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\chapter{Accidentals}
\vspace*{-3ex}
Accidentals can be introduced in two ways.
The first way, using explicit macros, consists for
example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the
pitch $p$, presumably right before a note at the same pitch. This is a
non-spacing command and will automatically place the accidental an
appropriate distance to the left of the anticipated note head.
Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp,
\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively.
The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh},
\keyindex{ldfl} and \keyindex{ldsh}
place the same accidentals, but shifted one note head width
to the left. These can be used if a note head has been shifted to the left, or
to avoid collision with other accidentals
in a chord. If you want to shift an accidental by some other amount for
more precise positioning, you could use \keyindex{loffset} with the normal
accidental macro as the second parameter.
The second way of coding accidentals is to modify the parameter of a
note command. Just put the symbol
\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural,
\verb|>| for a double sharp, or \verb|<| for a double
flat, right before the letter or number representing the pitch.
For example, \verb|\qb{^g}| yields a
$G\sharp$. This may be used effectively in collective coding, e.g.
\verb|\qu{ac^d}|.
There are two sizes of accidentals. By default they will be large unless there
is not enough space between notes, in which case they will be made small. Either
size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or
\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to
be large, then declare \keyindex{bigaccid} near the top of the input file. For
exclusively small ones use \keyindex{smallaccid}; \keyindex{varaccid} will restore
variable sizes.
For editorial purposes, small accidentals can be placed \ital{above} note
heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or
\keyindex{upperfl}\pitchp:
\begin{music}\nostartrule
\startextract
\NOtes\uppersh l\qa l\en
\NOtes\upperna m\qa m\en
\NOtes\upperfl l\qa l\en
\zendextract
\end{music}
\vspace*{-2ex}
It also possible to introduce \ital{\ixem{cautionary accidental}s},
i.e.,~small accidentals enclosed in parentheses. This is done by preceding
the name of the accidental keyword with ``\verb|c|''\label{cautionary}.
Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl},
\keyindex{cna},
\keyindex{cdfl} and \keyindex{cdsh}, which give
\begin{music}\nostartrule
\startextract
\NOtes\csh g\qa g\en
\NOtes\cfl h\qa h\en
\NOtes\cna i\qa i\en
\NOtes\cdfl j\qa j\en
\NOtes\cdsh k\qa k\en
\zendextract
\end{music}
\vspace*{-2ex}
\noindent The distance between notes and accidentals is controlled by
\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where
positive values shift to the left and negative to right, with a
default of~\verb|0pt|.
For ``big'' cautionary accidentals, use, for example,
\verb|{|\keyindex{largenotesize}\verb|\csh|\pitchp\verb|}| or see Section~\ref{brapar}.

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\chapter{Bar Lines}
\section{Single, double, and invisible bar lines}\label{doublebars}
The usual macro to typeset a single bar line is \keyindex{bar}.
There is a possibility of
confusion with a command in \TeX's math mode that has exactly the same name.
However, there will generally be no problem, because inside
\verb|\startpiece...\endpiece|,
\verb|\bar| will take the musical meaning, while outside, it will have the
mathematical one.
If for some reason you need the math \verb|\bar| inside, you can use
\verb|\endcatcodesmusic...\bar...\catcodesmusic|.
To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could
also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or
\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced
by a double bar.
There is no specific command to print a thin-thick double bar line, but
\keyindex{setdoubleBAR} will cause one in the same cases where
\verb|\setdoublebar| would cause a thin-thin double bar line.
To typeset a double-bar line in the middle of a bar, use \keyindex{zdoublebar};
use \keyindex{zzdoublebar} to force the mid-bar double-bar line to the end
of a system.
To make the next bar line invisible, use \keyindex{setemptybar} before
\verb|\bar|.
You can suppress the beginning vertical rule with saying \keyindex{nostartrule}
and restore the default with \keyindex{startrule} after that. Note that
it is conventional practice to omit beginning rules for single-staff music.
\section{Simple discontinuous bar lines}
Normally, bars (as well as double bars, final bars and repeat bars) are
drawn continuously from the bottom of the lowest staff of the
lowest instrument to the top of the highest staff of the uppermost
instrument. However, if desired, they can be made discontinuous between
instruments by saying \keyindex{sepbarrules}. An example of this is given in
%avrb
%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the
%avre
\texttt{avemaria.tex} in Section~\ref{avemaria}\label{avemaria2}.
Continuous bar lines can be restored with \keyindex{stdbarrules}. In
the extension library are some more types of bar rules, mainly for very old
music, see Section~\ref{otherbars}.
% DAS. Andre, are there some other kinds of bars in an addon?
\section{Elementary asynchronous bar lines}
Situations may arise where the bar lines in different instruments are not
aligned with one another. To set this up, first say \verb|\sepbarrules|.
Then use a combination of the following five commands:
\begin{itemize}\setlength{\itemsep}{0ex}
\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until
this is changed by \verb|\showbarrule|\onen.
\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$,
until this is changed by \verb|\hidebarrule|\onen.
\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only
for the next bar.
\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument
$n$ once only,
and then resets it.
%
% DAS ???
% and then resets it to \verb|hidebarrule|.
%
\item\keyindex{showallbarrules} resets all defined instruments to
\verb|\showbarrule|\onen. This command is automatically inserted with double
bars, final bars and repeats.
\end{itemize}
Thus, this example
\begin{music}
\instrumentnumber3
\setmeter3{{\meterfrac{3}{4}}}
\setmeter2{{\meterfrac{2}{4}}}
\setmeter1{{\meterfrac{3}{8}}}
\nobarnumbers
\sepbarrules
\startextract
\NOtes\pt f\qa f&\qa f&\qa f\en
\hidebarrule2\hidebarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\showbarrule2\bar
\NOtes\pt f\qa f&\qa f&\qa f\en
\hidebarrule2\showbarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\showbarrule2\hidebarrule3\bar
\NOtes\pt f\qa f&\qa f&\qa f\en
\hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\setdoublebar
\bar\hidebarrule3
\NOtes\pt f\qa f&\qa f&\qa f\en
\Hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\bar
\NOtes\pt f\qa f&\qa f&\qa f\en
\message{Showbarrule3 coming}%
\Hidebarrule2\Showbarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\bar
\NOtes\pt f\qa f&\qa f&\qa f\en
\Hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\setrightrepeat
\endextract
\end{music}
\noindent was obtained with the following coding:
\begin{quote}\begin{verbatim}
\instrumentnumber3
\setmeter3{{\meterfrac{3}{4}}}
\setmeter2{{\meterfrac{2}{4}}}
\setmeter1{{\meterfrac{3}{8}}}
\nobarnumbers
\sepbarrules
\startextract
\NOtes\pt f\qa f&\qa f&\qa f\en
\hidebarrule2\hidebarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\showbarrule2\bar
\NOtes\pt f\qa f&\qa f&\qa f\en
\hidebarrule2\showbarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\showbarrule2\hidebarrule3\bar
\NOtes\pt f\qa f&\qa f&\qa f\en
\hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\setdoublebar
\bar\hidebarrule3
\NOtes\pt f\qa f&\qa f&\qa f\en
\Hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\bar
\NOtes\pt f\qa f&\qa f&\qa f\en
\message{Showbarrule3 coming}%
\Hidebarrule2\Showbarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\bar
\NOtes\pt f\qa f&\qa f&\qa f\en
\Hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
\setrightrepeat
\zendextract
\end{verbatim}\end{quote}
\section{Dotted, dashed, asynchronous and discontinuous bar lines}\label{musixdbr}
The extension
package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex}
{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for
dashed, dotted, and arbitrarily discontinuous bar lines. It supports
individual bar line settings for each instrument, multi-staff instruments,
different sizes of staves, and even different numbers of lines per staff,
To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and
execute the macro \keyindex{indivbarrules} which activates individual bar line
processing. Then the following commands are available:
\begin{itemize}\setlength{\itemsep}{0ex}
\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$
\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
with a dashed line
\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
with a dotted line
\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$
\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$
\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$
\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$
\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$
\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$
\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$
\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$
\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar
line style for all instruments together.
\end{itemize}
Dashing and dotting style may be changed by redefining the macros
\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|).
Here is an example of the use of these macros:
\begin{music}
\input musixdbr
\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue
\indivbarrules
\parindent0pt\startextract
%\startpiece
%\scale{2}
% normal barlines
\bar
% separate instrument 2 from 1
\sepbarrule2
\notes\en\bar
% barlines on staves
\allbarrules\sepbarrule
\allbarrules\sepmultibarrule
\allbarrules\showbarrule
\NOTes\en\bar
% barlines between staves
\allbarrules\conbarrule
\allbarrules\conmultibarrule
\allbarrules\hidebarrule
\NOTes\en\bar
% dashed barlines on staves
\allbarrules\sepbarrule
\allbarrules\sepmultibarrule
\allbarrules\showdashbarrule
\NOTes\en\bar
% dashed barlines between staves
\allbarrules\condashbarrule
\allbarrules\condashmultibarrule
\allbarrules\hidebarrule
\NOTes\en\bar
% dotted barlines on staves
\allbarrules\sepbarrule
\allbarrules\sepmultibarrule
\allbarrules\showdotbarrule
\NOTes\en\bar
% dotted barlines between staves
\allbarrules\condotbarrule
\allbarrules\condotmultibarrule
\allbarrules\hidebarrule
\NOTes\en\bar
% a wild mixture of all
\showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
\condashbarrule2\conbarrule3\condotbarrule4%
\condashmultibarrule2\sepmultibarrule3%
\NOTes\en\bar
% conventional ending
\allbarrules\showbarrule
\allbarrules\conbarrule
\allbarrules\conmultibarrule
\NOTes\en\setdoubleBAR\endextract
\end{music}
This is the code:
\begin{quote}\begin{verbatim}
\input musixdbr
\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue
\indivbarrules\parindent0pt\startextract
% normal barlines
\bar
% separate instrument 2 from 1
\sepbarrule2
\notes\en\bar
% barlines on staves
\allbarrules\sepbarrule
\allbarrules\sepmultibarrule
\allbarrules\showbarrule
\NOTes\en\bar
% barlines between staves
\allbarrules\conbarrule
\allbarrules\conmultibarrule
\allbarrules\hidebarrule
\NOTes\en\bar
% dashed barlines on staves
\allbarrules\sepbarrule
\allbarrules\sepmultibarrule
\allbarrules\showdashbarrule
\NOTes\en\bar
% dashed barlines between staves
\allbarrules\condashbarrule
\allbarrules\condashmultibarrule
\allbarrules\hidebarrule
\NOTes\en\bar
% dotted barlines on staves
\allbarrules\sepbarrule
\allbarrules\sepmultibarrule
\allbarrules\showdotbarrule
\NOTes\en\bar
% dotted barlines between staves
\allbarrules\condotbarrule
\allbarrules\condotmultibarrule
\allbarrules\hidebarrule
\NOTes\en\bar
% a wild mixture of all
\showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
\condashbarrule2\conbarrule3\condotbarrule4%
\condashmultibarrule2\sepmultibarrule3%
\NOTes\en\bar
% conventional ending
\allbarrules\showbarrule
\allbarrules\conbarrule
\allbarrules\conmultibarrule
\NOTes\en\setdoubleBAR\zendextract
\end{verbatim}\end{quote}

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\chapter{Bar Numbering}
The current bar number is stored in a count register call \keyindex{barno}.
When \verb|\startpiece| is encountered, \verb|\barno| is set equal to
another count register called \verb|\startbarno|, whose default value is one.
Therefore, if you want the first bar to have a number $n$ different from~$1$, you
may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say
\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar
number at any time, either by explicitly resetting \verb|\barno|, or by
incrementing it with a command like \verb|\advance\barno-1|.
\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic}
bar numbering, the bar number is
placed above the top staff with a user-selectable frequency. In
\ital{system} bar numbering, the
number will appear at the beginning of each system.
\section{Periodic bar numbering}
In a normal piece, periodic bar number printing is turned on by default, with a frequency
of one. In an extract, the default is to not print bar numbers.
To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic
bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}.
To change to a
different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|.
The appearance and positioning of the bar number is controlled by the
token \keyindex{writethebarno}, which by default is defined as\\
\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}|
where the font is defined as \verb|\def\fontbarno{\it}|. You can change
either of these as desired, for example
\medskip
\begin{music}\barnumbers
\parindent0pt\startpiece
\Notes\Dqbu gh\Dqbl jh\en
\notes\Dqbbu fg\Dqbbl hk\en\bar
\Notes\Tqbu ghi\Tqbl mmj\en
\def\fontbarno{\bf}%
\notes\Tqbbu fgj\Tqbbl njh\en\bar
\Notes\Qqbu ghjh\Qqbl jifh\en\bar
\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece
\end{music}
\noindent which was coded as
\begin{quote}\begin{verbatim}\barnumbers
\Notes\Dqbu gh\Dqbl jh\en
\notes\Dqbbu fg\Dqbbl hk\en\bar
\Notes\Tqbu ghi\Tqbl mmj\en
\def\fontbarno{\bf}%
\notes\Tqbbu fgj\Tqbbl njh\en\bar
\Notes\Qqbu ghjh\Qqbl jifh\en\bar
\notes\Qqbbu fgge\Qqbbl jhgi\en
\end{verbatim}\end{quote}
\section{System bar numbering}
To have a bar number printed just above the beginning of each system, use
\keyindex{systemnumbers}. The distance above the staff is controlled
by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit
above a treble clef). This can be redefined with the command
\begin{quote}
\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|
\end{quote}
Similarly, the horizontal position is defined by \keyindex{shiftbarno}
which by default is \verb|0pt|.
The number normally is enclosed in a
box. If you don't like that, you may redefine the macro \verb|\writebarno|
which by default is defined as
\begin{quote}
\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|
\end{quote}
This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose
any text string in a box.
Here are some possible alternate formats for system bar numbers:
\medskip
\begin{music}\nostartrule
\def\fontbarno{\it}%
\let\extractline\hbox
\startbarno=36
\hbox to \hsize{%
\hss
\raise20pt\hbox{(a) }%
\systemnumbers\startextract
\Notes\wh g\en
\zendextract
\hss
\def\writebarno{\tenrm\the\barno\barnoadd}%
\def\raisebarno{2\internote}%
\def\shiftbarno{2.5\Interligne}%
\raise20pt\hbox{(b) }%
\systemnumbers\startextract
\Notes\wh g\en
\zendextract
\hss
\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
\def\raisebarno{2\internote}%
\def\shiftbarno{1.3\Interligne}%
\raise20pt\hbox{(c) }%
\systemnumbers\startextract
\Notes\wh g\en
\zendextract
\hss}
\end{music}
\noindent These were coded as
\begin{itemize}\setlength{\itemsep}{0ex}
\item[(a)] (default)
\item[(b)]
\begin{verbatim}
\def\writebarno{\tenrm\the\barno\barnoadd}%
\def\raisebarno{2\internote}%
\def\shiftbarno{2.5\Interligne}%
\end{verbatim}
\item[(c)]
\begin{verbatim}
\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
\def\raisebarno{2\internote}%
\def\shiftbarno{1.3\Interligne}%
\end{verbatim}
\end{itemize}
If the previous line does not stop with a bar rule, then the next
printed system bar number will immediately be followed by the contents
of the token \keyindex{writezbarno}, whose
default setting is the lower case character `\verb|a|'. You might want to
change this to `\verb|+|', in which case you should say
\verb|\def\writezbarno{+}|.

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\chapter{Beams}
\section{Starting a beam}
Each beam must be declared with a macro issued before the first spacing
note under the beam is coded. Two distinct kinds of macros are provided
for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary
slope and starting height chosen by the user, while the second kind, a
``semi-automatic'' beam,
\ital{computes}~the slope and, in addition, adjusts the starting height in some
cases.
\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}}
The basic form of the macros for starting fixed-slope beams is exemplified
by the one for a single upper beam, \keyindex{ibu}\nps. Here
$n$ is the reference number of the beam, $p$ the starting ``pitch'', and
$s$ the slope.
The reference number is assigned by the user.
It is needed because more than one beam may be open at
a time, and it tells \musixtex\ to which beam subsequent beamed notes and
other beam specification commands are assigned.
By default, the reference number must be in the range [$0,5$],
but the range for 8th to 128th beams will be expanded to [$0,8$] or [$0,11$]
if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|.
Alternatively, you can specify the number of $8$th to $64$th beams
directly\footnote{$8$th to $64$th beams are so basic that the maximum
number of these beams is related to the maximum number of instruments
by this command.
Using $m>12$ may require e-\TeX.}
with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}|
within the range $7<m\leq 100$; the corresponding reference number may then be
in the range from 0 to $(m-1)$.
\label{musixmad_setmaxinstruments_ccxviiibeams}
For $128$th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|.
For $256$th notes, which can only appear in beams, see Section~\ref{musixbbm}.
The ``pitch'' parameter $p$ is a pitch that is three
staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above}
the bar for a lower beam); in many (but not all)
cases it should be input as the actual pitch of the first note. The slope $s$
is an integer in the range [$-9,9$]. When multipled
by $5$\%~it gives the actual slope of the heavy bar. Typically a slope of $2$ or $3$
is okay for ascending scales, and $6$ to $9$ for ascending arpeggios.
The full set of fixed-slope beam initiation macros is as follows:
\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
\item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}.
\item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}.
\item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}.
\item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}.
\item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}.
\item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}.
\item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}.
\item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}.
\end{description}\end{quote}
A semi-automatic beam is initiated with a command that has \ital{four}
parameters, the beam number, the first and last pitches, and the total
horizontal extent in
\verb|\noteskip|s, based on the value in effect at the start. For example,
if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to
build an upper beam (beam number $2$) horizontally extending \verb|3\noteskip|,
the first note of which is a \verb|g| and the last note a \verb|j|.
Knowing these parameters it will choose the highest slope number that
corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt
g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as
for fixed-slope beams. However, if there is no sufficiently steep beam
slope available, then \musixtex\ will raise (or lower) the starting point.
Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu},
\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl},
\keyindex{Ibbbl} and \keyindex{Ibbbbl}.
\section{Adding notes to a beam}
Spacing notes belonging to beams are coded with the macro
\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is
the beam number and $p$ the pitch of the note. \musixtex\ adjusts the
length of the note stem to link to the beam.
Chord notes within a beam are entered before the main note with the
non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again,
the stem length will be automatically adjusted as required.
There are also special macros for semi-automatic beams with
two, three, or four notes:
\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl},
\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl},
\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}.
%\check
For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|,
except that the special macros don't require a beam number.
Their use is illustrated in the following example:
\medskip
\begin{music}\nostartrule
\parindent0pt\startpiece
\Notes\Dqbu gh\Dqbl jh\en
\notes\Dqbbu fg\Dqbbl hk\en\bar
\Notes\Tqbu ghi\Tqbl mmj\en
\notes\Tqbbu fgj\Tqbbl njh\en\bar
\Notes\Qqbu ghjh\Qqbl jifh\en
\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece
\end{music}
\noindent This was coded as\footnote{Editor's note: Most music
typesetting books recommend beam slopes that are \ital{less} than
the slope between the starting and ending note; these macros cannot
provide that.}:
\begin{quote}\begin{verbatim}
\Notes\Dqbu gh\Dqbl jh\en
\notes\Dqbbu fg\Dqbbl hk\en\bar
\Notes\Tqbu ghi\Tqbl mmj\en
\notes\Tqbbu fgj\Tqbbl njh\en\bar
\Notes\Qqbu ghjh\Qqbl jifh\en
\notes\Qqbbu fgge\Qqbbl jhgi\en
\end{verbatim}\end{quote}
%\check
\section{Ending a beam}
The termination of a given
beam must be declared \ital{before} coding the last spacing note
connected to that beam. The macros for doing that are
\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and
\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for
beams of any
multiplicity. So for example an upper triple beam with
32nd notes is initiated by
\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|.
Since beams usually finish with a \verb|\qb| for the last note, the
following shortcut macros have been provided:
\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
\item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee
\item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee
\item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~i.e., no spacing afterwards
\item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~i.e., no spacing afterwards
\end{description}\end{quote}
The following
synonyms may be used:
\begin{quote}\begin{tabular}{lcl}
\keyindex{tql} & for & \keyindex{tqb}\\
\keyindex{tqu} & for & \keyindex{tqh}\\
\keyindex{ztql} & for & \keyindex{ztqb}\\
\keyindex{ztqu} & for & \keyindex{ztqh}\\
\end{tabular}\end{quote}
\section{Changing multiplicity after the beam starts}
Multiplicity (the number of heavy bars) can be increased at any position after
the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of
upper beam
number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to
increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The
commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same
for lower beams.
Thus, the
sequence
\begin{music}\nostartrule
\startextract
\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
\zendextract
\end{music}
\noindent has been coded as
\begin{quote}\begin{verbatim}
\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
\end{verbatim}\end{quote}
To decrease multiplicity to one, use \keyindex{tbbu}\onen~or
\keyindex{tbbl}\onen. To decrease to two or three use
\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example,
\begin{music}\nostartrule
\startextract
\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
\zendextract
\end{music}
\noindent has been coded as
\begin{quote}\begin{verbatim}
\startextract
\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
\zendextract
\end{verbatim}\end{quote}
Although at first it may seem counterintuitive,
the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts
may also be invoked when the multiplicity is one. In this case
a second, third, or fourth heavy bar will be opened one note width \ital{before}
the current stem, and immediately closed \ital{at} the stem.
Thus the following sequences
\begin{music}\nostartrule
\let\extractline\hbox
\hbox to \hsize{%
\hss
\startextract
\Notes\ibu0e0\qbp0e\roff{\tbbu0\tqh0e}\en
\zendextract
\hss\hss
\startextract
\Notes\ibu0e0\qbpp0e\roff{\tbbbu0\tbbu0\tqh0e}\en
\zendextract
\hss}
\end{music}
\noindent are coded
\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim}
\Notes\ibu0e0\qbp0e%
\roff{\tbbu0\tqh0e}\en
\end{verbatim}\end{minipage}\hfill
\begin{minipage}{.4\textwidth}\begin{verbatim}
\Notes\ibu0e0\qbpp0e%
\roff{\tbbbu0\tbbu0\tqh0e}\en
\end{verbatim}\end{minipage}\hfill\\[4ex]
The following abbreviations have been provided:
\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
\item \keyindex{tqqb}\enpee~is equivalent to \verb|\tbbl{|$n$\verb|}\tqb|\enpee
\item \keyindex{tqqh}\enpee~is equivalent to \verb|\tbbu{|$n$\verb|}\tqh|\enpee
\item \keyindex{tqqqh}\enpee~is equivalent to \verb|\tbbbu{|$n$\verb|}\tqqh|\enpee
\item \keyindex{tqqqb}\enpee~is equivalent to \verb|\tbbbl{|$n$\verb|}\tqqb|\enpee
\item \keyindex{nqqb}\enpee~is equivalent to \verb|\tbbl{|$n$\verb|}\qb|\enpee
\item \keyindex{nqqh}\enpee~is equivalent to \verb|\tbbu{|$n$\verb|}\qb|\enpee
\item \keyindex{nqqqh}\enpee~is equivalent to \verb|\tbbbu{|$n$\verb|}\qb|\enpee
\item \keyindex{nqqqb}\enpee~is equivalent to \verb|\tbbbl{|$n$\verb|}\qb|\enpee
\end{description}\end{quote}
and the following
synonyms may be used:
\begin{quote}\begin{tabular}{lcl}
\keyindex{tqql} & for & \keyindex{tqqb}\\
\keyindex{tqqu} & for & \keyindex{tqqh}\\
\keyindex{tqqql} & for & \keyindex{tqqqb}\\
\keyindex{tqqqu} & for & \keyindex{tqqqh}\\
\keyindex{nqql} & for & \keyindex{nqqb}\\
\keyindex{nqqu} & for & \keyindex{nqqh}\\
\keyindex{nqqql} & for & \keyindex{nqqqb}\\
\keyindex{nqqqu} & for & \keyindex{nqqqh}\\
\end{tabular}\end{quote}
\medskip
The symmetrical pattern is also possible. For example:
\begin{music}\nostartrule
\startextract
\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
\zendextract
\end{music}
\noindent has been coded as:
\begin{quote}\begin{verbatim}
\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
\end{verbatim}\end{quote}
The constructions in this section illustrate some general
properties of
beam initiation and termination commands: To mate properly with the
expected stems, the starting position of the heavy bar(s) (for initiation commands)
and the ending position (for terminations) will be at
different horizontal locations
depending on whether they are for upper or lower beams: The position for
upper beam commands is one note head width to the right of those for
lower beams. In fact this is the \ital{only} difference between upper
and lower termination commands. Both types will operate on whatever kind of
beam is open and has the same beam number.
Recognizing this principle, in the example just given it was necessary to
shift the double termination to the right by one note head width, using the
command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for
any \musixtex\ macro.
Here is another, slightly more complicated example which also uses
\verb|\roff|:
\begin{music}\nostartrule
\startextract
\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
\notesp\tbbu0\qbp0f\en
\Notes\tbu0\qb0f\en
\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
\Notes\qb0f\en
\notes\tbbbu0\tbbu0\tbu0\qb0f\en
\zendextract
\end{music}
\noindent has been coded as:
\begin{quote}\begin{verbatim}
\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
\notesp\tbbu0\qbp0f\en
\Notes\tbu0\qb0f\en
\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
\Notes\qb0f\en
\notes\tbbbu0\tbbu0\tbu0\qb0f\en
\end{verbatim}\end{quote}
\noindent Note that the first beam opening command used a pitch one step
below the note. This makes the stem shorter by one pitch unit, since it is always
the \ital{closest} heavy bar that is separated from the given pitch by
three staff spaces.
We close this section with an example showing how to
open a beam of one sense, increase multiplicity, then terminate with
opposite sense:
\begin{music}\nostartrule
\startextract
\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
\zendextract
\end{music}
\noindent which has been coded as
\begin{quote}\begin{verbatim}
\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
\end{verbatim}\end{quote}
One may save some typing by defining personalized
\TeX\ macros to
perform any oft-repeated sequence of commands. For example,
one could define a set of four sixteenths by the macro:
\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}|
\noindent where the first argument is the slope and the other four
arguments are the pitches of the four successive sixteenths.
%\check
\section{Shorthand beam notations for repeated or alternated notes}\index{repeated patterns}
Sometimes you may want to indicate repeated or alternated short notes with open note heads joined
by a beam. Here are examples of how to do that
using the \keyindex{hb} macro:
\begin{music}\nostartrule
\startextract
\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
\Notes\ibbl0h4\hb0h\tbl0\hb0j\en
\zendextract
\end{music}
\noindent which has been coded as:
\begin{quote}\begin{verbatim}
\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
\Notes\ibbl0h4\hb0h\tbl0\hb0j\en
\end{verbatim}\end{quote}\noindent
There are also dotted and double-dotted versions \keyindex{hbp} and
\keyindex{hbpp}.
A different look could be obtained as follows:
\begin{music}\nostartrule
\startextract
\notes\ha j\loffset{0.5}{\ibbl1n3}\qsk\tbl1\qsk\ha l\sk\en
\zendextract
\end{music}
\noindent which has been coded as:
\begin{quote}\begin{verbatim}
\notes\ha j\loffset{0.5}{\ibbl1n4}\qsk\tbl1\qsk\ha l\sk\en
\end{verbatim}\end{quote}
It is possible to combine this notation
with a conventional beam, as in
\begin{music}\nostartrule
\startextract
\notes\ibl0h3\qb0j\loffset1{\ibbbl1m3}\qsk\tbl1\qsk\tql0l\en
\zendextract
\end{music}
\noindent which has been coded as:
\begin{quote}\begin{verbatim}
\notes\ibl0h3\qb0j\loffset1{\ibbbl1m3}\qsk\tbl1\qsk\tql0l\en
\end{verbatim}\end{quote}\noindent
or, for whole notes, to dispense with stems:
\begin{music}\nostartrule
\startextract
\Notes\loff{\zw j}\ibbl0l4\sk\tbl0\wh l\en
\Notes\ibbu0e4\wh g\tbu0\roff{\wh i}\en
\zendextract
\end{music}
\noindent which has been coded as:
\begin{quote}\begin{verbatim}
\Notes\loff{\zw j}\ibbl0l4\sk\tbl0\wh l\en
\Notes\ibbu0e4\wh g\tbu0\roff{\wh i}\en
\end{verbatim}\end{quote}
Short ``beams'' centered on note stems (or directly over
or under whole notes)
indicate \emph{tremolos}. Commands that generate tremolo indications are described in Section~\ref{tremolos}.
% \begin{music}\nostartrule
%\startextract
%\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
% \ibu0j0\qb0{jjj}\tbu0\qb0j\en
%\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
% \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
%\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
% \ibbu0i0\qb0{jjj}\tbu0\qb0j%
% \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
% \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
%\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
% \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
%\zendextract
% \end{music}
% \noindent whose coding (due to Werner {\sc Icking}) is
%
%\begin{quote}\begin{verbatim}
%\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
% \ibu0j0\qb0{jjj}\tbu0\qb0j\en
%\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
% \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
%\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
% \ibbu0i0\qb0{jjj}\tbu0\qb0j%
% \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
% \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
%\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
% \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
%\end{verbatim}\end{quote}
\section{Beams that cross line breaks}
Although careful typesetting can usually avoid it, occasionally
a beam may need to cross a line break. If so, it must be manually terminated at
the end of one line and continued in the next. This
can be done by shifting beam terminations and initiations
using \keyindex{roff} and/or
\keyindex{loff}, or by inserting a spacing command such as
\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf
Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip
\begin{music}
\parindent0pt
\def\rqs{\lower\Interligne\rlap\qs}
\def\snotes{\vnotes1\elemskip}
\setstaffs1{2}
\generalsignature{2}
\setclef1{\bass}
\interstaff{12}
\startpiece
%%% bar 1
\addspace\afterruleskip
\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en
\qspace
\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}%
|\zql g\ibu2l0\busf2\qb2{=m}\en
\Notes|\tubslur0o\qb2{_l}\en
\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}%
|\ibl1h0\zqb1g\bupz2\qb2l\en
\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en
\NOtes\zq L\ql b|\zql g\qu l\en
\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}%
\zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en
\notes\qs|\zq N\ibbu3d0\qb3{_d}\en
\notes\qb1E|\rqs\en
\notes\qs|\fl e\zq N\rq e\qb3d\en
%%% bar 2
\bar
\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en
\qspace
\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en
\notes\tqh1{_E}|\rqs\en
\notes\qs|\zq d\zq g\tqh3N\en
\notes\zq I\ibbu0J0\qb0L|\rqs\en
\notes\qs|\zq d\ibbu1d0\qb1N\en
\notes\qb0E|\rqs\en
\notes\qs|\fl e\rq e\zq d\qb1N\en
\notes\zq I\qb0L|\rqs\en
\notes\qs|\zq f\zq d\qb1N\en
\notes\tqh0E|\rqs\en
\notes\qs|\zq g\zq d\tqh1N\en
\notes\zq I\ibbu0J0\qb0L|\rqs\en
\notes\qs|\zq d\ibbu1d0\qb1N\en
\notes\qb0E|\rqs\en
\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
\endpiece
\end{music}
\noindent The prolongation of the two upper beams at the end is
illustrated in the code fragment
\begin{quote}\begin{verbatim}
\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
\end{verbatim}\end{quote}
%\check
\section{Beams with notes on several different staves}
Here's a simple example from {\sc Brahms}'s
Intermezzo Op.~118, provided by
Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip
\begin{music}
\interstaff{12}
\setstaffs1{2}
\setclef1\bass
\generalmeter\allabreve
\startextract
\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
\bar
\nspace
\Notes\ibu0L2\qb0{CEJLcL}%
\nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
\bar
\Notes\ttie1\zh{.L.a}\hl{.e}%
\nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
\NOtes\qp\nextstaff\zq{q}\ql{j}\en
\endextract
\end{music}
%\check
\noindent The coding is
\begin{verbatim}
\interstaff{13}
\instrumentnumber{1}
\setstaffs1{2}
\setclef1\bass
\generalmeter\allabreve
\startextract
\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
\bar
\nspace
\Notes\ibu0a1\qb0{CEJLcL}%
\nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
\bar
\Notes\ttie1\zh{.L.a}\hl{.e}%
\nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
\NOtes\qp\nextstaff\zq{q}\ql{j}\en
\endextract
\end{verbatim}
\noindent (This example also shows that there is no problem in extending
a beam across a bar line.)
The general features that enable this type of coding as well as the
more complex example to follow are
\begin{itemize}\setlength{\itemsep}{0ex}
% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl},
%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm
%define beams whose initial vertical position and slope are fixed
%relative
%to the staff where they begin, but notes in other staves can still be
%connected to them using \Bslash{\tt qb}\onen.
%
% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate
%beam $n$ at the specified position, but \musixtex\ remembers the beam
%parameters until a new beam with the same number is defined.
%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still
%generate notes connected to the phantom extension of this beam,
%\ital{provided they are issued in a different staff}. If the command
%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after
% the beam had ended, an error would result.
%
\item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}},
{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}}
define beams whose initial vertical position and slope are fixed
relative
to the staff where they begin, but notes in other staves can still be
connected to them using {\Bslash\texttt{qb}\onen}.
\item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen}
terminate
beam $n$ at the specified position, but \musixtex\ remembers the beam
parameters until a new beam with the same number is defined.
Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still
generate notes connected to the phantom extension of this beam,
\ital{provided they are issued in a different staff}. If the command
\verb|\qb|\enpee\ were issued on the same staff as the beam after
the beam had ended, an error would result.
\item If the beam is initiated on one staff,
notes in a lower staff can be connected to it, but only \ital{after} the beam
has been defined. This may require using the command \keyindex{prevstaff}
to go back one staff, as described in Section~\ref{movingtostaffs}.
\end{itemize}
Here is an example:
\begin{music}
\setstaffs13
\setclef1{6000}
\startextract
\notesp
\nextstaff\Ibbbu0Af7\prevstaff
\qb0{AEH^JLa}\relax\nextstaff
\qb0{******^c}\tqh0e\relax
|\zq{h^jl}\ql o\en
\notesp
\nextstaff
\Ibbbu0hG6\qb0{hec}\prevstaff
\qb0{***aLJ}\tqh0H\relax\nextstaff
|\zq{h^jl}\ql o\en \nspace
\zendextract
\end{music}
\noindent which is coded as:
\begin{quote}
\begin{verbatim}
\setstaffs13
\setclef1{6000}
\startextract
\notesp
\nextstaff\Ibbbu0Af7\prevstaff
\qb0{AEH^JLa}\relax\nextstaff
\qb0{******^c}\tqh0e\relax
|\zq{h^jl}\ql o\en
\notesp
\nextstaff
\Ibbbu0hG6\qb0{hec}\prevstaff
\qb0{***aLJ}\tqh0H\relax\nextstaff
|\zq{h^jl}\ql o\en \nspace
\zendextract
\end{verbatim}
\end{quote}
In this example we see not only multiple uses of \keyindex{nextstaff} and
\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes
(see Section~\ref{CollectiveCoding}).
\section{Discontinuities in Long Beams}
By default, \texttt{musixtex} produces beams using special fonts. Unfortunately, long beams may have
unsightly discontinuities (gaps or bumps). See Section~\ref{musixvbm}
for a solution to this problem.

