1096 lines
37 KiB
TeX
1096 lines
37 KiB
TeX
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\chapter{Miscellaneous Other Notations}
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%avre
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\section{Metronomic indications}
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%Metronomic indication deserves a special macro. The mention:
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%
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%\medskip
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%\centerline{\def\nbinstruments{0}\metron{\hup}{60}}
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%
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%\smallskip\noindent
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%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in
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%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\en|).
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%
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% On the other hand, music writers sometimes want to specify that the duration
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%of a previous note is equal to a distinct furthernote. Thus
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%
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% \smallskip
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%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}
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%
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%\smallskip\noindent
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%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|.
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By way of example, the notations
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\begin{quote}
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\def\nbinstruments{0}
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\metron{\qu}{60}
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\quad and\quad
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\def\nbinstruments{0}\metronequiv{\qup}{\qu}
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\end{quote}
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are
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respectively coded as
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\keyindex{metron}\verb|{\qu}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|,
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which are normally placed using \keyindex{Uptext}.
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Also, you can set a smaller metronomic indication like
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\begin{quote}
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\def\nbinstruments{0}\metron{\smallnotesize\lqu}{ca.~72}
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\quad or \quad
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\def\nbinstruments{0}\metron{\tinynotesize\lqu}{ca.~72}
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\end{quote}
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by writing
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\begin{quote}
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\verb|\metron{\smallnotesize\lqu}{ca.~72}|
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\end{quote}
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or
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\begin{quote}
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\verb|\metron{\tinynotesize\lqu}{ca.~72}|
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\end{quote}
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\section{Accents}
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You may use\footnote{Note from the editor: the reason the names of some of
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these macros don't seem to suggest the terms used in the
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descriptions is that apparently Daniel Taupin had in mind other terms,
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such as \emph{pizzicato}.}
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\begin{itemize}\setlength{\itemsep}{0ex}
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\item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note
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head at pitch $p$,
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\item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note
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head at pitch $p$,
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\item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above
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a note head at pitch $p$,
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\item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below
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a note head at pitch $p$,
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\item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a
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hyphen above a note head at pitch $p$,
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\item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a
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hyphen below a note head at pitch $p$,
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\item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical
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wedge above a note head at pitch $p$,
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\item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted
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solid vertical wedge below a note head at pitch $p$,
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\item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a
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``dunce cap'' above a note head at pitch $p$,
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\item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted
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``dunce cap'' below a note head at pitch $p$,
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\item \keyindex{upzst}\pitchp~(upper \itxem{mezzo-staccato/portato}) to put a
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dot and a hyphen above a note head at pitch $p$,
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\item \keyindex{lpzst}\pitchp~(lower \ital{mezzo-staccato/portato}) to put a
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dot and a hyphen below a note head at pitch $p$,
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\item \keyindex{flageolett}\pitchp~to put a
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small circle above a note head at pitch $p$.
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\end{itemize}
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These marks are horizontally centered relative to solid note heads.
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To
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compensate for the fact that whole notes are wider, you may use
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\begin{quote}
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\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}|
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\end{quote}
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to center accents
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(and other items) above or below a whole note. For example,
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\keyindex{Fermataup}\pitchp~(described in Section~{\ref{ornaments}}) is
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\emph{defined} as \keyindex{wholeshift}\verb|{|\keyindex{fermataup}\pitchp\verb|}|.
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There are also variants of the most common accents\footnote{Thanks to Klaus
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{\sc Bechert}'s corrections.} which will be automatically positioned
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above or below a beam. They are spelled like the corresponding normal
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accent, but preceded with the letter \verb|b|, and their argument, instead of
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the pitch, is the beam reference number . Thus
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\medskip
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\begin{music}\nostartrule
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\startextract
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\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
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\buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
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\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
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\blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
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\zendextract
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\end{music}
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\noindent was coded as
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\begin{quote}\begin{verbatim} \startextract
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\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
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\buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
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\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
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\blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
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\zendextract
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\end{verbatim}\end{quote}
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\zkeyindex{busfz}
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\zkeyindex{bupz}
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\zkeyindex{bust}
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\zkeyindex{buppz}
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\zkeyindex{busf}
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\zkeyindex{butext}
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\zkeyindex{blsfz}
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\zkeyindex{blpz}
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\zkeyindex{blst}
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\zkeyindex{blppz}
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\zkeyindex{blsf}
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\zkeyindex{bltext}
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The macros \verb|\bltext| and \verb|\butext| are detailed in the next section,
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where the mystery of why they produce the number~$3$ is resolved.
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\section{Numbers and brackets for xtuplets}\label{tuplet}
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The following table lists all the special macros that place a number indicating
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an xtuplet. Some also place a bracket above or below the notes, and are
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intended for use with unbeamed notes.
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In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number,
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$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as
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a multiple of $1.125$~degrees. The macro \verb|\txt| contains a default number
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which will be placed by the first and third through sixth macros,
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and is initially defined as \verb|\def\txt{3}|.
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The macro
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\verb|\tuplettxt| serves the same role for the last two macros.
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The font used is defined by
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\verb|\txtfont| and is, by default, \verb|\eightit| (in normal music size) but may be re-defined.
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\zkeyindex{txtfont}
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The first four commands in the table
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are normally used with beamed xtuplets. As indicated in the
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last column, the last four produce a sloping bracket and may be used with
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unbeamed xtuplets.
