499 lines
19 KiB
TeX
499 lines
19 KiB
TeX
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\chapter{Changing Clefs, Keys and Meters}
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\section{Introduction}\label{contextintro}
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To define clefs, key signatures, or meters at the start of a piece,
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or to change one or more of these attributes\footnote{In this section,
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\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere
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else in a score,
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\musixtex\ requires two steps. The first step is to \ital{set} the new values of
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the attributes.
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Most of the commands for this have the form \verb|\set|...~. They will be
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described in the following subsections.
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But this alone will
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not cause anything to be changed or printed. The second step is to activate the
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change. This is done by issuing one of the
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following commands (outside \verb|\notes|$\dots$\verb|\en|):
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\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|,
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\verb|\Contpiece|,
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\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|,
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\verb|\changecontext|,
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\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|,
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\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform
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other functions as well, and some may be used even when no attributes
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change. Features unrelated to changing attributes are detailed elsewhere.
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The first eleven will activate all pending new attributes.
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If more than one type is activated by a single command in this manner,
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then regardless of the order
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they were set, they will always appear in the following order: clef, key signature,
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meter.
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The last three commands in the above list obviously activate only
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the specific type of attribute referred to in the name of the command.
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The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext|
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will respectively insert a single, double, or invisible bar
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line before printing the attributes.
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\section{Key Signatures}
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We've already seen in Section~\ref{whatspecify} how to set key
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signatures for all instruments with \keyindex{generalsignature}, or for
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specific instruments with \keyindex{setsign}. As just noted, these commands only
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prepare for the insertion of the signatures into the score; it is
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really \verb|\startpiece| that puts them in place at the beginning of the
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score.
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The commands \verb|\generalsignature| and \verb|\setsign| also serve to set
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new key signature(s) anywhere in score. The change can then be activated with one of
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the eleven general commands listed above, or with \keyindex{changesignature} if
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in the middle of a bar.
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While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar
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line, the differences are that the latter increments the bar number counter and
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inserts a horizontal space of \verb|\afterruleskip| after the new signature(s).
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All of these options will repost signatures that have not been changed.
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Normally, changing a signature from flats to sharps or vice-versa, or
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reducing the number of sharps or flats, will produce the appropriate set of
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naturals to indicate what has been suppressed. This standard feature can be
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temporarily inhibited by the command \keyindex{ignorenats} issued right before
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the change-activating command.
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Here is an example showing various possibilities for changing key signatures.
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Note the comments between the code lines.
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\begin{quote}\begin{verbatim}
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\instrumentnumber2\setstaffs22%
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\setclef1{\bass}\generalsignature2%
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\startextract
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\Notes\qu K&\qu d|\qu e\en
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% Signature change in a single instrument with two staves.
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% Naturals appear by default, indicating cancelled sharps.
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\setsign20\changesignature
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\Notes\qu J&\qu d|\qu e\en
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% When changing signature in the middle of a bar and no naturals
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% are posted, the new signature can be confused with a simple accidental.