498
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\chapter{Changing Clefs, Keys and Meters}
\section{Introduction}\label{contextintro}
To define clefs, key signatures, or meters at the start of a piece,
or to change one or more of these attributes\footnote{In this section,
\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere
else in a score,
\musixtex\ requires two steps. The first step is to \ital{set} the new values of
the attributes.
Most of the commands for this have the form \verb|\set|...~. They will be
described in the following subsections.
But this alone will
not cause anything to be changed or printed. The second step is to activate the
change. This is done by issuing one of the
following commands (outside \verb|\notes|$\dots$\verb|\en|):
\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|,
\verb|\Contpiece|,
\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|,
\verb|\changecontext|,
\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|,
\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform
other functions as well, and some may be used even when no attributes
change. Features unrelated to changing attributes are detailed elsewhere.
The first eleven will activate all pending new attributes.
If more than one type is activated by a single command in this manner,
then regardless of the order
they were set, they will always appear in the following order: clef, key signature,
meter.
The last three commands in the above list obviously activate only
the specific type of attribute referred to in the name of the command.
The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext|
will respectively insert a single, double, or invisible bar
line before printing the attributes.
\section{Key Signatures}
We've already seen in Section~\ref{whatspecify} how to set key
signatures for all instruments with \keyindex{generalsignature}, or for
specific instruments with \keyindex{setsign}. As just noted, these commands only
prepare for the insertion of the signatures into the score; it is
really \verb|\startpiece| that puts them in place at the beginning of the
score.
The commands \verb|\generalsignature| and \verb|\setsign| also serve to set
new key signature(s) anywhere in score. The change can then be activated with one of
the eleven general commands listed above, or with \keyindex{changesignature} if
in the middle of a bar.
While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar
line, the differences are that the latter increments the bar number counter and
inserts a horizontal space of \verb|\afterruleskip| after the new signature(s).
All of these options will repost signatures that have not been changed.
Normally, changing a signature from flats to sharps or vice-versa, or
reducing the number of sharps or flats, will produce the appropriate set of
naturals to indicate what has been suppressed. This standard feature can be
temporarily inhibited by the command \keyindex{ignorenats} issued right before
the change-activating command.
Here is an example showing various possibilities for changing key signatures.
Note the comments between the code lines.
\begin{quote}\begin{verbatim}
\instrumentnumber2\setstaffs22%
\setclef1{\bass}\generalsignature2%
\startextract
\Notes\qu K&\qu d|\qu e\en
% Signature change in a single instrument with two staves.
% Naturals appear by default, indicating cancelled sharps.
\setsign20\changesignature
\Notes\qu J&\qu d|\qu e\en
% When changing signature in the middle of a bar and no naturals
% are posted, the new signature can be confused with a simple accidental.
\setsign11\ignorenats\changesignature
\Notes\qu M&\qu d|\qu e\en
% New signatures after a double bar line
\generalsignature{-2}\Changecontext%
\Notes\qu K&\qu d|\qu e\en%
\Notes\qu K&\qu d|\qu e\en%
% New signatures after an invisible bar line. Note the
% difference in spacing compared with beat 3 of the prior measure
\generalsignature{1}\zchangecontext%
\Notes\qu K&\qu d|\qu e\en%
\end{verbatim}\end{quote}
\begin{music}
\instrumentnumber2\setstaffs22%
\setclef1{\bass}\generalsignature2%
\startextract
\Notes\qu K&\qu d|\qu e\en
% Signature changing in a single instrument with 2 staves
% Naturals are allowed to shown there are no more sharps
\setsign20\changesignature
\Notes\qu J&\qu d|\qu e\en
% Signature changing in a single staff without naturals
% if there is no bar line, the signatures are confusing:
% it is not clear if they are for a single note or not
\setsign11\ignorenats\changesignature
\Notes\qu M&\qu d|\qu e\en
% New signatures after a double bar line
\generalsignature{-2}\Changecontext%
\Notes\qu K&\qu d|\qu e\en%
\Notes\qu K&\qu d|\qu e\en%
% New signatures after an invisible bar line
% see the difference in space comparing beat 2
\generalsignature{1}\zchangecontext%
\Notes\qu K&\qu d|\qu e\en%
\endextract
\end{music}
\section{Clefs}\label{treblelowoct}\label{ClefChanges}
Macros that define clefs have already been discussed in Section~\ref{whatspecify}. By way of review, here are all of the possible clefs
(applied to the lowest staff):
%avrb
\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}}
\begin{center}\vskip-1ex\footnotesize%\small
\begin{tabular}{||c|c|c|c|c||}\hline\hline
&&&&\\
\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\
\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+
&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline
\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2
&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline
%\end{tabular}
&&&&\\
%\begin{tabular}{ccccc}
&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\
\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+
&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline
\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7
&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline
%This one uses \setclefsymbol1\empty :
%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline
\end{tabular}
\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later}
\end{center}
%avre
Just as with key signatures, these commands only \ital{prepare} for clef changes.
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,
according to modern conventions, a clef change at a bar line is posted
\emph{before} the bar line, whereas, for example, \verb|\changecontext|, would post it
\emph{after} the bar line. In part for this reason, we have the special command
\keyindex{changeclefs}. It can be used anywhere outside
\verb+\notes...\en+ to activate a clef change and insert an amount of
horizontal space to accommodate the new clef symbol(s), without printing a
bar line. Sometimes no added
space is required, in which case \keyindex{zchangeclefs} should be used.
Here are some examples of clef changes:
\begin{quote}\begin{verbatim}
\instrumentnumber2\setstaffs22%
\setclef1{\bass}\generalsignature2%
\startextract
% Change in one staff only, with added space
\setclef1\treble\changeclefs%
\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
% Combined with signature change, also no extra space needed
% twice the same clef in staff 2 - with the help of a blank clef
\setclef28\zchangeclefs\setclef2\treble%
\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
\ignorenats\changesignature%
\Notes\qu K&\cu{de}|\qu e\en%
% clef change before barline
\setclef1\treble\zchangeclefs\bar%
\Notes\qu k&\cu{de}|\qu e\en%
% clef change after barline
\setclef1\bass\bar\changeclefs%
\Notes\qu K&\cu{de}|\qu e\en%
% clef change after barline with changecontext
\setclef1\treble\changecontext%
\Notes\cu k&\cu d|\qu e\en%
% twice the same clef
\setclef18\zchangeclefs\setclef1\treble\changeclefs%
\Notes\cu k&\cu e |\en%
\zendextract
\end{verbatim}\end{quote}
\begin{music}
\instrumentnumber2\setstaffs22%
\setclef1{\bass}\generalsignature2%
\startextract
% Change in one staff only, with added space
\setclef1\treble\changeclefs%
\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
% Combined with signature change, also no extra space needed
% twice the same clef in staff 2 - with the help of a blank clef
\setclef28\zchangeclefs\setclef2\treble%
\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
\ignorenats\changesignature%
\Notes\qu K&\cu{de}|\qu e\en%
% clef change before barline
\setclef1\treble\zchangeclefs\bar%
\Notes\qu k&\cu{de}|\qu e\en%
% clef change after barline
\setclef1\bass\bar\changeclefs%
\Notes\qu K&\cu{de}|\qu e\en%
% clef change after barline with changecontext
\setclef1\treble\changecontext%
\Notes\cu k&\cu d|\qu e\en%
% twice the same clef
\setclef18\zchangeclefs\setclef1\treble\changeclefs%
\Notes\cu k&\cu e |\en%
\endextract
\end{music}
\noindent Of course the examples in the last two bars are contrary
to accepted practice.
If \keyindex{atnextbar} is being used to center material and new clefs before
the bar line should be
excluded from the ``notes'' region within which material is centered,
you may use the command \keyindex{Changeclefs}, as in the following:
\begin{music}
\nobarnumbers
\nostartrule
\generalmeter{\meterC}
\startextract%
\NOTEs\en
\def\atnextbar{\znotes\centerHpause{11}\en}%
\setclef1\bass\Changeclefs%
\setleftrepeat%
\generalmeter{\allabreve}%
\changecontext%
\NOTEs\en
\def\atnextbar{\znotes\centerHpause{12}\en}%
\setclef1\treble\Changeclefs%
\setrightrepeat\bar%
\NOTEs\en
\def\atnextbar{\znotes\centerHpause{13}\en}%
\endextract
\end{music}\noindent
which was coded as
\begin{quote}
\begin{verbatim}
\generalmeter{\meterC}
\startextract%
\NOTEs\en
\def\atnextbar{\znotes\centerHpause{11}\en}%
\setclef1\bass\Changeclefs%
\setleftrepeat%
\generalmeter{\allabreve}%
\changecontext%
\NOTEs\en
\def\atnextbar{\znotes\centerHpause{12}\en}%
\setclef1\treble\Changeclefs%
\setrightrepeat\bar%
\NOTEs\en
\def\atnextbar{\znotes\centerHpause{13}\en}%
\endextract
\end{verbatim}
\end{quote}
Clef changes initiated with the \verb|\setclef| command have several features
in common. When activated after the beginning of the piece, the printed symbol
is smaller than the normal one used at the beginning of the piece. Also,
\musixtex\ automatically adjusts vertical positions of noteheads consistent
with the new clef.
There is an additional group of macros for setting new clefs which does not share
either of these features. In other words, they will always print full sized symbols, and they
won't change the vertical positions of noteheads from what they would have been
before the new symbol was printed. We could call this process ``clef symbol substitution'',
because all it does is print a different symbol (or no symbol at all) in place of
the underlying clef which was set in the normal way.
You'll need to use clef symbol substitution if you want to have a so-called
\index{octave clefs}\label{octclef}octave treble clef or octave bass
clef, i.e., one containing a numeral 8 above or
below the normal symbol. The syntax for setting upper
octaviation
is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\
or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation
it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or
\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to
\ital{replace} normal bass or treble clefs with a different symbol, they
require that the normal clefs be set first. For example
\noindent\begin{minipage}{80mm}
\begin{music}\nostartrule
\parindent 19mm
\instrumentnumber{4}
\generalmeter{\empty}
\setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble
\setbassclefsymbol1\basslowoct
\setbassclefsymbol2\bassoct
\settrebleclefsymbol3\treblelowoct
\settrebleclefsymbol4\trebleoct
\startextract
\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\en
\zendextract
\end{music}
\end{minipage}
\begin{minipage}{50mm}
\begin{verbatim}
\parindent 19mm
\instrumentnumber{4}
\generalmeter{\empty}
\setclef1\bass \setclef2\bass
\setclef3\treble \setclef4\treble
\setbassclefsymbol1\basslowoct
\setbassclefsymbol2\bassoct
\settrebleclefsymbol3\treblelowoct
\settrebleclefsymbol4\trebleoct
\startextract
\Notes\qu{`abcdefghi}&\qu{`abcdefghi}%
&\qu{abcdefghi}&\qu{abcdefghi}&\en
\zendextract
\end{verbatim}
\end{minipage}
\index{clefs (empty)}
Another application of clef symbol substitution is to cause no clef to be
printed, as for example might be desired in percussion music, This
can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which
once activated would replace \ital{all} clef symbols in the first (lowest)
staff of instrument $n$ with blanks.
Normal symbols for those clefs that have been substituted can be restored by
\keyindex{resetclefsymbols}.
Four other small clef symbols are available: \verb|\smalltrebleoct|,
\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|.
They look just like the corresponding normal-sized symbols, and are useful by
clef symbol substitution for clef changes after the beginning of a piece, as
demonstrated in the following example.
The various clef symbol substitution commands can only be used to substitute for
\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs.
In the following example, (1) is two normal clef changes. At (2) the clef is first changed
back to treble and then the \verb|\treblelowoct| symbol is substituted by using
\verb|\settrebleclefsymbol|.
When changing the clef away from treble and then back as at (3), the substitution
symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution.
If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see
in the three clefs after (5) in comparison with (2). These also illustrate the use of the small
octave clef symbol. Obviously the second clef after (5) is
nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
\begin{music}
\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{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}

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\chapter{Embedding Musical Excerpts in Text Documents}
Here we discuss the options for including music in text documents. The first
decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting
to embed a musical excerpt in a \LaTeX\ document is already familiar with the
fundamentals of \LaTeX. For more information about it, see for example the manual
\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}.
Because \LaTeX\ so effectively simplifies
production of text-based \TeX\ documents, most users take that path, and most of the
descriptions given here will assume that's the case\footnote{Please do not be confused;
while \LaTeX\ is recommended for text-based documents containing musical
excerpts, its use is definitely discouraged for ordinary self-contained musical scores
of any sort.}.
If for some reason you choose not to use \LaTeX\ for musical excerpts,
the basic approach is simply to set off the musical
parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or
\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But
some details in what follows will also apply without \LaTeX.
There are two basic approaches to embedding musical excerpts in \LaTeX\
documents. The first method is to directly include the \musixtex\ code in
the \LaTeX\ source file. That will be the subject of the next subsection. The
other is to create an EPS (encapsulated Postscript) or PDF file containing only the
excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in
Section~\ref{embedeps}.
The advantages of using the direct method are that all of the source code for
all excerpts can be kept in the same file as the text, and that there is no
limit on the length of the excerpt.
The advantage of the EPS/PDF method is that you don't have to burden the \LaTeX\
source with any of the \musixtex\ paraphernalia. That in turn permits use of
primitive versions of the \TeX\ compiler that may not have the capacity
to handle the direct method (due to the number of registers consumed by \LaTeX\
and \musixtex). The disadvantages are that you must create and keep
track of a separate \TeX\ and EPS/PDF file for every excerpt, and that the excerpt
must not span any page breaks. On balance, the
direct method is probably to be preferred.
\section{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts}
To use the direct method, add \verb|\usepackage{musixtex}| to the preamble.
This will cause the file
\ttxem{musixtex.sty} to be loaded, so naturally you must make that file
available in a place where \TeX\ can find it. That file simply inputs two
other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must
obviously be available to \TeX.
Now you are in position to directly embed an excerpt by inserting code at the
appropriate place in the source file. The most common type of excerpt is
one that occupies less than a full line and is to be horizontally centered. In
that case, the extract should begin with the command \keyindex{begin\LBR music\RBR},
followed by any preliminary commands. Then, instead of \verb|\startpiece|,
use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally,
end the extract with \keyindex{endextract} instead of \verb|\endpiece|
or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}.
To terminate an extract without any bar line, use \keyindex{zendextract}
instead of \verb|\endextract|.
To create a left-justified excerpt, use the sequence
\begin{quote}
\verb|\let\extractline\leftline|.
\end{quote}
If several extracts are to be placed on the same line, you can
redefine \keyindex{extractline} as demonstrated in the following
example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in
{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested
coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the
normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use.
But it doesn't, because any actions within
\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not
global.}:
% DAS temp (where is the reference???)
%An example of this is given at \ref{extractline} on page \pageref{extractline}.
% end DAS temp
\begin{quote}\begin{verbatim}
\begin{music}\nostartrule
\let\extractline\hbox
\hbox to \hsize{%
\hss\startextract ... \zendextract\hss%
\hss\startextract ... \zendextract\hss}
\end{music}
\end{verbatim}\end{quote}
An even shorter type of extract is one that is embedded \ital{within} a line of text.
To insert \musixtex\ symbols within a line of text, you could begin by defining
\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}:
\begin{quote}\begin{verbatim}\begin{music}\nostartrule
\makeatletter
\def\notesintext#1{%
{\let\extractline\relax
\setlines10\smallmusicsize \nobarnumbers \nostartrule
\staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
\startextract\addspace{-\afterruleskip}#1\zendextract}}
\makeatother
\end{music}\end{verbatim}\end{quote}
Then, for example, the code
\begin{verbatim}
Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}}
not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}
\end{verbatim}
\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not
\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''.
\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes.
Finally, you may want to insert an extract containing more than one line
of music. This is the easiest of all: between
\verb|\begin{music}| and \verb|\end{music}|, use \ital{exactly} the same
coding you would to make an ordinary score.
\enlargethispage*{4ex}
The best way to learn how to apply these methods is to study
the source files for this document\footnote{Do note,
however, that {\tt musixdoc.tex} loads a \texttt{musixdoc.sty} package
in its preamble, not just \texttt{musixtex.sty}; the former performs the functions of \texttt{musixtex.sty}
as well as numerous tasks peculiar to this particular document.}.
%DAS I don't think this section is worth including.
% \section{Wide music in \LaTeX}\label{musixblx}
% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the
%page size in a way which is not supposed to be changed within a given document.
%This means that text horizontal and vertical sizes are somewhat frozen so that
%one can hardly insert pieces of music of page size different from the size
%specified by the \LaTeX{} \itxem{style}.
%Although a \ttxem{musixblx.tex} has been provided, which makes the
%\ital{environment} \verb|bigmusic| available.
%\zkeyindex{begin\LBR bigmusic\RBR}
%The main drawback is an unpredictable behaviour of top and bottom
%printouts, especially page numberings.
%
% If the whole of a document has wide pages, it can be handled with the
%\ttxem{a4wide} style option, or any derivate of it.
\section{Embedding musical excerpts as PDF or EPS files}
\label{embedeps}
To use this method of including excerpts, you first must create a separate
\musixtex\ input file for each excerpt. Process each such file with
\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate
a Postscript file from each \verb|.dvi| using \verb|dvips|. Then
convert each Postscript file to a \verb|.pdf| or \verb|.eps| file using
\verb\ps2pdf\ or \verb\ps2eps\;
if you are using Windows, {GSview} can be used for either. Note that
conversion to EPS (Encapsulated Postscript) is possible only for \emph{single-page} Postscript files.
To set up your \LaTeX\ document for including \verb|.pdf| or \verb|.eps| files, you must post
the command \verb|\usepackage{graphicx}| in the preamble of the
document. Now, you may include each \texttt{sample.pdf} or \texttt{sample.eps} file at the appropriate place
in the {\LaTeX} document with a command
like \keyindex{includegraphics}\verb|{sample}|. If an embedded file is a PDF (rather than an EPS),
the document must be processed with \verb|pdflatex| (rather than \verb|latex|).
\section{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}}
\label{catcodeprobs}
\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|,
\verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\
The symbols are given their special meanings by executing the macro
\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with
\keyindex{endcatcodesmusic}. When setting either a self-contained score or
a musical extract, you normally need not worry
about this at all, because \verb|\startpiece| or \verb|\startextract| executes
\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\endextract| executes
\verb|\endcatcodesmusic|. But there are some special situations where you
might need to use these catcode-modifying macros explicitly. One is if you
were to define a personalized macro outside
\verb|\startpiece ... \endpiece|, but which incorporated any of the
symbols with their \musixtex\ meanings. Another would be if you wished to have
access to facilities enabled by alternate style files such as
{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In
such cases, provided you have input \verb|musixtex.tex|, you can always
invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their
\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their
prior values.

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\chapter{\musixtex\ Examples}
The file \verb|musixdoc.tex|, the source for this manual, contains many useful
examples. In the manual, many examples are accompanied by a display of the code
that produced them, while for a few only an image of the extract is included and you'll
have to look in the \verb|musixdoc| source files to see the coding.
Other useful examples cannot be embedded in the source, either because they are
meant to be in \TeX, not \LaTeX, or because they are simply too large. For
these the source files also are provided separately.
When compiling or viewing any of the examples, you should keep in mind that
most DVI previewers and laser printers have
their origin one inch below and one inch to the right of the upper right corner
of the paper, while the musical examples have their upper left
corner just one centimeter to the right and below the top left corner of the page.
Therefore, special parameters may have to be given to the DVI transcription
programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\
commands have been included within the \TeX\ source.
\section{Small examples}
\begin{itemize}\setlength{\itemsep}{0ex}
\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia,
provided by Olivier Vogel (Section~\ref{ossia} on page \pageref{ossia}).
\item{\tt 8bitchar.tex}~: Using 8bit characters.
\end{itemize}
\section{Full examples}
The small examples above and the longer ones mentioned below are included in
the documentation folder of the \musixtex\ package.
Some of them require
\verb|musixcpt.tex| which makes examples created in
Music\TeX\ compatible with \musixtex. Here we mention a few of
special interest.
\subsection{Examples mentioned in the manual}
\begin{itemize}\setlength{\itemsep}{0ex}
\item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by
Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}}
To run this five-page example you'll also need \texttt{avemariax.tex}.
It demonstrates the use of separated bar rules (Section~\ref{avemaria2})
and the use of staves of different sizes (Section~\ref{avemaria}).
Also, an additional instrument is created for lyrics. This was a common
practice before the \texttt{musixlyr} package was created by Rainer Dunker.
\item{\tt glorias.tex}~: a local melody for the French version of
\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics
commands (Section~\ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment.
\end{itemize}
\subsection{Other examples, provided by the authors of \musixtex }
\begin{itemize}\setlength{\itemsep}{0ex}
\item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by
Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine
\musixtex\ but with some
additions to perform ascending bitmapped \itxem{crescendos}.
There are also S-shaped slurs between 2 staves.
\item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad
Parnassum'' by Claude {\sc Debussy}\index{Debussy,
C.@{\sc Debussy, C.}} for piano.
It contains a rather complex example of a new command \verb+\Special+
to create staff-jumping doubly beamed notes.
\end{itemize}
\subsection{Additional documentation}
\begin{itemize}\setlength{\itemsep}{0ex}
\item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon.
\end{itemize}
\section{Compiling \texttt{musixdoc.ltx}}
This manual is an excellent example of a primarily text document with embedded
musical excerpts. For this reason, it is a \LaTeX\ document and must be compiled
with \verb|latex| rather than \verb|etex|. Those wishing to combine text and
musical excerpts should carefully study how it is done here.
Before compiling or recompiling \verb|musixdoc.ltx|, you should remove all the auxiliary
files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]}
if they are present. Then the following command sequence will produce \verb|musixdoc.ps|:
\begin{quote}\begin{verbatim}
latex musixdoc
musixflx musixdoc
latex musixdoc
makeindex musixdoc
latex musixdoc
latex musixdoc
dvips -e0 musixdoc
\end{verbatim}\end{quote}
The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including musical examples.
The \verb|makeindex| step produces the database for the index.
After that, \verb|latex| must be run at least twice to complete cross referencing.
Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps|;
the \texttt{-e0} option prevents \texttt{dvips} from making pixel adjustments
intended for letters in words.
To produce \verb|musixdoc.pdf|, use \verb|ps2pdf| or the Distiller component of Adobe Acrobat, or open \verb|musixdoc.ps| in \texttt{GSview}, go to
{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click
\verb|OK|.
Alternatively, if you have the \verb|musixtex| script, just run
\verb|musixtex -x musixdoc|
(where
the \verb|-x| option is only needed to create a new index database).
%If you use an older version of \LaTeX\ which doesn't automatically
%invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the
%error ``{\tt !~No room for new \string\count}''.
%This is because \verb|musixdoc.tex| invokes \verb|musixtex.tex|, which together with \LaTeX\
%requires more storage registers than available in \TeX.
%You may be able get around this by using the command
%\verb|elatex| instead of \verb|latex|;
%however, it is strongly recommended to upgrade your \TeX\ system to a more recent
%version in which \verb|latex| automatically invokes $\varepsilon$\hbox{-}\nobreak\TeX.

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\chapter{Extracting Parts from a Multi-Instrument Score}\label{parts}
From the typesetting viewpoint, the major characteristic of orchestral and
chamber music is that the scores not only have several instruments, but
variants of the same basic score are needed in which one of the instruments is
highlighted while some others are typeset in smaller notes or are
omitted.
Of course, it must be possible to permute the highlighted instruments and
the small-type instruments or
omitted instruments, depending on the instrument to which the
version of the score is dedicated.
The following is the most general approach to part extraction when
using \musixtex\ without \textbf{PMX} or \textbf{M-Tx} pre-processors. A
simpler approach which will work for most purposes is described in Section~\ref{musixtnt}.
\section{Coding rules}\label{CodingRules}
To make a ``selectable'' orchestral score you must prepare the master score
(i.e., the score with all instruments typed) as follows:
\begin{enumerate}
\item Avoid referring to instrument numbers with roman
numerals. For example use \verb|\setclefs|~$n$ instead of
\verb|\cleftoksiii=| .
\item Introduce symbolic names for the instruments; for example, define:
\begin{verbatim}
\def\Piano{1}%
\def\Flute{2}%
\def\Oboe{3}%
\def\Soprano{4}%
\end{verbatim}
and code, for example
\smallskip
\verb|\setstaffs\Piano2| rather than \verb|\setstaffs12|.
\item If, initially, the Piano is the instrument number 1, replace all
\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc., with
\verb|\notes\selectinstrument\Piano|, \verb|\Notes\selectinstrument\Piano|,
\verb|\NOtes\selectinstrument\Piano|, etc.
\item Instead of using \verb|&| or \verb|\nextinstrument| to move to
instrument $n+1$, use \verb|\selectinstrument\Flute| and similar instead.
\end{enumerate}
For example,
\begin{verbatim}
\Notes\selectinstrument\Piano ... | ...
\selectinstrument\Flute ...
\selectinstrument\Oboe ...
\selectinstrument\Soprano ... \en
\end{verbatim}
With this coding, difficult things such as putting the Flute above the Oboe
are done easily: just say \verb|\def\Flute{3}| and \verb|\def\Oboe{2}|.
\section{Selecting, hiding or putting instruments in the background}
To put, for example, the Flute and the Oboe in the background, i.e., typesetting
them in small notes, state at the beginning:
\begin{quote}
\verb|\setsize\Flute\tinyvalue\setsize\Oboe\tinyvalue|
\end{quote}
where the value \keyindex{tinyvalue} for \keyindex{setsize} corresponds to notes and staffs
of size \keyindex{tinynotesize}.
If, instead of putting an instrument in the background, one wants to omit it,
this is done by:
\begin{quote}
\verb|\setstaffs\Flute{0}\setstaffs\Oboe{0}|
\end{quote}
since nothing is typeset for
instruments having \emph{zero} staffs (not to be confused with one-line staffs such
as percussions).
\section{Recommendations}
\begin{itemize}
\item When hiding instruments, reduce
\keyindex{instrumentnumber} by the number of hidden instruments; otherwise
bars and leading braces will enclose the position of these dummy arguments,
which would be ugly.
\item Exchange the actual instrument numbers so that hidden instruments have
numbers \emph{greater} than the value of \verb|\instrumentnumber|.
Hidden instruments with numbers
less than \verb|\instrumentnumber| will cause an excess of vertical
space at their phantom positions; this is not
recommended.
\item In hidden instruments, rests no longer behave like \verb|\hbox{...}| and
\verb|raise|-ing them will result in an error.
\item In hidden instruments, explicit \verb|\hbox|es will remain as empty
boxes, thus causing abnormal vertical spacings between instruments. Therefore,
anything suspect should be made conditional with:
\begin{quote}
\keyindex{ifactiveinstrument}\ \textit{code to be omitted if instrument is hidden}\ \verb|\fi|
\end{quote}
Most \musixtex{} commands become properly hidden if requested. But
problematic
parts of code can nonetheless be protected with \verb|\ifactiveinstrument|.
\end{itemize}