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\begin{center}
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\begin{tabular}{lclcc}
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\hline
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~ & Number & ~ & Needs & ~ \\
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Macro and arguments & printed & Where invoked & Bracket \\
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\hline
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\verb|\triolet|\pitchp & \verb|\txt| & before beam & none \\
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\verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & none \\
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\verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & none \\
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\verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & none \\
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\verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\
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\verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\
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\verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\
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\verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\
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\hline
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\end{tabular}
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\end{center}
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\medskip
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Here are some examples of the first six macros in the table:\\
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\vskip-3pt
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\begin{music}
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\parindent0mm
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\generalmeter{\meterfrac24}
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\nostartrule
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\startpiece
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\addspace\afterruleskip
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\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
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\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
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\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
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\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
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\Notesp\uptrio o16\ql l\en\notesp\cl n\en
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%avrb
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\Notesp\downtrio O16\qu e\en\notesp\cu g\en
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%avre
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\endpiece
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\end{music}
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whose coding is
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\begin{quote}\begin{verbatim}
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\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
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\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
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\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
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\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
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\Notesp\uptrio o16\ql l\en\notesp\cl n\en
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\Notesp\downtrio O16\qu e\en\notesp\cu g\en
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\end{verbatim}\end{quote}
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\zkeyindex{xtuplet}\zkeyindex{triolet}
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\medskip
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Next are examples using \keyindex{uptuplet} and \keyindex{downtuplet}.
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A re-definition of \verb|\tuplettxt| inside a notes group only applies
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inside that group and leaves the default definition intact.
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To get the
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number properly centered in the gap, you must include some extra space after
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the number in the definition of \verb|\tuplettxt|. As you can see in
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the last bar, if the span becomes too small, the macros still won't provide
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enough room for the number in the gap; in this case it would be better to
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use the macros without gaps.
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% Examples:
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%
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% Draw a triplet bracket over the notes, starting at pitch "p",
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% 1.25\noteskip wide, with a slope up of 3-3/8 degrees:
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%
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% \uptuplet p{1.25}3
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%
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% Draw a sextuplet bracket under the notes, starting at pitch "a",
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% 2.5\noteskip wide, with a slope down of 4-1/2 degrees:
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%
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% \def\tuplettxt{\smallppff 6\/\/}
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% \downtuplet{a}{2.5}{-4}
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\begin{music}
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%\input tuplet
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\parindent0mm
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\generalmeter{\meterfrac24}
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%\startpiece
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\nostartrule
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\startextract
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\addspace\afterruleskip
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\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
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\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
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\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
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\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
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\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
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\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
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\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
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%\endpiece
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\endextract
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\end{music}
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\noindent with coding
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\begin{quote}\begin{verbatim}
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\parindent0mm
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\generalmeter{\meterfrac24}
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\startextract
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\addspace\afterruleskip
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\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
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\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
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\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
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\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
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\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
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\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
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\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
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\end{verbatim}\end{quote}
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A modern notation uses a \emph{ratio} such as $5$:$6$ to specify the intended duration
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of an x-tuplet. This is supported in \musixtex\ by the command
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\keyindex{xxtuplet}, as in
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\begin{music}
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\nostartrule
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\startextract\addspace\afterruleskip
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\notes\xxtuplet5:6o\ibl0j3\qb0{jklm}\tql0n\en
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\endextract
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\end{music}
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\noindent with coding \verb|\xxtuplet5:6o\ibl0j3\qb0{jklm}\tql0n|. For the
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other x-tuplet commands (apart from \verb|\triolet|, which is defined in terms of \verb|\xtuplet|),
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it is possible to define \verb|\txt| or
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\verb|\tupletxt| as a ratio, as in
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\begin{quote}\begin{verbatim}
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\def\txt{5:6}
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\end{verbatim}\end{quote}
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\section{Ornaments}
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\label{ornaments}
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\subsection{Simple ornaments}\index{ornaments}
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The argument $p$ in the following macros for ordinary ornaments is the
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pitch at which the ornament itself appears. They are all nonspacing macros.
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You may use
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\begin{itemize}\setlength{\itemsep}{0ex}
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\item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss}
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\item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}
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\item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss}
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\item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}
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\item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}
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\item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}
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\item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}
|
||
|
|
\item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}
|
||
|
|
\item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}
|
||
|
|
\item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}
|
||
|
|
\item \keyindex{tr}\pitchp\ for \hbox to 1.5em{\kern 0.6em\tr 0\hss}
|
||
|
|
\item \keyindex{trt}\pitchp\ for \hbox to 1.5em{\kern 0.6em\trt 0\hss}\quad (J. S.~Bach's \textit{trillo und mordant})
|
||
|
|
\item \keyindex{xtr}\pitchp\ for \hbox to 1.5em{\kern 0.5em\xtr 0\hss}
|
||
|
|
\item \keyindex{ptr}\pitchp\ for \hbox to 1.5em{\kern 0.5em\ptr 0\hss}
|
||
|
|
\end{itemize}
|
||
|
|
To
|
||
|
|
compensate for the fact that whole notes are wider, you may use
|
||
|
|
\begin{quote}
|
||
|
|
\keyindex{wholeshift}\verb|{|\mbox{\ital{Any nonspacing macro}}\verb|}|
|
||
|
|
\end{quote}
|
||
|
|
to center any of these ornaments
|
||
|
|
above (or below) a whole note.
|
||
|
|
|
||
|
|
|
||
|
|
In the following macros for fermatas, the argument $p$ is the pitch of the
|
||
|
|
notehead on which the fermata rests, assuming no additional vertical
|
||
|
|
adjustments are needed for stems or intervening staff lines. They are all
|
||
|
|
nonspacing macros. You may use
|
||
|
|
\begin{itemize}\setlength{\itemsep}{0ex}
|
||
|
|
\item \keyindex{fermataup}\pitchp\ for
|
||
|
|
\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}},
|
||
|
|
\end{itemize}
|
||
|
|
\begin{itemize}\setlength{\itemsep}{3ex}
|
||
|
|
\item \keyindex{fermatadown}\pitchp\ for
|
||
|
|
\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}},
|
||
|
|
\item \keyindex{Fermataup}\pitchp\ for
|
||
|
|
\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~,
|
||
|
|
centered over a whole note,
|
||
|
|
\item \keyindex{Fermatadown}\pitchp\ for
|
||
|
|
\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~,
|
||
|
|
centered under a whole note.
