598 lines
22 KiB
TeX
598 lines
22 KiB
TeX
\chapter{Font-based Slurs, Ties and Hairpins}
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Two fundamentally different implementations of slurs, ties, and hairpins are
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available. First, there are the
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original \ital{font-based} versions. These are constructed with traditional
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\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files.
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Second, it is now possible
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to generate these shapes directly with Postscript, dispensing altogether with
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the font characters\footnote{Please do not be confused by the availability of
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Postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts).
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Once installed in a \TeX\ system,
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their function and use are 100\% transparently identical with bitmapped versions
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of the slur fonts. On the other
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hand, Postscript slurs are functionally distinct from font-based slurs, and only
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share some of the same syntax.}. We shall first describe the font-based versions,
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then Type~K Postscript slurs, which are one of two available Postscript slur
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options\footnote{An
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alternate approach to Postscript slurs, called {\it Type~M} after its developer
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Hiroaki {\sc Morimoto}, is available from the
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\href{http://icking-music-archive.org/software/indexmt6.html}
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{\underline{Icking Music Archive}}.}. If you plan to use Type~K Postscript slurs,
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you may skip directly to Chapter~\ref{PostscriptSlurs}.
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Font-based slurs and ties provided by \musixtex\ can be divided into two categories:
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\label{simpleslur}
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\begin{itemize}\setlength{\itemsep}{0ex}
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\item Those where the complete slur symbol is composed of a single
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character from one of the slur fonts, and
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\item those where the slur symbol is composed of three distinct
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characters, to form the beginning, middle and end of the slur.
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\end{itemize}
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The former are called \ital{simple slurs} and the latter,
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\ital{compound slurs}. In many cases the distinction between the two is
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invisible to the user, in that many of the macros described below will
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automatically select between the two types. However, there are other macros
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that allow simple slurs to be forced.
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The next few sections describe the usual method of slur coding, where the
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choice between simple or compound slurs is made automatically.
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In this case, slurs are initiated and terminated by separate macros,
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similar to beams.
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\section{Font-based slur initiation}
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A slur must be initiated \ital{before}
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the spacing note on which the slur begins, and terminated \ital{before} the
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note on which it ends.
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The basic slur initiation macro is
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\keyindex{isluru}\enpee, which initiates an upper slur, with reference
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number $n$, beginning on a note at pitch $p$. The starting point of the slur is
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centered above a virtual quarter note head at pitch~$p$\footnote{The slur will start in the same place regardless of whether there is
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{\it actually} a note at pitch $p$.}.
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Similarly, \keyindex{islurd}\enpee\ initiates a lower slur.
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These slurs are terminated by coding
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\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the
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termination pitch.
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As with beams, the reference number $n$ by default can take values from $0$ to $5$, or
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up to $8$ or $11$ respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included.
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You can also specify the maximum number
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directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where
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$7<m\leq 100$%
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\footnote{This may require e-\TeX.};
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the reference number $n$ will be in the range between $0$ and $m-1$.
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\label{musixmad_setmaxslurs}
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To illustrate with an elementary example, the following passage
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\begin{music}\nostartrule
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\startextract
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\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
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\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
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\bar
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\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
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\NOTes\hu g\en
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\zendextract
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\end{music}
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\noindent was coded as:
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\begin{quote}\begin{verbatim}
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\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
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\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
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\bar
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\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
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\NOTes\hu g\en
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\end{verbatim}\end{quote}
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Other macros are provided to change the horizontal starting and ending points of the slur
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in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\
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initiates a ``short'' upper slur suitable for linking notes involved in chords.
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The
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starting point is shifted to the right, and is vertically aligned with the
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center of a virtual quarter note head at pitch~$p$. If a lower short slur
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is wanted, one should use \keyindex{isslurd}\enpee.
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Sometimes, busy scores call for slurs which are vertically aligned with the
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ends of note stems rather than note heads. These ``beam'' slurs---so called
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because the slur is written at usual beam height---are provided by the
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macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros
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initiate slurs raised or lowered by the current stem height to accommodate
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stems or beams above or below.
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%\check
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\section{Font-based slur termination}
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Font-based slurs that are not forced to be simple must be terminated by an explicit
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command right before the last note under the slur. There are termination
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commands analogous to each of the initiation commands already presented. They
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are summarized in the following table:
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\begin{center}
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\begin{tabular}{ll}
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Initiation & Termination \\
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\hline
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\keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\
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\keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\
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\keyindex{ibsluru} & \keyindex{tbsluru}\\
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\keyindex{ibslurd} & \keyindex{tbslurd}\\
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\hline
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\end{tabular} \end{center}
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\noindent All of these command have two parameters, $n$ and $p$.