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\chapter{Font Selection and Text Placement}
\section{Predefined text fonts}
While any font with support for \TeX\ can be used by \musixtex, certain styles and
sizes can be selected using shortcut commands.
For ordinary text, the shortcuts cover fonts of nine different
sizes and six styles. The sizes in points are $7$, $8$, $9$, $10$, $12$, $14$, $17$, $20$, and $25$;
the styles are from the standard Computer Modern family: Roman, bold, italic, bold italic
and small capitals.
The size selection macros from smallest to biggest are
\keyindex{tinytype},
\keyindex{smalltype},
\keyindex{Smalltype},
\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype},
\keyindex{Bigtype},
\keyindex{BIgtype} and \keyindex{BIGtype}.
The style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf}
(bold), \keyindex{it} (italic), \keyindex{bi} (bold italic) or
\keyindex{sc} (small-capitals). If no style is explicitly selected, Roman style
will be used for the sizes \verb|\medtype| or smaller; for the larger sizes,
bold style is the default. Thus, for example,
eight point italic is selected with \verb|\smalltype\it|, while
twelve point Roman is selected using \verb|\medtype\rm| or simply
\verb|\medtype|. To change between styles while maintaining the same size,
code \verb|\rm|, \verb|\it|, \verb|\bf|, \verb|\bi| or \verb|\sc|, as in Plain \TeX.
When \musixtex\ is started, the default font for ordinary text is
ten point Roman, equivalent to \verb|\normtype\rm|.
Another group of fonts, in bold extended italic style, is predefined in point sizes
$8$, $10$, $12$, $14$, and $17$ for dynamic markings. The appropriate font for the current
staff size may be selected simply by using \keyindex{ppff} as a
font specification. Macros \keyindex{tinydyn}, \keyindex{smalldyn}, \keyindex{normdyn}, or \keyindex{meddyn} may be
used to redefine \verb|\ppff| to represent one of the smallest four.
A selection of predefined fonts is summarized in Table~\ref{predefinedfonts}. The second column gives an
explicit control sequence that can alternatively be used locally as a font specification.
\font\ctinytype=cmr7
\font\ctinytypebf=cmbx7
\font\ctinytypeit=cmti7
\font\csmalltype=cmr8
\font\csmalltypebf=cmbx8
\font\csmalltypeit=cmti8
\font\cSmalltype=cmr9
\font\cSmalltypebf=cmbx9
\font\cSmalltypeit=cmti9
\font\cnormtype=cmr10
\font\cnormtypebf=cmbx10
\font\cnormtypeit=cmti10
\font\cnormtypebi=cmbxti10
\font\cnormtypesc=cmcsc10
\font\cmedtype=cmr12
\font\cmedtypebf=cmbx12
\font\cmedtypeit=cmti12
\font\cmedtypebi=cmbxti10 scaled \magstep1
\font\cmedtypesc=cmcsc10 scaled \magstep1
\font\cbigtype=cmbx12 scaled \magstep1
\font\cBigtype=cmbx12 scaled \magstep2
\font\cBIgtype=cmbx12 scaled \magstep3
\font\cBIGtype=cmbx12 scaled \magstep4
\font\cppfftwelve=cmbxti10 at 8pt
\font\cppffsixteen=cmbxti10
\font\cppfftwenty=cmbxti10 scaled \magstep1
\font\cppfftwentyfour=cmbxti10 scaled \magstep2
\font\cppfftwentynine=cmbxti10 scaled \magstep3
\font\cbigtype=cmbx12 scaled \magstep1
\font\cBigtype=cmbx12 scaled \magstep2
\font\cBIgtype=cmbx12 scaled \magstep3
\font\cBIGfont=cmbx12 scaled \magstep4
\begin{table}
\begin{center}
\renewcommand{\arraystretch}{1.15}
\begin{tabular}{lll}
\hline
Size and style & Font specification & Example \\
\hline
\verb|\tinytype| & \verb|\sevenrm| & {\ctinytype tiny Roman} \\
\verb|\tinytype\bf| & \verb|\sevenbf| & {\ctinytypebf tiny bold} \\
\verb|\tinytype\it| & \verb|\sevenit| & {\ctinytypeit tiny italic} \\
\verb|\smalltype| & \verb|\eightrm| & {\csmalltype small Roman} \\
\verb|\smalltype\bf| & \verb|\eightbf| & {\csmalltypebf small bold} \\
\verb|\smalltype\it| & \verb|\eightit| & {\csmalltypeit small italic} \\
\verb|\Smalltype| & \verb|\ninerm| & {\cSmalltype Small Roman} \\
\verb|\Smalltype\bf| & \verb|\ninebf| & {\cSmalltypebf Small bold} \\
\verb|\Smalltype\it| & \verb|\nineit| & {\cSmalltypeit Small italic} \\
\verb|\normtype| & \verb|\tenrm| & {\cnormtype normal Roman} \\
\verb|\normtype\bf| & \verb|\tenbf| & {\cnormtypebf normal bold} \\
\verb|\normtype\it| & \verb|\tenit| & {\cnormtypeit normal italic}\\
\verb|\normtype\bi| & \verb|\tenbi| & {\cnormtypebi normal bold italic}\\
\verb|\normtype\sc| & \verb|\tensc| & {\cnormtypesc normal small capitals}\\
\verb|\medtype| & \verb|\twelverm| & {\cmedtype medium Roman} \\
\verb|\medtype\bf| & \verb|\twelvebf| & {\cmedtypebf medium bold} \\
\verb|\medtype\it| & \verb|\twelveit| & {\cmedtypeit medium italic}\\
\verb|\medtype\bi| & \verb|\twelvebi| & {\cmedtypebi medium bold italic}\\
\verb|\medtype\sc| & \verb|\twelvesc| & {\cmedtypesc medium small capitals}\\
\verb|\bigtype| & \verb|\frtbf| & {\cbigtype big bold} \\[.4ex]
\verb|\Bigtype| & \verb|\svtbf| & {\cBigtype Big bold} \\[.4ex]
\verb|\BIgtype| & \verb|\twtybf| & {\cBIgtype BIg bold} \\[.4ex]
\verb|\BIGtype| & \verb|\twfvbf| & {\cBIGtype BIG bold} \\
~ & \verb|\ppfftwelve| & {\cppfftwelve pp ff diminuendo}\\
~ & \verb|\ppffsixteen| & {\cppffsixteen pp ff diminuendo}\\
~ & \verb|\ppfftwenty| & {\cppfftwenty pp ff diminuendo}\\
~ & \verb|\ppfftwentyfour| & {\cppfftwentyfour pp ff diminuendo}\\[.4ex]
~ & \verb|\ppfftwentynine| & {\cppfftwentynine pp ff diminuendo}\\[.4ex]
\hline
\end{tabular}
\end{center}
\caption{Various predefined fonts}
\label{predefinedfonts}
\end{table}
\section{User-defined text fonts}
Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\
machinery for defining and using any special font you desire. You must first
of course ensure that (a)~all the necessary font files (e.g., \verb|bla10.tfm|,
\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b)~all
configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and
(c)~the \TeX\ file-name database has been updated, as required by your \TeX\ system. Then you can use the font just as
in any \TeX\ document, e.g., by coding \verb|\font blafont=bla10| and then
\verb|\zchar{10}{\blafont Text in user-defined font}|.
You might also wish to replace once and for all the typefaces invoked by the
commands described in the previous section. Again, before doing this, you must
follow steps (a-c) of the previous paragraph for all fonts in question.
\label{UserFonts}
You can use bitmapped fonts, which are converted to
Postscript by e.g.,~\verb|dvips|, but you also may replace them
by native Postscript fonts.
The extension library
\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}
replaces the default Computer Modern text fonts by
the Times series of fonts; see Section~\ref{times}.
Other extension libraries, \verb|musixplt.tex| and \verb|musixhv.tex|, replace the default text fonts by
Palatino and Helvetica fonts, respectively; see Sections~\ref{palatino} and \ref{helvetica}.
\font\tnormtype=ptmr7t
\font\tnormtypebf=ptmb7t
\font\tnormtypeit=ptmri7t
\font\tbigtype=ptmr7t scaled \magstep2
\font\tBigtype=ptmr7t scaled \magstep3
\font\pnormtype=pplr8r
\font\pnormtypebf=pplb8r
\font\pnormtypeit=pplri8r
\font\pbigtype=pplrc8r at 14pt
\font\pBigtype=pplrc8r at 17pt
\font\hnormtype=phvr8r at 10pt
\font\hnormtypebf=phvb8r at 10pt
\font\hnormtypeit=phvro8r at 10pt
\font\hbigtype=phvr8r at 14pt
\font\hBigtype=phvr8r at 17pt
Here is a comparison of some Times,
Palatino and Helvetica fonts:
\begin{center}
\begin{tabular}{lll}
\hline
{\tnormtype normal Times Roman} & {\pnormtype normal Palatino Roman} &{\hnormtype normal Helvetica Roman} \\
{\tnormtypebf normal Times bold} & {\pnormtypebf normal Palatino bold}& {\hnormtypebf normal Helvetica bold} \\
{\tnormtypeit normal Times italic} & {\pnormtypeit normal Palatino italic } & {\hnormtypeit normal Helvetica italic }\\[.4ex]
{\tbigtype Times big} & {\pbigtype Palatino big } & {\hbigtype Helvetica big } \\[.4ex]
{\tBigtype Times Big } & {\pBigtype Palatino Big } & {\hBigtype Helvetica Big } \\
\hline
\end{tabular}
\end{center}
For users who prefer to stick with the default Computer Modern
family but want to use the T$1$-encoded EC variants, the extension library
\verb|musixec.tex| is available; see Section~\ref{ecfonts}\@.
\section{Text placement}\label{textplacement}
Special macros are provided to allow precise placement of any \TeX\ text, vertically
relative to the staff, and horizontally relative to any note in
the staff.
The macros in the first group will vertically position the text with the
baseline at any specified pitch or staff line. They must be used
inside \verb|\notes...\en|. They will not insert any additional
horizontal space. They have the forms
\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|,
and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|,
where \ital{p} is the pitch. With the first one, text will spill to the right
from the current insertion point, with the second it will spill to the left, and with the
third it will be centered horizontally.
The following abbreviations are available:
\begin{quote}
\begin{tabular}{lcl}
\keyindex{zcn}& for&\verb|\zcharnote| \\
\keyindex{lcn}& for&\verb|\lcharnote| \\
\keyindex{ccn}& for&\verb|\ccharnote| \\
\end{tabular}
\end{quote}
There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|,
\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|,
which differ from the previous three in that the pitch \ital{must} be given with
a number (representing the number of staff positions up from the lowest line),
and that the number need not be an integer.
To vertically position any text midway between two consecutive staves, use
\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|,
or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff.
The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and
\keyindex{Uptext}\verb|{|\ital{text}\verb|}|
are simply shorthands for
\verb|\zchar{10}{|\ital{text}\verb|}| and
\verb|\zchar{14}{|\ital{text}\verb|}|,
respectively.
The text items handled by all of the above macros can include any appropriate
string of \TeX\
control sequences, including font definitions, \verb|\hbox|'es, etc.
Material posted with any of the macros described in this section will not
create any additional horizontal or vertical space within the current system,
and will overwrite anything in the current system that gets in the way. It is
the typesetter's responsibility to ensure there is adequate white space
within the current system to accommodate any text placed with
these macros. On the other hand, if text is placed far above or below a
system, \musixtex\ will usually insert additional vertical space if needed.
\section{Rehearsal marks}
Rehearsal marks are usually
boxed or circled uppercase letters or digits. They can be defined using the macros
\keyindex{boxit}\verb|{|\ital{text}\verb|}| or
\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text,
the margin between the text and box is controlled by the dimension
register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the
default value of \verb|3pt| is unsatisfactory. To place the mark, use \verb|\Uptext| or
any of the other macros defined in the previous section.

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\title{\Huge\bfseries\musixtex\\[\bigskipamount]
\LARGE\bfseries Using \TeX{} to write polyphonic\\or
instrumental music\\\Large\itshape Version 1.35}
\author{}
%\author{\Large\rm Daniel \sc Taupin\\\large\sl
% Laboratoire de Physique des Solides\\\normalsize\sl
% (associ\'e au CNRS)\\\normalsize\sl
% b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip
% \\\Large\rm Ross \sc Mitchell\\\large\sl
% CSIRO Division of Atmospheric Research,\\\normalsize\sl
% Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip
% \\\Large\rm Andreas \sc Egler\\\large\sl
% (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum}
\date{Revised \today}
\maketitle
\vfill
\thispagestyle{empty}
\begin{flushright}\it
If you are not familiar with \TeX{} at all, I would recommend\\
to find another software package to do musical typesetting.\\
Setting up \TeX{} and \musixtex\ on your machine and mastering it is\\
an awesome job which gobbles up a lot of your time and disk space.\\[\medskipamount]
But, once you master it\ldots\\[\smallskipamount]
Hans {\sc Kuykens} (ca.~1995)
\vspace*{4ex}
In my humble opinion, that whole statement is obsolete.\\[\smallskipamount]
Christof\/ {\sc Biebricher} (2006)
\end{flushright}
\clearpage
\pagenumbering{roman}\setcounter{page}{2}
\vspace*{20ex}
\begin{quote}
\musixtex{} may be freely copied, duplicated and used in conformance to
the GNU General Public License (Version 2, 1991, see included file {\tt
copying})\footnote{Thanks to the Free Software Foundation for advice. See
\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}.
You may take it or parts of it to include in other packages, but no packages
called \musixtex{} without specific suffix may be distributed under the name
\musixtex{} if different from the original distribution (except obvious bug
corrections).
Adaptations for specific implementations (e.g., fonts) should be provided as
separate additional \TeX\ or \LaTeX\ files which override original definitions.
\end{quote}
\clearpage
\chapter*{Preface}
\addcontentsline{toc}{chapter}{Preface}
\musixtex\ was developed by Daniel Taupin, Ross Mitchell and Andreas
Egler,
building
on earlier work by Andrea Steinbach and Angelika Schofer.
Unfortunately, Daniel Taupin, the main developer, died all too early in a 2003
climbing accident. The \musixtex\ community was shocked by this tragic and unexpected
event. You may read tributes to Daniel Taupin that are archived at the
\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}} (WIMA\index{WIMA}).
Since then, the only significant update to \musixtex\ has been in version 1.15 (April 2011) which
takes advantage of the greater capacity of the e\TeX\ version of \TeX.
This manual
is the definitive reference to all features of
\musixtex\ version~1.33a.
Novice users need not start here.
Most
music typesetting tasks can be accomplished entirely by using the \textbf{PMX}
(for instrumental music) or \mbox{\textbf{M-Tx}} (for vocal music)
preprocessors to generate the \musixtex\ input file, relieving the user of
learning any of the commands or syntax of \musixtex\ itself. It is only
for out-of-the-ordinary constructions that one must learn these details in order
to insert the necessary \musixtex\ commands into the preprocessor's input file
as so-called inline \TeX.
Advanced users might
want to use \verb|autosp|, another preprocessor. It simplifies
the production of \musixtex\ scores by automating the choice of
note-spacing commands; see Section~\ref{autosp}.
It is possible to create inputs for \musixtex, \textbf{PMX}, \mbox{\textbf{M-Tx}} or
\texttt{autosp} using any text editor, such as \verb|notepad| or \verb|vi| or
\verb|emacs|. Currently there is no graphical user interface for
generating input files, other than \TeX-oriented integrated
graphical development environments such as \TeX Works.
The \href{http://icking-music-archive.org/software/indexmt6.html}
{\underline{Werner Icking Music Archive}} contains excellent and detailed
instructions for installing \TeX, \musixtex{} and the strongly recommended
preprocessors \textbf{PMX}
and \mbox{\textbf{M-Tx}} on
\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000}
{\underline{Linux/\unix}},
\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000}
{\underline{Windows}} and
\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000}
{\underline{Mac OS}}.
See
\href{http://icking-music-archive.org/software/htdocs/Introduction.html#SECTION00012000000000000000}
{\underline{this}}
page at WIMA for documentation of
\textbf{PMX} and \mbox{\textbf{M-Tx}}.
\begin{flushright}
Oliver Vogel\\ Don Simons\\ Andre van Ryckeghem\\ Cornelius Noack\\
Hiroaki Morimoto\\
Bob Tennent\\ \today
\end{flushright}
\clearpage
\makeatletter
\renewcommand\tableofcontents{%
\if@twocolumn
\@restonecoltrue\onecolumn
\else
\@restonecolfalse
\fi
\chapter*{\contentsname
\@mkboth{%
\contentsname}{\contentsname}}%
\addcontentsline{toc}{chapter}{Contents} % added by RDT
\@starttoc{toc}%
\if@restonecol\twocolumn\fi
}
\makeatother
%\begin{small}
\tableofcontents
%\end{small}
\clearpage
\setcounter{page}{1}
\pagenumbering{arabic}
\renewcommand{\thepage}{\arabic{page}}

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\makeatletter
\renewenvironment{theindex}
{\pagestyle{plain}\parindent\z@
\parskip\z@ \@plus .3\p@\relax
\let\item\@idxitem}
{\thispagestyle{plain}}
\makeatother
\begin{multicols}{3}[\chapter*{Index}\addcontentsline{toc}{chapter}{Index}]
\printindex
\end{multicols}

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\chapter{Introduction to \musixtex}
This chapter is not a tutorial on the use of \musixtex, but instead serves as
an overview of some of its capabilities, quirks, and history.
\musixtex\ is a set of macros and fonts which enables music typesetting
within the \TeX\ system. It requires as a prerequisite a working
installation of \TeX.
\musixtex\ might be regarded as the digital equivalent of a box of type. It
contains symbols for staves, notes, chords, beams, slurs and ornaments,
ready to be arranged to form a sheet of music. But it must be told how to position
those symbols on the page. This could be done by the typesetter
himself, if he or she elects to proceed by entering \musixtex\ commands manually
into an input file. However most users will find it far less taxing to let
such decisions be made largely by the preprocessor
\href{http://icking-music-archive.org/software/indexmt6.html#pmx}
{\underline{\textbf{PMX}}}, which in addition uses a much simpler input
language than \musixtex.
Lyrics can also be handled by \musixtex. There is a set of primitive
commands for this which are described later. But there is also a far
more adaptable set of macros contained in the extension file
\verb|musixlyr.tex|, and there is the preprocessor
\href{http://icking-music-archive.org/software/indexmt6.html#mtx}
{\underline{\mbox{\textbf{M-Tx}}}}\ which provides easy, transparent access to
these macros.
Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros
which eases document layout. In fact many may only use \LaTeX.
Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing
primarily to the limited availabily of storage registers. But with modern
versions of \TeX\ and with the use of e\LaTeX, only a modest increase in
complexity is incurred with the addition of musical excerpts to a \LaTeX\
document. Still, fortunately, for typesetting a musical score there is
rarely if ever any advantage to using \LaTeX. Only if one wanted to create a
text document with embedded musical examples would there be much use for it.
Even in that case there is a perfectly fine way to avoid using \musixtex\
directly in the document file, namely, by using \musixtex\ to create
\verb|pdf| or \verb|eps| files for
each of the examples, and then embedding references to those in the file for
the larger document. But for anyone who still wants to use both together, there is
no better example than this manual, as generated with the files
\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such
nonstandard applications are given in Section~\ref{excerpts}.
\section{Primary features of \musixtex}
\subsection{Music typesetting is two-dimensional} Written music is not
usually a linear sequence of symbols like a literary text. Rather,
except for unaccompanied single-note instruments like clarinets,
trumpets and human voices, it has the form of a two-dimensional matrix.
Thus, a logical way of coding music consists
in horizontally accumulating a set of \ital{vertical combs} with
\ital{horizontal teeth} as depicted in Table~\ref{readtable}.
%\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}}
\begin{table}
\begin{center}
\small
\renewcommand{\arraystretch}{1.4}
\setlength{\arrayrulewidth}{1.5pt}
\setlength{\tabcolsep}{2ex}
\begin{tabular}{|ll|ll|}\fbox{note sequence one}
&\fbox{note seq.\ four}
&\fbox{note seq.\ seven}
&\fbox{note seq.\ ten}\\\fbox{note sequence two}
&\fbox{note seq.\ five}
&\fbox{note seq.\ eight}
&\fbox{note seq.\ eleven}\\\fbox{note sequence three}
&\fbox{note seq.\ six}
&\fbox{note seq.\ nine}
&\fbox{note seq.\ twelve}\\
\end{tabular}
\end{center}
\caption{A logical way of coding music}\label{readtable}
\end{table}
Accordingly, in \musixtex\ the fundamental macro used to represent
one of those vertical combs (or one of the columns in Table~\ref{readtable})
is of the form
\begin{center}
\verb|\notes ... & ... & ... \en|\footnote{The command
\keyindex{en} is an abbreviation for the command \keyindex{enotes}, which may also be used.}
\end{center}\index{"&@{\tt\char'046}}
\noindent where the character \verb|&| is used to separate the notes to be
typeset on respective staves of the various instruments, starting from the
bottom.
In the case of an instrument whose score has to be written with
several staves, they are separated by the
character \|\index{\tt\char'174@{\tt\char'174}}.
Thus, a score written for a keyboard instrument and
a single-line instrument (e.g., piano and violin)
will be coded as follows:
\begin{center}
\verb=\notes ... | ... & ...\en=
\end{center}
\noindent for each column of simultaneous \ital{groups of notes}.
Each of those groups, represented by a single box in Table~\ref{readtable}\
and by a sequence of three dots in the the two example macros above, may contain
not only chord notes to be played simultaneously, but short sequences of
consecutive
notes or chords. As we'll soon see, this implies the need for two fundamentally different
kinds of basic macros in \musixtex: those whose tokens are automatically followed
by some amount of space (called \ital{spacing} macros), and those that are not.
The former type, for example,
would be used to produce the notes and rests in a single-line score;
the latter would be used, for example, for chord notes and ornaments.
\subsection{Horizontal spacing}
Deciding upon the proper horizontal spacing of notes is a very complicated matter
that we will not address in any detail here. Obviously short-duration notes
should be closer together than longer ones. Almost as obviously, the spacing
cannot be linearly proportional to the duration; otherwise for example a whole
note would occupy 32 times as much horizontal space as a thirty-second note. And
in polyphonic scores the spacing in one staff is often influenced by the notes
in another. This is a decision that the typesetter or preprocessor
must make. Once the decision is made, \musixtex\ can provide the desired spacing.
The main mechanism is through a set of macros described in
Section~\ref{newspacings}. At this point we shall only mention that to control
spacing, one of those
macros will be selected to replace the symbol \verb|\notes| in the two examples
above, and it will imply that whenever a spacing macro in encountered within
a group of notes, a
certain specific amount of horizontal space will be inserted.
\subsection{Music tokens}
The tokens provided by \musixtex\ include
\begin{itemize}\setlength{\itemsep}{0ex}
\item note symbols without stems;
\item note symbols with stems, and flags for eighth notes and
shorter;
\item beam beginnings and endings;
\item beginnings and endings of ties and slurs;
\item accidentals;
\item ornaments: arpeggios, trills, mordents, turns, staccatos,
pizzicatos, fermatas, etc.;
\item bar lines;
\item meters, key signatures, clefs.
\end{itemize}
For example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz,
\verb|\wh h| produces one an octave higher, \verb|\qu c|
produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C
eighth note an octave lower.
To generate chords with solid note heads, the non-spacing macro \keyindex{zq}
can be used. It produces a solid note head at the specified pitch,
the vertical position of which
is memorized and recalled whenever the next stemmed note (possibly with a flag) is
coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the
\mbox{C-major} chord
\begin{music}\nostartrule
\startextract\NOtes\zq{ceg}\qu j\en\zendextract
\end{music}
\noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely,
\verb|\zq{ceg}\qu j|; the \verb|u| in the spacing note macro
\verb|\qu| is what generates the upstem.
\subsection{Beams}
Each beam \index{beams} is generated by a pair of macros. The first defines
the beginning horizontal position (implicitly the current position), altitude,
direction (upper or lower), multiplicity (number of lateral bars), slope and
reference number. This latter feature is needed so independent beams
can overlap. The second macro of the pair specifies the termination
location (again implicitly) and the reference number.
\subsection{Setting anything on the score}
A general macro (\keyindex{zcharnote}) provides a means of
putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any
pitch of any staff of any instrument. This allows any symbol defined in a font
(letters, math symbols, etc.) to be placed in the score at a position keyed
to the music both in time (horizontally) and pitch (vertically) on the staff,
\section{A simple example}
Before going into more detail, we give below an example of the two first
bars of the sonata in \mbox{C-major} KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc
Mozart, W.A.}}:
\begin{music}
\parindent11mm
\setname1{Piano}
\setstaffs12
\generalmeter{\meterfrac44}
\startextract
\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
\bar
\Notes\ibu0f0\qb0{dgf}|\qlp i\en
\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
\zendextract
\end{music}
The coding is as follows:
\begin{quote}\begin{verbatim}
\begin{music}
\parindent10mm
\instrumentnumber{1} % a single instrument
\setname1{Piano} % whose name is Piano
\setstaffs1{2} % with two staffs
\generalmeter{\meterfrac44} % 4/4 meter chosen
\startextract % starting real score
\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
\bar
\Notes\ibu0f0\qb0{dgf}|\qlp i\en
\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
\zendextract % terminate excerpt
\end{music}
\end{verbatim}\end{quote}
\begin{itemize}\setlength{\itemsep}{0ex}
\item \verb|\ibu0f0| begins an upper beam, aligned on the
\ital{f}, reference number 0, slope 0
\item \verb|\tbu0| terminates this beam before writing
the second \ital{g} by means of \verb|\qb0g|
\item \verb|\qb..| indicates a note belonging to a beam.
\item \verb|\sk| sets a space between the two quarters in the right
hand, so that the second one is aligned with the third eighth in the left hand.
\item\verb|\qlp| is a dotted quarter note.
\item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C}
(\verb|j| at this pitch) with slope 15\%.
\end{itemize}
\section{The three pass system}\label{threepass}
\subsection{Introduction}
\TeX's line-breaking procedure implicitly assumes
that a normal line of text will contain many words, so that inter-word
glue need not stretch or shrink too much to justify the line.
One might at first consider extending this to music, treating each bar like a
word with no stretchable internal space. But typically this would lead to unsightly
gaps before each bar rule, simply because the number of bars per line
is normally many fewer than the number of words in a line of text.
\musixtex\ needs a more sophisticated horizontal spacing algorithm
than is used in \TeX.
To understand how \musixtex\ solves this problem, we have to
recognize two different kinds of horizontal space, \ital{hard}\ and
\ital{scalable}. Hard space is fixed and always represents the same
physical distance.
Examples of hard space are the widths of bar rules, clefs,
and key signatures. Scalable space can be stretched as needed. It
is what is normally used for the space after notes or rests. At the
outset it is only defined in a relative sense. In other words,
scalable spaces are defined as multiples of \verb|\elemskip|, an
initially undefined basic spacing unit. For example, in \textbf{PMX}\
all sixteenth notes
are typically assigned a scalable width of \verb|1.41\elemskip|.
One main job of \musixtex\ is to compute the physical value of
\verb|\elemskip|, often expressed in points (72nds of an inch).
The correct value is that which makes all the scalable space on
a line just fill up what's not occupied by hard space. Obviously
it may vary from line to line.
To this end a three pass system was developed. To start the
first pass on the file \verb|jobname.tex|, you would enter\footnote{
In many cases it will suffice to run {\tt tex}, but with \musixtex~1.15,
it is possible to create a file requiring the enhanced capacity of
{\tt etex}. Since {\tt etex} can handle any file {\tt tex} can, it's best
always to use {\tt etex}.}
\verb|etex jobname|.
Information about each bar is written to
an external file named \verb|jobname.mx1|.
This file begins with a header containing parameters
such as line width and paragraph indentation. Then the hard and
scalable space is listed for each bar.
\index{scalable width}\index{hard width}
The second pass, which is started with \verb|musixflx jobname|,
determines optimal values of the basic spacing unit \verb|\elemskip|
for each line, so as to properly fill each line, and to spread
the piece nicely over an integral number of full lines. This routine was originally written
in \textsc{fortran} rather than \TeX, the main reason
being the lack of an array handling capability in \TeX; the current version
of \verb|musixflx| is a \textsc{lua} script, which may be executed without
compilation in any standard \TeX\ system.
\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its
output to \verb|jobname.mx2|. The latter file contains a single entry for
each line of music in the reformatted output. The key piece of information
is the revised value of \keyindex{elemskip} for each line.
Next, the file is \TeX-ed again, by entering \verb|etex jobname|. On this third pass,
the \verb|jobname.mx2| file is read in, and the information
is used to physically define the final score and embed the
page descriptions into a \verb|dvi|\ file.
You may wonder how the same command can
cause something different to happen the second time it is issued. The explanation
is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's
not present, the first pass is executed; if it is, the third pass. Obviously if
you've made some corrections that affect any horizontal spacing, you must remember
to delete the old \verb|jobname.mx2| and then rerun all three passes, or
build or use a script that does so.
\subsection{An example}
Here's an example. Here, no value for \verb|\elemskip| is explicitly specified,
so \musixtex\ assigns a single, default value. After the first pass you might get
the following output:
\begin{music}
\hsize=100mm
\generalmeter{\meterfrac24}%
\parindent 0pt
\setsign1{-3}
\nostartrule
\startpiece\bigaccid
\NOtes\qu{ce}\en
\bar
\NOtes\qu{gh}\en
\bar
\NOtes\qu{=b}\en
\Notes\ds\cu g\en
\bar
\NOtes\qu{^f=f}\en
\raggedstoppiece\contpiece% this is cheated, the problem was to get
% pass 1 and pass 3 at the same time
\NOtes\qu{=e}\itied0e\qu{_e}\en
\bar
\Notes\ttie0\Qqbu ed{_d}c\en
\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbbu0\qb0{=a}\tqh0N\en
\Notes\Dqbu cf\en
\raggedstoppiece\contpiece
\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
\bar
\NOtes\qu c\qp\en
\setdoubleBAR\raggedstoppiece
\end{music}
\noindent Note that the space after every quarter note is the same, and
that lines are not justified.
After running \verb|musixflx| and \TeX-ing the second time you'll
get:
\begin{music}
\hsize=100mm
\generalmeter{\meterfrac24}%
\parindent 0pt
\generalsignature{-3}
\nostartrule
\startpiece\bigaccid
\NOtes\qu{ce}\en
\bar
\NOtes\qu{gh}\en
\bar
\NOtes\qu{=b}\en
\Notes\ds\cu g\en
\bar
\NOtes\qu{^f=f}\en
\bar
\NOtes\qu{=e}\itied0e\qu{_e}\en
\bar
\Notes\ttie0\Qqbu ed{_d}c\en
\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbbu0\qb0{=a}\tqh0N\en
\Notes\Dqbu cf\en
\bar
\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
\bar
\NOtes\qu c\qp\en
\Endpiece
\end{music}
\noindent Now \musixtex\ has determined a number of lines
(which is different from the original number), the lines are justified,
and if you look carefully you
can see that the space after quarters in the first line
is smaller than in the second. This example was coded as:
\begin{verbatim}
\hsize=100mm
\generalmeter{\meterfrac24}%
\parindent 0pt
\generalsignature{-3}
\nostartrule
\startpiece\bigaccid
\NOtes\qu{ce}\en\bar
\NOtes\qu{gh}\en\bar
\NOtes\qu{=b}\en
\Notes\ds\cu g\en\bar
\NOtes\qu{^f=f}\en\bar
\NOtes\qu{=e}\itied0e\qu{_e}\en\bar
\Notes\ttie0\Qqbu ed{_d}c\en\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbbu0\qb0{=a}\tqh0N\en
\Notes\Dqbu cf\en\bar
\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar
\NOtes\qu c\qp\en\Endpiece
\end{verbatim}
\subsection{Adjusting the layout}
One benefit of the 3-pass system is the quick and easy
alteration to the layout which can be achieved
by changing only one parameter, namely \keyindex{mulooseness}. This value
acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you
state \verb|\looseness=-1| somewhere inside any paragraph, then
\TeX\ will try to make the paragraph one line shorter than it normally would.
With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems}
and \ital{sections} rather than lines and paragraphs. A system is just a group of
staves treated as a unit, and in this discussion is analogous to a line of text.
What is a \ital{section}? It's any chunk of coding not containing a
forced system break, System breaks can be forced with
\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece},
\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne}
\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none
of these is present, the section comprises the whole piece.
Somewhere\footnote{Advisably, at the beginning or
at the end of the section, for the sake of clarity.}
before the end of the section, you can change the value of
\keyindex{mulooseness} to something different from the default of $0$, and
\musixtex\ will typeset that section with a different number of systems.
To give an easy example, changing the last line in the previous example to:
\begin{verbatim}
\NOtes\qu c\qp\en\mulooseness=1\Endpiece
\end{verbatim}
yields:
\begin{music}
\hsize=100mm
\generalmeter{\meterfrac24}%
\parindent 0pt
\generalsignature{-3}
\nostartrule
\startpiece\bigaccid
\NOtes\qu{ce}\en
\bar
\NOtes\qu{gh}\en
\bar
\NOtes\qu{=b}\en
\Notes\ds\cu g\en
\bar
\NOtes\qu{^f=f}\en
\bar
\NOtes\qu{=e}\itied0e\qu{_e}\en
\bar
\Notes\ttie0\Qqbu ed{_d}c\en
\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbbu0\qb0{=a}\tqh0N\en
\Notes\Dqbu cf\en
\bar
\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
\bar
\NOtes\qu c\qp\en
\mulooseness1\Endpiece
\end{music}
\noindent On the other hand,
\begin{verbatim}
\NOtes\qu c\qp\en\mulooseness=-1\Endpiece
\end{verbatim}
yields
\begin{music}
\hsize=100mm
\generalmeter{\meterfrac24}%
\parindent 0pt
\generalsignature{-3}
\nostartrule
\startpiece\bigaccid
\NOtes\qu{ce}\en
\bar
\NOtes\qu{gh}\en
\bar
\NOtes\qu{=b}\en
\Notes\ds\cu g\en
\bar
\NOtes\qu{^f=f}\en
\bar
\NOtes\qu{=e}\itied0e\qu{_e}\en
\bar
\Notes\ttie0\Qqbu ed{_d}c\en
\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbbu0\qb0{=a}\tqh0N\en
\Notes\Dqbu cf\en
\bar
\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
\bar
\NOtes\qu c\qp\en
\mulooseness-1\Endpiece
\end{music}
\noindent which is tighter than you would ever want, but serves to further
demonstrate the use of \keyindex{mulooseness}.
If you want to build up a \musixtex\ input file
manually (which in fact very few users will ever need to do, considering the
availability of \textbf{PMX}), here is a roadmap for one way to proceed:
\begin{enumerate}
\item Enter the data one \verb|\notes| group at a time, taking care to select the
relative horizontal spacing for each group (via the macros discussed in Section~\ref{newspacings})
so as to maintain a consistent relationship between scalable space and note durations.
This will be discussed in a great deal more detail in Chapter~\ref{preparing}.
\item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX.
\item Look at the output and decide if you want to have more or fewer
systems, e.g.,~to fill the page or to get an even number of
pages.\index{musixflx@{\tt musixflx}}
\item If you want to change the number of systems in a section, adjust
\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer
systems than bars.
\item Delete \verb|jobname.mx2| and repeat the process\\
\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX.
\end{enumerate}
There is an alternate way to proceed if you know at the outset
how many systems
you want in a section. You can specify it directly by assigning a
positive number to \keyindex{linegoal} somewhere within the
section (\verb|\linegoal| requires
version 0.83 or later of \verb|musixflx|).
\keyindex{mulooseness} must be zero
for \keyindex{linegoal} to work. Both are automatically reset to
zero after processing the end of a section e.g., as defined by
\keyindex{stoppiece}.
Finally, for large scores (more than 4 pages or so), having
only one section and an overall value of \verb|\mulooseness| becomes
impractical since one wants not only to have nicely spaced systems, but also
completely filled pages without empty top and
bottom margins on the last page. It is then wise to force the total number of
pages and possibly the line breaks in each page, which can be done using
\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique
always used by \textbf{PMX} in constructing a \musixtex\ input file.}.
%avrb
%, or more automatically by
%means of the \keyindex{autolines} command borrowed from \musictex\ and
%implemented in the additional {\ttxem{musixcpt.tex}} file
%avre
There is another advantage to \musixtex's way of using scalable space and
the three pass system. In
\TeX nical terms it eliminates the need for \ital{glue}, and enables
every horizontal position in a line to be computed. This in turn enables certain
variable length symbols such as slurs to be specified by macros entered at
their beginning and ending points, rather than having to estimate the
length of the symbol and enter it at the starting point.
\subsection{Using \texttt{musixflx}}
On most systems, \verb|musixflx| can be invoked by typing the name of the program
and the name of the file to be acted upon; i.e.,
\begin{quote}
\verb|musixflx jobname.mx1|
\end{quote}
Optionally, you can add a letter to indicate one of the debug modes, which are:
\begin{quote}
\verb|d | for debug information to screen\\
\verb|f | for debug information to file \verb|jobname.mxl|\\
\verb|s | to get the computed lines immediately on screen
\end{quote}
To allow for ease of use with scripts, \verb|musixflx| can be fed
with either \verb|jobname.mx1|, \verb|jobname.tex| or only
\verb|jobname|, any one of which will open \verb|jobname.mx1|.
\subsection{Unrecorded spaces: the novice's bugaboo}
Because of the way \musixtex\ accounts for hard and scalable space and avoids
using glue, it is absolutely essential that every horizontal space be
properly entered into the input file. The most common error in this regard
is including a blank space in the midst \ital{or at the end} of an input line.
Such a blank space, or for that matter any stray character not entered with
an appropriate \musixtex\ macro, will not be properly
recognized and recorded by \musixtex, but it will still be treated like
ordinary text by \TeX. The symptoms of such a transgression will be an
{\bf Overfull hbox} warning during the third pass, and the appearance of
either excessive blank horizontal space or thick black vertical lines in
the page image.
\medskip
\centerline{\fbox{Considerable discipline is needed to avoid this problem!}}
\smallskip
The best technique for avoiding such unpleasantness is to avoid entering
any nonessential blanks within input lines, and to end every
input line with either \verb|%|\index{%@{\tt\char37}} or
\keyindex{relax}, unless it already ends with a control sequence
ending in a letter.
There are other ways to enter unrecorded space which should be
avoided. Between \verb|\startpiece| and \verb|\stoppiece| or
\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except
within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|,
\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard
values to scalable dimensions like \verb|\noteskip|,
\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|\footnote{Note that {\Bslash hardspace} does not fall in this
category; it is specifically designed to enter hard space in a way
that \musixtex\ can properly record it}.
Here is a checklist of tips related to spacing issues. Because the
foregoing several paragraphs are so important, some of their content
is repeated in the list.
\begin{enumerate}
\item
Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
end every input line with a either \verb|%| or a command with no arguments
(including \verb|\relax| and \verb|\en|).
\item \verb|\off| must only be used with scalable values, e.g.,
\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and
\verb|\beforeruleskip|.
\item Remember that \verb|\qqsk|, \verb|\qsk| and \verb|\hqsk| are scalable, i.e., \verb|\qsk|
doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|).
\item Lyrics and any other non-\musixtex\ text must be put in zero-width boxes
such as
\verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|,
\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering
lyrics are provided by
\verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the
text-placement macros defined in \verb|musixlyr.tex| (see Chapter~\ref{lyrics},
p.~\pageref{lyrics}).
\item
Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|,
or \verb|\afterruleskip|.
\end{enumerate}
\section{Further highlights}
%\check
\subsection{Key signatures}
\begin{sloppypar}
A single key signature can be assigned~to~all~instruments,~for~example~by
\keyindex{generalsignature}\verb|{-2}|
which sets two flats on each staff. \keyindex{generalsignature}
can be overridden for selected instruments, for example by
\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff
of instrument number 2. Of course, the current signature as well
as meters and clefs may change at any time.\end{sloppypar}
\subsection{Transposition}
With some extra attention, a score can be input in such a way that it is
fairly easily transposed. There is an internal register
called \keyindex{transpose}, the default value of which is zero, but which may be
set to any reasonable positive or negative value. It defines a number of pitch
steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided
they have been entered with letter values to represent their pitch.
However,
it will neither change the local accidentals nor the key signature.
For
example, suppose a piece were originally input in F major, and it contained a
B natural, and you wanted to transpose it to G. If you simply set
\verb|\transpose| to 1 with no other special considerations, then
the key signature would not change, and
the B~natural would appear as a C~natural, whereas it should be a C~sharp.
So first you must explicitly change the key signature. Then, to
solve the problem with accidentals, you should declare
\verb|\relativeaccid|, which will cause the actual appearance of any
accidental to depend on the pitch of
the accidental as well as the current key signature. But the use of this
facility requires the typesetter to have entered the original set of accidentals
according to a nonstandard convention wherein an accidental does not
specifically refer to the black or white keys on a piano, but to the
amount by which the pitch is altered up or down from what it would naturally
have been, taking the key signature into account.\index{relative accidentals} This
is discussed in more detail in Section~\ref{transposeaccids}. Now, finally, you
can enter \verb|\transpose=1| with more or less the desired effect.
More or less, because there is also an issue with stem
and beam directions. Normally a typesetter would want full control over them,
and would exercise that control by entering them with macros that explicitly
assign the direction. Naturally the assigned directions would persist
even after changing \verb|\transpose|. With respect to stems of unbeamed notes,
this matter can also be addressed at
the input level, by using special macros for notes that leave the
decision about stem directions up to \musixtex. These macros do the right
thing in the face of transposition. They are discussed in
Chapter~\ref{autostemdirections}. Unfortunately there is no corresponding
such facility for beams, so the typesetter will have to edit the transposed
score to adjust beam directions as required\footnote{\textbf{PMX}
will automatically adjust both stem and beam directions when transposing, which
is yet another reason to use it. However
if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals
and enter accidentals according to the relative-accidental convention.}.
%\check
\subsection{Extracting parts from a score}
It is possible to extract separate scores for
each individual instrument of a multi-instrument score.
If you use \textbf{PMX}, it is very easy;
see the documentation for \textbf{PMX}.
If you use \musixtex\ without a preprocessor,
see Chapter~\ref{parts}.
%After assigning symbolic numbers to instruments,
%there are macros (see \ref{instrum-inhibit}) that permit
% \begin{itemize}\setlength{\itemsep}{0ex}
% \item choosing which instrument the following source code is attached to,
% \item choosing which staff of an instrument the following source code is
%attached to,
% \item hiding one or several instruments by zeroing out their staff sizes and staff
%numbers.
% \end{itemize}
%\check
\subsection{Staff and note sizes}
Although the standard staff size is 20pt, \musixtex\ allows scores with
sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff
size (usually smaller than the overall staff size), and there are special macros
(e.g., \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and
accidentals all to take a different size.
\subsection{Add-in macro libraries}
During the early stages of \musixtex's development, common versions of \TeX\ itself were
very limited in capacity, especially in terms of the numbers of registers that could
be defined for use in macros. For this historical reason, many important enhancements
to \musixtex\ are available only via add-in libraries. The user can thus pick and choose
which to include for any particular compilation. Most of these are included in
a \musixtex\ distribution, and their uses are discussed in this manual. The
libraries have names like \verb|blabla.tex|, and are activated by including a line
like \verb|\input blabla|\ within the the input file. The most common such files
are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the
number of instruments from the default 6 to 9 or 12 as well as increasing available numbers
of other features; \verb|musixps.tex| which enables Type~K Postscript slurs; and
\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two,
while now included in \musixtex\ distributions, are not documented in this manual but
in separate files, namely \verb|musixps.tex| itself and
\verb|mxlyrdoc.pdf| respectively.
\section{Installing and Using \musixtex}\label{using}
As stated in the preface,
the \href{http://icking-music-archive.org/software/indexmt6.html}
{\underline{Werner Icking Music Archive}}\ (WIMA) contains excellent and detailed
instructions for installing \TeX, \musixtex{} and the strongly recommended
preprocessors \textbf{PMX}
(for instrumental music) and \mbox{\textbf{M-Tx}} (for vocal music) under
\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000}
{\underline{Linux/\unix}},
\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000}
{\underline{Windows}} and
\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000}
{\underline{Mac OS}}.
As stated in Section~\ref{threepass}, to compile a \musixtex-formatted score, you must run
in sequence \verb|etex|, \verb|musixflx|,
and \verb|etex| again. This will produce a \verb|.dvi| file. From this point
forward, this file can be processed like the device-independent output file
for any \TeX\ document. The most common approach and the only one to
be discussed here is to next generate a Postscript file. This is accomplished
by running \verb|dvips|, which is included in every \TeX\ system; to prevent
inappropriate adjustments that \verb|dvips| makes by default, it is recommended to
add the option \verb|-e0|. To view the
Postscript, most users run {\tt GSview} or {\tt gv}, a front-end to {\tt ghostscript}, which must
be separately downloaded and installed. Finally, you may produce a PDF file
using \verb|ps2pdf| or GSview, and view that with any PDF viewer, such as
the Adobe Reader or {\tt GSview}.
You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap or \verb|xdvi|,
but, if you are using type K Postscript slurs or vectorized beams, some DVI viewers will not display them.
Rather than executing all the foregoing programs separately, most users will
find it more convenient to use the \verb|musixtex| script that comes in most
distributions of \musixtex. For example, \verb|musixtex jobname|
will by default run the three passes described in Section~\ref{threepass},
convert the result to PDF and delete intermediate files.
There are many options available to
change the behavior; run
\verb|musixtex -h|
\noindent to get a summary.
\section{Where to get help using \musixtex}
The home base for all matters related to \musixtex\ is the
Werner Icking Music Archive, at
\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}.
There is a
\href{http://tug.org/mailman/listinfo/tex-music}{\underline{mailing list}},
hosted by TUG, the \TeX\ Users Group, where you will always find
someone willing to answer questions and help solve problems.
\section{A very brief history of \musixtex}
The idea of using \TeX\ to typeset music appears to have originated
around 1987 with the master's thesis of Andrea
{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer
A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis,
Rheinische Friedrich-Wilhelms Universit\"at,
Bonn, Germany, 1987}. They called their package
\mutex\index{mutex@\protect\mutex}. It was limited to a single staff.
It introduced two key concepts: (1) using
a large number of font characters to construct beams and slurs, and (2) using
\TeX\ glue to help control horizontal spacing and justification.
The next major step came around 1991 when Daniel {\sc Taupin} created \musictex.
Its major enhancement was to allow multiple staves. But this came at a
price: some flexibility was lost in controlling horizontal spacing and
a great deal of trial and error became necessary to avoid excessive or
insufficient gaps before and after bar lines.
\musictex\ was a single-pass system. To remedy its shortcomings it became clear
that a multi-pass system would be required. Around 1997 Dr.~Taupin along with Ross {\sc Mitchell}
and Andreas {\sc Egler} created the first version of \musixtex. At last a fully
automatic procedure was coded so as to provide pleasing horizontal spacing in
multi-staff scores.
Significant enhancements to \musixtex, which have already been mentioned, have been provided
by Stanislav {\sc Kneifl} (Type~K Postscript slurs) and
Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|).
Since Dr.~Taupin passed away in 2003, \musixtex\ has been maintained by a
varying cast including Olivier {\sc Vogel}, Hiroaki {\sc Morimoto},
Bob {\sc Tennent}, Andre {\sc Van Ryckeghem},
Cornelius {\sc Noack}, and Don {\sc Simons}.
No discussion of the history of \musixtex\ would be complete without mentioning
the contributions of Werner {\sc Icking}. From the early days of \mutex\ until
his untimely death in 2001, he served this line of software as its most prominent
proponent, beta tester, web site and mailing list editor, consultant,
problem solver, and inspiration for
many third-party enhancements including \textbf{PMX}. In fact he founded the
mailing list and the archive that now is named in his honor. The web site is
currently edited by Christian {\sc Mondrup}, the software page by Bob {\sc Tennent},
and the mailing list by Maurizio {\sc Codogno}.