|
||
|
|
\end{itemize}
|
||
|
|
\bigskip
|
||
|
|
|
||
|
|
A \itxem{breath} mark
|
||
|
|
\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}}
|
||
|
|
can be put just above the staff with \keyindex{zbreath}. This is a nonspacing
|
||
|
|
macro. On the other hand, \keyindex{cbreath} will cause a space of one
|
||
|
|
\verb|\noteskip| and place the comma midway through the space.
|
||
|
|
|
||
|
|
The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before
|
||
|
|
the place it is entered, while adding no space:
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\NOTes\zhu j\hl{^e}\caesura\en
|
||
|
|
\Notes\zcu j\cl e\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Arpeggios}
|
||
|
|
\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro
|
||
|
|
\keyindex{arpeggio}\pitchp\itbrace{m}
|
||
|
|
where $p$ is the pitch of
|
||
|
|
the base of the arpeggio symbol and $m$ is its height in units of
|
||
|
|
\verb|\interligne|, the distance from one staff line to the next. It should be
|
||
|
|
issued before the affected chord. It is
|
||
|
|
automatically positioned to the left of the chord, but inserts no spacing.
|
||
|
|
Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly
|
||
|
|
one note head width to the left of the default position, and is intended to
|
||
|
|
avoid collision with single accidentals on chord notes.
|
||
|
|
|
||
|
|
\subsection{Arbitrary length trills}
|
||
|
|
There are two styles of arbitrary length trills\index{trills}, each with two
|
||
|
|
variants.
|
||
|
|
For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l}
|
||
|
|
for \hbox to 1cm{\noteskip1cm\trille11\hss} or
|
||
|
|
\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to
|
||
|
|
2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in
|
||
|
|
current \verb|\noteskips|.
|
||
|
|
|
||
|
|
To let \musixtex\ compute the length of the trill, or if it extends across a
|
||
|
|
system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain
|
||
|
|
trill, where $n$ is a trill reference number between 0 and 5; then
|
||
|
|
\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the
|
||
|
|
beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and
|
||
|
|
\verb|\Ttrille|$n$ to close it.
|
||
|
|
|
||
|
|
\begin{sloppypar}
|
||
|
|
As with other elements, you can specify the maximum number
|
||
|
|
directly with \keyindex{setmaxtrills}\verb|{|$m$\verb|}|, where $7<m\leq 100$%
|
||
|
|
\footnote{This may require e-\TeX.};
|
||
|
|
the reference number $n$ will be in the range between $0$ and $m-1$.
|
||
|
|
\label{musixmad_setmaxtrills}
|
||
|
|
\end{sloppypar}
|
||
|
|
|
||
|
|
|
||
|
|
For example:
|
||
|
|
|
||
|
|
\medskip
|
||
|
|
\begin{music}
|
||
|
|
\instrumentnumber{1}
|
||
|
|
\setstaffs12
|
||
|
|
\setclef1{6000}
|
||
|
|
%
|
||
|
|
\startextract
|
||
|
|
\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en
|
||
|
|
\bar
|
||
|
|
\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en
|
||
|
|
\bar
|
||
|
|
\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\en
|
||
|
|
\bar
|
||
|
|
\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
whose coding is
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\instrumentnumber{1}
|
||
|
|
\setstaffs12
|
||
|
|
\setclef1{6000}
|
||
|
|
%
|
||
|
|
\startextract
|
||
|
|
\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en
|
||
|
|
\bar
|
||
|
|
\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en
|
||
|
|
\bar
|
||
|
|
\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\en
|
||
|
|
\bar
|
||
|
|
\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en
|
||
|
|
\endextract
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Tremolos}\label{tremolos}
|
||
|
|
|
||
|
|
The command \keyindex{trml}\verb|{|$p$\verb|}|~is used to indicate that the immediately
|
||
|
|
following
|
||
|
|
quarter or half note (normally at pitch $p$ and with a lower stem) is to be repeated in eighth notes.
|
||
|
|
For example,
|
||
|
|
\verb|\trml j\ha j|
|
||
|
|
generates
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\NOTes\trml j\ha j\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}\noindent
|
||
|
|
and is an abbreviation for
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\notes\ibl0j0\qb0{jjj}\tql0j\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}\noindent
|
||
|
|
Similarly, \keyindex{trmu}\verb|{|$p$\verb|}|~generates an eighth-note tremolo
|
||
|
|
on a quarter or half note with an \emph{upper} stem:
|
||
|
|
|
||
|
|
\begin{music}\nostartrule
|
||
|
|
\startextract
|
||
|
|
\NOTes\trmu h\ha h\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}\noindent
|
||
|
|
16th-note and 32-note tremolos are similarly generated by
|
||
|
|
commands \keyindex{trrml}, \keyindex{trrmu}, \keyindex{trrrml}
|
||
|
|
and \keyindex{trrrmu}, as in
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\nostartrule
|
||
|
|
\startextract
|
||
|
|
\NOtesp\trrml h\zqlp h\trrmu j\qup j\en
|
||
|
|
\Notes\stemlength{6.4}\trrml j\zcl j\trrmu l\cu l\en
|
||
|
|
\NOtes\stemlength{6.4}\trrrml h\zql h\trrrmu j\qu j\en
|
||
|
|
\endextract
|
||
|
|
\end{music}\noindent
|
||
|
|
which is coded as
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\NOtesp\trrml h\zqlp h\trrmu j\qup j\en
|
||
|
|
\Notes\stemlength{6.4}\trrml j\zcl j\trrmu l\cu l\en
|
||
|
|
\NOtes\stemlength{6.4}\trrrml h\zql h\trrrmu j\qu j\en
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
The \keyindex{stemlength} command is used to adjust
|
||
|
|
stem lengths;
|
||
|
|
the new length remains effective to the end of the current notes group.
|
||
|
|
If necessary, the usual stem length can be restored by using
|
||
|
|
\verb|\stemlength{\DefaultStemlength}|.
