizes and three styles. The type sizes are 8\,pt, 10\,pt, 12\,pt, 14\,pt, +17\,pt and 25\,pt, while the three styles are roman, bold and italic. The +three smaller type sizes are available in all three styles, while the larger +three sizes, which are intended for titles, are available only in bold style. +The size selection macros are respectively \keyindex{smalltype}, +\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype}, +\keyindex{Bigtype} , +\keyindex{BIgtype} and \keyindex{BIGtype}. Following the size selection, the +style may be selected or changed using \keyindex{rm} (roman), \keyindex{bf} +(bold) or \keyindex{it} (italic). If no style selection is made, roman style +will result for the sizes smaller than \verb|\medtype|. For the larger sizes, +style selection is not required since only bold style is provided. Thus, +selection of eight point italic is done using \verb|\smalltype\it|, while +twelve point roman is selected using \verb|\medtype\rm| or simply +\verb|\medtype|. To change between styles while maintaining the same size, +code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX. This information +is summarized in the following table. + +\begin{center} + \begin{tabular}{clc} + \hline + Size, pt & Size selection & Style selection \\ + \hline + 8 & \verb|\smalltype| & \verb|\rm, \bf, \it| \\ + 10 & \verb|\normtype| & \verb|\rm, \bf, \it| \\ + 12 & \verb|\medtype| & \verb|\rm, \bf, \it| \\ + 14 & \verb|\bigtype| & \verb| (\bf) | \\ + 17 & \verb|\Bigtype| & \verb| (\bf) | \\ + 20 & \verb|\BIgtype| & \verb| (\bf) | \\ + 25 & \verb|\BIGtype| & \verb| (\bf) | \\ + \hline + \end{tabular} \end{center} Two other text fonts are provided for dynamic +markings. These are \keyindex{ppffsixteen}, \keyindex{ppfftwenty} and +\keyindex{ppfftwentyfour}, suitable for dynamic markings with staff sizes of +16\,pt, 20\,pt and 24\,pt respectively. The appropriate font for the current +staff size may be selected by coding \keyindex{ppff}. + +Naturally other fonts may be loaded by the user if required. +When \musixtex\ is started, the default text font is +ten point roman, equivalent to \verb|\normtype\rm|. + \subsubsection{Examples} +\begin{center} + \begin{tabular}{ll} + \hline + Size and style & Example \\ + \hline + \verb|\smalltype| & {\smalltype small roman} \\ + \verb|\smalltype\bf| & {\smalltype\bf small bold} \\ + \verb|\smalltype\it| & {\smalltype\it small italic} \\ + \verb|\normtype| & {\normtype normal roman} \\ + \verb|\normtype\bf| & {\normtype\bf normal bold} \\ + \verb|\normtype\it| & {\normtype\it normal italic}\\ + \verb|\medtype| & {\medtype medium roman} \\ + \verb|\medtype\bf| & {\medtype\bf medium bold} \\ + \verb|\medtype\it| & {\medtype\it medium italic}\\ + \verb|\bigtype| & {\bigtype big bold} \\ + \verb|\Bigtype| & {\Bigtype Big bold} \\ + \verb|\BIgtype| & {\BIgtype BIg bold} \\ + \verb|\BIGtype| & {\BIGtype BIG bold} \\ + \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\ + \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\ + \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\ + \hline + \end{tabular} +\end{center} + \subsection{Metronomic indications} +Metronomic indication deserves a special macro. The mention: + +\medskip +\centerline{\def\nbinstruments{0}\metron{\hup}{60}}\smallskip\noindent +is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in +\keyindex{Uptext} which is in turn embedded within \verb|\notes...\enotes|). + \subsection{Accents} +\begin{itemize} + \item \keyindex{upz}~$p$ (upper \ital{pizzicato}) to put a dot above a note +head at pitch $p$, + \item \keyindex{lpz}~$p$ (lower \ital{pizzicato}) to put a dot below a note +head at pitch $p$, + \item \keyindex{usf}~$p$ (upper \itxem{sforzando}) to put a $>$ accent above +a note head at pitch $p$, + \item \keyindex{lsf}~$p$ (lower \itxem{sforzando}) to put a $>$ accent below +a note head at pitch $p$, + \item \keyindex{ust}~$p$ (upper \itxem{staccato} or \itxem{portato}) to put a +hyphen above a note head at pitch $p$, + \item \keyindex{lst}~$p$ (lower \ital{staccato} or \ital{portato}) to put a +hyphen below a note head at pitch $p$, + \item \keyindex{uppz}~$p$ (upper strong \ital{pizzicato}) to put an +apostrophe above a note head at pitch $p$, + \item \keyindex{lppz}~$p$ (lower strong \ital{pizzicato}) to put a reversed +apostrophe below a note head at pitch $p$. + \item \keyindex{usfz}~$p$ (upper \ital{sforzato}) to put a +`roof' above a note head at pitch $p$, + \item \keyindex{lsfz}~$p$ (lower \ital{sforzato}) to put a reversed +`roof' below a note head at pitch $p$. + \item \keyindex{upzst}~$p$ (upper \ital{portato/staccato}) to put a +combined portato/staccato sign above a note head at pitch $p$, + \item \keyindex{lpzst}~$p$ (lower \ital{portato/staccato}) to put a +combined portato/staccato sign below a note head at pitch $p$. + \item \keyindex{flageolett}~$p$ to put a +thin circle above a note head at pitch $p$. + \item \keyindex{upbow} to indicate a bowing for strings in upper direction. + \item \keyindex{downbow} opposite to {\Bslash upbow}. +\end{itemize} +Because whole notes (breve, arbitrary, ...) have a different note head width +the accents appear not centered above them. Therefore you can use +\keyindex{wholeshift}\verb|{|\ital{text}\verb|}| which centers accents +and others +which are centered above a quarter note head to appear centered above +a whole note. This is used for e.g.~\verb|\Fermataup|. + +Also available are the variants\footnote{Thanks to Klaus {\sc Bechert}'s +corrections.} of the most used accents which will be automatically positioned +above or below a beam. Therefore the known accents are preceeded with the +letter `b' and, instead of the pitch, the beam reference number is appended as +an argument. Thus + +\medskip +\begin{music} +\startextract +\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% + \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en +\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% + \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en +\endextract +\end{music} +\noindent was coded as: +\begin{verbatim} +\startextract +\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% + \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en +\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% + \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en +\endextract +\end{verbatim} +\zkeyindex{busfz} +\zkeyindex{bupz} +\zkeyindex{bust} +\zkeyindex{buppz} +\zkeyindex{busf} +\zkeyindex{butext} +\zkeyindex{blsfz} +\zkeyindex{blpz} +\zkeyindex{blst} +\zkeyindex{blppz} +\zkeyindex{blsf} +\zkeyindex{bltext} + \subsection{*Indication of \ital{x}-tuplets} + + Triplets and other $x$-tuplets --- in practice the italic numbers \ital{3}, +\ital{4}, \ital{5}, etc. can be set at the right horizontal/vertical position +invoking the \keyindex{triolet} or \keyindex{xtuplet} macros at the leftmost +position of the group, i.e. before the first note is coded. + + {\Bslash triolet} has only one argument, the pitch of the bottom of the +figure 3, {\Bslash xtuplet} has two arguments: the figure and its pitch. + +If the figure has to be put above an upper beam or below a lower beam, using +the macros \keyindex{butext} (above) and \keyindex{bltext} (below) is advisable +to post the figure above or below the given beam. {\Bslash butext} +and {\Bslash bltext} have one argument, namely the beam number (namely the +same as the first argument of commands such as {\Bslash ibu} or {\Bslash +Ibu}). If the group of notes is not a triolet, the actual figure has to be +changed, redefining the macro \keyindex{txt} which is set up by default to: + +\verb|\def\txt{\eightit 3}%| + +\begin{music} +\parindent0mm +\generalmeter{\meterfrac24} +\startpiece +\addspace\afterruleskip +\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar +\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en +\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar +\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar +\Notesp\uptrio o16\ql l\en\notesp\cl n\en +\Notesp\uptrio p16\ql m\en\notesp\cl o\en +\endpiece +\begin{quote}\begin{verbatim} +\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar +\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en +\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar +\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar +\Notesp\uptrio o16\ql l\en\notesp\cl n\en +\Notesp\uptrio p16\ql m\en\notesp\cl o\en +\end{verbatim}\end{quote} +\end{music} +\zkeyindex{xtuplet}\zkeyindex{triolet} +%\xtuplet{text}{pitch} +% centers text(3 on second note, 4 between second and thirdnote, +% 5 on third note) on notes (-> \triolet{pitch}) + \subsection{*Usual ornaments} + + \subsubsection{Arpeggios} +\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro + +\keyindex{arpeggio} $pm$ + +\noindent where $p$ is the pitch of +the base of the arpeggio symbol and $m$ is its multiplicity (one period is +equal to one space between staff lines, i.e. 5 points). This macro causes +no spacing. If should be issued before the concerned +chords. Its variant \keyindex{larpeggio} sets the arpeggio symbol nearly +one note head width on the left, in order to avoid collision with accidentals +in front of the chords. + + \subsubsection{Trills} + Trills\index{trills} can be coded in several ways. +\keyindex{trille}~$pl$ (where $p$ is the pitch and $l$ is a number of current +\ital{noteskip}) yields \hbox to 1cm{\noteskip1cm\trille11\hss} while +\keyindex{Trille}~$pl$ yields \hbox to 2cm{\noteskip1cm\Trille12\hss}. + + For longer trills expanding over bars and line breaks, a better way consists +in specifying the beginning with \keyindex{Itrille}~$np$ where $n$ is the +trill reference number ($0\le n<6=$\keyindex{maxtrills}) and terminate it with +the command \keyindex{Ttrille}~$n$. If one wants the {\it tr} mention at the +beginning, then one should use \keyindex{ITrille}~$np$. The ancient commands +\keyindex{itrille}, \keyindex{ttrille}~$p$ and \keyindex{tTrille}~$p$ still +work but beware that their syntax is different, that the opening and the +closing must be in the same bar and that the use the same registers as +\verb|\Itrille 0|. + +\medskip +\begin{remark} \verb|trille| and \verb|Trille| also exist in \musictex. +Unfortunately, the same macro names do not have the same syntax and the same +semantic in both packages and {\ttxem{musixcpt.tex}} forces the behaviour and +the syntax of \musictex. A solution to this problem consists in using +\keyindex{trilleC} and \keyindex{TrilleC} to have the \musictex{} behaviour, +and \keyindex{trilleX} and \keyindex{TrilleX} to have the \musixtex{} +behaviour, even when {\tt musixcpt} is invoked. +\end{remark} + +For example: + +\medskip + \begin{music} +\instrumentnumber{1} +\setstaffs12 +\setclef1{6000} +% +\startextract +\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\enotes +\bar +\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\enotes +\bar +\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\enotes +\bar +\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\enotes +\endextract +\end{music} +whose coding is +\begin{quote}\begin{verbatim} +\begin{music} +\instrumentnumber{1} +\setstaffs12 +\setclef1{6000} +% +\startextract +\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\enotes +\bar +\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\enotes +\bar +\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\enotes +\bar +\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\enotes +\endextract +\end{verbatim}\end{quote} + + \subsubsection{Piano pedal commands} + \keyindex{PED} inserts the piano pedal command below the staff; pedal release +is specified by \keyindex{DEP}; also available are shorter variants of the +pedal signs which are invoked with \keyindex{sPED} and \keyindex{sDEP}; thus +the following example + +\begin{music} +\setclef1\bass +\setstaffs1{2} +\startextract +\NOtes\PED\wh J|\qu h\enotes +\NOtes|\qu g\enotes +\NOtes|\hu k\enotes +\Notes\DEP\enotes +\bar +\NOtes\sPED\wh J|\qu h\enotes +\NOtes|\qu g\enotes +\NOtes|\hu k\enotes +\Notes\sDEP\enotes +\endextract +\end{music} + \noindent was coded as: \begin{quote}\begin{verbatim} + \NOtes\PED\wh J|\qu +h\enotes + \NOtes|\qu g\enotes + \NOtes|\hu k\enotes + \Notes\DEP\enotes \bar + \NOtes\sPED\wh J|\qu h\enotes + \NOtes|\qu g\enotes + \NOtes|\hu k\enotes + \Notes\sDEP\enotes + \end{verbatim}\end{quote} + + The vertical position of +\keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be +globally changed by redefining its elevation, which is setup by default to + +\verb|\def|\keyindex{raiseped}\verb|{-5}%| + +If you only want to change a few of them, you can use the more fundamental +macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep} +in combination with \keyindex{zchar} or \keyindex{zcharnote}. + + Since the \hbox to 1cm{ \Ped\hss} symbol is rather wide, it might collide +with bass notes in an ugly way. Then a solution consists in shifting if to the +left, by coding \verb|\loff{\PED}|. + + \subsubsection{Other ornaments}\index{ornaments} + + \begin{itemize} + \item \keyindex{mordent}~$p$ for \hbox to .75em{\mordent 0\hss}, + \item \keyindex{Mordent}~$p$ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, + \item \keyindex{shake}~$p$ for \hbox to .75em{\shake 0\hss}, + \item \keyindex{Shake}~$p$ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, + \item \keyindex{Shakel}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, + \item \keyindex{Shakesw}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, + \item \keyindex{Shakene}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, + \item \keyindex{Shakenw}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, + \item \keyindex{turn}~$p$ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, + \item \keyindex{backturn}~$p$ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}, + \item \keyindex{fermataup}~$p$ puts a \itxem{fermata} at pitch $p$. +No spacing occurs. + \item \keyindex{fermatadown}~$p$ puts a reverse \ital{fermata} at the same +place. + \item \keyindex{Fermataup}~$p$ puts a \itxem{fermata} at pitch $p$ centered +above a whole note. No spacing occurs. + \item \keyindex{Fermatadown}~$p$ puts a reverse \ital{fermata} at the same +place. + \item A big \itxem{breathing} comma can be put above the staff --- to +indicate where the singer is welcome to breath, or to indicate a short rest +--- using \keyindex{zbreath} (no spacing) or \keyindex{cbreath} (centred in a +\verb|\noteskip| space). The \musictex\ \keyindex{breath} is no more available +since it involved a ``hard'' spacing of the width of that character, which +resulted in troubles with \musixtex. + + \item The \keyindex{caesura} command can also be used to insert a small +slash, such as + +\begin{music} +\startextract +\NOTes\zhu j\hl{^e}\caesura\en +\Notes\zcu j\cl e\en +\endextract +\end{music} + + \end{itemize} + + \subsection{Dynamic signs} Various +dynamic signs can be posted with +\keyindex{crescendo}\verb|{|$l$\verb|}| or +\keyindex{decrescendo}\verb|{|$l$\verb|}|, to be used as arguments to +\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc. + +Note: The biggest sign is $\simeq$ 68 mm long. + +Alternately they can be produced using the pair of \keyindex{icresc} and +\keyindex{tcresc} or \keyindex{tdecresc}. Saying one time \verb|\icresc| you +can force several \verb|\tcresc| or \verb|\tdecresc| with the same starting +abscissa. Tha altitude of the [de]crescendo symbol is specified, not by the +\verb|\icresc| macro which only defines the stating abscissa, but by the +\verb|\tcresc| or \verb|\tdecresc| which is normally lifted up or down by +means of a \verb|\zmidstaff| or a \verb|\zcharnote| command whose first +argument has to be adjusted according to your visual needs. + +\begin{music} +\parindent0pt +\generalmeter{\meterfrac{12}8} +\setstaffs1{2} +\startextract +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en +\endextract +\end{music} +\noindent which was coded as: +\begin{verbatim} +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en +\end{verbatim} + +\begin{music} +\parindent0pt +\generalmeter{\meterfrac{12}8} +\setstaffs1{2} +\startextract +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en +\endextract +\end{music} +\noindent which was coded as: +\begin{verbatim} +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en +\end{verbatim} + + + Intensity conventional signs are: \keyindex{ppp}, +\keyindex{pppp}, +\keyindex{ppp}, +\keyindex{pp}, +\keyindex{p}, +\keyindex{mp}, +\keyindex{mf}, +\keyindex{f}, +\keyindex{fp}, +\keyindex{sF}, +\keyindex{ff}, +\keyindex{fff}, +\keyindex{ffff}, resulting in \pppp, \ppp, \pp, +\p, +\mezzopiano, +\mf, +\f, +\fp, +\sF, +\ff, +\fff\ and +\ffff. + + + \subsection{Length of note stems} + +%\begin{changebar} + +Normally, the length of note stems is the distance of one octave, i.e. +\verb|7\internote|. This is equivalent to 4.66 \keyindex{interbeam}. The +length of the stems may be changed using the macro \keyindex{stemlength}, e.g.: + + \verb|\stemlength{5.2}| + + \noindent which will set the stemlength to 5.2 \verb|\interbeam|. The default + is +\keyindex{stemlength}\verb|{4.66}|. + +Choral music with four voices is often typeset into two staffs. Thus, each +staff holds two voices, one being typeset with stems up, the other with stems +down. If the command \keyindex{stemcut} has been previously issued, stems that +are outside the staff are cut depending on the pitch of the notes. If this is +not wanted, this feature may be suppressed with the command +\keyindex{nostemcut}. The default behaviour is \keyindex{stemcut} in plain +\musixtex, and \keyindex{nostemcut} when {\ttxem{musixcpt.tex}} is invoked. + +Normally, down stems never end above the middle line of the staff and up stems +never below that line. This extension of the stems may be inhibited for the +next generated stem using the command \keyindex{stdstemfalse}. There is no +\keyindex{stdstemtrue} since \keyindex{stdstemfalse} is reset after +generating each new stem. + +%\end{changebar} + + + \subsection{*Brackets and parentheses} + + +Several brackets and parentheses have been provided for musical typesetting +needs. These are: + \begin{itemize} + \item \keyindex{lpar}\verb|{|$p$\verb|}| and +\keyindex{rpar}\verb|{|$p$\verb|}| which yield small +parenthesis to enclose notes. These are used for \ital{cautionary} accidentals +but more comprehensive macros fulfill that specific purpose (see \ref{cautionary}) + \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| to post square +brackets of width $n$-internotes at left of a chord. Usually these brackets +are used on keyboard instruments to specify, either two neighbouring notes +played with a single finger, or some chord notes to be played with the +alternate hand. + \item \keyindex{doublethumb}\verb|{|$p$\verb|}|, to indicate a bracket of +height 2\verb|\internote|. + \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and +\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| +draw a bracket over the music starting at the current position at pitch $p$, +width $n\times$\verb|noteskip| and slope $s$ (1 $\sim$ 1.125[degree]). +causing no space. + \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and +\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|, which are like +\verb|\ovbkt| but with free definable \keyindex{txt} centers in the middle. + + \item \keyindex{varline} $h$ $\ell$ $s$ builds an oblique line of height $h$ (a +dimension), of length $\ell$ and of slope $s$. Used to build oblique brackets. + +This feature is particularly useful for people who want to typeset +\itxem{baroque} music using the ancient \itxem{ornament codings} rather than +the modern equivalents. As a compromise, some macros kindly provided by Ian +{\sc Collier} in Great Britain have slightly been updated and provided. + \end{itemize} + + +For example: + +\begin{music} +\setstaffs1{2} +\setclef1\bass +\startextract +\NOtes\bracket C8\zq C\qu J\en +\NOtes|\doublethumb g\rq h\qu g\en +\NOtes\lpar c\rpar c\qu c\en +\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en +\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en +\endextract +\end{music} +\noindent +\begin{quote}\begin{verbatim} +\begin{music} +\setstaffs1{2} +\setclef1{\bass} +\startextract +\NOtes\bracket C8\zq C\qu J\en +\NOtes|\doublethumb g\rq h\qu g\en +\NOtes\lpar c\rpar c\qu c\en +\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en +\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en +\endextract +\end{music} +\end{verbatim}\end{quote} +\begin{remark} if you used \verb|\input musicext| before, pay attention to the +commands \keyindex{ovbkt} and \keyindex{unbkt}, their parameter meaning has +changed from \musictex{} to \musixtex. + \end{remark} + + \subsection{New line synchronization of coding} + The procedure named \keyindex{everystaff} is executed each time a new system +is typed. It is normally void, but it can be defined (simply by \verb|\def|% +\keyindex{everystaff}\verb|{...}|) to tell \musixtex\ to post anything +reasonable at the beginning of each system. It was used in the example +{NWIDOR} to post octaviation dashed lines at the end of the piece. + +Caution should be exercised to call \verb|\everystaff| before +\verb|\startpiece| if its effect is needed for the first system of the score. + + The procedure named \keyindex{atnextline}, normally void, is executed at the +next computed or forced line break (using +\keyindex{alaligne} or \keyindex{alapage}). More precisely, it is executed +after the break and before the next system is typed. Thus it is fit for +posting new definitions of layout parameters, when no system is +pending\footnote{Its logic is similar to plain \TeX's \keyindex{vadjust} +command.}. + + \index{tenor violin clef}In some scores, tenor parts are not coded using the +\ital{bass} clef, but using rather the \ital{violin clef} subscripted by a +{\tt8}. This is not directly supported by the \keyindex{setclef} +command, but it can be handled using \keyindex{everystaff} and +\keyindex{zcharnote}. +As an example the following score + +\begin{music} +\instrumentnumber{4} +\setclef1\bass +\def\everystaff{% + \znotes&\zchar{-6}{\eightrm\kern-2\Interligne8}% + &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}% +\startextract +\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en +\endextract +\end{music} +\noindent was coded as: +\begin{quote}\begin{verbatim} +\instrumentnumber{4} +\setclef1\bass +\def\everystaff{% + \znotes&\zchar{-6}{\eightrm \kern -2\Interligne 8}% + &\zchar{-6}{\eightrm \kern -2\Interligne 8}\en}% +\startextract +\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en +\endextract +\end{verbatim}\end{quote} + +\noindent{\sl{\bfseries Caution:} the \verb|\everystaff| must be called before +\verb|startpiece| in order to have that subscript at the first staff.} +\section{Small and tiny notes} +Before entering details, let us point out that we are presently concerned with +typing notes of smaller size than the normal one, without attempting to change +the interval between the five lines building a single staff. Changing staff +line interval will be treated in a further section. + \subsection{Cadenzas and explicit ornaments} + Ornaments and \itxem{cadenzas} usually need to be written using smaller +notes\footnote{This is independent of the staff size.}. This can be done +everywhere by stating \keyindex{smallnotesize} or \keyindex{tinynotesize}. +Normal note size is restored by \keyindex{normalnotesize}.\index{ornaments} + + These macros only have a local scope. Thus, if these macros are invoked +outside the \verb|\notes...\enotes| pair, the change is valid for +the rest of the piece unless explicitely modified but, if they are invoked +inside, their effect is local to the current staff of the current +\verb|\notes...\enotes| pair. +As an example, the following excerpt (beginning +of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc +Haydn, J.}} + +\begin{music} +\instrumentnumber{2} +\generalmeter{\meterfrac44} +\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}} +\setstaffs2{2} +\setclef1\bass +\setclef2\bass +\startbarno0 +\startextract +\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en +% mesure 1 +\bar +\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en +\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize + \Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en +\Notes&\qb0e\tbl0\qb0c|\qu j\en +\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en +% mesure 2 +\bar +\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0% + \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en +\notes&|\sk\ccu h\en +\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g% + \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en +\endextract +\end{music} +\noindent can be coded as: +\begin{quote}\begin{verbatim} +\instrumentnumber{2} +\generalmeter{\meterfrac44} +\setstaffs2{2} +\setclef2{\bass} +\setclef1{\bass} +\startbarno=0 +\startextract +\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en +% mesure 1 +\bar +\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en +\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize + \Ibbu1ki2\qb1{kj}\tqh1i\en +\Notes&\qb0e\tbl0\qb0c|\qu j\en +\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en +% mesure 2 +\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0% + \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en +\notes&|\sk\ccu h\en +\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g% + \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en +\endextract +\end{verbatim}\end{quote} + \subsection{Grace notes} + Grace notes are a special case of small and tiny notes: the difference is +that they are always coded as eighth notes with an oblique bar over the flag. +To perform this, special variants of \keyindex{cu} and \keyindex{cl} have been +provided, namely \keyindex{grcu} and \keyindex{grcl}, with the only difference +that the flag has been slashed. Using this together with the note reduction +macro, grace notes (optionally chord grace notes) can be easily coded: + +\begin{music} +\startextract +\NOTes\hu h\enotes +\notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes +\NOTes\hu i\enotes +\bar +\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes +\NOTEs\wh i\enotes +\endextract +\end{music} +The previous example was coded as: +\begin{quote}\begin{verbatim} +\startextract +\NOTes\hu h\enotes +\notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes +\NOTes\hu i\enotes +\bar +\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes +\NOTEs\wh i\enotes +\endextract +\end{verbatim}\end{quote} + \subsection{Other note shapes}\label{othernotes} The classical note heads +given above --- namely \raise.5ex\hbox{\musixchar7}~~, \raise.5ex +\hbox{\musixchar8}~~ and \raise.5ex\hbox{\musixchar9}~~~ +--- can be replaced with less classical note heads, for example to code +special \itxem{violin harmonic notes} or \itxem{percussion music}. See an +example in \ref{abnormalscores}. + + At present time, alternate available note heads can be found in the +extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}. + +\section{Staff size} \index{staff size} + \subsection{Moving from 20pt to 16pt, 24pt or 29pt staff sizes and +conversely} + You also want to write some parts of your score in 20pt +staff size and others in 16pt or 24pt or 28.8pt staff size, namely +for distinct parts of pieces. Changing the \ixem{general staff size} +is done by saying: + +\keyindex{smallmusicsize}, or \keyindex{normalmusicsize}, or +\keyindex{largemusicsize}, or \keyindex{Largemusicsize}. + +\noindent respectively. + \subsection{Changing staff size for certain instruments}\label{staffspacing} +Regardless of the general choice of \verb|\smallmusicsize| or +\verb|\normalmusicsize|, it is now possible to assign certain instruments -- +not separate staffs belonging to a same instrument -- to have narrower or larger +\itxem{staff size}, i.e. narrower or larger \itxem{staff spacing}. This is done using + +\keyindex{setsize} $n$\verb|{|\ital{size}\verb|}| + +\noindent where $n$ is the number of the instrument considered. Five different +\ital{sizes} are available as standards: \keyindex{normalvalue}, which is +the default, \keyindex{smallvalue} (0.80 times narrower), +\keyindex{tinyvalue} (0.64 times narrower), \keyindex{largevalue} (1.2 times +larger) and \keyindex{Largevalue} (1.44 +times larger). But, if you know perfectly what +you are doing, you can also say: + +\verb|\setsize 3{2.0}| + +\noindent which will provide the third instrument with staffs of spacing +twice the standard value. In that case, \musixtex\ will use the nearest +symbol size available, but this is likely to be rather ugly. + + An alternate +and equivalent coding --- a remnant from \musictex\ --- could be: + +\verb|\def\staffspacingiii{2.0}|\zkeyindex{staffspacing} + + + +\verb|\setsize| must be invoked before the starting command +\verb|\startpiece|, since this statement does not only change the vertical +spacing between staff lines, but it also changes the size of the key, +accidental and note symbols to fit the modified staff line spacing. + + However, it must be emphasized that non-standard staff spacings use the +nearest available font size. This make no serious problem for notes and +accidentals which may be slightly too small or too big, but clefs and rests +may appear to be shifted upwards or downwards. This trouble is progressively +removed, but it requires changing the {\tt musix*} fonts, with some possible +characters forgotten... or the fact that user uses a font older than T.60 +version. + +As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc +Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of +Johann-Sebastian Bach's \ital{Well Tempered Clavier} (transcription for +organ, violin and voice, thanks to Markus {\sc Veittes}):\label{avemaria} + +\begin{music} +\def\oct{\advance\transpose by 7} +\def\liftqs#1{\raise#1\Interligne\qs} +\parindent0pt +\sepbarrules +\instrumentnumber{3} +\generalmeter{\meterC} +\setinterinstrument2{3\Interligne} +\setsize3\tinyvalue +\setsize2\tinyvalue +\setclef1\bass +\setstaffs1{2} +\startpiece\addspace\afterruleskip +%Takt 9 +\notes\zhl c\liftqs6\qupp e|\ds&\oct + \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\enotes +\notes|\ibbl0j3\qb0h\tqb0l\enotes +\notes|\ibbl1k0\qb1{ohl}\tqb1o\enotes +\notes\zhl c\liftqs6\qupp e|\ds&\oct + \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\enotes +\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\enotes +\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\enotes +\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\enotes +\bar +%Takt 10 +\notes\zhl c\liftqs6\qupp d|\ds&\oct + \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\enotes +\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\enotes +\notes|\ibbu2i0\qb2k\qb2f\enotes +\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\enotes +\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\enotes +\notes|\ibbu1g3\qb1f\tqh1h\enotes +\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes +\endpiece +\end{music} + This example was coded as: +\begin{quote}\begin{verbatim} +\def\oct{\advance\transpose by 7} +\def\liftqs#1{\raise#1\Interligne\qs} +\parindent0pt +\sepbarrules +\instrumentnumber{3} +\generalmeter{\meterC} +\setinterinstrument2{3\Interligne} +\setsize3\tinyvalue +\setsize2\tinyvalue +\setclef1\bass +\setstaffs1{2} +\startpiece\addspace\afterruleskip +%Takt 9 +\notes\zhl c\liftqs6\qupp e|\ds&\oct + \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\enotes +\notes|\ibbl0j3\qb0h\tqb0l\enotes +\notes|\ibbl1k0\qb1{ohl}\tqb1o\enotes +\notes\zhl c\liftqs6\qupp e|\ds&\oct + \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\enotes +\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\enotes +\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\enotes +\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\enotes +\bar +%Takt 10 +\notes\zhl c\liftqs6\qupp d|\ds&\oct + \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\enotes +\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\enotes +\notes|\ibbu2i0\qb2k\qb2f\enotes +\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\enotes +\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\enotes +\notes|\ibbu1g3\qb1f\tqh1h\enotes +\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes +\endpiece +\end{verbatim}\end{quote} +\section{Layout parameters} + Most layout parameters are set by \musixtex\ to reasonable default values. +However, sophisticated scores\footnote{To our knowledge, the most complicated +scores are those written for the piano, during the romantic and post-romantic +periods.} may need more place below the lowest staff, between staves, etc. +\def\nochange{(\ital{NOT to be changed})} We give below a short list of the +most significant parameters. + \subsection{List of layout parameters} + \begin{remark} the mention ``\nochange'' does not mean that this parameter +cannot be changed, but that it should not be modified directly, e.g.\ by +saying something like \verb|\Interligne=14pt|. In other words, changing these +parameters must be performed using more comprehensive macros which not only +update them but also perform some other compulsory related changes. + \end{remark} + +\begin{description} + \item[\keyindex{Interligne} :]vertical distance between the base of staff +lines of the current instrument, taking no account of a possible specification +of \keyindex{setsize$n$} \nochange. + \item[\keyindex{internote} :]the vertical spacing of contiguous notes of +the current instrument, taking account of a possible specification of +\keyindex{setsize$n$} \nochange. + \item[\keyindex{Internote} :]the vertical spacing of contiguous notes of +the instrument(s) whose \keyindex{setsize$n$} has the \ital{default +value} of one (\keyindex{normalvalue}), +i.e.\ the half of \verb|\Interligne| \nochange + + \item[\keyindex{staffbotmarg} :]margin below the first staff of the lowest +instrument. Changes are recognized at the next system and default is +\verb|3\Interligne|. + \item[\keyindex{stafftopmarg} :]margin above the upper staff of the upper +instrument. Changes are recognized at the next system and default is +\verb|3\Interligne|. + \item[\keyindex{interbeam} :]vertical distance between beams. \nochange. + \item[\keyindex{interportee} :]the distance between the bottom of one staff and +the bottom of the next one. It is set to +\verb|2|\keyindex{interstaff}\verb|\internote| at the next system. +Therefore, trying to change \verb|\interportee| will have no effect. + %\check + \item[\keyindex{interinstrument} :]the additional vertical distance between +two different instruments. This means that the distance between the upper +staff of the previous instrument and the lowest line of the current +instrument is equal to \keyindex{interportee+\Bslash interinstrument}. This +value is normally zero, but it helps putting additional space between +distinct instruments for the sake of clarity. This is a general dimension +register which holds for each of the vertical spaces between instruments, +except above the upper one, in which case this interval is irrelevant. +As usual in \TeX, it can be set using a command such as + + \verb|\interinstrument=10pt| + + \noindent or + + \verb|\interinstrument=6\internote| + + + However, this general parameter can be overridden for the space above a +specific instrument. For example (see the example {\tt angescao.tex}) one can +state: + +\keyindex{setinterinstrument} $n$\verb|{1\Interligne}| + +\noindent to force an additional spacing of one \verb|\Interligne| +above instrument $n$, whatever the value of \keyindex{interinstrument}. + This feature can usefully be used to have more space before instruments +representing \itxem{voices}, in order to have enough place to put +\itxem{lyrics} without assigning these lyrics a zero staff specific instrument +(useful to avoid having too many declared instruments in a choir score). + + The \verb|\setinterinstrument| is identical to the ancient --- and still +working --- \musictex\ command: + + \verb|\def|\keyindex{interinstrumentiii}\verb|{5\interligne}| + + \noindent to add 5\verb|\interligne| above the 3rd instrument. + %\check + + + \item[\keyindex{systemheight} :]the distance from the bottom of the +lowest staff to the top of the highest staff of the upper instrument. This is +the height of the vertical bars (single, double, repeats, etc.) \nochange. +\end{description} + In addition, when handling notes of a given staff of a given instrument, the +following dimensions are available (note these are not true registers, but +\ital{equivalenced symbols} through a \verb|\def|): +\begin{itemize} + \item\keyindex{altplancher} : the altitude of the lowest line of the lowest +instrument \nochange. + \item\keyindex{altitude} : the altitude of the lowest line of the lowest +staff of the current instrument \nochange. + \item\keyindex{altportee} : the altitude of the lowest line of the current +staff \nochange. + + %??? Next perhaps will change to steps of \verb|\internote|. + + \item\keyindex{stemfactor} : a parameter defining the size of half, quarter +and hooked eighth notes stems. Normally a stem has the length of one octave, +i.e. 3.5\keyindex{Interligne}. However, this is not valid for small size +notes and, therefore, the stem size is related to the \keyindex{interbeam} +dimensions which, in turn, is \ital{normally} equal to 0.75 +\keyindex{Interligne}. Thus the normal value of \keyindex{stemfactor} is +4.66, but it can be shortened for any purpose by saying, for example: + + \keyindex{stemlength}\verb|{3.5}| +\end{itemize} + \subsection{Changing layout parameters} + Most of these values can be changed, but only between the end of the +previous system and the beginning of the next one. This can be inserted +between a \keyindex{stoppiece} (or a \keyindex{endpiece}) +and a \keyindex{contpiece} (or a \keyindex{startpiece}), but it is +wiser to say, for example: + +\verb|\def\atnextline{\stafftopmarg=5\Interligne}| + + The user may prefer to change \keyindex{staffbotmarg} or +to feed \keyindex{interstaff} with a +given integer number, but this can be done only between a +\keyindex{stoppiece} (or a \keyindex{endpiece}) and a +\keyindex{contpiece} (or a \keyindex{startpiece}), but it is wiser to use +\keyindex{atnextline} as previously. + + It is also wise to use \keyindex{atnextline} to change the +number of instruments, the staff spacings, the number of staffs at the next +line... provided that the coding of the notes \ital{resists} an unexpected +line change executing the \keyindex{atnextline}. + \subsection{Changing the staff distance within systems} The vertical +distance of instruments with more than one staff can be changed, either +outside \verb|\startpiece|...\verb|\endpiece| or using \keyindex{atnextline}, +by saying: + +\keyindex{interstaff}\verb|{|$n$\verb|}| + + Then the spacing between the staffs of the instruments will be +$n$\verb|\internote|. Note that \verb|\interstaff| applies to all the +instruments, but each distinct instrument may have a different +\verb|\internote| (see \ref{staffspacing}). + + Note that this command is equivalent to an existing remnant of \musictex, +namely: + + \verb|\def|\keyindex{interfacteur}\verb|{|$n$\verb|}| + + + \medskip The distance between two different +instruments can be increased by saying + +\keyindex{interinstrument}\verb|=|\ital{any \TeX-dimension} + +\noindent for all additional inter-instrument distances, or + +\keyindex{setinterinstrument} $n$\verb|{|\ital{any \TeX-dimension}\verb|}| + +\noindent for single distances. + \subsection{Changing the number of lines in staffs}\index{staff line number} +\label{stafflinenumber} +Unless explicitely specified, staffs consist of five lines, in accordance to +the normal way of coding music scores. However, exceptions might be +preferred when using \musixtex~: + +\begin{itemize} + \item \itxem{gregorian music} is often written using staff of +four lines instead of five\footnote{German: \ital{Quadratnotation}.}, + \item \itxem{percussion music} (e.g.~drums, triangle) needs one, two, three + or five lines, since the pitch cannot change but the number of percussion + instruments. + \item \itxem{guitar tablature} needs six lines. Although \ital{real} guitar + players hate guitar tablature, + for beginners they are a big help. Not ready yet. The lines + are, but not the additional macros. + + \item Early baroque music sometimes uses staffs with 6, 7, or 8 lines. + + \end{itemize} + + Therefore \musixtex\ allows for choosing the number of lines of +the staffs of an instrument. This is done by +\keyindex{setlines}~$n$\verb|{|$N$\verb|}| --- where $n$ is the number of the +wanted instrument as usual --- and $N$ the number of lines of the specific +staff. Allowed numbers are up to 9 lines. For example:\label{gregorian} + +\keyindex{setlines}\verb|2{4}| + +\noindent will make the instrument number 2 to have staffs of four +lines, that is, fit for gregorian music. + \subsection{Resetting normal layout parameters} + Except the general size which +has to be explicitely changed if needed using \keyindex{smallmusicsize}, +\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or +\keyindex{Largemusicsize}, all layout registers are reset to \ixem{default +values} by \keyindex{resetlayout}, which are explicitly: + + \begin{itemize} + \item \keyindex{staffbotmarg} and \keyindex{stafftopmarg} are set to +\verb|3\Interligne|. + \item \keyindex{interstaff} is set to \verb|9|. + \item The number of lines of all instruments are reset to 5. + \item All clef symbols are standard clef symbols. +\end{itemize} +\noindent +Besides, saying \keyindex{begin\LBR music\RBR} invokes \verb|\resetlayout|. + \subsection{Typesetting one-line excerpts rather than large scores} +Very often, what is wanted is not to typeset a large comprehensive score of +several lines and pages, but an excerpt of one or two bars, preferably +centered such as the various examples of this manual. This can be done simply +by replacing \keyindex{startpiece} with +\keyindex{startextract} and \verb|\endpiece| or \verb|\stoppiece| with +\keyindex{endextract}. It is sometimes useful to get more than one excerpt in +one line, this can be done with redefining of \keyindex{extractline}. + +With saying: + +\keyindex{let\Bslash extractline\Bslash hbox} + +\noindent you can put more than one example in one line. Helpful for getting +\itxem{musical footnotes}, which explain the playing of special trills or +give alternative ways of playing, is the redefining to: + +\keyindex{let\Bslash extractline\Bslash leftline} + +Besides, all changes inbetween +\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, +means not global. + + If you want to terminate it without a bar, you code +\keyindex{zendextract} which acts like \verb|\zstoppiece|. + \subsection{*Lyrics}\index{lyrics}\label{lyrics} + While they pose nearly no problem with \musictex\ which works using the glue +facility of \TeX, lyrics raise several serious difficulties with \musixtex. +The reason for that is that lyrics usually consist of \ital{text} which in +turn consists of characters whose width is definitely not stretchable nor +shrinkable proportionally to \verb|\noteskip| or \verb|\elemskip|. + + Thus the width of a sequence of notes like + + \begin{music} + \startextract + \NOTEs\zcharnote{-5}{Words }\qu h\en + \endextract + \end{music} + + \noindent may be either the width of ``{\tt Words }'' with the current font, +or it may be \verb|1\elemskip|, whatever the largest. In the first case, the +width is fixed (see \keyindex{hardspace}), in the second its width is not the +same at \musixtex's first and second passes. But the unfortunate situation is that +\musixtex\ \ital{must} know whether this feature has a \ital{hard} (not scalable) +or a \ital{scalable} width \ital{at the first pass}, while the inequality +is solved only at the second. + + This means that, in addition to the three pass system, the user must run +trial and errors to find out whether some lyrics are wider than the final note +spacing, or smaller. In that case a wrong decision might lead to questionable +``\verb|Underfull hbox|''-es filled with ugly glue, or it may result in +awful ``\verb|Overfull hbox|'' with its heavy bar punishment and possible +over writings. + + However, before discussing this problem, we first describe the various ways of +inserting lyrics under --- or above --- a staff. + + \subsubsection{Getting enough vertical space for lyrics} Since songs are +usually equivalent to a one-staff instrument (possibly with several voices) +the recommended solution consists in adjusting the distance between +instruments using either \keyindex{interinstrument}\verb|=|\ital{any +\TeX-dimension} to give more place below all instruments or using +\keyindex{setinterinstrument} to make more space above. Note that {\Bslash +setinterinstrument} defines spacing above and not below an instrument. Since +lyrics are usually set below the staff, the first argument of a +\verb|\setinterinstrument| should be the song instrument number \ital{minus +one}. + + In the case of a single staff tune, or if the song instrument is the lowest +one, then additional place can be provided using \keyindex{staffbotmarg}. + + \subsubsection{Posting lyrics} + Lyrics can be introduced in several ways. + \begin{enumerate} + \item One archaic solution could be to define a special instrument for the lyrics +text, without effective staff, namely using the command +\keyindex{setstaffs}~$n$\verb|{|$p$\verb|}| described in \ref{whatspecify}. +The inconvenience of this solution is that it increases the number of +instruments, which is limited to 6 in standard \musixtex, although it can be +increased to 9 using {\tt musixadd.tex} and 12 with {\tt musixmad.tex}. + + \medskip + Therefore, better solutions consist is posting the lyrics in the same +instrument as the tune, provided that inter-instrument spacing has been +adapted. + + \item Another simple obvious solution consists in using the command +\keyindex{zcharnote} to post the text at any position (computed in +\verb|\internote|s) with respect to the lower line of the current staff. +The pitch should be usually negative to have the text below the staff. It +could also be specified like a note pitch, for example ``{\tt a}'' if the song +is in G-clef. The drawback is that the pitch has to be repeated for each text +of each note, which is tideous unless a special macro has been defined. + + \item Rather than \verb|\zcharnote| and other \verb|\?charnote| commands, one +should rather use \keyindex{zchar}, \keyindex{cchar} (centered) or +\keyindex{lchar} (expanded to left) which only allow absolute numbers +(internally multiplied by {\Bslash internote}). These command have the same +drawback as above, namely the vertical position has to be repeated each time. + + \item Of easier use are the commands \keyindex{zsong} (right of the note), +\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics +at the lower staff line \ital{minus} the previous +\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These +commands only have one argument, namely the lyrics text: + + +\begin{center} +\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad +\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad +\keyindex{csong}\verb|{|\ital{text}\verb|}| +\end{center} + + Depending on the values of the inter-instrument spacings and margins, the +resulting vertical position might be inappropriate. Then it can be changed for +any specific $n$-th instrument until further change using + +\begin{quote} +\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}| +\end{quote} + + \medskip As an example, the following French song + + \begin{music} + \generalsignature{1} + \startextract + \geometricskipscale + \NOtes\zsong{Au }\qu g\en + \NOtes\zsong{clair }\qu g\en + \NOtes\zsong{de }\qu g\en + \NOtes\zsong{la }\qu h\en + \bar + \NOTes\zsong{lu- }\hu i\en + \NOTes\zsong{ne, }\hu h\en + \bar + \NOtes\zsong{mon }\qu g\en + \NOtes\zsong{a- }\qu i\en + \NOtes\zsong{mi }\qu h\en + \NOtes\zsong{Pier- }\qu h\en + \bar + \NOTes\zsong{rot, }\wh g\sk\en + \endextract + \end{music} + +\noindent was coded as: + +\begin{quote}\begin{verbatim} + \generalsignature{1} + \startextract + \geometricskipscale + \NOtes\zsong{Au }\qu g\en + \NOtes\zsong{clair }\qu g\en + \NOtes\zsong{de }\qu g\en + \NOtes\zsong{la }\qu h\en + \bar + \NOTes\zsong{lu- }\hu i\en + \NOTes\zsong{ne, }\hu h\en + \bar + \NOtes\zsong{mon }\qu g\en + \NOtes\zsong{a- }\qu i\en + \NOtes\zsong{mi }\qu h\en + \NOtes\zsong{Pier- }\qu h\en + \bar + \NOTes\zsong{rot, }\wh g\sk\en + \endextract +\end{verbatim}\end{quote} + + + You can also use the macros from \verb|musixcho.tex|, which result in the +same vertical positionning as \keyindex{zsong} and other \verb|\?song| do, but +the text of the lyrics are better justified around the related note. + + \end{enumerate} + + \subsubsection{Handling lyrics width versus scalable note spacings} + + If one uses either \verb|\zsong| or \verb|\csong| or \verb|\lsong| without +caution, one will probably get awful things such as: + + \begin{music} + \generalsignature{1} + \startextract + \geometricskipscale + \Notes\zsong{Au }\qu g\en + \Notes\zsong{clair }\qu g\en + \Notes\zsong{de }\qu g\en + \Notes\zsong{la }\qu h\en + \bar + \NOtes\zsong{lu- }\hu i\en + \NOtes\zsong{ne, }\hu h\en + \bar + \Notes\zsong{mon }\qu g\en + \Notes\zsong{a- }\qu i\en + \Notes\zsong{mi }\qu h\en + \Notes\zsong{Pier- }\qu h\en + \bar + \NOTes\zsong{rot, }\wh g\sk\en + \endextract + \end{music} + + \noindent which is the same example as above, with all spacings divided by +1.41. Although locating ``overfull'' lyrics seems easy, it might be wiser to +force their visibility, which is done replacing \verb|\zsong| with +\keyindex{hsong} which encloses the hazardous text in a \verb|\hbox| of width +\verb|\noteskip|, whose overfilling is diagnosed as usual by Plain \TeX\ or +(especially in \LaTeX) by means of the \verb|\overfullrule=...| command: + + + \begin{music} + \generalsignature{1} + \startextract + \overfullrule 3pt% + \geometricskipscale + \Notes\hsong{Au }\qu g\en + \Notes\hsong{clair }\qu g\en + \Notes\hsong{de }\qu g\en + \Notes\hsong{la }\qu h\en + \bar + \NOtes\hsong{lu- }\hu i\en + \NOtes\hsong{ne, }\hu h\en + \bar + \Notes\hsong{mon }\qu g\en + \Notes\hsong{a- }\qu i\en + \Notes\hsong{mi }\qu h\en + \Notes\hsong{Pier- }\qu h\en + \bar + \NOTes\hsong{rot, }\wh g\sk\en + \endextract + \end{music} + + Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed +length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is +\verb|3\noteskip|. These are useful when the text is set below (or above) a +collective coding of two or three notes. + + Once one has diagnosed --- in the tentative final layout --- which lyrics +lead to overfull texts, several corrections may be tried: + +\begin{enumerate} + \item Increase the \keyindex{mulooseness} to have wider note spacing. This +may work, but the inconvenience is that all notes would be stretched, and not +only the faulty notes. + \item Increase specific note spacings, replacing for example \verb|\Notes| +with \verb|\NOtes| or \verb|\Notesp|. This is the easiest solution which may +require several trials and errors since an increase of a few notes in a system +may lead to a small shrinking of the others, to keep the total length +constant. + \item Decide that some notes --- only ``some'' notes, not all notes of the +score, neither all the notes of a given system --- would have a \itxem{hard +spacing} and not a scalable spacing. This is done using the command + + \begin{quote} + \keyindex{hardnotes}\ital{ any hard \TeX\ dimension }\verb|\notes|\ital{ +normal note specif. }\verb|\en| + \end{quote} + \noindent which ends the \verb|\notes...\en| with a \itxem{hard spacing} (see +\verb|\hardspace| in \ref{hardspace}, p. \pageref{hardspace}) rather than a +scalable spacing. + + A more practical variant has been provided especially for lyrics, namely + + \begin{quote} + \keyindex{hardlyrics}\ital{ any text }\verb|\notes|\ital{ +normal note specif. }\verb|\en| + \end{quote} + \noindent which computes the width of ``any text'' by putting it in a +\verb|\hbox| and reverting to \verb|\hardnotes| to perform the remainder of the +task. In order to save repetitions, the text of the lyrics which has been used +to compute the hard note spacing can be retrieved under the command name +\keyindex{thelyrics}. \verb|\hardlyrics| must be followed by \verb|\notes| +(with the lyrics text inbetween), not by \verb|\Notes| nor \verb|\NOtes|, etc. + + + Besides, since moving the lyrics text between \verb|\hardlyrics| and +\verb|\notes|\footnote{{\Bslash notes}, neither {\Bslash Notes} nor {\Bslash +NOtes} nor {\Bslash NOTes} etc.} together with replacing it with +\keyindex{thelyrics} at the initial location is a rather tedious operation +with text editors, another command has been provided, namely +\keyindex{softlyrics}: + + \verb|\softlyrics{|\ital{ any text }\verb|}| + + \noindent defines \verb|\thelyrics| to be ``\ital{ any text }'', so that +going from \verb|\hardlyrics| to the default scalable behaviour of +\verb|\noteskip| and inversely can easily be done by changing \verb|\hard| +into \verb|\soft| in the source text, with optional change of the number of +uppercase letters in \verb|\notes|. + + + + \medskip\begin{important} since \/\verb|\hardlyrics| computes +\/\verb|\noteskip|, its argument (before \/\verb|\notes|) may not refer to +\/\verb|\noteskip|... which is not already computed. + \end{important} + \end{enumerate} + + \subsubsection{A more comprehensive example of lyrics} + Here is an example taken from the French catholic liturgy (a French +translation of the traditional \ital{Gloria in excelsis Deo}). We give first +the adapted source of a part of the score: + + +\begin{quote}\begin{verbatim} +\overfullrule 3pt +\instrumentnumber{1} +\setstaffs11 +% +\generalsignature{-1}\relax % one flat +\generalmeter{\meterfrac{2}{2}} +% +\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne +\startpiece +\setsongraise1{2\Interligne}% +\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigtype + Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes +\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes +\notes\hsong{\`a }\cu c\enotes +\barre +\NOTes\hsong{Dieu~}\hu f\enotes +\notes\hsong{au}\cu f\enotes +\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes +\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes +\notes\hsong{des}\cu g\enotes +\barre +\NOtes\hsong{cieux~}\qup h\enotes +\notes\hsong{et~}\cu h\enotes +\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes +\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{la~}\cu g\enotes +\barre +\Notes\hsong{ter-}\qu f\enotes +\notes\hsong{re~}\cu f\enotes +\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes +\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes +\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes +\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes +\barre +\NOtes\hsong{ai-}\hu g\enotes +\Notes\hsong{me.}\hu f\enotes +\Notes\uptext{\bf II }\enotes +\barre +\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes +\notes\hsong{Te~}\cu g\enotes +\notes\hsong{lou-}\cu g\enotes +\NOtes\hsong{ons,}\hu h\enotes +\barre +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{b\'e-}\cu j\enotes +\notes\hsong{nis-}\cu j\enotes +\NOtes\hsong{sons,}\hu h\enotes +\barre +\Notes\hsong{nous~}\qu h\enotes +\NOtes\hsong{t'a-}\hu g\enotes +\Notes\hsong{do-}\qu f\enotes +\barre +\NOtes\hsong{rons,~}\hu f\enotes +\notes\uptext{\bf I}\enotes +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{glo-}\cu g\enotes +\notes\hsong{ri-}\cu g\enotes +\barre +\NOTEs\hsong{fions,~}\hu h\enotes +\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{ren-}\cu h\enotes +\notes\zsong{dons~}\cu i\enotes +\barre +\NOtes\hsong{gr\^a~-}\qu g\enotes +\notes\hsong{ces~}\cu g\enotes +\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{im-}\cu i\enotes +\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes +\notes\zsong{se~}\cu k\enotes +\barre +\Notes\hsong{gloi-}\ql j\enotes +\Notes\hsong{-}\ql i\enotes +\Notes\hsong{re~!}\qu h\enotes +\notes\uptext{\bf II}\enotes +\notes\hardlyrics{Sei-}\hsong\thelyrics\cu h\enotes +\notes\zsong{gneur~}\cu i\enotes +\barre +\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes +\hardlyrics{Roi~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{du~}\cu g\enotes +\Notes\hsong{Ciel,~}\qu h\enotes +\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes +\notes\zsong{le~}\cu g\enotes +\barre +\hardlyrics{P\`e-~}\notes\thelyrics\hsong\cu h\enotes +\notes\hsong{re~}\cu i\enotes +\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes +\hardlyrics{sant~!}\notes\hsong\thelyrics\qup h\enotes +\notes\uptext{\bf I}\enotes +\notes\zsong{Sei-}\cu h\enotes +\mulooseness 2% +\stoppiece +\end{verbatim}\end{quote} + + The result clearly shows the inequality between note spacings, +some of them forced by lyrics length, some others related to the +value of \verb|\elemskip| choosen by {\tt musixflx} according to the +given value of \keyindex{mulooseness}. Note that \verb|\zsong| still has been +used for lyrics followed by a bar, since their extension across the bar is +usually harmless. + +\begin{music} +\small +\overfullrule 3pt +\instrumentnumber{1} +\setstaffs11 +% +\generalsignature{-1}\relax % one flat +\generalmeter{\meterfrac{2}{2}} +% +\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne +\startpiece +\setsongraise1{2\Interligne}% +\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigtype + Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes +\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes +\notes\hsong{\`a }\cu c\enotes +\barre +\NOTes\hsong{Dieu~}\hu f\enotes +\notes\hsong{au}\cu f\enotes +\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes +\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes +\notes\hsong{des}\cu g\enotes +\barre +\NOtes\hsong{cieux~}\qup h\enotes +\notes\hsong{et~}\cu h\enotes +\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes +\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{la~}\cu g\enotes +\barre +\Notes\hsong{ter-}\qu f\enotes +\notes\hsong{re~}\cu f\enotes +\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes +\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes +\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes +\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes +\barre +\NOtes\hsong{ai-}\hu g\enotes +\Notes\hsong{me.}\hu f\enotes +\Notes\uptext{\bf II }\enotes +\barre +\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes +\notes\hsong{Te~}\cu g\enotes +\notes\hsong{lou-}\cu g\enotes +\NOtes\hsong{ons,}\hu h\enotes +\barre +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{b\'e-}\cu j\enotes +\notes\hsong{nis-}\cu j\enotes +\NOtes\hsong{sons,}\hu h\enotes +\barre +\Notes\hsong{nous~}\qu h\enotes +\NOtes\hsong{t'a-}\hu g\enotes +\Notes\hsong{do-}\qu f\enotes +\barre +\NOtes\hsong{rons,~}\hu f\enotes +\notes\uptext{\bf I}\enotes +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{glo-}\cu g\enotes +\notes\hsong{ri-}\cu g\enotes +\barre +\NOTEs\hsong{fions,~}\hu h\enotes +\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{ren-}\cu h\enotes +\notes\zsong{dons~}\cu i\enotes +\barre +\NOtes\hsong{gr\^a~-}\qu g\enotes +\notes\hsong{ces~}\cu g\enotes +\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{im-}\cu i\enotes +\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes +\notes\zsong{se~}\cu k\enotes +\barre +\Notes\hsong{gloi-}\ql j\enotes +\Notes\hsong{-}\ql i\enotes +\Notes\hsong{re~!}\qu h\enotes +\notes\uptext{\bf II}\enotes +\hardlyrics{Sei-}\notes\hsong\thelyrics\cu h\enotes +\notes\zsong{gneur~}\cu i\enotes +\barre +\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes +\hardlyrics{Roi~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{du~}\cu g\enotes +\hardlyrics{Ciel,~}\notes\hsong\thelyrics\qu h\enotes +\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes +\notes\zsong{le~}\cu g\enotes +\barre +\hardlyrics{P\`e-~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{re~}\cu i\enotes +\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes +\hardlyrics{sant~!}\notes\hsong\thelyrics\qup h\enotes +\notes\uptext{\bf I}\enotes +\notes\zsong{Sei-}\cu h\enotes +\mulooseness 2% +\stoppiece +\end{music} + + + The complete score of this carol --- with slightly different layout +due to different page size --- is given in example {\tt glorias.tex} and in +{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the +organ accompaniment +(both require {\tt musixsty.tex}). + + +\section{Abnormal music coding} + \subsection{Gregorian chant: staffs and clefs} \index{gregorian +music}Gregorian chant is often coded using four line staffs (see sections +\ref{gregorian} and \ref{stafflinenumber}) and using special notes (called +\itxem{neumes}) which are described in section \ref{gregnotes}. But the +gregorian chant also needs special clefs which are in fact the ancestors of +the modern ones. The \itxem{gregorian clefs} can be invoked instead of the +modern ones by: + +\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| + +\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| + +\noindent will cause the instrument number 3 to exhibit the chosen gregorian +clefs. The standard clefs can be restored for every instrument with +\keyindex{resetclefsymbols}. + +It is to be emphasized that, since version T.40 of \musixtex, one should +specify whether one wants to change the bass clef symbol or the alto clef +symbol (also the treble clef symbol, but there is no treble clef in gregorian +chant). The reason is that \musixtex\ (as well as \musictex) selects and +raises differently the F, G and C clefs according to the arguments of the +\keyindex{setclef} command. Therefore, if one had substituted any F clef +symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear +on the staff, but it would have been set at the position of an alto clef, thus +seriously misleading the musician. + + However, for compatibility with what was previously choosen\footnote{By A. +{\sc Egler}...}, the \keyindex{setclefsymbol} still exists, but it substitutes +the given second argument \ital{to all clef symbols} of that instrument, +regardless of the actual musical meaning of this symbol. \verb|\setclefsymbol| +is therefore discouraged, unless one changes the design of the clef symbol of +an instrument for the whole of the score. + + As an example, the same gregorian scale has been written with a gregorian C +clef on all four lines of the staff: + + \begin{music} + \parindent 19mm + \instrumentnumber{4} + \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} + \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} + \sepbarrules + \generalmeter{\empty} + \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} + \setaltoclefsymbol1\gregorianCclef + \setaltoclefsymbol2\gregorianCclef + \setaltoclefsymbol3\gregorianCclef + \setaltoclefsymbol4\gregorianCclef +\startextract +\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes +\endextract +\end{music} + + The coding was: + \begin{verbatim} + \instrumentnumber{4} + \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} + \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} + \sepbarrules + \generalmeter{\empty} + \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} + \setaltoclefsymbol1\gregorianCclef + \setaltoclefsymbol2\gregorianCclef + \setaltoclefsymbol3\gregorianCclef + \setaltoclefsymbol4\gregorianCclef +\startextract +\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes +\endextract + \end{verbatim} + + + \subsection{Music score without clefs or with special clefs} + + \subsubsection{Empty clefs} +\index{clefs (empty)} + Regardless of the number of lines of the staffs, an instrument may +have no clefs, e.g.~for \itxem{percussion music} but also for any weird +purpose. This is done by declaring the following item: + +\keyindex{setclefsymbol}~$n$\verb|\empty| + +\noindent Normal symbols for these clefs can be restored by: + +\keyindex{resetclefsymbols} + + \subsubsection{Octave clefs}\index{octave clefs} + + Octave treble clefs and octave bass clefs are provided. They can replace the usual + treble and bass clefs by saying: + + \keyindex{setclefsymbol}~$n$\keyindex{bassoct} + + \keyindex{setclefsymbol}~$n$\keyindex{trebleoct} + + \noindent for upper octaviation, and + + \keyindex{setclefsymbol}~$n$\keyindex{basslowoct} + + \keyindex{setclefsymbol}~$n$\keyindex{treblelowoct} + + \noindent for lower octaviation. + + \begin{music} + \parindent 19mm + \instrumentnumber{4} + \generalmeter{\empty} + \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble + \setbassclefsymbol1\basslowoct + \setbassclefsymbol2\bassoct + \settrebleclefsymbol3\treblelowoct + \settrebleclefsymbol4\trebleoct +\startextract +\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\enotes +\endextract +\end{music} + +{\noindent\sl REMARKS: \begin{itemize} \item The \keyindex{setclefsymbol}, +\keyindex{settrebleclefsymbol}, \keyindex{setaltoclefsymbol} and +\keyindex{setbassclefsymbol} commands only change the symbol posted, not the +altitude of the note head. Thus, if you say \verb|\setclef1\bass| and then +|\setbassclefsymbol1\trebleclef|, your score will be definitely wrong. In the +same way, \keyindex{trebleoct} and similar octave clefs will only change the +symbol, but a note coded {\tt a} wiull have the same vertical position, +regardless of the clef symbol chosen. + \item Changing clef symbols also affect clef changes within the score, but +this clef changes will be posted by large symbols, not smaller clefs as usual. +Anyway, it can be remarked that clef changes only concern scores with standard +treble, alto and bass clefs... +\end{itemize} +} + + \subsubsection{Drum clef} + A special \itxem{drum clef} (two heavy vertical bars) can +replace for the $n$-th intrument any of the standard clefs by saying: + +\keyindex{setclefsymbol}~$n$\keyindex{drumclef}\label{sectiondrum} + +\noindent However, since the vertical position of the clef depends on the +previously stated clef, it is not wise to replace any clef symbol with the +drum clef, but to have the instrument previously configured with the default +violin clef, i.e. \verb|{0000}|. + + It is to be emphasised that these features are specific to one +instrument --- not one staff of a several staff instrument --- so that some +weird score for \ital{monks}, \ital{drum} and \ital{electronic keyboard} +such as + +\begin{music} +\parindent 19mm +\instrumentnumber{3} +\setname1{keyboard} \setname2{drum} \setname3{monks} +\setlines2{1} +\setlines3{4} +\setinterinstrument1{-2\Interligne}% less vertical space above +\setinterinstrument2{-2\Interligne}% and below the percussion +\sepbarrules +\setsign1{-1} % one flat at keyboard +\generalmeter{\meterfrac24} +\setmeter3\empty +\setclef3\alto +\setclef1\bass +\setstaffs12 % 2 staffs at keyboard +\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3 +\setclefsymbol2\drumclef % cancel G clef at instrument 2 +\startextract +\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar +\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes +\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\enotes\bar +\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes +\endextract +\end{music} +\noindent could be coded as follows, regardless this is relevant (see remark +in \ref{gregoriancappella}, p. \pageref{gregoriancappella}): +\begin{verbatim} +\parindent 19mm +\instrumentnumber{3} +\setname1{keyboard} \setname2{drum} \setname3{monks} +\setlines2{1} +\setlines3{4} +\setinterinstrument1{-2\Interligne}% less vertical space above +\setinterinstrument2{-2\Interligne}% and below the percussion +\sepbarrules +\setsign1{-1} % one flat at keyboard +\generalmeter{\meterfrac24} +\setmeter3{\empty} +\setclef3{\alto} +\setclef1{\bass} +\setstaffs1{2} % 2 staffs at keyboard +\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3 +\setclefsymbol2{\drumclef} % cancel G clef at instrument 2 +\startextract +\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar +\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes +\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc f\enotes\bar +\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes +\end{verbatim} +In the same way, a possible violin score with \itxem{harmonic notes} (see +\ref{othernotes}) could be:\label{abnormalscores} + +\begin{music} +\parindent0pt +\generalsignature{-2} +\generalmeter\allabreve +\startextract +\NOTes\dzq o\zh d\hu h\enotes +\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\bar +\NOTes\dzq o\zh d\hl h\enotes +\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\endextract +\end{music} +It was coded as follows: +\begin{quote}\begin{verbatim} +\generalsignature{-2} +\generalmeter\allabreve +\startextract +\NOTes\dzq o\zh d\hu h\enotes +\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\bar +\NOTes\dzq o\zh d\hl h\enotes +\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\endextract +\end{verbatim}\end{quote} + + \subsection{Usual percussion music} +Besides single percussion scores usually +written using one-line staffs, percussion music involving several instruments +is often writen on five-line staffs with a \ital{drum clef}, where the +instruments are distinguished by the type of the note heads and the apparent +pitch of the note on the staff. We give an example --- kindly provided by +Agusti {\sc Mart\'in Domingo}: + +\medskip +\begin{music} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\bar +\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\bar +\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\setrightrepeat\endpiece +\end{music} + Its coding was: + \begin{quote}\begin{verbatim} +\begin{music} +\instrumentnumber{1} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\bar +\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\bar +\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\setrightrepeat\endpiece +\end{music} + \end{verbatim}\end{quote} + To use these different note heads, one must + \begin{itemize} + \item either include a specific percussion file namely\index{percussion +music} \ttxem{musixper.tex} after the usual \verb|\input musixtex|; + \item use special macro names to replace the usual elliptic black note head +with other available note heads. Today only the most used note types are +supported. + \end{itemize} + + +\section{Writing your own macros: the {\Bslash catcode} problems} +As seen before, the \keyindex{catcodes} of the \| and \verb|&| symbols +are modified by \musixtex, in the range of the actual scores but not +in the whole of the \TeX\ source. +Thus, if you define your own macros to make +your writing easier, you are likely to invoke the \| or \verb|&| +symbols in a part of text where their \keyindex{catcode}s are not correctly set. +\index{"|@{\tt\char'174}} +This may result typically in a diagnostic like: + +\verb|! Misplaced alignment tab character &.| + +\noindent when you attempt, not to define, but to use your macro using the +\verb|&| symbol to change the instrument. Smart \TeX ers know that the +\keyindex{catcode}s are attached to the characters \ital{when they are input} +and not when they are used; thus you must be sure that \| and \verb|&| +have the correct \musixtex\ \keyindex{catcode} when the macro is defined, +which may well occur outside the actual score. + +It is also worth pointing out that the same problem may occur with other +punctuation marks like ``\verb|<|'', ``\verb|>|'', ``\verb|^|, +etc., if their \keyindex{catcode} has been changed by some other set of +macros, like \ttxem{french.sty}. + +\section{\LaTeX~and \musixtex} + \subsection{The {\tt musixtex.sty} style}\label{musixltx} + As said before, the amount of memory and registers used by \musixtex\ makes +it hardly compatible with \LaTeX. However, Nicolas {\sc +Brouard}\index{Brouard, N.@{\sc Brouard, N.}} succeeded in building a +\ttxem{musixltx.tex} which is now included in the distribution. This is +not recommended to make separate music scores. Its purpose is rather to +provide a means of inserting short musical excerpts in books or articles +written with \LaTeX. Then, the \keyindex{documentstyle} command should +include {\tt musixtex} in the options. + +The \LaTeX\ \index{LaTeX@\LaTeX}style file \ttxem{musixtex.sty} +simply \verb|\input|s the following files (in that very order): +\begin{itemize} + \item \verb|musixtex.tex| + \item \verb|musixltx.tex| +\end{itemize} + In case of \verb|TeX capacity exceeded...|, use a ``Bigla\TeX'' (after +checking there is no visible error in the source +code).\index{BigLaTeX@Big\LaTeX} + \subsection{Wide music in \LaTeX}\label{musixblx} + Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the +page size in a way which is not supposed to be changed within a given document. +This means that text horizontal and vertical sizes are somewhat frozen so that +one can hardly insert pieces of music of page size different from the size +specified by the \LaTeX{} \itxem{style}. +Although a \ttxem{musixblx.tex} has been provided, which makes the +\ital{environment} \verb|bigmusic| available. +\zkeyindex{begin\LBR bigmusic\RBR} +The main drawback is an unpredictable behaviour of top and bottom +printouts, especially page numberings. + + If the whole of a document has wide pages, it can be handled with the +\ttxem{a4wide} style option, or any derivate of it. + \subsection{The {\Bslash catcode} problems} + The \verb|musixltx.tex| file merely overrides the \keyindex{catcode}s of the +\| and \verb|&| symbols which are modified by \musixtex. To have access to +these symbols when coding music, you should enclose the scores or excerpts +within \verb|\begin{music}| and \verb|\end{music}|. But there is also another +possibility, i.e.\ to say \keyindex{nextinstrument} instead of +\verb|&|\index{\&} and \keyindex{nextstaff} instead of \|. +\index{"|@{\tt\char'174}} + + Another problem comes from the {\tt\ixem{french.sty}} written by Bernard +{\sc Gaulle}\index{Gaulle, B.@{\sc Gaulle, B.}} which is the standard of the +\ixem{GUTenberg} French association. This style changes many +\keyindex{catcode}s which lead \musixtex\ to fail in many cases. Therefore +the \keyindex{catcode}s of all are forced to the adequate value at +\keyindex{startpiece}, \keyindex{startextract} and restored at their original +value at \keyindex{endpiece}, \keyindex{stoppiece} and \keyindex{endextract}. +This means that some facilities like the \itxem{guillemets} or the +\itxem{tabulation} character are inhibited within music scores (possible +problem with sophisticated \itxem{lyrics}) but perfectly available within the +normal text. + + Anyway, in case of emergency, one can invoke \keyindex{catcodesmusic} to +establish the \keyindex{catcode}s at their value fit for music, and +\keyindex{endcatcodesmusic} to reset them at their external value, for example +those chosen by \verb|french.sty|. + +\section{Implementation and restrictions} + + The macroinstruction file \musixtex\ contains approximately 4200 lines of +code, that is 98~000 bytes approximately. This requires your score to be +compiled by the most extended versions of \TeX\ (65~000 words of working +memory). It is therefore wise to say \verb|\tracingsstats=2| in +order to have an information about the memory used in each page. In desperate +situations, we recommend using the ``Big\TeX'' processors which, +unfortunately, performed a great deal of disk input/outputs (on PCs with i286 +processors) which made them awfully slow. Of course, using i386 or i486 or Pentium +processors, this problem disappears with the specific version of +{\tt emTeX}, namely {\tt tex386}.\index{BigTeX@Big\TeX}\index{emTeX@em\TeX} + +In particular, the number of registers it uses and the amount of memory used +by \LaTeX\ macros makes it doubtfully compatible with \LaTeX, unless using +Big\LaTeX.\index{BigLaTeX@Big\LaTeX} + +Other precautions are necessary: beware of end-of-line spaces; they corrupt +layout and cause {\tt underfull/overfull hbox} warnings during third pass. +To avoid that, it is recommended +to use \verb|%| at the end of source lines. + + +%\subsection{ABC2MTeX} +% Generally: yes +%\subsection{MIDI2TeX} +% s.a.a. (I already use a modified one, Thanx to C) +%\subsection{SceX} +% next time + +\section{From \musictex~to \musixtex: {\tt musixcpt}} +\label{compatibility} + +This file is intended to run `{\bf old}' input files with as less changes +(read \verb|musicdoc| {\bf and} \musixtex's laws~!) as possible. It slows +down the speed and makes it impossible to use some\footnote{This was the will +of one of the authors (A.E.) but we (we=D.T.) are now tending to remove any +incompatibilities of {\tt musixcpt} with plain \musixtex.} of \musixtex\ +commands. + + To run \musictex\ examples --- not withstanding restrictions related to +glue and ``hard'' spacings forbidden with +\musixtex\ --- just replace all previous \verb|\input music*| by: + + \verb|\input musixtex| + + \verb|\input musixcpt| + +\noindent and, optionally + + \verb|\input musixsty| + +\subsection{Compatibility restrictions} + +The \ttxem{musixcpt.tex} file holds up +compatibility to \musictex's sources, but there are some restrictions, which +are caused either by missing glue in \musixtex\ --- sometimes ugly, but +generally harmless --- or by some hard spacings such as \verb|\hbox|es +containing lyrics exceeding the \keyindex{noteskip} dimension, and resulting +in ``overfull hbox[es]'' that is, notes and symbols outside the score limits, +with the heavy vertical bar as a standard \TeX\ punishment. + +The easiest way to avoid this consists in ending systematically +\ital{all}\footnote{ALL lines, not ``most of them''.} input +lines between \keyindex{startpiece}...\keyindex{stoppiece}\footnote{or +\keyindex{Stoppiece} or \keyindex{endpiece} or \keyindex{Endpiece}.} +with a comment sign\footnote{For \TeX perts: every line +which does not end with a command}, namely a ``\verb|%|''. + +\medskip Besides, one might want to have a unique source file to be compiled +with both the \musictex\ format and the \musixtex\ format, and\footnote{This +might be considered as an excessive requirement, but we (D.T.) think it is a +good way of including \musixtex's new facilities...} taking advantage of some +specific possibilities of \musixtex. The leads to a need of testing whether +the source file is compiled with one format or the other. In fact this test is +easy:\zkeyindex{mxversion} + +\verb|\ifx\mxversion\undefined| + +\ \ \ the specific \musictex\ code + +\verb|\else| + +\ \ \ the specific \musixtex\ code, taking advantage of new features + +\verb|\fi| + +\medskip Several examples are now included in \musictex's examples, for +example {\tt pacifiqn.tex}. Of course this would fail if the user +inadvertently decided to define the command {\Bslash mxversion} in his source +text. + %\check + +\subsection{Additional commands in {\tt musixcpt.tex}} + +The tentative user looking in given examples might find commands not described +in the \musixtex\ manual (this one). Most frequent are (in case of missing +description, revert to \musictex's manual, namely {\tt musicdoc.tex}, {\tt +musicdoc.dvi}, {\tt musicdoc.ps}, {musicdoc.lj}, etc.): + +\begin{itemize} + \item\keyindex{qh} : same as \verb|\qb|, but was different with \musictex, +since it distinguished notes hanging above (\verb|\qb|) and below (\verb|\qh|) +the beam(s). + \item\keyindex{debutmorceau} : nearly but not exactly the same as +\verb|\startpiece|. + \item\keyindex{suspmorceau} : suspends the score at the end of the line, in +order to permit inserting ordinary \TeX\ commands. Similar to +\keyindex{stoppiece} but performs line counting necessary then using +\musictex's \verb|\autolines| feature. + \item \keyindex{reprmorceau} is synonym of \verb|\contpiece|. + \item \keyindex{lreprmorceau} is synonym of \verb|\contpiece|. + \item \keyindex{preprmorceau} ejects a newpage and performs \verb|\contpiece|. + \item \keyindex{finmorceau} is synonym of \verb|\Stoppiece|, i.e. with heavy +ending double bar.. + + \item\keyindex{barre} : same as \verb|\bar|. + \item\keyindex{dsoupir} : same as \verb|\ds|. + \item\keyindex{qsoupir} : same as \verb|\qs|. + \item\keyindex{demisoupir} : same as \verb|\ds|. + \item\keyindex{temps} : was glue in \musictex, now equivalent to +\verb|\empty|. + \item\keyindex{autolines} is fit for scores with +bars of regular length: after \keyindex{startpiece}, you code the +following macro: + + +\medskip\Bslash autolines $tml$ + +\medskip\noindent\rm where $t$ is the number of \ital{elementary spacings} +(the length of {\Bslash notes...\Bslash enotes}) in an average bar, $m$ is the +number of bars you wish in a line and $l$ is the number of lines you wish in a +page. This sets some parameters, namely \keyindex{maxbarsinline} and +\keyindex{maxlinesinpage} which are simply used to count the bars (counter is +\keyindex{barsinline}), optionally perform \keyindex{alaligne} or +\keyindex{alapage} (counter is \keyindex{linesinpage}) instead of the normal +\verb|barre| or \verb|bar|. You may freely alter the values of these +parameters, once they have been established by \keyindex{autolines}. Moreover, +you can still force line-breaking of page ejection using {\Bslash alaligne} or +\keyindex{alapage} without problem since these macros actually reset the bar +counters appropriately. + + \end{itemize} + + %\check +% \subsection{Often reported problems} + + %\check +\section{Extension Library} +All following files are invoked with saying \keyindex{input} \ital{filename} + \subsection{musixadd} +Increases the number of instruments, slurs and beams up to nine. + \subsection{musixbm} + Provides 128th notes, either with hooks or with beams, namely the +\keyindex{ibbbbbu}, +\keyindex{ibbbbbl}, +\keyindex{nbbbbbu}, +\keyindex{nbbbbbl}, +\keyindex{tbbbbbu}, +\keyindex{tbbbbbl}, +\keyindex{Ibbbbbu}, +\keyindex{Ibbbbbl}, +\keyindex{cccccu}, +\keyindex{ccccca}, +\keyindex{zcccccu}, +\keyindex{cccccl} and +\keyindex{zcccccl} commands. + \subsection{musixbbm} + Provides 256th notes, only with beams, namely the +\keyindex{ibbbbbbu}, +\keyindex{ibbbbbbl}, +\keyindex{nbbbbbbu}, +\keyindex{nbbbbbbl}, +\keyindex{tbbbbbbu}, +\keyindex{tbbbbbbl}, +\keyindex{Ibbbbbbu} and +\keyindex{Ibbbbbbl} commands. + \subsection{*musixcho}\label{song} + These are some macros fit for chorus music. Provides following commands: +\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight}, +\keyindex{Dtx} and \keyindex{Drtx} for double text, \keyindex{Ttx} and +\keyindex{Trtx} for triple text, \keyindex{Qtx} and \keyindex{Qrtx} for +quadruple text. + +\keyindex{tx}\verb|{|$text$\verb|}|, +\keyindex{rtx}\verb|{|$text$\verb|}| for text of songs, with text extending +to right instead centered. + \keyindex{hf}\verb|{|$m$\verb|}| sets text +continuation rule of width $m$ \verb|\noteskip|. + + +\begin{music} +\tenrm +\parindent11.5mm +\braceheight5.4\Interligne\relax +%\rightline{Arr.: H.~W.~Eichholz} +\instrumentnumber2 +\generalsignature{-2} +\generalmeter{\meterfrac22} +\setclef1\bass +\relativeaccid +\setinterinstrument1{11\Interligne} +\songtop2 +\songbottom1 +\setname2{\vbox{\hsize\parindent\centerline{Sopran}\centerline{Alt}}} +\setname1{\vbox{\hsize\parindent\centerline{Tenor}\centerline{Bass}}} +\sepbarrules\nobarnumbers +\beforeruleskip-2pt +\startpiece +%% bar 1 +\znotes&\rlap{\kernm2em\Qrtx 1.|2.|3.|4.*}\en +\NOTes\sslur ILd1\sslur bNu1\zhl I\hu b% + &\Qtx\ixhf{Oh}|No|No|There'll*\issluru0f\sslur dad1\zhup f\hl d\en +\Notes\zhl L\hu N&\Qtx ~|more|more|~be*\hl{^c}\en +\NOtes&\tsslur0g\qu g\en +%%% bar 2 +\bar +\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql d\en +\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en +%%% bar 3 +\bar +\nspace +\NOTes\sslur JMd1\sslur bau1\zhl J\hu b% + &\Qtx\ixhf{oh}|no|no|there'll*\issluru0j\sslur edd1\zhup j\hl{^e}\en +\Notes\zhl M\hu a&\Qtx~|more|more|~be*\hl{=e}\en +\NOtes&\tsslur0k\qu k\en +%%% bar 4 +\bar +\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu j\ql d\en +\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en +%%% bar 5 +\bar +\NOTesp\sslur IJd1\sslur bau1\lpt I\zhl I\hup b% + &\Qtx\ixhf{oh}|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hlp f\en +\NOtes\zql J\qu a&\Qtx~|more|more|~be*\tsslur1f\zqu f\roff{\tsslur0e\ql e}\en +%%% bar 6 +\bar +\NOtes\zql K\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql f\en +\NOtes\zql J\qu b&\zqu i\ql e\en +\NOtes\zql I\qu b&\rlap{\kernm2\Internote\bigrbrace}\rtx~~~over*\zqu i\ql d\en +\NOtes\zql G\qu b&\zqu k\ql f\en +%%% bar 7 +\bar +\nspace +\NOTes\zhl J\hu b\caesura&\tx ~me,*\zhu j\hl{^e}\caesura\en +\Notes\zcl J\cu b&\rtx ~over*\zcu j\cl e\en +\NOtesp\zqlp J\qup b&\zqup k\lpt e\ql e\en +\endpiece +\end{music} + + See {\tt musixdoc.tex} source to get the coding of this long example. + + Note that, since vertion T.89, multiple line texts are vertically justified + with a \keyindex{ChroirStrut} macro defined as \verb|\vphantom{\^Wgjpqy}| to +eliminate zigzagging lyrics lines. + + %\check + \subsection{musixdat} +Here is the command \keyindex{today} defined for several languages. +The default is \keyindex{dateUSenglish}, but this can freely be changed at +end of \ttxem{musixdat.tex}. +Also available are \keyindex{dategerman}, \keyindex{dateaustrian}, +\keyindex{dateenglish} and \keyindex{datefrench}, which yields: +\begin{quote}\begin{tabular}{ll}\hline +\verb|\dateUSenglish|&\dateUSenglish\today\\ +\verb|\dateaustrian|&\dateaustrian\today\\ +\verb|\dateenglish|&\dateenglish\today\\ +\verb|\datefrench|&\datefrench\today\\ +\verb|\dategerman|&\dategerman\today\\\hline +\end{tabular}\end{quote} + \subsection{*musixdia}\label{diam} +These file is automatically loaded, if you use {\tt musixper.tex}. +Here is the list of notes it provides: + \begin{itemize} + \item The \raise.5ex\hbox to 1em{\musixchar37} symbol is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|y|'' +(think of ``dyamond''). Available are \keyindex{yqu}, \keyindex{yqup}, +\keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp}, +\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb}, +\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu}, +\keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl}, +\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}. The +symbol without a stem can be obtained by saying \keyindex{ynq} and the +non-spacing variant with \keyindex{zynq}. + \item The \raise.5ex\hbox to 1em{\musixchar38} symbol is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|d|'' +(think of \ital{diamond}). Available are \keyindex{dqu}, \keyindex{dqup}, +\keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp}, +\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb}, +\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu}, +\keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl}, +\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}. The +symbol without a stem can be obtained by saying \keyindex{dnq} and the +non-spacing variant with \keyindex{dznq}. + \end{itemize} + %\check + \subsection{*musixeng} + This package is made for music typesetters who are allergic to rest names +taken from French, German or Italian\footnote{By the way, note that a +\ital{whole rest} is called \ital{pause} in French, \ital{ganze Pause} in +German, and \ital{pausa} in Italian.}. It does not provide new features, only +new command names. + \begin{quote}\begin{tabular}{ll}\hline +\ital{original}&\ital{alternative}\\\hline +\keyindex{PAUSe}&\keyindex{Qwr}\\ +\keyindex{PAuse}&\keyindex{Dwr}\\ +\keyindex{liftpause}&\keyindex{liftwr}\\ +\keyindex{pausep}&\keyindex{wrp}\\ +\keyindex{pause}&\keyindex{wr}\\ +\keyindex{lifthpause}&\keyindex{lifthr}\\ +\keyindex{hpausep}&\keyindex{hrp}\\ +\keyindex{hpause}&\keyindex{hr}\\ +\keyindex{qp}&\keyindex{qr}\\ +\keyindex{ds}&\keyindex{er}\\ +\keyindex{qs}&\keyindex{eer}\\ +\keyindex{hs}&\keyindex{eeer}\\ +\keyindex{qqs}&\keyindex{eeeer}\\\hline +\end{tabular}\end{quote} + \subsection{musixext} + +\keyindex{slide}\verb|{|pitch\verb|}{|elements\verb|}{|slope[-8 to 8]\verb|}|~: + glissando. + +\keyindex{raggedstoppiece} : + provides a ragged last line. + %\check + + \subsection{musixf{}l{}l} + \input musixfll + \ttxem{musixfll.tex} may be used to modify the automatic +generation of \ixem{ledger lines}. Ledger lines --- German Hilfslinien +--- are generated for notes placed above or below normal staff lines. +Ledger lines normally exceed the note head by a quarter of the width of +the note head. If notes are set very narrowly, the ledger lines of +consecutive notes may meet. In this case a player may misread the +ledger lines as normal lines. Therefore \musixtex{} shortens the +ledger lines if notes are set so narrowly that the ledger lines may +meet. Because \musixtex{} does not know whether consecutive notes need +ledger lines, this automatic shortening may be superfluous. So this +automatism may be switched off and on. After including +\ttxem{musixfll.tex} the automatic shortening of ledger lines is +switched off. Afterwards it may be switched on again using +\keyindex{autoledgerlines} and switched off again using +\keyindex{longledgerlines}. Both macros have global effect. + + The following example shows that narrowly set scales look better with +\keyindex{autoledgerlines}, while single notes requiring ledger lines +look better with \keyindex{longledgerlines}. + +\begin{music} +\startextract +\notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines + \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% + \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% + \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% + \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en + \bar +\notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines + \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% + \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% + \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% + \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en +\endextract +\autoledgerlines +\end{music} + + \subsection{*musixgre}\label{gregnotes} + + + Provided that four line staffs (see \ref{stafflinenumber}) are used, +\itxem{gregorian music} is frequently quoted using specific \itxem{neumes}, +established in the thirteenth century, and this way of coding has been +commonly used for the coding of liturgical chant in the Catholic Church until +the middle of the twentieth century. Nevertheless, gregorian chant coding is +not really an antique feature, since it has been codified in 1905 with recent +quasi-official updates in the eightties. + + +{\noindent\sl REMARK:\label{gregoriancappella} strictly writing, including +gregorian chant coding in \musixtex{} is a pure nonsense. Of course, many +people find it interesting to have the possibility of coding gregorian neumes +together with modern music, but having a score with both a gregorian chant and +a choir or instruments is definitely \ital{heretic}. The reason is that +grogorian chant must be sung \ital{a cappella}, without instrument and without +underlying polyphony. As a matter of fact, serious music schools ceased to +teach how to accompany gregorian chant approximately 20 years ago. + + However, there are still some pseudo-gregorian chants in the Catholic +repertoire which deserve organ or orchestra accompaniment: these are latine +speaking gregorian imitations composed in the eighteenth century, such as the +famous \ital{Angel's mass} of the \ital{Messe royale de Du Mont} which were +printed using gregorian neumes by official catholic publishers instead of +using the music denotations fit for renaissance and baroque pieces...} + + + Symbols available in \musixtex\ are +mainly those of the 1905 standard, as provided by Beda {\sc +Szukics}\index{Szukics, B.@{\sc Szukics, B.}}: + +\subsubsection{The clefs} + +\begin{itemize} + \item The gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= + \keyindex{gregorianCclef}, normally activated for instrument $n$ with the +command: + \begin{quote} + \keyindex{setaltoclefsymbol} $n$ \keyindex{gregorianCclef} + \end{quote} + \item The gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= +\keyindex{gregorianFclef}, normally activated with the +\verb|\setbassclefsymbol| command. + \end{itemize} + + \subsubsection{The basic elementary symbols} + \begin{itemize} + + \item Diamond shaped \itxem{punctum} (of different shape compared to the +percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ = +\keyindex{diapunc}~$p$~. + \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ = +\keyindex{squ}~$p$ or \keyindex{punctum}~$p$~. + \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise +2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}~$p$~. + \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ = +\keyindex{rsqu}~$p$ or \keyindex{virga}~$p$~. + \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ = +\keyindex{apostropha}~$p$~. + \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ = +\keyindex{oriscus}~$p$~. + + \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ = +\keyindex{quilisma}~$p$~. + \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise 2.5pt\hbox{\xgregchar9}~ = +\keyindex{punctumauctup}~$p$~. + \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise 2.5pt\hbox{\xgregchar8}~ = +\keyindex{punctumauctdown}~$p$~. + \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}: +\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}~$p$~. + \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise +2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}~$p$~. + \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise +2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}~$p$~. + + +\end{itemize} + All non-\ital{liquescens} symbols have a non-spacing variant, which are +\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu}, +\keyindex{zapostropha} and \keyindex{zoriscus}. + +\subsubsection{The plain complex neumes} +Other \itxem{neumes} can be obtained by combining two or more of these +symbols. Since \itxem{neumes} have a special note head width, an additional +shifting macro is provided, namely \keyindex{groff}. It is similar to +\verb|\roff|, but the offset is smaller; to implement also triple symbol neumes, +another shifting macro is provided, namely \keyindex{dgroff} which performs an +offset twice the offset of \verb|\groff|.. + + Since most of these symbols depend on relative pitches of their components, +one could not provide all compact combinations as single symbols. Following +compound symbols are: + +\begin{description} + \item[\keyindex{bivirga} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \bivirga ab\enotes + \notes \bivirga cc\enotes + \endextract + \end{music} + This example was coded as: + \begin{quote}\begin{verbatim} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \bivirga ab\enotes + \notes \bivirga cc\enotes + \endextract + \end{verbatim}\end{quote} + + \item[\keyindex{trivirga} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \trivirga abc\enotes + \Notes \trivirga cca\enotes + \endextract + \end{music} + + \item[\keyindex{bistropha} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \bistropha ab\enotes + \notes \bistropha cc\enotes + \endextract + \end{music} + + \item[\keyindex{tristropha} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \tristropha abc\enotes + \Notes \tristropha cca\enotes + \endextract + \end{music} + + \item[\keyindex{clivis} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \clivis ba\enotes + \notes \clivis ca\enotes + \endextract + \end{music} + + \item[\keyindex{lclivis} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \lclivis ba\enotes + \notes \lclivis ca\enotes + \endextract + \end{music} + + \item[\keyindex{podatus} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatus ab\enotes + \notes \podatus ac\enotes + \notes \podatus cf\enotes + \endextract + \end{music} + + \item[\keyindex{podatusinitiodebilis} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatusinitiodebilis ab\enotes + \notes \podatusinitiodebilis ac\enotes + \notes \podatusinitiodebilis cf\enotes + \endextract + \end{music} + + \item[\keyindex{lpodatus} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \lpodatus ab\enotes + \notes \lpodatus ce\enotes + \endextract + \end{music} + + \item[\keyindex{pesquassus} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \pesquassus ab\enotes + \notes \pesquassus ae\enotes + \endextract + \end{music} + + \item[\keyindex{quilismapes} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \quilismapes ab\enotes + \notes \quilismapes ae\enotes + \endextract + \end{music} + + \item[\keyindex{torculus} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculus aba\enotes + \notes \torculus cfd\enotes + \notes \torculus afc\enotes + \endextract + \end{music} + + \item[\keyindex{torculusinitiodebilis} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculusinitiodebilis aba\enotes + \notes \torculusinitiodebilis cfd\enotes + \notes \torculusinitiodebilis afc\enotes + \endextract + \end{music} + + \item[\keyindex{Porrectus} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \Porrectus bab\enotes + \notes \Porrectus bac\enotes + \notes \Porrectus bNd\enotes + \notes \Porrectus bMe\enotes + \notes \Porrectus bLe\enotes + \endextract + \end{music} +\noindent coded: + \begin{quote}\begin{verbatim} + \notes \Porrectus bab\enotes + \notes \Porrectus bac\enotes + \notes \Porrectus bNd\enotes + \notes \Porrectus bMe\enotes + \notes \Porrectus bLe\enotes + \end{verbatim}\end{quote} + + \verb|\Porrectus| exists in four different shapes, depending on the +difference between first and second argument. The constraint is that + $$ n-4 \leq p \leq n-1 $$ otherwise a diagnostic occurs. Note also that +\keyindex{bporrectus} provides the first curved part of the \verb|porrectus| +command, if you need it... It has two arguments, the starting pitch, the lower +pitch. + + \item[\keyindex{Porrectusflexus} $n$ $p$ $q$ $r$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \Porrectusflexus bacN\enotes + \notes \Porrectusflexus bNdb\enotes + \notes \Porrectusflexus bMeb\enotes + \notes \Porrectusflexus bLea\enotes + \endextract + \end{music} +\noindent coded: + \begin{quote}\begin{verbatim} + \notes \Porrectusflexus bacN\enotes + \notes \Porrectusflexus bNdb\enotes + \notes \Porrectusflexus bMeb\enotes + \notes \Porrectusflexus bLea\enotes + \end{verbatim}\end{quote} + + + \item[\keyindex{climacus} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \climacus cbN\enotes + \Notes \climacus cba\enotes + \Notes \climacus dbN\enotes + \endextract + \end{music} + + \item[\keyindex{climacusresupinus} $n$ $p$ $q$ $r$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \climacusresupinus cbNa\enotes + \Notes \climacusresupinus cbab\enotes + \Notes \climacusresupinus dbNb\enotes + \endextract + \end{music} + + \item[\keyindex{lclimacus} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \lclimacus cbN\enotes + \notes \lclimacus cfd\enotes + \notes \lclimacus afc\enotes + \endextract + \end{music} + + + \item[\keyindex{scandicus} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \scandicus abe\enotes + \notes \scandicus ceg\enotes + \endextract + \end{music} + + \item[\keyindex{salicus} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \salicus abe\enotes + \Notes \salicus ceg\enotes + \endextract + \end{music} + + \item[\keyindex{salicusflexus} $n$ $p$ $q$ $r$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \salicusflexus abec\enotes + \Notes \salicusflexus cegd\enotes + \endextract + \end{music} + + \item[\keyindex{trigonus} $n$ $p$ $q$], for example\footnote{The second +example is in principle irrelevant, but it shows the possibilities, in case +of.}: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \trigonus aaN\enotes + \Notes \trigonus cef\enotes + \endextract + \end{music} + +\end{description} + +\subsubsection{The liquescens complex neumes}\index{liquescens neumes} +\begin{description} + \item[\keyindex{clivisauctup} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \clivisauctup ba\enotes + \notes \clivisauctup ca\enotes + \endextract + \end{music} + \item[\keyindex{clivisauctdown} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \clivisauctdown ba\enotes + \notes \clivisauctdown ca\enotes + \endextract + \end{music} + \item[\keyindex{podatusauctup} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatusauctup ab\enotes + \notes \podatusauctup ac\enotes + \notes \podatusauctup cf\enotes + \endextract + \end{music} + \item[\keyindex{podatusauctdown} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatusauctdown ab\enotes + \notes \podatusauctdown ac\enotes + \notes \podatusauctdown cf\enotes + \endextract + \end{music} + + \item[\keyindex{pesquassusauctdown} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \pesquassusauctdown ab\enotes + \notes \pesquassusauctdown ae\enotes + \endextract + \end{music} + + \item[\keyindex{quilismapesauctdown} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \quilismapesauctdown ab\enotes + \notes \quilismapesauctdown ae\enotes + \endextract + \end{music} + + \item[\keyindex{torculusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculusauctdown aba\enotes + \notes \torculusauctdown cfd\enotes + \notes \torculusauctdown afc\enotes + \endextract + \end{music} + + \item[\keyindex{Porrectusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \Porrectusauctdown bac\enotes + \notes \Porrectusauctdown bNd\enotes + \notes \Porrectusauctdown bMe\enotes + \notes \Porrectusauctdown bLe\enotes + \endextract + \end{music} + + \item[\keyindex{climacusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \climacusauctdown cbN\enotes + \Notes \climacusauctdown caM\enotes + \Notes \climacusauctdown aNM\enotes + \endextract + \end{music} + + \item[\keyindex{scandicusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \scandicusauctdown abe\enotes + \notes \scandicusauctdown ceg\enotes + \endextract + \end{music} + + \item[\keyindex{salicusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \salicusauctdown abe\enotes + \Notes \salicusauctdown ceg\enotes + \endextract + \end{music} + + \item[\keyindex{clivisdeminut} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \clivisdeminut ba\enotes + \notes \clivisdeminut ca\enotes + \endextract + \end{music} + + \item[\keyindex{podatusdeminut} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatusdeminut ab\enotes + \notes \podatusdeminut ac\enotes + \notes \podatusdeminut cf\enotes + \endextract + \end{music} + + \item[\keyindex{torculusdeminut} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculusdeminut aba\enotes + \notes \torculusdeminut cfd\enotes + \notes \torculusdeminut afc\enotes + \endextract + \end{music} + + \item[\keyindex{torculusdebilis} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculusdebilis aba\enotes + \notes \torculusdebilis cfd\enotes + \notes \torculusdebilis afc\enotes + \endextract + \end{music} + + \item[\keyindex{Porrectusdeminut} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \Porrectusdeminut bac\enotes + \notes \Porrectusdeminut bNd\enotes + \notes \Porrectusdeminut bMe\enotes + \notes \Porrectusdeminut bLe\enotes + \endextract + \end{music} + + \item[\keyindex{climacusdeminut} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \climacusdeminut cbN\enotes + \Notes \climacusdeminut caM\enotes + \Notes \climacusdeminut aML\enotes + \endextract + \end{music} + + \item[\keyindex{scandicusdeminut} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \scandicusdeminut abe\enotes + \notes \scandicusdeminut ceg\enotes + \endextract + \end{music} +\end{description} + + %\check + \subsection{musixgui} \ttxem{musixgui.tex} provides some macros for +typesetting \itxem{guitar tablatures}. Most times they are used above modern +music. To give an example: + +\begin{music} +\hsize130mm +\tenrm +\parindent0pt +\generalmeter{\meterfrac34} +\generalsignature1 +\startbarno0 +\def\txh{-6.5} +\def\tx#1*{\zchar\txh{\lrlap{\kern3\Internote#1}}} +\def\rtx#1*{\zchar\txh{\kern-3\Internote#1}} +\stafftopmarg10\Interligne +\raiseguitar{20} +\nostartrule +\startpiece +\addspace{.5\afterruleskip}% +\NOtes\tx We*\qa d\en +\bar +\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx wish*\qa g\en +\Notes\tx you*\ca g\en +\Notes\tx a*\ca h\en +\Notes\zchar\txh{merry}\ca g\en +\Notes\ca f\en +\bar +\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45\rtx christmas,*\qa e\en +\NOtes\qa e\en +\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54\tx we*\qa e\en +\bar +\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en +\Notes\tx you*\ca h\en +\Notes\tx a*\ca i\en +\Notes\zchar\txh{merry}\ca h\en +\Notes\ca g\en +\bar +\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en +\NOtes\qa d\en +\zbar +\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en +\bar +\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en +\Notes\tx you*\ca i\en +\Notes\tx a*\ca j\en +\Notes\tx ~mer-*\ca i\en +\Notes\tx ry*\ca h\en +\bar +\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en +\NOtes\tx mas*\qa e\en +\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en +\Notes\tx a*\ca d\en +\bar +\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en +\NOtes\tx py*\qa h\en +\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53\tx new*\qa f\en +\bar +\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en +\setdoublebar\endpiece +\end{music} + +\medskip +\keyindex{guitar} sets the grid, the chord name, the relative barre and play +indicators. As example the first chord in upper example was coded as: + +\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44| + +where the first argument is put above the grid to indicate the chord name, the +second is empty (relative barre) and the other six indicates if the string +is played with either \verb|x|, \verb|o| or \verb|-|. The dots are set with +\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The +rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the barre. + +The whole chord may be vertically shifted with +\keyindex{raiseguitar}\verb|{|$n$\verb|}|, where $n$ is a number +in units of \keyindex{internote}. It might be useful to reserve additional +space above the chord by advancing \keyindex{stafftopmarg} to +something like \verb|stafftopmarg=10\Interligne|. + +If you need the chords more often, it might be useful to define your own +macros, e.g.~saying: + +\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%| + \subsection{*musixlit}\label{litu}\label{otherbars} + Provides a way of coding intermediate between gregorian and baroque/romantic, +still used\footnote{Was written by A. {\sc Egler}. To my knowledge (D. T.), +liturgical works are either written with modern music quotation, or using the +gregorian \itxem{neumes} which have been normalized in 1905.} for liturgical +works! + +\makeatletter +\catcodesmusic +%\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \multnoteskip\scal@noteskip +% \not@s} + +%\def\not@s{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose\transpose +% \check@nopen\notes@open\@ne +% \kern\n@skip\advance\x@skip\n@skip \locx@skip\x@skip +% \n@skip\noteskip \noinstrum@nt\z@ \begininstrument} + +%\def\en{\@ndstaff\notes@open\z@ +% \ifx\@ne\V@sw \widthtyp@\z@\t@rmskip \let\V@sw\empty \fi} + +\def\double#1{\roffset{1.2}{\advancefalse#1}#1} +\makeatother + + % Don't know if this example correct ??? But looks nice... +\begin{music} +\parindent0pt +\instrumentnumber{2} +\interstaff{11} +\generalsignature2 +\setclefsymbol2\oldGclef +\setstaffs1{2} +\setclef1\bass +\setinterinstrument1{-\Interligne} +\startpiece +\shortbarrules +\addspace\afterruleskip +\hardlyrics{Il nous a sign\'es de son + }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics*\Hpause h1\en +\qspace\qspace +\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\double{\cnql i}\en +\bar +\hardlyrics{Et nous avons \'e- + }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics~-*\Hpause h1\en +\qspace\qspace +\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\double{\cnql i}\en +\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cnqu g\en +\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cnqu f\en +\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\double{\cnqu h}\en +\bar +\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cnqu h\en +\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cnql k\en +\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\double{\cnql j}\en +\bar +\NOTEs\zhl K\hu a|\zhl f\hu k&\tx ~~ia !*\cnhl k\en +\sepbarrules +\endpiece + +\startpiece +\interbarrules +\addspace\afterruleskip +\hardlyrics{Il nous a sign\'es de son + }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics*\Hlonga h1\en +\qspace\qspace +\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\chl i\en +\bar +\hardlyrics{Et nous avons \'e + }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics~-*\Hlonga h1\en +\qspace\qspace +\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\chl i\en +\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cqu g\en +\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cqu f\en +\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\chu h\en +\bar +\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cqu h\en +\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cql k\en +\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\chl j\en +\bar +\NOTEs\zbreve K\breve a|\zbreve f\breve k&\tx ~~ia !*\zbreve k\en +\sepbarrules +\endpiece +\end{music} + + This package provides: + \begin{itemize} + \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one, +using (for instrument 2 as an example): + \verb|\settrebleclefsymbol2\oldGclef| + + \item\keyindex{cqu} $p$ provides a square headed quarter note with stem up at +pitch $p$. + + \item\keyindex{cql} $p$ provides a square headed quarter note with stem down at +pitch $p$. + + \item\keyindex{chu} $p$ provides a square headed half note with stem up at +pitch $p$. + + \item\keyindex{chl} $p$ provides a square headed half note with stem down at +pitch $p$. + + \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square headed +quarter note at pitch $p$. + + \item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square +headed half note at pitch $p$. + + \item\keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch +$p$ and of length $n$ \keyindex{noteskip}. However, in the first of the above +example, this feature has been used to denote an arbitrary length note rather +than a rest! + + \item\keyindex{Hlonga} $p$ $n$ provides an arbitrary length note at pitch +$p$ and of length $n$ \keyindex{noteskip}. +This feature has been used to denote an arbitrary length note in the second of +the above examples. + + \item\keyindex{shortbarrules} has been used to provide bar rules shorter than +the staff vertical width. + + \item\keyindex{interbarrules} has been used to provide bars between the +staffs, rather that over them. This is an arbitrary question of taste... + \end{itemize} + + + + \subsection{musixmad} \ttxem{musixmad.tex} increases the number of +instruments, slurs and beams up to twelve. + \subsection{musixper}\label{perc} + + Provides specific percussion symbols, especially \keyindex{drumclef} +(used in section \ref{sectiondrum}). These definitions cause problems +since drum and percussion notation is not standardized. +So it might be clever to specifiy the names of instruments for each +used symbol. + + + %\check + \begin{itemize} + \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a +``\verb|dc|'' (think of \ital{DiagonalCross} for e.g. closed \itxem{hihat}). +Available are +\keyindex{dcqu}, +\keyindex{dcql}, +\keyindex{dcqb}, +\keyindex{dczq}, +\keyindex{dccu}, +\keyindex{dcccu}, +\keyindex{dccl} and +\keyindex{dcccl}. + + \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a +``\verb|dh|'' +(think of \ital{DiagonalcrossHalfcircle} for e.g. half open \itxem{hihat}). +Available are +\keyindex{dhqu}, +\keyindex{dhql}, +\keyindex{dhqb}, +\keyindex{dhzq}, +\keyindex{dhcu}, +\keyindex{dhccu}, +\keyindex{dhcl} and +\keyindex{dhccl}. + + \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a +``\verb|do|'' +(think of \ital{DiagonalCross and O for circle} for open \itxem{hihat}). +Available are +\keyindex{doqu}, +\keyindex{doql}, +\keyindex{doqb}, +\keyindex{dozq}, +\keyindex{docu}, +\keyindex{doccu}, +\keyindex{docl} and +\keyindex{doccl}. + + \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a +``\verb|x|'' (e.g. for spoken text of songs). +Available are +\keyindex{xqu}, +\keyindex{xql}, +\keyindex{xqb}, +\keyindex{xzq}, +\keyindex{xcu}, +\keyindex{xccu}, +\keyindex{xcl} and +\keyindex{xccl}. + + \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a +``\verb|ox|'' (.!.). +Available are +\keyindex{oxqu}, +\keyindex{oxql}, +\keyindex{oxqb}, +\keyindex{oxzq}, +\keyindex{oxcu}, +\keyindex{oxccu}, +\keyindex{oxcl} and +\keyindex{oxccl}. + + \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a +``\verb|ro|'' (think of \ital{RhOmbus} for e.g.~shaker). +Available are +\keyindex{roqu}, +\keyindex{roql}, +\keyindex{roqb}, +\keyindex{rozq}, +\keyindex{rocu}, +\keyindex{roccu}, +\keyindex{rocl} and +\keyindex{roccl}. + + \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a +``\verb|tg|'' (think of \ital{TrianGle} for e.g.~rattle). +Available are +\keyindex{tgqu}, +\keyindex{tgql}, +\keyindex{tgqb}, +\keyindex{tgzq}, +\keyindex{tgcu}, +\keyindex{tgccu}, +\keyindex{tgcl} and +\keyindex{tgccl}. + + \item The \raise.5ex\hbox to 1em{\musixchar117\hfil} symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded with a +``\verb|k|'' (for bongos). +Available are +\keyindex{kqu}, +\keyindex{kql}, +\keyindex{kqb}, +\keyindex{kzq}, +\keyindex{kcu}, +\keyindex{kccu}, +\keyindex{kcl} and +\keyindex{kccl}. + \end{itemize} + \subsection{musixpoi} + Adds pointed compact definitions of notes. +Available are +\keyindex{ccup}, +\keyindex{zccup}, +\keyindex{cclp}, +\keyindex{zcclp}, +\keyindex{ccupp}, +\keyindex{zccupp}, +\keyindex{cclpp}, +\keyindex{zcclpp}, +\keyindex{cccup}, +\keyindex{zcccup}, +\keyindex{ccclp}, +\keyindex{zccclp}, +\keyindex{cccupp}, +\keyindex{zcccupp}, +\keyindex{ccclpp}, +\keyindex{zccclpp}, +\keyindex{ccccup}, +\keyindex{zccccup}, +\keyindex{cccclp}, +\keyindex{zcccclp}, +\keyindex{ccccupp}, +\keyindex{zccccupp}, +\keyindex{cccclpp} and +\keyindex{zcccclpp}. + + %\check + \subsection{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} + This file provides a set of indications for \itxem{string instruments} (e.g. +\ixem{violin}) execution, provided by Werner {\sc Icking}\index{Icking, +W.@{\sc Icking, W.}}. + + + {\input musixstr + The symbols described below should be posted at the wanted place using + \verb|\zcharnote|$p$\verb|{|$$\verb|}|. + +\begin{quote}\begin{description} + + \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow + + + \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow + + + \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow + + \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow + + \item[\GB\ or \Gb~: \keyindex{GB} or \keyindex{Gb}] whole bow + + \item[\UH\ or \Uh~: \keyindex{UH} or \keyindex{Uh}] lower half of bow + + \item[\OH\ or \Oh~: \keyindex{OH} or \keyindex{Oh}] upper half of bow + + \item[\MI\ or \Mi~: \keyindex{MI} or \keyindex{Mi}] middle of bow + + \item[\UD\ or \Ud~: \keyindex{UD} or \keyindex{Ud}] lower third of bow + + \item[\OD\ or \Od~: \keyindex{OD} or \keyindex{Od}] upper third of bow + + \item[\Pizz~: \keyindex{Pizz}] left hand pizzicato or trill + + \end{description}\end{quote} + } + %\check + \subsection{musixsty}\index{musixsty@{\tt musixsty.tex}} + + This file is made for non \TeX perts and/or lazy score typesetters. Although +related to \musixtex, it has little to see with music, but it helps writing +all surrounding texts, like \itxem{titles}, \itxem{author names}, historical +comments, etc. It provides + \begin{itemize} + \item a set of font definitions of common use, such as \verb|\tenrm|, +\verb|\eightrm|, etc., + \item a reasonable setting of \keyindex{hsize}, \keyindex{vsize}, +\keyindex{hoffset}, \keyindex{voffset} dimensions in order to have a good +layout fit for European A4 paper\footnote{People addicted to \itxem{legal} or +other paper sizes should correct it for their own purpose.} + \item a set of text size commands: + + \begin{description} + \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm}, +\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 8 point font size; + \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm}, +\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 10 point font size; + \item[\keyindex{twlpoint}] to get 12 point font size; + \item[\keyindex{frtpoint}] to get 14.4 point font size; + \item[\keyindex{svtpoint}] to get 17.28 point font size; + \item[\keyindex{twtypoint}] to get 20.74 point font size; + \item[\keyindex{twfvpoint}] to get 24.88 point font size; + \end{description} + \item a set of commands to make easy piece titles: + \begin{itemize} \item \keyindex{author} or +\keyindex{fullauthor} to be put at the right of the first page, below the +title of the piece; the calling sequence is, for example: + + \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}| + + \noindent where the \verb|\\| makes the author's name displayed on two or +several lines. + + + \item \keyindex{shortauthor} to be put at the bottom of each page, + \item \keyindex{fulltitle} which is the big main title of the piece, + \item \keyindex{subtitle} is displayed below the main title of the piece, + \item \keyindex{shorttitle} or \keyindex{title} + which is the title repeated at the bottom of each page, + \item \keyindex{othermention} which is displayed on the left of the page, in +front of the author's name (it may contain several \verb|\\| to display it on +several lines, + \item \keyindex{maketitle} which displays all the previous stuff. + \end{itemize} + + \item Some additional commands to make \itxem{footnotes}. + These commands are + \begin{itemize} + \item The normal Plain-\TeX\ \keyindex{footnote} command which has two +arguments --- not only one as in \LaTeX\index{LaTeX@\protect\LaTeX} --- namely +the label of the footnote, i.e. any sequence of characters and not only +figures, and the text of the footnote. + +\begin{important} the \verb|\footnote| command does not work inside +boxes\footnote{This is not a \TeX-bug, this is a feature!}, therefore this +command must not be issued within music. But another alternate feature is +provided (see below). + \end{important} + + \item The \keyindex{Footnote} command, which counts the footnotes and uses a +number as the label of the foot note (equivalent to \LaTeX's \verb|\footnote| +command). The same restriction applies concerning footnotes within the music +coding. + + \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which +makes the footnote itself at the bottom of the current page, but does not put +the footnote label at the place it is referred in the main text. + + Thus, if a footnote is needed whose reference lies inside the music itself, +the music typesetter must perform it in two steps: + \begin{enumerate} + \item quote the reference inside the music, using \verb|zcharnote| for +example, + \item post the footnote itself, using \verb|\vfootnote| outside the music, +either before \keyindex{startpiece} (or \verb|\debutmorceau| with {\tt +musixcpt.tex}) or between \keyindex{stoppiece} and +\keyindex{piececont} or equivalent commands. + \end{enumerate} + + \end{itemize} + + \end{itemize} + + Note that \verb|musixsty| should not be used with \LaTeX. + \subsection{musixtri}\index{musixtri@{\tt musixtri.tex}} +Provides triple pointed note symbols. +Available are: +\keyindex{lpppt}, +\keyindex{whppp}, +\keyindex{zwppp}, +\keyindex{huppp}, +\keyindex{hlppp}, +\keyindex{zhppp}, +\keyindex{zhuppp}, +\keyindex{zhlppp}, +\keyindex{quppp}, +\keyindex{qlppp}, +\keyindex{zquppp}, +\keyindex{zqlppp}, +\keyindex{zqppp}, +\keyindex{cuppp}, +\keyindex{zcuppp}, +\keyindex{clppp}, +\keyindex{zclppp}, +\keyindex{qbppp} and +\keyindex{zqbppp}. + +\section{Often reported problems and discussion faxilities} + +\subsection{Newsgroups}\index{newsgroups} No specific newsgroup exist +concerning \mutex, \musictex{} or \musixtex; nevertheless W. Icking saw +articles on this topic in {\tt comp.text.tex} as well as in {\tt +de.comp.text.tex}. + +\subsection{Mailing list} A mailing-list does exist which was formerly +dedicated to \mutex, and now to \musictex{} and mostly to \musixtex. +You can subscribe to it by +sending an e-mail to {\tt mutex-request@gmd.de} +with the message line\index{mailing list} + +{\tt subscribe} + +\subsection{FAQs}\index{FAQ} + +{\tt gmd.de}, too, has a FAQ which is presently out-of-date and quite unusable +since it displays many questions and comments without giving the answer. +However, it will be probably enhanced in a near future. This +FAQ can be accessed using {\tt +ftp}: + +{\tt ftp://ftp.gmd.de/music/mutex/faq} + +\noindent and the archive of the mailing list may be accessed also by {\tt +ftp}: + +{\tt ftp://ftp.gmd.de/music/mutex/archive} + +\noindent or: + +{\tt http://www.gmd.de/Mail/} + + {\tt ftp.gmd.de} also contains a lot of stuff concerning music and +typesetting music, which can be accessed by WWW at: + +{\tt http://www.gmd.de/Misc/Music/} + + + +\chapter{Installation}\label{installation} + +\section{*Getting the stuff} + +As seen before, all the files are available at \itxem{anonymous ftp} +\verb|hprib.lps.u-psud.fr| (193.55.39.152) in the directory + + {\tt /pub/musixtex} + + The {\tt *.mf} source files are in + + {\tt /pub/musixtex/mf} + +\noindent and the {\tt *.tfm} files are in + + {\tt /pub/musixtex/tfm} + +\noindent Besides, this manual is in + + {\tt /pub/musixtex/musixdoc.ps} + + Another directory, namely {\tt /pub/music\_zips} normally contains {\tt +musixtex.zip} which contains all the distribution for PC (\ixem{MS-DOS}) +computers. This is only for {\tt ftp}-ing convenience since all source files +are directly available in the general directory and subdirectories. In +addition a set of examples (i.e. the files whose name does not begin with +``\verb|musix|'') is packed into \ttxem{musixexa.zip} and this manual is also in +\ttxem{musixdoc\_ps.zip} (the PostScript version) and +\ttxem{musixdoc\_lj.zip} (the PCL version for Laserjets). +Finally the PK files of specific fonts are provided in \ttxem{musixpk.zip}, +\ttxem{musixpk3.zip} (300 and 360 dpi) and \ttxem{musixpk6.zip} (600 dpi); +getting these files is useless if you are able to \MF{} the files whose {\tt +*.mf} are provided in the main package. + +{\sl\noindent CAUTION: the zipped files are provided in the PC line coding, +i.e. with {\tt } at line ends, rather than single {\tt } as in the +\unix{} coding. This means that \unix{} users must carefully unzip these files +using the ``{\tt-a}'' (our ``{\tt-aa}'' options of {\tt unzip} to get correct +coding of the source files. Other wise they would find a lot of ``{\tt\^{}M}'' in +their files, which may cause further troubles.}\index{PC end of line +coding}\index{\^{}M} + + + Besides, /unix{} users can also --- when in directory {\tt /pub} --- ask for: + + {\tt get musixtex.tar}\quad or + + {\tt get musixtex.tar.Z}\quad or + + {\tt get musixtex.tar.gz}\quad and even + + {\tt get musixtex.zip} + + Then, the {\tt hprib.lps.u-psud.fr} server will perform required collection +and/or compression ``on-the-fly''. Note that in that case the source files +will be in the \unix{} coding rather than PC coding of end of lines. Usually, +this is harmless for PC editors and \TeX{} motors, but who knows... + + +\ital{Fonts}\index{fonts} are provided in {\tt musixtex.zip} as {\tt *.mf} +files but also as {\tt *.tfm} and {\tt*.pk} files for 300~dpi printers or +previewers. Other values of the \ixem{dpi} parameter are also provided in +\verb|musixpk*.zip|. + +Needed fonts are {\tt musix20}, {\tt musix16}, {\tt musix13}, {\tt musix11}, +{\tt musix24}, {\tt musix29}, {\tt musixspx}\footnote{Inside this file are two +types of piano brackets available. The default you can see printing this doc, +the other you can see printing {\tt musicdoc}. If you prefer the other, which +are designed by Stanislav Kneifl, follow the instruction inside {\tt +musixsps.mf}},\index{Kneifl, S.@{\sc Kneifl, S.}} + {\tt xslhu20}, {\tt xslhu16}, {\tt xslhu24}, {\tt xslhu29}, +{\tt xslhd20}, {\tt xslhd16}, {\tt xslhd24}, {\tt xslhd29}, +{\tt xslu20}, {\tt xslu16}, {\tt xslu24}, {\tt xslu29}, +{\tt xsld20}, {\tt xsld16}, {\tt xsld24}, {\tt xsld29}, +{\tt xslz20} and {\tt xslhz20}. + +\section{Installing the fonts} +\ital{All} files with the extension {\tt .tfm}\footnote{\TeX\ font metric, +needed directly from binary for \TeX ing the examples or the doc.} must +be copied in that directory, in which the other {\tt .tfm}'s are. + +If you get the error message: + +{\tt! Font ... not loadable: Metric (TFM) file not found.} + +\index{Metric (TFM) not found}\noindent this means you have not succeeded to +install the {\tt .tfm}'s in the right directory. This is not a \musixtex\ +error, but a local \TeX\ implementation error/misunderstanding. Then read or +re-read your \TeX\ installation doc, put the {\tt tfm}'s at the very right +place and start again. + +The {\tt .tfm} only contains the width, height and depth of every character of +a font and is the only needed font-file for \TeX ing. For previewing and/or +printing you need the pixel fonts. On most systems they are packed and have +the extension \verb|.pk|(but perhaps you need the \verb|.gf|-files or +\verb|.300|-files or other: Ask your local \TeX-wizard\footnote{I have read a +mail from somebody, who has said, that he is able --- because he is a +professional --- to write an \verb|install| for installation of packages like +\musixtex. Really? Do it.}!) Most needed and spreaded are fonts for +\verb|dvi|-driver with resolution of 300dpi. Using em\TeX{} associated drivers +the \verb|.pk|-fonts have to be copied in \verb|...\pixel.lj\300dpi\| as a +default, and in general in a directory specified by the environment variable +{\tt DVIDRVFONTS}\footnote{Look at {\tt dvidrv.doc} for more information.}. For +other resolution refer your local manual or \TeX-wizard. + +\section{Building a format}\label{formatbuild} + +Introducing these files in a \itxem{format} (with \ixem{INITEX}) is a mean of +saving computer time and memory. Besides, if you include {\tt musixcpt.tex} in +your format, you will have a format compatible with \musictex\ and --- +provided you made the symmetrical format for \musictex\ --- you can compile +exactly the same source files with both \musictex\ and \musixtex, which is a +good means of finding whether some strange behaviour is specific to one +implementation of the other, or whether you made some general +mistake\footnote{Not all authors have the same opinion :-). But I was told, +that my opinion doesn't count, so forget it -- A.E.}... + +However, although having a \musixtex{} format saves much time, it can also +lead to time wasting weird things in case of updates~: if you update your +source of {\tt musixtex.tex} but not the format {\tt musixtex.fmt}, then +running the command {\tt musixtex} will invoke the old unmodified format... + +\subsection{Starting from nil} +\begin{enumerate} + \item Build up a file called \verb|musixtex.ini| with following content:\\ +\begin{verbatim} +\input plain % or dcplain or eplain or see later a safer way of doing +\input musixtex +% here can you add your most needed files from extension lib +% musixcpt at very last ! +\end{verbatim} +\verb|\def\fmtname{musixtex}\def\fmtversion{|{\tt\mxversion}\verb|}| +\verb|\dump| + \item \verb|initex musixtex.ini|\footnote{depends on your implementation}. + \item \verb|tex &musixtex| \ital{jobname}\footnote{depends on your +implementation}. +\end{enumerate} +\vfill + +\subsection{Starting from your usual plain format} +\begin{enumerate} + \item First, try to find --- on your favourite system --- whether \verb|tex| +is an executable routine, or a \verb|tex.bat| command in MS-DOS or a +\ital{shell} procedure under \unix. + \item If \verb|tex| is a command try to find the ``{\tt initex}'' local +command: usually it is either \verb|initex| or \verb|tex -i|. + \item Try to find the name of the ``plain \TeX'' format (usually posted +when \TeX ing anything). + \item Then, \ital{mutatis mutandis}, assuming the ``{\tt initex}'' command +has the name \verb|initex| and the ``plain \TeX'' format is \verb|plain|, run +the shell command: + + \medskip + \verb|initex \&plain musixtex.ins| + + \medskip\noindent which will produce a format file {\tt musixtex.fmt} which +you shall put in the same directory as the others formats (hoping you have +the access rights...). Note --- in \unix{} systems --- the backslash before +the \verb|&| which tells the system to consider this character as a member of +the command, not a batch execution indication. Once this is done, you can +\musixtex\ any score you have written using a command such as: + + \medskip + \verb|tex \&musixtex my-score.tex| + + \medskip\noindent that is, specifying your new format {\tt musixtex.fmt} +instead of the usual {\tt plain.fmt}. + + For \ixem{MS-DOS}/{\tt emTeX} users the format building command is: + + \verb|tex386 -i &plain musixtex.ins| + + \noindent (you can change \verb|plain| into \verb|dc-plain| or any other +plain-like format you have) then: + + \verb|copy musixtex.fmt \emtex\btexfmts\*.*| + + \noindent and the {\tt musixtex.bat} command can be + +% It makes no sense to state -mt20000, perhaps this is useful for MusicTeX, +% (it uses hyphenation to break a line) but not for MusiXTeX (it uses musixflx) +\begin{quote}\begin{verbatim} +if exist %1.tex goto tex +goto end + +:tex +if exist %1.mx1 del %1.mx1 +if exist %1.mx2 del %1.mx2 +tex386 -mt20000 &musixtex %1 %2 %3 %4 %5 %6 %7 %8 %9 + +if errorlevel 2 goto end +musixflx %1 + +if errorlevel 1 goto end +tex386 -mt20000 &musixtex %1 %2 %3 %4 %5 %6 %7 %8 %9 + +:end + \end{verbatim}\end{quote} +\end{enumerate} + +\begin{flushright}\it +Don't expect a perfect package or miracles.\\ +There will be enough unexpected miracles.\\[\smallskipamount] +{\sc Eberhard Mattes} +\end{flushright} + +\chapter{Examples} + Due to compatibility problems with \LaTeX\ (used to produce this notice) +large examples must be \TeX -ed separately, i.e.\ using plain \TeX{} and not +\LaTeX. Therefore, the \musixtex\ future user is suggested to produce some of +the following examples and to look carefully at the way some special features +have been coded. + + When producing this examples, care should be taken about the fact +that several given files are supposed to be included (by means of +\keyindex{input}) in other files. Thus the only good files to be directly +\TeX-ed are those which begin with \verb|\input musixtex| or + \verb|% \input musixtex|. This latter command is often commented out so that +the examples can be run either using a \musixtex\ format including {\tt +musixcpt.tex} and {\tt musixsty.tex} --- namely the format generated by {\tt +musixtex.ins} --- or using a \musictex\ format including {\tt musictrp.tex}, +{\tt musicvbm.tex} and {\tt musicsty.tex} --- namely the format generated by +{\tt musixtex.ins}. + +In addition, it must be noted that most DVI previewers and laser printers have +their origin at one inch below and one inch right of the right upper corner +of the paper, while the musical examples have their upper left significant +corner only at one centimeter right and below the left top of the paper. +Therefore, special parameters have to be given to the DVI transcription +programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ +commands are introduced within the source \TeX\ text. + +\section{Clean \musixtex\ examples} + +\begin{itemize} + \item{\tt avemaria.tex} to get the ``M\'editation'' (alias ``Ave Maria'') by +Charles {\sc Gounod} for organ and violin or song in clean \musixtex-input. +\index{Gounod, C.@{\sc Gounod, C.}} + \item{\tt traeumer.tex} to get the famous ``Tr\"aumerei'' by +Robert {\sc Schumann} for piano, in genuine \musixtex-input but with some +additions to perform ascending \itxem{crescendos}. +\index{Schumann, R.@{\sc Schumann, R.}} + \item{\tt parnasum.tex} to get the first page of ``Doctor gradus ad +Parnassum'' by Claude {\sc Debussy} for piano.\index{Debussy, +C.@{\sc Debussy, C.}} + \item{\tt glorias.tex} to get a local melody for the French version of +\ital{Gloria in excelsis Deo}, showing use of lyrics commands. {\tt +gloriab.tex} is the same, with organ accompaniment. + \item Other clean \musixtex\ examples seem to be no more compatible with +the present version, but they should be updated in a near future. +\end{itemize} + +These examples are packed (zipped) in the {\ttxem{musixexa.zip}} file of the +\musixtex\ distribution. + +\section{Nearly compatible \musictex\ examples} + +These are examples using not only {\tt musixtex} but also {\tt musixcpt} and +{\tt musixsty}, which means their coding is easily understandable for +\musictex{} previous users. However, they cannot be run as is with \musictex, +since a few specific commands have been included, either for spacing, or for +oblique slurs. They are given in {\tt musixexa.zip}, for example: + + \begin{itemize} + \item {\tt gymnoman}~: an imitation of Erik {\sc Satie}'s +\ital{Gymnop\'edies}\index{Satie, E.@{\sc Satie, E.}}, + \item {\tt canticor.tex}/{\tt canticox.tex}~: +a famous tune by Georg Friedrich {\sc Haendel}\index{Haendel, G.F.@{\sc +Haendel, G.F.}}, + \item {\tt ilfaitda.tex}/{\tt ilfaitdx.tex}~: a famous choral by J.-S. +{\sc Bach}\index{Bach, J.S.@{\sc Bach, J.S.}} adapted with French lyrics for +French churches, + \item {\tt widor\_20.tex}~: the famous toccata for organ by Charles-Marie {\sc +Widor}\index{Widor, C.M.@{\sc Widor, C.M.}} in 10 pages (more compact than +commercial editions, and easier to play if nobody can turn the pages), and +{\tt widor\_16.tex} which is the same in 16~pt size, i.e. more compact. + \item{\tt souveni*.tex}~: a nice French tune of the fifties, by Oreste {\sc +Rossi} and Fernand {\sc Capitani} with several transpositions. + \item {\tt marcello.tex}~: the adagio of Benedetto {\sc +Marcello}\index{Marcello, B.@{\sc Marcello, B.}}'s oboe concerto, transcribed +for organ. + \item {\tt hymnepas.tex}~: a modern Eastern canticle by A. {\sc Gouzes} and +{\sc Palestrina}, showing heavy use of \keyindex{hardlyrics} for choral +music.\index{Gouzes, A.@{\sc Gouzes, A.}} + + \end{itemize} + +\section{Compatible \musictex\ examples} + +They are all the examples provided in the \musictex\ distribution. To run them +the easiest way is to have both a {\tt musictex} and a {\tt musixtex} format as +described in \ref{formatbuild}. Otherwise, insert + + \verb|\input musixtex| + + \verb|\input musixcpt| + + \verb|\input musixsty| + + \noindent at the beginning of each example, and \TeX\ it. + + \section{Looking at examples before installing \musixtex} + + Most of the above examples (and some others) are posted, ready to print, as +PostScript files in: + \begin{itemize} + \item {\tt ftp://hprib.lps.u-psud.fr/pub/music\_scores.zip/*/*/*.zip} (zipped +PostScript 300dpi files) + \item {\tt ftp://hprib.lps.u-psud.fr/pub/music\_scores.gz/*/*/*.ps.gz} (gzipped +PostScript 300dpi files) + \end{itemize} + + Printing them on any PostScript printer (needs A4 paper) is a good means of +getting an overview of \musixtex's capabilities. + + +\printindex + +\clearpage +{\parindent0pt +\hoffset-15.4mm +\voffset-42mm +\hsize190mm +\vsize285mm +\parskip0pt plus 2pt +% not fine, not clean, but works +% !!! don't look at this !!! +%>>> +\makeatletter +\textheight\vsize +\@colht\vsize +\@colroom\vsize +\makeatother +%<<< +\let\MYTEMP\addcontentsline +\def\addcontentsline#1#2#3{} +\chapter{} +\let\addcontentsline\MYTEMP +\addcontentsline{toc}{chapter}{% + \protect\numberline\thechapter{Summary of denotations}} +\vglue-20mm +\centerline{\bigfont Pitches} +\medskip +\tentt +\def\bs{\tentt\char92} +\setclef1\bass +\afterruleskip2pt +\startpiece +% +% Pitches +% +\addspace\afterruleskip +\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}% + \zchar{14}{\llap`A}\sk + \zchar{14}{\llap`B}\sk + \zchar{14}{\llap`C}\sk + \zchar{14}{\llap`D}\sk + \zchar{14}{\llap`E}\sk + \zchar{14}{\llap`F}\sk + \zchar{14}{\llap`G}\sk + \zchar{14}A\sk + \zchar{14}B\sk + \zchar{14}C\sk + \zchar{14}D\sk + \zchar{14}E\sk + \zchar{14}F\sk + \zchar{14}G\sk + \zchar{-5}{\llap'A}\zchar{14}H\sk + \zchar{-5}{\llap'B}\zchar{14}I\sk + \zchar{-5}{\llap'C}\zchar{14}J\sk + \zchar{-5}{\llap'D}\zchar{14}K\sk + \zchar{-5}{\llap'E}\zchar{14}L\sk + \zchar{-5}{\llap'F}\zchar{14}M\sk + \zchar{-5}{\llap'G}\zchar{14}N\sk + \zchar{14}a\sk + \zchar{14}b\sk + \zchar{14}c\sk + \zchar{14}d\sk + \zchar{14}e\sk\en +\stoppiece\vskip-3\Interligne\setclef1\treble\contpiece +\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}% + \zchar{-8}a\sk + \zchar{-8}b\sk + \zchar{-8}c\sk + \zchar{-8}d\sk + \zchar{-8}e\sk + \zchar{-8}f\sk + \zchar{-8}g\sk + \zchar{-8}h\zchar{-4}{\llap'a}\sk + \zchar{-8}i\zchar{-4}{\llap'b}\sk + \zchar{-8}j\zchar{-4}{\llap'c}\sk + \zchar{-8}k\zchar{-4}{\llap'd}\sk + \zchar{-8}l\zchar{-4}{\llap'e}\sk + \zchar{-8}m\zchar{-4}{\llap'f}\sk + \zchar{-8}n\zchar{-4}{\llap'g}\sk + \zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk + \zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk + \zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk + \zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk + \zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk + \zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk + \zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk + \zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk + \zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk + \zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk + \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk + \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en +\stoppiece +\medskip +\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests} +\medskip +% +% Notes& Accidentals +% +\contpiece +\Notes + \zchar{-4}{Accidentals:}% + \zchar9{\bs maxima}\maxima i\relax + \zchar{12}{\bs longa}\longa i% + \zchar9{\bs breve}\breve i% + \zchar{12}{\bs wq}\wq i% + \zchar{12}{\bs wqq}\wqq i% + \zchar{12}{\bs wh}\wh i% + \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}% + \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l% + \zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}% + \zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l% + \zchar{12}{\bs cu}\zchar{-4}=\cu{=f}% + \zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l% + \zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}% + \zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l% + \zchar{12}{\bs cccu}\zchar{-4}<\cccu{ for the Debian GNU/Linux +.\" distribution but might be useful for others, too. +.\" This manpage is licensed under the GNU Public License +.TH MUSIXFLX 1 + +.SH NAME +musixflx \- preprocess mx1 files + +.SH SYNOPSIS +.B musixflx +.I "[debugmode] jobname.mx1" + +.SH "DESCRIPTION" + +Optionally, you can add a letter to indicate one of the debug modes, which are: + + d for debug information to screen +.br + f for debug information to file jobname.mxl +.br + s to get the computed lines immediately on screen + +To allow for ease of use with a batch file, \fB musixflx\fR +can either be fed with \fI jobname.mx1\fP, \fI jobname.tex\fP +or only \fI jobname\fP, all of which opens \fI jobname.mx1\fP. + +.SH SEE ALSO +musixtex(1) +.br +/usr/share/doc/musixtex/musixdoc.ps on a Debian GNU/Linux system + + +.SH AUTHOR +This manual page was written by Andreas Tille +for the Debian GNU/Linux system (but may be used by others). diff --git a/Master/texmf-dist/doc/generic/ofs/changes.txt b/Master/texmf-dist/doc/generic/ofs/changes.txt new file mode 100644 index 00000000000..45e710ccdb3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/ofs/changes.txt @@ -0,0 +1,54 @@ + +2001/08/24 OFS released +2001/08/27 \ifknownfam added + files allfonts.tex, allfonts.sty added +2001/08/30 \dots and \ldotp definitions added in ofsdef.tex +2001/09/10 a little changes in comments + readme.ofs released +2001/11/15 Bug removing: \warnT <-> \warnF in ofs.tex + macros in ofsdoc.tex work now with PDFTeX version 14 +2002/06/10 Bug in a35.tex fixed: pgk.. -> pbk.. (one Bookman metric). + ofs.tex: \savefontid + \restorefontid added. + ofsmtdef.tex: new file for MathTimes support included. +2002/06/18 ofsmtdef.tex: bugfix \mathcode`=="2244 -> \mathcode`=="3244 +2002/06/26 ofs.tex: bug in \savefontid fixed: \relax added after fontmetric +2002/10/27 ofs.tex: The (Variant) in \loadtextfam introduced + \addcmd introduced + \def\relax{} in \setfosize macro added + \ifx\sgfamily\newfamily added in \setfontfamily + ofs.sty: \addcmd introduced + ofsdef.tex: The (Variants) for Times+Helvetica added. + a35.tex: The (Variants) added. + ofscatal.tex: a new macro package ofscatal.tex introduced + ofsdoc.tex,ps,pdf: The documentation upgraded. +2003/02/25 ofs.sty: \setfonts sets catcode of "-" (bug fixed by Z. Wagner) + ofsdoc-e.tex,ps,pdf: (English documentation) released + ofsdoc.tex,ps,pdf: little corrections +2003/03/27 ofsmtdef.tex: \skewchar settings, if Times then mtmi loaded + ofsdef.tex: \skewchar settings, warning for bad \fomenc added +2004/02/* ofs for plain very improved: \loadingenc, + \modifyenc, \modifydef, \modifylist, + \registerenc, \ofshexbox, \ofshexboxdef, + \defaultextraenc, \extraenc, \tryloadenc, + \knownfam, \registeredfam, \knownchar, + \printaccentwarn, \printcharacterwarn, \characterdel, \accentdel, + support for EC fonts for plain added, + support for 8c encoding added, + you can re-declare declared font family, + \sum, \int, \prod in displaystyle redefined in PS math. encoding. + The interactive ofstest.tex macro introduced, + Czech documentation upgraded. +2004/03/12 ofs-8c.tex: \text.. prefixes added to math names from plain. +2004/03/13 ofs.tex: \characterdef does not re-define macros, + \tryloadenc is called from \loadtextfam + \showfonts + \listfamilies reimplemented + ofs-{8z,8t,8c,6s}.tex: changes according to new \characterdef + slido.tex: changes according to new \characterdef +2004/05/12 ofs.tex: many new features (see ofs.tex or ofsdoc.tex) + ofsdef.tex: upgraded + ofsdoc.tex: upgraded + ofsdoc-e.tex: upgraded + many ofs-.tex files added + a117.tex, amsfn.tex, mtfn.tex, txfn.tex, pantyk.tex added + ofsmtdef.tex is only wrapper file to mtfn.tex +2004/05/20 ofs.tex: \catcode`\|=12 set temporary to avoid ConTeXt conflict diff --git a/Master/texmf-dist/doc/generic/ofs/eurotex2003-ofs.pdf b/Master/texmf-dist/doc/generic/ofs/eurotex2003-ofs.pdf new file mode 100644 index 00000000000..8b2c08b4427 Binary files /dev/null and b/Master/texmf-dist/doc/generic/ofs/eurotex2003-ofs.pdf differ diff --git a/Master/texmf-dist/doc/generic/ofs/eurotex2003-ofs.tex b/Master/texmf-dist/doc/generic/ofs/eurotex2003-ofs.tex new file mode 100644 index 00000000000..1a6601da376 --- /dev/null +++ b/Master/texmf-dist/doc/generic/ofs/eurotex2003-ofs.tex @@ -0,0 +1,1089 @@ + +\chyph % use csplain + +\newcount\firstpage \firstpage=1 +\newcount\numpages \numpages=14 + +\def\addcmd #1#2{\expandafter\def\expandafter\tmpa\expandafter{#1}% + \def\tmpb{#1}% + \ifx\tmpa\tmpb % the #1 is not a macro + \expandafter\let\csname \string#1-original\endcsname =#1% + \expandafter\def\expandafter #1\expandafter{% + \csname\string#1-original\endcsname #2}% + \else % the #1 is a macro + \expandafter\def\expandafter #1\expandafter{#1#2}% + \fi} + + +\input ofs [ffonts] % Charter je ve skupin free fonts + +\setfonts [Charter/10pt] % vchoz rodina +\setmath[//] % inicializace matematiky +\fontdef\tt [CMTypewriter/mag1.1] % strojopis, korekce stedn vky +\fontdef\verbtt [CMTypewriter-rm/8] % strojopis pro display ukzky +\fontdef\small [!