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\chapter{Managing the Layout of your Score}
\section{Line and page breaking}\label{linebreak}
If every bar ends with \verb|\bar| and no other line- or page-breaking commands
are used, then the external program \verb|musixflx| will decide where to insert
line and page breaks. Line breaks will only come at bar lines. The total
number of lines will depend on the initial value of \verb|\elemskip|, which by
default is \verb|6pt| in \verb|\normalmusicsize|.
You can force a line or page break by replacing \keyindex{bar} with
\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand,
to forbid line-breaking at a particular bar, replace \verb|\bar|
with \keyindex{xbar}. To force a line or page break where there is
no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any
mid-bar location as an optional line-breaking point, use \keyindex{zbar};
to force the mid-bar bar line to the end of a system, use \keyindex{zzbar}.
The heavy final double bar of a piece is one of the consequences of
\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate
the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}.
To terminate it with no bar line at all, code \keyindex{zstoppiece}.
If you want to suppress right-justification of the last line of a score,
use \keyindex{raggedstoppiece}; the bar line can be suppressed by
using \keyindex{zendpiece} (or \keyindex{setemptybar}).
Once you have stopped the score by any of these means, you may want to restart
it, and there are several ways to do so. If you don't need to change the key
signature, meter, or clef,
you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece}
to indent by \keyindex{parindent}. If you do want to change some score
attribute that takes up space, for example
with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you
must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset
to 1, you must save its new starting value to \verb|\startbarno|. You may also
wish to modify instrument names or \verb|\parindent| before restarting.
Recall that thin-thin or thin-thick double bars or blank bar lines can be
inserted without stopping by using the commands described in Section~\ref{doublebars}.
Those commands can also be used before \verb|\stoppiece|,
\verb|\alaligne|, or \verb|\alapage|
\section{Page layout}
Blank space above and below each staff is controlled by the dimension
registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more
info see Chapter~\ref{LayoutParameters}.
The macro \keyindex{raggedbottom} will remove all vertical glue and
compact everything toward the top of page.
In contrast, the macro \keyindex{normalbottom} will restore default
behavior, in which vertical space between the systems is distributed
so that the first staff
on the page is all the way at the top and the last staff all the way at
the bottom.
The macro \keyindex{musicparskip} will allow the existing space between
systems to increase by up to \verb|5\Interligne|.
The following values of page-layout parameters will allow as much material
as possible
on a page, provided the printer supports these dimensions which
imply approximately half-inch margins:
\begin{center}
\begin{tabular}{|l|l|}\hline
\multicolumn{1}{|c|}{A$4$}&\multicolumn{1}{|c|}{letter}\\\hline
\verb+\hsize=190mm+&\verb+\hsize=7.5in+\\\hline
\verb+\vsize=270mm+&\verb+\vsize=10in+\\\hline
\end{tabular}
\end{center}
\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset}
\zkeyindex{hsize}\zkeyindex{vsize}
You may have to be more conservative if you have headlines or footlines
or want
even/odd-page asymmetry, such as with the \keyindex{rectoverso}
command in \verb|musixsty.tex| (Section~\ref{musixsty}).
If a score is going to be ``published'' at a public repository (such as
\mbox{\textsc{imslp}}), you may want to allow for \emph{either}
A$4$ \emph{or} letter paper, for example by setting the \verb|\hsize| to~190~mm
and the \verb|\vsize| to~10~in.
To generate a score in ``landscape''\index{landscape mode} mode, adjust the
text-size parameters above accordingly (e.g., \verb+\hsize=10in+ and \verb+\vsize=7.5in+)
and add a suitable \verb\papersize\ ``special'' to the \TeX\ output, as in
\verb+\special{papersize=11in,8.5in}+.
For \emph{any} values of
\verb|\hsize| and \verb|\vsize|,
material will normally be centered on the page by using
command sequences such as the following, which simply split the difference between the page size and the text size,
and then subtract one inch because of \TeX\ conventions:
\begin{enumerate}
\item[For A$4$ paper, portrait mode (210~mm $\times$ 297~mm):]\quad\\[-2ex]
\begin{verbatim}
\hoffset=210mm\advance\hoffset-\hsize\divide\hoffset2
\advance\hoffset-1.0in
\voffset=297mm\advance\voffset-\vsize\divide\voffset2
\advance\voffset-1.0in
\end{verbatim}
\item[For letter-size paper, portrait mode (8.5~in $\times$ 11~in):] \quad\\[-2ex]
\begin{verbatim}
\hoffset=8.5in\advance\hoffset-\hsize\divide\hoffset2
\advance\hoffset-1.0in
\voffset=11in\advance\voffset-\vsize\divide\voffset2
\advance\voffset-1.0in
\end{verbatim}
\end{enumerate}
To determine the maximal dimensions that \emph{your} printer is capable of,
process the standard file \verb|testpage.tex| with \LaTeX\ and
print the result. The ``rulers'' on four sides will indicate
how much of the one-inch ``margin'' material outside the frame can actually be printed.
Your \verb|\hsize| and \verb|\vsize| parameters can be increased, or, if necessary, decreased
accordingly. If your score is going to be printed by a publisher or a colleague, you can send
\verb|testpage.pdf| to them to determine what margins are necessary for their
printer.
However, if the margins on the \verb|testpage| output are \emph{not}
symmetric,
the printer is mis-aligned.
If this can't be corrected, the margin offsets will
have to be adjusted. Ideally, this should be done in the \TeX\ configuration
so all \TeX\ output will be corrected, but offsets can be adjusted
for just \verb|musixtex| output using
\verb|\advance\hoffset ...| and/or
\verb|\advance\voffset ...|
after the ``normal'' settings given above.
\section{Page numbering, headers and footers}\index{page
number}\index{footnote}
There are no special page numbering facilities in \musixtex; you must rely on
macros from plain \TeX. There is a count register in \TeX\ called
\verb|\pageno|. It is always initialized to $1$ and incremented by one
at every page break. By saying \keyindex{pageno}\verb|=|$n$, it can be reset to any
value at any time, and will continue to be incremented from the new value.
By default, \TeX\ will place a page number on
every page, centered at the bottom. Unfortunately, this is not the preferred
location according to any standard practice. To suppress this default
behavior, say \keyindex{nopagenumbers}.
One way to initiate page numbering in a more acceptable location is to take
advantage of the facts that (a) \TeX\ prints the contents of the control sequences
\keyindex{headline} and \keyindex{footline} at the top and bottom
respectively of every page, and (b) the value of \verb|\pageno| can be printed by
saying \keyindex{folio}. Therefore, for example, the following sequence of
commands, issued anywhere before the end of the first page, will cause page
numbers and any desired text to be printed at the top of every page,
alternating between placement of the number at the left and right margins, and
alternating between the two different text strings (the capitalized text in
the example):
\begin{quote}\begin{verbatim}
\nopagenumbers
\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}%
\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}%
\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}%
\voffset=2\baselineskip
\end{verbatim}\end{quote}
\section{Controlling the total number of systems and pages}\index{page/line layout}
Once all the notes are entered into a \musixtex\ score, it would be convenient
if there were a simple sequence of commands to
cause a specified number of systems to be uniformly distributed over a
specified number of pages. Unfortunately that's not directly
possible\footnote{It \textit{is} possible in \textbf{PMX}.}.
Rather, some trial and error will usually be required to achieve the desired final
layout. To this end, some combination of the following strategies may be used:
\begin{enumerate}\setlength{\itemsep}{0ex}
\item Assign a value to the count register \keyindex{linegoal} representing
the total number of systems. The count register \keyindex{mulooseness} must be $0$ if using
\verb|\linegoal|.
\item Explicitly force line and page breaking as desired, using
the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|
or \verb|\zalapage|.
\item Adjust both \keyindex{mulooseness} and the initial value of
\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will
increase the total number of systems, while changing the initial value of
\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the
total number of systems accordingly.
\end{enumerate}

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\chapter{Lyrics}\index{lyrics}\label{lyrics}
\musixtex{} itself doesn't manage lyrics very well. You should use
\verb+musixlyr+ instead, a \musixtex\ extension package for lyrics handling by Rainer Dunker.
The \TeX~source and
\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf}
{\underline{documentation}}~are included in the \musixtex~distribution.
But first we recall briefly the older methods, which may still be useful when
only a small number of words are involved.
\section{Native lyrics method: placing single words}
\subsection{Native \musixtex\ commands for lyrics}
\begin{enumerate}\setlength{\itemsep}{0ex}
\item An obvious solution is to use the commands
\keyindex{zcharnote} (expanded to the right),
\keyindex{lcharnote} (expanded to the left),
\keyindex{ccharnote} (centered), to post the text at any position (computed in
\verb|\internote|s) with respect to the lower line of the current staff.
The pitch should be usually negative, to have the text below the staff.
Example:\quad
\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}}
\quad is coded by \quad
\verb|\zcharnote{N}{Word}\wh g|~.
\item The vertical position can also be given with a number in the commands
\keyindex{zchar} (expanded to the right),
\keyindex{lchar} (expanded to the left),
\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~.
Example:\quad
\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}}
\quad is coded by \quad
\verb|\cchar{-5}{Word}\wh g|~.
\item Of easier use are the commands \keyindex{zsong} (right of the note),
\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics
at the lower staff line \ital{minus} the previous
\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These
commands only have one argument, namely the lyrics text:
%\begin{center}
\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad
\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad
\keyindex{csong}\verb|{|\ital{text}\verb|}|
%\end{center}
Depending on the values of the inter-instrument spacings and margins, the
resulting vertical position might be inappropriate. Then it can be changed for
any specific $n$-th instrument until further change using
\begin{quote}
\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}|
\end{quote}
As an example, the following French song\\
\begin{music}
\generalsignature{1}
\startextract
\geometricskipscale
\NOtes\zsong{Au }\qu g\en
\NOtes\zsong{clair }\qu g\en
\NOtes\zsong{de }\qu g\en
\NOtes\zsong{la }\qu h\en
\bar
\NOTes\zsong{lu- }\hu i\en
\NOTes\zsong{ne, }\hu h\en
\bar
\NOtes\zsong{mon }\qu g\en
\NOtes\zsong{a- }\qu i\en
\NOtes\zsong{mi }\qu h\en
\NOtes\zsong{Pier- }\qu h\en
\bar
\NOTes\zsong{rot, }\wh g\sk\en
\endextract
\end{music}
\noindent was coded as:
\begin{quote}\begin{verbatim}
\generalsignature{1}
\startextract
\geometricskipscale
\NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en
\NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar
\NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar
\NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en
\NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar
\NOTes\zsong{rot, }\wh g\sk\en
\zendextract
\end{verbatim}\end{quote}
\end{enumerate}
\subsection{Adapting note spacing for lyrics}
The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length
of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}|
is saved in \keyindex{thelyrics}
As an example \quad
\raisebox{0ex}[5ex][4ex]%
{\musicintextnoclefn{\staffbotmarg2\Interligne%
\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}}
\quad is coded by:
\begin{tabular}{l}
\verb|\hardlyrics{clair}%|\\
\verb|\notes\hsong{\thelyrics}\wh g\en|\\
\verb|\notes\wh{gg}\en|\\
\end{tabular}
All notes with long lyrics need such a treatment. The commands only carry out on
\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...).
If you want to go back to the normal placing on an easy way, you simply can replace
'\verb|\hardlyrics|' by '\verb|\softlyrics|'.
A complete score is given in example {\tt glorias.tex}\label{glorias} and in
{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the
organ accompaniment.
Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed
length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is
\verb|3\noteskip|. These are useful when the text is set below (or above) a
collective coding of two or three notes.
\section{Musixlyr}\label{musixlyr}
Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker.
The package can be used by inserting a line in your source code:
\begin{quote}\begin{verbatim}
\input musixtex
\input musixlyr
...
\end{verbatim}\end{quote}
The manual, the input file and a few examples are in \musixtex\ distributions, or they
may be downloaded
\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip}
{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz}
{\underline{for \unix}}. Look at the manual for a detailed description. Here is an overview
of the commands and an example of use.\pagebreak
\def\keyexample#1{\keyindex{#1}}
\noindent\begin{small}\begin{tabbing}
\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
Example\> Explanation
\end{tabbing}
\vspace{-1ex}
\hrule
\vspace{-2ex}
\begin{tabbing}
\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\
\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\
\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\
\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff $2$\\
\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff $2$ of instrument $1$\\
\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\
\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff $2$\\[.8ex]
\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\
\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex]
\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\
\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\
\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine \verb|1.| with regular syllable\\
\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\
\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\
\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\
\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex]
\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\
\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex]
\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\
\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\
\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\
\keyexample{llyr}\verb|\qu c|\>left justified syllable\\
\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\
\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable $1$ notehead to the left\\[.8ex]
\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\
\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\
\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\
\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex]
\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff $1$ by \verb|2\Interligne|\\
\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff $2$ of instrument $1$\\
\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex]
\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than $2$mm are not shown \\
\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\
\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\
\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\
\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex]
\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\
\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex]
\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff $2$ to the upper voice\\
\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ $1$ staff $2$ to the upper voice\\
\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\
\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\
\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff $2$ of instr.\ $1$\\
\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex]
\keyexample{lyrlink}\>linking two words with a '$_{_\smile}$'\\
\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex]
\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex]
\keyexample{enableauxlyrics}\>don't use this anymore\\
\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\
\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\
\keyexample{oldlyrlinestart}\>don't let the lyrics extend to the left margin\\
\end{tabbing}\end{small}
As a further illustration of the use of the commands, have a look at the following
example\footnote{The example is taken from the \texttt{musixlyr} manual.}:
\medskip\medskip
%\oneversespace
\begin{music}
\input musixlyr
\resetlyrics \small
\lyrmodealter0
\setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}}
\copylyrics{soprano}{alto} \assignlyrics1{alto}
\generalsignature{-2}
\advance\stafftopmarg1\Interligne
\advance\staffbotmarg2\Interligne
\startextract\addspace\afterruleskip
\NOtes\zqu g\ql e\en
\bar
\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
\Notes\tqb0e\en
\Notes\endmel\tbslurd0e\ql c\en
\notes\ibbu0h{-1}\qb0h\tqh0g\en
\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
\bar
\NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
\lyr\wh b\en % must be given manually.
\endextract
\lyrmodenormal0
\end{music}
\medskip
%\oneversespace
which was coded as:
\begin{quote}
\begin{verbatim}
% define lyrics above the staff
\setlyrics{soprano}{bring her die Gans,}
% lyric beneath the staff are the same
\copylyrics{soprano}{alto}
% assign alto lyrics below staff 1 on the notes with stem down
\assignlyrics1{alto}
% assign soprano lyrics above staff 1 on the notes with stem up
\auxlyr{\assignlyrics1{soprano}}
% attach both lyrics to the upper voice
\lyrmodealter0
\generalsignature{-2}
% make place for the lyrics
\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne
\startextract\addspace\afterruleskip
\NOtes\zqu g\ql e\en\bar
% start melisma in lower lyrics
\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
% start melisma in upper lyrics
\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en
% end melisma in lower lyrics
\Notes\endmel\tbslurd0e\ql c\en
\notes\ibbu0h{-1}\qb0h\tqh0g\en
% start melisma in upper lyrics
\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar
% The lyrics of the whole notes (without stem) must be given manually.
\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en
\endextract
\lyrmodenormal0
\end{verbatim}\end{quote}
\section{Getting enough vertical space for lyrics}
Since songs are
usually equivalent to a one-staff instrument (possibly with several voices)
the recommended solution consists in adjusting the distance between
instruments using either \keyindex{interinstrument}\verb|=|\ital{any
\TeX-dimension} to give more place below all instruments or using
\keyindex{setinterinstrument} to make more space above. Note that {\Bslash
setinterinstrument} defines spacing above and not below an instrument. Since
lyrics are usually set below the staff, the first argument of a
\verb|\setinterinstrument| should be the song instrument number \ital{minus
one}.
In the case of a single staff tune, or if the song instrument is the lowest
one, then additional place can be provided using \keyindex{staffbotmarg}.
\section{Fine tuning the placement of the lyrics}
When not using \verb|\hardlyrics|, on short notes, sometimes
the lyrics are shifted away from the notes or they collide with other words.
This are a few approaches to get around this:
\begin{enumerate}\setlength{\itemsep}{0ex}
\item Making more music lines for the notes to go further apart. This could be done with
\verb|\mulooseness|.
\item Stretch a bar with short notes in it by i.e.,~replacing \verb|\notes| by \verb|\NOTes|.
\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|, \verb|\qqsk|, ...
\item Stretch a bar with short notes in it by using the command \keyindex{scale}:
\begin{verbatim}
\scale{1.6}\notes..\en\scale{1}%
\end{verbatim}
This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing
in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but
will shorten the other bars on the line.
As an example, the lyrics of this music line are better placed by using \verb|\scale| in
the first bar and moving to the left the word 'mon'. Note that the hyphen is removed
when there is no place for it:
\begin{music}
\input musixlyr
\resetlyrics
\setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}%
\assignlyrics1{}\assignlyrics1{v1}%
\staffbotmarg2\Interligne\generalsignature{1}%
\startextract
\geometricskipscale
\notes\qu{gggh}\en\bar
\Notes\hu{ih}\en\bar
\notes\qu{gihh}\en\bar
\Notes\wh g\en
\endextract
% \end{music}
%%%%% combined for saving registers %%%%%
% \begin{music}\nostartrule
% \input musixlyr
\resetlyrics
\setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
\assignlyrics1{}\assignlyrics1{v1}%
\staffbotmarg2\Interligne\generalsignature{1}%
\startextract \geometricskipscale
\scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
\Notes\hu{ih}\en\bar
\notes\qu{gihh}\en\bar
\Notes\wh g\en
\endextract
\end{music}
\medskip
The code of the second music line is (\verb|\assignlyrics1{}| is only needed because
lyrics are assigned before this in this manual):
\begin{quote}\begin{verbatim}
\begin{music}
\input musixlyr
\resetlyrics
\setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
\assignlyrics1{}\assignlyrics1{v1}%
\staffbotmarg2\Interligne\generalsignature{1}%
\startextract \geometricskipscale
\scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
\Notes\hu{ih}\en\bar
\notes\qu{gihh}\en\bar
\Notes\wh g\en
\endextract
\end{music}
\end{verbatim}\end{quote}
\item Moving a word in any direction
\begin{small}
\noindent\begin{tabular}{ll}
\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\
& left-move verse number\\
\verb|\setlyrics{alto}{...\kern1exword...}| &right-move a single word\\
\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lower a single word\\
\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raise a single word\\
\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}%
\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\
& control distance between verses\\
\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\
\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\
& redefine default lyrstrut
\end{tabular}
\end{small}
\item Placing of accents can be made easier as shows this example:
\begin{center}
\begin{minipage}{50mm}
\begin{music}\nostartrule
\input musixlyr
\catcode`\ä\active \defä{\"a}
\catcode`\ö\active \defö{\"o}
\catcode`\å\active \letå\aa
\setlyrics1{å ä ö}
\assignlyrics1{}\assignlyrics11
\startextract
\setsongraise1{1ex}\NOtes\qa{ggg}\en
\zendextract
\end{music}
\end{minipage}%
\begin{minipage}{80mm}
\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\
\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\
\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\
\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\
\verb|\assignlyrics11|\\
\verb|\startextract|\\
\verb|\NOtes\qa{ggg}\en|\\
\verb|\zendextract|\\
\end{minipage}
\end{center}
\item Using an 8-bit encoded characterset.\label{8bit}
If you use default (Computer Modern) fonts, you will want to switch to
the EC variants
by putting
%\verb+\input plainenc\relax\inputencoding{cp850}+ % doesn't work!
\verb+\input musixec+
after \verb+\input musixtex+ in your source file.
\end{enumerate}

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%
% This file is part of MusiXTeX
%
% MusiXTeX is free software; you can redistribute it and/or modify
% it under the terms of the GNU General Public License as published by
% the Free Software Foundation; either version 2, or (at your option)
% any later version.
%
% MusiXTeX is distributed in the hope that it will be useful,
% but WITHOUT ANY WARRANTY; without even the implied warranty of
% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
% GNU General Public License for more details.
%
% You should have received a copy of the GNU General Public License
% along with MusiXTeX; see the file COPYING. If not, write to
% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
% Boston, MA 02111-1307, USA.
%
%
% musixdoc.tex : the document
%
\documentclass[twoside,11pt,notitlepage]{report}
\usepackage{musixdoc}
%\includeonly{%
%frontmatter,
%introduction,
%settingup,
%preparing,
%writingnotes,
%beams,
%restsdoc,
%spacing,
%accidentals,
%transposition,
%slurstiesfont,
%slurstiesTypeK,
%barlines,
%barnumbering,
%layout,
%changing,
%repeats,
%fonts,
%miscellaneous,
%smaller,
%staffsize,
%parameters,
%extracting,
%lyrics,
%embedding,
%extensions,
%examples,
%summary,
%index
%}
\startmuflex
\makeindex
\begin{document}
\include{frontmatter}
\setcounter{page}{1}
\pagenumbering{arabic}
\renewcommand{\thepage}{\arabic{page}}
\include{introduction}
\include{settingup}
\include{preparing}
\include{writingnotes}
\include{beams}
\include{restsdoc}
\include{spacing}
\include{accidentals}
\include{transposition}
\include{slurstiesfont}
\include{slurstiesTypeK}
\include{barlines}
\include{barnumbering}
\include{layout}
\include{changing}
\include{repeats}
\include{fonts}
\include{miscellaneous}
\include{smaller}
\include{staffsize}
\include{parameters}
\include{extracting}
\include{lyrics}
\include{embedding}
\include{extensions}
\include{examples}
\include{summary}
\include{index}
\end{document}