|
||
|
|
|
||
|
|
|
||
|
|
For \emph{whole} notes, tremolo indications
|
||
|
|
should be wider and centered directly over or under the note. These
|
||
|
|
are generated by commands \keyindex{Trml}, \keyindex{Trmu}, \keyindex{Trrml},
|
||
|
|
\keyindex{Trrmu}, \keyindex{Trrrml} and \keyindex{Trrrmu}; for example,
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\nostartrule
|
||
|
|
\startextract
|
||
|
|
\NOTEs\Trml h\zw h\Trmu j\wh j\en
|
||
|
|
\bar%
|
||
|
|
\NOTEs\Trrml h\zw h\Trrmu j\wh j\en
|
||
|
|
\bar%
|
||
|
|
\NOTEs\Trrrml h\zw h\Trrrmu j\wh j\en
|
||
|
|
\endextract
|
||
|
|
\end{music}\noindent
|
||
|
|
which is coded as
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\NOTEs\Trml h\zw h\Trmu j\wh j\en\bar
|
||
|
|
\NOTEs\Trrml h\zw h\Trrmu j\wh j\en\bar
|
||
|
|
\NOTEs\Trrrml h\zw h\Trrrmu j\wh j\en
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
|
||
|
|
For all of the commands described in this section, the pitch parameter may be used
|
||
|
|
if it is necessary to raise or lower the tremolo indication.
|
||
|
|
%however, note values
|
||
|
|
%must be alphabetic and not numeric,
|
||
|
|
%because transposition is used to adjust the vertical position of the mini-beams.
|
||
|
|
|
||
|
|
\section{Piano pedal commands}
|
||
|
|
The macro \keyindex{PED} inserts a piano-pedal command below the staff;
|
||
|
|
\keyindex{DEP}, a pedal release. Alternate symbols, the first of which
|
||
|
|
occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}.
|
||
|
|
For example,
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\setclef1\bass
|
||
|
|
\setstaffs1{2}
|
||
|
|
\startextract
|
||
|
|
\NOtes\PED\wh J|\qu h\en
|
||
|
|
\NOtes|\qu g\en
|
||
|
|
\NOtes|\hu k\en
|
||
|
|
\Notes\DEP\en
|
||
|
|
\bar
|
||
|
|
\NOtes\sPED\wh J|\qu h\en
|
||
|
|
\NOtes|\qu g\en
|
||
|
|
\NOtes|\hu k\en
|
||
|
|
\Notes\sDEP\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
\noindent was coded as \begin{quote}\begin{verbatim}
|
||
|
|
\NOtes\PED\wh J|\qu h\en
|
||
|
|
\NOtes|\qu g\en
|
||
|
|
\NOtes|\hu k\en
|
||
|
|
\Notes\DEP\en \bar
|
||
|
|
\NOtes\sPED\wh J|\qu h\en
|
||
|
|
\NOtes|\qu g\en
|
||
|
|
\NOtes|\hu k\en
|
||
|
|
\Notes\sDEP\en
|
||
|
|
\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 has the default
|
||
|
|
definition \verb|\def|\keyindex{raiseped}\verb|{-5}|.
|
||
|
|
To locally change the vertical position of a pedal symbol, use one of 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 .7cm{ \Ped\hss} symbol is rather wide, it might collide
|
||
|
|
with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|.
|
||
|
|
|
||
|
|
The following excerpt from \textit{Liebestr\"aume} by Franz Liszt illustrates
|
||
|
|
a more modern approach to specifying piano-pedal usage:
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\smallmusicsize
|
||
|
|
\relativeaccid
|
||
|
|
\parindent=0pt
|
||
|
|
\generalmeter{\meterfrac64}\generalsignature{-4}
|
||
|
|
\nobarnumbers
|
||
|
|
\setstaffs12\setclef1{\bass}
|
||
|
|
\def\raiseped{-11}
|
||
|
|
\def\qpl{\raise-2\Interligne\qp}
|
||
|
|
\def\qpu{\raise2\Interligne\qp}
|
||
|
|
\def\hppl{\lifthpausep{-2}}
|
||
|
|
\startpiece\addspace\afterruleskip%
|
||
|
|
\NOtes\zqu L\qpl|\qp\en
|
||
|
|
\bar%
|
||
|
|
\Notes\loff{\pdld}\ql H\sk\qpl\sk\qpl|%
|
||
|
|
\zhl{.c}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
|
||
|
|
\Notes\zhu{.c}\hppl|%
|
||
|
|
\ds\ibu1i0\qb1{ehjh}\tqu1e\en
|
||
|
|
\bar%
|
||
|
|
\Notes\pdlud\ql G\sk\qpl\sk\qpl|%
|
||
|
|
\itied1c\zhl{.c}\ds\ibu1i0\qb1{^eiji}\tqu1e\en
|
||
|
|
\Notes\hppl\sk\sk\sk\qu c|%
|
||
|
|
\ttie1\zhl{c}\ds\ibu1i0\qb1{eiji}\tqu1e\en
|
||
|
|
\stoppiece%
|
||
|
|
\def\raiseped{-15}
|
||
|
|
\contpiece%%
|
||
|
|
\Notes\pdlud\ql F\sk\qpl\sk\zqu c\qpl|%
|
||
|
|
\zhl{c}\ds\ibu1i0\qb1{=e^hjh}\tqu1e\en
|
||
|
|
\Notes\hppl\sk\sk\sk\qu c|%
|
||
|
|
\zhl{d}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
|
||
|
|
\bar%
|
||
|
|
\Notes\pdlud\ql B\sk\qpl\sk\qpl|%
|
||
|
|
\zhl{.c}\ds\ibu1i0\qb1{^d^hjh}\tqu1d\en
|
||
|
|
\Notes\zqu{M}\hppl\sk\sk\qpu\sk\qu M|%
|
||
|
|
\ds\ibu1i0\qb1{dhjh}\tqu1d\en
|
||
|
|
\bar%
|
||
|
|
\Notes\zmidstaff{$\cdots$}\sk\pdlu\sk|\en
|
||
|
|
\endpiece%
|
||
|
|
\end{music}
|
||
|
|
\vspace*{2ex}\par\noindent
|
||
|
|
This has been coded using the following commands:
|
||
|
|
\begin{quote}
|
||
|
|
\begin{tabular}{lll}
|
||
|
|
\keyindex{pdld}& pedal down & \huge$\llcorner$\\
|
||
|
|
\keyindex{pdlu}& pedal up & \huge$\lrcorner$\\
|
||
|
|
\keyindex{pdlud} & pedal up and immediately down & \_\raisebox{2pt}{$\!\bigwedge\!$}\_
|
||
|
|
\end{tabular}
|
||
|
|
\end{quote}
|
||
|
|
The elevation is determined by the value of \keyindex{raiseped}.