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These specific termination macros are not restricted to
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being used with their initiation counterpart. A slur started
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in one sense can be terminated in another. For example, a
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slur beginning as a ``beam'' slur may be terminated as a
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normal slur, or \emph{vice versa}. These would be achieved using macro pairs
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\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively; however, it may be necessary
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to adjust the vertical position of the slur termination. For example,
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\begin{music}
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\startextract
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\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
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\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
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\endextract
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\end{music}\noindent
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has been coded as follows:
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\begin{quote}
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\begin{verbatim}
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\startextract
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\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
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\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
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\endextract
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\end{verbatim}
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\end{quote}
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\section{Font-based ties} Font-based ties will have the same shapes as
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ordinary font-based slurs of the same length between notes of equal pitch,
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but there are two important distinctions:
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(1) There cannot be any pitch difference between start and end, and (2) the
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positions of both the beginning and end of a tie relative to the note heads
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are slightly different from those of an ordinary slur\footnote{Editor's note: In
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fact, it appears that the default positioning of the ends of ties is exactly
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the same as that of short slurs.}.
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Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of
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reference number $n$ at pitch $p$.
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Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of
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reference number $n$ at pitch $p$. The starting position of the tie is the same
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as \verb|\issluru| and
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\verb|\isslurd| respectively. The tie is terminated by coding
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\keyindex{ttie}\onen. Note that no pitch parameter is required.
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There are also \ital{short ties}, which bear the same relation to ordinary
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ties as short slurs to ordinary slurs. They are intended to be used between chords.
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They are initiated with
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\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is
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not clear why this command uses ``{\tt l}'' when all other similar ones use
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``{\tt d}''.}, and terminated with \keyindex{tten}\onen.
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The following example illustrates the differences in positioning of the various
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slur and tie options:
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\begin{music}\nostartrule
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\startextract
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\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
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\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
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\itenl0g\qu g\tten0\qu g\en
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\zendextract
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\end{music}
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\noindent It was coded as
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\begin{quote}\begin{verbatim}
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\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
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\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
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\itenl0g\qu g\tten0\qu g\en
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\end{verbatim}\end{quote}
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\noindent Here are some more general examples of font-based slurs and ties
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discussed so far:
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\begin{music}\nostartrule
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\startextract
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\NOTes\isluru0g\hl g\tslur0h\hl h\en
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\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
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\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
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\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
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\zendextract
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\end{music}
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\noindent This was coded as:
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\begin{quote}\begin{verbatim}
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\NOTes\isluru0g\hl g\tslur0h\hl h\en
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\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
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\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
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\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
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\end{verbatim}\end{quote}
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\section{Dotted slurs}
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Any font-based slur may be made dotted by specifying \keyindex{dotted}
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just before it is initiated:
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\begin{music}\nostartrule
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\startextract
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\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
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\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
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\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
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\NOTes\hu g\en
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\zendextract
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\end{music}
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\noindent This was coded as:
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\begin{quote}\begin{verbatim}
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\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
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\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
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\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
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\NOTes\hu g\en
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\end{verbatim}\end{quote}
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\section{Modifying font-based slur properties}
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Several macros are provided to modify the shape of slurs already initiated.
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These macros must be coded right before the slur \ital{termination}. Invoking
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any of the macros described in this section will force the slur to be compound.
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By default, the midpoint of a font-based slur is three \verb|\internote|s
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above or below a line between its ends. This can be changed using the macro
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\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For
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example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to
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rise to a maximum height of \verb|6\internote| above the starting position.
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For example,
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\begin{music}\nostartrule
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\startextract
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\NOtes\multnoteskip8\isluru0i\ql i\en
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\notes\tslur0i\ql i\en
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\zendextract
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\startextract
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\NOtes\multnoteskip8\isluru0i\ql i\en
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\notes\midslur7\tslur0i\ql i\en
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\zendextract
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\startextract
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\NOtes\multnoteskip8\isluru2i\ql i\en
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\notes\midslur{11}\tslur2i\ql i\en
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\zendextract
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\end{music}
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\noindent was coded as
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\begin{quote}\begin{verbatim}
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\NOtes\multnoteskip8\isluru0i\ql i\en
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\notes\tslur0i\ql i\en
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\NOtes\multnoteskip8\isluru0i\ql i\en
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\notes\midslur7\tslur0i\ql i\en
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\NOtes\multnoteskip8\isluru2i\ql i\en
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\notes\midslur{11}\tslur2i\ql i\en
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\end{verbatim}\end{quote}
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For downward slurs, use negative values; for example,
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\begin{music}\nostartrule
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\startextract
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\NOtes\multnoteskip8\islurd0i\qu i\en
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\notes\tslur0i\qu i\en
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\zendextract
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\startextract
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\NOtes\multnoteskip8\islurd0i\qu i\en
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\notes\midslur{-7}\tslur0i\qu i\en
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\zendextract
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\end{music}
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\noindent was coded as
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\begin{quote}\begin{verbatim}
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\NOtes\multnoteskip8\islurd0i\qu i\en
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\notes\tslur0i\qu i\en
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\NOtes\multnoteskip8\islurd0i\qu i\en
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\notes\midslur{-7}\tslur0i\qu i\en
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\end{verbatim}\end{quote}
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The macro \keyindex{curve}$hij$ allows more precise control over the shape
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of a slur or tie. The first parameter $h$
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is the vertical deviation and it works exactly like the sole parameter of
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\verb|\midslur| described above. The second and
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third parameters $i$ and $j$ set the initial and final gradient respectively.