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%
% This file is part of MusiXTeX
%
% MusiXTeX is free software; you can redistribute it and/or modify
% it under the terms of the GNU General Public License as published by
% the Free Software Foundation; either version 2, or (at your option)
% any later version.
%
% MusiXTeX is distributed in the hope that it will be useful,
% but WITHOUT ANY WARRANTY; without even the implied warranty of
% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
% GNU General Public License for more details.
%
% You should have received a copy of the GNU General Public License
% along with MusiXTeX; see the file COPYING. If not, write to
% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
% Boston, MA 02111-1307, USA.
%
%
\usepackage[papersize={210mm,11in},margin=1.125in]{geometry} % a4 width, letter-paper height
\pagestyle{headings}
\usepackage{makeidx}
\usepackage{multicol}
%\usepackage{etex}
\usepackage{amssymb}
\newcommand{\comment}[1]{}
%\usepackage{indentfirst}
\usepackage{mflogo}
\usepackage[cp1252]{inputenc} % needed for ç in extensions.tex
% default is Computer Modern OT1 encoding
\usepackage[T1]{fontenc} % for CM, \input musixec after musixtex
\usepackage[osf]{mathpazo} % Palatino text, with old-style figures; use $n$ for lining figures
%\usepackage{mathptmx} % Times text
%\usepackage{helvet}\renewcommand{\familydefault}{\sfdefault} % Helvetica text
% use OT1 encoding for tt to avoid need for cm-super fonts
\renewcommand{\ttfamily}{\fontencoding{OT1}\fontfamily{cmtt}\selectfont}
\usepackage{textcomp}
\input musixtex
\input musixvbm % experimental vectorized beams
\input musixbm
\input musixcho
\input musixdat
\input musixext
\input musixgre
\input musixgui
\input musixlit
\input musixltx
\input musixper
%%% \input musixps deferred to Section 10.2
%\input musixec % EC (Computer Modern) text in music
\input musixplt % Palatino text in music
%\input musixtmr % Times text in music
%\input musixhv % Helvetica text in music
\usepackage{paralist}
\setlength{\pltopsep}{1pt plus 2pt minus 1pt}
\setlength{\plitemsep}{4.5pt plus 2pt minus 1pt}
\renewenvironment{enumerate}{\begin{compactenum}}{\end{compactenum}}
\renewenvironment{itemize}{\begin{compactitem}}{\end{compactitem}}
\renewenvironment{description}{\begin{compactdesc}}{\end{compactdesc}}
\setcounter{tocdepth}{1}
\setcounter{secnumdepth}{2}
% more place for section numbers in \tableofcontents
\usepackage{tocloft}
\setlength{\cftsecnumwidth}{3.0em}
\renewcommand{\chaptermark}[1]{\markboth{\itshape Chapter \thechapter. #1}{}}
\renewcommand{\sectionmark}[1]{\markright{\itshape\thesection. #1}}
\usepackage[colorlinks=true]{hyperref}
\nobarnumbers
\def\st@ffs{1}
% for usage of notes inside text
\let\nblines\z@
\def\notesintext#1{% no staff lines, no clefs
{\let\extractline\relax
\setlines10\smallmusicsize \nobarnumbers \nostartrule
\staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
\startextract\addspace{-\afterruleskip}#1\zendextract}}
\def\musicintext#1#2{% normal
{\let\extractline\relax
\smallmusicsize \nobarnumbers
\staffbotmarg0pt \setclef1{#1}
\startextract\addspace{-\afterruleskip}#2\endextract}}
% macro adapted to insert music without clef:
\def\musicintextnoclef#1{% no clef small
{\let\extractline\relax
\smallmusicsize \nobarnumbers
\staffbotmarg0pt \setclefsymbol1\empty
\startextract\addspace{-\afterruleskip}#1\endextract}}
\def\musicintextnoclefn#1{% no clef normal
{\let\extractline\relax
\nobarnumbers
\staffbotmarg0pt \setclefsymbol1\empty
\startextract\addspace{-\afterruleskip}#1\endextract}}
\def\musictex{Music\TeX{}}
\def\onen{{\ttfamily\char123}$n${\ttfamily\char125}}
\def\pitchp{{\ttfamily\char123}$p${\ttfamily\char125}}
\def\itbrace#1{{\ttfamily\char123}$#1${\ttfamily\char125}}
\def\nochange{{\ital{NOT to be changed}}}
\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi
\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi
\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily}
\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX}
\def\Bslash{\ttfamily\char'134}
\def\|{\texttt{\char'174}}
\def\LBR{\texttt{\char'173}}
\def\RBR{\texttt{\char'175}}
\def\keyindex#1{\leavevmode
\hbox{{\Bslash #1}}\index{#1@{\protect\small\protect\Bslash #1}}}
\def\zkeyindex#1{\index{#1@{\protect\small\protect\Bslash #1}}}
\def\ixem#1{#1\index{#1}}
\def\itxem#1{\textit{#1}\index{#1}}
\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}}
\def\ixtt#1{\index{#1@\texttt{#1}}}
\def\ital#1{\textit{#1\/}}
\def\enpee{{\ttfamily{\char123$n$\char125\char123$p$\char125}}}
\def\unix{\textsc{unix}}
\sloppy
\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}%
\def\_{\protect\underscoreSymbol}
\endinput

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\chapter{Layout Parameters}\label{LayoutParameters}
Most layout parameters are set by \musixtex\ to reasonable default values.
However, some projects will require altering one or more of them. In this
section we discuss the most important parameters and how to change them.
\section{List of layout parameters}
In the following, the indication ``\nochange'' does not mean that this
parameter cannot be changed at all, but that it should not be modified
directly, e.g,.~by saying something like \verb|\Interligne=14pt|. In other
words, changes in these parameters must be accomplished only by more
comprehensive macros which not only revise them but at the same time perform
other necessary related changes. Even though you cannot \ital{change} these,
you may \ital{refer} to them in your coding if that proves useful.
\begin{description}\setlength{\itemsep}{0ex}
\item[\keyindex{Interligne} :]vertical distance between the bottoms of
consecutive staff lines of the current instrument, taking no account of a
possible alteration by \keyindex{setsize}; \nochange.
\item[\keyindex{internote} :]vertical spacing between notes one scale
step apart in the current instrument, taking account of a possible alteration
by \keyindex{setsize}; \nochange.
Note that each distinct instrument may have a different
\verb|\internote| (see Chapter~\ref{staffspacing}).
\item[\keyindex{Internote} :]vertical spacing between notes one scale
step apart in any instrument whose \keyindex{setsize} has the default
value \keyindex{normalvalue} ($1.0$), equal to \verb|0.5\Interligne|; \nochange.
\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the
first (lowest) instrument. Changes are recognized at the next system.
Default is \verb|3\Interligne|.
\item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of
last (uppermost) instrument. Changes are recognized at the next system.
Default is \verb|3\Interligne|.
\item[\keyindex{interbeam} :]vertical distance between beams; \nochange.
\item[\keyindex{interstaff} :]a very important macro with a single numerical
argument representing the factor that multiplies \verb|2\internote| to give the
distance between the bottom of one staff and the bottom of the next one. In
fact the macro redefines the parameter \verb|\interfacteur|. Default is 9.
\verb|\interstaff| applies to all the
instruments; to set the inter-staff spacing for a single instrument,
use \keyindex{setinterstaff}\itbrace{n}\itbrace{m},
$n$ is the instrument and $m$ is the replacement factor for that instrument.
Note that
after you have used \keyindex{setinterstaff},
you cannot reset the distances for that instrument with
\keyindex{interstaff}; you must subsequently use
\keyindex{setinterstaff} for that purpose.
\item[\keyindex{interportee} :]distance between the bottom of one staff and
the bottom of the next one. It is always reset to
2 times \keyindex{internote} times the \keyindex{interfacteur} for the current
instrument at the next system.
Therefore, trying to change \verb|\interportee| will have no effect. Change
\verb|\interstaff| or use \keyindex{setinterstaff} instead.
\item[\keyindex{interinstrument} :]additional vertical distance between
two consecutive instruments. This means that the distance between the lowest
line of the previous instrument and the lowest line of the top staff of the current
instrument is \verb|\interportee+\interinstrument|. The
default value of \verb|\interinstrument| is zero, but sometimes you
may want additional space between distinct instruments. This is a general
dimension register. As usual in \TeX, it can be set using a command such as
\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its
value can be overridden for the space above any particular instrument
with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where
$n$ is the instrument and $s$ is the replacement value of the space to
be added. The \verb|\setinterinstrument| macro may be useful in some vocal
scores to provide vertical space for lyrics.
Note that
after you have used \keyindex{setinterinstrument},
you cannot reset the distances for that instrument with
\keyindex{interinstrument}; you must subsequently use
\keyindex{setinterinstrument} for that purpose.
\item[\keyindex{systemheight} :]distance from the bottom of the
lowest staff to the top of the highest one. This is the length of any
vertical lines such as repeats that span the full height of a system;
\nochange.
\end{description}
In addition, when handling notes of a given staff of a given instrument, the
following dimensions are available (note these are not true registers, but
\ital{equivalenced symbols} through a \verb|\def|):
\begin{description}\setlength{\itemsep}{0ex}
\item[\keyindex{altplancher} :]altitude of the lowest line of the lowest
instrument; \nochange.
\item[\keyindex{altitude} :]altitude of the lowest line of the lowest
staff of the current instrument; \nochange.
\item[\keyindex{altportee} :]altitude of the lowest line of the current
staff; \nochange.
%??? Next perhaps will change to steps of \verb|\internote|.
\item[\keyindex{stemfactor} :]parameter defining the length of stems on
half, quarter, and beamed eighth notes, in units of \verb|\interbeam|.
Normally a stem has the length of one octave,
i.e.,~\verb|3.5|\keyindex{Interligne}. However, this is not correct for small or tiny
note sizes. Therefore, stem length is defined as a multiple of the
dimension \keyindex{interbeam}, which is chosen because it is automatically
redefined as a
different multiple of \keyindex{Interligne} whenever note size is changed. For
example, with \verb|\normalmusicsize| when \verb|\setsize| is
\verb|\normalvalue|, \verb|\interbeam| is \verb|0.75|\keyindex{Interligne}. This
legislates a default value for \keyindex{stemfactor} of $4.66$ ($=3.5/0.75$).
To change stem length, it is easiest to use e.g.,~\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|.
Subsequently, \verb|\stemfactor| will not automatically be reset to the default,
but keep in mind that if it is changed
inside a notes group, the change will only be effective within that notes group.
\end{description}
\section{A convenient macro for changing layout parameters}
Of the parameters just described that can be changed, many should only be
changed between the end of one system and the beginning of the next. The
command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}|
may be useful for this purpose. It will cause \ital{any control sequence} to
be inserted right before the next new line is begun, provided the line break
is not initiated by a \verb|\startpiece|. Thus this will work with
automatically generated line breaks, with those forced by \verb|\alaligne|, and
with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece|
followed by \verb|\contpiece|. (Note, however, that in the latter case it
would be just as convenient to enter the parameter changes explicitly as well.)
The control sequence will only be executed once,
after which \verb|\atnextline| is redefined as \verb|\empty|.
\section{Changing the number of lines per staff}\label{stafflinenumber}
Naturally, the default number of lines per staff is five. But you may want a
different number in some or all staves, for example for gregorian music,
percussion music, guitar tablature, or early baroque keyboard music. To do so,
use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the
instrument number and $m$ is the number of lines.
\section{Resetting normal layout parameters}
The general size can only be changed with one of the commands
\keyindex{smallmusicsize},
\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or
\keyindex{Largemusicsize}. Beyond that, the command
\keyindex{resetlayout} will reset the following key layout parameters
to their default values: \keyindex{staffbotmarg} (\verb|3\Interligne|),
\keyindex{stafftopmarg} (\verb|3\Interligne|), \keyindex{interstaff} ($9$),
number of lines per staff for all instruments ($5$); and will reset all clef
symbols to standard clef symbols.
\section{Split and Shortened Systems}
It is sometimes desirable to typeset a ``shortened'' system or to split
a system into left and right segments, as in the following (extracted from a
Geminiani \emph{concerto grosso}):
\begin{music}
\smallmusicsize
\setclef1\bass
\setclef5\treble\settrebleclefsymbol5\trebleoct
\generalsignature{-2}
\instrumentnumber5
\songbottom{1}\songtop{5}
\setinterinstrument4{1\internote}
\nobarnumbers
\generalmeter{\meterfrac38}
\hbox to\hsize\bgroup\vbox\bgroup\hsize=1.7in
\startpiece\addspace\afterruleskip
\Notes\qa G\sk&\ibu1i{-1}\qb1i\qb1{.g}&\ca d\qa g&\ca n\itieu3n\qa n&\ca g\ds\en
\notes\ds\sk&\sk\tbbu1\tqu1g&\sk\sk&\sk\sk\ttie3&\ds\sk\en
\znotes&&&&\lcn{q}{\bf D.S. al\kern3ex}\coda p\en
\setdoublebar\endpiece
\egroup\hfill\vbox\bgroup\hsize=3.7in
\generalmeter{\allabreve}
\startpiece\addspace\afterruleskip
\znotes&&&&\coda o\en
\NOtes\qa{.G}&\qa{.k}&\qa{.d}&\qa n&\qa g\en
\notes\sk\sk\qs\cca N&\sk\sk\qs\cca i&\sk\sk\qs\cca k&\qs\ibbl3p{-2}\qb3{p}\qb3{o}\tql3n&\qp\sk\sk\sk\en
\NOtes\qa{.M}&\qa{.h}&\qa{.k}&\qa o&\ha k\en
\Notes\sk&\sk&\sk&\itieu3r\qa r&\sk\en
\notes\qs\cca M&\qs\cca h&\qs\cca k&\sk\sk&\sk\sk\en
\bar
\NOtes\wh L\sk&\qa{g}\qa{g}&\ha{l}\sk&\ttie3\ha r\sk&\ha{g}\sk\en
\NOTes\sk&\ha j&\ha{n}&\tr s\ha q&\ha{n}\en
\bar
\nspace
\NOtesp\ha{.K}&\ha{.h}&\ha{.k}&\ha{.r}&\ha{.^m}\en
\setdoublebar\endpiece
\egroup\egroup
\end{music}
This was coded as follows:
\begin{footnotesize}
\begin{quote}\begin{verbatim}
\setclef1\bass\setclef5\treble\settrebleclefsymbol5\trebleoct
\generalsignature{-2}
\instrumentnumber5\songbottom{1}\songtop{5}
\nobarnumbers
\generalmeter{\meterfrac38}
\hbox to\hsize\bgroup\vbox\bgroup\hsize=1.7in % specify length of left segment
\startpiece\addspace\afterruleskip
\Notes\qa G\sk&\ibu1i{-1}\qb1i\qb1{.g}
&\ca d\qa g&\ca n\itieu3n\qa n&\ca g\ds\en
\notes\ds\sk&\sk\tbbu1\tqu1g
&\sk\sk&\sk\sk\ttie3&\ds\sk\en
\znotes&&&&\lcn{q}{\bf D.S. al\kern3ex}\coda p\en
\setdoublebar\endpiece
\egroup\hfill\vbox\bgroup\hsize=3.7in % specify length of right segment
\generalmeter{\allabreve}
\startpiece\addspace\afterruleskip
\znotes&&&&\coda o\en
\NOtes\qa{.G}&\qa{.k}&\qa{.d}&\qa n&\qa g\en
\notes\sk\sk\qs\cca N&\sk\sk\qs\cca i
&\sk\sk\qs\cca k
&\qs\ibbl3p{-2}\qb3{p}\qb3{o}\tql3n
&\qp\sk\sk\sk\en
\NOtes\qa{.M}&\qa{.h}&\qa{.k}&\qa o&\ha k\en
\Notes\sk&\sk&\sk&\itieu3r\qa r&\sk\en
\notes\qs\cca M&\qs\cca h&\qs\cca k
&\sk\sk&\sk\sk\en
\bar
\NOtes\wh L\sk&\qa{g}\qa{g}&\ha{l}\sk
&\ttie3\ha r\sk&\ha{g}\sk\en
\NOTes\sk&\ha j&\ha{n}&\tr s\ha q&\ha{n}\en
\bar
\nspace
\NOtesp\ha{.K}&\ha{.h}&\ha{.k}&\ha{.r}&\ha{.^m}\en
\setdoublebar\endpiece
\egroup\egroup % close open \bgroups
\end{verbatim}\end{quote}
\end{footnotesize}

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\chapter{Preparing to Enter Notes}\label{preparing}
\section{After the setup, what next?}
The command \keyindex{startmuflex} initiates the serious business of
\musixtex. On the first \TeX\ pass it
opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all
hard and scalable space to be fed to \verb|musixflx| on the second pass.
\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the
number of bars in each system and the factors relating scalable space
to hard space in each system. On the third pass both files will be opened
and read to define the final spacing. These files should be closed before
leaving \TeX, preferably before
\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\
closes all open files on its own when terminating the program, but it is still
cleaner to do this explicitly.
After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate
the first system, containing all instruments you have previously defined.
The indentation will be \keyindex{parindent}, so if you want nonzero
indentation, this register should be set to the desired hard dimension
before issuing \verb|\startpiece|.
\section{Horizontal spacing commands}\label{newspacings}
\subsection{Basic note spacing}
\musixtex\ provides a set of macros each of which defines a particular
increment of scalable spacing. The default set is tabulated in
Figure~\ref{spacingtable}.
\begin{table}
\begin{small}
\begin{center}
\tinynotesize
\renewcommand{\arraystretch}{1.5}% I hate LaTeX (attributed to Daniel Taupin)
\begin{tabular}{|l|l|l@{~~~~}l|}
\multicolumn{1}{c}{Usage}&
\multicolumn{1}{c}{spacing}&
\multicolumn{2}{c}{Suggested use}\\\hline
\keyindex{znotes}\verb| ... & ... & ... \en|&(non spacing)
&&specials\\
\keyindex{notes}\verb| ... & ... & ... \en|&\verb=2=\keyindex{elemskip}
&\ccu1&16th\\
\keyindex{notesp}\verb| ... & ... & ... \en|&\verb=2.5\elemskip=
&\pt1\ccu1&dotted 16th, 8th triplet\\
\keyindex{Notes}\verb| ... & ... & ... \en|&\verb=3\elemskip=
&\cu1&8th\\
\keyindex{Notesp}\verb| ... & ... & ... \en|&\verb=3.5\elemskip=
&\cup1&dotted 8th, quarter triplet\\
\keyindex{NOtes}\verb| ... & ... & ... \en|&\verb=4\elemskip=
&\qu1&quarter\\
\keyindex{NOtesp}\verb| ... & ... & ... \en|&\verb=4.5\elemskip=
&\qup1&dotted quarter, half triplet\\
\keyindex{NOTes}\verb| ... & ... & ... \en|&\verb=5\elemskip=
&\hu1&half\\
\keyindex{NOTesp}\verb| ... & ... & ... \en|&\verb=5.5\elemskip=
&\hup1&dotted half\\
\keyindex{NOTEs}\verb| ... & ... & ... \en|&\verb=6\elemskip=
&\wh1&whole\\\hline
\end{tabular}\end{center}
\end{small}
\caption{Spacing Commands}
\label{spacingtable}
\end{table}
What each of these macros actually does is to set an
internal dimension register \keyindex{noteskip} to the given multiple
of the fundamental spacing unit \keyindex{elemskip}
(which has dimensions of length, usually given in points).
Normally, every \itxem{spacing note} (e.g.,
\keyindex{qu},
\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of
width \keyindex{noteskip}. By selecting a particular note spacing macro
from the above table, the typesetter can thus control the relative spacing
between notes.
The actual spacing will therefore be determined by the value of
\verb|\elemskip|. On the first pass, \TeX\ will set a default value for
\verb|\elemskip| based on the declared music size, or the user can
set it to any hard dimension he chooses. However, the value on the
first pass doesn't matter as much as you might think (more about that later).
On the second pass,
\verb|musixflx| determines where the system breaks will come,
and then computes the final value of \verb|\elemskip| for each system.
If the arithmetic progression of note spacings in the above table does not
meet your wishes, you may activate an alternate set with
the command \keyindex{geometricskipscale}. As implied by the name, this
is a geometric progression, where {\Bslash Notes} is
$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$
times wider than {\Bslash Notes}, and so forth.
Then the factors in the middle column
of the above table will be replaced by the sequence
$2.00$, $2.38$, $2.83$, $3.36$, $4.00$, $4.76$, $5.66$, $6.72$, and $8.00$. Two additional
macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to
factors $9.52$ and $11.32$. The original arithmetic progression can be
restored by \keyindex{arithmeticskipscale}.
If neither of the predefined progressions satisfies you, you may define
your own, using the more general macro \verb|\vnotes| in the same manner
that \musixtex\ uses it for the predefined progressions. So for example
\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in
the obvious way, and the extension to the other spacing macros should
likewise be obvious.
The following abbreviations may be useful:
\begin{quote}
\begin{tabular}{lcl}
\keyindex{nnotes} &for&\verb|\vnotes1.6\elemskip|\\
\keyindex{nnnotes} &for&\verb|\vnotes1.28\elemskip|
\end{tabular}
\end{quote}
In addition, inside any pair \verb|\notes...\en| there are two
equivalent ways to
locally redefine \verb|\noteskip| to another scalable value, namely by
issuing a command like
\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which
have the expected effect until the notes group is terminated or
\verb|\noteskip| is further redefined.
Finally, by issuing a command like
\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent
\verb|\noteskip|s by any desired factor.
These facilities may be useful, for example,
to control spacing when there are three equal duration notes in one staff against two
in another.
%\subsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and
%\Bslash{\tt afterruleskip}}
%
% avr wants to call these "commands", but das doesn't.
%\subsection{Commands {\Bslash\texttt{elemskip}},
%{\Bslash\texttt{beforeruleskip}}
%and {\Bslash\texttt{afterruleskip}}}
%\subsection{{\Bslash\texttt{elemskip}},
%{\Bslash\texttt{beforeruleskip}}
%and {\Bslash\texttt{afterruleskip}}}
\subsection{Before and after rule skips}
We've just seen how \verb|\elemskip| is used to scale the spacings between notes.
There are two other spacing units that share some behavior with \verb|\elemskip|:
\verb|\beforeruleskip| is the horizontal space that is automatically inserted
\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after}
every bar line. (In
practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there
will typically already be a space of \verb|1\noteskip| before every barline.)
On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default
values according to the following table:
%\begin{quote}\begin{tabular}{lrrr}\hline
%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
% &\keyindex{beforeruleskip}\\\hline
%\keyindex{normalmusicsize}&6pt&8pt&0pt\\
%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline
%\end{tabular}\end{quote}
\begin{center}\begin{tabular}{lrrr}\hline
\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
&\keyindex{beforeruleskip}\\\hline
\keyindex{normalmusicsize}&{\tt 6pt}&{\tt 8pt}&{\tt 0pt}\\
\keyindex{smallmusicsize}&{\tt 4.8pt}&{\tt 6pt}&{\tt 0pt}\\\hline
\end{tabular}\end{center}
\noindent In the second pass, \verb|musixflx| assigns new values to each
of these dimensions, a different set for each line or system. It does this
in such a way that available scalable horizontal space in each system is
exactly filled up.
The values that are assigned to these dimensions on the first pass, whether by
default or explicitly by the user or in some combination, only matter insofar
as their relative sizes. That's why we earlier stated that the first-pass value
of \verb|\elemskip| didn't matter as much as you might think. For both music sizes
in the table above, it appears that by default \verb|\afterruleskip| is
\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors
%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as
%specific multiples of \Bslash{\tt elemskip}}.
of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as
specific multiples of \Bslash\texttt{elemskip}.}.
Note that if you do want to change any of these
values, you have to do so \ital{after} setting the
music size and before \verb|\startpiece|.
Here is an example that illustrates the various dimensions under discussion:\\
%\check
\begin{music}\nostartrule
\afterruleskip7pt
\beforeruleskip2pt
\parindent0pt
\setclefsymbol1\empty
% special problems afford special solutions
\makeatletter\global\clef@skip\z@ \makeatother
\startpiece
\zchar{16}{\hbox to\afterruleskip{\downbracefill}}%
\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}%
\addspace\afterruleskip
\zchar{16}{\hbox to2\elemskip{\downbracefill}}%
\zchar{19}{\hbox to2\elemskip{\hss b\hss}}%
\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
\notes\qa l\en
\znotes\en
\zchar{16}{\hbox to4\elemskip{\downbracefill}}%
\zchar{19}{\hbox to4\elemskip{\hss c\hss}}%
\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}%
\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}%
\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
\NOtes\qa l\en
\znotes\en
\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}%
\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}%
\setemptybar\endpiece
\end{music}
\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l}
a&\keyindex{afterruleskip}\\
b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\
c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\
d&\keyindex{beforeruleskip}\\
e&\keyindex{elemskip}
\end{tabular}\end{quote}
\section{Moving from one staff or instrument to another}
\label{movingtostaffs}
When entering notes inside \verb|\notes ... \en|, the usual way to suspend
input for one instrument and start the next (higher) is with the character
``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one
staff, to switch to the next (higher) one you can use the character
``\verb+|+''\index{\tt\char'174@{\tt\char'174}}.
There are some alternate navigation commands that may be useful in
special situations. Due to ``catcode
problems'' (see Section~\ref{catcodeprobs}) it may sometimes be necessary
to use the more explicit commands
\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same
meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous
(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might
be useful if a beam starts in a higher staff than where it ends. More
generally, to switch to an arbitrary instrument $n$, use
\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$
of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the
latter case if $n$ exceeds the number of staves defined for the instrument, you
will receive an error message. You can enter part of a successive voice on
the \ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for
the \ital{current} staff.
\section{Automatic note spacing}
\label{autosp}
A preprocessor called \texttt{autosp}\index{autosp@{\tt autosp}} automates the generation
of note-spacing commands by converting (non-standard) commands
of the form \verb|\anotes ... \en| into one or more conventional
note-spacing commands, as determined by the note values
themselves, with \verb|\sk| spacing commands inserted as necessary.
The coding for an entire measure can be entered one part at
a time, without concern for note-spacing changes within the
part or spacing requirements of other parts.
For example, from the input
\begin{verbatim}
\anotes\qa J\qa K&\ca l\qa m\ca n\en
\end{verbatim}
\texttt{autosp} generates
\begin{verbatim}
\Notes\qa J\sk\qa K\sk&\ca l\qa m\sk\ca n\en
\end{verbatim}
\texttt{autosp} also supports non-standard commands for adding ``global''
skips (i.e., in every staff) and centered whole-bar rests.
As an option, \emph{all} note-spacing commands (except \verb|\znotes|
and \verb|\vnotes|) will be processed similarly; this is useful for correcting
the spacing in single-instrument parts extracted from a multi-instrument score;
see Section~\ref{musixtnt}.
The \texttt{autosp} package is available in
\href{https://www.tug.org/texlive/}{\underline{TeXLive}}
and
\href{http://miktex.org/}{\underline{MiKTeX}}, and
can also be found at
the \href{http://icking-music-archive.org/software/autosp/autosp.zip}
{\underline{Werner Icking Music Archive}}
or at
\href{http://mirrors.ctan.org/support/autosp.zip}{\underline{CTAN}}
(the Comprehensive \TeX\ Archive Network).

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\chapter{Repeats}
To replace a bar line with a left, right, or left-right repeat, use one of the
commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or
\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat|
happens to come at the end of a system, it will automatically be moved to the
start of the next system. If a \verb|\leftrightrepeat| happens to come at the
end of a system, \musixtex\ will automatically post a right repeat at the end
of the system and a left repeat at the beginning of the next.
For example,
\begin{music}\nostartrule
\startextract
\NOTes\ha g\en
\leftrepeat
\NOTes\ha h\en
\leftrightrepeat
\NOTes\ha i\en
\rightrepeat
\NOTEs\wh j\en
\zendextract
\end{music}
\noindent has been coded as:
\begin{quote}\begin{verbatim}
\NOTes\ha g\en
\leftrepeat
\NOTes\ha h\en
\leftrightrepeat
\NOTes\ha i\en
\rightrepeat
\NOTEs\wh j\en
\end{verbatim}\end{quote}
To insert a right-repeat at a forced line break or at the end of a piece, use
\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|.
In fact it is possible to use \keyindex{setleftrepeat},
\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any
\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}; but
be aware that whereas \verb|\setrightrepeat| behaves properly if the bar is at the
end of a system, \verb|\setleftrepeat| and \verb|\setleftrightrepeat| do not,
placing
the left-repeat symbol at the end of the system rather
than at the beginning of the next system; see the
\verb|\zleftrepeat| \verb|\zzleftrepeat| \verb|\zzleftrightrepeat|
and \verb|\zzleftrightrepeat| commands described below.
The following commands generate repeat symbols as usual, but
are assumed to be in the \emph{middle} of a bar; that is,
the bar counter is not incremented:
\begin{itemize}
\item[] \keyindex{zrightrepeat}
\item[] \keyindex{zleftrepeat}
\item[] \keyindex{zleftrightrepeat}
\end{itemize}
For example, to insert a left-repeat at a forced line break or at the
beginning of a piece, simply use \verb|\zleftrepeat| immediately \textit{after}
\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a
forced line break, use \verb|\setrightrepeat\alaligne\zleftrepeat|.
The following commands are similar but force the mid-bar break to the
end of a system:
\begin{itemize}
\item[] \keyindex{zzrightrepeat}
\item[] \keyindex{zzleftrepeat}
\item[] \keyindex{zzleftrightrepeat}
\end{itemize}
For
\verb|\zzleftrepeat| and \verb|\zzleftrightrepeat|, the left-repeats occur
at the beginning of the following system. The bar numbers are
correctly adjusted, using \keyindex{writezbarno} for the continuation
if \keyindex{systemnumbers} is in use.
As an example, here is
a \emph{bourr\'ee} by G.-F.~Handel coded using \verb|\zleftrepeat| at the beginning
of the \textbf{A} section and \verb|\zzleftrightrepeat|
between the \textbf{A} and the \textbf{B} sections:
\begin{music}
\smallmusicsize
\generalmeter{\allabreve}
\generalsignature{1}
\startbarno=0
\nobarnumbers
\nostartrule
\startpiece\addspace\afterruleskip
\systemnumbers
\zleftrepeat%
\znotes\ccn{10}{\boxit{\bf A}}\en
\NOtes\qa d\en%
\bar%1
\NOtes\qa{g}\qa{i}\qa{h}\qa{g}\en%
\bar%2
\NOTes\ha{k}\ha{i}\en%
\bar%3
\NOtes\qa{l}\qa{k}\qa{j}\qa{i}\en%
\bar%4
\NOtes\qa j\en
\NOTes\ha i\en%
\zzleftrightrepeat%
\znotes\ccn{10}{\boxit{\bf B}}\en
\NOtes\qa k\en%
\bar%5
\NOtes\qa{l}\qa{j}\qa{h}\en
\Notes\ibl3i2\qb3i\tql3j\en%
\bar%6
\NOtes\qa{k}\qa{i}\qa{g}\en
\Notes\ibu3h2\qb3h\tqu3i\en%
\bar%7
\NOtes\qa{j}\qa{i}\qa{h}\qa{g}\en%
\bar%8
\Notes\ibu3h1\qb3{h}\qb3{g}\qb3{h}\tqu3i\en
\NOtes\qa h\en
\Notes\ibl3i2\qb3i\tql3j\en%
\bar%9
\NOtes\qa k\en
\Notes\ibl3i2\qb3i\tql3j\en
\NOtes\qa k\en
\Notes\ibl3j{-2}\qb3j\tql3i\en%
\bar%10
\NOtes\qa j\en
\Notes\ibu3h2\qb3h\tqu3i\en
\NOtes\qa j\en
\Notes\ibu3i{-2}\qb3i\tqu3h\en%
\bar%11
\NOtes\qa{i}\qa{g}\en
\NOtesp\tr{11}\qa{.h}\en
\Notes\ca g\en%
\bar%12
\NOTesp\ha{.g}\en%
\setrightrepeat%
\endpiece%
\end{music}
\noindent No explicit adjustment of \verb|\barno| was necessary. The right-repeat
at the end of the \textbf{B}~section was produced by
\verb|\setrightrepeat\endpiece|.
\section{First and second endings (Voltas)}\index{volta}
All volta commands must be entered right before the bar line command
(or repeat, etc.) where they are to take effect. There are three
commands that suffice to set all voltas. To start one, use
\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it
with or without a vertical line, use \keyindex{endvolta} or
\keyindex{endvoltabox} respectively. The text by default will be followed
by a period. There are also various alternate
commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|\endvoltabox|).
Some such alternate forms are used in the following example, but the first three
mentioned above are all that are required:
\medskip \begin{music}
\parindent0pt
\nostartrule
\startpiece
\addspace\afterruleskip
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\setvoltabox{1.-3}\bar
\NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
\NOTEs\wh d\en\doublebar
\NOTEs\wh e\en\bar
\NOTEs\wh f\en\leftrepeat
\NOTEs\wh g\en\bar
\NOTEs\wh h\en\Setvolta1\bar
\NOTEs\wh i\en\bar
\NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
\NOTEs\wh i\en\bar
\NOTEs\wh h\en\setendvoltabox
\Endpiece
\end{music}
\noindent This was coded as
\begin{quote}\begin{verbatim}
\startpiece \addspace\afterruleskip
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\setvoltabox{1.-3}\bar
\NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
\NOTEs\wh d\en\doublebar
\NOTEs\wh e\en\bar
\NOTEs\wh f\en\leftrepeat
\NOTEs\wh g\en\bar
\NOTEs\wh h\en\Setvolta1\bar
\NOTEs\wh i\en\bar
\NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
\NOTEs\wh i\en\bar
\NOTEs\wh h\en\setendvoltabox
\Endpiece
\end{verbatim}\end{quote}
\zkeyindex{leftrepeat}\zkeyindex{rightrepeat}
If the volta only spans one measure and ends without a vertical segment,
it can be specified simply by saying
\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command
that starts it, and it will automatically terminate at the
second bar line command:
\medskip \begin{music}
\parindent0pt \nostartrule\startpiece \addspace\afterruleskip
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
\NOTEs\wh d\en\bar
\NOTEs\wh e\en\Endpiece
\end{music}
\noindent which was coded as:
\begin{quote}\begin{verbatim}
\parindent0pt \startpiece \addspace\afterruleskip
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
\NOTEs\wh d\en\bar
\NOTEs\wh e\en\Endpiece
\end{verbatim}\end{quote}
The height above the top staff line of the horizontal line in a volta symbol
is determined by the token \keyindex{raisevolta} which is \verb|4\internote| by
default. You can change this to any desired dimension.
The period after the text can be
removed by saying \verb|\def|\keyindex{voltadot}\verb|{}|
and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ .
\section{Special symbols for repeating long sections}
Four special symbols and corresponding macros are available, namely
\keyindex{coda}~$p$, \keyindex{Coda}~$p$,
and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno}
with no argument. Their behavior is illustrated in this example:
\begin{music}
\startextract
\NOtes\segno n\en
\bar
\NOtes\coda n\en
\NOtes\Segno\en
\bar
\NOtes\Coda n\en
\endextract
\end{music}
\noindent which has been coded:
\begin{quote}\begin{verbatim}
\NOtes\segno m\en\bar
\NOtes\coda m\en
\NOtes\Segno\en\bar
\NOtes\Coda m\en
\end{verbatim}\end{quote}
\section{Repeating a single bar}
The special symbol for a single-bar repeat is generated by \keyindex{duevolte}, as shown
in the following example:
\begin{music}
\generalmeter\meterC
\setclef1\bass\setstaffs1{2}
\startextract
\NOtes|\qa{cegj}\en
\def\atnextbar{\znotes\centerpause|\en}\bar
\NOtes\qa{cdef}|\en
\def\atnextbar{\znotes|\centerbar{\duevolte}\en}%
\endextract
\end{music}
\noindent whose coding is:
\begin{quote}\begin{verbatim}
\generalmeter\meterC
\setclef1\bass\setstaffs1{2}
\startextract
\NOtes|\qa{cegj}\en
\def\atnextbar{\znotes\centerpause|\en}\bar
\NOtes\qa{cdef}|\en
\def\atnextbar{\znotes|\centerbar{\duevolte}\en}%
\endextract
\end{verbatim}\end{quote}

