628 lines
22 KiB
TeX
628 lines
22 KiB
TeX
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\chapter{Beams}
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\section{Starting a beam}
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Each beam must be declared with a macro issued before the first spacing
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note under the beam is coded. Two distinct kinds of macros are provided
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for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary
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slope and starting height chosen by the user, while the second kind, a
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``semi-automatic'' beam,
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\ital{computes}~the slope and, in addition, adjusts the starting height in some
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cases.
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\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}}
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The basic form of the macros for starting fixed-slope beams is exemplified
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by the one for a single upper beam, \keyindex{ibu}\nps. Here
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$n$ is the reference number of the beam, $p$ the starting ``pitch'', and
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$s$ the slope.
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The reference number is assigned by the user.
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It is needed because more than one beam may be open at
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a time, and it tells \musixtex\ to which beam subsequent beamed notes and
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other beam specification commands are assigned.
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By default, the reference number must be in the range [$0,5$],
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but the range for 8th to 128th beams will be expanded to [$0,8$] or [$0,11$]
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if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|.
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Alternatively, you can specify the number of $8$th to $64$th beams
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directly\footnote{$8$th to $64$th beams are so basic that the maximum
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number of these beams is related to the maximum number of instruments
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by this command.
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Using $m>12$ may require e-\TeX.}
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with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}|
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within the range $7<m\leq 100$; the corresponding reference number may then be
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in the range from 0 to $(m-1)$.
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\label{musixmad_setmaxinstruments_ccxviiibeams}
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For $128$th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|.
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For $256$th notes, which can only appear in beams, see Section~\ref{musixbbm}.
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The ``pitch'' parameter $p$ is a pitch that is three
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staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above}
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the bar for a lower beam); in many (but not all)
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cases it should be input as the actual pitch of the first note. The slope $s$
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is an integer in the range [$-9,9$]. When multipled
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by $5$\%~it gives the actual slope of the heavy bar. Typically a slope of $2$ or $3$
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is okay for ascending scales, and $6$ to $9$ for ascending arpeggios.
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The full set of fixed-slope beam initiation macros is as follows:
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\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
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\item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}.
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\item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}.
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\item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}.
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\item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}.
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\item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}.
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\item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}.
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\item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}.
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\item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}.
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\end{description}\end{quote}
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A semi-automatic beam is initiated with a command that has \ital{four}
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parameters, the beam number, the first and last pitches, and the total
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horizontal extent in
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\verb|\noteskip|s, based on the value in effect at the start. For example,
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if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to
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build an upper beam (beam number $2$) horizontally extending \verb|3\noteskip|,
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the first note of which is a \verb|g| and the last note a \verb|j|.
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Knowing these parameters it will choose the highest slope number that
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corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt
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g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as
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for fixed-slope beams. However, if there is no sufficiently steep beam
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slope available, then \musixtex\ will raise (or lower) the starting point.
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Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu},
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\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl},
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\keyindex{Ibbbl} and \keyindex{Ibbbbl}.
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\section{Adding notes to a beam}
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Spacing notes belonging to beams are coded with the macro
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\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is
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the beam number and $p$ the pitch of the note. \musixtex\ adjusts the
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length of the note stem to link to the beam.
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Chord notes within a beam are entered before the main note with the
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non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again,
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the stem length will be automatically adjusted as required.
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There are also special macros for semi-automatic beams with
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two, three, or four notes:
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\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl},
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\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl},
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\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}.
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%\check
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For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|,
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except that the special macros don't require a beam number.
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Their use is illustrated in the following example:
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\medskip
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\begin{music}\nostartrule
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\parindent0pt\startpiece
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\Notes\Dqbu gh\Dqbl jh\en
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\notes\Dqbbu fg\Dqbbl hk\en\bar
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\Notes\Tqbu ghi\Tqbl mmj\en
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\notes\Tqbbu fgj\Tqbbl njh\en\bar
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\Notes\Qqbu ghjh\Qqbl jifh\en
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\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece
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\end{music}
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\noindent This was coded as\footnote{Editor's note: Most music
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typesetting books recommend beam slopes that are \ital{less} than
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the slope between the starting and ending note; these macros cannot
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provide that.}:
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\begin{quote}\begin{verbatim}
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\Notes\Dqbu gh\Dqbl jh\en
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\notes\Dqbbu fg\Dqbbl hk\en\bar
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\Notes\Tqbu ghi\Tqbl mmj\en
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\notes\Tqbbu fgj\Tqbbl njh\en\bar
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\Notes\Qqbu ghjh\Qqbl jifh\en
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\notes\Qqbbu fgge\Qqbbl jhgi\en
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\end{verbatim}\end{quote}
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%\check
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\section{Ending a beam}
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The termination of a given
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beam must be declared \ital{before} coding the last spacing note
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connected to that beam. The macros for doing that are
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\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and
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\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for
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beams of any
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multiplicity. So for example an upper triple beam with
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32nd notes is initiated by
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\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|.