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\setsign11\ignorenats\changesignature
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\Notes\qu M&\qu d|\qu e\en
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% New signatures after a double bar line
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\generalsignature{-2}\Changecontext%
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\Notes\qu K&\qu d|\qu e\en%
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\Notes\qu K&\qu d|\qu e\en%
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% New signatures after an invisible bar line. Note the
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% difference in spacing compared with beat 3 of the prior measure
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\generalsignature{1}\zchangecontext%
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\Notes\qu K&\qu d|\qu e\en%
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\end{verbatim}\end{quote}
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\begin{music}
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\instrumentnumber2\setstaffs22%
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\setclef1{\bass}\generalsignature2%
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\startextract
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\Notes\qu K&\qu d|\qu e\en
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% Signature changing in a single instrument with 2 staves
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% Naturals are allowed to shown there are no more sharps
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\setsign20\changesignature
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\Notes\qu J&\qu d|\qu e\en
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% Signature changing in a single staff without naturals
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% if there is no bar line, the signatures are confusing:
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% it is not clear if they are for a single note or not
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\setsign11\ignorenats\changesignature
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\Notes\qu M&\qu d|\qu e\en
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% New signatures after a double bar line
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\generalsignature{-2}\Changecontext%
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\Notes\qu K&\qu d|\qu e\en%
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\Notes\qu K&\qu d|\qu e\en%
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% New signatures after an invisible bar line
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% see the difference in space comparing beat 2
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\generalsignature{1}\zchangecontext%
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\Notes\qu K&\qu d|\qu e\en%
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\endextract
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\end{music}
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\section{Clefs}\label{treblelowoct}\label{ClefChanges}
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Macros that define clefs have already been discussed in Section~\ref{whatspecify}. By way of review, here are all of the possible clefs
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(applied to the lowest staff):
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%avrb
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\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}}
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\begin{center}\vskip-1ex\footnotesize%\small
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\begin{tabular}{||c|c|c|c|c||}\hline\hline
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&&&&\\
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\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\
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\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+
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&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline
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\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2
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&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline
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%\end{tabular}
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&&&&\\
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%\begin{tabular}{ccccc}
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&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\
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\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+
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&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline
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\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7
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&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline
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%This one uses \setclefsymbol1\empty :
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%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline
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\end{tabular}
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\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later}
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\end{center}
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%avre
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Just as with key signatures, these commands only \ital{prepare} for clef changes.
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To \ital{activate} them, any of the first eleven commands listed in Section~\ref{contextintro} could be used. However, one should keep in mind that,
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according to modern conventions, a clef change at a bar line is posted
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\emph{before} the bar line, whereas, for example, \verb|\changecontext|, would post it
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\emph{after} the bar line. In part for this reason, we have the special command
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\keyindex{changeclefs}. It can be used anywhere outside
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\verb+\notes...\en+ to activate a clef change and insert an amount of
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horizontal space to accommodate the new clef symbol(s), without printing a
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bar line. Sometimes no added
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space is required, in which case \keyindex{zchangeclefs} should be used.
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Here are some examples of clef changes:
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\begin{quote}\begin{verbatim}
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\instrumentnumber2\setstaffs22%
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\setclef1{\bass}\generalsignature2%
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\startextract
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% Change in one staff only, with added space
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\setclef1\treble\changeclefs%
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\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
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% Combined with signature change, also no extra space needed
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% twice the same clef in staff 2 - with the help of a blank clef
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\setclef28\zchangeclefs\setclef2\treble%
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\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
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\ignorenats\changesignature%
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\Notes\qu K&\cu{de}|\qu e\en%
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% clef change before barline
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\setclef1\treble\zchangeclefs\bar%
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\Notes\qu k&\cu{de}|\qu e\en%
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% clef change after barline
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\setclef1\bass\bar\changeclefs%
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\Notes\qu K&\cu{de}|\qu e\en%
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% clef change after barline with changecontext
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\setclef1\treble\changecontext%
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\Notes\cu k&\cu d|\qu e\en%
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% twice the same clef
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\setclef18\zchangeclefs\setclef1\treble\changeclefs%
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\Notes\cu k&\cu e |\en%
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\zendextract
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\end{verbatim}\end{quote}
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\begin{music}
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\instrumentnumber2\setstaffs22%
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\setclef1{\bass}\generalsignature2%
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\startextract
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% Change in one staff only, with added space
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\setclef1\treble\changeclefs%
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\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
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% Combined with signature change, also no extra space needed
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% twice the same clef in staff 2 - with the help of a blank clef
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\setclef28\zchangeclefs\setclef2\treble%
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\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
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\ignorenats\changesignature%
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\Notes\qu K&\cu{de}|\qu e\en%
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% clef change before barline
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\setclef1\treble\zchangeclefs\bar%
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\Notes\qu k&\cu{de}|\qu e\en%
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% clef change after barline
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\setclef1\bass\bar\changeclefs%
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\Notes\qu K&\cu{de}|\qu e\en%
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% clef change after barline with changecontext
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\setclef1\treble\changecontext%
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\Notes\cu k&\cu d|\qu e\en%
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% twice the same clef
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\setclef18\zchangeclefs\setclef1\treble\changeclefs%
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\Notes\cu k&\cu e |\en%
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\endextract
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\end{music}
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\noindent Of course the examples in the last two bars are contrary
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to accepted practice.