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\chapter{Rests}
\section{Ordinary rests}
A separate macro is defined for each kind of ordinary rest. They cause
a space after the symbol, just like spacing note commands, but they have
no parameters. A whole rest is coded as
\keyindex{pause},
half rest \keyindex{hpause} or \keyindex{hp},
quarter rest \keyindex{qp} or \keyindex{soupir},
eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs},
$32$nd~rest \keyindex{hs}, and $64$th rest \keyindex{qqs}.
Dotted rests may be obtained by
using
\keyindex{pausep},
\keyindex{hpausep} or \keyindex{hpp}, \keyindex{qpp}, \keyindex{dsp}, \keyindex{qsp},
\keyindex{hsp} and \keyindex{qqsp},
and double-dotted rests by
\keyindex{pausepp},
\keyindex{hpausepp} or \keyindex{hppp}, \keyindex{qppp}, \keyindex{dspp}, \keyindex{qspp},
\keyindex{hspp} and \keyindex{qqspp},.
Longer rests, normally interpreted as lasting
two or four bars respectively, can be coded as \keyindex{PAuse}
and \keyindex{PAUSe}, which yield:
\begin{music}\nostartrule
\generalmeter{\meterfrac44}
\startextract
\def\atnextbar{\znotes\centerbar\PAuse\en}%
\NOTEs\en\bar
\def\atnextbar{\znotes\centerbar\PAUSe\en}%
\NOTEs\en
\endextract
\end{music}
%\check
\noindent
The command \keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch
$p$ and of length $n$ \keyindex{noteskip}. For example,
\verb|\NOTes\Hpause4{0.83}\en|
produces
\begin{music}
\nostartrule
\startextract
\NOTes\Hpause4{0.83}\en
\endextract
\end{music}
\section{Raising rests and non-spacing rests}\index{raising rests}
All the
previous rests (except \keyindex{pausep},
\keyindex{hpausep} and \keyindex{Hpause}) are \ital{hboxes}, which means that
they can be vertically offset if needed using the
standard \TeX\ command \keyindex{raise}. For example:
\begin{quote}
\begin{verbatim}
\raise 2\Interligne\qp
\raise 3mm\qqs
\end{verbatim}
\end{quote}
\noindent where \keyindex{Interligne} is the distance from one staff line to the
next.
Similarly, non-spacing rests may be coded using the \TeX\ command \keyindex{rlap}, as in
\begin{music}\nostartrule
\startextract
\notes\ibbu0h{-1}\zccl e\qb0h\raise-4\Interligne\rlap\qs\qb0e\en
\notes\raise-4\Interligne\rlap\ds\qb0f\tqu0g\en
\endextract
\end{music}\noindent
for which the coding is
\begin{verbatim}
\notes\ibbu0h{-1}\zccl e\qb0h\raise-4\Interligne\rlap\qs\qb0e\en
\notes\raise-4\Interligne\rlap\ds\qb0f\tqu0g\en
\end{verbatim}
In addition, four special macros are available to raise or lower a whole or
half rest. The ordinary \verb|\pause| or
\verb|\hpause| cannot be used outside the staff because a short horizontal line
must be added to distinguish between the whole and the half rest. The commands,
which are non-spacing\footnote{Editor's note: The reason for having defined these
as non-spacing is not obvious}, are
are
\begin{itemize}\setlength{\itemsep}{0ex}
\item \keyindex{liftpause}~$n$ to get a
\hbox to10pt{\liftpause{-2}\hss}
raised from original position by $n$ staff line intervals,
\item \keyindex{lifthpause}~$n$ to get
\hbox to10pt{\lifthpause{-1}\hss} raised the same way.
\item \keyindex{liftpausep}~$n$ to get a
\hbox to10pt{\liftpausep{-2}\hss}
raised from original position by $n$ staff line intervals,
\item \keyindex{lifthpausep}~$n$ to get
\hbox to10pt{\lifthpausep{-1}\hss} raised the same way.
\end{itemize}
%\check
\section{Bar-centered rests}\label{barcentered}
Sometimes it is necessary to place a rest (or some other symbols) exactly in the middle
of the notes region of a bar
(i.e., excluding any initial clef and key or time signatures).
This can usually be done with combinations of the commands
\keyindex{atnextbar},
\keyindex{centerbar},
\keyindex{cPAUSe},
\keyindex{cPAuse},
\keyindex{cpause},
\keyindex{chpause},
\keyindex{cHpause} $n$,
as demonstrated in the following example:
\begin{music}
\generalmeter\meterC
\generalsignature{3}
\setclef1\bass
\setstaffs1{2}
\parindent0pt
\startextract
\NOtes|\qa{cegj}\en
\def\atnextbar{\znotes\centerbar{\cpause}|\en}%
\generalsignature{-3}\changecontext
\NOTes\ha{Nc}|\en
\def\atnextbar{\znotes|\centerbar{\cpause}\en}%
\setclef1\alto\changeclefs%
\generalmeter{\meterfrac21}\changecontext%
\NOTEs\wh d\pause|\en
\def\atnextbar{\znotes|\centerbar{\cPAuse}\en}%
\bar
\NOTEs|\en
\def\atnextbar{\znotes\centerbar{\cHpause{12}}|\centerbar{\cHpause{12}}\en}%
\endextract
\end{music}
\noindent with the coding
\begin{verbatim}
\generalmeter\meterC
\generalsignature{3}
\setclef1\bass
\setstaffs1{2}
\parindent0pt
\startextract
\NOtes|\qa{cegj}\en
\def\atnextbar{\znotes\centerbar{\cpause}|\en}%
\generalsignature{-3}\changecontext
\NOTes\ha{Nc}|\en
\def\atnextbar{\znotes|\centerbar{\cpause}\en}%
\setclef1\alto\changeclefs%
\generalmeter{\meterfrac21}\changecontext%
\NOTEs\wh d\pause|\en
\def\atnextbar{\znotes|\centerbar{\cPAuse}\en}%
\bar
\NOTEs|\en
\def\atnextbar{\znotes\centerbar{\cHpause{12}}|\centerbar{\cHpause{12}}\en}%
\endextract
\end{verbatim}\noindent
The following abbreviations are provided:
\begin{quote}
\begin{tabular}{lcl}
\keyindex{centerpause}& for & \verb|\centerbar{\cpause}|\\
\keyindex{centerhpause}& for & \verb|\centerbar{\chpause}|\\
\keyindex{centerPAuse}& for & \verb|\centerbar{\cPAuse}|\\
\keyindex{centerPAUSe}& for & \verb|\centerbar{\cPAUSe}|\\
\keyindex{centerHpause} $n$ & for & \verb|\centerbar{\cHpause| $n$\verb|}|
\end{tabular}
\end{quote}
Material other than these rests may be used as arguments to
\verb|\centerbar|, as in:\\
\begin{music}
\nostartrule
\generalmeter\meterC
\parindent0pt
\startextract
\NOTEs\sk\hqsk\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
\centerbar{\cPAUSe\off{2\elemskip}\cPAuse\off{2\elemskip}\cpause}\en}\bar
\NOtes\ql{ghij}\en
\def\atnextbar{\znotes\centerbar{\liftpause2}\en}\bar
\NOTes\en
\def\atnextbar{\znotes\centerbar{\duevolte}\en}\bar
\NOTes\en
\def\atnextbar{\znotes\loffset{0.7}{\centerbar{\Fermataup l\wh j}}\en}
\endextract
\end{music}
\noindent for which the coding is:
\begin{verbatim}
\generalmeter\meterC
\parindent0pt
\startextract
\NOTEs\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
\centerbar{\cPAUSe\off{2\elemskip}\cPAuse\off{2\elemskip}\cpause}\en}\bar
\NOtes\ql{ghij}\en
\def\atnextbar{\znotes\centerbar{\liftpause2}\en}\bar
\NOTes\en
\def\atnextbar{\znotes\centerbar{\duevolte}\en}\bar
\NOTes\en
\def\atnextbar{\znotes\loffset{0.7}{\centerbar{\Fermataup l\wh j}}\en}
\endextract
\end{verbatim}
In the last measure,
it has been necessary to use \keyindex{loffset} to correct the centering of
the off-center command
\verb|\wh|\ldots.
%To get proper positioning of \keyindex{centerbar} material before
%a clef change, you may use an invisible bar line as in
%\begin{quote}
%\begin{verbatim}
%\setclef1\bass
%\startextract%
%\NOTEs\Hpause4{0.83}\en
%\def\atnextbar{\znotes\centerbar{\ccn9{\meterfont{4}}}\en}%
%\qspace\setemptybar\bar% invisible bar line
%\setclef1\alto\zchangeclefs\bar%
%\NOtes\qa{abcd}\en
%\endextract
%\end{verbatim}
%\end{quote}
%which produces
%
%\begin{music}
%\nostartrule
%\nobarnumbers
%\setclef1\bass
%\startextract%
%\NOTEs\Hpause4{0.83}\en
%\def\atnextbar{\znotes\centerbar{\ccn9{\meterfont{4}}}\en}%
%%\qspace\setemptybar\bar% invisible bar line
%\setclef1\alto\changeclefs\bar%
%\NOtes\qa{abcd}\en
%\endextract
%\end{music}

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\chapter{Setting up the Input File}
\section{What makes a \TeX\ file a \musixtex\ file?}
A \musixtex\ input file is a special kind of \TeX\ input file. What makes it
special is that it must contain the command
\verb|\input musixtex|
before any reference to \musixtex\ macros. After that might follow
\verb|\input musixadd| or \verb|\input musixmad| if you want to have
respectively up to nine or twelve instruments or simultaneous beams,
ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex}
If you want to have greater numbers of these elements, you can assign them
directly by including one or more of these commands:
\verb|\setmaxinstruments|,
\verb|\setmaxcxxviiibeams|,
\verb|\setmaxcclvibeams|,
\verb|\setmaxgroups|,
\verb|\setmaxslurs|,
\verb|\setmaxtrills|,
\verb|\setmaxoctlines|.
Since it is still a \TeX\ file, after that, if you wished to,
you could write a whole non-musical book
using normal \TeX\ commands provided that you did not
use \verb|&| as a tab character like in plain \TeX; in \TeX\ lingo,
its \keyindex{catcode} has been changed.
\section{Cautions for the non \TeX pert}
When \TeX\ reads anything, it inputs one \ital{token} at a time. A token
may be either a \ital{command} or a character. A command (or \ital{macro},
or \ital{control sequence}) is a
\ital{backslash} (``{\Bslash}'') immediately followed by sequence of
letters with no intervening spaces. For practical purposes, any single symbol (letter, digit,
special character, or space) that is not part of a command counts as a character
and therefore as a token.
Each command expects a specific number of parameters.
The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they
must occur in matched pairs, and (2) any matched pair together with
the stuff inside counts as a single parameter.
If the first
parameter expected is a single letter, it must either be
separated from the command by a space or
enclosed in braces (otherwise it would be interpreted as part of the command).
For example the command \verb|\ibu| expects three parameters, so the
following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|,
\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but
\verb|\ibu1234| is not OK; the first three digits are taken as parameters,
leaving the ``4'' with no purpose other than to cause some of the dreaded
unrecorded space that we have already mentioned.
In the rest of this manual, when describing commands we will write
things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that
when $n$ and $p$ are replaced by their literal values, the braces may
or may not be necessary. In particular, if both are single digits, no
braces are needed; but if $n$ has two digits, or if $p$ has more than
one character, they must be surrounded by braces.
Spaces (blank characters) in the input file must be handled very carefully.
They are ignored at the beginning of a line, enabling logical
indentation schemes to help make the file human-readable. There are also a few
other places within lines where blank spaces are OK (such as mentioned in the prior paragraph),
but in general is it safest to avoid
any unnecessary blanks between the beginning and end of an input line.
At the end of a line, the truth is that a command with no parameters, such as
\verb|\bar| or \verb|\en| will cause no trouble. However if a command with
one or more parameters is the last item in an input line, it will cause
unrecorded space. The way around this is to end the line with either ``\verb|%|''
or \verb|\relax|.
\section{Usual setup commands}\label{whatspecify}
\subsection{Music size}
The first decision is what size type to use. \musixtex\ offers four sizes:
``small'' \mbox{(\texttt{16pt}-high staves),} ``normal'' (\texttt{20pt}),\index{sizes} ``large''
(\texttt{24pt}), and ``Large'' (\texttt{29pt}). The default is
\keyindex{normalmusicsize}. If you want a different size, then you have to
enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or
\keyindex{Largemusicsize}. Each of these commands defines not only the
desired staff size but many other related sizes such as note heads, ornaments,
stem lengths, etc.
\subsection{Number of instruments}
The command \keyindex{instrumentnumber}\onen~defines the
number of instruments to be $n$. If not entered, the default is $1$. This number is used in loops
that build staves,
set key signatures, set meters, etc., so if it differs from $1$ it must be explicitly
defined before any further commands. The default maximum number of instruments is $6$
but this can be increased by using \keyindex{setmaxinstruments}\onen.
\subsection{Number of staves per instrument}
An instrument may have one or more staves (e.g.,~a piano would normally have 2 staves).
The differences between one
instrument of several staves and several instruments with one staff each are as follows:
\begin{itemize}\setlength{\itemsep}{0ex}
\item Different instruments may have different \itxem{key signatures}, while different
staves of an instrument will all have the same key signature.
\item A \itxem{beam} may include notes in different
staves of the same instrument.
\item A \itxem{chord} may extend across several staves of the same
instrument.
\item If an instrument has more than one staff, they will be linked together
with a big, curly brace at the beginning of each line.
\end{itemize}
The default number of staves per instrument is $1$. If it is different, then it
must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}|
where $p$ is the number of staves and $n$ is the
number of the instrument. In \musixtex, instruments are numbered
\ital{starting with the lowest}.
So for example \verb|setstaffs32|
assigns two staves to the third instrument from the bottom.
\subsection{Clefs for each staff}
The default clef for every staff is the \ital{treble} clef. To assign
any other clef, the command is
\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}|
where $n$ is the number of the instrument, $s_1$ is a digit specifying the
clef for the first (lowest) staff, $s_2$ for the second staff, and so forth.
Note that like
instruments, staves of a given instrument are numbered starting with
the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case
any unspecified staves will be assigned a treble clef.
The digits $s$ can range from $0$ to $9$, with the following meanings:
$s=0$ signifies treble or G clef.
$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line.
$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}.
$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is
also called \ital{baritone} and $6$ is the normal \ital{bass}.
$s=8$ is used to specify an ``empty'' clef.
$s=9$ represents a G clef on the first line, also called \ital{French violin} clef.
The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead
of a digit for $s$, but only if there would have been but one digit in the string.
So for example the clefs for a standard piano score
could be specified by
\keyindex{setclef}\verb|1{\bass}|.
Treble and bass clefs with the digit $8$ above or below are also possible; see
Section~\ref{treblelowoct}.
\subsection{Key signatures}
To set a common key signature for all instruments, use
\keyindex{generalsignature}\verb|{|$s$\verb|}|,
where $s>0$ is the number of \itxem{sharps} in the
signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a
score in G-minor where the signature consisted of two flats (B and E) plus
one sharp (F). This is not directly supported by \musixtex.}. To override
the common key signature for instrument $n$, use
\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing
key signatures cannot be assigned to different staves of the same instrument.
\subsection{Meters}
A common \itxem{meter} for all staves can be specified by
\keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter}
where $m$ describes the appearance of the meter indication, and can take several
different forms. If the meter is a \ital{fraction} (e.g.,~$3/4$) the command is
\verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|.
Other possible tokens~$m$ are \keyindex{meterC},
\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve}, \keyindex{meterN} and
\keyindex{meterplus}.
To insert extra space before the meter is
written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\
%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a
dimension\footnote{{\tt\Bslash meterskip} is not a macro but a
dimension register. Whatever follows it
must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}.
The assignment must occur outside \verb|\startpiece...\endpiece| and will be
reset to zero after first meter is posted.
These are illustrated in the following example:
%\check
\begin{music}
\generalmeter\meterC
\nostartrule
\parindent0pt\startpiece
\NOtes\qa{cegj}\en
\generalmeter\allabreve\changecontext
\NOTes\ha{ce}\en
\generalmeter\reverseC\changecontext
\NOTEs\zbreve g\en
\generalmeter\reverseallabreve\changecontext
\NOTEs\zwq g\en
\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
\notesp\Tqbu ceg\Dqbl jg\Tqbu gec\en
\generalmeter{\meterN3}\meterskip4pt\changecontext
\Notes\qa{ceg}\en\setemptybar
\endpiece
\end{music}
\noindent which was coded as:
\begin{quote}\begin{verbatim}
\generalmeter\meterC
\nostartrule
\parindent0pt\startpiece
\NOtes\qa{cegj}\en
\generalmeter\allabreve\changecontext
\NOTes\ha{ce}\en
\generalmeter\reverseC\changecontext
\NOTEs\zbreve g\en
\generalmeter\reverseallabreve\changecontext
\NOTEs\zwq g\en
\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
\notesp\Tqbu ceg\Dqbl jg\Tqbu gec\en
\generalmeter{\meterN3}\meterskip4pt\changecontext
\Notes\qa{ceg}\en\setemptybar
\endpiece
\end{verbatim}\end{quote}
To override the common meter for any staff, use
\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak
This works just like \verb|\setclef|. For example,
\verb|setmeter3{{\meterfrac{12}8}\allabreve}|
sets the meter to 12/8 for the first staff of the third instrument, and
\ital{alla breve} for the second staff.
\subsection{Instrument names}
To set an \itxem{instrument name}, use
\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|.
This will place the name in the space to the left of the
first staff or group of staves for instrument $n$. To specify the amount of space
available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension.
For multi-line instrument names, use \TeX\ commands as in the following:
\begin{verbatim}
\setname1{\vbox{%
\hbox to\parindent{\hss Bass\hss}%
\hbox to\parindent{\hss Recorder\hss}}}
\end{verbatim}
\section{Groupings of instruments}\label{curlybrackets}
By default, all staves in a system will be joined
at the left by a thin, vertical rule. In addition, if an instrument has more than
one staff, they will be joined by a big, curly brace. Now we introduce a way
to delineate groups of instruments or choirs with a square brace containing two parallel
vertical rules, the left one thick and the right one thin. This is commonly used
to group together the voices in a choir.
If there is only one choir, this can be done with
\begin{quote}
\keyindex{songtop}\onen\\
\keyindex{songbottom}\verb|{|$m$\verb|}|
\end{quote}
\noindent where $m$ and $n$ are the instrument numbers of the first
and last voices. An example is shown in Section~\ref{song}.
If there is more than one choir to be set off with
square braces, each one can be specified with
\begin{quote}
\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\
\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}|
\end{quote}
\noindent where $m$ and $n$ are the instrument numbers of the first
and last voices of group number~$g$. \musixtex{} allows up to three
groups, numbered from $1$ to $3$. The command \verb|\songtop| is equivalent
to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to
\verb|\groupbottom 1|.
With \ttxem{musixadd.tex} or \ttxem{musixmad.tex}, the allowable number of
groups is increased to four.
Alternatively, you can specify the allowable number of groups to $m$ by
\keyindex{setmaxgroups}\verb|{|$m$\verb|}|%
\footnote{Using $m>4$ may require e-\TeX.}.
\label{musixmad_setmaxgroups}
If any of the instruments grouped this way has more than one staff, the
heavy curly brace will be shifted to the left of the square brace.
Previously defined square braces can be removed by declaring
\verb|\songtop| less than \verb|\songbottom|. The same applies to
\verb|\grouptop| and \verb|\groupbottom| for the same group number.
An alternate command allows you to specify all choirs at once:
\begin{quote}
\keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
\verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|%
{\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}|
\end{quote}
\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument
numbers that denote the span of bracket number $n$. For
setting fewer than three brackets, just omit all unneeded
\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs.
For example,
\verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}|
\noindent yields the first example below, with five single-staff instruments
divided into two groups.
The second example has two instruments, the first (lower) with two staves and the
second with three. Each instrument is set off by default with a curly bracket.
If for some reason you want more than one \ital{instrument}\ grouped
within a curly
bracket, then you can use the
command
\keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
\verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...|
\noindent to be used as illustrated in the third example below.\\
\begin{small}
\begin{minipage}[t]{29ex}
\begin{music}
% just to avoid wasting space ...
\sepbarrules
\smallmusicsize
\instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}
\startextract\notes\en\bar\notes\en\zendextract
\end{music}
\begin{quote}is coded as:
\begin{verbatim}
\sepbarrules
\smallmusicsize
\instrumentnumber{5}
\akkoladen{{1}{2}{3}{5}}
\startextract
\notes\en\bar\notes\en
\zendextract
\end{verbatim}\end{quote}
\end{minipage}
\begin{minipage}[t]{27ex}
\begin{music}
\sepbarrules
\smallmusicsize
\instrumentnumber2 \setstaffs12\setstaffs23
\startextract \notes\en\bar\notes\en\zendextract
\end{music}
\begin{quote}is coded as:
\begin{verbatim}
\sepbarrules
\smallmusicsize
\instrumentnumber2
\setstaffs12
\setstaffs23
\startextract
\notes\en\bar\notes\en
\zendextract
\end{verbatim}\end{quote}
\end{minipage}
\begin{minipage}[t]{27ex}
\begin{music}
\sepbarrules
\smallmusicsize
\instrumentnumber5 %\setstaffs12\setstaffs23
\curlybrackets{1235}
\startextract \notes\en\bar\notes\en\zendextract
\end{music}
\begin{quote}is coded as:
\begin{verbatim}
\sepbarrules
\instrumentnumber5
\smallmusicsize
\curlybrackets{1235}
\startextract
\notes\en\bar\notes\en
\zendextract
\end{verbatim}\end{quote}
\end{minipage}
\end{small}

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\chapter{Postscript Slurs, Ties and Hairpins}\label{PostscriptSlurs}
\input musixps
All of the aforementioned limitations of font-based slurs can be circumvented
by using type~K Postscript slurs\footnote{``K'' stands for Stanislav Kneifl,
the developer of the type~K Postscript slur package.}. As well as slurs, the package includes
ties and crescendos.
Its use is very similar to font-based slurs, and in fact identical if only
the elementary slur and tie initiation and termination macros are used.
In order to use type~K Postscript slurs, ties and hairpins, you must first place \texttt{musixps.tex}
anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro}
somewhere that \texttt{dvips} can find it.
The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which
are special symbols that are used by default for the second portion of a tie
that crosses a line break. If you like
this treatment you must install the font in your \TeX\ system. However, perfectly
acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties},
and then you will not have to install this font.
Once the software mentioned in the prior two paragraphs is installed and the
\TeX\ filename database is refreshed, the type~K package can be
invoked by including the command \verb|\input musixps|
near the beginning of your source file (but after loading \verb\musixtex.tex\).
The resulting dvi file should then be converted into Postscript using \textbf{dvips}.
If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript},
or \textbf{Adobe Acrobat} (see Section~\ref{using} for more information on this).
Two minor inconveniences with type~K Postscript slurs are that (1) they won't appear
in many dvi previewers, and (2) they won't appear in PDF files generated with
\textbf{pdftex} or \textbf{dvipdfm}. The former limitation can be circumvented by using a Postscript
viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate
Postscript file with \textbf{dvips}, then make the PDF with any of the software
mentioned above.
\section{Initiating and terminating type K Postscript slurs}
Basic usage of type K slurs is the same as for font-based slurs. To initiate one,
use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note
at pitch level {\tt g}. To terminate one, use a command like
\verb|\tslur0i| which terminates the slur with ID 0 on a
virtual note at pitch level {\tt i}.
Both types of commands are non-spacing and must precede the first or last
note under the slur.
Termination macros are not restricted to being used
with their initiation counterpart. For example, a slur
beginning as a ``beam'' slur may be terminated as a
normal slur, or \emph{vice versa}. These would be achieved by using macro pairs
\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively.
Unlike font-based slurs, adjusting the vertical positioning of the slur termination should not be necessary.
You can shift the starting or ending point slightly to the left
or right by substituting one of the commands \keyindex{ilsluru},
\keyindex{ilslurd}, \keyindex{irsluru},
\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}.
For shifts farther to the left, use
\keyindex{iLsluru},
\keyindex{iLslurd}
or \keyindex{tLslur};
for shifts farther to the right, use
\keyindex{iRsluru},
\keyindex{iRslurd}
or \keyindex{tRslur}.
You can control the shape of type~K slurs with variants of
the termination command. To make the slur a bit flatter than default use
\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still,
\keyindex{tHslur}0f; or
even higher, \keyindex{tHHslur}0f. These commands have an effect like
\keyindex{midslur} does for font-based slurs.
All combinations of the shifting and curvature variants are allowed,
e.g.\ \verb|\trHHslur|.
The following examples demonstrate how much better the type K slurs perform
in the extreme situations of the prior two typeset examples. The coding is
exactly the same as above except that \verb|\input musixps| has been added:
\begin{quote}\begin{verbatim}
\begin{music}\nostartrule
\input musixps
\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
....
\end{verbatim}\end{quote}
\begin{music}\nostartrule
\instrumentnumber{1}
\generalmeter{\meterfrac34}
\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
\bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract
\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
\bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract
\startextract
\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en\bar
\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en
\NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en\bar
\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en
\zendextract
\end{music}
For maximal control over type K slurs, you can use one of the commands
\keyindex{iSlur}~$npvh$ and
\keyindex{tSlur}~$npvhca$, where the characters in
$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset,
curvature, and angularity.
All offsets are in \verb|internote|, and the slur direction is determined
by the sign of the vertical offset. See the comments in \verb|musixps.tex|
for precise definitions of the other parameters. Examples of permissible forms for
these commands are
\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|.
The next example shows how you can use \verb|iSlur| in difficult
circumstances:
\begin{music}\nostartrule
\nobarnumbers
\generalsignature1%
\generalmeter{\meterfrac{2}{4}}%
\nostartrule
\startextract
\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
%
\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
%
\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
\zendextract
\end{music}
\noindent with this coding:
\begin{quote}\begin{verbatim}
\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
%
\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
%
\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
\end{verbatim}\end{quote}
The ID number for a slur, tie or crescendo should
normally range from $0$ to $9$. If it is bigger
than nine but less than $15$,
the object can cross a line break but not a page break. If bigger than
14 but less than $2^{31}$, it can't be broken at all,
nor can a slur termination be positioned at a beam with
e.g., \verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is okay.
It's also okay to have opened simultaneously a slur, tie and crescendo all
with the same ID, or a slur, tie and decrescendo, but not a crescendo and
decrescendo.
\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}}
`
\section{Type~K Postscript beam slurs}
Type~K beam slurs are defined differently than the font-based ones:
They require as parameters both a slur ID number $n$ and a beam ID number $m$,
but that's all. The commands are
\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and
\keyindex{tBslur}\emen.
They must be placed \ital{after} the beam initiation or termination command.
Type~K slurs may start on one beam and end on another.
For example,
\begin{quote}\begin{verbatim}
\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
\slurtext{6}\tBslur00\qb0e\en
\end{verbatim}\end{quote}
\noindent produces
%\begin{center}
%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps}
%\end{center}
\begin{music}\nostartrule\startextract
\Notes\ibu0g2\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
\slurtext{6}\tBslur00\qb0e\en
\zendextract
\end{music}
This example also illustrates the use of the macro
\keyindex{slurtext}. It has just one parameter---some text to be
printed---and it centers it just above or below the midpoint of
the next slur that is closed.
This works only for non-breaking slurs; if the slur is broken,
the text
disappears\footnote{If you insist on viewing files with a dvi viewer that
doesn't display
type~K slurs, you may also find that
figures placed with \keyindex{slurtext} will appear at the end of the
slur rather than the middle.}.
%The placing of the slur text is done with a very dirty Postscript
%hack, so I am not really sure that everything you want to typeset
%will be placed at the correct position (if you are interested, see
%the end of psslurs.pro for details). If you find something that won't
%work, let me know.
% DAS: why do we need this ???
%\paragraph{General coding for Postscript slurs and ties of type K.}
%This can be done by:
%\begin{quote}\begin{verbatim}
%\i[h.shift]slur[u|d]{slur ID}{note height}
%\t[h.shift][slur height]slur{slur ID}{note height}
%\iBslur[u|d]{slur ID}{beam ID}
%\tB[slur.height]slur{slur ID}{beam ID}
%\end{verbatim}\end{quote}
%\noindent where h.shift can be 'l', 'r' or nothing
%and slur.height can be 'f', nothing, 'h', 'H' or 'HH'
%
%Example: \keyindex{tlfslur} means 'terminate left flat slur'.
%
%
%There are also simple slurs with same invocation and parameters as the
%original ones.
\section{Type~K Postscript ties}
All of the foregoing Type~K slur commands
except the shape-changing ones
have counterparts for ties. Simply
replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit
the pitch parameter. Type~K ties not only are positioned differently by
default, but they also have different shapes than slurs. If you want to change
the shape of a tie, redefine \verb|\pstiehgt| from its default of $0.7$.
\section{Dotted type K slurs and ties.}%please check the capital D(otted)
A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before
the beginning of the slur or tie. Only the first slur or tie following this
command will be affected. On the other hand, if you enter \keyindex{Dotted}, then \emph{all}
slurs and ties from this point forward will be dotted until you say
\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual
slur or tie solid saying \verb|\solid| before its beginning.
\section{Avoiding collisions with staff lines.}
In Postscript it is possible to do computations that would be very hard
to implement directly in TeX. Type~K slurs can use this facility to check whether
the curve of a slur or tie is anywhere nearly tangent to any staff line, and if
so, to adjust
the altitude of the curve to avoid the collision. By default this feature is turned
on.
You can disable it either
globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally
(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it
back on globally (\keyindex{Sluradjust},
\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}).
Here ``locally''
means that the command will only affect the next slur or tie to be opened.
\section{Type K Postscript hairpins}\label{kcresc}
There are two different types. The first type is normally initiated with either
\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with
\keyindex{tcresc}\onen, where $n$ is a hairpin index,
which is virtually unlimited but certain restrictions apply if it exceeds $14$.
The altitude is set by the value of \keyindex{setcrescheight}, which by default
is $-5$ and which must be expressed numerically. Note that
\keyindex{tcresc}~is the same as \keyindex{tdecresc}.
You can shift the starting or ending point horizontally by replacing the
foregoing macros with
\keyindex{ilcresc}, \keyindex{ildecresc},
\keyindex{ircresc}, \keyindex{irdecresc},
\keyindex{tlcresc}, \keyindex{tldecresc},
\keyindex{trcresc}, \keyindex{trdecresc},
for example to make space for an alphabetic dynamic mark.
The second form of Postscript hairpin macros allows individual and arbitrary
specification of the altitude and horizontal offset. The syntax is
\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the
altitude---which must be numerical---and $s$ is the horizontal offset
in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\
and \keyindex{Tcresc}.
These hairpins may span several lines. If one of them spans three systems
then the height of the middle section can be adjusted with
\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last
parts of a broken crescendo will be defined by the height parameter in
\keyindex{Icresc}~or \keyindex{Tcresc}.
There are numerous other nuances and shorthand macros that are described
in the comments in \verb|musixps.tex|.
As an example of a Postscript hairpin,
\begin{music}\nostartrule
\generalmeter{\meterfrac{12}8}
\startextract
\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
\zendextract
\end{music}
\noindent was coded as
\begin{quote}\begin{verbatim}
\input musixps
\generalmeter{\meterfrac{12}8}
\startextract
\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
\zendextract
\end{verbatim}\end{quote}
\section{Line-breaking slurs, ties and hairpins}
Tyle K slurs, ties and crescendos going across line breaks are handled
automatically. In fact they can go over more lines than two (this is
true also for ties, though it would be somewhat strange).
There is a switch \verb|\ifslopebrkslurs| that controls the default
height of the end point
of the first segment of all broken slurs. By default the height will be
the same as the beginning. To have it raised by \verb|3\internote|, simply
issue the command \keyindex{slopebrkslurstrue}. To revert to the default,
use \keyindex{slopebrkslursfalse}.
To locally override the default height of the end of the first segment,
use the command \keyindex{breakslur}\enpee,
which sets the height for slur number $n$ to pitch $p$, just like with
font-based slurs.
You can raise or lower the starting point of the second segment of a broken slur
with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with
parameters slur ID and relative offset in
\verb|\internote|s measured from the slur beginning. Its effect is
the same as \keyindex{Liftslur} for font-based slurs, except it is not
necessary to code
it within \verb|\atnextstaff{}|, just anywhere inside the slur.
As already mentioned, anything with $\mathrm{ID}<10$ is broken fully automatically, but
you should be careful about slurs, ties and crescendos with $10\le\mathrm{ID}<15$.
These cannot cross page breaks, although they can cross line breaks.
If the second segment of a broken tie is less than 15pt long, then by
default it will have a special shape which begins horizontally. These shapes are
called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|.
Of course if they are to be used, the font files must be integrated into the
\TeX\ installation. Their use can be turned off with \keyindex{nohalfties}
and back on with \keyindex{halfties}.
%\paragraph{Backwards compatibility.}
%There are several ``aliases'' which allow to use the old, bitmapped slur
%commands for PS slurs without any change. There are however a few differences:
%the \keyindex{invertslur} is not implemented yet and
%the \keyindex{curve} and \keyindex{midslur} macros have no effect.
%\paragraph{Memory requirements.}
\enlargethispage*{4ex}
\section{A few final technical details}
Each \verb|\i...| and \verb|\t...|
produces a \verb|\special| command, which must be stored in TeX's main memory.
Therefore, if too many slurs occur in one page, some memory problems could
occur. The only solution is to use font-based slurs.
%The only solutions are to use Big\TeX\
%BigTex? it is apparently the mascot for the Texas State Fair
Type~K slurs need the Postscript header file
\index{psslurs.pro}\texttt{psslurs.pro} to be included in the
output Postscript file. This is made to happen by the \TeX\ command
\verb|\special{header=psslurs.pro}|, which is automatically
included when you \verb|\input musixps|. So normally this is not
of concern. However if you wish to extract a subset of pages from
the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then
you have three options: (1)~include the first page in the subset,
(2)~manually issue the
\verb|\special| command in the \TeX\ source for the first page of the subset, or
(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}.