/9] % zmenen pro abstrakt a zhlav +\addcmd \small {\baselineskip11pt \rm \def\mathversion{normal}\setmath[//]} +\fontdef\fontsekce [!/12] % pro nadpisy sekc +\addcmd \fontsekce {\bf \let\it=\bi \def\mathversion{bold}\setmath[//]} +\fontdef\fonttitul [!-bf/14.4] % titul + +\hsize=12,2cm +\vsize=19,3cm +\hoffset=63pt +\voffset=43pt +\parindent=14pt + +\lineskiplimit=-10pt +\raggedbottom + +\exhyphenpenalty=10000 +\widowpenalty=10000 +\clubpenalty=10000 + +\showboxdepth=10 \showboxbreadth=50 + +\def\starthead{\global\headline= + {\small \ifodd\pageno \hfil \thetitul \headspace \the\pageno + \else \the\pageno \headspace \theauthor \hfil \fi}} +\headline={\hfil\starthead} +\def\headspace{\hskip2.5em\relax} +\def\makeheadline{\vbox to0pt{\vskip-25pt + \line{\vbox to8.5pt{}\the\headline}\vss}\nointerlineskip} +\footline={\setfonts[/7]\setmath[//]\baselineskip=9pt + \vbox{\hbox{\copytext}\hbox{\copykonvoj}}\hfil + \global\footline={}} +\def\lastpage{\advance\firstpage by\numpages \advance\firstpage by-1 + \the\firstpage} + +\def\copytext{Euro\TeX{} 2003} +\def\copykonvoj{} + +\newcount\subnum + +\def\kap #1\par{\advance\subnum by1 + \removelastskip %\goodbreak + \vskip17pt plus2pt minus1pt\noindent{\fontsekce + \ifnum\subnum>1 \the\subnum\enspace\enspace\fi #1}% + \par\nobreak\vskip11pt plus2pt minus1pt + \everypar{\setbox0=\lastbox \everypar={}}} +\def\reference {\subnum=-1 \kap Reference\par \small} +\def\bib{\par\advance\subnum by1 \leftskip=\parindent + \noindent\llap{\the\subnum.\enspace}\ignorespaces} + +\let\orifootnote=\footnote +\newcount\footnotenum +\def\footnote#1{\global\advance\footnotenum by1 + \orifootnote{$\setmath[//]^\the\footnotenum$}{\small + \hangindent=\parindent #1\par}} +\def\footnoterule{\kern-3pt \hrule width 2cm \kern2.6pt } + +\def\titul #1 \par{\def\thetitul{#1}\pageno=\firstpage + \centerline{\fonttitul #1}\vskip20pt\relax} +\def\autor #1 \par{\def\theauthor{#1} + \centerline{#1}\vskip10pt\relax} +\def\institut #1 \par{\centerline{\small #1}} +\def\email #1 \par{\centerline{\small Email: \tt #1}\vskip20pt\relax} +\def\abstrakt {\bgroup \small + \leftskip=3em \rightskip=3em + \noindent{\bf Abstract:}\enspace} +\def\endabstrakt {\par\egroup\bigskip} +\def\url#1{{\tt#1}} + +\def\begitems{\medskip\bgroup\catcode`\*=13 \narrower} +\def\enditems{\par\egroup\medskip} +{\catcode`\*=13 \gdef*{\par\noindent\llap{$\bullet$\kern.6em }\ignorespaces} +\gdef\numerate{% \numerate napsat tsn za \begitems + \def*{\par\advance\itemnum by1\noindent + \llap{\bf\the\itemnum.\kern.6em }\ignorespaces}}} + + +\font\mflogo=logo10 % METAFONT logo +\font\boldsy=cmbsy10 at12pt % Tun \CS, \AMS. +\font\bboldsy=cmbsy10 scaled\magstep2 % Tun \CS v titulu + +\def\CS{$\cal C\kern-.1667em\lower.5ex\hbox{$\cal S$}\kern-.075em $} +\def\bCS{{\boldsy C\kern-.1667em\lower.5ex\hbox{S}\kern-.04em}} +\def\CSTeX{\CS\TeX} +\def\CSTUG{\CS TUG} +\def\CSfont{\CS\kern.1em font} +\def\csplain{\CS\kern.1em plain} \let\CSplain=\csplain +\def\mf{{\mflogo META}\-{\mflogo FONT}} +\def\mp{{\mflogo META}\-{\mflogo POST}} +\def\LaTeX{L\kern-.2em\raise.45ex\hbox{\setfonts[/mag.7] A}\kern-.05em\TeX} +\def\twoe{$2_{\textstyle\varepsilon}$} +\def\LaTeXe{\LaTeX\thinspace\twoe} +\def\cslatex{\CS\kern.05em\LaTeX} \let\CSLaTeX=\cslatex +\def\twoe{$2_{\textstyle\varepsilon}$} +\def\LaTeXe{\LaTeX\thinspace\twoe} +\def\AMS{$\cal A\kern-.166em\lower.5ex\hbox{$\cal M$}\kern-.075em S$} +\def\bAMS{{\boldsy A\kern-.166em\lower.5ex\hbox{M}\kern-.075em S}} +\def\ps{Post\-Script} +\def\SLT{S\kern-0.025em\lower.5ex\hbox{L}\kern-.2emT} +\def\DOS{\hbox{DOS}} + +%% Definice verbatim prosted %% !verb. +\catcode`\"=13 +\def"{\hbox\bgroup\let"=\egroup\setverb\tt} +\def\setverb{\def\do##1{\catcode`##1=12}\dospecials\obeyspaces} +\def\begtt{\medskip\bgroup + \nobreak\setverb \parskip=0pt %\parindent=0pt + \catcode`\"=12\catcode`\~=13 \obeylines + \baselineskip=10pt + \let\tt=\verbtt \startverb} +{\catcode`\|=0 \catcode`\\=12 + |gdef|startverb#1\endtt{% + |tt#1|nobreak|egroup|penalty0|medskip|scannexttoken}} +{\obeyspaces\gdef {\ }} +\long\def\scannexttoken#1{\ifx#1\par\else\noindent#1\fi} + +\def\citeref #1 #2 {\expandafter\def\csname cit:#1\endcsname{#2}} +\citeref wwwstorm 1 +\citeref pismolijna 2 +\citeref stormtex 3 +\citeref slido 4 +\citeref ofsftp 5 +\citeref ofsdoc 6 +\citeref stormcl 7 +\citeref berry 8 +\def\cite#1{\expandafter\ifx \csname cit:#1\endcsname\relax + \message{Warning: cite{#1} is not defined}[??]% + \else [\csname cit:#1\endcsname]\fi} + +%------------------------------------------------------------------------- + +This version of the paper is only draft! It waits to Petr Sojka's corrections. +\bigskip + +\titul The font management with the OFS + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\autor Petr Ol\v s\'ak, Petr Sojka + +\institut Faculty of Electro Engineering CVUT, Prague, + Faculty of Informatics MU, Brno + +\email petr@olsak.net, sojka@fi.muni.cz + +\abstrakt + +The widely used New Font Selection System (NFSS) has its pros and cons. +To have uniform platform for large font set management and selection for +both plain and \LaTeX\ users, and to extend the possibilities +of the NFSS, an Ol\v{s}\'ak's Font System (OFS) has been designed +and implemented. + +The user interface of this macro is the same for plain and +\LaTeX, with two independent implementations. First implementation +is based on plain.tex macros only; the second one for \LaTeX\ users +is implemented as an additional layer over NFSS macros, and is +slightly less elaborate (support for math font families is missing). + +The main features of the system: + +\begitems +* The OFS defines declarative language to define the mapping from + the original full names of fonts to the tfm names (in plain) or + to NFSS short names of the font families (in \LaTeX). + The user do not need to remember the short names of tfm files + and/or the short names of NFSS font families. This allows for + user-defined logical font markup: one can use the real font + (foundry) names from font (catalog). +* The user of the OFS can use a font separated into two \TeX{} metrics + (basic and extended tfm). The font is from the user perspective seen + as one font only. The mapping works even for fonts with more than 256 + characters (if one does not want to kern between all characters). +* One can choose the \TeX{} internal encoding of fonts for your + language at the beginning of your document. This feature is commonly + used for Czech and Slovak languages: there are \TeX{} fonts which + encode the alphabets of these languages by Cork (T1 encoding) or by + ISO-8859-2 (IL2 encoding), or even others. +* There are at least four independent parameters of fonts + (family, size, encoding, variant). Possibility to switch one + font parameter independently on the others is important under + plain.tex where NFSS is not implemented. +* The OFS for plain includes the support of the math fonts manipulation + when the PostScript fonts and/or fonts at the different sizes are used. +* One can use the "\fontusage" command which lists the short usage + about OFS macros on the screen and to the log file. +* The "\showfonts" macro lists all available font families + on the screen and to the log file. +* One can print the short catalogue of the all installed fonts by + using "\input ofscatal.tex". +\enditems + +The macro is available at ftp://math.feld.cvut.cz/pub/olsak/ofs . +The declaration and support OFS files for all of the fonts offered +by the Storm Type Foundry (www.stormtype.com), and e.g. MathTimes +fonts have been created. The macro is in use by CSTUG users since 2001. +The English documentation (in addition to the current +Czech one) will be released in January 2003. + +The full paper will discuss in detail the features of OFS listed +above, will give examples of usage and pros and cons over current +macro packages for font switching and handling in \TeX{}. + +\endabstrakt + + +\kap Historical notes, plain\TeX{} and \LaTeX{} version of OFS + +In 2000, Petr Ol\v s\'ak got whole set of fonts from Storm Type Foundry +(made by Franti\v sek \v Storm) in order to make the \TeX{} support for +these fonts. The number of fonts was very large (many hundreds) and the +names used in Typo-catalog was a bit different from pfb file names and +they was {\it very} different from new tfm names used in \TeX{} support +because these names follow the Karl Berry's recommendation~\cite{berry}. + +There was a presumption that the user will want to choose individual +fonts and to make his/her own font collections for document +design. The simple solution like "\usepackage{times}" is not possible +because the user have to choose the sans serif variants, serif +variants etc. from a big offer by Storm Type Foundry. There are big +number of such combinations---we are not able to support a style file +for each such combination. Moreover, there are a great font collection +for titles and posters in \v Storm's package. The conclusion is: the user +needs to manage with individual fonts with the same names as in +Typo-catalog provided by Storm Type Foundry. The usage of tfm names or +short names for font families provided by NFSS are not acceptable at +user level. The support for managing of large sets of fonts +implemented at macro level is needed. This was an inspiration of OFS. + +The OFS was written by Petr Ol\v s\'ak primary for plain\TeX{} because he +is a plain\TeX{} user. He never used \LaTeX{} nor NFSS. Thus the +first version of OFS was usable only in plain\TeX{} environment +without NFSS. This version substitutes some features solved in NFSS +already: an independency of encoding/size/family/variant font +setting at user level, declaration of encoding-de\-pendent commands, +more comfortable declaration of math fonts (but plain\TeX{} approach of +math fonts declarations is kept because this is more understandable for +plain\TeX{} users than NFSS approach). + +The \LaTeX{} users asked the similar environment as OFS for +plain\TeX{} after OFS for plain was released. This was a reason why +Petr Ol\v s\'ak made the same user environment of OFS for \LaTeX{} (but +never used it:-). +This work was done by totally different macro code because the NFSS +features was used in this situation. The OFS for \LaTeX{} is only the +new macro level over NFSS. Roughly speaking, the OFS for +\LaTeX{} implements only the dictionary from long names of fonts used +in Font-catalog to the short family names used in NFSS and defines +the same ``user level environment'' as in OFS for plain\TeX{}. + +Because the OFS for plain\TeX{} is more powerful and includes more +interesting subjects in its implementation, we will describe only the +plain\TeX{} version of OFS in this paper. + +The OFS macro is released with \TeX{}-like license. It means, that the +names of the files and its content cannot be changed if this macro is +re-distributed. Only Petr Ol\v s\'ak can do changes. +There are no more restrictions for distributors and there are no +restrictions for users. + +The macro is released in~\cite{ftpofs} and the same version +is included in \TeX{} support of fonts from Storm Type +Foundry~\cite{stormtex}. The \TeX{} font metrics and fd files +are included in this support. The real fonts (implemented in pfb files) +are not free. If you take up your interest +in these fonts you have to buy them. See~\cite{wwwstorm} for more details. +One family called Lido is offered as free for non-commercial use +by Storm Type Foundry. There is the special \TeX{} support only for +this family~\cite{slido} including the OFS. + +The first release of OFS macro (September 2000) had only Czech +documentation. The English version of the documentation was released +in February 2003 with help of Mat\v ej Cepl. The concept of OFS was not +changed since its first release and Petr Ol\v s\'ak does not plan any changes +to the future. He is ready only to remove bugs, if any occur. + +The documentation can be found at the same place as the OFS macro. +It is a bit more technical than this paper. + + +\kap Basics of user environment +%------------------------------ + +The user environment is the same in both: OFS for plain\TeX{} and +\LaTeX{}. Of course, you have to include the OFS macro in plain\TeX{} +by little bit different way: + +\begtt +\input ofs [fonts, collections] +\endtt +% +than in \LaTeX{}: + +\begtt +\usepackage [fonts, collections] {ofs} +\endtt +% +All other user-level commands have the same syntax and meaning. + +You can use the command "\fontusage". This command prints to the +terminal and to the log file the basic usage of OFS: + +\begtt +$ tex ofs \\fontusage +This is TeX, Version 3.14159 (Web2C 7.3beta5) +(/usr/local/share/texmf/tex/csplain/ofs.tex +OFS (Olsak's Font System) based on plain initialized. +(/usr/local/share/texmf/tex/csplain/ofsdef.tex)) +\fontusage: ============== Olsak's Font System, usage: ================= +\input ofs [sjannon, sdynamo, a35] ... for example +\showfonts ... shows all loaded font families (by previous \input) +\setfonts [Family/] ... local switch to the new family, after this, the + \rm, \bf, \it, bi will switch to the variants. The current size is used. +\setfonts [/size] ... local switch to the new size of fonts, the family is + not changed. The "size" has the following possible formats: + at ... the same as \font\something=file at + ... the same as at + ... the same as atpt + scaled ... the same as \font\something=file scaled + mag fonts will be magnified by given coefficient + depend on current size of the fonts. +\setfonts [Family/size] ... switch to the new family at given size +\setfonts [Family-vr/] ... switch to the specified font, the current size + is used. The "vr" is acronym for variant (bf for example). +\setfonts [Family-vr/size] ... switch to the specified font. +\fontdef\name [Family/size] ... same as \gdef\name{\setfonts[Family/size]} + The "Family" or "size" parameter may be empty. +\fontdef\name [Family-vr/size] ... \name is fixed-font switch iff: + "size" is no empty and no mag. + Fixed-font switch "\name" is implemented as \global\font\name=file. +\setmath [size/size/size] ... set math it/rm as current it/rm + use PS Symbol +\nofontmessages, \logfontmessages, \displayfontmessages, \detailfontmessages + ... the levels of log. +* +\endtt + +The "\showfonts" prints the used font collections. You can include the +OFS macro without additional font collections in square brackets (it means +use only "\input ofs"). The basic font collection is initialised in +such situation: + +\begtt +*\showfonts +OFS (l.0): The list of known font families: +defaults: + [CMRoman/] \rm, \bf, \it, \bi, \sl + [CMSans/] \rm, \bf, \it, - + [CMTypewriter/] \rm, - , \it, - , \sl + [Times/] \rm, \bf, \it, \bi + [Helvetica/] \rm, \bf, \it, \bi, \nrm, \nbf, \nit, \nbi + [Courier/] \rm, \bf, \it, \bi +\endtt +% +The family names are printed in square brackets here and followed by varinat +switches usable for such font family. + +The basic fonts from Computer Moder family (by Donald Knuth) are +collected into three families here: "CMRoman", "CMSans" and +"CMTypewriter". This is sel explanatory. Note that the common +varinat "BoldItalic" ("\bi") is missing in "CMSans" and +"CMTypewriter". On the other hand the +``special'' variant "\sl" (slanted) is available in +"CMRoman" and "CMTypewriter" families. + +The declaration of another families are stored in ``declaration +files'' (the extension "tex" is used in OFS for plain\TeX{} and "sty" +in OFS for \LaTeX{}. It is recommended to manage the file +"allfonts.tex" in all \TeX{} distribution. This file includes the +"\input"s to the declaration files of all fonts installed in such +distribution. The "allfonts.tex" file may look like: + +\begtt +$ cat `kpsewhich allfonts.tex` +%%% All OFS families declared on this TeX +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%% Petr Olsak +\input a35 % PostScript 35 +\input ffonts % Another free fonts +\input btfonts % Bitstream fonts +\input skatalog % Stromtype foundry, 89 families +\endtt +% +When we write "$ tex allfonts \\showfonts \\end | less", we get the +listing of all font families available on \TeX{} distribution. This +listing includes cca three hundred font families on the computer of +one of the author of this article. He need not remember the tfm file +names of thousands of fonts. The part of the listing follows: + +\begtt +OFS (l.0): The list of known font families: +defaults: + [CMRoman/] \rm, \bf, \it, \bi, \sl + [CMSans/] \rm, \bf, \it, - + [CMTypewriter/] \rm, - , \it, - , \sl + [Times/] \rm, \bf, \it, \bi + [Helvetica/] \rm, \bf, \it, \bi, \nrm, \nbf, \nit, \nbi + [Courier/] \rm, \bf, \it, \bi +a35.tex: + [AvantGarde/] \rm, \bf, \it, \bi + [Bookman/] \rm, \bf, \it, \bi + [NewCentury/] \rm, \bf, \it, \bi + [Palatino/] \rm, \bf, \it, \bi + [ZapfChancery/] \rm, - , \it, - + [ZapfDingbats/] \rm, - , - , - + [Symbol/] \rm, - , \it, - +ffonts.tex: + [Charter/] \rm, \bf, \it, \bi +... +sjannon.tex: + [JannonAntikva/] \rm, \bf, \it, \bi, \mr, \mi + [JannonText/] \rm, \bf, \it, \bi, \mr, \mi + [JannonCaps/] \rm, \bf, \it, \bi +... +sdynamo.tex: +... + [DynaGroteskLE/] \rm, \bf, \it, \bi + [DynaGroteskD/] \rm, \bf, \it, \bi + [DynaGroteskR/] \rm, \bf, \it, \bi +... +stitul.tex: + [Alcoholica/] \rm, \bf, \it, - + [Monarchia/] \rm, \bf, - , - + [MonarchiaText/] \rm, \bf, - , - + [Clichee/] \rm, \bf, \it, \bi + [Regula/] \rm, - , \it, - + [Splendid/] \rm, \bf, \it, - , \script, \sans + [Cobra/] \rm, \bf, - , - + [ExcelScript/] \rm, - , - , - , \ext + [ExcelScriptText/] \rm, - , - , - , \ext + [Zeppelin/] \rm, \bf, - , - , \lr, \coll + [Negro/] \rm, - , - , - + [Farao/] \rm, \bf, - , - , \kr, \coll +... +slido.tex: + [Lido/] \rm, \bf, \it, \bi, \crm, \cbf +\endtt + +If you need recall what the special variant switches means +("\mr" and "\mi" in JannonText family, for instance), you can try +to switch to this family and look to the log file +(or to the terminal if "\displayfontmessages" is set): + +\begtt +*\displayfontmessages \setfonts [JannonText/] +OFS (l.0): Font family JannonText at10pt (enc=8z) activated: +OFS (l.0): \rm () \bf (Bold) \it (Italic) \bi (BoldItalic) +OFS (l.0): \mr (Medium) \mi (MediumItalic) +* +\endtt + +Aha, "\mr" means MediumItalic variant of JannonText family. +The "\it" means sometimes "Italic" variant and sometimes "Oblique" +variant. You can try: + +\begtt +*\setfonts[Helvetica/] +OFS (l.0): Font family Helvetica at10pt (enc=8z) activated: +OFS (l.0): \rm () \bf (Bold) \it (Oblique) \bi (BoldOblique) +OFS (l.0): \nrm (Narrow) \nbf (NarrowBold) \nit (NarrowItalic) + \nbi (NarrowBoldItalic) +* +\endtt + +The declaration file name is mentioned in the listing of all families +(see above). For example the file "a35.tex" declares the font families +from standard PostScript ``35 fonts collection'' from Adobe (no all +ten families are declared here because three families of them are +declared in basic OFS font collection). + +You can write "\input a35" instead of "\input ofs [a35]". The second +alternative is recommended if more font collections are used together, +for example: "\input ofs [a35, sdynamo, slido]". You can use + +\begtt +\input ofs [allfonts] +\endtt +% +(or simply "\input allfonts") in your document +if all font collections are needed or if you need not use the +names of individual font collections. + +OFS provides the printing of simple font catalog. For example, you can +write on your command line: + +\begtt +$ pdfcsplain ofscatal [sjannon, sdynamo, stitul] ; acroread ofscatal.pdf +\endtt + + +\kap The setfonts command + +You can select the font family and/or font size by "\setfonts" +command. Two parameters are separated by slash in square brackets. +The first parameter is the font family name and the second one is the +font size. If one of the parameters is missing then this aspect stay +unchanged. After the font family is selected, you can use the variant +switches. Most common switches are "\rm", "\bf", "\it", "\bi", but +another switches can be available for some font family. See the +listing produced by "\showfonts" for more detail. + +The "\setfonts" command keeps the variant from previous family +unchanged after setting of the new family if the current variant is +available in new font family. If not then the "\rm" variant is +initialized. All families have to support at least the "\rm" variant. + +Examples: + +\begtt +\setfonts [JannonText/10.5] % the normal font +\setfonts [/14]\bf % used for titles +\setfonts [/8]\rm % for footnotes +\setfonts [DynagroteskR/]\it % for citations +\setfonts [CMTypewriter/] % monospaced font + % if you use \setfonts [CMTypewriter/] when + % it is active then Typewriter italics is used. +\endtt + +The main advantage is that you can use the same names of font families +as in Typo-catalog and you need not remember the cryptical names of tfm +files or abbreviations of family names in NFSS. + +If the family name is not present in the internal OFS dictionary +(perhaps misspelling) then "\setfonts" command prints warning plus +all available families to log and to the terminal (the same as the +"\showfonts" command). + +The font size can be specified as decimal number without unit +(the unit "pt" is appended automatically) or you can type number with +arbitrary \TeX{} unit ("mm" for example). Moreover you can use the +keyword "scaled" before number with the same meaning as in "\font" +primitive. OFS introduces the new keyword "mag" followed by decimal +number (decimal point is required). This number denotes the fraction +for the current font size. For example: + +\begtt +\def\smaller{\setfonts [/mag0.8]} +This text is {\smaller typeset by small \smaller and more small +\smaller and more more small characters} and the normal size is used +here. +\endtt +% +yields to: + +\medskip +\def\smaller{\setfonts [/mag0.8]} +This text is {\smaller typeset by small \smaller and more small +\smaller and more more small characters} and the normal size is used +here. +\medskip + +We can use this feature in \LaTeX{} logo, for example: + +\begtt +\def\LaTeX{L\kern-.2em\raise.45ex\hbox{\setfonts[/mag.7] A}\kern-.05em\TeX} +\endtt + +This solution works in titles (the raised A is bod in this situation), +in normal text, footnotes, italics etc and in all font families. +This feature is not implemented in NFSS thus the \LaTeX{} logo has its +A implemented as superscript math font in \LaTeX{} kernel. I mean that +this is not a best idea. + +The another usage of mag keyword is to make a corrections of not +perfectly the same visual ex height of used font. This problem arises +if you combine the CMTypewriter family with some common PostScript +font families for instance. The CMTypewriter font seems to be smaller +if you use exactly the same design size. This is no problem: +you can define "\tt" as "\setfonts [CMTypewriter/mag1.1]" and the ex +height is balanced. This definition works in all sizes and font +variants. + +The NFSS keeps another aspect of fonts: the font weight. The main reason of +this feature is to boldify all text (in titles, for example) including +its italics part. I decided that this feature is not needed in OFS +because plain user can define titles in the following way: + +\begtt +\def\chapterfont {\setfonts[/14]\bf \let\it=\bi} +\endtt +% +Moreover you can simply define the macros which keeps more than five +aspects (NFSS keeps exactly five aspects). You can find the examples +in \TeX{} support of \v Storm's font where the big Dynagrotesk family implements +the special font selector which keeps the level of ``condensation of +the font'' in addition to the weight, variant (normal/italics), size +and encoding. + +You can declare you own font-switches in OFS by "\fontdef" command. +The code "\fontdef\fontswitch [Family/size]" declares the +"\fontswitch" similar as "\gdef\fontswitch{\setfonts[Family/size]}". +Example: + +\begtt +\input ofs [ffonts] % font Charter is in free fonts +\setfonts [Charter/10pt] % default family +\fontdef\tt [CMTypewriter/mag1.1] % monospaced font +\fontdef\verbtt [CMTypewriter/8] % monospaced font in verbatim +\fontdef\headfont [Charter/9] % the font+size for headers +\endtt + +It would be more convenient to write the word ``Charter'' only once +(this word seems to be redundant in declaration of "\headfont"). But the +macro code "\fontdef \headfont [/9]" cannot work everywhere because the +"\headfont" can be used for headers in output routine and this header have +to be in Charter every time, no in CMTypewriter, if CMTypewriter family +is the current when output routine is called out. + +You can solve this problem by using the ``"!"'' +character for the family parameter in "\fontdef". This character is +substituted by the current family in the time of "\fontdef" declaration: + +\begtt +\fontdef\headfont [!/9] \addcmd\small {\rm} % the font for headers +\endtt +% +Moreover the "\addcmd" is used here. This command adds the additional +code to the macro "\headfont" thus, the example above has the same effect +as: + +\begtt +\gdef\headfont {\setfonts[Charter/9]\rm} % the font for headers +\endtt +% +but the word Charter is not used here. Now, you can change the default +family only on one place and the new default family will be used in +headers too. + +The whole font declaration for your plain\TeX{} document can be +localized in one place in your macro code and it can be look +like the following code: + +\begtt +\input ofs [ffonts] % font Charter is in free fonts +\setfonts [Charter/10pt] % default family +\fontdef \tt [CMTypewriter/mag1.1] % monospaced font +\fontdef \verbtt [CMTypewriter-rm/8] % monospaced font in verbatim +\fontdef \headfont [!/9] \addcmd \headfont {\rm} +\fontdef \abstractfont [!/9] \addcmd \abstractfont {\baselineskip11pt\rm} +\fontdef \sectionfont [!/12] \addcmd \sectionfont {\bf \let\it=\bi} +\fontdef \titlefont [!-bf/14.4] % for the title of the document +\endtt + +If the ``"-vs"'' (where "\vs" is the variant switch) is used in +parameter of "\fontdef" or "\setfonts" then the whole family is not +initialized but only the single font is used as the current font. +The "\fontdef\name" is the equivalent of "\global\font\name" in such +situation. This convention is used in the example above for title font +because no variant switches is used in text of +title. + + +\kap Font encoding +%----------------- + +OFS for plain\TeX{}% + \footnote{OFS for \LaTeX{} does not solve font encoding, + use NFSS tools for font encoding manipulation} +initializes the CSfont encoding by default. +This does no matter for English users because CSfonts have absolutely +the same encoding(s) as Computer Modern in slots 0 to 127. +The users of T1 encoded fonts have to set the default font encoding by +the code: "\def\fotenc{8t}" before OFS is loaded. The macro "\fotenc" +includes a part of used metric file names. If this macro is not +defined then OFS define it as "8z"---it means CSfont encoding. + +If "\fotenc" has the value "8z" then the families "CMRoman", +"CMTypewriter" and "CMSans" will work with CSfonts and the font +metrics with "8z" encoding is used for another font families. If +"\fotenc" is set to "8t" then DC fonts are used in "CMRoman", +"CMTypewriter" and "CMSans" families. The EC fonts can be used instead +DC fonts, but you have to write the declaration file for OFS and for +EC fonts. This file does not exist now, sorry. + +Theoretically, you can switch between encoding inside the +document but this is not common used practice: + +\begtt +\input ofs +\setfonts [Times/] text 1 % used metric: ptmr8z, CSfont encoding +\def\fotenc{8t} +\setfonts [/] text 2 % used metric: ptmr8t, T1 encoding +\endtt +% +If you are using another font encoding with metric names "*8x" (for +example) then you can do "\def\fotenc{8x}". No problem. + +You can find the files "ofs-8z.tex" and "ofs-8t.tex" in OFS +package. The accents declaration and another encoding-dependent macros +are included here. By default, no of these files is read, it means +that the accent macros keep its original meaning from plain\TeX{}. +You can use "\input" of one of these files or "\input" both files +(there are no conflicts in these files). Assume that both files are +read. Then accent macros (such as "\v", "\'" etc.) followed by +a character expands to the new character code of CSfonts +(if "\fotenc" is "8z") or to the new code of T1 encoding +(if "\fotenc" is "8t"). Another encoding dependent macros (such as +"\promile") work in the chosen encoding by "\fotenc". + +We can look into the parts of "ofs-8z.tex" and "ofs-8t.tex" files: + +\begtt +%%% Default accents in CM +\accentdef \` * 8z {\accent 18 } % grave +\accentdef \' * 8z {\accent 19 } % acute +\accentdef \v * 8z {\accent 20 } % caron +\accentdef \u * 8z {\accent 21 } % breve +... +%%% Standard characters in plain (redefined here) +\def\aa{\r a} +\def\AA{\r A} +\characterdef \i 8z 16 +\characterdef \j 8z 17 +\characterdef \SS 8z {SS} +\characterdef \AE 8z 29 +... +%%% Extra characters from CS fonts +\characterdef \promile 8z 141 +\characterdef \varhyphen 8z 156 +\characterdef \flqq 8z 158 +\characterdef \frqq 8z 159 +\characterdef \clqq 8z 254 +\characterdef \crqq 8z 255 +... +%%% Accented letters from CS fonts +\accentdef \` A 8z 152 +\accentdef \' A 8z 193 +\accentdef \" A 8z 196 +\accentdef \` a 8z 184 +\accentdef \' a 8z 225 +... +%%% Default accents in Cork +\accentdef \` * 8t {\accent 0 } +\accentdef \' * 8t {\accent 1 } +\accentdef \^ * 8t {\accent 2 } +\accentdef \~ * 8t {\accent 3 } +\accentdef \" * 8t {\accent 4 } +... +%%% Standard characters in plain (redefined here) +\def\aa{\r a} +\def\AA{\r A} +\characterdef \i 8t 25 +\characterdef \j 8t 26 +\characterdef \SS 8t 223 +\characterdef \AE 8t 198 +... +\characterdef \promile 8t {\%\char 24 } +\characterdef \textpertenthousand 8t {\%\char 24\char 24 } +... +%%% Accented letters from T1 encoding +\accentdef \. i 8t `\i +\accentdef \u A 8t 128 +\accentdef \k A 8t 129 +\accentdef \' C 8t 130 +\accentdef \v C 8t 131 +... +\endtt + +This example is self explanatory and illustrates the language for +accents and encoding-dependent macro declarations. You can find more +information in documentation~\cite{ofsdoc}. + +The \LaTeX{} user can be familiar with the commands with similar +meaning: "\DeclareTextSymbol", "\DeclareTextComposite", etc. + +OFS calculates with the possibility of existence of a special metric +with extra characters (such us "\euro"). Each basic metric can be +connected with such ``extra metric'' to the couple. These couples are +used in \TeX{} support of Storm Type Foundry because these fonts have +more than 256 characters. There is prepared an extra metric "*6s" +for each basic metric "*8z" or "*8t" in \TeX{} support of \v Storm's +fonts. The "*6s"-encoding specific macros are declared in +"stormenc.tex" by "\accentdef" and "\characterdef" commands. If the +current metric has declared an extra metric and user calls the +macro declared by "\characterdef" or "\accentdef" and this macro is +not declared for current encoding but only for the encoding of the +extra metric then the extra metric is temporary used without any user +intervene. Example: + +\begtt +\characterdef \euro 6s 136 +Now the \euro{} works in all fonts with extra metric *6s +\endtt + + + +\kap Declaration files +%--------------------- + +Look into "a35.tex" now for an example of language of +the declaration files: + +\begtt +%%% Times, Helvetica, Courier is in OFS defaults + +\ofsdeclarefamily [AvantGarde] {% -------------------- AvantGarde + \loadtextfam (Book) pagk\fotenc;% \rm + (Demi) pagd\fotenc;% \bf + (BookOblique) pagko\fotenc;% \it + (DemiOblique) pagdo\fotenc;;% \bi + \def\TeX{T\kern-.08em\lower.3333ex\hbox{E}\kern-0.09emX}% +} +\ofsdeclarefamily [NewCentury] {% -------------------- NewCenturySchlbk + \loadtextfam (Roman) pncr\fotenc;% \rm + pncb\fotenc;% \bf + pncri\fotenc;% \it + pncbi\fotenc;;% \bi + \def\TeX{T\kern-.1667em\lower.5ex\hbox{E}\kern-.125emX}% +} +... +\endtt +% +The mapping between font family names and metric files is defined +here.% +\footnote{OFS for \LaTeX{} uses other declaration files: + the mapping between family names and NFSS short names + are defined here. +} +Each family declares four metrics for four common variants "\rm", +"\bf", "\it" and "\bi". Empty parameter means that the variant +is missing. The metric names are saved by "\fotenc" macro in order +to possibility of changing the used encoding. The extra metric can be +written before the last semicolon (not used in this example). +The commands from parameter of the "\ofsdeclarefamily" are processed +when "\setfonts" is used. You can see the alternative definition of +\TeX{} logo for each family in "a35.tex" file on order to optimize the +visual aspect of this logo. + +The optional parameters of "\loadtextfam" macro is written in brackets +and these parameters declares mapping of short variant switches and +the full variant names printed to the log and terminal. For example, +BookOblique is a "\it" variant in AvantGarde font family. If the +common name is used (Bold/Italics/BoldItalics) then this parameter can +be missing (see NewCentury family, for instance). + +How the special variants are declared? Look into the file +"sjannon.tex", for example: + +\begtt +\ofsdeclarefamily [JannonAntikva] {% -------- Jannon Antikva + \loadtextfam sjnr\fotenc;% + sjnb\fotenc;% + sjnri\fotenc;% + sjnbi\fotenc;6s;% + \newvariant2 \mr (Medium) sjnm\fotenc;6s;% + \newvariant3 \mi (MediumItalic) sjnmi\fotenc;6s;% +} +\ofsdeclarefamily [JannonText] {% ------------ Jannon Text + \loadtextfam sjnrg\fotenc;% + sjnbg\fotenc;% + sjnrig\fotenc;% + sjnbig\fotenc;6s;% + \newvariant2 \mr (Medium) sjnmg\fotenc;6s;% + \newvariant3 \mi (MediumItalic) sjnmig\fotenc;6s;% +} +... +\endtt +% +Note that there is declared the extra metric with~"6s" encoding here. +See the documentation~\cite{ofsdoc} for more information. + +How the "CMRoman" etc. families are declared? These families have two +special subjects. First: the metrics file names do not include the "8z" or +"8t" acronym for encoding. Second: the different metrics are used +for different font sizes. Both problems are solved by the OFS command +"\registertfm" (see the "ofsdef.tex" file): + +\begtt +\registertfm cmr8z - csr10 % metric for all sizes +\registertfm cmr8z 0pt-6pt csr5 +\registertfm cmr8z 6pt-7pt csr6 +\registertfm cmr8z 7pt-8pt csr7 +\registertfm cmr8z 8pt-9pt csr8 +\registertfm cmr8z 9pt-10pt csr9 +\registertfm cmr8z 10pt-12pt csr10 +\registertfm cmr8z 12pt-17pt csr12 +\registertfm cmr8z 17pt-* csr17 +... +\registertfm cmr8t - dcr10 % metris for all sizes +... +\ofsdeclarefamily [CMRoman] {% ------------ Computer Modern Roman + \loadtextfam cmr\fotenc;% + cmbx\fotenc;% + cmti\fotenc;% + cmbxti\fotenc;;% + \newvariant8 \sl (Slanted) cmsl\fotenc;;% +} +\endtt + + +\kap Math fonts +%-------------- + +The math fonts are collected in math families (three fonts +per one family) +by "\textfont", "\scriptfont" and "\scriptscriptfont" primitives. The +math families with number 0, 1, 2, 3 have special meaning in math +typesetting. The declaration of new math family by \TeX{} primitives +is not too comfortable. Plain\TeX{} user can declare the new math +family by OFS macro "\loadmathfam". This command will be described +below. + +Plain\TeX{} user have to initialize the math fonts in OFS by +"\setmath" command. The math fonts are in the same state as declared +in plain\TeX{} macro until the "\setmath" command is used. It means +that the Computer Modern at 10/7/5 pt size are used. +The "\setmath" command have three parameters in square brackets +separated by slashes. These parameters means the +text/script/scriptscript size of the math fonts. The empty parameter +means that the mag1.0/mag.7/mag.5 (relatively to the current size of +textual font) is substituted: + +\begtt +\setmath [//] is the same as \setmath [mag1.0/mag.7/mag.5] +\endtt + +The "\setmath" command calculates the needed sizes from given +parameters and starts the "\mathfonts" macro followed by macro +"\mathchars". The plain\TeX{} user can define these macros in +his own opinion but OFS gives the reasonable default values of these +macros. These macros run the variant part of the code depend on the +values of the "\fomenc" and "\mathversion" macros. + +If "\def\fomenc{PS}" is used (it is default value in OFS) then "\setmath" +initializes math fonts by the following way: math italic is loaded +from text italics of the current text font family, family~0 is loaded +from "\rm" variant of the current family. The math symbols are loaded +(if it is possible) from common PostScript font Symbol. The rest +(what is not included in Symbol font) is realized from Computer Modern +fonts. The math encoding is redefined (by "\mathchardef" etc. primitives) +for many symbols in order we keep the accessibility of all math +characters declared in plain\TeX{}. For example the lower letter greek +characters are loaded from the slanted variant of PostScript Symbol font. + +If you use "\def\fomenc{CM}" then "\setmath" loads the math fonts from +Computer Modern family and does not change the math encoding. +In this case, the "\setmath[//]" command only sets the actual sizes of these fonts +depend on current text font size. + +If you buy the MathTimes family, you can "\input" the "ofsmtdef.tex" +file (this is a part of OFS package) and you can use "\def\fomenc{MT}". +Then the "\setmath" command loads the math italics from current "\it" +font and family~0 from current "\rm" font. Moreover, it loads the +MathTimes fonts for all math symbols. Unlike "\def\fotens{PS}" mode +there is no ``rest'': no symbols needs to be realized from Computer +Modern family. + +You can control the math families collection loaded by "\setmath" by +the value of "\mathversion" macro. OFS declares two +math families collections: "\def\mathversion{normal}" +and "bold". You can declare more collections if you need it. +The "bold" collection is the same as "normal", but bold variants of +italics, family~0 and math symbols (if accessible) are loaded. + +The example from "ofsdef.tex" file illustrates the language of +declarations of the math fonts: + +\begtt +\def\defaultmathfonts{\csname load\fomenc\mathversion math\endcsname} +\def\defaultmathchars{\csname set\fomenc mathchars\endcsname} +\def\mathfonts{\defaultmathfonts} +\def\mathchars{\defaultmathchars + \let\mathchars=\relax % to protect the twice math-setting +} +\def\loadPSnormalmath{% + \loadmathfam 0[tenrm/]% Actual Roman font + \loadmathfam 1[tenit/]% Actual Italic font + \loadmathfam 2[/cmsy]% Standard symbols from CM + \noindexsize\loadmathfam 3[tenex/]% Standard extra symbols from CM + \chardef\itfam=1 \chardef\bifam=5 + \loadmathfam \bffam [tenbf/]% Actual Bold font + \loadmathfam \bifam [tenbi/]% Actual Bold Italic + \newmathfam\symbfam + \loadmathfam \symbfam [/psyr]% PostScript Symbol + \newmathfam\symbofam + \loadmathfam \symbofam [/psyro]% PostScript Symbol Oblique +} +\def\loadPSboldmath{% + \loadmathfam 0[tenbf/]% Actual Bold font + \loadmathfam 1[tenbi/]% Actual Bold-Italic font +... +} +\def\loadCMnormalmath{% + \loadmathfam 0[/cmr8z]% Roman font + \loadmathfam 1[/cmmi]% Math Italic font + \loadmathfam 2[/cmsy]% Standard symbols from CM + \noindexsize\loadmathfam 3[/cmex10]% Standard extra symbols from CM +... +} +\def\loadCMboldmath{% + \loadmathfam 0[/cmbx8z]% Roman font + \loadmathfam 1[/cmmib10]% Math Italic font +... +} +\def\setPSmathchars{% + \fontmessage{\ofsmessageheader Math codes are set for PS encoding}% + \mathcode`\,="602C + \mathcode`\.="002E + \delcode`\<="\hex\symbfam E130A + \delcode`\>="\hex\symbfam F130B + \delcode`\|="\hex\symbfam 7C30C + \edef\langle{\delimiter"4\hex\symbfam E130A }% + \edef\rangle{\delimiter"5\hex\symbfam F130B }% + \mathchardef\alpha "0\hex\symbofam 61 + \mathchardef\beta "0\hex\symbofam 62 + \mathchardef\gamma "0\hex\symbofam 67 +... +} +\endtt + +If you need to add next math families (math alphabets in NFSS +terminology) then you can use the cod similar as the following: + +\begtt +\def\mathfonts{\defaultmathfonts + \newmathfam\bbfam + \loadmathfam \bbfam [/bbold12]% Dvojit vertikln kresba + \def\bb{\fam\bbfam}% +} +\def\mathchars{\defaultmathchars + \mathchardef\balpha "0\hex\bbfam 0B + \mathchardef\bbeta "0\hex\bbfam 0C + ... +} +\endtt + +We re-write the example from section~3 in order to support the math +typesetting: + +\begtt +\input ofs [ffonts] % font Charter is in free fonts +\setfonts [Charter/10pt] % default family +\setmath[//] % math initialisation +\fontdef\tt [CMTypewriter/mag1.1] % monospaced font +\fontdef\verbtt [CMTypewriter-rm/8] % monospaced font in verbatim +\fontdef\headfont [!/9] % running heads +\addcmd \headfont {\baselineskip11pt\rm\def\mathversion{normal}\setmath[//]} +\fontdef\sectionfont [!/12] % section font +\addcmd \sectionfont {\bf \let\it=\bi \def\mathversion{bold}\setmath[//]} +\fontdef\titlefont [!-bf/14.4] % for the title of the document +\endtt + +The math fonts works in all sizes in our virtual example. The math +formulae are in bold variant and in right size in section headers. + +\reference + +\bib \url{www.stormtype.com} + +\bib \url{www.pismolijna.cz}, + +\bib \url{www.cstug.cz/stormtype}. + +\bib \url{www.cstug.cz/stormtype/slido.html}. + +\bib \url{ftp://math.feld.cvut.cz/pub/olsak/ofs}. + +\bib Petr Olk. {\it OFS: Olkv fontov systm}. 2001. + The English documentation is in files "ofsdoc-e.tex", "ofsdoc-e.pdf" + +\bib Petr Olk. {\it Jak \TeX{} k~fontm ze Steovic piel}. Bulletin + of CSTUG, number 4/2001, pp~153--180. + +\bib Karl Berry. {\it Fontname}, March 1999. The documentation is included + in {\tt web2c} \TeX, file {\tt fontname.texi}, {\tt fontname.pdf} + + +\bye + diff --git a/Master/texmf-dist/doc/generic/ofs/ofs-slt.pdf b/Master/texmf-dist/doc/generic/ofs/ofs-slt.pdf new file mode 100644 index 00000000000..01cd04b831f Binary files /dev/null and b/Master/texmf-dist/doc/generic/ofs/ofs-slt.pdf differ diff --git a/Master/texmf-dist/doc/generic/ofs/ofsdoc-e.pdf b/Master/texmf-dist/doc/generic/ofs/ofsdoc-e.pdf new file mode 100644 index 00000000000..32cf716e5f3 Binary files /dev/null and b/Master/texmf-dist/doc/generic/ofs/ofsdoc-e.pdf differ diff --git a/Master/texmf-dist/doc/generic/ofs/ofsdoc-e.tex b/Master/texmf-dist/doc/generic/ofs/ofsdoc-e.tex new file mode 100644 index 00000000000..1c7669c4418 --- /dev/null +++ b/Master/texmf-dist/doc/generic/ofs/ofsdoc-e.tex @@ -0,0 +1,2394 @@ +% A documentation for OFS package (pseudo English, sorry) +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% July 2001 Petr Olsak + +\magnification\magstephalf % use plain or csplain + +\headline={\llap{\tt May 2004}\hfil See the ofsdoc.tex for Czech version + of this documentation.\global\headline={\hfil}} + +\hoffset=4pc +\voffset=1pc +\hsize=31.6pc +\vsize=49pc +\raggedbottom +\parindent=15pt +\emergencystretch=2em + +\font\smallbf=csb10 at7pt +\font\smalltt=cstt8 +\font\smallit=csti8 +\font\smallrm=csr8 +\font\titulfont=\fontname\tenbf\space scaled\magstep4 +\font\bigbf=\fontname\tenbf\space scaled\magstep1 + +\def\Red{} +\def\Black{} +\def\Blue{} +\def\Green{} +\def\beglink#1{} +\def\endlink{} +\def\aimlink#1{} + +\def\uv#1{``#1''} + +\ifx\pdfoutput\undefined\else %%%% pdfTeX is used %%%%%%%%%% +\ifnum\pdfoutput>0 + +\ifx \pdfstartlink\undefined %%% PDFTeX version <= 13 + \let\pdfstartlink=\pdfannotlink +\fi + +\def\beglink#1{% % Zatek textu odkazu, #1 je kl odkazu + \Green \pdfstartlink height9pt depth3pt + attr{/Border[0 0 0]} goto name{#1}\relax} +\def\endlink{\pdfendlink\Black} + +\def\aimlink#1{% % Msto cle odkazu, #1 je kl odkazu + \expandafter\ifx \csname aim:#1\endcsname \relax + \expandafter\gdef \csname aim:#1\endcsname {}% + \vbox to0pt{\vss\hbox{\pdfdest name{#1} fith}\kern15pt}% + \fi +} +\def\pdfsetcmykcolor#1{\special{PDF:#1 k}} +\def\Red{\leavevmode\pdfsetcmykcolor{0.1 0.9 0.9 0}} +\def\Black{\leavevmode\pdfsetcmykcolor{0 0 0 1}} +\def\Green{\leavevmode\pdfsetcmykcolor{0.9 0.1 0.9 .3}} +\def\Blue{\leavevmode\pdfsetcmykcolor{0.9 0.9 0.1 0}} + +\pdfcompresslevel=9 +\pdfinfo{/Author (Petr Olsak) + /CreationDate (July 2001) + /ModDate (May 2004) + /Creator (TeX) + /Producer (pdfTeX) + /Title (OFS: Olsak's Font System) + /Subject (Documentation) + /Keywords (TeX, fonts) +} + +\fi\fi %%%%%%%%%%%%%%%%%%%%%%%%%%%% End of pdfTeX macros %%%%% + + +\def\PLAIN #1:{{\smallbf \Red PLAINTEX\Black\if|#1|\else\space#1\fi}:} +\def\LATEX #1:{{\smallbf \Red LATEX\Black \if|#1|\else\space#1\fi}:} +\def\OBA #1:{{\smallbf \Red PLAINTEX+LATEX\Black \if|#1|\else\space#1\fi}:} + +\newcount\secnum \newcount\subsecnum + +\def\sec #1\par{\ifnum\secnum>0 \goodbreak\fi\removelastskip + \vskip2\baselineskip + \subsecnum=0 \advance\secnum by1 + \noindent{\bigbf\llap{\the\secnum.\quad}#1}\par\nobreak\medskip} +\def\subsec #1\par{\removelastskip\bigskip + \advance\subsecnum by1 + \noindent{\bf \llap{\aimlink{\the\secnum.\the\subsecnum}% + \the\secnum.\the\subsecnum.\quad}#1}\par\nobreak\medskip} +\def\title #1\par{\vglue2\baselineskip + \centerline{\titulfont #1}\vskip2\baselineskip} + +\def\LaTeX{La\TeX} + +\catcode`<=13 +\def<#1>{\hbox{$\langle$\it#1\/$\rangle$}} +\def\,{\thinspace} + +{\obeyspaces \gdef\activespace{\obeyspaces\let =\ }} +\def\setverb{\def\do##1{\catcode`##1=12}\dospecials} +\def\begtt{\medskip\bgroup \setverb \catcode`@=0 \activespace + \parindent=0pt \catcode`\"=12 + \def\par##1{\endgraf\ifx##1\par\leavevmode\fi ##1} + \obeylines \startverb} +{\catcode`\|=0 \catcode`\\=12 +|gdef|startverb#1\endtt{|tt#1|egroup|medskip|testpar}} +\long\def\testpar#1{\ifx\par#1\else\noindent\fi#1} + +\catcode`"=13 +\def"{\hbox\bgroup\setverb\activespace\tt\readverb} +\def\readverb #1"{#1\egroup} + +\def\begitems{\medskip\bgroup \catcode`*=13 } +{\catcode`*=13 \gdef*{\item{$\bullet$}}} +\def\enditems{\medskip\egroup} + +\newwrite\indout +\immediate\openout\indout=\jobname.ind +\def\inl[#1]{\strut + \write\indout{\noexpand\indexentry{#1}{\the\pageno}}% + \vadjust{\vbox to0pt{\vss + \hbox to\hsize{\llap{{\aimlink{#1}\smalltt\Blue\char`\\ #1% + \ifx\extratext\empty\else\space\extratext\fi\Black}% + \kern2pt\quad}\strut\hfil}% + \hrule height0pt}}\def\extratext{}} +\def\inll[#1 #2]{\def\extratext{#2}\inl[#1]} +\def\indexentry #1#2{\expandafter \ifx \csname ind:#1\endcsname \relax + \expandafter \def \csname ind:#1\endcsname {#2}% + \else + \expandafter \edef \csname ind:#1\endcsname {% + \csname ind:#1\endcsname, #2}% + \fi +} +\def\pg[#1]{\csname ind:#1\endcsname} + +\chardef\back=`\\ + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +\title OFS: The Ol\v s\'ak's Font System +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +The OFS is a \TeX{} macro for managing large sets of fonts. You can +select the appropriate fonts comfortably by the names from font +catalog used by a font foundry. It means you don't have to remember short +names of tfm files and/or short names of NFSS font families. The user +interface of this macro is the same in \LaTeX{} and in plain but there +are two independent implementations of this macro: first and more +elaborate: based only on plain macros; second: based on NFSS macros +for \LaTeX{} users. + +If a text in this documentation is applicable only for the plain\TeX{} +version of the OFS then the text is introduced by the word \PLAIN:. +If a text is applicable only for OFS version based on NFSS then it is +introduced by the word \LATEX:. + +After the OFS macro is loaded, the following message is printed: + +\begtt +@PLAIN: OFS (Olsak's Font System) based on plain initialized. @char` +@LATEX: OFS (Olsak's Font System) based on NFSS initialized. @char` +\endtt +Main features of the OFS: + +\begitems +* The user interface is the same for plain and for \LaTeX. +* You can use the "\fontusage" command which displays a short description + of OFS macros in terminal and in the log file. +* You can use the real font names from font catalog. +* You can use the font divided into two \TeX{} metrics (basic and + extended tfm) and they seem from the user's point of view to be only one + font. This is useful for fonts with more than 256 characters if you + don't want to use Omega. +* You can choose the \TeX{} internal encoding of fonts for your + language in the beginning of your document. This feature is commonly used + for Czech and Slovak languages: there are \TeX{} fonts which encode + the alphabets of these languages by Cork (T1 encoding) or by + ISO-8859-2 (IL2 encoding). T1 font encoding is common in LaTeX + world, whereas IL2 encoding is widely used in the Czech and Slovak + \TeX{} community. +* The OFS defines the language of declaration files. These files + define mapping of full names of fonts to \PLAIN: tfm + names or \LATEX: NFSS short names of the font families. +* \PLAIN: You can use individual variants of fonts in an indepent manner + in similar way as in NFSS (family, size, encoding, variant). +* \PLAIN: You can declare different fonts for different sizes + in the declaration files (usable for Computer Modern family first + of all). +* \PLAIN: The OFS includes support of the math fonts manipulation + when the PostScript fonts and/or fonts at different sizes are + used. +* Interactive macro "ofstex.tex" enables printing the paragraph samples + in the chosen font families, printing the font table, font registers, + samples of the mathematic and the lists of characters, including + their \TeX\ sequences. All to do is to write "tex ofstest [allfonts]" + or "csplain ofstest [allfonts]" on the command line and to follow + the orders on the terminal. +\enditems + +\sec The font families +%%%%%%%%%%%%%%%%%%%%%% + +The most current font families have the four commonly used variants: +normal: ("\rm"), bold ("\bf"), italic ("\it") +and bold italic ("\bi")\inll[rm \back bf \back it \back bi]. +These variants are called \uv{standard variants} in OFS. +After the font family is activated by "\setfonts" command (see +bellow), you can use the commands "\rm", "\bf", "\it" a "\bi" +as a variant switches for the current font family. The first three +commands are well known in plain and the fourth command switches into +BoldItalic variant and it is introduced in the OFS. + +Additional \uv{nonstandard variants} can be declared in some font families +and vice versa some \uv{standard variants} can be missing in +other font families. Only the "\rm" variant has to be present in all +families. + +The original names of fonts can be a little different from the names mentioned +above in some font families but the font switches names "\rm", "\bf", +"\it", "\bi" can be unchanged. For example the family Helvetica has +the variant \uv{Oblique}, but we are still using the "\it" switch +for this variant. + +If you want to use the font switches from another font families +at the same time, these switches can be declared by the "\fontdef" +command (see bellow). + +The font families are declared in the declaration files. These files +have the similar meaning in the plain\TeX{} as {\tt fd} files in NFSS. The +recommended suffix for the files are \PLAIN:~{\tt tex} (they map the +family names to \TeX{} metrics) or \LATEX: {\tt sty} (they map the +family names to the NFSS short family names). These files can include +more than one font family declaration. The names of these files are +chosen in order to you can recognize which families are declared +here. Examples: + +\begtt +@PLAIN: @LATEX: +sjannon.tex, sjannon.sty ... the big Jannon family by stormtype.com +a35.tex, a35.sty ... the basic 35 fonts by Adobe +\endtt + +The user chooses from these files only such files needed by his/her +document and writes the names of these files into the header of +the document. For more simplicity, \uv{global} files +include the \PLAIN: "\input" or \LATEX: the "\RequirePackage" +command for the single declaration files. Examples: + +\begtt +skatalog.tex, skatalog.sty ... all fonts by stormtype.com +allfonts.tex, allfonts.sty ... all fonts at your TeX installation +\endtt + +\sec The user interface +%%%%%%%%%%%%%%%%%%%%%%% + +\subsec The header +%%%%%%%%%%%%%%%%%% + +For example, let us suppose that we will use fonts from Jannon and +DynaGrotesk family by Storm Type Foundry. Their +declaration files are included in the "storm" directory. You can get +the \TeX{} metrics plus the OFS macro package from +"www.cstug.cz/stormtype". You can buy the real fonts from Storm Type +Foundry. See "www.stormtype.com" for more details. +We need to use +\PLAIN: "sjannon.tex", "sdynamo.tex"; +or \LATEX: "sjannon.sty", "sdynamo.sty". +declaration files. The first letter "s" +in their file name means that the fonts are made +by Storm Type Foundry. We can use the following line in the header of +our document: + +\begtt +@PLAIN: \input ofs [sjannon, sdynamo] % space before "[" is necessary +@LATEX: \usepackage [sjannon,sdynamo]{ofs} +\endtt + +Now we can use the families declared in "sjannon" and "sdynamo" +declaration files. +The "\showfonts"\inl[showfonts] command writes a list of available +families on terminal and to a log file. In the above case, the +"\showfonts" lists the following text: + +\begtt +OFS (l.1): The list of known font families: +defaults: + [CMRoman/] \rm, \bf, \it, \bi, \sl + [CMSans/] \rm, \bf, \it, - + [CMTypewriter/] \rm, - , \it, - , \sl + [Times/] \rm, \bf, \it, \bi + [Helvetica/] \rm, \bf, \it, \bi, \nrm, \nbf, \nit, \nbi + [Courier/] \rm, \bf, \it, \bi +sjannon.tex: + [JannonAntikva/] \rm, \bf, \it, \bi, \mr, \mi + [JannonText/] \rm, \bf, \it, \bi, \mr, \mi + [JannonCaps/] \rm, \bf, \it, \bi +sdynamo.tex: + [DynaGroteskDXE/] \rm, \bf, \it, \bi + [DynaGroteskRXE/] \rm, \bf, \it, \bi + [DynaGroteskLXE/] \rm, \bf, \it, \bi + ... ... +\endtt + +The first 6 families are declared in OFS internally (you need not write +any declaration file to use them). The next families are declared in +specified declaration files. + +Beside each family are listed option switches. The first +four switches set \uv{standard variants}. If a standard +variant is not available then a dash sign is listed instead of +the switch. The fifth and any other switches correspond to the +\uv{nonstandard variants}, if these exists. For example, +the JannonAntikva and JannonText families have the extra variants +medium and medium-italic ("\mr" and "\mi" switches are used here). + +If you use the "\fontusage"\inl[fontusage] command, then short +description of OFS use is printed to the terminal and into the log file. + +We mentioned the header in the form: + +\begtt +@PLAIN: \input ofs [, , ...] +@LATEX: \usepackage [,,...]{ofs} +\endtt +% +Instead of the header of this type you can also include definition +files directly. In such case, the "ofs.tex" +or "ofs.sty" do not have to be explicitly mentioned: + +\begtt +@PLAIN: \input \input ... +@LATEX: \usepackage {} \usepackage {} ... +\endtt +% +Example: + +\begtt +@PLAIN: \input sjannon \input sdynamo +@LATEX: \usepackage {sjannon} \usepackage {sdynamo} +\endtt +% +We don't recommend to mix the both variants of the header (in \LaTeX{} +specially). + +\subsec The {\tt\back setfonts} command +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Let us suppose\inl[setfonts] +that the "sjannon" and "sdynamo" +declaration files were given in the header for the next examples. +For example, +the command: + +\begtt +\setfonts [JannonText/12pt] +\endtt +% +sets the switches "\rm", "\bf", "\it", "\bi", "\mr" and "\mi". +These switches set variants of the JannonText family to +12pt font size. + +The current variant used before "\setfonts" command is saved, but the +family/size parameters of the current font are changed by this +command. For example, if the BoldItalic variant for the TimesRoman was a +current then the BoldItalic of JannonText family of size 12pt is +current font set by "\setfonts [JannonText/12pt]". If the new family +has the current variant switch undeclared then the "\rm" variant is +used. + +The "\setfonts" makes all changes locally, so that \TeX{} returns to +the previous font and font family after the group is ended. + +The parameters of the "\setfonts[/]" command can be empty: +the "\setfonts[/]" switches to the new font family but keeps +the current font size and the "\setfonts[/]" changes the font +size for all corresponded variant switches but keeps the current +family unchanged. The command "\setfonts[/]" is syntactically correct +but without any effect. + +The CMRoman/10pt is default / after OFS for plain\TeX{} +is initialized. + +The parameter , unless not empty has to be the same as the +name of a family listed by the "\showfonts". This parameter is case +sensitive. If the parameter does not match any font family from given +declaration files, the "\setfonts" command acts the same as the +"\showfonts" command: all available families are listed. Thus, you can +use the "\setfonts [?/]" with the same effect as the +"\showfonts". + +\LATEX: The parameter can be not only the \uv{long-named} +font family from "\showfonts" list, but the short name from NFSS can +be used too. For example, the "\setfonts[Times/]" and the +"\setfonts[ptm/]" has the same effect in \LaTeX. + +\OBA: +The parameter can be written in more ways: + +\begitems +* \dots{} example: "12", "17.4", +* \dots{} example: "12pt", "17.4pt", "10dd", +* "at" \dots{} example: "at12pt", "at17.4pt", "at10dd", +* "scaled" \dots{} example: "scaled1200", "scaled\magstep3", +* "mag" \dots{} example: "mag1.2", "mag.7", "mag2.0". +\enditems + +The first three possibilities have the same meaning. The keyword "at" is +optional and if you omit the keyword and the unit, the "atpt" +is used. We can use the "true.." unit if we need not the relative unit +associated by current "\magnification" factor: for example: +"17truept". If the "at" keyword is present then the unit can't be +omitted---it means: "at12" is not correct, but +"at12pt" or simply "12" are correct values. + +The "scaled" keyword has the same meaning as in \TeX{} primitive +"\font". For example, if the design size of the font is +"10pt" (this is a common value) then "scaled1200" is the same as +"at12pt". + +The last possibility (keyword "mag") is a new feature in OFS. +The new font size is calculated from the current font size by +multiplying by . +For example, by the command "\setfonts[/12pt]" followed by "\setfonts[/mag2.]" +the current font size is changed to 24\,pt. +The decimal point is required in the . +Another example: + +\begtt +\def\small{\setfonts[/mag.7]} +The text {\small is smaller \small and smaller \small and more smaller} +and the normal size is used here. +\endtt + +Note: the parameter in "\setfonts" command changes only the +font size but not the "\baselineskip". The user has to do the +"\baselineskip" setting by another way. +\LATEX: The "\setfonts" sets the "\baselineskip" to the current value +stored in NFSS. It means that if you want to change the +"\baselineskip" register for your goal, you have to do it +{\it after} "\setfonts" command in \LaTeX{}. + +You can set only one variant of a font family (not the whole family) by +the "\setfonts" command. This is done if the ``"-"'' is appended +to the parameter. In such case, the switches of the current +family are not changed and only the new font is set. The + means the name of variant switch here. Examples: + +\begtt +\setfonts [JannonText-it/12] ..... sets the italics of the JannonText + at 12 pt as the current font. + The \rm, \bf, etc. are unchanged +\setfonts [JannonText-rm/] ....... sets the normal variant of the + JannonText at the current size. +\setfonts [CMTypeWriter-sl/] ..... sets the cmsltt font as the current + font at the current size. +\endtt + +You can omit the family name even if the "-" is present. +The actual family is substituted in such case. Examples: + +\begtt +\setfonts [JannonText/12] +\setfonts [-bf/17] ... variant Bold of JannonText, size 17pt. + Selectors \rm, \bf, \it and \bi keeps its + original meaning: they switches between + variants of JannonText in 12pt size. For + example, the next command \setfonts[Times/] + sets the Times family in 12pt size. +BUT: +\setfonts [/17]\bf ... variant Bold of current family, size 17pt. + Selectors \rm, \bf, \it and \bi switches + in 17pt size now. +\endtt + +\LATEX: The text above about the keeping of original +meaning of variant switches is not true in \LaTeX{} because it may +break the NFSS philosophy. Thus, the commands +"\setfonts [-bf/17]" and "\setfonts [/17]\bf" has the same meaning in +\LaTeX. + + +\subsec The commands {\tt\back fontdef} and {\tt\back addcmd} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +The "\fontdef"\inl[fontdef] command declares a new font switch. + +\begtt +\fontdef \ [/] +\endtt +% +This declaration is roughly similar to + +\begtt +\gdef \ {\setfonts [/]} +\endtt + +\PLAIN: If the ``"-"'' is appended in and the +parameter is not empty and it is not specified by "mag" keyword +then the new declared control sequence "\" is not a macro +but it is implemented by "\global\font\". +It is called \uv{fixed font} in an~OFS terminology. +The user can implement his/her native "\" by "\fontdef" +without a knowledge about "tfm" filename. + +\LATEX: The declared "\" is always implemented as a macro +including the "\setfonts" command. The reason is that the user access +to native "\" is not simply possible in NFSS. + +\OBA: +You can type the exclamation mark \uv{!} instead of and the +family current in the moment the "\fontdef" command was used is substituted. +On the other hand the empty means that the family current in the moment +the "\" command was used is substituted. You can use the +exclamation mark \uv{!} instead of parameter with the same meaning. +Examples: + +\begtt +\setfonts [JannonAntikva/] +\fontdef \small [/7] % \small = \setfonts [/7pt] +\fontdef \sffam [DynaGroteskR/] % \sffam = \setfonts [DynagroteskR/] +\fontdef \bigf [Times/17] % \bigf = \setfonts [Times/17pt] +\fontdef \ttfam [Courier/] % \ttfam = \setfonts [Courier/] +\fontdef \mylogo [Times-rm/mag.8] % \mylogo = \setfonts [Times-rm/mag.8] + % the fontsize will be always + % 0.8 times of the current size. +\fontdef \timbf [Times-bf/12] % \timbf = fixed-font, the same as: + % \global\font\timbf=ptmb8z at12pt +\fontdef \jansmall [!/7] % \jansmall=\setfonts[JannonAntikva/7] +\fontdef \janbi [!-bi/17] % \janbi = fixed-font, the same as: + % \global\font\janbi=sjnbi8z at17pt +\fontdef \tt [Courier-rm/!] % \tt = fixed-font, the same as + % \global\font\tt=pcrr8u at10pt +\endtt + +The declaration of the "\" by "\fontdef" command is global +but the "\" itself has a local effect in the place where it is +used. + +Since OFS version Oct.~2002, the "\addcmd"\inl[addcmd] command is +supported, which makes possible to concentrate whole font +management in one place. The format of "\addcmd" is: + +\begtt +\addcmd \ {} +\endtt +% +The meaning is same as + +\begtt +\def\ {} +\endtt +% +You can include new into the original content of the macro +"\". The control sequence "\" has to be +defined as a macro without parameters or as unexpandable control +sequence (by "\font", "\chardef" etc.) before "\addcmd" is used. +The "\addcmd" redefines "\" as a macro without parameters in +all cases. You can apply "\addcmd" on the same "\" +more than once. + +Examples: + +\begtt +\setfonts [JannonText/] +\fontdef \footnotefont [!/7] +\addcmd \footnotefont {\rm \baselineskip=9pt \relax} +\fontdef \sectionfont [!/12] +\addcmd \sectionfont {\bf \let\it=\bi} +\endtt + +\subsec Test of a family name existence +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\PLAIN: + You are able to test the font family declaration in your own marcos, + it means whether the font is loaded from the file of declarations. + The sequence "\knownfam ? \iftrue"\inl[knownfam] + is used for such test. + This sequence expands to "\iftrue", if the font family is declared + otherwise expands to "\iffalse". The parameter has to be + brought in without the variant specification. + +\OBA: By reason of the backward compatibility with the older version of OFS + the "\ifknownfam []"\inl[ifknownfam] does the same as + "\knownchar" macro. + Since the version Feb.~2004 of the OFS for plain it is recommended + to use "\knownfam", because of correct alignment of the primitives + "\if*", "\else", "\fi". La\TeX\ user can define "\knownfam" quite easily. + +\subsec \LATEX: OFS and NFSS +%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +This section is intended only for \LaTeX{} users. +The command\inl[OFSfamily] + +\begtt +\OFSfamily [] +\endtt +% +converts the long family name to internal short NFSS family name. +For example + +\begtt +\OFSfamily [Times] +\endtt +% +expands to "ptm". The macro works only on expand processor level thus +we don't get the error message if the is not known. The +"\OFSfamily" expands to the text ``"unknown"'' in such case. +If you are using the "\OFSfamily" in your macro files and the +NFSS try to substitute the "unknown" family then you can be sure that +some misspelling occurs in parameter or the required family +is not known. + +The example: + +\begtt +\usepackage [sjannon, sdynamo] {ofs} +\edef\rmdefault {\OFSfamily [JannonAntikva]} +\edef\sfdefault {\OFSfamily [DynaGroteskR]} +\edef\ttdefault {\OFSfamily [Courirer]} +\endtt + +The meaning of the macros "\rmdefault", "\sfdefault", "\ttdefault" is +described in the NFSS documentation. + +OFS defines the command\inl[OFSfamilydefault] + +\begtt +\OFSfamilydefault [] +\endtt +% +which sets the basic family of the whole document. This family is used +in the plain text and in the chapter headers etc. too (if the used class +file is made by common \LaTeX{} conventions). The command +"\OFSfamilydefault" internally does: + +\begtt +\edef\familydefault {\OFSfamily []} +\endtt +% +and moreover it also cares for the case of the unknown . +If the is not known then the list of the supported families is +printed. + +\subsec The font encoding +%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: The font encoding switching is the subject to the NFSS and OFS +defines nothing more (i.e., packages "fontenc" and "inputenc" +work as expected). + +\PLAIN (to the end of this section): +OFS sets the font encoding into CSfonts encoding by default. +If you need to use fonts encoded in another encoding (T1 by Cork, +for example) then you write "\def\fotenc{8t}"\inl[fotenc] +before the OFS is included and OFS will operate the fonts with this encoding. +The name ``"8t"'' is an example of T1 encoding. + +You can even switch the encoding inside the document: + +\begtt +\def\fotenc{8z} \setfonts[/] ... fonts in CSfont encoding +\def\fotenc{8t} \setfonts[/] ... fonts in encoding by Cork +\endtt + +Moreover there are tools in OFS for correct macros expansion, +that are dependent upon the font encoding (for example "\v", "\'", "\ae"). + +By default, OFS set "\loadingenc=0"\inl[loadingenc], +which means, that font encoding change nor the command "\setfonts" does not +change of the macros of the type "\v", "\ae". These macros hold their +original \hbox{plain} meaning. Such a feature will welcome plain users, +who dislikes too inteligent packages. + +But, if the document starts with "\loadingenc=1", for example: + +\begtt +\input ofs [a35,sjannon] \loadingenc=1 +\endtt +% +then \TeX{} checks during every run of the "\setfont" command, +whether all necessary files named "ofs-.tex" are loaded. +These files contain macro definitions dependent on the preset font encoding. +If these files are not loaded, \TeX{} loads them during the run of "\setfonts". +More informations on this topic can be found in the sections~\beglink{3.3}3.3\endlink{} +to~\beglink{3.5}3.5\endlink. + +The OFS package contains three basic files with macros definitions dependent +on the encoding: "ofs-8z.tex", "ofs-8t.tex" and "ofs-8c.tex". If you use another +font encoding, you can create a new similar file. Commands "\accentdef" +and "\characterdef" used in these files are described in details in the +\beglink{3.4}section~3.4\endlink. + +\subsec The fonts in mathematics +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: OFS for \LaTeX{} does nothing with the issue of math fonts. +You need to use some \LaTeX{} package or build on the capabilities of NFSS. + +\PLAIN (to the end of this section): +The command "\setfonts" and the control sequences declared by "\fontdef" +switch fonts in text mode only. Until you use the +"\setmath" command, all text between dollars is in Computer Modern in +10\,pt/7\,pt/5\,pt sizes (text/index/index of index). + +The "\setmath"\inl[setmath] command has the following syntax: + +\begtt +\setmath [//] +\endtt +% +The parameters set sizes of mathematical fonts and they +have same syntax as in the "\setfonts" command. +The keyword "mag" means the magnification to the size of +the current textual font. The empty parameter means the following +substitution: + +\begitems +* text size: "mag1.0" +* index size: "mag0.7" +* indexindex size: "mag0.5" +\enditems + +It means that "\setmath[//]" has the same effect as +"\setmath[mag1./mag.7/mag.5]". The +"\setsimplemath"\inl[setsimplemath] +command is defined in OFS as the equivalent of the +"\setmath[//]" command. + +The "\setmath" sets the mathematical fonts depending on the values of the +macros "\fomenc" and "\mathversion". The "\fomenc"\inl[fomenc] means the +mathematical encoding and the "\mathversion" means +the version of the math-families set. + +Mathematical encoding is set by the value of the macro +"\fomenc".\inl[fomenc]. +There exist following possibilities: + +\begitems +* If the default value "\def\fomenc{PS}" (PostScript fonts) is used + then "\setmath" sets the + italic from the current font family as a mathematical italic ("\fam1"). + It uses "\rm" from the current font family for + digits and a some other symbols. The variant selectors + "\rm", "\it", "\bf" and "\bi" work in math mode too. +% + Moreover, when "\def\fomenc{PS}" is used then the math symbols from "\fam2" and Greek + symbols (originally located in "\fam1") are used from PostScript + Symbol font. This font is much better visual compatible with most + Postscript fonts than the Computer Modern symbols. Other symbols (e.\,g.,~big operators + and big braces) stay in Computer Modern font because unfortunately + there is no common alternative for these glyphs. + +* If "\def\fomenc{CM}" is used then "\setmath" command keeps the Computer Modern + fonts in math formulae. It sets only the desired sizes given in the + parameters. + +* It is possible to use "\def\fomenc{AMS}" after loading the file "amsfn.tex". + Mathematic symbols are the same as while using "CM", but in addition + you can use all mathematics symbols from~AMS\TeX{}. + +* After loading the file "txfn.tex", you can use two new encodings: + "\def\fomenc{TX}" or "\def\fomenc{PX}". + In both cases the free TXfonts are used for mathematics, they are compatible + with the font families Times and Helvetica. If you choose the value "TX" then + pure TXfonts are used for all mathematic symbols, whereas + the value "PX" means that TXfonts + are going to be combined with italics and with the basic fontface of the actual + font family (similar to "PS" encoding). OFS supports all control sequences + of the mathematic symbols, as is mentioned in the TXfonts reference. There are + all symbols from the AMS\TeX{} and many more there. There are + hunderts sybols from TXfonts. + +* After loading the file "mtfn.tex", it is possible to use "\def\fomenc{MT}". + Mathematics will contain italics and basic fontface of the actual font family + as well. And it will be combined with the characters of the commercial version + of the mathematics fonts MathTimes. +\enditems + +OFS supports two versions of math formulae as default: normal and +bold version. The user can define another versions---see +\beglink{3.6}section 3.6\endlink. +The current version is set by the contents +of the "\mathversion"\inl[mathversion] +macro. You can say "\def\mathversion{normal}" or "\def\mathversion{bold}" +before "\setmath" command. The "normal" version is used as +default. Examples: + +\begtt +\setmath [//] $formula$ % formula in "normal" version +$\def\mathversion{bold}\setmath[//] formula$ % formula in "bold" version +\endtt + +\sec The inside of OFS for insiders +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: All auxiliary macros of OFS are defined in "ofs.sty" file with +the name "\ofs@macroname" in order to avoid the confusion with other +style files. The macros used in declaration files have the name +"\OFSmacroname". Moreover OFS defines user-level macros "\fontdef", "\showfonts", +"\fontusage", "\rm", "\bf", "\it" and "\bi". + +\PLAIN: All auxiliary macros of OFS are defined in "ofs.tex" file and +they are listed in index at the end of this document. The convention +with the~"@" character is not used because I personally hate this character in +macro names. + +\subsec Debugging +%%%%%%%%%%%%%%%%% + +\LATEX: Use the standard NFSS package "tracefnt" for tracing purposes. + +\medskip +\PLAIN: There are four commands for tracing OFS: +\begitems +* "\nofontmessages"\inl[nofontmessages] sets no tracing info. +* "\logfontmessages"\inl[logfontmessages] sets the tracing info to log file only. +* "\displayfontmessages"\inl[displayfontmessages] sets the tracing + info to log file and to terminal. +* "\detailfontmessages"\inl[detailfontmessages] sets the detailed + tracing info to log and to terminal (all "\font" primitives are traced). +\enditems +The "\logfontmessages" is initialized by default. + +The warnings about unaccessible characters or encodings are always displayed +on the terminal and they are written into the log file. If you want log output only, +you can write "\let\displaymessage=\wlog"\inl[displaymessage], +because OFS uses this sequence for displaying messages on the terminal. + +\subsec The robust and fragile commands +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: \LaTeX{}2e has its conventions to define robust commands. +The command "\setfonts" and the "\" declared by +"\fontdef" are robust, of course. They can be used in texts for table +of contents, indexes etc. + +\PLAIN (to the end of this section): +Plain\TeX{} does not solve the problem of fragile commands and its +users have their own solutions without any standardization. One +solution is used in OFS. + +What is a fragile command? We sometimes need to send some part of +text to auxiliary file (for table of contents, index, etc.). We +are doing it by "\write" primitive and in second run of \TeX{} this +file is "\input"-ted. The problem is that the "\write" primitive prints +the text to the file after all macro expansions and it may cause +problems. For example, if the font switch is implemented as a +complicated macro and it is used in "\write" parameter then the macro +is stored in the file after its expansion. +The error can occurs in most cases during the "\input" of such file. +We say that the \uv{fragile} +command was used in "\write" parameter and that this command +\uv{was got spilt} in auxiliary file. + +If the (potentially) fragile command defined in OFS is being +sent to the file then the +following message is printed on the terminal and to the log file during the +"\input" of the file: + +\begtt +ERROR !! The fragile command in the toc/ind/aux or similar file. +You can solve this problem by the following steps: +1. Remove the auxiliary file with this command. +2. Include the following macro code into your document header: + \let\orishipout=\shipout + \def\shipout#1#2{\setbox0=#1{#2}\bgroup + \let\expandaction=\noexpand \orishipout\box0 \egroup} +3. Run TeX on your document again and again... +See the OFS documentation for more info. +! The fragile command in auxiliary file +\endtt + +You can follow this hint to remove the problem. + +The detail explanation of this behavior follows. The "\setfonts" and +other (potentially) fragile macros are implemented in OFS by the +following way: + +\begtt +\def\macro {% + \ifx\expandaction\noexpand + \noexpand\macro + \else + \csname fragilecommand!\endcsname + + \fi +} +\endtt + +If "\expandaction"\inl[expandaction] does not have the meaning +"\noexpand" then the "\else" part of the macro +code is performed. The +"\csname fragilecommand!\endcsname"\inl[fragilecommand!] +expands to "\fragilecomand!" and this text occurs in auxiliary file. +If this file is included in next \TeX{} run then the +"\fragilecomand"\inl[fragilecommand] +runs and this command prints the +message with the hint mentioned above. + +If the user follows the hint then the "\expandaction" +has the meaning of "\noexpand" when the "\shipout" is active +(it means during the no-immediate "\write" parameter expansion). +The "\macro" expands to "\macro" and this text is stored in +auxiliary file. + +The "\shipout" is not re-defined in OFS by default---only a suggestion +is printed if fragile command in the "\write" parameter occurs. The +reason is that a plain\TeX{} +user may have his/her own redefinitions of "\output" routine or +"\shipout" primitive thus OFS for plain does not do any redefinitions at +this level itself. Unlike \LaTeX{} users the plain user needs exactly +to know how his macros work. + +The code above illustrate the definition of an abstract macro +"\macro". The similar code is used for the following actual macros in +OFS: "\setfonts" (\beglink{2.2}section~2.2\endlink), +"\setmath" (\beglink{2.7}section~2.7\endlink), +"\" declared by "\fontdef" +macro (\beglink{2.3}section~2.3\endlink), +"\setextrafont", "\printcharacter", "\printaccent" +(\beglink{3.4}section~3.4\endlink), +"\accentabove" and "\accentbelow" (\beglink{3.6}section~3.6\endlink). +If you use the hint above then these macros become \uv{robust} +in \LaTeX{} sense of this word. + +\subsec Declaration files +%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: The declaration files for OFS are common \LaTeX{} style files +which includes mapping from long family names to NFSS family names +of one or more font families. These NFSS families are declared in +common~"fd" files. Use NFSS documentation to create "fd" files. +You can use the following commands in the OFS declaration files: + +\begitems +* "\OFSprocessoptions"\inl[OFSprocessoptions]: + This macro is undefined by default but it has the meaning "\relax" + during "ofs.sty" file is scanned and its options are included. + You can test by "\ifx" the value of this control sequence in order + to skip the "\RequirePackage{ofs}". +* "\OFSextraencoding {}"\inl[OFSextraencoding]: + The macro stores the into memory and does + "\input {ini.def}". + We assume that the corresponding definitions for + are included in this file. See "se1ini.def". This file includes the + declarations for extra encoding SE1 for fonts by Storm Type Foundry. + If the "ini.def" file was included already it is not + included again. Attention: use uppercase letters for + parameter but use lowercase letters in filename. +* "\OFSputfamlist {}"\inl[OFSputfamlist]: + The macro adds the into the list of family names. + This list is printed by "\showfonts" command or if unknown family is + used in "\setfonts". +* "\OFSdeclarefamily [] {}"\inl[OFSdeclarefamily] + This macro does an actual mapping from (long family name) + to the (short NFSS family name). Moreover, it stores the + line about this family name to the list of family names which is + printed by "\showfonts" command. +* "\OFSnormalvariants"\inl[OFSnormalvariants]: + This macro stores the list of standard switches + "\rm,"~"\bf," "\it," "\bi" into the list of family names which is + printed by "\showfonts" command. +\enditems + +\PLAIN (to the end of this section): +The declaration files have the extension "tex" and we assume that there is +a locking code in them so that the file will not be read twice. +If the "ofs.tex" is not included already then it have to be included at the +begin of declaration file. + +You have to define the mapping from long family names to "tfm" names in +the declaration files. You can use the following commands: + +\begitems +* "\protectreading "\inl[protectreading] --- + the flag about the reading is saved in the memory. + If the command is run with the same parameter once more, + the "\endinput" is executed. It means + that next declarations are protected against the multiple reading. +* "\ofsputfamlist {}"\inl[ofsputfamlist]: + The macro adds the into the list of family names. + This list is printed by "\showfonts" command or if unknown family is + used in "\setfonts". +* "\ofsdeclarefamily [] {}"\inl[ofsdeclarefamily]: + This macro declares the new font family with the name . + The is stored into the list of family names which is + printed by "\showfonts" command. If this family is used by + "\setfonts" then the are performed. We assume that the + include "\loadtextfam" command and (zero or more) + "\newvariant" commands. +* "\loadtextfam"\inl[loadtextfam]: + This macro loads four fonts with given metrics. See below for the syntax and + the detail explanation of this command. +* "\newvariant \ () ;;"\inl[newvariant]: + \null\space This macro sets the \uv{nonstandard} variant for given font family. + See below for the detail explanation of this command. +* "\modifyenc :;"\inl[modifyenc] --- the exceptions + are added with respect to the basic encoding, see~\beglink{3.5}section~3.5\endlink. +* "\fosize"\inl[fosize]: + The information about the actual font size of the last selected font + family is stored in this macro. The value of this macro can be in + one of the two forms: "at" or "scaled". This depends + on the form of parameter given in "\setfonts" command. +* "\fotenc"\inl[fotenc]: + The actual encoding is stored in this macro. The common values are: + "8z" for encoding by CS-fonts (by ISO-8859-2) or "8t" for encoding + by Cork. The part of "tfm" name (where encoding is specified) + is recommended for values of "\fotenc" macro. + If "\fotenc" is undefined at the time of OFS is initializing, the + OFS makes "\def\fotenc{8z}" else the "\fotenc" is unchanged. +* "\extranec"\inl[extraenc] --- macro, that stores the information + about the extra encoding. This information is copied from the parameter + , that is located in the "\laodatextfam" command. +* "\defaultextraenc"\inl[defaultextraenc] --- if you redefine this macro, the + extra encoding of the basic families and the families from~"a35.tex" can be + changed. The default value of this macro is "8c". +* "\setfontshook"\inl[setfontshook]: + This macro is called from "\setfonts" macro before from + "\ofsdeclarefamily" are performed. +* "\registertfm - "\inl[registertfm]: + You can declare different "tfm" names for different font sizes. + See \beglink{3.7}section~3.7\endlink{} for more details. +* "\registerenc : "\inl[registerenc] + --- enables the limitation of usage the font families only for + certain encodings. See~\beglink{3.9}section~3.9\endlink. +\enditems + +The "\loadtextfam" command used in declaration files +has the following syntax: + +\begtt +\loadtextfam () ;% + () ;% + () ;% + () ;;% +\endtt +% +The percent characters at the ends of lines here mean that no spaces are +allowed after semicolons. +You can save the long name of the used variant by "()" parameter. +This name us used only when the OFS is traced by "\logfontmessages" or +others commands. The parameters ``"() "'' are optional. +If this parameter is omitted then default value is stored: +"rm: ()", "bf: (Bold)", "it: (Italic)", "bi: (BoldItalic)". + +The parameters are the names of the "tfm" files for the +appropriate variants. The "\loadtextfam"\inl[loadtextfam] +does roughly the following work: + +\begtt +\font\tenrm= \fosize +\font\tenbf= \fosize +\font\tenit= \fosize +\font\tenbi= \fosize +\endtt +% +We assume that all parameters are written with the +"\fotenc" macro in order to make the switching to others +encodings possible. + +The parameter is the name of the extra encoding. If this +parameter is non-empty then the "\loadtextfam" command redefines +temporally the "\fotenc" macro: "\def\fotenc{}" and it +expands all parameters , , and + again. The results of these expansions are stored into +memory. They are the \uv{extra metrics} connected to the +\uv{basic metrics}. +If the parameter is empty then there are no +\uv{extra metrics} connected to \uv{basic metrics}. +One can use a macro which can need the access +to the extra metric concerned to the basic metric of the current font. +The macro for "\euro" character is the good example of these needs. + +Some (except of ) can be omitted. When the + is empty then the "\loadtextfam" command +does roughly the following work: + +\begtt +\def\tenXX{\message{WARNING: the needed font variant is missings}} +\endtt +% +It means that if the user needs the omitted variant then the message +is printed to the log file and to the terminal and no font change is done. + +The "\setfonts"\inl[setfonts] command does not change the meaning of +the macros "\rm", "\bf", "\it" and "\bi". It only changes the font +switches "\tenrm", "\tenbf", "\tenit",\inll[tenrm \back tenbf \back tenit] +and "\tenbi" respectively\inl[tenbi]. The first three font switches are known in +plain and the last one is introduced in OFS. +The macros "\rm", "\bf", "\it" and "\bi" store the information about +last selected variant into control sequence "\currentvariant"\inl[currentvariant]. +This information has the form of the letter "M" (for "\rm"), "F" (for "\bf"), +"T" (for "\it") and "I" (for "\bi"). It is stored by +"\let\currentvariant=" +because this code is not expanded. Thus we need not to implement a +special \uv{robust} code to the macros for variant switches. + +Note that the "\loadtextfam" command sets the font switches +"\tenrm", "\tenbf", "\tenit" and "\tenbi" to the fonts of arbitrary +size given by the contents of the "\fosize" macro. The word ``"ten"'' +in names of font switches is used only for the historical reasons and it does +not mean that the font is loaded at 10\,pt size. + +You can object that the repetitive calls of "\setfonts" runs the +font loading on the four fonts in given font family again and again. +This can be time consuming operation. But you are not right. \TeX{} +stores the font information from font loading in its internal memory +and if the "\font" primitive is applied again to the same font then +\TeX{} uses the information stored before and it needs not to load the +font again. + +If "\loadingenc>0"\inl[loadingenc] the command "\loadtextfam" reads +the file "ofs-\fotenc.tex" before fonts loading. +If the parameter is non-empty, it loads moreover the file +"ofs-.tex". These files are read only once. Empty lines +and ends of lines are ignored during reading. Reading is performed inside the +group. The character categories are locally set in accordance to +plain\TeX{} (and~"\catcode`@=11"). The "\globaldefs=1" is set. It means, +that all macros and values from the file "ofs-.tex" are +defined globally. +That does not matter, because newly loaded encoding files do not conflict +with the previous ones (see the commands "\characterdef" and "\accentdef" +in~\beglink{3.4}section~3.4\endlink). It does not matter at all, if there +are loaded more files, than is necessary at a given instant. It is not wise +to read the encoding file repeatedly, when the command "{...\setfonts...}" +is executed. This is the reason of the global definition. +If the user dislikes the global predefined macros (he/she wants to add the +article into the proceedings, where such a predefined macros can collide with +other articles), he lets the "\loadingenc=0". In this case, the +declaration files have to be loaded manually by "\input" command at +the beginning of the article. + +You can declare a nonstandard variant in of the +"\ofsdeclarefamily" by the "\newvariant"\inl[newvariant] command. +The "\newvariant" command does roughly the following: + +\begtt +\font\ten= \fosize +\def \ {\let\currentvariant= \ten} +\endtt +% +Moreover the "\newvariant" stores the \uv{extended metric} +connected to the \uv{basic metric} if the is not empty. + +If the OFS needs to return to the last \uv{nonstandard variant} then +it does it by the value of the "\currentvariant". If the new family +has the \uv{nonstandard variant} with the same as a previous +family then this variant is used and OFS does not switch to the "\rm" +variant. You can declare the variants of various families but the +similar \uv{type} with the same . +There are only ten digits thus we can distinguish only ten different +\uv{types} of \uv{nonstandard variants}. + +The macro "\setfonts" can change the meaning of the macros +"\loadtextfam" and "\newvariant" if the +"-" is specified in parameter of "\setfonts". +It is sufficient to load only one font in such case but not the whole +family. If the ``"-"'' is \uv{standard} then "\newvariant" is +redefined so that it do nothing and "\loadtextfam" is redefined in +order to load only one font of the variant specified. +If the "-" is is \uv{nonstandard} then "\loadtextfam" do +nothing and "\newvariant" loads the font only if it loads the variant +specified. + +We describe the operations of "\setfonts [/]"\inl[setfonts] +command here in detail. This command calculates and defines the +"\fosize" macro by the parameter. If the is not empty +and the "-" is not given then "\setfonts" performs +"\def\currentfamily{}"\inl[currentfamily]. On the other hand, +if the is empty then the "\currentfamily" is used for +restoring the family name. If the "-" is given then +"\setfonts" redefines the "\loadtextfam" and "\newvariant" macros at +the temporary time. This behavior is described in previous paragraph. +Then the "\setfonts" runs "\setfontshook" and +specified as a parameter of "\ofsdeclarefamily" of the +appropriate . It also runs macro "\runmodifylist"\inl[runmodifylist], +that at certain circumstances sets the exceptions from the chosen encodings +(see~\beglink{3.5}section~3.5\endlink). Finally the "\setfonts" runs +"\ignorespaces" at the end of its run in order to ignoring the possibly +forgotten space after ``"]"''. + +\subsec The font encoding and the character declaration +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\PLAIN: You can use the macro "\setextrafont"\inl[setextrafont] to +switch to the extra metric of the current font. If the extra metric +connected to the metric of current font is stored in \TeX{} memory (by +"\loadtexfam" or "\newvariant" command) then "\setextrafont" do roughly +the following work: + +\begtt +\font\extrafont= \extrafont@inl[extrafont] +\endtt + +\LATEX: You can use the macro "\setextrafont" to switch to the extra +encoding declared by "\OFSextraencoding" command. If this encoding is +declared then "\setextrafont" do roughly +the following work: + +\begtt +\fontencoding{}\selectfont +\endtt + +\OBA: +If you need to print the character from extra metric/encoding from +slot of position then you can use the macro +"\extchar "\inl[extchar]. + +\PLAIN (to the end of this section): +You can use the commands "\characterdef" and "\accentdef" to declare +the macros which depend on font encoding. See the "ofs-8t.tex" and +"ofs-8z.tex" for a good illustration. + +The "\characterdef"\inl[characterdef] has the following syntax: + +\begtt +\characterdef \ +% example: +\characterdef \promile 8z 141 +% or +\characterdef \ {} +% example: +\characterdef \promile 8t {\%\char24 } +\characterdef \promile * {\vrule height1ex width1ex\relax} + % in another encodings +\endtt + +If the current encoding is the same as then "\" +will expand to the token of category~12 with the code +or it expands to the . +All work is done at expand processor level when "\" is used. +You can declare the same "\" +for more encodings, see the "\promile" declarations in previous examples: + +\begtt +\def\fotenc{8z} \promile % expands to the token with the code 141 +\def\fotenc{8t} \promile % expands to the commands \%\char24 +\endtt + +Moreover you can simply declare the access to the extra encoding: + +\begtt +\characterdef \euro 8z 134 +\characterdef \euro 6s 37 + +\def\fotenc{8z} \euro % expands to the token of the code 134 +\def\fotenc{8t} \euro % expands to: {\setextrafont } +\endtt + +The second example is working only if the extra metric connected to +the current metric exists (see "\loadtextfam" and "\newvariant" commands) +and the extra metric has the "6s" encoding. If this is not valid then +the "\euro" prints the warning about inaccessibility of the "\euro" +character to the terminal and to the log file. + +Now, we explain the behavior of the "\characterdef"ed macros +in more details. The "\characterdef" command defines +the "\" as "\printcharacter{}",\inl[printcharacter] +it means that "\promile" expands to "\printcharacter{promile}" and "\euro" to +"\printcharacter{euro}" in our examples. +If you use the "\characterdef" twice to the same "\" then it +does not matter because the definition is still the same. +Moreover, "\characterdef" defines the special macro +"\:-" in order to this macro expands to the +token of given code or to the given . +The more work is done by the "\printcharacter" macro. +This macro checks if the "\:-\fotenc" is defined. +If it is true then "\printcharacter" expands to the contents of this +macro. Else "\printcharacter" checks if the extra metric is connected +to the current font. If it is true then "\printcharacter" checks if the +"\:-" is defined where is the +encoding of the extra metric. If it is true then +"\printcharacter" expands to +{\hbadness=1110\par} + +\begtt +{\setextrafont \:-} +\endtt +% +If all attempts fail then the "\printcharacter" try to print the default character +independent on encoding. It means, the "\printcharacter" checks if the +"\:-*" is defined and if true, it expands to this macro. + +If this is false then the "\printcharacterwarn{}" +is run.\inl[printcharacterwarn] +The implicit value of this macro prints out a warning, that the +character is not available. It is printed on the +terminal and into the log file. +No character is printed to "dvi" output. + +If we want to omit the warning printing, we can redefine the +"\printcharacterwarn" for example by following way: + +\begtt +\def\printcharacterwarn #1{?(#1)?} +\endtt + +The "\characterdef" does not redefine the defined control +sequences since the version OFS Mar. 2004. It defines only sequences, +that have the meaning "\undefined" or "\relax". Otherwise +(and also if the sequence is not defined by previous "\characterdef") +it prints the warning, that the definition is ignored. +The reason is that the encoding files declares by "\characterdef" command +enormous amount of new control sequences. But the programmer +have not to know all of them. It is possible, that he/she uses the same name +for his/her own macro. In this case, the "\characterdef" keeps the macro +defined by the programmer and lets the appropriate character unaccessible. +You have to write "\let\=\relax" befor of the "\characterdef" command +if it is really necessary to redefine some control sequences +(this procedure is needed for macros dependent on the encoding and +defined in plain\TeX). + +The macro "\safelet"\inl[safelet] has been added into OFS for the same reasons. +It acts similar to "\let", but resists to redefine the predefined control +sequences. The warning is printed by "\safeletwarn"\inl[safeletwarn] +macro instead of redefinition. + +You can use "\accentdef"\inl[accentdef] command to declaration of the +accent macros "\'", "\v", etc. depend on encoding. +This command has the following syntax: + +\begtt +\accentdef \ +% example: +\accentdef \v E 8z 204 % Ecaron +\accentdef \v e 8z 233 % ecaron +% or +\accentdef \ {} +% example: +\accentdef \v * 8z {\accent20 } % default caron in 8z +\accentdef \v * * {\blackbox } % default caron +\endtt + +If the current encoding is the same as then "\" +followed by expands to the token of category~12 with the code + or to the . This work is done at expand processor +level. If the declared is "*" then the "\" +expands to the token of given code or to the +given in the case of the +actual does not match with all declared . + +The possibility of the use of the extra metric is the same in +"\accentdef"-ed macros as in the "\characterdef"-ed macros. + +Now, we explain the functionality of the "\accentdef"-ed macros +in more details. The "\accentdef" command defines the "\" +as a macro with one non separated parameter~"#1" which expands to the +"\printaccent{}{#1}"\inl[printaccent]. For example, "\v E" +expands to "\printaccent{v}{E}". Moreover, "\accentdef" defines the +macro "\::-" in order to this macro expands to the +token of given code or to the given . +The more work is done by the "\printaccent" macro. +This command checks if the "\::-\fotenc" is +defined. If it is true then "\printaccent" expands to the contents of +this macro. Else the "\printaccent" checks if the extra metric is connected +to the current font. If it is true and if this extra metric has + encoding then "\printaccent" checks if the +"\::-" is defined. If it is true then +"\printaccent" expands to "{\setextrafont \::-}". +Else "\printaccent" checks if the macros "\:*:-\fotenc" +and "\:*:-" are defined in this order. +If the first one is defined then "\printaccent" expands to this macro +and appends the . If only the second one is defined then +"\printaccent" expands to: + +\begtt +{\setextrafont \:*:- } +\endtt +% +where is the font switch to the current font at the start +of "\printaccent" macro. If all attempts fail so far then +"\printaccent" try to use the macros "\::-*" +or "\:*:-* " in this order. If all the previous commands +fail, the "\printaccentwarn{}{}"\inl[printaccentwarn] is run. +The default value of this macro prints out on the terminal and into the log +file the warning about the unaccessibility of the accented character +and no character is printed on "dvi" output. + +Note that the character from extra metric inside the word breaks the +kerning around this character and breaks the possibility of +hyphenation of this word. It is extremely recommended that a basic +metric encodes all alphabet used in current language in order to +minimize switching to extra metric. For example, the "8t" and +"8z" encodings are good choice as basic metric for Czech and Slovak +languages. + +If we want to take out predeclared character\inl[characterdel] +(see so called in the next section), we can use the +commands"\characterdel" and "\accentdel".\inl[accentdel] +These commands have to have the same parameters like "\characterdef" and +"\accentdef" respectively and they take out the command definition +"\:-" and "\::-" +respectively. + +%The last part of this section is applied to the example of the inteligent +%"\Uppercase" definition: +% +%\begtt +%\def\Uppercase #1{\bgroup +% \let\expandaction=\noexpand % \euro stays unchanged +% +% \u{g} unchanged as well +% \def\ss{SS}\def\l{\L}\def\o{\O}\def\ae{\AE}\def\oe{\OE}% +% \edef\tmp{#1}\expandafter +% \egroup \expandafter\uppercase\expandafter{\tmp}% +%} % \uppercase changes \u{g} to \u{G}. +%\endtt + +\subsec \PLAIN: Macro files dependent on the encoding and encoding exceptions +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Commands "\characterdef" and "\accentdef" described in the previous +section redefines macros dependent on the encoding ("\v", "\ae", etc.). +In this section, we are going to describe the conception of placement +these macros. + +Macros declarations by means of "\characterdef" and "\accentdef" +have to be written into the files called "ofs-.tex" +(so called~{\it encoding files\/}). The command "\loadtextfam" (called +from the "\setfonts" macro) reads these declarations from these files while +"\loadingenc=1"\inl[loadingenc] is set. + +Every encoding contains its own basic set of characters and accented types. +This set is registered in the encoding file by the +"\characterdef" and "\accentdef" commands. Particular font families can contain +some additional characters or some characters can be missing in reference +to that basic set. These exceptions are declared by means of the command +"\modifydef"\inl[modifydef]: + +\begtt +\modifydef :; {} +\endtt +% +The contain the commands "\characterdef", "\accentdef", +"\characterdel" and "\accentdel". The "\*del" commands have to contain +the the same value of the character in the argument as in basic encoding set. +If any character has to be redefined, the commands "\*del" and "\*def" corresponding +to this character must be written one after another. + +The command "\modifyenc"\inl[modifyenc] used in the pearameter of the +"\ofsdeclarefamily" macro is a ``link to ''. You can mark +by "\modifyenc" command that the family +contains with respect to the basic encoding set. +The command has following notation: + +\begtt +\modifyenc :;% +\endtt +% +You can list more of one command for every font family +(these commands can contain different as well). +Nothing is done, if this command links to , that were not +yet declared. + +An example of the exceptions declaration "8z:csfonts" can be +found in the file "ofs-8z.tex" and links to them are used in families "CM*" +in the file "ofsdef.tex". + +Commands "\modifyenc" are run at each "\setfonts". As the matter of fact +these commands only stores their parameters into so called ``list of links'' +(to the macro "\newmodifylist"\inl[newmodifylist]). At each start of the "\setfonts", +the new list of links is created. The "\modifyenc" command stores its +parameter into this list +only if is equal to "\fotenc" or "\extraenc". The exception handling provides +the command "\runmodifylist" that is run on the end of the "\setfonts" command. +Its activity is an object of the next paragraphs. + +The macro "\runmodifylist"\inl[runmodifylist] compares the ``list of links'' +of the previous family ("\modifylist"\inl[modifylist]) with the ``list +of links'' of the newly +set family ("\newmodifylist"). The "\runmodifylist" finishes its activity, +if both lists are the same or "\modifylist" has the meaning "\relax". +Otherwise, the setting of exceptions is run: At first, meanings of +"\characterdef"$\leftrightarrow$"\characterdel" and +"\accentdef"$\leftrightarrow$"\accentdel" are exchanged and "\modifylist" is run. +In other words, the macros dependent on the encoding are returned +to the initial state (without exceptions). During this activity, +the deleting of the character is ignored, +if the character was declared immediatelly before +(see the rule about character redefinition above). +Next, the command "\runmodifylist" returns +the "\characterdef" and "\accentdef" into the initial state and run "\newmodifylist". +All the redefinitions, that takes place during this activity, are just local. +The mechanism of two lists ensures, that for example: + +\begtt +\setfonts [Family1/] ... \setfonts [Family2/] ... +\endtt +% +the exceptions of the actual encoding will be correctly set even +for the Family2, eventhough the Family1 has another set of exceptions +than Family2. + +The control sequence "\modifylist" has the meaning of the empty +macro after the OFS startup. The macro programmer can set +"\let\modifylist=\relax" to override every set of exceptions. +Note, that declaration commands "\modifydef" store into the memory +and execute them in order to define all declared sequences corresponding to +"\printcharacter" and "\printaccent" respectively. It means, that every +control sequence from all exceptions is defined (the message {\tt undefined +control sequence} is not displayed). Moreover OFS has perfect view whether the +control sequence is available or not in the actual family. The macro programmer +can then redefine macros "\print*warn". + +The command "\modifydef" slightly changes commands +"\accentdef", "\accentdel", etc. for a temporary time and then +it executes the +. The control sequence "\skipfirststep"\inl[skipfirststep] forbids the +execution of the macros in the during the activity of "\modifydef". +It acts just like "\relax", but during the execution of the by means +of "\modifydef" the whole part of behind this sequence is omited. + +Identifiers ":lccodes" and ":ienc" are reserved for usage +in the macros out of OFS. OFS does not consider the setting of the characters +"\lccode", "\uccode". A macro package taking care of these values can properly +define commands "\lccodes"\inl[lccodes] and "\lccodesloop" and runs +"\csname :lccodes\endcsname". These above mentioned commands are +not defined in OFS at all.\inl[lccodesloop] +The declarations ":lccodes" are loceted in the files "ofs-8t.tex" and +"ofs-8z.tex", eventhough they are not used in OFS. It bears upon the text +fonts encoding. An example of ":lccodes" usage is placed in the +macro called "lang.tex". Macro "inec.tex" uses ":ienc". More +informations can be found in the appropriate documentation. +{\hbadness=1617 \par} + +The declarations of the most commonly used exceptions are written directly +into the encoding files. The declarations of the less usual exceptions +(related only to some font families) can be written behind "\endinput" +of the declaration files. +You can use a command "\modifyread"\inl[modifyread] +in of "\ofsdeclarefamily": + +\begtt +\modifyread ;% +\endtt +% +This command reads the file from the first apperance +of the sequence "\modifytext"\inl[modifytext], but only if +the "\loadingenc" is positive. It is suitable to place the "\modifytext" +sequence behind "\endinput", so the "\modifyread" command +reads only that part of the file, which has not been read before. +Assigning is global during the reading, the empty lines and +ends of lines are omited. The file is not loaded repeatedly. + +This command gives you chance to concentrate the font families +declarations and encoding exceptions declarations into the single file. +\TeX\ reads the exceptions in the time it needs them, so the \TeX\ memory +is spared. An example is placed in the file "slido.tex". + +OFS offers testing macro as well, whether the control sequence corresponds +to the character, that is available in the font or not:\inl[knownchar] + +\begtt +\knownchar ? \iftrue character is available + \else character is unavailable or undefined \fi +% example: +\def\tryeuro{\knownchar \euro? \iftrue \euro \else Euro\fi} +\endtt + + +\subsec The auxiliary macros for accents and characters +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +You can declare the default accents in OFS\inl[accentabove] +not only by the "\accent" +primitive but by the macros "\accentabove" and "\accentbelow" too. +The syntax follows:\inl[accentbelow] + +\begtt +\accentabove {}{}{} +\accentbelow {}{}{} +\endtt + +The "\accentabove" command put the above the + with the between them. The "\accentbelow" +command does the same work, but put the below the +. In both cases characters are placed on the joint vertical axis +and if the font is slanted then this axis is slanted too. The width of +the resulting character is derived from the width of the +only. The macros are implemented by the "\vbox", "\vtop" and "\halign" +primitives with the calculation of the (possibly) slanted axis. + +The accented characters for accent above are commonly designed in the +height 1\,ex for most fonts. It means, that placing such character by +"\accentabove" command needs the "-1ex" compensation: + +\begtt +\accentabove {}{-1ex}{} +\endtt + +In such case, the "\accentabove" has the same behavior as the "\accent" +primitive. The difference is that you can compose more than one accent +by "\accentabove" and "\accentbelow" macros. You can try: + +\begtt +\it \accentabove {.}{.1ex}{\accentabove {,}{.1ex}{\v A}} +\endtt + +\PLAIN: +Unfortunately, the declaration macro "\accentdef" is not able to +declare a macros which construct more than two accents. Moreover, the +first accent has to be to join to the as one compact +character in the font. If you needs more accents then you can use the +macros "\accentabove" and "\accentbelow" directly in the document. + +\PLAIN: +Since the version OFS Feb. 2004, the macro "\ofshexbox"\inl[ofshexbox] +is available. It acts very similar to the plain one "\mathhexbox", +furthermore it can set the font in accordance to actual version. +You can declare the family of four metrics by means of the +command "\ofshexboxdef"\inl[ofshexboxdef]: + +\begtt +\ofshexboxdef {}{}{}{} +% example: +\ofshexboxdef 2 {cmsy}{cmbsy10}{cmsy}{cmbsy10} % an examle +\endtt +% +The command "\ofshexbox " prints out the requested +character. Its font is one of four declared ones and its size is defined by +the command "\fosize". The font choice depends on the actual version. If the +version is different than "\bf", "\it", "\bi", the is used. + +OFS declares only = 2 by default, because plain uses +only "\mathhexbox2..". The purpose of this macro was to define characters +"\S", "\dag", "\ddag", "\P" for CMfonts/CSfonts. The way of the definition +has to be independent on actual setting of mathematical fonts, but dependent +on actual size and version. See the file "ofs-8z.tex". + +We can easily define the "\euro" symbol by means of "\ofshexbox" for +every font encoding, where it is unavailable: + +\begtt +\ofshexboxdef {TS1}{tcrm1000}{tcbx1000}{tcti1000}{tcbi1000} +\characterdef \euro * {\ofshexbox{TS1}BF} +\endtt + +\subsec \PLAIN: The fonts in mathematics (the second apperance) +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +The user interface to the math fonts was described in +\beglink{2.7}section 2.7\endlink. Now, it is the time to describe the principles of +math fonts in detail. + +The "\setmath"\inl[setmath] command calculates the text, index and +indexindex sizes from its parameters. +The results are stored into +macros "\textfosize"\inl[textfosize], +"\scriptfosize" and "\scriptscriptfosize"\inl[scriptfosize]. +The values are in the form +"at" or "scaled" depending on +the format of the parameters.\inl[scriptscriptfosize] +Then the "\setmath" runs the macro +"\mathfonts".\inl[mathfonts] +You can define the math fonts loading here but some +conventions are recommended, see below. +If the macro "\setmath" is run for the first time or the value "\fomenc" +has been changed, then the "\setmath" +runs the macro "\mathchars".\inl[mathchars] +You can define the math encoding by the +"\matchcode", "\mathchardef" etc. primitives here but some conventions +are recommended, see below. The OFS serves the default values of the +"\mathfonts" and "\mathchars" macros, see below. + +You can load a whole math family (text, index and indexindex size of +one font) in "\mathfonts" macro by the +"\loadmathfam"\inl[loadmathfam] command. This command has the +following syntax possibilities: + +\begtt +%% % font is declared by:: +\loadmathfam [/] % metrics +\loadmathfam [-/] % actual family version +\loadmathfam [/] % textual font switch +\loadmathfam [X/] % extending switch metrics +\endtt +% +Examples: + +\begtt +\loadmathfam 0[tenrm/] % metrics is in accordance to the switch \tenrm +\loadmathfam 5[-bi/] % actual text family metrics, version bi +\newmathfam \symbfam +\loadmathfam \symbfam [/psyr] % psyr metrics +\newmathfam \extitfam +\loadmathfam \extitfam [Xtenit/] % extending metrics for tenit switch +\endtt +% +This example shows, that the textual font with the "\tenrm" font +switch is used for math family~0. In the family~5, fonts are initiated +just like in the case of "\setfonts [-bi/]". A new family "\symbfam" +is declared as well. Fonts of the metric "psyr" are initiated into it. + +There exist a slight difference between usage of "\loadmathfam 5[tenbi/]" and +"\loadmathfam 5[-bi/]" command. In the first case, OFS finds out a metrics +of the "\tenbi" switch and the same metrics is then used for +all font sizes. The only modification is done by the key word "at". +The other case means, that different sizes can use different metrics, but only if +such a font ability is declared (see \beglink{3.8}section~3.8\endlink). + +The new family was in the example declared by means of the +"\newmathfam"\inl[newmathfam]. It is an alternative commnd to~"\newfam". +The reason for such a solution is evident. The plain macro "\newfam" is +defined as "\outer" one. It means that it is not possible to use it inside +any definition. Moreover the macro "\newmathfam" is local, so it spares some +place for user families, than plain one "\newfam". +New mathematical families are in the basic mathematical encodings +defided exactly by "\chardef". The command +"\lastfam="\inl[lastfam] sets the maximal +used value. Such a structure guarantees, that user can use "\newmathfam" later on +and the new family numbers are alocated with numbers greater than "\lastfam". + +Lets check out the the principle of the "\loadmathfam" macro activity. This macro +finds out a metrics, that corresponds to a given parameter. Next, the primitive "\font" +is executed three times: + +\begtt +\font \-Mt = \textfosize +\font \-Ms = \scriptfosize +\font \-Mss = \scriptscriptfosize +\textfont = \-Mt +\scriptfont = \-Ms +\scriptscriptfont = \-Mss +\endtt +% +Nevertheless is the text of the parameter "\loadmathfam", that +declares metrics (switch, version or metrics). + +The is generated as name of the or the name of the + if only the is given as parameter of the "\loadmathfam". + +The fonts of math family 3 are loaded without of the size changes +of index and indexindex fonts in plain\TeX. If you need this +feature then you can use the prefix "\noindexsize"\inl[noindexsize] +before "\loadmathfam". The macro "\loadmathfam" loads all three fonts +at the same "\textfosize" size. Example: + +\begtt +\noindexsize\loadmathfam 3[tenex/]% Standard extra symbols from CM +\endtt + +OFS defines four different macros for math font loading. Look at +"ofsdef.tex" file for these definitions. Which of these four macros is +used depends on the contents of macros "\fomenc" and "\mathversion" +We assume two possibilities of "\fomenc": "CM" or "PS" and two +possibilities of "\mathversion": "normal" and "bold". +OFS defines two macros with mathcodes. Which macro is used depends on +the contents of the macro "\fomenc". The list of these macros follows: + +\begitems +* "\loadCMnormalmath"\inl[loadCMnormalmath] + --- loads CM fonts in \uv{normal} version. +* "\loadCMboldmath"\inl[loadCMboldmath] + --- loads CM fonts in \uv{bold} version. +* "\loadPSnormalmath"\inl[loadPSnormalmath] + --- loads PostScript fonts in \uv{normal} version. +* "\loadPSboldmath"\inl[loadPSboldmath] + --- loads PostScript fonts in \uv{bold} version. +* "\setCMmathchars"\inl[setCMmathchars] + --- keeps the mathcodes from plain. +* "\setPSmathchars"\inl[setPSmathchars] + --- sets the mathcodes in order to some characters + are used from Symbol font. +\enditems + +OFS sets the following defaults in the "ofsdef.tex" file: + +\begtt +\ifx \fomenc\undefined \def\fomenc{PS}\fi +\def\mathversion{normal} +\def\defaultmathfonts{\csname load\fomenc\mathversion math\endcsname}@inl[defaultmathfonts] +\def\defaultmathchars{\csname set\fomenc mathchars\endcsname}@inl[defaultmathchars] +\def\mathfonts{\defaultmathfonts} +\def\mathchars{\defaultmathchars} +\endtt + +It is possible to add the another math families to the list of loaded +math families in "\loadmath" and "\mathchars" macros. You can do it, for example, by the +following code: + +The example how to add the Euler fraktur from AMS follows: + +\begtt +\input amsfn % here are declared metrics eufm and eufb +\addcmd\mathfonts{\def\tmpa{bold}% + \ifx\mathversion\tmpa \def\tmpa{b}\else\def\tmpa{b}\fi + \newmathfam\frakfam \loadmathfam\frakfam [/euf\tmpa]} +\def\frak#1{{\fam\frakfam#1}} +\endtt +% +Another examples of mathematical families declaration are located +in files "amsfn.tex", "txfn.tex" and "mtfn.tex". These files define +the implicit groups of the mathematical fonts for "AMS", "TX", "PX", "MT" +encodings. Finally they also contain comments (including examples), how to +load additional font families by means of the command "\addcmd". + +I would like to load all OFS font declarations in the~ini\TeX\ (see the Ok\TeX\ project), +but I want to spare the \TeX\ memory as much as possible too. So I suggest not to load +the large definitions containing declarations of mathematical fonts encodings by means +of "\mathchardef", etc. immediately, but during the first use in the document. +So the OFS version Apr. 2004 contains redefined macro "\setPSmathchars": + +\begtt +\def\setPSmathchars{\mathencread ofs-ps;} +\endtt +% +The command "\mathencread ;"\inl[mathencread] loads the encoding +commands included in the file . The file "ofs-ps.tex" contains encoding +commands for "PS" encoding, "ofs-ams.tex" contains encoding +commands for "AMS" encoding, etc. + +The files "ofs-ps.tex", "ofs-tx.tex" etc. contain encoding commands +``packed'' into groups and defined by the "\mathencdef"\inl[mathencdef] +command. By default, this command acts this way: ``define, run and forget''. Such a model +spares the memory, but a disadvantage of its procedure is, that during repeated +changes, encoding files are read over and over again. Mostly it does not matter at all, +because the mathematical encoding is the same for the whole document. +If this model is for somebody not suitable, the solution can be found in the macros +"\mathencread" and "\mathencdef". They can be redefined by the way, that +the files are read only once and during new execution of "\mathchars", +encoding commands are read out of remembered macros. + +The command "\mathencread ;" works in group. The catcodes +are set in accordance to plain\TeX\ ("\catcode`@=11" excluded) and the +".tex" is read. The "\globaldefs=1" are during the reading, the empty lines +and ends of lines are ignored. The commands "\mathencdef" run and forget defined +macros after group enclosure. It means, that these macros run the "\mathchardef" +commands in the sense of local settings. + +Let us explain an ensurance of restoring the delault values during +switching between mathematical encodings. The command "\setmath" +runs the macro "\mathcharsback"\inl[mathcharsback] in a time instant +before "\mathchars". It serves the restoring of the mathematical +encoding to the default state in accordance to plain\TeX{}. +This macro is set to "\relax" by default, because the mathematical +encoding is set in accordance to plain\TeX{}. +If the command "\setmathchars" changes the values preset in +the plain\TeX{}, it should also define the "\mathcharsback" macro. +A procedure of setting the values into the initial +state have to be stored in it. +A command "\mathencread ofs-cm;" can be used in the macro +"\mathcharsback", because the file "ofs-cm.tex" contains declarations +of the mathematical encoding in accordance to plain\TeX{}. + +If we insist on declaring our own mathematical encodings (different +from preprepared "PS", "CM", "AMS" etc.), the next principle has to be +fullfiled: in all versions of mathematical fonts (normal/bold/etc.) should be +set the numbers of the mathematical families by the same way +and ended by the same "\lastfam". Such a principle is necessary, because +after the version switching, the macro "\mathchars" is not run again. +It is not recomended to change especially the family numbers, that are linked +with the macro "\setmathchars". + +Let us now descibe another macros, that helps us with the mathematical +encoding declaration. +Macro "\hex"\inl[hex] converts a number to a singledigit hexadeximal +number. The usage of such a macro can be found in the files "ofs-ps.tex", +"ofs-tx.tex", etc. + +You can define the control sequences which are working in both: text +mode and math mode. You can use the +"\safemathchardef"\inl[safemathchardef] macro instead +"\mathchardef" primitive in "\mathchars" macro for this purpose: + +\begtt +\safemathchardef \ +\endtt + +If the "\" is not defined then "\safemathchardef" does the +same work as "\mathchardef" primitive. If the "\" is defined +(we assume that this definition is used in text mode) then +"\safemathchardef" saves the meaning of "\" in +"\T", it performs "\mathchardef \M = " +and it defines "\" by the following way: + +\begtt +\def \ {\ifmmode \expandafter \M + \else \expandafter \T \fi} +\endtt +% +Now, the "\" works in both: text and math mode. +If the "\safemathchardef" is applied on the same "\" +repetitively, then the second and another use of "\safemathchardef" +does nothing. + +We assume that all declarations of characters in text mode are +performed before the first use of "\setmath" and that the +"\safemathchardef" macros are used in "\mathchars" macro. + +The "\safemathaccentdef"\inl[safemathaccentdef] performs similar as +"\safemathchardef". Only the "\mathaccentdef"\inl[mathaccentdef] +macro is used instead +"\mathchardef" primitive. This macro does roughly the following: + +\begtt +\def \ {\mathaccent } +\endtt + +If you do not want to declare the whole new math family for only one +character or a few characters (the number of math families is +restricted to~16 for one formula in \TeX) then you can use the +"\pickmathfont"\inl[pickmathfont] macro. This macro has the following +syntax: + +\begtt +\pickmathfont {}{} +% example: +\mathbin {\pickmathfont {psybo}{\char"C4}} +\endtt +% +The "\pickmathfont" command uses the "\font" primitive with the given + and it prints the in this font. The result is an atom +of type Ord in the math list. The appropriate size is set +(text/index/indexindex) because the "\mathchoice" primitive is used by +"\pickmathfont" macro and the "\font" is loaded three times for each size. + +\subsec The different metrics for different sizes of font +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: This problem is solved in NFSS, see the syntax of the "fd" +files in NFSS documentation. OFS for \LaTeX{} does no more things. + +\PLAIN (to the end of this section): +There exist special font families (Computer Modern, for instance) +where the different metrics are used for the different font sizes. +This feature is implemented in OFS too. The parameter of the +commands "\loadtextfam", "\loadmathfam" and "\pickmathfont" can be +only the and not the name of "tfm" file exactly. +In such case, the is calculated from the font size and +from the data stored by a set of "\registertfm"\inl[registertfm] +commands. The +"\registertfm" has a following syntax: + +\begtt +\registertfm - +\endtt + +The and parameters have to include the unit and they +declares the interval of sizes with the following property: if the +desired size of font is in interval - then the +is used instead the . You need to use more +"\registertfm" commands to the same in order to use different + for different - intervals. +The - interval is closed interval (including the boundary +values) but the next "\registertfm" has a precedence over previous +one. Then you can construct the non closed intervals by the choose of +the right order of "\registertfm" commands. See the "ofsdef.tex" file +for an example. + +If the both parameters and are empty then the + is used when the "scaled" keyword is given in desired +font size or if desired font size does not lie in any declared +interval. You can use the "*" symbol in parameter---it +means the infinity. + +The command "\registertfm - - " +erases the previous registrations for a given . Moreover, it marks + as an unavailable font. OFS then acts, as if the corresponding +variant has not been declared at all. It gives us a possibility to mark +nonexisting variants of a declared family, but only for certain encodings +(see "cmssbxti" in the file "ofsdef.tex"). + +The parameters and are expanded during +the command "\registertfm" is working. Thus the "\fotenc" +macro should not be used in these parameters. But you can use an "\edef" +construction if necessary. + +The macro "\registerECfont"\inl[registerECfont] is an abbreviation +of the repeated execution of the command "\registertfm" to all EC fonts +sizes between "0500" up to "3583". +The macro "\registerECTTfont"\inl[registerECTTfont] is an abbreviation +for sizes "0800" do "3583", that are used for the typewriter fonts. +Definitions and usage of these macros are located in the file "ofsdef.tex". +Macros can be used for another fonts as well. But they have to have similarly +scaled sizes like EC fonts (LH fonts with Russian alphabet or the fonts +derived from CM~super). + +\subsec The limitations of usage the font family for certain encodings +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: The usage of a family in a given encoding is dependent on the +existence of "fd" file. It is all controlled by NFSS. + +\PLAIN (to the end of this section): +The OFS version Feb.~2004 introduces a command +"\registerenc"\inl[registerenc]. This command limits the usage of a declared font +family only for a certain encoding. If the user writes "\setfonts" and +requires the family in an unregistered encoding, the OFS prints out a +warning on the terminal and does not switch to the requested family. +It avoids an attempt to loading a nonexisting font metrics. The +command "\registerenc" has two parameters. + +\begtt +\registerenc : +\registerenc Times: 8t % example +\registerenc Times: 8z % Times is registered for two encodings +\endtt +% +If the family is not registered for any encoding, OFS then suggests, that +it is available in every encoding (dingbats fonts for example). + +The family usage is limited for a certain encoding by +"\registerenc" in declaration files. The user can add another +encoding by the command "\registerenc". The command +"\registerenc : * " means, that the family is available +for arbitrary encodings. + +The parameter can remain empty. In such case, +the "\registerenc" uses the family declared in the last +command "\ofsdeclarefamily". + +It is possible to find out, whether the family is registered +for actual value of the "\fotenc":\inl[registeredfam] + +\vbox \bgroup +\begtt +\registeredfam ? \iftrue + Family has the \fotenc registered or any encoding is enabled + or is not declared at all. + \else Family has registered the encoding, + but \fotenc is not among them + \fi +\endtt \egroup + +If "\setfonts[/]" is run for an undeclared family or for a family +with unavailable encoding then OFS prints out a warning on the terminal and +returns the "\setfontsOK"\inl[setfontsOK] with the value "\undefined". +The "\setfontsOK" has asigned the value "\relax", whenever the font is successfully +set. + + +\sec The license +%%%%%%%%%%%%%%%% + +The OFS package may be used by everybody without any license fees. +Everybody can re-distribute this package, if no changes in files +"readme.ofs", "ofs.tex", "ofsdef.tex", "ofs.sty", "ofs-8z.tex", +"ofs-8t.tex", "a35.tex", "a35.sty", "ofsdoc.tex", "ofsdoc-e.tex", +"ofsmtdef.tex" are done and +all these files are included in the re-distribution. Only +the author has a right to change these files and to change +version of this package. If you need to change the content of any +file mentioned above, you have to rename it. This package is +distributed in the hope that it will be useful, but WITHOUT ANY +WARRANTY. + +\bigskip +Prague 08/16/2001 \hfill the author: Petr Ol\v s\'ak +\bigskip + +\sec History +%%%%%%%%%%%% + +\noindent +8/16/2001 --- the first version introduced + +\noindent +10/24/2002 --- some petty changes realized in documentation, +considering the changes in the version OFS Oct.~2002. +The command "\addcmd" has been added. The optional +parameters "()" in the command "\loadtextfam" +were enabled. + +\bigskip +\noindent +12/29/2002: the English documentation in the file "ofsdoc-e.tex" is +written. This is more or less the translation of the Czech original +documentation from the file "ofsdoc.tex". Sorry for my poor English. + +I want to say a word of thanks to Mat\v ej Cepl (www.ceplovi.cz) +who has made a proofreading of this English version. + +\bigskip +\noindent +2/10/2004 --- All modifications consider only OFS for plain: + +\def\bod{\hangindent=1.2em \hangafter=1 \noindent + } + +\bod Handling the macro declarations dependent on encoding has been + improved as well as the exception declarations and registering of the + encoding for a chosen family. + See~\beglink{3.5}section~3.5\endlink{} and \beglink{3.9}section~3.9\endlink. + +\bod Added the possibility to redefine the family (by the additional loading + the declaring file, that modifies the properties of the default families). + +\bod Declaration of CMRoman, CMSans and CMTypewriter for 8t encoding + by means of EC fonts. + +\bod Added the support for extended encoding 8c. + +\bod Modified the declaration of the mathematical encoding called PS. + "\int", "\sum" and "\prod" produces greater characters + in the display mode. + +\bod Defined a macro "\ofshexbox" and "\ofshexboxdef". + +\bod A new version of the interactive macro "ofstest.tex". + +\bod Introduced the directory "\examples/". There will be continuously added + the exaples of OFS usage there. + +\noindent +3/12/2004 --- OFS for plain: + +\bod Encoding files are read directly from the "\loadtextfam". + That means the possibility to place the mapping metrics into the + encoding files by means of the command "\registerenc" + (I will use this ability for LANG). + +\bod "\characterdef" respects predefined macro an does not redefines it. + +\bod "\showfonts" reimplemented. It spares the memory and time, when + operates with the large font lists. Warning: if you have used macros, + that plays upon the internal macro "\listfamilies", this will not + operate any more. Since this version is not the obsolete "ofscatal.tex" + functional too. Instead of it is possible to use "ofstest.tex". + +\bod "ofstest.tex" modified. It operates with the newly imlemented list of + families "\ofslistfamilies". + +\noindent +4/2/2004 --- "\plaincatcodes" added before reading the files +"ofs-.tex". + +\bod "\safelet" and "\protectreading" introduced. + +\bod The space behind the in the "\accentdef" is optional. + +\bod Added the option "\loadmathfam [-/]". The + declaration for mathematical encodings "CM", "PS", "AMS", + "TX", "PX", "MT" has been extended and remade. + +\bod English documentation upgraded. Thaks to Tom\'a\v s Kom\'arek. + + +\sec Index of macros defined in OFS +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +This index includes only the pointers to the pages where the macro is +introduced (not only mentioned). The macro name is written in the +margin on that place. The index is generated after first run of +\TeX{}. + +The internal or auxiliary macros in "ofs.tex" are listed here too +but they are not mentioned in the text, thus they have no pointer to +the page in this index. Only a short comment is appended here. The +version of OFS ({\smallbf PLAIN} or {\smallbf LATEX}) is listed near +the each macro name in this index. + +\bigskip +\immediate\closeout\indout +\input \jobname.ind + +\begingroup +\let\tt=\smalltt \let\it=\smallit \let\rm=\smallrm \rm +\baselineskip=10.3pt + +\def\inr #1 #2 #3;{\noindent{\tt + \expandafter \ifx \csname ind:#2\endcsname \relax + \back#1% + \else + \beglink{#2}\back#1\endlink + \fi}\quad + #3 \quad\pg[#2]\par} +\def\\#1 #2;{\inr #1 #1 #2;} +\def\pl{{\sevenrm (PLAIN)}} +\def\la{{\sevenrm (LATEX)}} +\def\oba{{\sevenrm (PLAIN+LATEX)}} + +\\accentabove \pl\vadjust{\nobreak}; +\par\nobreak +\\accentbelow \pl; +\\accentdef \pl; +\\accentdel \pl; +\\accentdefori \unskip, {\tt\back accentdelori} \pl~internal, + stores the default macro purport; +\\accentnodef \pl~internal, {\tt\back def\back \#1% + \char`\{\back printaccent\char`\{\char`\}\char`\{\#1\char`\}\char`\}}; +\\addcmd \oba; +\inr bf rm \oba; +\inr bi rm \oba; +\\bifam \pl~internal, math family for BoldItalic; +\\calculatemetricfile \pl~internal, defines {\tt\back metricfile} + by fontsize; +\\catcodesloop \pl~internal, sets the character categ. according to a given num.; +\\characterdef \pl; +\\characterdel \pl; +\\characterdefori \unskip, {\tt\back characterdelori} \pl~internal, + stores default macro purport; +\\characternodef \pl~internal, {\tt\back def\back % + \char`\{\back printcharacter\char`\{\char`\}\char`\}}; +\\currentfamily \pl; +\\currentfomenc \pl~internal, the name of last used math. encoding; +\\currentvariant \pl; +\\declaredfamily \pl~internal, contains the name of the last declared family; +\\defaultextraenc \pl; +\\defaultmathchars \pl; +\\defaultmathfonts \pl; +\\defpttotmpa \pl~internal, does {\tt\back def\back tmpa\char`\{pt\char`\}}, + if the unit is omited; +\\detailfontmessages \pl; +\\displayfontmessages \pl; +\\displaymessage \pl~internal; +\\docharacterdef \pl~internal, for use of {\tt\back characterdef} macro; +\\doextchar \pl~internal, for use of {\tt\back extchar} macro; +\\dosafemathdef \pl~internal, for use of {\tt\back safemath*def} macros; +\\donumbercharacterdef \pl~internal, for use of {\tt\back characterdef} macro; +\\endOFSmacro \pl~internal, the reading of {\tt[, ...]} + after {\tt\back input ofs}; +\\expandaction \pl; +\\extchar \oba; +\\extraenc \pl; +\\extrafont \pl; +\\fontdef \oba; +\\fontloadmessage \pl~internal, the tracing of {\tt\back font} primitives; +\\fontmessage \pl~internal, three values: nothing, + {\tt\back wlog} or {\tt\back displaymessage}; +\\fontprefix \pl~internal, two values: nothing or {\tt\back global}; +\\fontusage \oba; +\\fosize \pl; +\\fomenc \pl; +\\fotenc \pl; +\\fragilecommand \pl; +\\fragilecommand! \pl; +\\hex \pl; +\\ifknownfam \oba; +\\isunitpresent \pl~internal, solves the case of empty unit; +\inr it rm \oba; +\\knownchar pl; +\\knownfam pl; +\\lastfam pl; +\\lccodes \unskip, {\tt\back lccodesloop} \pl; +\\loadCMboldmath \pl; +\\loadCMnormalmath \pl; +\\loadingenc \pl; +\\loadmathfam \pl; +\\loadPSboldmath \pl; +\\loadPSnormalmath \pl; +\\loadtextfam \pl; +\\logfontmessages \pl; +\\mathaccentdef \pl; +\\mathchars \pl; +\\mathcharsback \pl; +\\mathencdef \pl; +\\mathencread \pl; +\\mathfonts \pl; +\\mathversion \pl; +\\metricfile \pl~internal, the metric name if {\tt\back font} +primitive is used; +\\metrictmpa \pl~internal, expands to the metric of {\tt\back tmpa} font; +\\modifydef \pl; +\\modifyenc \pl; +\\modifylist \pl; +\\modifyread \pl; +\\newfamily \pl~auxiliary, the given family name; +\\newmathfam \pl; +\\newmodifylist \pl; +\\newvariant \pl; +\\nofontmessages \pl; +\\noindexsize \pl; +\\noPT \pl~internal, removes {\tt pt} from~{\tt\back the} [TBN, pg.~80]; +\\ofsaddenctolist \pl~internal, adds parameter into the list {\tt\back newmodifylist}; +\\OFSdeclarefamily \la; +\\ofsdeclarefamily \pl; +\\OFSextraencoding \la; +\\OFSfamily \la; +\\OFSfamilydefault \la; +\\ofshexbox \pl; +\\ofshexboxdef \pl; +\\ofsinput \pl~internal, reads file with {\tt\back globaldefs=1}, ignores endlinechars; +\\ofslistfamilies \pl~internal, family list for {\tt\back showfonts}; +\\ofslistfamily \pl~internal, envokes the family in {\tt\back listfamilies}; +\\ofslistvariants \pl~internal, text for listing of variants to the log; +\\ofslisttext \pl~intern, envokes the text in {\tt\back listfamilies}; +\\ofsloadfont \pl~internal, loads one font; +\\ofsloadfontori \pl~internal, loads one font; +\\ofsmeaning \pl~internal, removes the word {\tt letter}/{\tt character} + from {\tt \back meaning}; +\\ofsmessageheader \pl~internal, header of the messages; +\\OFSnormalvariants \la; +\\OFSprocessoptions \la; +\\OFSputfamlist \la; +\\ofsputfamlist \pl; +\\ofsremovefromlist \pl~internal, erases the family from the list; +\\OFSversion \oba~internal, date and version of OFS; +\\orifosize \pl~auxiliary, saves {\tt\back fosize} value; +\\origTeX \pl~internal, original definition of \TeX{} logo; +\\oriloadfam \pl~auxiliary, saves {\tt loadtextfam} value; +\\pickmathfont \pl; +\\plaincatcodes \pl~internal, sets the chars categories according to plain\TeX{}; +\\printaccent \pl; +\\printaccentwarn \pl; +\\printcharacter \pl; +\\printcharacterwarn \pl; +\\processOFSoption \pl~internal, for use of {\back endOFSmacro}; +\\protectreading \pl; +\\readfamvariant \pl~internal, checks if the variant is given; +\\readfirsttoken \pl~internal, returns the first token of text separed +by {\tt:\back end}; +\\readfosize \pl~internal, inserts the {\tt\back fosize} value to + {\tt\back dimen0}; +\\readmag \pl~internal, calculates {\tt\back fosize} if + {\tt mag} is given; +\\readOFSoptions \pl~internal, for use of {\tt\back endOFSmacro}; +\\readothertokens \pl~internal, returns the second and other tokens to +{\tt:\back end}; +\\readsixdigits \pl~internal, for rounding algorithm; +\\registeredfam \pl; +\\registerECfont \pl; +\\registerECTTfont \pl; +\\registerenc \pl; +\\registertfm \pl; +\\restorefontid \pl~internal, restores font name, see {\tt\back savefontid}; +\\rm \oba; +\\runmodifylist \pl; +\\safelet \pl; +\\safeletwarn \pl; +\\safemathaccentdef \pl; +\\safemathchardef \pl; +\\savefontid \pl~internal, saves font name for Overfull messages; +\\savetokenname \pl~internal, similar to {\tt\back string} without backslash; +\\scriptfosize \pl; +\\scriptscriptfosize \pl; +\\separeofsvariant \pl~internal, separes the "()" in {\tt\back loadtextfam}; +\\setextrafont \oba; +\\setCMmathchars \pl; +\\setfonts \oba; +\\setfontshook \pl; +\\setfontsOK \pl; +\\setfontfamily \pl~internal, {\tt\back setfonts}, + if variant is not given; +\\setfosize \pl~internal, calculate the value of {\tt\back fosize}; +\\setmath \pl; +\\setPSmathchars \pl; +\\setsimplemath \pl; +\\setsinglefont \pl~internal, {\tt\back setfonts}, + if the variant is given; +\\setsinglefontname \pl~internal, removes the possible "at" from ; +\\sgfamily \pl~internal, the information about the family name; +\\sgvariant \pl~internal, the information about the variant; +\\showfonts \oba; +\\singlefont \pl~internal; +\\singlefontname \pl~internal, removes the {\tt at} from metric name; +\\skipfirststep \pl; +\\slantcorrection \pl~internal, for use of + {\tt\back accentabove} and {\tt\back accentbelow}; +\\storeofsvariant \pl~internal, separes optional parameter of {\tt\back loadtextfam}; +\\switchdeftodel \pl~internal, switches {\tt\back accent/characterdef} + with~{\tt\back *del}; +\\tenbi \pl; +\inr tenbf tenrm \pl; +\inr tenit tenrm \pl; +\\tenrm \pl; +\\testOFSoptions \pl~internal, for use of {\tt\back endOFSmacro}; +\\testtfmsize \pl~internal, for use of {\tt\back registertfm} macro; +\\testtfmsizeat \pl~internal, the auxiliary value of {\tt\back testtfmsize}; +\\testtfmsizescaled \pl~internal, the auxiliary value of {\tt\back testtfmsize}; +\\textfosize \pl; +\\tryloadenc \pl~internal, loads encoding files; +\\tmpa \oba~temporary; +\\tmpb \oba~temporary; +\\tmpc \pl~temporary; +\\warnmissingfont \pl~internal, message about missing variant; +\\warnM \unskip, {\tt\back warnF}, {\tt\back warnT}, {\tt\back warnI}, +\pl~internal, message about missing variant; +\\warnunregistered \pl~internal, print out, disabled encoding of a chosen family; + +\endgroup + +\sec References +%%%%%%%%%%%%%%% + +\noindent \hangindent=2\parindent +[TBN] Petr Ol\v s\'ak {\it \TeX{}book naruby}, Konvoj +1.~ed. 1997 (ISBN 80-7302-007-6), +2.~ed. 2001 (ISBN 80-85615-64-9), Brno, 466 pages. +Czech language. +PDF version of this book is free available on +{\tt http://math.feld.cvut.cz/olsak/tbn.html}. + + +\end + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/ofs/ofsdoc.pdf b/Master/texmf-dist/doc/generic/ofs/ofsdoc.pdf new file mode 100644 index 00000000000..f6707b23b84 Binary files /dev/null and b/Master/texmf-dist/doc/generic/ofs/ofsdoc.pdf differ diff --git a/Master/texmf-dist/doc/generic/ofs/ofsdoc.tex b/Master/texmf-dist/doc/generic/ofs/ofsdoc.tex new file mode 100644 index 00000000000..6d6fe9e42b0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/ofs/ofsdoc.tex @@ -0,0 +1,2402 @@ +% A documentation for OFS package +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% July 2001 Petr Olsak +% February 2004 + +% See the ofsdoce.tex for English version of this documentation + +\chyph % pouijte csplain + +\headline={\llap{\tt May 2004}\hfil See the ofsdoc-e.tex for English version + of this documentation.\global\headline={\hfil}} + +\magnification\magstephalf + +\hoffset=4pc +\voffset=1pc +\hsize=31.6pc +\vsize=49pc +\raggedbottom +\parindent=15pt +\emergencystretch=2em + +\font\smallbf=csb10 at7pt +\font\smalltt=cstt8 +\font\smallit=csti8 +\font\smallrm=csr8 +\font\titulfont=\fontname\tenbf\space scaled\magstep4 +\font\bigbf=\fontname\tenbf\space scaled\magstep1 + +\def\Red{} +\def\Black{} +\def\Blue{} +\def\Green{} +\def\beglink#1{} +\def\endlink{} +\def\aimlink#1{} + +\ifx\pdfoutput\undefined\else %%%% pdfTeX is used %%%%%%%%%% +\ifnum\pdfoutput>0 + +\ifx \pdfstartlink\undefined %%% PDFTeX version <= 13 + \let\pdfstartlink=\pdfannotlink +\fi + +\def\beglink#1{% % Zatek textu odkazu, #1 je kl odkazu + \Green \pdfstartlink height9pt depth3pt + attr{/Border[0 0 0]} goto name{#1}\relax} +\def\endlink{\pdfendlink\Black} + +\def\aimlink#1{% % Msto cle odkazu, #1 je kl odkazu + \expandafter\ifx \csname aim:#1\endcsname \relax + \expandafter\gdef \csname aim:#1\endcsname {}% + \vbox to0pt{\vss\hbox{\pdfdest name{#1} fith}\kern15pt}% + \fi +} +\def\pdfsetcmykcolor#1{\special{PDF:#1 k}} +\def\Red{\leavevmode\pdfsetcmykcolor{0.1 0.9 0.9 0}} +\def\Black{\leavevmode\pdfsetcmykcolor{0 0 0 1}} +\def\Green{\leavevmode\pdfsetcmykcolor{0.9 0.1 0.9 .3}} +\def\Blue{\leavevmode\pdfsetcmykcolor{0.9 0.9 0.1 0}} + +\pdfcompresslevel=9 +\pdfinfo{/Author (Petr Olsak) + /CreationDate (July 2001) + /ModDate (March 2004) + /Creator (TeX) + /Producer (pdfTeX) + /Title (OFS: Olsak's Font System) + /Subject (Documentation) + /Keywords (TeX, fonts) +} + +\fi\fi %%%%%%%%%%%%%%%%%%%%%%%%%%%% End of pdfTeX macros %%%%% + + +\def\PLAIN #1:{{\smallbf \Red PLAIN\Black\if|#1|\else\space#1\fi}:} +\def\LATEX #1:{{\smallbf \Red LATEX\Black \if|#1|\else\space#1\fi}:} +\def\OBA #1:{{\smallbf \Red PLAIN+LATEX\Black \if|#1|\else\space#1\fi}:} + +\newcount\secnum \newcount\subsecnum + +\def\sec #1\par{\ifnum\secnum>0 \goodbreak\fi\removelastskip + \vskip2\baselineskip + \subsecnum=0 \advance\secnum by1 + \noindent{\bigbf\llap{\the\secnum.\quad}#1}\par\nobreak\medskip} +\def\subsec #1\par{\removelastskip\bigskip + \advance\subsecnum by1 + \noindent{\bf \llap{\aimlink{\the\secnum.\the\subsecnum}% + \the\secnum.\the\subsecnum.