|
||
|
|
Here is how the excerpt may be coded:
|
||
|
|
\begin{quote}
|
||
|
|
\begin{footnotesize}
|
||
|
|
\begin{verbatim}
|
||
|
|
\smallmusicsize\relativeaccid\nobarnumbers
|
||
|
|
\generalmeter{\meterfrac64}
|
||
|
|
\generalsignature{-4}
|
||
|
|
\setstaffs12\setclef1{\bass}
|
||
|
|
\def\raiseped{-11}
|
||
|
|
\def\qpl{\raise-2\Interligne\qp}
|
||
|
|
\def\qpu{\raise2\Interligne\qp}
|
||
|
|
\def\hppl{\lifthpausep{-2}}
|
||
|
|
\startpiece\addspace\afterruleskip%
|
||
|
|
\NOtes\zqu L\qpl|\qp\en
|
||
|
|
\bar%
|
||
|
|
\Notes\loff{\pdld}\ql H\sk\qpl\sk\qpl|%
|
||
|
|
\zhl{.c}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
|
||
|
|
\Notes\zhu{.c}\hppl|%
|
||
|
|
\ds\ibu1i0\qb1{ehjh}\tqu1e\en
|
||
|
|
\bar%
|
||
|
|
\Notes\pdlud\ql G\sk\qpl\sk\qpl|%
|
||
|
|
\itied1c\zhl{.c}\ds\ibu1i0\qb1{^eiji}\tqu1e\en
|
||
|
|
\Notes\hppl\sk\sk\sk\qu c|%
|
||
|
|
\tltie1\zhl{c}\ds\ibu1i0\qb1{eiji}\tqu1e\en
|
||
|
|
\stoppiece%
|
||
|
|
\def\raiseped{-15}
|
||
|
|
\contpiece%
|
||
|
|
\Notes\pdlud\ql F\sk\qpl\sk\zqu c\qpl|%
|
||
|
|
\zhl{.c}\ds\ibu1i0\qb1{=e^hjh}\tqu1e\en
|
||
|
|
\Notes\hppl\sk\sk\sk\qu c|%
|
||
|
|
\zhl{d}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
|
||
|
|
\bar%
|
||
|
|
\Notes\pdlud\ql B\sk\qpl\sk\qpl|%
|
||
|
|
\zhl{c}\ds\ibu1i0\qb1{^d^hjh}\tqu1d\en
|
||
|
|
\Notes\zqu{M}\hppl\sk\sk\qpu\sk\qu M|%
|
||
|
|
\ds\ibu1i0\qb1{dhjh}\tqu1d\en
|
||
|
|
\bar%
|
||
|
|
\Notes\zmidstaff{$\cdots$}\sk\pdlu\sk|\en
|
||
|
|
\endpiece
|
||
|
|
\end{verbatim}
|
||
|
|
\end{footnotesize}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
\pagebreak
|
||
|
|
\noindent
|
||
|
|
The following ``mixed'' patterns are also supported:
|
||
|
|
\begin{quote}
|
||
|
|
\begin{verbatim}
|
||
|
|
\PED ... [\pdlud].. ... \pdlu
|
||
|
|
|
||
|
|
\sPED ... [\pdlud].. ... \pdlu
|
||
|
|
\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
\section{Alphabetic dynamic marks}
|
||
|
|
Conventional dynamic symbols
|
||
|
|
\pppp, \ppp, \pp,
|
||
|
|
\p,
|
||
|
|
\mezzopiano,
|
||
|
|
\mf,
|
||
|
|
\f,
|
||
|
|
\fp,
|
||
|
|
\sF,
|
||
|
|
\ff,
|
||
|
|
\fff,
|
||
|
|
\ffff,
|
||
|
|
\sfz\ and
|
||
|
|
\sfzp\ can be posted using the macros
|
||
|
|
\keyindex{pppp},
|
||
|
|
\keyindex{ppp},
|
||
|
|
\keyindex{pp},
|
||
|
|
\keyindex{p},
|
||
|
|
\keyindex{mp},
|
||
|
|
\keyindex{mf},
|
||
|
|
\keyindex{f},
|
||
|
|
\keyindex{fp},
|
||
|
|
\keyindex{sF},
|
||
|
|
\keyindex{ff},
|
||
|
|
\keyindex{fff},
|
||
|
|
\keyindex{ffff},
|
||
|
|
\keyindex{sfz} and
|
||
|
|
\keyindex{sfzp}, respectively, as the second argument of \verb|\zcn| (\verb|\zcharnote|) or
|
||
|
|
\verb|\ccn| (\verb|\ccharnote|).
|
||
|
|
See also Section~\ref{musixppff} for an alternative set of dynamic marks.
|
||
|
|
|
||
|
|
|
||
|
|
\section{Length of note stems}
|
||
|
|
|
||
|
|
The default length of note stems is the distance of one octave, i.e.,~\verb|7\internote| or \texttt{4.66}\keyindex{interbeam}. The default may be changed
|
||
|
|
with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in
|
||
|
|
\verb|\interbeam|s.