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If \keyindex{atnextbar} is being used to center material and new clefs before
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the bar line should be
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excluded from the ``notes'' region within which material is centered,
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you may use the command \keyindex{Changeclefs}, as in the following:
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\begin{music}
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\nobarnumbers
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\nostartrule
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\generalmeter{\meterC}
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\startextract%
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\NOTEs\en
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\def\atnextbar{\znotes\centerHpause{11}\en}%
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\setclef1\bass\Changeclefs%
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\setleftrepeat%
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\generalmeter{\allabreve}%
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\changecontext%
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\NOTEs\en
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\def\atnextbar{\znotes\centerHpause{12}\en}%
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\setclef1\treble\Changeclefs%
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\setrightrepeat\bar%
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\NOTEs\en
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\def\atnextbar{\znotes\centerHpause{13}\en}%
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\endextract
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\end{music}\noindent
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which was coded as
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\begin{quote}
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\begin{verbatim}
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\generalmeter{\meterC}
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\startextract%
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\NOTEs\en
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\def\atnextbar{\znotes\centerHpause{11}\en}%
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\setclef1\bass\Changeclefs%
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\setleftrepeat%
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\generalmeter{\allabreve}%
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\changecontext%
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\NOTEs\en
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\def\atnextbar{\znotes\centerHpause{12}\en}%
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\setclef1\treble\Changeclefs%
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\setrightrepeat\bar%
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\NOTEs\en
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\def\atnextbar{\znotes\centerHpause{13}\en}%
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\endextract
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\end{verbatim}
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\end{quote}
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Clef changes initiated with the \verb|\setclef| command have several features
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in common. When activated after the beginning of the piece, the printed symbol
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is smaller than the normal one used at the beginning of the piece. Also,
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\musixtex\ automatically adjusts vertical positions of noteheads consistent
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with the new clef.
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There is an additional group of macros for setting new clefs which does not share
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either of these features. In other words, they will always print full sized symbols, and they
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won't change the vertical positions of noteheads from what they would have been
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before the new symbol was printed. We could call this process ``clef symbol substitution'',
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because all it does is print a different symbol (or no symbol at all) in place of
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the underlying clef which was set in the normal way.
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You'll need to use clef symbol substitution if you want to have a so-called
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\index{octave clefs}\label{octclef}octave treble clef or octave bass
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clef, i.e., one containing a numeral 8 above or
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below the normal symbol. The syntax for setting upper
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octaviation
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is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\
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or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation
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it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or
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\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to
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\ital{replace} normal bass or treble clefs with a different symbol, they
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require that the normal clefs be set first. For example
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\noindent\begin{minipage}{80mm}
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\begin{music}\nostartrule
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\parindent 19mm
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\instrumentnumber{4}
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\generalmeter{\empty}
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\setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble
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\setbassclefsymbol1\basslowoct
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\setbassclefsymbol2\bassoct
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\settrebleclefsymbol3\treblelowoct
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\settrebleclefsymbol4\trebleoct
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\startextract
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\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\en
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\zendextract
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\end{music}
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\end{minipage}
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\begin{minipage}{50mm}
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\begin{verbatim}
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\parindent 19mm
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\instrumentnumber{4}
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\generalmeter{\empty}
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\setclef1\bass \setclef2\bass
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\setclef3\treble \setclef4\treble
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\setbassclefsymbol1\basslowoct
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\setbassclefsymbol2\bassoct
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\settrebleclefsymbol3\treblelowoct
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\settrebleclefsymbol4\trebleoct
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\startextract
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\Notes\qu{`abcdefghi}&\qu{`abcdefghi}%
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&\qu{abcdefghi}&\qu{abcdefghi}&\en
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\zendextract
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\end{verbatim}
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\end{minipage}
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\index{clefs (empty)}
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Another application of clef symbol substitution is to cause no clef to be
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printed, as for example might be desired in percussion music, This
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can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which
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once activated would replace \ital{all} clef symbols in the first (lowest)
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staff of instrument $n$ with blanks.