\quad}#1}\par\nobreak\medskip} +\def\title #1\par{\vglue2\baselineskip + \centerline{\titulfont #1}\vskip2\baselineskip} + +\def\LaTeX{La\TeX} + +\catcode`<=13 +\def<#1>{\hbox{$\langle$\it#1\/$\rangle$}} +\def\,{\thinspace} + +{\obeyspaces \gdef\activespace{\obeyspaces\let =\ }} +\def\setverb{\def\do##1{\catcode`##1=12}\dospecials} +\def\begtt{\medskip\bgroup \setverb \catcode`@=0 \activespace + \parindent=0pt \catcode`\"=12 + \def\par##1{\endgraf\ifx##1\par\leavevmode\fi ##1} + \obeylines \startverb} +{\catcode`\|=0 \catcode`\\=12 +|gdef|startverb#1\endtt{|tt#1|egroup|medskip|testpar}} +\long\def\testpar#1{\ifx\par#1\else\noindent\fi#1} + +\catcode`"=13 +\def"{\hbox\bgroup\setverb\activespace\tt\readverb} +\def\readverb #1"{#1\egroup} + +\def\begitems{\medskip\bgroup \catcode`*=13 } +{\catcode`*=13 \gdef*{\item{$\bullet$}}} +\def\enditems{\medskip\egroup} + +\newwrite\indout +\immediate\openout\indout=\jobname.ind +\def\inl[#1]{\strut + \write\indout{\noexpand\indexentry{#1}{\the\pageno}}% + \vadjust{\vbox to0pt{\vss + \hbox to\hsize{\llap{{\aimlink{#1}\smalltt\Blue\char`\\ #1% + \ifx\extratext\empty\else\space\extratext\fi\Black}% + \kern2pt\quad}\strut\hfil}% + \hrule height0pt}}\def\extratext{}} +\def\inll[#1 #2]{\def\extratext{#2}\inl[#1]} +\def\indexentry #1#2{\expandafter \ifx \csname ind:#1\endcsname \relax + \expandafter \def \csname ind:#1\endcsname {#2}% + \else + \expandafter \edef \csname ind:#1\endcsname {% + \csname ind:#1\endcsname, #2}% + \fi +} +\def\pg[#1]{\csname ind:#1\endcsname} + +\chardef\back=`\\ + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\title OFS: Olkv fontov systm +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +OFS je makro, kter umon pehledn +v~\TeX{}u vybrat rodiny font, jejich nzvy jsou v~souladu s~nzvy +z~psmovho katalogu. Toto makro je z~uivatelskho +pohledu stejn v~plainu i \LaTeX{}u. Vklad pouit OFS bude tedy +spolen pro ob skupiny uivatel. Pokud nkter text plat jen +pro csplain (a podobn formty), bude uveden slovem \PLAIN: a pokud +je text uren pro uivatele \LaTeX{}u2e, je uveden slovem \LATEX:. + +Pod skupinu \PLAIN: pat nejen csplain, plain a odvozen formty, ale +t dnes u nepouvan \LaTeX2.09 bez NFSS. Pod skupinu \LATEX: bychom +mohli zaadit vechny formty, kter pracuj s~NFSS~2, pedevm tedy +\LaTeX 2e. + +Po zaveden pslunch maker v~zhlav dokumentu (viz ne) se na +terminlu mimo jin objev: + +\begtt +@PLAIN: OFS (Olsak's Font System) based on plain initialized. @char` +@LATEX: OFS (Olsak's Font System) based on NFSS initialized. @char` +\endtt +Vhody OFS: + +\begitems +* Sjednocuje rozhran pro uivatele \LaTeX{}u i plainu. +* Pomoc pkazu "\fontusage" dostaneme na terminl a do logu strunou + informaci o~pouit maker z~OFS. +* Umouje pracovat se skutenmi nzvy psmovch rodin tak, + jak jsou uvedeny v~psmovm katalogu a tm + nenut uivatele si krom tchto nzv pamatovat jet + intern zkratky pouit v~NFSS nebo v~nzvech metrik font. +* Umon pracovat s~fontem rozloenm do dvou metrik + (zkladn a roziujc) jakoby se jednalo o~jedin font. +* Umon na zatku dokumentu vybrat oblben kdovn zkladn + metriky, jsou-li metriky pipraveny v~rznch kdovnch + (typicky kdovn IL2 a T1). +* Definuje rozhran pro vytven pomocnch soubor, kter + obsahuj konverzn informace mezi \uv{dlouhmi nzvy} font + z~katalogu a \PLAIN: nzvy metrik + nebo \LATEX: zkratkami pouvanmi v~NFSS. +* \PLAIN: Umouje podobnou nezvislost vbru jednotlivch + paramet font, jako NFSS v~\LaTeX{}u. +* \PLAIN: Definuje deklaran pkazy pro podchycen kdovn font. +* \PLAIN: Je mon pro rzn velikosti registrovat rzn metriky, co + vyuijeme zejmna u~rodiny Computer Modern. +* \PLAIN: Obsahuje nstroje na pouit PostScriptovch font + i v~matematick sazb. +* Interaktivn makro "ofstest.tex" umon tisknout vzorky odstavc ve + zvolench psmovch rodinch, tisknout tabulky font, katalogy font, + vzorky matematick sazby a seznamy znak ve fontech vetn jejich + \TeX{}ovch sekvenc. Sta napsat na pkazov dek + "tex ofstest [allfonts]" nebo "csplain ofstest [allfonts]" + a dit se pokyny na terminlu. +\enditems + + +\sec lenn psmovch rodin +%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Makro OFS vychz z~toho, e vtina dnes dodvanch psmovch rodin +obsahuje tyi ezy: zkladn ("\rm"), tun ("\bf"), kurzvu ("\it"), +a tunou kurzvu ("\bi")\inll[rm \back bf \back it \back bi]. +Tmto ezm budeme kat \uv{standardn varianty}. +Po zaveden rodiny pkazem "\setfonts" (viz ne) lze pak +pepnat pomoc "\rm", "\bf", "\it" a "\bi" mezi variantami v~dan +rodin. Prvn ti uveden pepnae jsou znm z~plainu +(v~\LaTeX{}u petrvvaj z~dob zal slvy LaTeXu2.09) +a tvrt pepn do varianty BoldItalic. + +Nkter rodiny mohou deklarovat pepnae dalch +\uv{nadstandardnch variant} a u~nkterch rodin naopak +me chybt i nkter ze standardnch variant. + +Varianty v~nkterch rodinch se mrn li od zde uvedench +nzv pro standardn varianty. Msto tunho psma me bt +teba ptomno jen polotun a msto kurzvy teba sklonn psmo. +Pepnae "\rm", "\bf", "\it" a "\bi" zstvaj pokud mono +zachovny, take by ns nemlo vyvst z~rovnovhy, e v~nkter rodin +teba "\it" pepn do sklonnho psma a ne do kurzvy. + +Pokud chceme souasn pracovat s~dalmi pepnai font jin rodiny +(napklad "\tt" pro strojopis), je mon takov pepnae deklarovat pomoc +pkazu "\fontdef". + +lenn font do rodin je deklarovno v~souborech, kter +maj v~plainu podobn vznam, jako {\tt fd} (Font Definition) soubory +z~\LaTeX{}u. Doporuen ppona souboru je pro plain {\tt tex} a +pro \LaTeX{} {\tt sty}. Tmto souborm budeme kat \uv{deklaran soubory}. +Podle nzvu deklaranch soubor by mlo bt uivateli zejm, kter rodiny +jsou v~nm deklarovny. Pklady: + +\begtt +@PLAIN: @LATEX: +sjannon.tex, sjannon.sty ... souhrnn rodina Jannon ze Steovic +a35.tex, a35.sty ... zkladn skupina 35 font od Adobe +\endtt + +Vidme, e deklaran soubory (na rozdl od {\tt fd} soubor z~\LaTeX{}u) +obsahuj obvykle definice vce souvisejcch rodin. Mezi tmito +soubory uivatel vybr ty, kter bude potebovat a uvede jejich jmna +pi zaveden makra OFS v~zhlav svho dokumentu. +Aby ml uivatel zjednoduenou prci, zakldme obvykle t souhrn +soubory, kter obsahuj "\input" nebo "\RequirePackage" na jednotliv +deklaran soubory: + +\begtt +skatalog.tex, skatalog.sty ... vechny fonty ze Steovic +allfonts.tex, allfonts.sty ... vechny fonty na TeXov instalaci +\endtt + + +\sec Uivatelsk pkazy +%%%%%%%%%%%%%%%%%%%%%%%% + +\subsec Zaveden OFS +%%%%%%%%%%%%%%%%%%%% + +Pro pklad pedpokldejme, e budeme chtt pracovat +s~fonty ze souhrnn rodiny Jannon a +DynaGrotesk. Protoe se jedn o~rodiny ze Steovick psmolijny od pana +torma, najdeme odpovdajc deklaran soubory v~adresi +"storm". Na Internetu je zskme spolen s~makrem OFS +napklad na "www.cstug.cz/stormtype". +Souhrnn rodiny Jannon a Dyna\-Grotesk jsou deklarovny v~tchto souborech: +\PLAIN: "sjannon.tex", "sdynamo.tex"; +\LATEX: "sjannon.sty", "sdynamo.sty". +Psmeno "s" na zatku nzv znamen, +e fonty pochzej ze Steovick psmolijny. Jmna tchto soubor bez +ppony je nutn uvst v~hranat zvorce pi zaveden makra OFS takto: + +\begtt +@PLAIN: \input ofs [sjannon, sdynamo] % mezera ped "[" je nutn! +@LATEX: \usepackage [sjannon, sdynamo] {ofs} +\endtt + +Dle meme pracovat s~rodinami, kter jsou obsaeny v~souhrnnch +rodinch Jannon a DynaGrotesk. +Napeme-li do dokumentu pkaz "\showfonts"\inl[showfonts], +zobraz se na \hbox{terminl} (a~zape do logu) seznam nzv jednotlivch +rodin, kter dle meme pouvat. Po zaveden "sjannon" a +"sdynamo", jak bylo uvedeno ve, zobraz pkaz "\showfonts" tento seznam: + +\begtt +OFS (l.1): The list of known font families: +defaults: + [CMRoman/] \rm, \bf, \it, \bi, \sl + [CMSans/] \rm, \bf, \it, - + [CMTypewriter/] \rm, - , \it, - , \sl + [Times/] \rm, \bf, \it, \bi + [Helvetica/] \rm, \bf, \it, \bi, \nrm, \nbf, \nit, \nbi + [Courier/] \rm, \bf, \it, \bi +sjannon.tex: + [JannonAntikva/] \rm, \bf, \it, \bi, \mr, \mi + [JannonText/] \rm, \bf, \it, \bi, \mr, \mi + [JannonCaps/] \rm, \bf, \it, \bi +sdynamo.tex: + [DynaGroteskDXE/] \rm, \bf, \it, \bi + [DynaGroteskRXE/] \rm, \bf, \it, \bi + [DynaGroteskLXE/] \rm, \bf, \it, \bi + ... ... +\endtt + +Prvnch 6 rodin (oznaen jako defaults) je definovno v~OFS. +Teprve dal rodiny jsou deklarovny v~pouitch souborech. + +Vedle nzv rodin jsou uvedeny pepnae variant, kter pro danou +rodinu meme pout. Prvn tyi pepnae jsou pro standardn +varianty a pokud v~nkter rodin takov varianta nen pstupn, +je zde na mst odpovdajcho pepnae pomlka. +Pt a ppadn dal pepnae se vztahuj k~ppadnm nadstandardnm +variantm. Zde napklad rodina Helvetica m navc pepnae +pro varianty \uv{Narrow} a rodiny Jannon maj pepnae pro +varianty \uv{Medium}. + +Napeme-li do dokumentu pkaz "\fontusage"\inl[fontusage], +zobraz se na terminl a +do logu strun informace o~pouit pkaz z~balku OFS. + +Krom ve uvedenho zpsobu zaveden: + +\begtt +@PLAIN: \input ofs [, , ...] +@LATEX: \usepackage [, , ...] {ofs} +\endtt +% +existuje jet monost pmo zavst poadovan soubory. Pak nen nutn +v~dokumentu explicitn zavdt soubor "ofs.tex" resp. "ofs.sty": + +\begtt +@PLAIN: \input \input ... +@LATEX: \usepackage {} \usepackage {} ... +\endtt +% +Pklad: + +\begtt +@PLAIN: \input sjannon \input sdynamo +@LATEX: \usepackage {sjannon} \usepackage {sdynamo} +\endtt +% +Nedoporuuje se (zvlt v~\LaTeX{}u) oba tyto zpsoby zaveden +makra OFS mchat. + + +\subsec Pkaz {\tt\back setfonts} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +V~dalch pkladech pedpokldme,\inl[setfonts] +e jsme zavedli pouze potebn +rodiny, napklad ze soubor {\tt sjannon} a {\tt sdynamo}. +Nyn teba po pouit pkazu + +\begtt +\setfonts [JannonText/12pt] +\endtt +% +lze pepnat do jednotlivch variant tto rodiny JannonText ve +velikosti 12pt. Je mon pout pepnae +"\rm", "\bf", "\it", a "\bi" a speciln pro tuto +rodinu jet "\mr" a "\mi". + +Pkaz "\setfonts [/]" +pepn do nov rodiny a ct +naposledy zapnutou variantu. +Pokud ped tmto pkazem +byla zapnut teba varianta BoldItalic, pak po tomto pkazu zstv +zapnut tato varianta i v~nov rodin. +Pokud v nov rodin naposledy zapnut +varianta neexistuje, pepn se do "\rm". Tato varianta mus bt +deklarovna v~kad rodin. + +Pkaz "\setfonts" vymezuje vechny zmny pouze +lokln. Po ukonen skupiny se sazba vrac k~rodin a variant, kter +byla aktuln pi zahjen skupiny. + +Parametry pkazu "\setfonts" mohou bt przdn: +"\setfonts [/]" pepne do nov +rodiny a ct naposledy nastavenou velikost a +"\setfonts [/]" nastav novou velikost +a ponech aktuln vybranou rodinu. Po inicializaci OFS je (pro +ppad pouit przdnho parametru) defaultn nastavena rodina +"CMRoman" a velikost 10\,pt. Pkaz "\setfonts [/]" +je syntakticky korektn, ale neudl krom zpisu +do logu vbec nic. + +Parametr , je-li uveden, mus pesn odpovdat jmnu +rodiny podle seznamu znmch rodin (viz nahoe pkaz "\showfonts"). +Je teba dodrovat mal a velk psmena a cel jmno pst bez mezer. +Pokud se tento parametr neshoduje s~dnou znmou rodinou, vype \TeX{} +varovn a pipoj seznam vech znmch rodin. Take napklad +"\setfonts [?/]" lze pout se stejnm efektem, +jako pkaz "\showfonts". + +\LATEX: me bt nejen jmno podle seznamu znmch rodin +(dlouh nzev), ale je dovoleno pout i zkratku z~NFSS. Take +napklad "\setfonts [Times/]" a "\setfonts [ptm/]" je v~\LaTeX{}u tot. + +\OBA: +Parametr m tyto monosti: + +\begitems +* .... nap. "12", "17.4", +* .... nap. "12pt", "17.4pt", "10dd", +* "at" .... nap. "at12pt", "at17.4pt", "at10dd", +* "scaled" .... nap. "scaled1200", "scaled\magstep3", +* "mag" .... nap. "mag1.2", "mag.7", "mag2.0". +\enditems + +Prvn ti monosti se vznamov shoduj. Klov slovo "at" je +nepovinn a nen-li uvedeno ani "at" ani jednotka, dopln se +automaticky "atpt". Font se zavede pesn v~poadovan +velikosti. Samozejm pi globlnm "\magnification" celho dokumentu +se jedn o~relativn a nikoli absolutn rozmry, pokud nepouijeme +jednotku uvozenou slovem "true" (nap. "17truept"). +Jestlie peme klov slovo "at", nesmme vynechat jednotku. +Nesprvn: "at12", sprvn: "at12pt" nebo jenom "12". + +tvrt monost ("scaled") je shodn s~pouitm slova "scaled" pi zavdn +fontu pomoc primitivu "\font". Nap. "scaled1200" je font, jeho zkladn +velikost je pronsobena koeficientem 1,2. Je-li zkladn velikost +fontu 10\,pt (co je obvykl), pak je "scaled1200" shodn s~"at12pt". + +Posledn monost ("mag") pronsob aktuln velikost font danm +koeficientem. Na rozdl od "scaled" se tedy vztahuje k~aktuln +velikosti a nikoli k~zkladn velikosti fontu. Je-li nejprve pouito +teba "\setfonts[/12]" a v~zpt "\setfonts[/mag2.]", rodina font +bude nyn szena ve velikosti 24\,pt. Pklad: + +\begtt +\def\small{\setfonts[/mag.7]} +Text {\small je men \small a men \small a jet men} a tady je +zase v normln velikosti. +\endtt + +Upozornn: Zmna velikosti font pomoc "\setfonts" nijak nemn +vzdlenost a ("\baselineskip"). To si mus uivatel nastavit sm. + +Pomoc "\setfonts" meme nastavit nejen celou rodinu (to ovlivn +pepnae variant "\rm", "\bf", "\it", "\bi" a ppadn dal), ale tak +jen zvolenou variantu v~dan rodin. V~takovm ppad +"\setfonts" nemn vznam pepna variant ani aktuln +velikost ostatnch font. Pi specifikaci varianty je nutno +v~parametru "\setfonts" za nzev rodiny napsat znak mnus nsledovan +zkratkou pro variantu. Pklady: + +\begtt +\setfonts [JannonText-it/12] ..... nastav kurzvu dan rodiny ve + velikosti 12pt +\setfonts [JannonText-rm/] ....... nastav zkladn ez dan rodiny + v aktuln velikosti. +\setfonts [CMTypeWriter-sl/] ..... nastav zkladn variantu \sl + v aktuln velikosti. +\endtt + +I~pi specifikaci varianty je mon v~parametru vynechat nzev rodiny, +pak se pouije aktuln rodina. Napklad + +\begtt +\setfonts [JannonText/12] +\setfonts [-bf/17] ... varinata Bold JannonText, velikost 17pt. + Pepnae \rm, \bf, \it a \bi zstanou + nezmnny, v tomto pklad pepnaj + JannonText ve velikosti 12pt. + Nsledn pouit teba \setfonts [Times/] + nastav rodinu Times ve velikosti 12pt. +ALE: +\setfonts [/17]\bf ... Varinata Bold aktuln rodiny, velikost 17pt. + Pepnae \rm, \bf, \it a \bi nyn + pepnaj ve velikosti 17pt. Aktuln + velikost font je nyn 17pt. +\endtt + +\LATEX: Co zde bylo eeno o~ponechn vznamu pepna variant +pi specifikovn varianty v~\LaTeX{}u nen pravda, +protoe by to naruilo logiku NFSS. +V~\LaTeX{}u tedy je "\setfonts [-bf/17]" zcela shodn +s~pkazy "\setfonts [/17]\bf". + + +\subsec Pkazy {\tt\back fontdef} a {\tt\back addcmd} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Pkaz "\fontdef"\inl[fontdef] umouje deklarovat nov fontov pepnae. + +\begtt +\fontdef \ [/] +\endtt +% +Tato deklarace se zhruba shoduje s{} + +\begtt +\gdef \ {\setfonts [/]} +\endtt + +\PLAIN: Pokud je specifikovna rodina vetn varianty a +parametr nen przdn ani nen zadn pomoc klovho slova +"mag", pak "\" nen implementovn jako makro obsahujc +"\setfonts", ale jedn se o nativn pepna fontu implementovan +pomoc "\global\font\" (tzv.~fixed font). +Tak me uivatel deklarovat vlastn nativn pepna +fontu bez znalosti nzvu metriky. + +\LATEX: Deklarovan pepna je ve vech ppadech implementovn jako +makro obsahujc "\setfonts". Pstup k~nativnm pepnam je ped +uivatelem v~NFSS skryt. + +\OBA: +Msto jmna rodiny me bt uveden vykink. +Pak se dopln jmno rodiny aktuln v~mst pkazu +"\fontdef". Na druh stran, pokud je jmno rodiny przdn, +pak se jmno rodiny dopln podle aktuln rodiny +v~mst pouit deklarovanho pepnae. Analogick vlastnost plat +pro parametr . Pklady: + +\begtt +\setfonts [JannonAntikva/] +\fontdef \small [/7] % \small = \setfonts [/7pt] +\fontdef \sffam [DynaGroteskR/] % \sffam = \setfonts [DynagroteskR/] +\fontdef \velky [Times/17] % \velky = \setfonts [Times/17pt] +\fontdef \ttfam [Courier/] % \ttfam = \setfonts [Courier/] +\fontdef \mylogo [Times-rm/mag.8] % \mylogo = \setfonts [Times-rm/mag.8] + % velikost fontu bude vdy rovna + % 0.8 nsobku aktuln velikosti. +\fontdef \timbf [Times-bf/12] % \timbf = fixed-font pepna, jako: + % \global\font\timbf=ptmb8z at12pt +\fontdef \jansmall [!/7] % \jansmall=\setfonts[JannonAntikva/7] +\fontdef \janbi [!-bi/17] % \janbi = fixed-font pepna, jako: + % \global\font\janbi=sjnbi8z at17pt +\fontdef \tt [Courier-rm/!] % \tt = fixed-font pepna, jako + % \global\font\tt=pcrr8u at10pt +\endtt + +Pkaz "\fontdef" deklaruje pepna globln, ovem tento pepna je +sm o~sob lokln. Jinmi slovy "\global\fontdef\jmeno" je tot jako +"\fontdef\jmeno", ale pepna "\jmeno" nastav font (nebo celou +rodinu) jen lokln. + +Od verze OFS Oct.~2002 je podporovn pkaz +"\addcmd"\inl[addcmd], kter umon spolen s~pkazem "\fontdef" +soustedit problematiku font do jedinho msta v souboru maker. +Pkaz m formt: + +\begtt +\addcmd \ {} +\endtt +% +a chov se, jako "\def\ { }". +Pomoc "\addcmd" tedy meme \uv{rozit} obsah makra "\" +o~dal pkazy. Sekvence "\" mus bt (ped pouitm +"\addcmd") definovna jako makro bez parametr nebo mus bt +ve vznamu neexpandovan kontroln sekvence deklarovan napklad +pomoc "\font", "\chardef" apod. Po pouit "\addcmd" je sekvence +"\" definovna vdy jako makro bez parametru. Opakovan +pouit "\addcmd" na stejn "\" je mon. + +Pklad pouit: + +\begtt +\setfonts [JannonText/] +\fontdef \footnotefont [!/7] +\addcmd \footnotefont {\rm \baselineskip=9pt \relax} +\fontdef \sectionfont [!/12] +\addcmd \sectionfont {\bf \let\it=\bi} +\endtt + + +\subsec Test ptomnosti rodiny +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\PLAIN: Ve svch makrech meme testovat, zda je rodina font deklarovan, +tj.~zda je natena jej deklarace z~deklaranho souboru. Pouijeme +k~tomu konstrukci "\knownfam ? \iftrue", kter expanduje +na "\iftrue", pokud je rodina deklarovan a na "\iffalse", pokud +deklarovan nen. Parametr musme uvst bez specifikace varianty. + +\OBA: Z dvod zptn kompatibility se star verz OFS~dl stejnou prci jako +"\knownchar" makro "\ifknownfam []"\inl[ifknownfam]. +V~OFS pro plain se ale +od verze Feb.~2004 doporuuje pouvat "\knownfam", protoe to udruje +sprvn sprovan primitivy "\if*", "\else", "\fi". La\TeX{}ov uivatel +si me "\knownfam" snadno definovat. + +\subsec \LATEX: Propojen OSF s~NFSS +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Tato sekce je urena pouze pro \LaTeX{}isty. Pkaz\inl[OFSfamily] + +\begtt +\OFSfamily [] +\endtt +% +konvertuje dlouh nzev rodiny podle katalogu na intern nzev rodiny +zanesen do NFSS. Napklad + +\begtt +\OFSfamily [JannonText] +\endtt +% +expanduje na "sjng". Makro pracuje jen na rovni expandprocesoru, +proto nedostaneme pi peklepu v~nzvu rodiny chybov hlen. +Pi neexistujc rodin makro expanduje na text "unknown". +Pouijeme-li napklad "\OFSfamily" ve svch stylovch souborech +a zpozorujeme, e se NFSS sna substituovat rodinu "unknown", +meme si bt jisti, e mme peklep v~nzvu rodiny nebo nemme +sprvn pouit "\usepackage". + +Pklad pouit: + +\begtt +\usepackage [sjannon, sdynamo] {ofs} +\edef\rmdefault {\OFSfamily [JannonAntikva]} +\edef\sfdefault {\OFSfamily [DynaGroteskR]} +\edef\ttdefault {\OFSfamily [Courirer]} +\endtt + +Vznam maker "\rmdefault", "\sfdefault", "\ttdefault" je popsn +v~dokumentaci NFSS. + +Dle OFS definuje pkaz\inl[OFSfamilydefault] + +\begtt +\OFSfamilydefault [] +\endtt +% +kter nastav zkladn rodinu celho dokumentu. Tato rodina se v~pslunch +velikostech a variantch objev nejen v~textu, ale i v~zhlav +kapitol, sekc a podobn (jsou-li makra v~pouitm class souboru udlna +rozumn). Pkaz intern provede + +\begtt +\edef\familydefault {\OFSfamily []} +\endtt +% +s~tm, e navc oet ppad neexistujc rodiny chybovm hlenm +s~vpisem vech aktuln dostupnch rodin. + + +\subsec Kdovn font +%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: Pepnn mezi kdovnm font probh zcela v~reii NFSS. OFS +v~tto vci nepidv nic novho. + +\PLAIN (a do konce sekce): +Implicitn se pedpokld kdovn CSfont. Pokud ale potebujeme +pout fonty napklad v kdovn T1, pak pouijeme +"\def\fotenc{8t}"\inl[fotenc] +a OFS bude pracovat s~fonty v~tomto kdovn. + +Meme dokonce uvnit dokumentu pepnat: + +\begtt +\def\fotenc{8z} \setfonts[/] ... fonty v kdovn CSfont +\def\fotenc{8t} \setfonts[/] ... fonty v kdovn podle Corku. +\endtt + +Krom toho OFS obsahuje nstroje, aby makra zvisl na kdovn +font (napklad "\v", "\'", "\ae") expandovala sprvn +na znak ve zvolenm kdovn. +Implicitn je v~OFS nastaveno "\loadingenc=0"\inl[loadingenc], +co znamen, e zmnou kdovn font ani pkazem "\setfonts" se +nemn makra typu "\v", "\ae". Tato makra si ponechaj svj +originln vznam z~\hbox{plainu}. To uvtaj ortodoxn plainist, +kte nemaj rdi, kdy m pouit balek zbyten velkou inteligenci. + +Je-li ale na zatku dokumentu uvedeno "\loadingenc=1", napklad: + +\begtt +\input ofs [a35,sjannon] \loadingenc=1 +\endtt +% +pak pi kadm pkazu "\setfonts" si \TeX{} zkontroluje, zda m +nateny vechny potebn soubory se jmnem "ofs-.tex". +Tyto soubory obsahuj pedefinovn maker zvislch na nastavenm kdovn font. +Pokud tyto soubory nateny nejsou, \TeX{} je bhem "\setfonts" +nate. Podrobnji viz sekce~\beglink{3.3}3.3\endlink{} a +\beglink{3.5}3.5\endlink. + +Balek OFS obsahuje ti soubory s~deklaracemi maker zvislmi na +kdovn: "ofs-8z.tex", "ofs-8t.tex" a "ofs-8c.tex". Pi pouit jinho kdovn +font si mete vytvoit dal soubor analogickho nzvu. +Pkazy "\accentdef" a "\characterdef" pouvan v~tchto +souborech jsou podrobn vysvtleny v~\beglink{3.4}sekci~3.4\endlink. + + +\subsec Fonty v~matematice +%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: OFS pro \LaTeX{} vbec nee otzku font pro matematiku. +Je poteba vyut nabdku monost NFSS. + +\PLAIN (a do konce sekce): +Pkaz "\setfonts" a pepnae deklarovan pomoc "\fontdef" +pepnaj jen psmo v~textovm reimu. +Pokud nepouijeme pkaz "\setmath", zstv ve, +co je ve vstupnm souboru mezi dolary, vytitno v~Computer +Modern ve velikostech 10\,pt/7\,pt/5\,pt (velikost: +zkladn/indexov/indexindexov). To nemus bt vdy douc. + +Pkaz "\setmath" m tento tvar:\inl[setmath] + +\begtt +\setmath [//] +\endtt +% +V~parametrech pkazu dvme najevo, v~jakch velikostech chceme matematick +fonty nastavit. Je mon pout libovoln zpis velikosti, jako +u~pkazu "\setfonts". Je-li pouita monost "mag", je +velikost vypotna jako krt velikost aktulnho +textovho fontu. Je-li parametr przdn, dopln se takto: + +\begitems +* zkladn velikost --- "mag1.0" +* indexov velikost --- "mag0.7" +* indexindexov velikost --- "mag0.5" +\enditems + +Take "\setmath [//]" udl tot jako +"\setmath [mag1./mag.7/mag.5]". OFS definuje makro +"\setsimplemath"\inl[setsimplemath] jako "\setmath [//]". + +Pkaz "\setmath" nastav matematick fonty podle +aktuln situace. Jeho innost zvis na obsahu maker +"\fomenc" a "\mathversion". + +Matematick kdovn je ureno hodnotou makra +"\fomenc".\inl[fomenc] +Existuj tyto monosti: + +\begitems +* Implicitn hodnota je "\def\fomenc{PS}" (PostScript-Symbol). + Pkaz "\setmath" pak + pevezme kurzvu aktuln rodiny a pouije ji jako matematickou + kurzvu. Dle pevezme zkladn variantu aktuln rodiny a pouije ji + pro slice a dal symboly, kter jsou psny i v~matematice jako + "\rm". Standardn pepnae variant "\rm", "\it", "\bf" a "\bi" + zanou pepnat do odpovdajcch font i v~matematick sazb. + % + Pi "\def\fomenc{PS}" se navc chybjc matematick znaky, + kter obvykle nejsou ptomny v~PostScriptovch fontech + (napklad psmena eck abecedy), nahrad z~Post\-Script\-ovho fontu + Symbol. Tento font se toti ke vtin + PostScriptovm psmm hod daleko lpe ne Computer Modern. Ostatn + znaky (napklad zvtujc zvorky a velk opertory) zstvj + v~Computer Modern. + +* Je-li "\def\fomenc{CM}" (Computer Modern), pak "\setmath" ponech + matematickm vzorekm Computer Modern fonty, jen se ppadn + pizpsob poadovan velikosti. + +* Po zaveden souboru "amsfn.tex" je mon pout "\def\fomenc{AMS}". + Matematika se pak chov stejn jako pi "CM", ale navc jsou k~dispozici + veker symboly z~AMS\TeX{}u. + +* Po zaveden souboru "txfn.tex" meme pout dv nov kdovn: + "\def\fomenc{TX}" nebo "\def\fomenc{PX}". + V obou ppadech se pro matematiku pouij + voln dostupn TXfonty, kter vychzej z ez rodin Times a + Helvetica. Pi hodnot "TX" se v~matematice pouij vhradn + TXfonty, zatmco pi hodnot "PX" budou TXfonty kombinovny + s~kurzvou a zkladnm ezem aktuln textov rodiny font (podobn + jako pi kdovn "PS"). OFS podporuje vechny kontroln sekvence na + matematick symboly podle manulu k TXfontm. Jsou zde veekr + symboly z AMS\TeX{}u a mnoho dalch. Symbol z TXfont je nkolik stovek. + {\hbadness=1015\par} + +* Po zaveden souboru "mtfn.tex" je mon pout + "\def\fomenc{MT}". Matematika bude obsahovat kurzvu a zkladn ez + aktuln rodiny font kombinovanou se znaky~komern verze + matematickch font MathTimes. +\enditems + +Podobn jako v~NFSS jsou podporovny dv verze vzorek: normal a +bold. Poadovan verze se nastavuje v~makru "\mathversion"\inl[mathversion] +pomoc "\def\mathversion{normal}" nebo "\def\mathversion{bold}". +Makro "\setmath" pak pizpsob zaveden matematickch font poadovan +verzi. Implicitn je nastaveno "\def\mathversion{normal}". +Nastaven "\mathversion" je poteba provst ped vyvolnm pkazu +"\setmath". Pklady: + +\begtt +\setmath [//] $vzoreek$ % vzoreek je ve verzi "normal" +$\def\mathversion{bold}\setmath[//] vzoreek$ % vzoreek ve verzi "bold" +\endtt + + +\sec Jak je to udlno, aneb pohled do hloubky +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: Vechna makra, kter jsou jen pomocn, jsou ve stylu "ofs.sty" +definovna se jmnem "\ofs@jmnomakra", aby nedolo ke zmaten s~jinmi +styly. Makra, kter se pouvaj v~deklaranch souborech, maj nzev +"\OFSjmnomakra". Dle styl definuje uivatelsk pkazy "\setfonts", +"\fontdef", "\showfonts", "\fontusage", a pedefinovv pepnae +"\rm", "\bf", "\it", "\bi". + +\PLAIN: Vechna makra definovan v~"ofs.tex" jsou uvedena v~rejstku na +konci tohoto dokumentu. Pi nvrhu nzv maker jsem nevyuil konvenci +se znakem "@", protoe tento znak v~nzvech maker osobn nenvidm. + + +\subsec Vpisy do logu +%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: Pro trasovn makra NFSS se pouije balek "tracefnt". + +\PLAIN: Pokud nkoho ru pi astm pepnn rodin font pkazem +"\setfonts" vpisy v~logu, me pout pkaz +"\nofontmessages"\inl[nofontmessages]. +Pokud naopak chceme tyto vpisy vidt i na terminlu, pime +"\displayfontmessages"\inl[displayfontmessages]. Implicitn je zapnut vpis +pouze do logu pkazem "\logfontmessages"\inl[logfontmessages]. +Pokud chceme pesn vidt, kter metriky font se zavdj primitivnm +pkazem "\font", pouijeme "\detailfontmessages"\inl[detailfontmessages]. + +Varovn o~nepstupnch znacch nebo kdovnch se vdy vypisuj na +terminl i do logu. Chceme-li je mt jen v~logu, meme napsat +"\let\displaymessage=\wlog"\inl[displaymessage], protoe tato sekvence +je v~OFS pouvna na zobrazen zprv na terminl. + + +\subsec Robustn a kehk pkazy +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: \LaTeX{}2e m zaveden postupy na definovn robustnch +pkaz. Vznam tchto pojm je vysvtlen v~dokumentaci k~\LaTeX{}u. +Pkaz "\setfonts" a pepnae deklarovan pomoc "\fontdef" jsou +samozejm definovny jako robustn, take se mohou vyskytovat +v~textech pro obsahy, rejsky apod. bez toho, aby zpsobily obte. + +\PLAIN (a do konce sekce): +Makro plainu problematiku kehkch pkaz nee +a uivatel plainu, pokud naraz na tento problm, pouvaj rzn sv +vlastn een, kter nejsou standardizovna. Jedno takov een je i +v~OFS. + +Nejprve strun nazname, v~em spov problm s~kehkmi pkazy. +Obas potebujeme (pro generovn obsahu, rejstku apod.) poslat +njak text do pomocnho souboru (primitivem "\write"), aby byl tento +soubor v~zpt (pi dalm zpracovn \TeX{}em) znovu naten. +Problm je, e primitiv "\write" zape do souboru text po expanzi +maker, co nemus vdy vyhovovat. Pokud je napklad fontov pepna +implementovn jako sloit makro a je pouit v~textu zpracovanm +primitivem "\write", v~souboru se objev cel makro po expanzi. +Pi optovnm naten takovho souboru dojde vtinou k~havrii; +kme, e byl pouit kehk (fragile) pkaz v~textu poslanm do +souboru a v~souboru se nm tento pkaz \uv{rozsypal}. + +Pokud se dostane (potenciln) kehk pkaz z~maker OFS do souboru, +pak se pi novm naten takovho souboru automaticky pi havrii +zobraz na terminlu a v~logu nvod jak postupovat, aby se uivatel +tohoto problmu zbavil. Text nvodu po pekladu do etiny vypad +takto: + +\begtt +CHYBA !! kehk pkaz v toc/ind/aux nebo podobnm souboru. +Tento problm mete eit nsledujcmi kroky: +1. Vymate pomocn soubor s tmto kehkm pkazem. +2. Vlote nsledujc kd do zhlav svho dokumentu: + \let\orishipout=\shipout + \def\shipout#1#2{\setbox0=#1{#2}\bgroup + \let\expandaction=\noexpand \orishipout\box0 \egroup} +3. Znovu TeXujte svj dokument nejmn dvakrt za sebou. +Dal informace najdete v dokumentaci k OFS. +\endtt + +Vysvtlme si, jak je to udlno. Makro, kter me v~parametru +primitivu "\write" psobit pote, je v~OFS definovno zhruba takto: + +\begtt +\def\makro {% + \ifx\expandaction\noexpand + \noexpand\makro + \else + \csname fragilecommand!\endcsname + + \fi +} +\endtt + +Pokud se nenastav "\expandaction"\inl[expandaction] +na hodnotu "\noexpand", pak se +provede st kdu za "\else". Protoe pkaz +"\csname fragilecommand!\endcsname"\inl[fragilecommand!] +nen definovn, realizuje se v~hlavnm procesoru jako "\relax" +[TBN, strana 349]. Pi expanzi primitivem "\write" se do souboru +zape "\fragilecommand!". Pi dalm ten soboru se spust pkaz +"\fragilecommand"\inl[fragilecommand], +kter vype na terminl ji zmnnou npovdu. + +Jestlie uivatel pouije kd z~npovdy v~zhlav svho dokumentu, +pak v~dob innosti primitivu "\shipout" (tj.~v~dob, kdy expanduj +argumenty primitiv "\write") je nastaveno "\let\expandaction=\noexpand". +V~makru "\makro" se provede prvn st ped "\else", take do souboru +se zape jen "\makro". To je pesn to, co potebujeme. + +V~OFS nen kd, kter pedefinovv "\shipout", pmo zahrnut. Msto +toho pouze doporume uivateli, aby to udlal sm. Uivatel plainu toti +potebuje mt vci pod vlastn kontrolou a neml by asi dvru k~makru, +kter bez jeho vdom pedefinuje tak zsadn vc, jako je primitiv +"\shipout". Tak je mon, e uivatel plainu pouije na rzn sti +textu ve svch makrech "\edef" a potebuje vdt, e je v~takovm +ppad vhodn nejpve nastavit "\let\expandaction=\noexpand". + +Podobn jako zde v~ukzce definice pkazu "\makro" jsou +v~OFS definovny +pkazy "\setfonts" (\beglink{2.2}sekce~2.2\endlink), +"\setmath" (\beglink{2.7}sekce~2.7\endlink), +"\setextrafont", "\printcharacter", "\printaccent" +(\beglink{3.4}sekce~3.4\endlink), +"\accentabove", "\accentbelow" a "\ofshexbox" (\beglink{3.6}sekce~3.6\endlink). +Po pouit kdu z~npovdy se tato makra stvaj \uv{robustnmi} +v~\LaTeX{}ovm smyslu tohoto slova. + + +\subsec Deklaran soubory +%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: Deklaran soubory v~\LaTeX{}u jsou bn stylov soubory, +kter shrnuj nkolik rodin font ve smyslu NFSS. Tyto rodiny jsou +deklarovny bnm zpsobem ve~"fd" souborech. V~deklaranch souborech +je mono pout nsledujc pkazy: + +\begitems +* "\OFSprocessoptions"\inl[OFSprocessoptions] + --- m vtinou hodnotu "\undefined". Pokud ale + je stylov soubor natn ze souboru "ofs.sty" jako parametr, + m "\OFSprocessoptions" hodnotu "\relax". Test na tuto + sekvenci pouvme v~zhlav stylovho souboru, abychom vynachali + \LaTeX{}ovsk "\RequirePackage{ofs}", pokud to nen poteba (a + pouze by to zlobilo). +* "\OFSextraencoding {}"\inl[OFSextraencoding] + --- Toto makro si poznamen do pamti a + provede "\input {ini.def}". + Pedpokld se, e tam jsou odpovdajc definice pro + , viz napklad soubor "se1ini.def", kter obsahuje + deklarace pro roziujc kdovn SE1 font ze Steovick psmolijny. + Pokud u byl soubor "ini.def" naten, makro jej + nenat znovu. Pozor: je nutno pst + velkmi psmeny, akoli v~nzvu souboru mus bt naopak tato psmena mal. +* "\OFSputfamlist {}"\inl[OFSputfamlist] + --- vlo do seznamu rodin, kter + se vypisuje pi "\showfonts" nebo pi neznm rodin. +* "\OFSdeclarefamily [] {}"\inl[OFSdeclarefamily] + --- poznamen si + do pamti, e je ve skutenosti . + Tato pam se vyuije napklad v~pkazu "\OFSfamily". + Navc zanese do seznamu rodin vypisovanm pi + "\showfonts". +* "\OFSnormalvariants"\inl[OFSnormalvariants] + --- do textu, kter se vypisuje pi "\showfonts" + nebo pi neznm rodin vlo, seznam standardnch pepna, + tj.~"\rm,"~"\bf,"~"\it,"~"\bi". +\enditems + +\PLAIN (a do konce sekce): +Deklaran soubory maj pponu "tex" a pedpokld se o~nich, +e maj pojistku proti opakovanmu naten. Pokud nen jet naten +soubor "ofs.tex", je nutno jej ped dal innost nast. Rovn je +vhodn zde nast soubor definic znak podle pouitch kdovn +(viz~\beglink{3.4}sekce~3.4\endlink). + +V~deklaranm souboru je nutno vytvoit vazbu mezi nzvy rodin a pouitmi +metrikami. K~tomu se pouvaj nsledujc pkazy: + +\begitems +* "\protectreading "\inl[protectreading] --- poznamen + si do pamti, e je peten . Pokud je pkaz se stejnm + parametrem ten podruh, provede "\endinput", take nsledujc deklarace jsou + chrnny proti vcensobnmu ten. +* "\ofsputfamlist {}"\inl[ofsputfamlist] + --- vlo do seznamu rodin, kter + se vypisuje pi "\showfonts" nebo pi neznm rodin. +* "\ofsdeclarefamily [] {}"\inl[ofsdeclarefamily] + --- deklarace nov + rodiny se jmnem . Toto jmno se zanese do seznamu + znmch rodin vypisovanch pomoc "\showfonts". Pokud se tato rodina + pouije pi "\setfonts", pak se provedou . Mezi se + pouije prv jeden pkaz "\loadtextfam", kter zavede fonty dan + rodiny do pamti \TeX{}u. +* "\loadtextfam"\inl[loadtextfam] + --- Zavede tyi fonty s~danmi metrikami. Tento pkaz vyaduje + podrobnj vysvtlen, kter je vetn parametr pkazu uvedeno ne. +* "\newvariant \ () ;;"\inl[newvariant] + \null\penalty0 --- Dekla\-ruje nov pepna varianty. + Podrobnj vysvtlen je uvedeno ne. +* "\modifyenc :;"\inl[modifyenc] --- pidn + vjimek vzhledem k~zkladnmu kdovn, viz~\beglink{3.5}sekce~3.5\endlink. +* "\fosize"\inl[fosize] + --- makro, kter uchovv informaci o~aktuln velikosti + font v~naposledy vybran rodin. Obsah "\fosize" me mt dv + podoby: "at" nebo "scaled" podle toho, jak tvar + parametru byl pouit v~pkazu "\setfonts". +* "\fotenc"\inl[fotenc] + --- makro, kter uchovv informaci o~aktulnm kdovn. + Nejastj monosti jsou "\def\fotenc{8z}" (kdovn podle CS-font) nebo + "\def\fotenc{8t}" (kdovn podle Corku). Je-li pi naten souboru + "ofs.tex" makro "\fotenc" u znm, ponech se beze zmny, jinak se + definuje jako "8z". +* "\extranec"\inl[extraenc] + --- makro, kter uchovv informaci o~roziujcm kdovn. + Tuto informaci tam kopruje z~parametru makro "\laodatextfam". +* "\defaultextraenc"\inl[defaultextraenc] + --- makro, jeho pedefinovnm meme zmnit roziujc kdovn zkladnch + rodin a rodin z~"a35.tex". Vchoz hodnota makra~"8c". +* "\setfontshook"\inl[setfontshook] + --- makro, kter se spust vdy pi innosti pkazu "\setfonts" + tsn ped tm, ne jsou vykonny z~"\ofsdeclarefamily". +* "\registertfm - "\inl[registertfm] + --- umouje pracovat pi rznch velikostech font s~rznmi + metrikami. Podrobnosti viz \beglink{3.8}sekce~3.8\endlink. +* "\registerenc : "\inl[registerenc] + --- umouje omezit pouit rodiny font jen pro vymezen + kdovn. Podrobnosti viz \beglink{3.9}sekce~3.9\endlink. +\enditems + +Pkaz "\loadtextfam" pouvan v deklaranch +souborech mezi makra "\ofsdeclarefamily" m parametry: + +\begtt +\loadtextfam () ;% + () ;% + () ;% + () ;;% +\endtt +% +Procenta na koncch dk v tto ukzce oznauj, e za stednky nem +bt mezera. +daje "()" slou jako komente o variantch zapisovan do +logu a je mono je kompletn vetn zvorek a vynechat (teba jen +nkter). Ve verzch OFS do Sep~2002 nebyl tento parametr vbec +podporovn. Pi vynechn tohoto parametru se pedpokldaj +nsledujc implicitn hodnoty: "rm: ()", "bf: (Bold)", +"it: (Italic)", "bi: (BoldItalic)". + +daje odpovdaj nzvm metrik, kter se pro uveden +varianty font makrem "\loadtextfam" zavedou. Makro zhruba provede toto: + +\begtt +\font\tenrm= \fosize +\font\tenbf= \fosize +\font\tenit= \fosize +\font\tenbi= \fosize +\endtt +% +Pedpokld se, e vechny jsou +v~deklaranm souboru napsny tak, e +obsahuj makro "\fotenc". %\inl[fotenc] +Tm je zaruena zmna nzvu metriky pi +pechodu na jin kdovn (tj. pi pedefinovn makra "\fotenc"). + +Konen daj udv nzev extra kdovn. Pokud je tento parametr +neprzdn, pak "\loadtextfam" provede na pechodnou dobu +"\def\fotenc{}" a znovu expanduje +parametry , , a . +Vsledky tchto expanz si poznamen do pamti. Jedn se o~roziujc +metriky k~zkladnm metrikm. Je-li parametr przdn, +poznmka o roziujcch metrikch se nekon. +Kdy pak njak makro pro pstup ke specilnmu znaku tuto +metriku potebuje, objev se na terminlu varovn, e aktuln +zvolen metrika nem roziujc variantu. + +Nkter metriky v~pkazu "\loadtextfam" s vjimkou +mohou bt vynechny. Je-li napklad przdn parametr +, pak se zhruba provede +\begtt +\def\tenXX{\message{varovn o neexistujc variant na terminlu}} +\endtt +% +take pi pechodu na takovou variantu se objev na terminlu +a v~logu hlen o~ne\-existujc variant a font se nezmn. + +Pkaz "\setfonts"\inl[setfonts] +nemn vznam maker "\rm", "\bf", "\it" a "\bi", +ale mn vznam pepna font "\tenrm", "\tenbf", "\tenit" a "\tenbi". +Dl to navc zprostedkovan tm, e spust deklarovan pro +poadovanou rodinu v~"\ofsdeclarefamily" a mezi tmito +se vyskytuje pkaz "\loadtextfam". + +Makra "\rm", "\bf", "\it", resp. "\bi" pouvaj fontov pepnae +"\tenrm", "\tenbf", "\tenit",\inll[tenrm \back tenbf \back tenit] +resp. "\tenbi". Prvn ti jsou znmy z~plainu +a tvrt\inl[tenbi] je zaveden nov. +Navc makra "\rm", "\bf", "\it" a "\bi" ukldaj +do kontroln sekvence "\currentvariant"\inl[currentvariant] +informaci o~naposledy aktivovan variant. Tato informace m podobu +psmene ("M", "F", "T", resp. "I"), protoe jedin konstrukce +"\let\currentvariant=" je odoln vi expanzi. lo o~to, aby +makra pepna variant byla robustn i bez pedefinovn "\shipout". + +Vimneme si, e "\loadtextfam" nastavuje pepnae +"\tenrm", "\tenbf", "\tenit" a "\tenbi" +na fonty v~libovoln velikosti. in tak podle aktuln +hodnoty makra "\fosize", kter mn makro "\setfonts" podle toho, jak +je zadn parametr . +Slovo {\clqq"ten"\crqq} v~nzvech fontovch pepna tedy +nemus znamenat, e se jedn o~font ve velikosti 10\,pt. Povaujme +tyto nzvy za historick a z~hlediska OFS mon trochu +kurizn. Nen pitom nutn pro pepnae textovch font vymlet +nzvy nov. + +Nkdo me namtnout, e opakovan pouvn makra "\setfonts" vdy +znovu a znovu spout tveici pkaz "\font", co me zpsobit +vt nroky na pam a as. Nen to pravda, protoe \TeX{} si eviduje +intern tabulku u zavedench metrik a pi opakovanm pouit +primitivu "\font" na stejnou metriku se u neobtuje metriku vbec +otevrat. Jen inicializuje pslun fontov pepna asi stejn rychle, +jako by se to provedlo pomoc "\let". + +Pkaz "\loadtextfam" jet ped zavedenm font nate +pi "\loadingenc>0"\inl[loadingenc] +soubor "ofs-\fotenc.tex". Pi neprzdnm parametru +navc nate soubor "ofs-.tex". +Tyto soubory jsou teny jen jednou a v dob ten jsou +ignorovny przdn dky, konce dk. ten probh uvnit +skupiny, kde jsou pro jistotu lokln nastaveny +kategorie znak podle plain\TeX{}u (a~"\catcode`@=11") +a je nastaveno "\globaldefs=1", tj.~vechna +pedefinovn ze souboru "ofs-.tex" se provedou globln. +To nm nevad, protoe nov naten kdovac soubory nejsou v~konfliktu +s~pedchozmi (viz vlastnosti pkaz "\characterdef" a "\accentdef" +v~\beglink{3.4}sekci~3.4\endlink). Naten vtho mnostv tchto +soubor ne je v~dan chvli poteba, rovn neohroz funkcionalitu +maker zvislch na kdovn. Dvod globln definice je v~tom, e +nen vhodn, aby pi opakovanm "{...\setfonts...}" musel bt +kdovac soubor natn neustle znovu a znovu. + +Pokud uivateli vad, e je pedefinovn maker globln +(chce napklad svj lnek zaadit do sbornku, kde by +pedefinovn mohlo vadit jinm lnkm), pak ponech "\loadingenc=0" a +mus nast soubory s~deklaracemi maker manuln pomoc +"\input" na zatku lnku. V~takovm ppad se provede +deklarace jen lokln. + +V~parametru makra "\ofsdeclarefamily" se me deklarovat +nadstandardn varianta rodiny pomoc pkazu "\newvariant".\inl[newvariant] +Tento pkaz provede: + +\begtt +\font\ten= \fosize +\def \ {\let\currentvariant= \ten} +\endtt +% +Dle pkaz "\newvariant" zanese do pamti informaci o~ppadn +roziujc metrice podle . + +Pokud OFS potebuje dodret pi pechodu na novou rodinu naposledy +zvolenou nadstandardn variantu, in tak podle hodnoty +"\currentvariant". Pokud tedy nov rodina m deklarovnu +nadstandardn variantu pod stejnnou , bude pouita tato +varianta a OFS nebude pepnat do defaultn varianty "\rm". +Je proto vhodn deklarovat varianty rznch rodin ale +\uv{stejnho typu} pod stejnou . +Z principu vci vidme, e v~OFS existuje omezen v~potu +nadstandardnch variant jedn rodiny na maximln 10. +To by nemlo vadit, protoe kdykoli meme rozdlit rozshlou +rodinu na vce rodin (napklad tormovy rodiny DynamoGrotesk). + +Makro "\setfonts" me mnit vznam maker "\loadtextfam" a +"\newvariant". Udl to prv tehdy, kdy je v parametru +specifikovan varianta. V takovm ppad sta zavst jeden font a +nen poteba zavdt celou rodinu. Pi specifikaci standardn varianty +"\newvariant" nebude dlat nic a "\loadtextfam" zavede jedin font. +Pi specifikaci nadstandardn varianty "\loadtextfam" nebude dlat nic +a "\newvariant" zavede font jen tehdy, pokud se jedn o font +specifikovan varianty. + +Na zvr tto sekce si podrobnji vysvtlme innost +pkazu "\setfonts".\inl[setfonts] +Tento pkaz \uv{vypot} a definuje podle parametru hodnotu +makra "\fosize". Dle pi neprzdnm pamaretru a pi +neuveden varianty tento pkaz provede +"\def\currentfamily{}"\inl[currentfamily], +zatmco pi przdnm parametru +hod\-notu z~"\currentfamily" pouze pouije. +Je-li v~parametrech uvedena varianta +rodiny, pozmn "\setfonts" na pechodnou dobu makra "\loadtextfam" a +"\newvariant" tak, aby msto +cel rodiny font byl zaveden jen jeden font. Dle spust +"\setfontshook" a pak z~odpovdajcho "\ofsdeclarefamily". +Potom vrt hodnoty maker +"\loadtextfam" a "\newvariant" do pvodnho stavu, pokud byly +tyto hodnoty mnny. Nakonec spust makro +"\runmodifylist"\inl[runmodifylist], kter nastav za jistch okolnost +vjimky ze zvolenho kdovn (podrobnji viz~\beglink{3.5}sekci~3.5\endlink). +Konen pkaz "\setfonts" spust "\ignorespaces", aby ppadn +zapomenut mezera za zvorkou~\clqq"]"\crqq nebyla v~horizonlnm mdu +vytitna. + + +\subsec Kdovn font a deklarace znak +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\PLAIN: Pro pepnn do roziujc metriky slou makro +"\setextrafont"\inl[setextrafont]. +Toto makro se podv, zda k~aktulnmu fontu existuje v~pamti poznmka +o~roziujc metrice (viz pkaz "\loadtextfam" a "\newvariant" +\beglink{3.3}v~pedchoz sekci\endlink). +Pokud takov poznmka existuje, pkaz "\setextrafont" provede zhruba toto: + +\begtt +\font\extrafont= \extrafont@inl[extrafont] +\endtt + +\LATEX: Pro pepnn do roziujcho kdovn, kter je deklarovno +pkazem "\OFSextraencoding", slou (stejn jako v plainu) +makro "\setextrafont". Toto makro se podv, zda bylo +roziujc kdovn deklarovno, a pokud ano, provede zhruba toto: + +\begtt +\fontencoding{}\selectfont +\endtt + +\OBA: Chceme-li vytisknout z~roziujc metriky (roziujcho +kdovn) njak znak s~kdem , je mon pout +makro "\extchar "\inl[extchar]. + +\PLAIN (a do konce sekce): +Pro definice maker zvislch na aktulnm kdovn +je mon v~OFS pout dva deklaran pkazy: +"\characterdef" a "\accentdef". Prvn z~nich\inl[characterdef] +m tyto parametry: + +\begtt +\characterdef \ +% pklad: +\characterdef \promile 8z 141 +% nebo +\characterdef \ {} +% pklad: +\characterdef \promile 8t {\%\char24 } +\characterdef \promile * {\vrule height1ex width1ex\relax} + % in another encodings +\endtt + +V~prvnm ppad se bude "\" pi aktulnm kdovn font +shodnm s~ expandovat na token kategorie 12 s~kdem +rovnm . V~druhm ppad "\" expanduje pi +shodnosti na . Ve probhne na rovni +expand procesoru. Pokud pouijeme oba ve zmnn pklady +pro definici "\promile", pak plat: + +\begtt +\def\fotenc{8z} \promile % expanduje na znak s kdem 141 +\def\fotenc{8t} \promile % expanduje na pkazy \%\char24 +\endtt + +Mimoto je mon deklarovat pstup k~rozenmu kdovn, pokud je +toto kdovn specifikovno jako parametr v~pkazu +"\loadtextfam". Pklad: + +\begtt +\characterdef \euro 8z 134 +\characterdef \euro 6s 37 + +\def\fotenc{8z} \euro % expanduje na znak s kdem 134 +\def\fotenc{8t} \euro % expanduje na: {\setextrafont znak s kdem 37} +\endtt + +V~tomto pklad se pi "\def\fotenc{8t}" me stt, e aktuln font +nem poznmku o~roziujc metrice, nebo m poznmku o~roziujc +metrice jin ne "6s". Pak "\euro" vype varovn na terminl +o~nedostupnosti znaku "\euro". + +Vysvtlme nyn podrobnji, jak makra deklarovan pomoc +"\characterdef" funguj. Pkaz "\characterdef" +definuje "\" +jako "\printcharacter{}"\inl[printcharacter], +take napklad "\promile" expanduje nejprve na "\printcharacter{promile}". +a "\euro" na "\printcharacter{euro}". +Pokud se "\characterdef" pouije opakovan na stejnou "\", +pak se vdy znovu definuje stejn, take nedochz ke ztrt pedchoz +informace. Krom toho ale "\characterdef" definuje dal makro +"\:-" tak, e toto makro expanduje na znak se +specifikovanm kdem nebo na . Dal inteligence je schovna +v~pkazu "\printcharacter". Ten ov, zda je definovno makro +"\:-\fotenc". Pokud ano, expanduje na obsah tohoto makra. +Jinak ov, zda existuje poznmka o~roziujc metrice vztaen +k~aktulnmu fontu. Pokud ano, zjist kdovn tto roziujc +metriky a podv se, zda je definovno makro +"\:-". Pokud ano, expanduje na + +\begtt +{\setextrafont \:-} +\endtt +% +Pokud se stle nepodailo realizovat poadovan znak, +pokus se vytisknout defaultn znak nezvisl na kdovn +"\:-*". Pokud ani to nen mon, +spust se "\printcharacterwarn{}".\inl[printcharacterwarn] +Implicitn hodnota tohoto makra vype varovn +o~nedostupnm znaku na terminl a do logu a do vstupu +nevytiskne nic. + +Chceme-li se vyhnout vpisu varovn, meme "\printcharacterwarn" +pedefinovat, teba takto: + +\begtt +\def\printcharacterwarn #1{?(#1)?} +\endtt + +Od verze OFS Mar. 2004 "\characterdef" odmt pedefinovat u +definovan kontroln sekvence. Definuje pouze sekvence, kter maj +zatm vznam "\undefined" nebo "\relax". V jinm ppad (a pokud nen +sekvence u pomoc "\characterdef" definovna) vype +varovn o ignorovan definici do log souboru. Dvod tohoto opaten +je ten, e kdovac soubory deklaruj obrovsk mnostv novch +kontrolnch sekvenc pomoc "\characterdef", a pitom programtor +maker nemus vechny znt. Me se tedy stt, e pouije pro sv vlastn makro +stejn jmno. V takovm ppad "\characterdef" respektuje makro +definovan programtorem a pslun znak ponech nepstupn. +Pokud potebujeme pomoc "\characterdef" skuten nkter +kontroln sekvence pedefinovat (u~maker zvislch na kdovn z~plainu to je +nutn), pak musme ped pouitm "\characterdef" napsat +"\let\=\relax". + +Ze~stejnch dvod bylo do OFS pidno makro "\safelet"\inl[safelet], +kter se chov jako "\let", ale odmt pedefinovat u definovan +kontroln sekvence. Msto toho pouze vype varovn, definovan +v~makru "\safeletwarn"\inl[safeletwarn]. + +Krom deklarace znak pomoc "\characterdef" je k~dispozici monost +deklarace akcentovch pkaz prostednictvm +"\accentdef"\inl[accentdef], kter m +tyto parametry: + +\begtt +\accentdef \ +% Pklad: +\accentdef \v E 8z 204 % Ecaron +% nebo +\accentdef \ {} +% Pklad: +\accentdef \v * 8z {\accent20 } % default caron in 8z +\accentdef \v * * {\blackbox } % default caron +\endtt + +Pokud je aktuln kdovn font toton s~, pak "\" +nsledovan znakem expanduje na token kategorie 12 s~kdem +, respektive expanduje na . To ve se dje jen na +rovni expand procesoru. Pokud je pi deklaraci +pomoc "\accentdef" jako uvedena hvzdika, pak se deklarovan + nebo kd pouije vdy, kdy znak nsledujc +"\" nen nikde prostednictvm "\accentdef" +deklarovn. Jedn se tedy o~defaultn realizaci akcentu, pokud ve +fontu neexistuje pmo akcentovan znak. + +Krom toho maj akcenty deklarovan pomoc "\accentdef" stejnou +inteligenci tkajc se monosti vyuit roziujc metriky, jako +znaky deklarovan v~"\characterdef". + +Vysvtlme si nyn podrobnji, jak akcenty deklarovan pomoc +"\accentdef" funguj. Pkaz "\accentdef" +definuje "\" jako makro s~jednm neseparovanm parametrem +"#1", kter v~prvn ad expanduje +na "\printaccent{}{#1}"\inl[printaccent], +take napklad "\v E" expanduje na "\printaccent{v}{E}". Dle +"\accentdef" definuje makro "\::-" jako znak +s~danm kdem nebo jako . Dal prci udl +pkaz "\printaccent". Tento pkaz zjist, zda je definovno makro +"\::-\fotenc". Pokud ano, expanduje na toto makro. +Pokud ne, tak si ov, zda je k~aktulnmu fontu poznamenna +roziujc metrika a zjist jej kdovn . Jestlie je +definovno makro "\::-", pak se expanduje na +"{\setextrafont \::-}". Pokud zatm ve +selhalo, zkus "\printaccent" postupn zjistit, zda jsou definovna +makra "\:*:-\fotenc" a "\:*:-". Pokud je +definovno prvn z~nich, expanduje a pipoj na konec expanze . +Pokud je definovno jen druh z~nich, expanduje na + +\begtt +{\setextrafont \:*:- } +\endtt +% +kde oznauje pepna do aktulnho fontu. Jestlie +dosud ve selhalo, pokus se jet o~realizaci akcentu nezvislho na +kdovn, tj.~pokus se tisknout "\::-*" nebo konen +"\:*:-* ". Teprve kdy i toto selhalo, +spust se "\printaccentwarn{}{}".\inl[printaccentwarn] +Implicitn hodnota tohoto makra vype se na terminl a do +logu varovn o~nedostupnosti akcentovanho znaku a do vstupu +nevytiskne nic. + +Je teba si uvdomit, e pechod ke znaku v~roziujc metrice uvnit +slova znamen ztrtu vyrovnvacho kernu kolem tohoto znaku a +nemonost pout na takov slovo vzory dlen slov. Proto doporuujeme +pout zkladn metriku kdovanou tak, aby pechod na roziujc +metriku byl jen vjimen. Pro esk a slovensk jazyk jsou v~tomto smyslu +vhodn kdovn "8z" i "8t", protoe ob zahrnuj kompletn eskou a +slovenskou abecedu. + +Chceme-li odstranit u deklarovan znak\inl[characterdel] +(viz t tzv.~ v~nsledujc sekci), meme pout pkazy +"\characterdel" a "\accentdel".\inl[accentdel] +Tyto pkazy maj stejn parametry +jako "\characterdef" resp. "\accentdef" a odstran definici pkazu +"\:-" resp. "\::-". + +%Na zvr tto sekce uvedeme pklad definice inteligentnho +%"\Uppercase": +% +%\begtt +%\def\Uppercase #1{\bgroup +% \let\expandaction=\noexpand % \euro zstane po expanzi bez zmny +% % \u{g} taky zstane beze zmny +% \def\ss{SS}\def\l{\L}\def\o{\O}\def\ae{\AE}\def\oe{\OE}% +% \edef\tmp{#1}\expandafter +% \egroup \expandafter\uppercase\expandafter{\tmp}% +%} % \uppercase promn \u{g} na \u{G}. O to lo. +%\endtt + + +\subsec \PLAIN: Soubory maker zvislch na kdovn a vjimky z~kdovn +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Pkazy "\characterdef" a "\accentdef" popsan v~pedchoz sekci +pedefinovvaj makra zvisl na kdovn ("\v", "\ae", atd.). V~tto +sekci popeme koncepci, kam tato makra zapisovat, aby OFS pi +"\loadingenc=1" udrovalo konzistentn definice tchto maker +v~zvislosti na zvolenm kdovn a na mnoin vjimek +pouit rodiny font. + +Deklarace maker pomoc "\characterdef" a "\accentdef" +se zapisuj do soubor s~nzvem "ofs-.tex" (tzv.~{\it +kdovacch soubor\/}), +protoe pkaz "\loadtextfam" (volan z~makra "\setfonts") +tyto deklarace pi nastavenm "\loadingenc=1"\inl[loadingenc] odtud te. + +Kad kdovn m svou zkladn sadu znak a akcentovanch psmen. +Tato sada je v~kdovacm souboru zanesena pomoc pkaz +"\characterdef" a "\accentdef". Vzhledem k tto zkladn sad mohou +jednotliv rodiny font obsahovat njak znaky navc nebo naopak njak +znaky mohou chybt. Tyto vjimky se deklaruj +pomoc pkazu "\modifydef"\inl[modifydef] takto: + +\begtt +\modifydef :; {} +\endtt +% +Pitom obsahuj pkazy "\characterdef", "\accentdef", +"\characterdel" a "\accentdel". Pkazy "\*del" musej obsahovat +v~argumentu hodnotu znaku podle zkladn sady danho kdovn. +Pokud m bt njak znak vzhledem k zkladn sad pedefinovn, musej +pkazy "\*del" a "\*def" k tomuto znaku nsledovat tsn za sebou. + +V parametru pkazu "\ofsdeclarefamily" meme pomoc \uv{odkazu na +} pkazem "\modifyenc"\inl[modifyenc] +vyznait, e dan rodina obsahuje vzhledem k~zkladn sad kdovn +odpovdajc . Pkaz m tvar: + +\begtt +\modifyenc :;% +\endtt +% +Takovch pkaz me bt pro kadou rodinu font uvedeno vce +(a samozejm tyto pkazy mohou obsahovat rzn ). +Odkazuje-li tento pkaz na , kter jet +nebyly deklarovny, neprovede se nic. + +Pklad deklarace vjimek kdovn "8z:csfonts" najdete v~souboru +"ofs-8z.tex" a odkazy na n pak najdete u~rodin "CM*" +v~souboru "ofsdef.tex". + +Pkazy "\modifyenc" jsou sputny pi kadm "\setfonts". Ve +skutenosti tyto pkazy pouze ukdaj do tzv.~{\it seznamu odkaz} +(do makra "\newmodifylist"\inl[newmodifylist]) +sv parametry. Pi startu "\setfonts" se zakld przdn seznam odkaz. +"\modifyenc" ukld do tohoto seznamu svj parametr jen tehdy, pokud + je rovno "\fotenc" nebo "\extraenc". Vlastn prci +(nastaven vjimek) provede a pkaz "\runmodifylist", kter je sputn +na konci "\setfonts" a jeho innost si nyn podrobn popeme. + +Makro "\runmodifylist"\inl[runmodifylist] porovn seznam +odkaz na vjimky pedchoz rodiny ("\modifylist"\inl[modifylist]) +se seznamem odkaz nov nastaven rodiny ("\newmodifylist"). Pokud jsou oba seznamy +stejn nebo "\modifylist" m vznam "\relax", pak "\runmodifylist" +ukon innost. Jinak se pust do nastaven vjimek. Nejprve prohod vznamy +"\characterdef"$\leftrightarrow$"\characterdel" a +"\accentdef"$\leftrightarrow$"\accentdel" a spust "\modifylist" +Jinmi slovy vrt stav maker vzanch na +kdovn do vchozho stavu. Pi tto innosti je ignorovno mazn +znaku, pokud tsn ped tm byl znak deklarovn (viz pravidlo +o~pedefinovn znaku na zatku tto sekce). Pak pkaz "\runmodifylist" +vrt "\characterdef" a "\accentdef" do pvodnho stavu a spust +"\newmodifylist". Veker pedefinovn, kter se pi tto innosti provdj, +jsou jen lokln. Mechanismus dvou seznam odkaz zaruuje, +e napklad pi + +\begtt +\setfonts [Rodina1/] ... \setfonts [Rodina2/] ... +\endtt +% +budou sprvn nastaveny vjimky aktulnho kdovn i pro +Rodinu2, akoli Rodina1 m jinou mnoinu vjimek ne +Rodina2. + +Kontroln sekvence "\modifylist" m po inicializaci OFS vznam +przdnho makra. Programtor maker me pout +"\let\modifylist=\relax" a tm potla veker nastavovn vjimek. + +Poznamenejme jet, e deklaran pkazy "\modifydef" nejene ukldaj + do pamti, ale projdou tak +jejich obsah a definuj vechny zde deklarovan sekvence jako odpovdajc +"\printcharacter" resp. "\printaccent". Tm mme zarueno, e kad +kontroln sekvence ze vech vjimek je definovna (nedojde ke zprv +{\tt undefined control sequence}) a navc OFS m +dokonal pehled o tom, zda je v~aktuln rodin tato kontroln +sekvence pouiteln nebo nikoli. Tvrce maker si pak me podle +poteby pedefinovat makra "\print*warn". + +Pkaz "\modifydef" prochz tak, e na pechodnou dobu +pozmn pkazy "\accentdef", "\accentdel", atd. a spust. +Pokud nechceme, aby se makra ve spoutla u v~dob +innosti "\modifydef", uvedeme ped tato makra sekvenci +"\skipfirststep".\inl[skipfirststep] +Ta se chov jako "\relax", ale pi spoutn + pkazem "\modifydef" zpsob, e ve za touto sekvenc a +do konce bude peskoeno. + +Identifiktory ":lccodes" a ":ienc" jsou rezervovny +pro pouit mimo OFS v~dalch makrech. OFS napklad vbec nee nastaven +"\lccode", "\uccode" znak podle pouitho kdovn. Makro, kter +se o toto star, me vhodn definovat pkazy "\lccodes"\inl[lccodes] +a "\lccodesloop" +a spust "\csname :lccodes\endcsname". OFS uveden pkazy +vbec nedefinuje.\inl[lccodesloop] +Deklarace ":lccodes" jsou uvedeny +v~souborech "ofs-8t.tex" a "ofs-8z.tex" akoli nejsou v OFS vyuity, +protoe to souvis s~kdovnm textovch font. Pklad pouit +":lccodes" je v makru "lang.tex" a makro "inec.tex" +pouv ":ienc". V dokumentaci~k tmto makrm je +eeno vce. + +Deklarace nejastji pouvanch vjimek se zapisuj pmo do +kdovacch soubor. Deklarace mn obvyklch vjimek (vztahujcch se +jen na urit rodiny font) meme pst za "\endinput" deklaranch +soubor. Mezi makra "\ofsdeclarefamily" pak +pouijeme pkaz\inl[modifyread] + +\begtt +\modifyread ;% +\endtt +% +Tento pkaz pi kladnm "\loadingenc" nate dan soubor +od vskytu sekvence "\modifytext"\inl[modifytext]. +Tuto sekvenci je vhodn umstit za "\endinput", aby "\modifyread" +peetl tu st souboru, kter zatm nebyla tena. +Piazen je v dob ten globln a ignoruj se konce +dk a przdn dky. Opakovan se soubor nenat. + +Dky tomuto pkazu meme soustedit deklarace rodin font a +deklarace vjimek z~kdovn do spolenho souboru. Vjimky +\TeX{} pete a v dob, kdy to potebuje. et se tm pam \TeX{}u. +Pklad pouit je v~souboru "slido.tex". + +OFS nabz tak testovac +makro, zda kontroln sekvence odpovd znaku, kter je ve fontu +pstupn i nikoli:\inl[knownchar] + +\begtt +\knownchar ? \iftrue znak je pstupn + \else znak je nepstupn nebo nedefinovan \fi +% pklad: +\def\tryeuro{\knownchar \euro? \iftrue \euro \else Euro\fi} +\endtt + + +\subsec Pomocn makra pro akcenty a znaky +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Pro pohodln deklarovn defaultnch akcent jsou v~OFS\inl[accentabove] +pipravena dv makra: "\accentabove" a "\accentbelow", +kter se pouvaj takto:\inl[accentbelow] + +\begtt +\accentabove {}{}{} +\accentbelow {}{}{} +\endtt + +Pkaz "\accentabove" resp. "\accentbelow" pisad + nad resp. pod , piem mezi tmito +znaky bude . Oba znaky budou na spolen vertikln +ose a pi sklonnm psmu na spolen sklonn ose. ka vslednho +sloenho znaku je odvozena od ky zkladnho znaku. Makra jsou +implementovna jako "\vbox" resp. "\vtop" spolen s~"\halign" a +s~vpotem usazen na ppadn sklonn ose. + +Znaky pro akcent nahoe jsou ve fontech vesms kresleny ve vce +odpovdajc zkladnmu znaku o~vce 1\,ex. Proto usazen +takovho akcentu vyaduje kompenzaci: + +\begtt +\accentabove {}{-1ex}{} +\endtt + +V~tomto ppad se akcent umst naprosto stejn, jako pi pouit +primitivu "\accent". Na rozdl od tohoto primitivu ale makra +"\accentabove" a "\accentbelow" umonuj vzjemn skldn, +m meme doshnout nkolikansobnho akcentu. Vyzkouejte: + +\begtt +\it \accentabove {.}{.1ex}{\accentabove {,}{.1ex}{\v A}} +\endtt + +\PLAIN: +Bohuel, makra deklarovan pomoc "\accentdef" nejsou uzpsobena na +vce ne dvoj akcent. Navc dvoj akcent je mon jen +v~tom ppad, e se vnitn akcent +se zkladnm znakem realizuje jako jedin znak. Pokud potebujeme +vcensobn akcent, meme vdy pout pmo v~textu makro +"\accentabove" nebo "\accentbelow". + +\PLAIN: +Od verze OFS Feb. 2004 je k dispozici makro +"\ofshexbox"\inl[ofshexbox], kter pracuje podobn jako +plainov "\mathhexbox", ale navc dovede nastavit font podle +aktuln varianty. Nejprve pomoc pkazu +"\ofshexboxdef"\inl[ofshexboxdef] nastavme \uv{rodinu} ty metrik: + +\begtt +\ofshexboxdef {}{}{}{} +\ofshexboxdef 2 {cmsy}{cmbsy10}{cmsy}{cmbsy10} % napklad takto +\endtt +% +Pak pkaz "\ofshexbox " vytiskne znak s~ +z jednoho ze ty deklarovanch font a v aktuln velikosti "\fosize" +Volba fontu zvis na aktuln variant. Pokud je varianta jin ne +"\bf", "\it", "\bi", pouije se . OFS implicitn deklaruje +jen = 2, protoe plain pouv jen "\mathhexbox2..". +Clem tohoto makra bylo definovat pro CMfonty/CSfonty znaky +"\S", "\dag", "\ddag", "\P" zpsobem, kter je nezvisl na aktulnm +nastaven matematickch font, ale je zvisl na aktuln velikosti a +variant. Viz soubor "ofs-8z.tex". + +Pomoc "\ofshexbox" meme snadno definovat napklad symbol +"\euro" pro vechna kdovn font, ve kterch je tento +symbol neptupn: + +\begtt +\ofshexboxdef {TS1}{tcrm1000}{tcbx1000}{tcti1000}{tcbi1000} +\characterdef \euro * {\ofshexbox{TS1}BF} +\endtt + + +\subsec \PLAIN: Fonty v~matematice podruh +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Nastal as podrobnji vysvtlit innost pkazu "\setmath"\inl[setmath]. +Ten pevezme parametry a vypot z~nich +zkladn\inl[textfosize], +indexovou a index-indexovou velikost font. Vsledky ulo do maker +"\textfosize"\inl[scriptfosize], +"\scriptfosize" a "\scriptscriptfosize". V~nich jsou +daje o~velikosti uloeny ve tvaru +"at" nebo "scaled"\inl[scriptscriptfosize] +podobn jako v~makru "\fosize". Pak pkaz "\setmath" spust makro +"\mathfonts"\inl[mathfonts]. +V~nm se pedpokld zaveden a nastaven +matematickch font. +Pokud je "\setmath" sputno poprv nebo pokud dolo ke zmn +hodnoty "\fomenc", tak "\setmath" jet spust +makro "\mathchars"\inl[mathchars]. +Tam se obvykle nastavuj kdy matematickch znak pomoc +"\mathcode", "\mathchardef" a pbuznch primitiv. +Makra "\mathfonts" a "\mathchars" maj sice v~OFS svou +implicitn hodnotu, ale zkuen uivatel je me podle sv +poteby mnit. + +Pro pohodln zavdn a nastavovn matematickch font je pipraveno +makro "\loadmathfam"\inl[loadmathfam], +kter se pouv v~definici makra "\mathfonts". +Makro "\loadmathfam" m tyto monosti parametr: + +\begtt +%% % font je deklarovn: +\loadmathfam [/] % metrikou +\loadmathfam [-/] % variantou aktuln rodiny +\loadmathfam [/] % pepnaem textovho fontu +\loadmathfam [X/] % roziujc metrikou pepnae +\endtt +% +Pklady: + +\begtt +\loadmathfam 0[tenrm/]% metrika podle pepnae \tenrm +\loadmathfam 5[-bi/]% metrika z akuln textov rodiny, varianta bi +\newmathfam \symbfam +\loadmathfam \symbfam [/psyr]% metrika psyr +\newmathfam \extitfam +\loadmathfam \extitfam [Xtenit/]% roziujc metrika k pepnai tenit +\endtt +% +V~pklad jsou do rodiny 0 zavedeny fonty stejn, jako v~aktulnm +textovm fontu "\tenrm". V~rodin 5 jsou zavedeny fonty +jako pi~"\setfonts [-bi/]". +Dle je deklarovna nov rodina "\symbfam", +do kter jsou zavedeny fonty z~metriky "psyr". + +Existuje nepatrn rozdl nap.~mezi pouitm pkazu "\loadmathfam 5[tenbi/]" +a "\loadmathfam 5[-bi/]". V~prvnm ppad OFS zjist metriku +k~pepnai "\tenbi" a tuto metriku pouije ve vech velikostech +stejnou pouze modifikovanou klovm slovem "at". +Ve druhm ppad se me pro rzn velikosti pout rzn metrika, +pokud je tato vlastnost pro danou variantu fontu +deklarovna (viz~\beglink{3.8}sekce~3.8\endlink). + +Pro deklaraci nov +rodiny se v pkladu pouila alternativa k~"\newfam" s~nzvem +"\newmathfam"\inl[newmathfam], +protoe makro "\newfam" z~plainu je definovno jako "\outer" +a nelze je tedy pout uvnit definice. Navc makro +"\newmathfam" pracuje lokln a tud et vce msta pro uivatelsk +rodiny ne plainovsk "\newfam". +V~deklaracch zkladnch matematickch kdovn se nov matematick +rodiny definuj pmo pomoc "\chardef" a je tam pomoc pkazu +"\lastfam="\inl[lastfam] +nastavena maximln pouit hodonta. To zaru, e uivatel me +pozdji pout "\newmathfam" a zane alokovat dal +rodiny s~sly tsn vtmi ne "\lastfam". + +Popeme nyn princip innosti makra "\loadmathfam". Toto makro +zjist metriku, kter odpovd zadanmu parametru. +Pak provede tikrt primitiv "\font" zhruba takto: + +\begtt +\font \-Mt = \textfosize +\font \-Ms = \scriptfosize +\font \-Mss = \scriptscriptfosize +\textfont = \-Mt +\scriptfont = \-Ms +\scriptscriptfont = \-Mss +\endtt +% +Pitom je text parametru "\loadmathfam", kter deklaruje +metriku (pepna, varianta nebo metrika). + +Fonty matematick rodiny~3 jsou v~plain\TeX{}u obvykle zavedeny bez +zmenovn pro indexy a indexy index. Pokud poadujeme +pi zavdn matematick rodiny +nezmenovat fonty pro indexy, uvedeme tsn ped "\loadmathfam" +prefix "\noindexsize"\inl[noindexsize]. +Makro "\loadmathfam" pak zavede font jen ve velikosti "\textfosize" +a pouije ho i pro indexovou a indexindexovou velikost. +Pklad: + +\begtt +\noindexsize\loadmathfam 3[tenex/]% Standard extra symbols from CM +\endtt + +OFS definuje v~souboru "ofsdef.tex" pro zavdn matematickch font +tyi rzn makra. Ta se pouij podle toho, zda je "\fomenc" +nastaveno na "CM" nebo "PS" a "\mathversion" na "normal" nebo "bold". +Dle OFS definuje dv makra s~deklaracemi matematickch kd, +kter se pouij podle aktuln nastaven hodnoty "\fomenc". + +\begitems +* "\loadCMnormalmath"\inl[loadCMnormalmath] + --- zavede CM fonty ve verzi \uv{normal}. +* "\loadCMboldmath"\inl[loadCMboldmath] + --- zavede CM fonty ve verzi \uv{bold}. +* "\loadPSnormalmath"\inl[loadPSnormalmath] + --- zavede PostScriptov fonty ve verzi \uv{normal}. +* "\loadPSboldmath"\inl[loadPSboldmath] + --- zavede PostScriptov fonty ve verzi \uv{bold}. +* "\setCMmathchars"\inl[setCMmathchars] + --- ponech matematick kdy z~plainu. +* "\setPSmathchars"\inl[setPSmathchars] + --- nastav matematick kdy tak, aby se nahradily + nkter znaky z~fontu Symbol. +\enditems + +Dle je v~OFS implicitn nastaveno: + +\begtt +\ifx \fomenc\undefined \def\fomenc{PS}\fi +\def\mathversion{normal} +\def\defaultmathfonts{\csname load\fomenc\mathversion math\endcsname}@inl[defaultmathfonts] +\def\defaultmathchars{\csname set\fomenc mathchars\endcsname}@inl[defaultmathchars] +\def\mathfonts{\defaultmathfonts} +\def\mathchars{\defaultmathchars} +\endtt + +Je mon pidvat k~implicitn nastavenm matematickm fontm +dal matematick rodiny (v~terminologii NFSS matematick abecedy) +pozmnnm maker "\mathfonts" a ppadn "\mathchars". +Ne je pklad pidn fraktury z~Eulerovch font od AMS: + +\begtt +\input amsfn % tam je deklarovna metrika eufm a eufb +\addcmd\mathfonts{\def\tmpa{bold}% + \ifx\mathversion\tmpa \def\tmpa{b}\else\def\tmpa{b}\fi + \newmathfam\frakfam \loadmathfam\frakfam [/euf\tmpa]} +\def\frak#1{{\fam\frakfam#1}} +\endtt + +Dal pklady deklarac matematickch rodin +jsou uvedeny v~souborech "amsfn.tex", +"txfn.tex" a "mtfn.tex". Soubory definuj vchoz skupiny +matematickch font pro kdovn "AMS", "TX", "PX", "MT". +Na konci tchto soubor jsou komente vetn ukzek, jak +doplujc rodiny font je mono pomoc "\addcmd" zavst. + +Protoe chci umonit naten vech fontovch deklarac OFS +v~ini\TeX{}u (viz projekt Ok\TeX{}), ale pitom etit pokud +mono pamt \TeX{}u, rozhodl jsem se nenatat rozshl definice +obsahujc deklarace kdovn matematickch font pomoc +"\mathchardef" atd. okamit, ale a v dob, kdy to uivatel +v dokumentu skuten potebuje. +Proto jsem od verze OFS Apr. 2004 pedefinoval napklad makro +"\setPSmathchars" takto: + +\begtt +\def\setPSmathchars{\mathencread ofs-ps;} +\endtt +% +Pkaz "\mathencread ;"\inl[mathencread] +nate kdovac pkazy ze souboru +. Nap. v~souboru "ofs-ps.tex" jsou kdovac pkazy pro +kdovn "PS", v~"ofs-ams.tex" jsou kdovac pkazy pro kdovn +"AMS"~atd. + +V~souborech "ofs-ps.tex", "ofs-tx.tex" atd. +jsou kdovac pkazy \uv{baleny} do skupin a +definovny pkazem "\mathencdef"\inl[mathencdef]. Tento pkaz +pracuje implicitn jako \uv{definuj, spus a zapome}. Tento model +et pam, ale pi astch zmnch matematickho kdovn budou +kdovac soubory teny opakovan znovu. To vtinou nevad, protoe +vtinou bv pro cel dokument nastaveno jedin matematick kdovn. +Pokud ale tento model nkomu nevyhovuje, me si jako cvien zkusit +pedefinovat "\mathencread" a "\mathencdef" tak, aby se soubory etly +jen jednou a pi opakovanm sputn "\mathchars" se kdovac pkazy +etly ze zapamatovanch maker. + +Pkaz "\mathencread ;" zalo skupinu, ve kter pro jistotu +nastav kategorie vech znak podle plain\TeX{}u +(s~vjimkou "\catcode`@=11") a pete ".tex". +Pi ten je "\globaldefs=1" a ignoruj se konce dk a przdn dky. +Rovn je ignorovno makro "\protectreading", take soubor me bt +ten opakovan. Pkazy "\mathencdef" spust a zapomenou +nadefinovan makra a po uzaven skupiny, +take tato makra spout pkazy "\mathchardef" atd. u jen +s~loklnmi piazenmi. + +Vysvtlme, jak je zajitno obnovovn vchozch hodnot +pi pepnn mezi matematickmi kdovnmi. +Pkaz "\setmath" spout tsn ped "\mathchars" makro +"\mathcharsback"\inl[mathcharsback], aby uvedl matematick kdovn +do vchozho stavu podle plain\-\TeX{}u. +Toto makro m implicitn vznam +"\relax", protoe implicitn je matematick kdovn +podle plain\TeX{}u nastaveno. +Mn-li ale pkaz "\setmathchars" hodnoty nastaven +v~plain\TeX{}u, ml by tak definovat makro +"\mathcharsback", do kterho ulo postup, jak +vrtit nastaven do pvodnho stavu. +V definici makra "\mathcharsback" meme mimo jin pout +pkaz "\mathencread ofs-cm;", protoe v~souboru "ofs-cm.tex" +jsou uloeny deklarace metamatickho kdovn podle plain\TeX{}u + +Pokud si budeme deklarovat vlastn matematick kdovn (rzn od +pipravench "PS", "CM", "AMS" atd.), pak je poteba myslet na +nsledujc zsadu: ve vech verzch matematickch font +(normal/bold/atd.) by mla bt sla matematickch rodin alokovna +stejn a ukonena stejnm "\lastfam", protoe makro "\mathchars" se po +pepnut do jin verze nespout znovu. Zvlt nesmme mnit +sla tch rodin, na kter se odvolvme v~makru +"\setmathchars". + +Nyn popeme dal makra ulehujc deklaraci matematickho kdovn. +Makro "\hex"\inl[hex] +konvertuje slo na jednocifern hexadecimln +slo. Vyuit tohoto makra najdeme v~souborech "ofs-ps.tex", +"ofs-tx.tex" a dalch. + +Pro definovn sekvenc, kter budou pracovat v textovm i +matematickm mdu souasn, slou makro +"\safemathchardef"\inl[safemathchardef]. +Toto makro m stejn zpsob pouit, jako primitivn "\mathchardef": + +\begtt +\safemathchardef \ +\endtt + +Pokud nen "\" v~okamiku pouit "\safemathchardef" +definovna, pkaz pracuje zcela stejn jako "\mathchardef". +Pokud ale je "\" u definovna, ulo pkaz +"\safemathchardef" jej vznam do "\T", dle provede +"\mathchardef \M = " a konen "\" +pedefinuje nsledujcm zpsobem: + +\begtt +\def \ {\ifmmode \expandafter \M + \else \expandafter \T \fi} +\endtt +% +Od tto chvle "\" pracuje v textovm i matematickm mdu. +Pro ppad opakovanho pouit "\safemathchardef" na stejnou +"\" makro kontroluje, zda u nen definovna "\M". +Pokud ano, pak "\safemathchardef" neprovede nic. + +Je poteba, aby byly soubory s~pkazy "\characterdef" +nateny ped prvnm pouitm "\setmath". Pak lze v~rmci +"\setmath" (pesnji v~makru "\mathchars") pout +"\safemathchardef" na pedefinovn nkterch sekvenc, +kter byly dve deklarovny pomoc "\characterdef". Tyto sekvence pak +budou pracovat v textovm i matematickm mdu. + +Naprosto stejn, jako "\safemathchardef" pracuje pkaz +"\safemathaccentdef"\inl[safemathaccentdef]. +Pouze msto primitivu "\mathchardef" pouije +makro "\mathaccentdef"\inl[mathaccentdef], +kter pete za "\" "" separovan mezerou +a provede: + +\begtt +\def \ {\mathaccent } +\endtt + +Pokud nechceme deklarovat novou matematickou rodinu pro nkolik +mlo znak (poet matematickch rodin je toti v~\TeX{}u +omezen na 16), meme pout makro +"\pickmathfont"\inl[pickmathfont], kter m tyto +parametry: + +\begtt +\pickmathfont {}{} +% pklad pouit: +\mathbin {\pickmathfont {psybo}{\char"C4}} +\endtt +% +Makro "\pickmathfont" pouije primitiv "\font" na specifikovanou + a v~tomto fontu zape , kter v~matematickm seznamu +tvo atom typu Ord. Dleit je, e je pouit font v~odpovdajc +velikosti (zkladn, indexov, indexindexov), take to vypad, jako +by byl pouita nov matematick rodina font. Pitom to nen pravda, +protoe "\pickmathfont" je implementovn pomoc primitivu "\mathchoice". +Pouit pkazu "\pickmathfont" najdeme v~souboru "ofsdef.tex" +v~definici makra "\setPSmathchars". + + + +\subsec Registrovn metrik pro rzn velikosti +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: Registrovn rznch metrik pro rzn velikosti se dl +ve~"fd" souborech a je to dokonale vyeeno v~NFSS. + +\PLAIN (a do konce sekce): +Existuj speciln rodiny font (napklad Computer Modern), kde se +pro rzn velikosti font pouvaj rzn metriky. I~tato vlastnost je +implementovna v~OFS. Dosud jsme zatajili, e v~parametrech pkaz +"\loadtextfam", "\loadmathfam" a "\pickmathfont" je mon msto nzv +metrik uvst smylen , kter je registrovno pkazem +"\registertfm"\inl[registertfm]. +V~takovm ppad se skuten metrika pro zaveden primitivem "\font" +vypot z~poadovan velikosti fontu a z~daj, kter byly zadny +pomoc skupiny pkaz "\registertfm". Upesnme nyn parametry +pkazu "\registertfm": + +\begtt +\registertfm - +\endtt + +Parametry a musej obsahovat jednotku a vymezuj uzaven +interval, pro kter plat: jestlie je poadovan velikost fontu +ve tvaru "at" a souasn le +v~intervalu "-", pak se msto pouije +" at". +Pkaz "\registertfm" je poteba pro vymezen rznch +interval pout opakovan na stejn . +Akoli jsou intervaly "-" uzaven, pozdji +deklarovan interval m pednost ped dve deklarovanm, take nakonec +je kladn reln osa rozdlena na polouzaven intervaly. Pklad +pouit je v~souboru "ofsdef.tex". + +Jsou-li oba parametry a przdn, je pkazem "\registertfm" +deklarovna metrika, kter se pouije pi specifikaci velikosti pomoc +"scaled" nebo v~ppad, kdy nele v~dnm +specifikovanm intervalu. Hvzdika msto parametru zna +\uv{nekonenou velikost}. + +Pkaz "\registertfm - - " +vymae z~pamti pedchoz registrace pro dan a navc vyzna + jako nepstupn font. OFS se pak chov stejn, jakoby odpovdajc +varianta nebyla vbec deklarovna. Dv nm to +monost vyznait neexistujc varianty deklarovan rodiny +jen pro nkter kdovn (viz napklad "cmssbxti" +v~souboru "ofsdef.tex"). + +Parametry a se expanduj v~okamiku +innosti pkazu "\registertfm". Nen proto obvykl v~nich pouvat +makro "\fotenc". Nicmn toto makro meme v~uvedench parametrech +pout, pokud zahrneme potebnou skupinu pkaz "\registertfm" +do vlastnho makra a toto makro spustme opakovan pro rzn +hodnoty "\fotenc". + +Makro "\registerECfont"\inl[registerECfont] +je zkratkou za opakovan pouit pkazu +"\registertfm" na vechny velikosti EC font od "0500" +a po "3583". Stejn makro +"\registerECTTfont"\inl[registerECTTfont] +je zkratkou pro velikosti EC font od "0800" do "3583" pouvan pro +strojopis. Definice a pouit tchto maker najdeme v souboru +"ofsdef.tex". Makra meme pout i na jin fonty, kter maj stejn +odstupovan velikosti jako EC fonty (nap. LH fonty s~azbukou nebo +fonty odvozen z~CM-super). + + +\subsec Omezen pouit rodiny font pro urit kdovn +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\LATEX: Pouit rodiny v~danm kdovn je zvisl na existenci +"fd" souboru, tj.~ve je v~reii NFSS. + +\PLAIN (a do konce sekce): +OFS od verze Feb.~2004 zavd pkaz "\registerenc",\inl[registerenc] +kterm meme omezit pouit deklarovan rodiny font +jen pro vymezen kdovn. +Pokud pak uivatel nape "\setfonts" a vyaduje rodinu +v~neregistrovanm kdovn, OFS vype varovn na obrazovku +a vbec do poadovan rodiny nepepne. Tm se vyhne pokusu zavst +pravdpodobn neexistujc metriky font. Pkaz "\registerenc" +m dva parametry: + +\begtt +\registerenc : +\registerenc Times: 8t % napklad +\registerenc Times: 8z % nyn m Times registrovna dv kdovn +\endtt + +Pokud nem rodina registrovno dn kdovn, pak OFS pedpokld, e +je pouiteln v~jakmkoli kdovn (napklad fonty znaek). + +V~deklaranch souborech tedy meme pomoc "\registerenc" omezit +pouit rodiny jen na vymezen kdovn. Uivatel ale me +pkazem "\registerenc" pidat k~rodin dal povolen kdovn. Nebo +tak me naznait, e rodina m povoleno libovoln kdovn +pkazem "\registerenc : * ". + +Abychom v~deklaranch souborech nemuseli opisovat , me +bt tento parametr przdn. V~takovm ppad "\registerenc" pouije +rodinu z~poslednho pkazu "\ofsdeclarefamily". + +Ve svch makrech se mete zeptat, zda je rodina pro aktuln hodnotu +"\fotenc" registrovan:\inl[registeredfam] + +\vbox \bgroup +\begtt +\registeredfam ? \iftrue + Rodina m \fotenc registrovno nebo m povoleno jakkoli kdovn + nebo vbec nen deklarovna. +\else Rodina m registovna kdovn, ale \fotenc mezi nimi nen. +\fi +\endtt \egroup + +Pokud spustme "\setfonts[/]" pro nedeklarovanou rodinu +nebo pro rodinu s~nedovolenm kdovnm, +pak OFS nape varovn na terminl a vrt "\setfontsOK"\inl[setfontsOK] +jako "\undefined". Po spnm nastaven fontu m sekvence +"\setfontsOK" hodnotu "\relax". + + +\sec Licence +%%%%%%%%%%%% + +Balek OFS me pouvat kdokoli bez licennch poplatk. Kdokoli jej +rovn me distribuovat, pokud nezmn obsah souboru "readme.ofs" +"ofs.tex", "ofsdef.tex", "ofs.sty", "ofs-8z.tex", +"ofs-8t.tex", "a35.tex", "a35.sty", "ofsdoc.tex", "ofsdoce-e.tex", +"ofsmtdef.tex" a +vechny tyto soubory budou v distribuci ptomny. +Prvo na zmnu tchto soubor a +tm zmnu verz zstv vhradn autorovi. Pokud potebujete zmnit +obsah nkterho z~uvedench soubor, nazvte jej jinak. Balek je +poskytovn s~pnm, aby byl uiten, ale BEZ JAKKOLI ZRUKY. + +\bigskip +V~Praze dne 16. 8. 2001 \hfill autor: Petr Olk + + +\sec Historie +%%%%%%%%%%%%% + +\noindent +16. 8. 2001 --- uvedena prvn verze + +\noindent +24. 10. 2002 --- provedeny drobn pravy respekutjc zmny +ve verzi OFS Oct.~2002. +V tto verzi byl pidn pkaz "\addcmd" a byly +umonny nepovinn parametry +"()" v pkazu "\loadtextfam". + +\noindent +10. 2. 2004 --- Vechny pravy se tkaj jen OFS pro plain: + +\def\bod{\hangindent=1.2em \hangafter=1 \noindent + } + +\bod Vylepena manipulace s deklaracemi maker +zvislch na kdovn, deklarace vjimek a registrovn kdovn pro +zvolenou rodinu. +Viz~\beglink{3.5}sekce~3.5\endlink{} a \beglink{3.9}sekce~3.9\endlink. + +\bod Pidna monost pedefinovn rodiny (nap. dodatenm natenm +souboru deklaranho souboru, kter modifikuje vlastnosti implicitnch rodin). + +\bod Deklarace CMRoman, CMSans a CMTypewriter pro kdovn 8t +pouitm EC font. + +\bod Pidna podpora roziujcho kdovn 8c. + +\bod Upravena deklarace matematickho kdovn PS, aby "\int", +"\sum" a "\prod" pracovaly v~display mdu s~vtmi znaky. + +\bod Definovno makro "\ofshexbox" a "\ofshexboxdef". + +\bod Nov zveejnno interaktivn makro "ofstest.tex". + +\bod Zaveden adres "examples/", kde prbn budu dvat +pklady pouit OFS. + +\noindent +12. 3. 2004 --- OFS pro plain: + +\bod Kdovac soubory jsou teny pmo z "\loadtextfam". +Tm je umonno dvat do kdovacch soubor mapovn metrik pkazem +"\registerenc" (vyuiju pro LANG). + +\bod "\characterdef" respektuje definovan makro a nepedefinuje jej. + +\bod Reimplementovno "\showfonts". Nyn et vrazn pam i as na +rozshlch seznamech font. Pozor: pokud jste mli makra vyuvajc +intern makro "\listfamilies", pak toto pestane +fungovat. Nap. nefunguje od tto verze zastaral "ofscatal.tex". +Msto nj je mono pout "ofstest.tex" + +\bod Modifikovno "ofstest.tex", aby pracovalo s novou implementac +seznamu rodin "\ofslistfamilies". + +\noindent +2. 4. 2004 --- pidno "\plaincatcodes" ped tenm soubor "ofs-.tex". + +\bod Zavedeno "\safelet" a "\protectreading". + +\bod Mezera za v "\accentdef" je nepovinn. + +\bod Pidna monost "\loadmathfam [-/]" a rozena +a pepracovna deklarace pro matematick kdovn "CM", "PS", "AMS", +"TX", "PX", "MT". + + +\sec Rejstk vech maker definovanch v~OFS +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Rejstk obsahuje odkazy pouze na msta v~textu, kde je k~makru +vysvtlujc koment. V~tom mst je t uveden pro snadnj orientaci +nzev makra v~levm okraji. V~rejstku nejsou odkazy na +vechny zmnky o~makru v~textu. Rejstk je sprvn vygenerovn hned +po prvnm prchodu zpracovn tohoto dokumentu pkazem "csplain ofsdoc". + +Nkter makra definovan v~"ofs.tex" jsou intern nebo pomocn +a nen o~nich zmnka v~textu. Pak odkaz na stranu zmrn chyb a je +pipojena jen krtk poznmka o~takovm makru. Rovn jsou pipojeny +poznmky o~tom, zda je makro pouito ve verzi pro +{\smallbf PLAIN} nebo {\smallbf LATEX}. + + +\bigskip +\immediate\closeout\indout +\input \jobname.ind + +\begingroup +\let\tt=\smalltt \let\it=\smallit \let\rm=\smallrm \rm +\baselineskip=10.3pt + +\def\inr #1 #2 #3;{\noindent{\tt + \expandafter \ifx \csname ind:#2\endcsname \relax + \back#1% + \else + \beglink{#2}\back#1\endlink + \fi}\quad + #3 \quad\pg[#2]\par} +\def\\#1 #2;{\inr #1 #1 #2;} +\def\pl{{\sevenrm (PLAIN)}} +\def\la{{\sevenrm (LATEX)}} +\def\oba{{\sevenrm (PLAIN+LATEX)}} + +\\accentabove \pl; +\par\nobreak +\\accentbelow \pl; +\\accentdef \pl; +\\accentdel \pl; +\\accentdefori \unskip, {\tt\back accentdelori} \pl~intern, + udruj pvodn vznam maker; +\\accentnodef \pl~intern, {\tt\back def\back \#1% + \char`\{\back printaccent\char`\{\char`\}\char`\{\#1\char`\}\char`\}}; +\\addcmd \oba; +\inr bf rm \oba; +\inr bi rm \oba; +\\bifam \pl~intern, matematick rodina pro BoldItalic; +\\calculatemetricfile \pl~intern, definuje {\tt\back metricfile} + podle velikosti; +\\catcodesloop \pl~intern, nastav kategorie znak v cyklu podle danho sla; +\\characterdef \pl; +\\characterdel \pl; +\\characterdefori \unskip, {\tt\back characterdelori} \pl~intern, + udruj pvodn vznam maker; +\\characternodef \pl~intern, {\tt\back def\back % + \char`\{\back printcharacter\char`\{\char`\}\char`\}}; +\\currentfamily \pl; +\\currentfomenc \pl~intern, jmno naposledy pouitho matemat. kdovn; +\\currentvariant \pl; +\\declaredfamily \pl~intern, obsahuje jmno naposledy deklarovan rodiny; +\\defaultextraenc \pl; +\\defaultmathchars \pl; +\\defaultmathfonts \pl; +\\defpttotmpa \pl~intern, udl {\tt\back def\back tmpa\char`\{pt\char`\}}, + pokud chyb jednotka; +\\detailfontmessages \pl; +\\displayfontmessages \pl; +\\displaymessage \pl; +\\docharacterdef \pl~intern, pro poteby makra {\tt\back characterdef}; +\\doextchar \pl~intern, pro poteby makra {\tt\back extchar}; +\\dosafemathdef \pl~intern, pro poteby maker {\tt\back safemath*def}; +\\donumbercharacterdef \pl~intern, pro poteby makra {\tt\back characterdef}; +\\endOFSmacro \pl~intern, monost ten {\tt[, ...]} za + {\tt\back input ofs}; +\\expandaction \pl; +\\extchar \oba; +\\extraenc \pl; +\\extrafont \pl; +\\fontdef \oba; +\\fontloadmessage \pl~intern, vpis informace o~proveden {\tt\back font}; +\\fontmessage \pl~intern, std hodnoty nic, + {\tt\back wlog} a {\tt\back displaymessage}; +\\fontprefix \pl~intern, std hodnotu nic a {\tt\back global}; +\\fontusage \oba; +\\fosize \pl; +\\fomenc \pl; +\\fotenc \pl; +\\fragilecommand \pl; +\\fragilecommand! \pl; +\\hex \pl; +\\ifknownfam \oba; +\\isunitpresent \pl~intern, e ppad absence jednotky; +\inr it rm \oba; +\\knownchar pl; +\\knownfam pl; +\\lastfam pl; +\\lccodes \unskip, {\tt\back lccodesloop} \pl; +\\loadCMboldmath \pl; +\\loadCMnormalmath \pl; +\\loadingenc \pl; +\\loadmathfam \pl; +\\loadPSboldmath \pl; +\\loadPSnormalmath \pl; +\\loadtextfam \pl; +\\logfontmessages \pl; +\\mathaccentdef \pl; +\\mathchars \pl; +\\mathcharsback \pl; +\\mathencdef \pl; +\\mathencread \pl; +\\mathfonts \pl; +\\mathversion \pl; +\\metricfile \pl~intern, jmno metriky pi pouit {\tt\back font}; +\\metrictmpa \pl~intern, expanduje na metriku fontu {\tt\back tmpa}; +\\modifydef \pl; +\\modifyenc \pl; +\\modifylist \pl; +\\modifyread \pl; +\\newfamily \pl~pechodn, zadan jmno rodiny; +\\newmathfam \pl; +\\newmodifylist \pl; +\\newvariant \pl; +\\nofontmessages \pl; +\\noindexsize \pl; +\\noPT \pl~intern, odstran {\tt pt} z~{\tt\back the} [TBN, str.~80]; +\\ofsaddenctolist \pl~intern, pid parametr do seznamu {\tt\back newmodifylist}; +\\OFSdeclarefamily \la; +\\ofsdeclarefamily \pl; +\\OFSextraencoding \la; +\\OFSfamily \la; +\\OFSfamilydefault \la; +\\ofshexbox \pl; +\\ofshexboxdef \pl; +\\ofsinput \pl~intern, te soubor pi {\tt\back globaldefs=1}, ignoruje konce dk; +\\ofslistfamilies \pl~intern, seznam rodin pro {\tt\back showfonts}; +\\ofslistfamily \pl~intern, uvozuje rodinu v {\tt\back listfamilies}; +\\ofslistvariants \pl~intern, text pro vpis variant do logu; +\\ofslisttext \pl~intern, uvozuje text v {\tt\back listfamilies}; +\\ofsloadfont \pl~intern, zavede jeden font; +\\ofsloadfontori \pl~intern, zavede jeden font; +\\ofsmeaning \pl~intern, vykost z~vstupu {\tt \back meaning} slovo + {\tt letter}/{\tt character}; +\\ofsmessageheader \pl~intern, hlavika hlen do logu a na terminl; +\\OFSnormalvariants \la; +\\OFSprocessoptions \la; +\\OFSputfamlist \la; +\\ofsputfamlist \pl; +\\ofsremovefromlist \pl~intern, odstran rodinu ze seznamu; +\\OFSversion \oba~intern, datum verze makra; +\\orifosize \pl~pechodn, podr hodnotu {\tt\back fosize}; +\\origTeX \pl~intern, originln definice loga \TeX; +\\oriloadfam \pl~pechodn, podr hodnotu {\tt loadtextfam}; +\\pickmathfont \pl; +\\plaincatcodes \pl~intern, nastav kategorie znak podle plain\TeX{}u; +\\printaccent \pl; +\\printaccentwarn \pl; +\\printcharacter \pl; +\\printcharacterwarn \pl; +\\processOFSoption \pl~intern, pro poteby makra {\back endOFSmacro}; +\\protectreading \pl; +\\readfamvariant \pl~intern, testuje, zda je zadna varianta rodiny; +\\readfirsttoken \pl~intern, vrt prvn token textu ukonenho {\tt:\back end}; +\\readfosize \pl~intern, vlo hodnotu {\tt\back fosize} + do {\tt\back dimen0}; +\\readmag \pl~intern, pot {\tt\back fosize}, je-li dno + {\tt mag}; +\\readOFSoptions \pl~intern, pro poteby makra {\tt\back endOFSmacro}; +\\readothertokens \pl~intern, vrt druh a dal tokeny a po {\tt:\back end}; +\\readsixdigits \pl~intern, vyuito pro zaokrouhlovn; +\\registeredfam \pl; +\\registerECfont \pl; +\\registerECTTfont \pl; +\\registerenc \pl; +\\registertfm \pl; +\\restorefontid \pl~intern, obnoven jmna fontu, viz {\tt\back savefontid}; +\\rm \oba; +\\runmodifylist \pl; +\\safelet \pl; +\\safeletwarn \pl; +\\safemathaccentdef \pl; +\\safemathchardef \pl; +\\savefontid \pl~intern, pro udren jmna fontu ve vpisech Overfull; +\\savetokenname \pl~intern, nco jako {\tt\back string} bez backslashe; +\\scriptfosize \pl; +\\scriptscriptfosize \pl; +\\separeofsvariant \pl~intern, separace nepovinnho parametru + {\tt\back loadtextfam}; +\\setextrafont \oba; +\\setCMmathchars \pl; +\\setfonts \oba; +\\setfontshook \pl; +\\setfontsOK \pl; +\\setfontfamily \pl~intern, {\tt\back setfonts}, + pokud nen dna varianta; +\\setfosize \pl~intern, vypot hodnotu {\tt\back fosize}; +\\setmath \pl; +\\setPSmathchars \pl; +\\setsimplemath \pl; +\\setsinglefont \pl~intern, {\tt\back setfonts}, + pokud je dna varianta; +\\setsinglefontname \pl~intern, vykost z nzvu metriky ppadn "at"; +\\sgfamily \pl~intern, pro uloen informace o~rodin; +\\sgvariant \pl~intern, pro uloen informace o~variant; +\\showfonts \oba; +\\singlefont \pl; +\\singlefontname \pl~intern, odstran {\tt at} z~nzvu metriky; +\\skipfirststep \pl; +\\slantcorrection \pl~intern, pro poteby + {\tt\back accentabove} a {\tt\back accentbelow}; +\\storeofsvariant \pl~intern, separace nepovinnho parametru + u~{\tt\back loadtextfam}; +\\switchdeftodel \pl~intern, prohod {\tt\back accent/characterdef} + s~{\tt\back *del}; +\\tenbi \pl; +\inr tenbf tenrm \pl; +\inr tenit tenrm \pl; +\\tenrm \pl; +\\testOFSoptions \pl~intern, pro poteby makra {\tt\back endOFSmacro}; +\\testtfmsize \pl~intern, pro poteby {\tt\back registertfm}; +\\testtfmsizeat \pl~intern, pechodn hodnota {\tt\back testtfmsize}; +\\testtfmsizescaled \pl~intern, pechodn hodnota {\tt\back testtfmsize}; +\\textfosize \pl; +\\tryloadenc \pl~intern, nate kdovac soubory; +\\tmpa \oba~pechodn; +\\tmpb \oba~pechodn; +\\tmpc \pl~pechodn; +\\warnmissingfont \pl~intern, vpis o~chybjc variant; +\\warnM \unskip, {\tt\back warnF}, {\tt\back warnT}, {\tt\back warnI} +\pl~intern, vpis o~chybjc standardn variant; +\\warnunregistered \pl~intern, vpis o~nedovolenm kdovn zvolen rodiny; + +\endgroup + +\sec Reference + +\noindent \hangindent=2\parindent +[TBN] Petr Olk {\it \TeX{}book naruby}, Konvoj +1.~vyd. 1997 (ISBN 80-7302-007-6), +2.~vyd. 2001 (ISBN 80-85615-64-9), Brno, 466 stran. +PDF verze knihy je voln k~dispozici na +{\tt http://math.feld.cvut.cz/olsak/tbn.html}. + + + +\end + + + diff --git a/Master/texmf-dist/doc/generic/ofs/ofsmtdef.tex b/Master/texmf-dist/doc/generic/ofs/ofsmtdef.tex new file mode 100644 index 00000000000..4e1a31bdd4f --- /dev/null +++ b/Master/texmf-dist/doc/generic/ofs/ofsmtdef.tex @@ -0,0 +1,15 @@ +% This is only wrapper file to mtfn.tex (for backward compatibility) + +\input mtfn.tex + +\endinput + + + + + + + + + + diff --git a/Master/texmf-dist/doc/generic/ofs/ofstest.tex b/Master/texmf-dist/doc/generic/ofs/ofstest.tex new file mode 100644 index 00000000000..e3a38d32400 --- /dev/null +++ b/Master/texmf-dist/doc/generic/ofs/ofstest.tex @@ -0,0 +1,811 @@ +%% This file does many tests with fonts installed in OFS +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% February 2004 Petr Olsak +% April 2004 + +% You can print probe-texts or tables of fonts of choosen families. +% The interactive mode is activated if you type on command prompt: + +% Usage: tex ofstest [file1, file2, ...] +% or: csplain ofstest [file1, file2, ...] +% or: tex ofstest +% * +% +% and follow the notices on the screen. +% +% You can \input this macro in your document. +% The interactive mode is disabled automatically in this situation. Example: +% +% \input ofstest [a35] +% \cfam Times \tables \text \mixed +% \cfam Courier \tables \text \mixed +% \end + +{\nopagenumbers} % usage: tex ofstest [a35] or csplain ofstest [a35] + +\ifx\setfonts\undefined \input ofs \relax \fi + +\ifx\protectreading\undefined + \errmessage{Sorry, I need the OFS version at least.} +\endinput \fi + +\let\displaymessage=\wlog + +\loadingenc=1 + +\let\stmath=\relax + +\ifx\chyph\undefined + \def\textlang{en} + \def\fotenc{8t} +\else + \chyph + \def\textlang{cz} + \def\fotenc{8z} +\fi + +\fontdef\rmfont [CMRoman-rm/10] +\fontdef\itfont [CMRoman-it/10] +\fontdef\boldfont [CMRoman-bf/10] +\fontdef\nttfont [CMTypewriter-rm/10] +\fontdef\lttfont [Courier-rm/7pt] + +\parindent=10pt +\emergencystretch=3em +\advance\hoffset by22mm + +\hsize=143mm + +\lineskiplimit=-5pt + +\headline={\lttfont \spaceskip=0pt + OFS test \csname datum:\textlang\endcsname \ \dotfill \ \the\pageno} +\footline={} + +%%% Main loop of the program + +\def\runtest {\versiontext \testinteractive \readfamily \onestep} + +\def\testinteractive{\ifnum\inputlineno=0 \else \let\readfamily=\relax + \let\onestep=\relax \let\trydeclare=\relax \fi} + +\def\onestep { + \message{^^J*** What to do with family \thisfamily\space?^^J + \space\space\space (type command or \string\help): } + \read-1 to \command + \if \relax \expandafter\expandafter\expandafter \noexpand + \expandafter \readfirsttoken \command:\end + \else \expandafter \def\expandafter \command + \expandafter {\expandafter \cfam \command} + \fi + \ifx \thisfamily\astik + \def\loopcommands{} + \expandafter \pickuploopcommands \command ^^X + \ifx \loopcommands\empty \else + \bgroup + \def\ofslistfamily ##1{% + \def\tmpa ####1!.####2/{\def\thisfamily{####2}}% + \expandafter\tmpa\string##1/% + \loopcommands\relax + }% + \def\ofslisttext ##1{\if^^J\readfirsttoken ##1:\end + \edef\fromfile{\readothertokens ##1:\end}% + \else \edef\fromfile{##1}\fi} + \ofslistfamilies + \egroup + \fi + \fi + \command \relax + \onestep +} +\long\def\pickuploopcommands #1#2^^X{% + \ifx \list #1 \addloopcommand #1 \fi + \ifx \table #1 \addloopcommand #1 \fi + \ifx \text #1 \addloopcommand #1 \fi + \ifx \mixed #1 \addloopcommand #1 \fi + \ifx \math #1 \addloopcommand #1 \fi + \ifx \abet #1 \addloopcommand #1 \fi + \ifx \chars #1 \addloopcommand #1 \fi + \ifx \all #1 \addloopcommand #1 \fi + \def\tmpa{#2} + \let\next=\pickuploopcommands + \ifx \tmpa\empty \def\next^^X{}\fi + \ifx \tmpa\space \def\next ##1^^X{}\fi + \next #2^^X +} +\def\addloopcommand #1{\expandafter\def + \expandafter\loopcommands \expandafter{\loopcommands#1}} + +%%% \cfam + +\def\thisfamily{*} + +\def\readfamily {\message{^^J*** Type family name without brackets (or ? or *): } + \read-1 to \response + \expandafter \testfirsttoken \response ^^X + \if \noexpand\nextchar \relax \let\nextread=\readfamily + \ifx\nextchar\par \showfonts \hint \fi + \expandafter \response \expandafter \relax + \else \expandafter \reset \response \to\thisfamily + \expandafter \testfamily \fi + \nextread +} +\def\testfamily { + \knownfam \thisfamily? \iftrue \let\nextread=\relax + \else \ifx\thisfamily\onequestion \showfonts \hint + \let\nextread=\readfamily + \else \ifx\thisfamily\astik + \let\nextread=\relax + \else \message{ ... Sorry, unknown family.^^J + ... use exactly upper/lower letters^^J} \hint + \let\nextread=\readfamily + \fi \fi \fi +} +\def\nreadfamily #1 {\edef\tmpa{#1}% + \ifx\tmpa\onequestion \help + \else + \knownfam #1? \iftrue \edef\thisfamily{#1} + \else \ifx\tmpa\astik \edef\thisfamily{#1}\else + \message{ ... Sorry, unknown family "#1".^^J}\fi \fi \fi +} +\def\cfam{\let\interact=\readfamily \let\nointeract=\nreadfamily + \futurelet \nextchar \donextchar} + +\def\donextchar {\if \noexpand\nextchar \relax + \expandafter \interact + \else \expandafter \nointeract \fi} + +\def\reset #1 \to #2{\def#2{#1}} + +\def\testfirsttoken{\futurelet \nextchar \ignorerest} +\long\def\ignorerest #1^^X{} + +\let\famlist=\showfonts + +\def\onequestion{?} \def\astik{*} +\def\hint{\immediate\write16 + { ... you can read more declaration files by \string\decl}} + +%%% Help texts + +\def\help {\message{commands:^^J + \noexpand\list ..... List all variants of the family \thisfamily^^J + \string \table(s) . Tables of all variants of the family \thisfamily^^J + \noexpand\abet ..... One line alphabet/digits sample for each variant^^J + \noexpand\chars .... Print list of available characters including TeX sequences^^J + \noexpand\text ..... One paragraph in all variants of the family \thisfamily^^J + \noexpand\mixed .... Paragraph with fonts combined from + \string\rm, \string\bf, \string\it \space and \string\bi^^J + \noexpand\math ..... Mathematics text combined by fonts from \thisfamily^^J + \noexpand\all ...... The same as \noexpand\list \noexpand\table \noexpand\abet + \noexpand\chars \noexpand\text \noexpand\mixed \noexpand\math^^J + \noexpand\setsize .. Set size of fonts (current size is "\fosize")^^J + \noexpand\cfam ..... Change current family^^J + FamName ... The same as \noexpand\cfam FamName^^J + \noexpand\rem ...... Remove current family or family given in parameter from \string\famlist^^J + -----------------------------^^J + \noexpand\famlist .. Show list of all declared families (the same as \string\showfonts)^^J + \noexpand\decl ..... Input next declaration file^^J + \noexpand\remdecl .. Remove all families of given declaration file from famlist^^J + \noexpand\help ..... This text^^J + \noexpand\morehelp . Show more help information^^J + \noexpand\fontusage \space The help screen of the OFS^^J + \noexpand\end ...... End of this session +}} +\def\morehelp {\message{ + You can type the group of commands on the one "command" prompt.^^J + For example: \noexpand\list\noexpand\tables\noexpand\text \end^^J + -- program lists all variants, prints tables and texts and exits.^^J + ---------------------------^^J + If the family is choosen as * then the commands^^J + \string\list, \string\table, \string\abet, \string\text, + \string\mixed, \string\math^^J + will be applied to all families actually declared. Others^^J + commands will be run only once after the loop over families is done.^^J + ---------------------------^^J + The commands + \string\cfam, \string\setsize, \string\decl, \string\rem, \string\remdecl^^J + can be typed alone (interactive dialog will be started)^^J + OR with one parameter separed by space or endline (no dialog is used)^^J + Example: \noexpand\cfam Times \noexpand\setsize 12pt \string\table^^J + ---------------------------^^J + You can type other TeX commands on the "command" prompt.^^J + Examples: \string\def\string\fotenc{8t} (another font encoding, + current: "\fotenc")^^J + \space\space \baselineskip 11pt (another baselineskip, + current: "\the\baselineskip")^^J + \space\space \string\def\string\fomenc{CM} (another math enconding, + current: "\fomenc")^^J + \space\space \string\def\string\textlang{en} (another language of samples, + current: "\textlang")^^J + \space\space \noexpand\notables (the \noexpand\all command will not + print tables) +}} +\def\versiontext {\message{This is ofstest macro, version }} + +\def\notables {\let\table=\relax} + +%%% \list + +\def\list {\ifx\thisfamily\astik \else + \registeredfam \thisfamily? \iftrue + \gdef\newmodifylist{} + \message{^^J [\thisfamily/\fosize], encoding: \fotenc, variants:} + {\let\modifyenc=\ofsaddenctolist \def\modifyread ##1;{}\scanvariants \listvariant } + \expandafter \ifx \csname ffe?\thisfamily:\endcsname \relax + \immediate\write16 { \space\space All font encodings are allowed. + \ifx\eenc\empty\else Extra: \eenc.\fi} + \else + \immediate\write16 { \space\space Registered font encodings: + \csname ffe?\thisfamily:\endcsname. + \ifx\eenc\empty\else Extra: \eenc.\fi} + \fi + \ifx\newmodifylist\empty \else + \immediate\write16 { \space\space Modifications: { \modlist}} + \fi + \else \warnaboutskip {list} + \fi \fi +} +\def\listvariant {% + \calculatemetricfile \fontfile\fosize + \if|\eenc|\else + {\edef\fotenc{\eenc} + \calculatemetricfile \fontfile \fosize + \xdef\efontfile{\metricfile}} + \fi + \immediate\write16{ \space\space + \texvariant\space (\fontvariant) \space\space\space\metricfile\fosize + \if|\eenc|\else \space + \efontfile\fosize\fi} +} + +\def\scanvariants #1{% + {\let\loadtextfam=\testloadtextfam + \let\newvariant=\testnewvariant + \let\addtoenc=\ofsaddenctolist + \def\runvariant{% + \expandafter \ifx \csname reg!.\fontfile\endcsname \empty + \else #1\fi} + \csname fam!.\thisfamily\endcsname + \expandafter \gdef\expandafter \newmodifylist\expandafter {\newmodifylist}% + \escapechar=-1 + \expandafter \savelist \meaning \newmodifylist^^X} +} +\def\testloadtextfam #1;#2;#3;#4;#5;{\tryloadenc{#5}% + \if|#1|\else \savevariant {}#1;\rm {#5} \runvariant \fi + \if|#2|\else \savevariant {Bold}#2;\bf {#5} \runvariant \fi + \if|#3|\else \savevariant {Italic}#3;\it {#5} \runvariant \fi + \if|#4|\else \savevariant {BoldItalic}#4;\bi {#5} \runvariant \fi +} +\def\testnewvariant #1#2#3(#4) #5;#6;{% + \def\texvariant{\string #2}\def\fontvariant{#4}% + \def\fontfile{#5}\edef\eenc{#6}% + \runvariant} + +\let\oriloadtextfam=\loadtextfam +\let\orinewvariant=\newvariant + +\def\savevariant #1#2#3;#4#5{\def\texvariant{\string #4}\xdef\eenc{#5}% + \if(#2 \savethisvariant #2#3;\else \savethisvariant (#1) #2#3;\fi} +\def\savethisvariant (#1) #2;{\def\fontvariant{#1}\def\fontfile{#2}} + +\def\savelist #1->#2^^X{\gdef\modlist{#2}} + +\def\warnaboutskip #1{\wlog {The \noexpand\fotenc "\fotenc" + is unregistered in \thisfamily. + \expandafter\noexpand\csname#1\endcsname skipped.}} + +%%% \setsize + +\def\isetsize {\message{% + *** Type the new font size (in OFS fortmat)^^J + \space\space\space (Examples: "12", "12pt", "4mm", "scaled1200", "mag1.2"): } + \read -1 to\response + \expandafter \ifx \response\par \else + \expandafter \reset \response \to\response + \expandafter \setfosize \expandafter \fosize \response:\fi} + +\def\setsize {\let\interact=\isetsize + \def\nointeract ##1 {\setfosize\fosize ##1:} + \futurelet \nextchar \donextchar} + +%%% \decl + +\def\declare {\message{^^J*** Type declaration file name (allfonts for example): } + \read-1 to \infile + \input \infile +} +\def\ndeclare #1 {\input #1 + \ifx \thisfamily\onequestion \expandafter \readfamily \fi +} +\def\decl {\let\interact=\declare \let\nointeract=\ndeclare + \futurelet \nextchar \donextchar} + +\let\trydeclare=\declare + +\def\rundeclare {\versiontext \testinteractive \trydeclare \readfamily \onestep} + + +%%% \rem + +\def\removecode {\ifx\removefamily\astik + \message{ ... Sorry, you cannot remove * (all) families.^^J + ... use \noexpand\cfam to declare the family name^^J + ... use \noexpand\undecl to remove more families.^^J + ... use \noexpand\remove FamilyName to remove FamilyName} + \else \doremovefam \fi +} +\def\doremovefam { + \knownfam \removefamily? \iftrue + \edef\act{\def\noexpand\tmpa + ####1\noexpand\ofslistfamily + \expandafter\noexpand\csname fam!.\removefamily\endcsname + ####2^^X{\gdef\noexpand\ofslistfamilies{####1####2}}}\act + \expandafter \tmpa\ofslistfamilies^^X% + \global \expandafter \let \csname fam!.\removefamily\endcsname = \relax + \message{ ... \removefamily\space is removed from declaration famlist} + \ifx\removefamily\thisfamily \def\thisfamily{*} \fi + \ifx\removefamily\savefamily \def\savefamily{*} \fi + \else + \message{ ... Sorry, the family \removefamily\space is not declared^^J} + \fi +} +\def\rem {\def\interact{\edef\removefamily{\thisfamily}\removecode} + \def\nointeract ##1 {\def\removefamily{##1}\removecode} + \futurelet \nextchar \donextchar +} + + +%%% \remdecl + +\def\remdeclcode {% + \ifx\response\defaultstext \def\thisdecl{defaults:} + \else \edef\thisdecl{\response.tex:} + \fi + \bgroup + \def\ofslisttext ##1##2\ofslisttext{\if^^J\readfirsttoken ##1:\end + \edef\tmpa{\readothertokens ##1:\end}% + \else \edef\tmpa{##1}\fi + \ifx\tmpa\thisdecl ##2\def\ofslisttext ####1####2^^X{}\fi + \ofslisttext} + \def\ofslistfamily ##1{\def\tmpa ####1!.####2/{####2}% + \edef\removefamily{\expandafter\tmpa\string ##1/}% + \doremovefam} + \expandafter \ofslistfamilies \expandafter \ofslisttext + \expandafter {\thisdecl}% + \message { ... Sorry, the \thisdecl\space is not present + in declaration list}\ofslisttext{}^^X% + \egroup +} +\def\defaultstext{defaults} + +\def\iremdeclcode {\message{% + *** What part of famlist should be removed ?^^J + \space\space\space (type "defaults" or declaration file name without ".tex"): } + \read-1 to\response + \expandafter \ifx \response\par \else + \expandafter \reset \response \to\response + \remdeclcode + \fi +} +\def\remdecl {\let\interact=\iremdeclcode + \def\nointeract ##1 {\def\response{##1}\remdeclcode} + \futurelet \nextchar \donextchar +} + +%%% \text + +\def\text{\ifx\thisfamily\astik \else + \registeredfam \thisfamily? \iftrue + \expandafter \ifx \csname ffe?\thisfamily:\endcsname \relax + \warnaboutnontext \text + \else + \message{^^J} \message{ [\thisfamily/\fosize]:} + \scanvariants \runtext + \fi + \else \warnaboutskip {text} + \fi\fi +} +\def\runtext {% + \message{\texvariant\space text} + \calculatemetricfile \fontfile \fosize + {\let\loadtextfam=\oriloadtextfam + \let\newvariant=\orinewvariant + \setfonts [\thisfamily/] + \font\ttfont=cmtt10 \fosize\relax + \bgroup \let\string=\egroup \texvariant + {\escapechar=-1 \xdef\tmp{\texvariant}} + \fontdef\fn [\thisfamily-\tmp/!] \fn + \nofontmessages + \startparagraph 1 \indent \csname text:\textlang\endcsname + \medskip\penalty-200}} + +\def\actualfont #1{{\def\texvariant{rm} \xdef\act{% + \noexpand\fontdef \noexpand #1[\thisfamily-\texvariant/!]}} + \act #1} + +\def\startparagraph #1{\par + \ifdim\fontdimen3\the\font=0pt \raggedright \fi + \ifdim\fontdimen2\the\font=0pt \rightskip=0pt plus \hsize\fi + \noindent\llap {\lttfont \vtop{\hsize=5cm + \noindent\hfill\thisfamily + \if1#1\space\texvariant\fi + \if2#1\space(\fomenc)\break \null\hfill + \mathsizes \vskip-\baselineskip \else + \if3#1\else \break \null\hfill \thesize/\theskip + \vskip-\baselineskip\fi\fi + }\kern12pt}\ignorespaces +} +\def\theskip{\the\baselineskip} +\def\thesize{\expandafter\ignoreat\fosize:} +\def\ignoreat at#1:{#1} +\def\mathsizes{[% + \expandafter\ignoreat\textfosize:/% + \expandafter\ignoreat\scriptfosize:/% + \expandafter\ignoreat\scriptscriptfosize:]} + +\def\famplusvariant{\thisfamily\if|\fontvariant|\else-\fontvariant\fi} + +%%% \abet + +\def\abet {\ifx\thisfamily\astik \else + \registeredfam \thisfamily? \iftrue + \removelastskip + \message{^^J} \message{ [\thisfamily/\fosize]:} + \noindent{\lttfont [\thisfamily/\thesize] (enc: \fotenc), + declared in + \ifx\fromfile\undefined \findfromfile \else \fromfile\fi}\par + \scanvariants \runabet + \medskip \penalty-200 + \else \warnaboutskip {abet} + \fi\fi +} +\def\runabet {% + \message{\texvariant\space abet} + \calculatemetricfile \fontfile \fosize + {{\escapechar=-1 \xdef\tmp{\texvariant}} + \fontdef\fn [\thisfamily-\tmp/!] \fn + \hbox{\llap{\lttfont (\fontvariant) \texvariant\kern12pt}% + \csname abet:\textlang\endcsname} +}} +\def\findfromfile {\bgroup + \def\fromfile{??}% + \def\ofslisttext ##1{\if^^J\readfirsttoken ##1:\end + \edef\fromfile{\readothertokens ##1:\end}% + \else \edef\fromfile{##1}\fi}% + \def\ofslistfamily ##1{\expandafter + \ifx \csname fam!.\thisfamily\endcsname ##1% + \def\tmpa####1^^X{}% + \expandafter \tmpa + \fi}% + \ofslistfamilies^^X\fromfile + \egroup +} +\def\all {\list \abet \chars \table \text \mixed \math \vfil\break} + +\def\chars {\ifx\thisfamily\astik \else + \registeredfam \thisfamily? \iftrue + \expandafter \ifx \csname ffe?\thisfamily:\endcsname \relax + \warnaboutnontext \chars + \else + \message{^^J} \message{ [\thisfamily/]: \string\chars} + \bgroup + \setfonts[\thisfamily-rm/] + \let\characterdef=\listcharacter + \let\characterdel=\characternodef + \let\accentdef=\listaccent + \let\accentdel=\accentnodef + \def\modifydef##1;##2{} + \def\protectreading##1 {} + \let\printcharacterwarn=\boxik + \let\printaccentwarn=\boxikdbl + \raggedright \rightskip=0pt plus 10em + \noindent \llap{\lttfont \thisfamily~(\fotenc)\kern12pt}% + \expandafter \let\csname enc:ofs-\fotenc\endcsname =\relax + {\def\par{}\endlinechar=-1 \input ofs-\fotenc.tex } + \if |\extraenc|\else \par + \noindent \llap{\lttfont Extra metric~(\extraenc)\kern12pt}% + \expandafter \let\csname enc:ofs-\extraenc\endcsname =\relax + {\def\par{}\endlinechar=-1 \input ofs-\extraenc.tex } + \fi + \ifx\newmodifylist\empty \else \par + {\escapechar=-1 \expandafter \savelist \meaning \newmodifylist^^X} + \noindent \llap{\lttfont Modifications\kern12pt}% + {\lttfont\char`\{\ \modlist\char`\}} \newmodifylist + \fi + \medskip \penalty-200 + \egroup \fi + \else \warnaboutskip {chars} + \fi \fi +} +\def\listcharacter #1#2#3 {\def\tmpa{#2#3}% +% \message{\string#1}% + \ifx\tmpa\astik \hbox{\lttfont \string#1:}~{\print#1{}{}}\spc \fi + \ifx\tmpa\fotenc \hbox{\lttfont \string#1:}~{\print#1{}{}}\spc \fi + \ifx\tmpa\extraenc \hbox{\lttfont \string#1:}~{\print#1{}{}}\spc \fi + \def\tmpa{tmpa}\futurelet \tmpb \docharacterdef} +\def\print #1{{\savetokenname#1\tmpb\global\let\tmpb=\tmpb}\printcharacter{\tmpb}} +\def\listaccent #1#2#3#4 {\def\tmpa{#3#4}% +% \message{\string#1 \string#2}% + \ifx\tmpa\astik \hbox{\lttfont \string#1~\string#2:}~{#1 #2{}{}}\spc \fi + \ifx\tmpa\fotenc \hbox{\lttfont \string#1~\string#2:}~{#1 #2{}{}}\spc \fi + \ifx\tmpa\extraenc \hbox{\lttfont \string#1~\string#2:}~{#1 #2{}{}}\spc \fi + \def\tmpa{tmpa}\futurelet \tmpb \docharacterdef} +\def\boxik#1{\lower1.7pt\vbox{\hrule\hbox{\vrule height6pt depth2pt + \kern.2em\lttfont?\kern.2em\vrule}\hrule}} +\def\boxikdbl#1#2{\boxik.} +\def\spc{\hskip.8em\relax} + +%%% \mixed \math + +\def\mixed{\ifx\thisfamily\astik \else + \registeredfam \thisfamily? \iftrue + \expandafter \ifx \csname ffe?\thisfamily:\endcsname \relax + \warnaboutnontext \mixed + \else + \message{^^J} \message{ [\thisfamily/\fosize]: mixed text} + {\setfonts [\thisfamily/] + \nofontmessages + \startparagraph 0 \noindent + \csname mix:\textlang\endcsname + \medskip\penalty-200} + \fi + \else \warnaboutskip {mixed} + \fi \fi +} +\def\math{\ifx\thisfamily\astik \else + \registeredfam \thisfamily? \iftrue + \expandafter \ifx \csname ffe?\thisfamily:\endcsname \relax + \warnaboutnontext \math + \else + {\setfonts [\thisfamily/] + \def\mathfonts{\defaultmathfonts} + \def\mathchars{\defaultmathchars \let\mathchars=\relax} + \stmath \setmath[//] \lineskiplimit=-.5pt + \message{^^J} \message{ [\thisfamily/\fosize] + (\string\fomenc: \fomenc) \mathsizes: math text} + \nofontmessages + \startparagraph 2 \noindent + \ifx\vecfam\undefined \else \def\bi{\fam\vecfam}\fi + \ifx\msbmfam\undefined \def\N{{\bf N}}\else \def\N{{\fam\msbmfam N}}\fi + \ifx\varmathbb\undefined \else \def\N{\varmathbb{N}}\fi + \delimiterfactor=950 + \csname math:\textlang\endcsname + \medskip\penalty-200} + \fi + \else \warnaboutskip {math} + \fi \fi +} +\def\psenc{PS} + +\def\warnaboutnontext #1{% + \message{ [\thisfamily/] is probably non text font, \string#1 skipped.^^J + \space\space (The family has no registered text encodings.)}% +} + + +%%% \table + +\def\table{\ifx\thisfamily\astik \else + \registeredfam \thisfamily? \iftrue + \message{^^J} \message{ [\thisfamily/\fosize]:} + \scanvariants \runtable + \else \warnaboutskip {table} + \fi \fi +} +\let\tables=\table + +\def\runtable {\onetable + \if |\eenc|\else {\edef\fotenc{\eenc}\onetable} \fi} + +\def\onetable{ + \calculatemetricfile \fontfile \fosize + \vfil\break + \noindent + {\rmfont Table of {\boldfont \famplusvariant}, + \hfil\break E\ifx\fotenc\eenc xtra e\fi ncoding: \fotenc, + fontfile: {\nttfont\metricfile\fosize},\hfil\break + command: {\nttfont \string\selectfont [\thisfamily/\fosize]\texvariant + \ifx\fotenc\eenc \string\setextrafont\fi}}\par + \message{\texvariant\space \ifx\fotenc\eenc ex-\fi table} + {\font \fn=\metricfile\fosize\relax \fn \knuthstable} + \vfil\break +} + +%% Z Knuthova testfont: + +\newcount\mm \newcount\n \newcount\p \newdimen\dim +\chardef\other=12 +\def\oct#1{\hbox{\rmfont'{}\kern-.2em\itfont#1\/\kern.05em}} % octal constant +\def\hexx#1{\hbox{\nttfont"#1}} % hexadecimal constant +\def\setdigs#1"#2{\gdef\h{#2}% \h=hex prefix; \0\1=corresponding octal + \mm=\n \divide\mm by 64 \xdef\0{\the\mm}% + \multiply\mm by-64 \advance\mm by\n \divide\mm by 8 \xdef\1{\the\mm}} +\def\testrow{\setbox0=\hbox{\penalty 1\def\\{\char"\h}% + \\0\\1\\2\\3\\4\\5\\6\\7\\8\\9\\A\\B\\C\\D\\E\\F% + \global\p=\lastpenalty}} % \p=1 if none of the characters exist +\def\oddline{\cr + \noalign{\nointerlineskip} + \multispan{19}\hrulefill& + \setbox0=\hbox{\lower 2.3pt\hbox{\hexx{\h x}}}\smash{\box0}\cr + \noalign{\nointerlineskip}} +\newif\ifskipping +\def\evenline{\loop\skippingfalse + \ifnum\n<256 \mm=\n \divide\mm 16 \chardef\next=\mm + \expandafter\setdigs\meaning\next \testrow + \ifnum\p=1 \skippingtrue \fi\fi + \ifskipping \global\advance\n 16 \repeat + \ifnum\n=256 \let\next=\endchart\else\let\next=\morechart\fi + \next} +\def\morechart{\cr\noalign{\hrule\penalty5000} + \chartline \oddline \mm=\1 \advance\mm 1 \xdef\1{\the\mm} + \chartline \evenline} +\def\chartline{&\oct{\0\1x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&} +\def\chartstrut{\lower4.5pt\vbox to14pt{}} +\def\knuthstable{$$\global\n=0 + \halign to\hsize\bgroup + \chartstrut##\tabskip0pt plus10pt& + &\hfil##\hfil&\vrule##\cr + \lower6.5pt\null + &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline} +\def\endchart{\cr\noalign{\hrule} + \raise11.5pt\null&&&\hexx 8&&\hexx 9&&\hexx A&&\hexx B& + &\hexx C&&\hexx D&&\hexx E&&\hexx F&\cr\egroup$$\par} +\def\:{\setbox0=\hbox{\char\n}% + \ifdim\ht0>7.5pt\reposition + \else\ifdim\dp0>2.5pt\reposition\fi\fi + \box0\global\advance\n 1 } +\def\reposition{\setbox0=\vbox{\kern2pt\box0}\dim=\dp0 + \advance\dim 2pt \dp0=\dim} +\def\centerlargechars{ + \def\reposition{\setbox0=\hbox{$\vcenter{\kern2pt\box0\kern2pt}$}}} + +%%% texts in various languages + +\def\langdef #1 {\expandafter\def \csname#1\endcsname} + +\characternodef \textbullet * 0 +\characternodef \ellipsis * 0 +\characternodef \fullbar * 0 +\characternodef \brokenbar * 0 +\characternodef \onequarter * 0 +\characternodef \onehalf * 0 +\characternodef \threequarters * 0 +\characternodef \trademark * 0 +\characternodef \registered * 0 +\characternodef \ligct * 0 +\characternodef \ligst * 0 +\characternodef \ligft * 0 +\characternodef \longs * 0 +\characternodef \longst * 0 +\characternodef \sterling * 0 +\characternodef \euro * 0 +\characternodef \franc * 0 +\characternodef \cent * 0 +\characternodef \yen * 0 +\characternodef \degree * 0 +\characternodef \vardigits * 0 +\characternodef \textbraceleft * 0 +\characternodef \textbraceright * 0 + + +\langdef datum:cz {\the\day.~\the\month. \the\year} + +\langdef datum:en {\the\year/\the\month/\the\day} + +\langdef text:cz {% + Tento text je naps\'an p\'ismem \famplusvariant \space + za pou\v zit\'i \TeX{}ov\-sk\'e metriky + {\ttfont \fontname\fn}. V\v s\'imejme si m\'en\v e + obvykl\'ych slov, jako je slovo \v s\v tast\-n\'y (p\'ismeno \v t uprost\v red slova), + nebo t\v reba slovensk\'e ko\v lko. V\v e\v rme, \v ze v\'ysledn\'y text p\r ujde nejen + p\v re\v c\'ist, ale bude i typograficky pokud mo\v zno v~po\v r\'adku. Tak\'e je t\v reba + \clqq sledovat chov\'an\'i\crqq{} na\v sich \clqq{}uvozovek\crqq. A~co takhle \frqq + francouzsk\'e uvozovky po \v cesk\'em zp\r usobu\flqq? + \par + 0123456789, + \knownchar\vardigits? \iftrue{\vardigits 0123456789}, \fi + ligatury: fi, fl, ffi, ffl, --, ---, + kerny: Tel, T\v el, T\'el, VLTAVA. + + Znaky: \dag, \ddag, \textbullet, + \P, \ellipsis, + \textbraceleft, \fullbar, \brokenbar, \textbraceright, + \onequarter, \onehalf, \threequarters, + \trademark, \copyright, \registered, + \ligct, \ligst, \ligft, \longs, \longst, + \S, \sterling, \euro, \franc, \cent, + \yen, \degree C. + \par\nobreak\medskip + {\spaceskip=.3em minus .2em \relax + \'A \'a \"A \"a \v C \v c \v D \v d \'E \'e \v E \v e \'I \'i \'L \'l \v L \v l \v N \v n \'O \'o \^O \^o \"O \"o \v R \v r \'R \'r + \v S \v s \v T \v t \'U \'u \r U \r u \"U~\"u~\'Y~\'y~\v Z~\v z.} +} +\langdef text:en {% + This text is written by the font \famplusvariant. + The \TeX{} font metric {\ttfont \fontname\fn} is used here. + Notice how this font looks in the current paragraph. + We try to write somethink in ``english quotes''. + Digits: 0123456789, {\vardigits 0123456789} + ligatures: fi, fl, ffi, ffl, --, ---, + kerning: Te, Ti, AVA. + + Characters: \dag, \ddag, \textbullet, + \P, \ellipsis, + \textbraceleft, \fullbar, \brokenbar, \textbraceright, + \onequarter, \onehalf, \threequarters, + \trademark, \copyright, \registered, + \ligct, \ligst, \ligft, \longs, \longst, + \S, \pound, \euro, \franc, \cent, + \yen, \degree C. +} +\langdef abet:cz {% + ABCDEOPQRSVWXYZ 0123456789 \&\%?!-\v Z\v z\v s\v c\v e\'a\'e\v t\r u, + acbdefghijklmnopqrstuvwxyz% +} +\langdef abet:en {% + ABCDEOPQRSVWXYZ 0123456789 \&\%?!- ``--'' ---: + acbdefghijklmnopqrstuvwxyz% +} +\langdef mix:cz {% + {\bf P\v r\'iklad.} Nyn\'i zjist\'ime, zda je mo\v zn\'e kombinovat z\'akladn\'i \v rez s~tu\v cn\'ym + (resp. polotu\v cn\'ym) \v rezem a s~kurz\'ivou + v~rodin\v e p\'isma {\it\thisfamily}. Pro vyzna\v cov\'an\'i je vhodn\'e pou\v z\'it {\it kurz\'ivu\/} a + u\v z m\'en\v e {\bf tu\v cnou variantu} a prakticky v\r ubec se nehod\'i pou\v z\'it + {\bi tu\v cnou a sklon\v enou variantu}. + Zcela nevhodn\'e je vyzna\v covat podtr\v zen\'im nebo prostrk\'an\'im. + To lid\'e s~dobr\'ym vychov\'an\'im ned\v elaj\'i. + {\it Vyzna\v cen\'i m\'a b\'yt takov\'e, aby p\v ri \v cten\'i bylo vyzna\v cen\'e m\'isto z\v reteln\v e + odli\v sn\'e, ale p\v ri pohledu z~d\'alky z\r ustal text odstavce stejnom\v ern\v e \v sed\'y.} + Tomu nejl\'epe vyhovuje kurz\'iva, ale ne ve v\v sech rodin\'ach p\'isma je zda\v ril\'a + kuz\'iva k~dispozici. +} +\langdef mix:en {% + {\bf Example.} We try to combine the normal variant with the bold + (semibold) and italic variants in the font family {\it\thisfamily}. + The best selection to mark the text is the {\it italic}, not so good + one is the {\bf bold variant} and somewhat unsuitable + one is the {\bi bold italic variant}. The marking of the text by + underline or by letter spacing is totally unsiutable. + {\it The marked text have to be good distinguised while reading + but if you look at the paragraph from more distance the best is to + view the uniform-gray area.} The best solution of this task is to + use the italic, if this variant is ready in used font family. +} +\langdef math:cz {% + {\bf Pozn\'amka.} Funkci Gamma v bod\v e $x$ zna\v c\'ime $\Gamma(x)$ a + po\v c\'it\'ame ji podle vzorce: + $$ \Gamma(x) = \int_0^\infty e^{-t} t^{x-1} {\rm d}t \quad (x>0).$$ + Speci\'aln\v e pro $x=n\in\N$ je $\Gamma(n) = (n-1)\,!$ a pro + $\alpha\in(0,1)$ je + $$ \Gamma(\alpha)\,\Gamma(1-\alpha) = {\pi \over \sin \pi \alpha}.$$ + {\bf Definice.} Nech\v t $\bi A$ je \v ctvercov\'a matice s~$n$ sloupci a + \v r\'adky a s~prvky $a_{i,j}$. Pak \v c\'islo + $$ \mathop{\rm det}{\bi A} = \left|{\bi A}\right| = + \sum_{\Pi=(j_1,j_2,\ldots,j_n)} \mathop{\rm sgn}\Pi\cdot + a_{1,j_1}\,a_{2,j_2}\cdots a_{n,j_n} $$ + naz\'yv\'ame {\it determinantem\/} matice $\bi A$. +} +\langdef math:en {% + {\bf Notice.} The value of the function Gamma in the real + number~$x$ can be calculaded by: + $$ \Gamma(x) = \int_0^\infty e^{-t} t^{x-1} {\rm d}t \quad (x>0).$$ + Especially, for $n\in\N$ is $\Gamma(n) = (n-1)\,!$ and for + $\alpha\in(0,1)$ is + $$ \Gamma(\alpha)\,\Gamma(1-\alpha) = {\pi \over \sin \pi \alpha}.$$ + {\bf Definition.} Let $\bi A$ is a square matrix with $n$ columns + and rows and with elements $a_{i,j}$. The number + $$ \mathop{\rm det}{\bi A} = \left|{\bi A}\right| = + \sum_{\Pi=(j_1,j_2,\ldots,j_n)} \mathop{\rm sgn}\Pi\cdot + a_{1,j_1}\,a_{2,j_2}\cdots a_{n,j_n} $$ + is called {\it determinant\/} of the matrix $\bi A$. +} + +%%% Brackets after \input ofstest + +\def\processOFSoption #1,{\if ^^X#1\let\next=\runtest + \else \input #1 \fi \next} +\def\testOFSoptions {\ifx [\tmpa \expandafter \readOFSoptions + \else \expandafter \rundeclare \fi} + +\endOFSmacro + diff --git a/Master/texmf-dist/doc/generic/ofs/readme.ofs b/Master/texmf-dist/doc/generic/ofs/readme.ofs new file mode 100644 index 00000000000..12b204039f0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/ofs/readme.ofs @@ -0,0 +1,104 @@ + +The OFS Macro - Olsak's Font System +=================================== + +Files: +------ +readme.ofs ... this file +ofsdoc-e.tex, pdf, ps ... documentation (English) +ofsdoc.tex, pdf, ps ... documentation (Czech language) +ofs.tex ... the OFS macro for plain +ofsdef.tex ... default declaration file (for plain) +ofs-8z.tex, ofs-8t.tex ... encodings declaration files (for plain) +ofs-.tex ... another encodings declaration files (for plain) +ofstest.tex ... interactive macro to print samples, + font catalogues, tables etc. +a35.tex ... declaration file for standard 35 fonts + by Adobe (for plain) +a117.tex ... declaration file for standard 117 Adobe fonts +ofs.sty ... the OFS macro for LaTeX +a35.sty ... declaration file for standard 35 fonts + by Adobe (for LaTeX) +amsfn.tex ... math declaration file for AMS fonts +mtfn.tex, txfn.tex ... math declaration files for MathTimes and TXfonts +ofs-slt.tex,ps,pdf ... the article about OFS from SLT 2002 proceedings +examples/ ... directory with examples for OFS (for plain) +storm/ ... new declaration files for Storm fonts support + +License: +------- + +The OFS package may be used by everybody without any licension fees. +Everybody can re-distribute this package, if no changes in files +"readme.ofs", "ofs.tex", "ofsdef.tex", "ofs.sty", "ofs-8z.tex", +"ofs-8t.tex", "a35.tex", "a35.sty", "ofsdoc.tex", "ofsdoc-e.tex", +are done and all these files are included in the new +distribution. Only the author has a right to change of these files and +to change of version of this package. If you need to change the +contents of some file mentioned above, you have to rename it. This +package is distributed in the hope that it will be useful, but WITHOUT +ANY WARRANTY. + +Prague 08/16/2001 Petr Olsak + the author + +The master source of this package maintained by author: +------------------------------------------------------- + +ftp://math.feld.cvut.cz/pub/olsak/ofs/ + +Bug report will be welcome on: +olsak@math.feld.cvut.cz + +............................................................................. + + +Makro OFS - Olsakuv Fontovy system +================================== + +Soubory: +------- +readme.ofs ... tento soubor +ofsdoc.tex, pdf, ps ... dokumentace (cesky) +ofsdoc-e.tex, pdf, ps ... dokumentace (anglicky) +ofs.tex ... makro OFS pro plain +ofsdef.tex ... defaultni deklaracni soubor (pro plain) +ofs-8z.tex, ofs-8t.tex ... deklaracni soubory kodovani (pro plain) +ofs-.tex ... dalsi deklaracni soubory kodovani (pro plain) +ofstest.tex ... interaktivni makro na tisk vzorku, fontovych + katalogu, tabulek atd. +a35.tex ... deklaracni soubor pro standardnich 35 fontu + od Adobe pritomnych v kazdem RIPu (pro plain) +a117.tex ... deklaracni soubor pro standardnich 117 Adobe fontu +ofs.sty ... makro OFS pro LaTeX +a35.sty ... deklaracni soubor pro standardnich 35 fontu + od Adobe pritomnych v kazdem RIPu (pro LaTeX) +amsfn.tex ... deklarace matematiky pro AMS fonty +mtfn.tex, txfn.tex ... deklarace matematiky pro MathTimes a TX fonty +ofs-slt.tex,ps,pdf ... clanek o OFS ze sborniku SLT 2002 +examples/ ... adresar s priklady pro OFS (pro plain) +storm/ ... nove deklaracni soubory pro Stormovy fonty + +Licence: +------- + +Balicek OFS muze pouzivat kdokoli bez licencnich poplatku. Kdokoli je +rovnez muze distribuovat, pokud nezmeni obsah zadneho ze souboru +"readme.ofs", "ofs.tex", "ofsdef.tex", "ofs.sty", "ofs-8z.tex", +"ofs-8t.tex", "a35.tex", "a35.sty", "ofsdoc.tex", "ofsdoc-e.tex" a +vsechny tyto soubory budou v distribuci pritomny. +Pravo na zmenu uvedenych souboru a tim zmenu verzi zustava vyhradne +autorovi. Pokud potrebujete zmenit obsah nektereho z uvedenych +souboru, nazvete jej jinak. Balicek je poskytovan s pranim, +aby byl uzitecny, ale BEZ JAKEKOLI ZARUKY. + +V Praze dne 16. 8. 2001 autor: Petr Olsak + + +Tento balicek je autorem udrzovan na URL: +----------------------------------------- + +ftp://math.feld.cvut.cz/pub/olsak/ofs/ + +Prpominky a upozorneni na chyby jsou vitany na: +olsak@math.feld.cvut.cz diff --git a/Master/texmf-dist/doc/generic/pgf/AUTHORS b/Master/texmf-dist/doc/generic/pgf/AUTHORS new file mode 100644 index 00000000000..b8f40d8805f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/AUTHORS @@ -0,0 +1 @@ +Till Tantau diff --git a/Master/texmf-dist/doc/generic/pgf/ChangeLog b/Master/texmf-dist/doc/generic/pgf/ChangeLog new file mode 100644 index 00000000000..b0b37b6b538 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/ChangeLog @@ -0,0 +1,214 @@ +2005-10-23 Till Tantau + + Version 1.00: + + - There have not been any real changes since 0.99. + + +2005-10-11 Till Tantau + + Version 0.99: + + - Added vtex support (finally!). + - Added multi part mechanism to nodes. + - Added very simple pgflibraryautomata. + - Changed coordinate shape such that it now never produces a + text label. + - Renamed \pgfshapebox to \pgfnodeparttextbox (made necessary + by the node part mechanism). + +2005-09-20 Till Tantau + + Version 0.98: + + - Added transparency to PGF (quite nice...). + - Added foreach option to child path operation (also nice...). + - Fixed problem with \\ in centered text. + - Fixed problem with hyperlinks in nodes. + - Fixed wrong arrows in trees. + +2005-09-08 Till Tantau + + Version 0.97: + + - Reorganised directory structure of documentation. + - Added tree mechanism. + - Added snake mechanism. + - Added layer mechanism. + - Added new shapes: cross out, strike out, forbidden sign. + - Added some more documentation. + - Added "none" drawing and filling colors. + - Added pgflibrarytikzbackgrounds. + - Changed syntax of \pgfqbox. + - Changed syntax of several \pgfsys@xxxx commands. + - Added SVG support / a tex4ht backend. (Complicated text + inside svg graphics is not supported well, but that's mainly + a shortcoming of the svg specification.) + +2005-07-06 Till Tantau + + Version 0.96: + + This is a beta version. Version 1.00 will be the first stable + version of TikZ/pgf. + + - Fixed spacing problem in dvips. + - Changed syntax of plot and plot marks. + - Changed syntax of ellipse and elliptical arc options. + - Fixed baseline bug in tikz. + - Fixed bug in pgfpages. + - Introduced "every xxxx" styles, got rid of shape actions option. + - Added "intersection of" syntax for coordinates. + - Started revising the documentation. + - Changed names of some pgfpages commands. + - Changed syntax of parabola command. + - Proof read documentation. + +2005-06-12 Till Tantau + + Version 0.95: + + This is an *alpha* prerelease version. Syntax changes + are still possible before the beta version. Version 1.00 + will be the stable version. + + Changes (this is almost a new program): + - Introduced three layers: system, basic, frontends. + - Wrote two frontends: TikZ (*most* useful!) and pgfpict2e (a + demonstration). + - Largely rewrote the basic layer. + - Largely rewrote the system layer. + - Completely rewrote the documentation. + - Added two utilities: pgfpages and pgffor. + - Made macro naming more consistent. + - Added plain tex support. + - Added dvipdfm support. + - Restructured directory structure. + - Zillions of small bugfixes. + +2004-10-20 Till Tantau + + Version 0.65: + - Fixed bug in pgfshade.sty that arises in conjunction with + calc.sty and latex+dvips. + +2004-10-08 Till Tantau + + Version 0.64: + - Fixed missing depth of \pgfnodebox. + - Fixed bug that caused infinite stack loop with pictures inside + nodes. + +2004-07-08 Till Tantau + + Version 0.63: + - Added \pgfextractx, \pgfextracty, \pgfcorner. + - Added some documentation on masks and images. + - Fixed a somewhat obscure bug having to do with the modification + of \spaceskip. + - \pgfex and \pgfem no loner needed. Use 1ex etc. once more. + - calc.sty is now supported. + +2004-07-06 Till Tantau + + Version 0.62: + - Fixed problem in xxcolor with option "gray" and xcolor. + - Switched to xcolor version 2.00. + - Added eofill and eofillstroke commands. + - Added option to shadings, so that they are automatically + recalculated upon color changes. + - Changed names of example images to start with pgf. + +2004-04-07 Till Tantau + + Version 0.61: + - Added \pgfex and \pgfem dimensions. + - Fixed bug that causes pgfshade to fail to work if xcolor + is called with option "gray". + - Fixed PostScript code for radial shadings. + - xxcolor now works with xcolor 1.10 (and only 1.10). + +2004-02-18 Till Tantau + + Version 0.60: + - Replaced some commands for the postscript code by shorter + versions for smaller file size. + - Fixed bug in pgfbox command that caused incorrect kerning in + postscript output. + - Fixed bug in pgfsys@defineimage that made page inclusion + impossible. + - Fixed bug in pgfshading that did not reset dash patterns in + shadings in the PostScript version. + - Spaces are now allowed inside the pgfpicture environment. + - Added \pgfgrid command. + +2004-01-13 Till Tantau + + Version 0.50: + - Switched to version 1.06 of xcolor. + - Core pgf no longer relies on xxcolor. + - The syntax of the mechanism for choosing alternate images and + shadings is more flexible now. The syntax has been changed + (mainly, you now have to have a dot between the original name and + the alternate extension). + - Some xxcolor commands have been removed. + +2003-12-02 Till Tantau + + Version 0.43: + - Fixed \normalcolor, so that it works also in preamble. + +2003-11-20 Till Tantau + + Version 0.42: + - Documented masks. + - Fixed bug in pgf.sty for nested pictures. + +2003-11-18 Till Tantau + + Version 0.41: + - Added masks (not yet documented). + +2003-11-12 Till Tantau + + Version 0.40: + - Changed syntax of \pgfdeclareimage. Uses key=value scheme + now. All parameters may now be omitted. + - Added \pgfimage command. + - Option for selecting a specific page from an image file. + - Fixed bug in xxcolor.sty having to do with \@ifempty command. + - Reworked the formatting of the user's guide. + +2003-10-29 Till Tantau + + Version 0.34: + - Shadings now work together with color mix-ins. + - Shadings can now take color names as parameters. + +2003-10-24 Till Tantau + + Version 0.33: + - Fixed problem with missing \leavevmode in \pgfuseimage. + - Reworked code for image inclusion. + - "Draft" option is now supported. Supresses reading of images. + - Added xxcolor package. + - pgfpictures will now inherit the color from their surroundings. + +2003-10-20 Till Tantau + + Version 0.32: + - Updated installation procedure information. + +2003-09-18 Till Tantau + + Version 0.31: + - One parameter for \pgfdeclareimage may now be omitted. It will + be computed automatically. + +2003-08-21 Till Tantau + + Version 0.30: + - Created ChangeLog + - Added pgfshade.sty + + diff --git a/Master/texmf-dist/doc/generic/pgf/FILES b/Master/texmf-dist/doc/generic/pgf/FILES new file mode 100644 index 00000000000..9a9c7a9d985 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/FILES @@ -0,0 +1,919 @@ +pgf-1.00/doc/pgf/AUTHORS +pgf-1.00/doc/pgf/ChangeLog +pgf-1.00/doc/pgf/FILES +pgf-1.00/doc/pgf/images/pgf-apple.jpg +pgf-1.00/doc/pgf/images/pgf-apple.mask.jpg +pgf-1.00/doc/pgf/images/pgf-tu-logo.25.eps +pgf-1.00/doc/pgf/images/pgf-tu-logo.25.jpg +pgf-1.00/doc/pgf/images/pgf-tu-logo.eps +pgf-1.00/doc/pgf/images/pgf-tu-logo.jpg +pgf-1.00/doc/pgf/images/pgf-tu-logo.mask.jpg +pgf-1.00/doc/pgf/INSTALL +pgf-1.00/doc/pgf/macros/pgfmanual-en-macros.tex +pgf-1.00/doc/pgf/README +pgf-1.00/doc/pgf/text-en/pgfmanual-en-base-actions.tex +pgf-1.00/doc/pgf/text-en/pgfmanual-en-base-arrows.tex +pgf-1.00/doc/pgf/text-en/pgfmanual-en-base-design.tex 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+pgf-1.00/plain/pgf/libraries/pgflibraryarrows.tex +pgf-1.00/plain/pgf/libraries/pgflibraryplothandlers.tex +pgf-1.00/plain/pgf/libraries/pgflibraryplotmarks.tex +pgf-1.00/plain/pgf/libraries/pgflibraryshapes.tex +pgf-1.00/plain/pgf/libraries/pgflibrarysnakes.tex +pgf-1.00/plain/pgf/libraries/pgflibrarytikzbackgrounds.tex +pgf-1.00/plain/pgf/libraries/pgflibrarytikztrees.tex +pgf-1.00/plain/pgf/systemlayer/pgfsys.tex +pgf-1.00/plain/pgf/utilities/pgffor.tex +pgf-1.00/README diff --git a/Master/texmf-dist/doc/generic/pgf/INSTALL b/Master/texmf-dist/doc/generic/pgf/INSTALL new file mode 100644 index 00000000000..dc1409fe836 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/INSTALL @@ -0,0 +1,11 @@ +Installing pgf: +--------------- + +For the impatient: +- Put the whole pgf directory somewhere where TeX can find them. +- Install the xcolor package version 2.00. + +Long version: +In the manual, which you find in the file +doc/pgf/version-for-pdftex/en/pgfmanual.pdf, you will find a +detailed explanation on how to install pgf. diff --git a/Master/texmf-dist/doc/generic/pgf/README b/Master/texmf-dist/doc/generic/pgf/README new file mode 100644 index 00000000000..1b8e3e27366 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/README @@ -0,0 +1,13 @@ +pgf -- A Portable Graphic Format for TeX + +See the directory doc/pgf for more information. See the +file doc/pgf/version-for-pdftex/en/pgfmanual.pdf or +doc/pgf/version-for-text4ht/html/pgfmanual.html +for a manual. This documentation also explains the +installation. + +Please go to http://sourceforge.net/projects/pgf/ +to submit bug reports, request new features, etc. + + + diff --git a/Master/texmf-dist/doc/generic/pgf/TODO b/Master/texmf-dist/doc/generic/pgf/TODO new file mode 100644 index 00000000000..c8f7d95b223 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/TODO @@ -0,0 +1,6 @@ +1) option to reference nodes defined in other pictures +2) Honor \graphicspath command. +3) Allow midway placement of nodes on arcs. +4) Write TiesZ (TiesZ ist ein schoenes Zeichenprogramm), a Java-GUI for TikZ. + (Good students's project!!!) + diff --git a/Master/texmf-dist/doc/generic/pgf/images/pgf-apple.jpg b/Master/texmf-dist/doc/generic/pgf/images/pgf-apple.jpg new file mode 100644 index 00000000000..cea4d4c2177 Binary files /dev/null and b/Master/texmf-dist/doc/generic/pgf/images/pgf-apple.jpg differ diff --git a/Master/texmf-dist/doc/generic/pgf/images/pgf-apple.mask.jpg 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b/Master/texmf-dist/doc/generic/pgf/images/pgf-tu-logo.jpg new file mode 100644 index 00000000000..321f15ca53a Binary files /dev/null and b/Master/texmf-dist/doc/generic/pgf/images/pgf-tu-logo.jpg differ diff --git a/Master/texmf-dist/doc/generic/pgf/images/pgf-tu-logo.mask.jpg b/Master/texmf-dist/doc/generic/pgf/images/pgf-tu-logo.mask.jpg new file mode 100644 index 00000000000..693877d65b7 Binary files /dev/null and b/Master/texmf-dist/doc/generic/pgf/images/pgf-tu-logo.mask.jpg differ diff --git a/Master/texmf-dist/doc/generic/pgf/macros/pgfmanual-en-macros.tex b/Master/texmf-dist/doc/generic/pgf/macros/pgfmanual-en-macros.tex new file mode 100644 index 00000000000..5a044d2a64d --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/macros/pgfmanual-en-macros.tex @@ -0,0 +1,466 @@ +% $Header: /cvsroot/pgf/pgf/doc/pgf/macros/pgfmanual-en-macros.tex,v 1.3 2005/10/06 13:16:07 tantau Exp $ + +% Copyright 2003, 2004 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the GNU Public License, version 2. + + +\providecommand\href[2]{\texttt{#1}} + +\colorlet{examplefill}{yellow!80!black} +\definecolor{graphicbackground}{rgb}{0.96,0.96,0.8} +\definecolor{codebackground}{rgb}{0.8,0.8,1} + +\newenvironment{pgfmanualentry}{\list{}{\leftmargin=2em\itemindent-\leftmargin\def\makelabel##1{\hss##1}}}{\endlist} +\newcommand\pgfmanualentryheadline[1]{\itemsep=0pt\parskip=0pt\item\strut#1\par\topsep=0pt} +\newcommand\pgfmanualbody{\parskip3pt} + + + +\newenvironment{pgflayout}[1]{ + \begin{pgfmanualentry} + \pgfmanualentryheadline{\texttt{\string\pgfpagesuselayout\char`\{\declare{#1}\char`\}}\oarg{options}} + \index{#1@\protect\texttt{#1} layout}% + \index{Page layouts!#1@\protect\texttt{#1}}% + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + + +\newenvironment{command}[1]{ + \begin{pgfmanualentry} + \extractcommand#1\@@ + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + +\def\extractcommand#1#2\@@{% + \pgfmanualentryheadline{\declare{\texttt{\string#1}}#2}% + \removeats{#1}% + \index{\strippedat @\protect\myprintocmmand{\strippedat}}} + + +\renewenvironment{environment}[1]{ + \begin{pgfmanualentry} + \extractenvironement#1\@@ + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + +\def\extractenvironement#1#2\@@{% + \pgfmanualentryheadline{{\ttfamily\char`\\begin\char`\{\declare{#1}\char`\}}#2}% + \pgfmanualentryheadline{{\ttfamily\ \ }\meta{environment contents}}% + \pgfmanualentryheadline{{\ttfamily\char`\\end\char`\{\declare{#1}\char`\}}}% + \index{#1@\protect\texttt{#1} environment}% + \index{Environments!#1@\protect\texttt{#1}}} + + +\newenvironment{plainenvironment}[1]{ + \begin{pgfmanualentry} + \extractplainenvironement#1\@@ + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + +\def\extractplainenvironement#1#2\@@{% + \pgfmanualentryheadline{{\ttfamily\declare{\char`\\#1}}#2}% + \pgfmanualentryheadline{{\ttfamily\ \ }\meta{environment contents}}% + \pgfmanualentryheadline{{\ttfamily\declare{\char`\\end#1}}}% + \index{#1@\protect\texttt{#1} environment}% + \index{Environments!#1@\protect\texttt{#1}}} + + +\newenvironment{shape}[1]{ + \begin{pgfmanualentry} + \pgfmanualentryheadline{Shape {\ttfamily\declare{#1}}}% + \index{#1@\protect\texttt{#1} shape}% + \index{Shapes!#1@\protect\texttt{#1}} + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + +\newenvironment{snake}[1]{ + \begin{pgfmanualentry} + \pgfmanualentryheadline{Snake {\ttfamily\declare{#1}}}% + \index{#1@\protect\texttt{#1} snake}% + \index{Snakes!#1@\protect\texttt{#1}} + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + +\def\pgfmanualbar{\char`\|} +\makeatletter +\newenvironment{pathoperation}[3][]{ + \begin{pgfmanualentry} + \pgfmanualentryheadline{\textcolor{gray}{{\ttfamily\char`\\path}\ + \ \dots} + \declare{\texttt{#2}}#3\ \textcolor{gray}{\dots\texttt{;}}}% + \def\pgfmanualtest{#1}% + \ifx\pgfmanualtest\@empty% + \index{#2@\protect\texttt{#2} path operation}% + \index{Path operations!#2@\protect\texttt{#2}}% + \fi% + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} +\makeatother + +\def\extractcommand#1#2\@@{% + \pgfmanualentryheadline{\declare{\texttt{\string#1}}#2}% + \removeats{#1}% + \index{\strippedat @\protect\myprintocmmand{\strippedat}}} + + +\newenvironment{package}[1]{ + \begin{pgfmanualentry} + \pgfmanualentryheadline{{\ttfamily\char`\\usepackage\char`\{\declare{#1}\char`\}\space\space \char`\%\space\space \LaTeX}} + \index{#1@\protect\texttt{#1} package}% + \index{Packages and files!#1@\protect\texttt{#1}}% + \pgfmanualentryheadline{{\ttfamily\char`\\input \declare{#1}.tex\space\space\space \char`\%\space\space plain \TeX}} + \pgfmanualentryheadline{{\ttfamily\char`\\input \declare{#1}.tex\space\space\space \char`\%\space\space Con\TeX t}} + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + + + +\newenvironment{filedescription}[1]{ + \begin{pgfmanualentry} + \pgfmanualentryheadline{File {\ttfamily\declare{#1}}}% + \index{#1@\protect\texttt{#1} file}% + \index{Packages and files!#1@\protect\texttt{#1}}% + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + + +\newenvironment{packageoption}[1]{ + \begin{pgfmanualentry} + \pgfmanualentryheadline{{\ttfamily\char`\\usepackage[\declare{#1}]\char`\{pgf\char`\}}} + \index{#1@\protect\texttt{#1} package option}% + \index{Package options for \textsc{pgf}!#1@\protect\texttt{#1}}% + \pgfmanualbody +} +{ + \end{pgfmanualentry} +} + + + +\newcommand\opt[1]{{\color{black!50!green}#1}} +\newcommand\ooarg[1]{{\ttfamily[}\meta{#1}{\ttfamily]}} + +\def\opt{\afterassignment\pgfmanualopt\let\next=} +\def\pgfmanualopt{\ifx\next\bgroup\bgroup\color{black!50!green}\else{\color{black!50!green}\next}\fi} + + + +\def\beamer{\textsc{beamer}} +\def\pdf{\textsc{pdf}} +\def\pgfname{\textsc{pgf}} +\def\tikzname{Ti\emph{k}Z} +\def\pstricks{\textsc{pstricks}} +\def\prosper{\textsc{prosper}} +\def\seminar{\textsc{seminar}} +\def\texpower{\textsc{texpower}} +\def\foils{\textsc{foils}} + +{ + \makeatletter + \global\let\myempty=\@empty + \global\let\mygobble=\@gobble + \catcode`\@=12 + \gdef\getridofats#1@#2\relax{% + \def\getridtest{#2}% + \ifx\getridtest\myempty% + \expandafter\def\expandafter\strippedat\expandafter{\strippedat#1} + \else% + \expandafter\def\expandafter\strippedat\expandafter{\strippedat#1\protect\printanat} + \getridofats#2\relax% + \fi% + } + + \gdef\removeats#1{% + \let\strippedat\myempty% + \edef\strippedtext{\stripcommand#1}% + \expandafter\getridofats\strippedtext @\relax% + } + + \gdef\stripcommand#1{\expandafter\mygobble\string#1} +} + +\def\printanat{\char`\@} + +\def\declare{\afterassignment\pgfmanualdeclare\let\next=} +\def\pgfmanualdeclare{\ifx\next\bgroup\bgroup\color{red!75!black}\else{\color{red!75!black}\next}\fi} + + +\let\textoken=\command +\let\endtextoken=\endcommand + +\def\myprintocmmand#1{\texttt{\char`\\#1}} + +\def\example{\par\smallskip\noindent\textit{Example: }} +\def\themeauthor{\par\smallskip\noindent\textit{Theme author: }} + +\def\itemoption#1{\item \declare{\texttt{#1}}% + \indexoption{#1}% +} + +\def\indexoption#1{% + \index{#1@\protect\texttt{#1} option}% + \index{Graphic options!#1@\protect\texttt{#1}}% +} + +\def\itemstyle#1{\item \texttt{style=}\declare{\texttt{#1}}% + \index{#1@\protect\texttt{#1} style}% + \index{Styles!#1@\protect\texttt{#1}}% +} + + + +\def\class#1{\list{}{\leftmargin=2em\itemindent-\leftmargin\def\makelabel##1{\hss##1}}% +\extractclass#1@\par\topsep=0pt} +\def\endclass{\endlist} +\def\extractclass#1#2@{% +\item{{{\ttfamily\char`\\documentclass}#2{\ttfamily\char`\{\declare{#1}\char`\}}}}% + \index{#1@\protect\texttt{#1} class}% + \index{Classes!#1@\protect\texttt{#1}}} + +\def\partname{Part} + +\makeatletter +\def\index@prologue{\section*{Index}\addcontentsline{toc}{section}{Index} + This index only contains automatically generated entries. A good + index should also contain carefully selected keywords. This index is + not a good index. + \bigskip +} +\c@IndexColumns=2 + \def\theindex{\@restonecoltrue + \columnseprule \z@ \columnsep 35\p@ + \twocolumn[\index@prologue]% + \parindent -30pt + \columnsep 15pt + \parskip 0pt plus 1pt + \leftskip 30pt + \rightskip 0pt plus 2cm + \small + \def\@idxitem{\par}% + \let\item\@idxitem \ignorespaces} + \def\endtheindex{\onecolumn} +\def\noindexing{\let\index=\@gobble} + + +\newcommand\symarrow[1]{ + \index{#1@\protect\texttt{#1} arrow tip}% + \index{Arrow tips!#1@\protect\texttt{#1}} + \texttt{#1}& yields thick + \begin{tikzpicture}[arrows={#1-#1},thick,baseline] + \useasboundingbox (0pt,-0.5ex) rectangle (1cm,2ex); + \draw (0pt,.5ex) -- (1cm,.5ex); + \end{tikzpicture} and thin + \begin{tikzpicture}[arrows={#1-#1},thin,baseline] + \useasboundingbox (0pt,-0.5ex) rectangle (1cm,2ex); + \draw (0pt,.5ex) -- (1cm,.5ex); + \end{tikzpicture} +} + +\newcommand\sarrow[2]{ + \index{#1@\protect\texttt{#1} arrow tip}% + \index{Arrow tips!#1@\protect\texttt{#1}} + \index{#2@\protect\texttt{#2} arrow tip}% + \index{Arrow tips!#2@\protect\texttt{#2}} + \texttt{#1-#2}& yields thick + \begin{tikzpicture}[arrows={#1-#2},thick,baseline] + \useasboundingbox (0pt,-0.5ex) rectangle (1cm,2ex); + \draw (0pt,.5ex) -- (1cm,.5ex); + \end{tikzpicture} and thin + \begin{tikzpicture}[arrows={#1-#2},thin,baseline] + \useasboundingbox (0pt,-0.5ex) rectangle (1cm,2ex); + \draw (0pt,.5ex) -- (1cm,.5ex); + \end{tikzpicture} +} + +\newcommand\carrow[1]{ + \index{#1@\protect\texttt{#1} arrow tip}% + \index{Arrow tips!#1@\protect\texttt{#1}} + \texttt{#1}& yields for line width 1ex + \begin{tikzpicture}[arrows={#1-#1},line width=1ex,baseline] + \useasboundingbox (0pt,-0.5ex) rectangle (1.5cm,2ex); + \draw (0pt,.5ex) -- (1.5cm,.5ex); + \end{tikzpicture} +} +\def\myvbar{\char`\|} +\newcommand\plotmarkentry[1]{% + \index{#1@\protect\texttt{#1} plot mark}% + \index{Plot marks!#1@\protect\texttt{#1}} + \texttt{\char`\\pgfuseplotmark\char`\{\declare{#1}\char`\}} & + \tikz\draw[color=black!25] plot[mark=#1,mark options={fill=examplefill,draw=black}] coordinates{(0,0) (.5,0.2) (1,0) (1.5,0.2)};\\ +} +\newcommand\plotmarkentrytikz[1]{% + \index{#1@\protect\texttt{#1} plot mark}% + \index{Plot marks!#1@\protect\texttt{#1}} + \texttt{mark=\declare{#1}} & \tikz\draw[color=black!25] + plot[mark=#1,mark options={fill=examplefill,draw=black}] + coordinates {(0,0) (.5,0.2) (1,0) (1.5,0.2)};\\ +} + + + +\ifx\scantokens\@undefined + \PackageError{pgfmanual-macros}{You need to use extended latex + (elatex) or (pdfelatex) to process this document}{} +\fi + +\begingroup +\catcode`|=0 +\catcode`[= 1 +\catcode`]=2 +\catcode`\{=12 +\catcode `\}=12 +\catcode`\\=12 |gdef|find@example#1\end{codeexample}[|endofcodeexample[#1]] +|endgroup + +\begingroup +\catcode`\^=7 +\catcode`\^^M=13 +\catcode`\ =13% +\gdef\returntospace{\catcode`\ =13\def {\space}\catcode`\^^M=13\def^^M{}}% +\endgroup + +\begingroup +\catcode`\%=13 +\catcode`\^^M=13 +\gdef\commenthandler{\catcode`\%=13\def%{\@gobble@till@return}} +\gdef\@gobble@till@return#1^^M{} +\gdef\typesetcomment{\catcode`\%=13\def%{\@typeset@till@return}} +\gdef\@typeset@till@return#1^^M{{\def%{\char`\%}\textsl{\char`\%#1}}\par} +\endgroup + +\define@key{codeexample}{width}{\setlength\codeexamplewidth{#1}} +\define@key{codeexample}{graphic}{\colorlet{graphicbackground}{#1}} +\define@key{codeexample}{code}{\colorlet{codebackground}{#1}} +\define@key{codeexample}{execute code}{\csname code@execute#1\endcsname} +\define@key{codeexample}{code only}[]{\code@executefalse} + +\newdimen\codeexamplewidth +\newif\ifcode@execute +\newbox\codeexamplebox +\def\codeexample[#1]{% + \code@executetrue + \setlength\codeexamplewidth{4cm+7pt} + \setkeys{codeexample}{#1}% + \parindent0pt + \begingroup% + \par% + \medskip% + \let\do\@makeother% + \dospecials% + \obeylines% + \@vobeyspaces% + \catcode`\%=13% + \catcode`\^^M=13% + \find@example} +\def\endofcodeexample#1{% + \endgroup% + \ifcode@execute% + \setbox\codeexamplebox=\hbox{% + {% + {% + \returntospace% + \commenthandler% + \xdef\code@temp{#1}% removes returns and comments + }% + \colorbox{graphicbackground}{\color{black}\ignorespaces% + \expandafter\scantokens\expandafter{\code@temp\ignorespaces}\ignorespaces}% + }% + }% + \ifdim\wd\codeexamplebox>\codeexamplewidth% + \def\code@start{\par}% + \def\code@flushstart{}\def\code@flushend{}% + \def\code@mid{\parskip2pt\par\noindent}% + \def\code@width{\linewidth-6pt}% + \def\code@end{}% + \else% + \def\code@start{% + \linewidth=\textwidth% + \parshape \@ne 0pt \linewidth + \leavevmode% + \hbox\bgroup}% + \def\code@flushstart{\hfill}% + \def\code@flushend{\hbox{}}% + \def\code@mid{\hskip6pt}% + \def\code@width{\linewidth-12pt-\codeexamplewidth}% + \def\code@end{\egroup}% + \fi% + \code@start% + \noindent% + \begin{minipage}[t]{\codeexamplewidth}\raggedright + \hrule width0pt% + \footnotesize\vskip-1em% + \code@flushstart\box\codeexamplebox\code@flushend% + \vskip-1ex + \leavevmode% + \end{minipage}% + \else% + \def\code@mid{\par} + \def\code@width{\linewidth-6pt} + \def\code@end{} + \fi% + \code@mid% + \colorbox{codebackground}{% + \begin{minipage}[t]{\code@width}% + {% + \let\do\@makeother + \dospecials + \frenchspacing\@vobeyspaces + \normalfont\ttfamily\footnotesize + \typesetcomment% + \@tempswafalse + \def\par{% + \if@tempswa + \leavevmode \null \@@par\penalty\interlinepenalty + \else + \@tempswatrue + \ifhmode\@@par\penalty\interlinepenalty\fi + \fi}% + \obeylines + \everypar \expandafter{\the\everypar \unpenalty}% + #1} + \end{minipage}}% + \code@end% + \par% + \medskip + \end{codeexample} +} + +\def\endcodeexample{} + + +\makeatother + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "beameruserguide" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-actions.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-actions.tex new file mode 100644 index 00000000000..f0e0f45c061 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-actions.tex @@ -0,0 +1,465 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Using Paths} + +\subsection{Overview} + +Once a path has been constructed, it can be \emph{used} in different +ways. For example, you can draw the path or fill it or use it for +clipping. + +Numerous graph parameters influence how a path will be rendered. For +example, when you draw a path, the line width is important as well as +the dashing pattern. The options that govern how paths are rendered +can all be set with commands starting with |\pgfset|. \emph{All + options that influence how a path is rendered always influence the + complete path.} Thus, it is not possible to draw part of a path +using, say, a red color and drawing another part using a green +color. To achieve such an effect, you must use two paths. + +In detail, paths can be used in the following ways: + +\begin{enumerate} +\item + You can \emph{stroke} (also known as \emph{draw}) a path. +\item + You can \emph{fill} a path with a uniform color. +\item + You can \emph{clip} subsequent renderings against the path. +\item + You can \emph{shade} a path. +\item + You can \emph{use the path as bounding box} for the whole picture. +\end{enumerate} +You can also perform any combination of the above, though it makes no +sense to fill and shade a path at the same time. + +To perform (a combination of) the first three actions, you can use the +following command: +\begin{command}{\pgfusepath\marg{actions}} + Applies the given \meta{actions} to the current path. Afterwards, + the current path is (globally) empty. The following actions are + possible: + \begin{itemize} + \item \declare{|fill|} + fills the path. See Section~\ref{section-fill} for further details. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{1cm}} + \pgfpathlineto{\pgfpoint{1cm}{0cm}} + \pgfusepath{fill} +\end{pgfpicture} +\end{codeexample} + \item \declare{|stroke|} + strokes the path. See Section~\ref{section-stroke} for further details. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{1cm}} + \pgfpathlineto{\pgfpoint{1cm}{0cm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + \item \declare{|clip|} + clips all subsequent drawings against the path. See + Section~\ref{section-clip} for further details. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{1cm}} + \pgfpathlineto{\pgfpoint{1cm}{0cm}} + \pgfusepath{stroke,clip} + \pgfpathcircle{\pgfpoint{1cm}{1cm}}{0.5cm} + \pgfusepath{fill} +\end{pgfpicture} +\end{codeexample} + \item \declare{|discard|} + discards the path, that is, it is not used at all. Giving this + option (alone) has the same effect as giving an empty options + list. + \end{itemize} + When more than one of the first three actions are given, they are + applied in the above ordering, regardless of their ordering in + \meta{actions}. Thus, |{stroke,fill}| and |{fill,stroke}| have the + same effect. +\end{command} + +To shade a path, use the |\pgfshadepath| command, which is explained +in Section~\ref{section-shadings}. + + + +\subsection{Stroking a Path} +\label{section-stroke} + +When you use |\pgfusepath{stroke}| to stroke a path, several graphic +parameters influence how the path is drawn. The commands for setting +these parameters are explained in the following. + +Note that all graphic parameters apply to the path as a whole, never +only to a part of it. + +All graphic parameters are local to the current |{pgfscope}|, but they +persists past \TeX\ groups, \emph{except} for the interior rule +(even-odd or nonzero) and the arrow tip kinds. The latter graphic +parameters only persist till the end of the current \TeX\ group, but +this may change in the future, so do not count on this. + +\subsubsection{Graphic Parameter: Line Width} + +\begin{command}{\pgfsetlinewidth\marg{line width}} + This command sets the line width for subsequent strokes (in the + current |pgfscope|). The line width is given as a normal \TeX\ + dimension like |0.4pt| or |1mm|. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetlinewidth{1mm} + \pgfpathmoveto{\pgfpoint{0mm}{0mm}} + \pgfpathlineto{\pgfpoint{2cm}{0mm}} + \pgfusepath{stroke} + \pgfsetlinewidth{2\pgflinewidth} % double in size + \pgfpathmoveto{\pgfpoint{0mm}{5mm}} + \pgfpathlineto{\pgfpoint{2cm}{5mm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{textoken}{\pgflinewidth} + You can access the current line width via the \TeX\ dimension + |\pgflinewidth|. It will be set to the correct line width, that is, + even when a \TeX\ group closed, the value will be correct since it + is set globally, but when a |{pgfscope}| closes, the value is set to + the correct value it had before the scope. +\end{textoken} + + +\subsubsection{Graphic Parameter: Caps and Joins} + +\begin{command}{\pgfsetbuttcap} + Sets the line cap to a butt cap. See Section~\ref{section-cap-joins} + for an explanation of what this is. +\end{command} +\begin{command}{\pgfsetroundcap} + Sets the line cap to a round cap. See again + Section~\ref{section-cap-joins}. +\end{command} +\begin{command}{\pgfsetrectcap} + Sets the line cap to a square cap. See again + Section~\ref{section-cap-joins}. +\end{command} +\begin{command}{\pgfsetroundjoin} + Sets the line join to a round join. See again + Section~\ref{section-cap-joins}. +\end{command} +\begin{command}{\pgfsetbeveljoin} + Sets the line join to a bevel join. See again + Section~\ref{section-cap-joins}. +\end{command} +\begin{command}{\pgfsetmiterjoin} + Sets the line join to a miter join. See again + Section~\ref{section-cap-joins}. +\end{command} +\begin{command}{\pgfsetmiterlimit\marg{miter limit factor}} + Sets the miter limit to \meta{miter limit factor}. See again + Section~\ref{section-cap-joins}. +\end{command} + +\subsubsection{Graphic Parameter: Dashing} + +\begin{command}{\pgfsetdash\marg{list of even length of dimensions}\marg{phase}} + Sets the dashing of a line. The first entry in the list specifies + the length of the first solid part of the list. The second entry + specifies the length of the following gap. Then comes the length of + the second solid part, following by the length of the second gap, + and so on. The \meta{phase} specifies where the first solid part + starts relative to the beginning of the line. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetdash{{0.5cm}{0.5cm}{0.1cm}{0.2cm}}{0cm} + \pgfpathmoveto{\pgfpoint{0mm}{0mm}} + \pgfpathlineto{\pgfpoint{2cm}{0mm}} + \pgfusepath{stroke} + \pgfsetdash{{0.5cm}{0.5cm}{0.1cm}{0.2cm}}{0.1cm} + \pgfpathmoveto{\pgfpoint{0mm}{1mm}} + \pgfpathlineto{\pgfpoint{2cm}{1mm}} + \pgfusepath{stroke} + \pgfsetdash{{0.5cm}{0.5cm}{0.1cm}{0.2cm}}{0.2cm} + \pgfpathmoveto{\pgfpoint{0mm}{2mm}} + \pgfpathlineto{\pgfpoint{2cm}{2mm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + + Use |\pgfsetdash{}{0pt}| to get a solid dashing. +\end{command} + +\subsubsection{Graphic Parameter: Stroke Color} + +\begin{command}{\pgfsetstrokecolor\marg{color}} + Sets the color used for stroking lines to \meta{color}, where + \meta{color} is a \LaTeX\ color like |red| or |black!20!red|. Unlike + the |\color| command, the effect of this command lasts till the end + of the current |{pgfscope}| and not till the end of the current + \TeX\ group. + + The color used for stroking may be different from the color used for + filling. However, a |\color| command will always ``immediately + override'' any special settings for the stroke and fill colors. + + In plain \TeX, this command will also work, but the problem of + \emph{defining} a color arises. After all, plain \TeX\ does not + provide \LaTeX\ colors. For this reason, \pgfname\ implements a + minimalistic ``emulation'' of the |\definecolor|, |\colorlet|, and + |\color| commands. Only gray-scale and rgb colors are supported. For + most cases this turns out to be enough. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetlinewidth{1pt} + \color{red} + \pgfpathcircle{\pgfpoint{0cm}{0cm}}{3mm} \pgfusepath{fill,stroke} + \pgfsetstrokecolor{black} + \pgfpathcircle{\pgfpoint{1cm}{0cm}}{3mm} \pgfusepath{fill,stroke} + \color{red} + \pgfpathcircle{\pgfpoint{2cm}{0cm}}{3mm} \pgfusepath{fill,stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetcolor\marg{color}} + Sets both the stroke and fill color. The difference to the normal + |\color| command is that the effect lasts till the end of the + current |{pgfscope}|, not only till the end of the current \TeX\ + group. +\end{command} + + +\subsubsection{Graphic Parameter: Stroke Opacity} + +\begin{command}{\pgfsetstrokeopacity\marg{value}} + Sets the opacity of stroking operations. The \meta{value} should be + a number between |0| and |1|, where |1| means ``fully opaque'' and + |0| means ``fully transparent.'' A value like |0.5| will cause paths + to be stroked in a semitransparent way. + + \emph{Note:} For PostScript output, opacity is rendered correctly + only with the most recent versions of GhostScript. Printers and + other programs will ignore the opacity setting. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetlinewidth{5mm} + \color{red} + \pgfpathcircle{\pgfpoint{0cm}{0cm}}{10mm} \pgfusepath{stroke} + \color{black} + \pgfsetstrokeopacity{0.5} + \pgfpathcircle{\pgfpoint{1cm}{0cm}}{10mm} \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + + +\subsubsection{Graphic Parameter: Arrows} + +After a path has been drawn, \pgfname\ can add arrow tips at the +ends. Currently, it will only add arrows correctly at the end of paths +that consist of a single open part. For other paths, like closed paths +or path consisting of multiple parts, the result is not defined. + +\begin{command}{\pgfsetarrowsstart\marg{arrow kind}} + Sets the arrow tip kind used at the start of a (possibly curved) + path. When this option is used, the line will often be slightly + shortened to ensure that the tip of the arrow will exactly ``touch'' + the ``real'' start of the line. + + To ``clear'' the start arrow, say |\pgfsetarrowsstart{}|. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetarrowsstart{latex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{0cm}} + \pgfusepath{stroke} + \pgfsetarrowsstart{to} + \pgfpathmoveto{\pgfpoint{0cm}{2mm}} + \pgfpathlineto{\pgfpoint{1cm}{2mm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + + The effect of this command persists only till the end of the current + \TeX\ scope. + + The different possible arrow kinds are explained in + Section~\ref{section-arrows}. +\end{command} + +\begin{command}{\pgfsetarrowsend\marg{arrow kind}} + Sets the arrow tip kind used at the end of a path. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetarrowsstart{latex} + \pgfsetarrowsend{to} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{0cm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetarrows{\texttt{\char`\{}}\meta{start kind}|-|\meta{end kind}{\texttt{\char`\}}}} + Sets the start arrow kind to \meta{start kind} and the end kind to + \meta{end kind}. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetarrows{latex-to} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{0cm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetshortenstart\marg{dimension}} + This command will shortened the start of every stroked path by the + given dimension. This shortening is done in addition to automatic + shortening done by a start arrow, but it can be used even if no + start arrow is given. + + This command is useful if you wish arrows or lines to ``stop shortly + before'' a given point. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathcircle{\pgfpointorigin}{5mm} + \pgfusepath{stroke} + \pgfsetarrows{latex-} + \pgfsetshortenstart{4pt} + \pgfpathmoveto{\pgfpoint{5mm}{0cm}} % would be on the circle + \pgfpathlineto{\pgfpoint{2cm}{0cm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetshortenend\marg{dimension}} + Works like |\pgfsetshortenstart|. +\end{command} + + + +\subsection{Filling a Path} +\label{section-fill} + +Filling a path means coloring every interior point of the path with +the current fill color. It is not always obvious whether a point is +``inside'' a path when the path is self-intersecting and/or consists +or multiple parts. In this case either the nonzero winding number rule +or the even-odd crossing number rule is used to decide, which points +lie ``inside.'' These rules are explained in +Section~\ref{section-rules}. + +\subsubsection{Graphic Parameter: Interior Rule} + +You can set which rule is used using the following commands: + +\begin{command}{\pgfseteorule} + Dictates that the even-odd rule is used in subsequent fillings in + the current \emph{\TeX\ scope}. Thus, for once, the effect of this + command does not persist past the current \TeX\ scope. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfseteorule + \pgfpathcircle{\pgfpoint{0mm}{0cm}}{7mm} + \pgfpathcircle{\pgfpoint{5mm}{0cm}}{7mm} + \pgfusepath{fill} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetnonzerorule} + Dictates that the nonzero winding number rule is used in subsequent + fillings in the current \TeX\ scope. This is the default. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetnonzerorule + \pgfpathcircle{\pgfpoint{0mm}{0cm}}{7mm} + \pgfpathcircle{\pgfpoint{5mm}{0cm}}{7mm} + \pgfusepath{fill} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\subsubsection{Graphic Parameter: Filling Color} + +\begin{command}{\pgfsetfillcolor\marg{color}} + Sets the color used for filling paths to \meta{color}. Like the + stroke color, the effect lasts only till the next use of |\color|. +\end{command} + + +\subsubsection{Graphic Parameter: Fill Opacity} + +\begin{command}{\pgfsetfillopacity\marg{value}} + Sets the opacity of filling operations. As for stroking, the + \meta{value} should be a number between |0| and~|1|. + + The ``filling transparency'' will also be used for text and images. + +\begin{codeexample}[] +\begin{tikzpicture} + \pgfsetfillopacity{0.5} + \fill[red] (90:1cm) circle (11mm); + \fill[green] (210:1cm) circle (11mm); + \fill[blue] (-30:1cm) circle (11mm); +\end{tikzpicture} +\end{codeexample} +\end{command} + +\subsection{Clipping a Path} +\label{section-clip} + +When you add the |clip| option, the current path is used for +clipping subsequent drawings. The same rule as for filling is used to +decide whether a point is inside or outside the path, that is, either +the even-odd rule or the nonzero rule. + +Clipping never enlarges the clipping area. Thus, when you clip against +a certain path and then clip again against another path, you clip +against the intersection of both. + +The only way to enlarge the clipping path is to end the |{pgfscope}| +in which the clipping was done. At the end of a |{pgfscope}| the +clipping path that was in force at the beginning of the scope is +reinstalled. + +\subsection{Using a Path as a Bounding Box} +\label{section-using-bb} + +When you add the |use as bounding box| option, the bounding box of the +picture will be enlarged such that the path in encompassed, but any +\emph{subsequent} paths of the current \TeX\ scope will not have any +effect on the size of the bounding box. Typically, you use this +command at the very beginning of a |{pgfpicture}| environment. + +\begin{codeexample}[] +Left +\begin{pgfpicture} + \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{1ex}} + \pgfusepath{use as bounding box} % draws nothing + + \pgfpathcircle{\pgfpointorigin}{2ex} + \pgfusepath{stroke} +\end{pgfpicture} +right. +\end{codeexample} + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-arrows.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-arrows.tex new file mode 100644 index 00000000000..078a929d4e3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-arrows.tex @@ -0,0 +1,677 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Arrow Tips} +\label{section-arrows} + + +\subsection{Overview} + +\subsubsection{When Does PGF Draw Arrow Tips?} + +\pgfname\ offers an interface for placing \emph{arrow tips} at the end +of lines. The interface works as follows: + +\begin{enumerate} +\item + You (or someone else) assigns a name to a certain kind of arrow + tips. For example, the + arrow tip |latex| is the arrow tip used by the standard \LaTeX\ + picture environment; the arrow tip |to| looks like the tip of the + arrow in \TeX's |\to| command; and so on. + + This is done once at the beginning of the document. +\item + Inside some picture, at some point you specify that in the current + scope from now on you would like tips of, say, kind |to| to be added + at the end and/or beginning of all paths. + + When an arrow kind has been installed and when \pgfname\ is about to + stroke a path, the following things happen: + \begin{enumerate} + \item + The beginning and/or end of the path is shortened appropriately. + \item + The path is stroked. + \item + The arrow tip is drawn at the beginning and/or end of the path, + appropriately rotated and appropriately resized. + \end{enumerate} +\end{enumerate} + +In the above description, there are a number of ``appropriately.'' +The exact details are not quite trivial and described later on. + +\subsubsection{Meta-Arrow Tips} + +In \pgfname, arrows are ``meta-arrows'' in the same way that fonts in +\TeX\ are ``meta-fonts.'' When a meta-arrow is resized, it is not +simply scaled, but a possibly complicated transformation is applied to +the size. + +A meta-font is not one particular font at a specific size with a +specific stroke width (and with a large number of other parameters +being fixed). Rather, it is a ``blueprint'' (actually, more like a +program) for generating such a font at a particular size and +width. This allows the designer of a meta-font to make sure that, say, +the font is somewhat thicker and wider at very small sizes. To +appreciate the difference: Compare the following texts: ``Berlin'' and +``\tikz{\node [scale=2,inner sep=0pt,outer sep=0pt]{\tiny + Berlin};}''. The first is a ``normal'' text, the second is the tiny +version scaled by a factor of two. Obviously, the first look +better. Now, compare ``\tikz{\node [scale=.5,inner sep=0pt,outer + sep=0pt]{Berlin};}'' and ``{\tiny Berlin}''. This time, the normal +text was scaled down, while the second text is a ``normal'' tiny +text. The second text is easier to read. + +\pgfname's meta-arrows work in a similar fashion: The shape of an +arrow tip can vary according to the line width of the arrow tip is +used. Thus, an arrow tip drawn at a line width of 5pt will typically +\emph{not} be five times as large as an arrow tip of line width +1pt. Instead, the size of the arrow will get bigger only slowly as the +line width increases. + +To appreciate the difference, here are the |latex| and |to| arrows, as +drawn by \pgfname\ at four different sizes: + +\medskip +\begin{tikzpicture} + \draw[-latex,line width=0.1pt] (0pt,0ex) -- +(3,0) node[thin,right] {line width is 0.1pt}; + \draw[-latex,line width=0.4pt] (0pt,-2em) -- +(3,0) node[thin,right] {line width is 0.4pt}; + \draw[-latex,line width=1.2pt] (0pt,-4em) -- +(3,0) node[thin,right] {line width is 1.2pt}; + \draw[-latex,line width=5pt] (0pt,-6em) -- +(3,0) node[thin,right] {line width is 5pt}; + + \draw[-to,line width=0.1pt] (6cm,0ex) -- +(3,0) node[thin,right] {line width is 0.1pt}; + \draw[-to,line width=0.4pt] (6cm,-2em) -- +(3,0) node[thin,right] {line width is 0.4pt}; + \draw[-to,line width=1.2pt] (6cm,-4em) -- +(3,0) node[thin,right] {line width is 1.2pt}; + \draw[-to,line width=5pt] (6cm,-6em) -- +(3,0) node[thin,right] {line width is 5pt}; +\end{tikzpicture} + +\medskip +Here, by comparison, is the same arrow when it is simply ``resized'' +(as done by most programs): + +\pgfarrowsdeclare{bad latex}{bad latex} +{ + \pgfarrowsleftextend{-1\pgflinewidth} + \pgfarrowsrightextend{9\pgflinewidth} +} +{ + \pgfpathmoveto{\pgfpoint{9\pgflinewidth}{0pt}} + \pgfpathcurveto + {\pgfpoint{6.3333\pgflinewidth}{.5\pgflinewidth}} + {\pgfpoint{2\pgflinewidth}{2\pgflinewidth}} + {\pgfpoint{-1\pgflinewidth}{3.75\pgflinewidth}} + \pgfpathlineto{\pgfpoint{-1\pgflinewidth}{-3.75\pgflinewidth}} + \pgfpathcurveto + {\pgfpoint{2\pgflinewidth}{-2\pgflinewidth}} + {\pgfpoint{6.3333\pgflinewidth}{-.5\pgflinewidth}} + {\pgfpoint{9\pgflinewidth}{0pt}} + \pgfusepathqfill +} + +\pgfarrowsdeclare{bad to}{bad to} +{ + \pgfarrowsleftextend{-2\pgflinewidth} + \pgfarrowsrightextend{\pgflinewidth} +} +{ + \pgfsetlinewidth{0.8\pgflinewidth} + \pgfsetdash{}{0pt} + \pgfsetroundcap + \pgfsetroundjoin + \pgfpathmoveto{\pgfpoint{-3\pgflinewidth}{4\pgflinewidth}} + \pgfpathcurveto + {\pgfpoint{-2.75\pgflinewidth}{2.5\pgflinewidth}} + {\pgfpoint{0pt}{0.25\pgflinewidth}} + {\pgfpoint{0.75\pgflinewidth}{0pt}} + \pgfpathcurveto + {\pgfpoint{0pt}{-0.25\pgflinewidth}} + {\pgfpoint{-2.75\pgflinewidth}{-2.5\pgflinewidth}} + {\pgfpoint{-3\pgflinewidth}{-4\pgflinewidth}} + \pgfusepathqstroke +} + +\medskip +\begin{tikzpicture} + \draw[-bad latex,line width=0.1pt] (0pt,0ex) -- +(3,0) node[thin,right] {line width is 0.1pt}; + \draw[-bad latex,line width=0.4pt] (0pt,-2em) -- +(3,0) node[thin,right] {line width is 0.4pt}; + \draw[-bad latex,line width=1.2pt] (0pt,-4em) -- +(3,0) node[thin,right] {line width is 1.2pt}; + \draw[-bad latex,line width=5pt] (0pt,-6em) -- +(3,0) node[thin,right] {line width is 5pt}; + + \draw[-bad to,line width=0.1pt] (6cm,0ex) -- +(3,0) node[thin,right] {line width is 0.1pt}; + \draw[-bad to,line width=0.4pt] (6cm,-2em) -- +(3,0) node[thin,right] {line width is 0.4pt}; + \draw[-bad to,line width=1.2pt] (6cm,-4em) -- +(3,0) node[thin,right] {line width is 1.2pt}; + \draw[-bad to,line width=5pt] (6cm,-6em) -- +(3,0) node[thin,right] {line width is 5pt}; +\end{tikzpicture} + +\bigskip +As can be seen, simple scaling produces arrow tips that are way too +large at larger sizes and way too small at smaller sizes. + + + +\subsection{Declaring an Arrow Tip Kind} + +To declare an arrow kind ``from scratch,'' the following command is +used: + +\begin{command}{\pgfarrowsdeclare\marg{start name}\marg{end + name}\marg{extend code}\marg{arrow tip code}} + This command declares a new arrow kind. An arrow kind has two names, + which will typically be the same. When the arrow tip needs to be + drawn, the \meta{arrow tip code} will be invoked, but the canvas + transformation is setup beforehand to a rotation such that when an + arrow tip pointing right is specified, the arrow tip that is + actually drawn points in the direction of the line. + + \medskip + \textbf{Naming the arrow kind.} + The \meta{start name} is the name + used for the arrow tip when it is at the start of a path, the \meta{end + name} is the name used at the end of a path. For example, the + arrow kind that looks like a parenthesis has the \meta{start + name} |(| and the \meta{end name} |)| so that you can say + |\pgfsetarrows{(-)}| to specify that you want parenthesis arrows and + both ends. + + The \meta{end name} and \meta{start name} can be quite arbitrary and + may contain spaces. + + \medskip + \textbf{Basics of the arrow tip code.} + Let us next have a look at the \meta{arrow tip code}. This code will + be used to draw the arrow tip when \pgfname\ thinks this is + necessary. The code should draw an arrow that ``points right,'' + which means that is should draw an arrow at the end of a line coming + from the left and ending at the origin. + + As an example, suppose we wanted to declare an arrow tip consisting + of two arcs, that is, we want the arrow tip to look more or less + like the red part of the following picture: +\begin{codeexample}[] +\begin{tikzpicture}[line width=3pt] + \draw (-2,0) -- (0,0); + \draw[red,join=round,cap=round] + (-10pt,10pt) arc (180:270:10pt) arc (90:180:10pt); +\end{tikzpicture} +\end{codeexample} + + We could use the following as \meta{arrow tip code} for this: +\begin{codeexample}[code only] +\pgfarrowsdeclare{arcs}{arcs}{...} +{ + \pgfsetdash{}{0pt} % do not dash + \pgfsetroundjoin % fix join + \pgfsetroundcap % fix cap + \pgfpathmoveto{\pgfpoint{-10pt}{10pt}} + \pgfpatharc{180}{270}{10pt} + \pgfpatharc{90}{180}{10pt} + \pgfusepathqstroke +} +\end{codeexample} + + Indeed, when the |...| is set appropriately (in a moment), we can + write the following: +\pgfarrowsdeclare{arcs}{arcs}{\pgfarrowsleftextend{0pt}\pgfarrowsrightextend{0pt}} +{ + \pgfsetdash{}{0pt} % do not dash + \pgfsetroundjoin % fix join + \pgfsetroundcap % fix cap + \pgfpathmoveto{\pgfpoint{-10pt}{10pt}} + \pgfpatharc{180}{270}{10pt} + \pgfpatharc{90}{180}{10pt} + \pgfusepathqstroke +} +\begin{codeexample}[] +\begin{tikzpicture} + \draw[-arcs,line width=3pt] (-2,0) -- (0,0); + \draw[arcs-arcs,line width=1pt] (-2,-1.5) -- (0,-1); + \useasboundingbox (-2,-2) rectangle (0,0.75); +\end{tikzpicture} +\end{codeexample} + + As can be seen in the second example, the arrow tip is automatically + rotated as needed when the arrow is drawn. This is achieved by a + canvas rotation. + + \medskip + \textbf{Special considerations about the arrow tip code.} + There are several things you need to be aware of when designing + arrow tip code: + \begin{itemize} + \item + Inside the code, you may not use the |\pgfusepath| + command. The reason is that this command internally calls arrow + construction commands, which is something you obviously do not want + to happen. + + Instead of |\pgfusepath|, use the quick versions. Typically, you + will use |\pgfusepathqstroke|, |\pgfusepathqfill|, or + |\pgfusepathqfillstroke|. + \item + The code will be executed only once, namely the first time the + arrow tip needs to be drawn. The resulting low-level driver + commands are protocoled and stored away. In all subsequent + uses of the arrow tip, the protocoled code is directly inserted. + \item + However, the code will be executed anew for each line width. Thus, + an arrow of line width 2pt may result in a different protocol than + the same arrow for a line width of 0.4pt. + \item + If you stroke the path that you construct, you should first set + the dashing to solid and setup fixed joins and caps, as + needed. This will ensure that the arrow tip will always look the + same. + \item + When the arrow tip code is executed, it is automatically put + inside a low-level scope, so nothing will ``leak out'' from the + scope. + \item + The high-level coordinate transformation matrix will be set to the + identity matrix when the code is executed for the first time. + \end{itemize} + + \medskip + \textbf{Designing meta-arrows.} + The \meta{arrow tip code} should adjust the size of the arrow in + accordance with the line width. For a small line width, the arrow + tip should be small, for a large line width, it should be + larger. However, the size of the arrow typically \emph{should not} + grow in direct proportion to the line width. On the other hand, the + size of the arrow head typically \emph{should} grow ``a bit'' with + the line width. + + For these reasons, \pgfname\ will not simply executed your arrow + code within a scaled scope, where the scaling depends on the line + width. Instead, your \meta{arrow tip code} is reexecuted again for + each different line width. + + In our example, we could use the following code for the new arrow + tip kind |arc'| (note the prime): +\begin{codeexample}[code only] +\newdimen\arrowsize +\pgfarrowsdeclare{arcs'}{arcs'}{...} +{ + \arrowsize=0.2pt + \advance\arrowsize by .5\pgflinewidth + \pgfsetdash{}{0pt} % do not dash + \pgfsetroundjoin % fix join + \pgfsetroundcap % fix cap + \pgfpathmoveto{\pgfpoint{-4\arrowsize}{4\arrowsize}} + \pgfpatharc{180}{270}{4\arrowsize} + \pgfpatharc{90}{180}{4\arrowsize} + \pgfusepathqstroke +} +\end{codeexample} +\newdimen\arrowsize +\pgfarrowsdeclare{arcs'}{arcs'}{\pgfarrowsleftextend{0pt}\pgfarrowsrightextend{0pt}} +{ + \arrowsize=0.2pt + \advance\arrowsize by .5\pgflinewidth + \pgfsetdash{}{0pt} % do not dash + \pgfsetroundjoin % fix join + \pgfsetroundcap % fix cap + \pgfpathmoveto{\pgfpoint{-4\arrowsize}{4\arrowsize}} + \pgfpatharc{180}{270}{4\arrowsize} + \pgfusepathqstroke + \pgfpathmoveto{\pgfpointorigin} + \pgfpatharc{90}{180}{4\arrowsize} + \pgfusepathqstroke +} +\begin{codeexample}[] +\begin{tikzpicture} + \draw[-arcs',line width=3pt] (-2,0) -- (0,0); + \draw[arcs'-arcs',line width=1pt] (-2,-1.5) -- (0,-1); + \useasboundingbox (-2,-1.75) rectangle (0,0.5); +\end{tikzpicture} +\end{codeexample} + + However, sometimes, it can also be useful to have arrows that do not + resize at all when the line width changes. This can be achieved by + giving absolute size coordinates in the code, as done for |arc|. On + the other hand, you can also have the arrow resize linearly with the + line width by specifying all coordinates as multiples of + |\pgflinewidth|. + + \textbf{The left and right extend.} + Let us have another look at the exact left and right ``ends'' of our + arrow tip. Let us draw the arrow tip |arc'| at a very large size: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (-2,-1) grid (1,1); + \draw[line width=10pt,-arcs'] (-2,0) -- (0,0); + \draw[line width=2pt,white] (-2,0) -- (0,0); +\end{tikzpicture} +\end{codeexample} + + As one can see, the arrow tip does not ``touch'' the origin as it + should, but protrudes a little over the origin. One remedy to this + undesirable effect is to change the code of the arrow tip such that + everything is shifted half an |\arrowsize| to the left. While this + will cause the arrow tip to touch the origin, the line itself will + then interfere with the arrow: The arrow tip will be partly + ``hidden'' by the line itself. + + \pgfname\ uses a different approach to solving the problem: The + \meta{extend code} argument can be used to ``tell'' \pgfname\ how + much the arrow protrudes over the origin. The argument is also used + to tell \pgfname\ where the ``left'' end of the arrow is. However, + this number is important only when the arrow is being reversed or + composed with other arrow tips. + + Once \pgfname\ knows the right extend of an arrow kind, it can + \emph{shorten} lines by this amount when drawing arrows. + + Here is a picture that shows what the visualizes the extends. The + arrow tip itself is shown in red once more: + + \medskip + \begin{tikzpicture} + \draw[line width=1cm,-arcs',red] (-6,0) -- (0,0); + \draw[line width=1cm,black] (-6,0) -- (0,0); + \draw[help lines] (-6,0) -- (2,0) (0,-3) -- (0,3) coordinate (a); + \draw[help lines,xshift=0.5cm] (0,-3) -- (0,3) coordinate (b); + \draw[help lines,xshift=-2.5cm-0.8pt] (0,-3) -- (0,3) coordinate (c); + + \coordinate (xline 1) at (0,1.5); + \coordinate (xline 2) at (0,2.8); + + \draw[|->|] (xline 1 -| a) -- node[above=2pt] {right extend} (xline 1 -| b); + \draw[|<-|] (xline 2 -| c) -- node[above=2pt] {left extend} (xline 2 -| a); + + \draw (0,0) -- (1,-1) node[below right] {origin}; + \end{tikzpicture} + + + The \meta{extend code} is normal \TeX\ code that is executed + whenever \pgfname\ wants to know how far the arrow tip will protrude + to the right and left. The code should call the following two + commands: \declare{|\pgfarrowsrightextend|} and + \declare{|\pgfarrowsleftextend|}. Both arguments take one argument + that specifies the size. Here is the final code for the |arc''| arrow + tip: +\begin{codeexample}[] +\pgfarrowsdeclare{arcs''}{arcs''} +{ + \arrowsize=0.2pt + \advance\arrowsize by .5\pgflinewidth + \pgfarrowsleftextend{-4\arrowsize-.5\pgflinewidth} + \pgfarrowsrightextend{.5\pgflinewidth} +} +{ + \arrowsize=0.2pt + \advance\arrowsize by .5\pgflinewidth + \pgfsetdash{}{0pt} % do not dash + \pgfsetroundjoin % fix join + \pgfsetroundcap % fix cap + \pgfpathmoveto{\pgfpoint{-4\arrowsize}{4\arrowsize}} + \pgfpatharc{180}{270}{4\arrowsize} + \pgfusepathqstroke + \pgfpathmoveto{\pgfpointorigin} + \pgfpatharc{90}{180}{4\arrowsize} + \pgfusepathqstroke +} +\begin{tikzpicture} + \draw[help lines] (-2,-1) grid (1,1); + \draw[line width=10pt,-arcs''] (-2,0) -- (0,0); + \draw[line width=2pt,white] (-2,0) -- (0,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + +\pgfarrowsdeclare{arcs''}{arcs''} +{ + \arrowsize=0.2pt + \advance\arrowsize by .5\pgflinewidth + \pgfarrowsleftextend{-4\arrowsize-.5\pgflinewidth} + \pgfarrowsrightextend{.5\pgflinewidth} +} +{ + \arrowsize=0.2pt + \advance\arrowsize by .5\pgflinewidth + \pgfsetdash{}{0pt} % do not dash + \pgfsetroundjoin % fix join + \pgfsetroundcap % fix cap + \pgfpathmoveto{\pgfpoint{-4\arrowsize}{4\arrowsize}} + \pgfpatharc{180}{270}{4\arrowsize} + \pgfusepathqstroke + \pgfpathmoveto{\pgfpointorigin} + \pgfpatharc{90}{180}{4\arrowsize} + \pgfusepathqstroke +} + + +\subsection{Declaring a Derived Arrow Tip Kind} + +It is possible to declare arrow kinds in terms of existing ones. For +these command to work correctly, the left and right extends must be +set correctly. + +\begin{command}{\pgfarrowsdeclarealias\marg{start name}\marg{end + name}\marg{old start name}\marg{old end name}} + This command can be used to create an alias (another name) for an + existing arrow kind. + +\begin{codeexample}[] +\pgfarrowsdeclarealias{<}{>}{arcs''}{arcs''}% +\begin{tikzpicture} + \pgfsetarrows{<->} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfarrowsdeclarereversed\marg{start name}\marg{end + name}\marg{old start name}\marg{old end name}} + This command creates a new arrow kind that is the ``reverse'' of an + existing arrow kind. The (automatically cerated) code of the new + arrow kind will contain a flip of the canvas and the meanings of the + left and right extend will be reversed. + +\begin{codeexample}[] +\pgfarrowsdeclarereversed{arcs reversed}{arcs reversed}{arcs''}{arcs''}% +\begin{tikzpicture} + \pgfsetarrows{arcs reversed-arcs reversed} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} +\end{command} + + + +\begin{command}{\pgfarrowsdeclarecombine\opt{|*|}\opt{\oarg{offset}}\marg{start + name}\marg{end name}\marg{first start name}\marg{first end + name}\penalty0\marg{second start name}\marg{second end name}} + This command creates a new arrow kind that combines two existing + arrow kinds. The first arrow kind is the ``innermost'' arrow kind, + the second arrow kind is the ``outermost.'' + + The code for the combined arrow kind will install a canvas + translation before the innermost arrow kind in drawn. This + translation is calculated such that the right tip of the innermost + arrow touches the right end of the outermost arrow. The optional + \meta{offset} can be used to increase (or decrease) the distance + between the inner and outermost arrow. + +\begin{codeexample}[] +\pgfarrowsdeclarecombine[\pgflinewidth] + {combined}{combined}{arcs''}{arcs''}{latex}{latex}% +\begin{tikzpicture} + \pgfsetarrows{combined-combined} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} + + In the star variant, the end of the line is not in the outermost + arrow, but inside the innermost arrow. + +\begin{codeexample}[] +\pgfarrowsdeclarecombine*[\pgflinewidth] + {combined'}{combined'}{arcs''}{arcs''}{latex}{latex}% +\begin{tikzpicture} + \pgfsetarrows{combined'-combined'} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfarrowsdeclaredouble\opt{\oarg{offset}}\marg{start + name}\marg{end name}\marg{old start name}\marg{old end + name}} + This command is a shortcut for combining an arrow kind with itself. + +\begin{codeexample}[] +\pgfarrowsdeclaredouble{<<}{>>}{arcs''}{arcs''}% +\begin{tikzpicture} + \pgfsetarrows{<<->>} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfarrowsdeclaretriple\opt{\oarg{offset}}\marg{start + name}\marg{end name}\marg{old start name}\marg{old end + name}} + This command is a shortcut for combining an arrow kind with itself + and then again. + +\begin{codeexample}[] +\pgfarrowsdeclaretriple{<<<}{>>>}{arcs''}{arcs''}% +\begin{tikzpicture} + \pgfsetarrows{<<<->>>} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} +\end{command} + + + + + +\subsection{Using an Arrow Tip Kind} + +The following commands install the arrow kind that will be used when +stroking is done. + +\begin{command}{\pgfsetarrowsstart\marg{start arrow kind}} + Installs the given \meta{start arrow kind} for all subsequent + strokes in the in the current \TeX-group. If \meta{start arrow kind} + is empty, no arrow tips will be drawn at the start of the last + segment of paths. +\begin{codeexample}[] +\begin{tikzpicture} + \pgfsetarrowsstart{latex} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetarrowsend\marg{start arrow kind}} + Like |\pgfsetarrowsstart|, only for the end of the arrow. +\begin{codeexample}[] +\begin{tikzpicture} + \pgfsetarrowsend{latex} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} +\end{command} + +\emph{Warning:} If the compatibility mode is active (which is the +default), there also exist old commands called |\pgfsetstartarrow| and +|\pgfsetendarrow|, which are incompatible with the meta-arrow +management. + + +\begin{command}{\pgfsetarrows\texttt{\char`\{}\meta{start kind}|-|\meta{end kind}\texttt{\char`\}}} + Calls |\pgfsetarrowsstart| for \meta{start kind} and + |\pgfsetarrowsend| for \meta{end kind}. +\begin{codeexample}[] +\begin{tikzpicture} + \pgfsetarrows{latex-to} + \pgfsetlinewidth{1ex} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3.5cm}{2cm}} + \pgfusepath{stroke} + \useasboundingbox (-0.25,-0.25) rectangle (3.75,2.25); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\subsection{Predefined Arrow Tip Kinds} + +\label{standard-arrows} + +The following arrow tip kinds are always defined: + +{ +\bigskip +\catcode`\|=12 +\begin{tabular}{ll} + \sarrow{stealth}{stealth} \\ + \sarrow{stealth reversed}{stealth reversed} \\ + \sarrow{to}{to} \\ + \sarrow{to reversed}{to reversed} \\ + \sarrow{latex}{latex} \\ + \sarrow{latex reversed}{latex reversed} \\ + \index{*vbar@\protect\texttt{\protect\myvbar} arrow tip}% + \index{Arrow tips!*vbar@\protect\texttt{\protect\myvbar}} + \texttt{|-|}& yields thick + \begin{tikzpicture}[arrows={|-|},thick] + \useasboundingbox (0pt,-0.5ex) rectangle (1cm,2ex); + \draw (0,0) -- (1,0); + \end{tikzpicture} and thin + \begin{tikzpicture}[arrows={|-|},thin] + \useasboundingbox (0pt,-0.5ex) rectangle (1cm,2ex); + \draw (0,0) -- (1,0); + \end{tikzpicture} +\end{tabular} +} + +For further arrow tips, see page~\pageref{section-library-arrows}. + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-design.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-design.tex new file mode 100644 index 00000000000..1318c780235 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-design.tex @@ -0,0 +1,183 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Design Principles} + +This section describes the basic layer of \pgfname. This layer is +build on top of the system layer. Whereas the system layer just +provides the absolute minimum for drawing graphics, the basic +layer provides numerous commands that make it possible to create +sophisticated graphics easily and also quickly. + +The basic layer does not provide a convenient syntax for describing +graphics, which is left to frontends like \tikzname. For this reason, the +basic layer is typically used only by ``other programs.'' For example, +the \textsc{beamer} package uses the basic layer extensively, but does +not need a convenient input syntax. Rather, speed and flexibility are +needed when \textsc{beamer} creates graphics. + +The following basic design principles underlie the basic layer: +\begin{enumerate} +\item Structuring into a core and several optional packages. +\item Consistently named \TeX\ macros for all graphics commands. +\item Path-centered description of graphics. +\item Coordinate transformation system. +\end{enumerate} + + + +\subsection{Core and Optional Packages} + +The basic layer consists of a \emph{core package}, called |pgfcore|, +which provides the most basic commands, and several optional package +like |pgfbaseshade| that offer more special-purpose commands. + +You can include the core by saying |\usepackage{pgfcore}| or, as a +plain \TeX\ user, |\input pgfcore.tex|. + +The following optional packages are provided by the basic layer: +\begin{itemize} +\item + |pgfbaseplot| provides commands for plotting functions. +\item + |pgfbaseshapes| provides commands for drawing shapes and + nodes. +\item + |pgfbaseimage| provides commands for including external + images. The |graphicx| package does a much better job at this than + the |pgfbaseimage| package does, so you should normally use + |\includegraphics| and not |\pgfimage|. However, in some situations + (like when masking is needed or when plain \TeX\ is used) this + package is needed. +\item + |pgfbaselayers| provides commands for creating layered + graphics. Using layers you can later on say that a certain path + should be behind a path that was specified earlier. +\item + |pgfbasesnakes| provides commands for adding snaked lines to the + path. Such lines are not straight but rather wind in some specific + fashion. +\end{itemize} + +If you say |\usepackage{pgf}| or |\input pgf.tex|, all of the optional +packages are loaded (as well as the core and the system layer). + + +\subsection{Communicating with the Basic Layer via Macros} + +In order to ``communicate'' with the basic layer you use long +sequences of commands that start with |\pgf|. You are only allowed to +give these commands inside a |{pgfpicture}| environment. (Note that +|{tikzpicture}| opens a |{pgfpicture}| internally, so you can freely +mix \pgfname\ commands and \tikzname\ commands inside a +|{tikzpicture}|.) It is possible to ``do other things'' between the +commands. For example, you might use one command to move to a certain +point, then have a complicated computation of the next point, and then +move there. + +\begin{codeexample}[] +\newdimen\myypos +\begin{pgfpicture} + \pgfpathmoveto{\pgfpoint{0cm}{\myypos}} + \pgfpathlineto{\pgfpoint{1cm}{\myypos}} + \advance \myypos by 1cm + \pgfpathlineto{\pgfpoint{1cm}{\myypos}} + \pgfpathclose + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + +The following naming conventions are used in the basic layer: + +\begin{enumerate} +\item + All commands and environments start with |pgf|. +\item + All commands that specify a point (a coordinate) start with |\pgfpoint|. +\item + All commands that extend the current path start with |\pgfpath|. +\item + All commands that set/change a graphics parameter start with |\pgfset|. +\item + All commands that use a previously declared object (like a path, + image or shading) start with |\pgfuse|. +\item + All commands having to do with coordinate transformations start with + |\pgftransform|. +\item + All commands having to do with arrow tips start with |\pgfarrows|. +\item + All commands for ``quickly'' extending or drawing a path start with + |\pgfpathq| or |\pgfusepathq|. +\end{enumerate} + + +\subsection{Path-Centered Approach} + +In \pgfname\ the most important entity is the \emph{path}. All +graphics are composed of numerous paths that can be stroked, +filled, shaded, or clipped against. Paths can be closed or open, they +can self-intersect and consist of unconnected parts. + +Paths are first \emph{constructed} and then \emph{used}. In order to +construct a path, you can use commands starting with |\pgfpath|. Each +time such a command is called, the current path is extended in some +way. + +Once a path has been completely constructed, you can use it using the +command |\pgfusepath|. Depending on the parameters given to this +command, the path will be stroked (drawn) or filled or subsequent +drawings will be clipped against this path. + + + + +\subsection{Coordinate Versus Canvas Transformations} + +\label{section-design-transformations} + +\pgfname\ provides two transformation systems: \pgfname's own +\emph{coordinate} transformation matrix and \pdf's or PostScript's +\emph{canvas} transformation matrix. These two systems are quite +different. Whereas a scaling by a factor of, say, $2$ of the canvas +causes \emph{everything} to be scaled by this factor (including +the thickness of lines and text), a scaling of two in the coordinate +system causes only the \emph{coordinates} to be scaled, but not the +line width nor text. + +By default, all transformations only apply to the coordinate +transformation system. However, using the command |\pgflowlevel| +it is possible to apply a transformation to the canvas. + +Coordinate transformations are often preferable over canvas +transformations. Text and lines that are transformed using canvas +transformations suffer from differing sizes and lines whose thickness +differs depending on whether the line is horizontal or vertical. To +appreciate the difference, consider the following two ``circles'' both +of which have been scaled in the $x$-direction by a factor of $3$ and +by a factor of $0.5$ in the $y$-direction. The left circle uses a +canvas transformation, the right uses \pgfname's coordinate +transformation (some viewers will render the left graphic incorrectly +since they do no apply the low-level transformation the way they +should): + +\begin{tikzpicture}[line width=5pt] + \useasboundingbox (-1.75,-1) rectangle (14,1); + + \begin{scope} + \pgflowlevel{\pgftransformxscale{3}} + \pgflowlevel{\pgftransformyscale{.5}} + + \draw (0,0) circle (0.5cm); + \draw (.55cm,0pt) node[right] {canvas}; + \end{scope} + \begin{scope}[xshift=9cm,xscale=3,yscale=.5] + \draw (0,0) circle (0.5cm); + \draw (.55cm,0pt) node[right] {coordinate}; + \end{scope} +\end{tikzpicture} + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-images.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-images.tex new file mode 100644 index 00000000000..ebadb54e5ff --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-images.tex @@ -0,0 +1,278 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Declaring and Using Images} +\label{section-images} + + +This section describes the |pgfbaseimage| package. + +\begin{package}{pgfbaseimage} + This package offers an abstraction of the image inclusion + process. It is loaded automatically by |pgf|, but you can load it + manually if you have only included |pgfcore|. +\end{package} + +\subsection{Overview} + +To be quite frank, \LaTeX's |\includegraphics| is designed better than +|pgfbaseimage|. For this reason, \emph{I recommend that you use the + standard image inclusion mechanism of your format}. Thus, \LaTeX\ +users are encouraged to use |\includegraphics| to include images. + +However, there are reasons why you might need to use the image +inclusion facilities of \pgfname: +\begin{itemize} +\item + There is no standard image inclusion mechanism in your format. For + example, plain \TeX\ does not have one, so \pgfname's inclusion + mechanism is ``better than nothing.'' + + However, this applies only to the |pdftex| backend. For all other + backends, \pgfname\ currently maps its commands back to the |graphicx| + package. Thus, in plain \TeX, this does not really help. It might be + a good idea to fix this in the future such that \pgfname\ becomes + independent of \LaTeX, thereby providing a uniform image abstraction + for all formats. +\item + You wish to use masking. This is a feature that is only supported by + \pgfname, though I hope that someone will implement this also for + the graphics package in \LaTeX\ in the future. +\end{itemize} + +Whatever your choice, you can still use the usual image inclusion +facilities of the |graphics| package. + +The general approach taken by \pgfname\ to including an image is the +following: First, |\pgfdeclareimage| declares the +image. This must be done prior to the first use of the image. Once you +have declared an image, you can insert it into the text using +|\pgfuseimage|. The advantage of this two-phase approach is that, at +least for \textsc{pdf}, the image data will only be included once in the +file. This can drastically reduce the file size if you use an image +repeatedly, for example in an overlay. However, there is also a +command called |\pgfimage| that declares and then immediately uses the +image. + +To speedup the compilation, you may wish to use the following class +option: +\begin{packageoption}{draft} + In draft mode boxes showing the image name replace the + images. It is checked whether the image files exist, but they are + not read. If either height or width is not given, 1cm is used + instead. +\end{packageoption} + +\subsection{Declaring an Image} + +\begin{command}{\pgfdeclareimage\oarg{options}\marg{image + name}\marg{filename}} + Declares an image, but does not paint anything. To draw the image, + use |\pgfuseimage{|\meta{image name}|}|. The \meta{filename} may not + have an extension. For \textsc{pdf}, the extensions |.pdf|, |.jpg|, + and |.png| will automatically tried. For PostScript, the extensions + |.eps|, |.epsi|, and |.ps| will be tried. + + The following options are possible: + \begin{itemize} + \item + \declare{|height=|\meta{dimension}} sets the height of the + image. If the width is not specified simultaneously, the aspect + ratio of the image is kept. + \item + \declare{|width=|\meta{dimension}} sets the width of the + image. If the height is not specified simultaneously, the aspect + ratio of the image is kept. + \item + \declare{|page=|\meta{page number}} selects a given page number + from a multipage document. Specifying this option will have the + following effect: first, \pgfname\ tries to find a file named + \begin{quote} + \meta{filename}|.page|\meta{page number}|.|\meta{extension} + \end{quote} + If such a file is found, it will be used instead of the originally + specified filename. If not, \pgfname\ inserts the image stored in + \meta{filename}|.|\meta{extension} and if a recent version of + |pdflatex| is used, only the selected page is inserted. For older + versions of |pdflatex| and for |dvips| the complete document is + inserted and a warning is printed. + \item + \declare{|interpolate=|\meta{true or false}} selects whether the + image should ``smoothed'' when zoomed. False by default. + \item + \declare{|mask=|\meta{mask name}} selects a transparency mask. The + mask must previously be declared using |\pgfdeclaremask| (see + below). This option only has an effect for |pdf|. Not all viewers + support masking. + \end{itemize} + +\begin{codeexample}[code only] +\pgfdeclareimage[interpolate=true,height=1cm]{image1}{pgf-tu-logo} +\pgfdeclareimage[interpolate=true,width=1cm,height=1cm]{image2}{pgf-tu-logo} +\pgfdeclareimage[interpolate=true,height=1cm]{image3}{pgf-tu-logo} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfaliasimage\marg{new image name}\marg{existing image name}} + The \marg{existing image name} is ``cloned'' and the \marg{new image + name} can now be used whenever original image is used. This + command is useful for creating aliases for alternate extensions + and for accessing the last image inserted using |\pgfimage|. + + \example |\pgfaliasimage{image.!30!white}{image.!25!white}| +\end{command} + + +\subsection{Using an Image} + +\begin{command}{\pgfuseimage\marg{image name}} + Inserts a previously declared image into the \emph{normal text}. If + you wish to use it in a |{pgfpicture}| environment, you must put a + |\pgftext| around it. + + If the macro |\pgfalternateextension| expands to some nonempty + \meta{alternate extension}, \pgfname\ will first try to use the image + names \meta{image name}|.|\meta{alternate extension}. If this + image is not defined, \pgfname\ will next check whether \meta{alternate + extension} contains a |!| character. If so, everything up to this + exclamation mark and including it is deleted from \meta{alternate + extension} and the \pgfname\ again tries to use the image \meta{image + name}|.|\meta{alternate extension}. This is repeated until + \meta{alternate extension} no longer contains a~|!|. Then the + original image is used. + + The |xxcolor| package sets the alternate extension to the current + color mixin. + +\begin{codeexample}[] +\pgfdeclareimage[interpolate=true,width=1cm,height=1cm]{image1}{pgf-tu-logo} +\pgfdeclareimage[interpolate=true,width=1cm]{image2}{pgf-tu-logo} +\pgfdeclareimage[interpolate=true,height=1cm]{image3}{pgf-tu-logo} +\begin{pgfpicture} + \pgftext[at=\pgfpoint{1cm}{5cm},left,base]{\pgfuseimage{image1}} + \pgftext[at=\pgfpoint{1cm}{3cm},left,base]{\pgfuseimage{image2}} + \pgftext[at=\pgfpoint{1cm}{1cm},left,base]{\pgfuseimage{image3}} + + \pgfpathrectangle{\pgfpoint{1cm}{5cm}}{\pgfpoint{1cm}{1cm}} + \pgfpathrectangle{\pgfpoint{1cm}{3cm}}{\pgfpoint{1cm}{1cm}} + \pgfpathrectangle{\pgfpoint{1cm}{1cm}}{\pgfpoint{1cm}{1cm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + + The following example demonstrates the effect of using + |\pgfuseimage| inside a color mixin environment. + +\begin{codeexample}[] +\pgfdeclareimage[interpolate=true,width=1cm,height=1cm] + {image1.!25!white}{pgf-tu-logo.25} +\pgfdeclareimage[interpolate=true,width=1cm] + {image2.25!white}{pgf-tu-logo.25} +\pgfdeclareimage[interpolate=true,height=1cm] + {image3.white}{pgf-tu-logo.25} +\begin{colormixin}{25!white} +\begin{pgfpicture} + \pgftext[at=\pgfpoint{1cm}{5cm},left,base]{\pgfuseimage{image1}} + \pgftext[at=\pgfpoint{1cm}{3cm},left,base]{\pgfuseimage{image2}} + \pgftext[at=\pgfpoint{1cm}{1cm},left,base]{\pgfuseimage{image3}} + + \pgfpathrectangle{\pgfpoint{1cm}{5cm}}{\pgfpoint{1cm}{1cm}} + \pgfpathrectangle{\pgfpoint{1cm}{3cm}}{\pgfpoint{1cm}{1cm}} + \pgfpathrectangle{\pgfpoint{1cm}{1cm}}{\pgfpoint{1cm}{1cm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{colormixin} +\end{codeexample} +\end{command} + +\begin{command}{\pgfalternateextension} + You should redefine this command to install a different alternate + extension. + + \example |\def\pgfalternateextension{!25!white}| +\end{command} + + +\begin{command}{\pgfimage\oarg{options}\marg{filename}} + Declares the image under the name |pgflastimage| and + immediately uses it. You can ``save'' the image for later usage by + invoking |\pgfaliasimage| on |pgflastimage|. + +\begin{codeexample}[] +\begin{colormixin}{25!white} +\begin{pgfpicture} + \pgftext[at=\pgfpoint{1cm}{5cm},left,base] + {\pgfimage[interpolate=true,width=1cm,height=1cm]{pgf-tu-logo}} + \pgftext[at=\pgfpoint{1cm}{3cm},left,base] + {\pgfimage[interpolate=true,width=1cm]{pgf-tu-logo}} + \pgftext[at=\pgfpoint{1cm}{1cm},left,base] + {\pgfimage[interpolate=true,height=1cm]{pgf-tu-logo}} + + \pgfpathrectangle{\pgfpoint{1cm}{5cm}}{\pgfpoint{1cm}{1cm}} + \pgfpathrectangle{\pgfpoint{1cm}{3cm}}{\pgfpoint{1cm}{1cm}} + \pgfpathrectangle{\pgfpoint{1cm}{1cm}}{\pgfpoint{1cm}{1cm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{colormixin} +\end{codeexample} +\end{command} + + + +\subsection{Masking an Image} + + +\begin{command}{\pgfdeclaremask\oarg{options}\marg{mask name}\marg{filename}} + Declares a transparency mask named \meta{mask name} (called a + \emph{soft mask} in the \textsc{pdf} specification). This mask is + read from the file \meta{filename}. This file should contain a + grayscale image that is as large as the actual image. A white + pixel in the mask will correspond to ``transparent,'' a black pixel + to ``solid,'' and gray values correspond to intermediate values. The + mask must have a single ``color channel.'' This means that the + mask must be a ``real'' grayscale image, not an \textsc{rgb}-image + in which all \textsc{rgb}-triples happen to have the same + components. + + You can only mask images the are in a ``pixel format.'' These are + |.jpg| and |.png|. You cannot mask |.pdf| images in this way. Also, + again, the mask file and the image file must have the same size. + + The following options may be given: + \begin{itemize} + \item |matte=|\marg{color components} sets the so-called + \emph{matte} of the actual image (strangely, this has to be + specified together with the mask, not with the image itself). The + matte is the color that has been used to preblend the image. For + example, if the image has been preblended with a red background, + then \meta{color components} should be set to |{1 0 0}|. The + default is |{1 1 1}|, which is white in the rgb model. + + The matte is specified in terms of the parent's image color + space. Thus, if the parent is a grayscale image, the matte has to + be set to |{1}|. + \end{itemize} + \example +\begin{codeexample}[] +%% Draw a large colorful background +\pgfdeclarehorizontalshading{colorful}{5cm}{color(0cm)=(red); +color(2cm)=(green); color(4cm)=(blue); color(6cm)=(red); +color(8cm)=(green); color(10cm)=(blue); color(12cm)=(red); +color(14cm)=(green)} +\hbox{\pgfuseshading{colorful}\hskip-14cm\hskip1cm +\pgfimage[height=4cm]{pgf-apple}\hskip1cm +\pgfimage[height=4cm]{pgf-apple.mask}\hskip1cm +\pgfdeclaremask{mymask}{pgf-apple.mask} +\pgfimage[mask=mymask,height=4cm,interpolate=true]{pgf-apple}} +\end{codeexample} +\end{command} + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-layers.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-layers.tex new file mode 100644 index 00000000000..db8136e87de --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-layers.tex @@ -0,0 +1,142 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Layered Graphics} + +\label{section-layers} + +\begin{package}{pgfbaselayers} + This package provides a commands and environments for composing a + picture from multiple layers. The package is loaded automatically by + |pgf|, but you can load it manually if you have only included + |pgfcore|. +\end{package} + + + +\subsection{Overview} + +\pgfname\ provides a layering mechanism for composing graphics from +multiple layers. (This mechanism is not be confused with the +conceptual ``software layers'' the \pgfname\ system is composed of.) +Layers are often used in graphic programs. The idea is that you can +draw on the different layers in any order. So you might start drawing +something on the ``background'' layer, then something on the +``foreground'' layer, then something on the ``middle'' layer, and then +something on the background layer once more, and so on. At the end, no +matter in which ordering you drew on the different layers, the layers +are ``stacked on top of each other'' in a fixed ordering to produce +the final picture. Thus, anything drawn on the middle layer would come +on top of everything of the background layer. + +Normally, you do not need to use different layers since you will have +little trouble ``ordering'' your graphic commands in such a way that +layers are superfluous. However, in certain situations you only +``know'' what you should draw behind something else after the +``something else'' has been drawn. + +For example, suppose you wish to draw a yellow background behind your +picture. The background should be as large as the bounding box of the +picture, plus a little border. If you know the size of the bounding box +of the picture at its beginning, this is easy to accomplish. However, +in general this is not the case and you need to create a +``background'' layer in addition to the standard ``main'' layer. Then, +at the end of the picture, when the bounding box has been established, +you can add a rectangle of the appropriate size to the picture. + + + +\subsection{Declaring Layers} + +In \pgfname\ layers are referenced using names. The standard layer, +which is a bit special in certain ways, is called |main|. If nothing +else is specified, all graphic commands are added to the |main| +layer. You can declare a new layer using the following command: + +\begin{command}{\pgfdeclarelayer\marg{name}} + This command declares a layer named \meta{name} for later + use. Mainly, this will setup some internal bookkeeping. +\end{command} + +The next step toward using a layer is to tell \pgfname\ which layers +will be part of the actual picture and which will be their +ordering. Thus, it is possible to have more layers declared than are +actually used. + +\begin{command}{\pgfsetlayers\marg{layer list}} + This command, which should be used \emph{outside} a |{pgfpicture}| + environment, tells \pgfname\ which layers will be used in + pictures. They are stacked on top of each other in the order + given. The layer |main| should always be part of the list. Here is + an example: +\begin{codeexample}[code only] +\pgfdeclarelayer{background} +\pgfdeclarelayer{foreground} +\pgfsetlayers{background,main,foreground} +\end{codeexample} +\end{command} + + +\subsection{Using Layers} + +Once the layers of your picture have been declared, you can start to +``fill'' them. As said before, all graphics commands are normally +added to the |main| layer. Using the |{pgfonlayer}| environment, you +can tell \pgfname\ that certain commands should, instead, be added to +the given layer. + +\begin{environment}{{pgfonlayer}\marg{layer name}} + The whole \meta{environment contents} is added to the layer with the + name \meta{layer name}. This environment can be used anywhere inside + a picture. Thus, even if it is used inside a |{pgfscope}| or a \TeX\ + group, the contents will still be added to the ``whole'' picture. + Using this environment multiple times inside the same picture will + cause the \meta{environment contents} to accumulate. + + \emph{Note:} You can \emph{not} add anything to the |main| layer + using this environment. The only way to add anything to the main + layer is to give graphic commands outside all |{pgfonlayer}| + environments. + +\begin{codeexample}[] +\pgfdeclarelayer{background layer} +\pgfdeclarelayer{foreground layer} +\pgfsetlayers{background layer,main,foreground layer} +\begin{tikzpicture} + % On main layer: + \fill[blue] (0,0) circle (1cm); + + \begin{pgfonlayer}{background layer} + \fill[yellow] (-1,-1) rectangle (1,1); + \end{pgfonlayer} + + \begin{pgfonlayer}{foreground layer} + \node[white] {foreground}; + \end{pgfonlayer} + + \begin{pgfonlayer}{background layer} + \fill[black] (-.8,-.8) rectangle (.8,.8); + \end{pgfonlayer} + + % On main layer again: + \fill[blue!50] (-.5,-1) rectangle (.5,1); +\end{tikzpicture} +\end{codeexample} +\end{environment} + +\begin{plainenvironment}{{pgfonlayer}\marg{layer name}} + This is the plain \TeX\ version of the environment. +\end{plainenvironment} + + + + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-nodes.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-nodes.tex new file mode 100644 index 00000000000..c2231219113 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-nodes.tex @@ -0,0 +1,987 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Nodes and Shapes} + +\label{section-shapes} + +This section describes the |pgfbaseshapes| package. + +\begin{package}{pgfbaseshapes} + This package defines commands both for creating nodes and for + creating shapes. The package is loaded automatically by |pgf|, but + you can load it manually if you have only included |pgfcore|. +\end{package} + + +\subsection{Overview} + +\pgfname\ comes with a sophisticated set of commands for creating +\emph{nodes} and \emph{shapes}. A \emph{node} is a graphical object +that consists (typically) of (one or more) text labels and some +additional stroked or filled paths. Each node has a certain +\emph{shape}, which may be something simple like a |rectangle| or a +|circle|, but it may also be something complicated like a +|uml class diagram| (this shape is currently not implemented, +though). Different nodes that have the same shape may look quite +different, however, since shapes (need not) specify whether the shape +path is stroked or filled. + + +\subsubsection{Creating and Referencing Nodes} + +You create a node by calling the macro |\pgfnode| or the more general +|\pgfmultipartnode|. These macro takes several parameters and draws +the requested shape at a certain position. In addition, it will +``remember'' the node's position within the current +|{pgfpicture}|. You can then, later on, refer to the +node's position. Coordinate transformations are ``fully supported,'' +which means that if you used coordinate transformations to shift or +rotate the shape of a node, the node's position will still be correctly +determined by \pgfname. This is \emph{not} the case if you use canvas +transformations, instead. + + +\subsubsection{Anchors} + +An important property of a node or a shape in general are its +\emph{anchors}. Anchors are ``important'' positions in a shape. For +example, the |center| anchor lies at the center of a shape, the +|north| anchor is usually ``at the top, in the middle'' of a shape, +the |text| anchor is the lower left corner of the shape's text label +(if present), and so on. + +Anchors are important both when you create a node and when you +reference it. When you create a node, you specify the node's +``position'' by asking \pgfname\ to place the shape in such a way that +a certain anchor lies at a certain point. For example, you might ask +that the node is placed such that the |north| anchor is at the +origin. This will effectively cause the node to be placed below the +origin. + +When you reference a node, you always reference an anchor of the +node. For example, when you request the ``|north| anchor of the node +just placed'' you will get the origin. However, you can also request +the ``|south| anchor of this node,'' which will give you a point +somewhere below the origin. When a coordinate transformation was in +force at the time of creation of a node, all anchors are also +transformed accordingly. + +\subsubsection{Layers of a Shape} + +The simplest shape, the |coordinate|, has just one anchor, namely the +|center|, and a label (which is usually empty). More complicated +shapes like the |rectangle| shape also have a \emph{background + path}. This is a \pgfname-path that is defined by the shape. The +shape does not prescribe what should happen with the path: When a node +is created this path may be stroked (resulting in a frame around the +label), filled (resulting in a background color for the text), or just +discarded. + +Although most shapes consist just of a background path plus some label +text, when a shape is drawn, up to seven different layers are drawn: + +\begin{enumerate} +\item + The ``behind the background layer.'' Unlike the background path, + which be used in different ways by different nodes, the graphic + commands given for this layer will always stroke or + always fill the path they construct. They might also insert some + text that is ``behind everything.'' +\item + The background path layer. How this path is used depends on how the + arguments of the |\pgfnode| command. +\item + The ``before the background path layer.'' This layer works like the + first one, only the commands of this layer are executed after the + background path has been used (in whatever way the creator of the + node chose). +\item + The label layer. This layer inserts the node's text box(es). +\item + The ``behind the foreground layer.'' This layer, like the + first layer, once more contains graphic commands that are ``simply + executed.'' +\item + The foreground path layer. This path is treated in the same way as the + background path, only it is drawn only after the label text has been + drawn. +\item + The ``before the foreground layer.'' +\end{enumerate} + +Which of these layers are actually used depends on the shape. + + + +\subsubsection{Node Parts} + +A shape typically does not consist only of different background and +foreground paths, but it may also have text labels. Indeed, for many +shapes the text labels are the more important part of the shape. + +Most shapes will have only one text label. In this case, this text +label is simply passed as a parameter to the |\pgfnode| command. When +the node is drawn, the text label is shifted around such that its +lower left corner is at the |text| anchor of the node. + +More complicated shapes may have more than one text label. Nodes of +such shapes are called \emph{multipart nodes}. The different +\emph{node parts} are simply the different text labels. For example, a +|uml class| shape might have a |class name| part, a |method| part and +an |attributes| part. Indeed, single part nodes are a special case of +multipart nodes: They only have one part named |text|. + +When a shape is declared, you must specify the node parts. There is a +simple command called |\nodeparts| that takes a list of the part names +as input. When you create a node of a multipart shape, for each part +of the node you must have setup a \TeX-box containing the text of the +part. For a part named |XYZ| you must setup the box +|\pgfnodepartXYZbox|. The box will be placed at the anchor |XYZ|. See +the description of |\pgfmultipartnode| for more details. + + +\subsection{Creating Nodes} + +You create a node using on of the following commands: + +\begin{command}{\pgfnode\marg{shape}\marg{anchor}\marg{label + text}\marg{name}\marg{path usage command}} + This command creates a new node. The \meta{shape} of the node must + have been declared previously using |\pgfdeclareshape|. + + The shape is shifted such that the \meta{anchor} is at the + origin. In order to place the shape somewhere else, use the + coordinate transformation prior to calling this command. + + The \meta{name} is a name for later reference. If no name is given, + nothing will be ``saved'' for the node, it will just be drawn. + + The \meta{path usage command} is executed for the background and the + foreground path (if the shape defines them). + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (4,3); + { + \pgftransformshift{\pgfpoint{1cm}{1cm}} + \pgfnode{rectangle}{north}{Hello World}{hellonode}{\pgfusepath{stroke}} + } + { + \color{red!20} + \pgftransformrotate{10} + \pgftransformshift{\pgfpoint{3cm}{1cm}} + \pgfnode{rectangle}{center} + {\color{black}Hello World}{hellonode}{\pgfusepath{fill}} + } +\end{tikzpicture} +\end{codeexample} + + As can be seen, all coordinate transformations are also applied to + the text of the shape. Sometimes, it is desirable that the + transformations are applied to the point where the shape will be + anchored, but you do not wish the shape itself to the + transformed. In this case, you should call + |\pgftransformresetnontranslations| prior to calling the |\pgfnode| + command. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (4,3); + { + \color{red!20} + \pgftransformrotate{10} + \pgftransformshift{\pgfpoint{3cm}{1cm}} + \pgftransformresetnontranslations + \pgfnode{rectangle}{center} + {\color{black}Hello World}{hellonode}{\pgfusepath{fill}} + } +\end{tikzpicture} +\end{codeexample} + + The \meta{label text} is typeset inside the \TeX-box + |\pgfnodeparttextbox|. This box is shown at the |text| anchor of the + node, if the node has a |text| part. See the description of + |\pgfmultipartnode| for details. +\end{command} + +\begin{command}{\pgfmultipartnode\marg{shape}\marg{anchor}\marg{name}\marg{path + usage command}} + This command is the more general (and less user-friendly) version of + the |\pgfnode| command. While the |\pgfnode| command can only be + used for shapes that have a single part (which is the case for most + shapes), this command can also be used with multi-part nodes. + + When this command is called, for each node part of the node you must + have setup one \TeX-box. Suppose the shape has two parts: The |text| + part and the |output| part. Then, prior to calling + |\pgfmultipartnode|, you must have setup the boxes + |\pgfnodeparttextbox| and |\pgfnodepartoutputbox|. These boxes may + contain any \TeX-text. The shape code will then compute the + positions of the shape's anchors based on the sizes of the these + shapes. Finally, when the node is drawn, the boxes are placed at the + anchor positions |text| and |output|. + +\begin{codeexample}[] +\setbox\pgfnodeparttextbox=\hbox{$q_1$} +\setbox\pgfnodepartoutputbox=\hbox{01} +\begin{pgfpicture} + \pgfmultipartnode{state with output}{center}{my state}{\pgfusepath{stroke}} +\end{pgfpicture} +\end{codeexample} + + \emph{Note:\/} Be careful when using the |\setbox| command inside a + |{pgfpicture}| command. You will have to use |\pgfinterruptpath| at + the beginning of the box and |\endpgfinterruptpath| at the end of + the box to make sure that the box is typeset correctly. In the above + example this problem was sidestepped by moving the box construction + outside the environment. + + \emph{Note:\/} It is not necessary to use |\newbox| for every node + part name. Although you need a different box for each part of a + single shape, two different shapes may very well use the same box + even when the names of the parts are different. Suppose you have a + |state with output| shape that has an |output| part and you have a + |uml class| shape that has a |methods| part. Then, in order to avoid + exhausting \TeX's limited number of box registers, you can say +\begin{codeexample}[code only] +\newbox\pgfnodepartoutputbox +\let\pgfnodepartmethodsbox=\pgfnodepartoutputbox +\end{codeexample} + Also, when you have a node part name with spaces like |class name|, + it may be useful to create an alias: +\begin{codeexample}[code only] +\newbox\mybox +\expandafter\let\csname pgfnodepartclass namebox\endcsname=\mybox +\end{codeexample} +\end{command} + +There are a number of values that have an influence on the size of a +node. These parameters can be changed using the following commands: + +\begin{command}{\pgfsetshapeminwidth\marg{dimension}} + This command sets the macro \declare{|\pgfshapeminwidth|} to + \meta{dimension}. This dimension is the \emph{recommended} minimum + width of a shape. Thus, when a shape is drawn and when the shape's + width would be smaller than \meta{dimension}, the shape's width is + enlarged by adding some empty space. + + Note that this value is just a recommendation. A shape may choose to + ignore the value of |\pgfshapeminwidth|. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (-2,0) grid (2,1); + + \pgfsetshapeminwidth{3cm} + \pgfnode{rectangle}{center}{Hello World}{}{\pgfusepath{stroke}} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetshapeminheight\marg{dimension}} + Works like |\pgfsetshapeminwidth|. +\end{command} + + +\begin{command}{\pgfsetshapeinnerxsep\marg{dimension}} + This command sets the macro \declare{|\pgfshapeinnerxsep|} to + \meta{dimension}. This dimension is the \emph{recommended} horizontal + inner separation between the label text and the background path. As + before, this value is just a recommendation and a shape may choose + to ignore the value of |\pgfshapeinnerxsep|. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (-2,0) grid (2,1); + + \pgfsetshapeinnerxsep{1cm} + \pgfnode{rectangle}{center}{Hello World}{}{\pgfusepath{stroke}} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetshapeinnerysep\marg{dimension}} + Works like |\pgfsetshapeinnerysep|. +\end{command} + + + +\begin{command}{\pgfsetshapeouterxsep\marg{dimension}} + This command sets the macro \declare{|\pgfshapeouterxsep|} to + \meta{dimension}. This dimension is the recommended horizontal + outer separation between the background path and the ``outer + anchors.'' For example, if \meta{dimension} is |1cm| then the + |east| anchor will be 1cm to the right of the right border of the + background path. + + As before, this value is just a recommendation. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (-2,0) grid (2,1); + + \pgfsetshapeouterxsep{.5cm} + \pgfnode{rectangle}{center}{Hello World}{x}{\pgfusepath{stroke}} + + \pgfpathcircle{\pgfpointanchor{x}{north}}{2pt} + \pgfpathcircle{\pgfpointanchor{x}{south}}{2pt} + \pgfpathcircle{\pgfpointanchor{x}{east}}{2pt} + \pgfpathcircle{\pgfpointanchor{x}{west}}{2pt} + \pgfpathcircle{\pgfpointanchor{x}{north east}}{2pt} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetshapeouterysep\marg{dimension}} + Works like |\pgfsetshapeouterysep|. +\end{command} + + +\subsection{Using Anchors} + +Each shape defines a set of anchors. We saw already that the anchors +are used when the shape is drawn: the shape is placed in such a way +that the given anchor is at the origin (which in turn is typically +translated somewhere else). + +One has to look up the set of anchors of each shape, there is no +``default'' set of anchors, except for the |center| anchor, which +should always be present. Also, most shapes will declare anchors like +|north| or |east|, but this is not guaranteed. + +Once a node has been defined, you can refer to its anchors using the +following commands: + +\begin{command}{\pgfpointanchor\marg{node}\marg{anchor}} + This command is another ``point command'' like the commands + described in Section~\ref{section-points}. It returns the coordinate + of the given \meta{anchor} in the given \meta{node}. The command can + be used in commands like |\pgfpathmoveto|. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgftransformrotate{30} + \pgfnode{rectangle}{center}{Hello World!}{x}{\pgfusepath{stroke}} + + \pgfpathcircle{\pgfpointanchor{x}{north}}{2pt} + \pgfpathcircle{\pgfpointanchor{x}{south}}{2pt} + \pgfpathcircle{\pgfpointanchor{x}{east}}{2pt} + \pgfpathcircle{\pgfpointanchor{x}{west}}{2pt} + \pgfpathcircle{\pgfpointanchor{x}{north east}}{2pt} + \pgfusepath{fill} +\end{pgfpicture} +\end{codeexample} + + In the above example, you may have noticed something curious: The + rotation transformation is still in force when the anchors are + invoked, but it does not seem to have an effect. You might expect + that the rotation should apply to the already rotated points once + more. + + However, |\pgfpointanchor| returns a point that takes the current + transformation matrix into account: \emph{The inverse transformation + to the current coordinate transformation is applied to an anchor + point before returning it.} + + This behavior may seem a bit strange, but you will find it very + natural in most cases. If you really want to apply a transformation + to an anchor point (for example, to ``shift it away'' a little bit), + you have to invoke |\pgfpointanchor| without any transformations in + force. Here is an example: + +\makeatletter +\begin{codeexample}[] +\begin{pgfpicture} + \pgftransformrotate{30} + \pgfnode{rectangle}{center}{Hello World!}{x}{\pgfusepath{stroke}} + + { + \pgftransformreset + \pgfpointanchor{x}{east} + \xdef\mycoordinate{\noexpand\pgfpoint{\the\pgf@x}{\the\pgf@y}} + } + + \pgfpathcircle{\mycoordinate}{2pt} + \pgfusepath{fill} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpointshapeborder\marg{node}\marg{point}} + This command returns the point on the border of the shape that lies + on a straight line from the center of the node to \meta{point}. For + complex shapes it is not guaranteed that this point will actually + lie on the border, it may be on the border of a ``simplified'' + version of the shape. + +\begin{codeexample}[] +\begin{pgfpicture} + \begin{pgfscope} + \pgftransformrotate{30} + \pgfnode{rectangle}{center}{Hello World!}{x}{\pgfusepath{stroke}} + \end{pgfscope} + \pgfpathcircle{\pgfpointshapeborder{x}{\pgfpoint{2cm}{1cm}}}{2pt} + \pgfpathcircle{\pgfpoint{2cm}{1cm}}{2pt} + \pgfpathcircle{\pgfpointshapeborder{x}{\pgfpoint{-1cm}{1cm}}}{2pt} + \pgfpathcircle{\pgfpoint{-1cm}{1cm}}{2pt} + \pgfusepath{fill} +\end{pgfpicture} +\end{codeexample} +\end{command} + + + +\subsection{Declaring New Shapes} + +Defining a shape is, unfortunately, a not-quite-trivial process. The +reason is that shapes need to be both very flexible (their size will +vary greatly according to circumstances) and they need to be +constructed reasonably ``fast.'' \pgfname\ must be able to handle +pictures with several hundreds of nodes and documents with thousands +of nodes in total. It would not do if \pgfname\ had to compute and +store, say, dozens of anchor positions for every node. + + +\subsubsection{What Must Be Defined For a Shape?} + +In order to define a new shape, you must provide: +\begin{itemize} +\item + a \emph{shape name}, +\item + code for computing the \emph{saved anchors} and \emph{saved + dimensions}, +\item + code for computing \emph{anchor} positions in terms of the saved anchors, +\item + optionally code for the \emph{background path} and \emph{foreground path}, +\item + optionally code for \emph{things to be drawn before or behind} the + background and foreground paths. +\item + optionally a list of node parts. +\end{itemize} + + +\subsubsection{Normal Anchors Versus Saved Anchors} + +Anchors are special places in shape. For example, the |north east| +anchor, which is a normal anchor, lies at the upper right corner of +the |rectangle| shape, as does |\northeast|, which is a saved +anchor. The difference is the following: \emph{saved anchors are + computed and stored for each node, anchors are only computed as + needed.} The user only has access to the normal anchors, but a +normal anchor can just ``copy'' or ``pass through'' the location of a +saved anchor. + +The idea behind all this is that a shape can declare a very large +number of normal anchors, but when a node of this shape is created, +these anchors are not actually computed. However, this causes a +problem: When we wish to reference an anchor of a node at some later +time, we must still able to compute the position of the anchor. For +this, we may need a lot of information: What was the transformation +matrix that was in force when the node was created? What was the size +of the text box? What were the values of the different separation +dimensions? And so on. + +To solve this problem, \pgfname\ will always compute the locations of +all \emph{saved anchors} and store these positions. Then, when an +normal anchor position is requested later on, the anchor position can +be given just from knowing where the locations of the saved anchors. + +As an example, consider the |rectangle| shape. For this shape two +anchors are saved: The |\northeast| corner and the |\southwest| +corner. A normal anchor like |north west| can now easily be expressed +in terms of these coordinates: Take the $x$-position of the +|\southwest| point and the $y$-position of the |\northeast| point. +The |rectangle| shape currently defines 13 normal anchors, but needs +only two saved anchors. Adding new anchors like a |south south east| +anchor would not increase the memory and computation requirements of +pictures. + +All anchors (both saved and normal) are specified in a local +\emph{shape coordinate space}. This is also true for the background +and foreground paths. The |\pgfnode| macro will automatically apply +appropriate transformations to the coordinates so that the shape is +shifted to the right anchor or otherwise transformed. + + +\subsubsection{Command for Declaring New Shapes} + +The following command declares a new shape: +\begin{command}{\pgfdeclareshape\marg{shape name}\marg{shape + specification}} + This command declares a new shape named \meta{shape name}. The shape + name can later be used in commands like |\pgfnode|. + + The \meta{shape specification} is some \TeX\ code containing calls + to special commands that are only defined inside the \meta{shape + specification} (similarly to commands like |\draw| that are only + available inside the |{tikzpicture}| environment). + + \example Here is the code of the |coordinate| shape: +\begin{codeexample}[code only] +\pgfdeclareshape{coordinate} +{ + \savedanchor\centerpoint{% + \pgf@x=.5\wd\pgfnodeparttextbox% + \pgf@y=.5\ht\pgfnodeparttextbox% + \advance\pgf@y by -.5\dp\pgfnodeparttextbox% + } + \anchor{center}{\centerpoint} + \anchorborder{\centerpoint} +} +\end{codeexample} + + The special commands are explained next. In the examples given for + the special commands a new shape will be constructed, which we might + call |simple rectangle|. It should behave like the normal rectangle + shape, only without bothering about the fine details like inner and + outer separations. The skeleton for the shape is the following. +\begin{codeexample}[code only] +\pgfdeclareshape{simple rectangle}{ + ... +} +\end{codeexample} + + \begin{command}{\nodeparts\marg{list of node parts}} + This command declares which parts make up nodes of this shape. A + \emph{node part} is a (possibly empty) text label that is drawn + when a node of the shape is created. + + By default, a shape has just one node part called |text|. However, + there can be several node parts. For example, the + |state with output| shape has two parts: the |text| part, which + shows that state's name, and an |output| part, which shows the + output produced when the state is reached. For the + |state with output| shape the |\nodeparts| command was called with + the argument |{text,output}|. + + When a multipart node is created, the text labels are drawn in the + sequences listed in the \meta{list of node parts}. For each node + part there you must have declared one anchor and the \TeX-box of + the part is placed at this anchor. For a node part called |XYZ| + the \TeX-box |\pgfnodepartXYZbox| is placed at anchor |XYZ|. + \end{command} + + \begin{command}{\savedanchor\marg{command}\marg{code}} + This command declares a saved anchor. The argument \meta{command} + should be a \TeX\ macro name like |\centerpoint|. + + The \meta{code} will be executed each time |\pgfnode| (or + |\pgfmultipartnode|) is called to create a node of the shape + \meta{shape name}. When the \meta{code} + is executed, the \TeX-boxes of the node parts will contain the + text labels of the node. Possibly, these box are void. For + example, if there is just a |text| part, the node + |\pgfnodeparttextbox| will be setup when the \meta{code} is + executed. + + The \meta{code} can use the width, height, and depth of the + box(es) to compute the location of the saved anchor. In addition, + the \meta{code} can take into account the values of dimensions like + |\pgfshapeminwidth| or |\pgfshapeinnerxsep|. Furthermore, the + \meta{code} can take into consideration the values of any further + shape-specific variables that are set at the moment when + |\pgfnode| is called. + + The net effect of the \meta{code} should be to set the two \TeX\ + dimensions |\pgf@x| and |\pgf@y|. One way to achieve this is to + say |\pgfpoint{|\meta{x value}|}{|\meta{y value}|}| at the end of + the \meta{code}, but you can also just set these variables. + The values that |\pgf@x| and |\pgf@y| have after the code has been + executed, let us call them $x$ and $y$, will be recorded and + stored together with the node that is created by the command + |\pgfnode|. + + The macro \meta{command} is defined to be + |\pgfpoint{|$x$|}{|$y$|}|. However, the \meta{command} is only + locally defined while anchor positions are being computed. Thus, + it is possible to use very simple names for \meta{command}, like + |\center| or |\a|, without causing a name-clash. (To be precise, + very simple \meta{command} names will clash with existing names, + but only locally inside the computation of anchor positions; and + we do not need the normal |\center| command during these + computations.) + + For our |simple rectangle| shape, we will need only one saved + anchor: The upper right corner. The lower left corner could either + be the origin or the ``mirrored'' upper right corner, depending on + whether we want the text label to have its lower left corner at + the origin or whether the text label should be centered on the + origin. Either will be fine, for the final shape this will make no + difference since the shape will be shifted anyway. So, let us + assume that the text label is centered on the origin (this will be + specified later on using the |text| anchor). We get + the following code for the upper right corner: +\begin{codeexample}[code only] +\savedanchor{\upperrightcorner}{ + \pgf@y=.5\ht\pgfnodeparttextbox % height of the box, ignoring the depth + \pgf@x=.5\wd\pgfnodeparttextbox % width of the box +} +\end{codeexample} + + If we wanted to take, say, the |\pgfshapeminwidth| into account, + we could use the following code: + +\begin{codeexample}[code only] +\savedanchor{\upperrightcorner}{ + \pgf@y=.\ht\pgfnodeparttextbox % height of the box + \pgf@x=.\wd\pgfnodeparttextbox % width of the box + \setlength{\pgf@xa}{\pgfshapeminwidth} + \ifdim\pgf@x<.5\pgf@xa + \pgf@x=.5\pgf@xa + \fi +} +\end{codeexample} + Note that we could not have written |.5\pgfshapeminwidth| since + the minium width is stored in a ``plain text macro,'' not as a + real dimension. So if |\pgfshapeminwidth| depth were + 2cm, writing |.5\pgfshapeminwidth| would yield the same as |.52cm|. + + In the ``real'' |rectangle| shape the code is somewhat more + complex, but you get the basic idea. + \end{command} + \begin{command}{\saveddimen\marg{command}\marg{code}} + This command is similar to |\savedanchor|, only instead of setting + \meta{command} to |\pgfpoint{|$x$|}{|$y$|}|, the \meta{command} is + set just to (the value of) $x$. + + In the |simple rectangle| shape we might use a saved dimension to + store the depth of the shape box. + +\begin{codeexample}[code only] +\shapedimen{\depth}{ + \pgf@x=\dp\pgfnodeparttextbox +} +\end{codeexample} + \end{command} + \begin{command}{\anchor\marg{name}\marg{code}} + This command declares an anchor named \meta{name}. Unlike for saved + anchors, the \meta{code} will not be executed each time a node is + declared. Rather, the \meta{code} is only executed when the anchor + is specifically requested; either for anchoring the node during + its creation or as a position in the shape referenced later on. + + The \meta{name} is a quite arbitrary string that is not ``passed + down'' to the system level. Thus, names like |south| or |1| or + |::| would all be fine. + + A saved anchor is not automatically also a normal anchor. If you + wish to give the users access to a saved anchor you must declare a + normal anchor that just returns the position of the saved anchor. + + When the \meta{code} is executed, all saved anchor macros will be + defined. Thus, you can reference them in your \meta{code}. The + effect of the \meta{code} should be to set the values of |\pgf@x| + and |\pgf@y| to the coordinates of the anchor. + + Let us consider some example for the |simple rectangle| + shape. First, we would like to make the upper right corner + publicly available, for example as |north east|: + +\begin{codeexample}[code only] +\anchor{north east}{\upperrightcorner} +\end{codeexample} + + The |\upperrightcorner| macro will set |\pgf@x| and |\pgf@y| to + the coordinates of the upper right corner. Thus, |\pgf@x| and + |\pgf@y| will have exactly the right values at the end of the + anchor's code. + + Next, let us define a |north west| anchor. For this anchor, we can + negate the |\pgf@x| variable: + +\begin{codeexample}[code only] +\anchor{north west}{ + \upperrightcorner + \pgf@x=-\pgf@x +} +\end{codeexample} + + Finally, it is a good idea to always define a |center| anchor, + which will be the default location for a shape. + +\begin{codeexample}[code only] +\anchor{center}{\pgfpointorigin} +\end{codeexample} + + You might wonder whether we should not take into consideration + that the node is not placed at the origin, but has been shifted + somewhere. However, the anchor positions are always specified in + the shape's ``private'' coordinate system. The ``outer'' + transformation that has been applied to the shape upon its + creation is applied automatically to the coordinates returned by + the anchor's \meta{code}. + + Out |simple rectangle| only has one text label (node + part) called |text|. This is the default situation, so we need not + do anything. For the |text| node part we must setup a |text| + anchor. This anchor is used upon creation of a node to determine + the lower left corner of the text label (within the private + coordinate system of the shape). By default, the |text| anchor is + at the origin, but you may change this. For example, we would say +\begin{codeexample}[code only] +\anchor{text}{% + \upperrightcorner% + \pgf@x=-\pgf@x% + \pgf@y=-\pgf@y% +} +\end{codeexample} + to center the text label on the origin in the shape coordinate + space. Note that we could \emph{not} have written the following: + +\begin{codeexample}[code only] +\anchor{text}{\pgfpoint{-.5\wd\pgfnodeparttextbox}{-.5\ht\pgfnodeparttextbox}} +\end{codeexample} + Do you see why this is wrong? The problem is that the box + |\pgfnodeparttextbox| will most likely not have the correct size + when the anchor is computed. After all, the anchor position might + be recomputed at a time when several other nodes have been created. + + If a shape has several node parts, we would have to define an + anchor for each part. + \end{command} + \begin{command}{\anchorborder\marg{code}} + A \emph{border anchor} is an anchor point on the border of the + shape. What exactly is considered as the ``border'' of the shape + depends on the shape. + + When the user request a point on the border of the shape using the + |\pgfpointshapeborder| command, the \meta{code} will be executed + to discern this point. When the execution of the \meta{code} + starts, the dimensions |\pgf@x| and |\pgf@y| will have been set to + a location $p$ in the shape's coordinate system. It is now the job of + the \meta{code} to setup |\pgf@x| and |\pgf@y| such that they + specify the point on the shape's border that lies on a straight + line from the shape's center to the point $p$. Usually, this is a + somewhat complicated computation, involving many case distinctions + and some basic math. + + For our |simple rectangle| we must compute a point on the border + of a rectangle whose one corner is the origin (ignoring the depth + for simplicity) and whose other corner is |\upperrightcorner|. The + following code might be used: +\begin{codeexample}[code only] +\anchorborder{% + % Call a function that computes a border point. Since this + % function will modify dimensions like \pgf@x, we must move them to + % other dimensions. + \@tempdima=\pgf@x + \@tempdimb=\pgf@y + \pgfpointborderrectangle{\pgfpoint{\@tempdima}{\@tempdimb}}{\upperrightcorner} +} +\end{codeexample} + \end{command} + \begin{command}{\backgroundpath\marg{code}} + This command specifies the path that ``makes up'' the background + of the shape. Note that the shape cannot prescribe what is going + to happen with the path: It might be drawn, shaded, filled, or + even thrown away. If you want to specify that something should + ``always'' happen when this shape is drawn (for example, if the + shape is a stop-sign, we \emph{always} want it to be filled with a + red color), you can use commands like |\beforebackgroundpath|, + explained below. + + When the \meta{code} is executed, all saved anchors will be in + effect. The \meta{code} should contain path construction + commands. + + For our |simple rectangle|, the following code might be used: +\begin{codeexample}[code only] +\backgroundpath{ + \pgfpathrectanglecorners + {\upperrightcorner} + {\pgfpointscale{-1}{\upperrightcorner}} +} +\end{codeexample} + As the name suggests, the background path is used ``behind'' the + text labels. Thus, this path is used first, then the text labels are + drawn, possibly obscuring part of the path. + \end{command} + \begin{command}{\foregroundpath\marg{code}} + This command works like |\backgroundpath|, only it is invoked + after the text labels have been drawn. This means that this path can + possibly obscure (part of) the text labels. + \end{command} + \begin{command}{\behindbackgroundpath\marg{code}} + Unlike the previous two commands, \meta{code} should not only + construct a path, it should also use this path in whatever way is + appropriate. For example, the \meta{code} might fill some area + with a uniform color. + + Whatever the \meta{code} does, it does it first. This means that + any drawing done by \meta{code} will be even behind the background + path. + + Note that the \meta{code} is protected with a |{pgfscope}|. + \end{command} + \begin{command}{\beforebackgroundpath\marg{code}} + This command works like |\behindbackgroundpath|, only the + \meta{code} is executed after the background path has been used, + but before the texts label are drawn. + \end{command} + \begin{command}{\behindforegroundpath\marg{code}} + The \meta{code} is executed after the text labels have been drawn, + but before the foreground path is used. + \end{command} + \begin{command}{\beforeforegroundpath\marg{code}} + This \meta{code} is executed at the very end. + \end{command} + \begin{command}{\inheritsavedanchors|[from=|\marg{another shape name}|]|} + This command allows you to inherit the code for saved anchors from + \meta{another shape name}. The idea is that if you wish to create + a new shape that is just a small modification of a another shape, + you can recycle the code used for \meta{another shape name}. + + The effect of this command is the same as if you had called + |\savedanchor| and |\saveddimen| for each saved anchor or saved + dimension declared in \meta{another shape name}. Thus, it is not + possible to ``selectively'' inherit only some saved anchors, you + always have to inherit all saved anchors from another + shape. However, you can inherit the saved anchors of more than one + shape by calling this command several times. + \end{command} + \begin{command}{\inheritbehindbackgroundpath|[from=|\marg{another shape name}|]|} + This command can be used to inherit the code used for the + drawings behind the background path from \meta{another shape name}. + \end{command} + \begin{command}{\inheritbackgroundpath|[from=|\marg{another shape name}|]|} + Inherits the background path code from \meta{another shape name}. + \end{command} + \begin{command}{\inheritbeforebackgroundpath|[from=|\marg{another shape name}|]|} + Inherits the before background path code from \meta{another shape name}. + \end{command} + \begin{command}{\inheritbehindforegroundpath|[from=|\marg{another shape name}|]|} + Inherits the behind foreground path code from \meta{another shape name}. + \end{command} + \begin{command}{\inheritforegroundpath|[from=|\marg{another shape name}|]|} + Inherits the foreground path code from \meta{another shape name}. + \end{command} + \begin{command}{\inheritbeforeforegroundpath|[from=|\marg{another shape name}|]|} + Inherits the before foreground path code from \meta{another shape name}. + \end{command} + \begin{command}{\inheritanchor|[from=|\marg{another shape name}|]|\marg{name}} + Inherits the code of one specific anchor named \meta{name} from + \meta{another shape name}. Thus, unlike saved anchors, which must + be inherited collectively, normal anchors can and must be + inherited individually. + \end{command} + \begin{command}{\inheritanchorborder|[from=|\marg{another shape name}|]|} + Inherits the border anchor code from \meta{another shape name}. + \end{command} + + The following example shows how a shape can be defined that relies + heavily on inheritance: +\makeatletter +\begin{codeexample}[] +\pgfdeclareshape{document}{ + \inheritsavedanchors[from=rectangle] % this is nearly a rectangle + \inheritanchorborder[from=rectangle] + \inheritanchor[from=rectangle]{center} + \inheritanchor[from=rectangle]{north} + \inheritanchor[from=rectangle]{south} + \inheritanchor[from=rectangle]{west} + \inheritanchor[from=rectangle]{east} + % ... and possibly more + \backgroundpath{% this is new + % store lower right in xa/ya and upper right in xb/yb + \southwest \pgf@xa=\pgf@x \pgf@ya=\pgf@y + \northeast \pgf@xb=\pgf@x \pgf@yb=\pgf@y + % compute corner of ``flipped page'' + \pgf@xc=\pgf@xb \advance\pgf@xc by-5pt % this should be a parameter + \pgf@yc=\pgf@yb \advance\pgf@yc by-5pt + % construct main path + \pgfpathmoveto{\pgfpoint{\pgf@xa}{\pgf@ya}} + \pgfpathlineto{\pgfpoint{\pgf@xa}{\pgf@yb}} + \pgfpathlineto{\pgfpoint{\pgf@xc}{\pgf@yb}} + \pgfpathlineto{\pgfpoint{\pgf@xb}{\pgf@yc}} + \pgfpathlineto{\pgfpoint{\pgf@xb}{\pgf@ya}} + \pgfpathclose + % add little corner + \pgfpathmoveto{\pgfpoint{\pgf@xc}{\pgf@yb}} + \pgfpathlineto{\pgfpoint{\pgf@xc}{\pgf@yc}} + \pgfpathlineto{\pgfpoint{\pgf@xb}{\pgf@yc}} + \pgfpathlineto{\pgfpoint{\pgf@xc}{\pgf@yc}} + } +}\hskip-1.2cm +\begin{tikzpicture} + \node[shade,draw,shape=document,inner sep=2ex] (x) {Remark}; + \node[fill=examplefill,draw,ellipse,double] + at ([shift=(-80:3cm)]x) (y) {Use Case}; + + \draw[dashed] (x) -- (y); +\end{tikzpicture} +\end{codeexample} + +\end{command} + + + + +\subsection{Predefined Shapes} + +\begin{shape}{coordinate} + The |coordinate| is mainly intended to be used to store locations + using the node mechanism. This shape does not have any background + path and options like |draw| have no effect on it. Also, it does not + have any node parts, so no text is drawn when this shape is used. + + \tikzname\ handles this shape in a special way, see + Section~\ref{section-tikz-coordinate-shape}. +\end{shape} + +\begin{shape}{rectangle} + This shape is a rectangle tightly fitting the text box. Use inner or + outer separation to increase the distance between the text box and + the border and the anchors. The following figure shows the anchors + defined by this shape; the anchors |10| and |130| are example of border + anchors. +\begin{codeexample}[] +\Huge +\begin{tikzpicture} + \node[name=s,shape=rectangle,style=shape example] {Rectangle\vrule width 1pt height 2cm}; + \foreach \anchor/\placement in + {north west/above left, north/above, north east/above right, + west/left, center/above, east/right, + mid west/right, mid/above, mid east/left, + base west/left, base/below, base east/right, + south west/below left, south/below, south east/below right, + text/left, 10/right, 130/above} + \draw[shift=(s.\anchor)] plot[mark=x] coordinates {(0,0)} + node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +\end{tikzpicture} +\end{codeexample} +\end{shape} + +\begin{shape}{circle} + This shape is a circle tightly fitting the text box. +\begin{codeexample}[] +\Huge +\begin{tikzpicture} + \node[name=s,shape=circle,style=shape example] {Circle\vrule width 1pt height 2cm}; + \foreach \anchor/\placement in + {north west/above left, north/above, north east/above right, + west/left, center/above, east/right, + mid west/right, mid/above, mid east/left, + base west/left, base/below, base east/right, + south west/below left, south/below, south east/below right, + text/left, 10/right, 130/above} + \draw[shift=(s.\anchor)] plot[mark=x] coordinates {(0,0)} + node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +\end{tikzpicture} +\end{codeexample} +\end{shape} + + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-paths.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-paths.tex new file mode 100644 index 00000000000..4117a63eff7 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-paths.tex @@ -0,0 +1,667 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Constructing Paths} + +\subsection{Overview} + +The ``basic entity of drawing'' in \pgfname\ is the \emph{path}. A +path consists of several parts, each of which is either a closed or +open curve. An open curve has a starting point and an end point and, +in between, consists of several \emph{segments}, each of which is +either a straight line or a Bzier curve. Here is an example of a +path (in red) consisting of two parts, one open, one closed: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=2] + \draw[thick,red] + (0,0) coordinate (a) + -- coordinate (ab) (1,.5) coordinate (b) + .. coordinate (bc) controls +(up:1cm) and +(left:1cm) .. (3,1) coordinate (c) + (0,1) -- (2,1) -- coordinate (x) (1,2) -- cycle; + + \draw (a) node[below] {start part 1} + (ab) node[below right] {straight segment} + (b) node[right] {end first segment} + (c) node[right] {end part 1} + (x) node[above right] {part 2 (closed)}; +\end{tikzpicture} +\end{codeexample} + +A path, by itself, has no ``effect,'' that is, it does not leave any +marks on the page. It is just a set of points on the plane. However, +you can \emph{use} a path in different ways. The most natural actions +are \emph{stroking} (also known as \emph{drawing}) and +\emph{filling}. Stroking can be imagined as picking up a pen of a +certain diameter and ``moving it along the path.'' Filling means that +everything ``inside'' the path is filled with a uniform +color. Naturally, the open parts of a path must first be closed before +a path can be filled. + +In \pgfname, there are numerous commands for constructing paths, all +of which start with |\pgfpath|. There are also commands for +\emph{using} paths, though most operations can be performed by calling +|\pgfusepath| with an appropriate parameter. + +As a side-effect, the path construction commands keep track of two +bounding boxes. One is the bounding box for the current path, the +other is a bounding box for all paths in the current picture. See +Section~\ref{section-bb} for more details. + +Each path construction command extends the current path in some +way. The ``current path'' is a global entity that persists across +\TeX\ groups. Thus, between calls to the path construction commands +you can perform arbitrary computations and even open and closed \TeX\ +groups. The current path only gets ``flushed'' when the |\pgfusepath| +command is called (or when the soft-path subsystem is used directly, +see Section~\ref{section-soft-paths}). + +\subsection{The Move-To Path Operation} + +The most basic operation is the move-to operation. It must be given at +the beginning of paths, though some path construction command (like +|\pgfpathrectangle|) generate move-tos implicitly. A move-to operation +can also be used to start a new part of a path. + +\begin{command}{\pgfpathmoveto\marg{coordinate}} + This command expects a \pgfname-coordinate like |\pgfpointorigin| as + its parameter. When the current path is empty, this operation will + start the path at the given \meta{coordinate}. If a path has already + been partly constructed, this command will end the current part of + the path and start a new one. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{1cm}} + \pgfpathlineto{\pgfpoint{2cm}{1cm}} + \pgfpathlineto{\pgfpoint{3cm}{0.5cm}} + \pgfpathlineto{\pgfpoint{3cm}{0cm}} + \pgfsetfillcolor{examplefill} + \pgfusepath{fill,stroke} +\end{pgfpicture} +\end{codeexample} +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{1cm}} + \pgfpathlineto{\pgfpoint{2cm}{1cm}} + \pgfpathmoveto{\pgfpoint{2cm}{1cm}} % New part + \pgfpathlineto{\pgfpoint{3cm}{0.5cm}} + \pgfpathlineto{\pgfpoint{3cm}{0cm}} + \pgfsetfillcolor{examplefill} + \pgfusepath{fill,stroke} +\end{pgfpicture} +\end{codeexample} + The command will apply the current coordinate transformation matrix + to \meta{coordinate} before using it. + + The command will update the bounding box of the current path and + picture, if necessary. +\end{command} + + +\subsection{The Line-To Path Operation} + +\begin{command}{\pgfpathlineto\marg{coordinate}} + This command extends the current path in a straight line to the + given \meta{coordinate}. If this command is given at the beginning + of path without any other path construction command given before (in + particular without a move-to operation), the \TeX\ file may compile + without an error message, but a viewer application may display an + error message when trying to render the picture. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{1cm}{1cm}} + \pgfpathlineto{\pgfpoint{2cm}{1cm}} + \pgfsetfillcolor{examplefill} + \pgfusepath{fill,stroke} +\end{pgfpicture} +\end{codeexample} + The command will apply the current coordinate transformation matrix + to \meta{coordinate} before using it. + + The command will update the bounding box of the current path and + picture, if necessary. +\end{command} + + +\subsection{The Curve-To Path Operation} + +\begin{command}{\pgfpathcurveto\marg{support 1}\marg{support 2}\marg{coordinate}} + This command extends the current path with a Bzier curve from the + last point of the path to \meta{coordinate}. The \meta{support 1} + and \meta{support 2} are the first and second support point of the + Bzier curve. For more information on Bzier curve, please consult a + standard textbook on computer graphics. + + Like the line-to command, this command may not be the first path + construction command in a path. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathcurveto + {\pgfpoint{1cm}{1cm}}{\pgfpoint{2cm}{1cm}}{\pgfpoint{3cm}{0cm}} + \pgfsetfillcolor{examplefill} + \pgfusepath{fill,stroke} +\end{pgfpicture} +\end{codeexample} + The command will apply the current coordinate transformation matrix + to \meta{coordinate} before using it. + + The command will update the bounding box of the current path and + picture, if necessary. However, the bounding box is simply made + large enough such that it encompasses all of the support points and + the \meta{coordinate}. This will guarantee that the curve is + completely inside the bounding box, but the bounding box will + typically be quite a bit too large. It is not clear (to me) how this + can be avoided without resorting to ``some serious math'' in order + to calculate a precise bounding box. +\end{command} + + +\subsection{The Close Path Operation} + +\begin{command}{\pgfpathclose} + This command closes the current part of the path by appending a + straight line to the start point of the current part. Note that there + \emph{is} a difference between closing a path and using the line-to + operation to add a straight line to the start of the current + path. The difference is demonstrated by the upper corners of the triangles + in the following example: +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfsetlinewidth{5pt} + \pgfpathmoveto{\pgfpoint{1cm}{1cm}} + \pgfpathlineto{\pgfpoint{0cm}{-1cm}} + \pgfpathlineto{\pgfpoint{1cm}{-1cm}} + \pgfpathclose + \pgfpathmoveto{\pgfpoint{2.5cm}{1cm}} + \pgfpathlineto{\pgfpoint{1.5cm}{-1cm}} + \pgfpathlineto{\pgfpoint{2.5cm}{-1cm}} + \pgfpathlineto{\pgfpoint{2.5cm}{1cm}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\subsection{Arc, Ellipse and Circle Path Operations} + +The path construction commands that we have discussed up to now are +sufficient to create all paths that can be created ``at all.'' +However, it is useful to have special commands to create certain +shapes, like circles, that arise often in practice. + +In the following, the commands for adding (parts of) (transformed) +circles to a path are described. + +\begin{command}{\pgfpatharc\marg{start angle}\marg{end + angle}\marg{radius}} + This command appends a part of a circle (or an ellipse) to the current + path. Imaging the curve between \meta{start angle} and \meta{end + angle} on a circle of radius \meta{radius} (if $\meta{start angle} + < \meta{end angle}$, the curve goes around the circle + counterclockwise, otherwise clockwise). This curve is now moved such + that the point where the curve starts is the previous last point of the + path. Note that this command will \emph{not} start a new part of the + path, which is important for example for filling purposes. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{0cm}{1cm}} + \pgfpatharc{180}{90}{.5cm} + \pgfpathlineto{\pgfpoint{3cm}{1.5cm}} + \pgfpatharc{90}{-45}{.5cm} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} + + Saying |\pgfpatharc{0}{360}{1cm}| ``nearly'' gives you a full + circle. The ``nearly'' refers to the fact that the circle will not + be closed. You can close it using |\pgfpathclose|. + + The \meta{radius} need not always be a single \TeX\ + dimension. Instead, it can also contain a slash, in which case it + must consist of two dimensions separated by this slash. In this + case the first dimension is the $x$-radius and the second the + $y$-radius of the ellipse from which the curve is taken: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathmoveto{\pgfpointorigin} + \pgfpatharc{180}{45}{2cm/1cm} + \pgfusepath{draw} +\end{tikzpicture} +\end{codeexample} + + The axes of the circle or ellipse from which the arc is ``taken'' + always point up and right. However, the current coordinate + transformation matrix will have an effect on the arc. This can be + used to, say, rotate an arc: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgftransformrotate{30} + \pgfpathmoveto{\pgfpointorigin} + \pgfpatharc{180}{45}{2cm/1cm} + \pgfusepath{draw} +\end{tikzpicture} +\end{codeexample} + + The command will update the bounding box of the current path and + picture, if necessary. Unless rotation or shearing transformations + are applied, the bounding box will be tight. +\end{command} + +\begin{command}{\pgfpathellipse\marg{center}\marg{first + axis}\marg{second axis}} + The effect of this command is to append an ellipse to the current + path (if the path is not empty, a new part is started). The + ellipse's center will be \meta{center} and \meta{first axis} and + \meta{second axis} are the axis \emph{vectors}. The same effect as + this command can also be achieved using an appropriate sequence of + move-to, arc, and close operations, but this command is easier and + faster. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathellipse{\pgfpoint{1cm}{0cm}} + {\pgfpoint{1.5cm}{0cm}} + {\pgfpoint{0cm}{1cm}} + \pgfusepath{draw} + \color{red} + \pgfpathellipse{\pgfpoint{1cm}{0cm}} + {\pgfpoint{1cm}{1cm}} + {\pgfpoint{-0.5cm}{0.5cm}} + \pgfusepath{draw} +\end{tikzpicture} +\end{codeexample} + + The command will apply coordinate transformations to all coordinates + of the ellipse. However, the coordinate transformations are applied + only after the ellipse is ``finished conceptually.'' Thus, a + transformation of 1cm to the right will simply shift the ellipse one + centimeter to the right; it will not add 1cm to the $x$-coordinates + of the two axis vectors. + + The command will update the bounding box of the current path and + picture, if necessary. +\end{command} + +\begin{command}{\pgfpathcirlce\marg{center}\marg{radius}} + A shorthand for |\pgfpathellipse| applied to \meta{center} and the + two axis vectors $(\meta{radius},0)$ and $(0,\meta{radius})$. +\end{command} + + +\subsection{Rectangle Path Operations} + +Another shape that arises frequently is the rectangle. Two commands +can be used to add a rectangle to the current path. Both commands will +start a new part of the path. + + +\begin{command}{\pgfpathrectangle\marg{corner}\marg{diagonal vector}} + Adds a rectangle to the path whose one corner is \meta{corner} and + whose opposite corner is given by $\meta{corner} + \meta{diagonal + vector}$. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathrectangle{\pgfpoint{1cm}{0cm}}{\pgfpoint{1.5cm}{1cm}} + \pgfpathrectangle{\pgfpoint{1.5cm}{0.25cm}}{\pgfpoint{1.5cm}{1cm}} + \pgfpathrectangle{\pgfpoint{2cm}{0.5cm}}{\pgfpoint{1.5cm}{1cm}} + \pgfusepath{draw} +\end{tikzpicture} +\end{codeexample} + The command will apply coordinate transformations and update the + bounding boxes tightly. +\end{command} + + +\begin{command}{\pgfpathrectanglecorners\marg{corner}\marg{opposite corner}} + Adds a rectangle to the path whose two opposing corners are + \meta{corner} and \meta{opposite corner}. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathrectanglecorners{\pgfpoint{1cm}{0cm}}{\pgfpoint{1.5cm}{1cm}} + \pgfusepath{draw} +\end{tikzpicture} +\end{codeexample} + The command will apply coordinate transformations and update the + bounding boxes tightly. +\end{command} + + + +\subsection{The Grid Path Operation} + +\begin{command}{\pgfpathgrid\oarg{options}\marg{lower left}\marg{upper right}} + Appends a grid to the current path. That is, a (possibly large) + number of parts are added to the path, each part consisting of a + single horizontal or vertical straight line segment. + + Conceptually, the origin is part of the grid and the grid is clipped + to the rectangle specified by the \meta{lower left} and + the \meta{upper right} corner. However, no clipping occurs (this + command just adds parts to the current path). Rather, the points + where the lines enter and leave the ``clipping area'' are computed + and used to add simple lines to the current path. + + Allowed \meta{options} are: + \begin{itemize} + \itemoption{stepx}|=|\meta{dimension} + Sets the horizontal stepping to \meta{dimension}. Default is 1cm. + \itemoption{stepy}|=|\meta{dimension} + Sets the vertical stepping to \meta{dimension}. Default is 1cm. + \itemoption{step}|=|\meta{vector} + Sets the horizontal stepping to the $x$-coordinate of + \meta{vector} and the vertical stepping to its $y$-coordinate. + \end{itemize} +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetlinewidth{0.8pt} + \pgfpathgrid[step={\pgfpoint{1cm}{1cm}}] + {\pgfpoint{-3mm}{-3mm}}{\pgfpoint{33mm}{23mm}} + \pgfusepath{stroke} + \pgfsetlinewidth{0.4pt} + \pgfpathgrid[stepx=1mm,stepy=1mm] + {\pgfpoint{-1.5mm}{-1.5mm}}{\pgfpoint{31.5mm}{21.5mm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + The command will apply coordinate transformations and update the + bounding boxes tightly. As for ellipses, the transformations are + applied to the ``conceptually finished'' grid. +\begin{codeexample}[] +\begin{pgfpicture} + \pgftransformrotate{10} + \pgfpathgrid[stepx=1mm,stepy=2mm]{\pgfpoint{0mm}{0mm}}{\pgfpoint{30mm}{30mm}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + + +\subsection{The Parabola Path Operation} + +\begin{command}{\pgfpathparabola\marg{bend vector}\marg{end vector}} + This command appends two half-parabolas to the current path. The + first starts at the current point and ends at the current point plus + \meta{bend vector}. At his point, it has its bend. The second half + parabola starts at that bend point and end at point that is given by + the bend plus \meta{end vector}. + + If you set \meta{end vector} to the null vector, you append only a + half parabola that goes from the current point to the bend; by + setting \meta{bend vector} to the null vector, you append only a + half parabola that goes to current point plus \meta{end vector} and + has its bend at the current point. + + It is not possible to use this command to draw a part of a parabola + that does not contain the bend. + +\begin{codeexample}[] +\begin{pgfpicture} + % Half-parabola going ``up and right'' + \pgfpathmoveto{\pgfpointorigin} + \pgfpathparabola{\pgfpointorigin}{\pgfpoint{2cm}{4cm}} + \color{red} + \pgfusepath{stroke} + + % Half-parabola going ``down and right'' + \pgfpathmoveto{\pgfpointorigin} + \pgfpathparabola{\pgfpoint{-2cm}{4cm}}{\pgfpointorigin} + \color{blue} + \pgfusepath{stroke} + + % Full parabola + \pgfpathmoveto{\pgfpoint{-2cm}{2cm}} + \pgfpathparabola{\pgfpoint{1cm}{-1cm}}{\pgfpoint{2cm}{4cm}} + \color{orange} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + The command will apply coordinate transformations and update the + bounding boxes. +\end{command} + + +\subsection{Sine and Cosine Path Operations} + +Sine and cosine curves often need to be drawn and the following commands +may help with this. However, they only allow you to append sine and +cosine curves in intervals that are multiples of $\pi/2$. + +\begin{command}{\pgfpathsine\marg{vector}} + This command appends a sine curve in the interval $[0,\pi/2]$ to the + current path. The sine curve is squeezed or stretched such that the + curve starts at the current point and ends at the current point plus + \meta{vector}. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,1); + \pgfpathmoveto{\pgfpoint{1cm}{0cm}} + \pgfpathsine{\pgfpoint{1cm}{1cm}} + \pgfusepath{stroke} + + \color{red} + \pgfpathmoveto{\pgfpoint{1cm}{0cm}} + \pgfpathsine{\pgfpoint{-2cm}{-2cm}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} + The command will apply coordinate transformations and update the + bounding boxes. +\end{command} + +\begin{command}{\pgfpathcosine\marg{vector}} + This command appends a cosine curve in the interval $[0,\pi/2]$ to the + current path. The curve is squeezed or stretched such that the + curve starts at the current point and ends at the current point plus + \meta{vector}. Using several sine and cosine operations in sequence + allows you to produce a complete sine or cosine curve +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpoint{0cm}{0cm}} + \pgfpathsine{\pgfpoint{1cm}{1cm}} + \pgfpathcosine{\pgfpoint{1cm}{-1cm}} + \pgfpathsine{\pgfpoint{1cm}{-1cm}} + \pgfpathcosine{\pgfpoint{1cm}{1cm}} + \pgfsetfillcolor{examplefill} + \pgfusepath{fill,stroke} +\end{pgfpicture} +\end{codeexample} + The command will apply coordinate transformations and update the + bounding boxes. +\end{command} + + +\subsection{Plot Path Operations} + +There exist several commands for appending +plots to a path. These +commands are available through the package |pgfbaseplot|. They are +documented in Section~\ref{section-plots}. + + +\subsection{Rounded Corners} + +Normally, when you connect two straight line segments or when you +connect two curves that end and start ``at different angles'' you get +``sharp corners'' between the lines or curves. In some cases it is +desirable to produce ``rounded corners'' instead. Thus, the lines +or curves should be shortened a bit and then connected by arcs. + +\pgfname\ offers an easy way to achieve this effect, by calling the +following two commands. + +\begin{command}{\pgfsetcornersarced\marg{point}} + This command causes all subsequent corners to be replaced by little + arcs. The effect of this command lasts till the end of the current + \TeX\ scope. + + The \meta{point} dictates how large the corner arc will be. Consider + a corner made by two lines $l$ and~$r$ and assume that the line $l$ + comes first on the path. The $x$-dimension of the \meta{point} + decides by how much the line~$l$ will be shortened, the + $y$-dimension of \meta{point} decides by how much the line $r$ will + be shortened. Then, the shortened lines are connected by an arc. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + + \pgfsetcornersarced{\pgfpoint{5mm}{5mm}} + \pgfpathrectanglecorners{\pgfpointorigin}{\pgfpoint{3cm}{2cm}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + + \pgfsetcornersarced{\pgfpoint{10mm}{5mm}} + % 10mm entering, + % 5mm leaving. + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{0cm}{2cm}} + \pgfpathlineto{\pgfpoint{3cm}{2cm}} + \pgfpathcurveto + {\pgfpoint{3cm}{0cm}} + {\pgfpoint{2cm}{0cm}} + {\pgfpoint{1cm}{0cm}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} + + If the $x$- and $y$-coordinates of \meta{point} are the same and the + corner is a right angle, you will get a perfect quarter circle + (well, not quite perfect, but perfect up to six decimals). When the + angle is not $90^\circ$, you only get a fair approximation. + + More or less ``all'' corners will be rounded, even the corner + generated by a |\pgfpathclose| command. (The author is a bit proud + of this feature.) + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetcornersarced{\pgfpoint{4pt}{4pt}} + \pgfpathmoveto{\pgfpointpolar{0}{1cm}} + \pgfpathlineto{\pgfpointpolar{72}{1cm}} + \pgfpathlineto{\pgfpointpolar{144}{1cm}} + \pgfpathlineto{\pgfpointpolar{216}{1cm}} + \pgfpathlineto{\pgfpointpolar{288}{1cm}} + \pgfpathclose + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + + To return to normal (unrounded) corners, use + |\pgfsetcornersarced{\pgfpointorigin}|. + + Note that the rounding will produce strange and undesirable effects + if the lines at the corners are too short. In this case the + shortening may cause the lines to ``suddenly extend over the other + end'' which is rarely desirable. +\end{command} + + + + +\subsection{Internal Tracking of Bounding Boxes for Paths and Pictures} + +\label{section-bb} + +\makeatletter + +The path construction commands keep track of two bounding boxes: One +for the current path, which is reset whenever the path is used and +thereby flushed, and a bounding box for the current |{pgfpicture}|. + +The bounding boxes are not accessible by ``normal'' macros. Rather, +two sets of four dimension variables are used for this, all of which +contain the letter~|@|. + +\begin{textoken}{\pgf@pathminx} + The minimum $x$-coordinate ``mentioned'' in the current + path. Initially, this is set to $16000$pt. +\end{textoken} + +\begin{textoken}{\pgf@pathmaxx} + The maximum $x$-coordinate ``mentioned'' in the current + path. Initially, this is set to $-16000$pt. +\end{textoken} + +\begin{textoken}{\pgf@pathminy} + The minimum $y$-coordinate ``mentioned'' in the current + path. Initially, this is set to $16000$pt. +\end{textoken} + +\begin{textoken}{\pgf@pathmaxy} + The maximum $y$-coordinate ``mentioned'' in the current + path. Initially, this is set to $-16000$pt. +\end{textoken} + +\begin{textoken}{\pgf@picminx} + The minimum $x$-coordinate ``mentioned'' in the current + picture. Initially, this is set to $16000$pt. +\end{textoken} + +\begin{textoken}{\pgf@picmaxx} + The maximum $x$-coordinate ``mentioned'' in the current + picture. Initially, this is set to $-16000$pt. +\end{textoken} + +\begin{textoken}{\pgf@picminy} + The minimum $y$-coordinate ``mentioned'' in the current + picture. Initially, this is set to $16000$pt. +\end{textoken} + +\begin{textoken}{\pgf@picmaxy} + The maximum $y$-coordinate ``mentioned'' in the current + picture. Initially, this is set to $-16000$pt. +\end{textoken} + + +Each time a path construction command is called, the above variables +are (globally) updated. To facilitate this, you can use the following +command: + +\begin{command}{\pgf@protocolsizes\marg{x-dimension}\marg{y-dimension}} + Updates all of the above dimension in such a way that the point + specified by the two arguments is inside both bounding boxes. For + the picture's bounding box this updating occurs only if + |\ifpgf@relevantforpicturesize| is true, see below. +\end{command} + +For the bounding box of the picture it is not always desirable that +every path construction command affects this bounding box. For +example, if you have just used a clip command, you do not want anything +outside the clipping area to affect the bounding box. For this reason, +there exists a special ``\TeX\ if'' that (locally) decides whether +updating should be applied to the picture's bounding box. Clipping +will set this if to false, as will certain other commands. + +\begin{command}{\pgf@relevantforpicturesizefalse} + Suppresses updating of the picture's bounding box. +\end{command} + +\begin{command}{\pgf@relevantforpicturesizetrue} + Causes updating of the picture's bounding box. +\end{command} + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-plots.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-plots.tex new file mode 100644 index 00000000000..5c5a1738bc8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-plots.tex @@ -0,0 +1,365 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Creating Plots} + +\label{section-plots} + +This section describes the |pgfbaseplot| package. + +\begin{package}{pgfbaseplot} + This package provides a set of commands that are intended to make it + reasonably easy to plot functions using \pgfname. It is loaded + automatically by |pgf|, but you can load it manually if you have + only included |pgfcore|. +\end{package} + +\subsection{Overview} + +\subsubsection{When Should One Use PGF for Generating Plots? } + +There exist many powerful programs that produce plots, examples are +\textsc{gnuplot} or \textsc{mathematica}. These programs can produce +two different kinds of output: First, they can output a complete plot +picture in a certain format (like \pdf) that includes all low-level +commands necessary for drawing the complete plot (including axes and +labels). Second, they can usually also produce ``just plain data'' in +the form of a long list of coordinates. Most of the powerful programs +consider it a to be ``a bit boring'' to just output tabled data and +very much prefer to produce fancy pictures. Nevertheless, when coaxed, +they can also provide the plain data. + +The plotting mechanism described in the following deals only with +plotting data given in the form of a list of coordinates. Thus, this +section is about using \pgfname\ to turn lists of coordinates into +plots. + +\emph{Note that is often not necessary to use \pgfname\ for this.} +Programs like \textsc{gnuplot} can produce very sophisticated plots +and it is usually much easier to simply include these plots as a +finished \textsc{pdf} or PostScript graphics. + +However, there are a number of reasons why you may wish to invest time +and energy into mastering the \pgfname\ commands for creating plots: + +\begin{itemize} +\item + Virtually all plots produced by ``external programs'' use different + fonts from the one used in your document. +\item + Even worse, formulas will look totally different, if they can be + rendered at all. +\item + Line width will usually be too large or too small. +\item + Scaling effects upon inclusion can create a mismatch between sizes + in the plot and sizes in the text. +\item + The automatic grid generated by most programs is mostly + distracting. +\item + The automatic ticks generated by most programs are cryptic + numerics. (Try adding a tick reading ``$\pi$'' at the right point.) +\item + Most programs make it very easy to create ``chart junk'' in a most + convenient fashion. All show, no content. +\item + Arrows and plot marks will almost never match the arrows used in the + rest of the document. +\end{itemize} + +The above list is not exhaustive, unfortunately. + + +\subsubsection{How PGF Handles Plots} + +\pgfname\ (conceptually) uses a two-stage process for generating +plots. First, a \emph{plot stream} must be produced. This stream +consists (more or less) of a large number of coordinates. Second a +\emph{plot handler} is applied to the stream. A plot handler ``does +something'' with the stream. The standard handler will issue +line-to operations to the coordinates in the stream. However, a +handler might also try to issue appropriate curve-to operations in +order to smooth the curve. A handler may even do something else +entirely, like writing each coordinate to another stream, thereby +duplicating the original stream. + +Both for the creation of streams and the handling of streams different +sets of commands exist. The commands for creating streams start with +|\pgfplotstream|, the commands for setting the handler start with +|\pgfplothandler|. + + + +\subsection{Generating Plot Streams} + +\subsubsection{Basic Building Blocks of Plot Streams} +A \emph{plot stream} is a (long) sequence of the following three +commands: +\begin{enumerate} +\item + |\pgfplotstreamstart|, +\item + |\pgfplotstreampoint|, and +\item + |\pgfplotstreamend|. +\end{enumerate} +Between calls of these commands arbitrary other code may be +called. Obviously, the stream should start with the first command and +end with the last command. Here is an example of a plot stream: +\begin{codeexample}[code only] +\pgfplotstreamstart +\pgfplotstreampoint{\pgfpoint{1cm}{1cm}} +\newdimen\mydim +\mydim=2cm +\pgfplotstreampoint{\pgfpoint{\mydim}{2cm}} +\advance \mydim by 3cm +\pgfplotstreampoint{\pgfpoint{\mydim}{2cm}} +\pgfplotstreamend +\end{codeexample} + +\begin{command}{\pgfplotstreamstart} + This command signals that a plot stream starts. The effect of this + command is to call the internal command |\pgf@plotstreamstart|, + which is set by the current plot handler to do whatever needs to be + done at the beginning of the plot. +\end{command} + +\begin{command}{\pgfplotstreampoint\marg{point}} + This command adds a \meta{point} to the current plot stream. The + effect of this command is to call the internal command |\pgf@plotstreampoint|, + which is also set by the current plot handler. This command should + now ``handle'' the point in some sensible way. For example, a + line-to command might be issued for the point. +\end{command} + +\begin{command}{\pgfplotstreamend} + This command signals that a plot stream ends. It calls + |\pgf@plotstreamend|, which should now do any necessary ``cleanup.'' +\end{command} + +Note that plot streams are not buffered, that is, the different points +are handled immediately. However, using the recording handler, it is +possible to record a stream. + +\subsubsection{Commands That Generate Plot Streams} + +Plot streams can be created ``by hand'' as in the earlier +example. However, most of the time the coordinates will be produced +internally by some command. For example, the |\pgfplotxyfile| reads a +file and converts it into a plot stream. + +\begin{command}{\pgfplotxyfile\marg{filename}} + This command will try to open the file \meta{filename}. If this + succeeds, it will convert the file contents into a plot stream as + follows: A |\pgfplotstreamstart| is issued. Then, each nonempty line + of the file should start with two numbers separated by a space, such + as |0.1 1| or |100 -.3|. Anything following the numbers is ignored. + + Each pair \meta{x} and \meta{y} of numbers is converted into one + plot stream point in the xy-coordinate system. Thus, a line like +\begin{codeexample}[code only] +2 -5 some text +\end{codeexample} + is turned into +\begin{codeexample}[code only] +\pgfplotstreampoint{\pgfpointxy{2}{-5}} +\end{codeexample} + + The two characters |%| and |#| are also allowed in a file and they + are both treated as comment characters. Thus, a line starting with + either of them is empty and, hence, ignored. + + When the file has been read completely, |\pgfplotstreamend| is + called. +\end{command} + + +\begin{command}{\pgfplotxyzfile\marg{filename}} + This command works like |\pgfplotxyfile|, only \emph{three} numbers + are expected on each non-empty line. They are converted into points + in the xyz-coordinate system. Consider, the following file: +\begin{codeexample}[code only] +% Some comments +# more comments +2 -5 1 first entry +2 -.2 2 second entry +2 -5 2 third entry +\end{codeexample} + It is turned into the following stream: +\begin{codeexample}[code only] +\pgfplotstreamstart +\pgfplotstreampoint{\pgfpointxyz{2}{-5}{1}} +\pgfplotstreampoint{\pgfpointxyz{2}{-.2}{2}} +\pgfplotstreampoint{\pgfpointxyz{2}{-5}{2}} +\pgfplotstreamend +\end{codeexample} +\end{command} + + +Currently, there is no command that can decide automatically whether +the xy-coordinate system should be used or whether the xyz-system +should be used. However, it would not be terribly difficult to write a +``smart file reader'' that parses coordinate files a bit more +intelligently. + + +\begin{command}{\pgfplotgnuplot\oarg{prefix}\marg{function}} + This command will ``try'' to call the \textsc{gnuplot} program to + generate the coordinates of the \meta{function}. In detail, the + following happens: + + This command works with two files: \meta{prefix}|.gnuplot| and + \meta{prefix}|.table|. If the optional argument \meta{prefix} is + not given, it is set to |\jobname|. + + Let us start with the situation where none of these files + exists. Then \pgfname\ will first generate the file + \meta{prefix}|.gnuplot|. In this file it writes +\begin{codeexample}[code only] +set terminal table; set output "#1.table"; set format "%.5f" +\end{codeexample} + where |#1| is replaced by \meta{prefix}. Then, in a second line, it + writes the text \meta{function}. + + Next, \pgfname\ will try to invoke the program |gnuplot| with the + argument \meta{prefix}|.gnuplot|. This call may or may not succeed, + depending on whether the |\write18| mechanism (also known as + shell escape) is switched on and whether the |gnuplot| program is + available. + + Assuming that the call succeeded, the next step is to invoke + |\pgfplotxyfile| on the file \meta{prefix}|.table|; which is exactly + the file that has just been created by |gnuplot|. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,-1) grid (4,1); + \pgfplothandlerlineto + \pgfplotgnuplot[plots/pgfplotgnuplot-example]{plot [x=0:3.5] x*sin(x)} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} + + The more difficult situation arises when the |.gnuplot| file exists, + which will be the case on the second run of \TeX\ on the \TeX\ + file. In this case \pgfname\ will read this file and check whether + it contains exactly what \pgfname\ ``would have written'' into + this file. If this is not the case, the file contents is overwritten + with what ``should be there'' and, as above, |gnuplot| is invoked to + generate a new |.table| file. However, if the file contents is ``as + expected,'' the external |gnuplot| program is \emph{not} + called. Instead, the \meta{prefix}|.table| file is immediately + read. + + As explained in Section~\ref{section-tikz-gnuplot}, the net effect + of the above mechanism is that |gnuplot| is called as little as + possible and that when you pass along the |.gnuplot| and |.table| + files with your |.tex| file to someone else, that person can + \TeX\ the |.tex| file without having |gnuplot| installed and without + having the |\write18| mechanism switched on. +\end{command} + + + +\subsection{Plot Handlers} + +\label{section-plot-handlers} + +A \emph{plot handler} prescribes what ``should be done'' with a +plot stream. You must set the plot handler before the stream starts. +The following commands install the most basic plot handlers; more plot +handlers are defined in the file |pgflibraryplothandlers|, which is +documented in Section~\ref{section-library-plothandlers}. + +All plot handlers work by setting redefining the following three +macros: |\pgf@plotstreamstart|, |\pgf@plotstreampoint|, and +|\pgf@plotstreamend|. + +\begin{command}{\pgfplothandlerlineto} + This handler will issue a |\pgfpathlineto| command for each point of + the plot, \emph{except} possibly for the first. What happens with + the first point can be specified using the two commands described + below. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfplothandlerlineto + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{1cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{3cm}{2cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{2cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetmovetofirstplotpoint} + Specifies that the line-to plot handler (and also some other plot + handlers) should issue a move-to command for the + first point of the plot instead of a line-to. This will start a new + part of the current path, which is not always, but often, + desirable. This is the default. +\end{command} + +\begin{command}{\pgfsetlinetofirstplotpoint} + Specifies that plot handlers should issue a line-to command for the + first point of the plot. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpointorigin} + \pgfsetlinetofirstplotpoint + \pgfplothandlerlineto + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{1cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{3cm}{2cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{2cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfplothandlerdiscard} + This handler will simply throw away the stream. +\end{command} + +\begin{command}{\pgfplothandlerrecord\marg{macro}} + When this handler is installed, each time a plot stream command is + called, this command will be appended to \meta{macros}. Thus, at + the end of the stream, \meta{macro} will contain all the + commands that were issued on the stream. You can then install + another handler and invoke \meta{macro} to ``replay'' the stream + (possibly many times). + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfplothandlerrecord{\mystream} + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{1cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{3cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{2cm}} + \pgfplotstreamend + \pgfplothandlerlineto + \mystream + \pgfplothandlerclosedcurve + \mystream + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-points.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-points.tex new file mode 100644 index 00000000000..9c1a821e26c --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-points.tex @@ -0,0 +1,452 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Specifying Coordinates} + +\label{section-points} + +\subsection{Overview} + +Most \pgfname\ commands expect you to provide the coordinates of a +\emph{point} (also called \emph{coordinate}) inside your +picture. Points are always ``local'' to your picture, that is, they +never refer to an absolute position on the page, but to a position +inside the current |{pgfpicture}| environment. To specify a coordinate +you can use commands that start with |\pgfpoint|. + +\subsection{Basic Coordinate Commands} + +The following commands are the most basic for specifying a +coordinate. + +\begin{command}{\pgfpoint\marg{x coordinate}\marg{y coordinate}} + Yields a point location. The coordinates are given as \TeX\ + dimensions. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathcircle{\pgfpoint{1cm}{1cm}} {2pt} + \pgfpathcircle{\pgfpoint{2cm}{5pt}} {2pt} + \pgfpathcircle{\pgfpoint{0pt}{.5in}}{2pt} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpointorigin} + Yields the origin. Same as |\pgfpoint{0pt}{0pt}|. +\end{command} + +\begin{command}{\pgfpointpolar\marg{degree}\marg{radius}} + Yields a point location given in polar coordinates. You can specify + the angle only in degrees, radians are not supported, currently. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + + \foreach \angle in {0,10,...,90} + {\pgfpathcircle{\pgfpointpolar{\angle}{1cm}}{2pt}} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + + + +\subsection{Coordinates in the Xy- and Xyz-Coordinate Systems} + +Coordinates can also be specified as multiples of an $x$-vector and a +$y$-vector. Normally, the $x$-vector points one centimeter in the +$x$-direction and the $y$-vector points one centimeter in the +$y$-direction, but using the commands |\pgfsetxvec| and +|\pgfsetyvec| they can be changed. Note that the $x$- and +$y$-vector do not necessarily point ``horizontally'' and +``vertically.'' + +It is also possible to specify a point as a multiple of three vectors, +the $x$-, $y$-, and $z$-vector. This is useful for creating simple +three dimensional graphics. + +\begin{command}{\pgfpointxy\marg{$s_x$}\marg{$s_y$}} + Yields a point that is situated at $s_x$ times the + $x$-vector plus $s_y$ times the $y$-vector. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathmoveto{\pgfpointxy{1}{0}} + \pgfpathlineto{\pgfpointxy{2}{2}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpointxyz\marg{$s_x$}\marg{$s_y$}\marg{$s_z$}} + Yields a point that is situated at $s_x$ times the + $x$-vector plus $s_y$ times the $y$-vector plus $s_z$ times the + $z$-vector. +\begin{codeexample}[] +\begin{pgfpicture} + \pgfsetarrowsend{to} + + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpointxyz{0}{0}{1}} + \pgfusepath{stroke} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpointxyz{0}{1}{0}} + \pgfusepath{stroke} + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpointxyz{1}{0}{0}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfsetxvec\marg{point}} + Sets that current $x$-vector for usage in the $xyz$-coordinate + system. + \example +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + + \pgfpathmoveto{\pgfpointxy{1}{0}} + \pgfpathlineto{\pgfpointxy{2}{2}} + \pgfusepath{stroke} + + \color{red} + \pgfsetxvec{\pgfpoint{0.75cm}{0cm}} + \pgfpathmoveto{\pgfpointxy{1}{0}} + \pgfpathlineto{\pgfpointxy{2}{2}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfsetyvec\marg{point}} + Works like |\pgfsetyvec|. +\end{command} + +\begin{command}{\pgfsetzvec\marg{point}} + Works like |\pgfsetzvec|. +\end{command} + + + + +\subsection{Building Coordinates From Other Coordinates} + +Many commands allow you to construct a coordinate in terms of other +coordinates. + + +\subsubsection{Basic Manipulations of Coordinates} + +\begin{command}{\pgfpointadd\marg{$v_1$}\marg{$v_2$}} + Returns the sum vector $\meta{$v_1$} + \meta{$v_2$}$. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathcircle{\pgfpointadd{\pgfpoint{1cm}{0cm}}{\pgfpoint{1cm}{1cm}}}{2pt} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpointscale\marg{factor}\marg{coordinate}} + Returns the vector $\meta{factor}\meta{coordinate}$. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathcircle{\pgfpointscale{1.5}{\pgfpoint{1cm}{0cm}}}{2pt} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpointdiff\marg{start}\marg{end}} + Returns the difference vector $\meta{end} - \meta{start}$. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathcircle{\pgfpointdiff{\pgfpoint{1cm}{0cm}}{\pgfpoint{1cm}{1cm}}}{2pt} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfpointnormalised\marg{point}} + This command returns a normalized version of \meta{point}, that is, + a vector of length 1pt pointing in the direction of \meta{point}. If + \meta{point} is the $0$-vector or extremely short, a vector of + length 1pt pointing upwards is returned. + + This command is \emph{not} implemented by calculating the length of + the vector, but rather by calculating the angle of the vector and + then using (something equivalent to) the |\pgfpointpolar| + command. This ensures that the point will really have length 1pt, + but it is not guaranteed that the vector will \emph{precisely} point + in the direction of \meta{point} due to the fact that the polar + tables are accurate only up to one degree. Normally, this is not a + problem. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathcircle{\pgfpoint{2cm}{1cm}}{2pt} + \pgfpathcircle{\pgfpointscale{20} + {\pgfpointnormalised{\pgfpoint{2cm}{1cm}}}}{2pt} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\subsubsection{Points Traveling along Lines and Curves} + +\label{section-pointsattime} + +The commands in this section allow you to specify points on a line or +a curve. Imaging a point ``traveling'' along a curve from some point +$p$ to another point $q$. At time $t=0$ the point is at $p$ and at +time $t=1$ it is at $q$ and at time, say, $t=1/2$ it is ``somewhere in +the middle.'' The exact location at time $t=1/2$ will not necessarily +be the ``halfway point,'' that is, the point whose distance on the +curve from $p$ and $q$ is equal. Rather, the exact location will +depend on the ``speed'' at which the point is traveling, which in +turn depends on the lengths of the support vectors in a complicated +manner. If you are interested in the details, please see a good book +on Bzier curves. + + + +\begin{command}{\pgfpointlineattime\marg{time $t$}\marg{point $p$}\marg{point $q$}} + Yields a point that is the $t$th fraction between $p$ + and~$q$, that is, $p + t(q-p)$. For $t=1/2$ this is the middle of + $p$ and $q$. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{2cm}{2cm}} + \pgfusepath{stroke} + \foreach \t in {0,0.25,...,1.25} + {\pgftext[at= + \pgfpointlineattime{\t}{\pgfpointorigin}{\pgfpoint{2cm}{2cm}}]{\t}} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpointlineatdistance\marg{distance}\marg{start point}\marg{end point}} + Yields a point that is located \meta{distance} many units removed + from the start point in the direction of the end point. In other + words, this is the point that results if we travel \meta{distance} + steps from \meta{start point} towards \meta{end point}. + \example +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathmoveto{\pgfpointorigin} + \pgfpathlineto{\pgfpoint{3cm}{2cm}} + \pgfusepath{stroke} + \foreach \d in {0pt,20pt,40pt,70pt} + {\pgftext[at= + \pgfpointlineatdistance{\d}{\pgfpointorigin}{\pgfpoint{3cm}{2cm}}]{\d}} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpointcurveattime\marg{time $t$}\marg{point + $p$}\marg{point $s_1$}\marg{point $s_2$}\marg{point $q$}} + Yields a point that is on the Bzier curve from $p$ to $q$ with the + support points $s_1$ and $s_2$. The time $t$ is used to determine + the location, where $t=0$ yields $p$ and $t=1$ yields $q$. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathmoveto{\pgfpointorigin} + \pgfpathcurveto + {\pgfpoint{0cm}{2cm}}{\pgfpoint{0cm}{2cm}}{\pgfpoint{3cm}{2cm}} + \pgfusepath{stroke} + \foreach \t in {0,0.25,0.5,0.75,1} + {\pgftext[at=\pgfpointcurveattime{\t}{\pgfpointorigin} + {\pgfpoint{0cm}{2cm}} + {\pgfpoint{0cm}{2cm}} + {\pgfpoint{3cm}{2cm}}]{\t}} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\subsubsection{Points on Borders of Objects} + +The following commands are useful for specifying a point that lies on +the border of special shapes. They are used, for example, by the shape +mechanism to determine border points of shapes. + +\begin{command}{\pgfpointborderrectangle\marg{direction point}\marg{corner}} + This command returns a point that lies on the intersection of a line + starting at the origin and going towards the point \meta{direction + point} and a rectangle whose center is in the origin and whose + upper right corner is at \meta{corner}. + + The \meta{direction point} should have length ``about 1pt,'' but it + will be normalized automatically. Nevertheless, the ``nearer'' the + length is to 1pt, the less rounding errors. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (2,1.5); + \pgfpathrectanglecorners{\pgfpoint{-1cm}{-1.25cm}}{\pgfpoint{1cm}{1.25cm}} + \pgfusepath{stroke} + + \pgfpathcircle{\pgfpoint{5pt}{5pt}}{2pt} + \pgfpathcircle{\pgfpoint{-10pt}{5pt}}{2pt} + \pgfusepath{fill} + \color{red} + \pgfpathcircle{\pgfpointborderrectangle + {\pgfpoint{5pt}{5pt}}{\pgfpoint{1cm}{1.25cm}}}{2pt} + \pgfpathcircle{\pgfpointborderrectangle + {\pgfpoint{-10pt}{5pt}}{\pgfpoint{1cm}{1.25cm}}}{2pt} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfpointborderellipse\marg{direction point}\marg{corner}} + This command works like the corresponding command for rectangles, + only this time the \meta{corner} is the corner of the bounding + rectangle of an ellipse. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (2,1.5); + \pgfpathellipse{\pgfpointorigin}{\pgfpoint{1cm}{0cm}}{\pgfpoint{0cm}{1.25cm}} + \pgfusepath{stroke} + + \pgfpathcircle{\pgfpoint{5pt}{5pt}}{2pt} + \pgfpathcircle{\pgfpoint{-10pt}{5pt}}{2pt} + \pgfusepath{fill} + \color{red} + \pgfpathcircle{\pgfpointborderellipse + {\pgfpoint{5pt}{5pt}}{\pgfpoint{1cm}{1.25cm}}}{2pt} + \pgfpathcircle{\pgfpointborderellipse + {\pgfpoint{-10pt}{5pt}}{\pgfpoint{1cm}{1.25cm}}}{2pt} + \pgfusepath{fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\subsubsection{Points on the Intersection of Lines} + + +\begin{command}{\pgfpointintersectionoflines\marg{$p$}\marg{$q$}\marg{$s$}\marg{$t$}} + This command returns the intersection of a line going through $p$ + and $q$ and a line going through $s$ and $t$. If the lines do not + intersection, an arithmetic overflow will occur. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (2,2); + \draw (.5,0) -- (2,2); + \draw (1,2) -- (2,0); + \pgfpathcircle{% + \pgfpointintersectionoflines + {\pgfpointxy{.5}{0}}{\pgfpointxy{2}{2}} + {\pgfpointxy{1}{2}}{\pgfpointxy{2}{0}}} + {2pt} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\subsection{Extracting Coordinates} + +There are two commands that can be used to ``extract'' the $x$- or +$y$-coordinate of a coordinate. + +\begin{command}{\pgfextractx\marg{dimension}\marg{point}} + Sets the \TeX-\meta{dimension} to the $x$-coordinate of the point. + +\begin{codeexample}[code only] +\newdimen\mydim +\pgfextractx{\mydim}{\pgfpoint{2cm}{4pt}} +%% \mydim is now 2cm +\end{codeexample} +\end{command} + +\begin{command}{\pgfextracty\marg{dimension}\marg{point}} + Like |\pgfextractx|, except for the $y$-coordinate. +\end{command} + + + + +\subsection{Internals of How Point Commands Work} + +As a normal user of \pgfname\ you do not need to read this section. It +is relevant only if you need to understand how the point commands work +internally. + +When a command like |\pgfpoint{1cm}{2pt}| is called, all that happens +is that the two \TeX-dimension variables |\pgf@x| and |\pgf@y| are set +to |1cm| and |2pt|, respectively. A command like |\pgfpathmoveto| that +takes a coordinate as parameter will just execute this parameter and +then use the values of |\pgf@x| and |\pgf@y| as the coordinates to +which it will move the pen on the current path. + +since commands like |\pgfpointnormalised| modify other variables +besides |\pgf@x| and |\pgf@y| during the computation of the final values of +|\pgf@x| and |\pgf@y|, it is a good idea to enclose a call of a +command like |\pgfpoint| in a \TeX-scope and then make the changes of +|\pgf@x| and |\pgf@y| global as in the following example: +\begin{codeexample}[code only] +... +{ % open scope + \pgfpointnormalised{\pgfpoint{1cm}{1cm}} + \global\pgf@x=\pgf@x % make the change of \pgf@x persist past the scope + \global\pgf@y=\pgf@y % make the change of \pgf@y persist past the scope +} +% \pgf@x and \pgf@y are now set correctly, all other variables are +% unchanged +\end{codeexample} + +\makeatletter +Since this situation arises very often, the macro |\pgf@process| can +be used to perform the above code: +\begin{command}{\pgf@process\marg{code}} + Executes the \meta{code} in a scope and then makes |\pgf@x| and + |\pgf@y| global. +\end{command} + +Note that this macro is used often internally. For this reason, it is +not a good idea to keep anything important in the variables |\pgf@x| +and |\pgf@y| since they will be overwritten and changed +frequently. Instead, intermediate values can ge stored in the +\TeX-dimensions |\pgf@xa|, |\pgf@xb|, |\pgf@xc| and their +|y|-counterparts |\pgf@ya|, |\pgf@yb|, |pgf@yc|. For example, here is +the code of the command |\pgfpointadd|: +\begin{codeexample}[code only] +\def\pgfpointadd#1#2{% + \pgf@process{#1}% + \pgf@xa=\pgf@x% + \pgf@ya=\pgf@y% + \pgf@process{#2}% + \advance\pgf@x by\pgf@xa% + \advance\pgf@y by\pgf@ya} +\end{codeexample} + + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-quick.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-quick.tex new file mode 100644 index 00000000000..8f773b5df24 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-quick.tex @@ -0,0 +1,166 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Quick Commands} + +This section explains the ``quick'' commands of \pgfname. These +commands are executed more quickly than the normal commands of +\pgfname, but offer less functionality. You should use these commands +only if you either have a very large number of commands that need to +be processed or if you expect your commands to be executed very often. + + + +\subsection{Quick Path Construction Commands} + +The difference between the quick and the normal path commands is that +the quick path commands +\begin{itemize} +\item + do not keep track of the bounding boxes, +\item + do not allow you to arc corners, +\item + do not apply coordinate transformations. +\end{itemize} + +However, they do use the soft-path subsystem (see +Section~\ref{section-soft-paths} for details), which allows you to mix +quick and normal path commands arbitrarily. + +All quick path construction commands start with |\pgfpathq|. + +\begin{command}{\pgfpathqmoveto\marg{x dimension}\marg{y dimension}} + Either starts a path or starts a new part of a path at the coordinate + $(\meta{x dimension},\meta{y dimension})$. The coordinate is + \emph{not} transformed by the current coordinate transformation + matrix. However, any low-level transformations apply. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgftransformxshift{1cm} + \pgfpathqmoveto{0pt}{0pt} % not transformed + \pgfpathqlineto{1cm}{1cm} % not transformed + \pgfpathlineto{\pgfpoint{2cm}{0cm}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpathqlineto\marg{x dimension}\marg{y dimension}} + The quick version of the line-to operation. +\end{command} + +\begin{command}{\pgfpathqcurveto\marg{$s^1_x$}\marg{$s^1_y$}\marg{$s^2_x$}\marg{$s^2_y$}\marg{$t_x$}\marg{$t_y$}} + The quick version of the curve-to operation. The first support point + is $(s^1_x,s^1_y)$, the second support point is $(s^2_x,s^2_y)$, + and the target is $(t_x,t_y)$. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathqmoveto{0pt}{0pt} + \pgfpathqcurveto{1cm}{1cm}{2cm}{1cm}{3cm}{0cm} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpathqcircle\marg{radius}} + Adds a radius around the origin of the given \meta{radius}. This + command is orders of magnitude faster than + |\pgfcircle{\pgfpointorigin}{|\meta{radius}|}|. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (1,1); + \pgfpathqcircle{10pt} + \pgfsetfillcolor{examplefill} + \pgfusepath{stroke,fill} +\end{tikzpicture} +\end{codeexample} +\end{command} + + + +\subsection{Quick Path Usage Commands} + +The quick path usage commands perform similar tasks as |\pgfusepath|, +but they +\begin{itemize} +\item + do not add arrows, +\item + do not modify the path in any way, in particular, +\item + ends are not shortened, +\item + corners are not replaced by arcs. +\end{itemize} + +Note that you \emph{have to} use the quick versions in the code of +arrow tip definitions since, inside these definition, you obviously do +not want arrows to be drawn. + +\begin{command}{\pgfusepathqstroke} + Strokes the path without further ado. No arrows are drawn, no + corners are arced. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathqcircle{5pt} + \pgfusepathqstroke +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfusepathqfill} + Fills the path without further ado. +\end{command} + +\begin{command}{\pgfusepathqfillstroke} + Fills and then strokes the path without further ado. +\end{command} + +\begin{command}{\pgfusepathqclip} + Clips all subsequent drawings against the current path. The path is + not processed. +\end{command} + + +\subsection{Quick Text Box Commands} + +\begin{command}{\pgfqbox\marg{box number}} + This command inserts a \TeX\ box into a |{pgfpicture}| by + ``escaping'' to \TeX, inserting the box number \meta{box number} at + the origin, and then returning to the typesetting the picture. +\end{command} + +\begin{command}{\pgfqboxsynced\marg{box number}} + This command works similarly to the |\pgfqbox| command. However, + before inserting the text in \meta{box number}, the current + coordinate transformation matrix is applied to the current canvas + transformation matrix (is it ``synced'' with this matrix, hence the + name). + + Thus, this command basically has the same effect as if you first + called |\pgflowlevelsynccm| followed by |\pgfqbox|. However, this + command will use |\hskip| and |\raise| commands for the + ``translational part'' of the coordinate transformation matrix, + instead of adding the translational part to the current + canvas transformation matrix directly. Both methods have the same + effect (box \meta{box number} is translated where it should), but + the method used by |\pgfqboxsynced| ensures that hyperlinks are + placed correctly. Note that scaling and rotation will not (cannot, + even) apply to hyperlinks. +\end{command} + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-scopes.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-scopes.tex new file mode 100644 index 00000000000..c527b42415e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-scopes.tex @@ -0,0 +1,601 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section[Hierarchical Structures: Package, Environments, Scopes, and Text] +{Hierarchical Structures:\\ + Package, Environments, Scopes, and Text} + + +\subsection{Overview} + +\pgfname\ uses two kinds of hierarchical structuring: First, the +package itself is structured hierarchically, consisting of different +packages that are built on top of each other. Second, \pgfname\ allows you +to structure your graphics hierarchically using environments and scopes. + +\subsubsection{The Hierarchical Structure of the Package} + +The \pgfname\ system consists of several layers: + +\begin{description} +\item[System layer.] + The lowest layer is called the \emph{system layer}, though it might + also be called ``driver layer'' or perhaps ``backend layer.'' Its + job is to provide an abstraction of the details of which driver + is used to transform the |.dvi| file. The system layer is + implemented by the package |pgfsys|, which will load appropriate + driver files as needed. + + The system layer is documented in Part~\ref{part-system}. +\item[Basic layer.] + The basic layer is loaded by the package |pgf|. Some + applications do not need all of the functionality of the basic + layer, so it is possible to load only the |pgfcore| and some other + packages starting with |pgfbase|. + + The basic layer is documented in the present part. +\item[Frontend layer.] + The frontend layer is not loaded by a single packages. Rather, + different packages, like \tikzname\ or \textsc{pgfpict2e}, are + different frontends to the basic layer. + + The \tikzname\ frontend is documented in Part~\ref{part-tikz}. +\end{description} + +Each layer will automatically load the necessary files of the layers below +it. + +In addition to the packages of these layers, there are also some +library packages. These packages provide additional definitions of +things like new arrow tips or new plot handlers. + +The library packages are documented in Part~\ref{part-libraries}. + + + + +\subsubsection{The Hierarchical Structure of Graphics} + +Graphics in \pgfname\ are typically structured +hierarchically. Hierarchical structuring can be used to identify +groups of graphical elements that are to be treated ``in the same +way.'' For example, you might group together a number of paths, all of +which are to be drawn in red. Then, when you decide later on that you +like them to be drawn in, say, blue, all you have to do is to change +the color once. + +The general mechanism underlying hierarchical structuring is known as +\emph{scoping} in computer science. The idea is that all changes to +the general ``state'' of the graphic that are done inside a scope are +local to that scope. So, if you change the color inside a scope, this +does not affect the color used outside the scope. Likewise, when you +change the line width in a scope, the line width outside is not +changed, and so on. + +There are different ways of starting and ending scopes of graphic +parameters. Unfortunately, these scopes are sometimes ``in conflict'' +with each other and it is sometimes not immediately clear which scopes +apply. In essence, the following scoping mechanisms are available: + +\begin{enumerate} +\item + The ``outermost'' scope supported by \pgfname\ is the |{pgfpicture}| + environment. All changes to the graphic state done inside a + |{pgfpicture}| are local to that picture. + + In general, it is \emph{not} possible to set graphic parameters + globally outside any |{pgfpicture}| environments. Thus, you can + \emph{not} say |\pgfsetlinewidth{1pt}| at the beginning of your + document to have a default line width of one point. Rather, you have + to (re)set all graphic parameters inside each |{pgfpicture}|. (If + this is too bothersome, try defining some macro that does the job + for you.) +\item + Inside a |{pgfpicture}| you can use a |{pgfscope}| environment to + keep changes of the graphic state local to that environment. + + The effect of commands that change the graphic state are local to + the current |{pgfscope}| but not always to the current \TeX\ + group. Thus, if you open a \TeX\ group (some text in curly braces) + inside a |{pgfscope}|, and if you change, for example, the dash + pattern, the effect of this changed dash pattern will persist till + the end of the |{pgfscope}|. + + Unfortunately, this is not always the case. \emph{Some} graphic + parameters only persist till the end of the current \TeX\ group. For + example, when you use |\pgfsetarrows| to set the arrow tip + inside a \TeX\ group, the effect lasts only till the end of the + current \TeX\ group. +\item + Some graphic parameters are not scoped by |{pgfscope}| but + ``already'' by \TeX\ groups. For example, the effect of coordinate + transformation commands is always local to the current \TeX\ + group. + + Since every |{pgfscope}| automatically creates a \TeX\ group, all + graphic parameters that are local to the current \TeX\ group are + also local to the current |{pgfscope}|. +\item + Some graphic parameters can only be scoped using \TeX\ groups, since + in some situations it is not possible to introduce a + |{pgfscope}|. For example, a path always has to be completely + constructed and used in the same |{pgfscope}|. However, we might + wish to have different coordinate transformations apply to different + points on the path. In this case, we can use \TeX\ groups to keep + the effect local, but we could not use |{pgfscope}|. +\item + The |\pgftext| command can be used to create a scope in which \TeX\ + ``escapes back'' to normal \TeX\ mode. The text passed to the + |\pgftext| is ``heavily guarded'' against having any effect on the + scope in which it is used. For example, it is possibly to use + another |{pgfpicture}| environment inside the argument of + |\pgftext|. +\end{enumerate} + + +Most of the complications can be avoided if you stick to the following +rules: + +\begin{itemize} +\item + Give graphic commands only inside |{pgfpicture}| environments. +\item + Use |{pgfscope}| to structure graphics. +\item + Do not use \TeX\ groups inside graphics, \emph{except} for keeping + the effect of coordinate transformations local. +\end{itemize} + + + +\subsection{The Hierarchical Structure of the Package} + +Before we come to the structuring commands provided by \pgfname\ to +structure your graphics, let us first have a look at the structure of +the package itself. + +\subsubsection{The Main Package} + +To use \pgfname, include the following package: + +\begin{package}{pgf} + This package loads the complete ``basic layer'' of \pgfname. That + is, it will load all of the commands described in the current part + of this manual, but it will not load frontends like \tikzname. + + In detail, this package will load the following packages, each of + which can also be loaded individually: + \begin{itemize} + \item + |pgfsys|, which is the lowest layer of \pgfname\ and which is + always needed. This file will read |pgf.cfg| to discern which + driver is to be used. See Section~\ref{section-pgfsys} for + details. + \item + |pgfcore|, which is the central core of \pgfname\ and which is + always needed unless you intend to write a new basic layer from + scratch. + \item + |pgfbaseimage|, which provides commands for declaring and + using images. An example is |\pgfuseimage|. + \item + |pgfbaseshapes|, which provides commands for declaring and using + shapes. An example is |\pgfdeclareshape|. + \item + |pgfbaseplot|, which provides commands for plotting functions. + \end{itemize} + + Including any of the last three packages will automatically load the + first two. +\end{package} + +In \LaTeX, the package takes two options: +\begin{packageoption}{draft} + When this option is set, all images will be replaced by empty + rectangles. This can speedup compilation. +\end{packageoption} + +\begin{packageoption}{version=\meta{version}} + Indicates that the commands of version \meta{version} need to be + defined. If you set \meta{version} to |0.65|, then a large bunch of + ``compatibility commands'' are loaded. If you set \meta{version} to + |0.96|, then these compatibility commands will not be loaded. + + If this option is not given at all, then the commands of all + versions are defined. +\end{packageoption} + + +\subsubsection{The Core Package} + +\begin{package}{pgfcore} + This package defines all of the basic layer's commands, except for + the commands defined in the additional packages like + |pgfbaseplot|. Typically commands defined by the core include + |\pgfusepath| or |\pgfpoint|. The core is internally structured + into several subpackages, but the subpackages cannot be loaded + individually since they are all ``interrelated.'' +\end{package} + + +\subsubsection{The Optional Basic Layer Packages} + +The |pgf| package automatically loads the following packages, but you +can also load them individually (all of them automatically include the +core): + +\begin{itemize} + \item |pgfbaseshapes| + This package provides commands for drawing nodes and shapes. These + commands are explained in Section~\ref{section-shapes}. + + \item |pgfbaseplot| + This package provides commands for plotting function. The + commands are explained in Section~\ref{section-plots}. + + \item |pgfbaseimage| + This package provides commands for including (external) images. The + commands are explained in Section~\ref{section-images}. +\end{itemize} + + + + + +\subsection{The Hierarchical Structure of the Graphics} + +\subsubsection{The Main Environment} + + +Most, but not all, commands of the \pgfname\ package must be given +within a |{pgfpicture}| environment. The only commands that (must) be +given outside are commands having to do with including images (like +|\pgfuseimage|) and with inserting complete shadings (like +|\pgfuseshading|). However, just to keep life entertaining, the +|\pgfshadepath| command must be given \emph{inside} a |{pgfpicture}| +environment. + +\begin{environment}{{pgfpicture}} + This environment will insert a \TeX\ box containing the graphic drawn by + the \meta{environment contents} at the current position. + + \medskip + \textbf{The size of the bounding box.} + The size of the box is determined in the following + manner: While \pgfname\ parses the \meta{environment contents}, it + keeps track of a bounding box for the graphic. Essentially, this + bounding box is the smallest box that contains all coordinates + mentioned in the graphics. Some coordinates may be ``mentioned'' by + \pgfname\ itself; for example, when you add circle to the current + path, the support points of the curve making up the circle are also + ``mentioned'' despite the fact that you will not ``see'' them in + your code. + + Once the \meta{environment contents} has been parsed completely, a + \TeX\ box is created whose size is the size of the computed bounding + box and this box is inserted at the current position. + +\begin{codeexample}[] +Hello \begin{pgfpicture} + \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{1ex}} + \pgfusepath{stroke} +\end{pgfpicture} World! +\end{codeexample} + + Sometimes, you may need more fine-grained control over the size of + the bounding box. For example, the computed bounding box may be too + large or you intensionally wish the box to be ``too small.'' In + these cases, you can use the command + |\pgfusepath{use as bounding box}|, as described in + Section~\ref{section-using-bb}. + + + \medskip + \textbf{The baseline of the bounding box.} + When the box containing the graphic is inserted into the normal + text, the baseline of the graphic is normally at the bottom of the + graphic. For this reason, the following two sets of code lines have + the same effect, despite the fact that the second graphic uses + ``higher'' coordinates than the first: + +\begin{codeexample}[] +Rectangles \begin{pgfpicture} + \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{1ex}} + \pgfusepath{stroke} +\end{pgfpicture} and \begin{pgfpicture} + \pgfpathrectangle{\pgfpoint{0ex}{1ex}}{\pgfpoint{2ex}{1ex}} + \pgfusepath{stroke} +\end{pgfpicture}. +\end{codeexample} + + You can change the baseline using the |\pgfsetbaseline| command, see + below. + +\begin{codeexample}[] +Rectangles \begin{pgfpicture} + \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{1ex}} + \pgfusepath{stroke} + \pgfsetbaseline{0pt} +\end{pgfpicture} and \begin{pgfpicture} + \pgfpathrectangle{\pgfpoint{0ex}{1ex}}{\pgfpoint{2ex}{1ex}} + \pgfusepath{stroke} + \pgfsetbaseline{0pt} +\end{pgfpicture}. +\end{codeexample} + + \medskip + \textbf{Including text and images in a picture.} + You cannot directly include text and images in a picture. Thus, you + should \emph{not} simply write some text in a |{pgfpicture}| or use + a command like |\includegraphics| or even |\pgfimage|. In all these + cases, you need to place the text inside a |\pgftext| command. This + will ``escape back'' to normal \TeX\ mode, see + Section~\ref{section-text-command} for details. +\end{environment} + +\begin{plainenvironment}{{pgfpicture}} + The plain \TeX\ version of the environment. Note that in this + version, also, a \TeX\ group is created around the environment. +\end{plainenvironment} + +\makeatletter +\begin{command}{\pgfsetbaseline\marg{dimension}} + This command specifies a $y$-coordinate of the picture that should + be used as the baseline of the whole picture. When a \pgfname\ + picture has been typeset completely, \pgfname\ must decide at which + height the baseline of the picture should lie. Normally, the + baseline is set to the $y$-coordinate of the bottom of the picture, + but it is often desirable to use another height. + +\begin{codeexample}[] +Text \tikz{\pgfpathcircle{\pgfpointorigin}{1ex}\pgfusepath{stroke}}, + \tikz{\pgfsetbaseline{0pt} + \pgfpathcircle{\pgfpointorigin}{1ex}\pgfusepath{stroke}}, + \tikz{\pgfsetbaseline{.5ex} + \pgfpathcircle{\pgfpointorigin}{1ex}\pgfusepath{stroke}}, + \tikz{\pgfsetbaseline{-1ex} + \pgfpathcircle{\pgfpointorigin}{1ex}\pgfusepath{stroke}}. +\end{codeexample} +\end{command} + +\subsubsection{Graphic Scope Environments} + +Inside a |{pgfpicture}| environment you can substructure your picture +using the following environment: + +\begin{environment}{{pgfscope}} + All changes to the graphic state done inside this environment are + local to the environment. The graphic state includes the following: + \begin{itemize} + \item + The line width. + \item + The stroke and fill colors. + \item + The dash pattern. + \item + The line join and cap. + \item + The miter limit. + \item + The canvas transformation matrix. + \item + The clipping path. + \end{itemize} + Other parameters may also influence how graphics are rendered, but they + are \emph{not} part of the graphic state. For example, the arrow tip + kind is not part of the graphic state and the effect of commands + setting the arrow tip kind are local to the current \TeX\ group, not + to the current |{pgfscope}|. However, since |{pgfscope}| starts and + ends a \TeX\ group automatically, a |{pgfscope}| can be used to + limit the effect of, say, commands that set the arrow tip kind. + +\begin{codeexample}[] +\begin{pgfpicture} + \begin{pgfscope} + { + \pgfsetlinewidth{2pt} + \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2ex}{2ex}} + \pgfusepath{stroke} + } + \pgfpathrectangle{\pgfpoint{3ex}{0ex}}{\pgfpoint{2ex}{2ex}} + \pgfusepath{stroke} + \end{pgfscope} + \pgfpathrectangle{\pgfpoint{6ex}{0ex}}{\pgfpoint{2ex}{2ex}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{pgfpicture} + \begin{pgfscope} + { + \pgfsetarrows{-to} + \pgfpathmoveto{\pgfpointorigin}\pgfpathlineto{\pgfpoint{2ex}{2ex}} + \pgfusepath{stroke} + } + \pgfpathmoveto{\pgfpoint{3ex}{0ex}}\pgfpathlineto{\pgfpoint{5ex}{2ex}} + \pgfusepath{stroke} + \end{pgfscope} + \pgfpathmoveto{\pgfpoint{6ex}{0ex}}\pgfpathlineto{\pgfpoint{8ex}{2ex}} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + + At the start of the scope, the current path must be empty, that is, + you cannot open a scope while constructing a path. + + It is usually a good idea \emph{not} to introduce \TeX\ groups + inside a |{pgfscope}| environment. +\end{environment} + +\begin{plainenvironment}{{pgfscope}} + Plain \TeX\ version of the |{pgfscope}| environment. +\end{plainenvironment} + + +The following scopes also encapsulate certain properties of the +graphic state. However, they are typically not used directly by the +user. + +\begin{environment}{{pgfinterruptpath}} + This environment can be used to temporarily interrupt the + construction of the current path. The effect will be that the path + currently under construction will be ``stored away'' and restored at + the end of the environment. Inside the environment you can construct + a new path and do something with it. + + An example application of this environment is the arrow tip + caching. Suppose you ask \pgfname\ to use a specific arrow tip + kind. When the arrow tip needs to be rendered for the first time, + \pgfname\ will ``cache'' the path that makes up the arrow tip. To do + so, it interrupts the current path construction and then protocols + the path of the arrow tip. The |{pgfinterruptpath}| environment is + used to ensure that this does not interfere with the path to which + the arrow tips should be attached. + + This command does \emph{not} install a |{pgfscope}|. In particular, + it does not call any |\pgfsys@| commands at all, which would, + indeed, be dangerous in the middle of a path construction. +\end{environment} + +\begin{environment}{{pgfinterruptpicture}} + This environment can be used to temporarily interrupt a + |{pgfpicture}|. However, the environment is intended only to be used + at the beginning and end of a box that is (later) inserted into a + |{pgfpicture}| using |\pgfqbox|. You cannot use this environment + directly inside a |{pgfpicture}|. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfpathmoveto{\pgfpoint{0cm}{0cm}} % In the middle of path, now + \newbox\mybox + \setbox\mybox=\hbox{ + \begin{pgfinterruptpicture} + Sub-\begin{pgfpicture} % a subpicture + \pgfpathmoveto{\pgfpoint{1cm}{0cm}} + \pgfpathlineto{\pgfpoint{1cm}{1cm}} + \pgfusepath{stroke} + \end{pgfpicture}-picture. + \end{pgfinterruptpicture} + } + \pgfqbox{\mybox}% + \pgfpathlineto{\pgfpoint{0cm}{1cm}} + \pgfusepath{stroke} +\end{pgfpicture}\hskip3.9cm +\end{codeexample} +\end{environment} + + +\subsubsection{Inserting Text and Images} + +\label{section-text-command} + +Often, you may wish to add normal \TeX\ text at a certain point inside +a |{pgfpicture}|. You cannot do so ``directly,'' that is, you cannot +simply write this text inside the |{pgfpicture}| environment. Rather, +you must pass the text as an argument to the |\pgftext| command. + +You must \emph{also} use the |\pgftext| command to insert an image or +a shading into a |{pgfpicture}|. + +\begin{command}{\pgftext\opt{\oarg{options}}\marg{text}} + This command will typeset \meta{text} in normal \TeX\ mode and + insert the resulting box into the |{pgfpicture}|. The bounding box + of the graphic will be updated so that all of the text box is + inside. Be default, the text box is centered at the origin, but this + can be changed either by giving appropriate \meta{options} or by + applying an appropriate coordinate transformation beforehand. + + The \meta{text} may contain verbatim text. (In other words, the + \meta{text} ``argument'' is not a normal argument, but is put in a + box and some |\aftergroup| hackery is used to find the end of the + box.) + + \pgfname's current (high-level) coordinate transformation is + synchronized with the canvas transformation matrix temporarily + when the text box is inserted. The effect is that if there is + currently a high-level rotation of, say, 30 degrees, the \meta{text} + will also be rotated by thirty degrees. If you do not want this + effect, you have to (possibly temporarily) reset the high-level + transformation matrix. + + The following \meta{options} may be given as conveniences: + \begin{itemize} + \itemoption{left} + causes the text box to be placed such that its left border is on the origin. +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[left] {lovely}} +\end{codeexample} + \itemoption{right} + causes the text box to be placed such that its right border is on the origin. +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[right] {lovely}} +\end{codeexample} + \itemoption{top} + causes the text box to be placed such that its top is on the + origin. This option can be used together with the |left| or + |right| option. +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[top] {lovely}} +\end{codeexample} +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[top,right] {lovely}} +\end{codeexample} + \itemoption{bottom} + causes the text box to be placed such that its bottom is on the + origin. +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[bottom] {lovely}} +\end{codeexample} +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[bottom,right] {lovely}} +\end{codeexample} + \itemoption{base} + causes the text box to be placed such that its baseline is on the + origin. +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[base] {lovely}} +\end{codeexample} +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[base,right] {lovely}} +\end{codeexample} + \itemoption{at}|=|\meta{point} + Translates the origin (that is, the point where the text is + shown) to \meta{point}. +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[base,at={\pgfpoint{1cm}{0cm}}] {lovely}} +\end{codeexample} + \itemoption{x}|=|\meta{dimension} + Translates the origin by \meta{dimension} along the $x$-axis. +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[base,x=1cm,y=-0.5cm] {lovely}} +\end{codeexample} + \itemoption{y}|=|\meta{dimension} + works like the |x| option. + \itemoption{rotate}|=|\meta{degree} + Rotates the coordinate system by \meta{degree}. This will also + rotate the text box. +\begin{codeexample}[] +\tikz{\draw[help lines] (-1,-.5) grid (1,.5); + \pgftext[base,x=1cm,y=-0.5cm,rotate=30] {lovely}} +\end{codeexample} + \end{itemize} + +\end{command} + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-shadings.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-shadings.tex new file mode 100644 index 00000000000..873d9a823ff --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-shadings.tex @@ -0,0 +1,326 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Declaring and Using Shadings} + +\label{section-shadings} + +\subsection{Overview} + +A shading is an area in which the color changes smoothly between different +colors. Similarly to an image, a shading must first be declared before +it can be used. Also similarly to an image, a shading is put into a +\TeX-box. Hence, in order to include a shading in a |{pgfpicture}|, +you have to use |\pgftext| around it. + +There are three kinds of shadings: horizontal, vertical, and radial +shadings. However, you can rotate and clip shadings like any other +graphics object, which allows you to create more complicated +shadings. Horizontal shadings could be created by rotating a vertical +shading by 90 degrees, but explicit commands for creating both +horizontal and vertical shadings are included for convenience. + +Once you have declared a shading, you can insert it into text using +the command |\pgfuseshading|. This command cannot be used directly in +a |{pgfpicture}|, you have to put a |\pgftext| around it. The second +command for using shadings, |\pgfshadepath|, on the other hand, can +only be used inside |{pgfpicture}| environments. It will ``fill'' the +current path with the shading. + +A horizontal shading is a horizontal bar of a certain height whose +color changes smoothly. You must at least specify the colors at the +left and at the right end of the bar, but you can also add color +specifications for points in between. For example, suppose you +which to create a bar that is red at the left end, green in the +middle, and blue at the end. Suppose you would like the bar to be 4cm +long. This could be specified as follows: +\begin{codeexample}[code only] +rgb(0cm)=(1,0,0); rgb(2cm)=(0,1,0); rgb(4cm)=(0,0,1) +\end{codeexample} +This line means that at 0cm (the left end) of the bar, the color +should be red, which has red-green-blue (rgb) components (1,0,0). At +2cm, the bar should be green, and at 4cm it should be blue. +Instead of |rgb|, you can currently also specify |gray| as +color model, in which case only one value is needed, or |color|, +in which case you must provide the name of a color in parentheses. In +a color specification the individual specifications must +be separated using a semicolon, which may be followed by a whitespace +(like a space or a newline). Individual specifications must be given +in increasing order. + +\subsection{Declaring Shadings} + +\begin{command}{\pgfdeclarehorizontalshading\oarg{color list}\marg{shading + name}\marg{shading height}\marg{color specification}} + Declares a horizontal shading named \meta{shading name} of the specified + \meta{height} with the specified colors. The length of the bar is + deduced automatically from the maximum dimension in the specification. + +\begin{codeexample}[] +\pgfdeclarehorizontalshading{myshadingA} + {1cm}{rgb(0cm)=(1,0,0); color(2cm)=(green); color(4cm)=(blue)} +\pgfuseshading{myshadingA} +\end{codeexample} + + The effect of the \meta{color list}, which is a + comma-separated list of colors, is the following: Normally, when + this list is empty, once a shading has been declared, it becomes + ``frozen.'' This means that even if you change a color that was used + in the declaration of the shading later on, the shading will not + change. By specifying a \meta{color list} you can specify + that the shading should be recalculated whenever one of the colors + listed in the list changes (this includes effects like color + mixins). Thus, when you specify a \meta{color list}, + whenever the shading is used, \pgfname\ first converts the colors in the + list to \textsc{rgb} triples using the current values of the + colors and taking any mixins and blends into account. If the + resulting \textsc{rgb} triples have not yet been used, a new + shading is internally created and used. Note that if the + option \meta{color list} is used, then no shading is created until + the first use of |\pgfuseshading|. In particular, the colors + mentioned in the shading need not be defined when the declaration is + given. + + When a shading is recalculated because of a change in the + colors mentioned in \meta{color list}, the complete shading + is recalculated. Thus even colors not mentioned in the list will be + used with their current values, not with the values they had upon + declaration. + +\begin{codeexample}[] +\pgfdeclarehorizontalshading[mycolor]{myshadingB} + {1cm}{rgb(0cm)=(1,0,0); color(2cm)=(mycolor)} +\colorlet{mycolor}{green} +\pgfuseshading{myshadingB} +\colorlet{mycolor}{blue} +\pgfuseshading{myshadingB} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfdeclareverticalshading\oarg{color list}\marg{shading + name}\marg{shading width}\marg{color specification}} + Declares a vertical shading named \meta{shading name} of the + specified \meta{width}. The height of the bar is deduced + automatically. The effect of \meta{color list} is the same as for + horizontal shadings. + +\begin{codeexample}[] +\pgfdeclareverticalshading{myshadingC} + {4cm}{rgb(0cm)=(1,0,0); rgb(1.5cm)=(0,1,0); rgb(2cm)=(0,0,1)} +\pgfuseshading{myshadingC} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfdeclareradialshading\oarg{color list}\marg{shading + name}\marg{center point}\marg{color specification}} + Declares an radial shading. A radial shading is a circle whose inner + color changes as specified by the color specification. Assuming that + the center of the shading is at the origin, the color of the center + will be the color specified for 0cm and the color of the border of + the circle will be the color for the maximum dimension given in + the \meta{color specified}. This maximum will also be the radius of + the circle. If the \meta{center point} is not at the + origin, the whole shading inside the circle (whose size remains + exactly the same) will be distorted such that the given center now + has the color specified for 0cm. The effect of \meta{color list} is + the same as for horizontal shadings. + +\begin{codeexample}[] +\pgfdeclareradialshading{sphere}{\pgfpoint{0.5cm}{0.5cm}}% + {rgb(0cm)=(0.9,0,0); + rgb(0.7cm)=(0.7,0,0); + rgb(1cm)=(0.5,0,0); + rgb(1.05cm)=(1,1,1)} +\pgfuseshading{sphere} +\end{codeexample} +\end{command} + + +\subsection{Using Shadings} +\label{section-shading-a-path} + +\begin{command}{\pgfuseshading\marg{shading name}} + Inserts a previously declared shading into the text. If you wish to + use it in a |pgfpicture| environment, you should put a |\pgfbox| + around it. + +\begin{codeexample}[] +\begin{pgfpicture} + \pgfdeclareverticalshading{myshadingD} + {20pt}{color(0pt)=(red); color(20pt)=(blue)} + \pgftext[at=\pgfpoint{1cm}{0cm}] {\pgfuseshading{myshadingD}} + \pgftext[at=\pgfpoint{2cm}{0.5cm}]{\pgfuseshading{myshadingD}} +\end{pgfpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfshadepath\marg{shading name}\marg{angle}} + This command must be used inside a |{pgfpicture}| environment. The + effect is a bit complex, so let us go over it step by step. + + First, \pgfname\ will setup a local scope. + + Second, it uses the current path to clip everything inside this + scope. However, the current path is once more available after the + scope, so it can be used, for example, to stroke it. + + Now, the \meta{shading name} should be a shading whose width and + height are 100\,bp, that is, 100 big points. \pgfname\ has a look at + the bounding box of the current path. This bounding box is computed + automatically when a path is computed; however, it can sometimes be + (quite a bit) too large, especially when complicated curves are + involved. + + Inside the scope, the low-level transformation matrix is modified. + The center of the shading is translated (moved) such that it lies on + the center of the bounding box of the path. The low-level coordinate + system is also scaled such that the shading ``covers'' the shading (the + details are a bit more complex, see below). Finally, the coordinate + system is rotated by \meta{angle}. + + After everything has been set up, the shading is inserted. Due to + the transformations and clippings, the effect will be that the + shading seems to ``fill'' the path. + + If both the path and the shadings were always rectangles and if + rotation were never involved, it would be easy to scale shadings + such they always cover the path. However, when a vertical shading is + rotated, it must obviously be ``magnified'' so that it + still covers the path. Things get worse when the path is not a + rectangle itself. + + For these reasons, things work slightly differently ``in reality.'' + The shading is scaled and translated such that the + the point $(50\mathrm{bp},50\mathrm{bp})$, which is the middle of + the shading, is at the middle of the path and such that the the + point $(25\mathrm{bp},25\mathrm{bp})$ is at the lower left corner of + the path and that $(75\mathrm{bp},75\mathrm{bp})$ is at upper + right corner. + + In other words, only the center quarter of the shading will actually + ``survive the clipping'' if the path is a rectangle. If the path is + not a rectangle, but, say, a circle, even less is seen of the + shading. Here is an example that demonstrates this effect: + +\begin{codeexample}[] +\pgfdeclareverticalshading{myshadingE}{100bp} + {color(0bp)=(red); color(25bp)=(green); color(75bp)=(blue); color(100bp)=(black)} +\pgfuseshading{myshadingE} +\hskip 1cm +\begin{pgfpicture} + \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} + \pgfshadepath{myshadingE}{0} + \pgfusepath{stroke} + \pgfpathrectangle{\pgfpoint{3cm}{0cm}}{\pgfpoint{1cm}{2cm}} + \pgfshadepath{myshadingE}{0} + \pgfusepath{stroke} + \pgfpathrectangle{\pgfpoint{5cm}{0cm}}{\pgfpoint{2cm}{2cm}} + \pgfshadepath{myshadingE}{45} + \pgfusepath{stroke} + \pgfpathcircle{\pgfpoint{9cm}{1cm}}{1cm} + \pgfshadepath{myshadingE}{45} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + + As can be seen above in the last case, the ``hidden'' part of the + shading actually \emph{can} become visible if the shading is + rotated. The reason is that it is scaled as if no rotation took + place, then the rotation is done. + + The following graphics show which part of the shading are actually + shown: + +\begin{codeexample}[] +\pgfdeclareverticalshading{myshadingF}{100bp} + {color(0bp)=(red); color(25bp)=(green); color(75bp)=(blue); color(100bp)=(black)} +\begin{tikzpicture} + \draw (50bp,50bp) node {\pgfuseshading{myshadingF}}; + \draw[white,thick] (25bp,25bp) rectangle (75bp,75bp); + \draw (50bp,0bp) node[below] {first two applications}; + + \begin{scope}[xshift=5cm] + \draw (50bp,50bp) node{\pgfuseshading{myshadingF}}; + \draw[rotate around={45:(50bp,50bp)},white,thick] (25bp,25bp) rectangle (75bp,75bp); + \draw (50bp,0bp) node[below] {third application}; + \end{scope} + + \begin{scope}[xshift=10cm] + \draw (50bp,50bp) node{\pgfuseshading{myshadingF}}; + \draw[white,thick] (50bp,50bp) circle (25bp); + \draw (50bp,0bp) node[below] {fourth application}; + \end{scope} +\end{tikzpicture} +\end{codeexample} + + An advantage of this approach is that when you rotate a radial + shading, no distortion is introduced: + +\begin{codeexample}[] +\pgfdeclareradialshading{ballshading}{\pgfpoint{-10bp}{10bp}} + {color(0bp)=(red!15!white); color(9bp)=(red!75!white); + color(18bp)=(red!70!black); color(25bp)=(red!50!black); color(50bp)=(black)} +\pgfuseshading{ballshading} +\hskip 1cm +\begin{pgfpicture} + \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{1cm}{1cm}} + \pgfshadepath{ballshading}{0} + \pgfusepath{} + \pgfpathcircle{\pgfpoint{3cm}{0cm}}{1cm} + \pgfshadepath{ballshading}{0} + \pgfusepath{} + \pgfpathcircle{\pgfpoint{6cm}{0cm}}{1cm} + \pgfshadepath{ballshading}{45} + \pgfusepath{} +\end{pgfpicture} +\end{codeexample} + + If you specify a rotation of $90^\circ$ + and if the path is not a square, but an elongated rectangle, the + ``desired'' effect results: The shading will exactly vary between + the colors at the 25bp and 75bp boundaries. Here is an example: + +\begin{codeexample}[] +\pgfdeclareverticalshading{myshadingG}{100bp} + {color(0bp)=(red); color(25bp)=(green); color(75bp)=(blue); color(100bp)=(black)} +\begin{pgfpicture} + \pgfpathrectangle{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} + \pgfshadepath{myshadingG}{0} + \pgfusepath{stroke} + \pgfpathrectangle{\pgfpoint{3cm}{0cm}}{\pgfpoint{2cm}{1cm}} + \pgfshadepath{myshadingG}{90} + \pgfusepath{stroke} + \pgfpathrectangle{\pgfpoint{6cm}{0cm}}{\pgfpoint{2cm}{1cm}} + \pgfshadepath{myshadingG}{45} + \pgfusepath{stroke} +\end{pgfpicture} +\end{codeexample} + + + As a final example, let us define a ``rainbow spectrum'' shading for + use with \tikzname. +\begin{codeexample}[] +\pgfdeclareverticalshading{rainbow}{100bp} + {color(0bp)=(red); color(25bp)=(red); color(35bp)=(yellow); + color(45bp)=(green); color(55bp)=(cyan); color(65bp)=(blue); + color(75bp)=(violet); color(100bp)=(violet)} +\begin{tikzpicture}[shading=rainbow] + \shade (0,0) rectangle node[white] {\textsc{pride}} (2,1); + \shade[shading angle=90] (3,0) rectangle +(1,2); +\end{tikzpicture} +\end{codeexample} + + Note that rainbow shadings are \emph{way} to colorful in almost all + applications. +\end{command} + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-snakes.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-snakes.tex new file mode 100644 index 00000000000..6c23140fbe7 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-snakes.tex @@ -0,0 +1,391 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Snakes} + +\label{section-base-snakes} + +\subsection{Overview} + +A \emph{snake} is a ``way of adding a winding line to a path.'' To be +a bit more precise, you use snakes to extend the path and the +commands for using snakes start with |\pgfpath|. However, snakes do +not necessarily extend the path using line-to and curve-to operations; +rather, they can also contain move-to operations and, thereby, cause +the path to be split into many subpaths. + +As an example, let us consider a simple snake like the |zigzag| +snake. It looks like this: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[snake=zigzag] (0,0) -- (3,0); + \draw[snake=zigzag] (0,-.5) -- (3,-1); +\end{tikzpicture} +\end{codeexample} + +The above example demonstrates the two key features of snakes: +\begin{enumerate} +\item + Snakes are made up from little segments that are repeated several + times. For the |zigzag| snake these segements look like this: + \tikz{\draw[snake=zigzag] (0,0) -- (\pgfsnakesegmentlength+0.1pt,0pt);}. +\item + Snakes ``follow along a straight to the target point.'' Thus, when + the target point is not to the right of the start point, the snake + is rotated appropriately. +\end{enumerate} + + +In order to use snakes, they first have to be \emph{declared}. This +declaration contains a detailed description of how each segement of +the snake looks like and in what ordering the different possible +segments are used. + +Once a snake has been declared, it can be used. For this you specify a +target point and a snaked line will be added from the last point +current point to the target point. + + +\subsection{Declaring a Snake} + + +\subsubsection{Segments} + +When you declare a snake, you provide a description of how the +different segments of the snake will be rendered. The description of +each segment should be given in a way as if the target of the snaked +line where at $(+\infty,0)$ and as if the segment's start where at the +origin. Thus, for example, the segment of the |zigzag| might be +defined using the following code: +\begin{codeexample}[code only] +\pgfpathlineto{\pgfpoint{5pt}{5pt}} +\pgfpathlineto{\pgfpoint{15pt}{-5pt}} +\pgfpathlineto{\pgfpoint{20pt}{0pt}} +\end{codeexample} + +\pgfname\ will ensure that an appropriate coordinate transformation +is in place when the snake segment is added to the path such that +the snake segment actually points in the right direction. Also +subsequent snake segments will be transformed such that they are +``further along the line'' toward the target. All transformations +are setup automatically. + +Note that we did not use a |\pgfpathmoveto{\pgfpointorigin}| at the +beginning of the segment code. Doing so would subdivide the path into +numerous subpath. Rather, we assume that the previous segment caused +the current point to be at the origin. + +While we can now describe segments, we still need a way to ``stop'' +the snake. Also, \pgfname\ needs to know the width of the different +snake segments such that it can translate the next segment correctly. +Even though it would be possible to compute all this information +automatically, \pgfname\ does not do so and you have to provide the +information ``by hand'' for each segment. + + +\subsubsection{Snake Automata} + +Up to now our snakes only have one segment that is repeated again and +again. However, we might also like to have \emph{different} segments +and use rules to describe which segment should be used where. For +example, we might have special segments at the start and at the end. + +For snakes we use a mechanism known in computer science as +\emph{finite automata} to describe which segment is used in each part +of the snake. The idea is the following: For the first segment we +start in a special \emph{state} called the \emph{initial state}. In +this state, and also in all other state later, \pgfname\ first +computes how much space is left on the snake. That is, \pgfname\ keeps +track of the distance to the target. Attached to each state there is a +set of rules of the following form: ``If the remaining distance is +less than $x$, switch to state~$q$.'' \pgfname\ checks for each of +these rules whether it applies and, if so, immediately switches to +state~$q$. + +Only if none of the rules tell us to switch to another +state, \pgfname\ will execute the state's code. This code will add a +segment to the path. In addition to the rules there is also width +parameter attached to each state. \pgfname\ then translates the +coordinate system by this width and reduces the remaining distance. +Then, \pgfname\ either stays in the current state or switches to +another state, depending on yet another property attached of the +state. + +The whole process stops when a special state called |final| is +reached. The segment of this state is added to the path immediately +(it is often empty, though) and the process ends. + +\subsubsection{The Snake Declaration Command} + +\begin{command}{\pgfdeclaresnake\marg{name}\marg{initial + state}\marg{states}} + This command declares a new snake called \meta{name}. The + \meta{states} argument contains a description of the snake + automaton's states and the transitions between them. The + \meta{initial state} is the state in which the automaton starts. + + The \meta{states} argument should consist of |\state| commands, one + for each state of the snake automaton. The |\state| command is + defined only when the \meta{states} argument is executed. + +\begin{codeexample}[] +\pgfdeclaresnake{example snake}{initial} +{ + \state{initial}[width=10pt] + { + \pgfpathlineto{\pgfpoint{0pt}{5pt}} + \pgfpathlineto{\pgfpoint{5pt}{5pt}} + \pgfpathlineto{\pgfpoint{5pt}{-5pt}} + \pgfpathlineto{\pgfpoint{10pt}{-5pt}} + \pgfpathlineto{\pgfpoint{10pt}{0pt}} + } + \state{final} + { + \pgfpathlineto{\pgfpoint{\pgfsnakeremainingdistance}{0pt}} + } +} +\tikz{\draw[snake=example snake] (0,0) -- (3,0); + \draw[snake=example snake] (0,-1) -- (3,-3);} +\end{codeexample} + + The |\state| command works as follows: + \begin{command}{\state\marg{name}\oarg{options}\marg{code}} + This command declares a new state inside the current snake + automaton. The state is names \meta{name}. + + When \pgfname\ is in state \meta{name}, the following things + happen: + \begin{enumerate} + \item + The \meta{options} are parsed. This may lead, see below, to a + state switch. When this happens, the following steps are not + executed. The \meta{options} are executed one after the other in + the given order. If an option causes a state switch, the switch + is immediate, even if later options might cause a different + state switch. + \item + The \meta{code} is executed. When this happens, the coordinate + transformation will be setup such that the origin is at the + start of the segment and such that the target lies in the + direction ``east.'' + \item + After the \meta{code} has been executed, the state switches to + whatever state has been specified inside the \meta{options} + using the |next state| option. If no |next state| has been + specified, the state stays the same. + \end{enumerate} + + The following options are allowed inside the \meta{options}: + \begin{itemize} + \itemoption{switch if less than}|=|\meta{dimension}| to |\meta{new state} + When this option is encountered, \pgfname\ checks whether the + remaining distance to the target is less than + \meta{dimension}. If so, an immediate state switch to \meta{new + state} occurs. + \itemoption{width}|=|\meta{dimension} + This option tells \pgfname\ the width of the segment if it is + appended to the path. The coordinate system will, afterward, be + translated by \meta{dimension} to ensure that the next segment + starts where the current one ended. + + In addition, this option will cause an immediate switch to the + state |final| if the remaining distance is less than + \meta{dimension}. The effect is the same as if you had said + |switch if less than=|\meta{dimension}| to final| just before + the |width| option. + \itemoption{next state}=\meta{new state} + After the segment has been added to the path, a state switch to + \meta{new state} is performed. If this option is not given, the + next state is the same as the current state. + \end{itemize} + + There are two dimensions that are useful inside snake automata: + \begin{command}{\pgfsnakeremainingdistance} + This \TeX\ dimension holds the remaining distance to the target. + \end{command} + \begin{command}{\pgfsnakecompleteddistance} + This \TeX\ dimension holds the distance already completed on the + snake. + \end{command} + \end{command} + + As a final example we present a more complicated snake that makes + use of the different options: +\begin{codeexample}[] +\pgfdeclaresnake{complicated example snake}{initial} +{ + \state{initial}[width=5pt,next state=up] + { \pgfpathlineto{\pgfpoint{5pt}{0pt}} } + + \state{up}[width=5pt,next state=down] + { + \ifdim\pgfsnakeremainingdistance>\pgfsnakecompleteddistance + % Growing + \pgfpathlineto{\pgfpoint{0pt}{\pgfsnakecompleteddistance}} + \pgfpathlineto{\pgfpoint{5pt}{\pgfsnakecompleteddistance}} + \pgfpathlineto{\pgfpoint{5pt}{0pt}} + \else + % Shrinking + \pgfpathlineto{\pgfpoint{0pt}{\pgfsnakeremainingdistance}} + \pgfpathlineto{\pgfpoint{5pt}{\pgfsnakeremainingdistance}} + \pgfpathlineto{\pgfpoint{5pt}{0pt}} + \fi% + } + \state{down}[width=5pt,next state=up] + { + \ifdim\pgfsnakeremainingdistance>\pgfsnakecompleteddistance + % Growing + \pgfpathlineto{\pgfpoint{0pt}{-\pgfsnakecompleteddistance}} + \pgfpathlineto{\pgfpoint{5pt}{-\pgfsnakecompleteddistance}} + \pgfpathlineto{\pgfpoint{5pt}{0pt}} + \else + % Shrinking + \pgfpathlineto{\pgfpoint{0pt}{-\pgfsnakeremainingdistance}} + \pgfpathlineto{\pgfpoint{5pt}{-\pgfsnakeremainingdistance}} + \pgfpathlineto{\pgfpoint{5pt}{0pt}} + \fi% + } + \state{final} + { + \pgfpathlineto{\pgfpoint{\pgfsnakeremainingdistance}{0pt}} + } +} +\begin{tikzpicture}[snake=complicated example snake] + \draw[snake] (0,0) -- (3,0); + \fill[red!50,snake,rounded corners=2pt] (.5,-2) -- ++(2.5,-2.5) + [snake=none] -- ++(0,-.5) -| (0,-2) -- cycle; +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\subsubsection{Predefined Snakes} + +Only two very simple and basic snakes are predefined when you load +\pgfname. For more interesting snakes you can use the package +|pgflibrarysnakes|. + +\begin{snake}{lineto} + This most trivial of all snakes is simply a straight line. This + snake is typically not used in a ``stand alone'' fashion. Rather, it + is useful as a ``subsnake'' of the |\pgfsnakesto| command. +\end{snake} + +\begin{snake}{moveto} + Arguably, this snake is even simpler than the previous snake. This + snake consists of a simple move-to operation. Like the |lineto| + snake, it is useful as a ``subsnake'' of the |\pgfsnakesto| + command. +\end{snake} + + + +\subsection{Using Snakes} + +Three commands can be used to use a snake. + +\begin{command}{\pgfpathsnakealongvector\marg{snake}\marg{length}\marg{vector}} + This command will append the \meta{snake} to the current path. The + length of the snake is given by \meta{length}. The \meta{vector} + should be a normalizes vector (a vector having length |1pt|) + pointing in the direction in which the snake should grow. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathmoveto{\pgfpoint{1cm}{1cm}} + \pgfpathsnakealongvector{zigzag}{2cm}{\pgfpointpolar{30}{1pt}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfpathsnakesto\marg{snake list}\marg{target}} + This command will append the snakes in the \meta{snake list} to the + current path such that it ends at \meta{point}. This command calls the previous + one (repeatedly, possibly) after having computed the distance from + the current point to \meta{target} and normalized the vector + connecting the current point to the target. + + The \meta{snake list} is a comma-separated list of pairs consisting + of a snake name in curly braces and a distance in curly braces. For + example, a snake list might be |{lineto}{1cm},{moveto}{2cm}|. This + is interpreted as follows: Use a |lineto| snake for the first + centimeter of the way to the \meta{target}, then use the |moveto| + snake for the next two centimeters. + + No attempt is made to check or ensure that the distances of the + ``subsnakes' add up to the distnace from the current point to the + \meta{target}. However, it is possible to refer to this distance + inside the \meta{snake list}: While the snake list is processed, the + two \TeX-dimensions |\pgfsnakeremainingdistance| and + |\pgfsnakecompleteddistance| will be set to the correct values. For + example, consider the example from a above, consisting of a |lineto| + and a |moveto| snake. Suppose the distance to \meta{target} where + 5cm. Then, when the length of the first subsnake is computed, the + remaining distance willbe set to 5cm and the completed distance to + 0cm. When the length of the second subsnake is computed, the + remaining distance wil be 4cm and the completed distance will be + 1cm. + + Here are some useful examles: |{zigzag}{\pgfsnakeremainingdistance}| + is a \meta{snake list} that consists only of a |zigzag| snake whose + length is the total distance from the current point to the + \meta{target}. Next, to get a snake that is a |zigzag| snake that is + preceeded and succeeded by 3mm of |lineto|, you can use the + following: +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines](0,0) grid (3,2); + \pgfpathmoveto{\pgfpointorigin} + \pgfpathsnakesto{% + {lineto}{3mm},% + {zigzag}{\pgfsnakeremainingdistance-6mm},% + {lineto}{3mm}} + {\pgfpoint{3cm}{2cm}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} + + Note that the computation of the distance may be imprecise. In + general, the placement precision of the snakes will not be perfect. +\end{command} + +\begin{command}{\pgfpathsnaketo\marg{snake}\marg{target}} + This command is just a shortcut for calling |\pgfpathsnakesto| for a + single snake whose length is |\pgfsnakeremainingdistance|. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfpathmoveto{\pgfpoint{1cm}{1cm}} + \pgfpathsnaketo{zigzag}{\pgfpoint{3cm}{2cm}} + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +As was already mentioned, when each segment of the snake is added to +the path, an appropriate coordinate transformation will be in +force. It is sometimes useful to add an additional transformation +locally. For example, by reflecting everything around the $x$-axis +right before each segment is added, the snake will effectively be +mirrored along the path. The following command allows you to install +such a ``last minute transformation.'' + +\begin{command}{\pgfsetsnakesegmenttransformation\marg{code}} + The \meta{code} will be executed at the very beginning of each + segment. Normally, this be a transformation command that changes the + $y$-axis in some way. +\end{command} + + + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "~/texmf/tex/generic/pgf/doc/pgf/version-for-pdftex/en/pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-transformations.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-transformations.tex new file mode 100644 index 00000000000..991c7edfc45 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-base-transformations.tex @@ -0,0 +1,537 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Coordinate and Canvas Transformations} + +\subsection{Overview} + +\pgfname\ offers two different ways of scaling, shifting, and rotating +(these operations are generally known as \emph{transformations}) +graphics: You can apply \emph{coordinate transformations} to all +coordinates and you can apply \emph{canvas transformations} to the +canvas on which you draw. (The names ``coordinate'' and ``canvas'' +transformations are not standard, I introduce them only for the +purposes of this manual.) + +The difference is the following: + +\begin{itemize} +\item + As the name ``coordinate transformation'' suggests, coordinate + transformations apply only to coordinates. For example, when you + specify a coordinate like |\pgfpoint{1cm}{2cm}| and you wish to + ``use'' this coordinate---for example as an argument to a + |\pgfpathmoveto| command---then the coordinate transformation matrix + is applied to the coordinate, resulting in a new + coordinate. Continuing the example, if the current coordinate + transformation is ``scale by a factor of two,'' the coordinate + |\pgfpoint{1cm}{2cm}| actually designates the point + $(2\mathrm{cm},4\mathrm{cm})$. + + Note that coordinate transformations apply \emph{only} to + coordinates. They do not apply to, say, line width or shadings or + text. +\item + The effect of a ``canvas transformation'' like ``scale by a factor + of two'' can be imagined as follows: You first draw your picture on + a ``rubber canvas'' normally. Then, once you are done, the whole + canvas is transformed, in this case stretched by a factor of + two. In the resulting image \emph{everything} will be larger: Text, + lines, coordinates, and shadings. +\end{itemize} + +In many cases, it is preferable that you use coordinate +transformations and not canvas transformations. When canvas +transformations are used, \pgfname\ looses track of the coordinates of +nodes and shapes. Also, canvas transformations often cause undesirable +effects like changing text size. For these reasons, \pgfname\ makes it +easy to setup the coordinate transformation, but a bit harder to +change the canvas transformation. + + +\subsection{Coordinate Transformations} + +\subsubsection{How PGF Keeps Track of the Coordinate Transformation + Matrix} + +\pgfname\ has an internal coordinate transformation matrix. This +matrix is applied to coordinates ``in certain situations.'' This means +that the matrix is not always applied to every coordinate ``no matter +what.'' Rather, \pgfname\ tries to be reasonably smart at when and how +this matrix should be applied. The most prominent examples are the +path construction commands, which apply the coordinate transformation +matrix to their inputs. + +The coordinate transformation matrix consists of four numbers $a$, +$b$, $c$, and $d$, and two dimensions $s$ and $t$. When the coordinate +transformation matrix is applied to a coordinate $(x,y)$ the new +coordinate $(ax+by+s,cx+dy+t)$ results. For more details on how +transformation matrices work in general, please see, for example, the +\textsc{pdf} or PostScript reference or a textbook on computer +graphics. + +The coordinate transformation matrix is equal to the identity matrix +at the beginning. More precisely, $a=1$, $b=0$, $c=0$, $d=1$, +$s=0\mathrm{pt}$, and $t=0\mathrm{pt}$. + +The different coordinate transformation commands will modify the +matrix by concatenating it with another transformation matrix. This +way the effect of applying several transformation commands will +\emph{accumulate}. + +The coordinate transformation matrix is local to the current \TeX\ +group (unlike the canvas transformation matrix, which is local to the +current |{pgfscope}|). Thus, the effect of adding a coordinate +transformation to the coordinate transformation matrix will last only +till the end of the current \TeX\ group. + + + + +\subsubsection{Commands for Relative Coordinate Transformations} + +The following commands add a basic coordinate transformation to the +current coordinate transformation matrix. For all commands, the +transformation is applied \emph{in addition} to any previous +coordinate transformations. + +\begin{command}{\pgftransformshift\marg{point}} + Shifts coordinates by \meta{point}. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformshift{\pgfpoint{1cm}{1cm}} + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgftransformxshift\marg{dimensions}} + Shifts coordinates by \meta{dimension} along the $x$-axis. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformxshift{.5cm} + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgftransformyshift\marg{dimensions}} + Like |\pgftransformxshift|, only for the $y$-axis. +\end{command} + +\begin{command}{\pgftransformscale\marg{factor}} + Scales coordinates by \meta{factor}. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformscale{.75} + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgftransformxscale\marg{factor}} + Scales coordinates by \meta{factor} in the $x$-direction. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformxscale{.75} + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgftransformyscale\marg{factor}} + Like |\pgftransformxscale|, only for the $y$-axis. +\end{command} + + +\begin{command}{\pgftransformxslant\marg{factor}} + Slants coordinates by \meta{factor} in the $x$-direction. Here, a + factor of |1| means $45^\circ$. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformxslant{.5} + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgftransformyslant\marg{factor}} + Slants coordinates by \meta{factor} in the $y$-direction. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformyslant{-1} + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + + + +\begin{command}{\pgftransformrotate\marg{degrees}} + Rotates coordinates counterclockwise by \meta{degrees}. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformrotate{30} + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgftransformcm\marg{a}\marg{b}\marg{c}\marg{d}\marg{point}} + Applies the transformation matrix given by $a$, $b$, $c$, and $d$ + and the shift \meta{point} to coordinates (in addition to any + previous transformations already in force). +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformcm{1}{1}{0}{1}{\pgfpoint{.25cm}{.25cm}} + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgftransformarrow\marg{start}\marg{end}} + Shift coordinates to the end of the line going from \meta{start} + to \meta{end} with the correct rotation. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (3,1); + \pgftransformarrow{\pgfpointorigin}{\pgfpoint{3cm}{1cm}} + \pgftext{tip} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgftransformlineattime\marg{time}\marg{start}\marg{end}} + Shifts coordinates by a specific point on a line at a specific + time. The point by which the coordinate is shifted is calculated by + calling |\pgfpointlineattime|, see + Section~\ref{section-pointsattime}. + + In addition to shifting the coordinate, a rotation \emph{may} also + be applied. Whether this is the case depends on whether the \TeX\ if + |\ifpgfslopedattime| is set to true or not. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1); + \pgftransformlineattime{.25}{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} + \pgftext{Hi!} +\end{tikzpicture} +\end{codeexample} +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) -- (2,1); + \pgfslopedattimetrue + \pgftransformlineattime{.25}{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} + \pgftext{Hi!} +\end{tikzpicture} +\end{codeexample} + + There is another \TeX\ if that influences this command. If you set + |\ifpgfresetnontranslationattime| to true, then, between + shifting the coordinate and (possibly) rotating/sloping the + coordinate, the command |\pgftransformresetnontranslations| is + called. See the description of this command for details. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgftransformscale{1.5} + \draw (0,0) -- (2,1); + \pgfslopedattimetrue + \pgfresetnontranslationattimefalse + \pgftransformlineattime{.25}{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} + \pgftext{Hi!} +\end{tikzpicture} +\end{codeexample} +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgftransformscale{1.5} + \draw (0,0) -- (2,1); + \pgfslopedattimetrue + \pgfresetnontranslationattimetrue + \pgftransformlineattime{.25}{\pgfpointorigin}{\pgfpoint{2cm}{1cm}} + \pgftext{Hi!} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgftransformcurveattime\marg{time}\marg{start}\marg{first + support}\marg{second support}\marg{end}} + Shifts coordinates by a specific point on a curve at a specific + time, see Section~\ref{section-pointsattime} once more. + + As for the line-at-time transformation command, |\ifpgfslopedattime| + decides whether an additional rotation should be applied. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) .. controls (0,2) and (1,2) .. (2,1); + \pgftransformcurveattime{.25}{\pgfpointorigin} + {\pgfpoint{0cm}{2cm}}{\pgfpoint{1cm}{2cm}}{\pgfpoint{2cm}{1cm}} + \pgftext{Hi!} +\end{tikzpicture} +\end{codeexample} +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) .. controls (0,2) and (1,2) .. (2,1); + \pgfslopedattimetrue + \pgftransformcurveattime{.25}{\pgfpointorigin} + {\pgfpoint{0cm}{2cm}}{\pgfpoint{1cm}{2cm}}{\pgfpoint{2cm}{1cm}} + \pgftext{Hi!} +\end{tikzpicture} +\end{codeexample} + The value of |\ifpgfresetnontranslationsattime| is also taken into account. +\end{command} + + +{ + \let\ifpgfslopedattime=\relax + \begin{textoken}{\ifpgfslopedattime} + Decides whether the ``at time'' transformation commands also + rotate coordinates or not. + \end{textoken} +} +{ + \let\ifpgfresetnontranslationsattime=\relax + \begin{textoken}{\ifpgfresetnontranslationsattime} + Decides whether the ``at time'' transformation commands should + reset the non-translations between shifting and rotating. + \end{textoken} +} + + +\subsubsection{Commands for Absolute Coordinate Transformations} + +The coordinate transformation commands introduced up to now are always +applied in addition to any previous transformations. In contrast, the +commands presented in the following can be used to change the +transformation matrix ``absolutely.'' Note that this is, in general, +dangerous and will often produce unexpected effects. You should use +these commands only if you really know what you are doing. + +\begin{command}{\pgftransformreset} + Resets the coordinate transformation matrix to the identity + matrix. Thus, once this command is given no transformations are + applied till the end of the scope. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgftransformrotate{30} + \draw (0,0) -- (2,1) -- (1,0); + \pgftransformreset + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgftransformresetnontranslations} + This command sets the $a$, $b$, $c$, and $d$ part of the coordinate + transformation matrix to $a=1$, $b=0$, $c=0$, and $d=1$. However, + the current shifting of the matrix is not modified. + + The effect of this command is that any rotation/scaling/slanting is + undone in the current \TeX\ group, but the origin is not ``moved + back.'' + + This command is mostly useful directly before a |\pgftext| command + to ensure that the text is not scaled or rotated. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgftransformscale{2} + \pgftransformrotate{30} + \pgftransformxshift{1cm} + {\color{red}\pgftext{rotated}} + \pgftransformresetnontranslations + \pgftext{shifted only} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgftransforminvert} + Replaces the coordinate transformation matrix by a coordinate + transformation matrix that ``exactly undoes the original + transformation.'' For example, if the original transformation was + ``scale by 2 and then shift right by 1cm'' the new one is ``shift + left by 1cm and then scale by $1/2$.'' + + This command will produce an error if the determinant of + the matrix is too small, that is, if the matrix is near-singular. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgftransformrotate{30} + \draw (0,0) -- (2,1) -- (1,0); + \pgftransforminvert + \draw[red] (0,0) -- (2,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} +\end{command} + +\subsubsection{Saving and Restoring the Coordinate Transformation + Matrix} + +There are two commands for saving and restoring coordinate +transformation matrices. + +\begin{command}{\pgfgettransform\marg{macro}} + This command will (locally) define \meta{macro} to a representation + of the current coordinate transformation matrix. This matrix can + later on be reinstalled using |\pgfsettransform|. +\end{command} + + +\begin{command}{\pgfsettransform\marg{macro}} + Reinstalls a coordinate transformation matrix that was previously + saved using |\pgfgettransform|. +\end{command} + + + +\subsection{Canvas Transformations} + +The canvas transformation matrix is not managed by \pgfname, but by +the output format like \pdf\ or PostScript. All the \pgfname\ does is +to call appropriate low-level |\pgfsys@| commands to change the canvas +transformation matrix. + +Unlike coordinate transformations, canvas transformations apply to +``everything,'' including images, text, shadings, line thickness, and +so on. The idea is that a canvas transformation really stretches and +deforms the canvas after the graphic is finished. + +Unlike coordinate transformations, canvas transformations are local to +the current |{pgfscope}|, not to the current \TeX\ group. This is due +to the fact that they are managed by the backend driver, not by \TeX\ +or \pgfname. + +Unlike the coordinate transformation matrix, it is not possible to +``reset'' the canvas transformation matrix. The only way to change it +is to concatenate it with another canvas transformation matrix or to +end the current |{pgfscope}|. + +Unlike coordinate transformations, \pgfname\ does not ``keep track'' +of canvas transformations. In particular, it will not be able to +correctly save the coordinates of shapes or nodes when a canvas +transformation is used. + +\pgfname\ does not offer a whole set of special commands for modifying +the canvas transformation matrix. Instead, different commands allow +you to concatenate the canvas transformation matrix with a coordinate +transformation matrix (and there are numerous commands for specifying +a coordinate transformation, see the previous section). + +\begin{command}{\pgflowlevelsynccm} + This command concatenates the canvas transformation matrix with the + current coordinate transformation matrix. Afterward, the coordinate + transformation matrix is reset. + + The effect of this command is to ``synchronize'' the coordinate + transformation matrix and the canvas transformation matrix. All + transformations that were previously applied by the coordinate + transformations matrix are now applied by the canvas transformation + matrix. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfsetlinewidth{1pt} + \pgftransformscale{5} + \draw (0,0) -- (0.4,.2); + \pgftransformxshift{0.2cm} + \pgflowlevelsynccm + \draw[red] (0,0) -- (0.4,.2); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgflowlevel\marg{transformation code}} + This command concatenates the canvas transformation matrix with the + coordinate transformation specified by \meta{transformation code}. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfsetlinewidth{1pt} + \pgflowlevel{\pgftransformscale{5}} + \draw (0,0) -- (0.4,.2); +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgflowlevelobj\marg{transformation code}\marg{code}} + This command creates a local |{pgfscope}|. Inside this scope, + |\pgflowlevel| is first called with the argument + \meta{transformation code}, then the \meta{code} is inserted. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfsetlinewidth{1pt} + \pgflowlevelobj{\pgftransformscale{5}} {\draw (0,0) -- (0.4,.2);} + \pgflowlevelobj{\pgftransformxshift{-1cm}}{\draw (0,0) -- (0.4,.2);} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{environment}{{pgflowlevelscope}\marg{transformation code}} + This environment first surrounds the \meta{environment contents} by + a |{pgfscope}|. Then it calls |\pgflowlevel| with the argument + \meta{transformation code}. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \pgfsetlinewidth{1pt} + \begin{pgflowlevelscope}{\pgftransformscale{5}} + \draw (0,0) -- (0.4,.2); + \end{pgflowlevelscope} + \begin{pgflowlevelscope}{\pgftransformxshift{-1cm}} + \draw (0,0) -- (0.4,.2); + \end{pgflowlevelscope} +\end{tikzpicture} +\end{codeexample} +\end{environment} + + + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-drivers.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-drivers.tex new file mode 100644 index 00000000000..c59ee5fbeb3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-drivers.tex @@ -0,0 +1,313 @@ +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Input and Output Formats} +\label{section-formats} + + +\TeX\ was designed to be a flexible system. This is true both for the +\emph{input} for \TeX\ as well as for the \emph{output}. The present +section explains which input formats there are and how they are +supported by \pgfname. It also explains which different output formats +can be produced. + + + +\subsection{Supported Input Formats} + +\TeX\ does not prescribe exactly how your input should be +formatted. While it is \emph{customary} that, say, an opening brace +starts a scope in \TeX, this is by no means necessary. Likewise, it is +\emph{customary} that environments start with |\begin|, but \TeX\ +could not really care less about the exact command name. + +Even though \TeX\ can be reconfigured, users can not. For this reason, +certain \emph{input formats} specify a set of commands and conventions +how input for \TeX\ should be formatted. There are currently three +``major'' formats: Donald Knuth's original |plain| \TeX\ format, +Leslie Lamport's popular \LaTeX\ format, and Hans Hangen's Con\TeX t +format. + + +\subsubsection{Using the \LaTeX\ Format} + +Using \pgfname\ and \tikzname\ with the \LaTeX\ format is easy: You +say |\usepackage{pgf}| or |\usepackage{tikz}|. Usually, that is all +you need to do, all configuration will be done automatically and +(hopefully) correctly. + +The style files used for the \LaTeX\ format reside in the subdirectory +|latex/pgf/| of the \pgfname-system. Mainly, what these files do is to +include files in the directory |generic/pgf|. For example, here is the +content of the file |latex/pgf/frontends/tikz.sty|: + +\begin{codeexample}[code only] +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the GNU Public License, version 2. + +\RequirePackage{pgf,calc,pgffor,pgflibraryplothandlers,xkeyval} + +\input{tikz.code} + +\endinput +\end{codeexample} + +The files in the |generic/pgf| directory do the actual work. + + + +\subsubsection{Using the Plain \TeX\ Format} + +When using the plain \TeX\ format, you say |\input{pgf.tex}| or +|\input{tikz.tex}|. Instead of |\begin{pgfpicture}| and + |\end{pgfpicture}| you use |\pgfpicture| and |\endpicture|. + +Unlike for the \LaTeX\ format, \pgfname\ is not as good at discerning +the appropriate configuration for the plain \TeX\ format. In +particular, it can only automatically determine the correct output +format if you use |pdftex| or |tex| plus |dvips|. For all other output +formats you need to set the macro |\pgfsysdriver| to the correct +value. See the description of using output formats later on. + +\pgfname\ was originally written for use with \LaTeX\ and this shows +in a number of places. Nevertheless, the plain \TeX\ support is +reasonably good. + +Like the \LaTeX\ style files, the plain \TeX\ files like |tikz.tex| +also just include the correct |tikz.code.tex| file. + + + +\subsubsection{Using the Con\TeX t Format} + +Currently, there is no special support for the Con\TeX t +format. Rather, you have to use \pgfname\ and \tikzname\ as if you +were using the plain \TeX\ format when using Con\TeX t. This may +change in the future. + + + + + +\subsection{Supported Output Formats} +\label{section-drivers} + +An output format is a format in which \TeX\ outputs the text it has +typeset. Producing the output is (conceptually) a two-stage process: +\begin{enumerate} +\item + \TeX\ typesets your text and graphics. The result of this + typesetting is mainly a long list of letter--coordinate pairs, plus + (possibly) some ``special'' commands. This long list of pairs + is written to something called a |.dvi|-file. +\item + Some other program reads this |.dvi|-file and translates the + letter--coordinate pairs into, say, PostScript commands for placing + the given letter at the given coordinate. +\end{enumerate} + +The classical example of this process is the combination of |latex| +and |dvips|. The |latex| program (which is just the |tex| program +called with the \LaTeX-macros preinstalled) produces a |.dvi|-file as +its output. The |dvips| program takes this output and produces a +|.ps|-file (a PostScript) file. Possibly, this file is further +converted using, say, |ps2pdf|, whose name is supposed to mean +``PostScript to PDF.'' Another example of programs using this +process is the combination of |tex| and |dvipdfm|. The |dvipdfm| +program takes a |.dvi|-file as +input and translates the letter--coordinate pairs therein into +\pdf-commands, resulting in a |.pdf| file directly. Finally, the +|tex4ht| is also a program that takes a |.dvi|-file and produces an +output, this time it is a |.html| file. The programs |pdftex| and +|pdflatex| are special: They directly produce a |.pdf|-file without +the intermediate |.dvi|-stage. However, from the programmer's point of +view they behave exactly as if there where an intermediate stage. + +Normally, \TeX\ only produces letter--coordinate pairs as its +``output.'' This obviously makes is difficult tho draw, say, a +curve. For this, ``special'' commands can be used. Unfortunately, +these special commands are not the same for the different programs +that process the |.dvi|-file. Indeed, every program that takes a +|.dvi|-file as input has a totally different syntax for the special +commands. + +One of the main jobs of \pgfname\ is to ``abstract way'' the +difference in the syntax of the different programs. However, this +means that support for each program has to be ``programmed,'' which is +a time-consuming and complicated process. + + +\subsubsection{Selecting the Backend Driver} + +When \TeX\ typesets your document, it does not know which program +you are going to use to transform the |.dvi|-file. If your |.dvi|-file +does not contain any special commands, this would be fine; but these +days almost all |.dvi|-files contain lots of special commands. It is +thus necessary to tell \TeX\ which program you are going to use later +on. + +Unfortunately, there is no ``standard'' way of telling this to +\TeX. For the \LaTeX\ format a sophisticated mechanism exists inside +the |graphics| package and \pgfname\ plugs into this mechanism. For +other formats and when this plugging does not work as expected, it is +necessary to tell \pgfname\ directly which program you are going to +use. This is done by redefining the macro |\pgfsysdriver| to an +appropriate value \emph{before} you load |pgf|. If you are going to +use the |dvips| program, you set this macro to the value +|pgfsys-dvips.def|; if you use |pdftex| or |pdflatex|, you set it to +|pgfsys-pdftex.def|; and so on. In the following, details of the +support of the different programs are discussed. + + +\subsubsection{Producing PDF Output} + +\pgfname\ supports three programs that produce \pdf\ output (\pdf\ means +``portable document format'' and was invented by the Adobe company): +|dvipdfm|, |pdftex|, and |vtex|. The |pdflatex| program is the same as the +|pdftex| program: it uses a different input format, but the output is +exactly the same. + +\begin{filedescription}{pgfsys-pdftex.def} + This is the driver file for use with pdf\TeX, that is, with the + |pdftex| or |pdflatex| command. It includes + |pgfsys-common-pdf.def|. + + This driver has the ``complete'' functionality. This means, + everything \pgfname\ ``can do at all'' is implemented in this + driver. +\end{filedescription} + +\begin{filedescription}{pgfsys-dvipdfm.def} + This is a driver file for use with (|la|)|tex| followed by |dvipdfm|. It + includes |pgfsys-common-pdf.def|. + + This driver supports most of \pgfname's features, but there are some + restrictions: + \begin{enumerate} + \item + In \LaTeX\ mode it uses |graphicx| for the graphics + inclusion and does not support masking. + \item + In plain \TeX\ mode it does not support image inclusion. + \end{enumerate} +\end{filedescription} + +\begin{filedescription}{pgfsys-vtex.def} + This is the driver file for use with the commercial \textsc{vtex} + program. Even though is will produce \textsc{pdf} output, it + includes |pgfsys-common-postscript.def|. Note that the + \textsc{vtex} program can produce \emph{both} Postscript and + \textsc{pdf} output, depending on the command line + parameters. However, whether you produce Postscript or + \textsc{pdf} output does not change anything with respect to the + driver. + + This driver supports most of \pgfname's features, except for + the following restrictions: + \begin{enumerate} + \item + In \LaTeX\ mode it uses |graphicx| for the graphics + inclusion and does not support masking. + \item + In plain \TeX\ mode it does not support image inclusion. + \item + Shading is fully implemented, but yields the same quality as the + implementation for |dvips|. + \item + Opacity is not implemented at all. + \end{enumerate} +\end{filedescription} + +It is also possible to produce a |.pdf|-file by first producing a +PostScript file (see below) and then using a PostScript-to-\pdf\ +conversion program like |ps2pdf| or the Acrobat Distiller. + + +\subsubsection{Producing PostScript Output} + +\begin{filedescription}{pgfsys-dvips.def} + This is a driver file for use with (|la|)|tex| followed by + |dvips|. It includes |pgfsys-common-postscript.def|. + + This driver also supports most of \pgfname's features, except for + the following restrictions: + \begin{enumerate} + \item + In \LaTeX\ mode it uses |graphicx| for the graphics + inclusion and does not support masking. + \item + In plain \TeX\ mode it does not support image inclusion. + \item + Shading is fully implemented, but the results will not be + as good as with a driver producing |.pdf| as output. + \item + Opacity works only in conjunction with newer versions of + GhostScript. + \end{enumerate} +\end{filedescription} + +You can also use the |vtex| program together with |pgfsys-vtex.def| to +produce Postscript output. + + + +\subsubsection{Producing HTML / SVG Output} + +The |tex4ht| program converts |.dvi|-files to |.html|-files. While the +\textsc{html}-format cannot be used to draw graphics, the +\textsc{svg}-format can. Using the following driver, you can ask +\pgfname\ to produce an \textsc{svg}-picture for each \pgfname\ +graphic in your text. + +\begin{filedescription}{pgfsys-tex4ht.def} + This is a driver file for use with the |tex4ht| program. It includes + |pgfsys-common-svg.def|. + + When using this driver you should be aware of the following + restrictions: + \begin{enumerate} + \item + In \LaTeX\ mode it uses |graphicx| for the graphics + inclusion. + \item + In plain \TeX\ mode it does not support image inclusion. + \item + Text inside |pgfpicture|s is not supported very well. The reason + is that the \textsc{svg} specification currently does not support + text very well and it is also not possible to correctly ``escape + back'' to \textsc{html}. All these problems will hopefully + disappear in the future, but currently only two kinds of text work + reasonably well: First, plain text without math mode, special + characters or anything else special. Second, \emph{very} simple + mathematical text that contains subscripts or superscripts. Even + then, variables are not correctly set in italics and, in general, + text simple does not look very nice. + \item + If you use text that contains anything special, even something as + simple as |$\alpha$|, this may corrupt the graphic since |text4ht| + does not always produce valid \textsc{xml} code. So, once more, + \emph{stick to very simple node text inside graphics.} Sorry. + \item + Unlike for other output formats, the bounding box of a picture + ``really crops'' the picture. + \end{enumerate} + + The driver basically works as follows: When a |{pgfpicture}| is + started, appropriate |\special| commands are used to directed the + output of |tex4ht| to a new file called |\jobname-xxx.svg|, where + |xxx| is a number that is increased for each graphic. Then, till the + end of the picture, each (system layer) graphic command creates a + specials that insert appropriate \textsc{svg} literal text into the + output file. The exact details are a bit complicated since the + imaging model and the processing model of PostScript/\pdf\ and + \textsc{svg} are not quite the same; but they are ``close enough'' + for \pgfname's purposes. +\end{filedescription} + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex new file mode 100644 index 00000000000..06088165c75 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex @@ -0,0 +1,771 @@ +% $Header: /cvsroot/pgf/pgf/doc/pgf/text-en/pgfmanual-en-guidelines.tex,v 1.1 2005/09/02 16:05:42 tantau Exp $ + +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the GNU Public License, version 2. + + + +\section{Guidelines on Graphics} + +The present section is not about \pgfname\ or \tikzname, but about +general guidelines and principles concerning the creation of +graphics for scientific presentations, papers, and books. + +The guidelines in this section come from different sources. Many of +them are just what I would like to claim is ``common sense,'' some +reflect my personal experience (though, hopefully, not my personal +preferences), some come from books (the bibliography is still missing, +sorry) on graphic design and typography. +The most influential source are the brilliant books +by Edward Tufte. While I do not agree with everything written in these +books, many of Tufte's arguments are so convincing that I decided to +repeat them in the following guidelines. + + + + +\subsection{Should You Follow Guidelines?} + +The first thing you should ask yourself when someone presents a bunch of +guidelines is: Should I really follow these guidelines? This is an +important questions, because there are good reasons not to follow +general guidelines. +\begin{itemize} +\item + The person who setup the guidelines may have had other + objectives than you do. For example, a guideline might say ``use the + color red for emphasis.'' While this guideline makes perfect sense + for, say, a presentation using a projector, red ``color'' has the + \emph{opposite} effect of ``emphasis'' when printed using a + black-and-white printer. + + Guidelines were almost always setup to address a specific + situation. If you are not in this situation, following a guideline + can do more harm than good. +\item + The basic rule of typography is: ``Every rule can be broken, as long + as you are \emph{aware} that you are breaking a rule.'' This rule + also applies to graphics. Phrased differently, the basic rule + states: ``The only mistakes in typography are things done is + ignorance.'' + + When you are aware of a rule and when you decide that breaking the + rule has a desirable effect, break the rule. +\item + Some guidelines are simply \emph{wrong}, but everyone follows them + out of tradition or is forced to do so. My favorite example is a + guideline a software company I used to work for has set in a big + project: All programmers had to declare the parameters of functions + in \emph{increasing order of size}. So, one-byte + parameters should come first, then two-byte parameters, and so on. + + This guideline is total nonsense. An (arguably) sensible guideline + is ``parameters must be declared alphabetically'' so that parameters + are easier to find. Another (arguably) sensible guideline is + ``parameters must be declared in decreasing order of size'' so that + less byte-alignment cache misses occur when the stack is + accessed. The guideline the company used maximized cache misses and + resulted in a more or less random ordering so that programmers + constantly had to look up the parameter ordering. +\end{itemize} + +So, before you apply a guideline or choose not to apply it, ask +yourself these questions: +\begin{enumerate} +\item + Does this guideline really address my situation? +\item + If you do the opposite a guideline says you should do, will the + advantages outweigh the disadvantages this guideline was supposed to + prevent? +\end{enumerate} + + + +\subsection{Planning the Time Needed for the Creation of Graphics} + +When you create a paper with numerous graphics, the time needed to +create these graphics becomes an important factor. How much time +should you calculate for the creation of graphics? + +As a general rule, assume that a graphic will need as much time to +create as would a text of the same length. For example, when I +write a paper, I need about one hour per page for +the first draft. Later, I need between two and four hours per page +for revisions. Thus, I expect to need about half an hour for the +creation of \emph{a first draft} of a half page graphic. Later on, I +expect another one to two hours before the final graphic is finished. + +In many publications, even in good journals, the authors and editors +have obviously invested a lot of time on the text, but seem to +have spend about five minutes to create all of the +graphics. Graphics often seem to have been added as an +``afterthought'' or look like a screen shot of whatever the authors's +statistical software shows them. As will be argued later on, the +graphics that programs like \textsc{gnuplot} produce by default are of +poor quality. + +Creating informative graphics that help the reader and that fit +together with the main text is a difficult, lengthy process. +\begin{itemize} +\item + Treat graphics as first-class citizens of your papers. They deserve + as much time and energy as the text does. +\item + Arguably, the creation of graphics deserves \emph{even more} time + than the writing of the main text since more attention will be paid + to the graphics and they will be looked at first. +\item + Plan as much time for the creation and revision of a graphic as you + would plan for text of the same size. +\item + Difficult graphics with a high information density may require even + more time. +\item + Very simple graphics will require less time, but most likely you do + not want to have ``very simple graphics'' in your paper, anyway; + just as you would not like to have a ``very simple text'' of the + same size. +\end{itemize} + + + +\subsection{Workflow for Creating a Graphic} + +When you write a (scientific) paper, you will most likely follow the +following pattern: You have some results/ideas that you would +like to report about. The creation of the paper will typically start +with compiling a rough outline. Then, the different sections are +filled with text to create a first draft. This draft is then revised +repeatedly until, often after substantial revision, a final paper +results. In a good journal paper there is typically not be a single +sentence that has survived unmodified from the first draft. + +Creating a graphics follows the same pattern: +\begin{itemize} +\item + Decide on what the graphic should communicate. Make this a conscious + decision, that is, determine ``What is the graphic supposed to tell + the reader?'' +\item + Create an ``outline,'' that is, the rough overall ``shape'' of the + graphic, containing the most crucial elements. Often, it is + useful to do this using pencil and paper. +\item + Fill out the finer details of the graphic to create a first + draft. +\item + Revise the graphic repeatedly along with the rest of the paper. +\end{itemize} + + + + +\subsection{Linking Graphics With the Main Text} + +Graphics can be placed at different places in a text. Either, they can +be inlined, meaning they are somewhere ``in the middle of the text'' +or they can be placed in standalone ``figures.'' Since printers (the +people) like to have their pages ``filled,'' (both for aesthetic and +economic reasons) standalone figures may traditionally be placed on +pages in the document far removed from the main text that refers to +them. \LaTeX\ and \TeX\ tend to encourage this ``drifting away'' of +graphics for technical reasons. + +When a graphic is inlined, it will more or less automatically be +linked with the main text in the sense that the labels of the graphic +will be implicitly explained by the surrounding text. Also, the main +text will typically make it clear what the graphic is about and what +is shown. + +Quite differently, a standalone figure will often be viewed at a time +when the main text that this graphic belongs to either has not yet +been read or has been read some time ago. For this reason, you should +follow the following guidelines when creating standalone figures: +\begin{itemize} +\item + Standalone figures should have a caption than should make them + ``understandable by themselves.'' + + For example, suppose a graphic shows an example of the different + stages of a quicksort algorithm. Then the figure's caption should, + at the very least, inform the reader that ``The figure shows the + different stages of the quicksort algorithm introduced on page + xyz.'' and not just ``Quicksort algorithm.'' +\item + A good caption adds as much context information as possible. For + example, you could say: ``The figure shows the different stages of + the quicksort algorithm introduced on page xyz. In the first line, + the pivot element 5 is chosen. This causes\dots'' While this + information can also be given in the main text, putting it in the + caption will ensure that the context is kept. Do not feel afraid of + a 5-line caption. (Your editor may hate you for this. Consider + hating them back.) +\item + Reference the graphic in your main text as in ``For an example of + quicksort `in action,' see Figure~2.1 on page xyz.'' +\item + Most books on style and typography recommend that you do not use + abbreviations as in ``Fig.~2.1'' but write ``Figure 2.1.'' + + The main argument against abbreviations is that ``a period is too + valuable to waste it on an abbreviation.'' The idea is that a period + will make the reader assume that the sentence ends after ``Fig'' and + it takes a ``conscious backtracking'' to realize that the sentence + did not end after all. + + The argument in favor of abbreviations is that they save space. + + Personally, I am not really convinced by either argument. On the one + hand, I have not yet seen any hard evidence that abbreviations slow + readers down. On the other hand, abbreviating all ``Figure'' by + ``Fig.''\ is most unlikely to save even a single line in most + documents. + + I avoid abbreviations. +\end{itemize} + + + +\subsection{Consistency Between Graphics and Text} + +Perhaps the most common ``mistake'' people do when creating graphics +(remember that a ``mistake'' in design is always just ``ignorance'') +is to have a mismatch between the way their graphics look and the way +their text looks. + +It is quite common that authors use several different programs for +creating the graphics of a paper. An author might produce some plots +using \textsc{gnuplot}, a diagram using \textsc{xfig}, and include an +|.eps| graphic a coauthor contributed using some unknown program. All +these graphics will, most likely, use different line widths, different +fonts, and have different sizes. In addition, authors often use +options like |[height=5cm]| when including graphics to scale them to +some ``nice size.'' + +If the same approach were taken to writing the main text, every +section would be written in a different font at a different size. In +some sections all theorems would be underlined, in another they would +be printed all in uppercase letters, and in another in red. In +addition, the margins would be different on each page. + +Readers and editors would not tolerate a text if it were written in +this fashion, but with graphics they often have to. + +To create consistency between graphics and text, stick to the +following guidelines: +\begin{itemize} +\item + Do not scale graphics. + + This means that when generating graphics using an external program, + create them ``at the right size.'' +\item + Use the same font(s) both in graphics and the body text. +\item + Use the same line width in text and graphics. + + The ``line width'' for normal text is the width of the stem of + letters like T{}. For \TeX, this is usually + $0.4\,\mathrm{pt}$. However, some journals will not accept graphics + with a normal line width below $0.5\,\mathrm{pt}$. +\item + When using colors, use a consistent color coding in the text and in + graphics. For example, if red is supposed to alert the reader to + something in the main text, use red also in graphics for important + parts of the graphic. If blue is used for structural elements like + headlines and section titles, use blue also for structural elements + of your graphic. + + However, graphics may also use a logical intrinsic color + coding. For example, no matter what colors you normally use, readers + will generally assume, say, that the color green as ``positive, go, + ok'' and red as ``alert, warning, action.'' +\end{itemize} + +Creating consistency when using different graphic programs is almost +impossible. For this reason, you should consider sticking to a single +graphic program. + + +\subsection{Labels in Graphics} + +Almost all graphics will contain labels, that is, pieces of text that +explain parts of the graphics. When placing labels, stick to the +following guidelines: + +\begin{itemize} +\item + Follow the rule of consistency when placing labels. You should do + so in two ways: First, be consistent with the main text, that is, + use the same font as the main text also for labels. Second, be + consistent between labels, that is, if you format some labels in + some particular way, format all labels in this way. +\item + In addition to using the same fonts in text and graphics, you should + also use the same notation. For example, if you write $1/2$ in your + main text, also use ``$1/2$'' as labels in graphics, not + ``0.5''. A $\pi$ is a ``$\pi$'' and not ``$3.141$''. Finally, + $\mathrm e^{-\mathrm i \pi}$ is ``$\mathrm e^{-\mathrm i \pi}$'', + not ``$-1$'', let alone ``-1''. +\item + Labels should be legible. They should not only have a reasonably + large size, they also should not be obscured by lines or other + text. This also applies to of lines and text \emph{behind} the + labels. +\item + Labels should be ``in place.'' Whenever there is enough space, + labels should be placed next to the thing they label. Only if + necessary, add a (subdued) line from the label to the labeled + object. Try to avoid labels that only reference explanations in + external legends. Reader have to jump back and forth between the + explanation and the object that is described. +\item + Consider subduing ``unimportant'' labels using, for example, a gray + color. This will keep the focus on the actual graphic. +\end{itemize} + + + +\subsection{Plots and Charts} + +One of the most frequent kind of graphics, especially in scientific +papers, are \emph{plots}. They come in a large variety, including +simple line plots, parametric plots, three dimensional plots, pie +charts, and many more. + +Unfortunately, plots are notoriously hard to get right. Partly, the +default settings of programs like \textsc{gnuplot} or Excel are to +blame for this since these programs make it very convenient to create +bad plots. + +The first question you should ask yourself when creating a plot is the +following: +\begin{itemize} +\item + Are there enough data points to merit a plot? +\end{itemize} + +If the answer is ``not really,'' use a table. + +A typical situation where a plot is unnecessary is when people present +a few numbers in a bar diagram. Here is a real-life example: At the +end of a seminar a lecturer asked the participants for feedback. Of +the 50 participants, 30 returned the feedback form. According to the +feedback, three participants considered the seminar ``very good,'' +nine considered it ``good,'' ten ``ok,'' eight ``bad,'' and no one thought +that the seminar was ``very bad.'' + +A simple way of summing up this information is the following table: + +\medskip +\begin{tabular}{lp{3.75cm}r} + \emph{Rating given} & \raggedright\emph{Participants (out of 50) who gave this rating} & + \emph{Percentage} \\[1.75em] + ``very good'' & \hfil\hphantom{0}3\hfil & \hphantom{0}6\% \\ + ``good'' & \hfil\hphantom{0}9\hfil & 18\% \\ + ``ok'' & \hfil10\hfil & 20\% \\ + ``bad'' & \hfil\hphantom{0}8\hfil & 16\% \\ + ``very bad'' & \hfil\hphantom{0}0\hfil & \hphantom{0}0\% \\[2mm] + none & \hfil20\hfil & 40\% \\ +\end{tabular} + +\bigskip +What the lecturer did was to visualize the data using a 3D bar +diagram. It looked like this: + +\bigskip +\par +\begin{tikzpicture}[y=0.03cm,z=3mm] + \foreach \y in {0,20,40,60,80,100} + \draw[dashed] (0,\y,0) node[left] {\y} -- (0,\y,1) -- (6,\y,1); + + \draw (0,0,0) -- (0,100,0) (0,0,1) -- (0,100,1); + \draw (0,0,0) -- (6,0,0); + + \foreach \x/\xtext/\height in {1/very good/10,2/good/30,3/ok/33,4/bad/27,5/very bad/0} + { + \draw (\x,0) node[rotate=90,anchor=east] {\xtext}; + + \begin{scope}[xshift=\x cm] + + \filldraw[fill=blue!50] (-.3,0,0) rectangle (.3,\height,0); + \filldraw[fill=blue!30] (.3,0,0) -- (.3,0,1) -- (.3,\height,1) -- (.3,\height,0) --cycle; + \filldraw[fill=blue!20] (-.3,\height,0) -- (.3,\height,0) -- + (.3,\height,1) -- (-.3,\height,1) --cycle; + \end{scope} + } +\end{tikzpicture} +\bigskip + +Both the table and the ``plot'' have about the same size. If your first +thought is ``the graphic looks nicer than the table,'' try to answer +the following questions based on the information in the table or in +the graphic: +\begin{enumerate} +\item + How many participants where there? +\item + How many participants returned the feedback form? +\item + What percentage of the participants returned the feedback form? +\item + How many participants checked ``very good''? +\item + What percentage out of all participants checked ``very good''? +\item + Did more than a quarter of the participants check ``bad'' or ``very bad''? +\item + What percentage of the participants that returned the form checked ``very good''? +\end{enumerate} + +Sadly, the graphic does not allow us to answer \emph{a single one of these + questions}. The table answers all of them directly, except for the last +one. In essence, the information density of the graphic is very +nearly zero. The table has a much higher information density; despite +the fact that it uses quite a lot of white space to present a few numbers. + +Here is the list of things that went wrong with the 3D-bar diagram: +\begin{itemize} +\item + The whole graphic is dominated by irritating background lines. +\item + It is not clear what the numbers at the left mean; presumably + percentages, but it might also be the absolute number of + participants. +\item + The labels at the bottom are rotated, making them hard to read. + + (In the real presentation that I saw, the text was rendered at a very + low resolution with about 10 by 6 pixels per letter with wrong + kerning, making the rotated text almost impossible to read.) +\item + The third dimension adds complexity to the graphic without adding + information. +\item + The three dimensional setup makes it much harder to gauge the height + of the bars correctly. Consider the ``bad'' bar. It the number this + bar stands for more than 20 or less? While the front of the bar is + below the 20 line, the back of the bar (which counts) is above. +\item + It is impossible to tell which numbers are represented by the + bars. Thus, the bars needlessly hide the information these bars are + all about. +\item + What do the bar heights add up to? Is it 100\% or 60\%? +\item + Does the bar for ``very bad'' represent 0 or~1? +\item + Why are the bars blue? +\end{itemize} + +You might argue that in the example the exact numbers are not +important for the graphic. The important things is the ``message,'' +which is that there are more ``very good'' and ``good'' ratings than +``bad'' and ``very bad.'' However, to convey this message either use a +sentence that says so or use a graphic that conveys this message more +clearly: + +\medskip +\par +\begin{tikzpicture} + \colorlet{good}{green!75!black} + \colorlet{bad}{red} + \colorlet{neutral}{black!60} + \colorlet{none}{white} + + \node[text centered,text width=3cm]{Ratings given by 50~participants}; + + \begin{scope}[line width=4mm,rotate=270] + \draw[good] (-123:2cm) arc (-123:-101:2cm); + \draw[good!60!white] (-36:2cm) arc (-36:-101:2cm); + \draw[neutral] (-36:2cm) arc (-36:36:2cm); + \draw[bad!60!white] (36:2cm) arc (36:93:2cm); + + \newcount\mycount + \foreach \angle in {0,72,...,3599} + { + \mycount=\angle\relax + \divide\mycount by 10\relax + \draw[black!15,thick] (\the\mycount:18mm) -- (\the\mycount:22mm); + } + + \draw (0:2.2cm) node[below] {``ok'': 10 (20\%)}; + \draw (165:2.2cm) node[above] {none: 20 (40\%)}; + \draw (-111:2.2cm) node[left] {``very good'': 3 (6\%)}; + \draw (-68:2.2cm) node[left] {``good'': 9 (18\%)}; + \draw (65:2.2cm) node[right] {``bad'': 8 (16\%)}; + \draw (93:2.2cm) node[right] {``very bad'': 0 (0\%)}; + \end{scope} + \draw[gray] (0,0) circle (2.2cm) circle (1.8cm); +\end{tikzpicture} + +\bigskip +The above graphic has about the same information density as the table +(about the same size and the same numbers are shown). In addition, one +can directly ``see'' that there are more good or very good ratings +than bad ones. One can also ``see'' that the number of people who gave +no rating at all is not negligible, which is quite common for feedback +forms. + +Charts are not always a good idea. Let us look at an example +that I redrew from a pie chart in \emph{Die Zeit}, June 4th, 2005: + +\bigskip +\par +\begin{tikzpicture} + \begin{scope}[xscale=3.2,yscale=1.2] + + \sffamily + \coordinate (right border) at (2.0cm,-1.7cm); + \coordinate (left border) at (-2.5cm,2.1cm); + + \fill[black!25] ([xshift=-2mm,yshift=1.1cm]left border) rectangle ([xshift=2mm,yshift=-.3cm]right border); + + \node[below right,text width=10cm,inner sep=0pt] at ([yshift=.9cm,xshift=-1mm]left border) + { {\color{black!75} \Large Kohle ist am wichtigsten}\\ + Energiemix bei der deutschen Stromerzeugung 2004}; + + \filldraw[draw=gray,fill=white] ([xshift=-1mm]left border) node[below right,black] + {\footnotesize Gesamte Netto-Stromerzeugung in Prozent, in + Milliarden Kilowattstunden (Mrd.\ kWh)} + rectangle ([xshift=1mm]right border); + + % The 3D stuff + \pgfdeclarehorizontalshading{zeit}{100bp} + {color(0pt)=(black); + color(25bp)=(black); + color(37bp)=(white); + color(50bp)=(black); + color(62bp)=(white); + color(75bp)=(black); + color(100bp)=(black)} + + \shadedraw[very thin,shading=zeit,yshift=-1.5mm] (0,0) circle (1cm); + + \fill[green!20!gray] (0,0) -- (90:1cm) arc (90:-5:1cm); + \fill[white!20!gray] (0,0) -- (-5:1cm) arc (-5:-105:1cm); + \fill[orange!20!gray] (0,0) -- (-105:1cm) arc (-105:-180:1cm); + \fill[orange!60!white] (0,0) -- (180:1cm) arc (180:150:1cm); + \fill[black!75!white] (0,0) -- (150:1cm) arc (150:145:1cm); + \fill[blue!90!white] (0,0) -- (145:1cm) arc (145:135:1cm); + \fill[blue!50!white] (0,0) -- (135:1cm) arc (135:92:1cm); + \fill[yellow!50!black] (0,0) -- (92:1cm) arc (92:90:1cm); + + \begin{scope}[very thin] + \draw (0,0) -- (90:1cm); + \draw (0,0) -- (-5:1cm); + \draw (0,0) -- (-105:1cm); + \draw (0,0) -- (-180:1cm); + \draw (0,0) -- (150:1cm); + \draw (0,0) -- (145:1cm); + \draw (0,0) -- (135:1cm); + \draw (0,0) -- (92:1cm); + + \draw(0,0) circle (1cm); + \end{scope} + + \node (Regenerative) at (115:.75cm) {\bfseries 9,4\%}; + \node (Kernenergie) at (30:.5cm) {\bfseries 27,8\%}; + \node (Braunkohle) at (-45:.6cm) {\bfseries 25,6\%}; + \node (Steinkohle) at (-135:.6cm) {\bfseries 22,3\%}; + \node (Erdgas) at (168:.75cm) {\bfseries 10,4\%}; + \coordinate (Mineral) at (147:.9cm); + \coordinate (Sonstige) at (140:.9cm); + + \small + \draw (Regenerative.north) |- ([yshift=.25cm]Regenerative.north -| right border) coordinate (Regenerative label); + \draw (91:.9cm) |- (Regenerative label); + \node[above left] at (Regenerative label) {Regenerative\ + {\footnotesize (53,7 kWh)/davon} Wind \textbf{4,4\%} \footnotesize (25,0 kWh)}; + + \draw (Kernenergie.base east) -- (Kernenergie.base east -| right border) coordinate (Kernenergie label); + \node[above left] at (Kernenergie label) {Kernenergie}; + \node[below left] at (Kernenergie label) {\footnotesize (158,4 kWh)}; + + \draw (Braunkohle.south) |- ([yshift=-.75cm]Braunkohle.south -| right border) coordinate (Braunkohle label); + \node[above left] at (Braunkohle label) {Braunkohle\ \ \footnotesize (146,0 kWh)}; + + \draw (Steinkohle.south) |- ([yshift=-.75cm]Steinkohle.south -| left border) coordinate (Steinkohle label); + \node[above right] at (Steinkohle label) {Steinkohle\ \ \footnotesize (127,1 kWh)}; + + \draw (Erdgas.base west) -- (Erdgas.base west -| left border) coordinate (Erdgas label); + \node[above right] at (Erdgas label) {Erdgas\ \ \footnotesize (59,2 kWh)}; + + \draw (Mineral) -- (Mineral -| left border) coordinate (Mineral label); + \node[above right] at (Mineral label) {Mineral\"olprodukte\ \ + \footnotesize (9,2 kWh) \ \ \normalsize\textbf{1,6\%}}; + + \draw (Sonstige) |- (Regenerative label -| left border) coordinate (Sonstige label); + \node[above right] at (Sonstige label) {Sonstige\ \ + \footnotesize (16,5 kWh) \hskip1.5cm\ + \normalsize\textbf{2,9\%}}; + \end{scope} +\end{tikzpicture} + +This graphic has been redrawn in \tikzname, but the original looks very +similar. + +At first sight, the graphic looks ``nice and informative,'' but there +are a lot of things that went wrong: + +\begin{itemize} +\item + The chart is three dimensional. However, the shadings add + nothing ``information-wise,'' at best, they distract. +\item + In a 3D-pie-chart the relative sizes are very strongly + distorted. For example, the area taken up by the gray color of ``Braunkohle'' + is larger than the area taken up by the green color of + ``Kernenergie'' \emph{despite the fact that the percentage of + Braunkohle is less than the percentage of Kernenergie}. +\item + The 3D-distortion gets worse for small areas. The area of + ``Regenerative'' somewhat larger than the area of ``Erdgas.'' + The area of ``Wind'' is slightly smaller than the area of + ``Mineral\"olprodukte'' \emph{although the percentage of Wind is + nearly three times larger than the percentage of + Mineral\"olprodukte.} + + In the last case, the different sizes are only partly due to + distortion. The designer(s) of the original graphic have also made + the ``Wind'' slice too small, even taking distortion into + account. (Just compare the size of ``Wind'' to ``Regenerative'' in + general.) +\item + According to its caption, this chart is supposed to inform us that + coal was the most important energy source in Germany in + 2004. Ignoring the strong distortions caused by the superfluous and + misleading 3D-setup, it takes quite a while for this message to get + across. + + Coal as an energy source is split up into two slices: one for + ``Steinkohle'' and one for ``Braunkohle'' (two different kinds of + coal). When you add them up, you see that the whole lower half of + the pie chart is taken up by coal. + + The two areas for the different kinds of coal are not visually + linked at all. Rather, two different colors are used, the labels are + on different sides of the graphic. By comparison, ``Regenerative'' + and ``Wind'' are very closely linked. +\item + The color coding of the graphic follows no logical pattern at + all. Why is nuclear energy green? Regenerative energy is light blue, + ``other sources'' are blue. It seems more like a joke that the area + for ``Braunkohle'' (which literally translates to ``brown coal'') is + stone gray, while the area for ``Steinkohle'' (which literally + translates to ``stone coal'') is brown. +\item + The area with the lightest color is used for ``Erdgas.'' This area + stands out most because of the brighter color. However, for this + chart ``Erdgas'' is not really important at all. +\end{itemize} +Edward Tufte calls graphics like the above ``chart junk.'' + +Here are a few recommendations that may help you avoid producing chart junk: +\begin{itemize} +\item + Do not use 3D pie charts. They are \emph{evil}. +\item + Consider using a table instead of a pie chart. +\item + Due not apply colors randomly; use them to direct the readers's + focus and to group things. +\item + Do not use background patterns, like a crosshatch or diagonal + lines, instead of colors. They distract. Background patterns in + information graphics are \emph{evil}. +\end{itemize} + + + +\subsection{Attention and Distraction} + +Pick up your favorite fiction novel and have a look at a typical +page. You will notice that the page is very uniform. Nothing is there +to distract the reader while reading; no large headlines, no bold +text, no large white areas. Indeed, even when the author does wish to +emphasize something, this is done using italic letters. Such letters +blend nicely with the main text---at a distance you will not be able to +tell whether a page contains italic letters, but you would notice a +single bold word immediately. The reason novels are typeset this way +is the following paradigm: Avoid distractions. + +Good typography (like good organization) is something you do +\emph{not} notice. The job of typography is to make reading the text, +that is, ``absorbing'' its information content, as effortless as +possible. For a novel, readers absorb the content by reading the text +line-by-line, as if they were listening to someone telling the +story. In this situation anything on the page that distracts the eye +from going quickly and evenly from line to line will make the text +harder to read. + +Now, pick up your favorite weekly magazine or newspaper and have a +look at a typical +page. You will notice that there is quite a lot ``going on'' on the +page. Fonts are used at different sizes and in different arrangements, +the text is organized in narrow columns, typically interleaved with +pictures. The reason magazines are typeset in this way is another +paradigm: Steer attention. + +Readers will not read a magazine like a novel. Instead of reading a +magazine line-by-line, we use headlines and short abstracts to check +whether we want to read a certain article or not. The job of +typography is to steer our attention to these abstracts and headlines, +first. Once we have decided that we want to read an article, however, +we no longer tolerate distractions, which is why the main text of +articles is typeset exactly the same way as a novel. + +The two principles ``avoid distractions'' and ``steer attention'' also +apply to graphics. When you design a graphic, you should eliminate +everything that will ``distract the eye.'' At the same time, you +should try to actively help the reader ``through the graphic'' by +using fonts/colors/line widths to highlight different parts. + +Here is a non-exhaustive list of things that can distract readers: +\begin{itemize} +\item + Strong contrasts will always be registered first by the eye. For + example, consider the following two grids: + + \medskip\par + \begin{tikzpicture}[x=40pt,y=40pt] + \draw[step=10pt,gray] (0,0) grid +(1,1); + \draw[step=2pt] (2,0) grid +(1,1); + \end{tikzpicture} + + \medskip + Even though the left grid comes first in our normal reading order, + the right one is much more likely to be seen first: The + white-to-black contrast is higher than the gray-to-white + contrast. In addition, there are more ``places'' adding to the + overall contrast in the right grid. + + Things like grids and, more generally, help lines usually should not + grab the attention of the readers and, hence, should be typeset with + a low contrast to the background. Also, a loosely-spaced grid is + less distracting than a very closely-spaced grid. +\item + Dashed lines create many points at which there is black-to-white + contrast. Dashed or dotted lines can be very distracting and, hence, + should be avoided in general. + + Do not use different dashing patterns to differentiate curves in + plots. You loose data points this way and the eye is not + particularly good at ``grouping things according to a dashing + pattern.'' The eye is \emph{much} better at grouping things + according to colors. +\item + Background patterns filling an area using diagonal lines or + horizontal and vertical lines or just dots are almost always + distracting and, usually, serve no real purpose. +\item + Background images and shadings distract and only seldom add + anything of importance to a graphic. +\item + Cute little cliparts can easily draw attention away from the + data. +\end{itemize} + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-installation.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-installation.tex new file mode 100644 index 00000000000..e925f6a599f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-installation.tex @@ -0,0 +1,182 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Installation} + +There are different ways of installing \pgfname, depending +on your system and needs, and you may need to install other +packages as well as, see below. Before installing, you may wish to +review the \textsc{gpl} license under which the package is +distributed, see Section~\ref{section-license}. + +Typically, the package will already be installed on your +system. Naturally, in this case you do not need to worry about the +installation process at all and you can skip the rest of this +section. + + +\subsection{Package and Driver Versions} + +This documentation is part of version \pgfversion\ of the \pgfname\ +package. In order to run \pgfname, you need a reasonably recent +\TeX\ installation. When using \LaTeX, you need the following packages +installed (newer versions should also work): +\begin{itemize} +\item + |xcolor| version \xcolorversion. +\item + |xkeyval| version \xkeyvalversion, if you wish to use \tikzname. +\end{itemize} +With plain \TeX, |xcolor| is not needed, but you obviously do not +get its (full) functionality. + +Currently, \pgfname\ supports the following backend drivers: +\begin{itemize} +\item + |pdftex| version 0.14 or higher. Earlier versions do not work. +\item + |dvips| version 5.94a or higher. Earlier versions may also work. +\item + |dvipdfm| version 0.13.2c or higher. Earlier versions may also work. +\item + |tex4ht| version 2003-05-05 or higher. Earlier versions may also work. +\item + |vtex| version 8.46a or higher. Earlier versions may also work. +\end{itemize} + +Currently, \pgfname\ supports the following formats: +\begin{itemize} +\item + |latex| with complete functionality. +\item + |plain| with complete functionality, except for graphics inclusion, + which works only for pdf\TeX. +\item + |context| should work as |plain|, but I have not tried it. +\end{itemize} + +For more details, see Section~\ref{section-formats}. + + + +\subsection{Installing Prebundled Packages} + +I do not create or manage prebundled packages of \pgfname, but, +fortunately, nice other people do. I cannot give detailed instructions +on how to install these packages, since I do not manage them, but I +\emph{can} tell you were to find them. If you have a problem with +installing, you might wish to have a look at the Debian page or the +Mik\TeX\ page first. + + +\subsubsection{Debian} + +The command ``|aptitude install pgf|'' should do the trick. Sit back +and relax. In detail, the following packages are installed: +\begin{verbatim} +http://packages.debian.org/pgf +http://packages.debian.org/latex-xcolor +\end{verbatim} + + +\subsubsection{MiKTeX} + +For MiK\TeX, use the update wizard to install the (latest versions of +the) packages called |pgf|, |xcolor|, and |xkeyval|. + + + + +\subsection{Installation in a texmf Tree} + +For a permanent installation, you place the files of the +the \textsc{pgf} package in an appropriate |texmf| tree. + +When you ask \TeX\ to use a certain class or package, it usually looks +for the necessary files in so-called |texmf| trees. These trees +are simply huge directories that contain these files. By default, +\TeX\ looks for files in three different |texmf| trees: +\begin{itemize} +\item + The root |texmf| tree, which is usually located at + |/usr/share/texmf/| or |c:\texmf\| or somewhere similar. +\item + The local |texmf| tree, which is usually located at + |/usr/local/share/texmf/| or |c:\localtexmf\| or somewhere similar. +\item + Your personal |texmf| tree, which is usually located in your home + directory at |~/texmf/| or |~/Library/texmf/|. +\end{itemize} + +You should install the packages either in the local tree or in +your personal tree, depending on whether you have write access to the +local tree. Installation in the root tree can cause problems, since an +update of the whole \TeX\ installation will replace this whole tree. + + +\subsubsection{Installation that Keeps Everything Together} + +Once you have located the right texmf tree, you must decide whether +you want to install \pgfname\ in such a way that ``all its files are +kept in one place'' or whether you want to be +``\textsc{tds}-compliant,'' where \textsc{tds} means ``\TeX\ directory +structure.'' + +If you want to keep ``everything in one place,'' inside the |texmf| +tree that you have chosen create a sub-sub-directory called +|texmf/tex/generic/pgf| or +|texmf/tex/generic/pgf-|\texttt{\pgfversion}, if you prefer. Then +place all files of the |pgf| package in this directory. Finally, +rebuild \TeX's filename database. This is done by running the command +|texhash| or |mktexlsr| (they are the same). In Mik\TeX, there is a +menu option to do this. + + +\subsubsection{Installation that is TDS-Compliant} + +While the above installation process is the most ``natural'' one and +although I would like to recommend it since it makes updating and +managing the \pgfname\ package easy, it is not +\textsc{tds}-compliant. If you want to be \textsc{tds}-compliant, +proceed as follows: (If you do not know what \textsc{tds}-compliant +means, you probably do not want to be \textsc{tds}-compliant.) + +The |.tar| file of the |pgf| package contains the following files and +directories at its root: |README|, |doc|, |generic|, |plain|, and +|latex|. You should ``merge'' each of the four directories with the +following directories |texmf/doc|, |texmf/tex/generic|, +|texmf/tex/plain|, and |texmf/tex/latex|. For example, in the |.tar| +file the |doc| directory contains just the directory |pgf|, and this +directory has to be moved to |texmf/doc/pgf|. The root |README| file +can be ignored since it is reproduced in |doc/pgf/README|. + +You may also consider keeping everything in one place and using +symbolic links to point from the \textsc{tds}-compliant directories to +the central installation. + +\vskip1em +For a more detailed explanation of the standard installation process +of packages, you might wish to consult +\href{http://www.ctan.org/installationadvice/}{|http://www.ctan.org/installationadvice/|}. +However, note that the \pgfname\ package does not come with a +|.ins| file (simply skip that part). + + +\subsection{Updating the Installation} + +To update your installation from a previous version, all you need to +do is to replace everything in the directory |texmf/tex/generic/pgf| +with the files of the new version (or in all the directories where +|pgf| was installed, if you chose a \textsc{tds}-compliant +installation). The easiest way to do this is to first delete the old +version and then proceed as described above. Sometimes, there are +changes in the syntax of certain command from version to version. If +things no longer work that used to work, you may wish to have a look +at the release notes and at the change log. + + +\input{pgfmanual-en-license} diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-introduction.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-introduction.tex new file mode 100644 index 00000000000..fd67dafc38c --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-introduction.tex @@ -0,0 +1,236 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + + +\section{Introduction} + +The \pgfname\ package, where ``\pgfname'' is supposed to mean ``portable +graphics format'' (or ``pretty, good, functional'' if you +prefer\dots), is a package for creating graphics in an ``inline'' +manner. The package defines a number of \TeX\ commands that draw +graphics. For example, the code |\tikz \draw (0pt,0pt) -- (20pt,6pt);| +yields the line \tikz \draw (0pt,0pt) -- (20pt,6pt); and the code +|\tikz \fill[orange] (1ex,1ex) circle (1ex);| yields \tikz +\fill[orange] (1ex,1ex) circle (1ex);. + +In a sense, when using \pgfname\ you ``program'' your graphics, just as you +``program'' your document when using \TeX. This means that you get +the advantages of the ``\TeX-approach to typesetting'' also for your +graphics: quick creation of simple graphics, precise positioning, the +use of macros, often superior typography. You also inherit all the +disadvantages: steep learning curve, no \textsc{wysiwyg}, small +changes require a long recompilation time, and the code does not +really ``show'' how things will look like. + + + +\subsection{Structure of the System} + +The \pgfname\ system consists of different layers: + +\begin{description} +\item[System layer:] This layer provides a complete abstraction of what is + going on ``in the driver.'' The driver is a program like |dvips| or + |dvipdfm| that takes a |.dvi| file as input and generates a |.ps| or + a |.pdf| file. (The |pdftex| program also counts as a driver, even + though it does not take a |.dvi| file as input. Never mind.) Each + driver has its own syntax for the generation of graphics, causing + headaches to everyone who wants to create graphics in a portable + way. \pgfname's system layer ``abstracts away'' these + differences. For example, the system command + |\pgfsys@lineto{10pt}{10pt}| extends the current path to the coordinate + $(10\mathrm{pt},10\mathrm{pt})$ of the current + |{pgfpicture}|. Depending on whether |dvips|, + |dvipdfm|, or |pdftex| is used to process the document, the system + command will be converted to different |\special| commands. + + The system layer is as ``minimalistic'' as possible since each + additional command makes it more work to port \pgfname\ to a new + driver. Currently, only drivers that produce PostScript or + \textsc{pdf} output are supported and only few of these (hence the + name \emph{portable} graphics format is currently a bit + boastful). However, in principle, the system layer could be ported + to many different drivers quite easily. It should even be possible + to produce, say, \textsc{svg} output in conjunction with + \textsc{tex4ht}. + + As a user, you will not use the system layer directly. +\item[Basic layer:] + The basic layer provides a set of basic commands that allow + you to produce complex graphics in a much easier way than by using + the system layer directly. For example, the system layer provides + no commands for creating circles since circles can be composed from + the more basic Bzier curves (well, almost). However, as a user you + will want to have a simple command to create circles + (at least I do) instead of having to write down half a page of + Bzier curve support coordinates. Thus, the basic layer provides a + command |\pgfpathcircle| that generates the necessary curve + coordinates for you. + + The basic layer is consists of a \emph{core}, which consists of + several interdependent packages that can only be loaded \emph{en + bloc,} and additional packages that extend the core by more + special-purpose commands like node management or a plotting + interface. For instance, the \textsc{beamer} package uses the core, + but not all of the additional packages of the basic layer. +\item[Frontend layer:] + A frontend (of which there can be several) is a set of commands + or a special syntax that makes using the basic layer easier. A + problem with directly using the basic layer is that code written for + this layer is often too ``verbose.'' For example, to draw a simple + triangle, you may need as many as five commands when using the basic + layer: One for beginning a path at the first corner of the triangle, + one for extending the path to the second corner, one for going to + the third, one for closing the path, and one for actually painting + the triangle (as opposed to filling it). With the |tikz| frontend + all this boils down to a single simple \textsc{metafont}-like + command: +\begin{verbatim} +\draw (0,0) -- (1,0) -- (1,1) -- cycle; +\end{verbatim} + + There are different frontends: + \begin{itemize} + \item + The \tikzname\ frontend is the ``natural'' frontend for \pgfname. It gives + you access to all features of \pgfname, but it is intended to be + easy to use. The syntax is a mixture of \textsc{metafont} and + \textsc{pstricks} and some ideas of myself. This frontend is + \emph{neither} a complete \textsc{metafont} compatibility layer nor + a \textsc{pstricks} compatibility layer and it is not intended to + become either. + \item + The |pgfpict2e| frontend reimplements the standard \LaTeX\ + |{picture}| environment and commands like |\line| or |\vector| + using the \pgfname\ basic layer. This layer is not really ``necessary'' + since the |pict2e.sty| package does at least as good a job at + reimplementing the |{picture}| environment. Rather, the idea + behind this package is to have a simple demonstration of how a + frontend can be implemented. + \end{itemize} + + It would be possible to implement a |pgftricks| frontend that maps + \textsc{pstricks} commands to \pgfname\ commands. However, I have not + done this and even if fully implemented, many things that work in + \pstricks\ will not work, namely whenever some \pstricks\ command + relies too heavily on PostScript trickery. Nevertheless, such a + package might be useful in some situations. +\end{description} + +As a user of \pgfname\ you will use the commands of a +frontend plus perhaps some commands of the basic layer. For this +reason, this manual explains the frontends first, then the basic +layer, and finally the system layer. + + + +\subsection{Comparison with Other Graphics Packages} + +There were two main motivations for creating \pgfname: +\begin{enumerate} +\item + The standard \LaTeX\ |{picture}| environment is not powerful enough to + create anything but really simple graphics. This is certainly not + due to a lack of knowledge or imagination on the part of + \LaTeX's designer(s). Rather, this is the price paid for the + |{picture}| environment's portability: It works together with all + backend drivers. +\item + The |{pstricks}| package is certainly powerful enough to create + any conceivable kind of graphic, but it is not portable at all. Most + importantly, it does not work with |pdftex| nor with any other + driver that produces anything but PostScript code. +\end{enumerate} + +The \pgfname\ package is a trade-off between portability and expressive +power. It is not as portable as |{picture}| and perhaps not quite as +powerful as |{pspicture}|. However, it is more powerful than +|{picture}| and more portable than |{pspicture}|. + +\subsection{Utilities: Page Management} + +The \pgfname\ package include a special subpackage called |pgfpages|, +which is used to assemble several pages into a single page. This +package is not really about creating graphics, but it is part of \pgfname\ +nevertheless, mostly because its implementation uses \pgfname\ heavily. + +The subpackage |pgfpages| provides commands for assembling several +``virtual pages'' into a single ``physical page.'' The idea is that +whenever \TeX\ has a page ready for ``shipout,'' |pgfpages| interrupts +this shipout and instead stores the page to be shipped out in a +special box. When enough ``virtual pages'' have been accumulated in +this way, they are scaled down and arranged on a ``physical page,'' +which then \emph{really} shipped out. This mechanism allows you to +create ``two page on one page'' versions of a document directly inside +\LaTeX\ without the use of any external programs. + +However, |pgfpages| can do quite a lot more than that. You can use it +to put logos and watermark on pages, print up to 16 pages on one page, +add borders to pages, and more. + + + + +\subsection{How to Read This Manual} + +This manual describes both the design of the \pgfname\ system and +its usage. The organization is very roughly according to +``user-friendliness.'' The commands and subpackages that are easiest +and most frequently used are described first, more low-level and +esoteric features are discussed later. + +If you have not yet installed \pgfname, please read the installation +first. Second, it might be a good idea to read the tutorial. Finally, +you might wish to skim through the description of \tikzname. Typically, +you will not need to read the sections on the basic layer. You will +only need to read the part on the system layer if you intend to write +your own frontend or if you wish to port \pgfname\ to a new driver. + +The ``public'' commands and environments provided by the |pgf| package +are described throughout the text. In each such description, the +described command, environment or option is printed in red. Text shown +in green is optional and can be left out. + + + +\subsection{Getting Help} + +When you need help with \pgfname\ and \tikzname, please do the +following: + +\begin{enumerate} +\item + Read the manual, at least the part that has to do with your problem. +\item + If that does not solve the problem, try having a look at the + sourceforge development page for \pgfname\ and \tikzname\ (see the + title of this document). Perhaps someone has already reported a + similar problem and someone has found a solution. +\item + On the website you will find numerous forums for getting + help. There, you can write to help forums, file bug reports, join + mailing lists, and so on. +\item + Before you file a bug report, especially a bug report concerning the + installation, make sure that this is really a bug. In particular, + have a look at the |.log| file that results when you \TeX\ your + files. This |.log| file should show that all the right files are + loaded from the right directories. Nearly all installation problems + can be resolved by looking at the |.log| file. +\item + \emph{As a last resort} you can try to email me (the author). I do + not mind getting emails, I simply get way too many of them. Because + of this, I cannot guarantee that your emails will be answered timely + or even at all. Your chances that your problem will be fixed are + somewhat higher if you mail to the \pgfname\ mailing list + (naturally, I read this list and answer questions when I have the + time). +\item + Please, do not phone me in my office. If you need a hotline, buy a + commercial product. +\end{enumerate} + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-libraries.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-libraries.tex new file mode 100644 index 00000000000..3d9b4564c5d --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-libraries.tex @@ -0,0 +1,1094 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Libraries} + +\subsection{Arrow Tip Library} +\label{section-library-arrows} + +\begin{package}{pgflibraryarrows} + The package defines additional arrow tips, which are described + below. See page~\pageref{standard-arrows} for the arrows tips that + are defined by default. Note that neither the standard packages nor + this package defines an arrow name containing |>| or |<|. These are + left for the user to defined as he or she sees fit. +\end{package} + +\subsubsection{Triangular Arrow Tips} + +\begin{tabular}{ll} + \symarrow{latex'} \\ + \symarrow{latex' reversed} \\ + \symarrow{stealth'} \\ + \symarrow{stealth' reversed}\\ + \symarrow{triangle 90} \\ + \symarrow{triangle 90 reversed} \\ + \symarrow{triangle 60} \\ + \symarrow{triangle 60 reversed} \\ + \symarrow{triangle 45} \\ + \symarrow{triangle 45 reversed} \\ + \symarrow{open triangle 90} \\ + \symarrow{open triangle 90 reversed} \\ + \symarrow{open triangle 60} \\ + \symarrow{open triangle 60 reversed} \\ + \symarrow{open triangle 45} \\ + \symarrow{open triangle 45 reversed} \\ +\end{tabular} + +\subsubsection{Barbed Arrow Tips} + +\begin{tabular}{ll} + \symarrow{angle 90} \\ + \symarrow{angle 90 reversed} \\ + \symarrow{angle 60} \\ + \symarrow{angle 60 reversed} \\ + \symarrow{angle 45} \\ + \symarrow{angle 45 reversed} \\ + \symarrow{hooks} \\ + \symarrow{hooks reversed} \\ +\end{tabular} + + +\subsubsection{Bracket-Like Arrow Tips} + +\begin{tabular}{ll} + \sarrow{[}{]} \\ + \sarrow{]}{[} \\ + \sarrow{(}{)} \\ + \sarrow{)}{(} +\end{tabular} + +\subsubsection{Circle and Diamond Arrow Tips} + + +\begin{tabular}{ll} + \symarrow{o} \\ + \symarrow{*} \\ + \symarrow{diamond} \\ + \symarrow{open diamond} \\ +\end{tabular} + + +\subsubsection{Partial Arrow Tips} + +\begin{tabular}{ll} + \symarrow{left to} \\ + \symarrow{left to reversed} \\ + \symarrow{right to} \\ + \symarrow{right to reversed} \\ + \symarrow{left hook} \\ + \symarrow{left hook reversed} \\ + \symarrow{right hook} \\ + \symarrow{right hook reversed} +\end{tabular} + + +\subsubsection{Line Caps} + +\begin{tabular}{ll} + \carrow{round cap} \\ + \carrow{butt cap} \\ + \carrow{triangle 90 cap} \\ + \carrow{triangle 90 cap reversed} \\ + \carrow{fast cap} \\ + \carrow{fast cap reversed} \\ +\end{tabular} + + +\subsection{Snake Library} + +\label{section-library-snakes} + +\begin{package}{pgflibrarysnakes} + This library package defines basic + snakes. Section~\ref{section-tikz-snakes} explains how snakes are + used in \tikzname, Section~\ref{section-base-snakes} explains how + new snakes can be defined. + + The snakes are influenced by the current values of parameters like + |\pgfsnakesegmentamplitude|. Only this parameter and + |\pgfsnakesegmentlength| are proper \TeX\ dimensions, all other + parameters are \TeX\ macros. + + In \tikzname, each parameter can be set using an option having the + parameters name minus the |\pgfsnake| part. +\end{package} + + +\begin{snake}{border} + This snake adds straight lines the path that are at a specific angle + to the line toward the target. The idea is to add these little lines + to indicate the ``border'' or an area. The following parameters + influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentlength| + determines the distance between consecutive ticks. + \item |\pgfsnakesegmentamplitude| + determines the length of the ticks. + \item |\pgfsnakesegmentangle| + determines the angle between the ticks and the line toward the + target. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw (0,0) rectangle (3,1) + [snake=border,segment angle=-45] (0,0) rectangle (3,1);} +\end{codeexample} +\end{snake} + + +\begin{snake}{brace} + This snake adds a long brace to the path. The left and right end of + the brace will be exactly on the start and endpoint of the + snake. The following parameters influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentamplitude| + determines how much the brace rises above the path. + \item |\pgfsnakesegmentaspect| + determines the fraction of the total length where the ``middle + part'' of the brace will be. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=brace,segment aspect=0.25] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} + +\begin{snake}{bumps} + This snake consists of little half ellipses. The following parameters + influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentamplitude| + determines the height of the half ellipse. + \item |\pgfsnakesegmentlength| + determines the width of the half ellipse. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=bumps] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} + + +\begin{snake}{coil} + This snake adds a coil to the path. To understand how this works, + imagine a three-dimensional spring. The spring's axis points along + the line toward the target. Then, we ``view'' the spring from a + certain angle. If we look ``straight from the side'' we will see a + perfect sine curve, if we look ``more from the front'' we will see a + coil. The following parameters influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentamplitude| + determines how much the coil rises above the path and falls below + it. Thus, this is the radius of the coil. + \item |\pgfsnakesegmentlength| + determines the distance between two consecutive ``curls.'' Thus, + when the spring is see ``from the side'' this will be the wave + length of the sine curve. + \item |\pgfsnakesegmentaspect| + determines the ``viewing direction.'' A value of |0| means + ``looking from the side'' and a value of |0.5|, which is the + default, means ``look more from the front.'' + \end{itemize} +\begin{codeexample}[] +\begin{tikzpicture}[segment amplitude=10pt] + \draw[snake=coil] (0,1) -- (3,1); + \draw[snake=coil,segment aspect=0] (0,0) -- (3,0); +\end{tikzpicture} +\end{codeexample} +\end{snake} + + +\begin{snake}{expanding waves} + This snake adds arcs to the path that get bigger along the line + towards the target. The following parameters influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentlength| + determines the distance between consecutive arcs. + \item |\pgfsnakesegmentangle| + determines the opening angle below and above the path. Thus, the + total opening angle is twice this angle. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=expanding waves] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} + + +\begin{snake}{saw} + This snake looks like the blade of a saw. The following parameters + influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentamplitude| + determines how much each spike raises above the straight line. + \item |\pgfsnakesegmentlength| + determines the length each spike. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=saw] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} + + +\begin{snake}{snake} + This snake is the ``architypical'' snake: It looks like a snake seen + from above. More precisely, the snake is a sine wave with a + ``softened'' start and ending. The following parameters influence + the snake: + \begin{itemize} + \item |\pgfsnakesegmentamplitude| + determines the sine wave's amplitude. + \item |\pgfsnakesegmentlength| + determines the sine wave's wave length. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=snake] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} + + +\begin{snake}{ticks} + This snake adds straight lines the path that are orthogonal to the + line toward the target. The following parameters influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentlength| + determines the distance between consecutive ticks. + \item |\pgfsnakesegmentamplitude| + determines half the length of the ticks. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=ticks] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} +\begin{snake}{triangles} + This snake adds triangles to the path that point toward the + target. The following parameters influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentlength| + determines the distance between consecutive triangles. + \item |\pgfsnakesegmentamplitude| + determines half the length of the triangle side that is orthogonal + to the path. + \item |\pgfsnakesegmentobjectlength| + determines the height of the triangle. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=triangles] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} + + +\begin{snake}{waves} + This snake adds arcs to the path that have a constant size. The + following parameters influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentlength| + determines the distance between consecutive arcs. + \item |\pgfsnakesegmentangle| + determines the opening angle below and above the path. Thus, the + total opening angle is twice this angle. + \item |\pgfsnakesegmentamplitude| + determines the radius of each arc. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=waves] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} + + +\begin{snake}{zigzag} + This snake looks like a zig-zag line. The following parameters + influence the snake: + \begin{itemize} + \item |\pgfsnakesegmentamplitude| + determines how much the zig-zag lines raises above and falls below + a straight line to the target point. + \item |\pgfsnakesegmentlength| + determines the length of a complete ``up-down'' cycle. + \end{itemize} +\begin{codeexample}[] +\tikz{\draw[snake=zigzag] (0,0) -- (3,0);} +\end{codeexample} +\end{snake} + + + +\subsection{Plot Handler Library} +\label{section-library-plothandlers} + +\begin{package}{pgflibraryplothandlers} + This library packages defines additional plot handlers, see + Section~\ref{section-plot-handlers} for an introduction to plot + handlers. The additional handlers are described in the following. +\end{package} + + +\subsubsection{Curve Plot Handlers} + +\begin{command}{\pgfplothandlercurveto} + This handler will issue a |\pgfpathcurveto| command for each point of + the plot, \emph{except} possibly for the first. As for the line-to + handler, what happens with the first point can be specified using + |\pgfsetmovetofirstplotpoint| or |\pgfsetlinetofirstplotpoint|. + + Obviously, the |\pgfpathcurveto| command needs, in addition to the + points on the path, some control points. These are generated + automatically using a somewhat ``dumb'' algorithm: Suppose you have + three points $x$, $y$, and $z$ on the curve such that $y$ is between + $x$ and $z$: +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfplothandlercurveto + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} + + In order to determine the control points of the curve at the point + $y$, the handler computes the vector $z-x$ and scales it by the + tension factor (see below). Let us call the resulting vector + $s$. Then $y+s$ and $y-s$ will be the control points around $y$. The + first control point at the beginning of the curve will be the + beginning itself, once more; likewise the last control point is the + end itself. +\end{command} + +\begin{command}{\pgfsetplottension\marg{value}} + Sets the factor used by the curve plot handlers to determine the + distance of the control points from the points they control. The + higher the curvature of the curve points, the higher this value + should be. A value of $1$ will cause four points at quarter + positions of a circle to be connected using a circle. The default is + $0.5$. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfsetplottension{0.75} + \pgfplothandlercurveto + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfplothandlerclosedcurve} + This handler works like the curve-to plot handler, only it will + add a new part to the current path that is a closed curve through + the plot points. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfplothandlerclosedcurve + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\subsubsection{Comb Plot Handlers} + +There are three ``comb'' plot handlers. There name stems from the fact +that the plots they produce look like ``combs'' (more or less). + +\begin{command}{\pgfplothandlerxcomb} + This handler converts each point in the plot stream into a line from + the $y$-axis to the point's coordinate, resulting in a ``horizontal + comb.'' + + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfplothandlerxcomb + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfplothandlerycomb} + This handler converts each point in the plot stream into a line from + the $x$-axis to the point's coordinate, resulting in a ``vertical + comb.'' + + This handler is useful for creating ``bar diagrams.'' +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfplothandlerycomb + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfplothandlerpolarcomb} + This handler converts each point in the plot stream into a line from + the origin to the point's coordinate. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfplothandlerpolarcomb + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\subsubsection{Mark Plot Handler} + +\label{section-plot-marks} + +\begin{command}{\pgfplothandlermark\marg{mark code}} + This command will execute the \meta{mark code} for each point of the + plot, but each time the coordinate transformation matrix will be + setup such that the origin is at the position of the point to be + plotted. This way, if the \meta{mark code} draws a little circle + around the origin, little circles will be drawn at each point of the + plot. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfplothandlermark{\pgfpathcircle{\pgfpointorigin}{4pt}\pgfusepath{stroke}} + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} + + Typically, the \meta{code} will be |\pgfuseplotmark{|\meta{plot mark + name}|}|, where \meta{plot mark name} is the name of a + predefined plot mark. +\end{command} + +\begin{command}{\pgfuseplotmark\marg{plot mark name}} + Draws the given \meta{plot mark name} at the origin. The \meta{plot + mark name} must previously have been declared using + |\pgfdeclareplotmark|. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfplothandlermark{\pgfuseplotmark{pentagon}} + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{command}{\pgfdeclareplotmark\marg{plot mark name}\marg{code}} + Declares a plot mark for later used with the |\pgfuseplotmark| + command. + +\begin{codeexample}[] +\pgfdeclareplotmark{my plot mark} + {\pgfpathcircle{\pgfpoint{0cm}{1ex}}{1ex}\pgfusepathqstroke} +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfplothandlermark{\pgfuseplotmark{my plot mark}} + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + + +\begin{command}{\pgfsetplotmarksize\marg{dimension}} + This command sets the \TeX\ dimension |\pgfplotmarksize| to + \meta{dimension}. This dimension is a ``recommendation'' for plot + mark code at which size the plot mark should be drawn; plot mark + code may choose to ignore this \meta{dimension} altogether. For + circles, \meta{dimension} should be the radius, for other shapes it + should be about half the width/height. + + The predefined plot marks all take this dimension into account. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[gray] (0,0) node {x} (1,1) node {y} (2,.5) node {z}; + \pgfsetplotmarksize{1ex} + \pgfplothandlermark{\pgfuseplotmark{*}} + \pgfplotstreamstart + \pgfplotstreampoint{\pgfpoint{0cm}{0cm}} + \pgfplotstreampoint{\pgfpoint{1cm}{1cm}} + \pgfplotstreampoint{\pgfpoint{2cm}{0.5cm}} + \pgfplotstreamend + \pgfusepath{stroke} +\end{tikzpicture} +\end{codeexample} +\end{command} + +\begin{textoken}{\pgfplotmarksize} + A \TeX\ dimension that is a ``recommendation'' for the size of plot + marks. +\end{textoken} + +The following plot marks are predefined (the filling color has been +set to yellow): + +\medskip +\begin{tabular}{lc} + \plotmarkentry{*} + \plotmarkentry{x} + \plotmarkentry{+} +\end{tabular} + + +\subsection{Plot Mark Library} + +\begin{package}{pgflibraryplotmarks} + When this package is loaded, the following plot marks are defined in + addition to |*|, |x|, and |+| (the filling color has been set to a + dark yellow): + + \catcode`\|=12 + \medskip + \begin{tabular}{lc} + \plotmarkentry{-} + \index{*vbar@\protect\texttt{\protect\myvbar} plot mark}% + \index{Plot marks!*vbar@\protect\texttt{\protect\myvbar}} + \texttt{\char`\\pgfuseplotmark\char`\{\declare{|}\char`\}} & + \tikz\draw[color=black!25] plot[mark=|,mark options={fill=yellow,draw=black}] + coordinates {(0,0) (.5,0.2) (1,0) (1.5,0.2)};\\ + \plotmarkentry{o} + \plotmarkentry{asterisk} + \plotmarkentry{star} + \plotmarkentry{oplus} + \plotmarkentry{oplus*} + \plotmarkentry{otimes} + \plotmarkentry{otimes*} + \plotmarkentry{square} + \plotmarkentry{square*} + \plotmarkentry{triangle} + \plotmarkentry{triangle*} + \plotmarkentry{diamond} + \plotmarkentry{diamond*} + \plotmarkentry{pentagon} + \plotmarkentry{pentagon*} + \end{tabular} +\end{package} + + + +\subsection{Shape Library} + +\begin{package}{pgflibraryshapes} + This library packages defines additional shapes, which are + described in the following. +\end{package} + +\begin{shape}{cross out} + This shape ``crosses out'' the node. Its foreground path are simply + two diagonal lines that between the corners of the node's bounding + box. Here is an example: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \node [cross out,draw=red] at (1.5,1) {cross out}; +\end{tikzpicture} +\end{codeexample} + + A useful application is inside text as in the following example: +\begin{codeexample}[] +Cross \tikz[baseline] \node [cross out,draw,anchor=text] {me}; out! +\end{codeexample} + + This shape inherits all anchors from the |rectangle| shape, see also + the following figure: +\begin{codeexample}[] +\Huge +\begin{tikzpicture} + \node[name=s,shape=cross out,style=shape example] {cross out\vrule width 1pt height 2cm}; + \foreach \anchor/\placement in + {north west/above left, north/above, north east/above right, + west/left, center/above, east/right, + mid west/right, mid/above, mid east/left, + base west/left, base/below, base east/right, + south west/below left, south/below, south east/below right, + text/left, 10/right, 130/above} + \draw[shift=(s.\anchor)] plot[mark=x] coordinates{(0,0)} + node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +\end{tikzpicture} +\end{codeexample} +\end{shape} + +\begin{shape}{ellipse} + This shape is an ellipse tightly fitting the text box, if no inner + separation is given. The following figure shows the anchors this + shape defines; the anchors |10| and |130| are example of border anchors. +\begin{codeexample}[] +\Huge +\begin{tikzpicture} + \node[name=s,shape=ellipse,style=shape example] {Ellipse\vrule width 1pt height 2cm}; + \foreach \anchor/\placement in + {north west/above left, north/above, north east/above right, + west/left, center/above, east/right, + mid west/right, mid/above, mid east/left, + base west/left, base/below, base east/right, + south west/below left, south/below, south east/below right, + text/left, 10/right, 130/above} + \draw[shift=(s.\anchor)] plot[mark=x] coordinates{(0,0)} + node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +\end{tikzpicture} +\end{codeexample} +\end{shape} + +\begin{shape}{forbidden sign} + This shape places the node inside a circle with a diagonal from the + lower left to the upper right added. The circle is part of the + background, the diagonal line part of the foreground path; thus, the + diagonal line is on top of the text. + +\begin{codeexample}[] +\begin{tikzpicture} + \node [forbidden sign,line width=1ex,draw=red,fill=white] {Smoking}; +\end{tikzpicture} +\end{codeexample} + + The shape inherits all anchors from the |circle| shape, see also the + following figure: +\begin{codeexample}[] +\Huge +\begin{tikzpicture} + \node[name=s,shape=forbidden sign,style=shape example] {Forbidden\vrule width 1pt height 2cm}; + \foreach \anchor/\placement in + {north west/above left, north/above, north east/above right, + west/left, center/above, east/right, + mid west/right, mid/above, mid east/left, + base west/left, base/below, base east/right, + south west/below left, south/below, south east/below right, + text/left, 10/right, 130/above} + \draw[shift=(s.\anchor)] plot[mark=x] coordinates{(0,0)} + node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +\end{tikzpicture} +\end{codeexample} +\end{shape} + + +\begin{shape}{strike out} + This shape is idential to the |cross out| shape, only its foreground + path consists of a single line from the lower left to the upper + right. + +\begin{codeexample}[] +Strike \tikz[baseline] \node [strike out,draw,anchor=text] {me}; out! +\end{codeexample} + + See the |cross out| shape for the anchors. +\end{shape} + + + +\subsection{Tree Library} + +\label{section-tree-library} + + +\begin{package}{pgflibrarytikztrees} + This packages defines styles to be used when drawing trees. +\end{package} + +\subsubsection{Growth Functions} + +The package |pgflibrarytikztrees| defines two new growth +functions. They are installed using the following options: + +\begin{itemize} + \itemoption{grow via three points}|=one child at (|\meta{x}% + |) and two children at (|\meta{y}|) and (|\meta{z}|)| + This option installs a growth function that works as follows: If a + parent node has just one child, this child is placed at \meta{x}. If + the parent node has two children, these are placed at \meta{y} and + \meta{z}. If the parent node has more than two children, the + children are placed at points that are linearly extrapolated from + the three points \meta{x}, \meta{y}, and \meta{z}. In detail, the + position is $x + \frac{n-1}{2}(y-x) + (c-1)(z-y)$, where $n$ is the + number of children and $c$ is the number of the current child + (starting with~$1$). + + The net effect of all this is that if you have a certain ``linear + arrangement'' in mind and use this option to specify the placement + of a single child and of two children, then any number of children + will be placed correctly. + + Here are some arrangements based on this growth function. We start + with a simple ``above'' arrangement: +\begin{codeexample}[] +\begin{tikzpicture}[grow via three points={% + one child at (0,1) and two children at (-.5,1) and (.5,1)}] + \node at (0,0) {one} child; + \node at (0,-1.5) {two} child child; + \node at (0,-3) {three} child child child; + \node at (0,-4.5) {four} child child child child; +\end{tikzpicture} +\end{codeexample} + + The next arrangement places children above, but ``grows only to the + right.'' +\begin{codeexample}[] +\begin{tikzpicture}[grow via three points={% + one child at (0,1) and two children at (0,1) and (1,1)}] + \node at (0,0) {one} child; + \node at (0,-1.5) {two} child child; + \node at (0,-3) {three} child child child; + \node at (0,-4.5) {four} child child child child; +\end{tikzpicture} +\end{codeexample} + + In the final arrangement, the children are placed along a line going + down and right. +\begin{codeexample}[] +\begin{tikzpicture}[grow via three points={% + one child at (-1,-.5) and two children at (-1,-.5) and (0,-.75)}] + \node at (0,0) {one} child; + \node at (0,-1.5) {two} child child; + \node at (0,-3) {three} child child child; + \node at (0,-4.5) {four} child child child child; +\end{tikzpicture} +\end{codeexample} + + These examples should make it clear how you can create new styles to + arrange your children along a line. + + \itemstyle{grow cyclic} + This style causes the children to be arranged ``on a circle.'' For + this, the children are placed at distance |\tikzleveldistance| from + the parent node, but not on a straight line, but points on a + circle. Instead of a sibling distance, there is a |sibling angle| + that denotes the angle between two given children. + \begin{itemize} + \itemoption{sibling angle}|=|\meta{angle} + Sets the angle between siblings in the |grow cyclic| style. + \end{itemize} + Note that this function will rotate the coordinate system of the + children to ensure that the grandchildren will grow in the right + direction. +\begin{codeexample}[] +\begin{tikzpicture}[grow cyclic] + \tikzstyle{level 1}=[level distance=8mm,sibling angle=60] + \tikzstyle{level 2}=[level distance=4mm,sibling angle=45] + \tikzstyle{level 3}=[level distance=2mm,sibling angle=30] + \coordinate [rotate=-90] % going down + child foreach \x in {1,2,3} + {child foreach \x in {1,2,3} + {child foreach \x in {1,2,3}}}; +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +\subsubsection{Edges From Parent} + +The following styles can be used to modify how the edges from parents +are drawn: + +\begin{itemize} + \itemstyle{edge from parent fork down} + This style will draw a line from the parent downwards (for half the + level distance) and then on to the child using only horizontal and + vertical lines. +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} + [edge from parent fork down] + child {node {left}} + child {node {right} + child[child anchor=north east] {node {child}} + child {node {child}} + }; +\end{tikzpicture} +\end{codeexample} + \itemstyle{edge from parent fork right} + This style behaves similarly, only it will first draw its edge to + the right. +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} + [edge from parent fork right,grow=right] + child {node {left}} + child {node {right} + child {node {child}} + child {node {child}} + }; +\end{tikzpicture} +\end{codeexample} + \itemstyle{edge from parent fork left} + behaves similary. + \itemstyle{edge from parent fork up} + behaves similary. +\end{itemize} + + + +\subsection{Background Library} + +\label{section-tikz-backgrounds} + +\begin{package}{pgflibrarytikzbackgrounds} + This packages defines ``backgrounds'' for pictures. This does not + refer to background pictures, but rather to frames drawn around and + behind pictures. For example, this package allows you to just add + the |framed| option to a picture to get a rectangular box around + your picture or |gridded| to put a grid behind your picture. +\end{package} + +When this package is loaded, the following styles become available: +\begin{itemize} + \itemstyle{show background rectangle} + This style causes a rectangle to be drawn behind your graphic. This + style option must be given to the |{tikzpicture}| environment or to + the |\tikz| command. +\begin{codeexample}[] +\begin{tikzpicture}[show background rectangle] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + The size of the background rectangle is determined as follows: + We start with the bounding box of the picture. Then, a certain + separator distance is added on the sides. This distance can be + different for the $x$- and $y$-directions and can be set using the + following options: + \begin{itemize} + \itemoption{inner frame xsep}|=|\meta{dimension} + Sets the additional horizontal separator distance for the + background rectangle. The default is |1ex|. + \itemoption{inner frame ysep}|=|\meta{dimension} + Same for the vertical separator distance. + \itemoption{inner frame sep}|=|\meta{dimension} + sets the horizontal and vertical separator distances + simultaneously. + \end{itemize} + The following two styles make setting the inner separator a bit + easier to remember: + \begin{itemize} + \itemstyle{tight background} Sets the inner frame separator to + 0pt. The background rectangle will have the size of the bounding + box. + \itemstyle{loose background} Sets the inner frame separator to 2ex. + \end{itemize} + + You can influence how the background rectangle is rendered by setting + the following style: + \begin{itemize} + \itemstyle{background rectangle} + This style dictates how the background rectangle is drawn or + filled. By default this style is set to |draw|, which causes the + path of the background rectangle to be drawn in the usual + way. Setting this style to, say, |fill=blue!20| causes a light + blue background to be added to the picture. You can also use more + fancy settings as shown in the following example: +\begin{codeexample}[] +\tikzstyle{background rectangle}= + [double,ultra thick,draw=red,top color=blue,rounded corners] +\begin{tikzpicture}[show background rectangle] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + Naturally, no one in their right mind would use the above, but + here is a nice background: +\begin{codeexample}[] +\tikzstyle{background rectangle}= + [draw=blue!50,fill=blue!20,rounded corners=1ex] +\begin{tikzpicture}[show background rectangle] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + \itemstyle{framed} + This is a shorthand for |show background rectangle|. + \itemstyle{show background grid} + This style behaves similarly to the |show background rectangle| + style, but it will not use a rectangle path, but a grid. The lower + left and upper right corner of the grid is computed in the same way + as for the background rectangle: +\begin{codeexample}[] +\begin{tikzpicture}[show background grid] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + You can influence the background grid by setting + the following style: + \begin{itemize} + \itemstyle{background grid} + This style dictates how the background grid path is drawn. The + default is |draw,help lines|. +\begin{codeexample}[] +\tikzstyle{background grid}=[thick,draw=red,step=.5cm] +\begin{tikzpicture}[show background grid] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + This option can be combined with the |framed| option (use the + |framed| option first): +\begin{codeexample}[] +\tikzstyle{background grid}=[thick,draw=red,step=.5cm] +\tikzstyle{background rectangle}=[rounded corners,fill=yellow] +\begin{tikzpicture}[framed,gridded] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + \itemstyle{gridded} + This is a shorthand for |show background grid|. + \end{itemize} + \itemstyle{show background top} + This style causes a single line to be drawn at the top of the + background rectangle. Normally, the line coincides exactly with the + top line of the background rectangle: +\begin{codeexample}[] +\tikzstyle{background rectangle}=[fill=yellow] +\begin{tikzpicture}[framed,show background top] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + The following option allows you to lengthen (or shorten) the line: + \begin{itemize} + \itemoption{outer frame xsep}|=|\meta{dimension} + The \meta{dimension} is added at the left and right side of the + line. +\begin{codeexample}[] +\tikzstyle{background rectangle}=[fill=yellow] +\begin{tikzpicture} + [framed,show background top,outer frame xsep=1ex] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + \itemoption{outer frame ysep}|=|\meta{dimension} + This option does not apply to the top line, but to the left and + right lines, see below. + \itemoption{outer frame sep}|=|\meta{dimension} + Sets both the $x$- and $y$-separation. +\begin{codeexample}[] +\tikzstyle{background rectangle}=[fill=blue!20] +\begin{tikzpicture} + [outer frame sep=1ex,% + show background top,% + show background bottom,% + show background left,% + show background right] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + \end{itemize} + You can influence how the line is drawn grid by setting + the following style: + \begin{itemize} + \itemstyle{background top} + Default is |draw|. +\begin{codeexample}[] +\tikzstyle{background rectangle}=[fill=blue!20] +\tikzstyle{background top}=[draw=blue!50,line width=1ex] +\begin{tikzpicture}[framed,show background top] + \draw (0,0) ellipse (10mm and 5mm); +\end{tikzpicture} +\end{codeexample} + \end{itemize} + \itemstyle{show background bottom} + works like the style for the top line. + \itemstyle{show background left} + works like the style for the top line. + \itemstyle{show background right} + works like the style for the top line. +\end{itemize} + + +\subsection{Automata Drawing Library} + +\begin{package}{pgflibraryautomata} + This packages, which is still under construction, provides shapes + and styles for drawing automata. +\end{package} + + +\begin{shape}{state} + This shape is currently just an alias for the |circle| + shape. However, it is useful to have another shape |state| since one + can then say, for example, the the style |every state shape| should + be set to some special value. +\end{shape} + +\begin{shape}{state with output} + This shape is a multi-part shape. The main part (the text part) is + the name of the state as in the |state| shape. The second part is + called |output|. This node part is drawn in the lower part of the + node, separated from the upper part by a line. + +\begin{codeexample}[] +\begin{tikzpicture} + \node [state with output,draw,double,fill=red!20] + { + $q_1$ + \nodepart{output} + $00$ + }; +\end{tikzpicture} +\end{codeexample} + + The shape inherits all anchors from the |circle| shape and defines + the |output| anchor in addition. See also the + following figure: +\begin{codeexample}[] +\Huge +\begin{tikzpicture} + \node[name=s,shape=state with output,style=shape example] {state name\nodepart{output}output}; + \foreach \anchor/\placement in + {north west/above left, north/above, north east/above right, + west/left, center/below, east/right, + mid west/right, mid/above, mid east/left, + base west/left, base/below, base east/right, + south west/below left, south/below, south east/below right, + text/left, output/left, 130/above} + \draw[shift=(s.\anchor)] plot[mark=x] coordinates{(0,0)} + node[\placement] {\scriptsize\texttt{(s.\anchor)}}; +\end{tikzpicture} +\end{codeexample} +\end{shape} + + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual-pdftex-version" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-license.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-license.tex new file mode 100644 index 00000000000..16b158e11a2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-license.tex @@ -0,0 +1,326 @@ +% $Header: /cvsroot/pgf/pgf/doc/pgf/text-en/pgfmanual-en-license.tex,v 1.1 2005/09/02 16:05:42 tantau Exp $ + +% Copyright 2003, 2004 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the GNU Public License, version 2. + + +\subsection{License: The GNU Public License, Version 2} +\label{section-license} + +The \pgfname\ package is distributed under the \textsc{gnu} public +license, version 2. In detail, this means the following (the following +text is copyrighted by the Free Software Foundation): + +\subsubsection{Preamble} + +The licenses for most software are designed to take away your freedom to +share and change it. By contrast, the \textsc{gnu} General Public License is +intended to guarantee your freedom to share and change free software---to +make sure the software is free for all its users. This General Public +License applies to most of the Free Software Foundation's software and to +any other program whose authors commit to using it. (Some other Free +Software Foundation software is covered by the \textsc{gnu} Library General Public +License instead.) 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In such case, this License incorporates +the limitation as if written in the body of this License. + +\item +The Free Software Foundation may publish revised and/or new versions +of the General Public License from time to time. Such new versions will +be similar in spirit to the present version, but may differ in detail to +address new problems or concerns. + +Each version is given a distinguishing version number. If the Program +specifies a version number of this License which applies to it and ``any +later version'', you have the option of following the terms and conditions +either of that version or of any later version published by the Free +Software Foundation. If the Program does not specify a version number of +this License, you may choose any version ever published by the Free Software +Foundation. + +\item +If you wish to incorporate parts of the Program into other free +programs whose distribution conditions are different, write to the author +to ask for permission. For software which is copyrighted by the Free +Software Foundation, write to the Free Software Foundation; we sometimes +make exceptions for this. Our decision will be guided by the two goals +of preserving the free status of all derivatives of our free software and +of promoting the sharing and reuse of software generally. + +\end{enumerate} + +\subsubsection{No Warranty} + +\begin{enumerate} + +\addtocounter{enumi}{9} + +\item +Because the program is licensed free of charge, there is no warranty +for the program, to the extent permitted by applicable law. Except when +otherwise stated in writing the copyright holders and/or other parties +provide the program ``as is'' without warranty of any kind, either expressed +or implied, including, but not limited to, the implied warranties of +merchantability and fitness for a particular purpose. The entire risk as +to the quality and performance of the program is with you. Should the +program prove defective, you assume the cost of all necessary servicing, +repair or correction. + +\item +In no event unless required by applicable law or agreed to in writing +will any copyright holder, or any other party who may modify and/or +redistribute the program as permitted above, be liable to you for damages, +including any general, special, incidental or consequential damages arising +out of the use or inability to use the program (including but not limited +to loss of data or data being rendered inaccurate or losses sustained by +you or third parties or a failure of the program to operate with any other +programs), even if such holder or other party has been advised of the +possibility of such damages. +\end{enumerate} + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "beameruserguide" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-main.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-main.tex new file mode 100644 index 00000000000..992375bc778 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-main.tex @@ -0,0 +1,352 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +% pgf version is defined in \pgfversion in file +% generic/pgf/utilities/pgfrcs.code.tex + +\def\xcolorversion{2.00} +\def\xkeyvalversion{1.8} + +\usepackage[version=0.96]{pgf} +\usepackage{tikz} +\usepackage{pgflibraryarrows} +\usepackage{pgflibraryshapes} +\usepackage{pgflibrarysnakes} +\usepackage{pgflibraryautomata} +\usepackage{pgflibraryplotmarks} +\usepackage{pgflibrarytikzbackgrounds} +\usepackage{pgflibrarytikztrees} +\usepackage[left=2.25cm,right=2.25cm,top=2.5cm,bottom=2.5cm,nohead]{geometry} +\usepackage{amsmath,amssymb} +\usepackage{xxcolor} +\usepackage{pifont} +\usepackage{makeidx} +\usepackage[latin1]{inputenc} +\usepackage{amsmath} + +\input{../../macros/pgfmanual-en-macros} + +\makeindex + +\makeatletter +\renewcommand*\l@subsection{\@dottedtocline{2}{1.5em}{2.8em}} +\renewcommand*\l@subsubsection{\@dottedtocline{3}{4.3em}{3.2em}} +\makeatother + +%\includeonly{pgfmanual-en-tikz-shapes} + +% Global styles: +\tikzstyle{every plot}=[prefix=plots/pgf-] +\tikzstyle{shape example}=[color=black!30,draw,fill=yellow!30,line width=.5cm,inner xsep=2.5cm,inner ysep=0.5cm] + +\index{Options for graphics|see{Graphic options}} +\index{Options for packages|see{Package options}} +\index{File|see{Packages and files}} +\index{Layout|see{Page layout}} + +\begin{document} + +{ + \parindent0pt +\vbox{} +\vskip 3.5cm +\Huge +\tikzname\ and \pgfname + +\Large +Manual for Version \pgfversion + +\vskip 3cm + +\begin{codeexample}[graphic=white] +\tikzstyle{level 1}=[sibling angle=120] +\tikzstyle{level 2}=[sibling angle=60] +\tikzstyle{level 3}=[sibling angle=30] +\tikzstyle{every node}=[fill] +\tikzstyle{edge from parent}=[snake=expanding waves,segment length=1mm,segment angle=10,draw] + +\tikz [grow cyclic,shape=circle,very thick,level distance=13mm,cap=round] + \node {} child [color=\A] foreach \A in {red,green,blue} + { node {} child [color=\A!50!\B] foreach \B in {red,green,blue} + { node {} child [color=\A!50!\B!50!\C] foreach \C in {black,gray,white} + { node {} } + } + }; +\end{codeexample} +\vskip 0cm plus 1.5fill +\vbox{} +\clearpage +} + +{ + \vbox{} + \vskip0pt plus 1fill + Fr meinen Vater, damit er noch viele schne \TeX-Graphiken erschaffen kann. + \vskip0pt plus 3fill + \vbox{} + \clearpage +} + + +\title{The \tikzname\ and \pgfname\ Packages\\ + Manual for Version \pgfversion\\[1mm] +\large\href{http://sourceforge.net/projects/pgf}{\texttt{http://sourceforge.net/projects/pgf}}} +\author{Till Tantau\\ + \href{mailto:tantau@users.sourceforge.net}{\texttt{tantau@users.sourceforge.net}}} + +\maketitle + +\tableofcontents + +\clearpage + +\part{Getting Started} + +This part is intended to help you get started with the \pgfname\ +package. First, the installation process is explained; however, the +system will typically be already installed on your system, so this can +often be skipped. Next, a short tutorial is given that explains the +most often used commands and concepts of \tikzname, without going into +any of the glorious details. At the end of this section you will find +some, hopefully useful, hints on how to create ``good'' graphics in +general. The information in this section is not specific to +\pgfname. + +\vskip3cm + +\begin{codeexample}[graphic=white,width=0pt] +\tikz \draw[thick,rounded corners=8pt] + (0,0) -- (0,2) -- (1,3.25) -- (2,2) -- (2,0) -- (0,2) -- (2,2) -- (0,0) -- (2,0); +\end{codeexample} + +\include{pgfmanual-en-introduction} +\include{pgfmanual-en-installation} +\include{pgfmanual-en-tutorial} +\include{pgfmanual-en-guidelines} +\include{pgfmanual-en-drivers} + + +\part{Ti\emph{k}Z ist \emph{kein} Zeichenprogramm} +\label{part-tikz} + +\vskip3cm +\begin{codeexample}[graphic=white] +\begin{tikzpicture} + \draw[fill=yellow] (0,0) -- (60:.75cm) arc (60:180:.75cm); + \draw(120:0.4cm) node {$\alpha$}; + + \draw[fill=green!30] (0,0) -- (right:.75cm) arc (0:60:.75cm); + \draw(30:0.5cm) node {$\beta$}; + + \begin{scope}[shift={(60:2cm)}] + \draw[fill=green!30] (0,0) -- (180:.75cm) arc (180:240:.75cm); + \draw (30:-0.5cm) node {$\gamma$}; + + \draw[fill=yellow] (0,0) -- (240:.75cm) arc (240:360:.75cm); + \draw (-60:0.4cm) node {$\delta$}; + \end{scope} + + \begin{scope}[thick] + \draw (60:-1cm) node[fill=white] {$E$} -- (60:3cm) node[fill=white] {$F$}; + \draw[red] (-2,0) node[left] {$A$} -- (3,0) node[right]{$B$}; + \draw[blue,shift={(60:2cm)}] (-3,0) node[left] {$C$} -- (2,0) node[right]{$D$}; + + \draw[shift={(60:1cm)},xshift=4cm] + node [right,text width=6cm,rounded corners,fill=red!20,inner sep=1ex] + { + When we assume that $\color{red}AB$ and $\color{blue}CD$ are + parallel, i.\,e., ${\color{red}AB} \mathbin{\|} \color{blue}CD$, + then $\alpha = \delta$ and $\beta = \gamma$. + }; + \end{scope} +\end{tikzpicture} +\end{codeexample} + + + +\include{pgfmanual-en-tikz-design} +\include{pgfmanual-en-tikz-scopes} +\include{pgfmanual-en-tikz-coordinates} +\include{pgfmanual-en-tikz-paths} +\include{pgfmanual-en-tikz-actions} +\include{pgfmanual-en-tikz-shapes} +\include{pgfmanual-en-tikz-trees} +\include{pgfmanual-en-tikz-transformations} + + + +\part{Libraries and Utilities} +\label{part-libraries} + +In this part the library and utility packages are documented. The +library packages provide additional predefined graphic objects like +new arrow heads, or new plot marks. These are not loaded by default +since many users will not need them. + +The utility packages are not directly involved in creating graphics, +but you may find them useful nonetheless. All of them either directly +depend on \pgfname\ or they are designed to work well together with +\pgfname\ even though they can be used in a stand-alone way. +\vskip2cm +\medskip +\noindent +\begin{codeexample}[graphic=white] +\begin{tikzpicture}[scale=2] + \shade[top color=blue,bottom color=gray!50] (0,0) parabola (1.5,2.25) |- (0,0); + \draw (1.05cm,2pt) node[above] {$\displaystyle\int_0^{3/2} \!\!x^2\mathrm{d}x$}; + + \draw[style=help lines] (0,0) grid (3.9,3.9) + [step=0.25cm] (1,2) grid +(1,1); + + \draw[->] (-0.2,0) -- (4,0) node[right] {$x$}; + \draw[->] (0,-0.2) -- (0,4) node[above] {$f(x)$}; + + \foreach \x/\xtext in {1/1, 1.5/1\frac{1}{2}, 2/2, 3/3} + \draw[shift={(\x,0)}] (0pt,2pt) -- (0pt,-2pt) node[below] {$\xtext$}; + + \foreach \y/\ytext in {1/1, 2/2, 2.25/2\frac{1}{4}, 3/3} + \draw[shift={(0,\y)}] (2pt,0pt) -- (-2pt,0pt) node[left] {$\ytext$}; + + \draw (-.5,.25) parabola bend (0,0) (2,4) node[below right] {$x^2$}; +\end{tikzpicture} +\end{codeexample} + +\include{pgfmanual-en-libraries} +\include{pgfmanual-en-pgffor} +\include{pgfmanual-en-pages} +\include{pgfmanual-en-xxcolor} + + + +\part{The Basic Layer} + +\vskip1cm +\begin{codeexample}[graphic=white] +\begin{tikzpicture} + \draw[gray,very thin] (-1.9,-1.9) grid (2.9,3.9) + [step=0.25cm] (-1,-1) grid (1,1); + \draw[blue] (1,-2.1) -- (1,4.1); % asymptote + + \draw[->] (-2,0) -- (3,0) node[right] {$x(t)$}; + \draw[->] (0,-2) -- (0,4) node[above] {$y(t)$}; + + \foreach \pos in {-1,2} + \draw[shift={(\pos,0)}] (0pt,2pt) -- (0pt,-2pt) node[below] {$\pos$}; + + \foreach \pos in {-1,1,2,3} + \draw[shift={(0,\pos)}] (2pt,0pt) -- (-2pt,0pt) node[left] {$\pos$}; + + \fill (0,0) circle (0.064cm); + \draw[thick,parametric,domain=0.4:1.5,samples=200] + % The plot is reparameterised such that there are more samples + % near the center. + plot[id=asymptotic-example] function{(t*t*t)*sin(1/(t*t*t)),(t*t*t)*cos(1/(t*t*t))} + node[right] {$\bigl(x(t),y(t)\bigr) = (t\sin \frac{1}{t}, t\cos \frac{1}{t})$}; + + \fill[red] (0.63662,0) circle (2pt) + node [below right,fill=white,yshift=-4pt] {$(\frac{2}{\pi},0)$}; +\end{tikzpicture} +\end{codeexample} + + +\include{pgfmanual-en-base-design} +\include{pgfmanual-en-base-scopes} +\include{pgfmanual-en-base-points} +\include{pgfmanual-en-base-paths} +\include{pgfmanual-en-base-snakes} +\include{pgfmanual-en-base-actions} +\include{pgfmanual-en-base-arrows} +\include{pgfmanual-en-base-nodes} +\include{pgfmanual-en-base-transformations} +\include{pgfmanual-en-base-images} +\include{pgfmanual-en-base-shadings} +\include{pgfmanual-en-base-plots} +\include{pgfmanual-en-base-layers} +\include{pgfmanual-en-base-quick} + + + + +\part{The System Layer} +\label{part-system} + +This part describes the low-level interface of \pgfname, called the +\emph{system layer}. This interface provides a complete abstraction of +the internals of the underlying drivers. + +Unless you intend to port \pgfname\ to another driver or unless you intend +to write your own optimized frontend, you need not read this part. + +In the following it is assumed that you are familiar with the basic +workings of the |graphics| package and that you know what +\TeX-drivers are and how they work. + +\vskip1cm +\begin{codeexample}[graphic=white] +\begin{tikzpicture}[shorten >=1pt,->] + \tikzstyle{vertex}=[circle,fill=black!25,minimum size=17pt,inner sep=0pt] + + \foreach \name/\x in {s/1, 2/2, 3/3, 4/4, 15/11, 16/12, 17/13, 18/14, 19/15, t/16} + \node[vertex] (G-\name) at (\x,0) {$\name$}; + + \foreach \name/\angle/\text in {P-1/234/5, P-2/162/6, P-3/90/7, P-4/18/8, P-5/-54/9} + \node[vertex,xshift=6cm,yshift=.5cm] (\name) at (\angle:1cm) {$\text$}; + + \foreach \name/\angle/\text in {Q-1/234/10, Q-2/162/11, Q-3/90/12, Q-4/18/13, Q-5/-54/14} + \node[vertex,xshift=9cm,yshift=.5cm] (\name) at (\angle:1cm) {$\text$}; + + \foreach \from/\to in {s/2,2/3,3/4,3/4,15/16,16/17,17/18,18/19,19/t} + \draw (G-\from) -- (G-\to); + + \foreach \from/\to in {1/2,2/3,3/4,4/5,5/1,1/3,2/4,3/5,4/1,5/2} + { \draw (P-\from) -- (P-\to); \draw (Q-\from) -- (Q-\to); } + + \draw (G-3) .. controls +(-30:2cm) and +(-150:1cm) .. (Q-1); + \draw (Q-5) -- (G-15); +\end{tikzpicture} +\end{codeexample} + +\include{pgfmanual-en-pgfsys-overview} +\include{pgfmanual-en-pgfsys-commands} +\include{pgfmanual-en-pgfsys-paths} +\include{pgfmanual-en-pgfsys-protocol} + + + +\part{References and Index} + +\vskip1cm +\begin{codeexample}[graphic=white] +\begin{tikzpicture} + \draw[line width=0.3cm,color=red!30,cap=round,join=round] (0,0)--(2,0)--(2,5); + \draw[help lines] (-2.5,-2.5) grid (5.5,7.5); + \draw[very thick] (1,-1)--(-1,-1)--(-1,1)--(0,1)--(0,0)-- + (1,0)--(1,-1)--(3,-1)--(3,2)--(2,2)--(2,3)--(3,3)-- + (3,5)--(1,5)--(1,4)--(0,4)--(0,6)--(1,6)--(1,5) + (3,3)--(4,3)--(4,5)--(3,5)--(3,6) + (3,-1)--(4,-1); + \draw[below left] (0,0) node(s){$s$}; + \draw[below left] (2,5) node(t){$t$}; + \fill (0,0) circle (0.06cm) (2,5) circle (0.06cm); + \draw[->,rounded corners=0.2cm,shorten >=2pt] + (1.5,0.5)-- ++(0,-1)-- ++(1,0)-- ++(0,2)-- ++(-1,0)-- ++(0,2)-- ++(1,0)-- + ++(0,1)-- ++(-1,0)-- ++(0,-1)-- ++(-2,0)-- ++(0,3)-- ++(2,0)-- ++(0,-1)-- + ++(1,0)-- ++(0,1)-- ++(1,0)-- ++(0,-1)-- ++(1,0)-- ++(0,-3)-- ++(-2,0)-- + ++(1,0)-- ++(0,-3)-- ++(1,0)-- ++(0,-1)-- ++(-6,0)-- ++(0,3)-- ++(2,0)-- + ++(0,-1)-- ++(1,0); +\end{tikzpicture} +\end{codeexample} + +\printindex + +\end{document} + + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "~/texmf/tex/generic/pgf/doc/pgf/version-for-pdftex/en/pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pages.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pages.tex new file mode 100644 index 00000000000..3b6480b4f8e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pages.tex @@ -0,0 +1,670 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Page Management} + +This section describes the |pgfpages| packages. Although this package +is not concerned with creating pictures, its implementation relies so +heavily on \pgfname\ that it is documented here. Currently, |pgfpages| +only works with \LaTeX, but if you are adventurous, feel free to hack +the code so that it also works with plain \TeX. + +The aim of |pgfpages| is to provide a flexible way of putting multiple +pages on a single page \emph{inside \TeX}. Thus, |pgfpages| is quite +different from useful tools like |psnup| or |pdfnup| insofar as it +creates its output in a single pass. Furthermore, it works uniformly +with both |latex| and |pdflatex|, making it easy to put multiple pages +on a single page without any fuss. + +A word of warning: \emph{using |pgfpages| will destroy + hyperlinks}. Actually, the hyperlinks are not destroyed, only they +will appear at totally wrong positions on the final output. This is +due to a fundamental flaw in the \pdf\ specification: In \pdf\ the +bounding rectangle of a hyperlink is given in ``absolute +page coordinates'' and translations or rotations do not affect +them. Thus, the transformations applied by |pgfpages| to put the pages +where you want them are (cannot, even) be applied to the coordinates +of hyperlinks. It is unlikely that this will change in the foreseeable +future. + + +\subsection{Basic Usage} + +The internals of |pgfpages| are complex since the package can do all +sorts of interesting tricks. For this reason, so-called \emph{layouts} +are predefined that setup all option in appropriate ways. + +You use a layout as follows: +\begin{codeexample}[code only] +\documentclass{article} + +\usepackage{pgfpages} +\pgfpagesuselayout{2 on 1}[a4paper,landscape,border shrink=5mm] + +\begin{document} +This text is shown on the left. +\clearpage +This text is shown on the right. +\end{document} +\end{codeexample} + +The layout |2 on 1| puts two pages on a single page. The option +|a4paper| tells |pgfpages| that the \emph{resulting} page (called the +\emph{physical} page in the following) should be |a4paper| and it +should be landscape (which is quite logical since putting two portrait +pages next to each other gives a landscape page). Normally, the +\emph{logical} pages, that is, the pages that \TeX\ ``thinks'' that it +is typesetting, will have the same sizes, but this need not be the +case. |pgfpages| will automatically scale down the logical pages such +that two logical pages fit next to each other inside a DIN A4 page. + +The |border shrink| tells |pgfpages| that it should add an additional +5mm to the shrinking such that a 5mm-wide border is shown around the +resulting logical pages. + +As a second example, let us put two pages produced by the +\textsc{beamer} class on a single page: + +\begin{codeexample}[code only] +\documentclass{beamer} + +\usepackage{pgfpages} +\pgfpagesuselayout{2 on 1}[a4paper,border shrink=5mm] + +\begin{document} +\begin{frame} + This text is shown at the top. +\end{frame} +\begin{frame} + This text is shown at the bottom. +\end{frame} +\end{document} +\end{codeexample} + +Note that we do not use the |landscape| option since \textsc{beamer}'s +logical pages are already in landscape mode and putting two landscape +pages on top of each other results in a portrait page. However, if you +had used the |4 on 1| layout, you would have had to add |landscape| +once more, using the |8 on 1| you must not, using |16 on 1| you need +it yet again. And, no, there is no |32 on 1| layout. + +Another word of caution: \emph{using |pgfpages| will produce wrong + page numbers in the |.aux| file}. The reason is that \TeX\ +instantiates the page numbers when writing an |.aux| file only when +the physical page is shipped out. Fortunately, this problem is easy to +fix: First, typeset our file normally without using the +|\pgfpagesuselayout| command (just put the comment marker |%| before it) +Then, rerun \TeX\ with the |\pgfpagesuselayout| command included and add +the command |\nofiles|. This command ensures that the |.aux| file is +not modified, which is exactly what you want. So, to typeset the above +example, you should actually first \TeX\ the following file: + +\begin{codeexample}[code only] +\documentclass{article} + +\usepackage{pgfpages} +%%\pgfpagesuselayout{2 on 1}[a4paper,landscape,border shrink=5mm] +%%\nofiles + +\begin{document} +This text is shown on the left. +\clearpage +This text is shown on the right. +\end{document} +\end{codeexample} +and then typeset +\begin{codeexample}[code only] +\documentclass{article} + +\usepackage{pgfpages} +\pgfpagesuselayout{2 on 1}[a4paper,landscape,border shrink=5mm] +\nofiles + +\begin{document} +This text is shown on the left. +\clearpage +This text is shown on the right. +\end{document} +\end{codeexample} + +The final basic example is the |resize to| layout (it works a bit like +a hypothetical |1 on 1| layout). This layout resizes the logical page +such that is fits the specified physical size. Since this does not +change the page numbering, you need not worry about the |.aux| files +with this layout. For example, adding the following lines will ensure +that the physical output will fit on DIN A4 paper: +\begin{codeexample}[code only] +\usepackage{pgfpages} +\pgfpagesuselayout{resize to}[a4paper] +\end{codeexample} + +This can be very useful when you have to handle lots of papers that +are typeset for, say, letter paper and you have an A4 printer or the +other way round. For example, the following article will be fit for +printing on letter paper: +\begin{codeexample}[code only] +\documentclass[a4paper]{article} +%% a4 is currently the logical size and also the physical size + +\usepackage{pgfpages} +\pgfpagesuselayout{resize to}[letterpaper] +%% a4 is still the logical size, but letter is the physical one + +\begin{document} + \title{My Great Article} +... +\end{document} +\end{codeexample} + + + +\subsection{The Predefined Layouts} + +This section explains the predefined layouts in more detail. You +select a layout using the following command: +\begin{command}{\pgfpagesuselayout\marg{layout}\oarg{options}} + Installs the specified \meta{layout} with the given \meta{options} + set. The predefined layouts and their permissible options are + explained below. + + If this function is called multiple times, only the last call + ``wins.'' You can thereby overwrite any previous settings. In + particular, layouts \emph{do not} accumulate. + + \example |\pgfpagesuselayout{resize to}[a4paper]| +\end{command} + +\begin{pgflayout}{resize to} + This layout is used to resize every logical page to a specified + physical size. To determine the target size, the following options + may be given: + \begin{itemize} + \item + \declare{|physical paper height=|\meta{size}} sets the + height of the physical pape size to \meta{size}. + \item + \declare{|physical paper width=|\meta{size}} sets the + width of the physical pape size to \meta{size}. + \item + \declare{|a0paper|} sets the physical page size to DIN A0 paper. + \item + \declare{|a1paper|} sets the physical page size to DIN A1 paper. + \item + \declare{|a2paper|} sets the physical page size to DIN A2 paper. + \item + \declare{|a3paper|} sets the physical page size to DIN A3 paper. + \item + \declare{|a4paper|} sets the physical page size to DIN A4 paper. + \item + \declare{|a5paper|} sets the physical page size to DIN A5 paper. + \item + \declare{|a6paper|} sets the physical page size to DIN A6 paper. + \item + \declare{|letterpaper|} sets the physical page size to the + American letter paper size. + \item + \declare{|legalpaper|} sets the physical page size to the + American legal paper size. + \item + \declare{|executivepaper|} sets the physical page size to the + American executive paper size. + \item + \declare{|landscape|} swaps the height and the width of the + physical paper. + \item + \declare{|border shrink=|\meta{size}} additionally reduces the + size of the logical page on the physical page by \meta{size}. + \end{itemize} +\end{pgflayout} + +\begin{pgflayout}{2 on 1} + Puts two logical pages alongside each other on each physical page if + the logical height is larger than the logical width (logical pages + are in portrait mode). Otherwise, two + logical pages are put on top of each other (logical pages are in + landscape mode). When using this layout, it is advisable to use the + |\nofiles| command, but this is not done automatically. + + The same \meta{options} as for the |resize to| layout an be used, + plus the following option: + \begin{itemize} + \item + \declare{|odd numbered pages right|} + places the first page on the right. + \end{itemize} +\end{pgflayout} + + +\begin{pgflayout}{4 on 1} + Puts four logical pages on a single physical page. + The same \meta{options} as for the |resize to| layout an be used. +\end{pgflayout} + +\begin{pgflayout}{8 on 1} + Puts eight logical pages on a single physical page. As for |2 on 1|, + the orientation depends on whether the logical pages are in + landscape mode or in portrait mode. +\end{pgflayout} + +\begin{pgflayout}{16 on 1} + This is for the \textsc{ceo}. +\end{pgflayout} + +\begin{pgflayout}{rounded corners} + \label{layout-rounded-corners} + This layout adds ``rounded corners'' to every page, which, + supposedly, looks nicer during presentations with projectors + (personally, I doubt this). This is done by (possibly) resizing the + page to the physical page size. Then four black rectangles are + drawn in each corner. Next, a clipping region is set up that + contains all of the logical page except for little rounded + corners. Finally, the logical page is draw, clipped against the + clipping region. + + Note that every logical page should fill its background for this to + work. + + In addition to the \meta{options} that can be given to |resize to| + the following options may be given. + \begin{itemize} + \item \declare{|corner width=|\meta{size}} specifies the size of + the corner. + \end{itemize} + + \begin{codeexample}[code only] +\documentclass{beamer} +\usepackage{pgfpages} +\pgfpagesuselayout{rounded corners}[corner width=5pt] +\begin{document} +... +\end{document} +\end{codeexample} +\end{pgflayout} + +\begin{pgflayout}{two screens with lagging second} + This layout puts two logical pages alongside each other. The second + page always shows what the main + page showed on the previous physical page. Thus, the second page + ``lags behind'' the main page. This can be useful when you have to + projectors attached to your computer and can show different parts of + a physical page on different projectors. + + The following \meta{options} may be given: + \begin{itemize} + \item \declare{|second right|} puts the second page right of the + main page. This will make the physical pages twice as wide + as the logical pages, but it will retain the height. + \item \declare{|second left|} puts the second page left, + otherwise it behave the same as |second right|. + \item \declare{|second bottom|} puts the second page below the main + page. This make the physical pages twice as high as the logical + ones. + \item \declare{|second top|} works like |second bottom|. + \end{itemize} +\end{pgflayout} + +\begin{pgflayout}{two screens with optional second} + This layout works similarly to + |two screens with lagging second|. The difference is that the + contents of the second screen only changes when one of the commands + |\pgfshipoutlogicalpage{2}|\marg{box} or + |\pgfcurrentpagewillbelogicalpage{2}| is called. The first puts the + given \meta{box} on the second page. The second specifies that the + current page should be put there, once it is finished. + + The same options as for |two screens with lagging second| may be + given. +\end{pgflayout} + + + +You can define your own predefined layouts using the following +command: + +\begin{command}{\pgfpagesdeclarelayout\marg{layout}\marg{before + actions}\marg{after actions}} + This command predefines a \meta{layout} that can later be installed + using the |\pgfpagesuselayout| command. + + When |\pgfpagesuselayout|\marg{layout}\oarg{options} is called, the + following happens: First, the \meta{before actions} are + executed. They can be used, for example, to setup default values for + keys. Next, |\setkeys{pgfpagesuselayoutoption}|\marg{options} is + executed. Finally, the \meta{after actions} are executed. + + Here is an example: +\begin{codeexample}[code only] +\pgfpagesdeclarelayout{resize to} +{ + \def\pgfpageoptionborder{0pt} +} +{ + \pgfpagesphysicalpageoptions + {% + logical pages=1,% + physical height=\pgfpageoptionheight,% + physical width=\pgfpageoptionwidth% + } + \pgfpageslogicalpageoptions{1} + {% + resized width=\pgfphysicalwidth,% + resized height=\pgfphysicalheight,% + border shrink=\pgfpageoptionborder,% + center=\pgfpoint{.5\pgfphysicalwidth}{.5\pgfphysicalheight}% + }% +} +\end{codeexample} +\end{command} + + + + +\subsection{Defining a Layout} + +If none of the predefined layouts meets your problem or if you wish to +modify them, you can create layouts from scratch. This section +explains how this is done. + +Basically, |pgfpages| hooks into \TeX's |\shipout| function. This +function is called whenever \TeX\ has completed typesetting a page and +wishes to send this page to the |.dvi| or |.pdf| file. The |pgfpages| +package redefines this command. Instead of sending the page to the output +file, |pgfpages| stores it in an internal box and then acts as if the +page had been output. When \TeX\ tries to output the next page using +|\shipout|, this call is once more intercepted and the page is stored +in another box. These boxes are called \emph{logical pages}. + +At some point, enough logical pages have been accumulated such that a +\emph{physical page} can be output. When this happens, |pgfpages| +possibly scales, rotates, and translates the logical pages (and +possibly even does further modifications) and then puts them at +certain positions of the \emph{physical} page. Once this page is fully +assembled, the ``real'' or ``original'' |\shipout| is called to +send the physical page to the output file. + +In reality, things are slightly more complicated. First, once a +physical page has been shipped out, the logical pages are usually +voided, but this need not be the case. Instead, it is possible that +certain logical page just retain their contents after the physical +page has been shipped out and these pages need not be filled once more +before a physical shipout can occur. However, the contents of these +logical pages can still be changed using special commands. It is also +possible that after a shipout certain logical pages are filled with +the contents of \emph{other} logical pages. + +A \emph{layout} defines for each logical page where it will go on the +physical page and which further modifications should be done. The +following two commands are used to define the layout: + +\begin{command}{\pgfpagesphysicalpageoptions\marg{options}} + This command sets the characteristic of the ``physical'' page. For + example, it is used to specify how many logical pages there are and + how many logical pages must be accumulated before a physical page is + shipped out. How each individual logical page is typeset is + specified using the command |\pgfpageslogicalpageoptions|, described + later. + + \example A layout for putting two portrait pages on a single + landscape page: +\begin{codeexample}[code only] +\pgfpagesphysicalpageoptions +{% + logical pages=2,% + physical height=\paperwidth,% + physical width=\paperheight,% +} + +\pgfpageslogicalpageoptions{1} +{% + resized width=.5\pgfphysicalwidth,% + resized height=\pgfphysicalheight,% + center=\pgfpoint{.25\pgfphysicalwidth}{.5\pgfphysicalheight}% +}% +\pgfpageslogicalpageoptions{2} +{% + resized width=.5\pgfphysicalwidth,% + resized height=\pgfphysicalheight,% + center=\pgfpoint{.75\pgfphysicalwidth}{.5\pgfphysicalheight}% +}% +\end{codeexample} + + The following \meta{options} may be set: + \begin{itemize} + \item \declare{|logical pages=|\meta{logical pages}} specified how many + logical pages there are, in total. These are numbered 1 to + \meta{logical pages}. + \item \declare{|first logical shipout=|\meta{first}}. See the the + next option. By default, \meta{first} is 1. + \item \declare{|last logical shipout=|\meta{last}}. Together + with the previous option, these two options define an interval of + pages inside the range 1 to \meta{logical pages}. Only this range + is used to store the pages that are shipped out by \TeX. This + means that after a physical shipout has just occured (or at the + beginning), the first time \TeX\ wishes to perform a shipout, the + page to be shipped out is stored in logical page \meta{first}. The + next time \TeX\ performs a shipout, the page is stored in logical + page $\meta{first} +1$ and so on, until the logical page + \meta{last} is also filled. Once this happens, a physical shipout + occurs and the process starts once more. + + Note that logical pages that lie outside the interval between + \meta{first} and \meta{last} are filled only indirectly or when + special commands are used. + + By default, \meta{last} equals \meta{logical pages}. + \item \declare{|current logical shipout=|\meta{current}} changes + an internal counter such that \TeX's next logical shipout will be + stored in logical page \meta{current}. + + This option can be used to ``warp'' the logical page filling + mechanism to a certain page. You can both skip logical pages and + overwrite already filled logical pages. After the logical page + \meta{current} has been filled, the internal counter is + incremented normally as if the logical page \meta{current} had + been ``reached'' normally. If you specify a \meta{current} larger + to \meta{last}, a physical shipout will occur after the logical + page \meta{current} has been filled. + \item + \declare{|physical height=|\meta{height}} + specifies the height of the physical pages. This height is + typically different from the normal |\paperheight|, which is used + by \TeX\ for its typesetting and page breaking purposes. + \item + \declare{|physical width=|\meta{width}} + specifies the physical width. + \end{itemize} +\end{command} + + +\begin{command}{\pgfpageslogicalpageoptions\marg{logical page number}\marg{options}} + This command is used to specify where the logical page number + \meta{logical page number} will be placed on the physical page. In + addition, this command can be used to install additional ``code'' to + be executed when this page is put on the physical page. + + The number \meta{logical page number} should be between 1 and + \meta{logical pages}, which has previously been installed using the + |\pgfpagesphysicalpageoptions| command. + + The following \meta{options} may be given: + \begin{itemize} + \item + \declare{|center=|\meta{pgf point}} + specifies the center of the logical page inside the physical page + as a \pgfname-point. The origin of the coordinate system of the + physical page is at the \emph{lower} left corner. + +\begin{codeexample}[code only] +\pgfpageslogicalpageoptions{1} +{% center logical page on middle of left side + center=\pgfpoint{.25\pgfphysicalwidth}{.5\pgfphysicalheight}% + resized width=.5\pgfphysicalwidth,% + resized height=\pgfphysicalheight,% +} +\end{codeexample} + + \item + \declare{|resized width=|\meta{size}} + specifies the width that the logical page should have \emph{at + most} on the physical page. To achieve this width, the pages is + scaled down appropriately \emph{or more}. The ``or more'' part + can happen if the |resize height| option is also used. In this + case, the scaling is chosen such that both the specified height + and width are met. The aspect ratio of a logical page is not + modified. + \item + \declare{|resized height=|\meta{height}} + specifies the maximum height of the logical page. + \item + \declare{|original width=|\meta{width}} + specifies the width the \TeX\ ``thinks'' that the logical page + has. This width is |\paperwidth| at the point of invocation, by + default. Note that setting this width to something different from + |\paperwidth| does \emph{not} change the |\pagewidth| during + \TeX's typesetting. You have to do that yourself. + + You need this option only for special logical pages that have + a height or width different from the normal one and for which you + will (later on) set these sizes yourself. + \item + \declare{|original height=|\meta{height}} + works like |original width|. + \item + \declare{|scale=|\meta{factor}} + scales the page by at least the given \meta{factor}. A + \meta{factor} of |0.5| will half the size of the page, a factor or + |2| will double the size. ``At least'' means that if options like + |resize height| are given and if the scaling required to meet that + option is less than \meta{factor}, that other scaling is used + instead. + \item + \declare{|xscale=|\meta{factor}} + scales the logical page along the $x$-axis by the given + \meta{factor}. This scaling is done independently of any other + scaling. Mostly, this option is useful for a factor of |-1|, which + flips the page along the $y$-axis. The aspect ratio is not kept. + \item + \declare{|yscale=|\meta{factor}} + works like |xscale|, only for the $y$-axis. + \item + \declare{|rotation=|\meta{degree}} + rotates the page by \meta{degree} around its center. Use a degree + of |90| or |-90| to go from portrait to landscape and back. The + rotation need not be a multiple of |90|. + \item + \declare{|copy from=|\meta{logical page number}}. + Normally, after a physical shipout has occured, all logical pages + are voided in a loop. However, if this option is given, the + current logical page is filled with the contents of the old + logical page number \meta{logical page number}. + + \example Have logical page 2 retain its contents: +\begin{codeexample}[code only] +\pgfpageslogicalpageoptions{2}{copy from=2} +\end{codeexample} + + \example Let logical page 2 show what logical page 1 showed on the + just-shipped-out physical page: +\begin{codeexample}[code only] +\pgfpageslogicalpageoptions{2}{copy from=1} +\end{codeexample} + \item + \declare{|border shrink|=\meta{size}} + specifies an addition reduction of the size to which the page is + page is scaled down. + \item + \declare{|border code|=\meta{code}}. + When this option is given, the \meta{code} is executed before the + page box is inserted with a path preinstalled that is a rectangle + around the current logical page. Thus, setting \meta{code} to + |\pgfstroke| draws a rectangle around the logical page. Setting + \meta{code} to |\pgfsetlinewidth{3pt}\pgfstroke| results in a + thick (ugly) frame. Adding dashes and filling can result in + arbitrarily funky and distracting borders. + + You can also call |\pgfdiscardpath| and add your own path + construction code (for example to paint a rectangle with rounded + corners). The coordinate system is setup in such a way that a + rectangle starting at the origin and having the height and width + of \TeX-box 0 will result in a rectangle filling exactly the + logical page currently being put on the physical page. The logical + page is inserted \emph{after} these commands have been executed. + + \example Add a rectangle around the page: +\begin{codeexample}[code only] +\pgfpageslogicalpageoptions{1}{border code=\pgfstroke} +\end{codeexample} + \item + \declare{|corner width|=\meta{size}} + adds black ``rounded corners'' to the page. See the description of + the predefined layout |rounded corners| on + page~\pageref{layout-rounded-corners}. + \end{itemize} +\end{command} + + + + +\subsection{Creating Logical Pages} + +Logical pages are created whenever a \TeX\ thinks that a page is full +and performs a |\shipout| command. This will cause |pgfpages| to store +the box that was supposed to be shipped out internally until enough +logical pages have been collected such that a physical shipout can +occur. + +Normally, whenever a logical shipout occurs that current page is +stored in logical page number \meta{current logical page}. This +counter is then incremented, until it is larger than \meta{last + logical shipout}. You can, however, directly change the value of +\meta{current logical page} by calling |\pgfpagesphysicalpageoptions|. + +Another way to set the contents of a logical page is to use the +following command: + +\begin{command}{\pgfpagesshipoutlogicalpage\marg{number}\meta{box}} + This command sets to logical page \meta{number} to \meta{box}. The + \meta{box} should be the code of a \TeX\ box command. This command + does not influence the counter \meta{current logical page} and does + not cause a physical shipout. + +\begin{codeexample}[code only] +\pgfpagesshipoutlogicalpage{0}\vbox{Hi!} +\end{codeexample} + + This command can be used to set the contents of logical pages that + are normally not filled. +\end{command} + +The final way of setting a logical page is using the following +command: + +\begin{command}{\pgfpagescurrentpagewillbelogicalpage\marg{number}} + When the current \TeX\ page has been typeset, it will be become the given + logical page \meta{number}. This command ``interrupts'' the normal + order of logical pages, that is, it behaves like the previous + command and does not update the \meta{current logical page} + counter. + +\begin{codeexample}[code only] +\pgfpagesuselayout{two screens with optional second} +... +Text for main page. +\clearpage + +\pgfpagescurrentpagewillbelogicalpage{2} +Text that goes to second page +\clearpage + +Text for main page. +\end{codeexample} +\end{command} + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgffor.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgffor.tex new file mode 100644 index 00000000000..566464c5ea0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgffor.tex @@ -0,0 +1,275 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +\section{Repeating Things: The Foreach Statement} +\label{section-foreach} + +In this section the package |pgffor.sty| is described. It can be used +independently of \pgfname, but it works particularly well together with +\pgfname\ and \tikzname. + +When you say |\usepackage{pgffor}|, two commands are defined: +|\foreach| and |\breakforeach|. Their behaviour is described in the +following: + +\begin{command}{\foreach| |\meta{variables}| in |\marg{list} + \meta{commands}} + The syntax of this command is a bit complicated, so let us go + through it step-by-step. + + In the easiest case, \meta{variables} is a single \TeX-command like + |\x| or |\point|. (If you want to have some fun, you can also use + active characters. If you do not know what active characters are, + you are blessed.) + + Still in the easiest case, \meta{list} is a comma-separated list of + values. Anything can be used as a value, but numbers are most + likely. + + Finally, in the easiest case, \meta{commands} is some \TeX-text in + curly braces. + + With all these assumptions, the |\foreach| statement will execute + the \meta{commands} repeatedly, once for every element of the + \meta{list}. Each time the \meta{commands} are executed, the + \meta{variable} will be set to the current value of the list item. + +\begin{codeexample}[] +\foreach \x in {1,2,3,0} {[\x]} +\end{codeexample} + + \medskip + \textbf{Syntax for the commands.} + Let use move on to a more complicated setting. The first + complication occurs when the \meta{commands} are not some text in + curly braces. If the |\foreach| statement does not encounter an + opening brace, it will instead scan everything up to the next + semicolon and use this as \meta{commands}. This is most useful in + situations like the following: + +\begin{codeexample}[] +\tikz + \foreach \x in {0,1,2,3} + \draw (\x,0) circle (0.2cm); +\end{codeexample} + + However, the ``reading till the next semicolon'' is not the whole + truth. There is another rule: If a |\foreach| statement is directly + followed by another |\foreach| statement, this second foreach + statement is collected as \meta{commands}. This allows you to write + the following: + +\begin{codeexample}[] +\begin{tikzpicture} + \foreach \x in {0,1,2,3} + \foreach \y in {0,1,2,3} + { + \draw (\x,\y) circle (0.2cm); + \fill (\x,\y) circle (0.1cm); + } +\end{tikzpicture} +\end{codeexample} + + \medskip + \textbf{The dots notation.} + The second complication concerns the \meta{list}. If this + \meta{list} contains the list item ``|...|'', this list item is replaced + by the ``missing values.'' More precisely, the following happens: + + Normally, when a list item |...| is encountered, there should + already have been \emph{two} list items before it, which where + numbers. Examples of \emph{numbers} are |1|, |-10|, or + |-0.24|. Let us call these numbers $x$ and $y$ and let $d := y-x$ be + their difference. Next, there should also be one number following + the three dots, let us call this number~$z$. + + In this situation, the part of the list reading + ``$x$|,|$y$|,...,|$z$'' is replaced by ``$x$, $x+d$, $x+2d$, $x+3d$, + \dots, $x+md$,'' where the last dots are semantic dots, not + syntactic dots. The value $m$ is the largest number such that $x + + md \le z$ if $d$ is positive or such that $x+md \ge z$ if $d$ is + negative. + + Perhaps it is best to explain this by some examples: The following + \meta{list} have the same effects: + + |\foreach \x in {1,2,...,6} {\x, }| yields \foreach \x in {1,2,...,6} {\x, } + + |\foreach \x in {1,2,3,...,6} {\x, }| yields \foreach \x in {1,2,3,...,6} {\x, } + + |\foreach \x in {1,3,...,11} {\x, }| yields \foreach \x in {1,3,...,11} {\x, } + + |\foreach \x in {1,3,...,10} {\x, }| yields \foreach \x in {1,3,...,10} {\x, } + + |\foreach \x in {0,0.1,...,0.5} {\x, }| yields \foreach \x in {0,0.1,...,0.5} {\x, } + + |\foreach \x in {a,b,9,8,...,1,2,2.125,...,2.5} {\x, }| yields \foreach \x in {a,b,9,8,...,1,2,2.125,...,2.5} {\x, } + + As can be seen, for fractional steps that are not multiples of + $2^{-n}$ for some small $n$, rounding errors can occur pretty + easily. Thus, in the second last case, |0.5| should probably be + replaced by |0.501| for robustness. + + There is yet another special case for the |...| statement: If the + |...| is used right after the first item in the list, that is, if + there is an $x$, but no $y$, the difference $d$ obviously cannot be + computed and is set to $1$ if the number $z$ following the dots is + larger than $x$ and is set to $-1$ if $z$ is smaller: + + |\foreach \x in {1,...,6} {\x, }| yields \foreach \x in {1,...,6} {\x, } + + |\foreach \x in {9,...,3.5} {\x, }| yields \foreach \x in {9,...,3.5} {\x, } + + \medskip + \textbf{Special handling of pairs.} + Different list items are separated by commas. However, this causes a + problem when the list items contain commas themselves as pairs like + |(0,1)| do. In this case, you should put the items containing commas + in braces as in |{(0,1)}|. However, since pairs are such a natural + and useful case, they get a special treatment by the |\foreach| + statement. When a list item starts with a |(| everything up to the + next |)| is made part of the item. Thus, we can write things like + the following: + +\begin{codeexample}[] +\tikz + \foreach \position in {(0,0), (1,1), (2,0), (3,1)} + \draw \position rectangle +(.25,.5); +\end{codeexample} + + \medskip + \textbf{Using the foreach-statement inside paths.} + \tikzname\ allows you to use a |\foreach| statement inside a path + construction. In such a case, the \meta{commands} must be path + construction commands. Here are two examples: + +\begin{codeexample}[] +\tikz + \draw (0,0) + \foreach \x in {1,...,3} + { -- (\x,1) -- (\x,0) } + ; +\end{codeexample} + +\begin{codeexample}[] +\tikz \draw \foreach \p in {1,...,3} {(\p,1)--(\p,3) (1,\p)--(3,\p)}; +\end{codeexample} + + \medskip + \textbf{Multiple variables.} + You will often wish to iterate over two variables at the same + time. Since you can nest |\foreach| loops, this is normally + straight-forward. However, you sometimes wish variables to + iterate ``simultaneously.'' For example, we might be given a list of + edges that connect two coordinates and might wish to iterate over + these edges. While doing so, we would like the source and target of + the edges to be set to two different variables. + + To achieve this, you can use the following syntax: The + \meta{variables} may not only be a single \TeX-variable. Instead, it + can also be a list of variables separated by slashes (|/|). In this + case the list items can also be lists of values separated by + slashes. + + Assuming that the \meta{variables} and the list items are lists of + values, each time the \meta{commands} are executed, each of the + variables in \meta{variables} is set to one part of the list making + up the current list item. Here is an example to clarify this: + + \example |\foreach \x / \y in {1/2,a/b} {``\x\ and \y''}| yields + \foreach \x / \y in {1/2,a/b} {``\x\ and \y''}. + + If some entry in the \meta{list} does not have ``enough'' slashes, + the last entry will be repeated. Here is an example: +\begin{codeexample}[] +\begin{tikzpicture} + \foreach \x/\xtext in {0,...,3,2.72 / e} + \draw (\x,0) node{$\xtext$}; +\end{tikzpicture} +\end{codeexample} + + Here are more useful examples: +\begin{codeexample}[] +\begin{tikzpicture} + % Define some coordinates: + \tikzstyle{every node}=[draw,fill] + \path[shape=circle,fill=examplefill] + (0,0) node(a) {a} + (2,0.55) node(b) {b} + (1,1.5) node(c) {c} + (2,1.75) node(d) {d}; + + % Draw some connections: + \foreach \source/\target in {a/b, b/c, c/a, c/d} + \draw (\source) .. controls +(.75cm,0pt) and +(-.75cm,0pt)..(\target); +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + % Let's draw circles at interesting points: + \foreach \x / \y / \diameter in {0 / 0 / 2mm, 1 / 1 / 3mm, 2 / 0 / 1mm} + \draw (\x,\y) circle (\diameter); + + % Same effect + \foreach \center/\diameter in {{(0,0)/2mm}, {(1,1)/3mm}, {(2,0)/1mm}} + \draw[yshift=2.5cm] \center circle (\diameter); +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture}[cap=round,line width=3pt] + \filldraw [fill=examplefill] (0,0) circle (2cm); + + \foreach \angle / \label in + {0/3, 30/2, 60/1, 90/12, 120/11, 150/10, 180/9, + 210/8, 240/7, 270/6, 300/5, 330/4} + { + \draw[line width=1pt] (\angle:1.8cm) -- (\angle:2cm); + \draw (\angle:1.4cm) node{\textsf{\label}}; + } + + \foreach \angle in {0,90,180,270} + \draw[line width=2pt] (\angle:1.6cm) -- (\angle:2cm); + + \draw (0,0) -- (120:0.8cm); % hour + \draw (0,0) -- (90:1cm); % minute +\end{tikzpicture}% +\end{codeexample} + +\begin{codeexample}[] +\tikz[shading=ball] + \foreach \x / \cola in {0/red,1/green,2/blue,3/yellow} + \foreach \y / \colb in {0/red,1/green,2/blue,3/yellow} + \shade[ball color=\cola!50!\colb] (\x,\y) circle (0.4cm); +\end{codeexample} +\end{command} + + +\begin{command}{\breakforeach} + If this command is given inside a |\foreach| command, no further + executions of the \meta{commands} will occur. However, the current + execution of the \meta{commands} is continued normally, so it is + probably best to use this command only at the end of a |\foreach| + command. + +\begin{codeexample}[] +\begin{tikzpicture} + \foreach \x in {1,...,4} + \foreach \y in {1,...,4} + { + \fill[red!50] (\x,\y) ellipse (3pt and 6pt); + + \ifnum \x<\y + \breakforeach + \fi + } +\end{tikzpicture} +\end{codeexample} + +\end{command} + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-commands.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-commands.tex new file mode 100644 index 00000000000..743e357485c --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-commands.tex @@ -0,0 +1,865 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +\section{Commands of the System Layer} + +\makeatletter + +\subsection{Beginning and Ending a Stream of System Commands} + +A ``user'' of the \pgfname\ system layer (like the basic layer or a +frontend) will interface with the system layer by calling a stream of +commands starting with |\pgfsys@|. From the system layer's point of +view, these commands form a long stream. Between calls to the system +layer, control goes back to the user. + +The driver files implement system layer commands by inserting +|\special| commands that implement the desired operation. For example, +|\pgfsys@stroke| will be mapped to |\special{pdf: S}| by the driver +file for |pdftex|. + +For many drivers, when such a stream of specials starts, it is +necessary to install an appropriate transformation and perhaps perform +some more bureaucratic tasks. For this reason, every stream will start +with a |\pgfsys@beginpicture| and will end with a corresponding ending +command. + +\begin{command}{\pgfsys@beginpicture} + Called at the beginning of a |{pgfpicture}|. This command should + ``setup things.'' + + Most drivers will need to implement this command. +\end{command} + +\begin{command}{\pgfsys@endpicture} + Called at the end of a pgfpicture. + + Most drivers will need to implement this command. +\end{command} + +\begin{command}{\pgfsys@typesetpicturebox\marg{box}} + Called \emph{after} a |{pgfpicture}| has been typeset. The picture + will have been put in box \meta{box}. This command should insert the + box into the normal text. The box \meta{box} will still be a ``raw'' + box that contains only the |\special|'s that make up the description + of the picture. The job of this command is to resize and shift + \meta{box} according to the baseline shift and the size of the + box. + + This command has a default implementation and need not be + implemented by a driver file. +\end{command} + +\begin{command}{\pgfsys@beginpurepicture} + This version of the |\pgfsys@beginpicture| picture command can be + used for pictures that are guaranteed not to contain any escaped + boxes (see below). In this case, a driver might provide a more + compact version of the command. + + This command has a default implementation and need not be + implemented by a driver file. +\end{command} + +\begin{command}{\pgfsys@endpurepicture} + Called at the end of a ``pure'' |{pgfpicture}|. + + This command has a default implementation and need not be + implemented by a driver file. +\end{command} + +Inside a stream it is sometimes necessary to ``escape'' back into +normal typesetting mode; for example to insert some normal text, but +with all of the current transformations and clippings being in +force. For this escaping, the following command is used: + +\begin{command}{\pgfsys@hbox\marg{box number}} + Called to insert a (horizontal) TeX box inside a + |{pgfpicture}|. + + Most drivers will need to (re-)implement this command. +\end{command} + +\begin{command}{\pgfsys@hboxsynced\marg{box number}} + Called to insert a (horizontal) TeX box inside a + |{pgfpicture}|, but with the current coordiante transformation + matrix synced with the canvas transformation matrix. + + This command should do the same as if you used + |\pgflowlevelsynccm| followed by |\pgfsys@hbox|. However, the default + implementation of this command will use a ``TeX-translation'' for + the translation part of the transformation matrix. This will ensure + that hyperlinks ``survive'' at least translations. On the other + hand, a driver may choose to revert to a simpler + implementation. This is done, for example, for the \textsc{svg} + implementation, where a \TeX-translation makes no sense. +\end{command} + + + +\subsection{Path Construction System Commands} + +\begin{command}{\pgfsys@moveto\marg{x}\marg{y}} + This command is used to start a path at a specific point + $(x,y)$ or to move the current point of the current path to $(x,y)$ + without drawing anything upon stroking (the current path is + ``interrupted''). + + Both \meta{x} and \meta{y} are given as \TeX\ dimensions. It is the + driver's job to transform these to the coordinate system of the + backend. Typically, this means converting the \TeX\ dimension into a + dimensionless multiple of $\frac{1}{72}\mathrm{in}$. The function + |\pgf@sys@bp| helps with this conversion. + + \example Draw a line from $(10\mathrm{pt},10\mathrm{pt})$ to the + origin of the picture. +\begin{codeexample}[code only] +\pgfsys@moveto{10pt}{10pt} +\pgfsys@lineto{0pt}{0pt} +\pgfsys@stroke +\end{codeexample} + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@lineto\marg{x}\marg{y}} + Continue the current path to $(x,y)$ with + a straight line. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@curveto\marg{$x_1$}\marg{$y_1$}\marg{$x_2$}\marg{$y_2$}\marg{$x_3$}\marg{$y_3$}} + Continue the current path to $(x_3,y_3)$ + with a Bzier curve that has the two control points $(x_1,y_1)$ and $(x_2,y_2)$. + + \example Draw a good approximation of a quarter circle: +\begin{codeexample}[code only] +\pgfsys@moveto{10pt}{0pt} +\pgfsys@curveto{10pt}{5.55pt}{5.55pt}{10pt}{0pt}{10pt} +\pgfsys@stroke +\end{codeexample} + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@rect\marg{x}\marg{y}\marg{width}\marg{height}} + Append a rectangle to the current path whose lower left corner is + at $(x,y)$ and whose width and height in + big points are given by \meta{width} and \meta{height}. + + This command can be ``mapped back'' to |\pgfsys@moveto| and + |\pgfsys@lineto| commands, but it is included since \pdf\ has a + special, quick version of this command. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@closepath} + Close the current path. This results in joining the current point of + the path with the point specified by the last |\pgfsys@moveto| + operation. Typically, this is preferable over using |\pgfsys@lineto| + to the last point specified by a |\pgfsys@moveto|, since the line + starting at this point and the line ending at this point will be + smoothly joined by |\pgfsys@closepath|. + + \example Consider +\begin{codeexample}[code only] +\pgfsys@moveto{0pt}{0pt} +\pgfsys@lineto{10bp}{10bp} +\pgfsys@lineto{0bp}{10bp} +\pgfsys@closepath +\pgfsys@stroke +\end{codeexample} + and +\begin{codeexample}[code only] +\pgfsys@moveto{0bp}{0bp} +\pgfsys@lineto{10bp}{10bp} +\pgfsys@lineto{0bp}{10bp} +\pgfsys@lineto{0bp}{0bp} +\pgfsys@stroke +\end{codeexample} + + The difference between the above will be that in the second triangle + the corner at the origin will be wrong; it will just be the overlay + of two lines going in different directions, not a sharp pointed + corner. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + + + +\subsection{Canvas Transformation System Commands} + +\begin{command}{\pgfsys@transformcm\marg{a}\marg{b}\marg{c}\marg{d}\marg{e}\marg{f}} + Perform a concatenation of the canvas transformation matrix with the + matrix given by the values \meta{a} to \meta{f}, see the \pdf\ or + PostScript manual for details. The values \meta{a} to \meta{d} are + dimensionless factors, \meta{e} and \meta{f} are \TeX\ dimensions + + \example |\pgfsys@transformcm{1}{0}{0}{1}{1cm}{1cm}|. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@transformshift\marg{x displacement}\marg{y displacement}} + This command will change the origin of the canvas to $(x,y)$. + + This command has a default implementation and need not be + implemented by a driver file. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@transformxyscale\marg{x scale}\marg{y scale}} + This command will scale the canvas (and everything that is drawn) + by a factor of \meta{x scale} in the $x$-direction and \meta{y + scale} in the $y$-direction. Note that this applies to + everything, including lines. So a scaled line will have a different + width and may even have a different width when going along the + $x$-axis and when going along the $y$-axis, if the scaling is + different in these directions. Usually, you do not want this. + + This command has a default implementation and need not be + implemented by a driver file. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\subsection{Stroking, Filling, and Clipping System Commands} + +\begin{command}{\pgfsys@stroke} + Stroke the current path (as if it were drawn with a pen). A number + of graphic state parameters influence this, which can be + set using appropriate system commands described later. + + \begin{description} + \item[Line width] + The ``thickness'' of the line. A width of 0 is the thinnest width + renderable on the device. On a high-resolution printer this may + become invisible and should be avoided. A good choice is 0.4pt, + which is the default. + + \item[Stroke color] + This special color is used for stroking. If it is not set, the + current color is used. + + \item[Cap] + The cap describes how the endings of lines are drawn. A round cap + adds a little half circle to these endings. A butt cap ends the + lines exactly at the end (or start) point without anything + added. A rectangular cap ends the lines like the butt cap, but the + lines protrude over the endpoint by the line thickness. (See also + the \pdf\ manual.) If the path has been closed, no cap + is drawn. + + \item[Join] + This describes how a bend (a join) in a path is rendered. A round + join draws bends using small arcs. A bevel join just draws the two + lines and then fills the join minimally so that it becomes + convex. A miter join extends the lines so that they form a single + sharp corner, but only up to a certain miter limit. (See the \pdf\ + manual once more.) + + \item[Dash] + The line may be dashed according to a dashing pattern. + + \item[Clipping area] + If a clipping area is established, only those parts of the path + that are inside the clipping area will be drawn. + \end{description} + + In addition to stroking a path, the path may also be used for + clipping after it has been stroked. This will happen if the + |\pgfsys@clipnext| is used prior to this command, see there for + details. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@closestroke} + This command should have the same effect as first closing the path + and then stroking it. + + This command has a default implementation and need not be + implemented by a driver file. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@fill} + This command fills the area surrounded by the current path. If the + path has not yet been closed, it is closed prior to filling. The + path itself is not stroked. For self-intersecting paths or paths + consisting of multiple parts, the nonzero winding number rule is + used to determine whether a point is inside or outside the + path, except if |\ifpgfsys@eorule| holds -- in which case the + even-odd rule should be used. (See the \pdf\ or PostScript manual + for details.) + + The following graphic state parameters influence the filling: + + \begin{description} + \item[Interior rule] + If |\ifpgfsys@eorule| is set, the even-odd rule is used, otherwise + the non-zero winding number rule. + + \item[Fill color] + If the fill color is not especially set, the current color is + used. + + \item[Clipping area] + If a clipping area is established, only those parts of the filling + area that are inside the clipping area will be drawn. + \end{description} + + In addition to filling the path, the path will also be used for + clipping if |\pgfsys@clipnext| is used prior to this command. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@fillstroke} + First, the path is filled, then the path is stroked. If the fill and + stroke colors are the same (or if they are not specified and the + current color is used), this yields almost the same as a + |\pgfsys@fill|. However, due to the line thickness of the stroked + path, the fill-stroked area will be slightly larger. + + In addition to stroking and filling the path, the path will also be + used for clipping if |\pgfsys@clipnext| is used prior to this command. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@discardpath} + Normally, this command should ``throw away'' the current path. + However, after |\pgfsys@clipnext| has been called, the current path + should subsequently be used for clipping. See |\pgfsys@clipnext| for + details. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + +\begin{command}{\pgfsys@clipnext} + This command should be issued after a path has been constructed, but + before it has been stroked and/or filled or discarded. When the + command is used, the next stroking/filling/discarding command will + first be executed normally. Then, afterwards, the just-used path + will be used for subsequent clipping. If there has already been a + clipping region, this region is intersected with the new clipping + path (the clipping cannot get bigger). The nonzero winding number + rule is used to determine whether a point is inside or outside the + clipping area or the even-odd rule, depending on whether + |\ifpgfsys@eorule| holds. +\end{command} + + + + +\subsection{Graphic State Option System Commands} + +\begin{command}{\pgfsys@setlinewidth\marg{width}} + Sets the width of lines, when stroked, to \meta{width}, which must + be a \TeX\ dimension. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@buttcap} + Sets the cap to a butt cap. See |\pgfsys@stroke|. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@roundcap} + Sets the cap to a round cap. See |\pgfsys@stroke|. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@rectcap} + Sets the cap to a rectangular cap. See |\pgfsys@stroke|. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@miterjoin} + Sets the join to a miter join. See |\pgfsys@stroke|. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@setmiterlimit\marg{factor}} + Sets the miter limit of lines to \meta{factor}. See + the \pdf\ or PostScript for details on what the miter limit is. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@roundjoin} + Sets the join to a round join. See |\pgfsys@stroke|. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@beveljoin} + Sets the join to a bevel join. See |\pgfsys@stroke|. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@setdash\marg{pattern}\marg{phase}} + Sets the dashing patter. \meta{pattern} should be a list of \TeX\ + dimensions lengths separated by commas. \meta{phase} should be a + single dimension. + + \example |\pgfsys@setdash{3pt,3pt}{0pt}| + + The list of values in \meta{pattern} is used to determine the + lengths of the ``on'' phases of the dashing and of the ``off'' + phases. For example, if \meta{pattern} is |3bp,4bp|, then the dashing + pattern is ``3bp on followed by 4bp off, followed by 3bp on, + followed by 4bp off, and so on.'' A pattern of |.5pt,4pt,3pt,1.5pt| means + ``.5pt on, 4pt off, 3pt on, 1.5pt off, .5pt on, \dots'' If the + number of entries is odd, the last one is used twice, so |3pt| means + ``3pt on, 3pt off, 3pt on, 3pt off, \dots'' An empty list + means ``always on.'' + + The second argument determines the ``phase'' of the pattern. For + example, for a pattern of |3bp,4bp| and a phase of |1bp|, the pattern + would start: ``2bp on, 4bp off, 3bp on, 4bp off, 3bp on, 4bp off, + \dots'' + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +{\let\ifpgfsys@eorule=\relax +\begin{command}{\ifpgfsys@eorule} + Determines whether the even odd rule is used for filling and + clipping or not. +\end{command} +} + +\begin{command}{\pgfsys@stroke@opacity\marg{value}} + Sets the opacity of stroking operations. +\end{command} + +\begin{command}{\pgfsys@fill@opacity\marg{value}} + Sets the opacity of filling operations. +\end{command} + + +\subsection{Color System Commands} + +The \pgfname\ system layer provides a number of system commands for +setting colors. These command coexist with commands from the |color| +and |xcolor| package, which perform similar functions. However, the +|color| package does not support having two different colors for +stroking and filling, which is a useful feature that is supported by +\pgfname. For this reason, the \pgfname\ system layer offers commands for +setting these colors separatedly. Also, plain \TeX\ profits from the +fact that \pgfname\ can set colors. + +For \pdf, implementing these color commands is easy since \pdf\ +supports different stroking and filling colors directly. For +PostScript, a more complicated approach is needed in which the colors +need to be stored in special PostScript variables that are set +whenever a stroking or a filling operation is done. + +\begin{command}{\pgfsys@color@rgb\marg{red}\marg{green}\marg{blue}} + Sets the color used for stroking and filling operations to the given + red/green/blue tuple (numbers between 0 and 1). + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@rgb@stroke\marg{red}\marg{green}\marg{blue}} + Sets the color used for stroking operations to the given + red/green/blue tuple (numbers between 0 and 1). + + \example Make stroked text dark red: |\pgfsys@color@rgb@stroke{0.5}{0}{0}| + + The special stroking color is only used if the stroking color has + been set since the last |\color| or |\pgfsys@color@xxx| + command. Thus, each |\color| command will reset both the stroking + and filling colors by calling |\pgfsys@color@reset|. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@rgb@fill\marg{red}\marg{green}\marg{blue}} + Sets the color used for filling operations to the given + red/green/blue tuple (numbers between 0 and 1). This color may be + different from the stroking color. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@cmyk\marg{cyan}\marg{magenta}\marg{yellow}\marg{black}} + Sets the color used for stroking and filling operations to the given + cymk tuple (numbers between 0 and 1). + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@cmyk@stroke\marg{cyan}\marg{magenta}\marg{yellow}\marg{black}} + Sets the color used for stroking operations to the given cymk tuple + (numbers between 0 and 1). + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@cmyk@fill\marg{cyan}\marg{magenta}\marg{yellow}\marg{black}} + Sets the color used for filling operations to the given cymk tuple + (numbers between 0 and 1). + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@cmy\marg{cyan}\marg{magenta}\marg{yellow}} + Sets the color used for stroking and filling operations to the given + cym tuple (numbers between 0 and 1). + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@cmy@stroke\marg{cyan}\marg{magenta}\marg{yellow}} + Sets the color used for stroking operations to the given cym tuple + (numbers between 0 and 1). + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@cmy@fill\marg{cyan}\marg{magenta}\marg{yellow}} + Sets the color used for filling operations to the given cym tuple + (numbers between 0 and 1). + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@gray\marg{black}} + Sets the color used for stroking and filling operations to the given + black value, where 0 means black and 1 means white. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@gray@stroke\marg{black}} + Sets the color used for stroking operations to the given black value, + where 0 means black and 1 means white. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@gray@fill\marg{black}} + Sets the color used for filling operations to the given black value, + where 0 means black and 1 means white. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@color@reset} + This command will be called when the |\color| command is used. It + should purge any internal settings of stroking and filling + color. After this call, till the next use of a command like + |\pgfsys@color@rgb@fill|, the current color installed by the + |\color| command should be used. + + If the \TeX-if |\pgfsys@color@reset@inorder| is set to true, this + command may ``assume'' that any call to a color command that sets + the fill or stroke color came ``before'' the call to this command + and may try to optimize the output accordingly. + + An example of an incorrect ``out of order'' call would be using + |\pgfsys@color@reset| at the beginning of a box that is constructed + using |\setbox|. Then, when the box is constructed, no special fill + or stroke color might be in force. However, when the box is later on + inserted at some point, a special fill color might already have been + set. In this case, this command is not guaranteed to reset the color + correctly. +\end{command} + +\begin{command}{\pgfsys@color@reset@inordertrue} + Sets the optimized ``in order'' version of the color resetting. This + is the default. +\end{command} + +\begin{command}{\pgfsys@color@reset@inorderfalse} + Switches off the optimized color resetting. +\end{command} + +\begin{command}{\pgfsys@color@unstacked\marg{\LaTeX\ color}} + This slightly obscure command causes the color stack to be + tricked. When called, this command should set the current color to + \meta{\LaTeX\ color} without causing any change in the color stack. + + \example |\pgfsys@color@unstacked{red}| +\end{command} + + +\subsection{Scoping System Commands} + +The scoping commands are used to keep changes of the graphics state +local. + +\begin{command}{\pgfsys@beginscope} + Saves the current graphic state on a graphic state stack. All + changes to the graphic state parameters mentioned for |\pgfsys@stroke| + and |\pgfsys@fill| will be local to the current graphic state and + the old values will be restored after |\pgfsys@endscope| is used. + + \emph{Warning:} \pdf\ and PostScript differ with respect to the + question of whether the current path is part of the graphic state or + not. For this reason, you should never use this command unless the + path is currently empty. For example, it might be a good idea to use + |\pgfsys@discardpath| prior to calling this command. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@endscope} + Restores the last saved graphic state. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + + + + + + +\subsection{Image System Commands} + +The system layer provides some commands for image inclusion. + +\begin{command}{\pgfsys@imagesuffixlist} + This macro should expand to a list of suffixes, separated by `:', + that will be tried when searching for an image. + + \example |\def\pgfsys@imagesuffixlist{eps:epsi:ps}| +\end{command} + + +\begin{command}{\pgfsys@defineimage} + Called, when an image should be defined. + + This command does not take any parameters. Instead, certain macros + will be preinstalled with appropriate values when this command is + invoked. These are: + + \begin{itemize} + \item\declare{|\pgf@filename|} + File name of the image to be defined. + + \item\declare{|\pgf@imagewidth|} + Will be set to the desired (scaled) width of the image. + + \item\declare{|\pgf@imageheight|} + Will be set to the desired (scaled) height of the image. + + If this macro and also the height macro are empty, the image + should have its ``natural'' size. + + If exactly only of them is specified, the undefined value the + image is scaled so that the aspect ratio is kept. + + If both are set, the image is scaled in both directions + independently, possibly changing the aspect ratio. + \end{itemize} + + The following macros presumable mostly make sense for drivers that + can handle \pdf: + + \begin{itemize} + \item \declare{|\pgf@imagepage|} + The desired page number to be extracted from a multi-page + ``image.'' + + \item\declare{|\pgf@imagemask|} + If set, it will be set to |/SMask x 0 R| where |x| is the \pdf\ + object number of a soft mask to be applied to the image. + + \item\declare{|\pgf@imageinterpolate|} + If set, it will be set to |/Interpolate true| or + |/Interpolate false|, indicating whether the image should be + interpolated in \pdf. + \end{itemize} + + The command should now setup the macro |\pgf@image| such that calling + this macro will result in typesetting the image. Thus, |\pgf@image| is + the ``return value'' of the command. + + This command has a default implementation and need not be + implemented by a driver file. +\end{command} + + +\begin{command}{\pgfsys@definemask} + This command declares a mask for usage with images. It works similar + to |\pgfsys@defineimage|: Certain macros are set when the command is + called. The result should be to set the macro |\pgf@mask| to a pdf + object count that can subsequently be used as a soft mask. The + following macros will be set when this command is invoked: + + \begin{itemize} + \item \declare{|\pgf@filename|} + File name of the mask to be defined. + + \item \declare{|\pgf@maskmatte|} + The so-called matte of the mask (see the \pdf\ documentation for + details). The matte is a color specification consisting of 1, 3 or + 4 numbers between 0 and 1. The number of numbers depends on the + number of color channels in the image (not in the mask!). It will + be assumed that the image has been preblended with this color. + \end{itemize} +\end{command} + + +\subsection{Shading System Commands} + + +\begin{command}{\pgfsys@horishading\marg{name}\marg{height}\marg{specification}} + Declares a horizontal shading for later use. The effect of this + command should be the definition of a macro called |\@pgfshading|\meta{name}|!| + (or |\csname @pdfshading|\meta{name}|!\endcsname|, to be + precise). When invoked, this new macro should insert a shading at + the current position. + + \meta{name} is the name of the shading, which is also used in the + output macro name. \meta{height} is the height of the shading and + must be given as a TeX dimension like |2cm| or + |10pt|. \meta{specification} is a shading color + specification as specified in Section~\ref{section-shadings}. The + shading specification implicitly fixes the width of the shading. + + When |\@pgfshading|\meta{name}|!| is invoked, it should insert a box + of height \meta{height} and the width implicit in the shading + declaration. +\end{command} + + +\begin{command}{\pgfsys@vertshading\marg{name}\marg{width}\marg{specification}} + Like the horizontal version, only for vertical shadings. This time, + the height of the shading is implicit in \meta{specification} and + the width is given as \meta{width}. +\end{command} + +\begin{command}{\pgfsys@radialshading\marg{name}\marg{starting point}\marg{specification}} + Declares a radial shading. Like the previous macros, this command + should setup the macro |\@pgfshading|\meta{name}|!|, which upon + invocation should insert a radial shading whose size is implicit in + \meta{specification}. + + The parameter \meta{starting point} is a \pgfname\ point + specifying the inner starting point of the shading. +\end{command} + + +\subsection{Reusable Objects System Commands} + +\begin{command}{\pgfsys@invoke\marg{literals}} + This command gets protocoled literals and should insert them into + the |.pdf| or |.dvi| file using an appropriate |\special|. +\end{command} + +\begin{command}{\pgfsys@defobject\marg{name}\marg{lower + left}\marg{upper right}\marg{code}} + Declares an object for later use. The idea is that the object can be + precached in some way and then be rendered more quickly when used + several times. For example, an arrow head might be defined and + prerendered in this way. + + The parameter \meta{name} is the name for later use. \meta{lower + left} and \meta{upper right} are \pgfname\ points specifying a bounding + box for the object. \meta{code} is the code for the object. The code + should not be too fancy. + + This command has a default implementation and need not be + implemented by a driver file. +\end{command} + +\begin{command}{\pgfsys@useobject\marg{name}\marg{extra code}} + Renders a previously declared object. The first parameter is the + name of the the object. The second parameter is extra code that + should be executed right \emph{before} the object is + rendered. Typically, this will be some transformation code. + + This command has a default implementation and need not be + implemented by a driver file. +\end{command} + + +\subsection{Invisibility System Commands} + +All drawing or stroking or text rendering between calls of the +following commands should be suppressed. A similar effect can be +achieved by clipping against an empty region, but the following +commands do not open a graphics scope and can be opened and closed +``orthogonally'' to other scopes. + +\begin{command}{\pgfsys@begininvisible} + Between this command and the closing |\pgfsys@endinvisible| all + output should be suppressed. Nothing should be drawn at all, which + includes all paths, images and shadings. However, no groups (neither + \TeX\ groups nor graphic state groups) should be opened by this + command. + + This command has a default implementation and need not be + implemented by a driver file. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + +\begin{command}{\pgfsys@endinvisible} + Ends the invisibility section, unless invisibility blocks have been + nested. In this case, only the ``last'' one restores visibility. + + This command has a default implementation and need not be + implemented by a driver file. + + This command is protocoled, see Section~\ref{section-protocols}. +\end{command} + + + + +\subsection{Internal Conversion Commands} + +The system commands take \TeX\ dimensions as input, but the dimensions +that have to be inserted into \pdf\ and PostScript files need to be +dimensionless values that are interpreted as multiples of +$\frac{1}{72}\mathrm{in}$. For example, the \TeX\ dimension $2bp$ +should be inserted as |2| into a \pdf\ file and the \TeX\ dimension +$10\mathrm{pt}$ as |9.9626401|. To make this conversion easier, the following +command may be useful: + +\begin{command}{\pgf@sys@bp\marg{dimension}} + Inserts how many multiples of $\frac{1}{72}\mathrm{in}$ the + \meta{dimension} is into the current protocol stream (buffered). + + \example |\pgf@sys@bp{\pgf@x}| or |\pgf@sys@bp{1cm}|. +\end{command} + +Note that this command is \emph{not} a system command that can/needs +to be overwritten by a driver. + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-overview.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-overview.tex new file mode 100644 index 00000000000..091afdc9e80 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-overview.tex @@ -0,0 +1,79 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +\section{Design of the System Layer} + +\makeatletter + + +\subsection{Driver Files} +\label{section-pgfsys} + +The \pgfname\ system layer mainly consists of a large number of +commands starting with |\pgfsys@|. These commands will be called +\emph{system commands} in the following. The higher layers +``interface'' with the system layer by calling these commands. The +higher layers should never use |\special| commands directly or even +check whether |\pdfoutput| is defined. Instead, all drawing requests +should be ``channeled'' through the system commands. + +The system layer is loaded and setup by the following package: + +\begin{package}{pgfsys} + This file provides ``default implementations'' of all system + commands, but most simply produce a warning that they are not + implemented. The actual implementations of the system commands for a + particular driver like, say, |pdftex| reside in files called + |pgfsys-xxxx.sty|, where |xxxx| is the driver name. These will be + called \emph{driver files} in the following. + + When |pgfsys.sty| is loaded, it will try to determine which driver + is used by loading |pgf.cfg|. This file should setup the macro + |\pgfsysdriver| appropriately. The, |pgfsys.sty| will input the + appropriate |pgfsys-|\meta{drivername}|.sty|. +\end{package} + +\begin{command}{\pgfsysdriver} + This macro should expand to the name of the driver to be used by + |pgfsys|. The default from |pgf.cfg| is |pgfsys-\Gin@driver|. This + is very likely to be correct if you are using \LaTeX. For plain + \TeX, the macro will be set to |pgfsys-pdftex.def| if |pdftex| is + used and to |pgfsys-dvips.def| otherwise. +\end{command} + +\begin{filedescription}{pgf.cfg} + This file should setup the command |\pgfsysdriver| correctly. If + |\pgfsysdriver| is already set to some value, the driver normally + should not change it. Otherwise, it should make a ``good guess'' at + which driver will be appropriate. +\end{filedescription} + + +The currently supported backend drivers are discussed in +Section~\ref{section-drivers}. + + +\subsection{Common Definition Files} + +Some drivers share many |\pgfsys@| commands. For the reason, files +defining these ``common'' commands are available. These files are +\emph{not} usable alone. + +\begin{filedescription}{pgfsys-common-postscript} + This file defines some |\pgfsys@| commands so that they produce + appropriate PostScript code. +\end{filedescription} + +\begin{filedescription}{pgfsys-common-pdf} + This file defines some |\pgfsys@| commands so that they produce + appropriate \textsc{pdf} code. +\end{filedescription} + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-paths.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-paths.tex new file mode 100644 index 00000000000..0b87a7d108b --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-paths.tex @@ -0,0 +1,235 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +\section{The Soft Path Subsystem} + +\label{section-soft-paths} + +\makeatletter + + +This section describes a set of commands for creating \emph{soft + paths} as opposed to the commands of the previous section, which +created \emph{hard paths}. A soft path is a path that can still be +``changed'' or ``molded.'' Once you (or the \pgfname\ system) is +satisfied with a soft path, it is turned into a hard path, which can +be inserted into the resulting |.pdf| or |.ps| file. + +Note that the commands described in this section are ``high-level'' in +the sense that they are not implemented in driver files, but rather +directly by the \pgfname-system layer. For this reason, the commands for +creating soft paths do not start with |\pgfsys@|, but rather with +|\pgfsyssoftpath@|. On the other hand, as a user you will never use +these commands directly, so they are described as part of the +low-level interface. + + + +\subsection{Path Creation Process} + +When the user writes a command like |\draw (0bp,0bp) -- (10bp,0bp);| +quite a lot happens behind the scenes: +\begin{enumerate} +\item + The frontend command is translated by \tikzname\ into commands + of the basic layer. In essence, the command is translated to + something like +\begin{codeexample}[code only] +\pgfpathmoveto{\pgfpoint{0bp}{0bp}} +\pgfpathlineto{\pgfpoint{10bp}{0bp}} +\pgfusepath{stroke} +\end{codeexample} +\item + The |\pgfpathxxxx| command do \emph{not} directly call ``hard'' + commands like |\pgfsys@xxxx|. Instead, the command |\pgfpathmoveto| + invokes a special command called |\pgfsyssoftpath@moveto| and + |\pgfpathlineto| invokes |\pgfsyssoftpath@lineto|. + + The |\pgfsyssoftpath@xxxx| commands, which are described below, + construct a soft path. Each time such a command is used, special + tokens are added to the end of an internal macro that stores the + soft path currently being constructed. +\item + When the |\pgfusepath| is encountered, the soft path stored in + the internal macro is ``invoked.'' Only now does a special macro + iterate over the soft path. For each line-to or move-to + operation on this path it calls an appropriate |\pgfsys@moveto| or + |\pgfsys@lineto| in order to, finally, create the desired hard path, + namely, the string of literals in the |.pdf| or |.ps| file. +\item + After the path has been invoked, |\pgfsys@stroke| is called to + insert the literal for stroking the path. +\end{enumerate} + +Why such a complicated process? Why not have |\pgfpathlineto| directly +call |\pgfsys@lineto| and be done with it? There are two reasons: +\begin{enumerate} +\item + The \pdf\ specification requires that a path is not interrupted by + any non-path-construction commands. Thus, the following code will + result in a corrupted |.pdf|: +\begin{codeexample}[code only] +\pgfsys@moveto{0}{0} +\pgfsys@setlinewidth{1} +\pgfsys@lineto{10}{0} +\pgfsys@stroke +\end{codeexample} + Such corrupt code is \emph{tolerated} by most viewers, but not + always. It is much better to create only (reasonably) legal code. +\item + A soft path can still be changed, while a hard path is fixed. For + example, one can still change the starting and end points of a soft + path or do optimizations on it. Such transformations are not possible + on hard paths. +\end{enumerate} + + +\subsection{Starting and Ending a Soft Path} + +No special action must be taken in order to start the creation of a +soft path. Rather, each time a command like |\pgfsyssoftpath@lineto| +is called, a special token is added to the (global) current soft path +being constructed. + +However, you can access and change the current soft path. In this way, +it is possible to store a soft path, to manipulate it, or to invoke +it. + +\begin{command}{\pgfsyssoftpath@getcurrentpath\marg{macro name}} + This command will store the current soft path in \meta{macro name}. +\end{command} + +\begin{command}{\pgfsyssoftpath@setcurrentpath\marg{macro name}} + This command will set the current soft path to be the path stored in + \meta{macro name}. This macro should store a path that has + previously been extracted using the |\pgfsyssoftpath@getcurrentpath| + command and has possibly been modified subsequently. +\end{command} + +\begin{command}{\pgfsyssoftpath@invokecurrentpath} + This command will turn the current soft path in a ``hard'' path. To + do so, it iterates over the soft path and calls an appropriate + |\pgfsys@xxxx| command for each element of the path. Note that the + current soft path is \emph{not changed} by this command. Thus, in + order to start a new soft path after the old one has been invoked + and is no longer needed, you need to set the current soft path to be + empty. This may seems strange, but it is often useful to immediately + use the last soft path again. +\end{command} + +\begin{command}{\pgfsyssoftpath@flushcurrentpath} + This command will invoke the current soft path and then set it to be + empty. +\end{command} + + + +\subsection{Soft Path Creation Commands} + +\begin{command}{\pgfsyssoftpath@moveto\marg{x}\marg{y}} + This command appends a ``move-to'' segment to the current soft + path. The coordinates \meta{x} and \meta{y} are given as normal + \TeX\ dimensions. + + \example One way to draw a line: +\begin{codeexample}[code only] +\pgfsyssoftpath@moveto{0pt}{0pt} +\pgfsyssoftpath@lineto{10pt}{10pt} +\pgfsyssoftpath@flushcurrentpath +\pgfsys@stroke +\end{codeexample} +\end{command} + +\begin{command}{\pgfsyssoftpath@lineto\marg{x}\marg{y}} + Appends a ``line-to'' segment to the current soft path. +\end{command} + +\begin{command}{\pgfsyssoftpath@curveto\marg{a}\marg{b}\marg{c}\marg{d}\marg{x}\marg{y}} + Appends a ``curve-to'' segment to the current soft path with controls + $(a,b)$ and $(c,d)$. +\end{command} + +\begin{command}{\pgfsyssoftpath@rect\marg{lower left x}\marg{lower left y}\marg{width}\marg{height}} + Appends a rectangle segment to the current soft path. +\end{command} + +\begin{command}{\pgfsyssoftpath@closepath} + Appends a ``close-path'' segment to the current soft path. +\end{command} + + + + +\subsection{The Soft Path Data Structure} + +A soft path is stored in a standardized way, which makes it possible to +modify it before it becomes ``hard.'' Basically, a soft path is a long +sequence of triples. Each triple starts with a \emph{token} that +identifies what is going on. This token is followed by two dimensions in +braces. For example, the following is a soft path that means ``the +path starts at $(0\mathrm{bp}, 0\mathrm{bp})$ and then +continues in a straight line to $(10\mathrm{bp}, +0\mathrm{bp})$.'' + +\begin{codeexample}[code only] +\pgfsyssoftpath@movetotoken{0bp}{0bp}\pgfsyssoftpath@linetotoken{10bp}{0bp} +\end{codeexample} + +A curve-to is hard to express in this way since we need six numbers to +express it, not two. For this reasons, a curve-to is expressed using +three triples as follows: The command +\begin{codeexample}[code only] +\pgfsyssoftpath@curveto{1bp}{2bp}{3bp}{4bp}{5bp}{6bp} +\end{codeexample} +\noindent +results in the following three triples: +\begin{codeexample}[code only] +\pgfsyssoftpath@curvetosupportatoken{1bp}{2bp} +\pgfsyssoftpath@curvetosupportbtoken{3bp}{4bp} +\pgfsyssoftpath@curvetotoken{5bp}{6bp} +\end{codeexample} + +These three triples must always ``remain together.'' Thus, a lonely +|supportbtoken| is forbidden. + +In details, the following tokens exist: +\begin{itemize} +\item + \declare{|\pgfsyssoftpath@movetotoken|} indicates a move-to + operation. The two following numbers indicate the position to which + the current point should be moved. +\item + \declare{|\pgfsyssoftpath@linetotoken|} indicates a line-to + operation. +\item + \declare{|\pgfsyssoftpath@curvetosupportatoken|} indicates the first + control point of a curve-to operation. The triple must be followed + by a |\pgfsyssoftpath@curvetosupportbtoken|. +\item + \declare{|\pgfsyssoftpath@curvetosupportbtoken|} indicates the second + control point of a curve-to operation. The triple must be followed + by a |\pgfsyssoftpath@curvetotoken|. +\item + \declare{|\pgfsyssoftpath@curvetotoken|} indicates the target + of a curve-to operation. +\item + \declare{|\pgfsyssoftpath@rectcornertoken|} indicates the corner of + a rectangle on the soft path. The triple must be followed + by a |\pgfsyssoftpath@rectsizetoken|. +\item + \declare{|\pgfsyssoftpath@rectsizetoken|} indicates the size of + a rectangle on the soft path. +\item + \declare{|\pgfsyssoftpath@closepath|} indicates that the subpath + begun with the last move-to operation should be closed. The parameter + numbers are currently not important, but if set to anything + different from |{0pt}{0pt}|, they should be set to the coordinate of + the original move-to operation to which the path ``returns'' now. +\end{itemize} + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-protocol.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-protocol.tex new file mode 100644 index 00000000000..53e78421957 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-pgfsys-protocol.tex @@ -0,0 +1,87 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +\section{The Protocol Subsystem} + +\label{section-protocols} + +\makeatletter + +This section describes commands for \emph{protocolling} literal text +created by \pgfname. The idea is that some literal text, like the string +of commands used to draw an arrow head, will be used over and over +again in a picture. It is then much more efficient to compute the +necessary literal text just once and to quickly insert it ``in a +single sweep.'' + +When protocolling is ``switched on,'' there is a ``current protocol'' +to which literal text gets appended. Once all commands that needed to +be protocoled have been issued, the protocol can be obtained and +stored using |\pgfsysprotocol@getcurrentprotocol|. At any point, the +current protocol can be changed using a corresponding setting +command. Finally, |\pgfsysprotocol@invokecurrentprotocol| is used to +insert the protocoled commands into the |.pdf| or |.dvi| file. + +Only those |\pgfsys@| commands can be protocolled that use the +command |\pgfsysprotocol@literal| interally. For example, the +definition of |\pgfsys@moveto| in |pgfsys-common-pdf.def| is +\begin{codeexample}[code only] +\def\pgfsys@moveto#1#2{\pgfsysprotocol@literal{#1 #2 m}} +\end{codeexample} +All ``normal'' system-level commands can be protocolled. However, +commands for creating or invoking shadings, images, or whole pictures +require special |\special|'s and cannot be protocolled. + +\begin{command}{\pgfsysprotocol@literalbuffered\marg{literal text}} + Adds the \meta{literal text} to the current protocol, after it has + been ``|\edef|ed.'' This command will always protocol. +\end{command} + +\begin{command}{\pgfsysprotocol@literal\marg{literal text}} + First calls |\pgfsysprotocol@literalbuffered| on \meta{literal + text}. Then, if protocolling is currently switched off, the + \meta{literal text} is passed on to |\pgfsys@invoke|. +\end{command} + +\begin{command}{\pgfsysprotocol@bufferedtrue} + Turns on protocolling. All subsequent calls of + |\pgfsysprotocol@literal| will append their argument to the current + protocol. +\end{command} + +\begin{command}{\pgfsysprotocol@bufferedfalse} + Turns off protocolling. Subsequent calls of + |\pgfsysprotocol@literal| directly insert their argument into the + current |.pdf| or |.ps|. + + Note that if the current protocol is not empty when protocolling is + switched off, the next call to |\pgfsysprotocol@literal| will first + flush the current protocol, that is, insert it into the file. +\end{command} + +\begin{command}{\pgfsysprotocol@getcurrentprotocol\marg{macro name}} + Stores the current protocol in \meta{macro name} for later use. +\end{command} + +\begin{command}{\pgfsysprotocol@setcurrentprotocol\marg{macro name}} + Sets the current protocol to \meta{macro name}. +\end{command} + +\begin{command}{\pgfsysprotocol@invokecurrentprotocol} + Inserts the text stored in the current protocol into the |.pdf| or + |.dvi| file. This does \emph{not} change the current protocol. +\end{command} + +\begin{command}{\pgfsysprotocol@flushcurrentprotocol} + First inserts the current protocol, then sets the current protocol + to the empty string. +\end{command} + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-actions.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-actions.tex new file mode 100644 index 00000000000..4539f7be0fb --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-actions.tex @@ -0,0 +1,1126 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Actions on Paths} + +Once a path has been constructed, different things can be done with +it. It can be drawn (or stroked) with a ``pen,'' it can be filled with +a color or shading, it can be used for clipping subsequent drawing, it +can be used to specify the extend of the picture---or any +combination of these actions at the same time. + +To decide what is to be done with a path, two methods can be +used. First, you can use a special-purpose command like |\draw| to +indicate that the path should be drawn. However, commands like |\draw| +and |\fill| are just abbreviations for special cases of the more +general method: Here, the |\path| command is used to specify the +path. Then, options encountered on the path indicate what should be +done with the path. + +For example, |\path (0,0) circle (1cm);| means ``This is a path +consisting of a circle around the origin. Do not do anything with it +(throw it away).'' However, if the option |draw| is encountered +anywhere on the path, the circle will be drawn. ``Anywhere'' is any +point on the path where an option can be given, which is everywhere +where a path command like |circle (1cm)| or |rectangle (1,1)| or even +just |(0,0)| would also be allowed. Thus, the following commands all +draw the same circle: +\begin{codeexample}[code only] +\path [draw] (0,0) circle (1cm); +\path (0,0) [draw] circle (1cm); +\path (0,0) circle (1cm) [draw]; +\end{codeexample} +Finally, |\draw (0,0) circle (1cm);| also draws a path, because +|\draw| is an abbreviation for |\path [draw]| and thus the command +expands to the first line of the above example. + +Similarly, |\fill| is an abbreviation for |\path[fill]| and +|\filldraw| is an abbreviation for the command +|\path[fill,draw]|. Since options accumulate, the following commands +all have the same effect: +\begin{codeexample}[code only] +\path [draw,fill] (0,0) circle (1cm); +\path [draw] [fill] (0,0) circle (1cm); +\path [fill] (0,0) circle (1cm) [draw]; +\draw [fill] (0,0) circle (1cm); +\fill (0,0) [draw] circle (1cm); +\filldraw (0,0) circle (1cm); +\end{codeexample} + +In the following subsection the different actions are explained that +can be performed on a path. The following commands are abbreviations for +certain sets of actions, but for many useful combinations there are no +abbreviations: + +\begin{command}{\draw} + Inside |{tikzpicture}| this is an abbreviation for |\path[draw]|. +\end{command} + +\begin{command}{\fill} + Inside |{tikzpicture}| this is an abbreviation for |\path[fill]|. +\end{command} + +\begin{command}{\filldraw} + Inside |{tikzpicture}| this is an abbreviation for |\path[fill,draw]|. +\end{command} + +\begin{command}{\shade} + Inside |{tikzpicture}| this is an abbreviation for |\path[shade]|. +\end{command} + +\begin{command}{\shadedraw} + Inside |{tikzpicture}| this is an abbreviation for |\path[shade,draw]|. +\end{command} + +\begin{command}{\clip} + Inside |{tikzpicture}| this is an abbreviation for |\path[clip]|. +\end{command} + +\begin{command}{\useasboundingbox} + Inside |{tikzpicture}| this is an abbreviation for |\path[use as bounding box]|. +\end{command} + +\begin{command}{\node} + Inside |{tikzpicture}| this is an abbreviation for |\path node|. Note + that, for once, |node| is not an option but a path operation. +\end{command} + +\begin{command}{\coordinate} + Inside |{tikzpicture}| this is an abbreviation for |\path coordinate|. +\end{command} + + + +\subsection{Specifying a Color} + +The most unspecific option for setting colors is the following: + +\begin{itemize} + \itemoption{color}|=|\meta{color name}% + \indexoption{color option}% + This option sets the color that is used for fill, drawing, and text + inside the current scope. Any special settings for filling colors or + drawing colors are immediately ``overruled'' by this option. + + The \meta{color name} is the name of a previously defined color. For + \LaTeX\ users, this is just a normal ``\LaTeX-color'' and the + |xcolor| extensions are allows. Here is an example: + +\begin{codeexample}[] +\tikz \fill[color=red!20] (0,0) circle (1ex); +\end{codeexample} + + It is possible to ``leave out'' the |color=| part and you can also + write: +\begin{codeexample}[] +\tikz \fill[red!20] (0,0) circle (1ex); +\end{codeexample} + What happens is that every option that \tikzname\ does not know, like + |red!20|, gets a ``second chance'' as a color name. + + For plain \TeX\ users, it is not so easy to specify colors since + plain \TeX\ has no ``standardized'' color naming + mechanism. Because of this, \pgfname\ emulates the |xcolor| package, + though the emulation is \emph{extremely basic} (more precisely, what + I could hack together in two hours or so). The emulation allows you + to do the following: + \begin{itemize} + \item Specify a new color using |\definecolor|. Only the two color + models |gray| and |rgb| are supported. + \example |\definecolor{orange}{rgb}{1,0.5,0}| + \item Use |\colorlet| to define a new color based on an old + one. Here, the |!| mechanism is supported, though only ``once'' + (use multiple |\colorlet| for more fancy colors). + \example |\colorlet{lightgray}{black!25}| + \item Use |\color|\marg{color name} to set the color in the current + \TeX\ group. |\aftergroup|-hackery is used to restore the color + after the group. + \end{itemize} +\end{itemize} + +As pointed out above, the |color=| option applies to ``everything'' +(except to shadings), which is not always what you want. Because of +this, there are several more specialized color options. For example, +the |draw=| option sets the color used for drawing, but does not +modify the color used for filling. These color options are documented +where the path action they influence is described. + + +\subsection{Drawing a Path} + +You can draw a path using the following option: +\begin{itemize} + \itemoption{draw}\opt{|=|\meta{color}} + Causes the path to be drawn. ``Drawing'' (also known as + ``stroking'') can be thought of as picking up a pen and moving it + along the path, thereby leaving ``ink'' on the canvas. + + There are numerous parameters that influence how a line is drawn, + like the thickness or the dash pattern. These options are explained + below. + + If the optional \meta{color} argument is given, drawing is done + using the given \meta{color}. This color can be different from the + current filling color, which allows you to draw and fill a path with + different colors. If no \meta{color} argument is given, the last + usage of the |color=| option is used. + + If the special color name |none| is given, this option causes + drawing to be ``switched off.'' This is useful if a style has + previously switched on drawing and you locally wish to undo this + effect. + + Although this option is normally used on paths to indicate that the + path should be drawn, it also makes sense to use the option with a + |{scope}| or |{tikzpicture}| environment. However, this will + \emph{not} cause all path to drawn. Instead, this just sets the + \meta{color} to be used for drawing paths inside the environment. + +\begin{codeexample}[] +\begin{tikzpicture} + \path[draw=red] (0,0) -- (1,1) -- (2,1) circle (10pt); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +The following subsections list the different options that influence +how a path is drawn. All of these options only have an effect if the +|draw| options is given (directly or indirectly). + +\subsubsection{Graphic Parameters: Line Width, Line Cap, and Line Join} + +\label{section-cap-joins} + +\begin{itemize} + \itemoption{line width}|=|\meta{dimension} + Specifies the line width. Note the space. Default: |0.4pt|. + +\begin{codeexample}[] + \tikz \draw[line width=5pt] (0,0) -- (1cm,1.5ex); +\end{codeexample} +\end{itemize} + +There are a number of predefined styles that provide more ``natural'' +ways of setting the line width. You can also redefine these +styles. Remember that you can leave out the |style=| when setting a +style. + +\begin{itemize} + \itemstyle{ultra thin} + Sets the line width to 0.1pt. +\begin{codeexample}[] + \tikz \draw[ultra thin] (0,0) -- (1cm,1.5ex); +\end{codeexample} + + \itemstyle{very thin} + Sets the line width to 0.2pt. +\begin{codeexample}[] + \tikz \draw[very thin] (0,0) -- (1cm,1.5ex); +\end{codeexample} + + \itemstyle{thin} + Sets the line width to 0.4pt. +\begin{codeexample}[] + \tikz \draw[thin] (0,0) -- (1cm,1.5ex); +\end{codeexample} + + \itemstyle{semithick} + Sets the line width to 0.6pt. +\begin{codeexample}[] + \tikz \draw[semithick] (0,0) -- (1cm,1.5ex); +\end{codeexample} + + \itemstyle{thick} + Sets the line width to 0.8pt. +\begin{codeexample}[] + \tikz \draw[thick] (0,0) -- (1cm,1.5ex); +\end{codeexample} + + \itemstyle{very thick} + Sets the line width to 1.2pt. +\begin{codeexample}[] + \tikz \draw[very thick] (0,0) -- (1cm,1.5ex); +\end{codeexample} + + \itemstyle{ultra thick} + Sets the line width to 1.6pt. +\begin{codeexample}[] + \tikz \draw[ultra thick] (0,0) -- (1cm,1.5ex); +\end{codeexample} +\end{itemize} + +\begin{itemize} + \itemoption{cap}|=|\meta{type} + Specifies how lines ``end.'' Permissible \meta{type} are |round|, + |rect|, and |butt| (default). They have the following effects: + +\begin{codeexample}[] +\begin{tikzpicture} + \begin{scope}[line width=10pt] + \draw[cap=rect] (0,0 ) -- (1,0); + \draw[cap=butt] (0,.5) -- (1,.5); + \draw[cap=round] (0,1 ) -- (1,1); + \end{scope} + \draw[white,line width=1pt] + (0,0 ) -- (1,0) (0,.5) -- (1,.5) (0,1 ) -- (1,1); +\end{tikzpicture} +\end{codeexample} + + \itemoption{join}|=|\meta{type} + Specifies how lines ``join.'' Permissible \meta{type} are |round|, + |bevel|, and |miter| (default). They have the following effects: + +\begin{codeexample}[] +\begin{tikzpicture}[line width=10pt] + \draw[join=round] (0,0) -- ++(.5,1) -- ++(.5,-1); + \draw[join=bevel] (1.25,0) -- ++(.5,1) -- ++(.5,-1); + \draw[join=miter] (2.5,0) -- ++(.5,1) -- ++(.5,-1); + \useasboundingbox (0,1.5); % make bounding box bigger +\end{tikzpicture} +\end{codeexample} + + \itemoption{miter limit}|=|\meta{factor} + When you use the miter join and there is a very sharp corner (a + small angle), the miter join may protrude very far over the actual + joining point. In this case, if it were to protrude by + more than \meta{factor} times the line width, the miter join is + replaced by a bevel join. Default value is |10|. + +\begin{codeexample}[] +\begin{tikzpicture}[line width=5pt] + \draw (0,0) -- ++(5,.5) -- ++(-5,.5); + \draw[miter limit=25] (6,0) -- ++(5,.5) -- ++(-5,.5); + \useasboundingbox (14,0); % make bounding box bigger +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +\subsubsection{Graphic Parameters: Dash Pattern} + +\begin{itemize} + \itemoption{dash pattern}|=|\meta{dash pattern} + Sets the dashing pattern. The syntax is the same as in + \textsc{metafont}. For example |on 2pt off 3pt on 4pt off 4pt| means ``draw + 2pt, then leave out 3pt, then draw 4pt once more, then leave out 4pt + again, repeat''. + +\begin{codeexample}[] +\begin{tikzpicture}[dash pattern=on 2pt off 3pt on 4pt off 4pt] + \draw (0pt,0pt) -- (3.5cm,0pt); +\end{tikzpicture} +\end{codeexample} + + \itemoption{dash phase}|=|\meta{dash phase} + Shifts the start of the dash pattern by \meta{phase}. + +\begin{codeexample}[] +\begin{tikzpicture}[dash pattern=on 20pt off 10pt] + \draw[dash phase=0pt] (0pt,3pt) -- (3.5cm,3pt); + \draw[dash phase=10pt] (0pt,0pt) -- (3.5cm,0pt); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +As for the line thickness, some predefined styles allow you to set the +dashing conveniently. + +\begin{itemize} +\itemstyle{solid} + Shorthand for setting a solid line as ``dash pattern.'' This is the default. + +\begin{codeexample}[] +\tikz \draw[solid] (0pt,0pt) -- (50pt,0pt); +\end{codeexample} + + \itemstyle{dotted} + Shorthand for setting a dotted dash pattern. + +\begin{codeexample}[] +\tikz \draw[dotted] (0pt,0pt) -- (50pt,0pt); +\end{codeexample} + + \itemstyle{densely dotted} + Shorthand for setting a densely dotted dash pattern. + +\begin{codeexample}[] +\tikz \draw[densely dotted] (0pt,0pt) -- (50pt,0pt); +\end{codeexample} + + \itemstyle{loosely dotted} + Shorthand for setting a loosely dotted dash pattern. + +\begin{codeexample}[] +\tikz \draw[loosely dotted] (0pt,0pt) -- (50pt,0pt); +\end{codeexample} + + \itemstyle{dashed} + Shorthand for setting a dashed dash pattern. + +\begin{codeexample}[] +\tikz \draw[dashed] (0pt,0pt) -- (50pt,0pt); +\end{codeexample} + + \itemstyle{densely dashed} + Shorthand for setting a densely dashed dash pattern. + +\begin{codeexample}[] +\tikz \draw[densely dashed] (0pt,0pt) -- (50pt,0pt); +\end{codeexample} + + \itemstyle{loosely dashed} + Shorthand for setting a loosely dashed dash pattern. + +\begin{codeexample}[] +\tikz \draw[loosely dashed] (0pt,0pt) -- (50pt,0pt); +\end{codeexample} +\end{itemize} + + +\subsubsection{Graphic Parameters: Draw Opacity} + +When a line is drawn, it will normally ``obscure'' everything behind +it as if you has used perfectly opaque ink. It is also possible to ask +\tikzname\ to use an ink that is a little bit (or a big bit) +transparent. To do so, use the following option: + +\begin{itemize} + \itemoption{draw opacity}|=|\meta{value} + This option sets ``how transparent'' lines should be. A value of |1| + means ``fully opaque'' or ``not transparent at all,'' a value of |0| + means ``fully transparent'' or ``invisible.'' A value of |0.5| + yields lines that are semitransparent. + + Note that when you use PostScript as your output format, + this option works only with recent versions of GhostScript. + +\begin{codeexample}[] +\begin{tikzpicture}[line width=1ex] + \draw (0,0) -- (3,1); + \filldraw [fill=examplefill,draw opacity=0.5] (1,0) rectangle (2,1); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +Note that the |draw opacity| options only sets the opacity of drawn +lines. The opacity of fillings is set using the option +|fill opacity| (documented in Section~\ref{section-fill-opacity}. The +option |opacity| sets both at the same time. + +\begin{itemize} + \itemoption{opacity}|=|\meta{value} + Sets both the drawing and filling opacity to \meta{value}. + + The following predefined styles make it easier to use this option: + \begin{itemize} + \itemstyle{transparent} + Makes everything totally transparent and, hence, invisible. + +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[transparent,red] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \itemstyle{ultra nearly transparent} + Makes everything, well, ultra nearly transparent. + +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[ultra nearly transparent] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \itemstyle{very nearly transparent} +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[very nearly transparent] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \itemstyle{nearly transparent} +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[nearly transparent] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \itemstyle{semitransparent} +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[semitransparent] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \itemstyle{nearly opaque} +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[nearly opaque] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \itemstyle{very nearly opaque} +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[very nearly opaque] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \itemstyle{ultra nearly opaque} +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[ultra nearly opaque] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \itemstyle{opaque} + This yields completely opaque drawings, which is the default. +\begin{codeexample}[] +\tikz{\fill[red] (0,0) rectangle (1,0.5); + \fill[opaque] (0.5,0) rectangle (1.5,0.25); } +\end{codeexample} + \end{itemize} +\end{itemize} + + + + +\subsubsection{Graphic Parameters: Arrow Tips} + +When you draw a line, you can add arrow tips at the ends. It is +only possible to add one arrow tip at the start and one at the end. If +the path consists of several segments, only the last segment gets +arrow tips. The behavior for paths that are closed is not specified +and may change in the future. + +\begin{itemize} +\itemoption{arrows}\opt{|=|\meta{start arrow kind}|-|\meta{end arrow kind}} + This option sets the start and end arrow tips (an empty value as in |->| + indicates that no arrow tip should be drawn at the start).