|
||
|
|
|
||
|
|
The command \keyindex{stemcut} causes stems that extend outside the staff
|
||
|
|
to be shortened depending on the pitch of the notes. It is the default
|
||
|
|
behavior. To suppress this adjustment, issue the command
|
||
|
|
\keyindex{nostemcut}.
|
||
|
|
|
||
|
|
Normally, down stems never end above the middle line of the staff and up stems
|
||
|
|
never below that line. The command \keyindex{stdstemfalse} will inhibit this
|
||
|
|
adjustment, but only for the next stem generated. There is no command to globally
|
||
|
|
suppress this behavior.
|
||
|
|
|
||
|
|
\section{Brackets, parentheses, oblique lines and slides}\label{brapar}
|
||
|
|
|
||
|
|
Several varieties of brackets\index{brackets}, parentheses\index{parentheses} and oblique lines\index{oblique lines} are provided for
|
||
|
|
use within a score.
|
||
|
|
\begin{itemize}\setlength{\itemsep}{0ex}
|
||
|
|
\item \keyindex{lpar}\verb|{|$p$\verb|}| and
|
||
|
|
\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right
|
||
|
|
parentheses at pitch $p$. They can be used to enclose notes or to build
|
||
|
|
``big'' cautionary\index{cautionary accidental} accidentals. For example,
|
||
|
|
\\
|
||
|
|
\begin{center}
|
||
|
|
\begin{tabular}{ll}
|
||
|
|
\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\NOtes\qsk\lpar g\rpar g\hu g\sk%
|
||
|
|
\loffset{1.5}{\lpar g\rpar g}\loffset{.4}{\sh g}\hu g\sk%
|
||
|
|
\loffset{2.1}{\lpar g}\loffset{1.5}{\rpar g}\loffset{.4}{\dfl g}\hu g\en}}
|
||
|
|
\end{tabular}
|
||
|
|
\end{center}
|
||
|
|
is coded as
|
||
|
|
\end{itemize}
|
||
|
|
\begin{center}\small
|
||
|
|
\begin{tabular}{l}
|
||
|
|
\verb+\NOtes\lpar g\rpar g\hu g\sk%+\\
|
||
|
|
\verb+\loffset{1.5}{\lpar g\rpar g}\loffset{.4}{\sh g}\hu g\sk%+\\
|
||
|
|
\verb+\loffset{2.1}{\lpar g}\loffset{1.5}{\rpar g}\loffset{.4}{\dfl g}\hu g\en+
|
||
|
|
\end{tabular}
|
||
|
|
\end{center}
|
||
|
|
\begin{itemize}
|
||
|
|
\item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a
|
||
|
|
square bracket to the left of a chord, vertically spanning $n$
|
||
|
|
\verb|internote|s.
|
||
|
|
\item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as
|
||
|
|
above spanning 2\verb|\internote|s.
|
||
|
|
\item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
|
||
|
|
\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|
|
||
|
|
draw a sloped bracket starting at the current position at pitch $p$,
|
||
|
|
with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of
|
||
|
|
$1.125$~degrees.
|
||
|
|
\item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
|
||
|
|
\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like
|
||
|
|
\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside.
|
||
|
|
|
||
|
|
\item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an
|
||
|
|
oblique line starting at the current horizontal position. It must be used
|
||
|
|
inside a zero-width box, such as for example as the second argument of
|
||
|
|
\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the
|
||
|
|
length, and $s$ is the slope. It is used in the definitions of some of
|
||
|
|
the foregoing macros, and could be used, for example, to construct various
|
||
|
|
obscure baroque ornaments made up of diagonal lines.
|
||
|
|
|
||
|
|
\item \keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~ provides a \emph{glissando}
|
||
|
|
starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with
|
||
|
|
slope {\it s} (ranging from $-8$ to $8$).
|
||
|
|
|
||
|
|
\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
|
||
|
|
\NOtesp\roffset{1.5}{\slide J33}\ca{JM}|\roffset{1.5}{\slide j33}\ca{jm}\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
\noindent is coded as
|
||
|
|
\begin{quote}\small\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
|
||
|
|
\NOtesp\roffset{1.5}{\slide J33}\ca{JM}|\roffset{1.5}{\slide j33}\ca{jm}\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
|
||
|
|
\section{Forcing activity at the beginning of systems}
|
||
|
|
A macro named \keyindex{everystaff} is executed each time a new system
|
||
|
|
begins. It is normally void, but it can be defined (simply by \verb|\def|%
|
||
|
|
\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything
|
||
|
|
reasonable at the beginning of each system. For it to affect the first system
|
||
|
|
in a score, it must be defined \ital{before}
|
||
|
|
\verb|\startpiece|.
|
||
|
|
|
||
|
|
If a macro named \keyindex{atnextline} is defined at any point in a score,
|
||
|
|
it will be executed just once, viz., at the next computed or forced system
|
||
|
|
break. More
|
||
|
|
precisely, it is executed after the break and before the next system begins.
|
||
|
|
Thus it is suitable for redefining layout parameters.
|
||
|
|
|
||
|
|
\index{octave treble clef}In some scores, tenor parts are not coded using the
|
||
|
|
\ital{bass} clef, but using rather the \ital{octave treble clef}, which is
|
||
|
|
subscripted by a numeral {\tt8}.
|
||
|
|
This clef is supported by the clef substitution command
|
||
|
|
\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already
|
||
|
|
explained in Section~\ref{treblelowoct}. However, if for some reason you
|
||
|
|
aren't happy with the height of the ``8'', it can be posted on selected
|
||
|
|
staves at the beginning of every system using \keyindex{everystaff} and
|
||
|
|
\keyindex{zcharnote} as follows:
|
||
|
|
|
||
|
|
\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
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\noindent
|
||
|
|
The coding is
|
||
|
|
\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}
|
||
|
|
|
||
|
|
|
||
|
|
\section{Tablature}\label{tablature}\index{tablature}
|
||
|
|
Tablature is a notational system used for fretted stringed instruments such
|
||
|
|
as lute, guitar, banjo, mandolin, and so on. Staff lines represent strings
|
||
|
|
and conventional note heads are replaced by numbers (or sometimes letters)
|
||
|
|
indicating which fret is to be stopped, with $0$ representing an open string.