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Since beams usually finish with a \verb|\qb| for the last note, the
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following shortcut macros have been provided:
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\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
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\item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee
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\item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee
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\item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~i.e., no spacing afterwards
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\item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~i.e., no spacing afterwards
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\end{description}\end{quote}
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The following
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synonyms may be used:
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\begin{quote}\begin{tabular}{lcl}
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\keyindex{tql} & for & \keyindex{tqb}\\
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\keyindex{tqu} & for & \keyindex{tqh}\\
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\keyindex{ztql} & for & \keyindex{ztqb}\\
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\keyindex{ztqu} & for & \keyindex{ztqh}\\
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\end{tabular}\end{quote}
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\section{Changing multiplicity after the beam starts}
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Multiplicity (the number of heavy bars) can be increased at any position after
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the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of
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upper beam
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number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to
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increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The
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commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same
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for lower beams.
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Thus, the
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sequence
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\begin{music}\nostartrule
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\startextract
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\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
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\zendextract
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\end{music}
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\noindent has been coded as
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\begin{quote}\begin{verbatim}
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\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
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\end{verbatim}\end{quote}
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To decrease multiplicity to one, use \keyindex{tbbu}\onen~or
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\keyindex{tbbl}\onen. To decrease to two or three use
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\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example,
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\begin{music}\nostartrule
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\startextract
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\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
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\zendextract
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\end{music}
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\noindent has been coded as
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\begin{quote}\begin{verbatim}
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\startextract
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\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
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\zendextract
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\end{verbatim}\end{quote}
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Although at first it may seem counterintuitive,
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the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts
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may also be invoked when the multiplicity is one. In this case
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a second, third, or fourth heavy bar will be opened one note width \ital{before}
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the current stem, and immediately closed \ital{at} the stem.
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Thus the following sequences
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\begin{music}\nostartrule
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\let\extractline\hbox
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\hbox to \hsize{%
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\hss
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\startextract
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\Notes\ibu0e0\qbp0e\roff{\tbbu0\tqh0e}\en
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\zendextract
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\hss\hss
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\startextract
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\Notes\ibu0e0\qbpp0e\roff{\tbbbu0\tbbu0\tqh0e}\en
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\zendextract
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\hss}
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\end{music}
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\noindent are coded
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\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim}
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\Notes\ibu0e0\qbp0e%
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\roff{\tbbu0\tqh0e}\en
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\end{verbatim}\end{minipage}\hfill
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\begin{minipage}{.4\textwidth}\begin{verbatim}
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\Notes\ibu0e0\qbpp0e%
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\roff{\tbbbu0\tbbu0\tqh0e}\en
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\end{verbatim}\end{minipage}\hfill\\[4ex]
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The following abbreviations have been provided:
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\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
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\item \keyindex{tqqb}\enpee~is equivalent to \verb|\tbbl{|$n$\verb|}\tqb|\enpee
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\item \keyindex{tqqh}\enpee~is equivalent to \verb|\tbbu{|$n$\verb|}\tqh|\enpee
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\item \keyindex{tqqqh}\enpee~is equivalent to \verb|\tbbbu{|$n$\verb|}\tqqh|\enpee
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\item \keyindex{tqqqb}\enpee~is equivalent to \verb|\tbbbl{|$n$\verb|}\tqqb|\enpee
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\item \keyindex{nqqb}\enpee~is equivalent to \verb|\tbbl{|$n$\verb|}\qb|\enpee