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They are defined as the horizontal distance required to attain maximum
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vertical deviation. Thus smaller numbers for $i$
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and $j$ lead to more extreme gradients.
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The default setting is \verb|\curve344|. Hence, coding \verb|\curve322|
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doubles the initial and final gradient relative to the default.
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As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before
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the slur termination. The example below illustrates the use of \verb|\curve|.
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\begin{music}\nostartrule
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\startextract
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\NOtes\multnoteskip8\itieu0g\ql g\en
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\notes\ttie0\ql g\en
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\zendextract
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\startextract
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\NOtes\multnoteskip8\itieu1g\ql g\en
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\notes\curve 322\ttie1\ql g\en
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\zendextract
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\startextract
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\NOtes\multnoteskip8\itieu2g\ql g\en
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\notes\curve 111\ttie2\ql g\en
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\zendextract
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\end{music}
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\noindent This was coded as
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\begin{quote}\begin{verbatim}
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\NOtes\multnoteskip8\itieu0g\ql g\en
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\notes\ttie0\ql g\en
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\NOtes\multnoteskip8\itieu1g\ql g\en
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\notes\curve 322\ttie1\ql g\en
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\NOtes\multnoteskip8\itieu2g\ql g\en
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\notes\curve 111\ttie2\ql g\en
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\end{verbatim}\end{quote}
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Two macros are provided to control the behaviour of slurs which extend across
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line breaks. Normally, the part of the slur before the line break is
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treated as a tie. This can be changed using \keyindex{breakslur}\enpee,
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which sets the termination height of
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the broken slur at the line break to pitch $p$, for slur number $n$.
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After the line break, the slur is normally resumed at the initial pitch
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reference, i.e., the one coded in \verb|\islur|. To change this, the macro
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\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used.
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Here $n$ is again the slur reference
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number and $h$ is the change in height relative to the initialization height.
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This macro is normally used following line breaks, in which case it is best
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coded using the \verb|\atnextline| macro. For example, coding
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\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero
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by \verb|6\internote| relative to its initialization height.
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The following example illustrates the use of the macros for broken slurs:
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\medskip
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\begin{minipage}[t]{85mm}
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Default, without adjustments:
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\begin{music}
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\hsize=50mm
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\generalmeter{\meterfrac24}%
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\parindent 0pt\staffbotmarg0pt%
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%
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%\interstaff{14\internote}%
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%
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\nostartrule
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\startpiece\bigaccid
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\Notes\ibsluru1b\qu b\qu g\en\bar
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\Notes\qu{'c!}\tslur1f\qu f\en
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\mulooseness1\Endpiece
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\end{music}
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\begin{verbatim}
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\Notes\ibsluru1b\qu b\qu g\en\bar
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\Notes\qu{'c!}\tslur1f\qu f\en
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\end{verbatim}
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\end{minipage}%
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\begin{minipage}[t]{75mm}
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With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\
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\begin{music}
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\hsize=50mm
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\generalmeter{\meterfrac24}%
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\parindent 0pt\staffbotmarg0pt%
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%
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%\interstaff{14\internote}%
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%
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\nostartrule
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\startpiece\bigaccid
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\def\atnextline{\Liftslur17}%
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\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar
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\Notes\qu{'c!}\tslur1f\qu f\en
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\mulooseness1\Endpiece
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\end{music}
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\begin{verbatim}
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\def\atnextline{\Liftslur17}%
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\Notes\ibsluru1b\qu b\qu g%
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\breakslur1g\en\bar
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\Notes\qu{'c!}\tslur1f\qu f\en
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\end{verbatim}
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\end{minipage}\medskip
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Occasionally in keyboard works one needs to begin a slur in one
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staff but end it in another. This can be done using the macro
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\keyindex{invertslur}\onen\ which is best described by
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reference to the example
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shown below.
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% Finding the final pitch is try and error, sorry, no way out.
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\begin{music}
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\setstaffs1{2}
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\setclef1\bass\interstaff{10.5}
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\startextract
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\NOtes\multnoteskip5\isluru0a\ql a\en
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\notes\invertslur0\curve311\tslur0j|\qu d\en
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\NOtes\multnoteskip{10}\isluru0a\ql a\en
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\notes\invertslur0\curve333\tslur0j|\qu d\en
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\zendextract
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\end{music}
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\noindent This was coded as
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\begin{quote}\begin{verbatim}
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\NOtes\multnoteskip5\isluru0a\ql a\en
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\notes\invertslur0\curve311\tslur0g|\qu d\en
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\NOtes\multnoteskip{10}\isluru0a\ql a\en
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\notes\invertslur0\curve333\tslur0g|\qu d\en
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\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.
|