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Normal symbols for those clefs that have been substituted can be restored by
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\keyindex{resetclefsymbols}.
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Four other small clef symbols are available: \verb|\smalltrebleoct|,
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\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|.
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They look just like the corresponding normal-sized symbols, and are useful by
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clef symbol substitution for clef changes after the beginning of a piece, as
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demonstrated in the following example.
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The various clef symbol substitution commands can only be used to substitute for
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\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs.
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In the following example, (1) is two normal clef changes. At (2) the clef is first changed
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back to treble and then the \verb|\treblelowoct| symbol is substituted by using
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\verb|\settrebleclefsymbol|.
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When changing the clef away from treble and then back as at (3), the substitution
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symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution.
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If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see
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in the three clefs after (5) in comparison with (2). These also illustrate the use of the small
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octave clef symbol. Obviously the second clef after (5) is
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nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
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\begin{music}
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\instrumentnumber1\setclef1\bass
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\startpiece
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\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
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\notes\qu i\en\setclef1\bass\changeclefs\bar
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\notes\zchar{-5}{2}\qu J\en
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\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
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\notes\qu i\en\setclef1\bass\changeclefs\bar
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\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
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\notes\qu i\en\setclef1\bass\changeclefs\bar
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\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
|
||
|
\notes\qu i\en\setclef1\bass\changeclefs\doublebar
|
||
|
\notes\zchar{-5}{5}\qu J\en
|
||
|
\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
|
||
|
\notes\qu i\en\setclef1\bass\changeclefs\bar
|
||
|
\notes\qu I\en\setclef1\treble\changeclefs
|
||
|
\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
|
||
|
\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
|
||
|
\notes\qu i\en
|
||
|
\endpiece
|
||
|
\end{music}
|
||
|
|
||
|
\noindent This is the code:
|
||
|
|
||
|
\begin{quote}\begin{verbatim}
|
||
|
\instrumentnumber1\setclef1\bass
|
||
|
\startpiece
|
||
|
\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
|
||
|
\notes\qu i\en\setclef1\bass\changeclefs\bar
|
||
|
\notes\zchar{-5}{2}\qu J\en
|
||
|
\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
|
||
|
\notes\qu i\en\setclef1\bass\changeclefs\bar
|
||
|
\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
|
||
|
\notes\qu i\en\setclef1\bass\changeclefs\bar
|
||
|
\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
|
||
|
\notes\qu i\en\setclef1\bass\changeclefs\doublebar
|
||
|
\notes\zchar{-5}{5}\qu J\en
|
||
|
\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
|
||
|
\notes\qu i\en\setclef1\bass\changeclefs\bar
|
||
|
\notes\qu I\en\setclef1\treble\changeclefs
|
||
|
\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
|
||
|
\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
|
||
|
\notes\qu i\en
|
||
|
\endpiece
|
||
|
\end{verbatim}\end{quote}
|
||
|
|
||
|
\section{Meter changes}
|
||
|
|
||
|
As mentioned in Section~\ref{generalmeter}, a common \itxem{meter} for all
|
||
|
staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|,
|
||
|
where $m$ denotes the meter. On the other hand, meter changes in specific
|
||
|
staves are implemented with
|
||
|
\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|,
|
||
|
where $n$ is the number of the instrument, $m1$ specifies the meter
|
||
|
of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter
|
||
|
as many $m$'s as necessary.)
|
||
|
|
||
|
Since meter changes are meaningful only across bars, there is no special command to
|
||
|
activate a new meter; rather, they are activated with the general commands
|
||
|
\keyindex{changecontext}, etc., listed in Section~\ref{contextintro}.
|
||
|
|
||
|
The next example shows a few methods to get a meter change, in all staves or
|
||
|
in a single staff.