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\item \keyindex{nqqh}\enpee~is equivalent to \verb|\tbbu{|$n$\verb|}\qb|\enpee
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\item \keyindex{nqqqh}\enpee~is equivalent to \verb|\tbbbu{|$n$\verb|}\qb|\enpee
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\item \keyindex{nqqqb}\enpee~is equivalent to \verb|\tbbbl{|$n$\verb|}\qb|\enpee
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\end{description}\end{quote}
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and the following
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synonyms may be used:
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\begin{quote}\begin{tabular}{lcl}
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\keyindex{tqql} & for & \keyindex{tqqb}\\
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\keyindex{tqqu} & for & \keyindex{tqqh}\\
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\keyindex{tqqql} & for & \keyindex{tqqqb}\\
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\keyindex{tqqqu} & for & \keyindex{tqqqh}\\
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\keyindex{nqql} & for & \keyindex{nqqb}\\
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\keyindex{nqqu} & for & \keyindex{nqqh}\\
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\keyindex{nqqql} & for & \keyindex{nqqqb}\\
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\keyindex{nqqqu} & for & \keyindex{nqqqh}\\
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\end{tabular}\end{quote}
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\medskip
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The symmetrical pattern is also possible. For example:
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\begin{music}\nostartrule
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\startextract
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\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
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\zendextract
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\end{music}
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\noindent has been coded as:
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\begin{quote}\begin{verbatim}
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\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
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\end{verbatim}\end{quote}
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The constructions in this section illustrate some general
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properties of
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beam initiation and termination commands: To mate properly with the
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expected stems, the starting position of the heavy bar(s) (for initiation commands)
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and the ending position (for terminations) will be at
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different horizontal locations
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depending on whether they are for upper or lower beams: The position for
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upper beam commands is one note head width to the right of those for
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lower beams. In fact this is the \ital{only} difference between upper
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and lower termination commands. Both types will operate on whatever kind of
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beam is open and has the same beam number.
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Recognizing this principle, in the example just given it was necessary to
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shift the double termination to the right by one note head width, using the
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command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for
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any \musixtex\ macro.
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Here is another, slightly more complicated example which also uses
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\verb|\roff|:
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\begin{music}\nostartrule
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\startextract
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\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
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\notesp\tbbu0\qbp0f\en
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\Notes\tbu0\qb0f\en
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\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
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\Notes\qb0f\en
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\notes\tbbbu0\tbbu0\tbu0\qb0f\en
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\zendextract
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\end{music}
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\noindent has been coded as:
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\begin{quote}\begin{verbatim}
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\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
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\notesp\tbbu0\qbp0f\en
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\Notes\tbu0\qb0f\en
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\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
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\Notes\qb0f\en
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\notes\tbbbu0\tbbu0\tbu0\qb0f\en
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\end{verbatim}\end{quote}
|
||
|
|
|
||
|
|
\noindent Note that the first beam opening command used a pitch one step
|
||
|
|
below the note. This makes the stem shorter by one pitch unit, since it is always
|
||
|
|
the \ital{closest} heavy bar that is separated from the given pitch by
|
||
|
|
three staff spaces.
|
||
|
|
|
||
|
|
We close this section with an example showing how to
|
||
|
|
open a beam of one sense, increase multiplicity, then terminate with
|
||
|
|
opposite sense:
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\noindent which has been coded as
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
|
||
|
|
One may save some typing by defining personalized
|
||
|
|
\TeX\ macros to
|
||
|
|
perform any oft-repeated sequence of commands. For example,
|
||
|
|
one could define a set of four sixteenths by the macro:
|
||
|
|
|
||
|
|
\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}|
|
||
|
|
|
||
|
|
\noindent where the first argument is the slope and the other four
|
||
|
|
arguments are the pitches of the four successive sixteenths.
|
||
|
|
|
||
|
|
%\check
|
||
|
|
\section{Shorthand beam notations for repeated or alternated notes}\index{repeated patterns}
|
||
|
|
Sometimes you may want to indicate repeated or alternated short notes with open note heads joined
|
||
|
|
by a beam. Here are examples of how to do that
|
||
|
|
using the \keyindex{hb} macro:
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
|
||
|
|
\Notes\ibbl0h4\hb0h\tbl0\hb0j\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\noindent which has been coded as:
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
|
||
|
|
\Notes\ibbl0h4\hb0h\tbl0\hb0j\en
|
||
|
|
\end{verbatim}\end{quote}\noindent
|
||
|
|
There are also dotted and double-dotted versions \keyindex{hbp} and
|
||
|
|
\keyindex{hbpp}.