|
||
|
|
|
||
|
|
A special clef symbol
|
||
|
|
\keyindex{tabclef} may be used with \verb|\setclefsymbol| for a tablature staff; commands \verb|\setlines|, \verb|\setsign|,
|
||
|
|
\verb|\setsize| and \verb|\setname| may be used as usual for a tablature staff.
|
||
|
|
A size-dependent font \keyindex{tabstringfnt} can be used for string names.
|
||
|
|
|
||
|
|
The macros that put numbers (or letters) on staff lines
|
||
|
|
are as follows:
|
||
|
|
\begin{itemize}
|
||
|
|
\item \keyindex{tab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
|
||
|
|
puts $p$ on string $n$
|
||
|
|
(counting from top to bottom); $p$ is centered, using \verb|\ccharnote|.
|
||
|
|
Space for a ``rest'' can be generated by a command like
|
||
|
|
\verb|\qa{*}|.
|
||
|
|
Ledger lines are replaced by slashes (/) for $n$ greater than the number of staff lines,
|
||
|
|
or simply the number of courses below the staff if this is greater than 3.
|
||
|
|
\item \keyindex{ltab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
|
||
|
|
uses \verb|\zcharnote| so $p$
|
||
|
|
spills to the right and
|
||
|
|
\keyindex{rtab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
|
||
|
|
uses \verb|\lcharnote| so $p$
|
||
|
|
spills to the left.
|
||
|
|
\item \keyindex{ztab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
|
||
|
|
is a non-spacing \verb|\tab|, and can be used for building chords.
|
||
|
|
\item \keyindex{zltab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
|
||
|
|
is a non-spacing \verb|\ltab| and
|
||
|
|
\keyindex{zrtab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
|
||
|
|
is a non-spacing \verb|\rtab|.
|
||
|
|
\end{itemize}
|
||
|
|
A size-dependent font \keyindex{tabfnt} is used for tab characters. Helvetica bold is the
|
||
|
|
default font family but the traditional script letters of French tablature may be obtained by
|
||
|
|
inputting the extension library \verb|musixftab.tex|\index{musixftab@{\tt musixftab.tex}}
|
||
|
|
described in Section~\ref{frenchtab}.
|
||
|
|
|
||
|
|
The default tablature style is to place fingering notations \emph{on} staff lines;
|
||
|
|
Postscript specials are used to ``blank'' staff lines below
|
||
|
|
the tab characters.
|
||
|
|
Here is an example
|
||
|
|
for baroque lute
|
||
|
|
(from \emph{Ciaccona} in D~minor by J.S.~Bach):
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\input musixps
|
||
|
|
\def\psslurhgt{0.5}
|
||
|
|
\instrumentnumber{2}
|
||
|
|
\songbottom1\songtop2
|
||
|
|
\generalmeter{\meterfrac34}
|
||
|
|
\interinstrument=5\internote
|
||
|
|
\nobarnumbers
|
||
|
|
\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
|
||
|
|
\setsign2{-1}\setclefsymbol2\treblelowoct
|
||
|
|
\parindent=2ex
|
||
|
|
\setname1{\tabstringfnt\baselineskip=1.2\internote%
|
||
|
|
\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
|
||
|
|
\startextract
|
||
|
|
\scale{0.8}
|
||
|
|
\NOtes\qa{*}&\qp\en
|
||
|
|
\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
|
||
|
|
\Notes\ltab30&\cu{h}\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en
|
||
|
|
\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
|
||
|
|
\Notes\ltab22&\cu{l}\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en
|
||
|
|
\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en
|
||
|
|
\Notes\ltab33&\cu j\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en
|
||
|
|
\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en
|
||
|
|
\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53%
|
||
|
|
&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en
|
||
|
|
\bar%
|
||
|
|
\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50%
|
||
|
|
&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
|
||
|
|
\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
|
||
|
|
\Notes\ltab30&\cu{h}\en
|
||
|
|
\bar%
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\noindent
|
||
|
|
The coding is
|
||
|
|
\begin{footnotesize}
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\instrumentnumber{2}
|
||
|
|
\songbottom1\songtop2
|
||
|
|
\generalmeter{\meterfrac34}
|
||
|
|
\interinstrument=4\internote
|
||
|
|
\nobarnumbers
|
||
|
|
\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
|
||
|
|
\setsign2{-1}\setclefsymbol2\treblelowoct
|
||
|
|
\parindent=2ex
|
||
|
|
\setname1{\tabstringfnt\baselineskip=1.2\internote%
|
||
|
|
\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
|
||
|
|
\startextract
|
||
|
|
\NOtes\qa{*}&\qp\en
|
||
|
|
\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
|
||
|
|
\Notes\ltab30&\cu{h}\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en
|
||
|
|
\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
|
||
|
|
\Notes\ltab22&\cu{l}\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en
|
||
|
|
\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en
|
||
|
|
\Notes\ltab33&\cu j\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en
|
||
|
|
\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en
|
||
|
|
\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53%
|
||
|
|
&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en
|
||
|
|
\bar%
|
||
|
|
\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50%
|
||
|
|
&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
|
||
|
|
\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
|
||
|
|
\Notes\ltab30&\cu{h}\en
|
||
|
|
\bar\zendextract
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
\end{footnotesize}
|
||
|
|
|
||
|
|
\clearpage
|
||
|
|
|
||
|
|
\par\noindent
|
||
|
|
If it is desired that fingering notations be placed \emph{above} staff lines, use
|
||
|
|
the command \keyindex{tabstylespacetrue}.