% + \indexoption{arrows} + + \emph{Note: Since the arrow option is so often used, you can leave + out the text |arrows=|.} What happens is that every option that + contains a |-| is interpreted as an arrow specification. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[->] (0,0) -- (1,0); + \draw[o-stealth] (0,0.3) -- (1,0.3); +\end{tikzpicture} +\end{codeexample} + + The permissible values are all predefined arrow tips, though + you can also define new arrow tip kinds as explained in + Section~\ref{section-arrows}. This is often necessary to obtain + ``double'' arrow tips and arrow tips that have a fixed size. Since + |pgflibraryarrows| is loaded by default, all arrow tips described in + Section~\ref{section-library-arrows} are available. + + One arrow tip kind is special: |>| (and all arrow tip kinds containing the + arrow tip kind such as |<<| or \verb!>|!). This arrow tip type is not + fixed. Rather, you can redefine it using the |>=| option, see + below. + + \example You can also combine arrow tip types as in +\begin{codeexample}[] +\begin{tikzpicture}[thick] + \draw[to reversed-to] (0,0) .. controls +(.5,0) and +(-.5,-.5) .. +(1.5,1); + \draw[[-latex reversed] (1,0) .. controls +(.5,0) and +(-.5,-.5) .. +(1.5,1); + \draw[latex-)] (2,0) .. controls +(.5,0) and +(-.5,-.5) .. +(1.5,1); + \useasboundingbox (-.1,-.1) rectangle (3.1,1.1); % make bounding box bigger +\end{tikzpicture} +\end{codeexample} + + \itemoption{>}|=|\meta{end arrow kind} + This option can be used to redefine the ``standard'' arrow tip |>|. The + idea is that different people have different ideas what arrow tip kind + should normally be used. I prefer the arrow tip of \TeX's |\to| command + (which is used in things like $f\colon A \to B$). Other people will + prefer \LaTeX's standard arrow tip, which looks like this: \tikz + \draw[-latex] (0,0) -- (10pt,1ex);. Since the arrow tip kind |>| is + certainly the most ``natural'' one to use, it is kept free of any + predefined meaning. Instead, you can change it by saying |>=to| to + set the ``standard'' arrow tip kind to \TeX's arrow tip, whereas |>=latex| + will set it to \LaTeX's arrow tip and |>=stealth| will use a + \textsc{pstricks}-like arrow tip. + + Apart from redefining the arrow tip kind |>| (and |<| for the start), + this option also redefines the following arrow tip kinds: |>| and |<| as + the swapped version of \meta{end arrow kind}, |<<| and |>>| as + doubled versions, |>>| and |<<| as swapped doubled versions, %>> + and \verb!||! as arrow tips ending with a vertical bar. + +\begin{codeexample}[] +\begin{tikzpicture}[scale=2] + \begin{scope}[>=latex] + \draw[->] (0pt,6ex) -- (1cm,6ex); + \draw[>->>] (0pt,5ex) -- (1cm,5ex); + \draw[|<->|] (0pt,4ex) -- (1cm,4ex); + \end{scope} + \begin{scope}[>=diamond] + \draw[->] (0pt,2ex) -- (1cm,2ex); + \draw[>->>] (0pt,1ex) -- (1cm,1ex); + \draw[|<->|] (0pt,0ex) -- (1cm,0ex); + \end{scope} +\end{tikzpicture} +\end{codeexample} + + \itemoption{shorten >}|=|\meta{dimension} + This option will shorten the end of lines by the given + \meta{dimension}. If you specify an arrow tip, lines are already + shortened a bit such that the arrow tip touches the specified endpoint + and does not ``protrude over'' this point. Here is an example: + +\begin{codeexample}[] +\begin{tikzpicture}[line width=20pt] + \useasboundingbox (0,-1.5) rectangle (3.5,1.5); + \draw[red] (0,0) -- (3,0); + \draw[gray,->] (0,0) -- (3,0); +\end{tikzpicture} +\end{codeexample} + + The |shorten >| option allows you to shorten the end on the line + \emph{additionally} by the given distance. This option can also be + useful if you have not specified an arrow tip at all. + +\begin{codeexample}[] +\begin{tikzpicture}[line width=20pt] + \useasboundingbox (0,-1.5) rectangle (3.5,1.5); + \draw[red] (0,0) -- (3,0); + \draw[-to,shorten >=10pt,gray] (0,0) -- (3,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{shorten <}|=|\meta{dimension} works like |shorten >|, + but for the start. +\end{itemize} + + + +\subsubsection{Graphic Parameters: Double Lines and Bordered Lines} + +\begin{itemize} + \itemoption{double}\opt{|=|\meta{core color}} + This option causes ``two'' lines to be drawn instead of a single + one. However, this is not what really happens. In reality, the path + is drawn twice. First, with the normal drawing color, secondly with + the \meta{core color}, which is normally |white|. Upon the second + drawing, the line width is reduced. The net effect is that it + appears as if two lines had been drawn and this works well even with + complicated, curved paths: + +\begin{codeexample}[] +\tikz \draw[double] + plot[smooth cycle] coordinates{(0,0) (1,1) (1,0) (0,1)}; +\end{codeexample} + + You can also use the doubling option to create an effect in which a + line seems to have a certain ``border'': + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) -- (1,1); + \draw[draw=white,double=red,very thick] (0,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{double distance}|=|\meta{dimension} + Sets the distance the ``two'' lines are spaced apart (default is + 0.6pt). In reality, this is the thickness of the line that is used + to draw the path for the second time. The thickness of the + \emph{first} time the path is drawn is twice the normal line width + plus the given \meta{dimension}. As a side-effect, this option + ``selects'' the |double| option. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[very thick,double] (0,0) arc (180:90:1cm); + \draw[very thick,double distance=2pt] (1,0) arc (180:90:1cm); + \draw[thin,double distance=2pt] (2,0) arc (180:90:1cm); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + + + + + + +\subsection{Filling a Path} +\label{section-rules} +To fill a path, use the following option: +\begin{itemize} + \itemoption{fill}\opt{|=|\meta{color}} + This option causes the path to be filled. All unclosed parts of the + path are first closed, if necessary. Then, the area enclosed by the + path is filled with the current filling color, which is either the + last color set using the general |color=| option or the optional + color \meta{color}. For self-intersection paths and for paths + consisting of several closed areas, the ``enclosed area'' is + somewhat complicated to define and two different definitions exist, + namely the nonzero winding number rule and the even odd rule, see + the explanation of these options, below. + + Just as for the |draw| option, setting \meta{color} to |none| + disables filling locally. + +\begin{codeexample}[] +\begin{tikzpicture} + \fill (0,0) -- (1,1) -- (2,1); + \fill (4,0) circle (.5cm) (4.5,0) circle (.5cm); + \fill[even odd rule] (6,0) circle (.5cm) (6.5,0) circle (.5cm); + \fill (8,0) -- (9,1) -- (10,0) circle (.5cm); +\end{tikzpicture} +\end{codeexample} + + If the |fill| option is used together with the |draw| option (either + because both are given as options or because a |\filldraw| command + is used), the path is filled \emph{first}, then the path is drawn + \emph{second}. This is especially useful if different colors are + selected for drawing and for filling. Even if the same color is + used, there is a difference between this command and a plain + |fill|: A ``filldrawn'' area will be slightly larger than a filled + area because of the thickness of the ``pen.'' + +\begin{codeexample}[] +\begin{tikzpicture}[fill=examplefill,line width=5pt] + \filldraw (0,0) -- (1,1) -- (2,1); + \filldraw (4,0) circle (.5cm) (4.5,0) circle (.5cm); + \filldraw[even odd rule] (6,0) circle (.5cm) (6.5,0) circle (.5cm); + \filldraw (8,0) -- (9,1) -- (10,0) circle (.5cm); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + +\subsubsection{Graphic Parameters: Interior Rules} + +The following two options can be used to decide how interior points +should be determined: +\begin{itemize} + \itemoption{nonzero rule} + If this rule is used (which is the default), the following method is + used to determine whether a given point is ``inside'' the path: From + the point, shoot a ray in some direction towards infinity (the + direction is chosen such that no strange borderline cases + occur). Then the ray may hit the path. Whenever it hits the path, we + increase or decrease a counter, which is initially zero. If the ray + hits the path as the path goes ``from left to right'' (relative to + the ray), the counter is increased, otherwise it is decreased. Then, + at the end, we check whether the counter is nonzero (hence the + name). If so, the point is deemed to lie ``inside,'' otherwise it is + ``outside.'' Sounds complicated? It is. + +\begin{codeexample}[] +\begin{tikzpicture} + \filldraw[fill=examplefill] + % Clockwise rectangle + (0,0) -- (0,1) -- (1,1) -- (1,0) -- cycle + % Counter-clockwise rectangle + (0.25,0.25) -- (0.75,0.25) -- (0.75,0.75) -- (0.25,0.75) -- cycle; + + \draw[->] (0,1) (.4,1); + \draw[->] (0.75,0.75) (0.3,.75); + + \draw[->] (0.5,0.5) -- +(0,1) node[above] {crossings: $-1+1 = 0$}; + + \begin{scope}[yshift=-3cm] + \filldraw[fill=examplefill] + % Clockwise rectangle + (0,0) -- (0,1) -- (1,1) -- (1,0) -- cycle + % Clockwise rectangle + (0.25,0.25) -- (0.25,0.75) -- (0.75,0.75) -- (0.75,0.25) -- cycle; + + \draw[->] (0,1) (.4,1); + \draw[->] (0.25,0.75) (0.4,.75); + + \draw[->] (0.5,0.5) -- +(0,1) node[above] {crossings: $1+1 = 2$}; + \end{scope} +\end{tikzpicture} +\end{codeexample} + +\itemoption{even odd rule} + This option causes a different method to be used for determining the + inside and outside of paths. While it is less flexible, it turns out + to be more intuitive. + + With this method, we also shoot rays from the point for which we + wish to determine whether it is inside or outside the filling + area. However, this time we only count how often we ``hit'' the path + and declare the point to be ``inside'' if the number of hits is odd. + + Using the even-odd rule, it is easy to ``drill holes'' into a path. + +\begin{codeexample}[] +\begin{tikzpicture} + \filldraw[fill=examplefill,even odd rule] + (0,0) rectangle (1,1) (0.5,0.5) circle (0.4cm); + \draw[->] (0.5,0.5) -- +(0,1) [above] node{crossings: $1+1 = 2$}; +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + + +\subsubsection{Graphic Parameters: Fill Opacity} + +\label{section-fill-opacity} +Analogously to the |draw opacity|, you can also set the filling +opacity: + +\begin{itemize} + \itemoption{fill opacity}|=|\meta{value} + This option sets the opacity of fillings. In addition to filling + operations, this opacity also applies to text and images. + + Note, again, that when you use PostScript as your output format, + this option works only with recent versions of GhostScript. + +\begin{codeexample}[] +\begin{tikzpicture}[thick,fill opacity=0.5] + \filldraw[fill=red] (0:1cm) circle (12mm); + \filldraw[fill=green] (120:1cm) circle (12mm); + \filldraw[fill=blue] (-120:1cm) circle (12mm); +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + \fill[red] (0,0) rectangle (3,2); + + \node at (0,0) {\huge A}; + \node[fill opacity=0.5] at (3,2) {\huge B}; +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + +\subsection{Shading a Path} + +You can shade a path using the |shade| option. A shading is like a +filling, only the shading changes its color smoothly from one color to +another. + +\begin{itemize} + \itemoption{shade} + Causes the path to be shaded using the currently selected shading + (more on this later). If this option is used together with the + |draw| option, then the path is first shaded, then drawn. + + It is not an error to use this option together with the |fill| + option, but it makes no sense. + +\begin{codeexample}[] +\tikz \shade (0,0) circle (1ex); +\end{codeexample} + +\begin{codeexample}[] +\tikz \shadedraw (0,0) circle (1ex); +\end{codeexample} +\end{itemize} + +For some shadings it is not really clear how they can ``fill'' the +path. For example, the |ball| shading normally looks like this: \tikz +\shade[shading=ball] (0,0) circle (0.75ex);. How is this supposed to +shade a rectangle? Or a triangle? + +To solve this problem, the predefined shadings like |ball| or |axis| +fill a large rectangle completely in a sensible way. Then, when the +shading is used to ``shade'' a path, what actually happens is that the +path is temporarily used for clipping and then the rectangular shading +is drawn, scaled and shifted such that all parts of the path are +filled. + + +\subsubsection{Choosing a Shading Type} + +The default shading is a smooth transition from gray +to white and from above to bottom. However, other shadings are also +possible, for example a shading that will sweep a color from the +center to the corners outward. To choose the shading, you can use the +|shading=| option, which will also automatically invoke the |shade| +option. Note that this does \emph{not} change the shading color, only +the way the colors sweep. For changing the colors, other options are +needed, which are explained below. + +\begin{itemize} + \itemoption{shading}|=|\meta{name} + This selects a shading named \meta{name}. The following shadings are + predefined: + \begin{itemize} + \item \declare{|axis|} + This is the default shading in which the color changes gradually + between three horizontal lines. The top line is at the top + (uppermost) point of the path, the middle is in the middle, the + bottom line is at the bottom of the path. + +\begin{codeexample}[] +\tikz \shadedraw [shading=axis] (0,0) rectangle (1,1); +\end{codeexample} + + The default top color is gray, the default bottom color is white, + the default middle is the ``middle'' of these two. + \item \declare{|radial|} + This shading fills the path with a gradual sweep from a certain + color in the middle to another color at the border. If the path is + a circle, the outer color will be reached exactly at the + border. If the shading is not a circle, the outer color will + continue a bit towards the corners. The default inner color is + gray, the default outer color is white. + +\begin{codeexample}[] +\tikz \shadedraw [shading=radial] (0,0) rectangle (1,1); +\end{codeexample} + \item \declare{|ball|} + This shading fills the path with a shading that ``looks like a + ball.'' The default ``color'' of the ball is blue (for no + particular reason). + +\begin{codeexample}[] +\tikz \shadedraw [shading=ball] (0,0) rectangle (1,1); +\end{codeexample} + +\begin{codeexample}[] +\tikz \shadedraw [shading=ball] (0,0) circle (.5cm); +\end{codeexample} + \end{itemize} + \itemoption{shading angle}|=|\meta{degrees} + This option rotates the shading (not the path!) by the given + angle. For example, we can turn a top-to-bottom axis shading into a + left-to-right shading by rotating it by $90^\circ$. + +\begin{codeexample}[] +\tikz \shadedraw [shading=axis,shading angle=90] (0,0) rectangle (1,1); +\end{codeexample} +\end{itemize} + + +You can also define new shading types yourself. However, for this, you +need to use the basic layer directly, which is, well, more basic and +harder to use. Details on how to create a shading appropriate for +filling paths are given in Section~\ref{section-shading-a-path}. + + + +\subsubsection{Choosing a Shading Color} + +The following options can be used to change the colors used for +shadings. When one of these options is given, the |shade| option is +automatically selected and also the ``right'' shading. + +\begin{itemize} + \itemoption{top color}|=|\meta{color} + This option prescribes the color to be used at the top in an |axis| + shading. When this option is given, several things happen: + \begin{enumerate} + \item + The |shade| option is selected. + \item + The |shading=axis| option is selected. + \item + The middle color of the axis shading is set to the average of the + given top color \meta{color} and of whatever color is currently + selected for the bottom. + \item + The rotation angle of the shading is set to 0. + \end{enumerate} + +\begin{codeexample}[] +\tikz \draw[top color=red] (0,0) rectangle (2,1); +\end{codeexample} + + \itemoption{bottom color}|=|\meta{color} + This option works like |top color|, only for the bottom color. + + \itemoption{middle color}|=|\meta{color} + This option specifies the color for the middle of an axis + shading. It also sets the |shade| and |shading=axis| options, but it + does not change the rotation angle. + + \emph{Note:} Since both |top color| and |bottom color| change the + middle color, this option should be given \emph{last} if all of + these options need to be given: + +\begin{codeexample}[] +\tikz \draw[top color=white,bottom color=black,middle color=red] + (0,0) rectangle (2,1); +\end{codeexample} + + \itemoption{left color}|=|\meta{color} + This option does exactly the same as |top color|, except that the + shading angle is set to $90^\circ$. + + \itemoption{right color}|=|\meta{color} + Works like |left color|. + + \itemoption{inner color}|=|\meta{color} + This option sets the color used at the center of a |radial| + shading. When this option is used, the |shade| and |shading=radial| + options are set. + +\begin{codeexample}[] +\tikz \draw[inner color=red] (0,0) rectangle (2,1); +\end{codeexample} + + \itemoption{outer color}|=|\meta{color} + This option sets the color used at the border and outside of a + |radial| shading. + +\begin{codeexample}[] +\tikz \draw[outer color=red,inner color=white] + (0,0) rectangle (2,1); +\end{codeexample} + + \itemoption{ball color}|=|\meta{color} + This option sets the color used for the ball shading. It sets the + |shade| and |shading=ball| options. Note that the ball will never + ``completely'' have the color \meta{color}. At its ``highlight'' spot + a certain amount of white is mixed in, at the border a certain + amount of black. Because of this, it also makes sense to say + |ball color=white| or |ball color=black| + +\begin{codeexample}[] +\begin{tikzpicture} + \shade[ball color=white] (0,0) circle (2ex); + \shade[ball color=red] (1,0) circle (2ex); + \shade[ball color=black] (2,0) circle (2ex); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + + + +\subsection{Establishing a Bounding Box} + +\pgfname\ is reasonably good at keeping track of the size of your picture +and reserving just the right amount of space for it in the main +document. However, in some cases you may want to say things like +``do not count this for the picture size'' or ``the picture is +actually a little large.'' For this you can use the option +|use as bounding box| or the command |\useasboundingbox|, which is just +a shorthand for |\path[use as bounding box]|. + +\begin{itemize} + \itemoption{use as bounding box} + Normally, when this option is given on a path, the bounding box of + the present path is used to determine the size of the picture and + the size of all \emph{subsequent} paths are + ignored. However, if there were previous path operations that have + already established a larger bounding box, it will not be made + smaller by this operation. + + In a sense, |use as bounding box| has the same effect as clipping + all subsequent drawing against the current path---without actually + doing the clipping, only making \pgfname\ treat everything as if it + were clipped. + + The first application of this option is to have a |{tikzpicture}| + overlap with the main text: + +\begin{codeexample}[] +Left of picture\begin{tikzpicture} + \draw[use as bounding box] (2,0) rectangle (3,1); + \draw (1,0) -- (4,.75); +\end{tikzpicture}right of picture. +\end{codeexample} + + In a second application this option can be used to get better + control over the white space around the picture: + +\begin{codeexample}[] +Left of picture +\begin{tikzpicture} + \useasboundingbox (0,0) rectangle (3,1); + \fill (.75,.25) circle (.5cm); +\end{tikzpicture} +right of picture. +\end{codeexample} + + Note: If this option is used on a path inside a \TeX\ group (scope), + the effect ``lasts'' only till the end of the scope. Again, this + behavior is the same as for clipping. +\end{itemize} + +There is a node that allows you to get the size of the current +bounding box. The |current bounding box| node has the |rectangle| +shape |rectangle| shape and its size is always the size of the current +bounding box. + + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[red] (0,0) circle (2pt); + \draw[red] (2,1) circle (3pt); + + \draw (current bounding box.south west) rectangle + (current bounding box.north east); + + \draw[red] (3,-1) circle (4pt); + + \draw[thick] (current bounding box.south west) rectangle + (current bounding box.north east); +\end{tikzpicture} +\end{codeexample} + + + + + +\subsection{Using a Path For Clipping} + +To use a path for clipping, use the |clip| option. + +\begin{itemize} + \itemoption{clip} + This option causes all subsequent drawings to be clipped against the + current path and the size of subsequent paths will not be important + for the picture size. If you clip against a self-intersecting path, + the even-odd rule or the nonzero winding number rule is used to + determine whether a point is inside or outside the clipping region. + + The clipping path is a graphic state parameter, so it will be reset + at the end of the current scope. Multiple clippings accumulate, that + is, clipping is always done against the intersection of all clipping + areas that have been specified inside the current scopes. The only + way of enlarging the clipping area is to end a |{scope}|. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[clip] (0,0) circle (1cm); + \fill[red] (1,0) circle (1cm); +\end{tikzpicture} +\end{codeexample} + + It is usually a \emph{very} good idea to apply the |clip| option only + to the first path command in a scope. + + If you ``only wish to clip'' and do not wish to draw anything, you can + use the |\clip| command, which is a shorthand for |\path[clip]|. + +\begin{codeexample}[] +\begin{tikzpicture} + \clip (0,0) circle (1cm); + \fill[red] (1,0) circle (1cm); +\end{tikzpicture} +\end{codeexample} + + To keep clipping local, use |{scope}| environments as in the + following example: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) -- ( 0:1cm); + \draw (0,0) -- (10:1cm); + \draw (0,0) -- (20:1cm); + \draw (0,0) -- (30:1cm); + \begin{scope}[fill=red] + \fill[clip] (0.2,0.2) rectangle (0.5,0.5); + + \draw (0,0) -- (40:1cm); + \draw (0,0) -- (50:1cm); + \draw (0,0) -- (60:1cm); + \end{scope} + \draw (0,0) -- (70:1cm); + \draw (0,0) -- (80:1cm); + \draw (0,0) -- (90:1cm); +\end{tikzpicture} +\end{codeexample} + + There is a slightly annoying catch: You cannot specify certain graphic + options for the command used for clipping. For example, in the above + code we could not have moved the |fill=red| to the |\fill| + command. The reasons for this have to do with the internals of the + \pdf\ specification. You do not want to know the details. It is best + simply not to specify any options for these + commands. +\end{itemize} diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-coordinates.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-coordinates.tex new file mode 100644 index 00000000000..6ce31747a18 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-coordinates.tex @@ -0,0 +1,301 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Specifying Coordinates} + + +\subsection{Coordinates and Coordinate Options} + +A \emph{coordinate} is a position in a picture. \tikzname\ uses a +special syntax for specifying coordinates. Coordinates are always put +in round brackets. The general syntax is +\declare{|(|\opt{|[|\meta{options}|]|}\meta{coordinate specification}|)|}. + +It is possible to give options that apply only to a single +coordinate, although this makes sense for transformation options +only. To give transformation options for a single coordinate, give +these options at the beginning in brackets: +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1); + \draw[red] (0,0) -- ([xshift=3pt] 1,1); + \draw (1,0) -- +(30:2cm); + \draw[red] (1,0) -- +([shift=(135:5pt)] 30:2cm); +\end{tikzpicture} +\end{codeexample} + +\subsection{Simple Coordinates} + +The simplest way to specify coordinates is as a comma-separated pair +of \TeX\ dimensions as in |(1cm,2pt)| or |(2cm,\textheight)|. As can +be seen, different units can be mixed. The coordinate specified in +this way means ``1cm to the right and 2pt up from the origin of the +picture.'' You can also write things like |(1cm+2pt,2pt)| since the +|calc| package is used. + + +\subsection{Polar Coordinates} + +You can also specify coordinates in polar coordinates. In this case, +you specify an angle and a distance, separated by a colon as in +|(30:1cm)|. The angle must always be given in degrees and should be +between $-360$ and $720$. + +\begin{codeexample}[] +\tikz \draw (0cm,0cm) -- (30:1cm) -- (60:1cm) -- (90:1cm) + -- (120:1cm) -- (150:1cm) -- (180:1cm); +\end{codeexample} + +Instead of an angle given as a number you can also use certain +words. For example, |up| is the same as |90|, so that you can write +|\tikz \draw (0,0) -- (2ex,0pt) -- +(up:1ex);| +and get \tikz \draw (0,0) -- (2ex,0pt) -- +(up:1ex);. Apart from |up| +you can use |down|, |left|, |right|, |north|, |south|, |west|, |east|, +|north east|, |north west|, |south east|, |south west|, all of which +have their natural meaning. + + + +\subsection{Xy- and Xyz-Coordinates} + +You can specify coordinates in \pgfname's $xy$-coordinate system. In +this case, you provide two unit-free numbers, separated by a comma as +in |(2,-3)|. This means ``add twice the current \pgfname\ $x$-vector and +subtract three times the $y$-vector.'' By default, the $x$-vector +points 1cm to the right, the $y$-vector points 1cm upwards, but this +can be changed arbitrarily using the |x| and~|y| graphic options. + +Similarly, you can specify coordinates in the $xyz$-coordinate +system. The only difference to the $xy$-coordinates is that you +specify three numbers separated by commas as in |(1,2,3)|. This is +interpreted as ``once the $x$-vector plus twice the $y$-vector plus +three times the $z$-vector.'' The default $z$-vector points to +$\bigl(-\frac{1}{\sqrt2} +\textrm{cm},-\frac{1}{\sqrt2}\textrm{cm}\bigr)$. Consider the +following example: + +\begin{codeexample}[] +\begin{tikzpicture}[->] + \draw (0,0,0) -- (1,0,0); + \draw (0,0,0) -- (0,1,0); + \draw (0,0,0) -- (0,0,1); +\end{tikzpicture} +\end{codeexample} + + +\subsection{Node Coordinates} +\label{section-node-coordinates} + +In \pgfname\ and in \tikzname\ it is quite easy to define a node that you +wish to reference at a later point. Once you have defined a node, +there are different ways of referencing points of the node. + + +\subsubsection{Named Anchor Coordinates} + +An \emph{anchor coordinate} is a point in a node that you have +previously defined using the node operation. The syntax is +|(|\meta{node name}|.|\meta{anchor}|)|, where \meta{node name} is +the name that was previously used to name the node using the +|name=|\meta{node name} option or the special node name syntax. Here is +an example: + +\begin{codeexample}[] +\begin{tikzpicture} + \node (shape) at (0,2) [draw] {|class Shape|}; + \node (rect) at (-2,0) [draw] {|class Rectangle|}; + \node (circle) at (2,0) [draw] {|class Circle|}; + \node (ellipse) at (6,0) [draw] {|class Ellipse|}; + + \draw (circle.north) |- (0,1); + \draw (ellipse.north) |- (0,1); + \draw[-open triangle 90] (rect.north) |- (0,1) -| (shape.south); +\end{tikzpicture} +\end{codeexample} + +Section~\ref{section-the-shapes} explain which anchors are available +for the basic shapes. + + + + +\subsubsection{Angle Anchor Coordinates} + +In addition to the named anchors, it is possible to use the syntax +\meta{node name}|.|\meta{angle} to name a point of the node's +border. This point is the coordinate where a ray shot from the center +in the given angle hits the border. Here is an example: + +\begin{codeexample}[] +\begin{tikzpicture} + \node (start) [draw,shape=ellipse] {start}; + \foreach \angle in {-90, -80, ..., 90} + \draw (start.\angle) .. controls +(\angle:1cm) and +(-1,0) .. (2.5,0); + \end{tikzpicture} +\end{codeexample} + + +\subsubsection{Anchor-Free Node Coordinates} + +It is also possible to just ``leave out'' the anchor and have \tikzname\ +calculate an appropriate border position for you. Here is an example: + +\begin{codeexample}[] +\begin{tikzpicture}[fill=blue!20] + \draw[style=help lines] (-1,-2) grid (6,3); + \path (0,0) node(a) [ellipse,rotate=10,draw,fill] {An ellipse} + (3,-1) node(b) [circle,draw,fill] {A circle} + (2,2) node(c) [rectangle,rotate=20,draw,fill] {A rectangle} + (5,2) node(d) [rectangle,rotate=-30,draw,fill] {Another rectangle}; + \draw[thick] (a) -- (b) -- (c) -- (d); + \draw[thick,red,->] (a) |- +(1,3) -| (c) |- (b); + \draw[thick,blue,<->] (b) .. controls +(right:2cm) and +(down:1cm) .. (d); +\end{tikzpicture} +\end{codeexample} + +\tikzname\ will be reasonably clever at determining the border points that +you ``mean,'' but, naturally, this may fail in some situations. If +\tikzname\ fails to determine an appropriate border point, the center will +be used instead. + +Automatic computation of anchors works only with the line-to operations +|--|, the vertical/horizontal versions \verb!|-! and \verb!-|!, and +with the curve-to operation |..|. For other path commands, such as +|parabola| or |plot|, the center will be used. If this is not desired, +you should give a named anchor or an angle anchor. + +Note that if you use an automatic coordinate for both the start and +the end of a line-to, as in |--(b)--|, then \emph{two} border +coordinates are computed with a move-to between them. This is usually +exactly what you want. + +If you use relative coordinates together with automatic anchor +coordinates, the relative coordinates are always computed relative to +the node's center, not relative to the border point. Here is an +example: + +\begin{codeexample}[] +\tikz \draw (0,0) node(x) [draw] {Text} + rectangle (1,1) + (x) -- +(1,1); +\end{codeexample} + +Similarly, in the following examples both control points are $(1,1)$: + +\begin{codeexample}[] +\tikz \draw (0,0) node(x) [draw] {X} + (2,0) node(y) {Y} + (x) .. controls +(1,1) and +(-1,1) .. (y); +\end{codeexample} + + +\subsection{Intersection Coordinates} + + +\subsubsection{Intersection of Two Lines} + +Often you wish to specify a point that is on the +intersection of two lines. The first way to specify such an +intersection is the following: You can use the special syntax +\declare{|(intersection of |\meta{$p_1$}|--|\meta{$p_2$}% + | and |\meta{$q_1$}|--|\meta{$q_2$}|)|}. This will yield the +intersection point of the line going through $p_1$ and $p_2$ and the +line through $q_1$ and $q_2$. If the lines do not meet or if they are +identical and arithmetical overflow error will result. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (0,0) coordinate (A) -- (3,2) coordinate (B) + (1,2) -- (3,0); + + \fill[red] (intersection of A--B and 1,2--3,0) circle (2pt); +\end{tikzpicture} +\end{codeexample} + +\subsubsection{Intersection of Horizontal and Vertical Lines} + +A frequent special case of intersections is the intersection of a +vertical line going through a point $p$ and a horizontal line going +through some other point $q$. For this situation there is a special, +shorter, syntax: You can say either +\declare{|(|\meta{p}\verb! |- !\meta{q}|)|} or +\declare{|(|\meta{q}\verb! -| !\meta{p}|)|}. + +For example, \verb!(2,1 |- 3,4)! and \verb!(3,4 -| 2,1)! both yield +the same as \verb!(2,4)! (provided the $xy$-coordinate system has not +been modified). + +The most useful application of the syntax is to draw a line up to some +point on a vertical or horizontal line. Here is an example: + +\begin{codeexample}[] +\begin{tikzpicture} + \path (30:1cm) node(p1) {$p_1$} (75:1cm) node(p2) {$p_2$}; + + \draw (-0.2,0) -- (1.2,0) node(xline)[right] {$q_1$}; + \draw (2,-0.2) -- (2,1.2) node(yline)[above] {$q_2$}; + + \draw[->] (p1) -- (p1 |- xline); + \draw[->] (p2) -- (p2 |- xline); + \draw[->] (p1) -- (p1 -| yline); + \draw[->] (p2) -- (p2 -| yline); +\end{tikzpicture} +\end{codeexample} + + + +\subsection{Relative and Incremental Coordinates} + +You can prefix coordinates by |++| to make them ``relative.'' A +coordinate such as |++(1cm,0pt)| means ``1cm to the right of the +previous position.'' Relative coordinates are often useful in +``local'' contexts: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) -- ++(1,0) -- ++(0,1) -- ++(-1,0) -- cycle; + \draw (2,0) -- ++(1,0) -- ++(0,1) -- ++(-1,0) -- cycle; + \draw (1.5,1.5) -- ++(1,0) -- ++(0,1) -- ++(-1,0) -- cycle; +\end{tikzpicture} +\end{codeexample} + +Instead of |++| you can also use a single |+|. This also specifies a +relative coordinate, but it does not ``update'' the current point for +subsequent usages of relative coordinates. Thus, you can use this +notation to specify numerous points, all relative to the same +``initial'' point: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) -- +(1,0) -- +(1,1) -- +(0,1) -- cycle; + \draw (2,0) -- +(1,0) -- +(1,1) -- +(0,1) -- cycle; + \draw (1.5,1.5) -- +(1,0) -- +(1,1) -- +(0,1) -- cycle; +\end{tikzpicture} +\end{codeexample} + +There is one special situation, where relative coordinates are +interpreted differently. If you use a relative coordinate as a control +point of a Bzier curve, the following rule applies: First, a relative +first control point is taken relative to the beginning of the +curve. Second, a relative second control point is taken relative to +the end of the curve. Third, a relative end point of a curve is taken +relative to the start of the curve. + +This special behavior makes it easy to specify that a curve should +``leave or arrives from a certain direction'' at the start or end. In +the following example, the curve ``leaves'' at $30^\circ$ and +``arrives'' at $60^\circ$: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (1,0) .. controls +(30:1cm) and +(60:1cm) .. (3,-1); + \draw[gray,->] (1,0) -- +(30:1cm); + \draw[gray,<-] (3,-1) -- +(60:1cm); +\end{tikzpicture} +\end{codeexample} diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-design.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-design.tex new file mode 100644 index 00000000000..1207f029c38 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-design.tex @@ -0,0 +1,248 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Design Principles} + +This section describes the design principles behind the \tikzname\ +frontend, where \tikzname\ means ``\tikzname\ ist \emph{kein} +Zeichenprogramm.'' To use \tikzname, as a \LaTeX\ user say +|\usepackage{tikz}| somewhere in the preamble, as a plain \TeX\ user +say |\input tikz.tex|. \tikzname's job is to make your life easier by +providing an easy-to-learn and easy-to-use syntax for describing +graphics. + +The commands and syntax of \tikzname\ were influenced by several +sources. The basic command names and the notion of path operations is +taken from \textsc{metafont}, the option mechanism comes from +\textsc{pstricks}, the notion of styles is reminiscent of +\textsc{svg}. To make it all work together, some compromises were +necessary. I also added some ideas of my own, like meta-arrows and +coordinate transformations. + +The following basic design principles underlie \tikzname: +\begin{enumerate} +\item Special syntax for specifying points. +\item Special syntax for path specifications. +\item Actions on paths. +\item Key-value syntax for graphic parameters. +\item Special syntax for nodes. +\item Special syntax for trees. +\item Grouping of graphic parameters. +\item Coordinate transformation system. +\end{enumerate} + + + +\subsection{Special Syntax For Specifying Points} + +\tikzname\ provides a special syntax for specifying points and +coordinates. In the simplest case, you provide two \TeX\ dimensions, +separated by commas, in round brackets as in |(1cm,2pt)|. + +You can also specify a point in polar coordinates by using a colon +instead of a comma as in |(30:1cm)|, which means ``1cm in a 30 +degrees direction.'' + +If you do not provide a unit, as in |(2,1)|, you specify a point in +\pgfname's $xy$-coordinate system. By default, the unit $x$-vector +goes 1cm to the right and the unit $y$-vector goes 1cm upward. + +By specifying three numbers as in |(1,1,1)| you specify a point in +\pgfname's $xyz$-coordinate system. + +It is also possible to use an anchor of a previously defined shape +as in |(first node.south)|. + +You can add two plus signs before a coordinate as in +|++(1cm,0pt)|. This means ``1cm to the right of the last point +used.'' This allows you to easily specify relative movements. For +example, |(1,0) ++(1,0) ++(0,1)| specifies the three coordinates +|(1,0)|, then |(2,0)|, and |(2,1)|. + +Finally, instead of two plus signs, you can also add a single +one. This also specifies a point in a relative manner, but it does +not ``change'' the current point used in subsequent relative +commands. For example, |(1,0) +(1,0) +(0,1)| specifies the three +coordinates |(1,0)|, then |(2,0)|, and |(1,1)|. + +\subsection{Special Syntax For Path Specifications} + +When creating a picture using \tikzname, your main job is the +specification of \emph{paths}. A path is a series of straight or curved +lines, which need not be connected. \tikzname\ makes it easy to +specify paths, partly using the syntax of \textsc{metapost}. For +example, to specify a triangular path you use +\begin{codeexample}[code only] +(5pt,0pt) -- (0pt,0pt) -- (0pt,5pt) -- cycle +\end{codeexample} +and you get \tikz \draw (5pt,0pt) -- (0pt,0pt) -- (0pt,5pt) -- cycle; +when you draw this path. + +\subsection{Actions on Paths} + +A path is just a series of straight and curved lines, but it is not +yet specified what should happen with it. One can \emph{draw} a +path, \emph{fill} a path, \emph{shade} it, \emph{clip} it, or do any +combination of these. Drawing (also known as \emph{stroking}) can be +thought of as taking a pen of a certain thickness and moving it +along the path, thereby drawing on the canvas. Filling means that +the interior of the path is filled with a uniform color. Obviously, +filling makes sense only for \emph{closed} paths and a path is +automatically closed prior to filling, if necessary. + +Given a path as in |\path (0,0) rectangle (2ex,1ex);|, you can draw +it by adding the |draw| option as in +|\path[draw] (0,0) rectangle (2ex,1ex);|, which yields \tikz \path[draw] +(0,0) rectangle (2ex,1ex);. The |\draw| command is just an abbreviation for +|\path[draw]|. To fill a path, use the |fill| option or the |\fill| +command, which is an abbreviation for |\path[fill]|. The +|\filldraw| command is an abbreviation for +|\path[fill,draw]|. Shading is caused by the |shade| option (there +are |\shade| and |\shadedraw| abbreviations) and clipping by the +|clip| option. There is is also a |\clip| command, which does the +same as |\path[clip]|, but not commands like |\drawclip|. Use, say, +|\draw[clip]| or |\path[draw,clip]| instead. + +All of these commands can only be used inside |{tikzpicture}| +environments. + +\tikzname\ allows you to use different colors for filling and +stroking. + +\subsection{Key-Value Syntax for Graphic Parameters} +Whenever \tikzname\ draws or fills a path, a large number of graphic +parameters influenced the rendering. Examples include the colors +used, the dashing pattern, the clipping area, the line width, and +many others. In \tikzname, all these options are specified as lists +of so called key-value pairs, as in |color=red|, that are +passed as optional parameters to the path drawing and filling +commands. This usage is similar to \textsc{pstricks}. For +example, the following will draw a thick, red triangle; +\begin{codeexample}[] +\tikz \draw[line width=2pt,color=red] (1,0) -- (0,0) -- (1,0) -- cycle; +\end{codeexample} + +\subsection{Special Syntax for Specifying Nodes} +\tikzname\ introduces a special syntax for adding text or, more +generally, nodes to a graphic. When you specify a path, add nodes as +in the following example: +\begin{codeexample}[] +\tikz \draw (1,1) node {text} -- (2,2); +\end{codeexample} +Nodes are inserted at the current position of +the path, but only \emph{after} the path has been rendered. When +special options are given, as in +|\draw (1,1) node[circle,draw] {text};|, the text is not just put +at the current position. Rather, it is surrounded by a circle and +this circle is ``drawn.'' + +You can add a name to a node for later reference either by using the +option |name=|\meta{node name} or by stating the node name in +parentheses outside the text as in |node[circle](name){text}|. + +Predefined shapes include |rectangle|, |circle|, and |ellipse|, but +it is possible (though a bit challenging) to define new shapes. + +\subsection{Special Syntax for Specifying Trees} + +In addition to the ``node syntax,'' \tikzname\ also introduces a +special syntax for drawing trees. The syntax is intergrated with the +special node syntax and only few new commands need to be remebered. +In essence, a |node| can be followed by any number of children, each +introduced by the keyword |child|. The children are nodes themselves, +each of which may have children in turn. + +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} + child {node {left}} + child {node {right} + child {node {child}} + child {node {child}} + }; +\end{tikzpicture} +\end{codeexample} + +Since trees are made up from nodes, it is possible to use options to +modify the way trees are drawn. Here are two examples of the above tree, +redrawn with different options: + +\begin{codeexample}[] +\begin{tikzpicture}[edge from parent fork down] + \tikzstyle{every node}=[fill=red!30,rounded corners] + \tikzstyle{edge from parent}=[red,-o,thick,draw] + \node {root} + child {node {left}} + child {node {right} + child {node {child}} + child {node {child}} + }; +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + [parent anchor=east,child anchor=west,grow=east] + \tikzstyle{every node}=[ball color=red,circle,text=white] + \tikzstyle{edge from parent}=[draw,dashed,thick,red] + \node {root} + child {node {left}} + child {node {right} + child {node {child}} + child {node {child}} + }; +\end{tikzpicture} +\end{codeexample} + +\subsection{Grouping of Graphic Parameters} + +Graphic parameters should often apply to several path drawing or +filling commands. For example, we may wish to draw numerous lines all +with the same line width of 1pt. For this, we put these commands +in a |{scope}| environment that takes the desired graphic options +as an optional parameter. Naturally, the specified graphic +parameters apply only to the drawing and filling commands inside the +environment. Furthermore, nested |{scope}| environments or +individual drawing commands can override the graphic parameters of +outer |{scope}| environments. In the following example, three red +lines, two green lines, and one blue line are drawn: + +\begin{codeexample}[] +\begin{tikzpicture} + \begin{scope}[color=red] + \draw (0mm,10mm) -- (10mm,10mm); + \draw (0mm, 8mm) -- (10mm, 8mm); + \draw (0mm, 6mm) -- (10mm, 6mm); + \end{scope} + \begin{scope}[color=green] + \draw (0mm, 4mm) -- (10mm, 4mm); + \draw (0mm, 2mm) -- (10mm, 2mm); + \draw[color=blue] (0mm, 0mm) -- (10mm, 0mm); + \end{scope} +\end{tikzpicture} +\end{codeexample} + +The |{tikzpicture}| environment itself also behaves like a +|{scope}| environment, that is, you can specify graphic parameters +using an optional argument. These optional apply to all commands in +the picture. + + +\subsection{Coordinate Transformation System} + +\tikzname\ relies entirely on \pgfname's \emph{coordinate} transformation +system to perform transformations. \pgfname\ also supports +\emph{canvas} transformations, a more low-level transformation system, +but this system is not accessible from \tikzname. There are two reasons +for this: First, the canvas transformation must be used with great +care and often results in ``bad'' graphics with changing line width +and text in wrong sizes. Second, \pgfname\ looses track of where nodes +and shapes are positioned when canvas transformations are used. + +For more details on the difference between coordinate transformations +and canvas transformations see +Section~\ref{section-design-transformations}. diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-paths.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-paths.tex new file mode 100644 index 00000000000..9eaffdcd086 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-paths.tex @@ -0,0 +1,1266 @@ +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Syntax for Path Specifications} + +A \emph{path} is a series of straight and curved line segments. It is +specified following a |\path| command and the specification must +follow a special syntax, which is described in the subsections of the +present section. + + +\begin{command}{\path\meta{specification}|;|} + This command is available only inside a |{tikzpicture}| environment. + + The \meta{specification} is a long stream of \emph{path + operations}. Most of these path operations tell \tikzname\ how the path + is build. For example, when you write |--(0,0)|, you use a + \emph{line-to operation} and it means ``continue the path from + wherever you are to the origin.'' + + At any point where \tikzname\ expects a path operation, you can also + give some graphic options, which is a list of options in brackets, + such as |[rounded corners]|. These options can have different + effects: + \begin{enumerate} + \item + Some options take ``immediate'' effect and apply to all subsequent + path operations on the path. For example, the |rounded corners| + option will round all following corners, but not the corners + ``before'' and if the |sharp corners| is given later on the path + (in a new set of brackets), the rounding effect will end. + +\begin{codeexample}[] +\tikz \draw (0,0) -- (1,1) + [rounded corners] -- (2,0) -- (3,1) + [sharp corners] -- (3,0) -- (2,1); +\end{codeexample} + Another example are the transformation options, which also apply + only to subsequent coordinates. + \item + The options that have immediate effect can be ``scoped'' by + putting part of a path in curly braces. For example, the above + example could also be written as follows: + +\begin{codeexample}[] +\tikz \draw (0,0) -- (1,1) + {[rounded corners] -- (2,0) -- (3,1)} + -- (3,0) -- (2,1); +\end{codeexample} + \item + Some options only apply to the path as a whole. For example, the + |color=| option for determining the color used for, say, drawing + the path always applies to all parts of the path. If several + different colors are given for different parts of the path, only + the last one (on the outermost scope) ``wins'': + +\begin{codeexample}[] +\tikz \draw (0,0) -- (1,1) + [color=red] -- (2,0) -- (3,1) + [color=blue] -- (3,0) -- (2,1); +\end{codeexample} + + Most options are of this type. In the above example, we would have + had to ``split up'' the path into several |\path| commands: +\begin{codeexample}[] +\tikz{\draw (0,0) -- (1,1); + \draw [color=red] (2,0) -- (3,1); + \draw [color=blue] (3,0) -- (2,1);} +\end{codeexample} + \end{enumerate} + + By default, the |\path| command does ``nothing'' with the + path, it just ``throws it away.'' Thus, if you write + |\path(0,0)--(1,1);|, nothing is drawn + in your picture. The only effect is that the area occupied by the + picture is (possibly) enlarged so that the path fits inside the + area. To actually ``do'' something with the path, an option like + |draw| or |fill| must be given somewhere on the path. Commands like + |\draw| do this implicitly. + + Finally, it is also possible to give \emph{node specifications} on a + path. Such specifications can come at different locations, but they + are always allowed when a normal path operation could follow. A node + specification starts with |node|. Basically, the effect is to + typeset the node's text as normal \TeX\ text and to place + it at the ``current location'' on the path. The details are explained + in Section~\ref{section-nodes}. + + Note, however, that the nodes are \emph{not} part of the path in any + way. Rather, after everything has been done with the path what is + specified by the path options (like filling and drawing the path due + to a |fill| and a |draw| option somewhere in the + \meta{specification}), the nodes are added in a post-processing + step. + + The following style influences scopes: + \begin{itemize} + \itemstyle{every path} + This style is installed at the beginning of every path. This can + be useful for (temporarily) adding, say, the |draw| option to + everything in a scope. +\begin{codeexample}[] +\begin{tikzpicture}[fill=examplefill] % only sets the color + \tikzstyle{every path}=[draw] % all paths are drawn + \fill (0,0) rectangle +(1,1); + \shade (2,0) rectangle +(1,1); +\end{tikzpicture} +\end{codeexample} + \end{itemize} +\end{command} + + + + +\subsection{The Move-To Operation} + +The perhaps simplest operation is the move-to operation, which is +specified by just giving a coordinate where a path operation is +expected. + +\begin{pathoperation}[noindex]{}{\meta{coordinate}} + \index{empty@\protect\meta{empty} path operation}% + \index{Path operations!empty@\protect\texttt{\meta{empty}}}% + The move-to operation normally starts a path at a certain + point. This does not cause a line segment to be created, but it + specifies the starting point of the next segment. If a path is + already under construction, that is, if several segments have + already been created, a move-to operation will start a new part of the + path that is not connected to any of the previous segments. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) --(2,0) (0,1) --(2,1); +\end{tikzpicture} +\end{codeexample} + + In the specification |(0,0) --(2,0) (0,1) --(2,1)| two move-to + operations are specified: |(0,0)| and |(0,1)|. The other two + operations, namely |--(2,0)| and |--(2,1)| are line-to operations, + described next. +\end{pathoperation} + + +\subsection{The Line-To Operation} + + +\subsubsection{Straight Lines} + +\begin{pathoperation}{--}{\meta{coordinate}} + The line-to operation extends the current path from the current + point in a straight line to the given coordinate. The ``current + point'' is the endpoint of the previous drawing operation or the point + specified by a prior move-to operation. + + You use two minus signs followed by a coordinate in round + brackets. You can add spaces before and after the~|--|. + + When a line-to operation is used and some path segment has just been + constructed, for example by another line-to operation, the two line + segments become joined. This means that if they are drawn, the point + where they meet is ``joined'' smoothly. To appreciate the difference, + consider the following two examples: In the left example, the path + consists of two path segments that are not joined, but that happen to + share a point, while in the right example a smooth join is shown. + +\begin{codeexample}[] +\begin{tikzpicture}[line width=10pt] + \draw (0,0) --(1,1) (1,1) --(2,0); + \draw (3,0) -- (4,1) -- (5,0); + \useasboundingbox (0,1.5); % make bounding box higher +\end{tikzpicture} +\end{codeexample} + +\end{pathoperation} + + +\subsubsection{Horizontal and Vertical Lines} + +Sometimes you want to connect two points via straight lines that are +only horizontal and vertical. For this, you can use two path +construction operations. + +{\catcode`\|=12 +\begin{pathoperation}[noindex]{-|}{\meta{coordinate}} + \index{--1@\protect\texttt{-\protect\pgfmanualbar} path operation}% + \index{Path operations!--1@\protect\texttt{-\protect\pgfmanualbar}}% + This operation means ``first horizontal, then vertical.'' + + \begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) node(a) [draw] {A} (1,1) node(b) [draw] {B}; + \draw (a.north) |- (b.west); + \draw[color=red] (a.east) -| (2,1.5) -| (b.north); +\end{tikzpicture} +\end{codeexample} +\end{pathoperation} +\begin{pathoperation}[noindex]{|-}{\meta{coordinate}} + \index{--2@\protect\texttt{\protect\pgfmanualbar-} path operation}% + \index{Path operations!--2@\protect\texttt{\protect\pgfmanualbar-}}% + This operations means ``first vertical, then horizontal.'' +\end{pathoperation} +} + + +\subsubsection{Snaked Lines} +\label{section-tikz-snakes} + +The line-to operation can not only be used to append straight lines to +the path, but also ``snaked'' lines (called thus because they look a +little bit like snakes seen from above). + +\tikzname\ and \pgfname\ use a concept that I termed \emph{snakes} +for appending such ``squiggly'' lines. A snake specifies a way of +extending a path between two points in a ``fancy manner.'' + +Normally, a snake will just connect the start point to the end point +without starting new subpaths. Thus, a path containing a snaked line +can, nevetheless, still be used for filling. However, this is not +always the case. Some snakes consist of numerous unconnected +segments. ``Lines'' consisting of such snakes cannot be used as the +borders of enclosed areas. + +Here are some examples of snakes in action: + +\begin{codeexample}[] +\begin{tikzpicture}[thick] + \draw (0,3) -- (3,3); + \draw[snake=zigzag] (0,2.5) -- (3,2.5); + \draw[snake=brace] (0,2) -- (3,2); + \draw[snake=triangles] (0,1.5) -- (3,1.5); + \draw[snake=coil,segment length=4pt] (0,1) -- (3,1); + \draw[snake=coil,segment aspect=0] (0,.5) -- (3,.5); + \draw[snake=expanding waves,segment angle=7] (0,0) -- (3,0); +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + \filldraw[fill=red!20,snake=bumps] (0,0) rectangle (3,2); +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + \filldraw[fill=blue!20] (0,3) + [snake=saw] -- (3,3) + [snake=coil,segment aspect=0] -- (2,1) + [snake=bumps] -| (0,3); +\end{tikzpicture} +\end{codeexample} + +No special path operation is needed to use a snake. Instead, you use +the following option to ``switch on'' snaking: + +\begin{itemize} + \itemoption{snake}\opt{|=|\meta{snake name}} + This option causes the snake \meta{snake name} to be used for + subsequent line-to operations. So, whenever you use the |--| syntax + to specify that a straight line should be added to the path, a snake + to this path will be added instead. Snakes will also be used when + you use the \verb!-|! and \verb!|-! syntax and also when you use the + |rectangle| operation. Snakes will \emph{not} be used when you use + the curve-to operation nor when any other ``curved'' line is added + to the path. + + This option has to be given anew for each path. However, you can + also leave out the \meta{snake name}. In this case, the enclosing + scope's \meta{snake name} is used. Thus, you can specify a + ``standard'' snake name for scope and then just say |\draw[snake]| + every time this snake should actually be used. + + The \meta{snake name} |none| is special. It can be used to switch + off snaking after it has been switched on on a path. + + A bit strangely, no valid \meta{snake names} are defined by + \tikzname\ by default. Instead, you have to include the library + package |pgflibrarysnakes|. This package defines numerous snakes, + see Section~\ref{section-library-snakes} for the complete list. +\end{itemize} + +Most snakes can be configured. For example, for a snake that looks +like a sine curve, you might wish to change the amplitude or the +frequency. There are numerous options that influence these +parameters. Not all options apply to all snakes, see +Section~\ref{section-library-snakes} once more for details. + +\begin{itemize} + \itemoption{gap before snakes}|=|\meta{dimension} + This option allows you to add a certain ``gap'' to the snake at its + beginning. The snake will not start at the current point; instead + the start point of the snake is move be \meta{dimension} in the + direction of the target. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw[snake=zigzag] (0,1) -- ++(3,1); + \draw[snake=zigzag,gap before snake=1cm] (0,0) -- ++(3,1); +\end{tikzpicture} +\end{codeexample} + \itemoption{gap after snake}|=|\meta{dimension} + This option has the same effect as |gap before snake|, only it + affects the end of the snake, which will ``end early.'' + \itemoption{gap around snake}|=|\meta{dimension} + This option sets the gap before and after the gap to + \meta{dimension}. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw[snake=brace] (0,1) -- ++(3,1); + \draw[snake=brace,gap around snake=5mm] (0,0) -- ++(3,1); +\end{tikzpicture} +\end{codeexample} + \itemoption{line before snake}|=|\meta{dimension} + This option works like |gap before snake|, only it will connect the + current point with a straight line to the start of the snake. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw[snake=zigzag] (0,1) -- ++(3,1); + \draw[snake=zigzag,line before snake=1cm] (0,0) -- ++(3,1); +\end{tikzpicture} +\end{codeexample} + \itemoption{line after snake}|=|\meta{dimension} + Works line |gap after snake|, only it adds a straight line. + \itemoption{line around snake}|=|\meta{dimension} + Works line |gap around snake|, only it adds straight lines. + \itemoption{raise snake}|=|\meta{dimension} + This option can be used with all snakes. It will offset the snake by + ``raising'' it by \meta{dimension}. A negative \meta{dimension} will + lower the snake. Raising and lowering is always relative to the line + along which the snake is drawn. Here is an example: +\begin{codeexample}[] +\begin{tikzpicture} + \node (a) {A}; + \node (b) at (2,1) {B}; + \draw (a) -- (b); + \draw[snake=brace] (a) -- (b); + \draw[snake=brace,raise snake=5pt,red] (a) -- (b); +\end{tikzpicture} +\end{codeexample} + \itemoption{mirror snake} + This option causes the snake to be ``reflected along the path.'' + This is best understood by looking at an example: +\begin{codeexample}[] +\begin{tikzpicture} + \node (a) {A}; + \node (b) at (2,1) {B}; + \draw (a) -- (b); + \draw[snake=brace] (a) -- (b); + \draw[snake=brace,mirror snake,red,thick] (a) -- (b); +\end{tikzpicture} +\end{codeexample} + This option can be used with every snake and can be combined with + the |raise snake| option. + \itemoption{segment amplitude}|=|\meta{dimension} + This option sets the ``amplitude'' of the snake. For a snake that is + a sine wave this would be the amplitude of this line. For other + snakes this value typically describes how far the snakes ``rises + above'' or ``falls below'' the path. For some snakes, this value is + ignored. +\begin{codeexample}[] +\begin{tikzpicture} + \node (a) {A} node (b) at (2,1) {B} node (c) at (2,-1) {C}; + \draw[snake=zigzag] (a) -- (b); + \draw[snake=zigzag,segment amplitude=5pt,red,thick] (a) -- (c); +\end{tikzpicture} +\end{codeexample} + \itemoption{segment length}|=|\meta{dimension} + This option sets the length of each ``segment'' of a snake. For a + sine wave this would be the wave length, for other snakes it is the + length of each ``repetitive part'' of the snake. +\begin{codeexample}[] +\begin{tikzpicture} + \node (a) {A} node (b) at (2,1) {B} node (c) at (2,-1) {C}; + \draw[snake=zigzag] (a) -- (b); + \draw[snake=zigzag,segment length=20pt,red,thick] (a) -- (c); +\end{tikzpicture} +\end{codeexample} +\begin{codeexample}[] +\begin{tikzpicture} + \node (a) {A} node (b) at (2,1) {B} node (c) at (2,-1) {C}; + \draw[snake=bumps] (a) -- (b); + \draw[snake=bumps,segment length=20pt,red,thick] (a) -- (c); +\end{tikzpicture} +\end{codeexample} + \itemoption{segment object length}|=|\meta{dimension} + This option sets the length of the objects inside each segment of a + snake. This option is only used for snakes in which each segment + contains an object like a triangle or a star. +\begin{codeexample}[] +\begin{tikzpicture} + \node (a) {A} node (b) at (2,1) {B} node (c) at (2,-1) {C}; + \draw[snake=triangles] (a) -- (b); + \draw[snake=triangles,segment object length=8pt,red,thick] (a) -- (c); +\end{tikzpicture} +\end{codeexample} + \itemoption{segment angle}|=|\meta{degrees} + This option sets an angle that is interpreted in a snake-specific + way. For example, the |waves| and |expanding waves| snakes interpret + this as (half the) opening angle of the wave. The |border| snake + uses this value for the angle of the little ticks. +\begin{codeexample}[] +\begin{tikzpicture}[segment amplitude=10pt] + \node (a) {A} node (b) at (2,0) {B}; + \draw[snake=border] (a) -- (b); + \draw[snake=border,segment angle=20,red,thick] (a) -- (b); +\end{tikzpicture} +\end{codeexample} +\begin{codeexample}[] +\begin{tikzpicture}[segment amplitude=10pt] + \node (a) {A} node (b) at (2,0) {B}; + \node (a') at (0,-1) {A} node (b') at (2,-1) {B}; + \draw[snake=expanding waves] (a) -- (b); + \draw[snake=expanding waves,segment angle=20,red,thick] (a') -- (b'); +\end{tikzpicture} +\end{codeexample} + \itemoption{segment aspect}|=|\meta{ratio} + This option sets an aspect ratio that is interpreted in a + snake-specific way. For example, for the |coils| snake this + describes the ``direction'' from which the coil is viewed. +\begin{codeexample}[] +\begin{tikzpicture}[segment amplitude=5pt,segment length=5pt] + \node (a) {A} node (b) at (2,1) {B} node (c) at (2,-1) {C}; + \draw[snake=coil] (a) -- (b); + \draw[snake=coil,segment aspect=0,red,thick] (a) -- (c); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +It is possible to define new snakes, but this cannot be done inside +\tikzname. You need to use the command |\pgfdeclaresnake| from the +basic level directly, see Section~\ref{section-base-snakes}. + +The following styles define combinations of segment settings that may +be useful: +\begin{itemize} + \itemstyle{snake triangles 45} + Installs a snake the consists of little triangles with an opening + angle of $45^\circ$. + \itemstyle{snake triangles 60} + Installs a snake the consists of little triangles with an opening + angle of $60^\circ$. + \itemstyle{snake triangles 90} + Installs a snake the consists of little triangles with an opening + angle of $90^\circ$. +\end{itemize} + + + +\subsection{The Curve-To Operation} + +The curve-to operation allows you to extend a path using a Bzier +curve. + +\begin{pathoperation}{..}{\declare{|controls|}\meta{c}\opt{|and|\meta{d}}\declare{|..|\meta{y}}} + This operation extends the current path from the current + point, let us call it $x$, via a curve to a the current point~$y$. + The curve is a cubic Bzier curve. For such a curve, + apart from $y$, you also specify two control points $c$ and $d$. The + idea is that the curve starts at $x$, ``heading'' in the direction + of~$c$. Mathematically spoken, the tangent of the curve at $x$ goes + through $c$. Similarly, the curve ends at $y$, ``coming from'' the + other control point,~$d$. The larger the distance between $x$ and~$c$ + and between $d$ and~$y$, the larger the curve will be. + + If the ``|and|\meta{d}'' part is not given, $d$ is assumed to be + equal to $c$. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[line width=10pt] (0,0) .. controls (1,1) .. (4,0) + .. controls (5,0) and (5,1) .. (4,1); + \draw[color=gray] (0,0) -- (1,1) -- (4,0) -- (5,0) -- (5,1) -- (4,1); +\end{tikzpicture} +\end{codeexample} + + As with the line-to operation, it makes a difference whether two curves + are joined because they resulted from consecutive curve-to or line-to + operations, or whether they just happen to have the same ending: + +\begin{codeexample}[] +\begin{tikzpicture}[line width=10pt] + \draw (0,0) -- (1,1) (1,1) .. controls (1,0) and (2,0) .. (2,0); + \draw (3,0) -- (4,1) .. controls (4,0) and (5,0) .. (5,0); + \useasboundingbox (0,1.5); % make bounding box higher +\end{tikzpicture} +\end{codeexample} +\end{pathoperation} + + +\subsection{The Cycle Operation} + +\begin{pathoperation}{--cycle}{} + This operation adds a straight line from the current + point to the last point specified by a move-to operation. Note that + this need not be the beginning of the path. Furthermore, a smooth join + is created between the first segment created after the last move-to + operation and the straight line appended by the cycle operation. + + Consider the following example. In the left example, two triangles are + created using three straight lines, but they are not joined at the + ends. In the second example cycle operations are used. + +\begin{codeexample}[] +\begin{tikzpicture}[line width=10pt] + \draw (0,0) -- (1,1) -- (1,0) -- (0,0) (2,0) -- (3,1) -- (3,0) -- (2,0); + \draw (5,0) -- (6,1) -- (6,0) -- cycle (7,0) -- (8,1) -- (8,0) -- cycle; + \useasboundingbox (0,1.5); % make bounding box higher +\end{tikzpicture} +\end{codeexample} +\end{pathoperation} + + + +\subsection{The Rectangle Operation} + +A rectangle can obviously be created using four straight lines and a +cycle operation. However, since rectangles are needed so often, a +special syntax is available for them. + +\begin{pathoperation}{rectangle}{\meta{corner}} + When this operation is used, one corner will be the current point, + another corner is given by \meta{corner}, which becomes the new + current point. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) rectangle (1,1); + \draw (.5,1) rectangle (2,0.5) (3,0) rectangle (3.5,1.5) -- (2,0); +\end{tikzpicture} +\end{codeexample} +\end{pathoperation} + + +\subsection{Rounding Corners} + +All of the path construction operations mentioned up to now are +influenced by the following option: +\begin{itemize} + \itemoption{rounded corners}\opt{|=|\meta{inset}} + When this option is in force, all corners (places where a line is + continued either via line-to or a curve-to operation) are replaced by + little arcs so that the corner becomes smooth. + +\begin{codeexample}[] +\tikz \draw [rounded corners] (0,0) -- (1,1) + -- (2,0) .. controls (3,1) .. (4,0); +\end{codeexample} + + The \meta{inset} describes how big the corner is. Note that the + \meta{inset} is \emph{not} scaled along if you use a scaling option + like |scale=2|. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[color=gray,very thin] (10pt,15pt) circle (10pt); + \draw[rounded corners=10pt] (0,0) -- (0pt,25pt) -- (40pt,25pt); +\end{tikzpicture} +\end{codeexample} + + You can switch the rounded corners on and off ``in the middle of + path'' and different corners in the same path can have different + corner radii: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) [rounded corners=10pt] -- (1,1) -- (2,1) + [sharp corners] -- (2,0) + [rounded corners=5pt] -- cycle; +\end{tikzpicture} +\end{codeexample} + +Here is a rectangle with rounded corners: +\begin{codeexample}[] +\tikz \draw[rounded corners=1ex] (0,0) rectangle (20pt,2ex); +\end{codeexample} + + You should be aware, that there are several pitfalls when using this + option. First, the rounded corner will only be an arc (part of a + circle) if the angle is $90^\circ$. In other cases, the rounded + corner will still be round, but ``not as nice.'' + + Second, if there are very short line segments in a path, the + ``rounding'' may cause inadverted effects. In such case it may be + necessary to temporarily switch off the rounding using + |sharp corners|. + + \itemoption{sharp corners} + This options switches off any rounding on subsequent corners of the + path. +\end{itemize} + + + +\subsection{The Circle and Ellipse Operations} + +A circle can be approximated well using four Bzier curves. However, +it is difficult to do so correctly. For this reason, a special syntax +is available for adding such an approximation of a circle to the +current path. + +\begin{pathoperation}{circle}{|(|\meta{radius}|)|} + The center of the circle is given by the current point. The new + current point of the path will remain to be the center of the + circle. +\end{pathoperation} + +\begin{pathoperation}{ellipse}{|(|\meta{half width}| and |\meta{half height}|)|} + Note that you can add spaces after |ellipse|, but you have to place + spaces around |and|. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (1,0) circle (.5cm); + \draw (3,0) ellipse (1cm and .5cm) -- ++(3,0) circle (.5cm) + -- ++(2,-.5) circle (.25cm); +\end{tikzpicture} +\end{codeexample} +\end{pathoperation} + + +\subsection{The Arc Operation} + +The \emph{arc operation} allows you to add an arc to the current +path. +\begin{pathoperation}{arc}{|(|\meta{start angle}|:|\meta{end + angle}|:|\meta{radius}\opt{|/|\meta{half height}}|)|} + The arc operation adds a part of a circle of the given radius + between the given angles. The arc will start at the current point + and will end at the end of the arc. + + \begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) arc (180:90:1cm) -- (2,.5) arc (90:0:1cm); + \draw (4,0) -- +(30:1cm) arc (30:60:1cm) -- cycle; + \draw (8,0) arc (0:270:1cm/.5cm) -- cycle; +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (-1,0) -- +(3.5,0); + \draw (1,0) ++(210:2cm) -- +(30:4cm); + \draw (1,0) +(0:1cm) arc (0:30:1cm); + \draw (1,0) +(180:1cm) arc (180:210:1cm); + \path (1,0) ++(15:.75cm) node{$\alpha$}; + \path (1,0) ++(15:-.75cm) node{$\beta$}; +\end{tikzpicture} +\end{codeexample} +\end{pathoperation} + + +\subsection{The Grid Operation} + +You can add a grid to the current path using the |grid| path +operation. + +\begin{pathoperation}{grid}{\opt{\oarg{options}}\meta{corner}} + This operations adss a grid filling a rectangle whose two corners + are given by \meta{corner} and by the previous coordinate. Thus, the + typical way in which a grid is drawn is |\draw (1,1) grid (3,3);|, + which yields a grid filling the rectangle whose corners are at + $(1,1)$ and $(3,3)$. All coordinate transformations apply to the grid. + +\begin{codeexample}[] +\tikz[rotate=30] \draw[step=1mm] (0,0) grid (2,2); +\end{codeexample} + + The stepping of the grid is governed by the following options: + +\begin{itemize} + \itemoption{step}|=|\meta{dimension} sets the stepping in both the + $x$ and $y$-direction. + \itemoption{xstep}|=|\meta{dimension} sets the stepping in the + $x$-direction. + \itemoption{ystep}|=|\meta{dimension} sets the stepping in the + $y$-direction. +\end{itemize} + + It is important to note that the grid is always ``phased'' such that + it contains the point $(0,0)$ if that point happens to be inside the + rectangle. Thus, the grid does \emph{not} always have an intersection + at the corner points; this occurs only if the corner points are + multiples of the stepping. Note that due to rounding errors, the + ``last'' lines of a grid may be omitted. In this case, you have to + add an epsilon to the corner points. + + The following style is useful for drawing grids: +\begin{itemize} + \itemstyle{help lines} + This style makes lines ``subdued'' by using thin gray lines for + them. However, this style is not installed automatically and you + have to say for example: +\begin{codeexample}[] +\tikz \draw[style=help lines] (0,0) grid (3,3); +\end{codeexample} +\end{itemize} +\end{pathoperation} + + + +\subsection{The Parabola Operation} + +The |parabola| path operation continues the current path with a +parabola. A parabola is a (shifted and scaled) curve defined by the +equation $f(x) = x^2$ and looks like this: \tikz \draw (-1ex,1.5ex) +parabola[parabola height=-1.5ex] +(2ex,0ex);. + +\begin{pathoperation}{parabola}{\opt{\oarg{options}|bend|\meta{bend + coordinate}}\meta{coordinate}} + This operation adds a parabola through the current point and the + given \meta{coordinate}. If the |bend| is given, it specifies where + the bend should go; the \meta{options} can also be used to specify + where the bend is. By default, the bend is at the old current point. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) rectangle (1,1.5) + (0,0) parabola (1,1.5); + \draw[xshift=1.5cm] (0,0) rectangle (1,1.5) + (0,0) parabola[bend at end] (1,1.5); + \draw[xshift=3cm] (0,0) rectangle (1,1.5) + (0,0) parabola bend (.75,1.75) (1,1.5); +\end{tikzpicture} +\end{codeexample} + + The following options influence parabolas: +\begin{itemize} + \itemoption{bend}|=|\meta{coordinate} + Has the same effect as saying |bend|\meta{coordinate} outside the + \meta{options}. The option specifies that the bend of the parabola + should be at the given \meta{coordinate}. You have to take care + yourself that the bend position is a ``valid'' position; which means + that if there is no parabola of the form $f(x) = a x^2 + b x + c$ + that goes through the old current point, the given bend, and the new + current point, the result will not be a parabola. + + There is one special property of the \meta{coordinate}: When a + relative coordinate is given like |+(0,0)|, the position relative + to which this coordinate is ``flexible.'' More precisely, this + position lies somewhere on a line from the old current point to the + new current point. The exact position depends on the next + option. + + \itemoption{bend pos}|=|\meta{fraction} + Specifies where the ``previous'' point is relative to which the bend + is calculated. The previous point will be at the \meta{fraction}th + part of the line from the old current point to the new current + point. + + The idea is the following: If you say |bend pos=0| and + |bend +(0,0)|, the bend will be at the old current point. If you say + |bend pos=1| and |bend +(0,0)|, the bend will be at the new current + point. If you say |bend pos=0.5| and |bend +(0,2cm)| the bend will + be 2cm above the middle of the line between the start and end + point. This is most useful in situations such as the following: +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (-1,0) parabola[bend pos=0.5] bend +(0,2) +(3,0); +\end{tikzpicture} +\end{codeexample} + + In the above example, the |bend +(0,2)| essentially means ``a + parabola that is 2cm high'' and |+(3,0)| means ``and 3cm wide.'' + Since this situation arises often, there is a special shortcut + option: + \itemoption{parabola height}|=|\meta{dimension} This option has the + same effect as if you had written the following instead: + |[bend pos=0.5,bend={+(0pt,|\meta{dimension}|)}]|. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[help lines] (0,0) grid (3,2); + \draw (-1,0) parabola[parabola height=2cm] +(3,0); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +The following styles are useful shortcuts: +\begin{itemize} + \itemstyle{bend at start} This places the bend at the start of a + parabola. It is a shortcut for the following options: + |bend pos=0,bend={+(0,0)}|. + \itemstyle{bend at end} This places the bend at the end of a + parabola. +\end{itemize} +\end{pathoperation} + + +\subsection{The Sine and Cosine Operation} + +The |sin| and |cos| operations are similar to the |parabola| +operation. They, too, can be used to draw (parts of) a sine or cosine +curve. + +\begin{pathoperation}{sin}{\meta{coordinate}} + The effect of |sin| is to draw a scaled and shifted version of a sine + curve in the interval $[0,\pi/2]$. The scaling and shifting is done in + such a way that the start of the sine curve in the interval is at the + old current point and that the end of the curve in the interval is at + \meta{coordinate}. Here is an example that should clarify this: + +\begin{codeexample}[] +\tikz \draw (0,0) rectangle (1,1) (0,0) sin (1,1) + (2,0) rectangle +(1.57,1) (2,0) sin +(1.57,1); +\end{codeexample} +\end{pathoperation} + +\begin{pathoperation}{cos}{\meta{coordinate}} + This operation works similarly, only a cosine in the interval + $[0,\pi/2]$ is drawn. By correctly alternating |sin| and |cos| + operations, you can create a complete sine or cosine curve: + +\begin{codeexample}[] +\begin{tikzpicture}[xscale=1.57] + \draw (0,0) sin (1,1) cos (2,0) sin (3,-1) cos (4,0) sin (5,1); + \draw[color=red] (0,1.5) cos (1,0) sin (2,-1.5) cos (3,0) sin (4,1.5) cos (5,0); +\end{tikzpicture} +\end{codeexample} +\end{pathoperation} + +Note that there is no way to (conveniently) draw an interval on a sine +or cosine curve whose end points are not multiples of $\pi/2$. + + + +\subsection{The Plot Operation} + +The |plot| operation can be used to append a line or curve to the path +that goes through a large number of coordinates. These coordinates are +either given in a simple list of coordinates or they are read from +some file. + +The syntax of the |plot| comes in different versions. + +\begin{pathoperation}{--plot}{\meta{further arguments}} + This operation plots the curve through the coordinates specified in + the \meta{further arguments}. The current (sub)path is simply + continued, that is, a line-to operation to the first point of the + curve is implicitly added. The details of the \meta{further + arguments} will be explained in a moment. +\end{pathoperation} + +\begin{pathoperation}{plot}{\meta{further arguments}} + This operation plots the curve through the coordinates specified in + the \meta{further arguments} by first ``moving'' to the first + coordinate of the curve. +\end{pathoperation} + +The \meta{further arguments} are used in three different ways to +specifying the coordinates of the points to be plotted: + +\begin{enumerate} +\item + \opt{|--|}|plot|\oarg{local options}\declare{|coordinates{|\meta{coordinate + 1}\meta{coordinate 2}\dots\meta{coordinate $n$}|}|} +\item + \opt{|--|}|plot|\oarg{local options}\declare{|file{|\meta{filename}|}|} +\item + \opt{|--|}|plot|\oarg{local options}\declare{|function{|\meta{gnuplot formula}|}|} +\end{enumerate} + +These different ways are explained in the following. + + +\subsubsection{Plotting Points Given Inline} + +In the first two cases, the points are given directly in the \TeX-file +as in the following example: + +\begin{codeexample}[] +\tikz \draw plot coordinates {(0,0) (1,1) (2,0) (3,1) (2,1) (10:2cm)}; +\end{codeexample} + +Here is an example showing the difference between |plot| and |--plot|: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) -- (1,1) plot coordinates {(2,0) (4,0)}; + \draw[color=red,xshift=5cm] + (0,0) -- (1,1) -- plot coordinates {(2,0) (4,0)}; +\end{tikzpicture} +\end{codeexample} + + +\subsubsection{Plotting Points Read From an External File} + +The second way of specifying points is to put them in an external +file named \meta{filename}. Currently, the only file format that +\tikzname\ allows is the following: Each line of the \meta{filename} +should contain one line starting with two numbers, separated by a +space. Anything following the two numbers on the line is +ignored. Also, lines starting with a |%| or a |#| are ignored as well +as empty lines. (This is exactly the format that \textsc{gnuplot} +produces when you say |set terminal table|.) If necessary, more +formats will be supported in the future, but it is usually easy to +produce a file containing data in this form. + +\begin{codeexample}[] +\tikz \draw plot[mark=x,smooth] file {plots/pgfmanual-sine.table}; +\end{codeexample} + +The file |plots/pgfmanual-sine.table| reads: +\begin{codeexample}[code only] +#Curve 0, 20 points +#x y type +0.00000 0.00000 i +0.52632 0.50235 i +1.05263 0.86873 i +1.57895 0.99997 i +... +9.47368 -0.04889 i +10.00000 -0.54402 i +\end{codeexample} +It was produced from the following source, using |gnuplot|: +\begin{codeexample}[code only] +set terminal table +set output "../plots/pgfmanual-sine.table" +set format "%.5f" +set samples 20 +plot [x=0:10] sin(x) +\end{codeexample} + +The \meta{local options} of the |plot| operation are local to each +plot and do not affect other plots ``on the same path.'' For example, +|plot[yshift=1cm]| will locally shift the plot 1cm upward. Remember, +however, that most options can only be applied to paths as a +whole. For example, |plot[red]| does not have the effect of making the +plot red. After all, you are trying to ``locally'' make part of the +path red, which is not possible. + +\subsubsection{Plotting a Function} +\label{section-tikz-gnuplot} + +Often, you will want to plot points that are given via a function like +$f(x) = x \sin x$. Unfortunately, \TeX\ does not really have enough +computational power to generate the points on such a function +efficiently (it is a text processing program, after all). However, +if you allow it, \TeX\ can try to call external programs that can +easily produce the necessary points. Currently, \tikzname\ knows how to +call \textsc{gnuplot}. + +When \tikzname\ encounters your operation +|plot[id=|\meta{id}|] function{x*sin(x)}| for +the first time, it will create a file called +\meta{prefix}\meta{id}|.gnuplot|, where \meta{prefix} is |\jobname.| by +default, that is, the name of you main |.tex| file. If no \meta{id} is +given, it will be empty, which is alright, but it is better when each +plot has a unique \meta{id} for reasons explained in a moment. Next, +\tikzname\ writes some initialization code into this file followed by +|plot x*sin(x)|. The initialization code sets up things +such that the |plot| operation will write the coordinates into another +file called \meta{prefix}\meta{id}|.table|. Finally, this table file +is read as if you had said |plot file{|\meta{prefix}\meta{id}|.table}|. + +For the plotting mechanism to work, two conditions must be met: +\begin{enumerate} +\item + You must have allowed \TeX\ to call external programs. This is often + switched off by default since this is a security risk (you might, + without knowing, run a \TeX\ file that calls all sorts of ``bad'' + commands). To enable this ``calling external programs'' a command + line option must be given to the \TeX\ program. Usually, it is + called something like |shell-escape| or |enable-write18|. For + example, for my |pdflatex| the option |--shell-escape| can be + given. +\item + You must have installed the |gnuplot| program and \TeX\ must find it + when compiling your file. +\end{enumerate} + +Unfortunately, these conditions will not always be met. Especially if +you pass some source to a coauthor and the coauthor does not have +\textsc{gnuplot} installed, he or she will have trouble compiling your +files. + +For this reason, \tikzname\ behaves differently when you compile your +graphic for the second time: If upon reaching +|plot[id=|\meta{id}|] function{...}| the file \meta{prefix}\meta{id}|.table| +already exists \emph{and} if the \meta{prefix}\meta{id}|.gnuplot| file +contains what \tikzname\ thinks that it ``should'' contain, the |.table| +file is immediately read without trying to call a |gnuplot| +program. This approach has the following advantages: +\begin{enumerate} +\item + If you pass a bundle of your |.tex| file and all |.gnuplot| and + |.table| files to someone else, that person can \TeX\ the |.tex| + file without having to have |gnuplot| installed. +\item + If the |\write18| feature is switched off for security reasons (a + good idea), then, upon the first compilation of the |.tex| file, the + |.gnuplot| will still be generated, but not the |.table| + file. You can then simply call |gnuplot| ``by hand'' for each + |.gnuplot| file, which will produce all necessary |.table| files. +\item + If you change the function that you wish to plot or its + domain, \tikzname\ will automatically try to regenerate the |.table| + file. +\item + If, out of laziness, you do not provide an |id|, the same |.gnuplot| + will be used for different plots, but this is not a problem since + the |.table| will automatically be regenerated for each plot + on-the-fly. \emph{Note: If you intend to share your files with + someone else, always use an id, so that the file can by typeset + without having \textsc{gnuplot} installed.} Also, having unique ids + for each plot will improve compilation speed since no external + programs need to be called, unless it is really necessary. +\end{enumerate} + +When you use |plot function{|\meta{gnuplot formula}|}|, the \meta{gnuplot + formula} must be given in the |gnuplot| syntax, whose details are +beyond the scope of this manual. Here is the ultra-condensed +essence: Use |x| as the variable and use the C-syntax for normal +plots, use |t| as the variable for parametric plots. Here are some examples: + +\begin{codeexample}[] +\begin{tikzpicture}[domain=0:4] + \draw[very thin,color=gray] (-0.1,-1.1) grid (3.9,3.9); + + \draw[->] (-0.2,0) -- (4.2,0) node[right] {$x$}; + \draw[->] (0,-1.2) -- (0,4.2) node[above] {$f(x)$}; + + \draw[color=red] plot[id=x] function{x} node[right] {$f(x) =x$}; + \draw[color=blue] plot[id=sin] function{sin(x)} node[right] {$f(x) = \sin x$}; + \draw[color=orange] plot[id=exp] function{0.05*exp(x)} node[right] {$f(x) = \frac{1}{20} \mathrm e^x$}; +\end{tikzpicture} +\end{codeexample} + + +The following options influence the plot: + +\begin{itemize} + \itemoption{samples}|=|\meta{number} + sets the number of samples used in the plot. The default is 25. + \itemoption{domain}|=|\meta{start}|:|\meta{end} + sets the domain between which the samples are taken. The default is + |-5:5|. + \itemoption{parametric}\opt{|=|\meta{true or false}} + sets whether the plot is a parametric plot. If true, then |t| must + be used instead of |x| as the parameter and two comma-separated + functions must be given in the \meta{gnuplot formula}. An example is + the following: +\begin{codeexample}[] +\tikz \draw[scale=0.5,domain=-3.141:3.141,smooth] + plot[parametric,id=parametric-example] function{t*sin(t),t*cos(t)}; +\end{codeexample} + + \itemoption{id}|=|\meta{id} + sets the identifier of the current plot. This should be a unique + identifier for each plot (though things will also work if it is not, + but not as well, see the explanations above). The \meta{id} will be + part of a filename, so it should not contain anything fancy like |*| + or |$|.%$ + \itemoption{prefix}|=|\meta{prefix} + is put before each plot file name. The default is |\jobname.|, but + if you have many plots, it might be better to use, say |plots/| and + have all plots placed in a directory. You have to create the + directory yourself. + \itemoption{raw gnuplot} + causes the \meta{gnuplot formula} to be passed on to + \textsc{gnuplot} without setting up the samples or the |plot| + operation. Thus, you could write +\begin{codeexample}[code only] +plot[raw gnuplot,id=raw-example] function{set samples 25; plot sin(x)} +\end{codeexample} + This can be + useful for complicated things that need to be passed to + \textsc{gnuplot}. However, for really complicated situations you + should create a special external generating \textsc{gnuplot} file + and use the |file|-syntax to include the table ``by hand.'' +\end{itemize} + +The following styles influence the plot: +\begin{itemize} + \itemstyle{every plot} + This style is installed in each plot, that is, as if you always said +\begin{codeexample}[code only] + plot[style=every plot,...] +\end{codeexample} + This is most useful for globally setting a prefix for all plots by saying: +\begin{codeexample}[code only] +\tikzstyle{every plot}=[prefix=plots/] +\end{codeexample} +\end{itemize} + + + +\subsubsection{Placing Marks on the Plot} + +As we saw already, it is possible to add \emph{marks} to a plot using +the |mark| option. When this option is used, a copy of the plot +mark is placed on each point of the plot. Note that the marks are +placed \emph{after} the whole path has been drawn/filled/shaded. In +this respect, they are handled like text nodes. + +In detail, the following options govern how marks are drawn: +\begin{itemize} + \itemoption{mark}|=|\meta{mark mnemonic} + Sets the mark to a mnemonic that has previously been defined using + the |\pgfdeclareplotmark|. By default, |*|, |+|, and |x| are available, + which draw a filled circle, a plus, and a cross as marks. Many more + marks become available when the library |pgflibraryplotmarks| is + loaded. Section~\ref{section-plot-marks} lists the available plot + marks. + + One plot mark is special: the |ball| plot mark is available only + it \tikzname. The |ball color| determines the balls's color. Do not use + this option with large number of marks since it will take very long + to render in PostScript. + + \begin{tabular}{lc} + Option & Effect \\\hline \vrule height14pt width0pt + \plotmarkentrytikz{ball} + \end{tabular} + + \itemoption{mark size}|=|\meta{dimension} + Sets the size of the plot marks. For circular plot marks, + \meta{dimension} is the radius, for other plot marks + \meta{dimension} should be about half the width and height. + + This option is not really necessary, since you achieve the same + effect by specifying |scale=|\meta{factor} as a local option, where + \meta{factor} is the quotient of the desired size and the default + size. However, using |mark size| is a bit faster and more natural. + + \itemoption{mark options}|=|\meta{options} + These options are applied to marks when they are drawn. For example, + you can scale (or otherwise transform) the plot mark or set its + color. +\begin{codeexample}[] +\tikz \fill[fill=blue!20] + plot[mark=triangle*,mark options={color=blue,rotate=180}] + file{plots/pgfmanual-sine.table} |- (0,0); +\end{codeexample} +\end{itemize} + + + +\subsubsection{Smooth Plots, Sharp Plots, and Comb Plots} + +There are different things the |plot| operation can do with the points +it reads from a file or from the inlined list of points. By default, +it will connect these points by straight lines. However, you can also +use options to change the behavior of |plot|. + +\begin{itemize} + \itemoption{sharp plot} + This is the default and causes the points to be connected by + straight lines. This option is included only so that you can + ``switch back'' if you ``globally'' install, say, |smooth|. + + \itemoption{smooth} + This option causes the points on the path to be connected using a + smooth curve: + +\begin{codeexample}[] +\tikz\draw plot[smooth] file{plots/pgfmanual-sine.table}; +\end{codeexample} + + Note that the smoothing algorithm is not very intelligent. You will + get the best results if the bending angles are small, that is, less + than about $30^\circ$ and, even more importantly, if the distances + between points are about the same all over the plotting path. + + \itemoption{tension}|=|\meta{value} + This option influences how ``tight'' the smoothing is. A lower value + will result in sharper corners, a higher value in more ``round'' + curves. A value of $1$ results in a circle if four points at + quarter-positions on a circle are given. The default is $0.55$. The + ``correct'' value depends on the details of plot. + +\begin{codeexample}[] +\begin{tikzpicture}[smooth cycle] + \draw plot[tension=0.2] + coordinates{(0,0) (1,1) (2,0) (1,-1)}; + \draw[yshift=-2.25cm] plot[tension=0.5] + coordinates{(0,0) (1,1) (2,0) (1,-1)}; + \draw[yshift=-4.5cm] plot[tension=1] + coordinates{(0,0) (1,1) (2,0) (1,-1)}; +\end{tikzpicture} +\end{codeexample} + + \itemoption{smooth cycle} + This option causes the points on the path to be connected using a + closed smooth curve. + +\begin{codeexample}[] +\tikz[scale=0.5] + \draw plot[smooth cycle] coordinates{(0,0) (1,0) (2,1) (1,2)} + plot coordinates{(0,0) (1,0) (2,1) (1,2)} -- cycle; +\end{codeexample} + + \itemoption{ycomb} + This option causes the |plot| operation to interpret the plotting + points differently. Instead of connecting them, for each point of + the plot a straight line is added to the path from the $x$-axis to the point, + resulting in a sort of ``comb'' or ``bar diagram.'' + +\begin{codeexample}[] +\tikz\draw[ultra thick] plot[ycomb,thin,mark=*] file{plots/pgfmanual-sine.table}; +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture}[ycomb] + \draw[color=red,line width=6pt] + plot coordinates{(0,1) (.5,1.2) (1,.6) (1.5,.7) (2,.9)}; + \draw[color=red!50,line width=4pt,xshift=3pt] + plot coordinates{(0,1.2) (.5,1.3) (1,.5) (1.5,.2) (2,.5)}; +\end{tikzpicture} +\end{codeexample} + + \itemoption{xcomb} + This option works like |ycomb| except that the bars are horizontal. + +\begin{codeexample}[] +\tikz \draw plot[xcomb,mark=x] coordinates{(1,0) (0.8,0.2) (0.6,0.4) (0.2,1)}; +\end{codeexample} + + \itemoption{polar comb} + This option causes a line from the origin to the point to be added + to the path for each plot point. + +\begin{codeexample}[] +\tikz \draw plot[polar comb, + mark=pentagon*,mark options={fill=white,draw=red},mark size=4pt] + coordinates {(0:1cm) (30:1.5cm) (160:.5cm) (250:2cm) (-60:.8cm)}; +\end{codeexample} + + + \itemoption{only marks} + This option causes only marks to be shown; no path segments are + added to the actual path. This can be useful for quickly adding some + marks to a path. + +\begin{codeexample}[] +\tikz \draw (0,0) sin (1,1) cos (2,0) + plot[only marks,mark=x] coordinates{(0,0) (1,1) (2,0) (3,-1)}; +\end{codeexample} +\end{itemize} + + + + + +\subsection{The Scoping Operation} + +When \tikzname\ encounters and opening or a closing brace (|{| or~|}|) at +some point where a path operation should come, it will open or close a +scope. All options that can be applied ``locally'' will be scoped +inside the scope. For example, if you apply a transformation like +|[xshift=1cm]| inside the scoped area, the shifting only applies to +the scope. On the other hand, an option like |color=red| does not have +any effect inside a scope since it can only be applied to the path as +a whole. + + +\subsection{The Node Operation} + +You can add nodes to a path using the |node| operation. Since this +operation is quite complex and since the nodes are not really part of +the path itself, there is a separate section dealing with nodes, see +Section~\ref{section-nodes}. diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-scopes.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-scopes.tex new file mode 100644 index 00000000000..5339e802d4a --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-scopes.tex @@ -0,0 +1,364 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section[Hierarchical Structures: Package, Environments, Scopes, and Styles] +{Hierarchical Structures:\\ + Package, Environments, Scopes, and Styles} + +The present section explains how your files should be structured when +you use \tikzname. On the top level, you need to include the |tikz| +package. In the main text, each graphic needs to be put in a +|{tikzpicture}| environment. Inside these environments, you can use +|{scope}| environments to create internal groups. Inside the scopes +you use |\path| commands to actually draw something. On all levels +(except for the package level), graphic options can be given that +apply to everything within the environment. + + + +\subsection{Loading the Package} + +\begin{package}{tikz} + This package does not have any options. + + This will automatically load the \pgfname\ package and several other + stuff that \tikzname\ needs (like the |xkeyval| package). + + \pgfname\ needs to know what \TeX\ driver you are intending to use. In + most cases \pgfname\ is clever enough to determine the correct driver + for you; this is true in particular if you \LaTeX. Currently, the only + situation where \pgfname\ cannot know the driver ``by itself'' is when + you use plain \TeX\ or Con\TeX t together with |dvipdfm|. In this case, + you have to write |\def\pgfsysdriver{pgfsys-dvipdfm.def}| + \emph{before} you input |tikz.tex|. +\end{package} + + + +\subsection{Creating a Picture} + +\subsubsection{Creating a Picture Using an Environment} + +The ``outermost'' scope of \tikzname\ is the |{tikzpicture}| +environment. You may give drawing commands only inside this +environment, giving them outside (as is possible in many other +packages) will result in chaos. + +In \tikzname, the way graphics are rendered is strongly influenced by +graphic options. For example, there is an option for setting the color used +for drawing, another for setting the color used for filling, and also +more obscure ones like the option for setting the prefix used in the +filenames of temporary files written while plotting functions using an +external program. The graphic options are nearly always specified in a +so-called key-value style. (The ``nearly always'' refers to the name +of nodes, which can also be specified differently.) All graphic +options are local to the |{tikzpicture}| to which they apply. + +\begin{environment}{{tikzpicture}\opt{\oarg{options}}} + All \tikzname\ commands should be given inside this + environment, except for the |\tikzstyle| command. Unlike other + packages, it is not possible to use, say, |\pgfpathmoveto| outside + this environment and doing so will result in chaos. For \tikzname, + commands like |\path| are only defined inside this environment, so + there is little chance that you will do something wrong here. + + When this environment is encountered, the \meta{options} are + parsed. All options given here will apply to the whole + picture. + + Next, the contents of the environment is processed and the graphic + commands therein are put into a box. Non-graphic text is suppressed + as well as possible, but non-\pgfname\ commands inside a + |{tikzpicture}| environment should not produce any ``output'' since + this may totally scramble the positioning system of the backend + drivers. The suppressing of normal text, by the way, is done by + temporarily switching the font to |\nullfont|. You can, however, + ``escape back'' to normal \TeX\ typesetting. This happens, for + example, when you specify a node. + + At the end of the environment, \pgfname\ tries to make a good guess + at a good guess at the bounding box of the graphic and + then resizes the box such that the box has this size. To ``make its + guess,'' everytime \pgfname\ encounters a coordinate, it updates the + bound box's size such that it encompasses all these + coordinates. This will usually give a good + approximation at the bounding box, but will not always be + accurate. First, the line thickness is not taken into + account. Second, controls points of a curve often lie far + ``outside'' the curve and make the bounding box too large. In this + case, you should use the |[use as bounding box]| option. + + The following option influences the baseline of the resulting + picture: + \begin{itemize} + \itemoption{baseline}\opt{|=|\meta{dimension}} + Normally, the lower end of the picture is put on the baseline of + the surrounding text. For example, when you give the code + |\tikz\draw(0,0)circle(.5ex);|, \pgfname\ will find out that the + lower end of the picture is at $-.5\mathrm{ex}$ and that the upper + end is at $.5\mathrm{ex}$. Then, the lower end will be put on the + baseline, resulting in the following: \tikz\draw(0,0)circle(.5ex);. + + Using this option, you can specify that the picture should be + raised or lowered such that the height \meta{dimension} is on the + baseline. For example, |tikz[baseline=0pt]\draw(0,0)circle(.5ex);| + yields \tikz[baseline=0pt]\draw(0,0)circle(.5ex); since, now, the + baseline is on the height of the $x$-axis. If you omit the + \meta{dimensions}, |0pt| is assumed as default. + + This options is often useful for ``inlined'' graphics as in +\begin{codeexample}[] +$A \mathbin{\tikz[baseline] \draw[->>] (0pt,.5ex) -- (3ex,.5ex);} B$ +\end{codeexample} + + \itemoption{execute at begin picture}|=|\meta{code} + This option can be used to install some code that will be executed + at the beginning of the picture. This option must be + given in the argument of the |{tikzpicture}| environment itself + since this option will not have an effect otherwise. After all, + the picture has already ``started'' later on. + + This option is mainly used in styles like the |every picture| + style to execute certain code at the start of a picture. + + \itemoption{execute at end picture}|=|\meta{code} + This option installs some code that will be executed + at the end of the picture. Using this option multiple times will + cause the code to accumulate. This option must also be given in + the optional argument of the |{tikzpicture}| environment. + +\begin{codeexample}[] +\begin{tikzpicture}[execute at end picture=% + { + \begin{pgfonlayer}{background} + \path[fill=yellow,rounded corners] + (current bounding box.south west) rectangle + (current bounding box.north east); + \end{pgfonlayer} + }] + \node at (0,0) {X}; + \node at (2,1) {Y}; +\end{tikzpicture} +\end{codeexample} + \end{itemize} + + All options ``end'' at the end of the picture. To set an option + ``globally'' you can use the following style: + \begin{itemize} + \itemstyle{every picture} + This style is installed at the beginning of each picture. +\begin{codeexample}[code only] +\tikzstyle{every picture}=[semithick] +\end{codeexample} + \end{itemize} +\end{environment} + +In plain \TeX, you should use instead the following commands: + +\begin{plainenvironment}{{tikzpicture}\opt{\oarg{options}}} +\end{plainenvironment} + + +\subsubsection{Creating a Picture Using a Command} + +The following two commands are used for ``small'' graphics. + +\begin{command}{\tikz\opt{\oarg{options}}\marg{commands}} + This command places the \meta{commands} inside a + |{tikzpicture}| environment and adds a semicolon at the end. This is + just a convenience. + + The \meta{commands} may not contain a paragraph (an empty + line). This is a precaution to ensure that users really use this + command only for small graphics. + + \example |\tikz{\draw (0,0) rectangle (2ex,1ex)}| yields + \tikz{\draw (0,0) rectangle (2ex,1ex);} +\end{command} + + +\begin{command}{\tikz\opt{\oarg{options}}\meta{text}|;|} + If the \meta{text} does not start with an opening brace, the end of + the \meta{text} is the next semicolon that is encountered. + + \example |\tikz \draw (0,0) rectangle (2ex,1ex);| yields + \tikz \draw (0,0) rectangle (2ex,1ex); +\end{command} + + + +\subsubsection{Adding a Background} + +By default, pictures do not have any background, that is, they are +``transparent'' on all parts on which you do not draw +anything. You may instead wish to have a colored background behind +your picture or a black frame around it or lines above and below it or +some other kind of decoration. + +Since backgrounds are often not needed at all, the definition of +styles for adding backgrounds has been put in the library package +|pgflibrarytikzbackgrounds|. This package is documented in +Section~\ref{section-tikz-backgrounds}. + + +\subsection{Using Scopes to Structure a Picture} + +Inside a |{tikzpicture}| environment you can create scopes +using the |{scope}| environment. This environment is available only +inside the |{tikzpicture}| environment, so once more, there is little +chance of doing anything wrong. + +\begin{environment}{{scope}\opt{\oarg{options}}} + All \meta{options} are local to the \meta{environment + contents}. Furthermore, the clipping path is also local to the + environment, that is, any clipping done inside the environment + ``ends'' at its end. + +\begin{codeexample}[] +\begin{tikzpicture} + \begin{scope}[red] + \draw (0mm,0mm) -- (10mm,0mm); + \draw (0mm,1mm) -- (10mm,1mm); + \end{scope} + \draw (0mm,2mm) -- (10mm,2mm); + \begin{scope}[green] + \draw (0mm,3mm) -- (10mm,3mm); + \draw (0mm,4mm) -- (10mm,4mm); + \draw[blue] (0mm,5mm) -- (10mm,5mm); + \end{scope} +\end{tikzpicture} +\end{codeexample} + + The following style influences scopes: + \begin{itemize} + \itemstyle{every scope} + This style is installed at the beginning of every scope. I do not + know really know what this might be good for, but who knows? + \end{itemize} + + The following options are useful for scopes: + \begin{itemize} + \itemoption{execute at begin scope}|=|\meta{code} + This option install some code that will be executed + at the beginning of the scope. This option must be + given in the argument of the |{scope}| environment. + + The effect applies only to the current scope, not to subscopes. + + \itemoption{execute at end scope}|=|\meta{code} + This option installs some code that will be executed + at the end of the current scope. Using this option multiple times + will cause the code to accumulate. This option must also be given + in the optional argument of the |{scope}| environment. + + Again, the effect applies only to the current scope, not to subscopes. + \end{itemize} +\end{environment} + + +In plain \TeX, you use the following commands instead: + +\begin{plainenvironment}{{scope}\opt{\oarg{options}}} +\end{plainenvironment} + + + +\subsection{Using Scopes Inside Paths} + +The |\path| command, which is described in much more detail in later +sections, also takes graphic options. These options are local to the +path. Furthermore, it is possible to create local scopes within a +path simply by using curly braces as in +\begin{codeexample}[] +\tikz \draw (0,0) -- (1,1) + {[rounded corners] -- (2,0) -- (3,1)} + -- (3,0) -- (2,1); +\end{codeexample} + +Note that many options apply only to the path as a whole and cannot be +scoped in this way. For example, it is not possible to scope the +|color| of the path. See the explanations in the section on paths for +more details. + +Finally, certain elements that you specify in the argument to the +|\path| command also take local options. For example, a node +specification takes options. In this case, the options apply only to +the node, not to the surrounding path. + + + +\subsection{Using Styles to Manage How Pictures Look} + +There is a way of organizing sets of graphic options ``orthogonally'' +to the normal scoping mechanism. For example, you might wish all your +``help lines'' to be drawn in a certain way like, say, gray and thin +(do \emph{not} dash them, that distracts). For this, you can use +\emph{styles}. + +A style is simply a set of graphic options that is predefined at some +point. Once a style has been defined, it can be used anywhere using +the |style| option: + +\begin{itemize} + \itemoption{style}|=|\meta{style name} + invokes all options that are currently set in the \meta{style + name}. An example of a style is the predefined |help lines| style, + which you should use for lines in the background like grid lines or + construction lines. You can easily define new styles and modify + existing ones. +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) grid +(2,2); + \draw[style=help lines] (2,0) grid +(2,2); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + +\begin{command}{\tikzstyle\meta{style name}\opt{|+|}|=[|\meta{options}|]|} + This command defines the style \meta{style name}. Whenever it is + used using the |style=|\meta{style name} command, the \meta{options} + will be invoked. It is permissible that a style invokes another + style using the |style=| command inside the \meta{options}, which + allows you to build hierarchies of styles. Naturally, you should + \emph{not} create cyclic dependencies. + + If the style already has a predefined meaning, it will + unceremoniously be redefined without a warning. +\begin{codeexample}[] +\tikzstyle{help lines}=[blue!50,very thin] +\begin{tikzpicture} + \draw (0,0) grid +(2,2); + \draw[style=help lines] (2,0) grid +(2,2); +\end{tikzpicture} +\end{codeexample} + + If the optional |+| is given, the options are \emph{added} to the + existing definition: +\begin{codeexample}[] +\tikzstyle{help lines}+=[dashed]% aaarghhh!!! +\begin{tikzpicture} + \draw (0,0) grid +(2,2); + \draw[style=help lines] (2,0) grid +(2,2); +\end{tikzpicture} +\end{codeexample} +\end{command} + +It is also possible to set a style using an option: +\begin{itemize} + \itemoption{set style}|={|\marg{style name}\opt{|+|}|=[|\meta{options}|]}| + This option has the same effect as saying |\tikzstyle| before the + argument of the option. +\begin{codeexample}[] +\begin{tikzpicture}[set style={{help lines}+=[dashed]}] + \draw (0,0) grid +(2,2); + \draw[style=help lines] (2,0) grid +(2,2); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-shapes.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-shapes.tex new file mode 100644 index 00000000000..e118bf98449 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-shapes.tex @@ -0,0 +1,832 @@ +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Nodes} + +\label{section-nodes} + +\subsection{Nodes and Their Shapes} + +\tikzname\ offers an easy way of adding so-called \emph{nodes} to your +pictures. In the simplest case, a node is just some text that is +placed at some coordinate. However, a node can also have a border +drawn around it or have a more complex background and +foreground. Indeed, some nodes do not have a text at all, but consist +solely of the background. You can name nodes so that you can reference +their coordinates later in the picture. However, \emph{nodes cannot be + referenced across different pictures}. + +There are no special \TeX\ commands for adding a node to a picture; rather, +there is path operation called |node| for this. Nodes are created +whenever \tikzname\ encounters |node| or |coordinate| at a point on a +path where it would expect a normal path operation (like |-- (1,1)| or +|sin (1,1)|). It is also possible to give node specifications +\emph{inside} certain path operations as explained later. + +The node operation is typically followed by some options, which apply +only to the node. Then, you can optionally \emph{name} the node by +providing a name in round braces. Lastly, for the |node| operation you +must provide some label text for the node in curly braces, while for +the |coordinate| operation you may not. The node is placed at the +current position of the path \emph{after the path has been + drawn}. Thus, all nodes are drawn ``on top'' of the path and +retained until the path is complete. If there are several nodes on a +path, they are drawn on top of the path in the order they are +encountered. + +\begin{codeexample}[] +\tikz \fill[fill=examplefill] + (0,0) node {first node} + -- (1,1) node {second node} + -- (0,2) node {third node}; +\end{codeexample} + +The syntax for specifying nodes is the following: +\begin{pathoperation}{node}{\opt{|[|\meta{options}|]|}\opt{|(|\meta{name}|)|}% + \opt{|at(|\meta{coordinate}|)|}\opt{\marg{text}}} + The effect of |at| is to place the node at the coordinate given + after |at| and not, as would normally be the case, at the last + position. The |at| syntax is not available when a node is given + inside a path operation (it would not make any sense, there). + + The |(|\meta{name}|)| is a name for later reference and it is + optional. You may also add the option |name=|\meta{name} to the + \meta{option} list; it has the same effect. + + \begin{itemize} + \itemoption{name}|=|\meta{node name} + assigns a name to the node for later reference. Since this is a + ``high-level'' name (drivers never know of it), you can use spaces, + number, letters, or whatever you like when naming a node. Thus, you + can name a node just |1| or perhaps |start of chart| or even + |y_1|. Your node name should \emph{not} contain any punctuation like + a dot, a comma, or a colon since these are used to detect what kind + of coordinate you mean when you reference a node. + \end{itemize} + + The \meta{options} is an optional list of options that \emph{apply + only to the node} and have no effect outside. The other way round, + most ``outside'' options also apply to the node, but not all. For + example, the ``outside'' rotation does not apply to nodes (unless some + special options are used, sigh). Also, the outside path action, like + |draw| or |fill|, never applies to the node and must be given in the + node (unless some special other options are used, deep sigh). + + As mentioned before, we can add a border and even a background to a + node: +\begin{codeexample}[] +\tikz \fill[fill=examplefill] + (0,0) node {first node} + -- (1,1) node[draw] {second node} + -- (0,2) node[fill=red!20,draw,double,rounded corners] {third node}; +\end{codeexample} + + The ``border'' is actually just a special case of a much more general + mechanism. Each node has a certain \emph{shape} which, by default, is + a rectangle. However, we can also ask \tikzname\ to use a circle shape + instead or an ellipse shape (you have to include |pgflibraryshapes| for + the latter shape): + +\begin{codeexample}[] +\tikz \fill[fill=examplefill] + (0,0) node{first node} + -- (1,1) node[ellipse,draw] {second node} + -- (0,2) node[circle,fill=red!20] {third node}; +\end{codeexample} + + In the future, there might be much more complicated shapes available + such as, say, a shape for a resistor or a shape for a state of a + finite automaton or a shape for a \textsc{uml} class. Unfortunately, + creating new shapes is a bit tricky and makes it necessary to use the + basic layer directly. Life is hard. + + To select the shape of a node, the following option is used: + \begin{itemize} + \itemoption{shape}|=|\meta{shape name} + select the shape either of the current node or, when this option is + not given inside a node but somewhere outside, the shape of all + nodes in the current scope.% + \indexoption{\meta{shape name}} + + Since this option is used often, you can leave out the + |shape=|. When \tikzname\ encounters an option like |circle| + that it does not know, it will, after everything else has failed, + check whether this option is the name of some shape. If so, that + shape is selected as if you had said |shape=|\meta{shape name}. + + By default, the following shapes are available: |rectangle|, + |circle|, |coordinate|, and, when the package |pgflibraryshapes| is + loaded, also |ellipse|. Details of these shapes, like their anchors + and size options, are discussed in Section~\ref{section-the-shapes}. + \end{itemize} + + The following styles influences how nodes are rendered: + \begin{itemize} + \itemstyle{every node} + This style is installed at the beginning of every node. +\begin{codeexample}[] +\begin{tikzpicture} + \tikzstyle{every node}=[draw] + \draw (0,0) node {A} -- (1,1) node {B}; +\end{tikzpicture} +\end{codeexample} + + \itemstyle{every \meta{shape} node} + These styles are installed at the beginning of a node of a given + \meta{shape}. For example, |every rectangle node| is used for + rectangle nodes, and so on. +\begin{codeexample}[] +\begin{tikzpicture} + \tikzstyle{every rectangle node}=[draw] + \tikzstyle{every circle node}= [draw,double] + \draw (0,0) node[rectangle] {A} -- (1,1) node[circle] {B}; +\end{tikzpicture} +\end{codeexample} + \end{itemize} +\end{pathoperation} + +The is a special syntax for specifying ``light-weighed'' nodes: + +\begin{pathoperation}{coordinate}{\opt{|[|\meta{options}|]|}|(|\meta{name}|)|\opt{|at(|\meta{coordinate}|)|}} + This has the same effect as + + |node[shape=coordinate][|\meta{options}|](|\meta{name}|)at(|\meta{coordinate}|){}|, + + where the |at| part might be missing. +\end{pathoperation} + + + +\subsection{Multi-Part Nodes} + +Most nodes just have a single simple text label. However, nodes of a +more complicated shapes might be made up from several \emph{node + parts}. For example, in automata theory a so-called Moore state has +a state name, drawn in the upper part of the state circle, and an +output text, drawn in the lower part of the state circle. These two +parts are quite independent. Similarly, a \textsc{uml} class shape +would have a name part, a method part, and an attributes +part. Different molecule shape might use parts for the different atoms +to be drawn at the different positions, and so on. + +Both \pgfname\ and \tikzname\ support such multipart nodes. On the +lower level, \pgfname\ provides a system for specifying that a shape +consists of several parts. On the \tikzname\ level, you specify the +different node parts by using the following command: + +\begin{command}{\nodepart\marg{part name}} + This command can only be used inside the \meta{text} argument of a + |node| path operation. It works a little bit like a |\part| command + in \LaTeX. It will stop the typesetting of whatever node part was + typeset until now and then start putting all following text into the + node part named \meta{part name}---until another |\partname| is + encountered or until the node \meta{text} ends. + +\begin{codeexample}[] +\begin{tikzpicture} + \node [state with output,draw,double,fill=red!20] + { + % No \nodepart has been used, yet. So, the following is put in the + % ``text'' node part by default. + $q_1$ + \nodepart{output} % Ok, end ``text'' part, start ``output'' part + $00$ + }; % output part ended. +\end{tikzpicture} +\end{codeexample} + + You will have to lookup which parts are defined by a shape. + + The following styles influences node parts: + \begin{itemize} + \itemstyle{every \meta{part name} node part} + This style is installed at the beginning of every node part named + \meta{part name}. +\begin{codeexample}[] +\tikzstyle{every output node part}=[red] +\tikz \node [state with output,draw] {$q_1$ \nodepart{output} $00$}; +\end{codeexample} + \end{itemize} +\end{command} + + + +\subsection{Options for the Text in Nodes} + +The simplest option for the text in nodes is its color. Normally, this +color is just the last color installed using |color=|, possibly +inherited from another scope. However, it is possible to specificly +set the color used for text using the following option: + +\begin{itemize} + \itemoption{text}|=|\meta{color} + Sets the color to be used for text labels. A |color=| option + will immediately override this option. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[red] (0,0) -- +(1,1) node[above] {red}; + \draw[text=red] (1,0) -- +(1,1) node[above] {red}; + \draw (2,0) -- +(1,1) node[above,red] {red}; +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +Next, you may wish to adjust the font used for the text. Use the +following option for this: +\begin{itemize} + \itemoption{font}|=|\meta{font commands} + Sets the font used for text labels. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[font=\itshape] (1,0) -- +(1,1) node[above] {italic}; +\end{tikzpicture} +\end{codeexample} + A perhaps more useful example is the following: + +\begin{codeexample}[] +\tikzstyle{every text node part}=[font=\itshape] +\tikzstyle{every output node part}=[font=\footnotesize] +\tikzstyle{every state with output node}=[draw] +\tikz \node [state with output] {state \nodepart{output} output}; +\end{codeexample} +\end{itemize} + + +Normally, when a node is typeset, all the text you give in the braces +is but in one long line (in an |\hbox|, to be precise) and the node +will become as wide as necessary. + +You can change this behaviour using the following options. They allow +you to limit the width of a node (naturally, at the expense of its +height). + +\begin{itemize} + \itemoption{text width}|=|\meta{dimension} + This option will put the text of a node in a box of the given width + (more precisely, in a |{minipage}| of this width; for plain \TeX\ a + rudimentary ``minipage emulation'' is used). + + If the node text is not as wide as \meta{dimension}, it will + nevertheless be put in a box of this width. If it is larger, line + breaking will be done. + + By default, when this option is given, a ragged right border will be + used. This is sensible since, typically, these boxes are narrow and + justifying the text looks ugly. +\begin{codeexample}[] +\tikz \draw (0,0) node[fill=examplefill,text width=3cm] + {This is a demonstration text for showing how line breaking works.}; +\end{codeexample} + \itemoption{text justified} + causes the text to be justified instead of (right)ragged. Use this + only with pretty broad nodes. +{% +\hbadness=10000 +\begin{codeexample}[] +\tikz \draw (0,0) node[fill=examplefill,text width=3cm,text justified] + {This is a demonstration text for showing how line breaking works.}; +\end{codeexample} +} + In the above example, \TeX\ complains (rightfully) about three very + badly typeset lines. (For this manual I asked \TeX\ to stop + complaining by using |\hbadness=10000|, but this is a foul deed, + indeed.) + \itemoption{text ragged} + causes the text to be typeset with a ragged right. This uses the + original plain \TeX\ definition of a ragged right border, in which + \TeX\ will try to balance the right border as well as possible. This + is the default. +\begin{codeexample}[] +\tikz \draw (0,0) node[fill=examplefill,text width=3cm,text ragged] + {This is a demonstration text for showing how line breaking works.}; +\end{codeexample} + \itemoption{text badly ragged} + causes the right border to be ragged in the \LaTeX-style, in which + no balancing occurs. This looks ugly, but it may be useful for very + narrow boxes and when you wish to avoid hyphenations. +\begin{codeexample}[] +\tikz \draw (0,0) node[fill=examplefill,text width=3cm,text badly ragged] + {This is a demonstration text for showing how line breaking works.}; +\end{codeexample} + \itemoption{text centered} + centers the text, but tries to balance the lines. +\begin{codeexample}[] +\tikz \draw (0,0) node[fill=examplefill,text width=3cm,text centered] + {This is a demonstration text for showing how line breaking works.}; +\end{codeexample} + \itemoption{text badly centered} + centers the text, without balancing the lines. +\begin{codeexample}[] +\tikz \draw (0,0) node[fill=examplefill,text width=3cm,text badly centered] + {This is a demonstration text for showing how line breaking works.}; +\end{codeexample} +\end{itemize} + + + +\subsection{Placing Nodes Using Anchors} + +When you place a node at some coordinate, the node is centered on this +coordinate by default. This is often undesirable and it would be +better to have the node to the right or above the actual coordinate. + +\pgfname\ uses a so-called anchoring mechanism to give you a very fine +control over the placement. The idea is simple: Imaging a node of +rectangular shape of a certain size. \pgfname\ defines numerous anchor +positions in the shape. For example to upper right corner is called, +well, not ``upper right anchor,'' but the |north east| anchor of the +shape. The center of the shape has an anchor called |center| on top of +it, and so on. Here are some examples (a complete list is given in +Section~\ref{section-the-shapes}). + +\medskip\noindent +\begin{tikzpicture} + \path node[minimum height=2cm,minimum width=5cm,fill=blue!25](x) {Big node}; + \fill (x.north) circle (2pt) node[above] {|north|} + (x.north east) circle (2pt) node[above] {|north east|} + (x.north west) circle (2pt) node[above] {|north west|} + (x.west) circle (2pt) node[left] {|west|} + (x.east) circle (2pt) node[right] {|east|} + (x.base) circle (2pt) node[below] {|base|}; +\end{tikzpicture} + +Now, when you place a node at a certain coordinate, you can ask \tikzname\ +to place the node shifted around in such a way that a certain +anchor is at the coordinate. In the following example, we ask \tikzname\ +to shift the first node such that its |north east| anchor is at +coordinate |(0,0)| and that the |west| anchor of the second node is at +coordinate |(1,1)|. + +\begin{codeexample}[] +\tikz \draw (0,0) node[anchor=north east] {first node} + rectangle (1,1) node[anchor=west] {second node}; +\end{codeexample} + +Since the default anchor is |center|, the default behaviour is to +shift the node in such a way that it is centered on the current +position. + +\begin{itemize} + \itemoption{anchor}|=|\meta{anchor name} + causes the node to be shifted such that it's anchor \meta{anchor + name} lies on the current coordinate. + + The only anchor that is present in all shapes is |center|. However, + most shapes will at least define anchors in all ``compass + directions.'' Furthermore, the standard shapes also define a |base| + anchor, as well as |base west| and |base east|, for placing things on + the baseline of the text. + + The standard shapes also define a |mid| anchor (and |mid west| and + |mid east|). This anchor is half the height of the character ``x'' + above the base line. This anchor is useful for vertically centering + multiple nodes that have different heights and depth. Here is an + example: +\begin{codeexample}[] +\begin{tikzpicture}[scale=3,transform shape] + % First, center alignment -> wobbles + \draw[anchor=center] (0,1) node{x} -- (0.5,1) node{y} -- (1,1) node{t}; + % Second, base alignment -> no wobble, but too high + \draw[anchor=base] (0,.5) node{x} -- (0.5,.5) node{y} -- (1,.5) node{t}; + % Third, mid alignment + \draw[anchor=mid] (0,0) node{x} -- (0.5,0) node{y} -- (1,0) node{t}; +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +Unfortunately, while perfectly logical, it is often rather +counter-intuitive that in order to place a node \emph{above} a given +point, you need to specify the |south| anchor. For this reason, there +are some useful options that allow you to select the standard anchors +more intuitively: +\begin{itemize} + \itemoption{above}\opt{|=|\meta{offset}} + does the same as |anchor=south|. If the \meta{offset} is specified, + the node is additionally shifted upwards by the given + \meta{offset}. +\begin{codeexample}[] +\tikz \fill (0,0) circle (2pt) node[above] {above}; +\end{codeexample} +\begin{codeexample}[] +\tikz \fill (0,0) circle (2pt) node[above=2pt] {above}; +\end{codeexample} + \itemoption{above left}\opt{|=|\meta{offset}} + does the same as |anchor=south east|. If the \meta{offset} is + specified, the node is additionally shifted upwards and right by + \meta{offset}. +\begin{codeexample}[] +\tikz \fill (0,0) circle (2pt) node[above left] {above left}; +\end{codeexample} +\begin{codeexample}[] +\tikz \fill (0,0) circle (2pt) node[above left=2pt] {above left}; +\end{codeexample} + \itemoption{above right}\opt{|=|\meta{offset}} + does the same as |anchor=south west|. +\begin{codeexample}[] +\tikz \fill (0,0) circle (2pt) node[above right] {above right}; +\end{codeexample} + \itemoption{left}\opt{|=|\meta{offset}} + does the same as |anchor=east|. +\begin{codeexample}[] +\tikz \fill (0,0) circle (2pt) node[left] {left}; +\end{codeexample} + \itemoption{right}\opt{|=|\meta{offset}} + does the same as |anchor=west|. + \itemoption{below}\opt{|=|\meta{offset}} + does the same as |anchor=north|. + \itemoption{below left}\opt{|=|\meta{offset}} + does the same as |anchor=north east|. + \itemoption{below right}\opt{|=|\meta{offset}} + does the same as |anchor=north west|. +\end{itemize} + + +\subsection{Transformations} + +It is possible to transform nodes, but, by default, transformations do +not apply to nodes. The reason is that you usually do \emph{not} want +your text to be scaled or rotated even if the main graphic is +transformed. Scaling text is evil, rotating slightly less so. + +However, sometimes you \emph{do} wish to transform a node, for +example, it certainly sometimes makes sense to rotate a node by +90 degrees. There are two ways in which you can achieve this: + +\begin{enumerate} +\item + You can use the following option: + \begin{itemize} + \itemoption{transform shape} + causes the current ``external'' transformation matrix to be + applied to the shape. For example, if you said + |\tikz[scale=3]| and then say |node[transform shape] {X}|, you + will get a ``huge'' X in your graphic. + \end{itemize} +\item + You can give transformation option \emph{inside} the option list of + the node. \emph{These} transformations always apply to the node. +\begin{codeexample}[] +\begin{tikzpicture} + \tikzstyle{every node}=[draw] + \draw[style=help lines] (0,0) grid (3,2); + \draw (1,0) node{A} + (2,0) node[rotate=90,scale=1.5] {B}; + \draw[rotate=30] (1,0) node{A} + (2,0) node[rotate=90,scale=1.5] {B}; + \draw[rotate=60] (1,0) node[transform shape] {A} + (2,0) node[transform shape,rotate=90,scale=1.5] {B}; +\end{tikzpicture} +\end{codeexample} +\end{enumerate} + + + +\subsection{Placing Nodes on a Line or Curve} + +Until now, we always placed node on a coordinate that is mentioned in +the path. Often, however, we wish to place nodes on ``the middle'' of +a line and we do not wish to compute these coordinates ``by hand.'' +To facilitate such placements, \tikzname\ allows you to specify that a +certain node should be somewhere ``on'' a line. There are two ways of +specifying this: Either explicitly by using the |pos| option or +implicitly by placing the node ``inside'' a path operation. These two +ways are described in the following. + + + +\subsubsection{Explicit Use of the Position Option} + +\label{section-pos-option} + +\begin{itemize} + \itemoption{pos}|=|\meta{fraction} + When this option is given, the node is not anchored on the last + coordinate. Rather, it is anchored on some point on the line from + the previous coordinate to the current point. The \meta{fraction} + dictates how ``far'' on the line the point should be. A + \meta{fraction} or 0 is the previous coordinate, 1 is the current + one, everything else is in between. In particular, 0.5 is the + middle. + + Now, what is ``the previous line''? This depends on the previous + path construction operation. + + In the simplest case, the previous path operation was a ``line-to'' + operation, that is, a |--|\meta{coordinate} operation: +\begin{codeexample}[] +\tikz \draw (0,0) -- (3,1) + node[pos=0]{0} node[pos=0.5]{1/2} node[pos=0.9]{9/10}; +\end{codeexample} + + The next case is the curve-to operation (the |..| operation). In this + case, the ``middle'' of the curve, that is, the position |0.5| is + not necessarily the point at the exact half distance on the + line. Rather, it is some point at ``time'' 0.5 of a point traveling + from the start of the curve, where it is at time 0, to the end of + the curve, which it reaches at time 0.5. The ``speed'' of the point + depends on the length of the support vectors (the vectors that + connect the start and end points to the control points). The exact + math is a bit complicated (depending on your point of view, of + course); you may wish to consult a good book on computer graphics + and Bzier curves if you are intrigued. +\begin{codeexample}[] + \tikz \draw (0,0) .. controls +(right:3.5cm) and +(right:3.5cm) .. (0,3) + \foreach \p in {0,0.125,...,1} {node[pos=\p]{\p}}; +\end{codeexample} + + Another interesting case are the horizontal/vertical line-to operations + \verb!|-! and \verb!-|!. For them, the position (or time) |0.5| is + exactly the corner point. + +\begin{codeexample}[] +\tikz \draw (0,0) |- (3,1) + node[pos=0]{0} node[pos=0.5]{1/2} node[pos=0.9]{9/10}; +\end{codeexample} + +\begin{codeexample}[] +\tikz \draw (0,0) -| (3,1) + node[pos=0]{0} node[pos=0.5]{1/2} node[pos=0.9]{9/10}; +\end{codeexample} + + For all other path construction operations, \emph{the position + placement does not work}, currently. This will hopefully change in + the future (especially for the arc operation). + \itemoption{sloped} + This option causes the node to be rotated such that a horizontal + line becomes a tangent to the curve. The rotation will always be + done in such a way that text is never ``upside down.'' If you really + need upside down text, use |[rotate=180]|. +\begin{codeexample}[] +\tikz \draw (0,0) .. controls +(up:2cm) and +(left:2cm) .. (1,3) + \foreach \p in {0,0.25,...,1} {node[sloped,above,pos=\p]{\p}}; +\end{codeexample} +\begin{codeexample}[] +\begin{tikzpicture}[->] + \draw (0,0) -- (2,0.5) node[midway,sloped,above] {$x$}; + \draw (2,-.5) -- (0,0) node[midway,sloped,below] {$y$}; +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + +There exist styles for specifying positions a bit less ``technically'': +\begin{itemize} + \itemstyle{midway} + is set to |pos=0.5|. +\begin{codeexample}[] +\tikz \draw (0,0) .. controls +(up:2cm) and +(left:3cm) .. (1,5) + node[at end] {|at end|} + node[very near end] {|very near end|} + node[near end] {|near end|} + node[midway] {|midway|} + node[near start] {|near start|} + node[very near start] {|very near start|} + node[at start] {|at start|}; +\end{codeexample} + \itemstyle{near start} + is set to |pos=0.25|. + \itemstyle{near end} + is set to |pos=0.75|. + \itemstyle{very near start} + is set to |pos=0.125|. + \itemstyle{very near end} + is set to |pos=0.875|. + \itemstyle{at start} + is set to |pos=0|. + \itemstyle{at end} + is set to |pos=1|. +\end{itemize} + + +\subsubsection{Implicit Use of the Position Option} + +When you wish to place a node on the line |(0,0) -- (1,1)|, +it is natural to specify the node not following the |(1,1)|, but +``somewhere in the middle.'' This is, indeed, possible and you can +write |(0,0) -- node{a} (1,1)| to place a node midway between |(0,0)| and +|(1,1)|. + +What happens is the following: The syntax of the line-to path +operation is actually |--| +\opt{|node|\meta{node specification}}\meta{coordinate}. (It is even +possible to give multiple nodes in this way.) When the optional +|node| is encountered, that is, +when the |--| is directly followed by |node|, then the +specification(s) are read and ``stored away.'' Then, after the +\meta{coordinate} has finally been reached, they are inserted again, +but with the |pos| option set. + +There are two things to note about this: When a node specification is +``stored,'' its catcodes become fixed. This means that you cannot use +overly complicated verbatim text in them. If you really need, say, a +verbatim text, you will have to put it in a normal node following the +coordinate and add the |pos| option. + +Second, which |pos| is chosen for the node? The position is inherited +from the surrounding scope. However, this holds only for nodes +specified in this implicit way. Thus, if you add the option +|[near end]| to a scope, this does not mean that \emph{all} nodes given +in this scope will be put on near the end of lines. Only the nodes +for which an implicit |pos| is added will be placed near the +end. Typically, this is what you want. Here are some examples that +should make this clearer: + +\begin{codeexample}[] +\begin{tikzpicture}[near end] + \draw (0cm,4em) -- (3cm,4em) node{A}; + \draw (0cm,3em) -- node{B} (3cm,3em); + \draw (0cm,2em) -- node[midway] {C} (3cm,2em); + \draw (0cm,1em) -- (3cm,1em) node[midway] {D} ; +\end{tikzpicture} +\end{codeexample} + +Like the line-to operation, the curve-to operation |..| also allows you to +specify nodes ``inside'' the operation. After both the first |..| and +also after the second |..| you can place node specifications. Like for +the |--| operation, these will be collected and then reinserted after +the operation with the |pos| option set. + + +\subsection{Connecting Nodes} + +Once you have defined a node and given it a name, you can use this +name to reference it. This can be done in two ways, see also +Section~\ref{section-node-coordinates}. Suppose you have said +|\path(0,0) node(x) {Hello World!};| in order to define a node named |x|. +\begin{enumerate} +\item + Once the node |x| has been defined, you can use + |(x.|\meta{anchor}|)| wherever you would normally use a normal + coordinate. This will yield the position at which the given + \meta{anchor} is in the picture. Note that transformations do not + apply to this coordinate, that is, |(x.north)| will be the northern + anchor of |x| even if you have said |scale=3| or |xshift=4cm|. This + is usually what you would expect. +\item + You can also just use |(x)| as a coordinate. In most cases, this + gives the same coordinate as |(x.center)|. Indeed, if the |shape| of + |x| is |coordinate|, then |(x)| and |(x.center)| have exactly the + same effect. + + However, for most other shapes, some path construction operations like + |--| try to be ``clever'' when this they are asked to draw a line + from such a coordinate or to such a coordinate. When you say + |(x)--(1,1)|, the |--| path operation will not draw a line from the center + of |x|, but \emph{from the border} of |x| in the direction going + towards |(1,1)|. Likewise, |(1,1)--(x)| will also have the line + end on the border in the direction coming from |(1,1)|. + + In addition to |--|, the curve-to path operation |..| and the path + operations \verb!-|! and \verb!|-! will also handle nodes without + anchors correctly. Here is an example, see also + Section~\ref{section-node-coordinates}: +\begin{codeexample}[] +\begin{tikzpicture} + \path (0,0) node (x) {Hello World!} + (3,1) node[circle,draw](y) {$\int_1^2 x \mathrm d x$}; + + \draw[->,blue] (x) -- (y); + \draw[->,red] (x) -| node[near start,below] {label} (y); + \draw[->,orange] (x) .. controls +(up:1cm) and +(left:1cm) .. node[above,sloped] {label} (y); +\end{tikzpicture} +\end{codeexample} +\end{enumerate} + + + + + +\subsection{Predefined Shapes} +\label{section-the-shapes} + +\pgfname\ and \tikzname\ define three shapes, by default: +\begin{itemize} +\item + |rectangle|, +\item + |circle|, and +\item + |coordinate|. +\end{itemize} +By loading library packages, you can define more shapes. Currently, +the package |pgflibraryshapes| defines +\begin{itemize} +\item + |ellipse|. +\end{itemize} + +The exact behaviour of these shapes differs, shapes defined for more +special purposes (like a, say, transistor shape) will have even more +custom behaviors. However, there are some options that apply to most +shapes: +\begin{itemize} + \itemoption{inner sep}|=|\meta{dimension} + An additional (invisible) separation space of \meta{dimension} will + be added inside the shape, between the text and the shape's + background path. The effect is as if you had added appropriate + horizontal and vertical skips at the beginning and end of the text + to make it a bit ``larger.'' The default |inner sep| is the size of + a normal space. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) node[inner sep=0pt,draw] {tight} + (0cm,2em) node[inner sep=5pt,draw] {loose} + (0cm,4em) node[fill=examplefill] {default}; +\end{tikzpicture} +\end{codeexample} + \itemoption{inner xsep}|=|\meta{dimension} + Specifies the inner separation in the $x$-direction, only. + \itemoption{inner ysep}|=|\meta{dimension} + Specifies the inner separation in the $y$-direction, only. + + \itemoption{outer sep}|=|\meta{dimension} + This option adds an additional (invisible) separation space of + \meta{dimension} outside the background path. The main effect of + this option is that all anchors will move a little ``to the + outside.'' + + The default for this option is half the line width. When the default + is used and when the background path is draw, the anchors will lie + exactly on the ``outside border'' of the path (not on the path + itself). When the shape is filled, but not drawn, this may not be + desirable. In this case, the |outer sep| should be set to zero + point. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[line width=5pt] + (0,0) node[outer sep=0pt,fill=examplefill] (f) {filled} + (2,0) node[inner sep=.5\pgflinewidth+2pt,draw] (d) {drawn}; + + \draw[->] (1,-1) -- (f); + \draw[->] (1,-1) -- (d); +\end{tikzpicture} +\end{codeexample} + \itemoption{outer xsep}|=|\meta{dimension} + Specifies the outer separation in the $x$-direction, only. + \itemoption{outer ysep}|=|\meta{dimension} + Specifies the outer separation in the $y$-direction, only. + + \itemoption{minimum height}|=|\meta{dimension} + This option ensures that the height of the shape (including the + inner, but ignoring the outer separation) will be at least + \meta{dimension}. Thus, if the text plus the inner separation is not + at least as large as \meta{dimension}, the shape will be enlarged + appropriately. However, if the text is already larger than + \meta{dimension}, the shape will not be shrunk. +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) node[minimum height=1cm,draw] {1cm} + (2,0) node[minimum height=0cm,draw] {0cm}; +\end{tikzpicture} +\end{codeexample} + + \itemoption{minimum width}|=|\meta{dimension} + same as |minimum height|, only for the width. +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) node[minimum height=2cm,minimum width=3cm,draw] {$3 \times 2$}; +\end{tikzpicture} +\end{codeexample} + \itemoption{minimum size}|=|\meta{dimension} + sets both the minimum height and width at the same time. +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) node[minimum size=2cm,draw] {square}; + \draw (0,-2) node[minimum size=2cm,draw,circle] {circle}; +\end{tikzpicture} +\end{codeexample} +\end{itemize} + +\label{section-tikz-coordinate-shape} +The |coordinate| shape is handled in a special way by \tikzname. When +a node |x| whose shape is |coordinate| is used as a coordinate |(x)|, +this has the same effect as if you had said |(x.center)|. None of the +special ``line shortening rules'' apply in this case. This can be +useful since, normally, the line shortening causes paths to be +segmented and they cannot be used for filling. Here is an example that +demonstrates the difference: +\begin{codeexample}[] +\begin{tikzpicture} + \tikzstyle{every node}=[draw] + \path[yshift=1.5cm,shape=rectangle] + (0,0) node(a1){} (1,0) node(a2){} + (1,1) node(a3){} (0,1) node(a4){}; + \filldraw[fill=examplefill] (a1) -- (a2) -- (a3) -- (a4); + + \path[shape=coordinate] + (0,0) coordinate(b1) (1,0) coordinate(b2) + (1,1) coordinate(b3) (0,1) coordinate(b4); + \filldraw[fill=examplefill] (b1) -- (b2) -- (b3) -- (b4); +\end{tikzpicture} +\end{codeexample} + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-transformations.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-transformations.tex new file mode 100644 index 00000000000..874d1682df9 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-transformations.tex @@ -0,0 +1,337 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Transformations} + +\pgfname\ has a powerful transformation mechanism that is similar to +the transformation capabilities of \textsc{metafont}. The present +section explains how you can access it in \tikzname. + + +\subsection{The Different Coordinate Systems} + +It is a long process from a coordinate like, say, $(1,2)$ or +$(1\mathrm{cm},5\,mathrm{pt})$, to the position a point is finally +placed on the display or paper. In order to find out where the point +should go, it is constantly ``transformed,'' which means that it is +mostly shifted around and possibly rotated, slanted, scaled, and +otherwise mutilated. + +In detail, (at least) the following transformations are applied to a +coordinate like $(1,2)$ before a point on the screen is chosen: +\begin{enumerate} +\item + \pgfname\ interprets a coordinate like $(1,2)$ in its + $xy$-coordinate system as ``add the current $x$-vector once and the + current $y$-vector twice to obtain the new point.'' +\item + \pgfname\ applies its coordinate transformation matrix to the + resulting coordinate. This yields the final position of the point + inside the picture. +\item + The backend driver (like |dvips| or |pdftex|) adds transformation + commands such the coordinate is shifted to the correct position in + \TeX's page coordinate system. +\item + \textsc{pdf} (or PostScript) apply the canvas transformation + matrix to the point, which can once more change the position on the + page. +\item + The viewer application or the printer applies the device + transformation matrix to transform the coordinate to its final pixel + coordinate on the screen or paper. +\end{enumerate} + +In reality, the process is even more involved, but the above should +give the idea: A point is constantly transformed by changes of the +coordinate system. + +In \tikzname, you only have access to the first two coordinate systems: +The $xy$-coordinate system and the coordinate transformation matrix +(these will be explained later). \pgfname\ also allows you to change +the canvas transformation matrix, but you have to use commands of +the core layer directly to do so and you ``better know what you are +doing'' when you do this. The moment you start modifying the +canvas matrix, \pgfname\ immediately looses track of all +coordinates and shapes, anchors, and bounding box computations will no +longer work. + + +\subsection{The Xy- and Xyz-Coordinate Systems} + +The first and easiest coordinate systems are \pgfname's $xy$- and +$xyz$-coordinate systems. The idea is very simple: Whenever you +specify a coordinate like |(2,3)| this means $2v_x + 3v_y$, where +$v_x$ is the current \emph{$x$-vector} and $v_y$ is the current +\emph{$y$-vector}. Similarly, the coordinate |(1,2,3)| means $v_x + +2v_y + 3v_z$. + +Unlike other packages, \pgfname\ does not insist that $v_x$ actually +has a $y$-component of $0$, that is, that it is a horizontal +vector. Instead, the $x$-vector can point anywhere you +want. Naturally, \emph{normally} you will want the $x$-vector to point +horizontally. + +One undesirable effect of this flexibility is that it is not possible +to provide mixed coordinates as in $(1,2\mathrm{pt})$. Life is hard. + +To change the $x$-, $y$-, and $z$-vectors, you can use the following +options: + +\begin{itemize} +\itemoption{x}|=|\meta{dimension} + Sets the $x$-vector of \pgfname's $xyz$-coordinate system to point + \meta{dimension} to the right, that is, to + $(\meta{dimension},0pt)$. The default is 1cm. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) -- +(1,0); + \draw[x=2cm,color=red] (0,0.1) -- +(1,0); +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\tikz \draw[x=1.5cm] (0,0) grid (2,2); +\end{codeexample} + +The last example shows that the size of steppings in grids, just like +all other dimensions, are not affected by the $x$-vector. After all, +the $x$-vector is only used to determine the coordinate of the upper +right corner of the grid. +\itemoption{x}|=|\meta{coordinate} + Sets the $x$-vector of \pgfname's $xyz$-coordinate system to the + specified \meta{coordinate}. If \meta{coordinate} contains a comma, + it must be put in braces. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) -- (1,0); + \draw[x={(2cm,0.5cm)},color=red] (0,0) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + You can use this, for example, to exchange the meaning of the $x$- and + $y$-coordinate. + +\begin{codeexample}[] +\begin{tikzpicture}[smooth] + \draw plot coordinates{(1,0) (2,0.5) (3,0) (3,1)}; + \draw[x={(0cm,1cm)},y={(1cm,0cm)},color=red] + plot coordinates{(1,0) (2,0.5) (3,0) (3,1)}; +\end{tikzpicture} +\end{codeexample} + +\itemoption{y}|=|\meta{value} + Works like the |x=| option, only if \meta{value} is a dimension, the + resulting vector points to $(0,\meta{value})$. +\itemoption{z}|=|\meta{value} + Works like the |z=| option, but now a dimension is means the point + $(\meta{value},\meta{value})$. + +\begin{codeexample}[] +\begin{tikzpicture}[z=-1cm,->,thick] + \draw[color=red] (0,0,0) -- (1,0,0); + \draw[color=blue] (0,0,0) -- (0,1,0); + \draw[color=orange] (0,0,0) -- (0,0,1); +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + + +\subsection{Coordinate Transformations} + +\pgfname\ and \tikzname\ allow you to specify \emph{coordinate + transformations}. Whenever you specify a coordinate as in |(1,0)| or +|(1cm,1pt)| or |(30:2cm)|, this coordinate is first +``reduced'' to a position of the form ``$x$ points to the right and + $y$ points upwards.'' For example, |(1in,5pt)| is reduced to +``$72\frac{72}{100}$ points to the right and 5 points upwards'' and +|(90:100pt)| means ``0pt to the right and 100 points upwards.'' + +The next step is to apply the current \emph{coordinate transformation + matrix} to the coordinate. For example, the coordinate +transformation matrix might currently be set such that it adds a +certain constant to the $x$ value. Also, it might be setup such that +it, say, exchanges the $x$ and $y$ value. In general, any +``standard'' transformation like translation, rotation, slanting, or +scaling or any combination thereof is possible. (Internally, \pgfname\ +keeps track of a coordinate transformation matrix very much like the +concatenation matrix used by \textsc{pdf} or PostScript.) + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) rectangle (1,0.5); + \begin{scope}[xshift=1cm] + \draw [red] (0,0) rectangle (1,0.5); + \draw[yshift=1cm] [blue] (0,0) rectangle (1,0.5); + \draw[rotate=30] [orange] (0,0) rectangle (1,0.5); + \end{scope} +\end{tikzpicture} +\end{codeexample} + +The most important aspect of the coordinate transformation matrix is +\emph{that it applies to coordinates only!} In particular, the +coordinate transformation has no effect on things like the line width +or the dash pattern or the shading angle. In certain cases, it is not +immediately clear whether the coordinate transformation matrix +\emph{should} apply to a certain dimension. For example, should the +coordinate transformation matrix apply to grids? (It does.) And what +about the size of arced corners? (It does not.) The general rule is +``If there is no `coordinate' involved, even `indirectly,' the matrix +is not applied.'' However, sometimes, you simply have to try or look +it up in the documentation whether the matrix will be applied. + +Setting the matrix cannot be done directly. Rather, all you can do is +to ``add'' another transformation to the current matrix. However, all +transformations are local to the current \TeX-group. All +transformations are added using graphic options, which are described +below. + +Transformations apply immediately when they are encountered ``in the +middle of a path'' and they apply only to the coordinates on the path +following the transformation option. + +\begin{codeexample}[] +\tikz \draw (0,0) rectangle (1,0.5) [xshift=2cm] (0,0) rectangle (1,0.5); +\end{codeexample} + +A final word of warning: You should refrain from using ``aggressive'' +transformations like a scaling of a factor of 10000. The reason is +that all transformations are done using \TeX, which has a fairly low +accuracy. Furthermore, in certain situations it is necessary that +\tikzname\ \emph{inverts} the current transformation matrix and this will +fail if the transformation matrix is badly conditioned or even +singular (if you do not know what singular matrices are, you are blessed). + +\begin{itemize} + \itemoption{shift}|={|\meta{coordinate}|}| + adds the \meta{coordinate} to all coordinates. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[shift={(1,1)},blue] (0,0) -- (1,1) -- (1,0); + \draw[shift={(30:1cm)},red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{xshift}|=|\meta{dimension} + adds \meta{dimension} to the $x$ value of all coordinates. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[xshift=2cm,blue] (0,0) -- (1,1) -- (1,0); + \draw[xshift=-10pt,red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{yshift}|=|\meta{dimension} + adds \meta{dimension} to the $y$ value of all coordinates. + + \itemoption{scale}|=|\meta{factor} + multiplies all coordinates by the given \meta{factor}. The + \meta{factor} should not be excessively large in absolute terms or + very near to zero. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[scale=2,blue] (0,0) -- (1,1) -- (1,0); + \draw[scale=-1,red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{xscale}|=|\meta{factor} + multiplies only the $x$-value of all coordinates by the given + \meta{factor}. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[xscale=2,blue] (0,0) -- (1,1) -- (1,0); + \draw[xscale=-1,red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{yscale}|=|\meta{factor} + multiplies only the $y$-value of all coordinates by \meta{factor}. + + \itemoption{xslant}|=|\meta{factor} + slants the coordinate horizontally by the given \meta{factor}: +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[xslant=2,blue] (0,0) -- (1,1) -- (1,0); + \draw[xslant=-1,red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{yslant}|=|\meta{factor} + slants the coordinate vertically by the given \meta{factor}: +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[yslant=2,blue] (0,0) -- (1,1) -- (1,0); + \draw[yslant=-1,red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{rotate}|=|\meta{degree} + rotates the coordinate system by \meta{degree}: +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[rotate=40,blue] (0,0) -- (1,1) -- (1,0); + \draw[rotate=-20,red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{rotate around}|={|\meta{degree}|:|\meta{coordinate}|}| + rotates the coordinate system by \meta{degree} around the point + \meta{coordinate}. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[rotate around={40:(1,1)},blue] (0,0) -- (1,1) -- (1,0); + \draw[rotate around={-20:(1,1)},red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{cm}|={|\meta{$a$}|,|\meta{$b$}|,|\meta{$c$}|,|\meta{$d$}|,|\meta{coordinate}|}| + applies the following transformation to all coordinates: Let $(x,y)$ + be the coordinate to be transformed and let \meta{coordinate} + specify the point $(t_x,t_y)$. Then the new coordinate is given by + $\left(\begin{smallmatrix} a & b \\ c & d\end{smallmatrix}\right) + \left(\begin{smallmatrix} x \\ y \end{smallmatrix}\right) + + \left(\begin{smallmatrix} t_x \\ t_y + \end{smallmatrix}\right)$. Usually, you do not use this option + directly. +\begin{codeexample}[] +\begin{tikzpicture} + \draw[style=help lines] (0,0) grid (3,2); + \draw (0,0) -- (1,1) -- (1,0); + \draw[cm={1,1,0,1,(0,0)},blue] (0,0) -- (1,1) -- (1,0); + \draw[cm={0,1,1,0,(1cm,1cm)},red] (0,0) -- (1,1) -- (1,0); +\end{tikzpicture} +\end{codeexample} + + \itemoption{reset cm} + completely resets the coordinate transformation matrix to the + identity matrix. This will destroy not only the transformations + applied in the current scope, but also all transformations inherited + from surrounding scopes. Do not use this option. +\end{itemize} + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-trees.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-trees.tex new file mode 100644 index 00000000000..fb53ead11d1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tikz-trees.tex @@ -0,0 +1,745 @@ +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + + +\section{Making Trees Grow} + +\label{section-trees} + + +\subsection{Introduction to the Child Operation} + +\emph{Trees} are a common way of visualizing hierarchical +structures. A simple tree looks like this: +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} + child {node {left}} + child {node {right} + child {node {child}} + child {node {child}} + }; +\end{tikzpicture} +\end{codeexample} + +Admittedly, in reality trees are more likely to grow \emph{upward} and +not downward as above. You can tell whether the author of a paper is a +mathematician or a computer scientist by looking at the direction +their trees grow. A computer scientist's trees will grow downward +while a mathematician's tree will grow upward. Naturally, the +\emph{correct} way is the mathematician's way, which can be specify as +follows: +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} [grow'=up] + child {node {left}} + child {node {right} + child {node {child}} + child {node {child}} + }; +\end{tikzpicture} +\end{codeexample} + +In \tikzname, trees are specified by adding \emph{children} to a +node on a path using the |child| operation: + +\begin{pathoperation}{child}{\opt{\oarg{options}}% + \opt{|foreach|\meta{variables}|in|\marg{values}}\opt{\marg{child path}}} + This operation should directly follow a completed |node| operation + or another |child| operation, although it is permissible that the + first |child| operation is preceded by options (we will come to + that). + + When a |node| operation like |node {X}| is followed by |child|, + \tikzname\ starts counting the number of child nodes that follow the + original |node {X}|. For this, it scans the input and stores away each + |child| and its arguments until it reaches a path operation that is + not a |child|. Note that this will fix the character codes of all + text inside the child arguments, which means, in essence, that you + cannot use verbatim text inside the nodes inside a |child|. Sorry. + + Once the children have been collected and counted, \tikzname\ starts + generating the child nodes. For each child of a parent node + \tikzname\ computes an appropriate position where the child is + placed. For each child, the coordinate system is transformed so that + the origin is at this position. Then the \meta{child path} is + drawn. Typically, the child path just consists of a |node| + specification, which results in a node being drawn at the child's + position. Finally, an edge is drawn from the first node in the + \meta{child path} to the parent node. + + The optional |foreach| part (note that there is no backslash before + |foreach|) allows you to specify multiple children in a single + |child| command. The idea is the following: A |\foreach| statement + is (internally) used to iterate over the list of \meta{values}. For + each value in this list, a new |child| is added to the node. The + syntax for \meta{variables} and for \meta{values} is the same as for + the |\foreach| statement, see Section~\ref{section-foreach}. For + example, when you say +\begin{codeexample}[code only] +node {root} child [red] foreach \name in {1,2} {node {\name}} +\end{codeexample} + the effect will be the same as if you had said +\begin{codeexample}[code only] +node {root} child[red] {node {1}} child[ref] {node {2}} +\end{codeexample} + When you write +\begin{codeexample}[code only] +node {root} child[\pos] foreach \name/\pos in {1/left,2/right} {node[\pos] {\name}} +\end{codeexample} + the effect will be the same as for +\begin{codeexample}[code only] +node {root} child[left] {node[left] {1}} child[right] {node[right] {2}} +\end{codeexample} + + You can nest things as in the following example: +\begin{codeexample}[] +\begin{tikzpicture}[level distance=4mm] + \tikzstyle{level 1}=[sibling distance=8mm] + \tikzstyle{level 2}=[sibling distance=4mm] + \tikzstyle{level 3}=[sibling distance=2mm] + \coordinate + child foreach \x in {0,1} + {child foreach \y in {0,1} + {child foreach \z in {0,1}}}; +\end{tikzpicture} +\end{codeexample} + + The details and options for this operation are described in the rest + of this present section. +\end{pathoperation} + + + +\subsection{Child Paths and the Child Nodes} + +For each |child| of a root node, its \meta{child path} is inserted at +a specific location in the picture (the placement rules are discussed +in Section~\ref{section-tree-placement}). The first node in the +\meta{child path}, if it exists, is special and called the \emph{child + node}. If there is no first node in the \meta{child path}, that is, +if the \meta{child path} is missing (including the curly braces) or if +it does not start with |node| or with |coordinate|, then an empty +child node of shape |coordinate| is automatically added. + +Consider the example |\node {x} child {node {y}} child;|. For the +first child, the \meta{child path} has the child node |node {y}|. For +the second child, no child node is specified and, thus, it is just +|coordinate|. + +As for any normal node, you can give the child node a name, shift it +around, or use options to influence how it is rendered. +\begin{codeexample}[] +\begin{tikzpicture} + \node[rectangle,draw] {root} + child {node[circle,draw] (left node) {left}} + child {node[ellipse,draw] (right node) {right}}; + \draw[dashed,->] (left node) -- (right node); +\end{tikzpicture} +\end{codeexample} + +In many cases, the \meta{child path} will just consist of a +specification of a child node and, possibly, children of this child +node. However, the node specification may be followed by arbitrary +other material that will be added to the picture, transformed to the +child's coordinate system. For your convenience, a move-to |(0,0)| +operation is inserted automatically at the beginning of the path. Here +is an example: + +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} + child {[fill] circle (2pt)} + child {[fill] circle (2pt)}; +\end{tikzpicture} +\end{codeexample} + + +At the end of the \meta{child path} you may add a special path +operation called |edge from parent|. If this operation is not given by +yourself somewhere on the path, it will be automatically added at the +end. This option causes a connecting edge from the parent node to the +child node to be added to the path. By giving options to this +operation you can influence how the edge is rendered. Also, nodes +following the |edge from parent| operation will be placed on this +edge, see Section~\ref{section-edge-from-parent} for details. + +To sum up: +\begin{enumerate} +\item + The child path starts with a node specification. If it is not there, + it is added automatically. +\item + The child path ends with a |edge from parent| operation, possibly + followed by nodes to be put on this edge. If the operation is not + given at the end, it is added automatically. +\end{enumerate} + + + +\subsection{Naming Child Nodes} + +Child nodes can be named like any other node using either the |name| +option or the special syntax in which the name of the node is placed +in round parentheses between the |node| operation and the node's +text. + +If you do not assign a name to a child node, \tikzname\ will +automatically assign a name as follows: Assume that the name of the +parent node is, say, |parent|. (If you did not assign a +name to the parent, \tikzname\ will do so itself, but that name will +not be user-accessible.) The first child +of |parent| will be named |parent-1|, the second child is named +|parent-2|, and so on. + +This naming convention works recursively. If the second child +|parent-2| has children, then the first of these children will be +called |parent-2-1| and the second |parent-2-2| and so on. + +If you assign a name to a child node yourself, no name is generated +automatically (the node does not have two names). However, ``counting +continues,'' which means that the third child of |parent| is called +|parent-3| independently of whether you have assigned names to the +first and/or second child of |parent|. + +Here is an example: + +\begin{codeexample}[] +\begin{tikzpicture} + \node (root) {root} + child + child { + child {coordinate (special)} + child + }; + \node at (root-1) {root-1}; + \node at (root-2) {root-2}; + \node at (special) {special}; + \node at (root-2-2) {root-2-2}; +\end{tikzpicture} +\end{codeexample} + +\subsection{Specifying Options for Trees and Children} + +Each |child| may have its own \meta{options}, which apply to ``the +whole child,'' including all of its grandchildren. Here is an +example: + +\begin{codeexample}[] +\begin{tikzpicture}[thick] + \tikzstyle{level 2}=[sibling distance=10mm] + \coordinate + child[red] {child child} + child[green] {child child[blue]}; +\end{tikzpicture} +\end{codeexample} + +The options of the root node have no effect on the children since +the options of a node are always ``local'' to that node. Because of +this, the edges in the following tree are black, not red. + +\begin{codeexample}[] +\begin{tikzpicture}[thick] + \node [red] {root} + child + child; +\end{tikzpicture} +\end{codeexample} + This raises the problem of how to set options for \emph{all} + children. Naturally, you could always set options for the whole path + as in |\path [red] node {root} child child;| but this is bothersome + in some situations. Instead, it is easier to give the options + \emph{before the first child} as follows: +\begin{codeexample}[] +\begin{tikzpicture}[thick] + \node [red] {root} + [green] % option applies to all children + child + child; +\end{tikzpicture} +\end{codeexample} + +Here is the set of rules: +\begin{enumerate} +\item + Options for the whole tree are given before the root node. +\item + Options for the root node are given directly to the |node| operation + of the root. +\item + Options for all children can be given between the root node and the + first child. +\item + Options applying to a specific child path are given as options to + the |child| operation. +\item + Options applying to the node of a child, but not to the whole child + path, are given as options to the |node| command inside the + \meta{child path}. +\end{enumerate} + +\begin{codeexample}[code only] +\begin{tikzpicture} + \path + [...] % Options apply to the whole tree + node[...] {root} % Options apply to the root node only + [...] % Options apply to all children + child[...] % Options apply to this child and all its children + { + node[...] {} % Options apply to the child node only + ... + } + child[...] % Options apply to this child and all its children + ; +\end{tikzpicture} +\end{codeexample} + +There are additional styles that influence how children are rendered: +\begin{itemize} + \itemstyle{every child} + This style is used at the beginning of each child, as if you had + given the options to the |child| operation. + \itemstyle{every child node} + This style is used at the beginning of each child node in addition + to the |every node| style. + \itemstyle{level \meta{number}} + This style is used at the beginning of each set of children, where + \meta{number} is the current level in the current tree. For example, + when you say |\node {x} child child;|, then the style |level 1| is + used before the first |child|. If this first |child| has children + itself, then |level 2| would be used for them. + +\begin{codeexample}[] +\begin{tikzpicture} + \tikzstyle{level 1}=[sibling distance=20mm] + \tikzstyle{level 2}=[sibling distance=5mm] + \node {root} + child { child child } + child { child child child }; +\end{tikzpicture} +\end{codeexample} +\end{itemize} + + + + +\subsection{Placing Child Nodes} + +\label{section-tree-placement} + +Perhaps the most difficult part in drawing a tree is the correct +layout of the children. Typically, the children have different sizes +and it is not easy to arrange them in such a manner that not too much +space is wasted, the children do not overlap, and they are either +evenly spaced or their centers are evenly distributed. Calculating +good positions is especially difficult since a good position for the +first child may depend on the size of the last child. + +In \tikzname, a comparatively simple approach is taken to placing the +children. In order to compute a child's position, all that is taken +into account is the number of the current child in the list of +children and the number of children in this list. Thus, if a node has +five children, then there is a fixed position for the first child, a +position for the second child, and so on. These positions \emph{do not + depend on the size of the children} and, hence, children can easily +overlap. However, since you can use options to shift individual +children a bit, this is not as great a problem as it may seem. + +Although the placement of the children only depends on their number in +the list of children and the total number of children, everything else +about the placement is highly configurable. You can change the +distance between children (appropriately called the +|sibling distance|) and the distance between levels of the tree. These +distances may change from level to level. The direction in which the +tree grows can be changed globally and for parts of the tree. You can +even specify your own ``growth function'' to arrange children on a +circle or along special lines or curves. + +The default growth function works as follows: Assume that we are given +a node and five children. These children will be placed on a line with +their centers (or, more generally, with their anchors) spaced apart by +the current |sibling distance|. The line is +orthogonal to the current \emph{direction of growth}, which is set +with the |grow| and |grow'| option (the latter option reverses the +ordering of the children). The distance from the line to the parent node +is given by the |level distance|. + +{\catcode`\|=12 +\begin{codeexample}[] +\begin{tikzpicture} + \path [help lines] + node (root) {root} + [grow=-10] + child {node {1}} + child {node {2}} + child {node {3}} + child {node {4}}; + + \draw[|<->|,thick] (root-1.center) + -- node[above,sloped] {sibling distance} (root-2.center); + + \draw[|<->|,thick] (root.center) + -- node[above,sloped] {level distance} +(-10:\tikzleveldistance); +\end{tikzpicture} +\end{codeexample} +} + +Here is a detailed description of the options: +\begin{itemize} + \itemoption{level distance}|=|\meta{distance} + This option allows you to change the distance between different + levels of the tree, more precisely, between the parent and the line + on which its children are arranged. When given to a single child, + this will set the distance for this child only. + +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} + [level distance=20mm] + child + child { + [level distance=5mm] + child + child + child + } + child[level distance=10mm]; +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + \tikzstyle{level 1}=[level distance=10mm] + \tikzstyle{level 2}=[level distance=5mm] + \node {root} + child + child { + child + child[level distance=10mm] + child + } + child; +\end{tikzpicture} +\end{codeexample} + + \itemoption{sibling distance}|=|\meta{distance} + This option specifies the distance between the anchors of the + children of a parent node. + +\begin{codeexample}[] +\begin{tikzpicture}[level distance=4mm] + \tikzstyle{level 1}=[sibling distance=8mm] + \tikzstyle{level 2}=[sibling distance=4mm] + \tikzstyle{level 3}=[sibling distance=2mm] + \coordinate + child { + child {child child} + child {child child} + } + child { + child {child child} + child {child child} + }; +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture}[level distance=10mm] + \tikzstyle{every node}=[fill=red!60,circle,inner sep=1pt] + \tikzstyle{level 1}=[sibling distance=20mm, + set style={{every node}+=[fill=red!45]}] + \tikzstyle{level 2}=[sibling distance=10mm, + set style={{every node}+=[fill=red!30]}] + \tikzstyle{level 3}=[sibling distance=5mm, + set style={{every node}+=[fill=red!15]}] + \node {31} + child {node {30} + child {node {20} + child {node {5}} + child {node {4}} + } + child {node {10} + child {node {9}} + child {node {1}} + } + } + child {node {20} + child {node {19} + child {node {1}} + child[fill=none] {edge from parent[draw=none]} + } + child {node {18}} + }; +\end{tikzpicture} +\end{codeexample} + + \itemoption{grow}|=|\meta{direction} + This option is used to define the \meta{direction} in which the tree + will grow. The \meta{direction} can either be an angle in degrees or + one of the following special text strings: |down|, |up|, |left|, + |right|, |north|, |south|, |east|, |west|, |north east|, + |north west|, |south east|, and |south west|. All of these have + ``their obvious meaning,'' so, say, |south west| is the same as the + angle $-135^\circ$. + + As a side effect, this option installs the default growth function. + + In addition to setting the direction, this option also has a + seemingly strange effect: It sets the sibling distance for the + current level to |0pt|, but leaves the sibling distance for later + levels unchanged. + + This somewhat strange behaviour has a highly desirable effect: If + you give this option before the list of children of a node starts, + the ``current level'' is still the parent level. Each child will be + on a later level and, hence, the sibling distance will be as + specified originally. This will cause the children to be neatly + aligned in a line orthogonal to the given \meta{direction}. However, + if you give this option locally to a single child, then ``current + level'' will be the same as the child's level. The zero sibling + distance will then cause the child to be placed exactly at a point + at distance |level distance| in the direction + \meta{direction}. However, the children of the child will be placed + ``normally'' on a line orthogonal to the \meta{direction}. + + These placement effects are best demonstrated by some examples: +\begin{codeexample}[] +\tikz \node {root} [grow=right] child child; +\end{codeexample} + +\begin{codeexample}[] +\tikz \node {root} [grow=south west] child child; +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture}[level distance=10mm,sibling distance=5mm] + \node {root} + [grow=down] + child + child + child[grow=right] { + child child child + }; +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture}[level distance=2em] + \node {C} + child[grow=up] {node {H}} + child[grow=left] {node {H}} + child[grow=down] {node {H}} + child[grow=right] {node {C} + child[grow=up] {node {H}} + child[grow=right] {node {H}} + child[grow=down] {node {H}} + edge from parent[double] + coordinate (wrong) + }; + \draw[<-,red] ([yshift=-2mm]wrong) -- +(0,-1) + node[below]{This is wrong!}; +\end{tikzpicture} +\end{codeexample} + +\begin{codeexample}[] +\begin{tikzpicture} + \node[rectangle,draw] (a) at (0,0) {start node}; + \node[rectangle,draw] (b) at (2,1) {end}; + + \draw (a) -- (b) + node[coordinate,midway] {} + child[grow=100,<-] {node[above] {the middle is here}}; +\end{tikzpicture} +\end{codeexample} + + \itemoption{grow'}|=|\meta{direction} + This option has the same effect as |grow|, only the children are + arranged in the opposite order. + \itemoption{growth function}|=|\meta{macro name} + This rather low-level option allows you to set a new growth + function. The \meta{macro name} must be the name of a macro without + parameters. This macro will be called for each child of a node. + + The effect of executing the macro should be the following: It should + transform the coordinate system in such a way that the origin + becomes the place where the current child should be anchored. When + the macro is called, the current coordinate system will be setup + such that the anchor of the parent node is in the origin. Thus, in + each call, the \meta{macro name} must essentially do a shift to the + child's origin. When the macro is called, the \TeX\ counter + |\tikznumberofchildren| will be set to the total number of children + of the parent node and the counter |\tikznumberofcurrentchild| will + be set to the number of the current child. + + The macro may, in addition to shifting the coordinate system, also + transform the coordinate system further. For example, it could be + rotated or scaled. + + Additional growth functions are defined in the library, see + Section~\ref{section-tree-library}. +\end{itemize} + + + +\subsection{Edges From the Parent Node} + +\label{section-edge-from-parent} + +Every child node is connected to its parent node via a special kind of +edge called the |edge from parent|. This edge is added to the +\meta{child path} when the following path operation is encountered: + +\begin{pathoperation}{edge from parent}{\opt{\oarg{options}}} + This path operation can only be used inside \meta{child paths} and + should be given at the end, possibly followed by node specifications + (we will come to that). If a \meta{child path} does not contain this + operation, it will be added at the end of the \meta{child path} + automatically. + + This operation has several effects. The most important is that it + inserts the current ``edge from parent path'' into the child + path. The edge from parent path can be set using the following + option: + \begin{itemize} + \itemoption{edge from parent path}|=|\meta{path} + This options allows you to set the edge from parent path to a new + path. The default for this path is the following: + \begin{codeexample}[code only] +(\tikzparentnode\tikzparentanchor) -- (\tikzchildnode\tikzchildanchor) + \end{codeexample} + The |\tikzparentnode| is a macro that will expand to the name of + the parent node. This works even when you have not assigned a name + to the parent node, in this case an internal name is automatically + generated. The |\tikzchildnode| is a macro that expands to the + name of the child node. The two |...anchor| macros are empty by + default. So, what is essentially inserted is just the path segment + |(\tikzparentnode) -- (\tikzchildnode)|; which is exactly an edge + from the parent to the child. + + You can modify this edge from parent path to achieve all sorts of + effects. For example, we could replace the straight line by a + curve as follows: +\begin{codeexample}[] +\begin{tikzpicture}[edge from parent path= + {(\tikzparentnode.south) .. controls +(0,-1) and +(0,1) + .. (\tikzchildnode.north)}] + \node {root} + child {node {left}} + child {node {right} + child {node {child}} + child {node {child}} + }; +\end{tikzpicture} +\end{codeexample} + + Further useful edge from parent paths are defined in the tree + library, see Section~\ref{section-tree-library}. + + As said before, the anchors in the default edge from parent path + are empty. However, you can set them using the following options: + \begin{itemize} + \itemoption{child anchor}|=|\meta{anchor} + Specifies the anchor where the edge from parent meets the child + node by setting the macro |\tikzchildanchor| to + |.|\meta{anchor}. + + If you specify |border| as the \meta{anchor}, then the macro + |\tikzchildanchor| is set to the empty string. The effect of + this is that the edge from the parent will meet the child on the + border at an automatically calculated position. +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} + [child anchor=north] + child {node {left} edge from parent[dashed]} + child {node {right} + child {node {child}} + child {node {child} edge from parent[draw=none]} + }; +\end{tikzpicture} +\end{codeexample} + \itemoption{parent anchor}|=|\meta{anchor} + This option works the same way as the |child anchor|, only for + the parent. + \end{itemize} + \end{itemize} + + Besides inserting the edge from parent path, the |edge from parent| + operation has another effect: The \meta{options} are inserted + directly before the edge from parent path and the following style is + also installed prior to inserting the path: + \begin{itemize} + \itemstyle{edge from parent} + This style is inserted right before the edge from parent path and + before the \meta{options} are inserted. By default, it just draws + the edge from parent, but you can use it to make the edge look + different. +\begin{codeexample}[] +\begin{tikzpicture} + \tikzstyle{edge from parent}=[draw,red,thick] + \node {root} + child {node {left} edge from parent[dashed]} + child {node {right} + child {node {child}} + child {node {child} edge from parent[draw=none]} + }; +\end{tikzpicture} +\end{codeexample} + \end{itemize} + + Note: The \meta{options} inserted before the edge from parent path + is added \emph{apply to the whole child path}. Thus, it is not + possible to, say, draw a circle in red as part of the child path and + then have an edge to parent in blue. However, as always, the child + node is a node and can be drawn in a totally different way. + + Finally, the |edge from parent| operation has one more effect: It + causes all nodes \emph{following} the operation to be placed on the + edge. This is the same effect as if you had added the |pos| option + to all these nodes, see also Section~\ref{section-pos-option}. + + As an example, consider the following code: +\begin{codeexample}[code only] +\node (root) {} child {node (child) {} edge to parent node {label}}; +\end{codeexample} + The |edge to parent| operation and the following |node| operation + will, together, have the same effect as if we had said: +\begin{codeexample}[code only] +(root) -- (child) node [pos=0.5] {label} +\end{codeexample} + + Here is a more complicated example: +\begin{codeexample}[] +\begin{tikzpicture} + \node {root} + child { + node {left} + edge from parent + node[left] {a} + node[right] {b} + } + child { + node {right} + child { + node {child} + edge from parent + node[left] {c} + } + child {node {child}} + edge from parent + node[near end] {x} + }; +\end{tikzpicture} +\end{codeexample} + +\end{pathoperation} + + + +%%% Local Variables: +%%% mode: latex +%%% TeX-master: "pgfmanual-pdftex-version" +%%% End: diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tutorial.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tutorial.tex new file mode 100644 index 00000000000..f0523e2aa97 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-tutorial.tex @@ -0,0 +1,1417 @@ +\section{Tutorial: A Picture for Karl's Students} + +This tutorial is intended for new users of \pgfname\ and \tikzname. It +does not give an exhaustive account of all the features of \tikzname\ or +\pgfname, just of those that you are likely to use right away. + +Karl is a math and chemistry high-school teacher. He used to create +the graphics in his worksheets and exams using \LaTeX's |{picture}| +environment. While the results were acceptable, creating the graphics +often turned out to be a lengthy process. Also, there tended to be +problems with lines having slightly wrong angles and circles also +seemed to be hard to get right. Naturally, his students could not care +less whether the lines had the exact right angles and they find +Karl's exams too difficult no matter how nicely they were drawn. But +Karl was never entirely satisfied with the result. + +Karl's son, who was even less satisfied with the results (he did not +have to take the exams, after all), told Karl that he might wish +to try out a new package for creating graphics. A bit confusingly, +this package seems to have two names: First, Karl had to download and +install a package called \pgfname. Then it turns out that inside this +package there is another package called \tikzname, which is supposed to +stand for ``\tikzname\ ist \emph{kein} Zeichenprogramm.'' Karl finds this +all a bit strange and \tikzname\ seems to indicate that the package +does not do what he needs. However, having used \textsc{gnu} +software for quite some time and ``\textsc{gnu} not being Unix,'' +there seems to be hope yet. His son assures him that \tikzname's name is +intended to warn people that \tikzname\ is not a program that you can +use to draw graphics with your mouse or tablet. Rather, it is more +like a ``graphics language.'' + + +\subsection{Problem Statement} + +Karl wants to put a graphic on the next worksheet for his +students. He is currently teaching his students about sine and +cosine. What he would like to have is something that looks like this +(ideally): + +\noindent +\begin{tikzpicture}[scale=3,cap=round] + % Local definitions + \def\costhirty{0.8660256} + + % Colors + \colorlet{anglecolor}{green!50!black} + \colorlet{sincolor}{red} + \colorlet{tancolor}{orange!80!black} + \colorlet{coscolor}{blue} + + % Styles + \tikzstyle axes=[] + \tikzstyle important line=[very thick] + \tikzstyle information text=[rounded corners,fill=red!10,inner sep=1ex] + + % The graphic + \draw[style=help lines,step=0.5cm] (-1.4,-1.4) grid (1.4,1.4); + + \draw (0,0) circle (1cm); + + \begin{scope}[style=axes] + \draw[->] (-1.5,0) -- (1.5,0) node[right] {$x$}; + \draw[->] (0,-1.5) -- (0,1.5) node[above] {$y$}; + + \foreach \x/\xtext in {-1, -.5/-\frac{1}{2}, 1} + \draw[xshift=\x cm] (0pt,1pt) -- (0pt,-1pt) node[below,fill=white] {$\xtext$}; + + \foreach \y/\ytext in {-1, -.5/-\frac{1}{2}, .5/\frac{1}{2}, 1} + \draw[yshift=\y cm] (1pt,0pt) -- (-1pt,0pt) node[left,fill=white] {$\ytext$}; + \end{scope} + + \filldraw[fill=green!20,draw=anglecolor] (0,0) -- (3mm,0pt) arc(0:30:3mm); + \draw (15:2mm) node[anglecolor] {$\alpha$}; + + \draw[style=important line,sincolor] + (30:1cm) -- node[left=1pt,fill=white] {$\sin \alpha$} +(0,-.5); + + \draw[style=important line,coscolor] + (0,0) -- node[below=2pt,fill=white] {$\cos \alpha$} (\costhirty,0); + + \draw[style=important line,tancolor] (1,0) -- + node [right=1pt,fill=white] + { + $\displaystyle \tan \alpha \color{black}= + \frac{{\color{sincolor}\sin \alpha}}{\color{coscolor}\cos \alpha}$ + } (intersection of 0,0--30:1cm and 1,0--1,1) coordinate (t); + + \draw (0,0) -- (t); + + \draw[xshift=1.85cm] node [right,text width=6cm,style=information text] + { + The {\color{anglecolor} angle $\alpha$} is $30^\circ$ in the + example ($\pi/6$ in radians). The {\color{sincolor}sine of + $\alpha$}, which is the height of the red line, is + \[ + {\color{sincolor} \sin \alpha} = 1/2. + \] + By the Theorem of Pythagoras we have ${\color{coscolor}\cos^2 \alpha} + + {\color{sincolor}\sin^2\alpha} =1$. Thus the length of the blue + line, which is the {\color{coscolor}cosine of $\alpha$}, must be + \[ + {\color{coscolor}\cos\alpha} = \sqrt{1 - 1/4} = \textstyle + \frac{1}{2} \sqrt 3. + \]% + This shows that {\color{tancolor}$\tan \alpha$}, which is the + height of the orange line, is + \[ + {\color{tancolor}\tan\alpha} = \frac{{\color{sincolor}\sin + \alpha}}{\color{coscolor}\cos \alpha} = 1/\sqrt 3. + \]% + }; +\end{tikzpicture} + + +\subsection{Setting up the Environment} + +In \tikzname, to draw a picture, at the start of the picture +you need to tell \TeX\ or \LaTeX\ that you want to start a picture. In +\LaTeX\ this is done using the environment |{tikzpicture}|, in plain +\TeX\ you just use |\tikzpicture| to start the picture and +|\endtikzpicture| to end it. + +\subsubsection{Setting up the Environment in \LaTeX} + +Karl, being a \LaTeX\ user, thus sets up his file as follows: + +\begin{codeexample}[code only] +\documentclass{article} % say +\usepackage{tikz} +\begin{document} +We are working on +\begin{tikzpicture} + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); +\end{tikzpicture}. +\end{document} +\end{codeexample} + +When executed, that is, run via |pdflatex| or via |latex| followed by +|dvips|, the resulting will contain something that looks like this: + +\begin{codeexample}[width=7cm] +We are working on +\begin{tikzpicture} + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); +\end{tikzpicture}. +\end{codeexample} + +Admittedly, not quite the whole picture, yet, but we +do have the axes established. Well, not quite, but we have the lines +that make up the axes drawn. Karl suddenly has a sinking feeling +that the picture is still some way off. + +Let's have a more detailed look at the code. First, the package +|tikz| is loaded. This package is a so-called ``frontend'' to the +basic \pgfname\ system. The basic layer, which is also described in this +manual, is somewhat more, well, basic and thus harder to use. The +frontend makes things easier by providing a simpler syntax. + +Inside the environment there are two |\draw| commands. They mean: +``The path, which is specified following the command up to the +semicolon, should be drawn.'' The first path is specified +as |(-1.5,0) -- (0,1.5)|, which means ``a straight line from the point +at position $(-1.5,0)$ to the point at position $(0,1.5)$.'' Here, the +positions are specified within a special coordinate system in which, +initially, one unit is 1cm. + +Karl is quite pleased to note that the environment automatically +reserves enough space to encompass the picture. + + +\subsubsection{Setting up the Environment in Plain \TeX} + +Karl's wife Gerda, who also happens to be a math teacher, is not a +\LaTeX\ user, but uses plain \TeX\ since she prefers to do things +``the old way.'' She can also use \tikzname. Instead of +|\usepackage{tikz}| she has to write |\input tikz.tex| and instead of +|\begin{tikzpicture}| she writes |\tikzpicture| and instead of + |\end{tikzpicture}| she writes |\endtikzpicture|. + +Thus, she would use: +\begin{codeexample}[code only] +%% Plain TeX file +\input tikz.tex +\baselineskip=12pt +\hsize=6.3truein +\vsize=8.7truein +We are working on +\tikzpicture + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); +\endtikzpicture. +\bye +\end{codeexample} + +Gerda can typeset this file using either |pdftex| or |tex| together +with |dvips|. \tikzname\ will automatically discern which driver she is +using. If she wishes to use |dvipdfm| together with |tex|, she +either needs to modify the file |pgf.cfg| or can write +|\def\pgfsysdriver{pgfsys-dvipdfm.def}| somewhere \emph{before} she +inputs |tikz.tex| or |pgf.tex|. + + + + +\subsection{Straight Path Construction} + +The basic building block of all pictures in \tikzname\ is the path. +A \emph{path} is a series of straight lines and curves that are +connected (that is not the whole picture, but let us ignore the +complications for the moment). You start a path by specifying the +coordinates of the start position as a point in round brackets, as in +|(0,0)|. This is followed by a series of ``path extension +operations.'' The simplest is |--|, which we used already. It must be +followed by another coordinate and it extends the path in a straight +line to this new position. For example, if we were to turn the two +paths of the axes into one path, the following would result: + +\begin{codeexample}[] +\tikz \draw (-1.5,0) -- (1.5,0) -- (0,-1.5) -- (0,1.5); +\end{codeexample} + +Karl is a bit confused by the fact that there is no |{tikzpicture}| +environment, here. Instead, the little command |\tikz| is used. This +command either takes one argument (starting with an opening brace as in +|\tikz{\draw (0,0) -- (1.5,0)}|, which yields \tikz{\draw (0,0) + --(1.5,0);}) or collects everything up to the next semicolon and +puts it inside a |{tikzpicture}| environment. As a rule of thumb, all +\tikzname\ graphic drawing commands must occur as an argument of |\tikz| +or inside a |{tikzpicture}| environment. Fortunately, the command +|\draw| will only be defined inside this environment, so there is +little chance that you will accidentally do something wrong here. + + + +\subsection{Curved Path Construction} + +The next thing Karl wants to do is to draw the circle. For this, +straight lines obviously will not do. Instead, we need some way to +draw curves. For this, \tikzname\ provides a special syntax. One or two +``control points'' are needed. The math behind them is not quite +trivial, but here is the basic idea: Suppose you are at point $x$ and +the first control point is $y$. Then the curve will start ``going in +the direction of~$y$ at~$x$,'' that is, the tangent of the curve at $x$ +will point toward~$y$. Next, suppose the curve should end at $z$ and +the second support point is $w$. Then the curve will, indeed, end at +$z$ and the tangent of the curve at point $z$ will go through $w$. + +Here is an example (the control points have been added for clarity): +\begin{codeexample}[] +\begin{tikzpicture} + \filldraw [gray] (0,0) circle (2pt) + (1,1) circle (2pt) + (2,1) circle (2pt) + (2,0) circle (2pt); + \draw (0,0) .. controls (1,1) and (2,1) .. (2,0); +\end{tikzpicture} +\end{codeexample} + +The general syntax for extending a path in a ``curved'' way is +|.. controls| \meta{first control point} |and| \meta{second control + point} |..| \meta{end point}. You can leave out the |and| +\meta{second control point}, which causes the first one to be used +twice. + +So, Karl can now add the first half circle to the picture: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (-1,0) .. controls (-1,0.555) and (-0.555,1) .. (0,1) + .. controls (0.555,1) and (1,0.555) .. (1,0); +\end{tikzpicture} +\end{codeexample} + +Karl is happy with the result, but finds specifying circles in this +way to be extremely awkward. Fortunately, there is a much simpler way. + + +\subsection{Circle Path Construction} + +In order to draw a circle, the path construction operation |circle| can +be used. This operation is followed by a radius in round brackets as in +the following example: (Note that the previous position is used as the +\emph{center} of the circle.) + +\begin{codeexample}[] +\tikz \draw (0,0) circle (10pt); +\end{codeexample} + +You can also append an ellipse to the path using the |ellipse| +operation. Instead of a single radius you can specify two of them, one +for the $x$-direction and one for the $y$-direction, separated by +|and|: + +\begin{codeexample}[] +\tikz \draw (0,0) ellipse (20pt and 10pt); +\end{codeexample} + +To draw an ellipse whose axes are not horizontal and vertical, but +point in an arbitrary direction (a ``turned ellipse'' like \tikz +\draw[rotate=30] (0,0) ellipse (6pt and 3pt);) you can use +transformations, which are explained later. The code for the little +ellipse is |\tikz \draw[rotate=30] (0,0) ellipse (6pt and 3pt);|, by +the way. + +So, returning to Karl's problem, he can write +|\draw (0,0) circle (1cm);| to draw the circle: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); +\end{tikzpicture} +\end{codeexample} + + +At this point, Karl is a bit alarmed that the circle is so small when +he wants the final picture to be much bigger. He is pleased to learn +that \tikzname\ has powerful transformation options and scaling +everything by a factor of three is very easy. But let us leave the +size as it is for the moment to save some space. + + + + +\subsection{Rectangle Path Construction} + +The next things we would like to have is the grid in the background. +There are several ways to produce it. For example, one might draw lots of +rectangles. Since rectangles are so common, there is a special syntax +for them: To add a rectangle to the current path, use the |rectangle| +path construction operation. This operation should be followed by another +coordinate and will append a rectangle to the path such that the +previous coordinate and the next coordinates are corners of the +rectangle. So, let us add two rectangles to the picture: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \draw (0,0) rectangle (0.5,0.5); + \draw (-0.5,-0.5) rectangle (-1,-1); +\end{tikzpicture} +\end{codeexample} + +While this may be nice in other situations, this is not really leading +anywhere with Karl's problem: First, we would need an awful lot of +these rectangles and then there is the border that is not ``closed.'' + +So, Karl is about to resort to simply drawing four vertical and four +horizontal lines using the nice |\draw| command, when he learns that +there is a |grid| path construction operation. + + + +\subsection{Grid Path Construction} + +The |grid| path operation adds a grid to the current path. It will add +lines making up a grid that fills the rectangle whose one corner is +the current point and whose other corner is the point following the +|grid| operation. For example, the code +|\tikz \draw[step=2pt] (0,0) grid (10pt,10pt);| produces \tikz +\draw[step=2pt] (0,0) grid (10pt,10pt);. Note how the optional +argument for |\draw| can be used to specify a grid width (there are +also |xstep| and |ystep| to define the steppings independently). As +Karl will learn soon, there are \emph{lots} of things that can be +influenced using such options. + +For Karl, the following code could be used: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \draw[step=.5cm] (-1.4,-1.4) grid (1.4,1.4); +\end{tikzpicture} +\end{codeexample} + +Having another look at the desired picture, Karl notices that it would +be nice for the grid to be more subdued. (His son told him that grids +tend to be distracting if they are not subdued.) To subdue the grid, +Karl adds two more options to the |\draw| command that draws the +grid. First, he uses the color |gray| for the grid lines. Second, he +reduces the line width to |very thin|. Finally, he swaps the ordering +of the commands so that the grid is drawn first and everything else on +top. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); +\end{tikzpicture} +\end{codeexample} + + +\subsection{Adding a Touch of Style} + +Instead of the options |gray,very thin| Karl could also have +said |style=help lines|. \emph{Styles} are predefined sets of options +that can be used to organize how a graphic is drawn. By saying +|style=help lines| you say ``use the style that I (or someone else) +has set for drawing help lines.'' If Karl decides, at some later +point, that grids should be drawn, say, using the color |blue!50| +instead of |gray|, he could say the following: +\begin{codeexample}[code only] +\tikzstyle help lines=[color=blue!50,very thin] +\end{codeexample} +Alternatively, he could have said the following: +\begin{codeexample}[code only] +\tikzstyle help lines+=[color=blue!50] +\end{codeexample} +This would have added the |color=blue!50| option. The |help lines| +style would now contain \emph{two} color options, but +the second would override the first. + +Using styles makes your graphics code more flexible. You can +change the way things look easily in a consistent manner. + +To build a hierarchy of styles you can have one style use +another. So in order to define a style |Karl's grid| that is based on +the |grid| style Karl could say +\begin{codeexample}[code only] +\tikzstyle Karl's grid=[style=help lines,color=blue!50] +... +\draw[style=Karl's grid] (0,0) grid (5,5); +\end{codeexample} + +You can also leave out the |style=|. Thus, whenever \tikzname\ encounters +an options that it does not know about, it will check whether this +option happens to be the name of a style. If so, the style is +used. Thus, Karl could also have written: +\begin{codeexample}[code only] +\tikzstyle Karl's grid=[help lines,color=blue!50] +... +\draw[Karl's grid] (0,0) grid (5,5); +\end{codeexample} + +For some styles, like the |very thin| style, it is pretty clear what +the style does and there is no need to say |style=very thin|. For +other styles, like |help lines|, it seems more natural to me to say +|style=help lines|. But, mainly, this is a matter of taste. + + +\subsection{Drawing Options} + +Karl wonders what other options there are that influence how a path is +drawn. He saw already that the |color=|\meta{color} option can be used +to set the line's color. The option |draw=|\meta{color} does nearly +the same, only it sets the color for the lines only and a different +color can be used for filling (Karl will need this when he fills the +arc for the angle). + +He saw that the style |very thin| yields very thin lines. Karl is not +really surprised by this and neither is he surprised to learn that |thin| +yields thin lines, |thick| yields thick lines, |very thick| yields +very thick lines, |ultra thick| yields really, really thick lines and +|ultra thin| yields lines that are so thin that low-resolution printers +and displays will have trouble showing them. He wonders what gives +lines of ``normal'' thickness. It turns out that |thin| is the correct +choice. This seems strange to Karl, but his son explains him that +\LaTeX\ has two commands called |\thinlines| and |\thicklines| and +that |\thinlines| gives the line width of ``normal'' lines, more +precisely, of the thickness that, say, the stem of a letter like ``T'' +or ``i'' has. Nevertheless, Karl would like to know whether there is +anything ``in the middle'' between |thin| and |thick|. There is: +|semithick|. + +Another useful thing one can do with lines is to dash or dot them. For +this, the two styles |dashed| and |dotted| can be used, yielding +\tikz \draw[dashed] (0,0) -- (10pt,0pt); and \tikz \draw[dotted] (0,0) +-- (10pt,0pt);. Both options also exist in a loose and a dense +version, called |loosely dashed|, |densely dashed|, |loosely dotted|, +and |closely dotted|. If he really, really needs to, Karl can also +define much more complex dashing patterns with the |dash pattern| +option, but his son insists that dashing is to be used with utmost +care and mostly distracts. Karl's son claims that complicated dashing +patterns are evil. Karl's students do not care about dashing patterns. + + + +\subsection{Arc Path Construction} + +Our next obstacle is to draw the arc for the angle. For this, the +|arc| path construction operation is useful, which draws part of a +circle or ellipse. This |arc| operation must be followed by a triple in +rounded brackets, where the components of the triple are separated by +colons. The first two components are angles, the last one is a +radius. An example would be |(10:80:10pt)|, which means ``an arc from +10 degrees to 80 degrees on a circle of radius 10pt.'' Karl obviously +needs an arc from $0^\circ$ to $30^\circ$. The radius should be +something relatively small, perhaps around one third of the circle's +radius. This gives: |(0:30:3mm)|. + +When one uses the arc path construction operation, the specified arc will +be added with its starting point at the current position. So, we first +have to ``get there.'' + +\begin{codeexample}[] +\begin{tikzpicture} + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \draw (3mm,0mm) arc (0:30:3mm); +\end{tikzpicture} +\end{codeexample} + +Karl thinks this is really a bit small and he cannot continue unless +he learns how to do scaling. For this, he can add the |[scale=3]| +option. He could add this option to each |\draw| command, but that +would be awkward. Instead, he adds it to the whole environment, which +causes this option to apply to everything within. + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \draw (3mm,0mm) arc (0:30:3mm); +\end{tikzpicture} +\end{codeexample} + +As for circles, you can specify ``two'' radii in order to get an +elliptical arc. + +\begin{codeexample}[] + \tikz \draw (0,0) arc (0:315:1.75cm and 1cm); +\end{codeexample} + + +\subsection{Clipping a Path} + +In order to save space in this manual, it would be nice to clip Karl's +graphics a bit so that we can focus on the ``interesting'' +parts. Clipping is pretty easy in \tikzname. You can use the |\clip| +command clip all subsequent drawing. It works like |\draw|, only it +does not draw anything, but uses the given path to clip everything +subsequently. + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.1,-0.2) rectangle (1.1,0.75); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \draw (3mm,0mm) arc (0:30:3mm); +\end{tikzpicture} +\end{codeexample} + +You can also do both at the same time: Draw \emph{and} clip a +path. For this, use the |\draw| command and add the |clip| +option. (This is not the whole picture: You can also use the |\clip| +command and add the |draw| option. Well, that is also not the whole +picture: In reality, |\draw| is just a shorthand for |\path[draw]| +and |\clip| is a shorthand for |\path[clip]| and you could also say +|\path[draw,clip]|.) Here is an example: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip[draw] (0.5,0.5) circle (.6cm); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \draw (3mm,0mm) arc (0:30:3mm); +\end{tikzpicture} +\end{codeexample} + + +\subsection{Parabola and Sine Path Construction} + +Although Karl does not need them for his picture, he is pleased to +learn that there are |parabola| and |sin| and |cos| path operations for +adding parabolas and sine and cosine curves to the current path. For the +|parabola| operation, the current point will lie on the parabola as +well as the point given after the parabola operation. Consider +the following example: + +\begin{codeexample}[] +\tikz \draw (0,0) rectangle (1,1) (0,0) parabola (1,1); +\end{codeexample} + +It is also possible to place the bend somewhere else: + +\begin{codeexample}[] +\tikz \draw[x=1pt,y=1pt] (0,0) parabola bend (4,16) (6,12); +\end{codeexample} + +The operations |sin| and |cos| add a sine or cosine curve in the interval +$[0,\pi/2]$ such that the previous current point is at the start of +the curve and the curve ends at the given end point. Here are two +examples: +\begin{codeexample}[] +A sine \tikz \draw[x=1ex,y=1ex] (0,0) sin (1.57,1); curve. +\end{codeexample} + +\begin{codeexample}[] +\tikz \draw[x=1.57ex,y=1ex] (0,0) sin (1,1) cos (2,0) sin (3,-1) cos (4,0) + (0,1) cos (1,0) sin (2,-1) cos (3,0) sin (4,1); +\end{codeexample} + + + +\subsection{Filling and Drawing} + +Returning to the picture, Karl now wants the angle to be ``filled'' +with a very light green. For this he uses |\fill| instead of +|\draw|. Here is what Karl does: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.1,-0.2) rectangle (1.1,0.75); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \fill[green!20!white] (0,0) -- (3mm,0mm) arc (0:30:3mm) -- (0,0); +\end{tikzpicture} +\end{codeexample} + +The color |green!20!white| means 20\% green and 80\% white mixed +together. Such color expression are possible since \pgfname\ uses Uwe +Kern's |xcolor| package, see the documentation of that package for +details on color expressions. + +What would have happened, if Karl had not ``closed'' the path using +|--(0,0)| at the end? In this case, the path is closed automatically, +so this could have been omitted. Indeed, it would even have been +better to write the following, instead: +\begin{codeexample}[code only] + \fill[green!20!white] (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +\end{codeexample} +The |--cycle| causes the current path to be closed (actually the +current part of the current path) by smoothly joining the first and +last point. To appreciate the difference, consider the following +example: + +\begin{codeexample}[] +\begin{tikzpicture}[line width=5pt] + \draw (0,0) -- (1,0) -- (1,1) -- (0,0); + \draw (2,0) -- (3,0) -- (3,1) -- cycle; + \useasboundingbox (0,1.5); % make bounding box higher +\end{tikzpicture} +\end{codeexample} + +You can also fill and draw a path at the same time using the +|\filldraw| command. This will first draw the path, then fill it. This +may not seem too useful, but you can specify different colors to be +used for filling and for stroking. These are specified as optional +arguments like this: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.1,-0.2) rectangle (1.1,0.75); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \filldraw[fill=green!20!white, draw=green!50!black] + (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +\end{tikzpicture} +\end{codeexample} + + + +\subsection{Shading} + +Karl briefly considers the possibility of making the angle ``more +fancy'' by \emph{shading} it. Instead of filling the with a uniform +color, a smooth transition between different colors is used. For this, +|\shade| and |\shadedraw|, for shading and drawing at the same time, +can be used: + +\begin{codeexample}[] + \tikz \shade (0,0) rectangle (2,1) (3,0.5) circle (.5cm); +\end{codeexample} +The default shading is a smooth transition from gray to white. To +specify different colors, you can use options: + +\begin{codeexample}[] +\begin{tikzpicture}[rounded corners,ultra thick] + \shade[top color=yellow,bottom color=black] (0,0) rectangle +(2,1); + \shade[left color=yellow,right color=black] (3,0) rectangle +(2,1); + \shadedraw[inner color=yellow,outer color=black,draw=yellow] (6,0) rectangle +(2,1); + \shade[ball color=green] (9,.5) circle (.5cm); +\end{tikzpicture} +\end{codeexample} + +For Karl, the following might be appropriate: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.1,-0.2) rectangle (1.1,0.75); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \shadedraw[left color=gray,right color=green, draw=green!50!black] + (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; +\end{tikzpicture} +\end{codeexample} + +However, he wisely decides that shadings usually only distract without +adding anything to the picture. + + +\subsection{Specifying Coordinates} + +Karl now wants to add the sine and cosine lines. He knows already that +he can use the |color=| option to set the lines's colors. So, what is +the best way to specify the coordinates? + +There are different ways of specifying coordinates. The easiest way is +to say something like |(10pt,2cm)|. This means 10pt in $x$-direction +and 2cm in $y$-directions. Alternatively, you can also leave out the +units as in |(1,2)|, which means ``one times the current $x$-vector +plus twice the current $y$-vector.'' These vectors default to 1cm in +the $x$-direction and 1cm in the $y$-direction, respectively. + +In order to specify points in polar coordinates, use the notation +|(30:1cm)|, which means 1cm in direction 30 degree. This is obviously +quite useful to ``get to the point $(\cos 30^\circ,\sin 30^\circ)$ on +the circle.'' + +You can add a single |+| sign in front of a coordinate or two of +them as in |+(1cm,0cm)| or |++(0cm,2cm)|. Such coordinates are interpreted +differently: The first form means ``1cm upwards from the previous +specified position'' and the second means ``2cm to the right of the +previous specified position, making this the new specified position.'' +For example, we can draw the sine line as follows: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.1,-0.2) rectangle (1.1,0.75); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \filldraw[fill=green!20,draw=green!50!black] + (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; + \draw[red,very thick] (30:1cm) -- +(0,-0.5); +\end{tikzpicture} +\end{codeexample} + +Karl used the fact $\sin 30^\circ = 1/2$. However, he very much +doubts that his students know this, so it would be nice to have a way +of specifying ``the point straight down from |(30:1cm)| that lies on +the $x$-axis.'' This is, indeed, possible using a special syntax: Karl +can write \verb!(30:1cm |- 0,0)!. In general, the meaning of +|(|\meta{p}\verb! |- !\meta{q}|)| is ``the intersection of a vertical +line through $p$ and a horizontal line through $q$.'' + +Next, let us draw the cosine line. One way would be to say +\verb!(30:1cm |- 0,0) -- (0,0)!. Another way is the following: we +``continue'' from where the sine ends: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.1,-0.2) rectangle (1.1,0.75); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw (-1.5,0) -- (1.5,0); + \draw (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \filldraw[fill=green!20,draw=green!50!black] (0,0) -- (3mm,0mm) arc + (0:30:3mm) -- cycle; + \draw[red,very thick] (30:1cm) -- +(0,-0.5); + \draw[blue,very thick] (30:1cm) ++(0,-0.5) -- (0,0); +\end{tikzpicture} +\end{codeexample} + +Note the there is no |--| between |(30:1cm)| and |+(0,-0.5)|. In +detail, this path is interpreted as follows: ``First, the |(30:1cm)| +tells me to move by pen to $(\cos 30^\circ,1/2)$. Next, there comes +another coordinate specification, so I move my pen there without drawing +anything. This new point is half a unit down from the last position, +thus it is at $(\cos 30^\circ,0)$. Finally, I move the pen to the +origin, but this time drawing something (because of the |--|).'' + +To appreciate the difference between |+| and |++| consider the +following example: + +\begin{codeexample}[] +\begin{tikzpicture} + \def\rectanglepath{-- ++(1cm,0cm) -- ++(0cm,1cm) -- ++(-1cm,0cm) -- cycle} + \draw (0,0) \rectanglepath; + \draw (1.5,0) \rectanglepath; +\end{tikzpicture} +\end{codeexample} + +By comparison, when using a single |+|, the coordinates are different: + +\begin{codeexample}[] +\begin{tikzpicture} + \def\rectanglepath{-- +(1cm,0cm) -- +(1cm,1cm) -- +(0cm,1cm) -- cycle} + \draw (0,0) \rectanglepath; + \draw (1.5,0) \rectanglepath; +\end{tikzpicture} +\end{codeexample} + + +Naturally, all of this could have been written more clearly and more +economically like this (either with a single of a double |+|): +\begin{codeexample}[] +\tikz \draw (0,0) rectangle +(1,1) (1.5,0) rectangle +(1,1); +\end{codeexample} + + + +Karl is left with the line for $\tan \alpha$, which seems difficult to +specify using transformations and polar coordinates. For this he needs +another way of specifying coordinates: Karl can specify intersections +of lines as coordinates. The line for $\tan \alpha$ starts at $(1,0)$ +and goes upward to a point that is at the intersection of a line going +``up'' and a line going from the origin through |(30:1cm)|. The syntax +for this point is the following: + +\begin{codeexample}[code only] +\draw[very thick,orange] (1,0) -- (intersection of 1,0--1,1 and 0,0--30:1cm); +\end{codeexample} + +In the following, two final examples of how to use relative +positioning are presented. Note that the transformation options, +which are explained later, are often more useful for shifting than +relative positioning. + +\begin{codeexample}[] +\begin{tikzpicture}[scale=0.5] + \draw (0,0) -- (90:1cm) arc (90:360:1cm) arc (0:30:1cm) -- cycle; + \draw (60:5pt) -- +(30:1cm) arc (30:90:1cm) -- cycle; + + \draw (3,0) +(0:1cm) -- +(72:1cm) -- +(144:1cm) -- +(216:1cm) -- + +(288:1cm) -- cycle; +\end{tikzpicture} +\end{codeexample} + + + +\subsection{Adding Arrow Tips} + +Karl now wants to add the little arrow tips at the end of the axes. He has +noticed that in many plots, even in scientific journals, these arrow tips +seem to missing, presumably because the generating programs cannot +produce them. Karl thinks arrow tips belong at the end of axes. His +son agrees. His students do not care about arrow tips. + +It turns out that adding arrow tips is pretty easy: Karl adds the option +|->| to the drawing commands for the axes: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.1,-0.2) rectangle (1.1,1.51); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \draw[->] (-1.5,0) -- (1.5,0); + \draw[->] (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + \filldraw[fill=green!20,draw=green!50!black] (0,0) -- (3mm,0mm) arc + (0:30:3mm) -- cycle; + \draw[red,very thick] (30:1cm) -- +(0,-0.5); + \draw[blue,very thick] (30:1cm) ++(0,-0.5) -- (0,0); + \draw[orange,very thick] (1,0) -- (intersection of 1,0--1,1 and 0,0--30:1cm); +\end{tikzpicture} +\end{codeexample} + +If Karl had used the option |<-| instead of |->|, arrow tips would +have been put at the beginning of the path. The option |<->| puts +arrow tips at both ends of the path. + +There are certain restrictions to the kind of paths to which arrow tips +can be added. As a rule of thumb, you can add arrow tips only to a +single open ``line.'' For example, you should not try to add tips to, +say, a rectangle or a circle. (You can try, but no guarantees as to what +will happen now or in future versions.) However, you can add arrow +tips to curved paths and to paths that have several segments, as in +the following examples: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw [<->] (0,0) arc (180:30:10pt); + \draw [<->] (1,0) -- (1.5cm,10pt) -- (2cm,0pt) -- (2.5cm,10pt); +\end{tikzpicture} +\end{codeexample} + +Karl has a more detailed look at the arrow that \tikzname\ puts at the +end. It looks like this when he zooms it: \tikz { \useasboundingbox + (0pt,-.5ex) rectangle (10pt,.5ex); \draw[->,line width=1pt] (0pt,0pt) -- + (10pt,0pt); }. The shape seems vaguely familiar and, indeed, this is +exactly the end of \TeX's standard arrow used in something like +$f\colon A \to B$. + + +Karl likes the arrow, especially since it is not ``as thick'' as the +arrows offered by many other packages. However, he expects that, +sometimes, he might need to use some other kinds of arrow. +To do so, Karl can say |>=|\meta{right arrow tip kind}, where +\meta{right arrow tip kind} is a special arrow tip specification. For +example, if Karl says |>=stealth|, then he tells \tikzname\ +that he would like ``stealth-fighter-like'' arrow tips: + +\begin{codeexample}[] +\begin{tikzpicture}[>=stealth] + \draw [->] (0,0) arc (180:30:10pt); + \draw [<<-,very thick] (1,0) -- (1.5cm,10pt) -- (2cm,0pt) -- (2.5cm,10pt); +\end{tikzpicture} +\end{codeexample}%>> + +Karl wonders whether such a military name for the arrow type is really +necessary. He is not really mollified when his son tells him that +Microsoft's PowerPoint uses the same name. He decides to have his +students discuss this at some point. + +In addition to |stealth| there are several other predefined arrow tip +kinds Karl can choose from, see +Section~\ref{section-library-arrows}. Furthermore, he can define +arrows types himself, if he needs new ones. + + + + +\subsection{Scoping} + +Karl saw already that there are numerous graphic options that affect how +paths are rendered. Often, he would like to apply certain options to +a whole set of graphic commands. For example, Karl might wish to draw +three paths using a |thick| pen, but would like everything else to +be drawn ``normally.'' + +If Karl wishes to set a certain graphic option for the whole picture, +he can simply pass this option to the |\tikz| command or to the +|{tikzpicture}| environment (Gerda would pass the options to +|\tikzpicture|). However, if Karl wants to apply graphic options to a +local group, he put these commands inside a |{scope}| environment +(Gerda uses |\scope| and |\endscope|). This environment takes graphic +options as an optional argument and these options apply to everything +inside the scope, but not to anything outside. + +Here is an example: + +\begin{codeexample}[] +\begin{tikzpicture}[ultra thick] + \draw (0,0) -- (0,1); + \begin{scope}[thin] + \draw (1,0) -- (1,1); + \draw (2,0) -- (2,1); + \end{scope} + \draw (3,0) -- (3,1); +\end{tikzpicture} +\end{codeexample} + +Scoping has another interesting effect: Any changes to the clipping +area are local to the scope. Thus, if you say |\clip| somewhere inside +a scope, the effect of the |\clip| command ends at the end of the +scope. This is useful since there is no other way of ``enlarging'' the +clipping area. + +Karl has also already seen that giving options to commands like +|\draw| apply only to that command. In turns out that the situation is +slightly more complex. First, options to a command like |\draw| are +not really options to the command, but they are ``path options'' and +can be given anywhere on the path. So, instead of +|\draw[thin] (0,0) -- (1,0);| one can also write +|\draw (0,0) [thin] -- (1,0);| or |\draw (0,0) -- (1,0) [thin];|; all +of these have the same effect. This might seem strange since in the +last case, it would appear that the |thin| should take effect only +``after'' the line from $(0,0)$ to $(1,0)$ has been draw. However, +most graphic options only apply to the whole path. Indeed, if you say +both |thin| and |thick| on the same path, the last option given will +``win.'' + +When reading the above, Karl notices that only ``most'' graphic +options apply to the whole path. Indeed, all transformation options do +\emph{not} apply to the whole path, but only to ``everything following +them on the path.'' We will have a more detailed look at this in a +moment. Nevertheless, all options given during a path construction +apply only to this path. + + + +\subsection{Transformations} + +When you specify a coordinate like |(1cm,1cm)|, where is that +coordinate placed on the page? To determine the position, \tikzname, +\TeX, and \textsc{pdf} or PostScript all apply certain transformations +to the given coordinate in order to determine the finally position on +the page. + +\tikzname\ provides numerous options that allow you to transform +coordinates in \pgfname's private coordinate system. For example, the +|xshift| option allows you to shift all subsequent points by a certain +amount: + +\begin{codeexample}[] +\tikz \draw (0,0) -- (0,0.5) [xshift=2pt] (0,0) -- (0,0.5); +\end{codeexample} + +It is important to note that you can change transformation ``in the +middle of a path,'' a feature that is not supported by \pdf\ +or PostScript. The reason is that \pgfname\ keeps track of its own +transformation matrix. + +Here is a more complicated example: +\begin{codeexample}[] +\begin{tikzpicture}[even odd rule,rounded corners=2pt,x=10pt,y=10pt] + \filldraw[fill=examplefill] (0,0) rectangle (1,1) + [xshift=5pt,yshift=5pt] (0,0) rectangle (1,1) + [rotate=30] (-1,-1) rectangle (2,2); +\end{tikzpicture} +\end{codeexample} + +The most useful transformations are |xshift| and |yshift| for +shifting, |shift| for shifting to a given point as in |shift={(1,0)}| +or |shift={+(0,0)}| (the braces are necessary so that \TeX\ does not +mistake the comma for separating options), |rotate| for rotating by a +certain angle (there is also a |rotate around| for rotating around a +given point), |scale| for scaling by a certain factor, |xscale| and +|yscale| for scaling only in the $x$- or $y$-direction (|xscale=-1| is +a flip), and |xslant| and |yslant| for slanting. If these +transformation and those that I have not mentioned are not +sufficient, the |cm| option allows you to apply an arbitrary +transformation matrix. Karl's students, by the way, do not know what a +transformation matrix is. + + + +\subsection{Repeating Things: For-Loops} + +Karl's next aim is to add little ticks on the axes at positions $-1$, +$-1/2$, $1/2$, and $1$. For this, it would be nice to use some kind of +``loop,'' especially since he wishes to do the same thing at each of +these positions. There are different packages for doing this. \LaTeX\ +has its own internal command for this, |pstricks| comes along with the +powerful |\mulitdo| command. All of these can be used together with +\pgfname\ and \tikzname, so if you are familiar with them, feel free to +use them. \pgfname\ introduces yet another command, called |\foreach|, +which I introduced since I could never remember the syntax of the other +packages. |\foreach| is defined in the package |pgffor| and can be used +independently of \pgfname. \tikzname\ includes it automatically. + +In its basic form, the |\foreach| command is easy to use: +\begin{codeexample}[] +\foreach \x in {1,2,3} {$x =\x$, } +\end{codeexample} + +The general syntax is |\foreach| \meta{variable}| in {|\meta{list of + values}|} |\meta{commands}. Inside the \meta{commands}, the +\meta{variable} will be assigned to the different values. If the +\meta{commands} do not start with a brace, everything up to the +next semicolon is used as \meta{commands}. + +For Karl and the ticks on the axes, he could use the following code: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.1,-0.2) rectangle (1.1,1.51); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \filldraw[fill=green!20,draw=green!50!black] (0,0) -- (3mm,0mm) arc + (0:30:3mm) -- cycle; + \draw[->] (-1.5,0) -- (1.5,0); + \draw[->] (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + + \foreach \x in {-1cm,-0.5cm,1cm} + \draw (\x,-1pt) -- (\x,1pt); + \foreach \y in {-1cm,-0.5cm,0.5cm,1cm} + \draw (-1pt,\y) -- (1pt,\y); +\end{tikzpicture} +\end{codeexample} + +As a matter of fact, there are many different ways of creating the +ticks. For example, Karl could have put the |\draw ...;| inside curly +braces. He could also have used, say, +\begin{codeexample}[code only] +\foreach \x in {-1,-0.5,1} + \draw[xshift=\x cm] (0pt,-1pt) -- (0pt,1pt); +\end{codeexample} + +Karl is curious what would happen in a more complicated situation +where there are, say, 20 ticks. It seems bothersome to explicitly +mention all these numbers in the set for |\foreach|. Indeed, it is +possible to use |...| inside the |\foreach| statement to iterate over +a large number of values (which must, however, be dimensionless +real numbers) as in the following example: + +\begin{codeexample}[] +\tikz \foreach \x in {1,...,10} + \draw (\x,0) circle (0.4cm); +\end{codeexample} + +If you provide \emph{two} numbers before the |...|, the |\foreach| +statement will use their difference for the stepping: + +\begin{codeexample}[] +\tikz \foreach \x in {-1,-0.5,...,1} + \draw (\x cm,-1pt) -- (\x cm,1pt); +\end{codeexample} + +We can also nest loops to create interesting effects: + +\begin{codeexample}[] +\begin{tikzpicture} + \foreach \x in {1,2,...,5,7,8,...,12} + \foreach \y in {1,...,5} + { + \draw (\x,\y) +(-.5,-.5) rectangle ++(.5,.5); + \draw (\x,\y) node{\x,\y}; + } +\end{tikzpicture} +\end{codeexample} + +The |\foreach| statement can do even trickier stuff, but the above +gives the idea. + + + + +\subsection{Adding Text} + +Karl is, by now, quite satisfied with the picture. However, the most +important parts, namely the labels, are still missing! + +\tikzname\ offers an easy-to-use and powerful system for adding text and, +more generally, complex shapes to a picture at specific positions. The +basic idea is the following: When \tikzname\ is constructing a path and +encounters the keyword |node| in the middle of a path, it +reads a \emph{node specification}. The keyword |node| is typically +followed by some options and then some text between curly braces. This +text is put inside a normal \TeX\ box (if the node specification +directly follows a coordinate, which is usually the case, \tikzname\ is +able to perform some magic so that it is even possible to use verbatim +text inside the boxes) and then placed at the current position, that +is, at the last specified position (possibly shifted a bit, according +to the given options). However, all nodes are drawn only after the +path has been completely drawn/filled/shaded/clipped/whatever. + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) rectangle (2,2); + \draw (0.5,0.5) node [fill=examplefill] + {Text at \verb!node 1!} + -- (1.5,1.5) node {Text at \verb!node 2!}; +\end{tikzpicture} +\end{codeexample} + +Obviously, Karl would not only like to place nodes \emph{on} the last +specified position, but also to the left or the +right of these positions. For this, every node object that you +put in your picture is equipped with several \emph{anchors}. For +example, the |north| anchor is in the middle at the upper end of the shape, +the |south| anchor is at the bottom and the |north east| anchor is in +the upper right corner. When you given the option |anchor=north|, the +text will be placed such that this northern anchor will lie on the +current position and the text is, thus, below the current +position. Karl uses this to draw the ticks as follows: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.6,-0.2) rectangle (0.6,1.51); + \draw[step=.5cm,style=help lines] (-1.4,-1.4) grid (1.4,1.4); + \filldraw[fill=green!20,draw=green!50!black] + (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; + \draw[->] (-1.5,0) -- (1.5,0); \draw[->] (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + + \foreach \x in {-1,-0.5,1} + \draw (\x cm,1pt) -- (\x cm,-1pt) node[anchor=north] {$\x$}; + \foreach \y in {-1,-0.5,0.5,1} + \draw (1pt,\y cm) -- (-1pt,\y cm) node[anchor=east] {$\y$}; +\end{tikzpicture} +\end{codeexample} + +This is quite nice, already. Using these anchors, Karl can now add +most of the other text elements. However, Karl thinks that, though +``correct,'' it is quite counter-intuitive that in order to place something +\emph{below} a given point, he has to use the \emph{north} anchor. For +this reason, there is an option called |below|, which does the +same as |anchor=north|. Similarly, |above right| does the same as +|anchor=south east|. In addition, |below| takes an optional +dimension argument. If given, the shape will additionally be shifted +downwards by the given amount. So, |below=1pt| can be used to put +a text label below some point and, additionally shift it 1pt +downwards. + +Karl is not quite satisfied with the ticks. He would like to have +$1/2$ or $\frac{1}{2}$ shown instead of $0.5$, partly to show off the +nice capabilities of \TeX\ and \tikzname, partly because for positions +like $1/3$ or $\pi$ it is certainly very much preferable to have the +``mathematical'' tick there instead of just the ``numeric'' tick. +His students, on the other hand, prefer $0.5$ over $1/2$ +since they are not too fond of fractions in general. + +Karl now faces a problem: For the |\foreach| statement, the position +|\x| should still be given as |0.5| since \tikzname\ will not know where +|\frac{1}{2}| is supposed to be. On the other hand, the typeset text +should really be |\frac{1}{2}|. To solve this problem, |\foreach| +offers a special syntax: Instead of having one variable |\x|, Karl can +specify two (or even more) variables separated by a slash as in +|\x / \xtext|. Then, the elements in the set over which |\foreach| +iterates must also be of the form \meta{first}|/|\meta{second}. In +each iteration, |\x| will be set to \meta{first} and |\xtext| will be +set to \meta{second}. If no \meta{second} is given, the \meta{first} +will be used again. So, here is the new code for the ticks: + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-0.6,-0.2) rectangle (0.6,1.51); + \draw[step=.5cm,style=help lines] (-1.4,-1.4) grid (1.4,1.4); + \filldraw[fill=green!20,draw=green!50!black] + (0,0) -- (3mm,0mm) arc (0:30:3mm) -- cycle; + \draw[->] (-1.5,0) -- (1.5,0); \draw[->] (0,-1.5) -- (0,1.5); + \draw (0,0) circle (1cm); + + \foreach \x/\xtext in {-1, -0.5/-\frac{1}{2}, 1} + \draw (\x cm,1pt) -- (\x cm,-1pt) node[anchor=north] {$\xtext$}; + \foreach \y/\ytext in {-1, -0.5/-\frac{1}{2}, 0.5/\frac{1}{2}, 1} + \draw (1pt,\y cm) -- (-1pt,\y cm) node[anchor=east] {$\ytext$}; +\end{tikzpicture} +\end{codeexample} + +Karl is quite pleased with the result, but his son points out that +this is still not perfectly satisfactory: The grid and the circle +interfere with the numbers and decrease their legibility. Karl is not +very concerned by this (his students do not even notice), but his son +insists that there is an easy solution: Karl can add the +|[fill=white]| option to fill out the background of the text shape +with a white color. + +The next thing Karl wants to do is to add the labels like $\sin +\alpha$. For this, he would like to place a label ``in the middle of +line.'' To do so, instead of specifying the label +|node {$\sin\alpha$}| directly after one of the endpoints of the line +(which would place +the label at that endpoint), Karl can give the label directly after +the |--|, before the coordinate. By default, this places the label in +the middle of the line, but the |pos=| options can be used to modify +this. Also, options like |near start| and |near end| can be used to +modify this position: + + +\begin{codeexample}[] +\begin{tikzpicture}[scale=3] + \clip (-2,-0.2) rectangle (2,0.8); + \draw[step=.5cm,gray,very thin] (-1.4,-1.4) grid (1.4,1.4); + \filldraw[fill=green!20,draw=green!50!black] (0,0) -- (3mm,0mm) arc + (0:30:3mm) -- cycle; + \draw[->] (-1.5,0) -- (1.5,0) coordinate (x axis); + \draw[->] (0,-1.5) -- (0,1.5) coordinate (y axis); + \draw (0,0) circle (1cm); + + \draw[very thick,red] + (30:1cm) -- node[left=1pt,fill=white] {$\sin \alpha$} (30:1cm |- x axis); + \draw[very thick,blue] + (30:1cm |- x axis) -- node[below=2pt,fill=white] {$\cos \alpha$} (0,0); + \draw[very thick,orange] (1,0) -- node [right=1pt,fill=white] + {$\displaystyle \tan \alpha \color{black}= + \frac{{\color{red}\sin \alpha}}{\color{blue}\cos \alpha}$} + (intersection of 0,0--30:1cm and 1,0--1,1) coordinate (t); + + \draw (0,0) -- (t); + + \foreach \x/\xtext in {-1, -0.5/-\frac{1}{2}, 1} + \draw (\x cm,1pt) -- (\x cm,-1pt) node[anchor=north,fill=white] {$\xtext$}; + \foreach \y/\ytext in {-1, -0.5/-\frac{1}{2}, 0.5/\frac{1}{2}, 1} + \draw (1pt,\y cm) -- (-1pt,\y cm) node[anchor=east,fill=white] {$\ytext$}; +\end{tikzpicture} +\end{codeexample} + +You can also position labels on curves and, by adding the |sloped| +option, have them rotated such that they match the line's slope. Here +is an example: + +\begin{codeexample}[] +\begin{tikzpicture} + \draw (0,0) .. controls (6,1) and (9,1) .. + node[near start,sloped,above] {near start} + node {midway} + node[very near end,sloped,below] {very near end} (12,0); +\end{tikzpicture} +\end{codeexample} + +It remains to draw the explanatory text at the right of the +picture. The main difficulty here lies in limiting the width of the +text ``label,'' which is quite long, so that line breaking is +used. Fortunately, Karl can use the option |text width=6cm| to get the +desired effect. So, here is the full code: + +\begin{codeexample}[code only] +\begin{tikzpicture}[scale=3,cap=round] + % Local definitions + \def\costhirty{0.8660256} + + % Colors + \colorlet{anglecolor}{green!50!black} + \colorlet{sincolor}{red} + \colorlet{tancolor}{orange!80!black} + \colorlet{coscolor}{blue} + + % Styles + \tikzstyle{axes}=[] + \tikzstyle{important line}=[very thick] + \tikzstyle{information text}=[rounded corners,fill=red!10,inner sep=1ex] + + % The graphic + \draw[style=help lines,step=0.5cm] (-1.4,-1.4) grid (1.4,1.4); + + \draw (0,0) circle (1cm); + + \begin{scope}[style=axes] + \draw[->] (-1.5,0) -- (1.5,0) node[right] {$x$} coordinate(x axis); + \draw[->] (0,-1.5) -- (0,1.5) node[above] {$y$} coordinate(y axis); + + \foreach \x/\xtext in {-1, -.5/-\frac{1}{2}, 1} + \draw[xshift=\x cm] (0pt,1pt) -- (0pt,-1pt) node[below,fill=white] {$\xtext$}; + + \foreach \y/\ytext in {-1, -.5/-\frac{1}{2}, .5/\frac{1}{2}, 1} + \draw[yshift=\y cm] (1pt,0pt) -- (-1pt,0pt) node[left,fill=white] {$\ytext$}; + \end{scope} + + \filldraw[fill=green!20,draw=anglecolor] (0,0) -- (3mm,0pt) arc(0:30:3mm); + \draw (15:2mm) node[anglecolor] {$\alpha$}; + + \draw[style=important line,sincolor] + (30:1cm) -- node[left=1pt,fill=white] {$\sin \alpha$} (30:1cm |- x axis); + + \draw[style=important line,coscolor] + (30:1cm |- x axis) -- node[below=2pt,fill=white] {$\cos \alpha$} (0,0); + + \draw[style=important line,tancolor] (1,0) -- node[right=1pt,fill=white] { + $\displaystyle \tan \alpha \color{black}= + \frac{{\color{sincolor}\sin \alpha}}{\color{coscolor}\cos \alpha}$} + (intersection of 0,0--30:1cm and 1,0--1,1) coordinate (t); + + \draw (0,0) -- (t); + + \draw[xshift=1.85cm] + node[right,text width=6cm,style=information text] + { + The {\color{anglecolor} angle $\alpha$} is $30^\circ$ in the + example ($\pi/6$ in radians). The {\color{sincolor}sine of + $\alpha$}, which is the height of the red line, is + \[ + {\color{sincolor} \sin \alpha} = 1/2. + \] + By the Theorem of Pythagoras ... + }; +\end{tikzpicture} +\end{codeexample} + + +\subsection{Nodes} + +Placing text at a given position is just a special case of a more +general underlying mechanism. When you say |\draw (0,0) node{text};|, +what actually happens is that a rectangular node, anchored at its center, is +put at position $(0,0)$. On top of the rectangular node the text +|text| is drawn. Since no action is specified for the rectangle (like +|draw| or |fill|), the rectangle is actually discarded and only the +text is shown. However, by adding |fill| or |draw|, we can make the +underlying shape visible. Furthermore, we can \emph{change} the +shape using for example |shape=circle| or just |circle|. If we include +the package |pgflibraryshapes| we also get |ellipse|: + + +\begin{codeexample}[] +\begin{tikzpicture} + \path (0,0) node[ellipse,fill=examplefill,draw] + (h1) {hello world} + (0.5,2) node[circle,shade,ball color=examplefill] + (h2) {hello world}; + \draw [->,shorten >=2pt] (h1.north) -- (h2.south); +\end{tikzpicture} +\end{codeexample} + +As the above example shows, we can add the a name to a node by +putting it in parentheses between |node| and the |{|\meta{text}|}| +(you can also use the |name=| option). This will make \tikzname\ remember your node and all +its anchors. You can then refer to these anchors when specifying +coordinates. The syntax is |(|\meta{node + name}|.|\meta{anchor}|)|. Currently, and also in the near future, +\emph{this will not work across pictures since \tikzname\ looses track + of the positions when it returns control to \TeX.} Magic hackery is +possible for certain drivers, but a portable implementation seems +impossible (just think of a possible \textsc{svg} driver). + +The option |shorten >| causes lines to be shortened by 2pt at the +end. Similarly, |shorten <| can be used to shorten (or even lengthen) +lines at the beginning. This is possible even if no arrow is drawn. + +It is not always necessary to specify the anchor. If you do not give +an anchor, \tikzname\ will try to determine a reasonable border anchor by +itself (if \tikzname\ fails to find anything useful, it will use the +center instead). Here is a typical example: + +\begin{codeexample}[] +\begin{tikzpicture} + \begin{scope}[shape=circle,minimum size=1cm,fill=examplefill] + \tikzstyle{every node}=[draw,fill] + \node (q_A) at (0,0) {$q_A$}; + \node (q_E) at (6,0) {$q_E$}; + \node (q_1) at (2,0) {$q_1$}; + \node (q_2) at (4,2) {$q_2$}; + \end{scope} + \draw (q_A) -- (q_1) -- (q_2) -| (q_E); + \draw[->,shorten >=2pt] (q_A) .. controls +(75:1.4cm) and +(105:1.4cm) .. node[above] {$x$} (q_A); +\end{tikzpicture} +\end{codeexample} + +In the example, we used the |\node| command, which is an abbreviation +for |\path node|. diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-xxcolor.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-xxcolor.tex new file mode 100644 index 00000000000..3e093a58174 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-xxcolor.tex @@ -0,0 +1,87 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +\section{Extended Color Support} + +This section documents the package \texttt{xxcolor}, which is +currently distributed as part of \pgfname. This package extends the +\texttt{xcolor} package, written by Uwe Kern, which in turn extends +the \texttt{color} package. I hope that the commands in +\texttt{xxcolor} will some day migrate to \texttt{xcolor}, such that +this package becomes superfluous. + +The main aim of the \texttt{xxcolor} package is to provide an +environment inside which all colors are ``washed out'' or ``dimmed.'' +This is useful in numerous situations and must typically be achieved +in a roundabout manner if such an environment is not available. + +\begin{environment}{{colormixin}\marg{mix-in specification}} + The mix-in specification is applied to all colors inside + the environment. At the beginning of the environment, the mix-in is + applied to the current color, i.\,e., the color that was in effect + before the environment started. A mix-in specification is a number + between 0 and 100 followed by an exclamation mark and a color + name. When a |\color| command is + encountered inside a mix-in environment, the number states what + percentage of the desired color should be used. The rest is + ``filled up'' with the color given in the mix-in + specification. Thus, a mix-in specification like |90!blue| + will mix in 10\% of blue into everything, whereas |25!white| will + make everything nearly white. + +\begin{codeexample}[width=4cm] +\begin{minipage}{3.5cm}\raggedright +\color{red}Red text,% +\begin{colormixin}{25!white} + washed-out red text, + \color{blue} washed-out blue text, + \begin{colormixin}{25!black} + dark washed-out blue text, + \color{green} dark washed-out green text,% + \end{colormixin} + back to washed-out blue text,% +\end{colormixin} +and back to red. +\end{minipage}% +\end{codeexample} +\end{environment} + +Note that the environment only changes colors that have been installed +using the standard \LaTeX\ |\color| command. In particular, +the colors in images are not changed. There is, however, some support +offered by the commands |\pgfuseimage| and +|\pgfuseshading|. If the first command is invoked +inside a |colormixin| environment with the parameter, say, +|50!black| on an image with the name |foo|, the command +will first check whether there is also a defined image with the name +|foo.!50!black|. If so, this image is used instead. This allows +you to provide a different image for this case. If you nest +|colormixin| environments, the different mix-ins are all appended. For +example, inside the inner environment of +the above example, |\pgfuseimage{foo}| would first check whether +there exists an image named |foo.!50!white!25!black|. + +\begin{command}{\colorcurrentmixin} + Expands to the current accumulated mix-in. Each nesting of a + |colormixin| adds a mix-in to this list. +\begin{codeexample}[] +\begin{minipage}{\linewidth-6pt}\raggedright +\begin{colormixin}{75!white} + \colorcurrentmixin\ should be ``!75!white''\par + \begin{colormixin}{75!black} + \colorcurrentmixin\ should be ``!75!black!75!white''\par + \begin{colormixin}{50!white} + \colorcurrentmixin\ should be ``!50!white!75!black!75!white''\par + \end{colormixin} + \end{colormixin} +\end{colormixin} +\end{minipage} +\end{codeexample} +\end{command} + + + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-main.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-main.tex new file mode 100644 index 00000000000..d2ea9300f71 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-main.tex @@ -0,0 +1,335 @@ +% Copyright 2003 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +% pgf version is defined in \pgfversion in file +% generic/pgf/utilities/pgfrcs.code.tex + +\def\xcolorversion{2.00} +\def\xkeyvalversion{1.8} + +\usepackage[version=0.96]{pgf} +\usepackage{tikz} +\usepackage{pgflibraryarrows} +\usepackage{pgflibraryshapes} +\usepackage{pgflibraryplotmarks} +\usepackage{pgflibrarytikzbackgrounds} +\usepackage{pgflibrarytikztrees} +\usepackage[left=2.25cm,right=2.25cm,top=2.5cm,bottom=2.5cm,nohead]{geometry} +\usepackage{amsmath,amssymb} +\usepackage{xxcolor} +\usepackage{pifont} +\usepackage{makeidx} +\usepackage[latin1]{inputenc} +\usepackage{amsmath} + +\input{../../macros/pgfmanual-macros} + +\makeindex + +\makeatletter +\renewcommand*\l@subsection{\@dottedtocline{2}{1.5em}{2.8em}} +\renewcommand*\l@subsubsection{\@dottedtocline{3}{4.3em}{3.2em}} +\makeatother + +%\includeonly{pgfmanual-libraries} + +% Global styles: +\tikzstyle{every plot}=[prefix=plots/pgf-] +\tikzstyle{shape example}=[color=black!30,draw,fill=yellow!30,line width=.5cm,inner xsep=2.5cm,inner ysep=0.5cm] + +\index{Options for graphics|see{Graphic options}} +\index{Options for packages|see{Package options}} +\index{File|see{Packages and files}} +\index{Layout|see{Page layout}} + +\begin{document} + +{ + \parindent0pt +\vbox{} +\vskip 3.5cm +\Huge +\tikzname\ and \pgfname + +\Large +Manual for Version \pgfversion + +\vskip 3cm + +\begin{codeexample}[graphic=white] +\tikz[rotate=30] + \foreach \x / \xcolor in {0/blue,1/cyan,2/green,3/yellow,4/red} + \foreach \y / \ycolor in {0/blue,1/cyan,2/green,3/yellow,4/red} + \shade[ball color=\xcolor!50!\ycolor] (\x,\y) circle (7.5mm); +\end{codeexample} +\vskip 0cm plus 1.5fill +\vbox{} +\clearpage +} + +{ + \vbox{} + \vskip0pt plus 1fill + Fr meinen Vater, damit er noch viele schne \TeX-Graphiken erschaffen kann. + \vskip0pt plus 3fill + \vbox{} + \clearpage +} + + +\title{The \tikzname\ and \pgfname\ Packages\\ + Manual for Version \pgfversion\\[1mm] +\large\href{http://sourceforge.net/projects/pgf}{\texttt{http://sourceforge.net/projects/pgf}}} +\author{Till Tantau\\ + \href{mailto:tantau@users.sourceforge.net}{\texttt{tantau@users.sourceforge.net}}} + +\maketitle + +\tableofcontents + +\clearpage + +\part{Getting Started} + +This part is intended to help you get started with the \pgfname\ +package. First, the installation process is explained; however, the +system will typically be already installed on your system, so this can +often be skipped. Next, a short tutorial is given that explains the +most often used commands and concepts of \tikzname, without going into +any of the glorious details. At the end of this section you will find +some, hopefully useful, hints on how to create ``good'' graphics in +general. The information in this section is not specific to +\pgfname. + +\vskip3cm + +\begin{codeexample}[graphic=white,width=0pt] +\tikz \draw[thick,rounded corners=8pt] + (0,0) -- (0,2) -- (1,3.25) -- (2,2) -- (2,0) -- (0,2) -- (2,2) -- (0,0) -- (2,0); +\end{codeexample} + +\include{pgfmanual-introduction} +\include{pgfmanual-installation} +\include{pgfmanual-tutorial} +\include{pgfmanual-guidelines} +\include{pgfmanual-drivers} + + +\part{Ti\emph{k}Z ist \emph{kein} Zeichenprogramm} +\label{part-tikz} + +\vskip3cm +\begin{codeexample}[graphic=white] +\begin{tikzpicture} + \draw[fill=yellow] (0,0) -- (60:.75cm) arc (60:180:.75cm); + \draw(120:0.4cm) node {$\alpha$}; + + \draw[fill=green!30] (0,0) -- (right:.75cm) arc (0:60:.75cm); + \draw(30:0.5cm) node {$\beta$}; + + \begin{scope}[shift={(60:2cm)}] + \draw[fill=green!30] (0,0) -- (180:.75cm) arc (180:240:.75cm); + \draw (30:-0.5cm) node {$\gamma$}; + + \draw[fill=yellow] (0,0) -- (240:.75cm) arc (240:360:.75cm); + \draw (-60:0.4cm) node {$\delta$}; + \end{scope} + + \begin{scope}[thick] + \draw (60:-1cm) node[fill=white] {$E$} -- (60:3cm) node[fill=white] {$F$}; + \draw[red] (-2,0) node[left] {$A$} -- (3,0) node[right]{$B$}; + \draw[blue,shift={(60:2cm)}] (-3,0) node[left] {$C$} -- (2,0) node[right]{$D$}; + + \draw[shift={(60:1cm)},xshift=4cm] + node [right,text width=6cm,rounded corners,fill=red!20,inner sep=1ex] + { + When we assume that $\color{red}AB$ and $\color{blue}CD$ are + parallel, i.\,e., ${\color{red}AB} \mathbin{\|} \color{blue}CD$, + then $\alpha = \delta$ and $\beta = \gamma$. + }; + \end{scope} +\end{tikzpicture} +\end{codeexample} + + + +\include{pgfmanual-tikz-design} +\include{pgfmanual-tikz-scopes} +\include{pgfmanual-tikz-coordinates} +\include{pgfmanual-tikz-paths} +\include{pgfmanual-tikz-actions} +\include{pgfmanual-tikz-shapes} +\include{pgfmanual-tikz-trees} +\include{pgfmanual-tikz-transformations} + + + +\part{Libraries and Utilities} +\label{part-libraries} + +In this part the library and utility packages are documented. The +library packages provide additional predefined graphic objects like +new arrow heads, or new plot marks. These are not loaded by default +since many users will not need them. + +The utility packages are not directly involved in creating graphics, +but you may find them useful nonetheless. All of them either directly +depend on \pgfname\ or they are designed to work well together with +\pgfname\ even though they can be used in a stand-alone way. +\vskip2cm +\medskip +\noindent +\begin{codeexample}[graphic=white] +\begin{tikzpicture}[scale=2] + \shade[top color=blue,bottom color=gray!50] (0,0) parabola (1.5,2.25) |- (0,0); + \draw (1.05cm,2pt) node[above] {$\displaystyle\int_0^{3/2} \!\!x^2\mathrm{d}x$}; + + \draw[style=help lines] (0,0) grid (3.9,3.9) + [step=0.25cm] (1,2) grid +(1,1); + + \draw[->] (-0.2,0) -- (4,0) node[right] {$x$}; + \draw[->] (0,-0.2) -- (0,4) node[above] {$f(x)$}; + + \foreach \x/\xtext in {1/1, 1.5/1\frac{1}{2}, 2/2, 3/3} + \draw[shift={(\x,0)}] (0pt,2pt) -- (0pt,-2pt) node[below] {$\xtext$}; + + \foreach \y/\ytext in {1/1, 2/2, 2.25/2\frac{1}{4}, 3/3} + \draw[shift={(0,\y)}] (2pt,0pt) -- (-2pt,0pt) node[left] {$\ytext$}; + + \draw (-.5,.25) parabola bend (0,0) (2,4) node[below right] {$x^2$}; +\end{tikzpicture} +\end{codeexample} + +\include{pgfmanual-libraries} +\include{pgfmanual-pgffor} +\include{pgfmanual-pages} +\include{pgfmanual-xxcolor} + + + +\part{The Basic Layer} + +\vskip1cm +\begin{codeexample}[graphic=white] +\begin{tikzpicture} + \draw[gray,very thin] (-1.9,-1.9) grid (2.9,3.9) + [step=0.25cm] (-1,-1) grid (1,1); + \draw[blue] (1,-2.1) -- (1,4.1); % asymptote + + \draw[->] (-2,0) -- (3,0) node[right] {$x(t)$}; + \draw[->] (0,-2) -- (0,4) node[above] {$y(t)$}; + + \foreach \pos in {-1,2} + \draw[shift={(\pos,0)}] (0pt,2pt) -- (0pt,-2pt) node[below] {$\pos$}; + + \foreach \pos in {-1,1,2,3} + \draw[shift={(0,\pos)}] (2pt,0pt) -- (-2pt,0pt) node[left] {$\pos$}; + + \fill (0,0) circle (0.064cm); + \draw[thick,parametric,domain=0.4:1.5,samples=200] + % The plot is reparameterised such that there are more samples + % near the center. + plot[id=asymptotic-example] function{(t*t*t)*sin(1/(t*t*t)),(t*t*t)*cos(1/(t*t*t))} + node[right] {$\bigl(x(t),y(t)\bigr) = (t\sin \frac{1}{t}, t\cos \frac{1}{t})$}; + + \fill[red] (0.63662,0) circle (2pt) + node [below right,fill=white,yshift=-4pt] {$(\frac{2}{\pi},0)$}; +\end{tikzpicture} +\end{codeexample} + + +\include{pgfmanual-base-design} +\include{pgfmanual-base-scopes} +\include{pgfmanual-base-points} +\include{pgfmanual-base-paths} +\include{pgfmanual-base-actions} +\include{pgfmanual-base-arrows} +\include{pgfmanual-base-nodes} +\include{pgfmanual-base-transformations} +\include{pgfmanual-base-images} +\include{pgfmanual-base-shadings} +\include{pgfmanual-base-plots} +\include{pgfmanual-base-layers} +\include{pgfmanual-base-quick} + + + + +\part{The System Layer} +\label{part-system} + +This part describes the low-level interface of \pgfname, called the +\emph{system layer}. This interface provides a complete abstraction of +the internals of the underlying drivers. + +Unless you intend to port \pgfname\ to another driver or unless you intend +to write your own optimized frontend, you need not read this part. + +In the following it is assumed that you are familiar with the basic +workings of the |graphics| package and that you know what +\TeX-drivers are and how they work. + +\vskip1cm +\begin{codeexample}[graphic=white] +\begin{tikzpicture}[shorten >=1pt,->] + \tikzstyle{vertex}=[circle,fill=black!25,minimum size=17pt,inner sep=0pt] + + \foreach \name/\x in {s/1, 2/2, 3/3, 4/4, 15/11, 16/12, 17/13, 18/14, 19/15, t/16} + \node[vertex] (G-\name) at (\x,0) {$\name$}; + + \foreach \name/\angle/\text in {P-1/234/5, P-2/162/6, P-3/90/7, P-4/18/8, P-5/-54/9} + \node[vertex,xshift=6cm,yshift=.5cm] (\name) at (\angle:1cm) {$\text$}; + + \foreach \name/\angle/\text in {Q-1/234/10, Q-2/162/11, Q-3/90/12, Q-4/18/13, Q-5/-54/14} + \node[vertex,xshift=9cm,yshift=.5cm] (\name) at (\angle:1cm) {$\text$}; + + \foreach \from/\to in {s/2,2/3,3/4,3/4,15/16,16/17,17/18,18/19,19/t} + \draw (G-\from) -- (G-\to); + + \foreach \from/\to in {1/2,2/3,3/4,4/5,5/1,1/3,2/4,3/5,4/1,5/2} + { \draw (P-\from) -- (P-\to); \draw (Q-\from) -- (Q-\to); } + + \draw (G-3) .. controls +(-30:2cm) and +(-150:1cm) .. (Q-1); + \draw (Q-5) -- (G-15); +\end{tikzpicture} +\end{codeexample} + +\include{pgfmanual-pgfsys-overview} +\include{pgfmanual-pgfsys-commands} +\include{pgfmanual-pgfsys-paths} +\include{pgfmanual-pgfsys-protocol} + + + +\part{References and Index} + +\vskip1cm +\begin{codeexample}[graphic=white] +\begin{tikzpicture} + \draw[line width=0.3cm,color=red!30,cap=round,join=round] (0,0)--(2,0)--(2,5); + \draw[help lines] (-2.5,-2.5) grid (5.5,7.5); + \draw[very thick] (1,-1)--(-1,-1)--(-1,1)--(0,1)--(0,0)-- + (1,0)--(1,-1)--(3,-1)--(3,2)--(2,2)--(2,3)--(3,3)-- + (3,5)--(1,5)--(1,4)--(0,4)--(0,6)--(1,6)--(1,5) + (3,3)--(4,3)--(4,5)--(3,5)--(3,6) + (3,-1)--(4,-1); + \draw[below left] (0,0) node(s){$s$}; + \draw[below left] (2,5) node(t){$t$}; + \fill (0,0) circle (0.06cm) (2,5) circle (0.06cm); + \draw[->,rounded corners=0.2cm,shorten >=2pt] + (1.5,0.5)-- ++(0,-1)-- ++(1,0)-- ++(0,2)-- ++(-1,0)-- ++(0,2)-- ++(1,0)-- + ++(0,1)-- ++(-1,0)-- ++(0,-1)-- ++(-2,0)-- ++(0,3)-- ++(2,0)-- ++(0,-1)-- + ++(1,0)-- ++(0,1)-- ++(1,0)-- ++(0,-1)-- ++(1,0)-- ++(0,-3)-- ++(-2,0)-- + ++(1,0)-- ++(0,-3)-- ++(1,0)-- ++(0,-1)-- ++(-6,0)-- ++(0,3)-- ++(2,0)-- + ++(0,-1)-- ++(1,0); +\end{tikzpicture} +\end{codeexample} + +\printindex + +\end{document} + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-asymptotic-example.gnuplot b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-asymptotic-example.gnuplot new file mode 100644 index 00000000000..4c854afda9f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-asymptotic-example.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-asymptotic-example.table"; set format "%.5f" +set samples 200; set parametric; plot [t=0.4:1.5] (t*t*t)*sin(1/(t*t*t)),(t*t*t)*cos(1/(t*t*t)) diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-asymptotic-example.table b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-asymptotic-example.table new file mode 100644 index 00000000000..173ab5e9c77 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-asymptotic-example.table @@ -0,0 +1,204 @@ +#Curve 0, 200 points +#x y type +0.00530 -0.06378 i +0.04363 -0.05043 i +0.06711 -0.01790 i +0.06896 0.02170 i +0.05014 0.05606 i +0.01712 0.07631 i +-0.02110 0.07849 i +-0.05579 0.06337 i +-0.08032 0.03512 i +-0.09097 -0.00029 i +-0.08696 -0.03664 i +-0.06987 -0.06850 i +-0.04284 -0.09192 i +-0.00982 -0.10460 i +0.02515 -0.10585 i +0.05841 -0.09629 i +0.08703 -0.07749 i +0.10892 -0.05162 i +0.12282 -0.02111 i +0.12828 0.01163 i +0.12547 0.04436 i +0.11507 0.07518 i +0.09810 0.10255 i +0.07579 0.12534 i +0.04948 0.14280 i +0.02048 0.15454 i +-0.00995 0.16043 i +-0.04065 0.16063 i +-0.07063 0.15545 i +-0.09905 0.14536 i +-0.12521 0.13092 i +-0.14860 0.11273 i +-0.16882 0.09143 i +-0.18562 0.06764 i +-0.19885 0.04197 i +-0.20848 0.01500 i +-0.21454 -0.01276 i +-0.21712 -0.04083 i +-0.21637 -0.06879 i +-0.21247 -0.09627 i +-0.20565 -0.12295 i +-0.19613 -0.14858 i +-0.18415 -0.17294 i +-0.16996 -0.19585 i +-0.15379 -0.21718 i +-0.13589 -0.23682 i +-0.11647 -0.25471 i +-0.09576 -0.27080 i +-0.07396 -0.28508 i +-0.05126 -0.29753 i +-0.02783 -0.30819 i +-0.00384 -0.31707 i +0.02057 -0.32421 i +0.04526 -0.32967 i +0.07011 -0.33350 i +0.09502 -0.33576 i +0.11989 -0.33651 i +0.14463 -0.33582 i +0.16917 -0.33376 i +0.19345 -0.33040 i +0.21741 -0.32580 i +0.24100 -0.32003 i +0.26418 -0.31315 i +0.28691 -0.30524 i +0.30918 -0.29634 i +0.33096 -0.28653 i +0.35222 -0.27585 i +0.37297 -0.26437 i +0.39318 -0.25213 i +0.41285 -0.23918 i +0.43197 -0.22557 i +0.45056 -0.21134 i +0.46860 -0.19654 i +0.48611 -0.18119 i +0.50309 -0.16535 i +0.51954 -0.14904 i +0.53547 -0.13229 i +0.55090 -0.11514 i +0.56582 -0.09761 i +0.58026 -0.07972 i +0.59422 -0.06150 i +0.60772 -0.04298 i +0.62076 -0.02416 i +0.63336 -0.00508 i +0.64554 0.01425 i +0.65729 0.03382 i +0.66864 0.05361 i +0.67960 0.07361 i +0.69018 0.09381 i +0.70039 0.11420 i +0.71024 0.13475 i +0.71975 0.15548 i +0.72892 0.17636 i +0.73778 0.19739 i +0.74632 0.21857 i +0.75456 0.23989 i +0.76251 0.26134 i +0.77018 0.28291 i +0.77759 0.30461 i +0.78473 0.32643 i +0.79162 0.34837 i +0.79826 0.37042 i +0.80468 0.39258 i +0.81087 0.41485 i +0.81684 0.43723 i +0.82261 0.45972 i +0.82817 0.48232 i +0.83354 0.50502 i +0.83872 0.52782 i +0.84372 0.55073 i +0.84855 0.57374 i +0.85321 0.59686 i +0.85772 0.62009 i +0.86206 0.64342 i +0.86626 0.66685 i +0.87032 0.69040 i +0.87423 0.71405 i +0.87801 0.73781 i +0.88167 0.76169 i +0.88520 0.78567 i +0.88861 0.80977 i +0.89191 0.83398 i +0.89510 0.85831 i +0.89818 0.88276 i +0.90115 0.90733 i +0.90403 0.93202 i +0.90682 0.95683 i +0.90951 0.98177 i +0.91211 1.00683 i +0.91463 1.03202 i +0.91707 1.05735 i +0.91942 1.08280 i +0.92171 1.10839 i +0.92391 1.13411 i +0.92605 1.15998 i +0.92812 1.18598 i +0.93012 1.21213 i +0.93205 1.23842 i +0.93393 1.26485 i +0.93575 1.29143 i +0.93751 1.31817 i +0.93921 1.34505 i +0.94086 1.37209 i +0.94246 1.39929 i +0.94401 1.42664 i +0.94552 1.45415 i +0.94697 1.48183 i +0.94838 1.50967 i +0.94975 1.53767 i +0.95108 1.56584 i +0.95236 1.59418 i +0.95361 1.62270 i +0.95482 1.65138 i +0.95600 1.68025 i +0.95713 1.70928 i +0.95824 1.73850 i +0.95931 1.76790 i +0.96035 1.79748 i +0.96136 1.82725 i +0.96234 1.85720 i +0.96329 1.88735 i +0.96422 1.91768 i +0.96511 1.94820 i +0.96598 1.97892 i +0.96683 2.00983 i +0.96765 2.04094 i +0.96845 2.07225 i +0.96922 2.10376 i +0.96998 2.13547 i +0.97071 2.16739 i +0.97142 2.19952 i +0.97211 2.23185 i +0.97278 2.26439 i +0.97344 2.29714 i +0.97407 2.33010 i +0.97469 2.36328 i +0.97529 2.39667 i +0.97588 2.43028 i +0.97644 2.46411 i +0.97700 2.49817 i +0.97754 2.53244 i +0.97806 2.56694 i +0.97857 2.60166 i +0.97906 2.63661 i +0.97955 2.67179 i +0.98001 2.70720 i +0.98047 2.74284 i +0.98092 2.77871 i +0.98135 2.81482 i +0.98177 2.85117 i +0.98218 2.88775 i +0.98258 2.92457 i +0.98297 2.96163 i +0.98335 2.99894 i +0.98372 3.03649 i +0.98408 3.07428 i +0.98443 3.11232 i +0.98477 3.15061 i +0.98511 3.18914 i +0.98543 3.22793 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-exp.gnuplot b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-exp.gnuplot new file mode 100644 index 00000000000..1d34e313af8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-exp.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-exp.table"; set format "%.5f" +set samples 25; plot [x=0:4] 0.05*exp(x) diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-exp.table b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-exp.table new file mode 100644 index 00000000000..8e728570397 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-exp.table @@ -0,0 +1,29 @@ +#Curve 0, 25 points +#x y type +0.00000 0.05000 i +0.16667 0.05907 i +0.33333 0.06978 i +0.50000 0.08244 i +0.66667 0.09739 i +0.83333 0.11505 i +1.00000 0.13591 i +1.16667 0.16056 i +1.33333 0.18968 i +1.50000 0.22408 i +1.66667 0.26472 i +1.83333 0.31274 i +2.00000 0.36945 i +2.16667 0.43646 i +2.33333 0.51561 i +2.50000 0.60912 i +2.66667 0.71960 i +2.83333 0.85010 i +3.00000 1.00428 i +3.16667 1.18641 i +3.33333 1.40158 i +3.50000 1.65577 i +3.66667 1.95606 i +3.83333 2.31082 i +4.00000 2.72991 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-parametric-example.gnuplot b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-parametric-example.gnuplot new file mode 100644 index 00000000000..e1c3f3b52f2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-parametric-example.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-parametric-example.table"; set format "%.5f" +set samples 25; set parametric; plot [t=-3.141:3.141] t*sin(t),t*cos(t) diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-parametric-example.table b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-parametric-example.table new file mode 100644 index 00000000000..de0c383ddde --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-parametric-example.table @@ -0,0 +1,29 @@ +#Curve 0, 25 points +#x y type +0.00186 3.14100 i +0.74672 2.78074 i +1.30987 2.26617 i +1.66651 1.66503 i +1.81387 1.04628 i +1.76998 0.47361 i +1.57050 -0.00047 i +1.26407 -0.33904 i +0.90663 -0.52368 i +0.55517 -0.55534 i +0.26171 -0.45339 i +0.06773 -0.25283 i +0.00000 -0.00000 i +0.06773 0.25283 i +0.26171 0.45339 i +0.55517 0.55534 i +0.90663 0.52368 i +1.26407 0.33904 i +1.57050 0.00047 i +1.76998 -0.47361 i +1.81387 -1.04628 i +1.66651 -1.66503 i +1.30987 -2.26617 i +0.74672 -2.78074 i +0.00186 -3.14100 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-sin.gnuplot b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-sin.gnuplot new file mode 100644 index 00000000000..884d534bf4a --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-sin.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-sin.table"; set format "%.5f" +set samples 25; plot [x=0:4] sin(x) diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-sin.table b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-sin.table new file mode 100644 index 00000000000..9ab8f2c8d56 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-sin.table @@ -0,0 +1,29 @@ +#Curve 0, 25 points +#x y type +0.00000 0.00000 i +0.16667 0.16590 i +0.33333 0.32719 i +0.50000 0.47943 i +0.66667 0.61837 i +0.83333 0.74018 i +1.00000 0.84147 i +1.16667 0.91944 i +1.33333 0.97194 i +1.50000 0.99749 i +1.66667 0.99541 i +1.83333 0.96573 i +2.00000 0.90930 i +2.16667 0.82766 i +2.33333 0.72309 i +2.50000 0.59847 i +2.66667 0.45727 i +2.83333 0.30340 i +3.00000 0.14112 i +3.16667 -0.02507 i +3.33333 -0.19057 i +3.50000 -0.35078 i +3.66667 -0.50128 i +3.83333 -0.63788 i +4.00000 -0.75680 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-x.gnuplot b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-x.gnuplot new file mode 100644 index 00000000000..bb95994cd89 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-x.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgf-x.table"; set format "%.5f" +set samples 25; plot [x=0:4] x diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-x.table b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-x.table new file mode 100644 index 00000000000..329b9fa56b5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgf-x.table @@ -0,0 +1,29 @@ +#Curve 0, 25 points +#x y type +0.00000 0.00000 i +0.16667 0.16667 i +0.33333 0.33333 i +0.50000 0.50000 i +0.66667 0.66667 i +0.83333 0.83333 i +1.00000 1.00000 i +1.16667 1.16667 i +1.33333 1.33333 i +1.50000 1.50000 i +1.66667 1.66667 i +1.83333 1.83333 i +2.00000 2.00000 i +2.16667 2.16667 i +2.33333 2.33333 i +2.50000 2.50000 i +2.66667 2.66667 i +2.83333 2.83333 i +3.00000 3.00000 i +3.16667 3.16667 i +3.33333 3.33333 i +3.50000 3.50000 i +3.66667 3.66667 i +3.83333 3.83333 i +4.00000 4.00000 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfmanual-sine.gnuplot b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfmanual-sine.gnuplot new file mode 100644 index 00000000000..8e3f24b9172 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfmanual-sine.gnuplot @@ -0,0 +1,5 @@ +set terminal table +set output "pgfmanual-sine.table" +set format "%.5f" +set samples 20 +plot [x=0:10] sin(x) diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfmanual-sine.table b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfmanual-sine.table new file mode 100644 index 00000000000..9d5d248a561 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfmanual-sine.table @@ -0,0 +1,24 @@ +#Curve 0, 20 points +#x y type +0.00000 0.00000 i +0.52632 0.50235 i +1.05263 0.86873 i +1.57895 0.99997 i +2.10526 0.86054 i +2.63158 0.48819 i +3.15789 -0.01630 i +3.68421 -0.51638 i +4.21053 -0.87669 i +4.73684 -0.99970 i +5.26316 -0.85212 i +5.78947 -0.47390 i +6.31579 0.03260 i +6.84211 0.53027 i +7.36842 0.88441 i +7.89474 0.99917 i +8.42105 0.84348 i +8.94737 0.45948 i +9.47368 -0.04889 i +10.00000 -0.54402 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfplotgnuplot-example.gnuplot b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfplotgnuplot-example.gnuplot new file mode 100644 index 00000000000..3bd81ae92d1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfplotgnuplot-example.gnuplot @@ -0,0 +1,2 @@ +set terminal table; set output "plots/pgfplotgnuplot-example.table"; set format "%.5f" +plot [x=0:3.5] x*sin(x) diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfplotgnuplot-example.table b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfplotgnuplot-example.table new file mode 100644 index 00000000000..a4e517898a8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/text-en/plots/pgfplotgnuplot-example.table @@ -0,0 +1,104 @@ +#Curve 0, 100 points +#x y type +0.00000 0.00000 i +0.03535 0.00125 i +0.07071 0.00500 i +0.10606 0.01123 i +0.14141 0.01993 i +0.17677 0.03108 i +0.21212 0.04466 i +0.24747 0.06062 i +0.28283 0.07893 i +0.31818 0.09954 i +0.35354 0.12240 i +0.38889 0.14745 i +0.42424 0.17463 i +0.45960 0.20387 i +0.49495 0.23509 i +0.53030 0.26822 i +0.56566 0.30318 i +0.60101 0.33986 i +0.63636 0.37817 i +0.67172 0.41803 i +0.70707 0.45932 i +0.74242 0.50194 i +0.77778 0.54577 i +0.81313 0.59069 i +0.84848 0.63660 i +0.88384 0.68337 i +0.91919 0.73086 i +0.95455 0.77896 i +0.98990 0.82753 i +1.02525 0.87643 i +1.06061 0.92554 i +1.09596 0.97471 i +1.13131 1.02381 i +1.16667 1.07269 i +1.20202 1.12121 i +1.23737 1.16923 i +1.27273 1.21661 i +1.30808 1.26320 i +1.34343 1.30886 i +1.37879 1.35345 i +1.41414 1.39682 i +1.44949 1.43884 i +1.48485 1.47937 i +1.52020 1.51826 i +1.55556 1.55537 i +1.59091 1.59059 i +1.62626 1.62376 i +1.66162 1.65477 i +1.69697 1.68348 i +1.73232 1.70977 i +1.76768 1.73353 i +1.80303 1.75463 i +1.83838 1.77296 i +1.87374 1.78841 i +1.90909 1.80089 i +1.94444 1.81028 i +1.97980 1.81650 i +2.01515 1.81946 i +2.05051 1.81906 i +2.08586 1.81524 i +2.12121 1.80792 i +2.15657 1.79704 i +2.19192 1.78252 i +2.22727 1.76433 i +2.26263 1.74240 i +2.29798 1.71671 i +2.33333 1.68720 i +2.36869 1.65386 i +2.40404 1.61667 i +2.43939 1.57560 i +2.47475 1.53066 i +2.51010 1.48184 i +2.54545 1.42915 i +2.58081 1.37260 i +2.61616 1.31223 i +2.65152 1.24805 i +2.68687 1.18011 i +2.72222 1.10845 i +2.75758 1.03312 i +2.79293 0.95418 i +2.82828 0.87170 i +2.86364 0.78576 i +2.89899 0.69642 i +2.93434 0.60380 i +2.96970 0.50797 i +3.00505 0.40904 i +3.04040 0.30713 i +3.07576 0.20235 i +3.11111 0.09482 i +3.14646 -0.01533 i +3.18182 -0.12796 i +3.21717 -0.24292 i +3.25253 -0.36007 i +3.28788 -0.47926 i +3.32323 -0.60032 i +3.35859 -0.72308 i +3.39394 -0.84739 i +3.42929 -0.97305 i +3.46465 -1.09990 i +3.50000 -1.22774 i + + diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/en/Makefile b/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/en/Makefile new file mode 100644 index 00000000000..03339db36ac --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/en/Makefile @@ -0,0 +1,19 @@ +rerun = "(There were undefined references|Rerun to get (cross-references|the bars) right)" +doc = pgfmanual +latex = elatex + +all: $(doc).pdf + +pgfmanual.idx: + touch pgfmanual.idx + +pgfmanual.ind: pgfmanual.idx + makeindex $(doc).idx + +pgfmanual.pdf: $(doc).tex $(doc).ind + ($(latex) $(doc).tex) || true + (egrep -q $(rerun) $(doc).log && $(latex) $(doc).tex) || true + dvipdfm $(doc) + +clean: + rm -f *.aux *.log *.bbl *.blg *.ps *.dvi *.pdf *.toc *.out *.snm diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/en/pgfmanual.tex b/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/en/pgfmanual.tex new file mode 100644 index 00000000000..3041815f062 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/en/pgfmanual.tex @@ -0,0 +1,13 @@ +\documentclass{ltxdoc} + +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +% pgf version is defined in \pgfversion in file +% generic/pgf/utilities/pgfrcs.code.tex + +\input{../pgfmanual-dvipdfm.cfg} +\input{../../text-en/pgfmanual-en-main.tex} diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/pgfmanual-dvipdfm.cfg b/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/pgfmanual-dvipdfm.cfg new file mode 100644 index 00000000000..c200ff058db --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-dvipdfm/pgfmanual-dvipdfm.cfg @@ -0,0 +1,12 @@ +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +% Nothing to be done... + +\usepackage[dvipdfm]{graphics} +% This will tell everyone which driver we are using. + +% Make sure to compile this using elatex + dvipdfm. diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-dvips/en/Makefile b/Master/texmf-dist/doc/generic/pgf/version-for-dvips/en/Makefile new file mode 100644 index 00000000000..d6ec37364e7 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-dvips/en/Makefile @@ -0,0 +1,20 @@ +rerun = "(There were undefined references|Rerun to get (cross-references|the bars) right)" +doc = pgfmanual +latex = elatex + +all: $(doc).ps + +pgfmanual.idx: + touch pgfmanual.idx + +pgfmanual.ind: pgfmanual.idx + makeindex $(doc).idx + +pgfmanual.ps: $(doc).tex $(doc).ind + $(latex) $(doc).tex + (egrep -q $(rerun) $(doc).log && $(latex) $(doc).tex) || true + dvips -o $(doc).ps $(doc).dvi + gs -dNOPAUSE -sDEVICE=pdfwrite -dBATCH -dCompatibilityLevel=1.4 -sOutputFile=$(doc).pdf $(doc).ps + +clean: + rm -f *.aux *.log *.bbl *.blg *.ps *.dvi *.pdf *.toc *.out *.snm diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-dvips/en/pgfmanual.tex b/Master/texmf-dist/doc/generic/pgf/version-for-dvips/en/pgfmanual.tex new file mode 100644 index 00000000000..1dce39ba66e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-dvips/en/pgfmanual.tex @@ -0,0 +1,13 @@ +\documentclass{ltxdoc} + +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +% pgf version is defined in \pgfversion in file +% generic/pgf/utilities/pgfrcs.code.tex + +\input{../pgfmanual-dvips.cfg} +\input{../../text-en/pgfmanual-en-main.tex} diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-dvips/pgfmanual-dvips.cfg b/Master/texmf-dist/doc/generic/pgf/version-for-dvips/pgfmanual-dvips.cfg new file mode 100644 index 00000000000..de20c4135aa --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-dvips/pgfmanual-dvips.cfg @@ -0,0 +1,10 @@ +% Copyright 2005 by Till Tantau . +% +% This program can be redistributed and/or modified under the terms +% of the LaTeX Project Public License Distributed from CTAN +% archives in directory macros/latex/base/lppl.txt. + +\usepackage[dvips]{graphics} +\usepackage{hyperref} + +% Just make sure that you compile this using elatex + dvips diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-pdftex/en/Makefile b/Master/texmf-dist/doc/generic/pgf/version-for-pdftex/en/Makefile new file mode 100644 index 00000000000..477c9e37103 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-pdftex/en/Makefile @@ -0,0 +1,18 @@ +rerun = "(There were undefined references|Rerun to get (cross-references|the bars) right)" +doc = pgfmanual +latex = pdfelatex + +all: $(doc).pdf + +pgfmanual.idx: + touch pgfmanual.idx + +pgfmanual.ind: pgfmanual.idx + makeindex $(doc).idx + +pgfmanual.pdf: $(doc).tex $(doc).ind + $(latex) $(doc).tex + (egrep -q $(rerun) $(doc).log && $(latex) $(doc).tex) || true + +clean: + rm -f *.aux *.log *.bbl *.blg *.ps *.dvi *.pdf *.toc *.out *.snm diff --git a/Master/texmf-dist/doc/generic/pgf/version-for-pdftex/en/pgfmanual.pdf b/Master/texmf-dist/doc/generic/pgf/version-for-pdftex/en/pgfmanual.pdf new file mode 100644 index 00000000000..aa87bce608b --- /dev/null +++ b/Master/texmf-dist/doc/generic/pgf/version-for-pdftex/en/pgfmanual.pdf @@ -0,0 +1,33075 @@ +%PDF-1.4 +5 0 obj +<< /S /GoTo /D (part.1) >> +endobj +8 0 obj +(I Getting Started) +endobj +9 0 obj +<< /S /GoTo /D (section.1) >> +endobj +12 0 obj +(Introduction) +endobj +13 0 obj +<< /S /GoTo /D (subsection.1.1) >> +endobj +16 0 obj +(Structure of the System) +endobj +17 0 obj +<< /S /GoTo /D (subsection.1.2) >> +endobj +20 0 obj +(Comparison with Other 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+>> endobj +2739 0 obj << +/Length1 835 +/Length2 1747 +/Length3 532 +/Length 2343 +/Filter /FlateDecode +>> +stream +xRk`Wvi5*ڝ'$c{N + [OT_z|Zg'c;GPw厅jƾ~c*3|7漿:]v u]ugpf|gb:&5Gk2D[cK?Ũ T ~.u'd(j&}9ҋ-o'._\fumg+I-Nkr+<;>ip[6iEEqW1rC[2:wxUi(F_"t+-Gنi^Q%;=_!yb10ۨ:ugEQ=/b?2Fu5/,TU}C,fήֿ('Q+a.4PӶܞka ,1N\enY^]+lf F9 +Q=[GKhj#.$cOLjthP#ީ)$V/V|KZd`!)^ua7`Edd>4kPȬ0qD4wKLMWfw| ]!/ٷd-' =/ApAM޹#E)}I~YB4]mf+UIr(Pz7RaLv;(Y6\;9_^.L7;5XĹwE*'MI^擑 u. =Wd]@b6np׬3W>/h^Cx,t-?ad)En\OҴ2ܐ7/Z-*ygX29X^e dVf!ÒlG)=x 9[+wh%'l޶'$|Jg}O5[rmZ +1XW#&F[\4,пm@/bN2' Fˬ?1%ݬSyi?5NieXa*t +#RDj!h+ m^m7~BTsNbRB[m]Ku;cEN2&o8 uL?~,z.xLRvow>Gɍ+$YG{Fc*wSsEi3:EHN@TyS_82EuWDЭ(kwE-r3YZF9junW?Mg0nv tx"|d&K]q\&e-2x#ZG]I]_ G:Hfq!dV0O]Cendstream +endobj +2740 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4209 0 R +/FirstChar 66 +/LastChar 114 +/Widths 4210 0 R +/BaseFont /OMCWDK+CMR5 +/FontDescriptor 2738 0 R +>> endobj +2738 0 obj << +/Ascent 694 +/CapHeight 680 +/Descent -194 +/FontName /OMCWDK+CMR5 +/ItalicAngle 0 +/StemV 89 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/Gamma/Delta/Theta/Lambda/Xi/Pi/Sigma/Upsilon/Phi/Psi/Omega/alpha/beta/gamma/delta/epsilon1/zeta/eta/theta/iota/kappa/lambda/mu/nu/xi/pi/rho/sigma/tau/upsilon/phi/chi/psi/omega/epsilon/theta1/pi1/rho1/sigma1/phi1/arrowlefttophalf/arrowleftbothalf/arrowrighttophalf/arrowrightbothalf/arrowhookleft/arrowhookright/triangleright/triangleleft/zerooldstyle/oneoldstyle/twooldstyle/threeoldstyle/fouroldstyle/fiveoldstyle/sixoldstyle/sevenoldstyle/eightoldstyle/nineoldstyle/period/comma/less/slash/greater/star/partialdiff/A/B/C/D/E/F/G/H/I/J/K/L/M/N/O/P/Q/R/S/T/U/V/W/X/Y/Z/flat/natural/sharp/slurbelow/slurabove/lscript/a/b/c/d/e/f/g/h/i/j/k/l/m/n/o/p/q/r/s/t/u/v/w/x/y/z/dotlessi/dotlessj/weierstrass/vector/tie/psi/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/space/Gamma/Delta/Theta/Lambda/Xi/Pi/Sigma/Upsilon/Phi/Psi/.notdef/.notdef/Omega/alpha/beta/gamma/delta/epsilon1/zeta/eta/theta/iota/kappa/lambda/mu/nu/xi/pi/rho/sigma/tau/upsilon/phi/chi/psi/tie/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef] +>> endobj +2385 0 obj << +/Length1 782 +/Length2 1503 +/Length3 532 +/Length 2079 +/Filter /FlateDecode +>> +stream +xR{8if4)Tc4 杌\ai)̋4P*02-AVPtm%6d5Gmm+km{w?Y4  bG r^LhD""a1 77W@" $Ґ A&D~D4"D00aqHc +ٴ+$$LC4^>K 7+?0 x 1"L?F 1*}\Mq8]>Q"*fǃX+BM|s>}P;c(_&K@OĚl!:YvџHdW KHd(H"vv Ě#@L + +Y:[BY6~%OOtj +p$5#V +WF>(AH~#[""|ܯIE5#ac veUN>j*]~TxyĹ{rj;/}Au5Ƒ5;Wd0 TgWGn܂ÓC/s3=pHm/#2o8>zȧ+nk:roav߼1he5>rHrmx~O^?prئg(@їQ-6~cL_cM bӝ˔vdUc`6aW'\G{uT#Ͻg^8th\FZaH +MtH ;6Z؊<3E:+6^Vf}|#979>hW-Z$j ˿O1i^΋Cv6Ժ7Kb&S@G,F.@^Bbg36FSxM~Zdq qʂ_0tT-]OXoe~U+jzamk^_3!+,q*l/|)p[iZ@Χސ>']w)UAzCd};Bu"Qb]8cw0e 6tyuƽ/IFf b}\Kf5]an@6yеF8)44{cGv91qY)4>BnQ&LCLѲ" ^"uA2 a4XKyس 5+7ǔ(wUhHe*. ;C6 \9+Ldս*[~^Y%Sl3P>\Id`lmk^TKFF֝eGy_mh8CCɵm!%~)s1mvr;)+r;{ؓo-wyoKGz4G6 a7#/>_!qkaNdBkR +jԓQIMUfg.=I42x?ȨXqKfj3}9.Ef;3ͭi^A> endobj +2384 0 obj << +/Ascent 694 +/CapHeight 683 +/Descent -194 +/FontName /EVVGFS+CMMI5 +/ItalicAngle -14 +/StemV 90 +/XHeight 431 +/FontBBox [37 -250 1349 750] +/Flags 4 +/CharSet (/x/y) +/FontFile 2385 0 R +>> endobj +4212 0 obj +[792 731 ] +endobj +2270 0 obj << +/Length1 801 +/Length2 1472 +/Length3 532 +/Length 2051 +/Filter /FlateDecode +>> +stream +xRk<NFiD"]"̅1n4%r()cjnޙae\:R ǥ\*~;$LQ!GQgז +]f+9?λg=YuF;,(L~0,8=zlG[GE "숀"@$[ٓPRa td(\t`9`C")P8@!4H!%f@0Y?<|)3łp j|G + gAo];+f. s\X!τ޷T?5O vEt̠B8 |)BWX1a XtC<&,v{n7{͹7vJa0 K@G Q"~s gLJ|y& MT2ÿ.RMgU9=@^.M?Ō:ةiEiޱݪ8%׽1'Nv.~tEn .v;%/|pM*DVm0<.*ٴ}qƒ6Vr_ޒM15]+:nm2) EqʽɈ\^ݿ"nOE3c(UEb{u; 8xnPNO;Ւa +_}W6ұn/acY +flpr?8F~`rZAƉJTuAu3}_m*xK1Ϯq_RǪ| NWRAA۱[:>"q1'sU8tu< DGTڣ)[>:Ec2aW6 ' `7}G be:iUL}:ЦɯECyO#ymL5z-.x{}17S F!PZ]2d${IWGrfY?f^M^>¸x?Y"0pxh]dYוU^.|t{3U]%spgi%k:Fd R>X@ +g0ad)S5 맧|vwyQ]Ey19J3ڨfK2B4fxlj-TS5&ywyT25HԧʹV5$O&U5ʦli_(UEOB?bc$];"5> endobj +2269 0 obj << +/Ascent 694 +/CapHeight 683 +/Descent -194 +/FontName /GZIMFO+CMR8 +/ItalicAngle 0 +/StemV 76 +/XHeight 431 +/FontBBox [-36 -250 1070 750] +/Flags 4 +/CharSet (/o/p/t/u) +/FontFile 2270 0 R +>> endobj +4213 0 obj +[531 590 0 0 0 413 590 ] +endobj +4214 0 obj << +/Type /Encoding +/Differences [ 0 /Gamma/Delta/Theta/Lambda/Xi/Pi/Sigma/Upsilon/Phi/Psi/Omega/arrowup/arrowdown/quotesingle/exclamdown/questiondown/dotlessi/dotlessj/grave/acute/caron/breve/macron/ring/cedilla/germandbls/ae/oe/oslash/AE/OE/Oslash/visiblespace/exclam/quotedbl/numbersign/sterling/percent/ampersand/quoteright/parenleft/parenright/asterisk/plus/comma/hyphen/period/slash/zero/one/two/three/four/five/six/seven/eight/nine/colon/semicolon/less/equal/greater/question/at/A/B/C/D/E/F/G/H/I/J/K/L/M/N/O/P/Q/R/S/T/U/V/W/X/Y/Z/bracketleft/backslash/bracketright/asciicircum/underscore/quoteleft/a/b/c/d/e/f/g/h/i/j/k/l/m/n/o/p/q/r/s/t/u/v/w/x/y/z/braceleft/bar/braceright/asciitilde/dieresis/visiblespace/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/space/Gamma/Delta/Theta/Lambda/Xi/Pi/Sigma/Upsilon/Phi/Psi/.notdef/.notdef/Omega/arrowup/arrowdown/quotesingle/exclamdown/questiondown/dotlessi/dotlessj/grave/acute/caron/breve/macron/ring/cedilla/germandbls/ae/oe/oslash/AE/OE/Oslash/visiblespace/dieresis/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef/.notdef] +>> endobj +2199 0 obj << +/Length1 1072 +/Length2 4461 +/Length3 532 +/Length 5169 +/Filter /FlateDecode +>> +stream +xg\S[+8;{1 JP "t(EDz"T;w.sߏ37|9ֳڇ睊: uB`%@H, %i40pBjBpp%WQP% A{A _"y@A@!Hr@!ހ +›7`k0c8L `( wG i$~YCa~迖, H0),PHo<H'\+oF(/wFp矫z87tb`qIXmD fA=; Giн6$ԍ4-DUSģ ] IqII0AHxrG5-$C )Y9@4D Y@ a@Hp,!D[BgB7Xe 4a6(دW0@ ߤH/KC)@JP8*>#esH(:BsHȌ9sH8&w '?F9$[bRҀ" (eVH\OWa0p$FPp@8fjU|8Tx\{%,uL}YeqLÐ%s!QIeD&;B=DB9_Iz|YZF7|ٟM^m/bߊ'{<9s7+l`~Bg%)a:z}~ɦ5U昳t:ikbbB+RɅ[' %2ꔒl]RβLEs.] +JZM^%6eUɵzt>2S1iA**ɘIbŒ%WOS+`c%ˢі^U[&/%иW-_9vR[.=4S62b<ͮ*e4A-zd4ma; sy"Hz&*8l{NV7鱭٠Nb{=]DĝJ#&̴cd_)n5o L\07esBҎoϩ3.D35u~y2nKm}Yݮ]ˡ Ih,}2'ݜtƓ/0č-Oaˠ@h}qRʷ]\P뿫ZX"s3PrW<߸bcʥ"?CAr>g$)+DLO7ѺN9l}׃Yص4K +1V1xgMk}b*AYi{3:\A>"TERdSZ{&"~ AՌ M {s_VKMifۼ3D|#/2-ه˙k"8U ߘwơ ?G1'/j^ 1\^bvk._yܰ -,gqy{ +>&u*m-LS4i1w"3-}-YAe3??R%':A_jHqX?25*UY n o-SUŤU($~0t=,t"ѧF4"gAFu@$;~3j6ۨQK3l ?B 42?d!C&*$%-"7@o[[$~bvֱ}~ʸw6/LD9&ĥ_HpBnPjOJNu+={<DikKc}-o +lKS"wՀ^NE3)Xz}OW]kp.LSfzw#}l݁9֞k_/׶ g}+=KOͣ]=+, q;1;9qK)FW#zM=S%m8)hf?Mȭu&bkx?˜ͦǜNCp8q.w\'kV>aT(gNҬ_lbK+3=I% {Wso@Z#XbۘT3/ J1;btVv|t`3ijHXHXJ(R,= <YAu>5~^M>p×D: hA}m|e/GHwu>[gu1,/b#56yz}._ud5U'SU:s'mԵ1l{@K/r /P +J ܽ:˛̕'$!0s4kBUָl ȥQC^HbJ!pl*:tZV:|^О +@x7jtmz:GVQtU*#$@Պ=ݸ7UjWզe"tGY;tyߕ LN9>'|+pfbbfY/ͥQea~vؗP2wwAcY ݤfB6 @&Mw"cmUqh pl^&=zB}'fCe˥n/¡>%jMb%'~9ŬSV&T1jKru 0К cBt_@PjR FTBl}K3u Q>5/Ϋ/ AsCܥT9, mecR&̯j|*ot]m㚾Rmh[oPǝanOT">H*?J,T}s< }:6qkG0zh8Sa]%~z*UjgEҵD^]b>GPEV(ΘhC`h!T|>3VQM{ +c0:S/yM\J攗fu-{4;.|r Lە2|3YVl9!yZaMPejk9M펎gigb@|QtkC[~]/F0j H.AH}ﲃ'6,[(Ԅ+i44UUQQ(L`zt-[4[]*bq@as1j&!. l:9(5p&mYЙf'?ŚWto!pB2|g; 9-j {g, ϣ4QYxI%Kj]dVcKHM76ȱN(+(f5lD+ލp}YלZyj@7ͰF *FXz+盋 #5دq0yг|u|+~4 IO &,hlAܾYg}'Y'㺯ޞ Ki#Xcӝm㥏xpHe#O!A;7Ⱦ 7._Έ/D1|<<[?8ЁOG:M"z)_yFN+ 70['^fX2kr'MG6 +5t0'eW"NORoC_+-w][i lY7Lߣ0|Vg)ҹ.q=2Վk%@$)T߮%TÀ'랋"c)쪺dniϠ>g͙zw7فǕۙ{?E_2]6NT]2G?B##f9-ChIۛC+ÂarA[@̼AI-^1%zzgw ږ DIVCj0ZFzmJEB7yQCF8atϋDCr*7O;I f";m9+qROrjce[2\ BHK?rnN7z*0+ );ODjWarq +%52NWH^g <Ɔo$< 䒭 !\%(ݪ;*Oxu)nʳh]xv>1nש[JD;I +`"'zψR& +ҫ oK@(EJ +H۱DV;u ZՃ'E]g!KC$?)3aU_rEZٱE3 .d7 } bC%,?>xigBYj55QO"!F"{8 ŕcH-{KT"wb p~r: \C(ڽu^"JeRK[ dݫ[!@XW25jz7VX4VA6kfm5K#f2ks|F\+T7;>?yݑ&zjv"_!H~2} Sxȟfg"EiIЂ'@ x~)bendstream +endobj +2200 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4214 0 R +/FirstChar 46 +/LastChar 121 +/Widths 4215 0 R +/BaseFont /ANICAS+CMITT10 +/FontDescriptor 2198 0 R +>> endobj +2198 0 obj << +/Ascent 611 +/CapHeight 611 +/Descent -222 +/FontName /ANICAS+CMITT10 +/ItalicAngle -14 +/StemV 69 +/XHeight 431 +/FontBBox [11 -233 669 696] +/Flags 4 +/CharSet (/period/equal/a/b/e/f/g/h/i/m/n/o/p/r/s/t/u/v/w/x/y) +/FontFile 2199 0 R +>> endobj +4215 0 obj +[525 0 0 0 0 0 0 0 0 0 0 0 0 0 0 525 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 525 525 0 0 525 525 525 525 525 0 0 0 525 525 525 525 0 525 525 525 525 525 525 525 525 ] +endobj +1963 0 obj << +/Length1 1103 +/Length2 3560 +/Length3 532 +/Length 4276 +/Filter /FlateDecode +>> +stream +xgTS붆AD@ EЛB(QTB߀@BIBHIDA4Qe+n(Ei4 *5 l7O9wod$-ahe '+BڀU0H27B1TK +(n2jhj+? %i0/ BS$bh%Ð'q@`|0+; 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Mq}@C#HMOC&3{s3 T!at.yܢE_BzXJ~5(,w= =_&ceF կH٤&%><)Zl)w-/d?O=U~Dz!9cȈ4?]jNxYdV.7;}H8jE.Zb0Jy0|˕o@˥+r]Ϊ6Df۫,۩! )D:Wq%ʢt#w-7QGwJw^&ėLMY|ngl-*r3@[fgZyԳd =[mѼW&bWWAo7[Dv=<=$uMHxrL +ʷ߁V(Of,ʥ-m]vw=϶{ѐE-ǿ2\O̹ ē5gP)m0ߛemkP!W![#޼1GؗR/I!Zxsl bё:&(V\`+[wAV'T6JFWEZ&WآO)uՁi ^f0>䈵zSXK<\de WC0p?l㉡OH\?f1.gQ^xmrW3:^\.b%߶֋S4U~sRf/`j*7)=nѝ,6Rx]Pݑ!nQ]N4NQE+?/ȾBq\KV /KGzQR؞K3cvn?&J>DdRO<}y4 m^ {1dKx|F17W,ユʝ_ݳVno!oddh#KXAp`GE,#!5 Zz' jƞ#V#jW!)Iɓ7\8ʉOsRP>['*^L,eQ;Bt%ٓffJNU,|_6O{F(]pjIewۚw}m7P|2N?W{Tk{tbI<5͚n'D$)mpݽlLn)Kѝ{&?". t=;53t0Vxϛ^؇ V=Wa N%zD V6ÂֽrԐL  E/aȇ\ND/lYbm"vsjiVw>&tE<Ԏ9y60[[eHL|!2dDdIH_b^ؤ75q5 <~ԈGYvt9B5*_ҢL3ƾs/.맧Y5yH 2@4,RFlk|D.6gԼ~L @ʸX T [` +nȍ؎|)9 wM#dG4gr6" +i^[1@GF=tG:6uh.14#!HNV=}q[i*~Y;l{anl='>7n8f)Oll9 =#Kb曛,:SRUyFAwOB~F=`(ͼ=qgX9R{Xb|2?m[>g;BP]w2};TkqWl]fOfKl u|VOۋ}6-@EoS_A%}r&wsEӳO,F5;LL{%ŚʁSQZΪ\o8_]a]XҪ=pvL­;JmNݓ ^R=֪å}5\C#؊ %xǭYcgoe" {U\1OXYJ\-9QOյD> endobj +1959 0 obj << +/Ascent 694 +/CapHeight 694 +/Descent -194 +/FontName /NVGPWN+CMSSBX10 +/ItalicAngle 0 +/StemV 136 +/XHeight 458 +/FontBBox [-71 -250 1099 780] +/Flags 4 +/CharSet (/percent/comma/zero/one/two/three/four/five/six/seven/eight/nine) +/FontFile 1960 0 R +>> endobj +4217 0 obj +[1029 0 0 0 0 0 0 306 0 0 0 550 550 550 550 550 550 550 550 550 550 ] +endobj +1957 0 obj << +/Length1 1400 +/Length2 5511 +/Length3 532 +/Length 6369 +/Filter /FlateDecode +>> +stream +xWTڷ+w%TZ "BP iR4"(+MD EtN}}㆗9לߚk7 @0@UD%VEBP0\ 22@2 & +`17@|@eo(qPPol AQAe//~cu&.0 + uE~҂"eBPk肀{\"l/( S.w]W o4 +!\HS-{Ӄj`e SB] a(;vnY3<:( N;$,`#*,* +&b_!{!$NHS1f`I.@4kXD@a3 "ĿSB ㄄½ߡU?@vHD܃|ܡ?v-.$@"  "%PXG(w$J@FıJ֮v0֬WDcXp# lc?-z'H?f,!3Q(v^Al!+ݢڃ]Ale+5u#@l_E\Al#=+# +b  bs #RQAIIİ(*%Ig拆jaFb/ꯟ-° + B'{kcK)㨸եik!OǗ,|`-/9h@};7Ūjvp^^Њǯu I g;j߈fٯuȹ'T2g7|[/7@n(Gz]D3 J6 ZQΨcϊ>h.3'&zh szI2<4'Ac3{C6nV!59D]tsxVɄ yA==(pIy_5er>7%lP;RԻgv]ɾz~HcE4HeYEےA`sBU<=:97xĠ{)'dQJC~a,[Zzcv{lvVν:UIIewiʖ  ]\;IO m6~v_9fI^X,4n푪 56C{w=@^7o^*y8Mja\27NAl +䟹݆ߘH_ &DbDYk$s=~Z@mJgsɛ4rBkNZ:+lU L@ +*~Gjk,4h?|Uj @xo{2dbAɘ19{kR=Ŏ(Yk!Ĥ)|:I-Yۙv0[~\ѠSg¸'2NgBlM^I:)bt:݃ ?ej9~1vݓ= 3!Q3& 0ٜ<ךiЦ?j#5/Un>$1Nw0hP>3@!lW{*BFCwũN~&tte}/#uXtQSz'CW2j&uܨ; QuχJ|W -ro%K:eJ|CH +tkHh/L`}a}ǞZ d8 +1e6"Ne~ioNWk6-PTH/|a`z*j}9 +h9'}IP^8q-ivsWB]Kŷ[U>ي2v3Ӊhqz}$:1RƏ>7X|hT!w"Sp7e +4 +3:jbŸ.98h|w+LJ>PvQ `+*/@$Kpem!PS&i1ZU_"_o|E:5ȥx'Y]Dst79jL/ H@LJ&J7%Z׿H=Tdm~&_r=FFΟn[ڟE.vX% Q bQ#0&nh~SOH^Pj29A";;k;,nkiW@[ vAy3]P{kqw3٘Myz+u2bg8y8_JkˎщHJ +WH_R/|%[?wA8z/ f\Ӊ՝Sd%:fXm0ͻ]$!{vTqF`яxҍx"?a]#~E$M̀%;4'Z鵷odIfUzHSI.,'97AiM-9>JoXq]m]KD<ZZ>>!V7Z=X Q@U ͸ r6MdG&d2%HVlwZYe+ڂCoSz PM3Tbd"rUXcHkr0!+l;zob;1g O!;ku[9䧢܎˽7Ǽ^ _$Zt^6mo4dsjB&7gԔŨڔ>Vf'T4tU/hX#4]`'GQ2vS}ittY,$5_7˷lf3=\אKʖc"#ۧج #T.]2͹0>nqq?7=VSzҮBuytۆhZCwS̕\d[Clu3zxk +:n)iDYzq>D:BRԠ K?܀4Dv<\~Zud8u,N{0&CӇL6dxRQ|#ZE6q.g~U~3թRU&mSj'svp 8L:l>;Иs>9d#Ӗ!1T^pޠ,vH"-[ $#xv\ py,D߄51^=nYPo f=<N~?Cq+J^yC[ ݽ#JZﯧ-.P\vs{Lځ>`ր @mU[w#t#ubu3>fCww>-[/|iG ̓ǑWy7$oL+@-сi?'5AO(EFۏg)+8.iyl'E<|l < sڠy`v/.$m6 ;NEi=C[/FfVeFb*X6vɔwV!Fhnk +֨SZm nˁl +Fh*EmԒO7E(jLf;qL%B{sTyXO*p+9}\4|%Y+c,8Q8zɶ 똑줴̬˪⩏/(]IO'j9,aeIn%広4~ƷHp/GIAMs ^|ygSЖ}ϋݰ|@YǺyDa"Js+5ssbj!mVB:5iz#1L\>cLTE$jA +~qˠ>$U_GIw?u= G,<\hc~z4;/2נWe4_a-|([-!PxapO$瘵v3[;']ozl'1O(b~uڶ] +XY}fþRn(WҨȻqԍÜrFd{)]>'u )x9.7SxKSxz$Al4GHzGY`6)AE񍳠7Yn13J"k_ČeTw/;, i<Up6[Ht#X>CQ 5kR/GB%Dʡr8Tj'ϬBTņ2FcD{۟\,YH&e+X6(Ī]C=NVf9%= x9"scnb>hh5KAcmʽTN/ʰH9)J(ް89@rp终UM'$~ +?,fq+ugeY55J/!Zā=zqOL`u7y +>%#::t&550G[e3#>EC+8kycB6w+HXݿ ˎ/M& %:n,yU>--b(q0c*2h|57ٳTdb6@da1]>0HqlXqas{%!gb6>Q"O4Y@0ڔAϟ#aYNfƭԎ3vz2jQ% &u ҵDyw'C$SX_k뭷oB2J [ˬj(j_[! gXy#Sٗ4j{ +uP{wGiKmq2ZPPbpX۹=Tf1I6mC{EK(SCNA{ hpݓO)-8~I: jkA{_;j6L7ˎPv%;[ +M{"{h@i~97i;}%(c>m+&/[;Kdr-}m|GdB lǩ} "xw8LϜsZaj1)}I!tiB9Cwݝ>xZ6tg+ֵ9GXgbUqDZDְSUH2S= ,&NRg5w<6돣!"6 o <ؓ+j'()EO2*e!I +n;IEu2BPK +t-n8_/vBzendstream +endobj +1958 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4206 0 R +/FirstChar 40 +/LastChar 122 +/Widths 4218 0 R +/BaseFont /GMQINK+CMSS8 +/FontDescriptor 1956 0 R +>> endobj +1956 0 obj << +/Ascent 694 +/CapHeight 694 +/Descent -194 +/FontName /GMQINK+CMSS8 +/ItalicAngle 0 +/StemV 87 +/XHeight 444 +/FontBBox [-65 -250 1062 761] +/Flags 4 +/CharSet (/parenleft/parenright/comma/hyphen/period/slash/zero/one/two/three/four/five/six/seven/eight/nine/G/K/M/N/P/S/W/a/d/e/g/h/i/k/l/m/n/o/r/s/t/u/v/w/z) +/FontFile 1957 0 R +>> endobj +4218 0 obj +[413 413 0 0 295 354 295 531 531 531 531 531 531 531 531 531 531 531 0 0 0 0 0 0 0 0 0 0 0 0 0 708 0 0 0 738 0 927 750 0 679 0 0 590 0 0 0 1004 0 0 0 0 0 0 0 0 0 510 0 0 549 472 0 531 549 253 0 519 253 844 549 531 0 0 363 407 384 549 490 726 0 0 462 ] +endobj +1954 0 obj << +/Length1 1182 +/Length2 4241 +/Length3 532 +/Length 4994 +/Filter /FlateDecode +>> +stream +xWTSQ@ tQ@ mj t^E I$TMH)RIoҫҤ M(w{+/7\.6m=9$PI +B\\ +(8*(I TB +sF~1IaaIaPgA[ Ab@9;#5x+!n !0( P '. 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+e4Z=1/TϤ]JȂ@SSg_t\WgQw=pDx=H;I nhyg;#l!U{S H7qH@8bzde6\ EFbK"c̍Ð61LUrM{hxo7f:E$#rϧ4'ϧM]G[pWt5)nםw5Y3&q/UGr5zȐr>*> endobj +1911 0 obj << +/Ascent 694 +/CapHeight 683 +/Descent -194 +/FontName /VMKOAB+CMMI7 +/ItalicAngle -14 +/StemV 81 +/XHeight 431 +/FontBBox [0 -250 1171 750] +/Flags 4 +/CharSet (/pi/slash/A/E/a/b/c/d/n/t/x/y/z) +/FontFile 1912 0 R +>> endobj +4221 0 obj +[668 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 585 0 0 0 859 0 0 0 839 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 620 502 511 595 0 0 0 0 0 0 0 0 0 706 0 0 0 0 0 432 0 0 0 648 579 546 ] +endobj +4222 0 obj << +/Type /Encoding +/Differences [ 0 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+>> endobj +1831 0 obj << +/Length1 1791 +/Length2 9828 +/Length3 532 +/Length 10850 +/Filter /FlateDecode +>> +stream +xUX۲q  @k{qqw\`-Xpv%/Ϲ:inQꫪ$S ddc3032sDd?}TVf(" }> `b9>@ٹYYYP("6f&`_N!+5@Vl +0Է|14]Bv8@ {'# +33 0Y0IO@QHZD+d$g(!꿃;ZZ[_}_Vf򱱲u6F {vUS,WfB& #+?ff. #3)ldm: +&I9iQie}3k-|30Mf.@F 7J'fmhcdf y2(GBlwfrHfbC أ5WdR/?M&;G0`/69s6BXYXL ? ),L_,&7͋7L`u&cGb{%,j͐b8 cj#P7,_S !:n7J5'vhQ"\?5Ug\})=!(9I"W]Nȳ%ncdLW>g'U(ƗhSTI]N-'7v'7$" _#E9;fѩmo2=1?`cl@LiqZ,`d^6N;Nu5;H}֢Ф(+O«g'+WEI+|݅[W)bhtEd\M=='Cd\wR#3@`뢤m +d"ϦG{ine0L0,Jѻ}'^]BڂQCD!H_5,\h3'= 1nW Z:ywL㇮㛩|:ddNܳo0|5kuedJÊdnM{ܛ= ~>{Yگ="_ZG9ѯzApo+5%8mi\>51qkݣw&UR%H˸2yw>YoBFfQA\=+?k:K7c<\wz:;o+P 'SxJ +܌0 g*@}k9{'N #䁘\f)X*;t]?VZ \iнdv Ֆ`q2rV }qU.͉2g1mZq7KyO=ʬ_R3?Q[tG\oNL+]:j]$ 4)3̈״@sZwN(mD pyHXj,Gt_R7sOH?Ja `"t`ָ0:%WMA ژ6[)^9YY~atHSAݣcq0̆eGώ 3*]=44~oSyMe +"~"}O^1w8Sra l`pM#`k~;vTol͌`PGM܃y=M ]6M%a};e|,A' =53_~ɎHL 64Wȹ= Bpj.fmwRo14ݳcG`GSE9oylnk=tkxZY ]lD_RxD5/iWZYcxzO_zgψm '@1aZ~mgR4<34/*ԔU^#[jM_]f?Uޥo1k/9,}k-0;%k2?>Wc#tio k瘐'Jк+6D[8ҳ)MrSO0k`lIz.^&OyC7 ۨ`r%C_K" dl]>cWh|UYq; 6Y))2'@䢈;W[(YFM0e%b\(Xax)}?t +ڌ&Q+ L W~n0Wg 0A5Ag@yE*c^Oݱ==4}Un+ݎ|7l1‚f"H{ZF-ٸn14)HX.ae]X$z(gKcF,*%KI+%*L4R+wF=a`{gĠ\*zccOxB[P]߼T'XϷ$ X͕X]p},>ViIs;6mVB[2Iޫ,j dD +yZ_yU|ѫzKәz( *P0ރ$3`:)b<=Ŕ><62&Oow؎g߬Z~}eFI}N'}Mn8 Wh.4*o}'%2zW|wkk'#яK6fML>G4Y bEVYZ*- +kr2;ջw8!뺈ɰMf sidep*jZ̒v߰Hk+~0iEq1Vx$}g߀"k~o4-KXA4\HMoHf%t[6y;'dd}1Rs'/#c&Ųw: + ΋F~pmeٶ0;e{{]" 51$ӕaH4DVrTf꾐T? *VDX"ޕ|+ 6`+Ϧ2'ւa _x0Ft^$,347*4gݞdo#+5丱e +#ADM5+[x{ +g|oc"fL(L|{Sm9w5ęK#L>eJb1NԽpDȇ]шx&gaڋesv@kV'ͥfFjUxlP2o`[oK]!t;ڦ$U}ȥbP,ؖ([#qbZqcB4=ݏeAhJ"Sgr ru:056,y[ .c>C)X@?ܗW'W[(tT-k'<7/ޠٟP#?[IDT\ +Qަ/φ-W{$"\$I ڳ<{fQұpvH7+YbYnC1% ]pc6 +ѕ痁s'LcuiaAѸOQ6]vGp{I6J&5E{M>GQHWFb w+gLԹrJU7Cv5^MFG6sFdHoҋ{(>F*b4?,|)cqB{GR bAG{J&g`$tI+>x>!{pz?d]W768 {@ь4n:e󏽳V]NV9 |Տ}Pi u{bT' +PU TW,<\,5zmwo&AYK%`sV=Tr~xCxj\P۠]s fM4 +Cꋉ/KIxOt ٪Y_уIn_-Zi9,*!|aPDS֦峮_}U^\ z&)c(փIPԚ#_?HV rcHmo_12ŧImBe޸{z)>Z *7܀7Ay=_ iYeI uIT)sfo hF ,M.j@qn;]k9ݒS/$wo)lnq1RwDqXa5D_g! :Jw :#*I$~u _;9Pl5bZΧಳW D^#'>oR$ɵϏy "̓ +SKi ]# eE"i XEU:аYAwuTEpgh%Ҩ!9ʵH>@cTYXuR* 5-W$ANXpFw;l 85긚=|/e5k$(6`PV:iuhPELk#R8: QYgQK?ލR{UNd rٰU~{8 +8ɀEs^L]ؐb9jQuܬ7.VV5?Q蔹?gx}U.ź02]ۀgmm¬:S~;`f{̖'/JNE4ݼ 26/c\~9QGq;seF;~%%?ˑzaq9̨V$9qy%{jN;Ꭓ|1p߾"_.$KC{ 9_D.iMұ,ho_qG36lY!=p|/x~}Ǯ}2)0n:<-6 TΩ8ƖcQeVU2x٦N&Mpf +ienxi}y1jC +TÛ.%ZvS9aiNwvC }uHCV>Iluܛ_{/X&KQ"ڻ)0ϘJT+ }c_:(FEG>P‹o0PQ1g@`-)>Z*ru#x)T+{;?-G}Q!H9f x8=AWґz&6։O ojǺ׍ ÷bLjq◵DʓjQZ'013O3sHN$sejq1]7BU PH8>Ӿ бڑz[C%Q\ ߹U#[͌4Yհ|+&p5ӅwurpH +FbLWГɟm|+deRS +JȋK<;y"rlN6q{?VdOaǕԉl9O<.3$k "φ鱅K7c)jQ= ߆ӮaRHH"`Ҕ +}]{hF`˩sR34;; 5CUky.Cױ<|'gLlUC*7' Z-{%U@4"qM| /8|2j .}*z Lx c8Ck =Ls Oo=z7zfB\@reX].%֘-' ۤdǻ/4k#ږsϭR0Qշ.T(1jɵ6޺W lRaj֮~>Nϥ y& ~cM6Uխ} ȳ5lCl=uG zd v}ooeIHI+?o˶lY9XEaH$6'{$"?[ԙlq^!>>Umز lz`6ü/9j I01HjbB *( }jbo9g/;+`C: +97HF|}Dxv>4UzTq6&ɒHCqsd}CHMtndW-7^ Ua;jx@De!B=Mm{_{^r:G"yT[TFiĽG[կ +JB~k=KB/hmpiLM.E'}5<~}:_G#$q?[9vdm8 ʅ|=/r#zl)Ev[RC3뛩{Ipr8ت",b48DU}p ̢?Ŏݕ^=f aCGE-ޯI%jo4()=,Z籜5!6?S!3W啸ݺڥI$^ǤG,*qP-^)|>L՛6;}6-q3Wc }Ǩ޻N@ +@T{sDwv6g6xa)Pt yOtq݌5k%LV 4Y~j$z$haD#I +5.Sg;T:bi%Y܄m5D@E⣼5jR&56h~ۍl3".2 +j $ZQ F/HWf;3y(|~h)NU)U@QKKyGdBe'FRļNO]Ee;W,fR~ |BT혬갈ߊ9mnװ CRgVlBV8)/#_]bQ->!9ǣҺѝ5IJ+4љ˖69_:r46 |P)\.q5uuԢd4g䚑4pqM,{7o3]Cc{2\u B|[a-'.xD]o"?V9Pt wQocQ'%:K)"%HIP0ۢuHw&JU%IgE%; I O<*Fꉽ~:#%D*]h`4 +:JutHz,ԛ)fAuu`hwW +OW+OfzD%/[:vĠPa}6n ]?6 :'s &]!żKX߉)1p~ +Xwr1~|JQZ}#˔ڑH_U_38h'hcQZVeF*$BRTJ2gI,2w A.פDj$mJPitg; "ogfHeGذˌ``KQ{h)=k@pU8&GjG0U,4ʚ'0QqoTy1|VCHëizA0mLd7 JQnv]PLX$#  ?r8E9Sۮz^^vlvJ)]e23E&;b@3׭u }4P_^ qMP^sKʢsi,EW᣺1V+{BtrixMl4Kuķa؂ +fe{!@(YSd>P1@r ֋<*nuYܳ' N?к ^ K{{z;ˮVi3isj]S]5|rdȁ#uWx >CRsUe"m$͑<y%z4ty "s'H1d_BޠAU#0FW?PXd9adQo d o/3o^.Z:31#F.j+ RvNϒ7Ӝ=M& u"갣Ԅ.`6E:k2xԖGЇZѳ-_3?oҷ@Ҩendstream +endobj +1832 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4222 0 R +/FirstChar 33 +/LastChar 125 +/Widths 4223 0 R +/BaseFont /HNCJDJ+CMSLTT10 +/FontDescriptor 1830 0 R +>> endobj +1830 0 obj << +/Ascent 611 +/CapHeight 611 +/Descent -222 +/FontName /HNCJDJ+CMSLTT10 +/ItalicAngle -9 +/StemV 69 +/XHeight 431 +/FontBBox [-20 -233 617 696] +/Flags 4 +/CharSet 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QLĢ}azUg^nJ:;&0V||0>wvV;r&r?[٤us UD.'tdy&!9S?=Z0پuޓm݉%ԋ}*}| I*]ձ}xhK +ı]G[;M\/S- LW=izVl2ҳ>jҹweq,cEAVލۭ2e3MU#;^%GOUB~nߥ8pEonP<(is~f&q޲YԢ򬾁P{H;ޓ;#uvyT>VC{qKGR@]CSWk.!(/6HsrGUuJJaefrp֖ OL(qLO^6endstream +endobj +1825 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4206 0 R +/FirstChar 65 +/LastChar 65 +/Widths 4224 0 R +/BaseFont /EGRPZO+CMBX7 +/FontDescriptor 1823 0 R +>> endobj +1823 0 obj << +/Ascent 694 +/CapHeight 686 +/Descent -194 +/FontName /EGRPZO+CMBX7 +/ItalicAngle 0 +/StemV 127 +/XHeight 444 +/FontBBox [-55 -250 1289 751] +/Flags 4 +/CharSet (/A) +/FontFile 1824 0 R +>> endobj +4224 0 obj +[968 ] +endobj +1821 0 obj << +/Length1 876 +/Length2 1710 +/Length3 532 +/Length 2332 +/Filter /FlateDecode +>> +stream +xRk<N!F$]❄)af(56 !d1o cf=tqIDE"rI)Rn9|:/lI~5gR (EAd<ݓȯ-E$?锟M&bAی`lO$h|t!At}_̇ q`(Qt ̠@tOHL&)&x= +N8֢3X-`(!-'}ILN,s\飾WW7=$  ? +K#PC v1I弿}f1Ah]@m'.FG;ccD"uWd6S`P| >dؓ.0hBiTNIFk}egHD]o1P4aac +'+mw~'RpL +xS؆Ҏmr.:g޻~,al?ƅS\dD;}PMn'ˉэ?&ypKDhr F%[j>C,—fʛ곪JZr^m\㹜Z6Ԗ*S1aJ +YæQ=k;?}+9d\QRs (K܉>г{DZ;C4N kt#VuD\-&MHH26 ['T9ܧl@,[D]ؚyrgfh'$+zVxywʑ7p53Ep? 4HG] +8-Pz6Dpzv@źw :+T?.tޱ)lJJ<ݼR\)&8+f5nn2tlEMEIT!mE)9P:T9K@or)v +ZY)%\lp01Vo8| 1HzHf?|# Joq'?G͍v.f(vKfqP1QM&ʰt[+kķt}.3I.7f*!b~Wo(ά8G-R;G2{]BGt۪T#%N(ܥFz\Ejpj] kV_/<;,HɅ<0A,͜R'u0Dž4DQۄk-TwFvnEx2=.h!%ܗhtJݺ,(1{D'lZTafCii Z%^R~c45d#\G%r]vp/2e7ҽTd^I#ѹ1b\Y^A_Dݗ|3UqFYio{dqtK?'jY~odIA†v>~LJ@]W8aGG'w~'ZۏG=v`"rݹ&Jvr +Vhf _z׹n@}ڋ0_d(LkKéQf2]jS{/U觌֪?m\BHoVwqj]iW }@DNCx#޸TzfCSDz!Z.VeJ-_$pxN|hvt6Ӯ=8[l陊wn8dLh_[){%s͚@4$2厪z%, +Fj+(PT\<uCZT#؆p@m/ze5jKŬu ʃ]bR\_@ْ \4j*Ϊn?G[ٶt3SaLBu=.j([r's".<?H2s¯V8Na)tʹiCdHb>$7xendstream +endobj +1822 0 obj << +/Type /Font +/Subtype /Type1 +/Encoding 4225 0 R +/FirstChar 0 +/LastChar 112 +/Widths 4226 0 R +/BaseFont /GIDTLI+CMEX10 +/FontDescriptor 1820 0 R +>> endobj +1820 0 obj << +/Ascent 40 +/CapHeight 0 +/Descent -600 +/FontName /GIDTLI+CMEX10 +/ItalicAngle 0 +/StemV 47 +/XHeight 431 +/FontBBox [-24 -2960 1454 772] +/Flags 4 +/CharSet 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+>> endobj +1818 0 obj << +/Length1 811 +/Length2 825 +/Length3 532 +/Length 1411 +/Filter /FlateDecode +>> +stream +xR}4Tif2PvQ7v|YXNLFP;f^LM]R4JVim*ٲڜv:?wڳ=}>>_(bxKhKJD?P&FI*1_*;@୊yĝˡSXL8u$V@8DPAiQ9b *L- `%Ld"0i$X a X:C\J,QŽm%B22((!pH +" 05YW% +.ڨ"8 @L S)&wJT9 ą;|d(bJq,8C\2 +޸p?物(+Cqߑk]MeDb`-f#"'ݵ "$)) 4p L02bℒ:dR iK: .EA5:n\ .\9)'±x,\6L"V$ĕ/Jm-Ũ @ ŴvB쑾aSqˆe2xq$E=˳Ҵ5l-k* 'YeYRbvje,P3.Qׅo>˯!CmjgY๾(ٯw~zg&uikwE?=hSīs^0]M**o|KIJ>vo%q{5 K*iAm9mazs_ b~~sdd ۬$}:_.[blmm=ѡ鞹²Mm t]Jե`t޼Ѡu[luf iauҍciO4E6<0Tċ/,V/6RU()gGi^Gcl>m _=iYh"rN~*4ksh ~6ao盵W[m;}k+-_1 _hlo֋L ė]e-/hn v?P߉?uye|[eEMz-UyM2E-EcfBZM'.bXLjyqcE_?! 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