|
||
|
|
||
|
\begin{small}
|
||
|
\begin{quote}\begin{verbatim}
|
||
|
\instrumentnumber2\setstaffs22%
|
||
|
\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
|
||
|
\setclef1{\bass}\generalsignature2%
|
||
|
\startextract
|
||
|
\setmeter1{{\meterfrac{2}{4}}}%
|
||
|
\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}%
|
||
|
{\meterfrac{3}{4}}}\changecontext
|
||
|
\Notes\qu K&\cu{de}|\qu e\en
|
||
|
% bar 11
|
||
|
% Meters, clefs, and key signatures.
|
||
|
% All 3 clefs after bar (probably bad form) if no changeclefs
|
||
|
\setmeter1{{\meterfrac{2}{8}}}%
|
||
|
\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
|
||
|
\setsign2{-1}%
|
||
|
% How to force showing the bass clef?
|
||
|
\setclef1\bass\setclef2{23}%
|
||
|
\Changecontext
|
||
|
\Notes\qu K&\cu{de}|\qu e\en
|
||
|
% bar 12
|
||
|
% Meters, clefs, and key signatures, with clef before the bar.
|
||
|
% Maybe not best form if signatures are involved
|
||
|
\setmeter1{{\meterfrac{2}{4}}}%
|
||
|
\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
|
||
|
\setsign2{-1}%
|
||
|
\setclef1\treble\zchangeclefs\changecontext
|
||
|
\Notes\qu k&\cu{de}|\qu e\en
|
||
|
\end{verbatim}\end{quote}
|
||
|
\end{small}
|
||
|
\begin{music}
|
||
|
\instrumentnumber2\setstaffs22%
|
||
|
\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
|
||
|
\setclef1{\bass}\generalsignature2%
|
||
|
\startextract
|
||
|
\setmeter1{{\meterfrac{2}{4}}}%
|
||
|
% How big the '2' must be?
|
||
|
\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}%
|
||
|
{\meterfrac{3}{4}}}\changecontext
|
||
|
\Notes\qu K&\cu{de}|\qu e\en
|
||
|
% bar 11
|
||
|
% Meter Clefs and Key Signatures
|
||
|
% all 3 clefs after bar if no changeclefs
|
||
|
\setmeter1{{\meterfrac{2}{8}}}%
|
||
|
\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
|
||
|
\setsign2{-1}%
|
||
|
% How to force showing the bass clef?
|
||
|
\setclef1\bass\setclef2{23}%
|
||
|
\Changecontext
|
||
|
\Notes\qu K&\cu{de}|\qu e\en
|
||
|
% bar 12
|
||
|
% Meter Clefs Keys Signatures all 3 with clef before the bar
|
||
|
% probably not if signatures are involved
|
||
|
\setmeter1{{\meterfrac{2}{4}}}%
|
||
|
\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
|
||
|
\setsign2{-1}%
|
||
|
\setclef1\treble\zchangeclefs\changecontext
|
||
|
\Notes\qu k&\cu{de}|\qu e\en
|
||
|
\endextract
|
||
|
\end{music}
|
||
|
|
||
|
\section{Changes at the end of a system}
|
||
|
It is conventional music-typesetting practice to indicate changes of clef, time signature,
|
||
|
and key signature that apply to the start of a \emph{new} system
|
||
|
also at the end of the previous system, as in the following:
|
||
|
|
||
|
\begin{music}
|
||
|
\nobarnumbers
|
||
|
\setstaffs12
|
||
|
\setclef{1}{\bass}
|
||
|
\generalmeter{\meterfrac44}
|
||
|
\generalsignature{+2}
|
||
|
\startextract%
|
||
|
\Notes\wh K|\qa{fghi}\en
|
||
|
\setclef{1}{66}\changeclefs%
|
||
|
\generalmeter{\meterfrac34}%
|
||
|
\generalsignature{-1}%
|
||
|
\Changecontext%
|
||
|
\zendextract%
|
||
|
\generalsignature{-1}
|
||
|
\setclef{1}{66}
|
||
|
\generalmeter{\meterfrac34}
|
||
|
\startextract%
|
||
|
\NOtes\ha{.K}|\qa{Mad}\en%
|
||
|
\bar%
|
||
|
\Notes\ha{.K}|\qa{Mad}\en%
|
||
|
\endextract%
|
||
|
\end{music}
|