|
||
|
|
|
||
|
|
|
||
|
|
A different look could be obtained as follows:
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\notes\ha j\loffset{0.5}{\ibbl1n3}\qsk\tbl1\qsk\ha l\sk\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\noindent which has been coded as:
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\notes\ha j\loffset{0.5}{\ibbl1n4}\qsk\tbl1\qsk\ha l\sk\en
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
It is possible to combine this notation
|
||
|
|
with a conventional beam, as in
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\notes\ibl0h3\qb0j\loffset1{\ibbbl1m3}\qsk\tbl1\qsk\tql0l\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\noindent which has been coded as:
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\notes\ibl0h3\qb0j\loffset1{\ibbbl1m3}\qsk\tbl1\qsk\tql0l\en
|
||
|
|
\end{verbatim}\end{quote}\noindent
|
||
|
|
or, for whole notes, to dispense with stems:
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\Notes\loff{\zw j}\ibbl0l4\sk\tbl0\wh l\en
|
||
|
|
\Notes\ibbu0e4\wh g\tbu0\roff{\wh i}\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\noindent which has been coded as:
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\Notes\loff{\zw j}\ibbl0l4\sk\tbl0\wh l\en
|
||
|
|
\Notes\ibbu0e4\wh g\tbu0\roff{\wh i}\en
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
|
||
|
|
Short ``beams'' centered on note stems (or directly over
|
||
|
|
or under whole notes)
|
||
|
|
indicate \emph{tremolos}. Commands that generate tremolo indications are described in Section~\ref{tremolos}.
|
||
|
|
|
||
|
|
|
||
|
|
% \begin{music}\nostartrule
|
||
|
|
%\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
|
||
|
|
%\zendextract
|
||
|
|
% \end{music}
|
||
|
|
% \noindent whose coding (due to Werner {\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}
|
||
|
|
|
||
|
|
\section{Beams that cross line breaks}
|
||
|
|
|
||
|
|
Although careful typesetting can usually avoid it, occasionally
|
||
|
|
a beam may need to cross a line break. If so, it must be manually terminated at
|
||
|
|
the end of one line and continued in the next. This
|
||
|
|
can be done by shifting beam terminations and initiations
|
||
|
|
using \keyindex{roff} and/or
|
||
|
|
\keyindex{loff}, or by inserting a spacing command such as
|
||
|
|
\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf
|
||
|
|
Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\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 The prolongation of the two upper beams at the end is
|
||
|
|
illustrated in the code fragment
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
%\check
|
||
|
|
|
||
|
|
\section{Beams with notes on several different staves}
|
||
|
|
|
||
|
|
Here's a simple example from {\sc Brahms}'s
|
||
|
|
Intermezzo Op.~118, 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}\en
|
||
|
|
\bar
|
||
|
|
\nspace
|
||
|
|
\Notes\ibu0L2\qb0{CEJLcL}%
|
||
|
|
\nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
|
||
|
|
\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
|
||
|
|
\bar
|
||
|
|
\Notes\ttie1\zh{.L.a}\hl{.e}%
|
||
|
|
\nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
|
||
|
|
\NOtes\qp\nextstaff\zq{q}\ql{j}\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
%\check
|
||
|
|
\noindent The coding is
|
||
|
|
\begin{verbatim}
|
||
|
|
\interstaff{13}
|
||
|
|
\instrumentnumber{1}
|
||
|
|
\setstaffs1{2}
|
||
|
|
\setclef1\bass
|
||
|
|
\generalmeter\allabreve
|
||
|
|
\startextract
|
||
|
|
\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
|
||
|
|
\bar
|
||
|
|
\nspace
|
||
|
|
\Notes\ibu0a1\qb0{CEJLcL}%
|
||
|
|
\nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
|
||
|
|
\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
|
||
|
|
\bar
|
||
|
|
\Notes\ttie1\zh{.L.a}\hl{.e}%
|
||
|
|
\nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
|
||
|
|
\NOtes\qp\nextstaff\zq{q}\ql{j}\en
|
||
|
|
\endextract
|
||
|
|
\end{verbatim}
|
||
|
|
|
||
|
|
\noindent (This example also shows that there is no problem in extending
|
||
|
|
a beam across a bar line.)