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\chapter{Font-based Slurs, Ties and Hairpins}
Two fundamentally different implementations of slurs, ties, and hairpins are
available. First, there are the
original \ital{font-based} versions. These are constructed with traditional
\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files.
Second, it is now possible
to generate these shapes directly with Postscript, dispensing altogether with
the font characters\footnote{Please do not be confused by the availability of
Postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts).
Once installed in a \TeX\ system,
their function and use are 100\% transparently identical with bitmapped versions
of the slur fonts. On the other
hand, Postscript slurs are functionally distinct from font-based slurs, and only
share some of the same syntax.}. We shall first describe the font-based versions,
then Type~K Postscript slurs, which are one of two available Postscript slur
options\footnote{An
alternate approach to Postscript slurs, called {\it Type~M} after its developer
Hiroaki {\sc Morimoto}, is available from the
\href{http://icking-music-archive.org/software/indexmt6.html}
{\underline{Icking Music Archive}}.}. If you plan to use Type~K Postscript slurs,
you may skip directly to Chapter~\ref{PostscriptSlurs}.
Font-based slurs and ties provided by \musixtex\ can be divided into two categories:
\label{simpleslur}
\begin{itemize}\setlength{\itemsep}{0ex}
\item Those where the complete slur symbol is composed of a single
character from one of the slur fonts, and
\item those where the slur symbol is composed of three distinct
characters, to form the beginning, middle and end of the slur.
\end{itemize}
The former are called \ital{simple slurs} and the latter,
\ital{compound slurs}. In many cases the distinction between the two is
invisible to the user, in that many of the macros described below will
automatically select between the two types. However, there are other macros
that allow simple slurs to be forced.
The next few sections describe the usual method of slur coding, where the
choice between simple or compound slurs is made automatically.
In this case, slurs are initiated and terminated by separate macros,
similar to beams.
\section{Font-based slur initiation}
A slur must be initiated \ital{before}
the spacing note on which the slur begins, and terminated \ital{before} the
note on which it ends.
The basic slur initiation macro is
\keyindex{isluru}\enpee, which initiates an upper slur, with reference
number $n$, beginning on a note at pitch $p$. The starting point of the slur is
centered above a virtual quarter note head at pitch~$p$\footnote{The slur will start in the same place regardless of whether there is
{\it actually} a note at pitch $p$.}.
Similarly, \keyindex{islurd}\enpee\ initiates a lower slur.
These slurs are terminated by coding
\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the
termination pitch.
As with beams, the reference number $n$ by default can take values from $0$ to $5$, or
up to $8$ or $11$ respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included.
You can also specify the maximum number
directly with \keyindex{setmaxslurs}\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_setmaxslurs}
To illustrate with an elementary example, the following passage
\begin{music}\nostartrule
\startextract
\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
\bar
\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
\NOTes\hu g\en
\zendextract
\end{music}
\noindent was coded as:
\begin{quote}\begin{verbatim}
\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
\bar
\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
\NOTes\hu g\en
\end{verbatim}\end{quote}
Other macros are provided to change the horizontal starting and ending points of the slur
in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\
initiates a ``short'' upper slur suitable for linking notes involved in chords.
The
starting point is shifted to the right, and is vertically aligned with the
center of a virtual quarter note head at pitch~$p$. If a lower short slur
is wanted, one should use \keyindex{isslurd}\enpee.
Sometimes, busy scores call for slurs which are vertically aligned with the
ends of note stems rather than note heads. These ``beam'' slurs---so called
because the slur is written at usual beam height---are provided by the
macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros
initiate slurs raised or lowered by the current stem height to accommodate
stems or beams above or below.
%\check
\section{Font-based slur termination}
Font-based slurs that are not forced to be simple must be terminated by an explicit
command right before the last note under the slur. There are termination
commands analogous to each of the initiation commands already presented. They
are summarized in the following table:
\begin{center}
\begin{tabular}{ll}
Initiation & Termination \\
\hline
\keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\
\keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\
\keyindex{ibsluru} & \keyindex{tbsluru}\\
\keyindex{ibslurd} & \keyindex{tbslurd}\\
\hline
\end{tabular} \end{center}
\noindent All of these command have two parameters, $n$ and $p$.
These specific termination macros are not restricted to
being used with their initiation counterpart. A slur started
in one sense can be terminated in another. For example, a
slur beginning as a ``beam'' slur may be terminated as a
normal slur, or \emph{vice versa}. These would be achieved using macro pairs
\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively; however, it may be necessary
to adjust the vertical position of the slur termination. For example,
\begin{music}
\startextract
\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
\endextract
\end{music}\noindent
has been coded as follows:
\begin{quote}
\begin{verbatim}
\startextract
\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
\endextract
\end{verbatim}
\end{quote}
\section{Font-based ties} Font-based ties will have the same shapes as
ordinary font-based slurs of the same length between notes of equal pitch,
but there are two important distinctions:
(1) There cannot be any pitch difference between start and end, and (2) the
positions of both the beginning and end of a tie relative to the note heads
are slightly different from those of an ordinary slur\footnote{Editor's note: In
fact, it appears that the default positioning of the ends of ties is exactly
the same as that of short slurs.}.
Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of
reference number $n$ at pitch $p$.
Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of
reference number $n$ at pitch $p$. The starting position of the tie is the same
as \verb|\issluru| and
\verb|\isslurd| respectively. The tie is terminated by coding
\keyindex{ttie}\onen. Note that no pitch parameter is required.
There are also \ital{short ties}, which bear the same relation to ordinary
ties as short slurs to ordinary slurs. They are intended to be used between chords.
They are initiated with
\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is
not clear why this command uses ``{\tt l}'' when all other similar ones use
``{\tt d}''.}, and terminated with \keyindex{tten}\onen.
The following example illustrates the differences in positioning of the various
slur and tie options:
\begin{music}\nostartrule
\startextract
\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
\itenl0g\qu g\tten0\qu g\en
\zendextract
\end{music}
\noindent It was coded as
\begin{quote}\begin{verbatim}
\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
\itenl0g\qu g\tten0\qu g\en
\end{verbatim}\end{quote}
\noindent Here are some more general examples of font-based slurs and ties
discussed so far:
\begin{music}\nostartrule
\startextract
\NOTes\isluru0g\hl g\tslur0h\hl h\en
\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
\zendextract
\end{music}
\noindent This was coded as:
\begin{quote}\begin{verbatim}
\NOTes\isluru0g\hl g\tslur0h\hl h\en
\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
\end{verbatim}\end{quote}
\section{Dotted slurs}
Any font-based slur may be made dotted by specifying \keyindex{dotted}
just before it is initiated:
\begin{music}\nostartrule
\startextract
\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
\NOTes\hu g\en
\zendextract
\end{music}
\noindent This was coded as:
\begin{quote}\begin{verbatim}
\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
\NOTes\hu g\en
\end{verbatim}\end{quote}
\section{Modifying font-based slur properties}
Several macros are provided to modify the shape of slurs already initiated.
These macros must be coded right before the slur \ital{termination}. Invoking
any of the macros described in this section will force the slur to be compound.
By default, the midpoint of a font-based slur is three \verb|\internote|s
above or below a line between its ends. This can be changed using the macro
\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For
example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to
rise to a maximum height of \verb|6\internote| above the starting position.
For example,
\begin{music}\nostartrule
\startextract
\NOtes\multnoteskip8\isluru0i\ql i\en
\notes\tslur0i\ql i\en
\zendextract
\startextract
\NOtes\multnoteskip8\isluru0i\ql i\en
\notes\midslur7\tslur0i\ql i\en
\zendextract
\startextract
\NOtes\multnoteskip8\isluru2i\ql i\en
\notes\midslur{11}\tslur2i\ql i\en
\zendextract
\end{music}
\noindent was coded as
\begin{quote}\begin{verbatim}
\NOtes\multnoteskip8\isluru0i\ql i\en
\notes\tslur0i\ql i\en
\NOtes\multnoteskip8\isluru0i\ql i\en
\notes\midslur7\tslur0i\ql i\en
\NOtes\multnoteskip8\isluru2i\ql i\en
\notes\midslur{11}\tslur2i\ql i\en
\end{verbatim}\end{quote}
For downward slurs, use negative values; for example,
\begin{music}\nostartrule
\startextract
\NOtes\multnoteskip8\islurd0i\qu i\en
\notes\tslur0i\qu i\en
\zendextract
\startextract
\NOtes\multnoteskip8\islurd0i\qu i\en
\notes\midslur{-7}\tslur0i\qu i\en
\zendextract
\end{music}
\noindent was coded as
\begin{quote}\begin{verbatim}
\NOtes\multnoteskip8\islurd0i\qu i\en
\notes\tslur0i\qu i\en
\NOtes\multnoteskip8\islurd0i\qu i\en
\notes\midslur{-7}\tslur0i\qu i\en
\end{verbatim}\end{quote}
The macro \keyindex{curve}$hij$ allows more precise control over the shape
of a slur or tie. The first parameter $h$
is the vertical deviation and it works exactly like the sole parameter of
\verb|\midslur| described above. The second and
third parameters $i$ and $j$ set the initial and final gradient respectively.
They are defined as the horizontal distance required to attain maximum
vertical deviation. Thus smaller numbers for $i$
and $j$ lead to more extreme gradients.
The default setting is \verb|\curve344|. Hence, coding \verb|\curve322|
doubles the initial and final gradient relative to the default.
As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before
the slur termination. The example below illustrates the use of \verb|\curve|.
\begin{music}\nostartrule
\startextract
\NOtes\multnoteskip8\itieu0g\ql g\en
\notes\ttie0\ql g\en
\zendextract
\startextract
\NOtes\multnoteskip8\itieu1g\ql g\en
\notes\curve 322\ttie1\ql g\en
\zendextract
\startextract
\NOtes\multnoteskip8\itieu2g\ql g\en
\notes\curve 111\ttie2\ql g\en
\zendextract
\end{music}
\noindent This was coded as
\begin{quote}\begin{verbatim}
\NOtes\multnoteskip8\itieu0g\ql g\en
\notes\ttie0\ql g\en
\NOtes\multnoteskip8\itieu1g\ql g\en
\notes\curve 322\ttie1\ql g\en
\NOtes\multnoteskip8\itieu2g\ql g\en
\notes\curve 111\ttie2\ql g\en
\end{verbatim}\end{quote}
Two macros are provided to control the behaviour of slurs which extend across
line breaks. Normally, the part of the slur before the line break is
treated as a tie. This can be changed using \keyindex{breakslur}\enpee,
which sets the termination height of
the broken slur at the line break to pitch $p$, for slur number $n$.
After the line break, the slur is normally resumed at the initial pitch
reference, i.e., the one coded in \verb|\islur|. To change this, the macro
\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used.
Here $n$ is again the slur reference
number and $h$ is the change in height relative to the initialization height.
This macro is normally used following line breaks, in which case it is best
coded using the \verb|\atnextline| macro. For example, coding
\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero
by \verb|6\internote| relative to its initialization height.
The following example illustrates the use of the macros for broken slurs:
\medskip
\begin{minipage}[t]{85mm}
Default, without adjustments:
\begin{music}
\hsize=50mm
\generalmeter{\meterfrac24}%
\parindent 0pt\staffbotmarg0pt%
%
%\interstaff{14\internote}%
%
\nostartrule
\startpiece\bigaccid
\Notes\ibsluru1b\qu b\qu g\en\bar
\Notes\qu{'c!}\tslur1f\qu f\en
\mulooseness1\Endpiece
\end{music}
\begin{verbatim}
\Notes\ibsluru1b\qu b\qu g\en\bar
\Notes\qu{'c!}\tslur1f\qu f\en
\end{verbatim}
\end{minipage}%
\begin{minipage}[t]{75mm}
With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\
\begin{music}
\hsize=50mm
\generalmeter{\meterfrac24}%
\parindent 0pt\staffbotmarg0pt%
%
%\interstaff{14\internote}%
%
\nostartrule
\startpiece\bigaccid
\def\atnextline{\Liftslur17}%
\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar
\Notes\qu{'c!}\tslur1f\qu f\en
\mulooseness1\Endpiece
\end{music}
\begin{verbatim}
\def\atnextline{\Liftslur17}%
\Notes\ibsluru1b\qu b\qu g%
\breakslur1g\en\bar
\Notes\qu{'c!}\tslur1f\qu f\en
\end{verbatim}
\end{minipage}\medskip
Occasionally in keyboard works one needs to begin a slur in one
staff but end it in another. This can be done using the macro
\keyindex{invertslur}\onen\ which is best described by
reference to the example
shown below.
% Finding the final pitch is try and error, sorry, no way out.
\begin{music}
\setstaffs1{2}
\setclef1\bass\interstaff{10.5}
\startextract
\NOtes\multnoteskip5\isluru0a\ql a\en
\notes\invertslur0\curve311\tslur0j|\qu d\en
\NOtes\multnoteskip{10}\isluru0a\ql a\en
\notes\invertslur0\curve333\tslur0j|\qu d\en
\zendextract
\end{music}
\noindent This was coded as
\begin{quote}\begin{verbatim}
\NOtes\multnoteskip5\isluru0a\ql a\en
\notes\invertslur0\curve311\tslur0g|\qu d\en
\NOtes\multnoteskip{10}\isluru0a\ql a\en
\notes\invertslur0\curve333\tslur0g|\qu d\en
\end{verbatim}\end{quote}
\noindent Slur inversion as just described takes effect where the slope is zero; therefore it
only works with ascending slurs that were started with \verb|\isluru|, and with
descending slurs started with \verb|\islurd|. Otherwise no horizontal place
can be found and the result is erratic.
A different approach removes this restriction. The idea is to stop the slur at
the desired inversion point and restart it in the other sense at the
same place. The commands to do this are as follows:
\begin{itemize}\setlength{\itemsep}{0ex}
\item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$,
not above or below the virtual note head.
\item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position,
not above a virtual note head.
\item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position,
not below a virtual note head.
\end{itemize}
\noindent The vertical position may have to be adjusted to minimize any discontinuity
in the slope. For example, the following pattern
\begin{music}\nostartrule
\setclef1\treble
\startextract
\NOTes\multnoteskip 3\isluru0a\ql a\en
\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
\Notes\tslur0h\qu h\en
\NOTes\multnoteskip 3\islurd0a\ql a\en
\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
\Notes\tslur0h\qu h\en
\zendextract
\end{music}
\noindent was coded as
\begin{quote}\begin{verbatim}
\begin{music}\nostartrule
\NOTes\multnoteskip 3\isluru0a\ql a\en
\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
\Notes\tslur0h\qu h\en
\NOTes\multnoteskip 3\islurd0a\ql a\en
\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
\Notes\tslur0h\qu h\en
\end{music}
\end{verbatim}\end{quote}
\section{Simple slurs}
\ital{Simple} slurs and ties have advantages in some cases: (1) They will
always have the best possible shape, and (2) if \verb|\noteskip| doesn't
change from start to finish, they are easier to code. But they have drawbacks
as well: (1) They are limited in length to 68pt
for slurs and 220pt for
ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they
may not extend across a line break.
Despite all these limitations, simple slurs are extremely useful in many
applications where the slurs are short and contained within a bar.
Simple slurs must be coded {\em before} the note on which the slur begins.
The primary macro is
\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$
where $p_1$ and $p_2$ are respectively the initial and final pitches,
$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length,
in {\tt noteskip}s.
Thus, thirds slured in pairs can be coded
%\check
\begin{quote}\begin{verbatim}
\NOtes\slur ced1\qu{ce}\en
\NOtes\slur dfd1\qu{df}\en
\NOtes\slur egd1\qu{eg}\en
\NOtes\slur{'e}cu1\ql{ec}\en
\NOtes\slur{'d}bu1\ql{db}\en
\NOtes\slur{'c}au1\ql{ca}\en
\end{verbatim}\end{quote}
which yields
\begin{music}\nostartrule
\startextract
\NOtes\slur ced1\qu{ce}\en
\NOtes\slur dfd1\qu{df}\en
\NOtes\slur egd1\qu{eg}\en
\NOtes\slur{'e}cu1\ql{ec}\en
\NOtes\slur{'d}bu1\ql{db}\en
\NOtes\slur{'c}au1\ql{ca}\en
\zendextract
\end{music}
%%
There are similar commands to force simple versions of the other
variants of font-based slurs and ties. Simple ties may be set using
\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed).
Simple short slurs and short ties can be forced with the macros
\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and
\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally,
simple beam slurs can be forced with
\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$.
\section{Font-based hairpins (crescendos and decrescendos)}\label{sec:crescnd}
There are two categories of font-based hairpins. The first type requires only
one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or
\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{}
dimension, either a fixed one---for example in points---or a scalable one
expressed either explicitly or implicitly as some number of
\verb|\noteskip|s. These should be used as arguments to
\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to
post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm.
The second type of font-based hairpin requires two commands, one to start it
and another to end it. The starting macro is \keyindex{icresc}. It has no
arguments. Only one invocation suffices to start any number and combination of
crescendos and diminuendos. The ending macros are \keyindex{tcresc} or
\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc,
which will set the altitude. For example,
\begin{music}
\parindent0pt
\generalmeter{\meterfrac{12}8}
\setstaffs1{2}
\startextract
\Notes\cmidstaff\ppp|\ca c\en
\Notes\icresc|\ca{defgh'abcde}\en
\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
\endextract
\end{music}
\noindent which was coded as
\begin{quote}\begin{verbatim}
\Notes\cmidstaff\ppp|\ca c\en
\Notes\icresc|\ca{defgh'abcde}\en
\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
\end{verbatim}\end{quote}
\medskip
\noindent while
\begin{music}
\parindent0pt
\generalmeter{\meterfrac{12}8}
\setstaffs1{2}
\startextract
\Notes\cmidstaff\ppp|\ca c\en
\Notes\icresc|\ca{defgh'abcde}\en
\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
\endextract
\end{music}
\noindent was coded as
\begin{quote}\begin{verbatim}
\Notes\cmidstaff\ppp|\ca c\en
\Notes\icresc|\ca{defgh'abcde}\en
\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
\end{verbatim}\end{quote}
\section{Limitations of font-based slurs}
The change in altitude between slur initiation and slur termination is limited to
\verb|16\Internote|. Thus unexpected vertical gaps can appear, as seen in
\begin{music}\nostartrule
\instrumentnumber{1}
\generalmeter{\meterfrac34}
\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
\bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract
\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
\bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract
\end{music}
\noindent whose coding was
\begin{quote}\begin{verbatim}
\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
\bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en
\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
\bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en
\end{music}
\end{verbatim}\end{quote}
Furthermore, if the slope becomes too steep, even worse results can occur, such as
\medskip
\begin{music}\nostartrule
\instrumentnumber{1}
\generalmeter{\meterfrac34}
\startextract\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en
\bar\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en
\NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en
\bar\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en
\zendextract
\end{music}
Another limitation of font-based slurs crops up when one attempts to
generate bitmapped versions for high-resolution printers: the characters
for long ties can exceed \MF's maximum capacity.

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\chapter{Smaller (or Larger) Notes in Normal-Sized Staves}
Here we describe how to change the size of note symbols without changing the
size of the staff itself. Changing overall staff size will be treated in
Chapter~\ref{staffspacing}.
\section{Arbitrary sequences of notes}
Written-out ornaments and \itxem{cadenzas} are usually typeset with
smaller notes and spacing than normal. The smaller \ital{size} can be
initiated anywhere inside a \verb|\notes| group by stating
\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then
restored by \keyindex{normalnotesize} or simply by terminating the
\verb|notes| group and starting another. Smaller \ital{spacing} must also be
explicitly indicated, usually by redefining \verb|\noteskip| in some way.
As an example, this excerpt, from the beginning
of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc
Haydn, J.}},
\begin{music}
\instrumentnumber{2}
\generalmeter{\meterfrac44}
\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}
\setstaffs2{2}
\setclef1\bass
\setclef2\bass
\startbarno0
\startextract
\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
% mesure 1
\bar
\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize
\Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en
\Notes&\qb0e\tbl0\qb0c|\qu j\en
\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
% mesure 2
\bar
\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
\zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
\notes&|\sk\ccu h\en
\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
\zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
\endextract
\end{music}
\noindent can be coded as
\begin{quote}\begin{verbatim}
\instrumentnumber{2}
\generalmeter{\meterfrac44}
\setstaffs2{2}
\setclef2{\bass}
\setclef1{\bass}
\startbarno=0
\startextract
\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
% mesure 1
\bar
\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize
\Ibbu1ki2\qb1{kj}\tqh1i\en
\Notes&\qb0e\tbl0\qb0c|\qu j\en
\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
% mesure 2
\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
\zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
\notes&|\sk\ccu h\en
\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
\zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
\endextract
\end{verbatim}\end{quote}
Similarly, you may use
\keyindex{largenotesize} or \keyindex{Largenotesize} to get \emph{larger} notes.
\section{Grace notes}
Grace notes are a special case of small and tiny notes, namely single-stemmed
eighth notes with a diagonal slash through the flag. To enable this, there
are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by
themselves would
produce normal-sized eighth notes with a slash. They should be used along
with the note size reduction macros and spacing reduction macros just
discussed. In addition, chordal grace notes can be built as in the following
example:
\begin{music}\nostartrule
\startextract
\NOTes\hu h\en
\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
\NOTes\hu i\en
\bar
\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en
\NOTEs\wh i\en
\zendextract
\end{music}
\noindent which was coded as
\begin{quote}\begin{verbatim}
\startextract
\NOTes\hu h\en
\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
\NOTes\hu i\en
\bar
\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en
\NOTEs\wh i\en
\zendextract
\end{verbatim}\end{quote}
\section[Ossia]{Ossia\texorpdfstring{\protect\footnote{Italian \textit{o sia} (or else)}}{}}
This clever example had been provided by Olivier Vogel:\label{ossia}
%\begin{center}
%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps}
%\end{center}
\begin{music}
%\startextract
%\hsize70mm
\let\extractline\hbox
\hbox to \hsize{\hss
\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
\off{-#1\elemskip}}%
\newbox\ornamentbox
\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
\makeatletter
\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt%
\makeatother
%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
%\startpiece
%\addspace{2pt}%
\startextract
\addspace{-2pt}%
\let\notest\notes\def\notes{\vnotes2.1\elemskip}%
\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
\notes\ibl2{'c}1\usf e\qb2c\en%
\notes\tbl2\qb2{'d}\en
\let\notes\notest%
%\zstoppiece%
\endextract
}\hss}
%\setbox\ornamentbox=\hbox to 0pt{Hello}
%
%
%\normalmusicsize\nopagenumbers
%\def\nbinstruments{1}%
\setstaffs12\setclef1{60}%
\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
%\parindent 0pt%
%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
%\startpiece\addspace\afterruleskip%
\startextract\addspace\afterruleskip%
\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
\cl d\en%
%\endpiece
\endextract
\hss}
%\vfill\eject\endmuflex
\end{music}
The code is:
\begin{quote}\begin{verbatim}
\hsize70mm%
\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
\off{-#1\elemskip}}%
\newbox\ornamentbox
\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
\startpiece\addspace{2pt}%
\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
\notes\ibl2{'c}1\usf e\qb2c\en%
\notes\tbl2\qb2{'d}\en%
\zstoppiece%
}\hss}
\normalmusicsize\nopagenumbers
\def\nbinstruments{1}%
\setstaffs12\setclef1{60}%
\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
\parindent 0pt%
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\startpiece\addspace\afterruleskip%
\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
\cl d\en%
\end{verbatim}\end{quote}

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\chapter{Skipping Spaces and Shifting Symbols}\label{spacing}
We've already mentioned that when coding a sequence of notes inside a
particular pair \verb|\notes...\en|, the command \keyindex{sk} can
be used to skip horizontally by one \keyindex{noteskip}. This would be
used for example to align the third note in one staff with the second note
in another. Skipping in this manner is logically equivalent to inserting
blank space; as such, the space must be recorded by \musixtex. This command
and the others discussed here will
do just that, so that \verb|musixflx| can properly account for
the added space.
To skip by one \verb|noteskip| while in a collective coding sequence,
you may simply insert an asterisk (``\verb|*|''\index{*}). This would have
the same effect as stopping the sequence, entering {\Bslash sk}, then
restarting. For example,
\begin{music}
\setstaffs12
\startextract
\Notes\hu{e*f*g}|\qu{gghhii}\en
\zendextract
\end{music}
\noindent was coded as
\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en|
To skip forward
by one half of a \verb|\noteskip|, use \keyindex{hsk}.
To skip \emph{backward}
by one or half \verb|\noteskip|, use \keyindex{bsk},
or \keyindex{hbsk}, respectively.
To insert spacing of approximately one note head width, you can use
\keyindex{qsk}, or for two-thirds, half or one-quarter of that, \keyindex{tqsk}, \keyindex{hqsk}
or \keyindex{qqsk}, respectively.
To skip backward one note-head width or two-thirds or half that, use
\keyindex{bqsk}, \keyindex{btsk} or \keyindex{bhsk}, respectively. More generally,
to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}|
where $D$ is any \itxem{scalable dimension}, e.g.,~\verb|\noteskip| or
\verb|\elemskip|. Indeed, if you look in the
\musixtex\ source, you will see that \verb|\off| is the basic control
sequence used to define all the other skip commands.
The foregoing commands only work \ital{inside} a \verb|\notes...\en| group.
A different set of commands must be used to insert space \ital{outside}
such a group. \keyindex{nspace} produces an
additional spacing of half a note head width;
\keyindex{qspace}, one note head width. These are ``hard'' spacings. To
insert an arbitrary amount of hard space outside a \verb|\notes...\en|
group, use \keyindex{hardspace}\verb|{|$d$\verb|}| where
$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only
space-generating commands that insert hard space; all the others insert
scalable spacing: \keyindex{elemskip},
\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and
their multiples. Finally, to insert
scalable spacing outside
a \verb|\notes...\en| group, use
\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in
which case the normal spacing will be reduced. For example, after
\keyindex{changecontext}, many users prefer to reduce the space with
a command like
\verb|addspace{-|\keyindex{afterruleskip}\verb|}|.
There is yet another set of commands for simply shifting a note, symbol, or sequence
inside \verb|\notes...\en|
without adding or subtracting any space. To shift by one note head width,
you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}|
or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively.
To shift by half of a note head width, use
\keyindex{hroff}\verb|{|\dots\verb|}| or
\keyindex{hloff}\verb|{|\dots\verb|}|.
For example, to get
%\check
\begin{music}\nostartrule
\startextract
\Notes\roff{\zwh g}\qu g\qu h\qu i\en
\zendextract
\end{music}
\noindent you would code:
%\check
\begin{quote}\begin{verbatim}
\Notes\roff{\zwh g}\qu g\qu h\qu i\en
\end{verbatim}\end{quote}
\noindent To shift notes or symbols by an arbitrary amount, use
\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or
\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where
$N$ is the distance to be shifted in note head widths. For example
\begin{music}\nostartrule
\startextract
\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en
\zendextract
\end{music}
\noindent was coded as
\begin{quote}\begin{verbatim}
\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en
\end{verbatim}\end{quote}
An important feature of these shift commands is that the offset,
whether implicit or explicit, is \ital{not} added to
the total spacing amount, but any spacing due to the included commands is.