|
||
|
|
Here is the same example with \verb|\tabstylespacetrue|:
|
||
|
|
\begin{music}
|
||
|
|
\input musixps
|
||
|
|
\def\psslurhgt{0.5}
|
||
|
|
\tabstylespacetrue
|
||
|
|
\instrumentnumber{2}
|
||
|
|
\songbottom1\songtop2
|
||
|
|
\generalmeter{\meterfrac34}
|
||
|
|
\interinstrument=4\internote
|
||
|
|
\nobarnumbers
|
||
|
|
\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
|
||
|
|
\setsign2{-1}\setclefsymbol2\treblelowoct
|
||
|
|
\parindent=2ex
|
||
|
|
\setname1{\tabstringfnt\baselineskip=1.2\internote%
|
||
|
|
\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
|
||
|
|
\startextract
|
||
|
|
\scale{0.8}
|
||
|
|
\NOtes\qa{*}&\qp\en
|
||
|
|
\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
|
||
|
|
\Notes\ltab30&\cu{h}\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en
|
||
|
|
\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
|
||
|
|
\Notes\ltab22&\cu{l}\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en
|
||
|
|
\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en
|
||
|
|
\Notes\ltab33&\cu j\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en
|
||
|
|
\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en
|
||
|
|
\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53%
|
||
|
|
&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en
|
||
|
|
\bar%
|
||
|
|
\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50%
|
||
|
|
&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
|
||
|
|
\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
|
||
|
|
\Notes\ltab30&\cu{h}\en
|
||
|
|
\bar%
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\medskip
|
||
|
|
|
||
|
|
\noindent
|
||
|
|
In pure tablature, note durations can be specified by tiny notes
|
||
|
|
above the staff, as in:
|
||
|
|
\medskip
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\input musixps
|
||
|
|
\def\psslurhgt{0.5}
|
||
|
|
\instrumentnumber{1}
|
||
|
|
\generalmeter{\meterfrac34}
|
||
|
|
\generalsignature{-1}
|
||
|
|
\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
|
||
|
|
\nobarnumbers
|
||
|
|
\parindent=2ex
|
||
|
|
\setname1{\tabstringfnt\baselineskip=1.2\internote%
|
||
|
|
\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
|
||
|
|
\nostartrule
|
||
|
|
\startextract
|
||
|
|
\scale{0.8}
|
||
|
|
\NOtes\tzqu\qa{*}\en
|
||
|
|
\NOtesp\zltab50\zltab40\tzqup\ltab30\en
|
||
|
|
\Notes\tzcu\ltab30\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab42\zltab31\tzqu\ltab22\en
|
||
|
|
\NOtesp\zltab64\zltab35\zltab30\tzqup\ltab22\en
|
||
|
|
\Notes\tzcu\ltab22\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab30\zltab20\tzqu\ltab10\en
|
||
|
|
\NOtes\zltab61\zltab40\tzqup\ltab20\en
|
||
|
|
\Notes\tzcu\ltab33\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab70\zltab55\tzqu\ltab45\en
|
||
|
|
\NOtes\zltab60\zltab53\ltab44\en
|
||
|
|
\notes\zltab64\tzccu\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53\en
|
||
|
|
\bar%
|
||
|
|
\notes\ztab{10}0\tzccu\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50\en
|
||
|
|
\NOtesp\zltab50\zltab40\tzqup\ltab30\en
|
||
|
|
\Notes\tzcu\ltab30\en
|
||
|
|
\bar%
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
\medskip
|
||
|
|
\noindent
|
||
|
|
|
||
|
|
\smallskip
|
||
|
|
|
||
|
|
\noindent
|
||
|
|
A tiny note can be generated above the staff using one of the commands
|
||
|
|
\keyindex{tzwh}, \keyindex{tzwhp}, \keyindex{tzhu}, \keyindex{tzhup}, \keyindex{tzqu}, \keyindex{tzqup}, \keyindex{tzcu}, \keyindex{tzcup}, \keyindex{tzccu}, \ldots\
|
||
|
|
\emph{before} a spacing command. These commands suppress spurious ledger lines and
|
||
|
|
avoid raising dots on dotted notes.
|
||
|
|
|
||
|
|
\smallskip
|
||
|
|
|
||
|
|
\noindent
|
||
|
|
Coding
|
||
|
|
for the notes in the example above is as follows:
|
||
|
|
\begin{footnotesize}
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\startextract
|
||
|
|
\NOtes\tzqu\qa{*}\en
|
||
|
|
\NOtesp\zltab50\zltab40\tzqup\ltab30\en
|
||
|
|
\Notes\tzcu\ltab30\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab42\zltab31\tzqu\ltab22\en
|
||
|
|
\NOtesp\zltab64\zltab35\zltab30\tzqup\ltab22\en
|
||
|
|
\Notes\tzcu\ltab22\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab50\zltab30\zltab20\tzqu\ltab10\en
|
||
|
|
\NOtes\zltab61\zltab40\tzqup\ltab20\en
|
||
|
|
\Notes\tzcu\ltab33\en
|
||
|
|
\bar%
|
||
|
|
\NOtes\zltab70\zltab55\tzqu\ltab45\en
|
||
|
|
\NOtes\zltab60\zltab53\ltab44\en
|
||
|
|
\notes\zltab64\tzccu\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53\en
|
||
|
|
\bar%
|
||
|
|
\notes\ztab{10}0\tzccu\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50\en
|
||
|
|
\NOtesp\zltab50\zltab40\tzqup\ltab30\en
|
||
|
|
\Notes\tzcu\ltab30\en
|
||
|
|
\bar%
|
||
|
|
\zendextract
|
||
|
|
\end{verbatim}\end{quote}
|
||
|
|
\end{footnotesize}
|
||
|
|
|
||
|
|
\medskip
|
||
|
|
Tablature support in \musixtex\ has been adapted
|
||
|
|
from \verb|tabdefs.tex| by R.J.~Gelten, which is available
|
||
|
|
\href{http://icking-music-archive.org/software/musixtex/add-ons/tabdefs.tex}
|
||
|
|
{\underline{here}}
|
||
|
|
at WIMA\index{WIMA}.
|