|
||
|
|
|
||
|
|
The general features that enable this type of coding as well as the
|
||
|
|
more complex example to follow are
|
||
|
|
\begin{itemize}\setlength{\itemsep}{0ex}
|
||
|
|
% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl},
|
||
|
|
%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm
|
||
|
|
%define beams whose initial vertical position and slope are fixed
|
||
|
|
%relative
|
||
|
|
%to the staff where they begin, but notes in other staves can still be
|
||
|
|
%connected to them using \Bslash{\tt qb}\onen.
|
||
|
|
%
|
||
|
|
% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate
|
||
|
|
%beam $n$ at the specified position, but \musixtex\ remembers the beam
|
||
|
|
%parameters until a new beam with the same number is defined.
|
||
|
|
%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
|
||
|
|
%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still
|
||
|
|
%generate notes connected to the phantom extension of this beam,
|
||
|
|
%\ital{provided they are issued in a different staff}. If the command
|
||
|
|
%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after
|
||
|
|
% the beam had ended, an error would result.
|
||
|
|
%
|
||
|
|
\item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}},
|
||
|
|
{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}}
|
||
|
|
define beams whose initial vertical position and slope are fixed
|
||
|
|
relative
|
||
|
|
to the staff where they begin, but notes in other staves can still be
|
||
|
|
connected to them using {\Bslash\texttt{qb}\onen}.
|
||
|
|
|
||
|
|
\item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen}
|
||
|
|
terminate
|
||
|
|
beam $n$ at the specified position, but \musixtex\ remembers the beam
|
||
|
|
parameters until a new beam with the same number is defined.
|
||
|
|
Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
|
||
|
|
\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still
|
||
|
|
generate notes connected to the phantom extension of this beam,
|
||
|
|
\ital{provided they are issued in a different staff}. If the command
|
||
|
|
\verb|\qb|\enpee\ were issued on the same staff as the beam after
|
||
|
|
the beam had ended, an error would result.
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\item If the beam is initiated on one staff,
|
||
|
|
notes in a lower staff can be connected to it, but only \ital{after} the beam
|
||
|
|
has been defined. This may require using the command \keyindex{prevstaff}
|
||
|
|
to go back one staff, as described in Section~\ref{movingtostaffs}.
|
||
|
|
|
||
|
|
\end{itemize}
|
||
|
|
|
||
|
|
Here is an example:
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\setstaffs13
|
||
|
|
\setclef1{6000}
|
||
|
|
\startextract
|
||
|
|
\notesp
|
||
|
|
\nextstaff\Ibbbu0Af7\prevstaff
|
||
|
|
\qb0{AEH^JLa}\relax\nextstaff
|
||
|
|
\qb0{******^c}\tqh0e\relax
|
||
|
|
|\zq{h^jl}\ql o\en
|
||
|
|
\notesp
|
||
|
|
\nextstaff
|
||
|
|
\Ibbbu0hG6\qb0{hec}\prevstaff
|
||
|
|
\qb0{***aLJ}\tqh0H\relax\nextstaff
|
||
|
|
|\zq{h^jl}\ql o\en \nspace
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
|
||
|
|
\noindent which is coded as:
|
||
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\begin{quote}
|
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\begin{verbatim}
|
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|
|
\setstaffs13
|
||
|
|
\setclef1{6000}
|
||
|
|
\startextract
|
||
|
|
\notesp
|
||
|
|
\nextstaff\Ibbbu0Af7\prevstaff
|
||
|
|
\qb0{AEH^JLa}\relax\nextstaff
|
||
|
|
\qb0{******^c}\tqh0e\relax
|
||
|
|
|\zq{h^jl}\ql o\en
|
||
|
|
\notesp
|
||
|
|
\nextstaff
|
||
|
|
\Ibbbu0hG6\qb0{hec}\prevstaff
|
||
|
|
\qb0{***aLJ}\tqh0H\relax\nextstaff
|
||
|
|
|\zq{h^jl}\ql o\en \nspace
|
||
|
|
\zendextract
|
||
|
|
\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
In this example we see not only multiple uses of \keyindex{nextstaff} and
|
||
|
|
\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes
|
||
|
|
(see Section~\ref{CollectiveCoding}).
|
||
|
|
|
||
|
|
|
||
|
|
\section{Discontinuities in Long Beams}
|
||
|
|
By default, \texttt{musixtex} produces beams using special fonts. Unfortunately, long beams may have
|
||
|
|
unsightly discontinuities (gaps or bumps). See Section~\ref{musixvbm}
|
||
|
|
for a solution to this problem.
|