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\chapter{Staff Size} \index{staff size}\label{staffspacing}
In contrast with the prior section, here we describe how to change the sizes
of everything...staff, notes, and all other symbols. In
Section~\ref{whatspecify} we saw how to set the size for all instruments at
the start of a score. Any one of the same macros---\verb|\normalmusicsize|,
\verb|\smallmusicsize|, \verb|\largemusicsize|, or
\verb|\Largemusicsize|---can be used to change the size of all instruments
midway through a score, but in this case it must come between
\verb|\stoppiece| and \verb|\startpiece|.
Once the overall staff size is set, you can alter the size of any desired
instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where
$n$ is the instrument number and $s$ is a factor by which the size is to be
changed from the prevailing overall size. There are five predefined macros
that should be used for the size factor $s$. Their names and respective values
are \keyindex{normalvalue}~($1.0$), \keyindex{smallvalue}~($0.80$),
\keyindex{tinyvalue}~($0.64$), \keyindex{largevalue}~($1.2$), and
\keyindex{Largevalue}~($1.44$). \musixtex\ should not crash if you use an
explicit number different from any of these, but the result may be
less than satisfactory.
Once again, if used at the beginning of a piece, the \verb|\setsize| macro
must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after
the beginning, must be preceded by \verb|\stoppiece|.
As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc
Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of
J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for
organ, violin and voice by Markus {\sc Veittes}:\label{avemaria}
\begin{music}
\def\oct{\advance\transpose by 7}
\def\liftqs#1{\raise#1\Interligne\qs}
\parindent0pt
\sepbarrules
\instrumentnumber{3}
\generalmeter{\meterC}
\setinterinstrument2{3\Interligne}
\setsize3\tinyvalue
\setsize2\tinyvalue
\setclef1\bass
\setstaffs1{2}
\startpiece\addspace\afterruleskip
%Takt 9
\notes\zhl c\liftqs6\qupp e|\ds&\oct
\itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en
\notes|\ibbl0j3\qb0h\tqb0l\en
\notes|\ibbl1k0\qb1{ohl}\tqb1o\en
\notes\zhl c\liftqs6\qupp e|\ds&\oct
\ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en
\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en
\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en
\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en
\bar
%Takt 10
\notes\zhl c\liftqs6\qupp d|\ds&\oct
\qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en
\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en
\notes|\ibbu2i0\qb2k\qb2f\en
\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\en
\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en
\notes|\ibbu1g3\qb1f\tqh1h\en
\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en
\endpiece
\end{music}
This example was coded as:
\begin{quote}\begin{verbatim}
\def\oct{\advance\transpose by 7}
\def\liftqs#1{\raise#1\Interligne\qs}
\parindent0pt
\sepbarrules
\instrumentnumber{3}
\generalmeter{\meterC}
\setinterinstrument2{3\Interligne}
\setsize3\tinyvalue
\setsize2\tinyvalue
\setclef1\bass
\setstaffs1{2}
\startpiece\addspace\afterruleskip
%Takt 9
\notes\zhl c\liftqs6\qupp e|\ds&\oct
\itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en
\notes|\ibbl0j3\qb0h\tqb0l\en
\notes|\ibbl1k0\qb1{ohl}\tqb1o\en
\notes\zhl c\liftqs6\qupp e|\ds&\oct
\ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en
\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en
\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en
\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en
\bar
%Takt 10
\notes\zhl c\liftqs6\qupp d|\ds&\oct
\qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en
\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en
\notes|\ibbu2i0\qb2k\qb2f\en
\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\en
\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en
\notes|\ibbu1g3\qb1f\tqh1h\en
\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en
\endpiece
\end{verbatim}\end{quote}

310
musixtex/doc/musixdoc/summary.tex Normal file
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\newgeometry{margin=0.5in}
\makeatletter
\def\@makeschapterhead#1{} % omit chapter head to save space
\chapter*{}
\addcontentsline{toc}{chapter}{Summary of Denotations}
\def\@makeschapterhead#1{% restore usual definition
\vspace*{50\p@}%
{\parindent \z@ \raggedright
\normalfont
\interlinepenalty\@M
\Huge \bfseries #1\par\nobreak
\vskip 40\p@
}}
\makeatother
\parskip0pt plus 2pt
\parindent0pt
\thispagestyle{empty}
\centerline{\frtbf Pitches}
\smallskip
\setclef1\bass
\afterruleskip2pt
\newcommand{\bs}{\ttfamily\footnotesize\char92}
\begin{footnotesize}\ttfamily
\nostartrule\startpiece%
%
% Pitches
%
\addspace\afterruleskip
\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}%
\zchar{14}{\llap`A}\sk
\zchar{14}{\llap`B}\sk
\zchar{14}{\llap`C}\sk
\zchar{14}{\llap`D}\sk
\zchar{14}{\llap`E}\sk
\zchar{14}{\llap`F}\sk
\zchar{14}{\llap`G}\sk
\zchar{14}A\sk
\zchar{14}B\sk
\zchar{14}C\sk
\zchar{14}D\sk
\zchar{14}E\sk
\zchar{14}F\sk
\zchar{14}G\sk
\zchar{-5}{\llap'A}\zchar{14}H\sk
\zchar{-5}{\llap'B}\zchar{14}I\sk
\zchar{-5}{\llap'C}\zchar{14}J\sk
\zchar{-5}{\llap'D}\zchar{14}K\sk
\zchar{-5}{\llap'E}\zchar{14}L\sk
\zchar{-5}{\llap'F}\zchar{14}M\sk
\zchar{-5}{\llap'G}\zchar{14}N\sk
\zchar{14}a\sk
\zchar{14}b\sk
\zchar{14}c\sk
\zchar{14}d\sk
\zchar{14}e\sk\en
\stoppiece\vskip-7\Interligne\setclef1\treble\contpiece
\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}%
\zchar{-8}a\sk
\zchar{-8}b\sk
\zchar{-8}c\sk
\zchar{-8}d\sk
\zchar{-8}e\sk
\zchar{-8}f\sk
\zchar{-8}g\sk
\zchar{-8}h\zchar{-4}{\llap'a}\sk
\zchar{-8}i\zchar{-4}{\llap'b}\sk
\zchar{-8}j\zchar{-4}{\llap'c}\sk
\zchar{-8}k\zchar{-4}{\llap'd}\sk
\zchar{-8}l\zchar{-4}{\llap'e}\sk
\zchar{-8}m\zchar{-4}{\llap'f}\sk
\zchar{-8}n\zchar{-4}{\llap'g}\sk
\zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk
\zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk
\zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk
\zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk
\zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk
\zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk
\zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk
\zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk
\zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk
\zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk
\zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk
\zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en
\stoppiece
\smallskip
\centerline{\frtbf Notes and Accidentals}
%
% Notes& Accidentals
%
\contpiece
\Notes
\zchar{-4}{\eightrm Accidentals:}%
\zchar9{\bs maxima}\maxima i\relax
\zchar{12}{\bs longa}\longa i%
\zchar9{\bs breve}\breve i%
\zchar{12}{\bs wq}\wq i%
\zchar{12}{\bs wqq}\wqq i%
\zchar{12}{\bs wh}\wh i%
\zchar{12}{\bs hu}\zchar{-4}>\hu{>f}%
\zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l%
\zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}%
\zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l%
\zchar{12}{\bs cu}\zchar{-4}=\cu{=f}%
\zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l%
\zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}%
\zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l%
\zchar{12}{\bs cccu}\zchar{-4}<\cccu{<f}%
\zchar{12}{\bs cccl}\loff{\zchar{-4}{\bs cdfl}}\cdfl l\cccl l%
\multnoteskip{1.2}%
\zchar{12}{\bs ccccu}\ccccu f%
\zchar{12}{\bs ccccl}\ccccl l%
\multnoteskip{.8}%
\zchar{12}{\bs grcu}\grcu f%
\zchar{12}{\bs grcl}\grcl l\en
\stoppiece
%
% various note heads
%
\contpiece
\Notes
\multnoteskip{1.1}%
\zchar{10}{\bs dqu$^{123}$}\dqu g%
\zchar{10}{\bs yqu$^{123}$}\yqu g%
\multnoteskip{.9}%
\zchar{10}{\bs dcqu$^2$}\dcqu g%
\zchar{10}{\bs dhqu$^2$}\dhqu g%
\zchar{10}{\bs doqu$^2$}\doqu g%
\zchar{10}{\bs xqu$^2$}\xqu g%
\zchar{10}{\bs oxqu$^2$}\oxqu g%
\zchar{10}{\bs roqu$^2$}\roqu g%
\zchar{10}{\bs tgqu$^2$}\tgqu f%
\zchar{10}{\bs kqu$^2$}\kqu f%
\zchar{10}{\bs squ$^3$}\squ g%
\zchar{10}{\bs lsqu$^3$}\lsqu j%
\zchar{10}{\bs rsqu$^3$}\rsqu k%
\zchar{10}{\bs cqu$^4$}\cqu g%
\zchar{10}{\bs cql$^4$}\cql k%
\zchar{10}{\bs chu$^4$}\chu g%
\zchar{10}{\bs chl$^4$}\chl k\en
%
% Pointed Notes and Accents
%
\stoppiece
\vspace*{-2ex}
\centerline{\frtbf Pointed Notes and Accents}
\contpiece
\Notes
\zchar{-5}{\eightrm Accent on beam with prefix {\tt b} and beam reference
number instead of the pitch}%
\zchar{13}{\bs lpz}\lpz f\qu f%
\zchar{13}{\bs upz}\upz l\ql l%
\zchar{13}{\bs lsf}\lsf f\qu f%
\zchar{13}{\bs usf}\usf l\ql l%
\zchar{13}{\bs lst}\lst f\qu f%
\zchar{13}{\bs ust}\ust l\ql l%
\zchar{13}{\bs lppz}\lppz f\qu f%
\zchar{13}{\bs uppz}\uppz l\ql l%
\zchar{13}{\bs lsfz}\lsfz f\qu f%
\zchar{13}{\bs usfz}\usfz l\ql l%
\zchar{13}{\bs lpzst}\lpzst f\qu f%
\zchar{13}{\bs upzst}\upzst l\ql l%
\zchar{16}{\bs downbow}\zchar9\downbow\ql l%
\zchar{13}{\bs upbow}\zchar9\upbow\ql l%
\zchar{16}{\bs flageolett}\flageolett l\ql l%
\zchar{13}{\bs whp}\whp i%
\zchar{13}{\bs qupp}\qupp h\en
\stoppiece
\centerline{\frtbf Clefs}
%
% clefs
%
\setclefsymbol1\empty
%\setlines 11\relax
\nostartrule\contpiece
\NOtes
\zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk
\zchar9{\bs altoclef}\zchar0\altoclef\sk
\zchar{13}{\bs bassclef}\zchar0\bassclef\sk
\zchar9{\bs smalltrebleclef}\zchar0\smalltrebleclef\sk
\zchar{13}{\bs smallaltoclef}\zchar0\smallaltoclef\sk
\zchar9{\bs smallbassclef}\zchar0\smallbassclef\sk
\zchar{13}{\bs drumclef$^2$}\zchar0\drumclef\sk
\zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk
\zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk
\zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en
\zstoppiece
%
% Rests
%
\centerline{\frtbf Rests}
\setlines 15\relax
\nostartrule
\resetclefsymbols\contpiece
\Notes
\multnoteskip{0.8}%
\zchar{13}{\bs qqs}\qqs\qsk
\zchar{13}{\bs hs}\hs
\zchar{13}{\bs qs}\qs
\zchar{13}{\bs ds}\ds
\zchar{13}{\bs qp}\qp
\zchar{13}{\bs hp}\hp
\zchar{13}{\bs qqsp}\qqsp\qsk
\zchar{13}{\bs hsp}\hsp
\zchar{13}{\bs qsp}\qsp
\zchar{13}{\bs dsp}\dsp
\zchar{13}{\bs qpp}\qpp
\zchar{13}{\bs hpp}\hpp
\multnoteskip{1.5}%
\zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk
\zchar{13}{\bs pause}\pause
\zchar{13}{\bs pausep}\pausep
\zchar{9}{\bs liftpause}\roff{\liftpause4}\sk
\zchar{13}{\bs PAuse}\PAuse
\zchar{13}{\bs PAUSe}\PAUSe
\zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en
\stoppiece\vskip-2\Interligne
%
\smallskip
\centerline{\frtbf Miscellaneous Symbols}
%
% more Symbols
%
\nostartrule
\contpiece
\Notes\multnoteskip{0.25}\zchar{-4}{\bs allabreve}%
\zchar{14}{\bs tr}\tr n%
\zchar0\allabreve\qqsk
\zchar{14}{\bs Trille}\Trille n{0.9}\sk
\zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n{0.9}\zchar0\meterC\sk
\zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk
\zchar{14}{\bs Shake}\zchar{-8}{\bs reverseallabreve}\Shake n%
\zchar0\reverseallabreve\hqsk
\zchar{18}{\bs mordent}\mordent n\hqsk
\zchar{14}{\bs Mordent}\Mordent n\zchar{-4}{\bs meterplus}%
\zchar0{\meterfrac{3\meterplus2\meterplus3}8}\hqsk
\zchar{18}{\bs turn}\turn n\hqsk
\zchar{18}{\bs backturn}\backturn n\zchar{-4}{\bs duevolte}\duevolte\hqsk
\zchar{14}{\bs Shakel}\Shakel n\sk
\zchar{18}{\bs Shakesw}\Shakesw n\zchar{-4}{\bs l[r]par}%
\lpar f\rpar f{\stemlength4\qu f}%
\zchar{14}{\bs Shakene}\Shakene n\sk
\zchar{18}{\bs Shakenw}\Shakenw n\sk
\zchar{14}{\bs trt}\trt n\hqsk\en
\stoppiece
%
% again
%
\contpiece
\NOtes\zchar9{\bs metron}\zchar{13}{\small\metron\qu{99}}\sk\en
\setvoltabox1\bar
\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en
\setvolta2\setendvolta\rightrepeat
\NOtes\loff{\zchar{17}{\bs setvolta}}\en
\doublebar
\notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar
\notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en
\NOtes
\zchar{17}{\bs segno}\segno n\sk
\zchar{17}{\kern-2\afterruleskip\bs Segno}\Segno\hsk
\zchar{-4}{\bs caesura}\sk\caesura
\zchar{-4}{\bs cbreath}\cbreath\qsk
\zchar{9}{\bs PED}\PED\hsk
\zchar{9}{\bs sPED}\sPED\hsk\qqsk
\zchar{9}{\bs pdld}\pdld\hsk\qsk
\zchar{9}{\bs pdlud}\pdlud\hsk\qsk
\zchar{9}{\bs pdlu}\pdlu\hsk\qqsk
\zchar{9}{\bs DEP}\DEP\hsk
\zchar{9}{\bs sDEP}\sDEP\hsk\en
\stoppiece
%
% and again ...
%
\contpiece
\Notes
\zchar{-14}{\eightrm $^1$musixdia.tex\quad$^2$musixper.tex\quad$^3$musixgre.tex%
\quad$^4$musixlit.tex}%
\zchar{17}{\bs fermataup}\fermataup l%
\zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}%
\zchar{13}{\bs Fermataup}\Fermataup l%
\zchar{-4}{\kern8pt\bs Fermatadown}\Fermatadown f\wh i%
\loff{\zchar{17}{\bs arpeggio d5}}\arpeggio d5\sk
\multnoteskip{.66}%
\loff{\zchar{13}{\bs bracket}}\bracket e{10}\zq n\ql e\en
\notes\stemlength3%
\zchar{17}{\bs uptrio}\uptrio{11}16\ql l\ql n\bsk\bsk
\zchar{-8}{\bs downtrio}\downtrio{-5}17\qu c\qu e\en
\Notes
\zchar{17}{\bs octfinup}\octfinup n{.8}%
\zchar{-4}{\bs octfindown}\octfindown K{.8}\sk\hsk
\zchar{17}{\bs slide}%
\slide i58\slide i57\slide i56\slide i55\slide i54%
\slide i53\slide i52\slide i51\slide i5{-1}%
\slide i5{-2}\slide i5{-3}\slide i5{-4}\slide i5{-5}%
\slide i5{-6}\slide i5{-7}\slide i5{-8}\sk\en
\leftrepeat
\Notes
\loffset2{\zchar{-4}{\bs leftrepeat}}%
\boxitsep=2pt\zchar{17}{\bs boxit A}\zchar9{\boxit A}\en
\leftrightrepeat
\Notes
\loffset2{\zchar{-8}{\bs leftrightrepeat}}%
\zchar{17}{\bs circleit B}\uptext{\circleit B}\en
\rightrepeat
\NOtes
\loffset2{\zchar{-4}{\bs rightrepeat}}\en
\endpiece\advance\textheight-40mm\eject%
\endmuflex
\end{footnotesize}
\restoregeometry

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musixtex/doc/musixdoc/transposition.tex Normal file
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\chapter{Transposition and Octaviation}\label{octaviation}
Two different subjects are discussed in this section. First, there
are commands that cause notes to be printed at different pitches than
entered. We shall refer to this as \ital{logical} transposition.
Second, there are notations for octaviation that do
not otherwise alter the appearance of the score, which we'll call
\ital{octaviation lines}.
\section{Logical transposition and octaviation}
Logical transposition is controlled by an integer-valued \TeX\ register
\keyindex{transpose}. Its default value is $0$. If you enter
\verb|\transpose=|$n$ outside of notes commands, then all subsequent pitches specified by
letters will be transposed by $n$ positions. Normally this method would be
used to transpose an entire piece. Pitches specified with
numbers will not be affected, so if you think you will ever want to
transpose a piece, you should enter all note pitches with letters.
One way to transpose up or down by one octave would be to increase or decrease
\keyindex{transpose} by $7$.
A more convenient way to transpose locally up or down by one octave
makes use respectively of the characters
\verb|'| (close-quote, interpreted as an \itxem{acute accent}) and \verb|`| (open-quote, interpreted as
a \itxem{grave accent}),
placed immediately before the letter specifying the pitch. So
for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and
\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have
cumulative effects; thus,
for example, \verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}| are both equivalent to \verb|\qu{ah}|.
Alterations to the value of
\verb|\transpose| in notes commands are \emph{local}: when changing to a different staff or
instrument or encountering \verb|\en|, \verb|\transpose| will be reset to the
value it had before the accents were used. (That value is stored in
another register called \keyindex{normaltranspose}). Another way to localize
changes to \verb|\transpose| is to create an explicit \TeX\ ''group'' by enclosing commands in \verb|{...}| braces.
At any point it is possible to reset the \verb|\transpose| register
explicitly to the \verb|\normaltranspose| value
by prefacing a pitch indication with
``\verb|!|''. Thus \verb|\qu{!a'a}| always
gives the note \verb|a| and its upper octave \verb|h|, shifted by the
value of {\Bslash normaltranspose},
regardless of the number of grave and
acute accents earlier in that group.
\section{Behavior of accidentals under logical transposition}\label{transposeaccids}
The above processes indeed change the vertical position of the note heads
and associated symbols (e.g., stems and beams), but they don't take
care of the necessary changes of accidentals when transposing. For example,
suppose an F$\sharp$ occurs in the key of C major. If the piece is
transposed up three steps to the key of F, the F$\sharp$ should logically
become a
B$\natural$. But if all you do is set \verb|\transpose=3|, the note will
be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh|
or~\verb|^| to mean ``print a $\sharp$''.
Naturally there is a solution, but it requires the typesetter to plan
ahead: To force accidentals to behave well under transposition, they
must be entered according to the \ital{relative
accidental convention}. To alert \musixtex\ that you are using this
convention to enter notes, you must issue the command
\keyindex{relativeaccid}. Once you have done this, the meaning of
accidental macros and characters (accents) in the input file is changed.
Under the convention, when for example a
\verb|\sh| is entered, it indicates a note that is supposed to sound
\ital{one half step higher than what it would normally be under the
current key signature}. Flats and naturals on entry similarly indicate
notes one half step lower or at the same pitch as what the key signature
dictates. \musixtex\ will take account of the key signature, and print
the correct symbol according to the modern notational convention,
provided you have explicitly entered the transposed key signature using
for example \verb|\generalsignature|.
Many people have a difficult time understanding how this works, so
here are two simple examples in great detail. Consider the case already mentioned
of the F$\sharp$ in the key of C major. With
\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and
with no transposition it will still appear as F$\sharp$. With
\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear
(correctly) as B$\natural$. Conversely, suppose you want to enter a
B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it
should be entered as \verb|\sh i|. (That's the part that people
have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer:
``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be
printed as B$\natural$. Now to transpose this to C major, set
\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear
as F$\sharp$.
If you have invoked \verb|\relativeaccid| and then
later for some reason wish to revert to the ordinary convention,
enter \keyindex{absoluteaccid}.
\section{Octaviation lines}
The first kind of notation for octave transposition covers a
horizontal range that must be specified at the outset. The sequence
\medskip
\begin{music}\nostartrule
\startextract
\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en
\zendextract
\end{music}
\noindent can be coded as
\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|.
\zkeyindex{octfinup}
Here, the dashed line is at staff level 10 and extends \verb|3.5\noteskip|.
Conversely, lower octaviation can be coded. For example
\begin{music}\nostartrule
\startextract
\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en
\zendextract
\end{music}
\noindent is coded as
\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|.
\zkeyindex{octfindown}
To change the text that is part of these notations, redefine one of
the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for
the distinction between up and down is that, traditionally, upper octaviation
only uses the figure
``8'' to denote its beginning, while lower octaviation uses a more
elaborate indication such as \hbox{\ppffsixteen8$^{va}$\kern 0.2em\eightit bassa}. Thus
\bigskip
\begin{music}\nostartrule
\startextract
\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en
\zendextract
\end{music}
\noindent is coded
\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en|
\noindent while
\begin{music}
\startextract
\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql
k\ql j\en
\endextract
\end{music}
\noindent is coded as
\begin{quote}\begin{verbatim}
\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}%
\octfindown{-5}{2.5}\ql l\ql k\ql j\en
\end{verbatim}\end{quote}
The foregoing constructions have the drawbacks that (a) the span must be
indicated ahead of time and (b) they cannot extend across a line break.
Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup},
\keyindex{Ioctfindown} and
\keyindex{Toctfin}.
{\Bslash Ioctfinup}~$np$ indicates an upward octave transposition line with reference number
$n$ and with dashed line at pitch $p$.
By default $n$ must be in the range $[0,5]$, but
you can specify a larger maximum number
directly with \keyindex{setmaxoctlines}\verb|{|$m$\verb|}|
where $7<m\leq 100$\footnote{This may require e-\TeX.}; the
reference number will be in the range between $0$ and $m-1$.
\label{musixmad_setmaxoctlines}
Usually $p$ will be numeric and $>9$,
but it can also be a letter.
{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$
(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The
difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is
the relative position of the figure ``8'' with respect to the dashed line, and
the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to
\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to
\verb|\Ioctfindown 0|.
For example,
\medskip
\begin{music}\nostartrule
\instrumentnumber{1}
\setstaffs12
\setclef1{6000}
%
\startextract
\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en
\bar
\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en
\bar
\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en
\bar
\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en
\zendextract
\end{music}
\noindent is coded as
\begin{quote}\begin{verbatim}
\begin{music}\nostartrule
\instrumentnumber{1}
\setstaffs12
\setclef1{6000}
%
\startextract
\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en
\bar
\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en
\bar
\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en
\bar
\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en
\zendextract
\end{music}
\end{verbatim}\end{quote}
%\check
The elevation of octaviation lines may be changed in midstream using
\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the
octave line, and $p$ a (possibly negative) number of
\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed.
This may be useful when octaviation lines extend over several systems and the
elevation needs to be changed in systems after the one where it was initiated.

294
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\chapter{Writing Notes}\label{autostemdirections}
There are two major kinds of note macros, those that include a space (of
length \keyindex{noteskip}) after
the printed symbol, and those that don't cause any space. A single-line melody would be
written using the first type. All notes of a chord except the last would
use the second.
Another distinction concerns stemmed notes. Some macros explicitly set the
stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of
the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies
\ital{automatic} stem direction selection. In this case notes below the middle
staff line will get up stems, otherwise down.
Note pitches can be specified either by letters or numbers. If no transposition
or octaviation is in effect, letters ranging
from \verb|a| to \verb|z| represent notes starting with the A below
middle C. Upper case letters from \verb|A| to \verb|N| represent pitches
two octaves lower than their lower case counterparts. Any letter can be used in
any clef, but some users may
prefer to use the lower case letters in treble clef, and the upper case ones
in bass clef.
Alternatively, a one- or two-digit, positive or negative integer can always be used.
The number represents
the vertical position on the staff, with \verb|0| for the lowest line and
\verb|1| for the space right above, \ital{regardless of the clef}.
Unlike with letters, the
associated pitch will depend on the clef, and notes entered this way are
immune to transposition and octaviation.
Notes lower than \verb|A| and higher than \verb|z| can be entered, with
either numbers as just described, or with octaviation as will be explained in
Chapter~\ref{octaviation}.
\section{Normal (unbeamed) spacing notes}\label{NormalNotes}
In the following, \verb|{|$p$\verb|}| signifies a pitch specification as
described above. However it
is understood that if the pitch is a single character, the brackets are
not necessary, provided that if it is a letter, a space separates the
macro from the letter.
\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
\item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) .
\item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) .
\item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} .
\item[\keyindex{maxima}{\tt\char123}$p${\tt\char125} :]maxima (\hbox to16pt{\zmaxima1\hss}) .
\item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss})
(also used as alternate representation of a \ital{breve}).
\item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note
(\hbox to8pt{\zwqq1\hss}) (also used as alternate
representation of a \ital{longa}).
\item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note.
\item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up.
\item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down.
\item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction
\item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up.
\item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down.
\item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction.
\item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}''
within this macro name stands for the equivalent British term ``crotchet''} with stem up.
\item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down.
\item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction.
\item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up.
\item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down.
\item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction.
\item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem up.
\item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem down.
\item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]$32$nd note with automatic stem direction.
\item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]$64$th note with stem up.
\item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]$64$th note with stem down.
\item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]$64$th note with automatic stem direction.
\item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]$128$th note with stem up.
\item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]$128$th note with stem down.
\item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]$128$th note with automatic stem direction.
\end{description}\end{quote}
As an example, the sequence
%\check
\begin{music}\nostartrule
\startextract
\Notes\cu c\cl j\en\bar
\Notes\ccu c\ccl j\en\bar
\Notes\cccu c\cccl j\en\bar
\Notes\ccccu c\ccccl j\en\bar
\Notes\cccccu c\cccccl j\en
\zendextract
\end{music}
\noindent was coded as
\begin{quote}\begin{verbatim}
\Notes\cu c\cl j\en\bar
\Notes\ccu c\ccl j\en\bar
\Notes\cccu c\cccl j\en\bar
\Notes\ccccu c\ccccl j\en\bar
\Notes\cccccu c\cccccl j\en
\end{verbatim}\end{quote}
For \keyindex{breve} there is a possibility of
confusion with a command in \TeX's math mode that has exactly the same name.
However, there will generally be no problem, because inside
\verb|\startpiece...\endpiece|,
\verb|\breve| will take the musical meaning, while outside, it will have the
mathematical one.
If for some reason you need the math \verb|\breve| inside, you can use
\verb|\endcatcodesmusic...\breve...\catcodesmusic|.
\section{Non-spacing note heads}
These macros are used to create chords. Any number of them can be entered
in sequence, followed by a spacing note. All of the note heads will be
joined to the spacing note and the stem length will automatically be adjusted
as needed.
\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
\item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head.
\item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head.
\end{description}\end{quote}
%das ???
% \begin{remark} Notes of duration longer than whole notes are
%always non-spacing. This saves one useless definition, since these notes are
%always longer than other simultaneous ones. If needed they can be followed by
%\keyindex{sk} to force spacing.
%\end{remark}
\section{Shifted non-spacing note heads}
These symbols are used mainly
in chords containing an interval of a \ital{second}. They provide note
heads shifted either to the left or right of the default position by
the width of one note head.
\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right.
\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left.
\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not
have realized that half and whole note heads have different shapes}.
\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left.
\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right.
\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left.
\end{description}\end{quote}
\section{Non-spacing notes}
These macros provide normal notes, with stems if applicable, but without any
following space.
\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
\item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like
\verb|\hu| for chord building, i.e., it will join together any immediately
preceding non-spacing note heads.
\item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like
\keyindex{hl} for chord building.
\item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like
\verb|\qu| for chord building.
\item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts
like \verb|\ql| for chord building.
\item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu},
\keyindex{zccccu}, \keyindex{zcccccu}
:]eighth, ..., note with stem up but no spacing. They act like
\verb|\cu| for chord building.
\item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl},
\keyindex{zccccl}, \keyindex{zcccccl}
:]eighth, ..., note with stem down but no spacing. They act
like \verb|\cl| for chord building.
\item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql},
\keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|,
but the note is shifted one note width to the right; others analogous.
\item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql},
\keyindex{lcu}, \keyindex{lcl} :]same
as above, but the note is shifted one note width to the left.
\item[\keyindex{zw}\pitchp~:]whole note with no following space.
\item[\keyindex{zwq}\pitchp~:]arbitrary duration note
(\hbox to8pt{\zwq1\hss}) with no following space.
\item[\keyindex{zbreve}\pitchp~:]breve
(\hbox to8pt{\zbreve1\hss}) with no following space.
\item[\keyindex{zlonga}\pitchp~:]longa
(\hbox to8pt{\zlonga1\hss}) with no following space.
\item[\keyindex{zmaxima}\pitchp~:]maxima
(\hbox to16pt{\zmaxima1\hss}) with no following space.
\end{description}\end{quote}
%\check
\section{Spacing note heads}
Although not needed in normal music scores, these may be useful in
very special cases.
\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head.
\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head.
\end{description}\end{quote}
\noindent As an example, the sequence
\begin{music}\nostartrule
\startextract
\notes\nq c\nq j\en\barre
\Notes\nh c\nh j\en\barre
\notes\nq {cdef}\en
\zendextract
\end{music}
\noindent was coded as
\begin{quote}\begin{verbatim}
\notes\nq c\nq j\en\barre
\Notes\nh c\nh j\en\barre
\notes\nq {cdef}\en
\end{verbatim}\end{quote}
Non spacing variants are also provided, namely
\keyindex{znh} and \keyindex{znq}.
% DAS: why???
\section{Dotted notes}\label{dots}
By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the
macros just introduced provide one or two dots after the notehead:
\keyindex{whp}, \keyindex{whpp},
\keyindex{zwp}, \keyindex{zwpp},
\keyindex{hup}, \keyindex{hupp},
\keyindex{hlp}, \keyindex{hlpp},
\keyindex{hap}, \keyindex{happ},
\keyindex{zhp}, \keyindex{zhpp},
\keyindex{qup}, \keyindex{qupp},
\keyindex{qlp}, \keyindex{qlpp},
\keyindex{qap}, \keyindex{qapp},
\keyindex{zqp}, \keyindex{zqpp},
\keyindex{cup}, \keyindex{cupp},
\keyindex{clp}, \keyindex{clpp},
\keyindex{qbp} and \keyindex{qbpp}, all followed by a pitch argument.
The ones that start with ``\verb|z|'' are used in chords.
The dot(s) will be raised if the note is on a line.
A more explicit way uses one of the macros
\keyindex{pt}{\tt\char123}$p${\tt\char125},
\keyindex{ppt}{\tt\char123}$p${\tt\char125}, or
\keyindex{pppt}{\tt\char123}$p${\tt\char125} right
before any note macro to place one to three dots after the normal note
head at pitch $p$. Again they will be raised if on a line. In fact this is the only
way to get a triple-dotted note.
For example a
quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots
as \keyindex{ppt}\verb| h\qu h| and with three as
\keyindex{pppt}\verb| h\qu h|.
As a matter of style, if two voices share one staff, the dots in
the lower voice should be \emph{lowered} if the note is on a line. For
this you can use \keyindex{lpt},
\keyindex{lppt} and \keyindex{lpppt}.
Yet another method for posting a dot is to insert a \ital{period} before
the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to
either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when
using \ital{collective coding}, which will be discussed in the next
section.
Non-spacing dotted notes can be produced using
\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp},
\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, followed by a pitch,
and similarly with two \verb|p|'s for
double-dotted notes.
The following provide dotted chord notes shifted left or right:
\keyindex{lhp},
\keyindex{rhp},
\keyindex{lqp},
\keyindex{rqp},
and similarly with two \verb|p|'s for
double-dotted notes.
\section{Sequences of equally spaced notes; collective coding}
\label{CollectiveCoding}
It isn't necessary to write a separate macro
sequence \verb|\notes...\en| for every individual column of notes.
Rather, a single such macro can contain all the notes in all staves
over an extended horizontal range, as long as all spacings are equal or
multiples of a unique value of \keyindex{noteskip}.
The notes in each staff could be entered one after another as normal
spacing notes as already described in Section~\ref{NormalNotes}. Then
each spacing note will cause the insertion point to advance horizontally by the
operative value of \verb|\noteskip| defined by the choice of
\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences
non-spacing chord notes can be entered right before their associated
spacing note. If you need to skip forward by one \verb|\noteskip|, for
example after a quarter note when there are two eighth notes in
another staff, you can use \keyindex{sk}.
If there are only spacing notes in such a sequence, a further
simplification is available, called \ital{collective coding}. For instance
\verb|\qu{cdefghij}| writes the C major scale in quarters with
up stems. Similarly \verb|\cl{abcdef^gh}| writes the
\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents
a sharp). If necessary a void can be inserted in a collective coding sequence
by using~\verb|*|\index{*}. Not all note-generating macros can be
used to perform collective coding, but most of them can.